A selection of newly released music that caught my attention
Happy Saturday and welcome to another weekly new music revue. Usually, most of the artists I feature in these posts are new to me. Not so this time! All picks appear on brand new albums released yesterday.
Wilco/All Across the World
American alternative rock band Wilco were formed in 1994 by singer-songwriter Jeff Tweedy (lead vocals, guitars, bass, harmonica) and the remaining members of Uncle Tupelo after vocalist and guitarist Jay Farrar had left the alternative country group. Wilco’s studio debut A.M. came out in March 1995. Unlike Trace, the debut by Farrar’s newly founded Son Volt, A.M. missed the charts. But Wilco caught up with and eventually surpassed Son Volt from a chart performance perspective. To date, the band has released 12 albums including its latest Cruel Country, a double album. While Tweedy acknowledged Wilco hadn’t been very comfortable about being called a country band in the past, even though their music always had included country elements, he said with Cruel Country “Wilco is digging in and calling it country.” Here’s All Across the World. I dig that tune and really don’t care much what you call it!
Liam Gallagher/Too Good For Giving Up
English singer-songwriter Liam Gallagher first gained prominence in the 1990s as frontman and lead vocalist of Britain’s overnight sensation Oasis. After Liam’s brother Noel Gallagher quit Oasis in August 2009, which ended the group, Liam and the remaining members decided to continue as Beady Eye. When that band broke up in October 2014, Liam launched a solo career, though for some reason, he initially didn’t want to characterize it as such. His solo debut As You Were was met with critical acclaim and debuted at no. 1 on the British albums chart. Now, Liam Gallagher is back with his third and new album C’mon You Know. Here’s a sample: Too Good For Giving Up, co-written by Gallagher and fellow British singer-songwriter Simon Aldred who is also listed as co-producer. Strong tune!
Steve Earle/Hill Country Rain
After a warm tribute to his late son Justin Townes Earle, released in January 2021, roots rock singer-songwriter Steve Earle is back with another tribute. Jerry Jeff, his 22nd studio release, celebrates the music of outlaw country singer-songwriter Jerry Jeff Walker. While Walker wrote and interpreted many songs over more than 50 years, he was best known for Mr. Bojangles. This 1968 classic has been covered by Nitty Gritty Dirt Band, Sammy Davis Jr. and Bob Dylan, among others. And now also Steve Earle, who released his solo debut Guitar Town in March 1986 following a 10-year-plus career as a songwriter and musician. “This record completes the set, the work of my first-hand teachers,” Earle wrote on his website. “The records were recorded and released in the order in which they left this world. But make no mistake – it was Jerry Jeff Walker who came first.” Here’s Hill Country Rain, which Walker first recorded in 1972 for a self-titled studio album. Great rendition!
When I included Bruce Hornsby in a recent Sunday Sixinstallment, I didn’t anticipate I’d be writing about the American singer-songwriter again so soon. Best known for his 1986 debut gem The Way It Is, Hornsby has drawn from folk-rock, jazz, bluegrass, folk, southern rock, country rock, heartland rock and blues rock over a 36-year-and-counting recording career. Bonnie Raitt, whose music I’ve loved for many years, called Hornsby her favorite artist in a recent interview. Perhaps I should finally take a closer look at Hornsby beyond his first two albums! ‘Flicted, his 23rd and latest would be a start. “Thanks to all of our supporters who have followed the multi-genre journey for the last thirty-six years,” Hornsby wrote on his website.”…thanks for being open to change, exploration and a bit of musical mirth and merriment along with the attempts at deep and soulful music-making through the years.” Here’s Tag, which like most tunes on the album were written or co-written by Hornsby. This may not be as catchy as mainstream pop-oriented songs like Every Little Kiss, Mandolin Rain or The Way It Is, but I’m still intrigued and want to hear more.
Here’s a Spotify playlist of the above and a few additional tunes from each featured artist.
Sources: Wikipedia; Steve Earle website; Bruce Hornsby website; YouTube; Spotify
The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.
Lonnie Smith/Lonnie’s Blues
Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s Newinstallment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.
John Hiatt/Have a Little Faith in Me
Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.
Robbie Robertson/Go Back to Your Woods
Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.
Joni Mitchell/Refuge of the Roads
Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.
Los Lobos/I Got to Let You Know
Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!
Booker T. & the M.G.’s/Green Onions
Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!