Sometimes Small Things Are the Best to Make Me Happy

A Beatles playlist of mostly deeper cuts, inspired by a visit to a local guitar store

Yesterday, I found myself at a local Guitar Center to get a set of electric guitar strings. Every time I walk into that place, I can’t help it but stare at all the temptations hanging on the walls. Like a small child in a toy store, I get mesmerized by all the Fender Stratocasters, the Telecasters and the Gibson Les Pauls. Sure, they also have copies by Epiphone, Squire, and other lower cost brands as well. I also spotted two SGs – amazing beauties with heritage cherry and black finishes!

I’ve never owned one of these really cool axes. When I was young, I had a Gibson copy by Ibanez. It was decent but obviously not the real deal! These days, I got a crappy Squire Stratocaster. From a distance, it looks like “Blackie,” but it’s safe to assume that’s where the commonalities with Eric Clapton’s famous guitar end. My Blackie doesn’t hold its tune very well. It’s also not a great guitar otherwise. Well, you get what you pay for!

But when you have a family, live the American dream, aka paying your friggin’ mortgage every month, and are the sole breadwinner in your household, spending money on music equipment becomes harder to justify. Every time I come to that conclusion, I further rationalize by reminding myself I’m not exactly playing like Slowhand, Stevie Ray Vaughan, Carlos Santana or any of my other electric guitar heroes, so doling out cash for a fancy guitar kind of would be a waste. I still would like to own one – maybe one of these days!

As I was refocusing on the actual purpose of my visit (getting guitar strings for that Blackie wannabe), I spotted the above set of Beatles-themed picks. Just a few weeks ago, I had gotten a set of picks online, so really didn’t need any. But since they were significantly more affordable than the above noted temptations on the walls, I grabbed them anyway. Now just looking at them makes me happy. Plus, I can use them to play the guitars I have and afterwards throw them in the imaginary audience. Sometimes my dog listens, though I doubt a guitar pick makes for a good bone substitute! 🙂

You may wonder what’s the point of sharing all of this. Well, the Guitar Center episode sparked the ingenious idea of doing a Beatles playlist with one tune from each of the albums represented by the above picks. This time, I kept the order random and the sole focus on the music without long explanations. For the most part, I also picked what you could call deeper cuts.

Sources: Wikipedia; YouTube

When the Music Does the Singing

A collection of guitar-driven instrumentals

Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!

Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a list Guitar World put together.

The Shadows/Apache

I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.

John Mayall and the Blues Breakers/Steppin’ Out

Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.

Pink Floyd/Interstellar Overdrive

My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.

Deep Purple/Wring That Neck

Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.

Fleetwood Mac/Albatross

Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.

The Allman Brothers Band/Jessica

Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂

Santana/Europa (Earth’s Cry Heaven’s Smile)

Santana’s Europa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.

Steve Vai/The Attitude Song

When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’s Eruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂

Stevie Ray Vaughan/Scuttle Buttin

Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.

Jeff Beck/A Day in the Life

The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.

Sources: Wikipedia; Guitar World; YouTube

Clips & Pix: Fleetwood Mac/Albatross

As some of my fellow bloggers noted, distinguished British blues rock guitarist and singer-songwriter Peter Green passed away today at the age of 73. I had been all immersed in working on my previous post and entirely missed the sad news.

Green certainly deserves better than a measly clip, and I’m planning to do more on him in the future. For now, I’d like to acknowledge the death of this outstanding musician with what I believe is one of the most beautiful instrumental tracks I know: Albatross, which Green wrote in 1968 for Fleetwood Mac, the band he founded in 1967 after his departure from John Mayall & the Bluesbreakers.

The band’s very first incarnation was called Peter Green’s Fleetwood Mac featuring Jeremy Spencer. By the time their debut album was released in February 1968, they had become Peter Green’s Fleetwood Mac and simply Fleetwood Mac when their sophomore Mr. Wonderful appeared in August 1968.

Albatross first came out as a non-album single in November 1968. The dreamy track was also included on The Pious Bird of Good Omen, Mac’s second compilation album from August 1969. I think Albatross has comparable beauty to Carlos Santana’s Samba Pa Ti and Europa (Earth’s Cry Heaven’s Smile), two of my all-time favorite electric guitar-driven instrumentals.

Sources: Wikipedia; YouTube

What I’ve Been Listening To: Booker T./Note By Note

I guess I really should consider subscribing to a music magazine. The thing is, based on what I’ve seen, these publications mostly write about contemporary stuff that rarely interests me. If anyone has a great recommendation, please let me know. Why am I bringing it up? Because here’s another recently released album I completely missed. And while it only includes two new songs, I was immediately hooked when I started listening to the music a couple of days ago: Note By Note by Booker T. Yep, I’m talking about the man from Stax house band Booker T. & the M.G.’s.

