I just saw and wanted to share this story reported by Ultimate Classic Rock. This Sunday, July 5, a concert film by the Eagles, Live From The Forum MMXVIII, will debut on ESPN at 8:00 pm EDT. The film captures highlights from three gigs the Eagles played in September 2018 at The Forum in Los Angeles during their North American tour that year. The concert, which will also appear on vinyl, CD, Blue-ray and DVD on October 16, marks the band’s first release following the untimely death of Glenn Frey in January 2016 at the age of 67.
I was fortunate enough to see the Eagles with Frey in 2015 in Atlantic City during their History of the Eagles Tour, less than six months before he passed away. After a hiatus due to Frey’s death, the Eagles resumed playing shows in 2017, with Glenn’s son Deacon Frey and Vince Gill taking over Glenn’s parts. The following year, the band returned to full-fledged touring. While their shows got rave reviews, ticket prices were completely over the top, so I haven’t seen them again since the above great Atlantic City show – not that that concert was exactly cheap, but at least I felt I could still half way afford it! Now, no way, but I take a free broadcast!
According to this ESPNpress release, LIVE FROM THE FORUM MMXVIII, a Scheme Engine production directed by Nick Wickham, was filmed on 14 4K cameras. It will be available on October 16, through Rhino in a variety of audio and video formats, including Blu-ray, CD, Vinyl, and Streaming. A super deluxe edition will also be available. The set captures definitive live performances of the band’s most iconic hits, (“Hotel California,” “Take It Easy,” “Life In The Fast Lane,” “Desperado”), and beloved album tracks, (“Ol’ 55, “Those Shoes”), along with some of the individual members’ biggest solo smashes, (Henley’s “Boys Of Summer,” Walsh’s “Rocky Mountain Way,” and Gill’s “Don’t Let Our Love Start Slippin’ Away”).
The Eagles’ lineup (including touring musicians) during their 2018 tour featured Don Henley (lead and backing vocals, drums, percussion, rhythm guitar), Joe Walsh (lead and rhythm guitars, keyboards, backing and lead vocals), Timothy B. Schmit (bass, backing and lead vocals, harmonica), Deacon Frey (rhythm and lead guitar, lead and backing vocals, Vince Gill (lead and rhythm guitar, backing and lead vocals), John Corey (piano, backing vocals, percussion, additional guitars), Scott F. Crago (drums, percussion), Will Hollis (keyboards, synthesizers, backing vocals), Steuart Smith (guitars, mandolin, backing vocals) and Michael Thompson (piano, keyboards, backing vocals).
Here’s the great looking track list, as reported by Ultimate Classic Rock:
‘Eagles Live From the Forum MMXVIII’ Track Listing 1. “Seven Bridges Road” 2. Joe Walsh: “How ya doin?” 3. “Take It Easy” 4. “One of These Nights” 5. Don Henley: “Good evening, ladies and gentlemen” 6. “Take It to the Limit” 7. “Tequila Sunrise” 8. “In the City” 9. Timothy B. Schmit: “Hey, everybody, that’s Joe Walsh” 10. “I Can’t Tell You Why” 11. “New Kid in Town” 12. Don Henley: “Just want to thank all of you…” 13. “How Long” 14. Deacon Frey: “Hello, everybody…” 15. “Peaceful Easy Feeling” 16. “Ol’ 55” 17. “Lyin’ Eyes” 18. “Love Will Keep Us Alive” 19. Vince Gill: “How about a nice hand for California, man…” 20. “Don’t Let Our Love Start Slippin’ Away” 21. “Those Shoes” 22. “Already Gone” 23. “Walk Away” 24. Joe Walsh: “Is everybody OK?” 25. “Life’s Been Good” 26. “The Boys of Summer” 27. “Heartache Tonight” 28. “Funk #49” 29. “Life in the Fast Lane” 30. “Hotel California” 31. “Rocky Mountain Way” 32. “Desperado” 33. “The Long Run”
“…The Pretender, These Days, For Every Man, I’m Alive, Fountain of Sorrow, Running On Empty, For a Dancer, Before the Deluge. Now, I know the Eagles got in first; but let’s face it it – and I think Don Henley would agree with me – these are the songs they wish they had written. I wish I had written them myself, along with Like a Rolling Stone and Satisfaction…”
The above words were spoken by Bruce Springsteen in 2004 as part of his Rock & Roll Hall of Fameinduction speech for Jackson Browne. Springsteen also recalled when he first met Browne in New York City at The Bitter End, a storied Greenwich Village performance venue, he knew the singer-songwriter from California was “simply one of the best”. Coming from somebody who has written so many great songs himself and during that same speech also admitted to be “a little competitive”, I think these remarks speak volumes.
The first Jackson Browne record I listened to in its entirety was what I still consider a true ’70s gem: Running On Empty. If I recall it correctly, my brother-in-law had it on vinyl, and I initially copied it on music cassette. I was spending countless hours at the time taping music from records, CDs and certain radio programs. I still have hundreds of tapes floating around. While it’s safe to assume the quality of most is less than stellar at this time, I just cannot throw them out!
Back to Browne with whom I happen to share one fun fact: We were both born in Heidelberg, Germany, though close to 18 years apart. Browne’s dad was stationed in Germany, working for American military newspaper Stars and Stripes. Two of his three siblings were born there as well. In 1951 when Browne was three years old, his family relocated to Los Angeles.
During his teenage years, Browne started performing folk songs at local L.A. venues like The Ash Grove and The Troubador Club. After graduating from high school in 1966, he joined country rockers Nitty Gritty Dirt Band, which would later record some of his songs. After a few months, Browne left and moved to New York City where he became a staff writer for Elektra Records’ publishing company Nina Music.
In 1967, Browne met and became romantically involved with singer Nico of The Velvet Underground. He became a significant contributor to her debut solo album Chelsea Girl. After they broke up in 1968, Browne returned to Los Angeles where he met Glenn Frey soon thereafter. Before he started recording his own songs, Browne’s music was recorded by other artists such as Tom Rush, Gregg Allman, Eagles, Linda Ronstadt and of course the aforementioned Nico and Nitty Gritty Dirt Band.
