It’s Wednesday again and, as such, time to take a closer look at another tune I haven’t covered or only mentioned in passing. This week, I decided to dig into the catalog of Jackson Browne. Since the singer-songwriter entered my radar screen with Running On Empty many moons ago, I’ve enjoyed listening to him on and off over the decades.
Rock Me On the Water is a great tune from Browne’s eponymous debut album, which came out in January 1972. Penned by him like the remaining nine tracks, the song also became the record’s and Browne’s second single in July of the same year. Like his debut single Doctor, My Eyes, it made the U.S. charts, reaching no. 48 on the Billboard Hot 100, not as high as its predecessor that peaked at an impressive no. 8.
Like on the album overall, Browne had impressive guests. In the case of Rock Me On the Water, David Crosby and Graham Nash provided backing vocals. Among others, the recording also featured top-notch session musicians Craig Doerge (piano), Leland Sklar (bass) and Russ Kunkel (drums), who would play on many other Browne albums as well. They were all part of The Section, the de facto house band of record label Asylum, whose members collectively or individually played on countless records by artists, such as Carole King, James Taylor, Linda Ronstadt, Joni Mitchell and Warren Zevon.
Jackson Browne is the first of 15 studio albums issued to date by Browne who continues to go strong 50 years into his recording career. His most recent album Downhill From Everywhere, released in July 2021, earned a 2022 Grammy Award nomination in the Best Americana Album category. Los Lobos’s Native Sons, a great album I reviewed here, ended up winning the category – certainly a worthy winner!
Following are some additional tidbits from Songfacts:
Jackson Browne uses biblical imagery in this song, where he makes a point that salvation can be attained outside the church.
“It’s got an apocalyptic theme running through it and it’s meant to be kind of a gospel song,” he said in a radio interview. “I employ this gospel language: ‘stand before the father,’ ‘sisters of the sun.’ But it’s turning that around 180 degrees so it’s not about religion, it’s about society.”
“You have to have an idea in a gospel song,” he added, “and if it’s not going to be Jesus, it has to at least be salvation. It’s a way of lovingly, and in a friendly way, refuting the traditional and conventional messages of redemption having to do with the straight and narrow. I staked a lot on that song because it was that combination of social awareness and paying attention to what’s going on around you with that inner search for spiritual meaning.”
Browne wrote this song around 1970, before he started work on his debut album. He was well known as a songwriter at this point, with songs recorded by the Nitty Gritty Dirt Band, The Byrds, and Nico. “Rock Me On The Water” was first recorded in 1971 by Johnny Rivers, then later that year by Brewer & Shipley.
Linda Ronstadt released this song on her self-titled third album early in 1972, around the same time the song appeared on Browne’s album. Her version was the first released as a single, and it went to #85 in March, making it the first song written by Jackson Browne to reach the Hot 100.
Time for another installment of this infrequent feature, in which I republish select content that first appeared in the earlier stage of the blog when I had fewer followers. The following post about my favorite saxophone players originally appeared in November 2017. I’ve slightly edited it and also added a Spotify playlist at the end.
In Appreciation Of The Saxophonist
A list of some of my favorite saxophone players and solos
Music instruments have always fascinated me. I also have a deep appreciation for musicians who master their gear. Oftentimes, I wish I would have learned more than just the guitar and the bass. For regular readers of the blog or those who know me otherwise, none of this should come as a big surprise. I’ve written a bunch of posts on some of the gear I admire, from guitars like the Fender Stratocaster, Gibson Les Paul and Rickenbacker 360/12, to keyboards like the Hammond B3, as well as some of my favorite drummers and bassists. One of the coolest instruments I haven’t touched yet is the saxophone.
Let me address the big caveat to this post right away: Since I know next to nothing about jazz, I’m focusing on genres that are in my wheelhouse: rock, blues and pop. While many of the saxophonists I highlight come from the jazz world, it’s still safe to assume I’m missing some outstanding players. On the other hand, where would I even start, if I broadened the scope to jazz? With that being out of the way, following is a list of some of favorite saxophonists and sax solos.
Update: Since subsequently I’ve started to explore the jazz world, mostly in my Sunday Six feature, I’m going to add some tracks in the Spotify playlist featuring some additional outstanding jazz saxophonists.
I imagine just like most readers, I had never heard of this British saxophonist until I realized he was associated with a ’70s pop song featuring one of the most epic sax solos: Baker Street by Gerry Rafferty. The breathtaking performance put Ravenscroft on the map. He went on to work with other top artists like Marvin Gaye (In Our Lifetime, 1981), Robert Plant (Pictures At Eleven, 1982) and Pink Floyd (The Final Cut, 1983). Ravenscroft died from a suspected heart attack in October 2014 at the age of 60. According to a BBC News story, he didn’t think highly of the solo that made him famous, saying, “I’m irritated because it’s out of tune…Yeah it’s flat. By enough of a degree that it irritates me at best.” The same article also noted that Ravenscroft “was reportedly paid only £27 for the session with a cheque that bounced while the song is said to have earned Rafferty £80,000 a year in royalties.” Wow!
The American jazz saxophonist and composer, who started his career in the late ’50s, played in Miles Davis’ Second Great Quintet in the 1960s and co-founded the jazz fusion band Weather Report in 1971. Shorter has recorded over 20 albums as a bandleader and played as a sideman on countless other jazz records. He also contributed to artists outside the jazz realm, including Joni Mitchell, Don Henley and Steely Dan. For the latter, he performed a beautiful extended tenor sax solo for Aja, the title track of their 1977 gem.
