On This Day in Rock & Roll History: January 24

Time again for a dose of music history, which has recurred irregularly since June 2016 and is my longest running feature on the blog. For any new visitors, in a nutshell, the idea is to look at events that happened on a certain date throughout rock and pop history. As always, the selections reflect my music taste and do not aim to present a full account. With that, let’s embark on some music time travel!

1958: An obscure band called The Quarrymen hit the Cavern Club in London for their first live performance. They were billed as The Quarry Men Skiffle Group. “They’d only been playing for a short while so you wouldn’t expect them to be any good…,” recalled Cavern owner Alan Sytner. “At the time, they couldn’t play to save their lives and all I can remember is their cheek and their chat.” While it hasn’t been definitively documented, The Quarrymen are believed to have performed at the Cavern Club on several other occasions. Four years later, the group would change the music world forever with a different line-up. Their name? The Beatles. Here’s In Spite of All the Danger, one of the first songs recorded by The Quarrymen. Co-written by Paul McCartney and George Harrison, the tune is thought to have been recorded sometime between May and July 1958. It was shortly after Harrison (guitar, vocals) had joined the band, which at the time apart from McCartney (vocals, guitar) also featured John Lennon (vocals, guitar), John Lowe (piano) and Colin Hunton (drums).

1958: While The Quarrymen were getting their feet wet the Cavern Club, a music phenomenon from the U.S. stood at no. 1 of the UK singles chart: Elvis Presley. Jailhouse Rock became the first-ever single to enter the chart at no. 1 and was the second no. 1 for Elvis in the UK after All Shook Up. Co-written by Jerry Leiber and Mike Stoller, Jailhouse Rock was the title track of the picture of the same name that had hit the widescreen in September 1957. It also topped the charts in the U.S. and Canada and reached the top 10 in several other countries.

1967: Pink Floyd were at Sound Techniques Studios in Chelsea, London, to work on their debut single Arnold Layne, backed by Candy and a Currant Bun. Both tracks were written by the band’s initial leader Syd Barrett. When the band performed the latter tune live in 1967, it was titled Let’s Roll Another One and included the line I’m high – Don’t try to spoil my fun. Columbia (EMI) didn’t like the obvious references to drugs and forced Barrett to change the title and rewrite the corresponding line. Songfacts notes the outcome was still strange since the lyrics included the word “f–k,” making it one of the first songs to use the expletive.

1970: Dr. Robert Moog unveiled the Minimoog at a price of $2,000, an analogue synthesizer designed as a portable, simplified instrument that combined the most useful components of the Moog synthesizer in a single device. It became the first synthesizer sold in retail stores and quickly gained popularity among progressive rock and jazz musicians. It also ended up being widely used in disco, pop, rock and electronic music. Not everybody was enthusiastic. According to Songfacts Music History Calendar, The American Federation of Musicians feared the Minimoog’s realistic sounds would put horn and string sections out of business. Yes keyboarder Rick Wakeman, an early adopter of the Minimoog, said the synthesizer “absolutely changed the face of music.”

Minimoog.JPG

1975: Elton John, who was flying high, topped the Billboard 200 with his first compilation album Greatest Hits, bringing to a close an impressive 9-week run in the no. 1 spot. It became the most sold album of 1975 in the U.S. and remains his best-selling t0 date. The compilation, which featured 10 of John’s biggest singles, also topped the charts in Australia, Canada and the UK. Here’s one of my all-time favorites, Rocket Man (I Think It’s Going to Be a Long, Long Time). Composed by John with lyrics by his longtime collaborator Bernie Taupin, the tune was first released as a single in March 1972 and included on John’s fifth studio album Honky Château that came out in May of the same year.

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

What I’ve Been Listening to: Sonny Landreth/Blacktop Run

Sonny Landreth is one of various top-notch guitarists I could have included in my recent slide guitar feature. This is what prompted me to check what Landreth who is also known as “the King of Slydeco” has been up to. Well, it turns out he released his 14th solo album Blacktop Run in February this year. While it’s classified as blues, I’d call it a tasty rootsy gumbo that includes flavors of blues, swamp rock, zydeco and jazz rock.