In 1971, Browne finally managed to get a deal with Asylum Records, and in January 1972, he released his eponymous debut album. Thirteen additional studio records have since appeared, as well as seven compilation and live albums and more than 40 singles. And this brings us to the most fun part of the post: Some of Browne’s music he has released during his close to 50-year recording career.
I’d like to kick things off with Song for Adam from Brown’s above noted eponymous debut album. The mournful memory of Adam Saylor, a friend of Browne who died in 1968 – possibly by suicide – was covered by various other artists, including Gregg Allman, who included a moving rendition with Browne singing harmony vocals on his final studio album Southern Blood from September 2017.
By the time Browne recorded Take It Easy for his sophomore album For Everyman, which appeared in October 1973, the Eagles had released the tune as their first single in May 1972. It gave them their first hit peaking at no. 12 on the Billboard Hot 100 and one of their signature songs. Originally, Browne began writing the tune for his eponymous debut album. But he got stuck with it, so played it to his friend Glenn Frey, who ended up finishing it. When Browne finally recorded the song, he also released it as a single, but it didn’t chart – perhaps it sounds pretty similar to the Eagles‘ version.
Fountain of Sorrow is a great track from Browne’s third studio Late for the Sky. Released in September 1974, it was his first top 20 record in the U.S., climbing to no. 14 on the Billboard 200. Like Take It Easy, the tune also appeared separately as a single but did not chart either.
In November 1976, Browne released The Pretender, his fourth studio album. It was his first major album chart success, climbing to no. 5 on the Billboard 200, and marking his first record to chart in the U.K., where it reached no. 26. Here’s the title track, which also became the second single. It did moderately well, reaching no. 58 on the Billboard Hot 100 – love that tune!
Next is the album that started my Jackson Browne journey: The amazing Running on Empty from December 1977. Frankly, I could list each tune on that record, so let’s go with one that is a less obvious choice: The Road, written by American singer-songwriter Danny O’Keefe. Themed around life on the road as a touring musician, Running on Empty was an unusual record featuring live recordings on stage and in other locations associated with touring, such as hotel rooms, tour buses or backstage. The first 2:28 minutes of The Road were captured in a hotel room in Columbia, Md., while the remainder was recorded live at Garden State Arts Center in Holmdel, N.J., which nowadays is known as PNC Bank Arts Center and a venue where I’ve seen many great shows.
In June 1980, Browne released Hold Out, his sixth studio album. While the record received poor reviews from music critics, ironically, it became his only no. 1 album in the U.S. It also was Browne’s second record to chart in the U.K. Here’s Of Missing Persons, a beautiful tribute to Little Feat co-founder Lowell George, a collaborator and longtime friend of Browne’s who had passed away the year before. The tune was specifically written for George’s then six-year-old daughter Inara George who since became a music artist as well.
For many years, Jackson Browne has been a political activist, e.g., speaking up against the use of nuclear power and supporting environmental causes. But it wasn’t until the ’80s that political themes starting to play a more dominant role in Browne’s lyrics. The album that comes to my mind first in that context is Lives in the Balance, which came out in February 1986. Here’s the catchy opener For America. It also became the lead single and reached no. 30 on the Billboard Hot 100.
For the next tune, I’m jumping to the ’90s, specifically to February 1996 and Browne’s 11th studio album Looking East. Like many of his previous records, it featured various notable guests, such as Bonnie Raitt, David Crosby, Ry Cooder and Mike Campbell. Here is Baby How Long, for which Cooder provided a great slide guitar part and Raitt sang harmony vocals, together with Australian singer Renée Geyer.
Let’s do two more from the current millennium. First up: The title track from The Naked Ride Home, Browne’s 12th studio album from September 2002, which my streaming music provider served up as a listening suggestion that in turn triggered the idea to do this post.
The final song I’d like to highlight is from Browne’s most recent 14th studio album Standing in the Breach, which was released in October 2014. Here is the nice opener The Birds of St. Marks. Originally, Browne wrote that tune in 1967 after his breakup with Nico and return from New York to California. While first released on his 2005 live album Solo Acoustic, Vol. 1., it wasn’t until this 2014 studio album that Browne properly recorded the tune. “This is a song I always heard as a Byrds song, and that was even part of the writing of the song,” Brown toldRolling Stone in an August 2014 interview. Standing in the Breach became a remarkable late-stage career chart success, reaching no. 15 on the Billboard 200 and no. 31 in the U.K.
Earlier this year, in the wake of testing positive for COVID-19 (though luckily with relatively light symptoms), Browne released A Little Soon to Say, a song from his next studio album scheduled for October 9, which I featured in this previous Best of What’s New installment. To date Browne has sold more than 18 million albums in the U.S. alone. Apart from the above mentioned Rock & Roll Hall of Fame induction, Browne has also been inducted into the Songwriters Hall of Fame in June 2007. He is ranked at no. 37 in Rolling Stone’s 2015 list of 100 Greatest Songwriters of All Time.
A tribute to the amazing voice and versatility of Linda Ronstadt
The other night, I caught the great documentary Linda Ronstadt: The Sound of My Voice on CNN. While I had been well aware of Linda Ronstadt’s amazing vocals, I had not fully appreciated her musical versatility. I’d like to focus this post on the latter, since it’s safe to assume her biography has been covered a million times.
Yes, Ronstadt “only” performed music written by others, which perhaps in part explains why it took me so long to write about her. But it would be a serious mistake to underappreciate her. You don’t need to take it from me.
Let’s start with a few comments from other artists I dig, who are featured in the documentary. “Linda could literally sing anything” (Dolly Parton). “Linda was the queen. She was what Beyoncé is right now” (Bonnie Raitt). “Linda was a very determined woman” (Don Henley). “There’s just no one that will have a voice like Linda’s” (Emmylou Harris). “Try following Linda Ronstadt every night” (Jackson Browne).
And then there’s Ronstadt’s sheer success. The documentary noted she “was the only female artist with five platinum albums in a row:” Heart Like a Wheel (November 1974), Prisoner in Disguise (September 1975), Hasten Down the Wind (August 1976), Simple Dreams (September 1977) and Living in the USA (September 1978). I assume that statement refers to the ’70s only. According to Wikipedia, Mad Love from February 1980 also hit platinum, which would actually make it six such albums in a row. Plus, there’s another series of five platinum records in a row Ronstadt released between September 1983 and October 1989.
