If I Could Only Take One

My “real” desert island song playlist

If you’ve followed this feature over the past six months, perhaps by now you may think, ‘jeez, when is he going to get it over with?’ I got news for you: This is the final installment!

For first-time visitors, this weekly series looked at music I would take with me on a trip to a desert island, one tune at a time and in alphabetical order by the name of the picked band or artist (last name). In addition, my selections had to be by a music act I had only rarely covered or even better not written about at all.

In last week’s installment, I featured the playlist that resulted from the above exercise. Obviously, the criteria limited my choices, as I also noted to some commenters throughout the series. Today, I’d like to present my “real” desert island playlist. The only rule I kept was to pick one song by a band or artist’s last name in alphabetical order.

In the following, I’m going to highlight four tunes. The entire playlist can be found at the end of the post.

Jethro Tull/Hymn 43

Over the years, Hymn 43 by Jethro Tull has become one of my favorite tunes by the English rock band. Penned by Tull’s flutist, frontman and lead vocalist Ian Anderson, Hymn 43 is off their fourth studio album Aqualung. Released in March 1971, that record is best known for the epic Locomotive Breath, even though incredibly, the single missed the charts in the UK, just like Hymn 43! In the U.S., Locomotive Breath and Hymn 43 became Tull’s first charting singles, reaching no. 62 and no. 92 on the Billboard Hot 100, respectively. Of course, one could argue that Tull’s music wasn’t about the charts!

Randy Newman/Guilty

American singer-songwriter Randy Newman has penned many tunes and film scores over his 60-year-plus-and-counting career. Some like Short People (1977), I Love L.A. (1983) and You’ve Got a Friend in Me (1995) became well known under his name, while others such as Mama Told Me Not to Come (1966), I Think It’s Going to Rain Today (1968) and You Can Leave Your Hat On (1972) were popularized by Three Dog Night, UB40 and Joe Cocker, respectively. Many other artists covered Newman’s songs as well. One of my favorite tunes by Newman is Guilty, included on his fourth studio album Good Old Boys, which appeared in September 1974. Evidently, Cocker liked the ballad as well and recorded it for his 1974 studio album I Can Stand a Little Rain.

Stevie Ray Vaughan/Pride and Joy

If you’re a frequent visitor of the blog or know my music taste otherwise you know I love the blues and blues rock. When it comes to that kind of music, in my book, it doesn’t get much better than Stevie Ray Vaughan. Not only was the man from Dallas, Texas an incredible guitarist – perhaps the best electric blues rock guitarist ever – but he also elevated the blues to the mainstream in the ’80s thanks to his great live performances and albums. Vaughan did both original songs and covers. I would argue that his rendition of Voodoo Child (Slight Return) is better than the original by Jimi Hendrix! Anyway, here’s Pride and Joy, penned by Vaughan, off his debut studio album Texas Flood.

Yes/Roundabout

Full disclosure: My first pick for “y” would have been Neil Young and Like a Hurricane. But since most of Neil’s music was pulled from Spotify earlier this year, I went with Yes. I’ve never gotten much into progressive rock (not counting Pink Floyd and a few others whose music includes prog-rock elements). Yes are one of the few exceptions, together with Genesis. That said, my knowledge of the British band’s music is mostly limited to their earlier catalog. In this context, a song I’ve really come to love is Roundabout. Co-written by vocalist Jon Anderson and guitarist Steve Howe, the track is from the group’s fourth studio album Fragile, released in November 1971. Until Owner of a Lonely Heart (1983), the band’s songs weren’t exactly radio-friendly. That said, Roundabout was released as a single and became the first top 20 song Yes had in the U.S.

Last but not least, here’s the entire playlist. In addition to the above, it includes many of the suspects you’d expect to see if you know my music taste, such as AC/DC, The Beatles, Cream, Deep Purple, Marvin Gaye and The Rolling Stones, to name some.

Sources: Wikipedia; YouTube; Spotify

A Debut Album I Love

A “Turntable Table Talk” contribution

Fellow blogger Dave from A Sound Day is currently hosting Turntable Talk, a fun recurring feature where he invites some fellow music fans and writers to weigh in on music subjects. After participating in previous installments about the pros and cons of live albums and the impact of MTV, I was glad Dave invited me back to share my thoughts about a great music debut.

In his own words: I’m calling it “Out of the Blue.”Basically, great debuts that probably took you by surprise. Now, I’m not talking to old debut records by artists you love that you eventually went back to and found, but rather albums or even singles that you found more or less when they came out that you really loved… a surprise great that came out of the blue.  So no Beatles, unless of course you were around in 1963 and had the luck to suddenly hear ‘she Loves You’ or ‘I Wanna Hold Your Hand’ and went ‘Wow, who are these mop-topped lads I’ve never heard the likes of?”…in which case, then that would be a great story! 

Well, I wish I would have been around to see The Beatles! Without further ado, following is my contribution:

It’s a pleasure to be back contributing to “Turntable Talk” to share my thoughts on another interesting topic. Thanks, Dave, for continuing your engaging series!

