Albums Turning 50 This Year

A first look back at 1972, another outstanding year in music

With the 50-year anniversaries of 1971 gems like The Who’s Who’s Next, Carole King’s Tapestry, Led Zeppelin’s Led Zeppelin IV, The Rolling Stones’ Sticky Fingers and Pink Floyd’s Meddle now behind us, it’s time to take a first look at 1972 albums that are hitting the big milestone this year. And like in the case of 1971, I think the caliber of music released in 1972 is just breathtaking!

Checking Wikipedia revealed an impressive amount of records that appeared 50 years ago. Of these albums, I picked 30 studio releases that are represented in the below Spotify playlist with one song each. Following, I’d like to briefly highlight six of them. I’m planning more in-depth posts timed to their and possibly some of the other albums’ actual 50th-anniversary dates.

Neil Young/Harvest (February 14, 1972)

Undoubtedly, Neil Young’s fourth studio album Harvest is one of his best known and most beloved. With gems like Heart of Gold, The Needle and the Damage Done, Old Man and A Man Needs a Maid, it’s no wonder. Not only did Harvest top the Billboard 200 for two weeks, but it also became the best-selling album of 1972 in the U.S. But Neil Young, who is always good for a surprise, had a different reaction. Feeling alienated by the huge success of Harvest, he decided to release what became known as the “ditch trilogy”: the live album Times Fades Away (October 1973), as well as the studio records On the Beach (July 1974) and Tonight’s the Night (June 1975). While the ditch albums didn’t perform as well as Harvest, let’s just say they didn’t exactly harm Neil’s standing with his fans!

Deep Purple/Machine Head (March 25, 1972)

Machine Head, Deep Purple’s sixth studio release, remains the ultimate ’70s hard rock album in my book. While I literally dig each of the record’s seven tracks, the band’s most commercially successful album is best-known for the classics Smoke on the Water, which is safe to assume must be a nightmare for anybody working in a store selling electric guitars, and Highway Star. Machine Head topped the charts in the UK, Australia, Canada, Finland, Germany, Italy and The Netherlands – yes, I had to name them all, hoping Wikipedia’s account is accurate and complete! The thought of a hard rock album topping the mainstream charts is unreal, especially from today’s perspective! In the U.S., Machine Head reached no. 7 on the Billboard 200, making it their highest-charting record there.

The Rolling Stones/Exile on Main St. (May 12, 1972)

While I prefer Sticky Fingers, there’s no doubt Exile on Main St. is among the top albums by The Rolling Stones. Many Stones fans regard the double LP as their best record – hey, I won’t argue, it’s great rock & roll, and I like it! Some of the highlights include Rocks Off, Rip This Joint, Tumbling Dice, Sweet Virginia, Happy and All Down the Line. Given Keith Richards’ frequent no-shows to the recording sessions since he was, well, stoned, while Mick Jagger and Bill Wyman oftentimes were absent as well, supposedly for other reasons, it’s a near-miracle to me how great this album turned out. That being said, initial reactions among critics were mixed, but as is not uncommon, opinions subsequently changed.

David Bowie/The Rise and Fall of Ziggy Stardust and the Spiders from Mars (June 6, 2022)

Of course, there was no way this upfront section would skip my favorite David Bowie album of all time. The British artist’s fifth studio release, revolving around a bi-sexual alien rock musician who becomes widely popular among teenagers before his fame ultimately kills him, is a true glam rock gem. Similar to Deep Purple’s Machine Head, I feel there’s no weak song on this record. Starman, Suffragette City, Rock ‘n’ Roll Suicide and the title track are a few of the amazing tunes that come to mind. The Ziggy Stardust album climbed to no. 5 in the UK and also charted in various other European countries. In the U.S., where there was generally less of an appetite for glam rock, the record still reached a respectable no. 21 on the Billboard 200.

Curtis Mayfield/Superfly (July 11, 1972)

Curtis Mayfield is another longtime favorite artist of mine, so I’m more than happy to call out Superfly. His third studio album appeared as the soundtrack of the Blaxploitation motion picture of the same name. Rightfully, this record is widely considered a classic of ’70s soul and funk music. In addition to the title track, some of the other tunes on the album include Pusherman, Freddie’s Dead and Eddie You Should Know Better. Superfly was hugely successful in the U.S., topping both the Billboard 200 and the R&B chart. It also became Mayfield’s highest-charting album in the UK where it reached no. 26. Side note: It seems to me music listeners in the UK were into glam rock but not so much into psychedelic soul and funk.

Santana/Caravanserai (October 11, 1972)

The final album I’d like to highlight in this section of the post is a less obvious choice for me. I absolutely love the first three studio albums by Santana, which make up the band’s so-called classic period. I find the combination of Latin rhythms and rock electrifying. On Caravanserai, Carlos Santana and his band went in a very different direction. The album mostly features jazz-like, improvisational instrumentals – definitely posing a challenge for a guy like me who digs catchy hooks and great vocals, especially harmony singing. But sometimes it’s good to push beyond your comfort zone. Musically, I think there’s no question Caravanserai is an outstanding record. Given its radical departure from Santana’s first three albums, it did remarkably well in the charts. In the UK it peaked at no. 6, matching its predecessor Santana III, which previously had been the band’s highest-charting album there. It did even better in The Netherlands, climbing to no. 3, again matching Santana III. Elsewhere, Caravanserai reached no. 8 in the U.S., no. 10 in Norway and no. 16 in Australia.