Before I get to it, first a few words about the man. According to his artist profile on Apple Music, Landreth was born February 1, 1951, in Canton, Mississippi, and his family lived in Jackson, Mississippi, for a few years before settling in Lafayette, Louisiana. Landreth began playing guitar after a long tenure with the trumpet. His earliest inspiration came from Scotty Moore, the guitarist from Elvis Presley’s band, but as time went on, he learned from the recordings of musicians and groups like Chet Atkins and the Ventures. As a teen, Landreth began playing with his friends in their parents’ houses.

Sonny Landreth: "How Not to Sound Awful" | WWNO

After his first professional gig with accordionist Clifton Chenier in the ’70s (where he was the only white guy in the Red Beans & Rice Revue for awhile), Landreth struck out on his own, but not before he recorded two albums for the Blues Unlimited label out of Crowley, Louisiana, Blues Attack in 1981 and Way Down in Louisiana in 1985…The second of those two albums got him noticed by some record executives in Nashville, which in turn led to his recording and touring work with John Hiatt.

That led to still more work with John Mayall, who recorded Landreth’s radio-ready “Congo Square.” More recently, he’s worked with New Orleans bandleader and pianist Allen Toussaint (who guests on several tracks on South of I-10, as does Dire Straits guitarist Mark Knopfler). Eric Clapton has called Landreth one of the most advanced guitarists in the world, notes Wikipedia, and one of the most under-appreciated. Landreth’s accolades include Instrumentalist of the Year (Americana Music Association, 2005) and a 2016 Blues Music Award in the Instrumentalist – Guitar category. Time for some music!

I’d like to kick it off with the opener and title track. It’s among the eight of the ten tacks that were written by Landreth.

Mule is a catchy up-tempo rocker that makes you want to dance. It features great slide guitar and accordion work.

Groovy Goddess is one of four instrumentals on the album. And groovy it certainly is! Its improvisational nature gives it a jazzy feel. And there’s more of Landreth’s amazing slide guitar work.

Two tracks on the album were written by Steve Conn, who also played electric piano, organ and accordion. Somebody Gotta Make a Move is one of them. Landreth’s website notes the newly arranged song features a guitar tuning Landreth developed but had not used in the studio.

The last tune I’d like to call out is Many Worlds, another instrumental.

Most of Blacktop Run’s tracks were recorded live in-studio at the storied Dockside Studios on the Vermilion River south of Lafayette, La., where artists like Dr. John, B.B. King and Taj Mahal are among past clients. In addition to Conn, Landreth was backed by David Ranson (bass) and Brian Brignac (drums).

The album was co-produced by Landreth, R.S. Field and Tony Daigletto. Field previously co-produced three of Landreth’s other albums. “His [Field’s] brilliance and creative energy recharged us,” Landreth stated. “We came up with new and better ideas, and that’s what you want. It couldn’t have gone better.”

He added, “All told, the different elements of this project came together and I’m really happy about it. Blacktop Run is probably the most eclectic recording I’ve done. And sonically, I think this is the best album we’ve ever made.” While I haven’t explored any of Landreth’s other albums, I know one thing: Blacktop Run is excellent and makes me want to hear more of his catalog.

Sources: Wikipedia; Apple Music; Sonny Landreth website; YouTube

What I’ve Been Listening to: Yola/Walk Through Fire

When I included the latest single by Yola in my last Best of What’s New installment, I noticed her first full-length solo album Walk Through Fire received many accolades. Since the strong voice of the English singer-songwriter immediately grabbed me, I checked it out and have to say it’s a true gem, both musically and in terms of her vocal performance.

Getting to that point wasn’t exactly an easy path for Yola who was born as Yolanda Quartey in 1983 in Bristol, England. According to this review in Popmatters, Yola had a tough childhood characterized by poverty and a parent who didn’t care for her and banned music. Later she lived homeless in London for some time before establishing herself as a session singer and touring with acts like DJ collective Bugz in the Attic and electronic music outfit Massive Attack.

