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

Music From Down Under That Rocks: Part 2

A two-part musical journey to Australia

Here is the second and last part of this mini-series about music from Australia. You can read part I here. I also should point out that by “music from Australia” I mean bands that were founded down under.

Aphoristic Album Reviews noted New Zealand could claim Crowded House, one of the bands included in part I, as their own, given founding member Neil Finn is from there but lived in Melbourne when they were formed. Moreover, with three Finns, their current line-up has a clear majority of New Zealanders. Fair points. Plus, one could add Neil Finn has been the band’s key songwriter.

Australian Music Collage 2

I guess one could also challenge the notion that the Bee Gees, which were also highlighted in part I, are from Australia. After all, as I noted, the Gibb brothers were born in England, only lived in Australia for about nine years and didn’t become famous until after they had returned to England.

But like Crowded House, they were formed there. That’s why I included them. But I suppose, there is no perfect science behind the madness. With that being said, let’s stir up some more potential controversy!

The Easybeats

The Easybeats were formed in Sydney in late 1964. Their founding members were Stevie Wright (lead vocals), Harry Vanda (lead guitar), George Young (rhythm guitar),  Dick Diamonde (bass) and Gordon “Snowy Fleet (drums). All came from families that had emigrated from Europe to Australia: Wright and Fleet from England, Vanda and Diamonde from the Netherlands, and Young from Scotland. I let you be a judge whether that actually makes them an English-Scottish-Dutch band. What is undisputed was their inspiration by the British Invasion. After signing with Parlophone/Albert Productions, The Easybeats released their debut single For My Woman in March 1965, which reached no. 33 in the Australian charts. The follow-on She’s So Fine, which appeared in May 1965, marked their national breakthrough, climbing to no. 2 on the domestic charts. The tune was also included on their debut album Easy that came out in September of the same year. In July 1966, The Easybeats relocated to London. A couple of months later, they recorded what became their biggest hit, Friday On My Mind. Co-written by Young and Vanda, the song was released in October that year. It topped the Australian and Dutch charts, and reached no. 6 and 16 in the UK and U.S., respectively. Following international success in 1966 and 1967, the band’s popularity declined and eventually, they broke up in October 1969. Here’s Friday On My Mind. I just love that tune!

INXS

INXS were founded as The Farriss Brothers in Sydney in 1977 by Garry Gary Beers (bass), Andrew Farriss (keyboards), Jon Farriss (drums), Tim Farriss (guitar), Michael Hutchence (lead vocals) and Kirk Pengilly (guitar, saxophone). The following year, the band started to regularly support Midnight Oil and other local bands. In September 1979, they performed for the first time as INXS, a name that been suggested by a crew member of Midnight Oil. In early 1980, INXS signed a deal with Sydney independent label Deluxe Records and released their eponymous debut album in October that year. It wasn’t until their fourth studio record The Swing from April 1984 that the band gained recognition beyond Australia. The lead single Original Sin, which was recorded in New York with Nile Rodgers and featured Daryl Hall on backing vocals, became their first hit beyond Australia. The next studio album Listen Like Thieves from October 1985 marked their international breakthrough. A series of successful records followed. After Hutchence’s suicide in November 1997, INXS relied on guest vocalists before starting to work with a series of permanent lead vocalists. In November 2012 during a concert in Perth, Australia, the band announced they would no longer tour. Their final studio album Original Sin had appeared in November 2010. Here’s Need You Tonight, one of INXS’ biggest hits and their only no. 1 on the Billboard Hot 100. Co-written by Andrew Farriss and Michael Hutchence, the song was included on their sixth studio album Kick from October 1987.

