Best of What’s New

A selection of newly released music that caught my attention

Happy Saturday! The new music show must go on. Here’s what I found this week. All tunes are on releases that appeared yesterday (Nov 30).

Warren Zeiders/One Hell of an Angel

My first pick is by Warren Zeiders, a young country singer-songwriter from Pennsylvania. From his website: Warren Zeiders’ distinctive, high energy country music is powered by a steady supply of youthful grit, honesty, and muscle. Hailing from Hershey, Pennsylvania, the 22-year-old singer/ songwriter delivers outlaw sermons in a gravelly, world-weary voice that belies his young age. His music is suited more to the vast wilderness of his home state than the bright lights of Nashville, injecting a healthy dose of Heartland ethos into the honky tonks of Music City. But it’s that space he lives in—between lonesome outsider and magnetic performer—that helps him relate to listeners from all walks of life through songs fueled by unshakeable soul-searching. This brings me to 717 Tapes The Album, Zeiders’ new release, which combines songs from two previous 717 Tapes EPs (Vol. 1 and Vol. 2) with four new tunes. Here’s one of the latter, One Hell of an Angel, co-written by Zeiders, Benjy Davis and Josh Jenkins – nice country rocker!

Pixies/Vault of Heaven

Pixies are an alternative rock band from Boston, associated with the ’90s alternative rock boom. During their initial phase from 1986 until 1993, they released four albums. They broke up in early 1993 and reunited 10 years later. Their current line-up includes co-founding members Black Francis (lead and backing vocals, rhythm guitar, acoustic guitar), Joey Santiago (lead guitar, backing vocals) and David Lovering (drums, percussion, backing vocals), together with Paz Lenchantin (bass, violin, backing and lead vocals), who became a member of the group after they reunited. Vault of Heaven, penned by Francis (credited as Charles Thompson, his birth name), is a track from Pixies’ eighth and latest studio album Doggerel. Good song. The video is a bit odd!

Snarky Puppy/Keep It On Your Mind

While I didn’t know any of their music, I had heard of Snarky Puppy before and based on their name pictured a punk band – well, not exactly! From their AllMusic bio: An acclaimed fusion-influenced jam band, Snarky Puppy have built a loyal following with their adventurous blend of jazz, rock, and funk. Led by bassist Michael League, the Texas group emerged in the mid-2000s and garnered buzz with albums like 2006’s The Only Constant, 2010’s Tell Your Friends, and 2013’s Family Dinner, Vol. 1, which took home the Grammy for Best R&B Performance for their cover of the Brenda Russell song “Something” featuring singer Lalah Hathaway. More accolades followed, including further Grammy Awards for 2015’s Sylva and 2016’s Culcha Vulcha, the latter of which also topped Billboard’s Jazz Albums chart. The band again reached the Top Ten of the jazz charts with 2019’s Immigrance and picked up their fourth Grammy Award for 2020’s Live at the Royal Albert Hall. Empire Central is the group’s new live-recorded album that thematically revolves around the Texas city of Dallas. Here’s Keep It On Your Mind – definitely very different from what I expected. That said, I like it!

Dropkick Murphys/Talking Jukebox

What a coincidence – only three weeks ago, I featured some new music by Irish-American Celtic punk band Flogging Molly. Now it’s the turn of their Boston area cousins Dropkick Murphys who were formed in 1996, the year before Flogging Molly. Since their January 1998 debut Do or Die, the Murphys have released 10 additional albums, including their latest This Machine Still Kills Fascists. The all-acoustic album is composed of unused lyrics and words by Woody Guthrie and is the group’s first without lead vocalist Al Barr who was on hiatus from the band to take care of his ailing mother. In addition to Barr, Dropkick Murphys feature Ken Casey (lead and backing vocals, bass), Tim Brennan (accordion, mandolin, bouzouki, keyboard, piano, tin whistle, backing vocals, lead guitar), James Lynch (rhythm guitar, backing vocals), Jeff DaRosa (banjo, mandolin, bouzouki, guitar, keyboard, piano, harmonica, tin whistle, backing vocals) and Matt Kelly (drums, bodhrán, backing vocals). Here’s Talking Jukebox. The music is credited to the band.

This post wouldn’t be complete with a Spotify playlist of the above songs and a few additional tunes by each of the featured artists.

Sources: Wikipedia; Warren Zeiders website; AllMusic; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Happy Sunday! I always look forward to putting together this weekly recurring feature, which allows me to explore music from different styles and decades without any limits, except keeping it to six tracks I dig. Are you ready to accompany me on another excursion? Hop on and let’s go!

Mose Allison/Crespuscular Air

Today our journey begins in November 1957 with Local Color, the sophomore album by Mose Allison. Shoutout to Bruce from Vinyl Connection whose recent post about the American jazz and blues pianist inspired me to include him in a Sunday Six. According to Wikipedia, Allison has been called “one of the finest songwriters in 20th-century blues.” Let’s just put it this way: Pete Townshend felt Allison’s Young Man Blues was good enough to be featured on The Who’s Live at Leeds album released in February 1970. John Mayall was one of the dozens of artists who recorded Allison’s Parchman Farm for his 1966 debut album with the Blues Breakers, Blues Breakers with Eric Clapton. Allison’s music has also influenced many other artists, such as Jimi Hendrix, J. J. Cale, the Yardbirds, The Rolling Stones and Tom Waits. Here’s Crespuscular Air, a mellow jazz instrumental composed by Allison and included on the above-mentioned Local Color – the same record that featured Parchman Farm.

Steve Earle/Goodbye

Our next stop takes us to February 1995, which saw the release of Steve Earle’s fifth studio album Train a Comin’. I’m still relatively new to Earle but have quickly come to appreciate his music, which over the decades has included country, country rock, rock, blues and folk. Train a Comin’, while not a commercial or chart success, was an important album for Earle who had overcome his drug addiction in the fall of 1994. The bluegrass, acoustic-oriented album was his first in five years and marked a departure from the more rock-oriented predecessor The Hard Way he had recorded with his backing band The Dukes. Goodbye, penned by Earle, is one of nine original tunes on Train a Comin’, which also includes four covers.

