Celebrating music with six random tracks at a time
It’s hard to believe another Sunday is upon us when it feels like the previous one only passed a couple of days ago! In any case, I hope everybody is spending a nice weekend. To make it even better, once again, I’d like to invite you to join me on another music time travel journey!
Our first stop today only takes us back a few years, to September 2019, and the second-to-most-recent studio album, Spectrum, by Japanese jazz pianist and composer Hiromi Uehara. Professionally known as Hiromi, she started her recording career in April 2003 and has since released 11 additional studio albums. Hiromi blends diverse musical genres, such as post-bop, progressive rock, classical music and pop, and is known for her virtuosic technique and energetic live performances. Off the above album is her lovely rendition of The Beatles’Blackbird.
Fats Domino/Ain’t That a Shame
Next, we set our magical music time machine to April 1955 and a song that makes me smile every time I hear it: Ain’t That a Shame by the incredible Fats Domino, who first released the classic as a single. Credited to his birth name Antoine Domino, as well as prominent New Orleans music artist and producer Dave Bartholomew, the tune also appeared on Domino’s March 1956 debut album Rock and Rollin’ with Fats Domino. Man, I love how that song swings. You don’t hear that type of music much these days and, yes, that’s a shame!
Bob Marley and the Wailers/Could You Be Loved
Now that we’re all movin’ and groovin’, let’s kick it up a notch and travel to the early ’80s and a Jamaican who was instrumental in popularizing reggae all over the world: Bob Marley. Creatively borrowing from a 1971 John Lennon quote about Chuck Berry, if you tried to give reggae another name, you might call it Bob Marley. Here’s Could You Be Loved, the best-known track from Uprising, the 12th studio album by Bob Marley and the Wailers, released in June 1980. Sadly, it turned out to be the final release during the life of Bob Marley who passed away in May 1981 at age 36 from melanoma that had spread to his lungs and brain.
B.B. King/The Thrill Is Gone
The time has come for some blues. When I think of that genre, B.B. King is among the first artists who come to mind. One of the most influential blues guitarists of all time, King never showed off when playing his beloved Gibson ES-355, a semi-hollow body electric guitar he called “Lucille”. Here’s The Thrill Is Gone, off King’s December 1969 studio album Completely Well. Co-written by Roy Hawkins and Rick Darnell in 1951 and first recorded by Hawkins that year, The Thrill Is Gone became a major hit for King in 1970. With its lush and somewhat trippy string arrangement, it may not be what you traditionally associate with the blues, but it’s one heck of a gem!
Golden Smog/Red Headed Stepchild
Our next stop takes us to the ’90s and Golden Smog, an alternative country supergroup formed in the late ’80s by members of Soul Asylum, The Jayhawks, Run Westy Run, Wilco and The Honeydogs. After releasing their debut EP On Golden Smog in December 1992, which entirely consisted of covers, the group came out with their first full-length album of original songs in 1995, Down By the Old Mainstream. Red Headed Stepchild was co-written by Dan Murphy and Marc Perlman, of Soul Asylum and The Jayhawks, respectively, who like the band’s other members used pseudonyms for the credits.
Bruce Springsteen/Prove It All Night
You know and I know that once again we need to wrap up another trip with the magical music time machine. We also still need to pay a visit to the ’70s. Let’s do both with The Boss! Prove It All Night, penned by Bruce Springsteen, is a track from Darkness on the Edge of Town, his fourth studio album that came out in June 1978. Like its legendary predecessor Born to Run, the album was recorded with the E Street Band and as usual released under the Bruce Springsteen name only. Well, they don’t call him boss for nothing!
Last but not least, here’s a Spotify playlist of the above goodies. I enjoyed being your imaginary music time travel guide and hope we all do this again next Sunday!
The other day, fellow blogger Max from PowerPopfeaturedSweet Little Sixteen by Chuck Berry, and we started exchanging comments about Berry’s importance in shaping early guitar-driven rock & roll. When I heard the iconic intro to Johnny B. Goode for the first time as a young cat, I wanted to be able to play like that. Once I got my first electric guitar at around 14 or 15, I tried very hard, but my fretting fingers just wouldn’t cooperate very well.
Berry’s playing was actually pretty crude, but it just sounded cool. And what a terrific showman he was. Only much later did I realize how great his lyrics were. I also learned that like many of my music heroes, Berry was no angel. All of this made me think of a post I first published in August 2017. Instead of writing about Berry’s original recordings, I thought it would be fun to feature great covers of his songs performed by other artists. So, here is that post again, slightly edited and with a Spotify playlist added as a bonus.
Chuck Berry Classics Performed By Other Artists
A list of covers from AC/DC to The Yardbirds
A few days ago, I coincidentally came across a previously created iTunes playlist I had completely forgotten about: Covers of Chuck Berry classics performed by other music artists. I thought it would be fun to develop a post around this theme.
While no one artist can claim they created an entire genre of music, there is a reason why Berry was known as Mr. Rock & Roll. In any case, the number of other artists who covered his tunes sure as heck is impressive.
English blues and boogie rock band Foghat included a killer version of Maybelline on their 1972 eponymous album. The tune was written and recorded by Berry in 1955, and first released as a single in July that year. It also appeared on his 1959 iconic third study album Chuck Berry Is On Top, which also included many of his other major hits. Here’s a great clip of the tune from a Foghat live performance.
AC/DC recorded a cool cover of School Days for their second Australian studio album T.N.T., which appeared in December 1975. Originally, Berry released the song as a single in March 1957, two months ahead of his debut studio album After School Session.
Too Much Monkey Business/The Yardbirds
Too Much Monkey Business is the first track on Five Live Yardbirds, the band’s terrific debut live album from 1964. Berry released the song as his fifth single in September 1956. It was also included on the After School Session album.
Sweet Little Sixteen/John Lennon
John Lennon recorded a nice Memphis soul-style cover of Sweet Little Sixteen for Rock ‘n’ Roll, his sixth studio album from 1975. Berry released the track as a single in January 1958. It was also included on his second studio album One Dozen Berries, which appeared in March 1958.