To start with, I think Booker T.’s love of music isn’t only obvious but also truly infectious. That’s why I dig the man! Witnessing him in action playing the keys of his Hammond B3 frequently gives me goosebumps. In case you haven’t watched it yet, check out Booker T.’s demo of the iconic organ I previously covered here. If you’re a music lover and curious about exploring instruments, tell me how you can not feel like wanting to have a friggin’ Hammond and, in case you don’t know how to play keyboards, figuring out yourself how to create these magic sounds or take lessons after watching this – heck, if I could afford it, I would even put a B3 in my living room as a beautiful piece of furniture!

Booker T

By the way, Booker T. has something else I admire: The man is a multi-instrumentalist. Two instruments (guitar, electric bass) was all I could handle to learn many moons ago and, frankly, while I guess I was on okay player when I was at my best, I was far away from mastery! According to Wikipedia, apart from his signature Hammond B3, Booker T. also knows how to play the oboe, saxophone, trombone and double bass. And let’s not forget about the piano, though one could say that’s perhaps less of a surprise, considering the organ, despite the significant differences between those two instruments. In fact, as you can learn from the above noted clip, it was the piano and lessons Booker T. took as a child with his teacher in Memphis, Tenn., which led him to discover the mighty Hammond. Great story, by the way, and one of various anecdotes he tells during the demo. Have I whetted your appetite to watch? 🙂

Released on November 1, Note By Note is a companion album to Booker T.’s memoir Time Is Tight, which was published by Little, Brown and Company and appeared on October 29. According to a press release, Note By Note celebrates and revisits a number of integral musical moments throughout Jones’ life – from playing with Mahalia Jackson at age 12, to his pivotal role as bandleader, performer and songwriter at Stax, to his focus on production through his work with Willie Nelson and Carlos Santana. The tracks largely mirror the chapter titles of the book. The memoir certainly sounds intriguing, and you can check out a review in The New York Times here. In this post, I’d like to focus on the music, so let’s get to it!

Booker T. 2

While I didn’t see any clips on YouTube, luckily, the album is available on Soundcloud. Here’s the excellent opener Cause I Love You, the first single released by Carla Thomas in 1960, a duet with her father Rufus Thomas, who also wrote the lyrics of the song. It also featured her brother Marvell Thomas on keyboards and, yes, you perhaps guessed it, Booker T. A 16-year-old high school student at the time, he played the tune’s opening notes on a borrowed barritone saxophone – his very first studio recording! The single was released by Satellite Records, which eventually became the legendary Stax Records. The cover on this album features Evvie McKinney and Joshua Ledet, two young talented vocalists who sound smoking hot!

While it’s very well known, I simply could not leave out Born Under A Bad Sign, the blues classic first recorded by Albert King at Stax in May 1967, and co-written by Booker T. and William Bell. It’s the only track on the album, featuring Booker T. on lead vocals. That’s a bit of a pity, in my opinion, since he has a quite soulful voice. Check it out! By the way, that nice guitar work comes from Booker T.’s son Ted Jones.

Another tune I have to call out is Precious Lord. Written by the Reverend Thomas A. Dorsey, the gospel tune was recorded by Mahalia Jackson in March 1956 and became her signature song. The original complete title was Take My Hand, Precious Lord. As noted above, Booker T. got to perform with the famous gospel singer as a child – it’s not hard to see how that must have made a lasting impression on a 12-year-old! Check out the album’s powerful version featuring vocalist Sharlotte Gibson. Her voice together with the sparing instrumentation led by Booker T.’s Hammond is just beautiful! It makes me want to do a post to gospel music – so many powerful tunes in that genre!

So how about some Otis Redding? Ask and you shall receive! These Arms of Mine was written by Redding and initially released as his first single for Stax in October 1962. The song was also included on his debut album Pain In My Heat that appeared in March 1964. Redding, of course, was one of many Stax recording artists who were backed by Booker T. and the M.G.’s. This cover of the slow-tempo soul tune, which includes a piano part that reminds me a bit of Fats Domino, features Ty Taylor, another great vocalist who hails from New Jersey and is the leader of a soul rock band called Vintage Trouble. 

Next up: Havana Moon, a song written by Chuck Berry and first released in November 1956 as the B-side to his single You Can’t Catch Me. The tune also became the title track of a 1983 studio album by Carlos Santana, who appropriately gave it more of a Latin feel. That recording featured Booker T. The take on Note By Note is much closer to the Santana version than Berry’s original. In fact, Ted Jones’ guitar work is reminiscent of Santana – nicely done!