While I can think of many great debuts like Dire Straits’ and Counting Crows’ eponymous starts from 1978 and 1993, respectively, or Katrina and the Waves’ Walking On Sunshine (1983), I decided to pick something else. Per your guidance, I also didn’t consider any gems that appeared before my active music listening time, such as The Beatles’ Please Please Me (1963), The Rolling Stones’ eponymous debut (1964), The Who’s My Generation (1965), Cream’s Fresh Cream (1966) or Led Zeppelin’s Led Zeppelin I (1969), to name a few.

Even though you’d perhaps think the above parameters made picking an album more tricky, it literally took me less than 5 seconds to make my decision. You won’t find it on Rolling Stone’s 2013 list of 100 Best Debut Albums of All Time either. Enough with the teasing. My pick is the self-tiled first album by Southern Avenue, one of my favorite contemporary bands.

Southern Avenue (from left): Evan Sarver, Tikyra Jackson; Tiernii Jackson, Ori Naftaly and Jeremy Powell

Before getting to the album, let me give a bit of background on Southern Avenue. While I’m sure that over the past seven years this near-constantly touring group has gained many other fans, and despite some chart success and industry recognition, it’s still safe to say there’re not a household name.

Southern Avenue blend Stax-style soul with blues, gospel, funk, rock and contemporary R&B. They were formed in 2015 when Israeli blues guitarist Ori Naftaly met Memphis vocalist Tierinii Jackson and her sister Tikyra Jackson, drummer and backing vocalist. Jeremy Powell on keyboards and bassist Evan Sarver complete the band’s current lineup.

Southern Avenue took their name from a street that runs from East Memphis to “Soulsville,” the original home of Stax Records. While that’s a clear nod to the band’s admiration for the legendary soul label, they have noted they don’t want to be seen as a Stax revival act. That said, their eponymous debut album, released in February 2017, appeared on the storied soul label. In fact, Southern Avenue became the first Memphis band signed to Stax in over 40 years!

I’d say it’s time for some music! Let’s kick it off with the aforementioned Don’t Give Up, which is the album’s opener. This soulful tune, which has a cool gospel vibe, still gives me goosebumps every time I hear it. Lead vocalist Tierinii Jackson may be a relatively tiny lady, physically speaking, but she’s a giant when it comes to singing. I also love when she harmonizes with her sister Tikyra Jackson, who as previously noted is the band’s drummer. I should also mention the song was written by guitarist Ori Naftaly.

Let’s pick up the speed with a great soul tune titled Slipped, Tripped and Fell in Love – love the horns in this one! The song was penned by George Jackson, an American blues, R&B, rock and blues songwriter and singer. He’s probably best known for co-writing Bob Seger tune Old Time Rock and Roll.

Next up is 80 Miles From Memphis. Penned by Naftali, the up-tempo blues rocker remains one of my favorite Southern Avenue tunes. I just wished they’d keep it in their set these days! Naftali nicely demonstrates his blues chops here. This song just puts me in good mood!

Let’s do one more: No Time to Lose, another original. This tune was co-written by Naftali and Tierinii Jackson. Check out the great guitar riff. I also dig Powell’s keyboard work. And there’s more of that great horn action.

While perhaps not surprisingly Southern Avenue’s self-titled debut missed the U.S. mainstream charts, it entered Billboard’s Blues Albums Chart at no. 6 in February 2017. It also reached no. 1 on the iTunes Blues Chart.

Since their eponymous debut, Southern Avenue have released two additional great albums, Keep On (May 2019) and Be the Love You Want (August 2021), which I reviewed here and here. While this band may not be widely known, they’ve also earned some well-deserved industry recognition, including a 2018 Blues Music Award for “Best Emerging Artist Album” and a Grammy Award nomination for Keep On in the “Best Contemporary Blues Album” category. To learn more about the group and their ongoing tour, you can check out their website.

Southern Avenue are a compelling live act. Since August 2018, I’ve seen them three times. In case you’re curious, here’s my review from a gig in Asbury Park, N.J. I attended in July 2019. I surely have every intention to catch them again. I’ll leave you with a live rendition of Don’t Give Up, which I captured during the aforementioned show. Typically, it’s the final song of their set.

Sources: Wikipedia; Rolling Stone; YouTube; Spotify

Buddy Guy Reminds New Jersey Why He Was Born to Play the Guitar

Wednesday night, I saw Buddy Guy at Wellmont Theater, a lovely 2,500-seat concert venue in Montclair, N.J. My ticket had been a last-minute impulse purchase triggered by a post from a Facebook friend. Age has been kind to Guy, and it felt as if time had stood still since I had first seen him in July 2016.

If I see this correctly, the now 85-year-old is the last man standing from the old generation of Chicago blues artists, such as Muddy Waters, Howlin’ Wolf, Willie Dixon, Elmore James and Luther Allison. Guy still proved to be an incredible guitarist, compelling vocalist and a great showman.

Key aspects of Guy’s show like hitting his guitar with a drum stick, cursing like a sailor and walking off the stage into the audience while playing were familiar from the two previous occasions I had seen him. While as such you could say there were no big surprises, I take predictability when it’s delivered at such a high caliber.