The American saxophonist, musician and actor was best known for his longtime association with Bruce Springsteen. From 1972 to his death in June 2011 at age 69, Clemons was a member of the E Street Band, where he played the tenor saxophone. He also released several solo albums and played with other artists, including Aretha Franklin, Twisted Sister, Grateful Dead and Ringo Starr and His All-Star Band. But it was undoubtedly the E Street Band where he left his biggest mark, providing great sax parts for Springsteen gems like Thunder Road, The Promised Land and The Ties That Bind. One of my favorite Clemons moments is his solo on Bobby Jean from the Born In The U.S.A. album. What could capture “The Big Man” better than a live performance? This clip is from a 1985 concert in Paris, France.
The American West Coast jazz musician was primarily known for his work as a tenor and soprano saxophonist. Among others, Amy served as the musical director of Ray Charles’ orchestra for three years in the mid-60s. He also led his own bands and recorded under his own name. Outside the jazz arena, he worked as a session musician for artists like The Doors (Touch Me, The Soft Parade, 1969), Marvin Gaye, Smokey Robinson and Carole King (Tapestry, 1971). One of the tunes on King’s masterpiece is the ballad Way Over Yonder, which features one of the most beautiful sax solos in pop I know of.
The English saxophonist, who started his professional career in 1964, has worked as a session musician with many artists. A friend of David Gilmour, Parry is best known for his work with Pink Floyd, appearing on their albums The Dark Side Of The Moon (1973), Wish You Were Here (1975), The Division Bell (1994) and Pulse (1995). He also worked with Procol Harum guitarist Mick Grabham (Mick The Lad, 1972), John Entwistle (Mad Dog, 1975) and Rory Gallagher (Jinx, 1982), among others. One of Parry’s signature sax solos for Pink Floyd appeared on Money. Here’s a great clip recorded during the band’s 1994 Division Bell tour.
Albert Ronald “Ronnie” Ross was a British jazz baritone saxophonist. He started his professional career in the 1950s with the tenor saxophone, playing with jazz musicians Tony Kinsey, Ted Heath and Don Rendell. It was during his tenure with the latter that he switched to the baritone sax. Outside his jazz engagements during the 60s, Ross gave saxophone lessons to a young dude called David Bowie and played tenor sax on Savoy Truffle, a track from The Beatles’White Album. In the 70s, his most memorable non-jazz appearance was his baritone sax solo at the end of the Lou Reed song Walk On The Wild Side. I actually always thought the solo on that tune from Reed’s 1972 record Transformer was played by Bowie. Instead, he co-produced the track and album with Mick Ronson. According to Wikipedia, Bowie also played acoustic guitar on the recording.
The American saxophonist was a founding member of Chicago and played with the band for 51 years until earlier this year (2017) when he officially retired due to a heart condition. In addition to the saxophone, Parazider also mastered the flute, clarinet, piccolo and oboe. Here is a clip of Saturday In The Park and 25 Or 6 To 4 from Chicago’s great 2016 Rock & Roll Hall of Fame induction performance, which features Parazaider on saxophone.
Thomas Neal Cartmell, known as Alto Reed, is an American saxophonist who was a member of The Silver Bullet Band since it was founded by Bob Seger in the mid-70s. He toured with Seger and the band for 40-plus years, starting with Live Bullet in 1976. Reed has also performed with many other bands and musicians like Foghat, Grand Funk Railroad, Little Feat, The Blues Brothers and George Thorogood. Among his signature performances for Seger are the saxophone solo in Old Time Rock And Roll and the introduction to Turn the Page. Here’s a great live clip of Turn the Page from 2014.
Autry DeWalt Mixon Jr., known by his stage name Junior Walker or Jr. Walker, was an American singer and saxophonist whose 40-year career started in the mid-1950s with his own band called the Jumping Jacks. In 1964, Jr. Walker & The All Stars were signed by Motown. They became one of the company’s signature acts, scoring hits with songs like Shotgun, (I’m a) Roadrunner, Shake And Fingerpop and remakes of Motown tunes Come See About Me and How Sweet It Is (To Be Loved By You). While Walker continued to record with the band and solo during the ’70s and into the early ’80s, one of his most memorable performances resulted from his guest performance on Foreigner’s 1981 album 4. His saxophone solo on Urgent is one of the most blistering in pop rock. Walker died from cancer in November 1995 at the age of 64.
No list of saxophonists who have played with rock and blues artists would be complete without Bobby Keys. From the mid-1950s until his death in December 2014, this American saxophonist appeared on hundreds of recordings as a member of horn sections and was a touring musician. He worked with some of the biggest names, such as The Rolling Stones, Lynyrd Skynyrd, George Harrison, John Lennon, Eric Clapton and Joe Cocker. Some of these artists’ songs that featured Keys include Don’t Ask Me No Questions (Lynyrd Skynyrd, Second Helping, 1974), Whatever Gets You Thru The Night (John Lennon, Walls And Bridges, 1974) and Slunky (Eric Clapton, Eric Clapton, 1970). But he is best remembered for his sax part on Brown Sugar from the Stones’ 1971 studio album Sticky Fingers.
