A selection of newly released music that caught my attention
New music never stops, even on Christmas. I almost would have forgotten today is Friday, meaning it’s time again for Best of What’s New. BTW, this is the 40th installment of the recurring feature. Let’s get to it!
Eddie Vedder/Matter of Time
Matter of Time is the title track of a new solo EP released by Eddie Vedder today. Initially, the Pearl Jam frontman had put out the tune as a single on November 18. The EP features four additional tracks, including a cover of Bruce Springsteen’sGrowin’ Up. As reported by Blabbermouth.net, Vedder premiered Matter of Time and Say Hi, another tune from the EP, during Venture Into Cures, a digital event presented by EB Research Partnership. Co-founded by Vedder and his wife Jill, the non-profit organization funds research for epidermolysis bullosa, a group of devastating and life-threatening skin disorders that affect children from birth. I salute music artists taking on such noble causes. It’s also quite a powerful tune and video clip!
Slaughter Beach, Dog/Are You There
The first thing that struck me about Slaughter Beach, Dog is “Slaughter Beach, Dog.” Who comes up with such a weird name? It turns out singer-songwriter Jake Ewald, who initially started this indie rock outfit in 2014 as a side project to Modern Baseball, his then primary indie rock band from Philadelphia. In October 2017, Ewald confirmed Modern Baseball is on indefinite hiatus. Slaughter Beach, Dog has since become his main focus. In addition to Ewald (vocals, guitar), the group’s regular line-up also features Nick Harris (guitar), Ian Farmer (bass) and Zack Robbins (drums). Slaughter Beach, Dog put out their debut album Welcome in 2016. Since Modern Baseball’s hiatus, three other albums have appeared, including At the Moonbase released December 24. According to this review in Consequence of Sound, Ewald wrote and recorded the album alone at his house and recording studio. Here’s the opener Are You There.
CMON is a project by Josh Da Costa and Jamen Whitelock who initially started Regal Degal in 2009, a band Apple Music noted dabbled in everything from distorted synth punk to repetitive Krautrock-styled jamming over the next several years. After Regal Degal disbanded, Da Costa and Whitelock formed CMON and released their eponymous EP in 2018. According to Apple Music, The duo kept some of the textural atmospheres of their previous band but leaned heavily into programmed rhythm and disco-pop grooves on their 2020 debut Confusing Mix of Nations.Blue-ray Saturday is CMON’s new single that appeared December 10. The melodic mid-tempo tune doesn’t sound at all like disco-pop. If anything, the melody of the laid-back tune reminds me a bit of Bob Dylan’sLike a Rolling Stone. In any case, I like the feel of it. Plus, it’s quite catchy!
Sea Girls/This Is The End
Sea Girls are an indie rock band from England I first featured in an August Best of What’s Newinstallment. They were founded in London in 2015 and include Henry Camamile (vocals, guitar), Rory Young (lead guitar), Andrew Noswad (bass) and Oli Khan (drums). Following their June 2017 debut single Call Me Out and a series of additional self-released singles and three EPs, the band secured a deal with Polydor Records in 2019 and released their full-length debut album Open Up Your Head on August 14 this year. This Is The End is their new single that came out on December 4. Back in August, I called the band’s guitar-driven sound catchy. I still stand behind that statement. The title also makes the song an appropriate choice to wrap up this installment.
Sources: Wikipedia; Blabbermouth.net; Consequence of Sound; Apple Music; YouTube
A look back on my music journey over the past 12 months
At first, the thought of writing a year in review type post didn’t look very appealing. After all, it’s safe to assume most of us can’t wait to kiss 2020 goodbye and erase it from our memories. This certainly describes my sentiments in many ways. But while the past 12 months brought unprecedented challenges, including for the music business, I think not all was doom and gloom. Initially, this was supposed to be one post. Then, it got longer and longer, so I decided to break it up in two parts. Here’s part 1
The good and the bad…
On the positive side, the music industry recorded rising revenue fueled by streaming. As Music Business Worldwidenoted in September, the Recording Industry Association of America (RIAA) reported a 5.6% year-over-over increase in total U.S. recorded music retail revenue to $5.6 billion for the first half of 2020. This included a 12% surge in streaming music revenue to $4.8 billion. If streaming kept that pace in the second half of the year, it would be up one billion year-over-year. However, according to this Billboardstory from earlier this week, growth in streaming volume has stalled since the end of June.
At the same time, the concert business, the main source of income for most artists, is in the toilet. The Los Angeles Times recently reported America’s largest concert promoter Live Nation experienced a nosedive in revenue of 98% and 95% during the summer and fall, respectively. The same article also stated 90% of independent performance venues will close for good without government aid, while long-established venues like the Troubador in L.A. are hanging on but face an uncertain future. This doesn’t only put the livelihoods of many artists at risk but also of all the folks working at performance venues or whose job are otherwise tied to live entertainment.
New music kept coming out…
Despite COVID-19, new music continued to be released throughout the year – lots of it. In fact, at least some of this activity can be explained by the pandemic. Artists who weren’t able to tour found themselves with more time on their hands to work on new material. New albums by Bruce Springsteen, Taylor Swift and Paul McCartney are just some of the examples that come to my mind in this context.
I’m happy new music was a major theme for my blog in 2020, more than ever before. As frequent visitors know, I’m not talking about music you can find in the present mainstream charts. As of this blog post, I reviewed more than 20 new albums. That’s only counting new original music, not other releases, such as new installments from Springsteen’s great live bootleg series or James Taylor’s cover album of the American songbook. Yes, while I know next to nothing about American standards, I did review that album and enjoyed listening to it!
Frankly, I could have reviewed more new albums. I didn’t. In addition to lack of time, part of the reason was because of Best of What’s New. This weekly recurring feature on newly released music, which I launched in March, focuses on songs rather than entire albums.
