When I love a song as much as I do Waterloo Sunset by The Kinks, I tend to be hyper-critical about covers from other music acts, especially when they make changes. In this case, not only did I not mind it, but I was truly blown away when I heard Peter Gabriel’s rendition the other day.
Waterloo Sunset, written by Ray Davies, first appeared in May 1967 as the lead single of Something Else by the Kinks, the group’s fifth UK studio album released in mid-September of the same year. Together with Death of a Clown, Waterloo Sunset became one of two hits the record generated, climbing to no. 2 in the UK on the singles chart. Elsewhere, it topped the charts in The Netherlands, climbed to no. 3 in Ireland, and reached no. 4 in Australia, among others.
The lyrics, which describe the narrator’s thoughts about a couple passing over a bridge, were rumored to have been inspired by the romance of British actors Terence Stamp and Julie Christie. But during a 2008 interview, Davies explained, “It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country.”
Peter Gabriel’s transformation of Waterloo Sunset reminds me of the haunting Wallflower from his fourth eponymous studio album released in September 1982. I’d be curious to know whether it grabs you as much as it did me. Check it out!
This rendition of Waterloo Sunset appeared as a bonus track on Gabriel’s eighth studio album Scratch My Back from February 2010. The record consists of cover versions of tunes from a broad variety of other artists. Co-produced by Gabriel and Bob Ezrin, the recordings only use orchestra and voice and have a bare-bones vibe. Based on briefly listening into the remaining tracks, Gabriel’s other renditions don’t work as well for me as Waterloo Sunset.
Initially, Gabriel had planned to release Scratch My Back with a companion album of covers of Gabriel songs performed by the same artists whose tunes he had covered on Scratch My Back. But due to delays, And I’ll Scratch Yours only appeared in September 2013. David Bowie, Neil Young and Radiohead declined to cover Gabriel songs and were “replaced” by Brian Eno, Joseph Arthur and Feist.
Machine Head by Deep Purple remains my most favorite hard rock album of all time, and I also like some of the English rockers’ other music, especially from their early period. But when I read a couple of weeks ago Deep Purple were coming out with an all-covers album, I wasn’t sure what to expect. Well, Turning to Crime has since appeared (November 26). Did we need renditions of great tunes like Cream’sWhite Room or Shapes of Things by The Yardbirds? Not really. Is it fun when Deep Purple plays them? Hell yes! In fact, I included their great cover of White Room in my last Best of What’s Newinstallment.
Of course, I can see cynics say when a group of mostly septuagenarians releases a collection of covers or a Christmas album for that matter, they either ran out of ideas or are trying to make a quick buck or both. Well, to start with, good luck with making money these days by selling albums unless you’re perhaps Adele! Plus, in Deep Purple’s case, there are two other explanations: COVID-19 (sigh!), which didn’t allow the band to go on the road and left them idle, and the fact they always write original music together in the studio – again something they couldn’t do because of this dreadful pandemic.
“The whole idea came about during the lockdown,” long-time band member and bassist Roger Glovertold music journalist and Forbes contributor Jim Ryan. “We didn’t want to twiddle our thumbs or anything…And we couldn’t write songs. Because we don’t write songs for Purple. We just jam together. That’s where the songs are born really – coming out of the jams. But we’ve got to be together to jam. So we couldn’t write. Well, we’ll let other people do the writing. We’ll cover songs. Then all we’ve got to do is perform it.”
Glover further noted each of the group’s five members came up with ideas for covers, with producer Bob Ezrin acting as “our kind of conductor.” Ezrin also worked with Deep Purple on their previous three albums. Eventually, they had a list of about 50 tunes, from which 12 were selected via vote. “But we weren’t just covering them straight,” Glover said. “We wanted to add something to them, Purpleize them if you like.”