– End –
The original post, which was published on November 11, 2017, ended here. Here’s the previously mentioned Spotify list featuring all of the above and some additional saxophone greats.
Eighth annual tribute festival for a cause returned to Jersey shore
Saturday, the time had finally come for the long-awaited Rock the Farm to return to the Jersey shore. The annual tribute festival in Seaside Heights, N.J. once again delivered 10 hours of great music for a cause. And that cause – helping individuals and families struggling with addiction to drugs, alcohol and other substances – has gained even more urgency during the COVID-19 pandemic.
Rock the Farm is the main annual event of the nonprofit New Jersey CFC Loud N Clear Foundation to raise funds for programs designed to prevent relapse after drug rehab, a particularly challenging time to stay sober. CFCnotes that since it was established in 2012, the foundation has assisted over 20,000 families struggling with addiction and has received numerous accolades and rewards for the innovative, groundbreaking approach to recovery. Throughout the event, individuals who have benefitted from CFC’s programs stepped on stage to share some of their stories, which was both pretty inspiring and moving. You can read more about CFC’s important work here. Let’s get to some music!
Kicking off the festival once again were One Fine Tapestry, a great tribute to Carole King and the music she co-wrote with Jerry Goffin for many other artists. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo who for many years have performed a variety of tribute shows. My all-time favorite Carole King album remains Tapestry. Here’s IFeel the Earth Move.
We May Be Right are a fun Billy Joel tribute led by pianist and lead vocalist Karl Dietel, a 20-year veteran of the New York-New Jersey-Connecticut tri-state area live music scene. The band also features Perry Andrews (brass, woodwinds, percussion, backing vocals), Derek Davodowich (guitars), Luke Kessel (bass, backing vocals) and Andy Janowiak (drums). I know I’ve said this before, it’s amazing to me how popular Billy Joel remains to this day, nearly 30 years since the piano man released his final pop album River of Dreams. There were definitely many Billy Joel fans among the Rock the Farm audience. One of the tunes they enjoyed was Big Shot, off Joel’s sixth studio album 52nd Street from October 1978.
And then it was time to really put the rock into Rock the Farm with La Grange. This New Jersey-based tribute to ZZ Top includes Sean Peronard as “Billy Fibbons” (Billy Gibbons), Pete Perrina as “Frank Goatee” (Frank Beard) and Jim Capobianco as “Rusty Hill” (Dusty Hill). It was all there: The sound, the singing, the beards and even the fury guitar and bass – the only things missing were the rotation of the instruments and my all-time ZZ Top favorite Tush! But, hey, they played plenty of other great tunes. It was a ball. Check out Cheap Sunglasses from the Texan rockers’ sixth studio album Degüello.
How about some more kickass rock? Ask and you shall receive with Stiff Upper Lip! This New Jersey tribute to AC/DC, formed in 2007, features Glenn Taglieri (vocals), Joe Witterschein (guitar), Mike Cusumano (guitar), Peter Lee (bass) and Steve Villano (drums). One of my all-time AC/DC favorites is their song with the longest title: It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll). The tune initially appeared on AC/DC’s second, Australia-only record T.N.T. Subsequently, it was also included on their first international release High Voltage, which came out in April 1976. Here we go, featuring some enthusiastic, dancing ladies with glowing devil’s horns!
Okay, I’d say it’s time for a little breather. Here’s a little photo collage with different impressions from Rock the Farm.
All right, on to part II of this post and The ELO Tribute Show – yep, they make no bones about whose music they are celebrating! The group of Philly area-based musicians includes Mick Bodine (lead vocals, guitar), Andre “Virus” Karkos (guitars, vocals), Chris McCoy (keyboards, vocals), Julie Meyers (violin, vocals), Tommy Grasso (bass, vocals) and Dave Ramani (drums, percussion). Check out their cool rendition of Evil Woman, a tune from ELO’s September 1975 record Face the Music, their fifth studio release.
One could argue that holding a tribute festival in New Jersey without featuring music by at least one artist from the Garden State would be an oversight. Coming to the rescue were Keep The Faith from – nope, I bet you didn’t guess that one – Canada! This Bon Jovi tribute from Ontario includes Chris Newman (lead vocals, guitar), Chris Tondreau (guitar), Dan Benezra (keyboards, vocals), Doug Adams (bass) and Mark MacPherson (drums). Shall we check out their rendition of Born to Be My Baby, off Bon Jovi’s fourth studio album? Well, it’s really a rhetorical question since it’s my frigging blog! Are you one of the 100,000,000 Bon Jovi fans who can’t be wrong? If so, you should know the title of Bon Jovi’s fourth studio album. Yes, New Jersey!
And then things got pretty groovy with Funky Monkswho shall we say aren’t your typical monks. Formed in 2003, this Chicago-based tribute to Red Hot Chili Peppers has performed across the U.S. and even internationally. The band consists of Ryan “Ryanthony” Machnica (vocals), Mike Walker (guitar), Jeff “Jefflea” Genualdi (b-b-b-bass) and Paul Guziec (drums). In case you ever wondered why I like to say bassists are cool dudes, Jeff is one of the reasons. Yes, I know, it’s the obvious Peppers tune to feature, but I couldn’t help it. Here’s Under the Bridge, included on Peppers’ fifth studio album Blood Sugar Sex Magik, released in September 1991.