Buddy Guy with Colin James

Before getting to some of Guy’s music, I’d like to say a few words about Canadian blues-rock guitarist and singer-songwriter Colin James who opened the night. According to his website, His career has spanned over 30 years, with a track record that includes 19 studio albums, 7 Juno Awards, 27 Maple Blues Awards and multi-platinum record sales. His most recent album Miles To Go garnered worldwide attention, debuting on the Billboard Blues Charts and holding a position on the RMR Blues Chart for 24 weeks, 14 weeks in the top 10. He continues to sell out shows across Canada with over 80,000 tickets sold on tours over the past 3 years. Colin was inducted into the Canadian Music Hall of Fame in 2014.

I was completely new to Colin James and greatly enjoyed his 45-minute set. For some of his songs, he was joined by Guy’s excellent pianist and organist Marty Sammon. Here’s one of these tunes, the title track from James’ new album Open Road, which appeared in November 2021. James came back for one song in Guy’s set.

After a short break, the time had come for Buddy Guy. And he made it damn clear right from the get-go that he meant business with Damn Right, I’ve Got the Blues. The title track of his seventh studio album from July 1991 was penned by Guy.

One thing Guy likes to do is to combine songs, which can result in lengthy jam-like performances. Not only can this make it tricky to distinguish between songs, but it also becomes an endurance test for filming! 🙂 Anyway, here’s one such example from Wednesday night: The Willie Dixon standard I’m Your Hoochie Coochie Man and the Muddy Waters tune She’s Nineteen Years Old. Both songs were first recorded by Waters in 1954 and 1958, respectively.

I leave you with one more clip: Skin Deep, the title track of Guy’s 14th studio album from July 2008, which I felt was one of the highlights of the night. The soulful tune was co-written by Guy and his long-time collaborators Tom Hambridge and Gary Nicholson. Such a great tune!

Other songs in Guy’s set I could recognize included Feels Like Rain (written by John Hiatt; title track of Guy’s 1993 studio album), Got My Mojo Working (written by Preston “Red” Foster; from Guy and Junior Wells’ Live in Montreux, 1978), a snippet of Cream’s Sunshine of Your Love, Someone Else Is Steppin’ In (written by Denise LaSalle; from Guy’s 1994 studio album Slippin’ In), I Go Crazy (written by James Brown; from Feels Like Rain), Drowning On Dry Land (co-written by Mickey Gregory and Allen Jones; from Guy’s 2008 live album 2008-06-28: Glastonbury Festival) and Cheaper to Keep Her (co-written by Bonny Rice, Harold Arlen and Johnny Mercer; from Guy’s 2005 studio album Bring ‘Em In).

This review wouldn’t be complete without acknowledging Guy’s excellent backing group The Damn Right Blues Band. Apart from Marty Sammon, the line-up includes dynamite guitarist Ric “JazGuitar” Hall, Orlando Wright (bass) and the above-mentioned Tom Hambridge on drums.

Guy is taking his show to the Kodak Center in Rochester, N.Y. tonight. Other upcoming dates include Massey Hall, Toronto, Canada (April 9); Revolution Hall, Portland, Ore (April 21) and Moore Hall, Seattle, Wash. (April 22). The tour also includes a show scheduled for July 30, Guy’s 86th birthday, at Taft Theater in Cincinnati, Ohio. The schedule for his entire 2022 tour, which currently has gigs until September, is here.

I find Buddy Guy an amazing inspiration. If you dig electric blues Chicago-style and don’t mind cursing, I can highly recommend the man who truly was born to play the guitar and who damn right has got the blues.

Sources: Wikipedia; Colin James website; Buddy Guy website; YouTube

If I Could Only Take One

My desert island tune by The Cranberries

The third installment of my weekly desert island exercise brings me to the letter “c.” Some of the artists and bands I could have selected include J.J. Cale, Ray Charles, Cream, Creedence Clearwater Revival and Sheryl Crow. My pick are The Cranberries and Linger, a song I find exceptionally beautiful. The melody, the musical arrangement and the lyrics are all coming together perfectly.

Linger first appeared in February 1993 as the second upfront single of the Irish alternative rock band’s debut album Everybody Else Is Doing It, So Why Can’t We? That album was released two weeks thereafter in March.

The Cranberries’ second single became one of their biggest hits. In addition peaking at no. 3 in their native Ireland, it reached no. 4 in Canada, no. 8 in the U.S. (Billboard Hot 100) and no. 14 in the UK, among others. The single remained on the Billboard Hot 100 for an astonishing 24 weeks.

A beautiful great acoustic version of Linger was included on the band’s seventh studio album Something Else, released in April 2017. The record featured unplugged and orchestral renditions of 10 previously released singles, along with three new songs. Sadly, it would be the final album with Dolores O’Riordan who passed away on January 15, 2018, at the age of 46 years. The cause of death was determined as drowning in a bathtub due to alcohol intoxication.

Here are some additional insights from Songfacts:

Cranberries guitarist Noel Hogan wrote the music for this song before Dolores O’Riordan joined the band. Originally, it had lyrics written by the group’s first singer, a bloke named Niall Quinn. When O’Riordan auditioned for the band, she had some ideas for the song, and after she was hired, she wrote her own set of lyrics, turning it into a song of regret based on a soldier she once fell in love with.

