Great Covers, B.r.u.c.e. Style

Over his nearly 50-year recording career, Bruce Springsteen has amassed an enormous catalog. He could easily fill up his 3 to 4-hour shows he routinely plays with just his own songs and still not even perform half of the tunes he has written over the decades. Yet The Boss has always liked to mix up his sets with covers. Why? I think it’s because Springsteen loves great music and to honor the artists behind it.

The latest reminder is The Live Series: Songs Under Cover Vol. 2, a new album released on March 5 as part of Springsteen’s ongoing series of concert releases. It’s available via digital download at https://live.brucespringsteen.net and on music streaming services. With The E Street Band, Springsteen has the perfect group of road-tested warriors to back him. Just like Tom Petty’s Heartbreakers used to do, these guys can play anything. The new album triggered the idea to do a post on covers, B.r.u.c.e. style.

In the Midnight Hour

I couldn’t think of a better tune to kick things off than with a Stax gem. Here’s Springsteen’s version of In the Midnight Hour. Apparently, this was captured at Nassau Veterans Coliseum on Long Island, N.Y. in 1980 during The River Tour. Written by Wilson Pickett and Steve Cropper, the song was first recorded by Pickett, one of my favorite Stax artists, and appeared in June 1965. It also became the title track of Pickett’s second studio album that appeared in the same year.

Who’ll Stop the Rain

Who’ll Stop the Rain is one of my long-time favorite tunes by Creedence Clearwater Revival. Written by John Fogerty, the track was included on the band’s fifth studio album Cosmo’s Factory from July 1970. It’s one of the covers included on Springstreen’s new live release. This was recorded at London’s Wembley Arena in June 1981. Great version. I love the sax work by “The Big Man” Clarence Clemons – just wish his solo would have been longer!

Sweet Soul Music

Here’s an amazing version of Sweet Soul Music, another soul classic. Co-written by Sam Cooke, Arthur Conley and Otis Redding, the tune was recorded at FAME Studios in Muscle Shoals, Ala., and first released by Conley in 1967. Bruce Springsteen & The E Street Band were on fire that night in Stockholm, Sweden in July 1988. It was around the same time I saw Springsteen first in Frankfurt, Germany. I will never forget that show. Springsteen and the E Street Band belted out one cover after the other for more than one hour. Technically, I guess this was the encore. If I recall it correctly, they also played Sweet Soul Music in addition to gems like In the Midnight Hour, Land of a Thousand Dances and Shout. It was just unbelievable!

Highway 61 Revisited

Bob Dylan’s Highway 61 Revisited is another highlight from Springsteen’s latest live release. For this rendition at Shrine Auditorium in Los Angeles in December 1990, Springsteen got a little help from his friends Jackson Browne and Bonnie Raitt. It really doesn’t get much better! Written by Dylan, Highway 61 Revisited became the title track of his sixth studio album from August 1965. Check this out – this is to die for!

Twist & Shout/La Bamba

This fantastic medley of Twist & Shout and La Bamba was captured during the Human Rights Now! Tour, a series of 20 benefit concerts conducted in 1988 to raise awareness of Amnesty International during the year of the 40th anniversary of the Universal Declaration of Human Rights. Twist & Shout, co-written by Bert Berns and Phil Medley, was first recorded and released by American R&B vocal group The Top Notes in 1961. La Bamba, a Mexican folk song, became broadly popular in 1968 through the amazing rendition by Ritchie Valens – one of the artists who died in that plane crash near Mason City, Iowa in the early morning hours of February 3, 1959, together with Buddy Holly.

Rockin’ All Over the World

Let’s wrap up this post with another John Fogerty classic that became the title track for Status Quo’s 10th studio album from November 1977, and a huge hit for the British boogie rockers. Fogerty originally recorded Rockin’ All Over the World for his self-titled sophomore solo album that came out in September 1975. Bruce and the boys played the song during a gig at Olympiastadion in Helsinki, Finland in July 2012. As Springsteen said, “let’s do it right – alright!” Man, would I have loved to be there!

Source: Wikipedia; YouTube

Best of What’s New

A selection of newly released music that caught my attention

When my weekly look at newly released music is delayed, it’s usually for one of two main reasons: Work has kept me pretty busy (not a bad thing!), or I had a hard time finding new music that sufficiently grabbed me to highlight it in a feature cheerfully titled “Best of What’s New.” This time, it was a combination of both. But, occasionally good things take time, and ultimately, I think I found a pretty solid and diverse set of new music, including Americana, shock rock, indie rock and funky soulful organ-driven jazz. Let’s get to it!