Boz Scaggs/Georgia

For this next pick, let’s go back to February 1976. While I’ve known the name Boz Scaggs for many years, mainly because of his ’70s hits Lowdown and Lido Shuffle, I’ve yet to explore his music catalog. Scaggs started his career in 1959 in high school as vocalist in Steve Miller’s first band The Marksmen. The two musicians continued to play together in a few other groups, including Steve Miller Band. After staying with the group for the first two albums, Scaggs secured a recording deal for himself and focused on his solo career. Georgia, a smooth groovy song written by Scaggs, is included on his seventh solo album Silk Degrees, which is best known for the aforementioned Lowdown and Lido Shuffle. Now 78 years, Scaggs still appears to be active and has released 19 solo albums to date.

Clarence Clemons & Jackson Browne/You’re a Friend of Mine

Are you ready for some ’80s music? Yes, You’re a Friend of Mine definitely can’t deny the period during which it was recorded, but it’s such an upbeat song – I love it! It brought together dynamite saxophone player Clarence Clemons and legendary singer-songwriter Jackson Browne. Co-written by Narada Michael Walden and Jeffrey Cohen, the tune was released in October 1985 as the lead single of Clemons’ solo debut album Hero, which came out in November of the same year. By that time Clemons had best been known as the saxophonist of Bruce Springsteen’s E Street Band, which “The Big Man” had joined in the early ’70s. Sadly, Clemons who also appeared in several movies and on TV died of complications from a stroke in June 2011 at the age of 69. Man, what an amazing sax player. He could also sing!

The Jimi Hendrix Experience/Voodoo Child (Slight Return)

All right, time to jump back to the ’60s and some psychedelic rock by an artist who I trust needs no introduction: Jimi Hendrix. Voodoo Child (Slight Return), written by Hendrix, was included on Electric Ladyland, the third and final album by The Jimi Hendrix Experience released in October 1968. The tune also appeared separately as a single, first in the U.S. at the time of the album and subsequently in the UK in October 1970, one month after Hendrix had passed away in London at the age of 27. Prominent American guitarist Joe Satriani has called Voodoo Child “the greatest piece of electric guitar work ever recorded.” Regardless of whether one agrees with the bold statement, it’s a hell of a song. Stevie Ray Vaughan, one of my favorite electric blues guitarists, included an excellent cover on his 1983 sophomore album Couldn’t Stand the Weather.

Shemekia Copeland/It’s 2 A.M.

Time to wrap up another Sunday Six with a real goodie. Since I recently witnessed part of a live gig of Shemekia Copeland and reviewed her new album Done Come Too Far, this great blues vocalist has been on my mind. Shemekia, the daughter of Texas blues guitarist Johnny Copeland, started to sing as a child and by the time she was 16 knew she wanted to pursue a music career. After high school graduation in 1997, Copeland signed with Chicago-based independent blues label Alligator Records and recorded her debut album Turn the Heat Up! It’s 2 A.M., written by Rick Vito, is the excellent opener of her sophomore album Wicked that came out in September 2000. I could totally picture The Rolling Stones play this song. Check it out!

And, of course, I won’t leave you without a Spotify playlist featuring the above songs.

Sources: Wikipedia; YouTube; Spotify

Shemekia Copeland’s New Album Features Powerful Blues and Hard-Hitting Lyrics

This album review has an intro, so bear with me. Last Saturday evening, I spontaneously decided to go to Asbury Park, a great town for live music on the Jersey shore not far from my house. My destination was The Stone Pony where during the warmer months of the year they have a Summer Stage series of outdoor concerts. I had seen Jason Isbell and the 400 Unit were scheduled to perform there. I’ve listened to some of Isbell’s music and generally dig what I’ve heard thus far.

Since I didn’t have a ticket and didn’t want to spend money, I joined many other folks just outside the venue where you can perfectly hear the music though only partially see the performing artists. While approaching The Stone Pony, I heard an incredible vocalist who obviously wasn’t Isbell. It turned out to be Shemekia Copeland, who was opening up for him – and, holy cow, this woman was killing it on stage! The next thing I did was to check her music catalog on my phone and, voila, that’s how I learned about Done Come Too Far, her latest album that was released on August 19. To say it right upfront, it’s a real beauty!

I believe the first time I may have heard of Shemekia Copeland was when fellow blogger Music Enthusiast wrote about her. I also previously included her in this blues feature. While I had known Copeland is a compelling artist, until my above live encounter, I had not fully appreciated what a powerhouse vocalist she is! You can certainly realize her vocal capabilities when listening to the new album, but, frankly, she sounds even better live!

I guess you could say Copeland was destined to become a blues artist. She’s the daughter of Texas blues guitarist Johnny Copeland who made his recording debut in 1956. Over a 40-plus year career, he recorded with the likes of Albert Collins and Robert Cray and became a popular touring act. He also helped establish Shemekia’s name in blues circles by taking her on the road to open his shows. She had started to sing as a child and by the time she was 16 began pursuing a professional career.

LOS ANGELES, CA— MARCH 18, 2022 RECORDING ARTIST, BLUES SINGER, SHEMEKIA COPELAND FOR ALLIGATOR RECORDS. Photos by Victoria Smith Make Up by KATE KATS

After high school graduation in 1997, Copeland signed with Chicago-based independent blues label Alligator Records and recorded her debut album. Turn the Heat Up! appeared in April 1998 and put her on the map as a  blues and R&B force. From her website: From her debut through 2005’s The Soul Truth, Shemekia earned eight Blues Music Awards and a host of Living Blues Awards. 2000’s Wicked received the first of her four Grammy nominations. After two successful releases on Telarc (including 2012’s Grammy-nominated 33 1/3), Copeland returned to Alligator Records in 2015 with the Grammy-nominated, Blues Music Award-winning Outskirts Of Love, melding blues with more rootsy, Americana sounds.

I think it’s time for some music from Done Come Too Far, Copeland’s 11th studio album. Let’s kick it off with the great opener Too Far To Be Gone. Like all other tracks featured in this post, it was co-written by John Hahn and producer Will Kimbrough. Featuring slide guitar wizard Sonny Landreth, you kind of know this has to be good! “This album was made by all sides of me — happy, sad, silly, irate — they’re all a part who I am and who we all are,” Copeland explained in a statement that announced the album, as well as Too Far To Be Gone as the lead single. “I’m not political. I’m just talking about what’s happening in this country.” And that she does, and she’s not holding back!