The emotional, girlie sound was a huge departure for the band, but wildly successful. The song got lots of airplay from radio stations looking for an alternative to rap or grunge, and MTV put the video in heavy rotation [So did VH1 where I saw it repeatedly during my first semester as a student on Long Island, N.Y. – CMM]. The Cranberries became one of the best-selling bands of the mid-’90s.

In a Songfacts interview with Dolores O’Riordan, she described this as “a love song.” In the lyric, she describes being mistreated by her love and seeing him with another girl, yet unable to break free because he lets their relationship linger. This hardly seems the stuff of dreams, but the feeling of first love is what O’Riordan keyed in on. It brought her back to a time of innocence.

The Cranberries recorded the first version of this song in 1990 at their manager’s studio in Limerick, Ireland. It was one of three songs included on a demo they distributed to local records stores, which found their way to various record companies. Island Records signed the band, which released their first EP, Uncertain, in 1991. “Linger” was not part of that EP, as they wanted to save the song for when they built a bigger fan base.

Sources: Wikipedia; Songfacts; YouTube

Musings of the Past

Tom Dowd, Humble Music Genius Behind The Scenes

Time for another installment of Musings of the Past, a recently introduced feature in which I repost select older content from the blog. These posts may be slightly edited and/or enhanced. The following was based on one of the best music documentaries I’ve watched to date: Tom Dowd And The Language Of Music. Thanks again to Jim at Music Enthusiast who recommended the film to me in early 2018. Now that I’m reposting this, I feel like watching it again!

Tom Dowd, Humble Music Genius Behind The Scenes

Recording engineer and producer shaped sound of some of greatest music recorded during second half of 20th century

This post was inspired by Tom Dowd And The Language Of Music, one of the most fascinating music documentaries I recently watched. Before getting to it, I’d like to give a shout-out to Music Enthusiast who recommended the film to me.

Created by Mark Moormann, the documentary, which premiered at the 2003 Sundance Film Festival and was a 2005 Grammy Award nominee, tells the fascinating story of Tom Dowd, a recording engineer and producer for Atlantic Records. Over a 50-plus-year career that started in the 1940s, this man worked with an amazing array of artists, including John Coltrane, Charles Mingus, Bobby Darin, Ray Charles, Aretha Franklin, Otis Redding, Booker T. & The M.G.sEric Clapton, Cream, The Allman Brothers Band, Lynyrd Skynyrd, and the list goes on and on. During that period, Dowd also advanced studio techniques that would revolutionize recording.

Tom Dowd with Ray Charles

Dowd was born on October 20, 1925 in New York City. From the beginning of his life, he was exposed to music. His mother was an opera singer, while his dad worked as a concertmaster. While growing up, Dowd learned various instruments, including the piano, tuba, violin and string bass. After high school, he continued his musical education at City College of New York. During that time, Dowd also played in a band at Columbia University and became a conductor. Undoubtedly, all of this contributed to his great ear for music, which would come in handy for his later professional work in music.

Interestingly, Dowd’s path could have been very different. At 18, he was drafted into the military and through his work at the physics laboratory at Columbia University became involved in the Manhattan Project – yep that project, which developed the atomic bomb! Dowd planned to become a nuclear physicist after finishing his assignment. There was only one problem: His secret research for the military had been much more advanced than the university’s curriculum. So he decided against pursuing studies in nuclear physics and instead got a job at a classical recording studio in New York, before starting his longtime career with Atlantic Records.

Tom Dowd (left) with Jerry Wexler

In addition to helping shape the sound of some of the most amazing music recorded during the second half of the 20th century, Dowd was instrumental to drive innovation in the studio. He convinced Jerry Wexler, a partner in Atlantic Records, to install an Ampex eight-track recorder, putting the company on the cutting edge in recording technology. Dowd also popularized stereophonic sound and pioneered the use of linear channel faders on audio mixers as opposed to rotary controls. He then became a master in operating the linear channel faders, almost as if he was playing a keyboard!

Initially, various of the musicians were skeptical or even hostile when they saw Dowd. During the documentary, Eric Clapton said, “To be perfectly frank, I wasn’t interested in people like that.” Pretty much along the same lines, Gregg Allman noted, “Suddenly, you get to the studio, and there is a new guy there critiquing all this stuff, and you think, ‘where did he come from?'”

But when they realized what kind of artists Dowd had recorded in the past, how much he knew about music (likely, more than all of them combined!), and what he could do at the mixer, they listened. Heck, Dowd even managed to suggest to Ginger Baker, who undoubtedly is one of the best rock drummers but not exactly a warm fellow, the drum groove for Sunshine Of Your Love! The fact that all these musicians put their big egos aside and listened to this gentle recording engineer is truly remarkable.

Tom Dowd (second from left) and Duane Allman working on final master mix-down of Layla

Dowd passed away from emphysema at the age of 77 on October 27, 2007 in Florida, shortly after the above documentary had been finished. In 2012, he was posthumously inducted into the Rock & Roll Hall of Fame – better late than never, I suppose! One can only speculate what would have happened to Layla by Derek and The Dominos, Sunshine Of Your Love by Cream and so many other great recordings Dowd impacted!