Nate Fredrick/Be the One

I’d like to kick things off with Nate Fredrick, a Nashville-based Americana singer-songwriter. According to his website, the native Missourian learned to play guitar as a 12-year-old and started writing songs 10 years thereafter. In 2015, he relocated to Nashville and wrote more than 100 tunes during the two following years. Fredrick’s website characterizes his music as “bluesy Americana style”, citing Guy Clark, Creedence Clearwater Revival and Van Morrison as some of his influences. Well, it might have taken him a while to transition from playing the guitar to writing his own songs, but the results are certainly compelling. Be the One is from Fredrick’s great-sounding debut album Different Shade of Blue released yesterday (February 26). “Somewhere in trying to figure out how to craft a good song, I figured out how not to just write a pile of sad songs,” he said about his album. “It’s not that my situation is different or even better, but I’ve found a different way to perceive my personal circumstances.”

Alice Cooper/Drunk and in Love

If you happened to read my February 14 Sunday Six installment, you may recall it featured a tune from Alice Cooper’s then-forthcoming album. Mr. Shock Rock’s 21st solo release Detroit Stories appeared yesterday. With 15 tracks and a total length over just 50 minutes, it’s a solid effort. Except for three covers of tunes by Lou Reed, Fred “Sonic” Smith (MC5) and Bob Seger, Cooper co-wrote all other tracks. Here’s Drunk and in Love, a slow burning bluesy rocker. The other co-writers include producer Bob Ezrin and Dennis Dunaway, the original bassist of the Alice Cooper rock band. “Romeo and Juliet is a great love story, but so is a love story about a guy that lives in a box under a bridge with a bunch of other people standing around big oil cans trying to keep warm—and he’s in love with the girl who lives in another box,” Cooper told Apple Music about the tune. “So it’s a very touching little love song. And just the fact that their situation is different than a normal one doesn’t mean their love is any less intense.” Check out Cooper’s cool harp solo that starts at around 1:25 minutes into the song, harmonizing with the lead guitar – pretty neat!

Hoorsees/Get Tired

Hoorsees are an indie rock band from Paris, France. The members are Alex Delamard (lead vocals, guitar), Thomas (lead guitar, backing vocals), Zoe (bass, backing vocals) and Nicolas (drums, backing vocals). Unfortunately, there is very little public information on their background. Get Tired, written by Delamard, is from the band’s eponymous full-length debut album that came out on February 19. Based on a somewhat measly artist page on the website of their U.S. label Kanine Records, the album is a follow-on to a previously released EP, Major League of Pain. No word about its release data, not to mention when Hoorsees were founded – jeez, so much for effective artist promotion!

Delvon Lamarr Organ Trio/Hole in One

Wrapping up this installment is a find I’m particularly excited about as a huge fan of the Hammond B-3: Delvon Lamarr Organ Trio, which blend organ jazz with soul and funk. Here’s how their website describes it: Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat…The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green-style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry. Hole in One, co-written by Lamarr (credited as Delvon Dumas) and James (credited as Jabrille Williams), is the groovy opener of the band’s third album I Told You So released January 19. More than Booker T. Jones, I can hear Steve Winwood in here. To me, it’s one of those rare tunes where you only need to hear the first few bars to realize you love it!

Sources: Wikipedia; Nate Fredrick website; Apple Music; Kanine Records website; Delvin Lamarr Organ Trio website; YouTube

When Covers Are Just As Much Fun As Originals

A playlist of some of my favorite covers part II

Recently, I remembered a post from July 2017, which featured some of my favorite cover versions of songs I dig. This triggered the idea to put together a second part. Rather than focusing on covers I already knew, this time, I decided to take a slightly different approach. Except for one instance, I picked some of my all-time favorite songs and checked whether they have been covered and, if yes, by whom. Not only did I find some intriguing renditions, but there were also a couple of real surprises.

Ella Fitzgerald/Sunshine of Your Love

Did you know that one of the greatest voices in jazz, Ella Fitzgerald, covered Cream? I had absolutely no idea! Not only did she do so, but she even named a live album after the tune: Sunshine of Your Love, released in 1969. Composed by Jack Bruce and Eric Clapton with lyrics by Pete Brown, the original was included on Cream’s sophomore album Disraeli Gears from November 1967. Fitzgerald’s orchestral version is really cool. Obviously her singing is amazing. Check it out!

Richie Havens/Won’t Get Fooled Again

Richie Havens performing The Who’s Won’t Get Fooled Again was another unexpected find. He recorded the tune for his final studio album Nobody Left to Crown that appeared in March 2008. The original, written by Pete Townshend, was included on my favorite album by The Who, Who’s Next, their fifth studio release from August 1971. Haven’s acoustic guitar-driven taken is great. I also like the violin. He really made the epic rocker his own.

Townes Van Zandt/Dead Flowers

Townes Van Zandt wrote almost all tunes that are on his 10 studio albums, and many of them have been recorded by the likes of Bob Dylan, Willie Nelson, Emmylou Harris, Steve Earle and Gillian Welch. One exception is the live album Roadsongs, a collection of live covers from the mid-’70s through the early ’80s, which was released in 1994. It includes a fantastic take of Dead Flowers, which has become my favorite song by The Rolling Stones, at least on most days! Co-written by Mick Jagger and Keith Richards, Dead Flowers was included on Sticky Fingers, which also happens to believe is the best Stones album that appeared in April 1971. It’s almost a bit painful to listen to Van Zandt’s version, considering he had struggled with drug addiction for most of his short life.