The last track I’d like to highlight is Maybe I Need Saving, one of the album’s two new tracks; the second one is called Paralyzed. Both were co-written by Ted Jones and feature him on vocals. I could not find information on who else was involved in writing these songs. At first, I was a little surprised about their inclusion on the album. Sure, Ted is Booker’s T.’s son, which is an obvious connection. But initially, I felt the more contemporary sound of these tracks created a bit of a disconnect to the other, older tunes. Yet, after fter having listened a few times, I actually think they are worthy tunes. Maybe I Need Saving has a nice bluesy touch, which once again features great guitar work by Ted, who has impressive guitar chops, and yet another illustration of Booker T.’s beautiful Hammond.

In addition to Ted Jones, Booker T.’s backing musicians on Note By Note include Steve Ferrone on drums (Average White Band, Tom Petty) and his longtime bandmate Melvin Brannon on bass. Booker T. is currently on the road to support the book and the record. Had I known about all of this a week earlier, perhaps I could have seen him at Le Poisson Rouge, a live music venue in New York City’s Greenwich Village – definitely a missed opportunity! Unfortunately, any of his remaining gigs are nowhere close to my location and include Salt Lake City (tonight), Phoenix (Jan. 8 & 9), Tucson (Jan. 10) and Nashville (Jan. 16). The schedule of all outstanding currently scheduled shows is here.

But not all may be lost. Booker T., who less than two weeks ago turned 75, is aging admirably and seems to be in decent health. So there still could be an opportunity for me to see the man – I would definitely love to, and preferably so at a small venue. Maybe he’ll read this and add some dates to his current tour that are within reasonable geographic reach! 🙂

Sources: Wikipedia; Shoe Fire Media press release; New York Times; Booker T. website; Soundcloud

They All Went Down To Yasgur’s Farm, And Everywhere There Was Song And Celebration

…By the time we got to Woodstock/We were half a million strong/And everywhere was a song and a celebration/And I dreamed I saw the bomber death planes/Riding shotgun in the sky/Turning into butterflies/Above our nation… (excerpt from Joni Mitchell tune Woodstock)

Next week is the 50th anniversary of Woodstock, which took place from August 15-18, 1969. Much has been written about this festival, which officially was titled the Woodstock Music & Art Fair. The initiators Michael Lang, Artie Kornfeld, Joel Rosenman and John P. Roberts. The selection of the venue, which ended up being Max Yasgur’s 600-acre dairy farm in Bethel, N.Y. The acts who were not invited or and those who were but chose to decline or didn’t make it there. The artists who performed at the event. The overcrowding with an audience exceeding 400,000 people, more than twice the 200,000 that had been expected, based on advance sales of 186,000 tickets. The mud bath conditions resulting from bad weather.

Woodstock Poster

As a huge fan of music from that era, it felt natural to commemorate this extraordinary moment in 20th Century entertainment history. At the same time, I did not want to create yet another write-up that recaps the history. Instead, this post focuses on what my blog is supposed to be all about: Music I love and therefore like to celebrate. Following are some performance highlights from Woodstock. Since I didn’t have strong feelings about a particular order, I decided to go chronologically.

Let’s kick it off with Richie Havens, the opening act on the first day, Friday, August 15, in the late afternoon, and his riveting performance of Freedom. It was an improvised encore based on the traditional spiritual Motherless Child. “When you hear me play that long intro, it’s me stalling. I was thinking, ‘What the hell am I going to sing?'” he later explained, according to Songfacts. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me. I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.” Sounds like a cool story.

Sweet Sir Galahad is a tune by Joan Baez. Like in other cases at Woodstock, her performance predated the actual recording and release of the song, which first appeared on her 1970 studio album One Day At A Time. BTW, when Baez played it at the festival, it was already past 1:00 am on Saturday, August 16. In order to squeeze the 32 acts into the three days, many artists ended up performing after midnight. As you might imagine, some weren’t exactly happy about it.

Undoubtedly, one of Woodstock’s highlights I’ve seen is Soul Sacrifice by Santana. The band played on Saturday afternoon. Credited to Carlos Santana (guitar), Gregg Rolie (keyboards), David Brown (bass) and Marcus Malone (congas), Soul Sacrifice was included on the band’s eponymous studio debut album, released two weeks after their iconic appearance at the festival. I’ve watched this clip many times, and it continues to give me goosebumps. These guys were lightening up the stage. Live music doesn’t get much better than that. This appearance in and of itself already would have justified Santana’s place in music history. Of course, there was much more to come.

Moving on to Saturday evening brings us to blues rockers Canned Heat and their great tune On The Road Again. Co-credited to the band’s vocalist Alan Wilson, who also played harmonica and guitar, and blues artist Floyd Jones, the track was adapted from earlier blues songs. It first appeared on Canned Heat’s second studio album Boogie With Canned Heat released in January 1968. At Woodstock, it was the band’s closer of their set – what a way to wrap things up!