Following are two video clips. First up is the trailer to the documentary, which in addition to Dowd includes commentary from Ray Charles, Clapton, Allman and Atlantic Records founder Ahmet Ertegun. Listening to the beginning of the clip when Charles is taking about the importance of sound is priceless in and of itself. I also recommend watching the remainder and hear all the other people talk about Dowd. It becomes obvious how much they revered him!

Here is how Dowd summarizes his amazing experience with artists from the ’50’s to the ’80s and the evolution of recording technology. I just find it fascinating and could listen to the man for hours!

Perhaps the most remarkable thing about Dowd was his modesty. In the documentary, there is a scene where he notes that while he had worked with all these artists, he wasn’t a millionaire – far from it! Obviously, many albums these artists released became big-time sellers. But apparently, money didn’t matter to Dowd. Instead, it was all about the music. I think his following statement sums it up perfectly: “Music has been very kind to me over the years.” Boy, the music industry could need visionaries like Tom Dowd these days!

– End-

Below is a playlist that captures some of Tom Dowd’s impressive work both as a recording engineer and a producer.

This post was originally published on February 13, 2018. It has been slightly edited. The Spotify list is an addition.

Sources: Wikipedia, Tom Dowd And The Language Of Music (Documentary, Mark Moorman, 2003), YouTube

The Sunday Six

Celebrating music with six random tracks at a time

Another Sunday is upon us, and the show must go on with a new explorative trip to celebrate great music of the past and present, six tunes at a time. This installment of The Sunday Six strikes out broadly, touching the ’40s, ’60s, ’70s, ’80s, ’90s and 2017. Let’s do it!

Ry Cooder/I Think It’s Going to Work Out Fine

I’d like to start today’s journey with some beautiful instrumental music by Ry Cooder. I believe the first time I heard of him was in connection with the great 1984 Wim Wenders motion picture Paris, Texas, for which Cooder wrote the score. This is some of the best acoustic slide guitar-playing I’ve heard to date – if you don’t know the movie’s score, check it out! In addition to 17 film scores, the versatile Cooder has released the same amount of solo albums since his 1970 eponymous debut. Not surprisingly, Cooder has also collaborated with the likes of John Lee Hooker, The Rolling Stones, Randy Newman, Linda Ronstadt, David Lindley and numerous other artists. This brings me to Bop Till You Drop, Cooder’s eighth solo album from July 1979, which I received as a gift in the late ’80s from my longtime German music buddy and former bandmate. Here’s Cooder’s great instrumental rendition of It’s Gonna Work Out Fine. Written by Rose Marie McCoy and Joe Seneca, the tune first appeared as a single by Ike & Tina Turner in June 1961.

The Animals/It’s My Life

After a gentle start, I’d like to step on the gas a bit with one of my favorite ’60s blues rock and R&B bands: The Animals. Not surprisingly, I’ve covered the British group’s music on various previous occasions, which among others include this Sunday Six installment and this post dedicated to their original lead vocalist Eric Burdon, one of the best British blues vocalists I can think of! It’s My Life first came out as a single in October 1965. Notably, it was penned by Roger Atkins and Carl D’Errico. This was not the only time Brill Building songwriters wrote a tune for the group. In May 1966, The Animals released another single, Don’t Bring Me Down, co-written by Gerry Goffin and Carole King. It’s My Life was also included on the band’s first compilation The Best of The Animals, which appeared in the U.S. only in February 1966. I’ve always loved this great psychedelic-flavored tune.

Steve Winwood/Roll With It

When it comes to Steve Winwood, I generally prefer his early years with The Spencer Davis Group, Traffic and Blind Faith over his oftentimes more pop-oriented solo period. Perhaps the biggest exception is Windwood’s fifth solo album Roll With It from June 1988. While undoubtedly influenced by ’80s pop, this record is also quite soulful. It became his most successful album, topping the Billboard 200 in the U.S. and reaching no. 4 in the UK, with more than three million copies having been sold. Here’s the excellent opener and title track, a co-write by Winwood and Will Jennings. Subsequently, Motown songwriters Holland-Dozier-Holland received a co-credit due to the tune’s similarities publishing rights organization BMI saw to (I’m a) Roadrunner, which had been a hit in 1966 for Junior Walker & the Allstars.

Sister Rosetta Tharpe/Strange Things Happening Every Day

Next let’s turn to a trailblazer and true rock & roll pioneer, the amazing Sister Rosetta Tharpe. While John Lennon famously said, “If you were to try to give rock & roll another name, you might call it Chuck Berry,” one of the genre’s early pioneers we must not forget was Tharpe. The prominent gospel singer started playing the guitar as a four-year-old and began her recording career at age 23 in 1938. She was one of the first popular recording artists using electric guitar distortion. Her technique had a major influence on British guitarists like Eric ClaptonJeff Beck and Keith Richards. She also influenced many artists in the U.S., including Elvis PresleyLittle Richard, Jerry Lee Lewis and Chuck Berry, to name a few. Tharpe has been called “the original soul sister” and “the godmother of rock & roll.” Unfortunately, her health declined prematurely and she passed away from a stroke in 1973 at the untimely age of 58. In May 2018, Tharpe was inducted into the Rock & Roll Hall of Fame as an Early Influence. Here’s Strange Things Happening Everyday, originally a traditional African American spiritual that became a hit for Tharpe in 1945. This recording is historic, as it’s considered to be one of the very first rock & roll songs. Tharpe’s remarkable guitar-playing, including her solos, distorted sound and bending of strings, is more pronounced on later tunes, but you can already hear some of it here. Check out this clip and tell me this amazing lady didn’t rock!