Let’s get to some music. I’d like to kick things off with Rescue Me, from Ronstadt’s eponymous album, released January 1973, her third record. Co-written by Raynard Miner and Carl Smith, this nice rocker was recorded live at The Troubador in Los Angeles. In addition to Ronstadt’s great vocals, I’d like to call out her impressive backing band: Glenn Frey (guitar, backing vocals), Don Henley (drums, backing vocals) and Randy Meisner (backing vocals), along with Sneaky Pete Kleinow (pedal steel guitar), Moon Martin (guitar), Michael Bowden (bass). Among the album’s many other guests was Bernie Leadon. Following the record’s release and with Ronstadt’s approval Frey, Henley, Leadon and Meisner formed that other band called the Eagles.
When Will I Be Loved is one of the gems on Ronstadt’s breakthrough album Heart Like a Wheel from November 1974. The Phil Everly tune nicely illustrates her ability to select great songs and make them her own. I dig the original by The Everly Brothers, but Ronstadt took it to another level. Apart from beautiful harmony singing, it’s the guitar work by Andrew Gold that stands out to me. Similar to her eponymous album, Heart Like a Wheel features an impressive array of guests, including Frey, Henley, J.D. Souther, Timothy B. Schmidt, Russ Kunkel, David Lindley and Emmylou Harris, among others. Once again, it goes to show great artists like to play with other great artists.
In September 1977, Ronstadt released her eighth studio album Simple Dreams, which became one of the most successful records of her entire career. Among others, it includes Blue Bayou, one of her best-known songs. And then there’s this fantastic version of Rolling Stones classic Tumbling Dice. Check out that great slide guitar solo by Waddy Wachtel, who in addition to electric also played acoustic guitar and provided backing vocals, together with Kenny Edwards. According to It Came With The Frame, Ronstadt at the time had a fling with Mick Jagger who helped her overcome challenges in mastering the song’s lyrics. That little help from her friend came to end when Bianca Jagger flew straight to California to confront her husband. Apparently, she actually liked Ronstadt as long as she didn’t get too cozy with Mick!
After having become one of the biggest female music artists on the planet and having firmly established herself in the country, pop and rock genres, Ronstadt took the gutsy decision to turn to Broadway in the summer of 1980. She became the lead in the New York Shakespeare Festival production of Gilbert and Sullivan’sThe Pirates of Penzance, alongside actor and vocalist Kevin Kline. While people in the music industry tried to talk her out of it, saying it would be the end of her career, it all made perfect sense to Ronstadt. Her grandfather Fred Ronstadt had once created a musical arrangement of The Pirates of Penzance. Ronstadt also co-starred in the 1983 film version of the operetta, for which she won several Tony Awards and earned a Golden Globe nomination. Here’s Poor Wandering One.
During her Broadway and operetta phase and beyond, Ronstadt continued to release studio albums and took excursions into new musical territory.First up: An album of pop standards, ironically titled What’s New and featuring songs by the likes of George Gershwin, Irving Berlin and Sammy Kahn. It was the first in a trilogy of jazz-oriented albums. Again, Ronstadt’s record company Asylum and her manager Peter Asher were quite reluctant to produce such a record. But Don Henley didn’t call her “a very determined woman” for nothing, and in the end, the record label and Asher knew they couldn’t talk Ronstadt out of it. The album actually turned out to be a success, peaking at no. 3 on the Billboard 200 and spending 81 weeks on the chart. Here’s Ronstadt’s take of I’ve Got a Crush On You, co-written by George Gershwin and his older brother Ira Gershwin.
In 1987, Ronstadt took yet another musical turn. Inspired by her Mexican heritage (her father Gilbert Ronstadt was of German, English and Mexican ancestry) and her exposure to Mexican music, which was sung by her family throughout her childhood, she recorded Canciones De Mi Padre, an album of traditional Mariachi music. Released in November 1987, it became the first of four Spanish language albums Ronstadt released. It also remains the biggest-selling non-English language album in American record history, with 2.5 million copies sold in the U.S. and nearly 10 million worldwide as of 2012. According to Wikipedia, it also is the only recording production that used the three best Mariachi bands in the world: Mariachi Vargas, Mariachi Los Camperos and Mariachi Los Galleros de Pedro Rey. Ronstadt simply didn’t do anything half-ass! Here’s Tú Sólo Tú.
If you’re new to Linda Ronstadt, I suppose by now, nothing would really surprise you. Plus country isn’t perhaps as big a leap as operetta and Mariachi music. Here’s a tune from Trio II, the second country collaboration album Ronstadt recorded with Dolly Parton and Emmylou Harris: Neil Young’sAfter the Gold Rush. The album appeared in February 1999. I have to say I’ve rarely heard such beautiful harmony vocals. It’s like angels singing. And dare I add it as a huge Neil Young fan, I like Ronstadt’s take better than the original, which is one of my favorite Young tunes.
I’d like to wrap things up with one more song: Back in the U.S.A. Ronstadt’s cover of the Chuck Berry tune was the opener of Living in the USA, released in September 1978, her third and last record to peak the Billboard 200. Back in the U.S.A. also became the album’s lead single in August of the same year. Dan Dugmore and Waddy Wachtel on guitar and Don Grolnick on the piano do a beautiful job. Russ Kunkel (drums), Kenny Edwards (bass, backing vocals) and Peter Asher (backing vocals) round out the backing musicians.
Linda Ronstadt has had an exceptional career. In addition to having released more than 30 studio albums, including three no. 1 records on the Billboard 200, she has appeared on approximately 120 albums by other artists. According to her former producer and manager Peter Asher, Ronstadt has sold over 45 million albums in the U.S. alone. She has also produced for other artists like David Lindley, Aaron Neville and Jimmy Webb. In April 2014, Ronstadt was inducted into the Rock and Roll Hall of Fame. She also became a Kennedy Center Honoree last year.