Following is a playlist featuring the above tracks, as well as tunes from 24 other albums that were released in 1972. Since Spotify, unfortunately, doesn’t have Status Quo’s Piledriver (neither does Apple Music!), I included a pretty good, more recent live version of Paper Plane. Again, I have to say 1972 was another amazing year in music!

Sources: Wikipedia; YouTube; Spotify

Clips & Pix: Peter Gabriel/Waterloo Sunset

When I love a song as much as I do Waterloo Sunset by The Kinks, I tend to be hyper-critical about covers from other music acts, especially when they make changes. In this case, not only did I not mind it, but I was truly blown away when I heard Peter Gabriel’s rendition the other day.

Waterloo Sunset, written by Ray Davies, first appeared in May 1967 as the lead single of Something Else by the Kinks, the group’s fifth UK studio album released in mid-September of the same year. Together with Death of a Clown, Waterloo Sunset became one of two hits the record generated, climbing to no. 2 in the UK on the singles chart. Elsewhere, it topped the charts in The Netherlands, climbed to no. 3 in Ireland, and reached no. 4 in Australia, among others.

The lyrics, which describe the narrator’s thoughts about a couple passing over a bridge, were rumored to have been inspired by the romance of British actors Terence Stamp and Julie Christie. But during a 2008 interview, Davies explained, “It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country.”

Peter Gabriel’s transformation of Waterloo Sunset reminds me of the haunting Wallflower from his fourth eponymous studio album released in September 1982. I’d be curious to know whether it grabs you as much as it did me. Check it out!

This rendition of Waterloo Sunset appeared as a bonus track on Gabriel’s eighth studio album Scratch My Back from February 2010. The record consists of cover versions of tunes from a broad variety of other artists. Co-produced by Gabriel and Bob Ezrin, the recordings only use orchestra and voice and have a bare-bones vibe. Based on briefly listening into the remaining tracks, Gabriel’s other renditions don’t work as well for me as Waterloo Sunset.

Initially, Gabriel had planned to release Scratch My Back with a companion album of covers of Gabriel songs performed by the same artists whose tunes he had covered on Scratch My Back. But due to delays, And I’ll Scratch Yours only appeared in September 2013. David Bowie, Neil Young and Radiohead declined to cover Gabriel songs and were “replaced” by Brian Eno, Joseph Arthur and Feist.

Sources: Wikipedia; Spotify

On This Day in Rock & Roll History: January 10

A look on the calendar revealed January 10 was a date I had not covered yet as part of my recurring music history feature that has become a bit more regular over the past few months. Not sure yet whether this is going to remain the case. For now, let’s look at some of the events that happened on January 10 throughout rock history.

1958: Jerry Lee Lewis topped the UK Official Singles chart with Great Balls of Fire, one of his best-known songs. Co-written by Otis Blackwell and Jack Hammer, the rock & roll classic had been recorded on October 8, 1957, at Sun Studio in Memphis, Tenn., and released on November 11 that year. The tune also became a big hit in the U.S. where it topped the Billboard country and R&B charts and peaked at no. 2 on the mainstream Billboard Hot 100. The song was also featured in the American rock & roll picture Jamboree from 1957. “The Killer” remains alive at age 86.

1964: The Rolling Stones released their eponymous debut EP in the UK. It came on the heels of their second single I Wanna Be Your Man in November 1963, a cover of a Beatles tune that had yielded the first top 20 hit for the Stones in the UK. The EP featured four other covers of tunes written by Chuck Berry, Berry Gordy and Janie Bradford, Arthur Alexander and songwriting duo Jerry Leiber and Mike Stoller. Here’s the Alexander song You Better Move On, which also became the Stones’ fourth single in January 1964. Unlike I Wanna Be Your Man, You Better Move On did not make the British charts, though it charted in Australia at an underwhelming no. 94. I’ve actually always liked this rendition.

1969: George Harrison quit The Beatles while they were at Twickenham Film Studios, where their rehearsals for the Get Back/Let It Be sessions were being captured on camera. If you watched the Peter Jackson documentary The Beatles: Get Back, you could see that George’s frustration about the tensions within the group had been building up. When they broke for lunch, he had had it and told his bandmates, “I think I’ll be leaving, I’m leaving the band now.” Asked by John Lennon, “When?”, Harrison replied, “Now. Get a replacement.” His last words before walking out were, “See you ’round the clubs.” A few days later, he returned after he had received assurances the concert The Beatles had planned would be canceled and that his other wishes would be respected. Fortunately, things turned out to be different with the famous roof concert, though if you watched the above documentary, you saw it was up in the air until the very last minute.