Pink Turns To Red, a powerful song about the madness of school shootings in this country, is perhaps the tune that lyrically stands out to me the most:…When pink turns to red, nowhere to run/Pink turns to red, life’s over and done/Tears will flow, prayers will be said/But it’s too late, pink turns to red…Nothing much to add here!

The Talk, a haunting slow blues, is another powerful tune about a worried black mom’s conversation with her son to be careful or risk being killed. I held my breath, as you took the first steps/I was proud as a mama can get/Now it’s been years, you’ve grown tall/But I’m still worried you’re gonna fall/Got to have the talk/Got to have the talk/You might do nothing wrong, the next moment you’ll be gone/Got to have the talk…”I tell him all the time, ‘Discipline is going to save your life one day,” Copeland told the Houston Press, referring to her 5-year-old son. “He doesn’t know what I’m talking about now, but I want him to remember it and think about it every day of his life. I tell the same thing to my nephews who are 16 and 19.”

On the title track, Copeland teams up with Mississippi Hill country blues icon Cedric Burnside who provides guest vocals. Lyrically, the song presents more candid words on the state of Blacks in present-day America with a defiant stance:…Done come too far to be gone, come too far to be gone/If you think we’re stopping, you got it wrong/We’re done come too far to be gone…If I could end things in this world, racism would be one of the first things. I will never understand or accept it!

The last track I’d like to call out is Fell In Love With a Honky. The country rock-oriented tune shows Copeland’s light-hearted side, setting a welcome contrast on an otherwise lyrically pretty grim album. Saw his long legs walking into Tussie’s/Next thing I knew, we was playing footsies/He wasn’t really handsome, just not my type/Standing by himself, in a jukebox light/But there was something about him that was kind of cute/Made me love him down to his cowboy boots…

Done Come Too Far was recorded in Nashville. Producer Will Kimbrough also served in that capacity on Copeland’s previous two albums. Apart from Sonny Landreth and Cedric Burnside, guests included country blues artist Kenny Brown; prominent Memphis soul keyboarder Charles Hodges; Oliver Wood, guitarist of American roots band The Wood Brothers; Americana singer-songwriter Aaron Lee Tasjan; and multi-instrumentalist Pat Sansone, a member of alternative rock band Wilco.

Here’s a Spotify link to the album:

After having witnessed part of Copeland’s live set and listened to this album, I can understand some of the enthusiastic reactions she has received, which are noted on her website. For example: “Shemekia Copeland has established herself as one of the leading blues artists of our time.” –NPR Music. “Shemekia Copeland is an antidote to artifice. She is a commanding presence, a powerhouse vocalist delivering the truth.” –The Philadelphia Inquirer. And, perhaps most impressively: “I am so happy Shemekia is delivering these songs that the world needs to hear. Her voice is strong and soulful, and her message comes from her heart.” – Mavis Staples.

Reflecting on her musical evolution over her previous two albums and Done Come Too Far, Copeland said, “Once my son was born, I became even more committed to making the world a better place. On America’s Child [Aug 2018 – CMM], Uncivil War [Oct 2020 – CMM] and now Done Come Too Far, I’ve been trying to put the ‘United’ back into United States. Friends, family and home, these things we all value.” In case you’d like to see Copeland, her current tour schedule is here.

To those of you celebrating, happy Labor Day. To everybody else, I hope you have a great Monday as well!

Sources: Wikipedia; Shemekia Copeland website; Aligator Records press release; Houston Press; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

Is it really Saturday again? Yep, the calendar doesn’t lie. Next week, we’re already headed into September and, in the U.S., Labor Day weekend – crazy! On a more upbeat note, Best of What’s New is hitting a milestone of sorts this week with its 125th installment. The occasion coincides with plenty of new music I found. The first three picks are from albums that appeared yesterday (Aug 26), while the remaining tunes came out a week ago.

Ezra Furman/Train Comes Through

I’d like to kick off this post with Ezra Furman, an indie art pop singer-songwriter from Chicago. She first came to prominence as lead vocalist and guitarist of Ezra Furman and the Harpoons, an indie rock band that was active between 2006 and 2011. After their third studio album Mysterious Power, released in April 2011, the group called it quits, and Furman launched a solo career. To date, she has released six solo studio albums, three EPs and various singles. Her AllMusic bio describes Furman as “a fiery, androgynous folk-punk provocateur” with “Lennon-esque sneer and raw, open-hearted lyrics, plus a flamboyant style, [which] have helped to make her one of the most engaging and unpredictable art-pop confectioners of her era.” Since I’m completely new to her, I could never have come up with this, but I know one thing: I’m intrigued by Furman’s new album All of Us Flames. Check out the opener Train Comes Through, which like most of the other tunes was solely penned by her.

Pat Green/Bad Bones

Pat Green is a country and Americana singer-songwriter from Texas. Here’s more from his Apple Music profile: Green comes from the rich tradition of Texas country-music mavericks carving their own niche for themselves, and he has done that with a combination of deep-down roots, alt-country innovation, and rich, reflective lyricism. Born in San Antonio in 1972, Green kicked off his career working in and around the musical hub of Lubbock. He started recording in the mid-’90s, with local legend Lloyd Maines producing. Eventually he caught the attention of Willie Nelson, who invited Green to play his annual July 4th blowout in 1998. By the new millennium, Green had signed with a major label and hit the Country Top 10 with Three Days, an album that showed off his knack for country-rocking hooks and storytelling savvy. Green’s latest album is titled Miles and Miles of You. Here is Bad Bones, co-written by Green, Jondan McBride and Sean Michael Giddings – love that funky rock-oriented sound!

Thee Sacred Souls/Lady Love

Thee Sacred Souls are a soul trio from Southern California, who just released their eponymous debut album, and, man, how sweet it sounds! From their website: For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland...Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if [drummer Alex] Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already...Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B…[with] hints of Chicano, Philly, Chicago, Memphis, and even Panama soul…Check out Lady Love, written by Garcia and Lane. This is so good!

Katy Guillen & The Drive/Another One Gained

Katy Guillen & The Drive is a project by singer-songwriter and guitarist Katy Guillen. Here’s more from her website: After six years of persistent touring, performing and writing with her previous project, Katy Guillen & The Girls, singer, songwriter and guitarist Guillen found herself at the painful end of two long-term relationships. Katy Guillen & The Girls reached an extensive audience through performances at Montreal International Jazz Festival and the International Blues Challenge, a tour of Sweden via Kultur i Vast, and support for artists including The Revivalists, Robin Trower and The Doobie Brothers. With their burgeoning career put on hold, Guillen and long-time drummer Stephanie Williams set off for uncharted territory as Katy Guillen & The Drive. While distinguishing themselves as a new group with a fresh sound, the two continued crafting their musical and personal identities together. After dropping two EPs in 2020 and 2021, Katy Guillen & The Drive have now released their first full-length album Another One Gained. Here’s the title track, co-written by Guillen and Williams – love this!