In a February 2019 interview with CBS Sunday Morning, Ronstadt said that it was in 2000 when she started noticing something was wrong with her voice. “I would start to sing and it would start clamp up. It was like a cramp. It was like a freeze…It’s very slow-moving this disease, so it took a really long time to fully manifest.” After these first signs, Ronstadt recorded one more album, Hummin’ to Myself, released in November 2004. During an April 2011 interview with the Arizona Daily Star, she said, “I’m 100 percent retired and I’m not doing anything any more. I’m at the ripe old age of getting to be 65 and I find that I don’t have the power that I had and that’s not worth inviting people to spend their money.”
While Parkinson’s is a bad disease, especially for a vocalist, Ronstadt is very gracious about it. “You know, I’m grateful for the time I had,” she said in the documentary. “I got to live a lot of my dreams and I feel lucky about it…Another person with Parkinson’s said that life after death isn’t the question. It’s life before death. So how you gonna do it? How you gonna live?” BTW, in good old CNN fashion to repeat content, the documentary airs again tonight at 9:00 pm ET and tomorrow (January 5, 12:00-2:00 am ET). If you like Linda Ronstadt, I highly recommend it.
Sources: Wikipedia; It Came With The Frame; CBS Sunday Morning; Arizona Daily Star; YouTube
Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list
“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)
So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow toldNPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.
“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”
Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.
Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”
Since I already previously coveredLive Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”
Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.
Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.
The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.
I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.
Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.
Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube
As more frequent visitors of the blog know, I generally dig tribute bands and wrote a feature about some of them about a year ago. While then I did not plan a part 2, the reality is I’ve seen many more tribute acts than I could ever feature in one post. So, who knows, this may turn into a series of occasional posts with additional parts in the future. For now, I’d like to focus on part 2. Since I couldn’t figure out in which order to lists the acts, I decided to do so alphabetically.
As their name suggests, this band is a tribute to Queen. While I could not find public information on the backgrounds of the musicians, these guys from New York surely impressed me when I saw them last September at The Stone Pony in Asbury Park, N.J. Almost Queen are Joseph Russo as Freddie Mercury, Steve Leonard as Brian May, Randy Gregg as John Deacon and John Cappadona as Roger Taylor. Their delivery of four-part harmonies and Queen’s music, combined with their looks, make for a fun live experience. More information on the band and their impressive touring schedule that extends beyond the tri-state area of New York, New Jersey and Connecticut, can be found on their website and Facebook page. Here’s a sample: We Will Rock You and We Are The Champions.
This tribute to Chicago is one of the most compelling tribute bands I’ve seen, and without meaning to brag, I’ve seen many! Another group from New York, Beginnings is a national act, performing over 100 shows each year – great news for Chicago fans. Founded in the fall of 2002, the band consists of Mason Swearingen (bass, vocals), Johnny Roggio (guitar, vocals), Dan Hendrix (trombone, percussion, vocals), Adam Seely (saxophone, percussion), Doug Woolverton (trumpet, percussion), Scott Chasolen (keyboards, vocals) and Chris Milillo (drums, vocals). Beginnings’ impressive member credits include recording and performing with artists like Peter Frampton, Don Henley, Aretha Franklin, The Temptations and Blood Sweat & Tears, and awards like the Billboard Songwriter’s Award and ASCAP Songwriter’s Award – frankly, way too many credits I can list here! Check out their website and Facebookpage for more information. Here’s a great rendition of Just You ‘N’ Me I saw during a recent summer concert. BTW, the band mostly focuses on Chicago’s early and in my opinion best work.
This amazing tribute to Pink Floyd is the brainchild of musical director Damian Darlington, who also provides vocals and plays guitar and lap steel. Prior to forming the band in Liverpool, England in 2011, he had played for 17 years with long-running Aussie tribute The Australian Pink Floyd Show. The other members of Brit Floyd include Rob Stringer (keyboards, vocals), Ian Cattell (bass, vocals Chapman Stick, trumpet), Edo Scordo (guitar, vocals), Arran Ahmum (drums), Thomas Ashbrook (keyboards, vocals), as well as backing vocalists Ola Bienkowska, Angela Cervantes, Roberta Freeman, Emily Jollands and Jacquie Williams – quite a mighty line-up! For more on this band, read my previous post from March of this year when I saw them in Bethlehem, Pa., and visit their website and Facebookpage. Here’s Brit Floyd with Pink Floyd classic Comfortably Numb.
I have mentioned Decade on previous occasions, but as a huge Neil Young fan, I simply couldn’t resist to include this fantastic tribute from New Jersey in this post. The band revolves around singer-songwriter and Neil Young tribute artist John Hathaway. A life-long fan of Young, Hathaway has faithfully studied this artist in and out, and it shows. While he typically focuses on capturing the music, he can also act like Young, which I have witnessed myself. To bring the Canadian artist’s music to life in its full mighty, Hathaway is usually backed by a varying line-up of other long-time musicians. This clip of Old Man was captured during a gig earlier this year at Tim McLoone’s Super Club in Asbury Park. The backing musicians that night included Gordon Bunker Strout (guitar, backing vocals), Pam McCoy (backing vocals), John Dickson (bass), Bob Giunco (drums), Thomas Stevenson (banjo), Dave O’Brien (pedal steel guitar), Jeff Levine (keyboards) and James Doyle (guitar, banjo). More information about Decade and John Hathaway is available on Facebook here and here.
The Doobie Others
I really dig The Doobie Brothers, so a tribute I came across last month caught my immediate attention. Ingeniously called The Doobie Others, this six-piece band from New York and New Jersey features Pat Montefusco (lead vocals, guitar), Joe Torres (lead vocals, percussion), Eddie Profet Jr. (bass, backing vocals), Allan Korenstein (keyboards, backing vocals), Mike Quadrino (saxophone, keyboards, backing vocals), Ron Lovisa (lead guitar) and Jim Del (lead & backing vocals, drums). While The Doobie Others mostly seem to perform in the New York-New Jersey-Connecticut tri-state area, their current schedule shows they occasionally venture out to other states on the East Coast. For more information, check their website and Facebookpage. Here’s the band in action with Jesus Is Just Alright. Captured during a summer concert last month, the footage doesn’t do their high musical caliber full justice, but I feel you still get a good idea.