1977: American blues legend Muddy Waters released Hard Again, the first of his final three studio albums that were produced by electric blues guitar virtuoso Johnny Winter. That’s pretty much all the facts you need to have to know this has got to be great. The album, which was recorded live in-studio in just three days, won the Grammy Award for Best Ethnic or Traditional Folk Recording. Here’s The Blues Had a Baby and They Named It Rock and Roll, Pt. 2, co-written by Waters (credited as McKinley Morganfield, his real name) and Brownie McGhee.

2016: David Bowie passed away from liver cancer in New York at the age of 69. He had received his diagnosis 18 months earlier and decided not to make it public. Just two days earlier, his 26th and final studio album Blackstar had been released. The recording had taken place in secret at a studio in New York. Co-producer Tony Visconti called the album Bowie’s “parting gift” for his fans before his death. While I understand many fans like Blackstar, admittedly, it’s not my cup of tea. I much prefer Bowie’s first decade, in particular his glam rock period. Here’s one of my favorites, Suffragette City, off his fifth studio album The Rise And Fall Of Ziggy Stardust And The Spiders From Mars from June 1972. To quote the instruction on the back cover, “To be played at maximum volume”! 🙂

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

On This Day in Rock & Roll History: December 16

It’s been a while since the last installment of this irregularly recurring feature. While picking a random date is an arbitrary way to look at music history, I think it’s always interesting to see what comes up. As usual, the picks reflect my music taste and are not supposed to be a complete list.

1965: The double A-side non-album single Day Tripper/We Can Work It Out by The Beatles hit no. 1 in the UK on the Official Singles Chart, becoming their ninth chart-topper there. Primarily written by John Lennon, the tune was credited to him and Paul McCartney, as usual. According to Songfacts, the lyrics were the first reference to LSD in a Beatles song. Day Tripper and We Can Work It Out were also included on Yesterday and Today, a U.S. album from June 1966 that caused an uproar over its original “butcher cover,” showing The Beatles in white coats, covered with decapitated baby dolls and pieces of raw meat. Frankly, I much prefer Day Tripper – always loved that cool guitar riff!

1966: The Jimi Hendrix Experience released their first UK single Hey Joe, backed by Stone Free. Different recordings of the song were credited to different writers, including Billy Roberts and Dino Valenti. Some recordings have indicated it as a traditional song. The first commercial recording was made by Los Angeles garage band The Leaves in late 1965. Hendrix’s rendition is the best-known version of the song and became one of his biggest hits in the UK, reaching no. 6 on the Official Singles Chart.

1970: Credence Clearwater Revival received Gold certification in the U.S. for their singles Down on the Corner, Lookin’ Out My Back Door, Travelin’ Band, Bad Moon Rising and Up Around the Bend. All songs were written by John Fogerty. CCR’s first five albums Credence Clearwater Revival (May 1968), Bayou Country (January 1969), Green River (August 1969), Willy and the Poor Boys (November 1969) and Cosmo’s Factory (July 1970) were also certified Gold. Here’s Travelin’ Band, the lead single from Cosmo’s Factory, which appeared in January 1970, backed by Who’ll Stop the Rain. Love that tune!

1972: Me And Mrs. Jones, the biggest hit for American soul singer Billy Paul, reached no. 1 in the U.S. on the Billboard Hot 100. The song was included on Paul’s 1972 album 360 Degrees of Billy Paul. The tune about marital infidelity was co-written by prominent Philly soul songwriting team Kenny Gamble, Leon Hoff and Cary Gilbert. Songfacts notes Me And Mrs. Jones knocked I’m the Woman out of the top spot, a female-empowerment anthem by Helen Reddy.

1989: Billy Joel’s 11th studio album Storm Front, which had come out in October of the same year, reached no. 1 on the Billboard 200. The piano man’s second-to-final pop record to date was also pretty successful internationally. Among others, it topped the charts in Australia, climbed to no. 4 in Canada, and reached no. 5 in the UK and Germany. Here’s the lead single We Didn’t Start the Fire, which like the album turned out to be a big hit for Joel. The fast-paced recitation of 118 significant political, cultural, scientific and sporting events that occurred between Joel’s birth year 1949 and 1989 became one of his signature songs.

1993: Nirvana’s MTV Unplugged in New York concert aired for the first time on MTV. Unlike other MTV Unplugged shows Nirvana chose to perform predominantly lesser-known material including various covers. Moreover, in contrast to previous performances in the series, which were entirely acoustic, Nirvana used electric amplification and guitar effects during their set. The concert was taped on November 18, 1993, at Sony Studios in New York City, less than five months prior to lead vocalist Kurt Cobain’s suicide on April 8, 1994. Here’s Nirvana’s haunting cover of David Bowie’s The Man Who Sold the World.

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

Five Picks From a Pretty Good Playlist

I don’t mean to make any advertising for Apple Music. Other music streaming platforms are probably just as good and some may even be better. It just so happens that 20 years ago, I decided to get iTunes and I’ve stuck with Apple ever since. Nowadays, I mostly use their streaming service Apple Music. Once you’re entrenched in one platform, switching becomes hard, so you’re kind of stuck with it.