All things must pass, as the wise George Harrison once sang. This also applies to Rock the Farm, which brings me to the final act of the night: Fleetwood Mac tribute TUSK – what a great way to end yet another outstanding event! Founded in 2008, TUSK primarily focus on the Mac’s pop-rock period. In addition, they feature some music from Stevie Nicks’ solo catalog and on Saturday night also threw in a cool blues medley of the Peter Green era. TUSK are Kathy Phillips as Stevie Nicks (vocals), Kim Williams as Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums). Here’s Little Lies, off Fleetwood Mac’s 14th studio album Tango in the Night, which came out in April 1987.
Rock the Farm 2022 is over. Sadly, the same cannot be said about addiction, which continues to upend the lives of those impacted and their friends and families. Many lives have been lost, even more so during the pandemic, leaving empty chairs in kitchens across this country.
The reality is addiction can happen to all of us. Nobody is immune! People struggling with drugs, alcohol and other substances deserve our compassion rather than stigmatization. That’s why it is so important that organizations like the CFC Loud N Clear Foundation continue their work. Once again, in case you’d like to find out more about their programs, visit https://healingus.org.
Sources: Wikipedia; CFC website; One Fine Tapestry Facebook page; We May Be Right website; La Grange Facebook page; Stiff Upper Lip website; The ELO Tribute Show website; Slippery When Wet website; Funky Monks website; TUSK website; YouTube
Eighth annual 10-hour festival on Jersey shore to feature top notch tribute music for great cause
On September 24, the annual music festival Rock the Farm returns to Seaside Heights, N.J. Since my first attendance five years ago, I’ve loved the idea behind the 10-hour spectacle to combine top-notch tribute acts with a great cause. And with the dreadful COVID-19 pandemic now being well into its third year, that cause has taken on a new urgency: supporting individuals and families struggling to overcome addiction.
Drug overdose-related deaths in the U.S. have soared by 28.5% to an estimated 100,306 during the 12 months ended in April 2021, according to provisional data released by the Centers for Disease Control and Prevention (CDC) in November 2021. That’s up from 78,056 for the corresponding period a year earlier. The latest CDC insights also show that estimated overdose deaths from opioids totaled 75,673 for the latest 12-month period, a 35% increase from 56,064 the year before. Imagining all the empty seats these lost lives have left at kitchen tables around the country paints a pretty grim picture.
Rock the Farm is the main annual fundraiser of the CFC Loud N Clear Foundation. The New Jersey non-profit community organization offers programs for individuals and families battling to overcome addiction to opioids, alcohol and other substances. Their efforts aim to fill the gap after clinical treatment in rehab, a period when staying sober and remaining on track can be particularly challenging.
The CFC Loud N Clear Foundation was established by the Regan family in 2012 after their son Daniel Regan had come out of a rehab center and with the help of his mother, Lynn Regan, developed a recovery system for himself. Other people noticed it was working for Daniel and started asking how they did it. That’s when the Regan family realized everyone should have access to an aftercare program, sparking the idea of establishing a foundation.
“CFC Loud n Clear Foundation is celebrating over 10 years of building strong communities of recovery,” said Alyssa Regan, CFC Assistant Executive Director who was kind enough to provide a quote for this post. “Rock the Farm is in its eighth year of bringing family fun and incredible music to Seaside Heights, New Jersey. However, this festival is more than just a great day during summer down the shore! Rock the Farm is about smashing the stigma of addiction, living life in recovery out loud, and the importance of aftercare and relapse prevention! This festival, which hosted 15,000 people last year, is entirely run by our community of recoverees and their families in order to raise funds for the program that has helped them gain a new life!”
Let’s take a look at the great line-up for the upcoming event, which includes tributes to Fleetwood Mac, Red Hot Chili Peppers, AC/DC, ELO, Eagles, Billy Joel, Carole King, Alanis Morissette, ZZ Top and Bon Jovi. Just imagine for a second seeing all the real acts in one festival, not to mention this particular line-up wouldn’t even be possible any longer, given Carole King has retired from performing! Fleetwood Mac and Carole King tributes TUSK and One Fine Tapestry performed at all four previous Rock the Farm events I attended. On separate previous occasions, I also saw Stiff Upper Lip and Keep The Faith, tributes to AC/DC and Bon Jovi, respectively. The other tribute artists are new to me.
Following are clips to preview some of the tribute acts who will play at Rock the Farm 2022. Kicking things off are TUSK with You Make Loving Fun, footage I captured at last year’s event. Focused on the pop rock period of Fleetwood Mac, the group includes Kathy Phillips as Stevie Nicks (vocals), Kim Williams as Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums).
Next up are One Fine Tapestry with one of my all-time favorite Carole King tunes from the iconic Tapestry album: I Feel the Earth Move. At the core of this tribute act are Gerard Barros and Diane Barros, a versatile husband and wife couple performing a variety of different tribute shows, sometimes as a duo, other times backed by a full band, which was the case here. This clip is also from Rock the Farm 2021.
Let’s do two more, using YouTube clips I didn’t create. Here are Stiff Upper Lip with Back in Black. The New Jersey band has been around since 2007 and includes Glenn Taglieri (vocals), Joe Witterschein (guitar), Mike Cusumano (guitar), Peter Lee (bass) and Steve Villano (drums).