Men At Work

Men At Work were established in Melbourne in June 1979 by Colin (James) Hay (lead vocals, guitar) and Ron Stykert (bass), who had performed as an acoustic duo since 1978, and Jerry Speiser (drums). Soon thereafter, they were joined by Greg Ham (flute, saxophone, keyboards) and John Rees (bass). After Rees had entered, Stykert switched to lead guitar. In 1980, Men At Work self-financed their debut single Keypunch Operator, which was backed by Down Under. A slightly different version of the latter tune was included on the band’s debut album Business As Usual from November 1981 and became their biggest hit. In 1984, long-standing tensions between Hay and Speiser led to Speiser’s departure, along with Rees. Together with session musicians, Hay, Strykert and Ham recorded Men At Work’s third and final studio album Two Hearts released in April 1985. By early 1986, the band was toast and Hay started a solo career. In mid-1996, Hay and Ham brought Men At Work back together with a new lineup. They toured but did not record any new music. The band broke up a second time in 2002. Afterward, Hay and Ham periodically reunited to perform as Men At Work with guest musicians. In April 2012, Ham who had suffered from depression and anxiety over the loss of a copyright lawsuit related to his flute part in Down Under, passed away from a heart attack. Last June, Hay toured Europe with backing musicians as Men At Work. Here’s Who Can It Be Now?, the great lead single from the band’s debut record, which was written by Hay.

Midnight Oil

Midnight Oil were formed as Farm in Sydney in 1972, playing covers of Cream, Creedence Clearwater Revival and Led Zeppelin. Since the previous year Rob Hirst (drums), Andrew James (bass) and Jim Moginie (keyboards, lead guitar) had performed together. After they had placed an ad for a band member, Peter Garrett joined as their new vocalist and synthesizer player. In late 1976, the band changed their name to Midnight Oil, a reference to the Jimi Hendrix tune Burning of the Midnight Lamp. Martin Rotsey (guitar) joined in 1977 and together with their manager Gary Morris, Midnight Oil founded their own record label Powderworks. Their eponymous debut album appeared in November 1978. In 1982, they broke through in Australia and internationally with their fourth studio album 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 – yep, that’s the title! In 2002, Midnight Oil disbanded following Garrett’s decision to quit the band and focus on his political career. After temporary reunions in 2005 and 2009, Midnight Oil came back together in 2016. Last year, they announced plans for new material to be released this year. I knew about Midnight Oil because of their great 1987 tune Beds Are Burning. Here’s another song I like: Blue Sky Mine, credited to of the band’s members, and appearing on their seventh studio album Blue Sky Mining from February 1990.

Little River Band

Little River Band were founded in Melbourne in March 1975 by Glenn Shorrock (lead vocals), Beeb Birtles (guitar, vocals), Graeham Noble (guitar, vocals) and Derek Pellicci (drums), along with session musicians Graham Davidge (lead guitar) and Dave Orams (bass). In May 1975, they signed with EMI Records and released their eponymous debut album in November that year. The record was an instant success, peaking at no. 12 in Australia and no. 80 on the Billboard 200. The excellent single It’s a Long Way There, which was my introduction to the band, became their first top 40 hit in the U.S. Little River Band remain active to this day. They have had many lineup changes over the decades, and none of their original members are still around. The band’s most recent 17th studio album Cuts Like a Diamond was released in 2013. I only know a number of Little River Band songs until their May 1986 album No Reins. I generally dig their harmony singing on these tunes, which I think is comparable to other rock bands like the Eagles, Crosby, Stills, Nash & Young, and The Doobie Brothers. Here’s Lonesome Loser, written by David Briggs, the band’s lead guitarist from 1976 until 1981. The song is the opener to their fifth studio record First Under the Wire from July 1979. It was one of six top 10 hits Little River Band scored in the U.S. on the Billboard Hot 100.

Sources: Wikipedia; YouTube

On This Day in Rock & Roll History: February 2

February 2nd is Groundhog Day in the U.S. and Canada. BTW, I heard that this morning, the groundhog emerged from its burrow and did not see the shadow, which means an early spring! February 2nd also saw the birth of a great songwriter and vocalist, the day before the music died, a recording of a masterpiece and the release of a new album by a Southern Rock staple. Let’s get to it!

1942: Graham William Nash was born in Blackpool, England. Nash, who according to Wikipedia has been active since 1958, is best known for his vocal and songwriting contributions to The Hollies and Crosby, Stills & Nash/Crosby, Stills, Nash & Young. He was inducted into the Rock & Roll Hall of Fame as a member of both bands. Between May 1971 and April 2016, Nash has also released six solo albums. Here’s Myself At Last, a pretty tune from Nash’s most recent solo record This Path Tonight, which appeared in April 2016 and was his first new studio album in 14 years. Like all songs on that record, it was written by Nash and producer Shayne Fontayne. Nash who turned 78 today is planning to embark on a tour of the U.S. and Europe in early March. The current schedule is here. Long may you run!