Rock & Roll Music/The Beatles
Rock & Roll Music is among my favorite rock & roll covers by The Beatles. They included it on their 1964 fourth studio album Beatles For Sale. Berry initially released the tune as a single in September 1957. It also appeared on the One Dozen Berrys studio album. Unfortunately, I couldn’t find a clip of the Beatles’ studio version, so here is a live performance captured from a 1965 performance in Paris. [Actually, nothing unfortunate about it. Rock & Roll Music is now available on YouTube, but I decided to keep that live clip – CMM]
Carol/The Rolling Stones
I’ve always loved the cover of the song The Rolling Stones recorded. Initially, they included it on their 1964 eponymous debut album, but my favorite version appeared on the fantastic 1970 live record Get Yer Ya-Ya’s Out!. First released in 1958 as a single, Carol is also one of the gems from Chuck Berry Is On Top. Here’s a great clip of the Get Yer Ya-Ya’s Out version. [Damn, I’ve said it before and I say it again, the Stones never sounded as great as on that live album – CMM]
Johnny B. Goode/Jimi Hendrix
If I only had one classic rock & roll tune to choose, it would be Berry’s 1958 gem Johnny B. Goode, which first appeared as a single in March that year and is yet another highlight from Chuck Berry Is On Top. Who could possibly do a better cover of it than Jimi Hendrix? Here is a great clip of Hendrix absolutely killing it live – not sure whether it is the same performance that was also captured on Hendrix in the West, a 1972 posthumous live album. [Kind of funny how Hendrix asks the audience whether his music is too loud! – CMM]
Little Queenie/The Kentucky Headhunters with Johnnie Johnson
Frankly, I do not quite remember how I came across this cover of Little Queenie when I put together the above iTunes playlist, but I find it pretty awesome. It’s performed by country and southern rock band The Kentucky Headhunters featuring Johnnie Johnson, a jazz, blues and rock & roll pianist, and was included on a 2015 release titled Meet Me In Bluesland. Originally, Berry released Little Queenie as a single in 1959, another tune from Chuck Berry Is On Top.
Roll Over Beethoven/Electric Light Orchestra
It’s safe to say this is one of the most unique covers of the track performed by Electric Light Orchestra. Blending elements of classical music with rock & roll and other styles of rock, ELO is one of the weirdest ’70s bands, in my opinion. While most of their productions were bombastic and completely over the top, I still have to admit there is something intriguing about their music. Their 8-minute-plus cover of Roll Over Beethoven was included on their eponymous second studio album, which was released in 1972. Berry first recorded the tune as a single in May 1956. It also appeared on Chuck Berry Is On Top. The following clip is an abbreviated live version of the song, captured from a 1973 performance on The Midnight Special, an American late-night music variety show that aired during the 1970’s and early ’80s.
This cover from The Hollies was included on the band’s debut album Stay With The Hollies, which appeared in the U.K. in January 1964. The track was also included on the U.S. version of the album titled Here I Go Again, released in June that year. Berry first recorded Memphis as a single in 1959.
The original post, which was published on August 26, 2017, ended here. Man, this is classic rock & roll, and I hope you guys had as much fun revisiting these tunes as I did! Following is the aforementioned Spotify playlist.
Celebrating music with six random tracks at a time
Happy Sunday and welcome to another trip, leaving these crazy times behind and visiting the great world of music, including six tunes in different flavors from different decades. All aboard our magic time machine, fasten your seatbelt, and off we go!
Chick Corea/Crystal Silence
Today’s journey starts in September 1972 with beautiful music by Chick Corea, off his first self-titled album with his then-newly formed jazz fusion group Return to Forever. The jazz pianist had started his professional and recording career in the early ’60s as a sideman for Mongo Santamaria, Willie Bobo, Blue Mitchell, Herbie Mann, Stan Getz and Miles Davis. He also had launched his solo career in 1966 and released more than 10 albums under his name. In fact, technically, Return to Forever appeared as a Chick Corea record. The band of the same name had multiple line-ups over their long on-and-off run that ended with Corea’s death from cancer in February 2021 at the age of 79. In addition to Corea (electric piano), at the time of their eponymous debut album, the group featured Flora Purim (vocals, percussion), her husband Airto Moreira (drums, percussion), Joe Farrell (flute, soprano saxophone) and Stanley Clarke (bass). Check out the gorgeous Corea composition Crystal Silence – the combination of Farrell’s saxophone and Corea’s Fender Rodes is just mesmerizing!
Marc Cohn/Walking in Memphis
Let’s move on to February 1991 and a song I instantly fell in love with when I heard it for the first time back in Germany: Walking in Memphis, the biggest hit for American singer-songwriter Marc Cohn, off his eponymous debut album. The tune was also released separately as the album’s first single in March of the same year. Cohn’s signature song reached high positions on various U.S. charts, including no. 7 on Billboard’sMainstream Rock and no. 13 on the Hot 100. The single also did well on mainstream charts elsewhere, including Canada (no. 3), Australia (no. 11), the UK (no. 22) and Germany (no. 25). This was pretty much mirrored by the performance of the album, for which Cohn won the 1992 Grammy Award for Best New Artist. He has since released five additional albums, which charted as well but could not match the success of the debut. After taking a break between 1998 and 2004, Cohn remains active to this day. In August 2005, he cheated death when he was shot in the head during an attempted car-jacking in Denver, Colo. Sadly, these types of incidents and even much worse happen in the U.S. all the time, yet nothing ever seems to change!
Cream/Sunshine of Your Love
Time to pay a visit to the ’60s and what may well be called the ultimate British supergroup: Cream. During their short career of less than two and a half years, the power trio of bassist Jack Bruce, guitarist Eric Clapton and drummer Ginger Baker recorded four albums featuring some of the best blues rock, psychedelic rock and acid rock coming out of the UK during that time period. Sunshine of Your Love, credited to Bruce, Clapton and lyricist Pete Brown, began as a bass riff Bruce came up with after he had attended a concert by the Jimi Hendrix Experience in London in January 1967. The tune first appeared on Cream’s sophomore studio album Disraeli Gears in November 1967. It was subsequently released as a single in the U.S. and the UK in December 1967 and September 1968, respectively. Two months after the UK single had come out Cream dissolved. Given the bad fights between Bruce and Baker, which also turned physical, it’s a miracle they lasted that long and nobody was killed.
Dire Straits/Brothers In Arms
Our next stop is May 1985, which saw the release of Dire Straits’ second-to-final album Brothers In Arms. I still well remember when it came out, in part because it was among the first all-digitally recorded albums and sounded absolutely amazing. I guess it’s fair to say Brothers In Arms is best known for Money For Nothing, which became the British group’s most commercially successful single. While it’s certainly a good tune, I feel it was heavily over-exposed on the radio. I also think there’s more to the album than its mega-hit. One of the tunes I’ve always liked is the title track. Like Money For Nothing, it was written by Mark Knopfler, though Sting who provided the falsetto vocals also received a writing credit for Money For Nothing. Brothers In Arms also appeared separately as a single, but it didn’t match the other tune’s chart performance. It came very close in New Zealand where it peaked at no. 5, just one spot below Money For Nothing.