Rock Eupora/Can You Feel the Weight?

Rock Eupora is the moniker of Nashville-based artist Clayton Waller who originally hails from Mississippi. From his website: From his earliest recordings, Waller has never been afraid to ask the big, searching questions of life. Catchy, hooky pop sensibilities have similarly been a consistent through-line in Rock Eupora’s catalogue. Featuring singable, fuzzed-out guitar hooks and stuck-in-your-head-all-afternoon choruses, the discography of Rock Eupora––including three full-length albums, two EPs, and a smattering of singles to date––brings to mind Blue Album-era Weezer or the high-energy, hard-charging, harmony-laden early Beatles singlesRock Eupora began when Waller was a senior in college. Each subsequent release has seen a broadening of scope and range. This brings me to Pick At the Scab, Rock Europa’s new album and Can You Feel Weight? Pretty catchy tune with a great sound – check it out!

Barney Cortez/Into the Void

Time to wrap up this Best of What’s New installment with one more pick: Barney Cortez, a Philadelphia-based artist who is out with his debut album Hullabaloo. Here’s some info I found on the website of his label La Reserve Records, posted in connection with the release of the album’s title track and third single back in March: Energetic, sharp-edged, and with lyrics worth sitting down to read, Hullabaloo is a fitting title track to Cortez’s upcoming debut LP, capturing the singer-songwriter’s state of mind during the time he wrote the album’s ten songs…“‘Hullabaloo’ was the perfect title for this album, because it spoke to all the turmoil and confusion I saw in the world and in myself as covid spread,” he [Cortez] continues. “It was just complete — and still is — whiplash, not knowing what each day was going to bring. The country was going through a really strange period. So I wasn’t feeling great during that time. I still try to make pop music around it, and music that feels good.” Let’s give a listen to Into the Void.

Following is a Spotify playlist of the above and a few additional tunes:

Sources: Wikipedia; AllMusic; Apple Music; Thee Sacred Souls website; Katy Guillen & The Drive website; Rock Eupora website; La Reserve Records website; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Another Sunday calls for another expedition into the great world of music and all its different beautiful flavors. In case you’re new to this weekly recurring feature, you may ask yourself why throw all kinds of tracks from different eras into a post in a seemingly arbitrary fashion. Well, I have a fairly eclectic taste and find it liberating not to limit myself to a specific theme like I typically do in my other posts. Hope you’ll join me!

Wes Montgomery/In Your Own Sweet Way

The first stop on today’s journey is April 1960, which saw the release of a studio album by Wes Montgomery. Even if you’re not a jazz aficionado, chances are you’ve heard of this amazing American jazz guitarist. His unusual technique to play the guitar, including plucking the strings with the side of his thumb and his frequent use of octaves, created a distinct and beautiful sound. During his active career spanning the years 1947-1968, Montgomery regularly worked with his brothers Buddy Montgomery (vibraphone, piano) and Monk Montgomery (bass), as well as Melvin Rhyne (organ). Sadly, Wes Montgomery’s life was cut short at age 45 when he suffered a heart attack in June 1968. In Your Own Sweet Way, composed by Dave Brubeck in 1952, is a track off an album aptly titled The Incredible Jazz Guitar of Wes Montgomery.

Chuck Prophet/Summertime Thing

Obviously, here in America, we’re into the summer season, so picking a tune titled Summertime Thing didn’t look far-fetched. The artist is Chuck Prophet, who only entered my radar screen earlier this year, and we now find ourselves in June 2002. From his AllMusic bioChuck Prophet is a singer, songwriter, and multi-instrumentalist who has created a handful of impressive solo albums when he isn’t busy collaborating with some of the most respected figures in roots rock. A songwriter with a naturalistic sense of storytelling and drawing characters, and a melodic sense that brings together the impact of rock with the nuance of country, blues, and folk, Prophet has been releasing worthwhile solo albums since 1990, when he brought out his first solo LP, Brother Aldo. Prior to that, he was a key member of the rough-edged Paisley Underground band Green on Red, who had a small cult following in the United States and a significantly larger one overseas, and in between solo efforts, he worked as a sideman, collaborator, or producer for Alejandro Escovedo, Kelly Willis, Warren Zevon, Cake, Kim Richey, and many more. Summertime Thing, written by Prophet, is from his 2002 solo album No Other Love. I really dig what I’ve heard from him thus far – good reminder to keep exploring!

Stray Cats/Rock This Town

Let’s pick up the speed with some fun ’50s rockabilly brought to us by Stray Cats. Formed in the U.S. in 1979 by guitar virtuoso Brian Setzer, double bassist Lee Rocker and drummer Slim Jim Phantom (gotta love that stage name!), the trio initially established a following in the New York music scene. After a gig in London, they met Welsh singer-songwriter, guitarist and record producer Dave Edmunds who co-produced their eponymous debut album. First released in the UK in February 1981, the record generated an impressive three top 40 hits on the Official Singles Chart: Runaway Boys (no. 9), Stray Cat Strut (no. 11) and the tune I decided to pick, Rock This Town (no. 9), which was penned by Setzer. The Cats are still roaming the streets, though they’ve had a few breaks along the way. Remarkably, their current line-up is the original formation. Coinciding with their 40th anniversary, they put 40 in May 2019, their 10th and first new studio album in 26 years. Let’s shake it, baby – meow!

Little Feat/Rock and Roll Doctor

Time to see a doctor. ‘What kinda doctor?’ you may wonder. Well, obviously not any doctor. What we need is a Rock and Roll Doctor. And this brings us to Little Feat and August 1974. I had this tune earmarked for Sunday Six use a while ago. The group was formed in 1969 in Los Angeles by singer-songwriter, lead vocalist and guitarist Lowell George and pianist Bill Payne, together with Roy Estrada (bass) and Richie Hayward (drums). George and Estrada had played together in The Mothers of Invention. Notably, Frank Zappa was instrumental in the formation of Little Feat and getting them a recording contract. After George’s death in 1979, the group finished one more album, Down On the Farm, before disbanding. They reunited in 1987 and have had a history since then that is too long to recap here. Rock and Roll Doctor, co-written by George and Martin Kibbee, appeared on the band’s fourth studio release Feats Don’t Fail Me Now, their first charting album, reaching no. 36, no. 40 and no. 73 in the U.S., Canada and Australia, respectively.