1959: This was the day before the music died. Rock & rollers Buddy Holly, Ritchie Valens and J.P. Richardson, artistically known as The Big Bopper, played their last gig at the Surf Ballroom in Clear Lake, Iowa. It was the 11th show of the 24-date Winter Party Tour through the midwestern U.S. The next scheduled stop was 365 miles away in Moorhead, Minn. Rather than doing the entire trip by bus in freezing temperatures as the musicians had done up to this point, Holly decided to charter a plane to Fargo, N.D., close to Moorhead. Initially, his touring bassist Waylon Jennings was supposed to be one of the three passengers (in addition to the pilot). But he gave his seat to Richardson who had fallen ill with the flu to spare him a gruesome bus trip. The V-tailed Beechcraft 35 Bonanza embarked on its fateful flight from Mason City Municipal Airport in the early morning hours of Feb 3 and the rest is history.

The_Day_the_Music_Died

1967: The Beatles were working on their masterpiece Sgt. Pepper’s Lonely Hearts Club Band at Abbey Road Studios in London, according to The Beatles Bible. While it may not be quite as popular as Jesus, this source captures the ultimate truth about The Fab Four in all of its gory details. During the recording session that evening, Paul McCartney added his lead vocals to the album’s title track, joined by Lennon John and George Harrison in the chorus. For the nerds, and yes, I like that shit, The Beatles Bible further points out their voices were captured on track four of the tape. Track three was used to overdub additional harmonies. Afterwards, a reduction mix was created to free up space on the tape. All instruments were now on track one, and all vocals were on track four. I sharply conclude this left tracks two and three to add additional overdubs. And, yes, separately I read Sgt. Pepper was still recorded in four-track since music studios in London did not start using eight-track tape recorders until late 1967.

1976: Southern rockers Lynryd Skynyrd released Gimme Back My Bullets, their fourth studio album and the second-to-last recorded with original members Ronnie Van Zandt and Allen Collins prior to the October 1977 plane crash. Peaking at no. 20 on the U.S. Billboard 200, it was less successful than Skynyrd’s two previous records. Van Zant and Collins attributed the performance to the loss of the band’s three-guitar attack that had been one of their early hallmarks. While the album didn’t match the Platinum status of the band’s other pre-crash records, it still earned a respective Gold certification in January 1981. Here’s lead single Double Trouble co-written by Van Zandt and Collins.

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

“Live Rust” At 40 Remains Free Of Corrosion

Anniversary of Neil Young’s iconic live album occurs just in wake of his 74th birthday

On November 14, 1979, Neil Young and Crazy Horse released Live Rust, which was my introduction to Young. I heard this live album for the first time as a 13 or 14-year-old back in Germany, after my best friend had gotten it as a double LP. With Young’s 74th birthday (November 12) and the 40th anniversary of Live Rust being just around the corner, I thought this would be a opportune moment to celebrate one of my favorite live albums by one of my longtime favorite music artists.

Before getting to this, I have to give credit where credit is due. This post was inspired by a great “Life Rust” show I saw Friday night at a local Jersey theatre. Decade, a top notch band around Neil Young tribute artist John Hathaway, played the album in its entirety and recreated scences from the companion movie Rust Never Sleeps – it was a pretty cool experience! For more on Decade and their upcoming gigs, you can check out their Facebook page. I also got a sample clip from the above show at the end of the post.

Neil Young & Crazy Horse_Live Rust 2

Live Rust captured footage from various concerts Neil Young and Crazy Horse played in the fall of 1978 during their Rust Never Sleeps tour. Venues included Cow Palace, Daly City, Calif.; Boston Garden, Boston; Civic Center, St. Paul, Minn.; Chicago Stadium, Chicago; and McNichols Arena, Denver. Weirdly, the album features a stage announcement recorded at Woodstock following the start of a rainstorm. Young had performed at the festival as part of Crosby, Stills, Nash & Young.

The companion film Rust Never Sleeps captured the band’s October 22, 1978 concert at Cow Palace. It was released on July 2, 1979 by Young under the pseudonym “Bernard Shakey.” There is also an album with the same title, which appeared ahead of the movie on June 22. While it is based on material recorded at Boarding House in San Francisco, the record is not a true live album, in my opinion. In addition to added overdubs, most audience noise was removed later in the studio. Time for some music from Live Rust!