It’s gratifying to me that except for one time due to a death in my close family, I posted new installments each week, meaning I’ve been able to discover new music week after week I found decent enough to write about. Keep in mind this is the same guy who as recently as last year kept complaining how “terrible” contemporary music is! I forgot one important qualifier: Music that’s in the mainstream charts. Let’s take a look at some of the new music I wrote about over the past 12 months.
My favorite new albums…
While it’s hard to narrow things down, from the 20-plus new albums I reviewed the four ones I feel most excited about are AC/DC/Power Up (released November 18), Walter Trout/Ordinary Madness (August 28), Norah Jones/Pick Me Up Off the Floor (June 12) and Ruby Turner/Love Was Here (January 24). Following is a tune from each:
AC/DC: Shot in the Dark (Power Up)
Shot in the Dark, the album’s great lead single, is classic AC/DC and makes you feel you just time-travelled back to 1980. Like all other tracks on Power Up, it was co-written by Angus Young and his older brother Malcolm Young during the period between the Stiff Upper Lip (February 2000) and Black Ice (October 2008) albums. You can read more about Power Uphere, a must listen to for AC/DC fans.
Walter Trout: Wanna Dance (Ordinary Madness)
I love Walter Trout, a no BS artist and decent guitarist who has lived through dramatic ups and downs. Perhaps, he’s the ultimate blues rock survivor! Here’s Wanna Dance. “I had Neil Young and Crazy Horse in mind when I wrote the tune,” Trout told American Songwriter. Dancing is a metaphor for enjoying and celebrating every moment in life, since We ain’t gonna live forever, as Trout sings. He knows all too well. This is one hell of a blues rocker! See here for more about Ordinary Madness.
Norah Jones: Flame Twin (Pick Me Up Off the Floor)
I had been aware and always liked Norah Jones and her piano-driven lounge style jazz for ,any years, but had never explored any of her albums. I’m glad Flame Twin from her seventh studio album Pick Me Up Off the Floor finally changed this. Written by Jones, the tune injects a dose of blues, which rarely if ever is a bad thing in my book. I also dig the Hammond B3 accents from Pete Remm who plays electric guitar as well. And, of course, there are Jones’ great soothing vocals and piano playing. Like other songs on Pick Me Up Off the Floor, the tune was inspired by poetry. My review of this great album is here.
Ruby Turner: Don’t Cry Over Yesterday (Love Was Here)
Don’t Cry Over Yesterday was the track that made me listen to Love Was Here, a beautiful classic soul album by British soul, gospel and R&B vocalist Ruby Turner. I hadn’t heard of Turner before, even though she’s performed since 1983 and worked with other artists like Bryan Ferry, Steve Winwood, Mick Jagger and UB40. “Discovering” great artists like her is part of the reason why I love music blogging. If you’re into ’70s style soul, I’d encourage you to check out this album, a true gem! You can read more about it here.
A selection of newly released music that caught my attention
After having compiled this weekly recurring feature for about nine months, I’ve developed a pretty good methodology to find new music. As more frequent visitors of the blog know, the madness doesn’t include the mainstream charts. Sometimes it’s pretty easy, other times it requires more work. This week fell into the latter category. I’m still quite happy with this new installment that features various flavors of rock, including alternative, kickass classic, indie and country.
Glom from Brooklyn, New York are a classic alt-rock inspired, fuzzy alt-rock act, according to their profile on Bandcamp. Based on this interview with Two Story Melody from March 2019, it sounds like while members of Glom have been friends and played together in various bands since their early high school years, the group only formed in 2017. Bandcamp lists Sean Dunnevant (guitar, bass, vocals), Peter Beiser (guitar, piano, vocals), Sahil Ansari (guitar, drums, percussion, synthesizer), Jonathan Crandall (synthesizer, piano, percussion), Jonathan Harwood (percussion) and Jordan Wolfe (drums, percussion, synthesizer). Merit, written by Dunnevant, is the title track of Glom’s new album released yesterday (Dec 4). It’s a quite catchy tune. Based on sampling a few other tracks on the album, these guys seem to have a knack for melodies that are easy on the ears.
Greta Van Fleet/Age of Machine
Age of Machine is the second single from Greta Van Fleet’s next album. When the kick-ass rocker appeared yesterday, the Michigan band also revealed their second full-length studio release will come out on April 16, 2021 and be titled The Battle at Garden’s Gate, Spinreported. “There was a lot of self-evolution happening during the writing of this album that was prompted by experiences I had, experiences we all had, so a lot of contemplation occurred,” explained vocalist Josh Kiszka. “It’s reflecting a lot of the world that we’ve seen, and I think that it’s reflecting a lot of personal truth,” observed guitarist Jake Kiszka. “I suppose that everything has changed except what got us here in the first place,” added Sam Kiszka, the third of the Kiszka brothers and bassist of the band that also includes drummer Danny Wagner. Greta Van Fleet’s classic rock orientation has generated lots of excitement and, as you’d expect, some criticism over its Led Zeppelin-influenced sound. I think the new single provides more evidence that Greta Van Fleet have evolved in finding their own unique style. Really looking forward to hearing more from that album!
Juniper are an indie rock band from the Boston area. They were formed in the spring of 2017 by Scott Johnson, Ahren Shreeve and Alejandro Marin. In September that year, they released their eponymous debut EP. Another EP, For the First Time, came out one year later. On their website, Juniper describe their sound as “unique” with “diverse influences of alternative rock, folk, R&B and bedroom pop” – the latter being yet another genre I had not heard of before. Currently, they are working on their debut album. Meanwhile, here’s their new single Angelina. And, nope, the lovely young woman in the video isn’t Angelina.