In the early years of Apple Music, which I started using pretty much when it was introduced in 2015, I made fun of how they categorized music and what kind of listening suggestions they served up. Over time their algorithms have gotten much better. Nowadays, Apple Music pretty much knows what makes me tick. In a way that’s a bit scary.

Similar to Facebook, the presentation of new content based on previous choices can also work to your advantage. A good illustration is the latest “Favorites Mix” Apple Music generated, based on my listening habits. I pretty much dig each tune on here. Following are five of the 25 tracks. I deliberately picked songs I haven’t featured in a while or at all on the blog.

John Mellencamp/Grandview (feat. Martina McBride)

John Mellencamp has been among my favorite artists since the mid-’80s. While I still dig the straight heartland rock from his earlier years, I mostly prefer the roots-oriented music he plays nowadays. Grandview is a great tune from Mellencamp’s 23rd studio album Sad Clowns & Hillbillies that came out in April 2017. Much of that album includes contributions from country artist Carlene Carter. Grandview, co-written by Mellencamp and Bobby Clark, is an exception, featuring another country artist: Martina McBride. Love that tune!

Bonnie Raitt/Sugar Mama

My dear longtime music friend from Germany initially introduced me to Bonnie Raitt in the late ’80s. If you’re a more frequent visitor of the blog you likely know how much I dig that lady. For the most part, Raitt relies on other writers. Her picks tend to be excellent. Here’s Sugar Mama, co-written by Delbert McClinton and Glen Clark, and first released as Sugar Daddy on McClinton’s 1972 debut album Delbert & Glen. Raitt’s funky rendition of the tune was included on her fifth studio album Home Plate, which appeared in 1975.

Jackson Browne/Our Lady of the Well

My introduction to Jackson Browne was the iconic Running On Empty album from December 1977. I believe my brother-in-law had it on vinyl. My guess is I heard it first in the early ’80s – can’t quite remember! I’ve listened to Browne on and off ever since. Our Lady of the Well, written by him, is from his sophomore album For Everyman that came out in October 1973. Browne’s just a great songwriter!

David Bowie/It Ain’t Easy

If I could only pick one David Bowie record, I’d go with The Rise and Fall of Ziggy Stardust and the Spiders from Mars, his fifth studio album released in June 1972. I’ve always loved Bowie’s glam rock period. On Ziggy Stardust, he wrote all except one tune: It Ain’t Easy. That song was penned by American songwriter Ron Davies who first recorded it for his 1970 debut album Silent Song Through The Land. It proved to be a popular cover song. In addition to Bowie, Three Dog Night, Long John Baldry, Dave Edmunds and Shelby Lynne are among the other artists who covered it. I guess the explanation is simple: It’s a great tune!

Genesis/Land of Confusion

Let me preface this final pick by saying I used to like Land of Confusion by Genesis much more when it came out back in 1986 than I do nowadays. Like many other ’80s tunes, to me, it doesn’t hold up that well. Still, I can’t deny a certain weak spot for the ’80s, the decade during which I grew up. Land of Confusion, credited to all three core members of Genesis at the time – Tony Banks, Phil Collins and Mike Rutherford – appeared on the group’s 13th studio album Invisible Touch from June 1986. It also became one of five singles. Perhaps the most memorable aspect of the tune is its remarkable video featuring caricature puppets of political leaders like Ronald Reagan, Margaret Thatcher, Leonid Brezhnev and Helmut Kohl. The video, which got heavy play on MTV, won a Grammy for Best Concept Music Video in 1987. It was also nominated for Video of the Year at the MTV Video Awards that same year but lost to Sledgehammer by former Genesis lead vocalist Peter Gabriel.

Below is a link to the entire playlist. While I supposedly copied the embed code, it doesn’t embed. Oh, well, not sure whether this has anything to do with my computer or my computer skills, which is entirely possible, or whether it’s, dare I say, a bug in Apple Music. I’ve seen fellow bloggers successfully embed Spotify playlists. Perhaps I should have chosen that platform instead – dang it!

https://embed.music.apple.com/us/playlist/favorites-mix/pl.pm-20e9f373919da0805cb3b48850c61e6a

Sources: Wikipedia; Discogs; YouTube

Turkey Day Rock Marathon Is On Again

Earlier this evening, it dawned on me it’s Thanksgiving week, which means New York classic rock radio station Q104.3 once again is doing their annual countdown of the Top 1,043 Classic Rock Songs Of All Time. The countdown is based on submissions from listeners who each can select 10 songs. All picks are then tabulated to create the big list.

The countdown starts tomorrow morning at 9:00 am EST and stretches all the way to sometime this Sunday evening. That’s how long it takes to play all 1,043 songs. The only interruption of the countdown will happen at noon on Thanksgiving when Q104.3 plays Arlo Guthrie’s Alice’s Restaurant, all 18 and a half minutes of it – just wonderful!