Next up: Born On The Bayou, one of the killer tunes by Creedence Clearwater Revival. Written by John Fogerty, the song was included on CCR’s sophomore album Bayou Country from January 1969. The band was among the acts performing in the wee wee hours of Sunday morning, August 17. I recall reading that Fogerty wasn’t happy with that time slot, saying the audience was half asleep. That’s why he refused CCR’s inclusion in the 1970 Woodstock documentary, something this band mates felt was a mistake, but John was the undisputed boss. However, footage of CCR is featured in an expanded 40th anniversary edition of the film, which came out in June 2009.

Another highlight of the early hours of Sunday was Janis Joplin with The Kozmic Blues Band. Here’s Try (Just A Little Bit Harder), the opener of Joplin’s third studio album I Got Dem Ol’ Kozmic Blues Again Mama! from September 1969. The song was co-written by Jerry Ragovoy and Chip Taylor. I don’t feel there was any way Joplin could have tried any harder to sing that song than she did. Similar to Santana, the energy of her performance was through the roof. And all of this after 2:00 am in the morning – whatever substance she was on, it apparently worked!

If I see this correctly (based on Wikipedia), the set with the most songs at Woodstock  belonged to The Who with 22 tracks. They kicked their gig off at 5:00 am on Sunday. Again, what a crazy thought to play at that time! Still, the kids certainly were alright. Here’s We’re Not Gonna Take It/See Me, Feel Me, the final track from Tommy, the band’s fourth studio album that appeared in May 1969. Like most tunes on the record, it was written by Pete Townshend.

Apart from Jimi Hendrix’s rendition of The Star-Spangled Banner, perhaps the most iconic performance at Woodstock was With A Little Help From My Friends by Joe Cocker, the first act who officially opened the festival’s final day on Sunday afternoon. To me, Cocker’s version of The Beatles’ tune is the best rock cover I know. He truly made it his own. In fact, The Beatles were so impressed with it that they allowed him to cover more of their songs like She Came Into The Bathroom Window. With A Little Help From My Friends was the title track of Cocker’s debut album from May 1969. What an amazing performance!

On to 3:00 am on Monday, August 18 and Crosby, Stills, Nash & Young. For the most part, including set opener Suite: Judy Blue Eyes, it was actually David Crosby, Stephen Stills and Graham Nash only. Neil Young skipped most of the acoustic songs but joined the band during the electric set. Neil being Neil, he also refused to be filmed, feeling it was distracting to both the performers and the audience. Written by Stills, Suite: Judy Blue Eyes was the opening track of CSN’s debut album from May 1969.

A post about Woodstock’s musical highlights wouldn’t be complete without the closing act: Jimi Hendrix. Playing on Monday from 9:00 to 11:00 am, it looks like he had the longest set. Here is his unforgettable rendition of the aforementioned The Star-Spangled Banner. Hendrix effectively used heavy guitar distortion, feedback and sustain to imitate the sounds from rockets and bombs. He truly gave it all he got and collapsed from exhaustion while leaving the stage after his encore Hey Joe.

Woodstock’s original co-creator Michael Lang also helped organize a planned 50th anniversary festival. However, after a series of production issues, venue relocations and artist cancellations, it was canceled on July 31, 2018. A second Woodstock anniversary festival was planned at Bethel Woods Center for the Arts, but in February, the Center announced that instead it will focus on “A Season of Song & Celebration” for the entire summer. The anniversary dates coincide with concerts from Ringo Starr and His All Starr Band (Aug 16), Santana with The Doobie Brothers (Aug 17) and John Fogerty with Tedeshi Trucks Band & Grace Potter (Aug 18).

I’ll leave you with a little fun fact: Tickets for Santana with The Doobies start at about $128.00 (including fees). By today’s standards, sadly, this is fairly normal. But, to be clear, these tickets are the cheapest and will only get you the lawn, the area farthest away from the stage. By comparison, tickets for the entire Woodstock festival in 1969, which as noted above included 32 acts, sold for $18.00 in advance and $24.00 at the gate. That’s the equivalent of approximately $123.00 and $164.00 today. Once again, we see the times they are a changin!

Sources: Wikipedia, Songfacts, Syracuse.com, Bethel Woods Center for the Arts website, YouTube

The Doobie Brothers Shine On New Live Album

Live From The Beacon Theatre presents hits and deep cuts from Toulouse Street and The Captain And Me albums

When I saw The Doobie Brothers are coming out with Live From The Beacon Theatre, I didn’t pay a lot of attention initially. At first glance, it largely looks like a greatest hits compilation played live, i.e., tunes we’ve heard many times before. Finally, I got curious yesterday, and, man, what an amazing and fresh-sounding album – if you dig the Doobies, there’s no way you’re not gonna like this!