The Wild Feathers/My Truth
Let’s wrap it up with The Wild Feathers, a country rock band founded in 2010 in Nashville, Tenn. According to a bio on AllMusic, they prefer the term “American” over Americana when describing their sound, which falls somewhere between the earnest, neo-Southern rock of the Black Crowes, the bluesy swagger of the Black Keys, and the wide-open-road country-rock of the Eagles. The band’s current lineup features founding members Ricky Young (guitar, vocals), Taylor Burns (guitar, vocals) and Joel King (bass, vocals), as well as Ben Dumas (drums). The Wild Feathers began touring frequently in 2013, playing with artists like Bob Dylan, Willie Nelson and ZZ Ward. Their eponymous debut album appeared in August 2013. My Truth is a new original song from the band’s most recent fourth album Medium Rarities, which according to a review in Glide Magazine is a collection of covers, demos, B-sides and a handful of new tunes. My Truth is a great track co-written by King, Young and country singer-songwriter Brett James.
Sources: Wikipedia; Bandcamp; Two Story Melody; Spin; Juniper website; Juniper Facebook page; AllMusic; Glide Magazine; YouTube
Mike Campbell’s band The Dirty Knobs finally released their debut album yesterday (November 20). Originally, Wreckless Adandon had been scheduled for March 20 but was pushed back after Campbell announced in early March he had to deal with “some health issues, which, while fully treatable, need to be addressed” and that “I’m going to be just fine,” as reported by Ultimate Classic Rock at the time. In a way, the eight-month delay was relatively minor, considering the band has been around for some 20 years.
Campbell formed The Dirty Knobs in the early 2000s as a side project to Tom Petty’sHeartbreakers. In August 2001, he toldRolling Stone he had recruited original Heartbreakers bassist Ron Blair and the band’s drummer at the time Steve Ferrone, together with guitarist Jason Sinay. Apart from Campbell and Sinay, the Knobs’ current lineup includes Lance Morrison (bass) and Matt Laug (drums). “It’s rougher-edged [than the Heartbreakers],” Campbell described their music at the time. “It’s slightly over-driven, less polished, lots of Sixties influence — the Kinks, Zeppelin, the Animals. It’s something I probably should have done a long time ago, but I didn’t ’cause I was wrapped up in the Heartbreakers.”
The Dirty Knobs were active in-between Heartbreakers tours and studio projects. They played small venues and did some recordings but weren’t looking for a record deal. “We would go and play clubs and do some recordings and it just got better and better,” Campbell said during a recent interview with Cleveland.com. “I always had in the back of my mind it would be a great project to do if the Heartbreakers ever took a hiatus or whatever. So now here we are, and I’m all fired up to do this band.” Of course, Campbell had also been pretty busy working with Bob Dylan, George Harrison, Johnny Cash and many other artists and since September 2018 as an official new member of Fleetwood Mac.
While Reckless Abandon isn’t meant to sound like a Heartbreakers album, perhaps inevitably, you find yourself looking for similarities, and there are definitely some influences. After all, Campbell and Petty had a long songwriting partnership, and it’s not a coincidence Campbell earned co-writing credits for two to three songs on many Heartbreakers albums and two of Petty’s solo records.
At times, even their voices sound a bit similar. “In the beginning I realized I had a lot of Tom’s nuances in my delivery ‘cause we grew up together, so I focused hard on trying to filter that out as much as possible and find my own voice and personality,” Campbell explained to Cleveland.com. “I don’t want to sound like Tom, of course, but I do from time to time ‘cause we have the same accents and this and that. But I think I found my own self.”
Time for some music. Here’s the opener and title track that had previously been released as the album’s lead single back in January. Like all other except for two songs, it was written by Campbell. Great tune – dig Campbell’s Rickenbacker sound. Frankly, this track could be a Heartbreakers song. One difference is there are no keyboards.
Pistol Packin’ Mama features Chris Stapleton on vocals. Stapleton also contributed a tune, Fuck That Guy. Likewise, Campbell was a guest on and co-wrote two songs for Stapleton’s new album Starting Over released on November 13. “He’s a great writer, a great artist, so I’m fortunate to be able to work with him,” Campbell told Cleveland.com. “I met Chris the first time just in passing; The Heartbreakers were headlining at (Chicago’s) Wrigley Field, and he was opening. He was going to take (Dirty Knobs) out to open for him in the summer.”
Next up: Southern Boy, another nice bluesy rocker. Again, I could also picture Tom Petty singing that tune.
On Irish Girl, The Dirty Knobs take it down a few notches. Released as the album’s most recent single on November 16, it’s among the tracks I like the best so far. “Irish Girl is my favorite lyric on the record,” Campbell toldAmerican Songwriter. “It’s whimsical and more poetic than most of the Knobs’ songs. I was inspired to write it driving home late one-night listening to Van Morrison on the radio. When I got home, the song just came to me. It’s very simple musically and I love the sound of the record. It reminds me of Ireland.” Here’s the official video.
Let’s wrap it up with one more bluesy rocker: Aw Honey. Ex-Heartbreaker Benmont Tench contributes piano.
Asked by Cleveland.com whether he feels a sense of mission to continue the legacy he had with Tom Petty, Campbell said, “Well, maybe subconsciously. I don’t perceive myself as on a mission, per se; my only mission is to have fun, really, and try to make great music and try to get better. He’s not here, obviously, so now it’s up to me, and I’ve got to carry on making music the best I can. I have a legacy to live up to. I hope the stuff that I do going forward holds up against that stuff. It’s kind of a high bar, but my only mission is just to enjoy myself and keep making music. That’s what keeps this alive.”