Noah Guthrie/Whipping Post

Noah Guthrie is a 27-year-old South Carolina-based singer-songwriter. According to his website, he taught himself to play guitar and began writing songs at 14. Here’s a “quarantine” cover version of Whipping Post Guthrie recorded with his band Good Trouble in April 2020. Written by Gregg Allman, Whipping Post appeared on the eponymous debut album of The Allman Brothers Band from November 1969. While this cover stays close to the original, these guys are doing a great job, giving this classic a nice build.

Heart/Stairway to Heaven

This cover of the Led Zeppelin gem is the exception I noted above. In other words, I had known about it. Just the other day, I watched this footage again from the 2012 Kennedy Center Honors, during which Heart with Jon Bonham’s son Jason Bonham on drums honored the surviving members of Led Zeppelin. This is one of the most amazing renditions of Stairway to Heaven, co-written by Jimmy Page, Robert Plant (and Randy California of Spirit!), and included on Led Zeppelin IV from November 1971. Messrs. Page, John Paul Jones and Plant were visibly touched. Yes, it’s a bit bombastic but still so good!

Kenny Lattimore/While My Guitar Gently Weeps

Here’s a great soulful version of While My Guitar Gently Weeps by Kenny Lattimore, an R&B and gospel singer-songwriter who has released seven studio albums to date. This cover of the George Harrison tune – one of his best during his period with The Beatles, IMO – is included on his sophomore album From the Soul of Man that came out in October 1998. While My Guitar Gently Weeps was first recorded for the White Album from November 1968. Thank goodness John Lennon and Paul McCartney didn’t reject all of Harrison’s songs!

Green Day/Like a Rolling Stone

In case you’ve ever asked yourself how Bob Dylan would sound grunge style, here’s one possible answer. Green Day’s eighth studio album 21st Century Breakdown from May 2009 includes this version of Like a Rolling Stone as a bonus track. The maestro first recorded the tune for his sixth studio album Highway 61 Revisited released in August 1965.

Willie Nelson/Have You Ever Seen the Rain (feat. Paula Nelson)

The last cover I’d like to call out is a breathtakingly beautiful rendition of my favorite Creedence Clearwater Revival song: Have You Ever Seen the Rain, written by John Fogerty and included on CCR’s sixth studio album Pendulum from December 1970. Willie Nelson recorded this rendition with his daughter Paula Nelson for his 62nd studio album To All the Girls…, which appeared in October 2013. Nelson, who at age 87 remains active, has a new album coming out on February 26, his 71st! In April 2019, Nelson told Rolling Stone weed had “saved his life,” adding, “I wouldn’t have lived 85 years if I’d have kept drinking and smoking like I was when I was 30, 40 years old.”

Sources: Wikipedia; Noah Guthrie website; Rolling Stone; YouTube

John Fogerty’s Riveting New Protest Song Proves He Got Fire Left in Belly

I just dig John Fogerty who at 75 years old still loves what he does and still does it pretty darn well. I was fortunate to see him in action with my own eyes in May 2018. The man had a ball on stage, and you simply can’t fake that kind of enthusiasm – it’s electrifying! On January 6, Fogerty released Weeping in the Promised Land, his first new song in eight years.

Notably, the tune isn’t a typical John Fogerty swamp rocker, though I love these types of songs by him and wouldn’t have minded. Instead, it’s stripped back with Fogerty singing and on piano only, accompanied by a few gospel backing vocalists – so cool! Thematically, it’s a protest song that’s reminiscent of Fortunate Son and Who’ll Stop the Rain from the Creedence Clearwater Revival era. The gospel vocals in particular give me chills – check it out!

John’s words leave no doubt who and what he’s singing about: …Forked-tongued pharaoh, behold be comes to speak/Weeping in the Promised Land/Hissing and spewing, it’s power that he seeks/Weeping in the Promised Land/With dread in their eyes, all the nurses are crying/So much sorrow, so much dying/Pharaoh keep a-preaching but he never had a plan/Weeping in the Promised Land…

As Rolling Stone reported, Fogerty first came up with the line and title “weeping in the promised land” about 25 years ago. While he dug it out a few years back and wrote a full-fledged tune, he wasn’t happy with the outcome. Fast forward to last summer when the phrase all of a sudden became meaningful to Fogerty and resulted in an entirely new song.

Apparently, the initial version, which Fogerty recorded with his son Shane Fogerty (guitar), Don Was (bass) and Jim Keltner (drums), was more of a swamp rocker. Interestingly, it was his wife and manager Julie who suggested John should try to play the tune on the piano instead. Initially, Fogerty who first and foremost is a guitarist (and a pretty decent one) was a bit reluctant, but fortunately, he overcame his doubts.