Yola Carter

In 2005, she co-founded country-soul band Phantom Limb and recorded two studio albums and a live record with them. But ultimately, as her artist profile in Apple Music notes, Yola felt the need to strike out on her own. Over the next few years, she started writing her own songs that were influenced by Muscle Shoals era country-soul, R&B and classic singer-songwriter style. In 2016, she released her debut EP Orphan Offering under the name of Yola Carter.

Eventually, Yola went to Nashville where she met Dan Auerbach after he had seen a video of her. Apparently, Auerbach was immediately impressed by her. “Her spirit fills the room, just like her voice,” he reportedly said. “She has the ability to sing in a full roar or barely a whisper and that is a true gift.” Auerbach teamed up with Yola to co-write songs, together with other writers, including Bobby Wood, Pat McLaughlin and Dan Penn.

Yola and Dan Auerbach

Auerbach also assembled an impressive group of seasoned studio musicians, including Dave Roe (bass), who played with Johnny Cash and John Mellencamp, among others; harmonica player Charlie McCoy (credits include Elvis Presley, Dolly Parton, Bob Dylan, etc.) and drummer Gene Crisman, who together with Bobby Wood was a member of the Memphis Boys. They were the house band of American Sound Studio in Memphis, Tenn. where artists like Elvis, Wilson Pickett, Aretha Franklin and Dusty Springfield recorded. Auerbach also produced Walk Through Fire, which appeared in February 2019 on his Easy Eye Sound label.

With all of the above, it’s not surprising the album has a retro late ’60s sound. This is also matched by the cover. And yet, to me, Walk Through Fire feels like an album that will hold up well over time. It simply is a work of beauty. Let’s get to some music.

Here’s the opener Faraway Look. The track was co-written by Auerbach, McLaughin and Yola. BTW, McLaughlin’s compositions have been performed by artists like Bonnie Raitt, Alan Jackson, Taj Mahal and Al Kooper, among others. Sure, the production might be a bit on the lush side, but this is just a beautiful tune.

Ride Out in the Country is another great track. The song was co-written by Auerbach, Yola and Joe Allen. Allen is a county songwriter and bassist who since the early ’70s has worked with the likes of Loretta Lynn, Merle Haggard, Waylon Jennings and Johnny Cash.

Next up is the title track, which according to Wikipedia references both a fire that damaged Yola’s home and an abusive relationship from which she escaped. The tune was co-written by Auerbach, Yola and Dan Penn. Penn has co-written many soul hits of the ’60s, including The Dark End of the Street and Do Right Woman, Do Right Man and Cry Like a Baby.

Rock Me Gently is my current favorite on the album. It’s another Auerbach-Allen-Yola co-write.

Let’s do one more: Love All Night (Work All Day), co-credited to Wood, Auerbach and Yola.

As noted above, Walk Through Fire was very well received. The album also generated three Grammy nominations: Best Americana Album, Best American Roots Song (Faraway Look) and Best New Artist. Walk Through Fire was also nominated for Album of the Year at the Americana Music Honors & Awards. And, yes, the album also did score a win: UK Album of the Year at the UK Americana Awards.

At age 37, Yola still is relatively young. I look forward to much more great music from this talented songwriter and vocalist.

Sources: Wikipedia; Popmatters; Apple Music; YouTube

What I’ve Been Listening to: Frankie Miller/The Rock

When Max from PowerPop blog recently posted about I Can’t Change It by Frankie Miller, I was immediately intrigued by the Scottish rock singer-songwriter’s soulful vocals. I also instantaneously recognized the name from an appearance on the German TV concert program Rockpalast I had watched in August 1982, though I still can’t remember any of the songs Miller performed during that show. Anyway, this is what prompted me to start listening to his music including his third studio album The Rock from September 1975.