I’d like to kick it off with Sugar Mountain, which like most tracks on the album was written by Young. He composed the tune on his 19th birthday (November 12, 1964) in a hotel room in Ontario after a gig with The Squires, one of his first bands. The song was initially released in February 1969 as the B-side to Young’s single The Loner.

The acoustic My My, Hey Hey (Out of the Blue) and its grungy counterpart Hey Hey, My My (Into the Black) are among the many highlights on Live Rust. Both tunes were co-written by Young and Jeff Blackburn and first appeared on the Rust Never Sleeps album. Here’s the acoustic take.

Moving on to the record’s rock section, Powderfinger is one of my favorite electric songs by Young. Like My My, Hey Hey (Out of the Blue) and Hey Hey, My My (Into the Black), the tune was intially released as part of the Rust Never Sleeps album.

Like a Hurricane is another electric tune by Young I’ve always dug. It was first included on his eighth studio album American Stars ‘n Bars from May 1977.

As noted above, the last clip for this post shall belong to Decade and their rendition of Tonight’s The Night, the final track on Live Rust. Young first recorded the tune as the title song to his sixth studio album. It’s a tribute to first Crazy Horse guitarist Danny Whitten and Bruce Berry, a Young roadie. Both died from heroin overdoses.

Neil Young is still highly productive and going strong. My thoughts on his most recent album Colorado are here.

Sources: Wikipedia; Ultimate Classic Rock; YouTube

What I’ve Been Listening To: David Crosby/Sky Trails

As somebody who considers Crosby, Stills, Nash & Young to be one of the best vocal harmony bands, you’d think I’d pay more attention to their individual members. With the exception of Neil Young, I guess I simply accepted that the sum is more than the parts. Even if that’s oftentimes true when it comes to top-notch bands, ignoring the parts can mean missing out on great music. Case in point: David Crosby and his album Sky Trails from September 2017, which is only his sixth solo record – pretty remarkable for an artist who released his solo debut in Feb 1971.

David Crosby

With David Crosby having been a founding member of The Byrds and Crosby, Still & Nash (CSN), and CSN having been active on and off between 1968 and 2015 – sometimes with, most of the time without Neil Young – I think it’s fair to say most people associate Crosby with the aforementioned bands. But, as noted above, he has released various solo albums. Sky Trails recently popped up as a listening suggestion in my streaming music platform. I’ve since listened a few times to the album and have to say I really dig it. I was also surprised how jazzy it is. I guess I had expected something more folk rock-oriented.

Let’s get to some music and kick it off with the opener She’s Got To Be Somewhere. This Steely Dan style tune is my favorite on the album. It was written by James Raymond, who produced the record, played keyboards, and, it turns out, is Crosby’s son – one of his four kids, not counting the two children born to Melissa Etheridge via artificial insemination.  Commenting on the tune, Crosby says on his website, “We didn’t consciously do that. We just naturally go to a place where Donald [Fagen] goes. I loved Steely Dan right from the first notes I heard.” Well, the man has good taste!

The album’s dreamy title track was co-written by Crosby with American singer-songwriter and guitarist Becca Stevens. The tune reminds me a bit of music I’ve heard by Clannad. Admittedly, it’s been a long time I’ve listened to the Irish folk band, and it would probably be worthwhile revisiting them. The saxophone fill-ins add a dose of jazz to the tune. “She’s a stunning, amazing singer and a great writer,” Crosby says of Stevens. “I’d rather be in a band with her than almost anybody.”

Here It’s Almost Sunset is a track co-written by Crosby and Mai Agan, an Estonian bass player and composer. It’s another tune on the quieter side. Most tracks on the album are. Again, there are nice saxophone accents. Wikipedia lists three saxophonists who supported the recording, Chris Bullock, Jeff Coffin and Steve Tavaglione, but unfortunately does not reveal who played on which song. Neither do the YouTube clips, which only list the aforementioned core musicians.

Capitol is a protest song co-written by Crosby and Raymond, expressing their less than flattering opinion about legislators: …And you think to yourself/This is where it happens/They run the whole damn thing from here/Money just burns, filling up their pockets/Where no one can see/And no can hear… Sadly, these words seem to ring true more than ever in this country these days.