In addition to the album, The Dirty Knobs also postponed their supporting tour. It’s now scheduled to kick off in San Bernardino, Calif on June 5, 2021 and wrap up in New Orleans on November 2. Some of the other gigs include Denver (June 25 & 26), Chicago (July 17), Gainesville, Fla. (September 10 & 11), Nashville, Tenn. (September 14), Asbury Park, N.J. (September 18), Boston (September 23 & 24), Indianapolis (October 2 & 3), San Francisco (October 15 & 16) and Austin, Texas (October 30 & 31). The full schedule is available here.
Sources: Wikipedia; Ultimate Classic Rock; Rolling Stone; Cleveland.com; American Songwriter; The Dirty Knobs website; YouTube
The idea of putting together a playlist of great Bob Dylan covers came when I listened to Them and their fantastic version of It’s All Over Now, Baby Blue. I have to give credit where credit is due. The impetus to revisit the Northern Irish garage rockers who launched the musical career of Van Morrison came from Max at PowerPop and his post about Them tune Mighty Like a Rose.
With so many artists having covered Dylan tunes, finding examples was very easy. The hard part was to limit the list to ten tracks, even though I deliberately focused on his ’60s albums for all but one track. I just couldn’t help it – Dylan’s early phase is the one I know and like the best!
Stevie Wonder/Blowin’ in the Wind
Kicking off this playlist is the great Stevie Wonder who included Blowin’ in the Wind on his studio album Up-Tight released in May 1966. His cover also came out separately as a single, yielding a No. 9 hit on the Billboard Hot 100. Originally, Dylan recorded the track for his second studio album The Freewheelin’ Bob Dylan from May 1963. I love how Wonder took a folk song and turned it into a beautiful soul tune.
Leon Russell/It’s a Hard Rain’s a Gonna Fall
When Leon Russell covers a tune, you just know you gonna get something great. It’s a Hard Rain’s a Gonna Fall was included on his sophomore solo album Leon Russell and the Shelter People that came out in May 1971. The tune is another track from The Freewheelin’ Bob Dylan.
Tracy Chapman/The Times They Are a-Changin’
Tracy Chapman’s version of the title track from Dylan’s third studio album The Times They Are a-Changin’ is one of my favorite renditions in this playlist. This is from a special concert at New York’s Madison Square Garden that took place on October 16, 1992 to celebrate Bob Dylan’s 30th anniversary as a recording artist. It was captured on a live double album appropriately titled The 30th Anniversary Concert Celebration and released in August 1993. Dylan’s original recording first appeared in January 1964.
Johnny Cash & June Carter Cash/It Ain’t Me, Babe
I simply couldn’t leave out The Man in Black from this collection. Here’s Johnny Cash’s version of It Ain’t Me, Babe featuring June Carter Cash. It was included on The Essential Johnny Cash, a compilation that appeared in February 2002 to commemorate Cash’s 70th birthday. The original was part of Another Side of Bob Dylan, his fourth studio album from August 1964.
The Byrds/Mr. Tambourine Man
Not many other things get me as excited as the beautiful jingle-jangle sound of a Rickenbacker electric guitar. I also couldn’t think of anyone better in this context than Roger McGuinn and The Byrds who covered various Dylan tunes. My favorite remains Mr. Tambourine Man, their first single released in April 1965. The tune also was the title track of their debut album that came out in June of the same year. Dylan’s original was included on Bringing It All Back Home, his fifth studio album from March 1965.
Them/It’s All Over Now, Baby Blue
Now on to the tune that trigged the idea for the entire list. Them’s rendition of It’s All Over Now, Baby Blue has to be one of the best Dylan covers of all time. They included it on their second album Them Again from January 1966, the last to feature Van Morrison who subsequently launched a solo career and remains active to this day. Dylan’s original is another track from Bringing It All Back Home.
Mick Ronson & David Bowie/Like a Rolling Stone
Until today, I had never heard of this version of Like a Rolling Stone, which appeared on Mick Ronson’s final solo album Heaven and Hull from May 1994. For this tune, the ex-Spiders From Mars guitarist teamed up with the former band’s frontman David Bowie. What a cool rendition! Dylan first recorded the track for Highway 61 Revisited released in August 1965. The maestro’s sixth studio album remains my favorite.
Joe Cocker/Just Like a Woman
A covers playlist definitely has to feature who perhaps is the ultimate master of the cover: Joe Cocker. His take of Just Like a Woman was included on his debut With a Little Help From My from My Friends released in May 1969. That album’s title track may well be the ultimate rock cover. As for Dylan, he first recorded the tune for his seventh studio album Blonde on Blonde from June 1966.
Jimi Hendrix/All Along the Watchtower
This next tune was another must to feature. Jimi Hendrix’s version of All Along the Watchtower, which appeared on Electric Ladyland, the third and final studio album by the Jimi Hendrix Experience, just is absolutely killer! No disrespect to Bob Dylan, who after all penned the song, but after listening to Hendrix, one could be forgiven to forget about the original. Admittedly, I had known this cover for many years before I first heard Dylan’s rendition, which he included on his eighth studio album John Wesley Harding released in December 1967.
Indigo Girls/Tangled Up in Blue
I’d like to wrap things up with a beautiful cover of one of my favorite Bob Dylan songs, Tangled Up in Blue. It first appeared on his 15th studio album Blood on the Tracks from January 1975. In October 1995, Atlanta folk rock duo Indigo Girls released a live album titled 1200 Curfews, which features this incredible eight-minute version of the Dylan gem.
When I included the latest single by Yola in my last Best of What’s Newinstallment, I noticed her first full-length solo album Walk Through Fire received many accolades. Since the strong voice of the English singer-songwriter immediately grabbed me, I checked it out and have to say it’s a true gem, both musically and in terms of her vocal performance.
Getting to that point wasn’t exactly an easy path for Yola who was born as Yolanda Quartey in 1983 in Bristol, England. According to this review in Popmatters, Yola had a tough childhood characterized by poverty and a parent who didn’t care for her and banned music. Later she lived homeless in London for some time before establishing herself as a session singer and touring with acts like DJ collective Bugz in the Attic and electronic music outfit Massive Attack.