While after 20 years in a row (yep, that’s how long they’ve done this!) it’s a forgone conclusion that Led Zeppelin’s Stairway to Heaven once again will be no. 1 and the top 20 will be largely occupied by the same songs from previous years, listening to the countdown is still fun. Think about it, when can you ever hear 1,043 different songs in a row on the radio. Most stations have a much smaller set of songs in rotation.

Below is a screenshot of my selections for this year. Once again, I decided to come up with 1o previously unpicked songs. This time, I included two tunes from 2021: California Dreamin’ (Dirty Honey) and Side Street Shakedown (The Wild Feathers). Both are probably very long shots to make the list, as are I Don’t Understand (The Chesterfield Kings) and Cinderella (The Fuzztones), but that’s okay

Following are clips of my selections:

Dirty Honey/California Dreamin’Dirty Honey, April 2021

The Wild Feathers/Side Street ShakedownAlvarado, October 2021

The Black Crowes/Twice As HardShake Your Money Maker, February 1990

AC/DC/It’s a Long Way to the Top (If You Wanna Rock ‘N’ Roll)High Voltage, April 1976

The Beatles/Helter SkelterThe Beatles, November 1968

David Bowie/Suffragette CityThe Rise and Fall of Ziggy Stardust and the Spiders from Mars, June 1972

Queen/Tie Your Mother DownA Day at the Races, December 1976

The Who/The Real MeQuadrophenia, October 1973

The Chesterfield Kings/I Don’t UnderstandThe Mindbending Sounds Of…The Chesterfield Kings, August 2003

The Fuzztones/CinderellaLysergic Emanations, 1985

I’m sure I’ll be listening to Q104.3’s countdown at different times over the next five days. Though this year, there will be stiff competition from Peter Jackson’s Get Back Beatles three-part docu-series!

Sources: Wikipedia; Q104.3 website; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Welcome to my latest weekly foray into newly released music. This time, my picks include two artists I’ve listened to for more than 40 years and two who are completely new to me, though both are well established. There’s some blues, alternative rock, pop and soul, making for a good mix. All tracks are on albums that came out yesterday (November 19). Let’s get to it!

Mississippi MacDonald/It Can’t Hurt Me

When I spotted this review on Rock & Blues Muse earlier this week, I immediately had a feeling I would dig this contemporary British blues guitarist. From his website: Mississippi MacDonald is a 3 times British Blues Awards nominee, from London, England. He has been playing since he was 11 years old and has travelled extensively on the US blues trail, meeting, amongst others, Pinetop Perkins, Willie Big Eyes Smith, Otis Clay and BB King…Mississippi’s albums, “Dress For The Money[third studio album from 2016 – CMM] and “American Accent[2015 sophomore album – CMM] reached number 1 and 3 respectively in the UK IBBA Blues Charts. American Accent was one of the top 10 IBBA albums of 2016, and was the “Blues Is Back” Album of the Year, 2017. This brings me to MacDonald’s seventh and new album Do Right, Say Right. Here’s the official video for lead single It Can’t Hurt Me, which was first released on October 15 – man, this sounds mighty sweet!

Elbow/After the Eclipse

Elbow are a British alternative rock band formed in the Manchester area in 1997. According to their Apple Music profile, they began as a Sly Stone-influenced funk act called Soft, before deciding to change their name and take musical cues from The Velvet Underground, Radiohead, and U2. David Bowie’s Hunky Dory and Joni Mitchell’s For the Roses are two of Elbow frontman Guy Garvey’s favorite albums from childhood. Elbow has had three consecutive No. 1 UK albums: 2014’s The Take Off and Landing of Everything, 2017’s Little Fictions, and 2019’s Giants of All Sizes. The band won Britain’s Mercury Prize for 2008’s The Seldom Seen Kid, which has sold more than 1 million copies. Looks like Elbow have had significant success in the UK. Remarkably, they still have their original line-up: Guy Garvey (lead vocals, guitar), Craig Potter (keyboard, piano, backing vocals), Mark Potter (guitar, backing vocals) and Pete Turner (bass, backing vocals). Here’s After the Eclipse, a track from their just-released ninth studio album Flying Dream 1, credited to all four members. I find this very soothing.

Sting/Rushing Water

On September 1, ex-Police frontman Sting announced his new studio album The Bridge, which is now out: The Bridge was written in a year of global pandemic and finds Sting ruminating on personal loss, separation, disruption, lockdown, and extraordinary social and political turmoil…Representing various stages and styles from throughout his career and drawing inspiration from genres including rock n’ roll, jazz, classical music and folk, the eclectic album features Sting’s quintessential sound on pop-rock tracks such as the album’s opening rock salvo “Rushing Water” and new indie-pop sounding “If It’s Love,” to the smoldering electronic ballad “Loving You” and the romantic “For Her Love” which evokes Sting’s trademark “Fields of Gold” period. Here’s the aforementioned Rushing Water, first released on September 30 as the album’s second upfront single. “The song ‘Rushing Water’ is a fitting start to an album that seeks to bridge all of the petty differences that can separate us,” Sting noted in a separate announcement. The tune was co-written by him, Martin Kierszenbaum and Gavin Brown. It’s an upbeat pop tune with a guitar sound that in part appears to be sampled from Every Breath You Take.