The last tune I’d like to highlight is called Curved Air. It’s another co-write by Crosby and Raymond. The flamenco guitar sounded was created by Raymond using keyboards. “Hell no, I can’t play like that,” Crosby comments on the track that examines life’s contradictions.  “It’s James on keyboard. So is the bass. It’s the only time I’ve ever heard anybody write singer/songwriter music with flamenco playing.”

In addition to Raymond, Agan and Tavaglione, the core musicians on the album include Jeff Pevar (guitar), British-born, Canadian-raised singer-songwriter Michelle Willis (keyboards, vocals) and Steve DiStanislao (drums). “All the people in the Sky Trails band are much younger than me, so I have to paddle faster to keep up,” Crosby says with a laugh. This was not the first time he had played with them. Between 1996 and 2004, Crosby performed with Raymond and Prevar in the jazz rock band CPR, or Crosby, Prevar & Raymond. DiStanislao and Tavaglione played on CPR albums as well.

David Crosby, who turned 78 years in August, is still going strong. His most recent studio album Here If You Listen appeared in October last year. With four of his seven solo albums having been released since 2014, it appears Crosby is on some sort of late-career surge. He also continues to tour. In fact, he’s currently on the road in the U.S., with confirmed dates until September 17. The tour schedule is here.

There is also a new documentary, David Crosby: Remember My Name. Released on July 19, the film was directed by A.J. Eaton and produced by Cameron Crowe, who has known Crosby for many years. Based on the trailer, the film looks intriguing, and I’m going to watch it on Sunday evening at a movie theater in my area.

Sources: Wikipedia, David Crosby website, YouTube

They All Went Down To Yasgur’s Farm, And Everywhere There Was Song And Celebration

…By the time we got to Woodstock/We were half a million strong/And everywhere was a song and a celebration/And I dreamed I saw the bomber death planes/Riding shotgun in the sky/Turning into butterflies/Above our nation… (excerpt from Joni Mitchell tune Woodstock)

Next week is the 50th anniversary of Woodstock, which took place from August 15-18, 1969. Much has been written about this festival, which officially was titled the Woodstock Music & Art Fair. The initiators Michael LangArtie KornfeldJoel Rosenman and John P. Roberts. The selection of the venue, which ended up being Max Yasgur’s 600-acre dairy farm in Bethel, N.Y. The acts who were not invited or and those who were but chose to decline or didn’t make it there. The artists who performed at the event. The overcrowding with an audience exceeding 400,000 people, more than twice the 200,000 that had been expected, based on advance sales of 186,000 tickets. The mud bath conditions resulting from bad weather.

Woodstock Poster

As a huge fan of music from that era, it felt natural to commemorate this extraordinary moment in 20th Century entertainment history. At the same time, I did not want to create yet another write-up that recaps the history. Instead, this post focuses on what my blog is supposed to be all about: Music I love and therefore like to celebrate. Following are some performance highlights from Woodstock. Since I didn’t have strong feelings about a particular order, I decided to go chronologically.

Let’s kick it off with Richie Havens, the opening act on the first day, Friday, August 15, in the late afternoon, and his riveting performance of Freedom. It was an improvised encore based on the traditional spiritual Motherless Child. “When you hear me play that long intro, it’s me stalling. I was thinking, ‘What the hell am I going to sing?'” he later explained, according to Songfacts. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me. I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.” Sounds like a cool story.

Sweet Sir Galahad is a tune by Joan Baez. Like in other cases at Woodstock, her performance predated the actual recording and release of the song, which first appeared on her 1970 studio album One Day At A Time. BTW, when Baez played it at the festival, it was already past 1:00 am on Saturday, August 16. In order to squeeze the 32 acts into the three days, many artists ended up performing after midnight. As you might imagine, some weren’t exactly happy about it.

Undoubtedly, one of Woodstock’s highlights I’ve seen is Soul Sacrifice by Santana. The band played on Saturday afternoon. Credited to Carlos Santana (guitar), Gregg Rolie (keyboards), David Brown (bass) and Marcus Malone (congas), Soul Sacrifice was included on the band’s eponymous studio debut album, released two weeks after their iconic appearance at the festival. I’ve watched this clip many times, and it continues to give me goosebumps. These guys were lightening up the stage. Live music doesn’t get much better than that. This appearance in and of itself already would have justified Santana’s place in music history. Of course, there was much more to come.