Let’s speed things up a few notches with one of my all-time favorite classic rock & roll songs. In order to do that we shall travel back to March 1958 when Chuck Berry first released Johnny B. Goode as a single. Written by Berry, it became one of his best-known tunes, though amazingly it didn’t reach the top of any chart – really mind-boggling from today’s perspective! But it came close in the U.S. where it peaked at no. 2 on Billboard’sHot Rhythm & Blues Singles chart. It also climbed to no. 8 on the mainstream pop chart. Johnny B. Goode was also included on Berry’s third studio album Chuck Berry Is On Top, together with other classics like Carol, Maybellene, Little Queenie and Roll Over Beethoven. While Berry didn’t invent rock & roll, it’s fair to say rock & roll wouldn’t have been the same without him.
And once again another music journey is reaching its final destination. For this pick, we jump back to the present and a band I had not heard of before until a few weeks ago: CVC, which NME in this review describes as a Welsh psych-rock band. Also known as Church Village Collective, they were founded three years ago. It amazes me time and again how music groups have websites that don’t provide any background whatsoever! At least there’s a Spotify profile, which notes the six-piece named themselves “after the sleepy Welsh town they come from” and “are influenced by Snoop Dogg, Crosby, Stills & Nash, Super Furry Animals and Red Hot Chili Peppers.” CVC are Francesco Orsi (vocals), David Bassey (guitar, vocals), Elliot Bradfield (guitar, vocals), Daniel ‘Nanial’ Jones (keyboards), Ben Thorne (bass) and Tom Fry (drums). This brings me to Hail Mary, a nice tune from the band’s full-length debut album Get Real.
Last but not least, here’s a Spotify playlist featuring the above tunes. Hope there’s something here you dig!
Recently, I came across a post from September 2018 about British boogie rockers Status Quo and felt it deserved to be republished. So here we are and here we are and here we go, all board and we’re hittin’ the road, here we go, with a Spotify playlist added at the end.
Three Chords, Straight Beats And Catchy Hooks
Status Quo have stayed true to their trademark boogie rock for more than 45 years
The other day, I spotted a live album from Status Quo called Down Down & Dirty At Wacken, (a place in northern Germany of an annual open air heavy metal festival), which was released only a couple of weeks ago. While starting to listen, I was reminded what a fun live band they are and how they’ve pretty much stuck with the same formula since 1970 when they changed from psychedelic to boogie rock. This brilliant insight inspired the idea of a post and playlist!
The origins of Status Quo date back to 1962 when high school mates Frances Rossi (guitar), Alan Lancaster (bass), Jess Jaworski (keyboards) and Alan Key (drums) formed a band called The Scorpions in London (not related to and predating the German hard rock band Scorpions by three years). In 1965, Rossi met guitarist Rick Parfitt. They became friends and later that year started what would become a longtime collaboration until Parfitt’s untimely death in December 2016 at the age of 68. The following summer, the band, which had changed their name to The Spectres, got their first record deal, with Piccadilly Records, and released various commercially unsuccessful singles.
By 1967, the band had embraced psychedelic music, became Traffic, then Traffic Jam to avoid confusion with Steve Winwood’s Traffic, and eventually Status Quo in August that year. Parfitt had joined them as rhythm guitarist the previous month. January 1968 saw the release of Status Quo’s first hit single Pictures Of Matchstick Men. This was followed by their debut studio album Picturesque Matchstickable Messages From Status Quo in September – gee, what a memorable title!
After the release and commercial failure of Status Quo’s second album Spare Parts in September 1969, the band decided to change their musical style to straight boogie-oriented rock – a decision that is safe to assume they didn’t regret! Piledriver, their fifth studio record from December 1972, finally brought the breakthrough, peaking at no. 5 in the U.K. charts. Since then, Status Quo have released 27 additional studio albums. Their impressive catalog also includes 10 live records and nine compilations.
Given the band’s faithful adherence to the three-chord boogie rock formula, their music starts sounding repetitive after a little while. But so do Chuck Berry and The Beach Boys’ surf rock, to name two artists who spontaneously came to mind! Besides, if it’s fun, who cares! Okay, enough of the blah-blah-blah and time for some of that repetitive music!
While the band’s psychedelic phase was comparatively short, it’s still part of their long history, so I’d be amiss not to acknowledge it. My favorite tune I know from that phase is the above-mentioned Pictures Of Matchstick Men, which was written by Rossi. It climbed to no. 7 on the U.K. Singles Chart and reached the top 10 in many other European countries. In the U.S., it peaked at no. 12 on the Billboard Hot 100, the only Status Quo song that got noticed in America. In addition to its release as a single, it was also included on the band’s debut album.
Next Up: Paper Plane from the Piledriver album. The song was co-written by Rossi and Bob Young. Since 1969, Young had contributed to writing Status Quo’s music and was often called their unofficial fifth member. He frequently joined the band during live performances in the ’70s and also occasionally thereafter.
Another co-write by Rossi and Young is Caroline, which became a no. 5 hit in the U.K. in August 1973, Status Quo’s highest charting single at the time. The tune was also included on the band’s sixth studio album Hello!, which appeared in September that year.
In November 1974, Status Quo scored their first of two no. 1 singles in the U.K. with Down Down. Yet another Rossi/Young co-write, the song also appeared on the band’s eighth studio record On The Level from February 1975.
Perhaps my favorite Status Quo tune is Rockin’ All Over The World. As a boogie rock fan, how can you not love that tune, which was written and first recorded by the great John Fogerty in 1975! Status Quo released their cover as a single in September 1977. It also became the title track of their tenth studio album that came out in November of the same year. Since this tune is made for live performances, I chose the following clip captured during a 1990 concert in Knebworth, England.
Whatever You Want is another Status Quo classic. It was co-written by Parfitt and keyboarder Andy Bown, who has performed on all of the band’s albums since Rockin’ All Over The World and became a full member in 1982. One of the things I’ve always liked about this tune is the cool-sounding guitar intro.
Status Quo’s biggest hit in the ’80s was their cover of Bolland & Bolland’sIn The Army Now from September 1986, which topped the charts in various European countries, including Austria, Germany, Ireland and Switzerland. In the U.K., the tune peaked at no. 2. Since I’m not particularly fond of it, I’m highlighting another cover instead: The Wanderer from October 1984. Written by Ernie Maresca, the tune was first recorded and released by Dion in November 1961. While I prefer the original, Quo’s cover isn’t bad either.