This band from Minneapolis is a great tribute to Tom Petty, one of my all-time favorite artists. Founded in September 2007 and named after one of Petty’s songs, Free Fallin are Tom Brademeyer (as Tom Petty, guitar & lead vocals), Mark Larsen (as Stan Lynch, drums), Russ Lund (as Ron Blair, bass), Karl Swartz (as Mike Campbell, guitar & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals) and Craig Volke (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals). Free Fallin is a full-time tribute band performing throughout the U.S. and even internationally. Check out their website and Facebookpage, as well as this cover of Refugee from last year’s Rock The Farm Festival in Seaside Heights, N.J., which I previously covered here.
Good Stuff is another outstanding tribute act I covered before here, but similar to Decade, I did not want to leave them out – how could I as a huge Steely Dan fan? Formed about a year ago and named after a Donald Fagen tune, Good Stuff features Mike Caputo (lead vocals), Don Regan (guitar), Axel Belohoubek (keyboards), Jay Dittamo (drums), Scott Hogan (bass), Phil Armeno (saxophones, flute) and vocalists Deanna Carroll and Linda Ferrano. Among them, these professional musicians have very impressive credits, such as tour pre-production for Madonna and David Bowie, and touring musicians for Chuck Berry, Bo Diddley, The Duprees , The Les Paul Trio, Jose Feliciano and Keith Emerson – yep, that Keith of ELP. Similar to Beginnings, there is too much to list. I should also mention that in addition to Steely Dan, the band performs music by Gino Vannelli, Sting and Stevie Wonder. While this may look somewhat arbitrary, combining music from these four artists works pretty well. The key is selecting songs that have a common denominator, which is a jazz influence. Check out more about this unique tribute act on their website and Facebookpage. Oh, and here’s My Old School.
Kiss The Sky
With the 50th anniversary of Woodstock going on, I’d like to close this post with a compelling tribute act to Jimi Hendrix. Again, if you are a frequent reader of the blog, the name Kiss The Sky may sound familiar, since I covered them before here. The band revolves around Jimi Hendrix tribute artist Jimy Bleu, who actually met Hendrix in 1968 as a teenager. The following year, Bleu attended Woodstock and got one of the guitar straps Hendrix used during his performance there. You can read more about his cool background story in the above post. Kiss The Sky covers music from both the Jimi Hendrix Experience and Band of Gypsys. Bleu’s excellent backing musicians for The Experience include bassist A.J. Hager as Noel Redding and drummer Ted Edwards as Mitch Mitchell. The Band of Gypsys tribute features Jay Powerz as Billy Cox (bass) and James Jaxon as Buddy Miles (drums). You can find more information about this tribute act on their Facebookpage. I also encourage you to check out this clip of Voodoo Child I took last October. Filming conditions weren’t ideal, but I think the footage still gives a good impression about this outstanding band.
Pictured in the image on top of the post are (clockwise from upper left corner) Almost Queen, Beginnings, Brit Floyd and Jimy Bleu/Kiss The Sky.
Sources: Almost Queen website and Facebook page; Beginnings website and Facebook page; Brit Floyd website and Facebook page; Decade and John Hathaway Facebook pages; The Doobie Others website and Facebook page; Free Fallin website and Facebook page; Good Stuff website and Facebook page; Kiss The Sky Facebook page; YouTube
Once asked about Joe Walsh, Eric Clapton said, “I don’t listen to many records, but I listen to his.” Or how about Jimmy Page? “I’ve loved his style since the early James Gang,” noting his “tremendous feel” for the guitar. And, as Walsh’s bio on his website adds, this praise from two of the greatest guitar icons on the planet came even before he joined the Eagles, my introduction to Walsh. I still get goosebumps to this day when listening to the solo with Don Felder on Hotel California, one of the most epic moments in rock music. Do I really need more reasons to justify a Walsh playlist?
Joe Fidler Walsh was born in Wichita, Kan. on November 20, 1947. His mother was an avid piano player who brought music into the family’s humble home before Joe was old enough to discover rock n’ roll on the radio. Though he had played guitar in a high school cover band and a popular Kent, Ohio bar band while in college, Joe really came into his own in 1968, when he joined the Cleveland-based James Gang. In March 1969, they released their debut Yer’ Album, which became a staple on FM radio. The sophomore James Gang Rides Again from July 1970, included Funk #49, which despite initial moderate success has become a rock classic.
In 1972, Walsh left James Gang, finding the band’s trio format too constraining only to form another trio later that year, Barnstorm. In addition to Walsh (guitar, keyboards), the band included his college buddy Joe Vitale (drums, flute, keyboards) and Kenny Passarelli (bass). Their record company decided to market their albums as Joe Walsh solo records, which eventually became a source of increasing frustration for Walsh and one of the reasons Barnstorm disbanded.
In December 1974, Walsh released his first true solo album So What, which featured contributions from Don Henley, Glenn Frey and Randy Meisner of the Eagles, the band Walsh joined the following year to replace founding member Bernie Leadon. Walsh appeared on the Eagles’ studio albums Hotel California (December 1976), The Long Run (September 1979) and Long Road Out Of Eden (October 2007). He was part of the band’s reunion in 1994 and remains a member to this day. In addition to his various band projects, Walsh has also released 12 solo studio albums (including two Barnstorm records) and a live album to date. Time for some music.
What better tune to kick things off than the above mentioned Funk #49, a kick ass rocker co-written by Walsh and fellow James Gang members Jim Fox (drums, vocals, percussion, keyboards) and Dale Peters (bass, vocals, guitars, keyboards, percussion). “I came up with the basic guitar lick,” Walsh said according to Songfacts quoting the book The Guitar Greats. “It was a real good example of how we put things together, bearing in mind that it was a three piece group, and I don’t think that there was any overdubbing. The only thing we really added was the percussion middle part, which the three of us actually played, putting some parts on top of the drums, but that’s the three piece James Gang, and that’s the energy and kind of the symmetry we were all about.”
Rocky Mountain Way appeared on Barnstorm’s second album The Smoker You Drink, The Player You Get, which as previously noted was marketed as Walsh’s second solo record. The song is credited to Walsh, Vitale, Passarelli and Rocke Grace, who had joined the band as a keyboarder. One of the best known Walsh tunes, the track peaked at no. 23 on the Billboard Hot 100.
Next up: Welcome To The Club, the opener to So What, Walsh’s first true solo album from December 1974. This is another nice rocker!