Moving on to Saturday evening brings us to blues rockers Canned Heat and their great tune On The Road Again. Co-credited to the band’s vocalist Alan Wilson, who also played harmonica and guitar, and blues artist Floyd Jones, the track was adapted from earlier blues songs. It first appeared on Canned Heat’s second studio album Boogie With Canned Heat released in January 1968. At Woodstock, it was the band’s closer of their set – what a way to wrap things up!

Next up: Born On The Bayou, one of the killer tunes by Creedence Clearwater Revival. Written by John Fogerty, the song was included on CCR’s sophomore album Bayou Country from January 1969. The band was among the acts performing in the wee wee hours of Sunday morning, August 17. I recall reading that Fogerty wasn’t happy with that time slot, saying the audience was half asleep. That’s why he refused CCR’s inclusion in the 1970 Woodstock documentary, something this band mates felt was a mistake, but John was the undisputed boss. However, footage of CCR is featured in an expanded 40th anniversary edition of the film, which came out in June 2009.

Another highlight of the early hours of Sunday was Janis Joplin with The Kozmic Blues Band. Here’s Try (Just A Little Bit Harder), the opener of Joplin’s third studio album I Got Dem Ol’ Kozmic Blues Again Mama! from September 1969. The song was co-written by Jerry Ragovoy and Chip Taylor. I don’t feel there was any way Joplin could have tried any harder to sing that song than she did. Similar to Santana, the energy of her performance was through the roof. And all of this after 2:00 am in the morning – whatever substance she was on, it apparently worked!

If I see this correctly (based on Wikipedia), the set with the most songs at Woodstock  belonged to The Who with 22 tracks. They kicked their gig off at 5:00 am on Sunday. Again, what a crazy thought to play at that time! Still, the kids certainly were alright. Here’s We’re Not Gonna Take It/See Me, Feel Me, the final track from Tommy, the band’s fourth studio album that appeared in May 1969. Like most tunes on the record, it was written by Pete Townshend.

Apart from Jimi Hendrix’s rendition of The Star-Spangled Banner, perhaps the most iconic performance at Woodstock was With A Little Help From My Friends by Joe Cocker, the first act who officially opened the festival’s final day on Sunday afternoon. To me, Cocker’s version of The Beatles’ tune is the best rock cover I know. He truly made it his own. In fact, The Beatles were so impressed with it that they allowed him to cover more of their songs like She Came Into The Bathroom Window. With A Little Help From My Friends was the title track of Cocker’s debut album from May 1969. What an amazing performance!

On to 3:00 am on Monday, August 18 and Crosby, Stills, Nash & Young. For the most part, including set opener Suite: Judy Blue Eyes, it was actually David Crosby, Stephen Stills and Graham Nash only. Neil Young skipped most of the acoustic songs but joined the band during the electric set. Neil being Neil, he also refused to be filmed, feeling it was distracting to both the performers and the audience. Written by Stills, Suite: Judy Blue Eyes was the opening track of CSN’s debut album from May 1969.

A post about Woodstock’s musical highlights wouldn’t be complete without the closing act: Jimi Hendrix. Playing on Monday from 9:00 to 11:00 am, it looks like he had the longest set. Here is his unforgettable rendition of the aforementioned The Star-Spangled Banner. Hendrix effectively used heavy guitar distortion, feedback and sustain to imitate the sounds from rockets and bombs. He truly gave it all he got and collapsed from exhaustion while leaving the stage after his encore Hey Joe.

Woodstock’s original co-creator Michael Lang also helped organize a planned 50th anniversary festival. However, after a series of production issues, venue relocations and artist cancellations, it was canceled on July 31, 2018. A second Woodstock anniversary festival was planned at Bethel Woods Center for the Arts, but in February, the Center announced that instead it will focus on “A Season of Song & Celebration” for the entire summer. The anniversary dates coincide with concerts from Ringo Starr and His All Starr Band (Aug 16), Santana with The Doobie Brothers (Aug 17) and John Fogerty with Tedeshi Trucks Band & Grace Potter (Aug 18).