Perhaps I shouldn’t have been surprised in the first place. After all, I saw the southern rockers last July together with Steely Dan, and they were dynamite! Just like Donald Fagen and co, after the co-headlining summer tour, the Doobies hit The Beacon Theatre in New York for special album-focused performances, which in this case included Toulouse Street (1972) and The Captain And Me (1973).

The Doobie Brothers
The Doobie Brothers (left to right): John Cowan (bass, vocals), Patrick Simmons (guitars, vocals, co-founder), Ed Tooth (drums), Marc Russo (saxophone), Tom Johnston (guitars, vocals, co-founder), John McFee (guitars, pedal steel, dobro, fiddle, vocals, core member since 1979) and Bill Payne (keyboards; not in photo)

Given the band’s sophomore and third studio records, respectively, included tracks like Listen To The Music, Rockin’ Down The Highway, Jesus Is Just Alright, Long Train Runnin’, China Grove, South City Midnight Lady and Without You, it’s really no wonder this new  album looks like a greatest hits live compilation. But there is more to picture. Plus, amazingly, even these well-known tunes sound very fresh!

The Doobies’ two concerts at The Beacon Theatre last November marked the first time they returned to the renown venue in 25 years. In addition to the above hits, the set lists included deep cuts and songs the band had never performed live before like Mamaloi, O’Connelly Corners, Ukiah and The Captain And Me. The live album is available in audio and video formats, including CD, DVD and Blue Ray. Let’s listen to some music!

I’d like to kick things off with the aforementioned Mamaloi. Written by Patrick Simmons, this tune first appeared on the Toulouse Street album. Check out the harmony vocals – these guys still sound mighty!

Here’s another great track from Toulouse Street, which I don’t believe is very well known: Cotton Mouth. This song was actually penned by Jimmy Seals and Dash Crofts, a.k.a. Seals & Crofts. Listen to that beautiful horn work, which together with some funky guitar action give the tune a southern soul flair – fantastic!

Let’s jump to The Captain And Me set. Ever heard of Ukiah? Frankly, I did not recall that tune written by Tom Johnston. Another nice rocker!

Last but not least, I simply couldn’t resist highlighting one of the Doobies’ best known songs, since their Beacon performance is just so damn good and it’s available as a video clip on YouTube: the funky Long Train Runnin’, another Johnston composition. Again, check out the horns on that one – it simply is friggin’ amazing!

Here’s the album’s complete track list:

Disc One: Toulouse Street
1. “Listen To The Music”
2. “Rockin’ Down The Highway”
3. “Mamaloi”
4. “Toulouse Street”
5. “Cotton Mouth”
6. “Don’t Start Me To Talkin’”
7. “Jesus Is Just Alright”
8. “White Sun”
9. “Disciple”
10. “Snake Man”

Disc Two: The Captain And Me
1. “Natural Thing”
2. Band Intros
3. “Long Train Runnin’”
4. “China Grove”
5. “Dark Eyed Cajun Woman”
6. “Clear As The Driven Snow”
7. “Without You”
8. “South City Midnight Lady”
9. “Evil Woman”
10. “Busted Down Around O’Connelly Corners”
11. “Ukiah”
12. “The Captain And Me”

Encore
13. “Take Me In Your Arms (Rock Me)”
14. “Black Water”
15. “Listen To The Music” (Reprise)

The Doobies nicely timed the album’s release with the start of their tour with Carlos Santana. Tonight they’re playing Ridgefield, Wash. This is followed by Salt Lake City (Jul 2), Denver (Jul 3), Dallas (Jul 6) and Austin (Jul 9). The full schedule is here.

Sources: Wikipedia, The Doobie Brothers website, YouTube

Santana Celebrates Africa On Seductive New Studio Album

Deep in the jungle, beyond the reach of greed/You hear the voices of spirits/With their frequency of light/Making sounds like the crackling of stars at night/Communicating with plants, animals and mankind/Affirming the universal truth
All and everything was conceived here in Africa/The cradle of civilization. These words, spoken by Carlos Santana, are the intro to his new album Africa Speaks that was released yesterday. After having listened to it for a couple of times, I’m pretty excited about the infectious grooves and Carlos’ guitar-playing, which continues to amaze me. This record is made for summer!