For the aforementioned reasons, I was very tempted to include the title track from Hotel California in this playlist. Instead, I decided to feature Life In The Fast Lane, my second favorite tune from the Eagles’ fifth studio album that appeared in December 1976. Walsh came up with the signature guitar riff, while Henley and Frey co-wrote the lyrics. The song became the record’s third single, reaching no. 11 on the Billboard Hot 100.
In-between Hotel California and the next Eagles album The Long Run, Walsh released another solo record in May 1978. But Seriously, Folks… includes his most successful solo hit: Life’s Been Good. Here’s the full close to 9-minute album version of the hilarious take on the excesses rock stardom. It also appeared as a 4 1/2-minute single, which climbed to no. 12 on the Billboard Hot 100.
In The City is a tune co-written by Walsh and Barry De Vorzon from The Long Run, which appeared in September 1979 and was the Eagles’ final studio album until 2007’s Long Road Out Of Eden. It is one of the few Eagles tunes on which Walsh is also handling lead vocals. He had first recorded the song in 1979 for the soundtrack of the motion picture The Warriors.
In March 1981, Walsh released his next solo album, There Goes The Neighborhood. It featured a smoother sound and would become his final commercial and critical success for more than 25 years. Here’s Rivers (Of The Hidden Funk), a track Walsh originally had co-written with Don Felder for the Eagles’The Long Run album that didn’t make the record. Felder appeared as a guest on talk box guitar.
After five additional solo albums that were not well received, Walsh took a 20-year break before resurfacing in June 2012 with Analog Man, his most recent solo effort. Co-produced by Jeff Lynne, the album features an impressive array of guests, who in addition to Lynne include Ringo Starr, Graham Nash, David Crosby and Little Richard, along with former Barnstorm members Kenny Passarelli and Joe Vitale, and former James Gang members Jim Fox and Dale Peters. In a May 2012 interview with The Huffington Post (now called HuffPost), Walsh said about Lynne, “Gradually, we worked on some stuff and checked out some of his stuff too. It ended up that he really helped me finish it up and ended up producing. He really put his stamp on my music and took it in a direction I never would have gone, and I’m really grateful to him.” The album reached no. 12 on the Billboard 200. Here’s the title track co-written by Walsh, Drew Hester and Gannin Arnold.
To say Joe Walsh has had an eventful life would be an understatement. In addition to a 50-plus-year professional career, he has been married five times. His current wife is Marjorie Bach, sister of Barbara Bach and sister-in-law of Ringo Starr. Walsh battled alcohol and drug addiction for much of his early career but has been sober since 1995. In 1998, Walsh was inducted into the Rock and Roll Hall of Fame as a member of the Eagles. He is currently touring with the band in Europe. Starting in late September, they are playing three gigs at the MGM Grand Garden Arena in Las Vegas, during which they will perform Hotel California in its entirety, the band’s only scheduled dates in North America so far this year.
Sources: Wikipedia, Joe Walsh website, Songfacts, HuffPost, YouTube
I came across this great bluesy tune from Sheryl Crow a few days ago. Called Live Wire and written by Crow, the track features Bonnie Raitt and Mavis Staples – quite a female power trio! It is the second single from Crow’s upcoming studio album Threads, which is scheduled for August 30th.
“Mavis Staples means so much more to me than any words I could write about her,” Crow toldRolling Stone. “I feel like, in many ways, she is the Godmother to Bonnie Raitt. To say that having both of these soulful women on ‘Live Wire’ is a treat would be a huge understatement.”
Threads is a collaboration album, which in addition to Raitt and Staples features many other heavyweights like Stevie Nicks, Eric Clapton, Sting, Willie Nelson, Keith Richards, Don Henley and Joe Walsh. Additionally, it includes a posthumous duet with Johnny Cash, Redemption Day, which appeared as the lead single in April. There is also already a third single out, Prove You Wrong, a collaboration with Nicks and Maren Morris.
As reported by Madison.com, Crow talked about the album at the CMT Music Awards in early May, saying it could be her last. “It may be my final album, so I am going out big. I grew up in the age where people made albums. But now, I think people do playlists and they will only hear one of two songs off a full-length album that you tried to make a full artistic statement. I kind of like the idea now of just putting out songs.”
Apparently, Crow is not planning to retire from music, just stop making full-fledged albums and instead focusing on singles and EPs. If that’s true, it certainly looks like it’s going to be compelling final album.
Sources: Wikipedia, Sheryl Crow website, Rolling Stone, Madison.com, YouTube
Light of Day Winterfest includes benefit concerts in New Jersey, New York and Philadelphia
Listening to my favorite music live is an experience I greatly enjoy. I find it even more powerful when it also involves raising money for an important cause, such as fighting hunger, poverty or disease. Last Sunday, I attended a Light of Day Winterfest 2019 event at The Stone Pony in Asbury Park, N.J. It was part of a series of regional concerts conducted between January 11 and January 21 to raise money for Parkinson’s disease and other related neurodegenerative disorders. My mother-in-law has had Parkinson’s for more than 10 years, which gave the event additional special meaning.
The annual series of concerts is the key fundraising vehicle of the Light of Day Foundation. According to its website, the New Jersey-based nonprofit funds research into possible cures, improved treatments and support for people living with Parkinson’s and related diseases and their caregivers. The foundation was established by music industry veteran and manager Bob Benjamin and some of his friends in 1998, shortly after he had been diagnosed with Parkinson’s. Light of Day is the title of a song written by Benjamin’s friend Bruce Springsteen for a 1987 motion picture with the same name.
The annual concerts have been held since 2000. Over the years, they grew from a one-day event in Asbury Park to a 10-day series of concerts held in different locations. In addition to the Jersey shore town, which remains the main hub, LOD Winterfest 2019 includes shows in Montclair, N.J., New York City, Philadelphia and Rockland County, N.Y. Light of Day concerts have also expanded beyond the U.S. to Canada, Australia and Europe. The most recent overseas shows took place in England, Germany, Switzerland and various other European countries in late November and December 2018.
Apart from Bruce Springsteen, who has appeared at various Light of Day concerts, other performers over the years have included prominent music artists, such as Southside Johnny, Jakob Dylan and Gary US Bonds, as well as numerous lesser known local artists. To date, Light of Day has raised more than $4.5 million for its support to find a cure for Parkinson’s.