Robert Plant & Alison Krauss/Searching For My Love

After 14 years, Robert Plant and Alison Krauss have come together for another album, Raise the Roof. It marks the second collaboration between the British ex-Led Zeppelin lead vocalist and the American bluegrass and country singer following Raising Sand from October 2007. Like the predecessor, Raise the Roof was produced by T Bone Burnett. Fellow blogger Music Enthusiast featured one of the upfront tunes, Can’t Let Go, in a recent new music revue. Here’s another track: Searching For My Love. Like all except one song, it’s a cover, in this case of a tune written by Robert Moore and first released by soul group Bobby Moore & The Rhythm Aces in 1966. Plant and Krauss sound great together on this nice soul tune.

Sources: Wikipedia; Rock & Blues Muse; Mississippi MacDonald website; Apple Music; Sting website; YouTube

Best of What’s New

A selection of newly released music that caught my attention

It’s Saturday, which means the time has come again to take a fresh look at newly-released music. As more frequent visitors of the blog know, my favorite decades are the ’60s and the ’70s, which can make finding contemporary music that speaks to me a tough proposition. But after having written this weekly feature for some 20 months, I can safely say there’s still some new music out there I dig. Some weeks it’s a longer process to find it than others. This time, putting together the post went pretty quickly. My picks include some country, rock and indie rock. All tunes are on albums that were released yesterday (October 29).

Emily Scott Robinson/Things You Learn the Hard Way

I’d like to start with Emily Scott Robinson, who according to her website is a Colorado-based singer-songwriter: Robinson grew up in Greensboro, North Carolina, and turned toward guitar at age 13, after a summer camp counselor closed out the nights by playing songs by Joni Mitchell, Cat Stevens, and Dar Williams every night. She taught herself to play in the early 2000s by printing guitar tabs from the internet and singing to CDs by Indigo Girls and James Taylor. But she didn’t pursue songwriting until after seeing Nanci Griffith perform in Greensboro in 2007… Graduating from Furman University with degrees in history and Spanish, Robinson took a job as a social worker and translator in 2011…In 2013, she found kindred spirits at Planet Bluegrass’ The Song School, a songwriting retreat in Lyons, Colorado, where other participants encouraged her talent, and just as importantly, showed her that being a touring musician could be a viable financial option. I wonder how many other young artists share that view. Robinson’s debut album Magnolia Queen appeared in 2016. Things You Learn the Hard Way is a track from her new album American Siren, a mix of bluegrass, country and folk. Like all other tunes on the record, the song was written by her – pretty music, and I also like Robinson’s voice.

Jerry Cantrell/Brighten

Jerry Cantrell is best known as lead guitarist, lead vocalist and the main songwriter of Seattle rock band Alice in Chains, which he formed in 1987. While I definitely know their name, I don’t believe I’ve heard any of their music. In addition to recording six albums with the group and collaborations with Ozzy Osborne and other artists, Cantrell has released four solo albums to date, starting with Boggy Depot from March 1998. Brighten, written by Cantrell, is the title track of his new album. Nice rocker!

Charlotte Cornfield/Blame Myself

Charlotte Cornfield is a Canadian singer-songwriter who was born in Toronto. According to Wikipedia, her music has been compared to the likes of The Band, Bob Dylan, Townes Van Zandt and Neil Young. Cornfield has also mentioned David Bowie, Joni Mitchell and Gillian Welch among her influences – many big names here! During her childhood, Cornfield played the piano, drums and French horn. Following her relocation to Montreal where she studied jazz drumming at Concordia University, Cornfield decided to pursue a professional career as a solo artist. Her debut EP It’s Like That Here came out in 2008. Her first full-length album Two Horses was released in March 2011. Blame Myself, penned by Cornfield, appears on her new album Highs in the Minuses, her fouth.

The War on Drugs/Change

The War on Drugs are an indie rock band that was founded in Philadelphia in 2005. Again, while I’m definitely familiar with their name, I can’t identify any of their songs. According to their profile on Apple Music, the group has been a vehicle for singer-songwriter Adam Granduciel, whose synth-infused folk-rock storytelling has drawn comparisons to Bruce Springsteen. The War on Drugs began as a duo with Granduciel and singer-songwriter Kurt Vile, who appeared on 2008’s debut Wagonwheel Blues before making a name for himself as a solo artist. Their breakout LP Slave Ambient, which landed at No. 5 on Billboard’s Heatseekers Albums chart, was named on Pitchfork’s list of the Top 50 Albums of 2011. This brings me to the band’s fifth and new studio album I Don’t Live Here Anymore. Here’s a great tune called Change, co-written by Granduciel, together with band members Anthony LaMarca (guitar, percussion, drums, vibraphone, pedal steel guitar) and Dave Hartley (bass, guitar). Based on this and a few other songs I’ve heard from the new album, I want to further explore this band.