In 2005, she co-founded country-soul band Phantom Limb and recorded two studio albums and a live record with them. But ultimately, as her artist profile in Apple Music notes, Yola felt the need to strike out on her own. Over the next few years, she started writing her own songs that were influenced by Muscle Shoals era country-soul, R&B and classic singer-songwriter style. In 2016, she released her debut EP Orphan Offering under the name of Yola Carter.
Eventually, Yola went to Nashville where she met Dan Auerbach after he had seen a video of her. Apparently, Auerbach was immediately impressed by her. “Her spirit fills the room, just like her voice,” he reportedly said. “She has the ability to sing in a full roar or barely a whisper and that is a true gift.” Auerbach teamed up with Yola to co-write songs, together with other writers, including Bobby Wood, Pat McLaughlin and Dan Penn.
Auerbach also assembled an impressive group of seasoned studio musicians, including Dave Roe (bass), who played with Johnny Cash and John Mellencamp, among others; harmonica player Charlie McCoy (credits include Elvis Presley, Dolly Parton, Bob Dylan, etc.) and drummer Gene Crisman, who together with Bobby Wood was a member of the Memphis Boys. They were the house band of American Sound Studio in Memphis, Tenn. where artists like Elvis, Wilson Pickett, Aretha Franklin and Dusty Springfield recorded. Auerbach also produced Walk Through Fire, which appeared in February 2019 on his Easy Eye Sound label.
With all of the above, it’s not surprising the album has a retro late ’60s sound. This is also matched by the cover. And yet, to me, Walk Through Fire feels like an album that will hold up well over time. It simply is a work of beauty. Let’s get to some music.
Here’s the opener Faraway Look. The track was co-written by Auerbach, McLaughin and Yola. BTW, McLaughlin’s compositions have been performed by artists like Bonnie Raitt, Alan Jackson, Taj Mahal and Al Kooper, among others. Sure, the production might be a bit on the lush side, but this is just a beautiful tune.
Ride Out in the Country is another great track. The song was co-written by Auerbach, Yola and Joe Allen. Allen is a county songwriter and bassist who since the early ’70s has worked with the likes of Loretta Lynn, Merle Haggard, Waylon Jennings and Johnny Cash.
Next up is the title track, which according to Wikipedia references both a fire that damaged Yola’s home and an abusive relationship from which she escaped. The tune was co-written by Auerbach, Yola and Dan Penn. Penn has co-written many soul hits of the ’60s, including The Dark End of the Street and Do Right Woman, Do Right Man and Cry Like a Baby.
Rock Me Gently is my current favorite on the album. It’s another Auerbach-Allen-Yola co-write.
Let’s do one more: Love All Night (Work All Day), co-credited to Wood, Auerbach and Yola.
As noted above, Walk Through Fire was very well received. The album also generated three Grammy nominations: Best Americana Album, Best American Roots Song (Faraway Look) and Best New Artist. Walk Through Fire was also nominated for Album of the Year at the Americana Music Honors & Awards. And, yes, the album also did score a win: UK Album of the Year at the UK Americana Awards.
At age 37, Yola still is relatively young. I look forward to much more great music from this talented songwriter and vocalist.
Sources: Wikipedia; Popmatters; Apple Music; YouTube
It’s been more than two months since my last installment of this recurring music history feature. And while I’ve already covered 53 different dates since I started the series in 2016, this didn’t include August 8. As always, the idea here is to highlight select events based on my music preferences, not to provide a full listing.
1964: Bob Dylan released his fourth studio album Another Side of Bob Dylan. Th title was appropriate, since the record marked a departure from the more socially conscious songs on predecessor The Times They Are A-Changin’ that had appeared seven months earlier in January 1964. Some critics were quick to complain Dylan was selling out to fame. But Robert Zimmerman rarely seems to care much what others think about his music. Here’s My Back Pages. The tune has been covered by various other artists, including The Byrds, Ramones and Steve Earle, to name a few.
1969: An ordinary pedestrian crossing in London’s City of Westminster inner borough would never be same after it became part of the iconic cover photo of Abbey Road, the actual final studio album by The Beatles from September 1969, even though it was released prior to their official final record Let It Be. The famous shot was taken by Scottish photographer Iain Macmillan, who was then a freelancer. For any photographers, he used a Hasselblad camera with a 50mm angle lens, aperture f22, at 1/500 seconds, according to The Beatles Bible. Following the shoot, Paul McCartney reviewed the transparencies and chose the fifth one for the album cover. After the band’s breakup, Mcmillan also worked with John Lennon and Yoko Ono for several years. Here’s one of my favorite tunes from that album: George Harrison’s Here Comes The Sun.
1970: The third studio album by Blood, Sweat & Tears, ingeniously titled Blood, Sweat & Tears 3, hit no. 1 on the Billboard 200, following its release in June that year. After the success of their preceding eponymous second album from December 1968, which also topped the U.S. charts, the record had been widely anticipated. Here’s Lucretia Mac Evil, a great tune written by the band’s lead vocalist David Clayton-Thomas. The song, which was also released separately as a single, was one of just a handful of original tracks on the album, which mostly included cover versions of tunes from artists like James Taylor, The Rolling Stones and Traffic – apparently part of the reason why it received lukewarm reviews.
1987: I Still Haven’t Found What I’m Looking For, the second single off U2’s fifth studio album The Joshua Tree, topped the Billboard Hot 100, marking the Irish rock band’s second no. 1 song in the U.S. after the record’s lead single With Or Without You. The Joshua Tree, which also topped the charts in Canada, Australia, New Zealand and various European countries, catapulted U2 to international superstardom. Like all other tracks on album, the lyrics of the tune were written by Bono, while the music was credited to U2. Here’s the official video filmed in Las Vegas in April 1987 after the band’s first show in the city.