Lucinda Williams/Knowing

Let’s pay the current century another visit with this gem by Lucinda Williams: Knowing, off her ninth studio album Little Honey, released in October 2008. While I had been aware of her name for many years, it wasn’t until June of this year that I started paying attention to her when she opened for Bonnie Raitt in Philly. The American singer-songwriter who has been active since 1978 blends Americana, folk, country and heartland rock. Her fifth studio album Car Wheels on a Gravel Road brought her commercial breakthrough. Nine additional albums have since come out. In November 2020, Williams suffered a debilitating stroke. While she has managed to largely recover and resume performing, some signs are still visible. Like most tunes on Little Honey, Knowing was solely written by Williams – great lady!

Elvis Presley/Suspicious Minds

And once again, we’re reaching the final stop of our music journey. I’d like to go back to 1969 and one of my all-time favorite Elvis Presley renditions: Suspicious Minds. The tune was written by American songwriter Mark James in 1968, who also first recorded it that year. Not sure what kind of impact the original single had but I know this: Presley’s version, which was released in August 1969, was a huge success, becoming his 18th and final no. 1 single in the U.S. Notably, as Wikipedia points out, session guitarist Reggie Young played on both the James and Presley versions. A leading session musician, Young also worked with the likes of Joe Cocker, John Prine, J.J. Cale, Johnny Cash and Merle Haggard. Man, I love that song!

Thanks for accompanying me on another zig-zag music excursion. Of course, this post wouldn’t be complete without a Spotify playlist of all featured tunes. Here you go – hope there’s some stuff you like!

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Good morning, good afternoon, good evening, wherever you are when reading this – welcome to another Sunday Six. In this weekly feature, I’m embarking on imaginary time travel journeys to celebrate the beauty of music in different flavors from different decades, six tunes at a time. Hop on for the ride and fasten your seatbelt.

Wayne Krantz/For Susan

Today, I’d like to start our little trip with beautiful instrumental music by Wayne Krantz, an American guitarist and composer who has been active since the ’80s. Telling you he “was good enough” for Walter Becker and Donald Fagen to tour with Steely Dan and appear on Fagen’s 2006 solo album Morph the Cat should suffice. Krantz has also worked with jazz artists Billy Cobham, Chris Potter, David Binney and Carla Bley. And since 1990, he has released eight studio albums as a band leader. Let’s give a listen to For Susan, a soothing track from what appears to be Krantz’s first solo album Signals, released in 1990. Check out this amazing guitar tone – not surprisingly, it was instant love for me!

Fleetwood Mac/Sometimes

I think it’s safe to assume most folks best know Fleetwood Mac from their “classic period” between 1975 and 1987, which among others includes their most successful album Rumours (February 1977). But there’s more to the Mac who started out as Peter Green’s Fleetwood Mac in July 1967, a blues rock band led by amazing blues guitarist Peter Green. In April 1970, Green who was in the throes of drug addiction and mental illness left the group. This started an interesting transitional era that initially featured Jeremy Spencer and Danny Kirwan on guitars, in addition to co-founders John McVie (bass) and Mick Fleetwood (drums). They were soon officially be joined by Christine McVie (born Anne Christine Perfect), who in 1968 had married John McVie – the first of many complicated relationships among members of the Mac! By the time they released their fifth studio album Future Games in September 1971, Spencer had been replaced by guitarist Bob Welch. Here’s Sometimes, a great country rock tune off that record, penned by Kirwan – the Mac’s early blues rock days were in the distant past!

Fastball/Fire Escape

With their recent release of a nice new album, The Deep End, Fastball have been on my mind. The Texan band was formed in 1994 in Austin by Tony Scalzo  (vocals, bass, keyboards, guitar),  Miles Zuniga  (vocals, guitar) and Joey Shuffield (drums, percussion), a lineup that remarkably remains in place to this day. You can read more about the group and their ups and downs in this feature I posted in February this year. I’d like to take us to March 1998, which saw the release of Fastball’s sophomore album All the Pain Money Can Buy, their breakthrough and most successful record. Instead of The Way, their biggest hit that initially brought the band on my radar screen, I’d like to highlight Fire Escape, another excellent tune. Written by Zuniga, the song also became the album’s second single. While it made various charts in the U.S. and Canada, surprisingly, it did fare far more moderately than The Way.

World Party/The Ballad of the Little Man

I still remember when I heard Ship of Fools for the first time in the ’80s and thought, ‘gee, the vocalist sounds a bit like Mick Jagger.’ The vocalist, of course, was singer-songwriter and multi-instrumentalist Karl Wallinger, who had started World Party in 1986 as a solo music project after his departure from The Waterboys. His debut album under the World Party moniker was Private Revolution, which came out in March 1987. It would be the first of five released over the following 13 years. In February 2001, Wallinger had an aneurysm that left him unable to speak and sidelined his career until 2006. While over the next 14 years he occasionally toured with a backing band as World Party and released the compilation Arkeology (2012) and a live album, World Party Live! (2014), Wallinger appears to have been inactive since 2015. Here’s The Ballad of the Little Man, a tune from Private Revolution. I love the cool ’60s vibe in many of Wallinger’s tunes!

The Doors/Light My Fire

The time has come to travel back to the ’60s for real. In January 1967, The Doors, one of my favorite groups, released their eponymous debut, and what a great record it was! Break On Through (To the Other Side), Soul Kitchen, Alabama Song (Whiskey Bar) and the apocalyptic The End are among the gems here. And, of course, the mighty Light My Fire, which was primarily written by guitarist Robbie Krieger, though it was credited to the entire band. The song also became the group’s second single and their breakthrough. But I’m not featuring the shortened single edit. At CMM, we don’t do things half-ass! Ray Manzarek’s organ part is sheer magic to my ears. I never get tired of it!