Following are some clips I captured from the event, which mostly focused on tributes. I’d like to kick it off with The Bell Bottom Blues, a Jersey band that captures music by Eric Clapton. This includes his solo career and his work in bands like Cream, Blind Faith and Derek And The Dominoes. Here’s one of my favorite Cream tunes, White Room, from Wheels Of Fire, Cream’s third studio album released in August 1968.
Bob Burger & Friends played a great Tom Petty tribute set. Burger is a singer-songwriter, who according to his website has about 40 published songs to his credit. He has opened for other artists like Meatloaf, Robert Palmer, Hootie And The Blowfish and Southside Johnny And The Asbury Jukes. Among others, Burger was joined by some of his band mates from The Weeklings, a tribute to The Beatles that apart from renditions plays originals inspired by The Fab Four. Here’s Refugee, which Petty recorded with The Heartbreakers for their excellent third studio album Damn The Torpedoes from October 1979.
Next up: CSN Songs, a great tribute to Crosby, Stills, Nash & Young. On their website, the seven-piece band characterizes itself as the only national CSN&Y tribute show of its kind. CSN Songs does a beautiful job at replicating CSN&Y’s four-part harmony vocals. Here’s their rendition of Woodstock, the classic Joni Mitchell tune CSN&Y recorded for their second album Déjà Vu that came out in March 1970.
The last band I’d like to highlight is Best Of The Eagles (BTOE). Previously, I had seen a couple of other Eagles tribute bands. While they were pretty good, BTOE has been the best so far. According to their website, BTOE were founded in 2012 by guitarist/vocalist Joe Vadala and a group of professional New Jersey musicians. In addition to Eagles songs, they also played Don Henley and Joe Walsh solo tunes, including a blistering rendition of Rocky Mountain Way. Here’s their take of Witchy Woman from the Eagles’ eponymous debut album released in June 1972.
During the current concert series the Light of Day Foundation aims to reach the $5.5 million mark in total fundraising. The schedule of remaining LOD Winterfest 2019 events is here.
Sources: Light of Day Foundation website, Wikipedia, The Bell Bottom Blues Facebook page, Bob Burger website, CSN Songs website, Best Of The Eagles website, YouTube
Australian rock band’s 1988 breakthrough remains great-sounding album to this day
Like I suspect most folks living outside of Australia, I first heard about The Church in the late 1980s when they released Under The Milky Way. The tune’s spacey sound created by combining a 12-string acoustic with an electric guitar and keyboards in the background proofed to be an immediate attraction and made me buy the album Starfish on CD, even though I didn’t know any of the other tracks. Clearly, this was in the pre-streaming age where somebody like me who wasn’t much into singles had to buy entire albums to own certain songs.
Released in February 1988, Starfish was the Australian rock band’s international breakthrough, fueled by Under The Milky Way, the lead single that got plenty of radio play in Germany. While the lyrics of this and the other tracks on Starfish are rather dark and psychedelic, the combination of great sound and lead vocalist Steve Kilbey’s distinct voice make for an album that continues to be seductive to this day. I can’t necessarily say this about many other ’80s records.
The Church in 1988
The Church were formed in Sydney, Australia in March 1980. The founding members included singer, songwriter and bassist Steve Kilbey, guitarist Peter Koppes and drummer Nick Ward. Marty Wilson-Piper joined one month later as the band’s second guitarist. Later that year, The Church signed with EMI-Parlophone and recorded their debut Of Skins And Heart. It was released in Australia in April 1981 and internationally the following January as The Church with a slightly altered track listing.
Starfish was the band’s fifth studio record. By then Richard Ploog had taken over on drums for Nick Ward, who had left in early 1981. The album was recorded in Los Angeles and produced by session musicians and producers Waddy Wachtel and Greg Ladanyi. At the time, Wachtel who more recently played in Keith Richard’s backing band X-Pensive Winos, already had worked with other heavy weights, such as Lindsey Buckingham, Stevie Nicks and Linda Ronstadt. Ladanyi had an impressive credits as well, including production work with the likes of Jackson Browne, Warren Zevon and Don Henley. Let’s get to some music.
Here’s the album’s great opener Destination. The tune, which also came out separately as the record’s third single in July 1988, was credited to all four members of The Church.
Next is the aforementioned Under The Milky Way. How could I possibly skip it? The song was co-written by Steve Kilbey and his then-girlfriend and guitarist Karin Jansson, founder of alternative Australian rock band Curious (Yellow).
According to the record’s description on Apple Music, the lyrics for North, South, East And West reflect Kilbey’s dark impressions about Los Angeles in the ’80s. Here’s an excerpt: War’s being waged and the world’s just a stage (in this city)/The real estate’s prime, the number plates rhyme (liquidity)/Wear a gun and be proud, but bare breasts aren’t allowed (in this city)/ Dream up a scam and then rake in the clams (liquidity)…The tune was credited to all members of the band.
One of my favorite tracks on the album is Spark. The song was written by guitarist Marty Wilson-Piper who also sang lead.
The last tune I’d like to call out is Reptile. Credited to all four band members, the song also was released separately as the album’s second single in April 1988. Another track featuring great interplay between the two guitars, it sounds a bit like combining a Byrdsy jingle-jangle with a U2/The Edge-like guitar sound.
Since Starfish, The Church have recorded 12 additional studio albums to date, the latest of which, Man Woman Life Death Infinity, appeared in October 2017. I previously reviewed it here. Starfish remains the band’s most successful commercial release to this day. It was certified Gold by the Recording Industry Association of America in December 1992 and has sold 600,000 copies in the U.S. only.
Sam & Dave were Stax top act along with Otis Redding
With the country teetering from one crisis to the other, the news isn’t great these days, but not all is bleak. When I spotted this recent story from the Memphis Commercial Appeal, it put a smile on my face. Sam & Dave will receive a Lifetime Achievement Award at the 61st Annual Grammy Awards in Los Angeles on February 10, 2019. While I don’t ever need a reason to cover great music, this well-deserved honor provides a great angle to celebrate “The Dynamic Duo” that became Stax Records’ top performers in the ’60s, together with Otis Redding.