To make this playlist career-spanning, I also like to touch on Status Quo’s music beyond the ’80s. Since I’m basically not familiar with it, it’s a bit of a challenge. As such, the remaining selections for this playlist are somewhat arbitrary. Here’s Can’t Give You More from the band’s 20th studio album Rock ‘Til You Drop, which appeared in September 1991. Written by Bown, the tune is another typical Status Quo boogie rocker – if you like Quo’s ’70s music, you can’t go wrong with this one.
Jumping to the current century, in September 2002, Status Quo released Heavy Traffic, their 25th studio record, which peaked at no. 15 on the charts in the U.K. and earned them silver status there. Here’s Creepin’ Up On You, which was co-written by Parfitt and then-Quo bassist John ‘Rhino’ Edwards. It’s shuffling along nicely!
The final studio release I’d like to touch on is called Acoustic (Stripped Bare) from October 2014. It’s a compilation of stripped-down versions of previously recorded Status Quo songs. While there’s no new material here, I’m kind of intrigued by this album and will probably further explore it. The record became another success for Quo in the U.K., climbing to no. 5 on the charts and earning Gold certification there – not too shabby for a band that by then had been around for 52 years, if you include their 1962 origins; if you start counting from when they became Status Quo, it still adds up to a mighty 47 years! Here’s Again And Again, a tune credited to Parfitt, Bown and Jackie Lynton, and first recorded for the band’s 11th studio album If You Can’t Stand The Heat from October 1978. It’s got a nice Cajun feel to it!
So what’s going on with Status Quo these days? Well, it’s more three chords, straight beats and catchy boogie rock – in other words the status quo – that was clever, huh? Rossi remains the only founding member. Bown (keyboards) and Edwards (bass) are still around as well. The current lineup, pictured on top of the post, is rounded out by Leon Cave (drums) and Richie Malone (rhythm guitar), who replaced Parfitt in July 2016, after he had suffered a stroke and could no longer perform.
I already mentioned the new live album. In addition, a look on setlist.fm revealed the band has been pretty busy touring Europe since May. The current tour schedule on their website shows upcoming gigs in Lisbon, Portugal (Sep 29); Innsbruck, Austria (Oct 4); Kempten, Germany (Oct 5); and Zurich, Switzerland (Oct 6).
The original post, which was published on September 7, 2018, ended here. In September 2919, Status Quo released their 33rd studio album Backbone. Remarkably, it debuted at no. 6 on the UK albums chart. Not only was it their highest-charting album of original material since 1+9+8+2 (1982), but it also marked their 25th album in the UK that charted in the top 10. Between February and December 2022, Quo toured Europe. According to Wikipedia, over some 48 years of touring activity, they have played at least 3,700 documented gigs. Including undocumented gigs, the band estimates the real total is over 6,000 shows. Any of the two figures is pretty impressive!
Last but not least, here’s the previously mentioned Spotify list featuring the above and some additional tunes.
After having published this blog for more than six and a half years, a post on Little Richard’s debut album may seem to come out of left field, given my previously expressed longtime love of ’50s rock & roll. Moreover, it’s not the first time I’m writing about Richard and some of the songs on that album, Here’s Little Richard. In this case, the trigger was a cover of Long Tall Sally I heard yesterday by Delbert McClinton, who was on my radar screen thanks to fellow bloggers Max (PowerPop) and Cincinnati Babyhead, aka CB. As such, blame them if you don’t like it! 🙂
McClinton’s above rendition of Long Tall Sally appears on his most recent album Outdated Emotion from May 2022, a great covers collection of old blues, rock & roll and country songs. While he does a nice job with this rock & roll classic, it made me think of the incredible original and that nobody I know has done it better than Little Richard – not even my all-time favorite band The Beatles, though I dig their rendition as well. One thing led to another, and I found myself listening to Richard’s original, followed by the entire record – and, holy cow, what an album!
When Here’s Little Richard was released in March 1957, it was advertised as “six of Little Richard’s hits and six brand new songs of hit calibre.” ‘Okay,’ you might think, ‘so it’s more of an early greatest hits record combined with a few additional tunes.’ True, though putting previously released singles on a record was quite common back in the day. Plus, in any case, this doesn’t change the fact it’s a record packed with amazing music I’m thrilled to write about!
In September 1955, Richard signed with Specialty Records after he had sent a demo there and the label’s owner Art Rupe loaned him money to buy out his contract with his current label Peacock. Rupe also hooked up Richard with producer Robert “Bumps” Blackwell. Wikipedia notes that apart from overseeing Richard’s early hits, Blackwell is best known as grooming Ray Charles, Quincy Jones, Ernestine Anderson, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams and Sly and the Family Stone at the start of their music careers.
In October 1955, Tutti Frutti backed by I’m Just a Lonely Guy became Richard’s debut single for Specialty Records and his first-charting song in the U.S. Five more singles followed prior to the release of Here’s Little Richard, including three that were included on the album: Long Tall Sally/Slippin’ and Slidin’ (March 1956), Rip It Up/Reddy Teddy (June 1956) and Heeby-Jeebies/She’s Got It (October 1956). The album, which was recorded in New Orleans and Los Angeles, was Specialty’s first 12-inch LP. Let’s take a closer look at some of the goodies!
First is Tutti Frutti, a song I had first heard and come to love by Elvis Presley. Written by Richards in 1955 while working as a dishwasher at a Greyhound bus station in his hometown of Macon, Ga., the tune was credited to Richard Penniman (Richard’s birth name was Richard Wayne Penniman) and Dorothy LaBostrie who had been asked by Blackwell to revise some of Richard’s original lyrics, which Blackwell felt were too racy. “Awap bop a lup bop a wop bam boom” was kind of his catch phrase, something he would reply to folks who asked him how he was doing, according to Songfacts.
True, Fine Mama was one of the six “brand new tunes”. Solely penned by Richard, it didn’t become a hit, as far as I know. It also wasn’t released as a single. That said, the tune’s beginning sounds exactly like Good Golly, Miss Molly, which first appeared as a single in January 1958 and became another hit for Richard. Both tunes are great examples of his frenetic piano playing. You can literally picture him beating the crap out of the piano keyboard.
On Can’t Believe You Wanna Leave, written by Leo Price, Richard sounds like Fats Domino. It’s safe to assume this wasn’t a coincidence. Richard liked Domino’s sound and also thought of him highly otherwise. In October 2027 in the wake of Domino’s death, he toldBillboard that “He’s the greatest entertainer that I ever known. Black, white, red, brown or yellow, he’s a just good guy and I thank God for giving me the opportunity to know him. I love him.”