Santana/Anywhere You Want to Go

Once again we’re entering the final stretch of yet another Sunday Six. When it comes to Carlos Santana, who has been a favorite since I listened to the 1974 compilation Santana’s Greatest Hits as an 8-year-old, I’ve always loved his first three albums the most. This “classic period” spanned the years 1969 to 1971 and includes gems like Evil Ways, Jingo, Soul Sacrifice, Black Magic Woman, Samba Pa Ti and Everybody’s Everything. Needless to point out I was intrigued when sometime in early 2016 I learned Carlos had reunited with most of the surviving members from the band’s early ’70s lineup for a new album: Gregg Rolie (lead vocals, keyboards), Neal Schon (guitar, vocals), Michael Carabello (congas, percussion, backing vocals) and Michael Shrieve (drums). Sure, 46 years is a very long time and I couldn’t expect Santana IV would sound the same as those first three records. But I still liked what I heard. Perhaps best of all, I got to see that version of Santana live during a short supporting tour, which also featured Journey. I’m leaving you with Anywhere You Want to Go, penned by Rolie. Feel free to groove along!

Of course, this post wouldn’t be complete without a Spotify list of all the above tunes.

Sources: Wikipedia; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

Happy Saturday and welcome to another weekly new music revue. Usually, most of the artists I feature in these posts are new to me. Not so this time! All picks appear on brand new albums released yesterday.

Wilco/All Across the World

American alternative rock band Wilco were formed in 1994 by singer-songwriter Jeff Tweedy (lead vocals, guitars, bass, harmonica) and the remaining members of Uncle Tupelo after vocalist and guitarist Jay Farrar had left the alternative country group. Wilco’s studio debut A.M. came out in March 1995. Unlike Trace, the debut by Farrar’s newly founded Son Volt, A.M. missed the charts. But Wilco caught up with and eventually surpassed Son Volt from a chart performance perspective. To date, the band has released 12 albums including its latest Cruel Country, a double album. While Tweedy acknowledged Wilco hadn’t been very comfortable about being called a country band in the past, even though their music always had included country elements, he said with Cruel Country “Wilco is digging in and calling it country.” Here’s All Across the World. I dig that tune and really don’t care much what you call it!

Liam Gallagher/Too Good For Giving Up

English singer-songwriter Liam Gallagher first gained prominence in the 1990s as frontman and lead vocalist of Britain’s overnight sensation Oasis. After Liam’s brother Noel Gallagher quit Oasis in August 2009, which ended the group, Liam and the remaining members decided to continue as Beady Eye. When that band broke up in October 2014, Liam launched a solo career, though for some reason, he initially didn’t want to characterize it as such. His solo debut As You Were was met with critical acclaim and debuted at no. 1 on the British albums chart. Now, Liam Gallagher is back with his third and new album C’mon You Know. Here’s a sample: Too Good For Giving Up, co-written by Gallagher and fellow British singer-songwriter Simon Aldred who is also listed as co-producer. Strong tune!

Steve Earle/Hill Country Rain

After a warm tribute to his late son Justin Townes Earle, released in January 2021, roots rock singer-songwriter Steve Earle is back with another tribute. Jerry Jeff, his 22nd studio release, celebrates the music of outlaw country singer-songwriter Jerry Jeff Walker. While Walker wrote and interpreted many songs over more than 50 years, he was best known for Mr. Bojangles. This 1968 classic has been covered by Nitty Gritty Dirt Band, Sammy Davis Jr. and Bob Dylan, among others. And now also Steve Earle, who released his solo debut Guitar Town in March 1986 following a 10-year-plus career as a songwriter and musician. “This record completes the set, the work of my first-hand teachers,” Earle wrote on his website. “The records were recorded and released in the order in which they left this world. But make no mistake – it was Jerry Jeff Walker who came first.” Here’s Hill Country Rain, which Walker first recorded in 1972 for a self-titled studio album. Great rendition!

Bruce Hornsby/Tag

When I included Bruce Hornsby in a recent Sunday Six installment, I didn’t anticipate I’d be writing about the American singer-songwriter again so soon. Best known for his 1986 debut gem The Way It Is, Hornsby has drawn from folk-rock, jazz, bluegrass, folk, southern rock, country rock, heartland rock and blues rock over a 36-year-and-counting recording career. Bonnie Raitt, whose music I’ve loved for many years, called Hornsby her favorite artist in a recent interview. Perhaps I should finally take a closer look at Hornsby beyond his first two albums! ‘Flicted, his 23rd and latest would be a start. “Thanks to all of our supporters who have followed the multi-genre journey for the last thirty-six years,” Hornsby wrote on his website.”…thanks for being open to change, exploration and a bit of musical mirth and merriment along with the attempts at deep and soulful music-making through the years.” Here’s Tag, which like most tunes on the album were written or co-written by Hornsby. This may not be as catchy as mainstream pop-oriented songs like Every Little Kiss, Mandolin Rain or The Way It Is, but I’m still intrigued and want to hear more.

Here’s a Spotify playlist of the above and a few additional tunes from each featured artist.

Sources: Wikipedia; Steve Earle website; Bruce Hornsby website; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another Sunday morning/afternoon/evening, wherever you are when reading this. It’s time to resume some music time travel. Today’s six-stop journey starts in the ’60s with stop-overs in the ’90s, ’70s, ’10s and ’80s before coming to an end in the ’00s. Fasten your seatbelts and off we go!

Sonny Rollins/Where Are You?

I’d like to ease us into today’s musical trip with some relaxing jazz by Sonny Rollins. Jazz connoisseurs need no introduction to the American tenor saxophone great. For more casual jazz listeners like me, Rollins is widely recognized as one of the most important and influential jazz musicians who over an incredible 70-year-plus career has recorded more than 60 albums as a leader and appeared on many additional records as a sideman. Rollins has played with the likes of Charlie ParkerMiles DavisDizzy GillespieThelonious MonkMax Roach and Modern Jazz QuartetWhere Are You? appeared on his 1962 studio album The Bridge, which Wikipedia notes was Rollins’ first release after a three-year sabbatical. Composed by Jimmy McHugh with lyrics by Harold Adamson, the track was written for the 1937 American comedy film Top of the Town and originally performed by Gertrude Niesen. On his rendition, Rollins was joined by Jim Hall (guitar), Bob Cranshaw (double bass) and Ben Riley (drums). I don’t have to be a jazz expert to love this track and neither do you. Just listen to that smooth saxophone sound! Rollins who celebrated his 91st birthday last September is still alive – bless the man!