Let’s take a closer look. Here’s Rockin’ Pneumonia and the Boogie Woogie Flu. How about that title! Co-written by Johnny Vincent and Huey Smith, the tune was first recorded in 1957 by Smith who was known as Huey ‘Piano’ Smith. It may not be Smoke On the Water, but damn, that boogie-woogie piano by the group’s keyboarder Don Airey surely smokes, as do the horns. Deep Purple lead vocalist Ian Gillan is in fine shape as well and is joined by Ezra on backing vocals.
How about some Peter Green era Fleetwood Mac? Oh Well. That’s actually the title of the song written by Green and first released as a non-album single in September 1969. Steve Morse, a solid guitarist and at age 67 the youngest current member of Deep Purple, does a great job. In fact, I just have to say this, the entire band kicks ass. Check it out!
Next up: Bob Dylan’sWatching the River Flow, a blues-rock tune the maestro penned and recorded in March 1971, and released as a single in June that year. Produced by Leon Russell, it was also included on the compilationBob Dylan’s Greatest Hits Vol. II from November 1971.
Let the Good Times Roll sounds like a good description of Deep Purple when they were recording this album, even though they weren’t physically together. It’s also the title of a jump blues co-written by Sam Theard and Fleecie Moore, and recorded by American saxophonist Louis Jordan and His Tympany Five in 1946. Hearing a hard rock band swing like this is certainly something unusual!
Let’s do one more. How about a dose of New Orleans-flavored R&B? Here’s a great rendition of Little Feat’sDixie Chicken. Co-written by Lowell George and Fred Martin, the tune is the title track of the band’s third studio album from January 1973 and one of their most beloved songs. Did you ever expect to hear that track from Deep Purple? An intriguing pick and another remarkable cover.
While Turning to Crime is Deep Purple first all-covers album, the concept of recording songs written by other artists actually goes back to the group’s beginnings, so to some extent, they’ve come full circle. “We’ve covered songs before of course,” Glover told Ryan. ““Hush” [written by Joe South, Purple’s first single – CMM] was a cover [so were their next three singles, Neil Diamond’sKentucky Woman, Ike & Tina Turner’sRiver Deep – Mountain High and The BeatlesHelp! – CMM]. But doing an album of covers with the intent of messing with them and having a bit of fun with them is very new to us.”
Turning to Crime, Deep Purple’s 22nd studio effort, was released just 15 months after predecessor Whoosh! from August 2020. This Ultimate Classic Rockreview noted it’s the band’s fastest turnaround since the mid-’70s. That’s when they released their 10th studio album Come Taste the Band. What’s much more intriguing to me is the remarkable versatility and great musicianship Deep Purple demonstrate on the album – certainly no crime committed here! You also get a sense they had a great time putting together these covers, even though for the most part each member recorded their parts remotely.
A selection of newly released music that caught my attention
When my weekly look at newly released music is delayed, it’s usually for one of two main reasons: Work has kept me pretty busy (not a bad thing!), or I had a hard time finding new music that sufficiently grabbed me to highlight it in a feature cheerfully titled “Best of What’s New.” This time, it was a combination of both. But, occasionally good things take time, and ultimately, I think I found a pretty solid and diverse set of new music, including Americana, shock rock, indie rock and funky soulful organ-driven jazz. Let’s get to it!
Nate Fredrick/Be the One
I’d like to kick things off with Nate Fredrick, a Nashville-based Americana singer-songwriter. According to his website, the native Missourian learned to play guitar as a 12-year-old and started writing songs 10 years thereafter. In 2015, he relocated to Nashville and wrote more than 100 tunes during the two following years. Fredrick’s website characterizes his music as “bluesy Americana style”, citing Guy Clark, Creedence Clearwater Revival and Van Morrison as some of his influences. Well, it might have taken him a while to transition from playing the guitar to writing his own songs, but the results are certainly compelling. Be the One is from Fredrick’s great-sounding debut album Different Shade of Blue released yesterday (February 26). “Somewhere in trying to figure out how to craft a good song, I figured out how not to just write a pile of sad songs,” he said about his album. “It’s not that my situation is different or even better, but I’ve found a different way to perceive my personal circumstances.”