Appearing on Concord Records, Africa Speaks is Santana’s 25th studio album and his first with producer Rick Rubin. It was recorded together with Santana’s band at Rubin’s Shangri La Studios in Malibu. The record also features two female singers with African heritage: Spanish vocalist MarĂ­a ConcepciĂłn Balboa Buika, who goes by Buika, and on one track British singer Laura Mvula. Santana’s website characterizes the music as inspired by the melodies, sounds and rhythms of Africa, but in many ways, this is a classic Santana album combining Latin Afro-Cuban rhythms with Carlos’ mighty signature guitar sound.

Carlos Santana

In January, Santana told this to Rolling Stone about the upcoming album, which then was supposed to be titled Global Revelation: “I went to Rick to see if he would, as Miles Davis would say, ‘Would you have eyes to do something with me? I know you’ve worked with everybody like Johnny Cash and the Chili Peppers and Metallica,’ And he goes, ‘Well, what are you interested in doing?’ I said, ‘Nothing but African music.’ So can you believe it? We record 49 songs in 10 days. He was very gracious, because it was like a hurricane to record six, seven songs in a day. Rick said, ‘With Clive Davis, you had a bunch of guest stars and singers. Who do you want in here?’ I said, ‘I only want two women: Laura Mvula and Buika.’ And he said, ‘OK.’ So we called them and they said yes.”

Let’s get to some music. Here’s the opener Africa Speaks. The tune has a bit of a mysterious vibe to it. I also like how it builds. And once Santana comes in with his great guitar sound, man, the track just takes off!

Oye Este Mi Canto starts with a smooth laid back Latin jazz feel to it, with Buika shining on vocals. Then check out what happens at around 2 minutes and 28 seconds: Things pick up, with Santana coming in playing a great wah-wah guitar solo. And all for a sudden, it feels like going back 50 years to Woodstock. Then at around 3 minutes and 50 seconds, the song resumes its initial groove – so cool!

Here’s Blue Skies, the track featuring Laura Mvula, who is sharing vocals with Buika. Not sure why Apple Music and YouTube don’t mention her – either an embarrassing oversight or outright disrespectful!

ParaĂ­sos Quemados is one of my favorite tunes on the album. I just dig the funky groove and the excellent bassline by Benny Rietveld. As a Hammond fan, I also like what David K. Mathews is doing on the keys. Oh, and did I mention Carlos on guitar?

The last track I’d like to highlight is Breaking Down The Door, which according to a Rolling Stone review is a cover of the Calypso Rose song Abatina, written by Manu Chao. Another nice tune that perhaps is a bit more conventional compared to most other tracks that have more of a fusion feel to it.

This review would be incomplete without acknowledging Santana’s excellent backing band. In addition to the above mentioned bassist and keyboarder Rietveld and Mathews, respectively, the line-up features Carlos’ wife Cindy Blackman Santana (drums),  Tommy Anthony (guitars and vocals), Andy Vargas and Ray Greene (both vocals), as well as percussionists Karl Perazzo and Paoli MejĂ­as.

So what does Rick Rubin think about the album and its making? “I couldn’t believe what I was seeing,” he said during a filmed conversation. “Hearing it on record is one thing, but being in the room and watching it happen was another. I couldn’t imagine anyone who loves music sitting in the position I was in watching this not being blown away.”

“Carlos asked to meet and I had never met him before. He said he wanted to go into to the studio and start recording. And I said, ‘well, let’s talk about the songs and let’s listen to songs’ and he said, ‘well, I don’t really have any songs.’ And I said, ‘okay, interesting,’ and he said, ‘well, I have an idea.’ He played me some pieces of music and then he sent me an iPod filled with African music. And he said, ‘live with this for a little bit and then we’ll talk about it.’ I lived with it and it was fantastic!”

“And he said, ‘I think that’s the energy of what I wanna do, and I wanna start by jamming with the band, using these kinds of rhythms and see where it goes.’ Very unusual to work for me in that way. Usually, the song comes first, and the studio is more about documenting the thing we already know how it’s gonna go. In in this case, it was really, we went to the studio completely blank, jamming on these instrumental pieces, and it was really great – really, really great!” You can watch the full clip here.

I have to say this album has reignited my enthusiasm about Carlos Santana and makes me feel like seeing again.  There would definitely be opportunity this year. Later this month, Santana is embarking on a tour to celebrate the 20th anniversary of his 1999 Supernatural studio album. While it definitely resulted in a resurgence of his career, I’m not particularly fond of this record and much prefer his first three albums with the classic Santana band. Santana is also playing two Woodstock-related festivals in August, which I likely can’t afford. But he told People he is planning a series of dates next year to support his new album. Now, that may be something worthwhile looking into.