Next up is the song that inspired this post, which I simply couldn’t skip. Long Tall Sally, another tune Richard wrote during his time as a dishwasher for Greyhound, was credited to him, Blackwell and Enotris Johnson. It became his biggest hit, topping the R&B chart and climbing to no. 6 on the pop chart in the U.S., while reaching no. 3 in the UK. SongfactsnotesThere really was a “Long Tall Sally,” but she was not a cross-dresser as sometimes reported. Little Richard explained that Sally was a friend of the family who was always drinking whiskey – she would claim to have a cold and would drink hot toddies all day. He described her as tall and ugly, with just two teeth and cockeyed. She was having an affair with John, who was married to Mary, who they called “Short Fat Fanny.” John and Mary would get in fights on the weekends, and when he saw her coming, he would duck back into a little alley to avoid her. Man, that tune is cooking – I simply can’t listen to it without starting to move. And if I ever do it means I’m probably dead!
Miss Ann, credited to Penniman and Johnson, is another example of a brand new tune. According to Songfacts, Some of Little Richard’s songs are based on real experiences, and this one is about a woman named Ann Johnson. Along with her husband Enotris Johnson, Ann, who was a white woman from Macon Georgia, took in Little Richard after he was kicked out of his house for what Richard once claimed was because of his homosexuality. The Johnson’s ran the Tick Tock Club, where Richard first performed. I wonder whether the personal connection is a reason why Entrois Johnson received a writing credit for the tune.
The last song I’d like to call out is Jenny Jenny, which if I see it correctly still was new when the album appeared. It was credited to Penniman and Johnson as well. Unlike the other new songs, Jenny Jenny also became one of Richard’s highest-charting tunes, similar to Long Tall Sally. In the U.S., it peaked at no. 2 on the R&B chart and climbed to no. 10 on the mainstream chart. In the UK, it reached no. 11.
Here’s Little Richard is a breathtaking record full of energy, which still sounds great nearly 66 years after its release. I recall I previously wrote Chuck Berry’s 1959 album Chuck Berry Is On Top might as well be titled ‘The Greatest Hits of Classic Rock & Roll’. Frankly, I think Little Richard’s debut belongs in the same category. So perhaps Berry’s album could be called ‘The Greatest Hits of Guitar-Driven Rock & Roll’, while an alternate title for Richard’s debut could be ‘The Greatest Hits of Piano-Driven Rock & Roll’. I guess it doesn’t really matter.
I should also call out the dynamite musicians who backed Richard on the album. Some include Lee Allen (tenor saxophone), Alvin “Red” Tyler (baritone saxophone), Edgar Blanchard (guitar), Frank Fields (bass) and Earl Palmer (drums), who were all leading figures of New Orleans rock and roll and R&B. Allen later became a member of The Blasters. Palmer was one of the most prolific session musicians who played on thousands of albums. His obituary by The Associated Press from September 2008 noted Little Richard said that Palmer “was probably the greatest session drummer of all time,” citing Richard’s autobiography and the Rock & Roll Hall of Fame’s website rockhall.com.
Last but not least, here’s a Spotify link to the album. Hope you dig it as much as I do!
Sources: Wikipedia; Songfacts; Billboard; Associated Press/New York Times; YouTube; Spotify
Young singer-songwriter from Michigan small town sounds like an old soul who has seen and done it all
Welcome to my second full-album review of 2023. Not only is it music by another contemporary artist, but it’s also brand new – a promising start of the year, which makes me very happy!
When I first came across Myron Elkins last Friday while doing research for my most recent Best of What’s New installment, I simply couldn’t believe I was listening to a 21-year-old artist. Based on his sound and especially his gritty vocals, you could picture this young singer-songwriter from Otsego, Mich. jam with the likes of The Allman Brothers Band, ZZ Top and Tom Petty back in the ’70s!
Before getting to some music from Elkins’ debut album Factories, Farms & Amphetamines, released on January 13, I’d like to touch on his background story. According to his website, while being exposed to music as a kid, taught by his grandfather how to play guitar and starting to write his own songs at 14 or 15, Elkins did not set out to become a professional singer-songwriter. Instead, after high school graduation, the then-17-year-old became a welder in a local factory. Then his trajectory changed.
Three years ago, a relative signed Elkins up for a local battle of the bands competition, even though his music performance experience had been limited to the church and a few gigs at local bars. Elkins also had no band at the time, so he quickly gathered three cousins and a friend to join him. They had three weeks to rehearse. While Elkins’ band “only” came in second, the experience started to change his path.
For the next three years, Elkins and his band members continued to practice nearly every day while working regular jobs. Recording in a studio was a big step forward for the nascent group, according to his website. Luckily, Elkins and his band were already fans of [producer] Dave Cobb’s live-band production style before signing with Elektra/Low Country Sound, and so they relished the chance to record with him at his studio, Nashville RCA Studio A. Cobb has worked with the likes of Chris Stapleton, Brandi Carlile, John Prine, Sturgill Simpson, Jason Isbell, The Highwomen and Rival Sons.
Time for some music. Here’s the album’s opener Sugartooth. To me, it sounds a bit like Tom Petty channeling Chuck Berry’sMemphis Tennessee. Check this out!
Since I highlighted the album’s title track in my aforementioned Best of What’s Newinstallment, I’m skipping it here to go right to Hands To Myself. The groovy and soulful tune addresses the touchy subject of domestic use…You can hope you can pray that maybe someday/Someone will love someone will help and put you on some kind of shelf/Oh I swear ill never learn to keep my hands to myself…“I’m writing about where I come from,” Elkins explains on his website. “Things I’ve seen and things I’ve heard. I had only been out of Michigan one time—to Graceland—before I started the band, so that little part of Michigan is all I really knew when writing this album.”
Wrong Side Of The River has a country rock flavor. Elkins’ website notes the tune encourages embracing where you’re from, because a supportive home life can make all the difference even if you’re not living on the so-called right side of town.
On Nashville Money, a nice bluesy rocker, Elkins muses about life as a professional music artist…With that Nashville money/gonna take care of my hopes and dreams/With that Nashville money/Gonna make a big star out of me…
Let’s take a look at one more tune: Machine, a funky rock tune with a cool bass line.