Prince/Cream

For this next pick, I’m jumping 46 years forward to 1991. Prince is an artist I’ve always respected for his remarkable versatility and amazing guitar skills, though I can’t say I’m an all-out fan. But I really like some of his songs. I must also add I’ve not explored his catalog in greater detail. It was largely my aforementioned German music buddy who introduced me to Prince. I recall listening together to his ninth studio Sign o’ the Times from March 1987. Cream, off Diamonds and Pearls that appeared in October 1991, is a tune I well remember hearing on the radio back in Germany. Based on Wikipedia’s singles chart, it looks like the song was Prince’s first big hit in the ’90s. Among others, it topped the U.S. charts, climbed to no. 2 in Canada and Australia, and reached the top 5 in France, Switzerland and Sweden. Here’s the official video. The actual tune starts at about 2:05 minutes into the clip. Sadly, we lost Prince way too early in April 2016 at age 57.

Greta Van Fleet/Safari Song

Last but not least, I’d like to turn to Greta Van Fleet, one of the contemporary bands that give me hope classic rock isn’t entirely dead yet. L.A. rockers Dirty Honey are another great example in this context. Greta Van Fleet were formed in Frankenmuth, Mich. in 2012 by brothers Josh Kiszka (lead vocals), Jake Kiszka (guitars, backing vocals) and Sam Kiszka (bass, keyboards, backing vocals), along with Kyle Hauck (drums). Other than Hauck who was replaced by Danny Wagner in 2013, the band’s line-up hasn’t changed. The group has been criticized by some as a Led Zeppelin knock-off, and the tune I’m featuring here probably is part of the reason. Selfishly, I don’t care since in my book, Zep are one of the greatest rock bands of all time. I would also add Greta Van Fleet’s sound has evolved since their early days. To me, their most recent album The Battle at Garden’s Gate from April 2021 bears very little if any resemblance to Zep. Here’s Safari Song, Greta’s second single released in October 2017. Credited to all members of the band, it was also included on their debut EP Black Smoke Rising that had come out in April of the same year. This just rocks and I could care less about the critics!

Here’s a playlist featuring all of the above tracks.

Sources: Wikipedia; 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

Deep Purple Demonstrate Cover Albums Can Be Fun

Machine Head by Deep Purple remains my most favorite hard rock album of all time, and I also like some of the English rockers’ other music, especially from their early period. But when I read a couple of weeks ago Deep Purple were coming out with an all-covers album, I wasn’t sure what to expect. Well, Turning to Crime has since appeared (November 26). Did we need renditions of great tunes like Cream’s White Room or Shapes of Things by The Yardbirds? Not really. Is it fun when Deep Purple plays them? Hell yes! In fact, I included their great cover of White Room in my last Best of What’s New installment.

Of course, I can see cynics say when a group of mostly septuagenarians releases a collection of covers or a Christmas album for that matter, they either ran out of ideas or are trying to make a quick buck or both. Well, to start with, good luck with making money these days by selling albums unless you’re perhaps Adele! Plus, in Deep Purple’s case, there are two other explanations: COVID-19 (sigh!), which didn’t allow the band to go on the road and left them idle, and the fact they always write original music together in the studio – again something they couldn’t do because of this dreadful pandemic.

“The whole idea came about during the lockdown,” long-time band member and bassist Roger Glover told music journalist and Forbes contributor Jim Ryan. “We didn’t want to twiddle our thumbs or anything…And we couldn’t write songs. Because we don’t write songs for Purple. We just jam together. That’s where the songs are born really – coming out of the jams. But we’ve got to be together to jam. So we couldn’t write. Well, we’ll let other people do the writing. We’ll cover songs. Then all we’ve got to do is perform it.”

Glover further noted each of the group’s five members came up with ideas for covers, with producer Bob Ezrin acting as “our kind of conductor.” Ezrin also worked with Deep Purple on their previous three albums. Eventually, they had a list of about 50 tunes, from which 12 were selected via vote. “But we weren’t just covering them straight,” Glover said. “We wanted to add something to them, Purpleize them if you like.”

Let’s take a closer look. Here’s Rockin’ Pneumonia and the Boogie Woogie Flu. How about that title! Co-written by Johnny Vincent and Huey Smith, the tune was first recorded in 1957 by Smith who was known as Huey ‘Piano’ Smith. It may not be Smoke On the Water, but damn, that boogie-woogie piano by the group’s keyboarder Don Airey surely smokes, as do the horns. Deep Purple lead vocalist Ian Gillan is in fine shape as well and is joined by Ezra on backing vocals.