Writing Weeping in the Promised Land turned out to be quite challenging, Fogerty told Rolling Stone. Over several months, he grappled with the lyrics. He went on car rides to local parks in southern California to get some inspiration. “I felt like I was wandering around in the desert,” he joked.

In the end, it all came beautifully together. And more is on the way, namely an album with all-new material – the first since Revival from October 2007! “We’ve had a couple of recording sessions since this song was done,” Fogerty noted. “Getting this song out of me was almost like a blockage. I had to get this finished first.” He didn’t reveal further details on timing, so stay tuned.

Sources: Rolling Stone; YouTube

It’s That Time of the Year Again for a Rock Marathon

Next Wednesday morning, right before Thanksgiving, classic rock radio station Q104.3 starts their annual marathon of counting down the “Top 1,043 Classic Rock Songs Of All Time.” The list, which takes a broad definition that goes beyond classic rock in the traditional sense, is based on listener submissions of their top 10 favorite songs.

Playing the entire list from song no. 1,043 all the way down to no. 1 will take from Wednesday, November 25, 9:00 a.m. (EST) until Sunday, November 29, sometime in the evening, usually between 9:00 – 10:00 p.m. On Thanksgiving Day at noon, the countdown is interrupted for Arlo Guthrie’s Alice’s Restaurant.

This year marks the 20th time of Q104.3’s holiday tradition. Each year, Led Zeppelin’s Stairway to Heaven has been the eternal no. 1. While the station doesn’t disclose actual vote counts, each year I’ve listened they said Stairway won by a substantial margin.

Rigged voting? I don’t think so. Q104.3 plays plenty of Zep as part of their regular rotation. One of their DJs, Carol Miller, who has been on the air since 1973, is a huge Led Zeppelin fan, and hosts the long running segment Get the Led Out. As such, I think it’s safe to assume many folks who listen to Q104.3 dig Zeppelin. And, honestly, if I could only choose one classic rock song, I also would go with Stairway.

Admittedly, the entire exercise is a bit nerdy but quite appealing to a music nut like myself. BTW, each submission is weighted equally, so the order of the picks doesn’t matter. But think about it, when can you ever hear 1,043 different songs in a row on the radio? Most stations tend to play a limited set of tracks over and over again.

Above is an image of my picks for this year and below are clips of the corresponding tunes. While I still dig all of my picks from last year, this time, I deliberately decided to shake things up and submit an entirely new list. And it doesn’t even include two of my favorite bands of all time, The Beatles and The Rolling Stones, not to mention Led Zeppelin. Here are my choices without further explanation, other than these are all songs I dig, though they aren’t necessarily my all-time favorites.

The Jimi Hendrix ExperiencePurple Haze (non-album single, March 1967)

Creedence Clearwater RevivalBorn on the Bayou (Bayou Country, January 1969)

The Allman Brothers BandBlack Hearted Woman (The Allman Brothers Band, November 1969)

The WhoThe Seeker (non-album single, March 1970)

Bruce SpringsteenBobby Jean (Born in the U.S.A., June 1984)

Tom Petty and the HeartbreakersMary Jane’s Last Dance (Greatest Hits, November 1993)

Lenny KravitzRock and Roll Is Dead (Circus, September 1995)

Sheryl CrowIf It Makes You Happy (Sheryl Crow, September 1996)

PretendersHate for Sale (Hate for Sale, July 2020)

AC/DCShot in the Dark (Power Up, November 2020)

Sources: Wikipedia; Q104.3 website; YouTube

The Venues: Red Rocks Amphitheatre

In January 2018, I did a post about Bad Company’s album Live at Red Rocks. It keeps getting views, with the most recent occurring just a few days ago. This gave me the idea to write about what must be one of the most magnificent outdoor performance venues. Plus, my last post in the venues category dates back to August 2019 – another good reason to look at one of the places where the ultimate thrill in music takes place: The live experience!

Red Rocks Amphitheatre has a long history, something I had not been aware of and frankly had not thought about. How long? It somewhat depends where you start. Construction of the facility near Morison, Col., 10 miles west of Denver, began in 1936, though the first concerts there were produced by John Brisben Walker as early as 1906. Brisben, a magazine publisher and automobile entrepreneur, had the vision to leverage the site’s natural acoustics for entertainment purposes.

The next important milestone in the venue’s history occurred in 1927, when manager of Denver parks John Cranmer convinced the city to acquire the area of Red Rocks from Brisben. The price? $54,133, which is the equivalent of approximately $797,920 today – quite a bargain, if you ask me! Denver architect Burnham Hoyt was brought in to design the facility. After a five-year construction, Red Rocks Amphitheatre opened to the public in 1941.