Sam Moore, born on October 12, 1935 in Miami, and Dave Prater, born on May 9, 1937 in Sycamore, Ga., met at the King of Hearts Club in Miami in 1961 while working on the gospel music circuit. At the time, they had already individually established themselves in the gospel groups The Melionaires and the Sensational Hummingbirds, respectively. They decided to team up but success didn’t come right away.
Shortly after meeting at the above Miami club, Moore and Prater got a contract with Roulette Records. They released a series of six singles that went unnoticed. In late 1964, Billboard journalist turned record company partner Jerry Wexler signed them to Atlantic Records. Moore and Prater were excited about the prospect to record at the label’s headquarters in New York or perhaps at FAME Studios in Muscle Shoals, Ala. But, as the above Commercial Appeal story notes, “instead they were given two bus tickets to Memphis, home of Stax Records.”
To further quote from the article, “When Moore and Prater got off the bus, they were shocked at what they found: an integrated collection of musicians working out of a funky old studio on the city’s south side.” And I might add all of that during a time and in a place where racial segregation was still very much a reality despite the enactment of the Civil Rights Act on June 2, 1964.
Initially, Sam & Dave worked with Stax producer and engineer Jim Stewart and songwriter Steve Cropper, guitarist of Stax dynamite house band Booker T. & The M.G.s. Then they moved to Isaac Hayes and David Porter, who at the time were still relative newcomers to writing and producing music. Sam & Dave’s first two singles didn’t make the charts. But success came with the third release You Don’t Know Like I Know, a no. 7 on the R&B chart.
In April 1966, Sam & Dave released their debut album Hold On, I’m Comin’. And comin’ they did. Both the record and the title track became hugely successful. Over the next three years, Sam & Dave scored eight additional consecutive top 20 R&B chart hits. Then their luck ran out. After a series of unsuccessful singles in 1969 and early 1970, they broke up in June that year.
Each went on to record some solo singles that didn’t make an impact, and in August 1971, Sam & Dave decided to reunite, just before their contract with Atlantic expired. While they didn’t have a label, they continued to be a sought after live act. In 1975, they released a new studio album, Back At ‘Cha via United Artists. Produced by Steve Cropper and featuring the M.G.s and The Memphis Horns, the record yielded a top 100 single appropriately titled A Little Bit Of Good(Cures A Whole Lot Of Bad).
The emergence of The Blues Brothers in the late ’70s and their cover of Soul Man brought Sam & Dave back into the limelight. A series of concert appearances and two compilation albums (Soul Study Vol. 1 and Soul Study Vol. 2) followed, before The Dynamic Duo gave their last concert as a pair on new year’s eve in 1981.
Following the second and final break-up, Prater hired singer Sam Daniels to perform the Sam part and started touring under the “Sam & Dave” name or as “The New Sam & Dave Revue.” This didn’t go over well with Moore, who tried to block Prater from using the name. On April 9, 1988, Prater was killed in a car accident in Sycamore, Ga.
Since 1981, Moore has continued to tour with other famous soul artists, such as Wilson Pickett, Booker T. & The M.G.s and Carla Thomas. He has also done some recording, for example, You Must Not Be Drinkin’ Enough, together with Don Henley for his 1984 album Building The Perfect Beast. In 1986, he also re-recorded Soul Man with Lou Reed for a motion picture with the same name. In October, Moore turned 83 and still appears to be active. Let’s get to some music!
What better tune to start off this playlist than with Hold On, I’m Comin’, the title track of Sam & Dave’s debut studio album released in April 1966. The song was co-written by Isaac Hayes and David Porter. Initially, I was going to include a clip of the studio recording. Then I came again across this killer live footage. Damn’, if this doesn’t make you get up and dance or at least groove along by snipping your fingers, you’ve probably had too much eggnog or too many Christmas cookies!
In addition to Hayes and Porter, other Stax musicians were involved in writing music for Sam & Dave. One such example is If You Got The Loving, another tune from the debut album, for which Steve Cropper received a co-writing credit, along with Hayes and Porter.
Here’s Soul Man from Sam & Dave’s third studio album Soul Men, which appeared in October 1967. Another Hayes-Porter composition, Soul Man became a no. 1 single on what was then the Billboard Hot Rhythm & Blues Singles chart, nowadays known as the Hot R&B/Hip-Hop Songs. It also peaked at no. 2 on the Billboard Hot 100. Like for many other Stax recordings at the time, the label’s killer house band Booker T. & The M.G.s provided the instrumentation. It’s acknowledged in the second chorus with the line, I‘m a soul man, play it Steve, a reference to guitarist Steve Cropper.
Next up: Broke Down Piece Of Man, another great tune from the Soul Men album. This song was written by Cropper and Joe Shamwell, a frequent co-writer of Stax music.
In 1968, Sam & Dave released I Thank You, their fourth and final studio album prior their first official breakup. Here’s the title track
I Thank You was the title track from Sam & Dave’s fourth studio album from 1968, the final record prior to their first official breakup. Another great Hayes-Porter co-write, the tune became Sam & Dave’s last top 10 single.
Here’s another hot tune from the record: Wrap It Up, yet another co-write by Hayes and Porter. If the song sounds familiar, yet you haven’t heard this version, you may know it from The Fabulous Thunderbirds, who included a great cover on their January 1986 studio album Tuff Enuff.
I’d like to close this post with two tunes from Sam & Dave’s final studio album released in May 1974. First is the above mentioned A Little Bit Of Good (Cures A Whole Lot Of Bad). The song was co-written by Gary Dalton and Kent Dubarri, who also performed as Dalton & Dubarri and released four records in the ’70s.
Last but not least, here’s Shoo Rah, Shoo Rah, a nice cover of a tune written by Allen Toussaint and first recorded by American soul and R&B singer Betty Wright.
In addition to the upcoming Grammy Lifetime Achievement Award, Sam & Dave have received various other accolades. In 1992, they were induced into the Rock and Roll Hall of Fame. According to Wikipedia, they are also members of the Grammy Hall of Fame,Vocal Group Hall of Fame and the Memphis Music Hall of Fame – gee, frankly, I didn’t know there were so many different halls of fame. Apart from Soul Man, their songs have been covered by many other top music artists, such as Aretha Franklin, The Temptations, Bonnie Raitt and Eric Clapton & B.B. King.