Sources: Wikipedia; Emily Scott Robinson website; Apple Music; YouTube

On This Day in Rock & Roll History: October 14

After a longer pause, it’s time again for another installment of my irregular feature where I explore what happened on an arbitrarily picked date throughout rock history. The only rule I have it that it must reflect my music taste and be a date I haven’t covered yet. The good news is I got plenty of choices left, including October 14, so without further ado, let’s get to it!

1957: The Everly Brothers hit no. 1 in the U.S. on the Billboard Hot 100 with Wake Up Little Susie. Written by husband-and-wife country and pop songwriting duo Felice Bryant (born Matilda Genevieve Scaduto) and Diadorius Boudleaux Bryant, the tune became the first of three no. 1 songs Don Everly and Phil Everly scored on the mainstream charts. The Bryants also wrote Bye Bye Love, the previous single by The Everly Brothers, as well as numerous of their other hits. Wake Up Little Susie reached the top of the Billboard country and R&B charts as well, and was included on The Everly Brothers’ 1958 eponymous debut album. It was the first song by them I heard in my early teens when I was still pretty much adoring Elvis Presley. While in my mind back then nobody could ever match Elvis when it came to rock & roll, The Everly Brothers quickly earned my respect.

1967: Of course, no music history post can be without The Beatles or related topics. In this case, it’s an artist who managed to knock out The Fab Four from the top of the charts. The great Bobbie Gentrie, who later became a woman of mystery, hit no. 1 in the U.S. on the Billboard 200 with her debut album Ode to Billie Joe, ending the 15-week reign of The Beatles with Sgt. Pepper’s Lonely Hearts Club Band. According to Wikipedia, it was the only record that managed to displace Sgt. Pepper from the top spot. Released on August 21 that year, Gentry’s debut album had been quickly assembled following her successful single with the same title. This is such a great tune!

1968: Next let’s turn to The Beatles themselves to see what they were up to. The year was 1968 and the location was Studio 2 at EMI Studies, Abbey Road, London. John, Paul and George were working on eight songs for the White Album – of course, The Beatles Bible had to count them all! The ultimate record of Beatles truth further notes Ringo Starr had left for a two-week family vacation to Sardinia and as such was absent. In fact, he had no further involvement in the album’s mixing and sequencing. The recording session saw the completion of work on one the tunes: Savoy Truffle, a song by George Harrison, which had been inspired by Eric Clapton. Eric has “got this real sweet tooth and he’d just had his mouth worked on,” Harrison explained. “His dentist said he was through with candy. So as a tribute I wrote, ‘You’ll have to have them all pulled out after the Savoy Truffle’. George’s sense of humor could be peculiar!

1971: Specialty Records, the company that held the rights to Little Richard’s songs, sued John Fogerty, charging the Creedence Clearwater Revival song Travelin’ Band plagiarized Richard’s Good Golly, Miss Molly. Here’s Richard’s tune. The CCR track is below. Great gosh a’mighty, if this is plagiarism, then pretty much all classic rock & roll songs are! I feel this is very different from Zep’s rip-off of Spirit’s Taurus or the similarity between George Harrison’s My Sweet Lord and The Chiffons’ record of He’s So Fine. Eventually, the case was settled out of court. Travelin’ Band first appeared in January 1970 as the B-side to Who’ll Stop the Rain, the lead single of CCR’s fifth studio album Cosmo’s Factory released in July of the same year.

1977: David Bowie released his 12th studio album Heroes. The second installment of Bowie’s so-called Berlin Trilogy only came nine months after predecessor Low. The third album in the series, Lodger, would appear in May 1979. Bowie recorded all three albums in West Berlin, Germany, in collaboration with Brian Eno and co-producer Tony Visconti. Bowie was quite busy in 1977. The making of Heroes followed his participation as keyboarder during a tour of his friend Iggy Pop and co-producing Pop’s second studio album Lust for Life. Heroes incorporated elements of art rock and experimental rock, and built on Low’s electronic and ambient approaches. In general, I’m more fond of Bowie’s late ’60s and glam rock period. That being said, I always liked the album’s title track that was co-written by Bowie and Eno. The record did pretty well in the charts, reaching no. 3 in the UK, the top 20 in various other European countries, no. 6 in Australia and no. 35 in the U.S. – overall largely matching the performance of Low.

1983: Let’s finish this little history post with another album release: She’s So Unusual, the solo debut by Cyndi Lauper. The record became a huge chart success and Lauper’s best-selling album with more than 16 million units sold worldwide as of 2008. It certainly was welcome news for Lauper who only a few years earlier had found herself forced to file for bankruptcy, a fallout from the aftermath of her previous band Blue Angel, a failed debut album and a lawsuit the band’s manager Steven Massarsky had brought against her and the band. Beware of hiring a lawyer as your manager! She’s So Unusual yielded several hit singles. Here’s the most successful and my favorite, Time After Time, co-written by Lauper and Rob Hyman who is best know as a founding member of American band The Hooters. The tune topped the mainstream charts in the U.S. and Canada, climbed to no. 3 in New Zealand, reached no. 5 in Australia, and became a top 10 hit in various European countries, including Austria (no. 6), Ireland (no. 2), France (no. 9), Germany (no. 6), The Netherlands (no. 8) and the UK (no. 3).