What’s truly amazing to me is the age of the rock formations. It took the natural amphitheater more than 200 million years to form. There are traces dating back to the Jurassic period 160 million years ago, including dinosaur tracks and fossil fragments. In one of the less glorious aspects in Red Rocks’ history, the area around it was inhabited for hundreds of years by the native American Ute tribe, until they were displaced in the 19th century, according to this collection of facts about the venue, published by the Denver Post in June 2016.

Now let’s get to the fun part: Music performances at Red Rocks. And as you might imagine, there have been many. The challenge, however, is to find live footage from there, capturing artists I truly dig, especially old gigs from the ’60s and ’70s, such as Jimi Hendrix in September 1968 or Jethro Tull in June 1971. The latter unfortunately led to a confrontation between non-paying fans who had arrived to the sold-out show without tickets and the police. It resulted in a five-year ban of rock concerts at the venue.

The first show I’d like to highlight dates back to August 26, 1964, when The Beatles played Red Rocks as part of their U.S. tour that year. While according to The Beatles Bible, only 7,000 of the 9,000 tickets were sold, making it the sole show of the tour that wasn’t sold out, the Fab Four still set a box office record for the facility, marking the earliest notable rock & roll performance there. Here’s some historical footage I found, which includes concert snippets. It’s impossible to verify whether were actually captured at Red Rocks. In any case, it’s a nice illustration of the insanity of Beatlemania.

For the next gig, I’m jumping ahead 19 years. On June 5, 1983, U2 recorded their concert film U2 Live at Red Rocks: Under a Blood Red Sky, which also yielded their live album Under a Blood Red Sky released in November of the same year. The following clip captures the first 15 minutes of the film directed by Gavin Taylor. U2 almost looked like high school pals, but they sure as heck didn’t sound like a high school band. The energy they brought is just infectious. Appropriately, the boys from Dublin kicked it off with Out of Control, a tune from their October 1980 album Boy. It was a rain-soaked evening! This was followed by two other tracks from Boys: Twilight and An Cat Dubh.

While I couldn’t find a clip of the above noted Jethro Tull gig from 1971, here some footage from a show they played at Red Rocks on August 12, 2008: Aqualung, the title track of the band’s fourth studio album from March 1971. It was the only song on that album that wasn’t solely written by Ian Anderson. His first wife, English photographer, actress, playwright and life coach Jennie Anderson (born Franks), is listed as a co-writer.

The last clip I’d like to include captures one of my all-time favorite rock artists John Fogerty who played Red Rocks last year as part of his My 50 Year Trip tour, which is still ongoing though currently on hold because of you know what! Here’s Fortunate Son, a tune a wrote for Willy and the Poor Boys, the fourth studio album by Creedence Clearwater Revival released in November 1969. I can tell you one thing: I consider myself as fortunate to have seen the man in May 2018. He continues to kick ass!

Obviously, Red Rocks Amphitheatre is currently closed, and their website lists the many shows from April through October that have been cancelled or postponed/ rescheduled due to COVID-19. While this sucks for live music lovers like myself and creates a lot of pain for artists, the venue and all the connected vendors, it’s the right thing to do. Catching the bloody virus spreads many hospitalizations and lots of death, as this country has painfully witnessed over the past few months.

I’d like to wrap up this post on a more cheerful note with some additional Red Rocks facts noted in the above Denver Post article, which was updated in November 2018.

Red Rocks has seen nearly 2,700 shows through the end of 2016.

While the above Beatles gig may have marked “the earliest notable rock performance,” it was Ricky Nelson who played the venue’s first ever rock show in 1959.

The band that has performed at Red Rocks the most is Widespread Panic.

Huey Lewis and the News are the band with the record for most consecutive shows in a row, with four gigs performed from August 9-12, 1985.

Electrical transformers were moved outside the venue, after Neil Young noticed they were causing feedback on his tube amps.

While Red Rocks has been successful in attracting big names, one of the biggest has yet to book the venue despite constant rumors they are going to do so: The Rolling Stones.

Sources: Wikipedia; Denver Post; The Beatles Bible; Red Rocks Park and Amphitheatre website; YouTube

Clips & Pix: John Fogerty/Born On the Bayou

Today, John Fogerty turned 75 years old – holy cow! I feel like most of my music heroes are well into their ’70s. To celebrate the occasion, here’s one of my favorite tunes Fogerty has written: Born On the Bayou. It first appeared on Creedence Clearwater Revival’s sophomore album Bayou Country released in January 1969.

As Songfacts explains, Fogerty who grew up in Northern California had never actually been to a bayou when he wrote the song – he researched it in encyclopedias and imagined a bayou childhood for the song’s narrative. Songfacts also notes: Fogerty says the song was inspired by gospel music and popular movies. He explained in Bad Moon Rising: The Unofficial History of Creedence Clearwater Revivial, “‘Born on the Bayou’ was… about a mythical childhood and a heat-filled time, the Fourth of July. I put it in the swamp where, of course, I had never lived. I was trying to be a pure writer, no guitar in hand, visualizing and looking at the bare walls of my apartment.” Whatever inspired Fogerty, it’s a great song!