Sources: Wikipedia; This Day in Rock; The Beatles Bible; Billboard; YouTube
The first reference to the Royal Albert Hall I recall was in A Day in the Life, the magnificent final track of my favorite Beatles album Sgt. Pepper’s Lonely Hearts Club Band. Though at the time I didn’t realize the line Now they know how many holes it takes to fill the Albert Hall referred to the famous U.K. performance venue in London’s South Kensington district. The Royal Albert Hall, which had received a copy of the album prior to its release, did and was less than pleased.
According to this item in the concert hall’s archive, the Hall’s then-chief executive Ernest O’Follipar wrote a letter to Brian Epstein, maintaining the “wrong-headed assumption that there are four thousand holes in our auditorium” threatened to destroy the venue’s business overnight. Not only were the lyrics not changed, but John Lennon wrote back to the Hall, refusing to apologize. The venue retaliated with banning the song from ever being performed there.
The history of the Hall, which initially was supposed to be named Central Hall of Arts and Sciences, began long before The Beatles. In fact, it dates back to the 1900s and Queen Victoria. It was her majesty who in memory of her husband Prince Albert decided to change the name to the Royal Albert Hall of Arts and Sciences when the building’s foundation stone was laid in 1867. I suppose this makes her a pretty nice girl, though she actually did have a lot to say!
It was also Queen Victoria who opened the Hall in 1871. The building was designed by Captain Francis Fowke and Major-General Henry Y. D. Scott, who were civil engineers of the Royal Engineers. The facility, which today can seat close to 5,300 people, was built by Lucas Brothers, a leading British building construction firm at the time. The design was strongly influenced by ancient amphitheatres, as well as the ideas of German architect Gottfried Semper and his work at the South Kensington Museum.
The Royal Albert Hall has seen performances by world-leading artists from many genres. Since 1941, it has been the main venue for the so-called Proms, an eight-week summer season of daily orchestral classical music concerts. The venue hosts more than 390 shows in its main auditorium each year, including classical concerts, ballet, opera, film screenings with live orchestral accompaniment, sports, awards ceremonies, school and community events, charity performances and banquets and, of course, rock and pop concerts.
This July 2019 story in London daily newspaper Evening Standard, among others, lists the following concerts as part of the “10 iconic musical moments in the venue’s history”: The Great Pop Prom (September 15, 1963), which featured The Beatles and The Rolling Stones on the same bill with other groups – only one of a handful of times the two bands performed together in the same show; Bob Dylan (May 26 and 27, 1966); Jimi Hendrix (February 18 and 24, 1969); Pink Floyd (June 26, 1969); The Who and Friends (November 27, 2000); and David Gilmour and David Bowie (May 29, 2006). Obviously, this list isn’t complete!
Let’s get to some music. As oftentimes is the case, it’s tough to find historical concert footage from the ’60s and ’70s, especially when it’s tied to a specific venue. One great clip I came across is this Led Zeppelin performance of Whole Lotta Love from a 1970 gig. Credited to all four members of the band plus Willie Dixon (following a 1985 lawsuit!), the tune was first recorded for the band’s second studio album ingeniously titled Led Zeppelin II, released in October 1969.
Since 2000, Roger Daltrey has been a patron for the Teenage Cancer Trust and raised funds for the group through concerts. The first such show was a big event at the Royal Albert Hall on November 27, 2000. In addition to The Who, it featured Noel Gallagher, Bryan Adams, Paul Weller, Eddie Vedder, Nigel Kennedy and Kelly Jones. The choice of venue was somewhat remarkable, given The Who in 1972 became one of the first bands to be impacted by the Hall’s then instituted ban on rock and pop. Here’s the Pete Townshend penned Bargain, which first appeared on The Who’s fifth studio album Who’s Next that came out in August 1971.
In early May 2005, Cream conducted four amazing reunion shows at the Hall, which were captured and subsequently published in different formats. Here’s White Room, co-written by Jack Bruce with lyrics by poet Pete Brown, and originally recorded for Cream’s third album Wheels of Fire from August 1968. Gosh, they just sounded as great as ever!
The last clip is from the above mentioned show by David Gilmour from May 29, 2006, during which he invited David Bowie on stage. As the Evening Standard noted, not only was it Bowie’s first and only appearance at the Hall, but it also was his last ever public performance. Gilmour and Bowie did Arnold Layne and Comfortably Numb together. Here’s their epic performance of the latter, which was co-written by Gilmour and Roger Waters for Pink Floyd’s eleventh studio album The Wall from November 1979. Interestingly, just like The Who, Pink Floyd was barred from performing at the Hall following their June 1969 gig there. It was the first nail in the coffin for rock and pop concerts at the venue that led to a complete, yet short-lived ban in 1972 because of “hysterical behaviour of a large audience often encouraged by unthinking performers.”
Sources: Wikipedia; Royal Albert Hall website; Evening Standard; YouTube
While I had known her name for decades, it really wasn’t until July 2017 that I started paying closer attention to Emmylou Harris when seeing her in Philadelphia as part of a concert headlined by John Mellencamp. There was something special about this lady with her all-white hair who recently had turned 70. Now 73, Harris has been active for more than 50 years, released dozens of solo and collaborative albums, scored 20 top 10 hits on the Billboard country charts and collected numerous Grammy and other awards. This playlist is an attempt to shine a light on her long and impressive career.