As briefly noted above, Factories, Farms & Amphetamines was recorded live in studio at the storied RCA Studio A in Nashville. In early 2016, Dave Cobb took over the historic landmark for his Low Country Sound record label imprint. Apart from Chris Stapleton and Jason Isbell, some of the other artists who worked there include The Beach Boys, Joe Cocker, Waylon Jennings, B.B. King, Loretta Lynn, The Monkees,Dolly Parton, Leon Russell and George Strait.
In addition to Elkins (guitar, vocals), the album also features the members of his touring band: Caleb Stamphler (guitar), Avery Whitaker (guitar), Nathan Johnson (bass) and Jake Bartlett (drums). Here’s a Spotify link to the entire album:
Reflecting on working with producer Dave Cobb, Elkins states on his website: “I came in with probably 30 songs that we had widdled down from 50-60. Dave would just sit down with us and say ‘ok, let’s hear what you got.’ He knew pretty quickly which ones he wanted to dive into, and from there, it was just kind of a Dave Cobb crash course. We’d only been in the studio one time before that, so there might have been a thing or two that we needed to learn.”
Encouraged by the experience, apparently, Elkins is already looking forward to recording more music. “Now when I’m writing songs, I have all these Dave-isms in my head—like, ‘Oh, yeah, there we go. All right, throw this here.’”, he notes. “Before we recorded Factories, Farms & Amphetamines, I thought maybe you had to be a superhero to make a record. Next time, it’s going be a little easier.”
Elkins is off to a great start as a recording artist, and he’s only 21 years old. I think we can look forward to more great music from this talented young artist.
Tonight I’m leaving for Germany to spend Christmas with my parents. Therefore, I’ve decided to put the blog on a short hiatus until my return close to the new year. In lieu of Song Musings, my weekly feature looking at tunes I’ve only mentioned in passing or not covered at all to date, I’m republishing a post that first appeared recently on Dave’s blog A Sound Day as part of his fun Turntable Talk series. The topic was perfect for this time of the year: “Songs of the Season”, i.e., writing about a Christmas/holiday song the invited participants love and why it has meaning to them. Following is what I contributed.
Once again, I’m happy to share my thoughts for Turntable Talk – thanks, Dave, for keeping this great feature going and inviting me back.
When I received the notification with the topic, it immediately took me back to my years growing up in Germany. I have fond memories of Christmas, which was a pretty big deal in my family.
For many years, we (my parents, my six-year-older sister and I) drove to Heidelberg to gather at my grandma’s (from my mom’s side) house. My dad picked up his parents, who also lived in Heidelberg, and we all celebrated Christmas eve (December 24) together.
Every year, my grandma got a Christmas tree – a relatively small but real tree with real candles – nothing like the scent of wax candles! On many occasions, my sister and I got to decorate the tree. While working we listened to my favorite mainstream radio station where they played song requests from listeners. Apart from straight pop songs, there were many, typically modern Christmas songs, such as John Lennon’sHappy Xmas (War Is Over), Chuck Berry’sRun Rudolph Run and Wham’sLast Christmas.
Christmas songs weren’t limited to the radio. My grandparents liked to sing traditional Christmas carols on December 24 in the evening before we exchanged Christmas presents. This was preceded by my dad lighting the candles on the Christmas tree and switching off all other lights in the room. It was a festive atmosphere I enjoyed, especially as a small child. I was also full of anticipation about opening presents, which would follow the singing!😊
This brings me to my Christmas song pick. There are many Christmas tunes I like, both traditional carols and modern Christmas songs. For this post, I decided to select a traditional Christmas carol performed by what I think probably is the best vocal group I know: Silent Night by The Temptations.
Composed in 1818 by Austrian church organist and composer Franz Xaver Gruber to lyrics by Joseph Mohr, an Austrian Roman Catholic priest and writer, Stille Nacht, Heilige Nacht became a popular Christmas carol. It was first performed on Christmas Eve 1818 at St. Nicholas parish church in Oberndorf, a village in the Austrian Empire on the Salzach river in present-day Austria. In 1859, the Episcopal priest John Freeman Young, then serving at Trinity Church in New York City, wrote and published the English translation that is most frequently sung today, translated from three of Mohr’s original six verses.
Silent Night has appeared in various films and television specials. It has also been recorded by numerous artists, such as Nat King Cole, Percy Sledge, Elvis Presley, Mariah Carey and, of course, The Temptations. The mighty-sounding vocal group from Detroit included it on their second Christmas album Give Love At Christmas, released in August 1980.
In addition to being a beautiful song with an outstanding vocal rendition by The Temptations, Silent Night (Stille Nacht, Heilige Nacht) has a special meaning to me. It is one of the carols my family and I used to sing each Christmas eve back in Germany.
Before signing off temporarily, if you celebrate it, Merry Christmas. If you don’t, have a great time anyway!
It’s been about seven weeks since the last Musings of the Past, a feature that roughly runs once a month where I revisit previous posts published at a time when this blog was in its younger days. I guess I missed November! With the holiday season being in full swing, I thought this would be an opportune moment to republish a post from December 2017, which featured a variety of modern Christmas songs from various music genres. The Spotify playlist at the end wasn’t in the original post.
Making Your Christmas Groove
A list to get you into the mood for that most wonderful time of the year
When I was looking back at previous posts on the blog, I came across a list of Christmas rock, soul, rap and pop tunes I had put together last year [December 2016 – CMM]. For the most part, I still stand behind it and thought it would be fitting to publish a slightly updated version.
One of the things I liked to do during the Christmas holiday while growing up in Germany many moons ago was to listen to my favorite radio station, which was then called SWF III. At that time of the year, the DJs would frequently play song requests from listeners.
Not surprisingly, Christmas pop and rock songs were high in demand. Some of these tunes became seasonal anthems, such as Wham’sLast Christmas, Paul McCartney’sWonderful Christmas Time and Band Aid’sDo They Know It’s Christmas. Okay, maybe these are not the most compelling examples, but these tunes come to mind first when I think about those times.
Some folks may cringe at the thought of pop and rock artists dressing up as Santa and performing Christmas songs, whether they are covers of traditional tunes or new songs with holiday themes. Others may get cynical about music artists and record companies suddenly discovering Jesus and Santa when people conveniently are willing to spend insane amounts of money on Christmas presents. I get all of that and being cynical about it is not unfounded.
I still think there are some great Christmas rock and pop songs that have come out over the years – in fact, make that over the decades! Plus, let’s be honest, while many traditional Christmas tunes have beautiful melodies, they don’t exactly groove. I don’t know about you, but I like listening to music that makes me want to get up and move – by the way, probably not such a bad thing during the holiday season when many folks like to indulge on food and drink. So how about rockin’ and rollin’ off that of these extra calories!