Apparently, the above footage was taken on June 8, 2018 at Hard Rock Hotel & Casino in Catoosa, Okla., which is in the Tulsa vicinity. At that time, Fogerty had already embarked on the Blues and Bayous Tour with ZZ Top. I was fortunate to catch one of the shows and reviewed it here. Per Setlist.fm, the Catoosa date wasn’t part of the joint tour. While ZZ Top were performing in Oklahoma as well that night, they were about 220 miles to the south in Thackerville.

Sources: Wikipedia; Songfacts; Setlist.fm; YouTube

On This Day in Rock & Roll History: May 26

I can’t believe it’s been six weeks since my last installment in this recurring music history feature. And even though to me it feels like I’ve covered so many dates already, the reality is I have more than 300 left to go. So without further ado, let’s take a look at May 26!

1964: Lenny Kravitz was born in New York City as Leonard Albert Kravitz. He was the only child of actress Roxie Roker and Sy Kravitz, a news producer at NBC Television. Both of his parents have passed away. Kravitz was drawn to music since he was tiny. At age 3, he began using pots and pans as drums, and two years later, he apparently knew he wanted to become a professional musician. After his family had moved to Los Angeles in 1974, Kravitz started listening to rock music like The Rolling Stones, Led Zeppelin and Creedence Clearwater Revival. When he set out to get a record deal, initially, he was given a hard time, with record labels either telling him he wasn’t “black enough” or “white enough.” Fortunately, Kravitz was able to overcome this BS, and in September 1989 his debut studio album Let Love Rule appeared. He has since released 10 additional studio records, in addition to a greatest hits compilation, as well as various box sets and EPs. My introduction to Kravitz was his sophomore album Mama Said from April 1991. Here’s a great rocker from that record he co-wrote with Slash: Always On the Run.

1967: The Beatles released their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band. If I could only choose one of their records, a nearly impossible task, this would be it most days. On other occasions, I might go with Abbey Road or Revolver. You can read more about Sgt. Pepper and why I dig that album here. Following is the record’s grande final A Day in the Life, a tune that was mostly written by John Lennon. Paul McCartney’s main contribution is the middle section.

1969: Janis Joplin made the cover of Newsweek. The headline declared Janis Joplin: Rebirth of Blues. Seventeen months later, on October 4, 1970, Joplin was found dead in her room at the Landmark Motor Hotel in Los Angeles after she had not appeared for a recording session at Sunset Sound Recorders studios. An autopsy by L.A. coroner Thomas Noguchi determined she had passed away from a heroin overdose, possibly compounded by alcohol. Joplin, undoubtedly one of the most compelling female blues vocalists, was only 27 years old.

1972: English rock band Mott the Hoople, which despite their cult status in England were on the verge of disintegration due to lack of commercial viability, recorded All the Young Dudes, a song that had been given to them by one of their fans: David Bowie, who also produced the single, played guitar, sang backing vocals and clapped. All of that happened in the middle of the night at Olympic Studios in London, where Bowie had managed to get them some time. The tune was released on July 28, 1972 and climbed all the way to no. 3 on the UK Singles Chart. In the U.S., All the Young Dudes became a top 40 hit, reaching no. 37 on the Billboard Hot 100. It ended up saving the band and extending their life until 1976.

1973: Deep Purple release Smoke on the Water as the third and final single from their sixth studio album Machine Head, another gem of a record, in my opinion. The tune, which must be a living nightmare of many folks working at guitar stores, was credited to all members of the band at the time: Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. The song was inspired by a fire at the casino in Montreux, Switzerland on December 4, 1971, where Deep Purple were about to get underway with recording sessions for the Machine Head album. But some stupid with a flare gun/Burned the place to the ground – the night before after a Frank Zappa concert. Perhaps he had not liked Zappa’s performance! Whatever the case may have been, the tragic fire, which claimed all of Zappa’s equipment, led to one of the most iconic rock songs of the ’70s.

Sources: Wikipedia; Songfacts Music History Calendar; This Day in Music; YouTube

The Forgotten Fogerty

Even though he led the band that would become Creedence Clearwater Revival, Tom Fogerty always stood in the shadow of his younger brother

The idea for this post was triggered by a conversation with fellow blogger Badfinger20 about John Fogerty’s solo tune Rock and Roll Girls, which he covered here. When we turned to Creedence Clearwater Revival, he asked me whether I had ever heard John’s brother Tom Fogerty sing, adding they sounded so much alike. Since I actually had not, I started sampling a few songs from Tom’s eponymous debut album. Not only did I notice the vocal similarity but actually liked what I heard. So I continued. While Tom’s vocals and songs may not have been on par with John’s, I find his music pretty enjoyable and definitely feel it is underrecognized.