Alice Cooper/Drunk and in Love
If you happened to read my February 14 Sunday Sixinstallment, you may recall it featured a tune from Alice Cooper’s then-forthcoming album. Mr. Shock Rock’s 21st solo release Detroit Stories appeared yesterday. With 15 tracks and a total length over just 50 minutes, it’s a solid effort. Except for three covers of tunes by Lou Reed, Fred “Sonic” Smith (MC5) and Bob Seger, Cooper co-wrote all other tracks. Here’s Drunk and in Love, a slow burning bluesy rocker. The other co-writers include producer Bob Ezrin and Dennis Dunaway, the original bassist of the Alice Cooper rock band. “Romeo and Juliet is a great love story, but so is a love story about a guy that lives in a box under a bridge with a bunch of other people standing around big oil cans trying to keep warm—and he’s in love with the girl who lives in another box,” Cooper toldApple Music about the tune. “So it’s a very touching little love song. And just the fact that their situation is different than a normal one doesn’t mean their love is any less intense.” Check out Cooper’s cool harp solo that starts at around 1:25 minutes into the song, harmonizing with the lead guitar – pretty neat!
Hoorsees are an indie rock band from Paris, France. The members are Alex Delamard (lead vocals, guitar), Thomas (lead guitar, backing vocals), Zoe (bass, backing vocals) and Nicolas (drums, backing vocals). Unfortunately, there is very little public information on their background. Get Tired, written by Delamard, is from the band’s eponymous full-length debut album that came out on February 19. Based on a somewhat measly artist page on the website of their U.S. label Kanine Records, the album is a follow-on to a previously released EP, Major League of Pain. No word about its release data, not to mention when Hoorsees were founded – jeez, so much for effective artist promotion!
Delvon Lamarr OrganTrio/Hole in One
Wrapping up this installment is a find I’m particularly excited about as a huge fan of the Hammond B-3: Delvon Lamarr Organ Trio, which blend organ jazz with soul and funk. Here’s how their website describes it: Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat…The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green-style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.Hole in One, co-written by Lamarr (credited as Delvon Dumas) and James (credited as Jabrille Williams), is the groovy opener of the band’s third album I Told You So released January 19. More than Booker T. Jones, I can hear Steve Winwood in here. To me, it’s one of those rare tunes where you only need to hear the first few bars to realize you love it!
Sources: Wikipedia; Nate Fredrick website; Apple Music; Kanine Records website; Delvin Lamarr Organ Trio website; YouTube
It’s Sunday again and hope everybody is doing well. I think I’ve put together another fairly eclectic collection of songs. Like in previous installments of The Sunday Six, I’d like to start things nice and easy, before hitting the accelerator and going a little bit more rough toward the end. I also spontaneously decided to throw in a bonus.
Sting/Fields of Gold
Let’s kick it off with one of my favorite tunes by Sting, Fields of Gold, a perfect song for a Sunday. It appeared on his fourth solo album Ten Summoner’s Tales from March 1993. I’d consider that album to be the Mount Rushmore of his solo catalog. Like most tracks on Ten Summoner’s Tales, Sting wrote Fields of Gold all by himself. The song also appeared separately as a single in May of the same year. Unlike the album, which peaked at no. 2 in the UK and the U.S. and topped the charts in Austria, Fields of Gold only made it to no. 16, no. 23 and no. 85, respectively, on these countries’ single charts.
Lou Reed/Caroline Says II
Why a tune by an artist I admittedly do not know as well as I probably should? Coz I came across it the other day and I like it. Now you know what oftentimes ends up driving my picks for The Sunday Six – hence the subtitle Celebrating music with six random songs at a time. Penned by Lou Reed, Caroline Says II was included on his third solo album Berlin released in July 1973. The lyrics that appear to be about physical spouse abuse are rather grim:…Caroline says/as she gets up from the floor/You can hit me all you want to/but I don’t love you anymore… The album also includes a track titled Caroline Says I. Both of these tunes came out as a single in 1973 as well. BTW, Reed had some notable guests on Berlin, who apart from producer Bob Ezrin (piano, mellotron) included Jack Bruce (bass), prolific drummer Aynsley Dunbar and Steve Winwood (Hammond, harmonium). To the mainstream audience, Reed, who passed away from liver disease in October 2013 at the age of 71, is probably best known for Walk on the Wild Side, his biggest single chart success.