Sources: Wikipedia, Santana website, Rolling Stone, People, YouTube

Clips & Pix: Fleetwood Mac/Black Magic Woman

The above clip was captured in Tulsa, Okla. during the opening show of Fleetwood Mac’s 50-plus-date North American tour – the first featuring the band’s new lineup with Mike Campbell and Neil Finn and without Lindsey Buckingham. According to setlist.fm, Fleetwood Mac had not played Black Magic Woman since 1987. The tune goes back all the way to the band’s blues origins. Written by British blues rock artist Peter Green, Black Magic Woman was Fleetwood Mac’s third single released in March 1968. Only a couple of years later, it became a signature song and major hit for Santana.

I realize posting this footage may trigger some comments, or maybe not, but one thing is for sure – ever since Fleetwood Mac announced Buckingham’s exit and their new lineup, there has been a good deal of debate whether the band can be same without him. In my opinion, the answer is a clear ‘no,’ but I also feel this doesn’t mean they can’t go on. Plus, it’s worth remembering that this wasn’t Buckingham’s first departure.

To be clear, I think Lindsey Buckingham is a terrific artist who wrote or co-wrote many Fleetwood Mac tunes I dig, such as Monday Morning (Fleetwood Mac, 1975) The Chain (Rumours, 1977), Tusk (Tusk, 1979) and Big Love (Tango In The Night, 1987). His distinct vocals blended well with Stevie Nicks and Christine McVie. And let’s not forget he’s a really talented guitarist with a signature sound. Fleetwood Mac simply cannot be the same band without him – and that’s okay!

I will say the circumstances of Buckingham’s departure look unfortunate. Supposedly, there were artistic disagreements between him and the band about the tour, which was then in the planning stages. Sure, at the time there were five members in Fleetwood Mac, and when it’s four against one, at some point you have to figure out how to move forward as a band. But the speed with which that decision was made is remarkable, especially when it comes to a longtime member like Buckingham, who had been with Fleetwood Mac for a total of 38 years, if my math is correct. He already departed once before in 1987 and returned in 1992.

I think it’s intriguing that Fleetwood Mac have revamped their set list, which now combines older material and deeper cuts like Black Magic Woman, Tell Me All The Things You Do (Kiln House, 1970), Hypnotized (Mystery To Me, 1973) and Monday Morning (Fleetwood Mac, 1975) with usual suspects, such as The Chain (Rumours, 1977), Dreams (Rumours), Rhiannon (Fleetwood Mac, 1975) and Little Lies (Tango In The Night, 1987). I also feel the inclusion of Crowded House’s Don’t Dream It’s Over Over and Tom Petty’s Free Fallin’ is okay and doesn’t make Fleetwood Mac a cover band.

Having said all of the above, I saw Fleetwood Mac (Mick Fleetwood, John McVie, Lindsey Buckingham and Stevie Nicks) once in 2013, just months prior to the announcement of Christine McVie’s return. It was a solid show, and I think that does it for me with seeing this band live for time being, especially given high ticket prices and other artists I’d like to see.

Sources: Setlist.fm, Wikipedia, YouTube

Clips & Pix: Santana/Soul Sacrifice

After coincidentally coming across the above clip, I spontaneously decided to post it. In general, I’m not a huge fan of instrumentals, but when the music is that exciting, I don’t miss the vocals!

This version of Soul Sacrifice by Santana was captured during the band’s legendary performance at Woodstock in 1969. They played on Saturday afternoon, August 16, the second day of the festival. Soul Sacrifice was the second-to-last tune of their eight-track set, which also included Waiting, Evil Ways, You Just Don’t Care, Savor, Jingo, Persuasion and Fried Neck Bone And Some Home Fries. Except for the last song, all of these tunes appeared on Santana’s eponymous debut album, which was released on August 30 the same year.

To me it is just electrifying to watch this clip. The band was absolutely killing it! In addition to Carlos Santana (guitar), the line-up included Gregg Rolie (keyboards), David Brown (bass), José Areas (percussion, congas), Michael Carabello (percussion, congas) and Michael Shrieve (drums), who had just turned 20 and was the youngest performing musician at Woodstock.

Soul Sacrifice is credited to Santana, Rolie, Brown and Marcus Malone, the band’s initial percussionist when it was formed in San Francisco in 1966 and known as the Carlos Santana Blues Band. However, by the time Santana started work on their first studio album in May 1969, Malone was no longer with a band due to serving a prison sentence for manslaughter.

Sources: Wikipedia, Setlist.fm, YouTube

What I’ve Been Listening To: Santana/Abraxas

1970 album is a highlight by the classic Santana band

Abraxas was the sophomore album by Santana. By the time it appeared in September 1970, the Latin jam rock band had gained significant popularity, fueled by a high-energy performance at the Woodstock Festival in August 1969 followed by the release of their eponymous debut record. While Santana established the sound and groove of the band’s classic lineup and was a successful album that peaked at no. 4 on the Billboard 200 in mid-November, I think Abraxas kicked things up a notch musically.