Before getting to a playlist with some of Tom’s music, providing some background is in order. Tom Fogerty was born on November 9, 1941 in Berkeley, Calif., about three and a half years prior to John. The brothers began playing music in high school, with each heading their own bands. After Tom’s band had broken up, John’s group The Blue Velvets started backing Tom who eventually joined them and became their leader. The Blue Velvets included future Creedence Clearwater Revival members Stu Cook (bass) and Doug Clifford (drums).

The Golliwogs
The Golliwogs (from left): Doug Clifford, Tom Fogerty, John Fogerty and Stu Cook

Between 1961 and 1962, The Blue Velvets recorded three singles with Tom on lead vocals. By the middle of the decade, they had changed their name to The Golliwogs – and John had started sharing lead vocal roles with Tom. In 1968, the group changed their name again, to Creedence Clearwater Revival. By that time, John had evolved to become the band’s sole lead singer and main songwriter. Tom essentially was relegated to playing rhythm guitar and singing backing vocals.

While Tom continued to write songs, only one tune ever made it onto a CCR album: Walk on the Water, which he originally had written for The Golliwogs. It was included on CCR’s eponymous debut from May 1968. Not surprisingly, Tom increasingly resented the lack of opportunity to record his songs and the dominance his younger brother exerted over the band. After CCR had finished the recording sessions for their sixth studio album Pendulum, Tom had enough and left to start a solo career.

Tom & John Fogerty
Tom Fogerty (left) with John Fogerty

In April 1971, he released his debut solo single Goodbye Media Man, which became one of his most successful songs relatively speaking – chart success largely eluded Tom Fogerty. His eponymous debut album came out the following year. During his lifetime, Tom had four additional solo records and, between 1976 and 1984, three albums with rock band Ruby. In 1988, Tom also recorded an album with former Ruby guitarist and keyboarder Randy Oda, Sidekicks, which wasn’t released until 1992 after Tom’s death.

While the Fogerty brothers shared the stage together with Cook and Clifford two more times after CCR had broken up – in October 1980 at the reception for Tom’s marriage to Tricia Clapper and three years later at a school reunion – sadly, they did not reconcile. There was simply too much bad blood between them. In his 2015 autobiography Fortunate Son: My Life, My Music, John claimed he had tried to reconcile with Tom, according to a published excerpt from the book in Rolling Stone. Obviously, Tom can no longer speak for himself, and I don’t want to further get into what seems to have been a very complicated relationship between the two brothers.

Tom Fogerty in the studio
Tom Fogerty in the ’80s

On September 9, 1990, Tom Fogerty passed away at the age of 48 from tuberculosis that had been brought on by AIDS. Apparently, his HIV infection was caused by a transfusion with unscreened blood, which he received when undergoing back surgery during the ’80s – sounds pretty mind-boggling! Time for some music.

Let’s kick it off with the aforementioned Walk on the Water from CCR’s 1968 eponymous debut album. This version of the tune, which initially was titled Walking on the Water when it was first recorded by The Golliwogs, was co-credited to both Fogerty brothers.

Here’s Tom’s debut solo single Goodbye Media Man from April 1971. Technically, it’s part 1. The B-side of the single featured part 2. This easily could have been a CCR tune. The use of the Hammond organ is quite reminiscent of CCR’s Pendulum album. Keyboarder Merl Saunders did a great job – nothing like a roaring B3!

This brings me to Tom’s eponymous debut album and Lady of Fatima. I really dig this tune, especially the bass work by John Kahn who like Merl Saunders frequently worked with Jerry Garcia.

In April 1974, Tom’s third album Zephyr National appeared. It actually featured contributions from all former CCR members. They even all played together on one song, aptly titled Joyful Resurrection, though John recorded his part separately from the others. While the tune was among the minor successes for Tom, I’d like to highlight the album’s soulful opener It’s Been a Good Day.

And I Love You is a great rocker from Tom’s fourth solo album Myopia from November 1974. I can hear a clear John Fogerty vibe in that guitar riff. Plus, Cook and Clifford played on the record, so it’s not surprising the tune has a CCR feel to it. Check it out!

Next up is a track from the eponymous debut album by the above mentioned Ruby, released in 1976. Other than the fact that Tom was part of that four-piece rock band, I don’t know anything about the group. The members included Randy Oda (guitar, keyboards, vocals), Anthony Davis (bass, vocals) and Bobby Cochran (drums, vocals). Here’s a nice funky tune called Running Back to Me, co-written by Oda, Fogerty and Cochran – pretty groovy with some great harmony guitar work!

Deal It Out was Tom’s final solo album released during his lifetime. It came out in 1981. Here’s the nice opener Champagne Love, which he co-wrote with Clifford. Whoever was playing slide guitar on that tune did a great job. Frankly, I could see that song on a John Fogerty album!