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

What I’ve Been Listening to: Fanny/Fanny

Early ’70s group was an all-female rock trailblazer

When listening to the eponymous debut album by Fanny the other day, I knew immediately I was going to love this all-female rock band. I have to thank fellow blogger Max from PowerPop, who pointed them out to me. Not only were Fanny’s songs and musicianship compelling, but these four young women were true trailblazers for all-female rock in the early ’70s. Bands like The Runaways, The Go-Go’s and The Bangles were still unheard of. What’s also intriguing is that Fanny were formed by two Philippine-American sisters.

Before getting to some music, here’s a bit more background. Fanny were founded by June Millington (guitar) and her sister Jean Millington (bass) after they had moved from the Philippines to Sacramento, Calif. in 1961. Initially, the group was called Wild Honey that in turn had evolved from The Svelts, a group the sisters had started in high school. As Wild Honey were about to call it quits since they felt they didn’t have a chance to make it in a male-dominated rock scene, they were spotted during an open-mic appearance at LA’s prominent Troubadour Club by the attentive secretary of record producer Richard Perry.

Perry, who apparently had been looking for an all-female band to mentor, liked what he heard and convinced Warner Bros. to sign them to their Reprise Records label. Prior to recording their debut album, the group was renamed Fanny. According to their AllMusic profile, the name was suggested to Perry by none other than George Harrison. At the time, the band’s line-up included June Millington (vocals, guitar), Jean Millington (bass, vocals), Nickey Barclay (keyboards, vocals) and Alice de Buhr (drums). The Millington sisters had previously played with de Buhr in The Svelts.

This brings me to the band’s self-titled debut album, which appeared in December 1970 and was produced by Perry. Let’s kick it off with opener Come and Hold Me co-written by the Millington sisters. I love this tune, which sounds a song Christine McVie could have written for Fleetwood Mac in the ’70s. The excellent harmony singing is reminiscent of The Bangles. And check out Jean’s melodic bassline – so good!

I Just Realised is a great mid-tempo rocker penned by Barclay and June Millington. The raspy vocals are fantastic, which I believe are Barclay’s. I also love her honky-tonk style piano. Again, Jean does a great job on bass. June’s guitar work is cool as well. Man, these ladies were rockin’ and doing so at a pretty sophisticated level!

As I started listening to Conversation With a Cop, a great ballad by Barclay, I thought, ‘wait a moment, when was that tune written, in 1970 or in 2021?’ Check out the lyrics: …And I wonder how it feels to be afraid of everyone you see/I wonder why you keep those nervous fingers on your gun/I’ve done no wrong; I’m just looking for some place to walk my dog/Yeah, now don’t get me wrong, I’m just looking for some place to walk my dog. Just remarkable!

Here’s a cover of Cream’s Badge, which earned Fanny some radio play. Co-written by Eric Clapton and George Harrison, the tune appeared on Cream’s final studio album Goodbye from February 1969, and became their second-to-last single – all after the group already had broken up. I like how Fanny made the rendition their own!

The last track I’d like to call out is the closer Seven Roads – and, boy, what an outstanding final track! The smoking rocker was co-written by the Millington sisters and de Buhr. Again, there’s great guitar work and a killer keyboard solo by Barclay.

According to Wikipedia, Fanny weren’t happy with Perry’s production of the record. They thought it didn’t show them at their best or reflect their live performances. Apparently, their sentiment improved on the next two records, which Perry produced as well.

Fanny was the first of five studio albums during the band’s run. June Millington, who felt constrained by the group’s format and had clashes with Barclay, left after the September 1973 release of Fanny’s forth album Mother’s Pride that had been produced by Todd Rundgren. Subsequently, De Buhr also departed. Fanny with a different line-up released one more album, Rock and Roll Survivors in 1974, before they split in 1975.

A forthcoming film, Fanny: The Right to Rock, documents the band’s history. For more information, visit https://www.fannythemovie.com. Here’s the trailer. This looks quite intriguing! As Bonnie Raitt notes, “Fanny was the first all-female rock band that could really play and really get some credibility within the musician community.” I think Raitt’s statement captures the essence of what made Fanny trailblazers, i.e., their high level of musicianship and great songs, I should add, not the fact that they were an all-female group.

To conclude, here’s what David Bowie wrote in colorful words about the group in Rolling Stone in late December 1999, as documented by the website Fanny Rocks: “One of the most important female bands in American rock has been buried without a trace. And that is Fanny. They were one of the finest fucking rock bands of their time, in about 1973. They were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody’s ever mentioned them. They’re as important as anybody else who’s ever been, ever; it just wasn’t their time. Revivify Fanny. And I will feel that my work is done.”

Sources: Wikipedia; AllMusic; Fanny Rocks website; YouTube