Below are clips of some of my favorite Christmas rock and pop tunes in no particular order: From John Lennon’s haunting Happy Xmas(War Is Over) to Chuck Berry’s rockin’ & rollin’ Run Rudolph Run to Run-D.M.C.’s cool rap Christmas in Hollis to AC/DC’s hard-charging Mistress For Christmas to a fantastic live version of Feliz Navidad with José Feliciano and Daryl Hall tothe unforgettable James Brown and his funky Santa Claus Go Straight to the Ghetto, these tunes come in many different genres!
John Lennon/Happy Xmas (War Is Over) (1971)
Chuck Berry/Run Rudolph Run (1958)
The Pogues/Fairytale Of New York (1987)
Run-D.M.C./Christmas In Hollis (1987)
AC/DC/Mistress For Christmas (1990)
José Feliciano & Daryl Hall/Feliz Navidad (2010)
James Brown/Santa Claus, Go Straight To The Ghetto (1968)
The Ravers/(It’s Gonna Be) A Punk Rock Christmas (1978)
Bruce Springsteen and The E Street Band/Santa Claus Is Coming To Town (2007)
– End –
The original post, which was published on December 21, 2017, ended here. And, yes, I kept Springsteen’s version of Santa Claus Is Coming to Town, even though I snarkily commented the other day this tune has been overexposed – oh, well, it was part of the original post. Plus, it’s certainly not terrible!
The Spotify playlist is an addition. Instead of The Ravers, it features a rendition of It’s Gonna Be A Punk Rock Christmas by UK pop punk band Majorettes. Feliz Navidad is the studio version José Feliciano recorded in 1970, not the live performance with Daryl Hall captured in the clip. The playlist also includes some additional tunes. Season’s Greetings!
Live at The Fillmore (1997) is packed with covers and original tunes captured during 20-show run at storied San Francisco venue
In 1997, Tom Petty and The Heartbreakers played 20 shows at The Fillmore in San Francisco. Now Live at the Fillmore (1997), a long-anticipated box set that appeared on November 25, captures highlights from the band’s residency in the city by the bay. And what a truly amazing celebration of rock & roll it is!
“We’re musicians and we want to play,” Tom Petty told the San Francisco Chronicle ahead of the 20-show run, as noted in a statement on Petty’s website, which announced the box set back in September. “We’ve made so many records in the past five years, I think the best thing for us to do is just go out and play and it will lead us to our next place, wherever that may be.”
Here’s more from the above press release: The shows at the Fillmore ended up being some of the most joyful, honest, inspirational and prolific experiences of the band’s career, creating a unique bond between the group and their fans. This album features more covers than originals, paying tribute to the artists and songs that shaped Petty’s love of music as he was growing up—before he became a legendary songwriter and performer in his own right.
Highlights include Bob Dylan’s “Knockin’ On Heaven’s Door,” J.J. Cale’s “Crazy Mama,” The Rolling Stones’ “Time is On My Side” and more from The Kinks, Everly Brothers, Bill Withers, The Byrds, Chuck Berry and Booker T. & the M.G.’s. The collection also features special performances with The Byrds’ front man Roger McGuinn and blues legend John Lee Hooker. Other standouts include extended versions of original tracks “Mary Jane’s Last Dance” and “It’s Good To Be King.”
The Fillmore was a laboratory for the band. The captivating sold out performances were such a hit, the Heartbreakers were even nicknamed the “Fillmore House Band.” At the final show, Petty noted as he took the stage: “We all feel this might be the highpoint of our time together as a group… It’s going to be hard to get us off this stage tonight.”
Added Mike Campbell: “Playing the Fillmore in 1997 for a month was one of my favorite experiences as a musician in my whole life. The band was on fire and we changed the set list every night. The room and the crowd was spiritual… AND… we got to play with some amazing guests. I will always remember those nights with joy and inspiration.” Here’s a nice short film about the residency.
You can find a lot more background on the residency in the liner notes here, which were written by San Francisco-based music critic and author Joel Selvin. I’m also including a Spotify link to the box set at the end of the post. Now I’d say it’s time to take a look at some of the goodies.
Kicking it off is a great cover of a tune by the man about who John Lennon once said, “If you tried to give rock and roll another name, you might call it ‘Chuck Berry'”. Around and Around first appeared as the B-side to Chuck Berry’s March 1958 single Johnny B. Goode. It was also included on his third studio album Chuck Berry Is on Top, released in July 1959 – an album that in my book you could title the greatest hits of classic rock & roll.
I’ve always loved J.J. Cale’sCall Me the Breeze. Evidently, so did Tom Petty and The Heartbreakers. Call Me the Breeze first appeared on Cale’s debut album Naturally, which came out in October 1971. Check out this great cover. Man, this is swinging! Here’s the neat official video.
Did I mention The Rolling Stones previously? Let’s check out Time is on My Side. Written by Jerry Ragovoy under the pseudonym Norman Meade, the tune was first recorded by jazz trombonist Kai Winding and his orchestra in 1963. The Stones recorded two versions of the tune in 1964. The first, which is a looser arrangement featuring a briefer, organ-only intro, appeared as a U.S. single in September of the same year and was also included on their second American album 12 X 5, released in October 1964. The second version, a tighter arrangement with a guitar intro, was included on The Rolling Stones No. 2, their second UK album from January 1965.
After three tracks into this review, you might wonder about originals. Frankly, I could easily focus on covers only, since there are so many excellent renditions. But of course, this box set also features plenty of Tom Petty songs. Here’s a nice take of I Won’t Back Down, the lead single of his first solo album Full Moon Fever, released in April 1989.
Let’s throw in a cool instrumental – a great rendition of Green Onions, a tune by Booker T. & the M.G.’s I’ve always loved. The group served as the house band of Stax Records. Green Onions was mostly written by keyboarder Booker T. Jones when he was 17 years old. Also credited to the other three members of the MG’s, Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums), the tune first appeared as a single in 1962 and also became the title track of the group’s debut album that came out in October of the same year. Heartbreakers keyboarder Benmont Tench and guitarist Mike Campbell do a great job with it.
The last track I’d like to call out features a cool guest appearance by John Lee Hooker. Here’s Boogie Chillen, which Hooker wrote and first recorded in 1948. Buddy Guy has cited the tune as a key reason why he picked up the guitar and became a blues guitarist. Prompted by Hooker, this sizzling close to 8-minute version features neat harp and keyboard solos by Petty and Tench, respectively.