As a blues rock fan, I couldn’t resist including ZZ Top tribute La Grange. The band features Sean Peronard as “Billy Fibbons” (Billy Gibbons), Pete Perrina as “Frank Goatee” (Frank Beard) and Jim Capobianco as “Rusty Hill” (Dusty Hill) – clever stage names! Here’s a fun promo video, including snippets of Waiting For the Bus, Under Pressure and Gimme All Your Lovin’.
In addition to plenty of great music, Rock the Farm features food trucks, a wine and beer garden and beach yoga. They also have some fun activities for kids, including a Kidzone Arts & Crafts, face painting, braid bar and “the world’s greatest FOAM dance floor.” While I can’t verify that claim, I can confirm kids and adults have had a lot of fun with the foam in the past!
“All of the members of CFC get the opportunity to create something magical that positively impacts the community, be inspired by purpose, and uplift others who are in search of hope and connection,” Regan added. “CFC has impacted over 20,000 families since its foundation and continues to come up with new and innovative ways to make recovery fun. We can’t wait to rock out with everyone on September 24th and end Recovery month in the best way possible!”
If you’re into live music, dig the above bands, want to support an important cause and can get there, I can highly recommend Rock the Farm. For tickets and more info, visit https://www.rockthefarmnj.com. You can also read more about the CFC Loud n Clear Foundation and their important work here.
Sources: CDC National Center for Health Statistics; CFC Loud N Clear Foundation website; TUSK website; One Fine Tapestry website; Stiff Upper Lip website; La Grange Facebook page; YouTube
Happy Wednesday with another decision which one tune to take on an imaginary trip to a desert island.
In case you’re new to this weekly recurring feature, the idea is to pick one song by an artist or band I’ve only rarely mentioned or not covered at all on my blog to date. This excludes many popular options like The Beatles, The Rolling Stones, The Who, Pink Floyd, Steely Dan, Bruce Springsteen, John Mellencamp, Neil Young, Marvin Gaye, Stevie Wonder, Aretha Franklin, Carole King and Bonnie Raitt, to name some of my longtime favorite artists. I’m also doing this exercise in alphabetical order, and I’m up to the letter “q”.
How many bands or artists do you know whose names/last names start with “q”? The ones that came to my mind included Quarterflash, Queen and Quiet Riot. And, of course, my pick, Can the Can by Suzi Quatro. Yes, perhaps it’s not the type of song that would be your first, second or even third pick to take on a desert island, but it’s a great kickass rock tune anyway!
Can the Can, penned by songwriters and producers Mike Chapman and Nicky Chinn, was Quatro’s second solo single and her first to chart. And it was a smash, topping the charts in the UK, Germany, Switzerland and Australia. It also climbed to no. 2 in Austria and no. 5 in Ireland. In Quatro’s home country the U.S., the tune fared more moderately, reaching no. 56 on the Billboard Hot 100. American music listeners just weren’t as much into glam rock as audiences in other parts of the world, especially in Europe. Can the Can was also included on Quatro’s eponymous debut album, released in October 1973.
Here’s a bit of additional background on Suzie Quatro from her bio on AllMusic: With her trademark leather jump suit, instantly hooky songs, and big bass guitar, Suzi Quatro is a glam rock icon with a window-rattling voice and rock & roll attitude to spare. After getting her start in garage and hard rock bands, 1973’s breakthrough single “Can the Can,” a stomping blast of glam rock that combined ’50s-style song craft with Quatro’s powerful vocals, made her an international star. She followed up with a string of similar-sounding singles and albums — and made an impression on TV viewers with her role on the hit sitcom Happy Days — before softening her sound and scoring a hit with the 1978 ballad “Stumblin’ In.” While her work in the future would encompass everything from new wave pop on 1983’s Main Attraction to starring in a musical based on the life of Tallulah Bankhead in 1991, Quatro never lost her instincts as a rocker, as evidenced by albums like 2006’s Back to the Drive and 2021’s The Devil in Me.
When I heard Can the Can for the first time in the mid-’70s, it was not by Suzi Quatro but by German vocalist Joy Fleming. While I don’t know much about Fleming except for a 1974 live album titled Joy Fleming Live, I know one thing. She was a hell of a vocalist! Check this out!
Here are a few additional tidbits on Can the Can and Suzie Quatro from Songfacts:
…Quatro is an American who joined Mickie Most’s RAK label roster, becoming part of the glam rock revolution. Most produced her first single, “Rolling Stone,” but it went nowhere, so he asked songwriters Nicky Chinn and Mike Chapman to write and produce her next single. The result was “Can The Can.”
When asked what “Can The Can” means, Nicky Chinn replied: “It means something that is pretty impossible, you can’t get one can inside another if they are the same size, so we’re saying you can’t put your man in the can if he is out there and not willing to commit. The phrase sounded good and we didn’t mind if the public didn’t get the meaning of it.”
Suzi Quatro: “I can hear a record for the first time and know whether it will be a hit. And I knew as soon as we had finished recording that we had a big hit on our hands.” (above quotes from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh)
This was the first #1 UK hit for a solo female artist since “Those Were The Days” by Mary Hopkin in 1968.
Quatro never hit it big in her native America, although she did have a memorable role on the TV series Happy Days playing Leather Tuscadero. She landed several more UK hits, including the #1 “Devil Gate Drive,” and influenced a generation of female rockers, notably Joan Jett.