Blue Rodeo/5 Days in May

Our next stop is the ’90s and beautiful music by Blue Rodeo, which is right up my alley. I’ve featured the Canadian country rock band on the blog before. They were formed in 1984 in Toronto by high school friends Jim Cuddy (vocals, guitar) and Greg Keelor (vocals, guitar), who had played together in various bands before, along with Bob Wiseman (keyboards).  Cleave Anderson (drums) and Bazil Donovan (bass) completed the band’s initial lineup. After gaining a local following in Toronto and signing with Canadian independent record label Risque Disque, the group released their debut album Outskirts in March 1987. 5 Days in May is the opener of the band’s fifth studio album Five Days in July, which appeared in October 1993 in Canada and September 1994 in the U.S. With 6X Platinum certification in Canada, it remains their best-selling album to date. Like most other tunes on the record, 5 Days in May was co-written by Cuddy and Keelor. The harmonica and guitar action are very reminiscent of Neil Young. I also love that keyboard sound. It’s just a great song all around!

The Jaggerz/The Rapper

When I came across The Rapper by The Jaggerz the other day, I earmarked it immediately for an upcoming Sunday Six. The American rock band from Pittsburgh, Pa. was initially active from 1964 until 1977. During that period, they only released three albums. After the third, Come Again from 1975, they broke up in 1977. By that time, frontman and co-founder Dominic Ierace had already left the group and joined American funk rock band Wild Cherry, best known for Play That Funky Music, their only major single success. In 1989, The Jaggerz reunited sans Ierace with three other original founders and three new members. They have since released three additional albums, the most recent of which came out in 2014 – not an exactly overwhelming catalog! The group’s current formation, a six-piece, includes founding members Jimmie Ross (lead vocals, bass) and Benny Faiella (guitar). The Rapper became the band’s breakthrough single and only hit in January 1970, surging to no. 2 in the U.S. on the Billboard Hot 100. Written by Ierace, it was included on their sophomore studio album We Went to Different Schools Together, released that same year.

Alison Krauss & Union Station/Miles to Go

For this next pick, let’s go to the current century. Miles To Go is a song from Paper Airplane, released in April 2011 by Alison Krauss & Union Station. The bluegrass and country artist, who is also a talented fiddle player, has been active since 1984. She made her recording debut in 1986 with Different Strokes, a collaboration with Jim Hoiles & Friends and Swamp Weiss. To date, Krauss has released 14 albums, most frequently together with bluegrass and country band Union Station. I’m mostly aware of Krauss because of her two collaboration records with Robert Plant. Miles to Go was co-written by Union Station bassist Barry Bales and Chris Stapleton. Krauss is a great vocalist and I also dig the band’s sound. Yesterday, in addition to further checking out Paper Airplane, I sampled Lonely Runs Both Ways, her preceding album with Union Station from November 2004. Lots of great music only between these two records!

John Hiatt/Memphis in the Meantime

Memphis, Tenn. and its amazing music history are on my bucket list. Graceland, Sun Studio and the Stax Museum surely sound like worthy sites to visit. In the meantime, I’m picking a tune about the city by John Hiatt, a great artist I’ve started to explore in greater detail over the past few years. The singer-songwriter who has been active for 50 years is best known for tunes that have been covered by the likes of B.B. KingBob DylanBonnie RaittEmmylou HarrisEric ClaptonJoe CockerLinda RonstadtRy Cooder and Nick Lowe. While Hiatt’s albums received positive reviews from critics, it took eight records and more than 10 years until he finally had an album that made the Billboard 200Bring the Family, from May 1987, which reached no. 107. Memphis in the Meantime is the opener of that great record. It also includes two tunes popularized by two of the aforementioned artists: Thing Called Love, by Bonnie Raitt; and Have a Little Faith in Me, by Joe Cocker.

The Chesterfield Kings/The Rise and Fall

Once again it’s time to wrap things up. For the final stop of our musical mini-excursion, let’s get a dose of psychedelic garage rock by The Chesterfield Kings. Founded in the late ’70s by Greg Prevost (lead vocals, multiple instruments), the band from Rochester, N.Y. was instrumental in sparking the 1980s garage band revival, according to Wikipedia. A partial discography there lists 11 albums by the group that was active until 2009. Rise and Fall, co-written by Provost and bandmate Andy Babiuk (bass and multiple other instruments), is a tune from a 2007 album titled Psychedelic Sunrise. The group’s line-up at that time also included Paul Morabito (guitars, mandolin, organ) and Mike Boise (drums, percussion). BTW, the album was produced by garage rock fan Steven Van Zandt. I could picture this tune played by The Rolling Stones during their psychedelic period.

Last but not least, here’s a Spotify playlist featuring all of the above goodies!

Sources: Wikipedia; Discogs; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

Happy New Year and welcome to my first post of 2022! Yes, as hard as it is to believe, apparently, some new music appeared yesterday (December 31). While I didn’t see anything that sufficiently excited me, the show must go on with other new releases that came out earlier in December. I think I got some good stuff here!

Corey Kent/There’s Always Next Year

Kicking off this first Best of What’s New installment of 2022 is some rock by Nashville, Tenn.-based country singer-songwriter Corey Kent. According to a bio on the website of his record label Combustion Masters, Music chose Corey Kent early in his life. At age 11, Corey was touring as the lead singer of a Western Swing band opening for legends like Roy Clark & The Oak Ridge Boys. By the time he could drive, he was playing weekly in his hometown of Bixby, OK. In December of 2010, Corey found himself on stage singing Milk Cow Blues with country music icon, Willie Nelson. By 17, he said goodbye to his family & moved out to Nashville, TN…Shortly after graduating with his business degree, Corey wrote his first #1 Hit (William Clark Green’s hit, “You Where It Hurts”). On December 28, Kent released what looks like his sophomore album ’21. Here’s There’s Always Next Year, co-written by fellow country artists David Garcia, Jameson Rodgers and Jonathan Singleton.