The Jayhawks/This Forgotten Town
I love this tune by American alternative country and country rock band The Jayhawks. In fact, I previously featured it last August in a Best of What’s New installment. The Jayhawks were formed in Minneapolis in 1985. After seven records, they went on hiatus in 2014 and reemerged in 2019. Their current line-up consists of original co-founders Gary Louris (electric guitar, vocals) and Marc Perlman (bass), together with Tim O’Reagan (drums, vocals), Karen Grotberg (keyboards, backing vocals) and John Jackson (acoustic guitar, violin, mandolin). This Forgotten Town, co-written by Louris, Perlman and O’Reagan, is from their most recent album XOXO from July 2020. I still stand behind what I said in August 2020. I dig the warm sound, and there’s some great harmony singing as well. And now that I’ve listened to the tune again, it does remind me a bit of The Band.
Lenny Kravitz/Fields of Joy
Lenny Kravitz entered my radar screen in France in late 1991 when his sophomore album Mama Said, which had come out in April that year, happened to play in the background in a restaurant I was visiting. I immediately liked what I heard. So did my brother-in-law, who asked the waiter about the music. After my return to Germany, I got the CD. I’ve since continued to listen to Kravitz who has faced all kinds of criticism. Some of the clever commentary, especially early in his career, included “not sounding Black enough” (no idea what exactly that’s even supposed to mean!) and being too close to some of his ’60s influences, such as Jimi Hendrix and The Beatles – jeez, how horrible to have been inspired by two of the greatest music acts of all time! Anyhoo, Fields of Joy, co-written by Michael Kamen and Hal Fredricks with musical arrangement by Doug Neslund and Kravitz, is the opener of Mama Said. It also became one of the album’s seven singles.
Alice Cooper/Rock & Roll
“Mr. Shock Rock” is always good for some kickass music. Rock & Roll is the opener of Alice Cooper’s upcoming studio album Detroit Stories scheduled for February 26 – based on Wikipedia, it’s his 21st, not counting the seven records released with the band that had been named after him between 1969 and 1973. Written by Lou Reed (there he is again!), the tune was first recorded by The Velvet Underground for their fourth studio album Loaded from November 1970. I think Cooper does a nice job giving the tune more of a rock vibe. I also like how he’s dialing up the soulful backing vocals. In addition to Rock & Roll, two (original) tunes from Detroit Stories are already out. Looks like we can look forward to a fun album.
The Byrds/Eight Miles High
Okay, admittedly, a pattern seems to emerge for The Sunday Six. After doing five tunes from other decades, it suddenly occurs to me I just cannot leave out the ’60s, one of my favorite decades in music. Not sure whether this pattern is going to continue, but I just noticed it myself. The Byrds and probably also this tune need no introduction. Co-written by Gene Clark, Roger McGuinn and David Crosby, Eight Miles High is from their third studio album Fifth Dimension released in July 1966. It remains one of my all-time favorite ’60s tunes. I think it’s pretty cool how the band combined their jingle-jangle pop rock a la Mr. Tambourine Man with psychedelic influences – simply a great song!
And just as I was about to wrap up this post, I came across this instrumental live version of Eight Miles High. Did I mention I dig this tune? 🙂 Apparently, this footage was captured at New York’s Fillmore East in September 1970 – kinda feels like The Byrds embracing the jam style of The Grateful Dead. Okay, do we really need an almost 10-minute instrumental of Eight Miles High? I’m leaving it up to you to decide. I think it’s pretty cool, showing the band’s impressive instrumental chops.