I’ll leave you with a little fun fact: Tickets for Santana with The Doobies start at about $128.00 (including fees). By today’s standards, sadly, this is fairly normal. But, to be clear, these tickets are the cheapest and will only get you the lawn, the area farthest away from the stage. By comparison, tickets for the entire Woodstock festival in 1969, which as noted above included 32 acts, sold for $18.00 in advance and $24.00 at the gate. That’s the equivalent of approximately $123.00 and $164.00 today. Once again, we see the times they are a changin!

Sources: Wikipedia, Songfacts, Syracuse.com, Bethel Woods Center for the Arts website, YouTube

Vocals In Perfect Harmony

I dig vocals. Great vocals. Especially multi-part harmony singing. Big time! As some visitors of the blog know, that’s why I sometimes can get a bit impatient when it comes to instrumentals. Don’t get me wrong, listing to such music can be very enjoyable. But after a while, I tend to start missing vocals. This gave me the idea to put together a post about tunes featuring great harmony singing.

Admittedly, this is a somewhat random list. I didn’t want to overthink it. Let’s kick it off with The Beach Boys. While I generally wouldn’t call myself a huge fan of their music, much of which sounds quite repetitive to my ears, especially their early tunes, I’ve always loved how these guys could harmonize. One example I like in particular is In My Room. Credited to music genius Brian Wilson and Gary Usher, an early outside collaborator, the track was included on the band’s third studio album Surfer Girl from September 1963. It also appeared separately as a single in October that year.

One of the first bands that comes to my mind when thinking about harmony vocals are Crosby, Stills, Nash & Young. Boy, when they get into it, they sound like they came from some other planet. Here’s Carry On, the opener to CSNY’s amazing second studio record Déjà Vu. Stephen Stills wrote this song. Harmony singing doesn’t get much better than that, in my humble opinion!

Perhaps the next choice may surprise you: Huey Lewis and the News. Say what? While undoubtedly that band primarily was known for slick pop rock and hits like I Want A Drug and The Power Of Love, these guys could also sing. Don’t believe me? Check out their a cappella version of It’s Alright  – and, yes, have a good time! The song was first recorded in 1963 by The Impressions and written by the great Curtis Mayfield. Huey Lewis and the News recorded their a cappella cover in 1993 for a tribute album to Mayfield titled People Get Ready: A Tribute to Curtis Mayfield. No matter how you feel about Lewis, this take is just awesome!

Speaking of Curtis Mayfield and The Impressions, why don’t we throw in one of their other tunes and a clip of them performing it: People Get Ready. I’ve said it before and I’m not ashamed to say it again, sometimes music really moves me. And, yes, it can bring me to tears, depending on my mood. This is one of these tunes, which was the title tack of the band’s fourth studio album released in February 1965. It’s another composition by Mayfield.

A band I dig for both their music and their singing are the Eagles. One of the best illustrations of their vocal power I can think of is Seven Bridges Road. What I hadn’t known until now is that it’s not an Eagles tune, which for some reason I had always assumed. Nope, it was actually written by American country singer Steve Young in 1969. He also recorded it that year for his debut album Rock Salt & Nails. The Eagles version, which became the most popular cover of the song, was inspired by Iain Matthews’ take of the tune he recorded for his 1973 album Valley Hi. I realize, it’s a bit of a convoluted background story, but you have to give credit where credit is due. This finally brings me to the Eagles’ cover, which they recorded for their Eagles Live album from November 1980. It just sounds breathtaking!

If you looked at the image on top of the post, you already may guess what’s coming next – and last: The Temptations. I think to say that harmony singing doesn’t get better than that is not an overstatement. Their multi-part harmonies ranging from very low to very high are simply insane. Here’s Just My Imagination (Running Away With Me).  And, no, this is not an illusion, though it sounds heavenly – is that a real word? In any case, co-written by Motown songwriters Norman Whitfield and Barrett Strong and produced by Whitfield, the song first appeared as a single in January 1971. The tune was also included on the The Temptations’ 14th studio album Sky’s The Limit from April 1971. It became their third no. 1 in the U.S.

I realize there are many more songs I could have included. Feel free to let me know which tunes featuring harmony singing you like.

Sources: Wikipedia, YouTube