Before getting to this gem, a few words about Miller are in order. He was born as Francis John Miller in Glasgow on November 2, 1949. Miller’s first exposure to music was his mother Cathy’s record collection. She particularly liked Ray Charles who interestingly ended up covering the above I Can’t Change It on his 1980 album Brother Ray Is at It Again, a song Miller had written as a 12-year-old and recorded for his debut album Once in a Blue Moon released in January 1973.

Going back to Miller’s childhood days, another music music influence were his older sisters Letty and Anne, who introduced him to Little Richard and Elvis Presley. Miller started writing his first songs at the age of nine after his parents had given him a guitar. While still being at school, he started singing in a series of bands. Eventually, he joined Glasgow outfit The Stoics. While Chrysalis signed them in 1970, the band broke up before making any recordings.

In 1971, Miller formed a band called Jude, together with former Procol Harum guitarist Robin Trower, ex Jethro Tull drummer Clive Bunker and James Dewar, a Glasgow bassist and vocalist. While the band got attention from the British music press, they dissolved in April 1972, also without recording any music. Miller ended up signing a contract with Chrysalis later that year and released his above debut album in January 1973.

Frankie Miller at Rockpalast, Germany, 1982

Until 1985, Miller recorded eight additional solo albums. After his second-to-last solo release Standing on the Edge from 1982, he mostly focused on songwriting, including film music. Miller’s professional career came to a tragic end in August 1994 when he suffered a massive brain hemorrhage while writing music for a new band he and Joe Walsh had formed with English keyboarder and drummer Nicky Hopkins and Ian Wallace, respectively.

According to a bio on Miller’s website, the brain hemorrhage should have killed him but he has shown remarkable courage to claw his way slowly back to health, after spending 15 months in hospital. With massive support from his partner Annette, Frankie is learning to walk and talk again and has even written a new song with lyricist Will Jennings called “Sun Goes Up Sun Goes Down”. But sadly, Miller has not been able to resume performing.

The Rock back cover

While Miller’s records apparently received positive reviews, they were not commercially successful. His singles did not fare much better. Only two of them reached the top 40 in the UK: Be Good to Yourself from May 1977 (no. 27) and Darlin’ from October 1978 (no. 6). Miller’s songs have won writing awards and been performed by an impressive array of artists, such as Johnny Cash, Ray Charles, Bob Seger, Roy Orbison, Etta James, Joe Cocker, Joe Walsh and Eagles.

Time to get to The Rock, Miller’s only album officially credited to the The Frankie Miller Band. All tracks were written by Miller. Here’s the excellent opener A Fool in Love. Like other tunes on the album, it reminds me of Joe Cocker. The song was actually covered by Etta James on her 1990 album Stickin’ to My Guns.

The title track was inspired by the Alcatraz prison in San Francisco, which could be seen from the studio where the album was recorded. According to Wikipedia, Miller said that music saved him from prison. He dedicated the song to the plight of prisoners, apparently a reference to his second cousin Jimmy Boyle, a Scottish former gangster and convicted murderer who became a sculptor and novelist after his release from prison in October 1981. The Rock has got a cool Faces, early Rod Stewart vibe.

Another gem is Ain’t Got No Money. It’s probably not a coincidence that it became the album’s most covered tune, including by artists like Cher, Chris Farlowe and Bob Seger. Frankly, this would be a great song for The Rolling Stones.

Let’s slow things down with All My Love to You, a dynamite soulful tune. Why this didn’t become a hit beats me. Check it out this beauty!

Frankly, there’s no weak track on this album and I could have selected any other. Let’s do one one more: I’m Old Enough.

The Rock was produced by Elliot Mazer, one of the co-producers of Neil Young’s Harvest album. Musicians included Henry McCullough (lead guitar, backing vocals), Mick Weaver (keyboards), Chrissy Stewart (bass), Stu Perry (drums, percussion) and Miller’s former Jude mate James Dewar. The album also featured two ingredients for shaping its soul sound: The Memphis Horns and The Edwin Hawkins Singers.