The album opens with Singing Winds, Crying Beasts, one of three all-instrumental tunes. Written by percussion and conga player Mike Carabello, the improvisational track with its mystic sounds almost feels like it wants to put listeners into a trance.

Next up: Black Magic Woman/Gypsy Queen, which undoubtedly is one of the record’s gems. It combines portions of the 1966 instrumental Gypsy Queen by Hungarian jazz guitarist GĂĄbor SzabĂł and Black Magic Woman, a tune written by Fleetwood Mac founder and guitarist Peter Green. Fleetwood Mac, which at the time was a blues rock-oriented band, first released the track as a single in 1968. It was also included on the 1969 U.S. and UK compilation albums English Rose and The Pious Bird of Good Omen, respectively.

While doing some research for the post, I read that Green apparently encouraged Carlos Santana to record the tune. It turned out to be a good decision. Santana’s version of Black Magic Woman became a major hit, climbing to no. 4 on the Billboard Hot 100 in January 1971. The royalties Green received from the cover became a significant source of income after he had left Fleetwood Mac.

Pretty much the same thing happened with Oye Como Va, another album highlight that has become a signature Latin rock tune. The song was written by Latin jazz and mambo artist Tito Puente in 1963. And just like with Black Magic Woman, it was Santana’s rendition that turned the song into a hit, reaching no. 13 on the Billboard Hot 100. Keyboarder and lead vocalist Gregg Rolie’s Hammond B3, along with Santana’s guitar and the band’s rhythm section create a powerful sound and compelling groove that invites people to dance.

According to an NPR story, Puente autobiographer Steven Loza said Santana’s version “exposed the world to Tito Puente and to Latin music in general. And “Oye Como Va” helped catapult the salsa movement to the ’70s because it gave the music recognition all over the world. And that inspired a lot of people to go into salsa.” It also brought Puente an unexpected stream of royalties.

Samba Pa Ti is among Santana’s most popular tunes and one of the best known guitar-oriented instrumentals. An Ultimate Classic Rock story explains how the piece came about, quoting Santana: “‘Samba Pa Ti’ was conceived in New York City on a Sunday afternoon. I opened the window I saw this man in the street, he was drunk and he had a saxophone and a bottle of booze in his back pocket. And I kept looking at him because he kept struggling with himself. He couldn’t make up his mind which one to put in his mouth first, the saxophone or the bottle and I immediately heard a song [
] I wrote the whole thing right there.”

I also found an interesting nugget about Santana’s guitar sound on the album and Samba Pa Ti in a background article on Gibson’s website titled, “Flashback 1970: How Carlos Santana Refined and Defined his Sound with Abraxas”: “Although the cornerstones of Santana’s sound on Abraxas are his Gibson SGs, volume and the pureness and control of his touch, there are spots where he audibly used a wah-wah pedal to attenuate his tone. On “Samba Pa Ti” he left the pedal cocked to an open position throughout the song, achieving a sweet, warm distortion that produced the album’s most subtle guitar tone.”

The last tune I’d like to highlight is Hope You’re Feeling Better, which was written by Rolie. His roaring Hammond B3 and Santana’s wah-wah-accentuated guitar make for an awesome sound. The song also became the album’s third single, though unlike Black Magic Woman and Oye Como Va, it didn’t chart.

Produced by Fred Catero and Carlos Santana in San Francisco, Abraxas became another major success for the band. It hit no. 1 on the Billboard 200 in October 1970 and remained in the chart for 88 weeks. The album also topped the charts in Australia and reached no. 2 in Canada, while in the UK it climbed to no. 7. It was certified 5X Multi-Platinum in April 2000 by the Recording Industry Association of America.

Abraxas was ranked number 207 on Rolling Stone magazine’s The 500 Greatest Albums of All Time list from 2003. And last year, the record was selected for preservation in the National Recording Registry due to its “cultural, historic, or artistic significance.”

In addition to Santana, Rolie and Carabello, the band’s members included David Brown (bass), Michael Shrieve (drums) and JosĂ© “Chepito” Areas (percussion, conga, timbales). The same lineup plus guitarist Neal Schon would record Santana III, the next and last studio album of the classic Santana band, which appeared in September 1971. In 2013, most of the band – Santana, Rolie, Carabello, Schon and Shrieve – reunited for another album, Santana IV, which was recorded together with Benny Rietveld (bass) and Karl Perazzo (timbales, percussion, vocals).

Sources: Wikipedia, NPR, Ultimate Classic Rock, Gibson website, YouTube