Harris was born on April 2, 1947 in Birmingham, Ala. Her dad, Walter Harris, was a Marine Corps officer, while her mom Eugenia was a wartime military wife. After high school graduation in Woodbridge, Va., Harris went to the School of Music, Theater and Dance at the University of North Carolina at Greensboro on a drama scholarship. It was there where she started to learn songs by Pete Seeger, Bob Dylan and Joan Baez on guitar and develop her musical aspirations. Harris dropped out, moved to New York City during the second half of the ’60s, and started performing on the folk circle in Greenwich Village while waiting tables.
In 1969, Harris married fellow songwriter Tom Slocum who wrote the title track for her debut album Gliding Bird. The folk record also included five songs written by Harris. The label Jubilee Records went under shortly after the release, so all distribution and promotion was ceased. Subsequently, Harris disowned the record. She regards her second release Pieces of the Sky from February 1975 as her official debut.
In 1971, after he had seen her perform, Flying Burrito Brothers co-founder Chris Hillman introduced Harris to his music partner Gram Parsons who became a key figure in her early career. Harris worked with Parsons on his solo debut GP from January 1973 and toured as a member of his band the Fallen Angels. Later that year, she also worked with Parsons on his second and final solo album Grievous Angel, which was released in January 1974, following his death from an accidental overdose of drugs and alcohol in September 1973.
In February 1975, the aforementioned Pieces of the Sky appeared. It’s the album that launched Harris’ career as a country artist and established what she became mainly known, i.e., covering songs written by other artists. The album also coincided with the formation of The Hot Band, Harris’ high-profile backing band until 1991. The initial lineup included James Burton (guitar), Glen Hardin (piano), Hank DeVito (pedal steel guitar), Emory Gordy, Jr. (bass) and John Ware (drums).
To date, Harris has released 21 solo studio albums, three live records and a dozen compilations. Additionally, her impressive catalog includes seven collaboration albums with artists like Dolly Parton, Linda Ronstadt and Rodney Crowell. Harris also has worked as a guest with numerous other artists, including The Band, Glen Campbell, Johnny Cash, Guy Clark, Bob Dylan, Sheryl Crow and Steve Earle, among others. Let’s get to some music!
While perhaps not as representative of Harris as her other records, I’d like to kick off this playlist with a tune from 1969’s Gliding Bird, which was written by her: Black Gypsy.
If I Could Only Win Your Love from her second album Pieces of the Sky became Harris’ first hit single, climbing to no. 4 on the Billboard Hot Country Songs chart in 1975. Co-written by Charlie Louvin and Ira Louvin who formed the country and gospel duo The Louvin Brothers, it also marked the first of only a handful of Harris singles that charted on the Billboard Hot 100, in this case at no. 58. Linda Ronstadt sang backing vocals on the album.
While Emmylou Harris is best known as a country artist, her song choices can be eclectic. Here’s an example from her third studio album Elite Hotel released in December 1975: A beautiful cover of The Beatles tune Here, There and Everywhere. Credited to John Lennon and Paul McCartney, the McCartney ballad originally appeared on the Revolver album from August 1996.
Harris’ next album Luxury Liner from December 1976 included the first cover of Townes Van Zandt’sPancho and Lefty, which subsequently became the revered singer-songwriter’s best known composition. The tune has also been covered by other artists, most notably Willie Nelson and Merle Haggard, who recorded it as the title track of their collaboration album that came out in January 1983.
Roses in the Snow, Harris’ first ’80s album, appeared in May 1980. Unlike her preceding country and country rock records, this album was more bluegrass-oriented. Here’s a great rendition of the Paul Simon tune The Boxer, featuring beautiful harmony singing by Cheryl White and her sister Sharon White. The Boxer first appeared on Simon & Garfunkel’s final studio album Bridge Over Troubled Water from January 1970.
In February 1985, Harris released The Ballad of Sally Rose, a concept album loosely based on her relationship with Gram Parsons. The record also stood out for another reason. Like her debut 16 years earlier, it illustrates Harris is more than just a cover artist. All songs were co-written by her, mostly together with her then-second husband Paul Kennerley, an English singer-songwriter, musician and record producer, who also produced this record. Here’s White Line, one of the record’s two singles.
Next, I’d like to jump to the ’90s and Wrecking Ball, Harris’ 18th studio album. The record became her first since Pieces of the Sky that did not make the country charts. Perhaps that wasn’t too surprising, given the music moved away from her traditional acoustic to a more edgy and atmospheric sound. Producer Daniel Lanois who produced and co-produced various U2 albums like The Joshua Tree and Achtung Baby undoubtedly had something to do with it. Here’s the title track written by Neil Young who also provided harmony vocals. Young had first recorded the tune for his 1989 studio album Freedom. And, coming back to U2, Larry Mullen, Jr. played drums on most of the album’s songs including this one.
Given the significance of collaboration albums in Harris’ catalog, I’d like to at least acknowledge one: Trio II from February 1999, the second album she did together with Dolly Parton and Linda Ronstadt. All tracks had actually been recorded in 1994, but label disputes and conflicting schedules had prevented the release at the time. While I’ve featured it on the blog before, I just couldn’t resist including the ladies’ angelic rendition of After The Gold Rush, the title track of Neil Young’s third studio album from September 1970. Interestingly, while the remake did not chart when it was released as a single from Trio II, it won the 2000 Grammy for Best Country Collaboration with Vocals. The intensity of this version is just killing me. This is why I dig vocals!
In September 2003, Harris released Stumble into Grace, her second album of the current century. Like some of her previous records, it includes a significant number of her own compositions. She also co-wrote most of the remaining tracks. Here’s the opener Here I Am, one of her tunes.