Quatro wrote many of her own songs, but they tended to be album cuts, with the Chapman/Chinn team getting the singles. In a Songfacts interview with Quatro, she explained: “I was very boogie-based, very bass-based. And they went away and wrote ‘Can the Can.’ We had the arrangement where I could write the albums, and they would write the three-minute single – although I did have singles out myself, like ‘Mama’s Boy.’ I didn’t learn anything from their songwriting, because I always had my own thing. Whatever I did, I did.”
Suzi Quatro, who turned 72 a few weeks ago, continues to rock on. And tour. Her current schedule is here. Here’s Can the Can captured at London’s Royal Albert Hall in April this year. What a cool lady!
It’s Wednesday and I’m back with my little exercise to pick one tune to take with me on an imaginary trip to a desert island. Given my arbitrary self-imposed rules, perhaps I should change the title of the recurring feature. When most folks hear the term ‘desert island song’, understandably, they associate with it their most favorite music. That’s not what I’m doing here, at least not on an absolute scale.
The idea of this feature is to pick an artist or band I have rarely or not covered at all to date and select one song from them I like. Oftentimes, the choice comes down to only a handful of their tunes I know. As such, this excludes many of all-time favorites like The Beatles, The Rolling Stones, The Who, Carole King, Neil Young, Marvin Gaye, Aretha Franklin, Bonnie Raitt, Buddy Guy or Steely Dan who otherwise would be preferred picks. Another restricting factor is I’m doing this exercise in alphabetic order.
What that said, let’s get to today’s pick. I’m up to the letter “n”. Looking in my music library reveals artists and bands, such as Graham Nash, Johnny Nash, Nazareth, Willie Nelson, Randy Newman, Nilsson and Nirvana. My pick is Yellow Moon by The Neville Brothers.
Sadly, The Neville Brothers are among the music acts whose names I had known for years but had not been able to identify a specific tune. To inform the above pick I sampled tracks of two compilations, including the one pictured in the clip, Uptown Rulin’, which came out in 1999.
I couldn’t find much information on Yellow Moon. This groovy tune is credited to band co-founder, keyboarder and vocalist Arthur Neville, who was also known as Art Neville, and Jack Neville who based on my findings in AllMusic was a songwriter, predominantly for country artists. Here’s a nice live version of the tune, featuring the great John Hiatt as a guest. While the group’s sax player Charles Neville introduces him, he notes the Nevilles had performed a song written by Hiatt on their 1978 eponymous debut album (Washable Ink).
Yellow Moon was the title track of a studio album The Neville Brothers released in March 1989. According to Wikipedia, it peaked at no. 66 in the U.S. on the Billboard 200. Notably, the album was produced by Daniel Lanois who also worked with Bob Dylan, Neil Young, Peter Gabriel, Emmylou Harris and Willie Nelson, among others. He also collaborated with Brian Eno to produce various albums for U2 including my favorite The Joshua Tree.
A review of Yellow Moon by Ron Wynn for AllMusic notes the album charted and remained there for many weeks, while the Nevilles toured and generated lots of interest. It didn’t become a hit, but it did respectably and represents perhaps their finest overall pop LP. The group won a 1990 Grammy for Best Instrumental Pop Performance for another track on that album, titled Healing Chant.
The seeds for The Neville Brothers were planted in 1976 during a recording session of The Wild Tchoupitoulas. This Mardis Gras Indian group was led by the Nevilles’ uncle, George Landry, known as Big Chief Jolly. In addition to the previously noted Art Neville (keyboards, vocals) and Charles Neville (saxophone), The Neville Brothers featured Aaron Neville (vocals) and Cyril Neville (vocals, percussion). All four were siblings and participated in the above recording session.
AllMusic and Wikipedia list nine studio albums The Neville Brothers released during their active period between 1976 and 2012. In the latter year, they formally disbanded but reunited one more time in 2015 for a farewell concert in New Orleans. Charles Neville and Art Neville passed away in April 2018 and July 2019 at the ages of 79 and 81, respectively. Aaron Neville, now 81, is retired. Seventy-two-year-old Cyril Neville, the youngest of the four brothers, still appears to be an active musician.
Happy Wednesday! By now it’s safe to assume more frequent visitors of the blog know that I have to make another important decision today. For less frequent flyers or first-time visitors, I’m about to leave for an imaginary desert island. Since survival without music would be impossible, I have to pick what to take with me on the trip, but there’re a few twists.
I can only select one song at a time. Albums don’t qualify. It also needs to be a tune by a band or an artist I’ve only rarely written about or not covered at all to date. I’m doing this exercise in an alphabetical fashion, largely relying on my own music library.
We’re up to the letter “K”. Some of the options I could have selected include B.B. King, Carole King, The Kinks, Kiss, The Knack, Lenny Kravitz and Kris Kristofferson. Based on the above criteria, my pick is Kansas and Carry On Wayward Son.
I can’t claim much familiarity with the American rock band beyond their best-known tunes, but once I decided to select Kansas, my specific song choice was easy. Carry On Wayward Son is one of my favorite ’70s rock tunes. While I’m usually in the camp of less is more when it comes to guitar riffs, I find the guitar work on this song really cool, even though it’s pretty complex.
Carry On Wayward Son was penned by guitarist Kerry Livgren, one of the band’s founding members, who also played keyboards and sang backing vocals. The song first appeared on the group’s fourth studio album Leftoverture released in October 1976. In November of that year, it also became the record’s first of two singles and the band’s first charting song.
