The Year that was 2020 – Part 1 of 2

At first, the thought of writing a year in review type post didn’t look very appealing. After all, it’s safe to assume most of us can’t wait to kiss 2020 goodbye and erase it from our memories. This certainly describes my sentiments in many ways. But while the past 12 months brought unprecedented challenges, including for the music business, I think not all was doom and gloom. Initially, this was supposed to be one post. Then, it got longer and longer, so I decided to break it up in two parts. Here’s part 1

The good and the bad…

On the positive side, the music industry recorded rising revenue fueled by streaming. As Music Business Worldwide noted in September, the Recording Industry Association of America (RIAA) reported a 5.6% year-over-over increase in total U.S. recorded music retail revenue to $5.6 billion for the first half of 2020. This included a 12% surge in streaming music revenue to $4.8 billion. If streaming kept that pace in the second half of the year, it would be up one billion year-over-year. However, according to this Billboard story from earlier this week, growth in streaming volume has stalled since the end of June.

At the same time, the concert business, the main source of income for most artists, is in the toilet. The Los Angeles Times recently reported America’s largest concert promoter Live Nation experienced a nosedive in revenue of 98% and 95% during the summer and fall, respectively. The same article also stated 90% of independent performance venues will close for good without government aid, while long-established venues like the Troubador in L.A. are hanging on but face an uncertain future. This doesn’t only put the livelihoods of many artists at risk but also of all the folks working at performance venues or whose job are otherwise tied to live entertainment.

New music kept coming out…

Despite COVID-19, new music continued to be released throughout the year – lots of it. In fact, at least some of this activity can be explained by the pandemic. Artists who weren’t able to tour found themselves with more time on their hands to work on new material. New albums by Bruce Springsteen, Taylor Swift and Paul McCartney are just some of the examples that come to my mind in this context.

I’m happy new music was a major theme for my blog in 2020, more than ever before. As frequent visitors know, I’m not talking about music you can find in the present mainstream charts. As of this blog post, I reviewed more than 20 new albums. That’s only counting new original music, not other releases, such as new installments from Springsteen’s great live bootleg series or James Taylor’s cover album of the American songbook. Yes, while I know next to nothing about American standards, I did review that album and enjoyed listening to it!

Frankly, I could have reviewed more new albums. I didn’t. In addition to lack of time, part of the reason was because of Best of What’s New. This weekly recurring feature on newly released music, which I launched in March, focuses on songs rather than entire albums.

It’s gratifying to me that except for one time due to a death in my close family, I posted new installments each week, meaning I’ve been able to discover new music week after week I found decent enough to write about. Keep in mind this is the same guy who as recently as last year kept complaining how “terrible” contemporary music is! I forgot one important qualifier: Music that’s in the mainstream charts. Let’s take a look at some of the new music I wrote about over the past 12 months.

My favorite new albums…

While it’s hard to narrow things down, from the 20-plus new albums I reviewed the four ones I feel most excited about are AC/DC/Power Up (released November 18), Walter Trout/Ordinary Madness (August 28), Norah Jones/Pick Me Up Off the Floor (June 12) and Ruby Turner/Love Was Here (January 24). Following is a tune from each:

AC/DC: Shot in the Dark (Power Up)

Shot in the Dark, the album’s great lead single, is classic AC/DC and makes you feel you just time-travelled back to 1980. Like all other tracks on Power Up, it was co-written by Angus Young and his older brother Malcolm Young during the period between the Stiff Upper Lip (February 2000) and Black Ice (October 2008) albums. You can read more about Power Up here, a must listen to for AC/DC fans.

Walter Trout: Wanna Dance (Ordinary Madness)

I love Walter Trout, a no BS artist and decent guitarist who has lived through dramatic ups and downs. Perhaps, he’s the ultimate blues rock survivor! Here’s Wanna Dance. “I had Neil Young and Crazy Horse in mind when I wrote the tune,” Trout told American Songwriter. Dancing is a metaphor for enjoying and celebrating every moment in life, since We ain’t gonna live forever, as Trout sings. He knows all too well. This is one hell of a blues rocker! See here for more about Ordinary Madness.

Norah Jones: Flame Twin (Pick Me Up Off the Floor)

I had been aware and always liked Norah Jones and her piano-driven lounge style jazz for ,any years, but had never explored any of her albums. I’m glad Flame Twin from her seventh studio album Pick Me Up Off the Floor finally changed this. Written by Jones, the tune injects a dose of blues, which rarely if ever is a bad thing in my book. I also dig the Hammond B3 accents from Pete Remm who plays electric guitar as well. And, of course, there are Jones’ great soothing vocals and piano playing. Like other songs on Pick Me Up Off the Floor, the tune was inspired by poetry. My review of this great album is here.