Let’s do one more, from Sidekicks, the posthumously released album in 1992 Tom had recorded with Randy Oda in 1988. Apparently, the two had developed a close friendship while working together in Ruby. During the recording sessions, Tom developed pneumonia and subsequently was diagnosed with AIDS. He recovered sufficiently to resume work on the album, which also features his son Jeff Fogerty on bass and backing vocals and Randy’s brother Kevin Oda on drums and percussion. It’s probably not a coincidence the sound of the record is more mellow than Tom’s previous work. Here’s We’ve Been Here Before.

As I said at the outset, while Tom Fogerty wasn’t quite as talented as his younger brother, his overall body of work is pretty solid and fun to listen to. I think Tom didn’t get the recognition he deserved during his lifetime, which is unfortunate. His torturous relationship with his younger brother is outright sad. Tom was posthumously inducted into the Rock & Roll Hall of Fame in 1993 as a member of CCR.

Sources: Wikipedia; Rolling Stone; YouTube

Performing Live From Their Homes

A selection of artists who don’t allow the coronavirus to stop the music

By now it’s safe to assume everybody is getting tired to read about COVID-19, so I’ll keep it light. Obviously, one of the many industries that have been hit hard by the coronavirus is the concert business. Painfully but rightly, shows are being canceled or rescheduled all over the place. It simply would be irresponsible to do anything else. The good news is this doesn’t mean live performances have come to a standstill.

For example, if you follow the “right” pages on Facebook, you can receive plenty of notifications about live gigs streamed online. Sure, in nearly all cases, these performances are low key and improvised, and the majority of artists who pop up aren’t necessarily well-known. Still, there is plenty of great live music you can enjoy over the internet these days. I would also argue that low tech and improvised gigs have their own charm.

Following are some recent performances captured by Rolling Stone as part of their In My Room series. I realize these gigs are not 100 percent comparable to concerts that are live-streamed. It’s also safe to assume there was some post-production done to these clips, but the footage still conveys a good deal of spontaneity to me. It’s all about the spirit to keep the music going but doing so in a responsible way, so let’s get to some of it!

Graham Nash/Our House, 4+20 & Teach Your Children

I simply love everything about this clip. To start, Graham Nash remains a compelling artist. Let’s not forget the man is 78 years old. I also like how he is weaving in public service announcements throughout this little concert performed at his home. To me, he comes across as very genuine. All of the tunes are from Déjà Vu, the sophomore album by Crosby, Stills, Nash & Young. Undoubtedly, it’s one of the greatest albums that have ever been recorded. Our House and Teach Your Children are Nash compositions, while 4+20 was written by Stephen Stills. Obviously, much of CSNY’s magic was in their incredible harmony vocals, which is impossible for Nash to replicate, but none of this really matters. Just watching the man perform makes me happy. You can see his passion. That’s what it’s all about!

John Fogerty/Have You Ever Seen the Rain, Bad Moon Rising & Long As I Can See the Light

John Fogerty is another rock & roll hero in my book. If I recall it correctly, Have You Ever Seen the Rain was the first Creedence Clearwater Revival song I ever heard as a young kid back my sister. My sister had that tune on vinyl as a 45 single. I’ve loved Fogerty and this band ever since! Have You Ever Seen the Rain, Bad Moon Rising and Long As I Can See the Light were all written by Fogerty. They appeared on CCR’s Pendulum, Green River and Cosmo’s Factory studio albums from December 1970, August 1969 and July 1970, respectively. My personal highlight in the above series is Fogerty’s performance of the third tune on the piano.

Angélique Kidjo/Gimme Shelter, The Overload & Move On Up

‘Damn, damn and damn’ is all I can say watching Angélique Kidjo, a Beninese singer-songwriter, actress, and activist of Nigerian descent, sing the above tunes. Have you ever heard such a funky rendition of The Rolling Stones’ 1969 classic Gimme Shelter? Or how ’bout Move On Up, one my favorite songs by Curtis Mayfield from his 1970 solo debut album, which she turns into some African liberation song? Her version of The Overload, a tune by Talking Heads from their fourth studio album Remain in Light from October 1980, is almost more haunting than the original. This is some really cool stuff – check it out!

Yola and Birds of Chicago/At Last, It Ain’t Easier & Second Cousin

Let’s do one more and keep the best for last. I had neither been aware of English musician and singer-songwriter Yola nor Birds of Chicago, an Americana/folk band from the Windy City led by husband and wife JT Nero and Allison Russell. But after I had watched that clip, I was simply blown away – passionate and all-out beautiful singing simply doesn’t get much better. And the songs they selected are terrific! At Last, co-written by Mack Gordon and Harry Warren, was the title of the debut album by Etta James, released in November 1960. This a capella version of the tune is the highlight of the series. It Ain’t Easier was written by Yola and appeared on her debut album Walk Through Fire from February 2019. Last but not least is Second Cousin, which appears to be a tune by Birds of Chicago.

Sources: Wikipedia; Rolling Stone; YouTube