In the U.S., Carry On Wayward Son climbed to no. 11 on the Billboard Hot 100. It would be the group’s second-highest charting single there after Dust in the Wind, the 1978 ballad that reached no. 6 and brought Kansas on my radar screen. Elsewhere, Carry On Wayward Son charted in Canada (no. 5), the UK (no. 51) and Australia (no. 58). Undoubtedly, the tune’s performance helped propel Leftoverture to 5X Platinum certification status in the U.S., making it the band’s highest-selling album to date.
Except for a 7-month break-up period between August 1984 and March 1985, Kansas have been active since 1970. Their origins go back to 1969 when Kerry Livgren and Don Montre (keyboards, backing vocals), who had played together in a group called Reasons Why, formed a new band, Saratoga, together with Dan Wright (keyboards) and Lynn Meredith. In 1970, that group became Kansas. They were joined by Dave Hope (bass) and Phil Erhart (drums). Greg Allen (lead and backing vocals) and Larry Baker (saxophone) completed the inaugural line-up.
After some twists and turns, Kansas released their eponymous debut album in March 1974. It would be the first of 16 records that have appeared to date. The most recent album The Absence of Presence came out in July 2020. At the time, I featured one of the tracks in a Best of What’s Newinstallment.
As you would imagine, Kansas have gone through multiple line-up changes. One of the more significant chapters in the band’s long history was the departure of Livgren in 1983, who had been one of their major songwriters. In the late ’70s, Livgren became a born-again Christian. His lyrics increasingly reflected a Christian perspective, which resulted in growing tension among members of the band and eventually to their above noted short break-up in August 1984.
In March 1985, Ehart and longtime Kansas members Rich Williams (guitars, backing vocals) and Steve Walsh (lead and backing vocals, keyboards, percussion) reunited, joined by Billy Greer (bass, acoustic guitar, backing and lead vocals) and Steve Morse (lead and rhythm guitars, backing vocals). Ehart, Williams and Greer remain with the group’s current line-up.
Following are some additional insights in Carry On Wayward Son from Songfacts:
According to Livgren, the song was not written to express anything specifically religious, though it certainly expresses spiritual searching and other ideas.
Livgren became an evangelical Christian in 1980, and has said that his songwriting to that point was all about “searching.” Regarding this song, he explained: “I felt a profound urge to ‘Carry On’ and continue the search. I saw myself as the ‘Wayward Son,’ alienated from the ultimate reality, and yet striving to know it or him. The positive note at the end (‘surely heaven waits for you’) seemed strange and premature, but I felt impelled to include it in the lyrics. It proved to be prophetic.”
…Sitting at his parent’s home, in front of the family organ, Livgren composed the music for what would become “Carry On Wayward Son.” In late 2011, Livgren stated in a short interview at his home that the lyrics were partially about himself and the struggles and pressures he was facing at the time when the band’s career was on the line. The piano interlude and accompanying verse express how happy the band’s success had made him, as well as how sad and fearful he was that it might possibly be over (“I was soaring ever higher, but I flew too high”). However, the chorus expresses hope that everything will work out and that he must simply keep going. (“Carry on, my wayward son. There’ll be peace when you are done”).
In reality, the song was almost not included on the album, and thus contributes to the album’s title of Leftoverture. The album title comes from the idea that many of the songs are leftover songs from the band’s past. For instance, the string part at the end of the second track, “The Wall”, was an old song idea that was added on to the end of the song for the record. The album, while met with mixed reviews by critics, was commercially successful, going platinum five times. “Carry On” became the bands’ first Top 40 hit (peaking at #11), and is often regarded as one of the greatest rock songs of all time. It gave Kansas the staying power it needed to keep producing records with Kirshner, and earned Kerry Livgren the reputation as one of the most respected musicians and lyricists in rock and roll.
A selection of newly released music that caught my attention
Welcome to the latest installment of my new music revue. As still oftentimes happens, even after having done this weekly feature for about two years, all of my picks represent artists who are entirely new to me. Unless noted otherwise, the tracks appeared on albums that were released yesterday (March 25).
Camp Cope/Running With the Hurricane
Kicking things off are Aussie alternative rock trio Camp Cope from Melbourne. Formed in 2015, the all-female group includes singer-songwriter and guitarist Georgia “Georgia Maq” McDonald, Kelly-Dawn Hellmrich (bass) and Sarah “Thomo” Thompson (drums). Apple Music characterizes Camp Cope’s music as “an angst-ridden sound sitting somewhere between confessional folk-punk and lo-fi pop-punk.” The trio released their eponymous debut album in April 2016. Their sophomore effort How to Socialise & Make Friends from March 2018 marked their breakthrough in the land from down under, reaching no. 6 on the domestic charts. Camp Cope have also toured the U.S. and Europe, which included a headlining tour of North America in 2019. Running With the Hurricane, credited to the entire band, is the pleasant title track of their third and latest album.
Wallows are an alternative rock band based in Los Angeles. Here’s more from their Apple Musicprofile: Wallows’ synth-spiked, sun-soaked indie rock captures an aching nostalgia for romances come and gone, and all the innocence lost in between. It’s a sound inspired by the Los Angeles-based trio’s own evolution: The members have experienced many of their growing pains together, after all. As preteens, singers/guitarists Dylan Minnette and Braeden Lemasters met drummer Cole Preston in Santa Clarita, California, and founded Feaver (who played 2011’s Warped Tour), which became The Narwhals and eventually Wallows in 2017. The group’s debut studio album Nothing Happens yielded the single Are You Bored Yet?, which peaked at no. 2 on Billboard’sAlternative Airplay chart. Missing Out, written by Tevin Toriano Walls, is a track from Tell Me That It’s Over, the second and new full-length record by Wallows.