How about some Peter Green era Fleetwood Mac? Oh Well. That’s actually the title of the song written by Green and first released as a non-album single in September 1969. Steve Morse, a solid guitarist and at age 67 the youngest current member of Deep Purple, does a great job. In fact, I just have to say this, the entire band kicks ass. Check it out!

Next up: Bob Dylan’s Watching the River Flow, a blues-rock tune the maestro penned and recorded in March 1971, and released as a single in June that year. Produced by Leon Russell, it was also included on the compilation Bob Dylan’s Greatest Hits Vol. II from November 1971.

Let the Good Times Roll sounds like a good description of Deep Purple when they were recording this album, even though they weren’t physically together. It’s also the title of a jump blues co-written by Sam Theard and Fleecie Moore, and recorded by American saxophonist Louis Jordan and His Tympany Five in 1946. Hearing a hard rock band swing like this is certainly something unusual!

Let’s do one more. How about a dose of New Orleans-flavored R&B? Here’s a great rendition of Little Feat’s Dixie Chicken. Co-written by Lowell George and Fred Martin, the tune is the title track of the band’s third studio album from January 1973 and one of their most beloved songs. Did you ever expect to hear that track from Deep Purple? An intriguing pick and another remarkable cover.

While Turning to Crime is Deep Purple first all-covers album, the concept of recording songs written by other artists actually goes back to the group’s beginnings, so to some extent, they’ve come full circle. “We’ve covered songs before of course,” Glover told Ryan. ““Hush” [written by Joe South, Purple’s first single – CMM] was a cover [so were their next three singles, Neil Diamond’s Kentucky Woman, Ike & Tina Turner’s River Deep – Mountain High and The Beatles Help! – CMM]. But doing an album of covers with the intent of messing with them and having a bit of fun with them is very new to us.”

Turning to Crime, Deep Purple’s 22nd studio effort, was released just 15 months after predecessor Whoosh! from August 2020. This Ultimate Classic Rock review noted it’s the band’s fastest turnaround since the mid-’70s. That’s when they released their 10th studio album Come Taste the Band. What’s much more intriguing to me is the remarkable versatility and great musicianship Deep Purple demonstrate on the album – certainly no crime committed here! You also get a sense they had a great time putting together these covers, even though for the most part each member recorded their parts remotely.

Sources: Wikipedia; Forbes; Ultimate Classic Rock; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Once again it’s Saturday and time for another new music revue. For folks living in the U.S. and celebrating, I hope you had a nice Thanksgiving with delicious food and meeting family and/or friends. This latest installment of my weekly Best of What’s New feature turned out to be an all-rock affair. Each tune is from releases that came out yesterday (November 26).

Smith/Kotzen/Better Days

My first pick for this week is from a collaboration between Adrian Smith, guitarist of British heavy metal group Iron Maiden, and Richie Kotzen, guitarist and frontman of The Winery Dogs, an American rock band from Los Angeles. While Iron Maiden isn’t much my cup of tea and I’ve never heard of The Winery Dogs, I know one thing: I like Better Days, the title track of the new EP by the two guitarists who call their collaboration Smith/Kotzen. It’s their second release after their eponymous full-length debut album that appeared in March this year. In addition to guitar, Smith and Kotzen play most other instruments on their studio recordings and share writing and production duties. According to this preview in Loudwire, Better Days, which first appeared three weeks ago as an upfront track, was written in April. Here’s the official video. This nicely rocks while staying pretty melodic.

Julie Doiron/You Gave Me the Key

Let’s next turn to Canadian indie rock singer-songwriter Julie Doiron. According to her Apple Music profile, Doiron began her musical career in 1990, singing and playing bass for the Canadian indie rock band Eric’s Trip. As the group released numerous EPs and three albums for Sub Pop, Doiron also began writing her own largely acoustic material. When Eric’s Trip broke up in 1996, she released an album under the name Broken Girl on Sappy Records, her own label. Later that year, Doiron worked on her second album, Loneliest in the Morning, which came out on Sub Pop and was recorded with prominent indie rock producers and musicians like Doug Easley, Davis McCain, Giant Sand’s Howie Gelb, and the Grifters’ Dave Shouse. Fast-forward to I Thought of You, Doiron’s new and first full-length album in nine years. Here’s the catchy opener You Gave Me the Key. Check out that neat harmony guitar action!

Lars Frederiksen/Tomorrows Girls

Let’s keep rockin’ with Lars Frederiksen, who is best known as guitarist and vocalist of American punk rock band Rancid. Wikipedia notes he’s also currently playing guitar in Oxley’s Midnight Runners, Stomper 98 and The Last Resort – don’t know any of these groups. Frederiksen seems to be a busy man. According to this piece in Blabbermouth.net, the EP To Victory is Frederiksen’s first release under his name only. Here’s the crunchy rocker Tomorrows Girls. It reminds me a bit of solo music I’ve heard from Green Day’s Billie Joe Armstrong.

Deep Purple/White Room

My last pick for this week is from the latest release by Deep Purple. Since it’s “only a cover album,” I wasn’t going to feature it. Don’t get me wrong: I love Deep Purple; in fact, they are my favorite hard rock band. But I’m talking 1968 through 1972. While every now and then they had some decent songs thereafter, overall their music wasn’t as great as in their early years, in my humble opinion. As for Turning to Crime, I actually find it surprisingly fun to listen to, including this rendition of Cream classic White Room. Yes, Deep Purple didn’t exactly reinvent the wheel. But when it comes to an iconic tune like White Room, that’s just fine with me! I think they did a great job here!