Ruby Turner: Don’t Cry Over Yesterday (Love Was Here)

Don’t Cry Over Yesterday was the track that made me listen to Love Was Here, a beautiful classic soul album by British soul, gospel and R&B vocalist Ruby Turner. I hadn’t heard of Turner before, even though she’s performed since 1983 and worked with other artists like Bryan Ferry, Steve Winwood, Mick Jagger and UB40. “Discovering” great artists like her is part of the reason why I love music blogging. If you’re into ’70s style soul, I’d encourage you to check out this album, a true gem! You can read more about it here.

Other new 2020 studio releases I’d like to call out include McCartney III (Paul McCartney), Letter to You (Bruce Springsteen), Bless Your Heart (The Allman Betts Band), Hate for Sale (Pretenders), Rough and Rowdy Ways (Bob Dylan), Homegrown (Neil Young), Self-Made Man (Larkin Poe), Blues with Friends (Dion), Early Morning Rain (Steve Forbert) and El Dorado (Marcus King).

In part 2 of this post, I’m revisiting the Best of What’s New feature and concerts before wrapping things up with final thoughts.

Sources: Music Business Worldwide; Billboard; Los Angeles Times; Christian’s Music Musings; YouTube

Britain’s Ruby Turner Releases Classic Soul Gem

Until this morning, I had never heard of Ruby Turner. Then I came across Don’t Cry Over Yesterday, a tune from her new album Love Was Here released on January 24^th. After listening to the first few songs, I was immediately hooked – something that rarely happens. The Jamaican born British soul, gospel and R&B singer’s voice, the cool vibe of the ‘70s style soul tunes and the excellent sound of her backing musicians deliver a powerful package. I love it!

Turner is not a newcomer. In fact, she has been performing since 1983, and this is her 20^th solo album. Turner has also worked with other artists like Bryan Ferry, Steve Winwood, Mick Jagger and UB40. And yet, I don’t recall having heard her name in the past. Ever. Have you? I’d be curious to know. Of course, I can’t exclude the possibility it’s plain ignorance on my part.

According to the bio on her website, Ruby Turner was born in Jamaica and grew up in Montego Bay. Her grandfather sang the lead in one of the island’s gospel groups. Moving to England when she was 9, Ruby has lived there ever since. Her career to date has always had many unexpected twists and turns with major tours, theatre and TV appearances…Her major break came in the mid 1980s, when she was asked to join ‘Culture Club’ at the height of their stardom…An offer of a solo record deal closely followed and she soon signed to Jive Records, part of the Zomba Group.

Between 1986 and 1995, eight of Turner’s singles entered the UK Singles Chart. In February 1990, she also scored a no. 1 hit on the Billboard R&B Chart with It’s Gonna Be Alright, a tune she wrote – apparently a rare feat that has been accomplished by less than ten British singles. Additionally, Turner has done acting, appearing on stage and television and in film. And, oh, she was also appointed Member of the Order of the British Empire (MBE) in the 2016 Birthday Honours for services to music. Time to get to Love Was Here!

A good place to start is the opener Got to be Done. With a great groove, catchy chorus and neat sound, the tune sets the tone for the entire album. Like all except one of the 11 tracks, the song was co-written by Turner and the production team of Nick Atkinson and Kat Eaton.

Here’s the aforementioned Don’t Cry Over Yesterday.

Another gem is Under Your Sky.

Next up: The album’s title track.

The last tune I’d like to call is Runaway.

Frankly, I could have selected any of the other songs on the album. Each of these tunes is beautifully crafted and delivered with Turner’s warm and powerful voice and a backing band that just sounds great.

In a review on Something Else!, Turner is quoted as saying the album “is one I’ve always wanted to make. The feel and grooves I’ve heard and loved: Curtis Mayfield, B.B. King, Ry Cooder, the Rev. Al Green to name but a few.” While these are formidable reference artists, I feel Turner’s comments are not overblown.

“The opportunity came through meeting Nick Atkinson and Kat Eaton, a dynamic, confident and confident production team,” she added. “Their writing and approach was irresistible. They ignited my desire to write again, and I loved the creative process.”

This post wouldn’t be complete without acknowledging the great-sounding musicians playing on this album. Based on another review in AmericanBluesScene.com, they include Atkinson (guitar), Joe Glossop (keyboards), Jeremy Meek (bass) and John Blease (drums).

Love Was Here is an album of high quality and soulful delivery you rarely find among new music these days – a true gem!

Sources: Wikipedia; SomethingElseToReview.com; AmericanBluesScene.com; YouTube