The Wilder Blue/Feelin’ the Miles
There were many country releases this week, including the eponymous sophomore album by Texas five-piece The Wilder Blue. According to their website, the band features Zane Williams (lead vocals), Paul Eason (lead guitar), Andy Rogers (multi-instrumentalist), Sean Rodriguez (bass) and Lyndon Hughes (drums). It sounds like the band came together in 2019. Their debut album Hill Country appeared in May 2020. Here’s Feelin’ the Miles, a nice laid-back track written by Williams.
Jensen McRae/Take It Easy
Jensen McRae is a singer-songwriter originally hailing from Santa Monica, Calif. McRae who is of Black and white Jewish descent has been singing since her childhood and began taking piano lessons as a 7-year-old. She also plays guitar. Her early influences included Carole King, James Taylor, Stevie Wonder and Alicia Keys. McRae who has been compared to folks artists like Tracy Chapman has described her music as “folk-alternative-pop”. Her debut EP Who Hurt You? came out in June 2021. On March 22, McRae released her first full-length album Are You Happy Now? Here’s Take It Easy, which like all other songs on the record was solely written by McRae. I’m really impressed with this young lady who sometimes reminds me a bit of Joni Mitchell. Check out Wolves, which is included in the below Spotify playlist.
Last but not least, here’s the aforementioned Spotify playlist.
Sources: Wikipedia; Apple Music; The Wilder Blue website; YouTube; Spotify
Today I’m launching a new feature titled If I Could Only Take One…The idea is pretty simple: If I had to move to a desert island and could only take one song by artist or band x, which tune would I pick? This weekly series replaces The Hump Day Picker-Upper feature I retired last week.
For now, I’ve decided to identify the artists and bands by going through my streaming music library in alphabetic order, picking one of each, a to z. This would already translate into 26 posts. If I have more endurance, the same process could be repeated with different picks for each letter.
To minimize redundant content, I also envisage focusing on artists and bands I haven’t covered or only covered a few times. This would exclude bands like AC/DC, The Beatles and The Rolling Stones and artists, such as Bob Dylan, Carole King or Neil Young, to name a few of the regulars on the blog.
My pick for the inaugural installment is Spooky by Atlanta Rhythm Section. In this case, the decision of which song to pick was fairly simple since I only know a handful of tunes by the Southern rock band that has been around since 1970. Their take of the groovy tune was included on their eighth studio album Underdog from June 1979. I’ve always dug it!
Spooky, one of ALR’s best-known songs, was also released separately as a single in August 1979. In the U.S., it reached no. 17 on the Billboard Hot 100. It also charted in Canada and Australia.
Originally, Spooky was written as an instrumental by saxophonist Mike Shapiro and Harry Middlebrooks Jr. Performed by Shapiro and released under the name Mike Sharpe, the track first appeared in 1967 and climbed to no. 57 on the U.S. pop charts. That was all complete news to me!
The next iteration of Spooky occurred in 1968 when a band called Classics IV recorded it as the title track of their debut album – again something I had not heard before. The group’s guitarist and songwriter James Cobb and producer Buddy Buie added lyrics, for which they earned credits. Mike Shapiro played the saxophone solo. And this is how it sounded – pretty similar to ALR.
Two years later, Classics IV keyboarder Dean Daughtry became a co-founding member of Atlanta Rhythm Section, along with Rodney Justo (vocals), Barry Bailey (guitar), Paul Goddard (bass) and Robert Nix (drums). James Cobb joined in 1972.
Spooky has also been recorded by numerous other artists, including Dusty Springfield, Percy Sledge, Martha Reeves, R.E.M. and David Sanborn.
Here’s a playlist of different renditions of Spooky. Unfortunately, I couldn’t find the original instrumental on Spotify.
Today, Carole King turned 80 years – wow, it’s hard to believe! Admittedly, I would have completely missed the occasion, had it not been for a Facebook post I saw earlier this evening.
Ignoring the 80th birthday of one of my longtime favorite singer-songwriters simply wasn’t an option. Carole’s defining solo album Tapestry holds a special place in my heart. I devoted an entire series to this record around its 50th anniversary in February of last year.
Not only is Tapestry a timeless gem, but it also was one of the very first vinyl music records I heard back in Germany when was about eight years old. This album became an essential part of what marked the start of my journey into the beautiful world of music, a journey I’m so glad I embraced, and a journey that continues to this day.
If you’re looking for a recap of Carole’s life and her impressive accomplishments, there’s a great bio on her website. Frankly, I probably couldn’t do better than that. Instead, I’d like to celebrate the happy occasion with some of the great music Carole has written.
I’m going to do this in the form of a Spotify playlist that is focused on Carole’s solo career. In case you’d like to read about her songwriting partnership with Jerry Goffin, you could check the aforementioned bio or this post I published in November 2020.
Let’s get to some music. The following career-spanning playlist is in chronological order, starting with Carole’s solo debut album Writer from May 1970 and going to Tapestry: Live in Hyde Park, released in 2017.