John Mayall/Can’t Take No More (feat. Marcus King)

John Mayall is 88 years old, but apparently, the Godfather of the British Blues ain’t slowing down. This is just amazing and makes me happy! Mayall is best known as the founder of John Mayall & the Bluesbreakers, a band that featured some of the finest British guitarists, such as Eric Clapton, Peter Green and Mick Taylor. ‘Is this for real?’, you might ask. It is, but wait there’s more. On January 28, Mayall is scheduled to come out with a new album. According to his website, on The Sun is Shining Down, he teams up with a stellar cast to deliver a funky soulful affair punctuated by brass, violins, harmonica and electric ukulele. Special guests include, The Heartbreakers’ Mike Campbell, fast rising roots rocker Marcus King, Americana icon Buddy Miller, Scarlet Rivera of Bob Dylan’s Rolling Thunder Revue, Chicago blues guitar mainstay Melvin Taylor and Hawaiian ukulele star Jake Shimabukuro. And, yes, apparently Mayall is planning to take this baby on the road starting in late February. Here’s the tasty Can’t Take No More, a soulful blues rocker written by Mayall and featuring Marcus King. The tune was released upfront on December 17. Man, this is so good I can’t take it no more to wait for the new album!

Best Coast/Leading

American rock duo Best Coast, comprised of songwriter, guitarist and vocalist Bethany Cosentino and guitarist and multi-instrumentalist Bobb Bruno, was formed in 2009 in Los Angeles. Here’s more from their Apple Music profile: Drawing inspiration from ’60s surf rock and girl groups, Best Coast’s noisy lo-fi sound gave a nod to contemporaneous acts like Hot Lava, the Vivian Girls, and Brilliant Colors. Best Coast’s first year saw a flurry of little releases: a self-titled 7″ single on Art F*g; a cassette tape release, Where the Boys Are, on the U.K. label Blackest Rainbow; a split 7″, Up All Night, on Atelier Ciseaux; an EP, Make You Mine, on Group Tightener; and a self-titled 7″ on Black Iris. Best Coast had become something of a sensation by the time 2009 came to a close. In July 2010, the duo released Crazy for You, the first of five albums that have appeared to date. Leading, co-written by Cosentino and Bruno, is Best Coast’s new single that came out on December 14 – a quite catchy rocker!

Tinsley Ellis/Beat the Devil

Wrapping up this first Best of What’s New of the new year is more sweet blues rock, by Tinsley Ellis. From his website: Born in Atlanta in 1957, Ellis was raised in southern Florida. He acquired his first guitar at age seven, soon after seeing The Beatles perform on the Ed Sullivan Show. He took to it instantly, developing and sharpening his skills as he grew up. Ellis discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. One night in 1972, he and a friend were listening to Al Kooper and Michael Bloomfield’s Super Session record when his friend’s older brother told them if they liked that, they should really go see B.B. King, who was in town that week. Tinsley and his friends went to the Saturday afternoon performance, sitting transfixed in the front row. When B.B. broke a string on his guitar, Lucille, he changed it without missing a beat, and handed the broken string to Ellis. After the show, B.B. came out and talked with fans, mesmerizing Tinsley with his warmth and kindness. Tinsley’s fate was now sealed; he had to become a blues guitarist. And the rest is history and a recording career of 40 years to date. Beat the Devil, penned by Ellis and released on December 6, is a single from his upcoming album Devil May Care set to drop on January 21 – another one I’m looking forward to. I really like how this new year starts!

And, I almost forgot, here’s a playlist with the above tunes!

Sources: Wikipedia; Combustion Master website; John Mayall website; Apple Music; Tinsley Ellis website; YouTube; Spotify

What I’ve Been Listening to: Son Volt/Trace

Son Volt, an American band I only came across a few months ago, have become one of my favorite groups I’ve “discovered” this year. Over the decades, they have touched the alternative rock, alternative country, folk-rock and Americana genres. In fact, they are considered a staple of the alternative rock movement of the 1990s.

Guitarist and singer-songwriter Jay Farrar formed Son Volt in 1994, following the break-up of Uncle Tupelo, an alternative country-rock band he had founded in 1987 together with Jeff Tweedy. Meanwhile, Tweedy went on to form alternative rock group Wilco.

In addition to Farrar, Son Volt’s initial line-up included ex-Uncle Tupelo drummer Mike Heidorn, along with brothers Dave Boquist (guitar, banjo, fiddle, lap steel, dobro) and Jim Boquist (bass, backing vocals). By the time the group had secured a deal with Warner Bros. and went into the studio to record their debut album Trace, Eric Heywood (mandolin, pedal steel) had joined them.

Trace, which came out in September 1995, is the first of 10 studio albums Son Volt have released to date, the most recent being the excellent Electro Melodier from July 30 this year. The band’s catalog also includes the 2020 live album Live At The Orange Peel. Let’s take a closer look at Trace!

I’d like to start with the opener Windfall, one of the acoustics tracks on the album. Like all except one track, the beautiful tune was penned by Farrar. I love the fiddle and pedal steel guitar, which give the song a warm country sound.

Route is a nice crunchy rocker. Apple Music notes Farrar’s Neil Young-influenced sound. This is one of the tunes that does remind me a bit of Crazy Horse.

On Ten Second News, things slow down and turn acoustic again. Another great-sounding song with a bit of a bluesy touch.

Drown, another rocker, did well on two U.S. Billboard charts: Mainstream Rock Tracks (no. 10) and Modern Rock Tracks (no. 25). According to Wikipedia, it became Son Volt’s only single to make either of the charts. I find that a bit hard to believe!

Let’s do two more, starting with another acoustic tune: Out of the Picture.

And here’s another great rocker to wrap up: Catching On.

For the above and the remaining tracks, you can check out the playlist below.

Trace was co-produced by Brian Paulson and Son Volt. Paulson is best known for his work with Slint, Uncle Tupelo, Superchunk and Wilco. He also produced Son Volt’s sophomore album Straightaways from April 1997. Other musicians on Trace include Craig Krampf (drums on Live Free), Dan Newton (accordion on Too Early) and Marc Perlman (bass on Mystifies Me).

While Trace only reached no. 166 on the Billboard 200, the album was well-received by music critics. In this context, Wikipedia highlights AllMusic’s review, which stated, “Throughout Son Volt’s debut, Trace, the group reworks classic honky tonk and rock & roll, adding a desperate, determined edge to their performances.” AmericanaUK characterized the album as “a graceful masterpiece, a positive turning of the page for Farrar, and a gentle reminder of the power and long-lasting influence of Uncle Tupelo.” The album also placed within the top 10 of Rolling Stone’s 1995 critics’ list.

Sources: Wikipedia; YouTube