Sources: Wikipedia; Frankie Miller website; YouTube

What I’ve Been Listening to: The Paul Butterfield Blues Band/The Paul Butterfield Blues Band

While I don’t ever feel I need a specific reason to write about the blues, I can’t deny the timing of this post isn’t entirely coincidental. The other day, I watched a Q&A with Walter Trout that was streamed online, during which he answered questions fans had submitted. At some point, he talked about his influences and in this context noted The Paul Butterfield Blues Band and their eponymous debut album from October 1965. Well, evidently, Trout’s got great taste!

Frankly, I could have picked any tune from this record, which is just outstanding from the first to the last bar. So let’s kick it off with the opener Born in Chicago. It was written by blues, rock and folk singer-songwriter Nick Gravenites, who became best known as the lead vocalist for The Electric Flag and his work with Janis Joplin and Butterfield Blues Band guitarist Mike Bloomfield.

The Paul Butterfield Blues Band in 1966 (from left to right, front: Paul Butterfield (lead vocals, harmonica)& Billy Davenport (drums); back: Jerome Arnold (bass), Mike Bloomfield (guitar), Mark Naftalin (organ) & Elvin Bishop (guitar)

Apart from the great music, I’d like to call out the tune’s lyrics. These words could have been written in present-day America – something to think about as the country’s so-called leaders present alternate facts, while they pretend to celebrate the nation’s birthday with grandiose and thoughtless mass gatherings in the middle of a deadly pandemic!

I was born in Chicago 1941/I was was born in Chicago in 1941/Well, my father told me/”Son, you had better get a gun”/Well, my first friend went down/When I was 17 years old/Well, my first friend went down/When I was 17 years old/Well, there’s one thing I can say about that boy/He gotta go…

As frequent visitors of the blog know, I just dig vocals, so let’s shake things up a little with a great instrumental. Thank You Mr. Poobah was co-written by Bloomfield, Paul Butterfield and the band’s keyboarder Mark Naftalin. I love that tune’s groove fueled by Jerome Arnold’s walking bass and Sam Lay’s drum work. And there’s also Bloomfield’s masterful guitar-playing and Butterfield’s great harmonica work. Frankly – dare I say it – when the music is so nicely rockin’ and rollin’, who needs vocals! Yes, that just came from the guy who likes to wine about certain tracks, especially in prog rock, which seemingly have endless instrumental parts with no vocals! 🙂

While it’s perhaps an obvious choice, I just couldn’t skip I Got My Mojo Working – what a killer rendition of the Muddy Waters tune that originally came out in April 1957! ‘Nuff said, here it is!

Let’s move on to another original, Our Love Is Drifting, co-written by Butterfield and the band’s second guitarist Elvin Bishop. It’s a great mid-tempo blues track. Butterfield’s singing, Bishop’s guitar work and Arnold’s bassline are the standouts to me in this tune.

I’d like to wrap up things with another blues classic: Mystery Train written by Junior Parker and produced by Sam Philips in 1953. Elvis Presley was the first among many other artists who covered the tune.

The Paul Butterfield Blues Band was the first of six albums Butterfield released under that name between 1965 and 1971. The band saw various line-up changes already starting with its sophomore album East-West from August 1966, which featured Billy Davenport on drums. Bloomfield who had tired of the band’s intense touring schedule left in 1967 to form The Electric Flag. Among others, that band included the above-noted Gravenites (rhythm guitar, vocals), Barry Goldberg (keyboards), Harvey Brooks (bass) and Buddy Miles (drums), who later became a member of Jimi Hendrix’s Band of Gypsies.

The Paul Butterfield Blues Band’s eponymous debut album essentially was ignored when it came out, at least from a chart perspective. It only climbed to number 123 on the Billboard 200. I’m also a bit surprised it merely ranked at no. 468 on Rolling Stone’s 2012 list of The 500 Greatest Albums of All Time. Well, it least they did include it, along with the following commentary: Where American white kids got the notion they could play the blues. This band had two kiler guitarists: Michael Bloomfield and Elvin Bishop. Jeez, there’s even a typo in there – what an embarrassment!