I’d like to wrap up this playlist with a track from what is Harris’ most recent solo album, Hard Bargain, released in April 2011. Her two latest records are collaborations with Rodney Crowell from February 2013 and March 2015. There’s also the Complete Trio Collection, a compilation of the Trio I and Trio II collaborative albums with Dolly Parton and Linda Ronstadt, which came out in September 2016. Given the enormous role of Gram Parsons, it felt right to highlight opener The Road, a tune Harris penned about her musical mentor – the first to focus on his death since Boulder to Colorado, a song from Pieces of the Sky. It’s also noteworthy that Hard Bargain became Harris’ highest chart entry since the above Roses in the Snow from 1980, peaking at no. 3 on the Billboard Top Country Albums. It also hit no. 18 on the Billboard 200, her highest mainstream chart success since 1977’s Luxury Liner, a remarkable late-stage career success.
Emmylou Harris has sold 75 million records in the U.S. alone. She has won 14 Grammy awards out of 48 for which she had been nominated. She has also won numerous country, bluegrass and Americana awards, and was inducted into the Country Music Hall of Fame in February 2008.
I deliberately let this one simmer for a while. As a more casual listener of Bob Dylan, I felt giving Rough and Rowdy Ways more time to sink in was the right thing to do. Dylan’s 39th studio album, his first with original songs since Tempest from September 2012, appeared yesterday on Columbia Records.
To be very clear upfront, I’m not trying to compete with clever music critics, so if you’re hoping for any sort of interpretation what the maestro’s lyrics mean and to what extent they are autobiographical, you can probably stop reading here. Frankly, I’m not sure anyone on the planet can fully figure out the man – I certainly can’t and won’t pretend I can!
When Dylan released the album’s first single Murder Most Foul in late March, I didn’t quite know how to feel about it. Clocking in at just under 17 minutes, my first thought was it’s massive. I also wondered whether we really needed yet another account about the murder of JFK, one of the most widely covered stories – not to mention all the crazy conspiracy theories around it!
Of course, I fully realize Dylan’s timing in the middle of the COVID-19 pandemic didn’t look like coincidence and points to a broader meaning. But we’re getting into interpretation, which is exactly what I said at the outset I didn’t want to do!
Weirdly, the more often I listen to Murder Most Foul, the better I like it. To some extent perhaps it’s simply getting more used it. Another factor could be that Dylan without any doubt in my mind is one of the most significant contemporary music artists, so I kind of feel a bit reluctant to “dismiss” it outright. I mean who am I after all to judge him!
The next single was the record’s opener I Contain Multitudes, which came out in mid-April. While I didn’t exactly jump up and down, I felt that tune was easier to process. But it really did take the May 8 release of the third single, False Prophet, to get my full attention. I can’t deny the fact it probably helped that the track is a blues, one of my favorite music genres. Plus, at that time it also became clear we weren’t just looking at a series of one-off singles but a forthcoming new Dylan album.
Generally speaking, when it comes to songs, I primarily pay attention to the music and the vocals, viewing great lyrics more like nice icing on the cake. Otherwise, how could I possibly explain that I love songs with lyrics like I want to hold your hand; she loves you, yeah, yeah, yeah; or love, love me do, you know I love you! Nothing wrong with silly love songs, but that’s what they are: Silly, at least from a lyrical perspective!
So how about the remaining tracks on Rough and Rowdy Ways? Well, let’s get to some of them!
Here’s My Own Version of You. A lyrical excerpt: All through the summers, into January/I’ve been visiting morgues and monasteries/Looking for the necessary body parts/Limbs and livers and brains and hearts/I’ll bring someone to life, is what I wanna do/I wanna create my own version of you…cheerful stuff! Somehow as I’m reading this, I’m picturing the video of Tom Petty’sMary Jane’s Last Dance.
Next up: Black Rider, a quiet ballad. Is it about death? No idea! But a cheerful tune it certainly is not. Black rider, black rider, all dressed in black/ I’m walking away, you try to make me look back/ My heart is at rest, I’d like to keep it that way/ I don’t wanna fight, at least not today/ Go home to your wife, stop visiting mine/ One of these days I’ll forget to be kind. As Max from PowerPop and I were joking earlier today, one would hope these lyrics aren’t autobiographical!
Crossing the Rubicon is another blues-oriented track. I kind of like the slow burning groove of that tune. And, yes, you guessed it, there are more cheerful lyrics here: …I feel the bones beneath my skin and they’re tremblin’ with rage/I’ll make your wife a widow – you’ll never see old age/Show me one good man in sight that the sun shines down upon/I pawned my watch and I paid my debts and I crossed the Rubicon…Jeez, don’t mess with Bob!
The last track I’d like to call out is Key West (Philosopher Pirate). I think this is actually becoming one of my favorite songs on the album. I find Dylan’s singing here strangely pretty in spite of his less than opera quality vocals and the lyrics:…I was born on the wrong side of the railroad track/Like Ginsberg, Corsi and Kerouac/Like Louis and Jimmy and Buddy and all the rest/Well, it might not be the thing to do/But I’m sticking with you through and through/Down in the flatlands, way down in Key West…
In addition to Dylan (vocals, guitar), who is also listed as producer, Rough and Rowdy Ways features Bob Britt (guitar), Matt Chamberlain (drums), Tony Garnier (bass), Donnie Herron (steel guitar, violin, accordion) and Charlie Sexton (guitar). These musicians make up the band that has been backing Dylan on his Never Ending Tour, which is currently on hold due to the coronavirus. Additional musicians/guests, among others, include Fiona Apple (vocals) and Benmont Tench, founding member, keyboarder and vocalist of Tom Petty’s former band The Heartbreakers.
I thought I give the final word to Dylan, so naively went to his website to see whether there is any statement there. Since that would have been the obvious thing, it shouldn’t have come as a surprise that my search came up empty. Instead, one of the first things you see is a news item titled Bob Dylan remains an immeasurable and inimitable force, a review by The Line of Best Fit, which by its own description is “the UK’s biggest independent website devoted to new music.”
Sources: Wikipedia; Bob Dylan website; The Line of Best Fit; YouTube