Sources: Wikipedia; Loudwire; Blabbermouth.net; YouTube

The Blues Comes Alive…Live – Part I

For people who have frequently visited this blog or know me otherwise, this won’t come as a big surprise: I love the blues and blues rock. I also feel it’s a type of music that’s perfect to be experienced live. I was reminded of this on Saturday when thanks to fellow blogger Mike from Ticket 2 Ride I listened to Layla Revisited (Live at LOCKN’).

This cool live album by Tedeschi Trucks Band, released back in July, celebrates Layla and Other Assorted Love Songs, the sole 1970 studio album by Derek and the Dominos. And just like blues musicians often feed off one another, I let this inspire me and decided to come up with a post of great live blues and blues rock performances. I’m going to do this in two parts. Hope you dig this as much as I do!

B.B. King/The Thrill Is Gone

Let’s kick off part I with the king of electric guitar blues, the amazing B.B. King. He demonstrated that it’s not about speed and how many notes you play, it’s what you play. And when it comes to this man, he made every note count he played on his beloved “Lucille”. Check out this cool rendition of The Thrill Is Gone, captured in Chicago at the 2010 Crossroads Guitar Festival. Written by Roy Hawkins and Rick Darnell and first recorded by Hawkins in 1951, The Thrill Is Gone became a major hit for King in 1969 and I would argue his signature song. King is joined by many of the musicians he influenced, including Eric Clapton, Robert Cray and Jimmie Vaughan, among others. Check it out, this is just amazing!

John Lee Hooker/Boogie Chillen’

Recently, I watched the great documentary Buddy Guy: The Blues Chase the Blues Away, in which Guy identified John Lee Hooker’s Boogie Chillen’ as the first single he bought, and the song that got him hooked to the guitar and the blues! I’m thrilled I found this clip of Hooker performing the tune with Eric Clapton and The Rolling Stones in 1989 in Atlantic City, N.J. That’s what I call a cool backing band! Hooker wrote and first recorded the song in 1948. Clapton and the Stones, who are huge fans of American blues artists like Muddy Waters, Howlin’ Wolf, Buddy Guy and John Lee Hooker and have done a lot to promote their music, especially in the U.S., clearly cherished the moment.

Muddy Waters/Rollin’ Stone

Speaking of Muddy Waters, here’s a great live performance of Rollin’ Stone, the very song that inspired the name of the “world’s greatest rock & roll band.” An interpretation of delta blues tune Catfish Blues, Waters recorded Rollin’ Stone in 1950. The clip shows his performance of the song at the Newport Jazz Festival in 1960. It’s the oldest footage features in this two-part post.

Cream/Crossroads

Cream possibly are my all-time favorite blues rock band. Eric Clapton, Jack Bruce and Ginger Baker perfectionated the art of the power trio. Here’s a great clip of Crossroads performed by the band in March 1968 at the Fillmore Auditorium & Winterland Ballroom in San Francisco. Written by Robert Johnson who originally recorded it as Cross Road Blues in 1936, Crossroads (arranged by Clapton) appeared on Cream’s 1968 album Wheels of Fire. The live version on the record seems to be the same than the one that is captured in this clip.

Dani Wilde/Mississippi Kisses

Buddy Guy, who together with Taj Mahal is one of the last men standing of what I would call the old blues guard, often speaks about the need for young artists to come along to keep the blues alive when he will be gone. I’m actually pretty optimistic about this. Some great examples coming to mind include 22-year-old Christone “Kingfish” Ingram; 24-year-old Jontavious Willis who has been called “wunderkind” by none other than Mahal; or 44-year-old Kenny Wayne Shepherd. But guess what? There are also some dynamite female blues and blues rock artists out there like 36-year-old British singer-songwriter Dani Wilde. Ana Popović, Shemekia Copeland and Eliana Cargnelutti are among some of the others who come to mind. Here’s a 2015 performance by Wilde of Mississippi Kisses, a tune she wrote for her 2012 album Juice Me Up.

J. Geils Band/First I Look at the Purse

A post about great live renditions of blues rock tunes would be amiss without the ultimate party group, the J. Geils Band, don’t you agree? I think it’s also a perfect way to wrap up part I. Here’s a cool clip taken from what looks like a 1979 appearance of the band on the German music TV program Rockpalast. One of my all-time favorites by the J. Geils Band is their high energy rendition of First I Look at the Purse. It’s the main part of this encore medley, which starts at around 4 minutes into the clip. Co-written by Smokey Robinson and Bobby Rogers, the song was first released by Motown R&B group The Contours in 1965. J Geils Band recorded their cover of the tune for their eponymous debut album from November 1970, but it’s really their live rendition that brings out the song’s true magic. When watching this, don’t you feel like dropping anything you’re doing right now and going to a fuckin’ rock & roll show? What a killer performance by a killer live band!

Sources: Wikipedia; Discogs; YouTube