Lately, I’m finding myself coming across lots of new music I like. Ironically, it’s largely due to my streaming music provider. I used to complain they do a rather mediocre job of serving up music I’m supposed to dig, based on my listening habits. While some of their suggestions still look a bit odd to me, I have to give credit where credit is due: Finally, it appears their algorithms have improved, and lately, they’ve been proposing some pretty good stuff.
Hoping this is going to continue, I’m introducing a new feature to the blog ingeniously titled Best of What’s New. The idea is to highlight new songs rather than new albums. I’m already doing the latter and have no intention to change that. While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. With this disclaimer out of the way, let’s get to the inaugural post.
Clarke Thorndycaft/Jumpin’ Jack Flash
‘Really,’ you might wonder, ‘a cover?’ I didn’t say these posts will only include original music! Behind Clarke Thorndycraft are guitarist Mick Clarke and singer and harmonica player Bill Thorndycraft, who both were among the founding members of Killing Floor, a British blues-rock band that initially was active between 1968 and 1972 and has been revived in 2002. More than just a cover, the tune is an homage to The Rolling Stones, which becomes obvious when they call out each member of “the world’s greatest rock & roll band” at the end of the tune. Co-written by Mick Jagger, Keith Richards and an uncredited Bill Wyman, the song was first released as a single in May 1968.
I betcha didn’t see a modern jazz type instrumental coming, did ya? Well, while for the most part, I anticipate not to veer off too far from my core wheelhouse, I have no problem doing so, if I like it. And I find this tune beautiful and very soothing. According to Naxos Direct, Ingmar is a jazz pianist, composer and freelance musician from Uppsala, Sweden. He also is the chairman of the Uppsala Jazz Club and organizer of the Live Jazz Bar at Uplands Nation and the Jazz Corner at UKK. Coolio, Julio! Ellegatan is from Ingmar’s new album Karlavagnen, which came out yesterday. Let’s hear it!
Deep Purple/Throw My Bones
Wait, what, haven’t these guys been on a farewell tour for the past couple of years? And now new music? Well, Deep Purple ingeniously called it “The Long Goodbye Tour.” I suppose the emphasis is on long. Just released yesterday, Throw My Bones is the lead single from the band’s upcoming new studio album Whoosh! set for release on June 12. According to a statement on Deep Purple’s website, the tune “is an invitation to take a step back and see the bigger picture, a call for action and an invitation to observe the planet and the current situation on earth” – have they turned into philosophers now? The song is co-credited to the band’s current members Don Airey (keyboards), Ian Gillan (lead vocals), Roger Glover (bass), Steve Morse (guitar) and producer Bob Ezrin. While it’s not exactly Machine Head caliber, Deep Purple remain my favorite hard rock band, and I will always have a weak spot for them. Check out Steve Morse’s guitar solo on that tune – obviously, he’s a hell of a guitarist!
Durand Jones & The Indications/Young Americans
From their website: Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time. The website lists two albums: The eponymous debut from 2016 and the sophomore American Love Call, which came out last year. Their cover of Young Americans was released as a single on January 28. Written by David Bowie, Young Americans is the title track of Bowie’s ninth studio album from March 1975. While it’s not very different from the original, I think Durand Jones and the band give it a nice soul vibe.
Ready for one more? How ’bout some more contemporary jazz? Ever heard of Pat Metheny? Yep, the American jazz guitarist and composer who has been around like forever – to be more precise since 1974, according to Wikipedia. His debut album Bright Size Life dates back to early 1976. This tune, Love May Take a While, is off Metheny’s latest album From This Place. Released on February 21, it appears to be his 10th studio record. I don’t wanna pretend that all of a sudden, I’ve turned into a jazz connoisseur. The truth is I rarely listen to jazz and know next to nothing about it. But it ain’t rocket science, baby: I simply dig the smooth and relaxing sound of this tune. The tone of Metheny’s guitar is just beautiful. Hope you enjoy it as much as I do!
Source: Wikipedia; Clarke Thorndycraft Facebook page; Naxos Direct; Deep Purple website; Durand Jones & The Indications website; YouTube