I easily could go on and on featuring additional tunes. Instead, I leave you with a Spotify link to the entire collection. If you dig Tom Petty and The Live Anthology, a November 2009 box set with a similar concept combining live renditions of covers and originals, I have no doubt you’re going to like Live at the Fillmore (1997).
Live at the Fillmore (1997), which appears on Warner Records, is available in 3-LP, 6-LP and 6-LP Uber Deluxe formats (exclusively via Tom Petty web store), 2 and 4-CD sets, and on major streaming platforms. The compilation was meticulously curated by producers Ryan Ulyate and Mike Campbell. Serving as executive producers were Benmont Tench, as well as Adria Petty, Annakim Petty and Dana Petty, Tom’s daughters and wife, respectively, who manage the Tom Petty estate.
Sources: Wikipedia; Tom Petty website; YouTube; Spotify
Celebrating music with six random tracks at a time
I hope everybody is spending a great weekend. Once again, I’d like to welcome you to another Sunday Six. In case you’re here for the first time, in this weekly recurring feature, I stretch out musically speaking, visiting different decades and different genres over the past 70 years, six tunes at a time. All onboard and let’s go!
Clifford Brown & Max RoachQuintet/Joy Spring
Today, our little trip starts in December 1954 with beautiful music by two jazz greats: Trumpeter Clifford Brown and drummer Max Roach. Earlier that same year, Roach had invited Brown to join him in creating a quintet. By the time, they recorded Clifford Brown & Max Roach, which I believe was their band’s first album, the line-up also featured Harold Land (tenor saxophone), Richie Powell (piano) and George Morrow (bass). Unfortunately, the quintet was short-lived due to a tragic car accident that killed Brown in June 1956 at age 25. He was on his way to a gig in Chicago together with Powell whose wife Nancy drove the car. They both lost their lives as well. The quintet’s last official album Clifford Brown and Max Roach at Basin Street, recorded earlier that year, featured then-up-and-coming tenor saxophonist Sonny Rollins. Here’s Joy Spring, a composition by Brown.
The Asylum Choir/Tryin’ to Stay ‘Live
The next stop on today’s journey is November 1971. That’s when the second and final album by Leon Russell’s (keyboards) and Marc Benno’s (guitar) studio project The Asylum Choir came out. Initially formed in 1967, they put out their debut Look Inside the Asylum Choir the following year. While The Asylum Choir II had been recorded in 1969, its release was delayed due to contract disputes. In fact, by the time the record finally appeared, they had already dissolved the project. Russell and Benno were backed by prominent session musicians, including Jesse Ed Davis (guitar), Carl Radle (bass), Donald “Duck” Dunn (of Booker T. & the M.G.’s) and Chuck Blackwell (drums). Here’s the great honky tonk rocker Tryin’ to Stay ‘Live, which was co-written by Russell and Benno.
R.E.M./Losing My Religion
Let’s continue our excursion with a stopover in the ’90s. Losing My Religion was the first R.E.M. tune that really got the alternative rock band from Athens, Ga. on my radar screen. While I remember the song was on the radio back in Germany all the time, I still dig it to this day. Credited to all members of R.E.M. – Bill Berry (drums, percussion), Peter Buck (guitar, mandolin), Mike Mills (bass, backing vocals) and Michael Stipe (lead vocals) – Losing My Religion is from the group’s seventh studio album Out of Time, which appeared in March 1991. According to Songfacts, R.E.M. were surprised about their record label’s decision to make the tune the album’s lead single. After all, it didn’t have a chorus and featured a mandolin as a lead instrument, not exactly your typical ingredients for a hit. Not only did it become the album’s best-performing single but the band’s most successful overall!
Taj Mahal & Keb’ Mo’/Don’t Leave Me Here
Four tracks into this Sunday Six it’s time to jump to the current century with some sizzling blues by Taj Mahal and Keb’ Mo’, who in May 2017 came out with a great collaboration album, TajMo. Together with Buddy Guy’s 2016 studio album Born to Play Guitar, it reignited my love for the blues, a genre I had first explored in my late teens after I had picked up the bass and joined a blues band – the start of my intense but short-lived band career! 🙂 I also caught Taj Mahal and Keb’ Mo’ in August 2017 during their tour that supported the album and have seen Guy three times since Born to Play Guitar. Here’s TajMo’s great opener Don’t Leave Me Here, which was co-written by the two artists and Gary Nicholson. I should add that while the tune has a traditional blues vibe, overall, TajMo, which includes elements of soul and world music, is an uplifting album. “Some people think that the blues is about being down all the time, but that’s not what it is,” Mahal said at the time. “It’s therapeutic, so you can get up off that down.” He added, “We wanted to do a real good record together, but we didn’t want to do the record that everyone expected us to do.”
Echo & The Bunnymen/Lips Like Sugar
Our next stop takes us back to the ’80s. In July 1987, Echo & The Bunnymen released their eponymous fifth studio album. While The English post-punk band had been around since 1978, if I recall correctly, it wasn’t until Lips Like Sugar that I heard of them for the first time. The catchy tune was co-written by band members Will Sergeant (guitar), Ian McCulloch (lead vocals, guitar, piano) and Les Pattinson (bass). Pete de Freitas (drums) completed their line-up at the time. Interestingly, it only reached no. 36 on the UK Official Singles Chart, lower than most of their earlier singles. After the band’s breakup in 1993, Sergeant and McCulloch reunited the following year. When Pattinson rejoined them in 1997, they decided to revive Echo & The Bunnymen. Ever since Pattinson exited again in 1999, Sergeant and McCulloch have continued to tour and record under that name.
Jerry Lee Lewis/Whole Lotta Shakin’ Goin’ On
Once again we’ve reached our final destination. The last tune is in memory of Jerry Lee Lewis, who passed away on Friday at the age of 87. Lewis was the last man standing of a generation of pioneering classic rock & roll artists who also included the likes of Elvis Presley, Carl Perkins, Chuck Berry and Little Richard. “The Killer” was known for his high-energy performances. After his popularity had taken off in 1957, his career was nearly derailed when it became known he was married to his 13-year-old cousin once removed while still being married to his previous wife. Lewis was blacklisted from the radio and his earnings were nearly wiped out overnight. Eventually, he managed to reinvent himself as a country artist. But scandal continued to follow him for much of his life. Here’s Lewis’ remake of Whole Lotta Shakin’ Goin’ On and his biggest hit, which was released as a single in April 1957. The tune was written by Dave “Curlee” Williams and first recorded by Big Maybelle in 1955.
Last but not least, here’s a Spotify playlist of the above tunes. Hope there’s something you dig.