Sources: Wikipedia; Rolling Stone; YouTube

Clips & Pix: Elvis Presley/Suspicious Minds

Elvis Presley was my childhood idol. I was nuts about the man. I would try to imitate his hairdo and impersonate him in front of the mirror. Okay, to my defense, I was like 10 years old or so. 🙂

Then came The Beatles. They clearly crowded out Elvis, though he never faded away altogether. While I’m no longer obsessed with Elvis, I continue to believe he was a great vocalist and an amazing performer, especially during his early years. His moves were just crazy.

While Suspicious Minds isn’t from his early career, it’s always been one of my favorite Elvis tunes. The song was co-written by Francis Zambon and Mark James. It was also James who recorded and released it first in 1968. But after his version failed commercially, the song was recorded by Elvis with producer Chips Moman who had also produced James’ take.

Appearing in August 1969, Suspicious Minds became one of the most notable hits for Elvis that helped revive his chart success in the wake of his NBC televised concert ’68 Comeback Special. The tune hit no. 1 on the Billboard Hot 100, marking Elvis’ 18th and final chart-topping single in the U.S., a success that had eluded him for seven years since his 1962 hit Good Luck Charm.

Sources: Wikipedia; YouTube

Best of What’s New

A selection of newly released music that caught my attention

This latest installment of the recurring new music feature must acknowledge two albums that dropped today by two of the most influential music artists of our time: Bob Dylan and Neil Young. I already covered Young’s record in my previous post, so I’m skipping him here. There is also a new band of veteran session musicians who recently released their first single in the U.S., a great rock tune by an Australian band and a song from a German blues singer-songwriter and guitarist.

Bob Dylan/Goodbye Jimmy Reed

Goodbye Jimmy Reed is a tune from Rough and Rowdy Ways, the new and widely anticipated album by Bob Dylan. It’s his 39th studio record and the first with original material since Tempest from September 2012. In-between, the great music poet put out three cover albums with standards from the American Songbook. I was going to add all that’s missing is a Christmas collection when I just noticed Dylan already checked off that box in October 2009 with Christmas in the Heart. If you’re frequent visitor of the blog, you probably know my sentiments about Dylan range from outstanding to less than brilliant and everything in-between. Regardless, there’s no doubt Dylan is one of the most important singer-songwriters of our time. I also give him huge credit that age 79 instead of releasing yet another cover album, he dropped a collection with brand new songs. Goodbye Jimmy Reed is a tribute to the American electric blues guitarist who influenced Elvis Presley, Hank Williams Jr., The Rolling Stones and many other artists who I have no doubt include Dylan.

The Immediate Family/Cruel Twist

The Immediate Family is what you could call a super group featuring five veteran session musicians: Danny Kortchmar (guitar), Waddy Wachtel (guitar), Leland Sklar (bass), Russ Kunkel (drums) and Steve Postell (guitar). Between them, they have worked individually and together with artists like Jackson Browne, Carole King, Neil Young, Linda Ronstadt, Stevie Nicks, Keith Richards, James Taylor, Bob Dylan, Joe Walsh – and the list goes on and on. It’s yet another illustration that great musicians like to play with great musicians. But throwing together a group of top-notch musicians doesn’t automatically guarantee the outcome is as great as their skills. In this case I have to say I really like what I’m hearing! Cruel Twist is the group’s first U.S. single released on June 12. As reported by Rolling Stone, an EP is planned for October, followed by a full-length album next year.

Datura4/Give

According to their website, Datura4 are a Western Australian band combining full-tilt boogie, heavy psychedelia, blues and classic rock’n’roll for a sound heavy on riffage and mind-bending wig-outs – okey dokey. Founded in 2009, the band includes Dom Mariani (guitar), Bob Patient (keyboards), Stu Loasby (bass) and Warren “Wazza” Hall (drums). They released their debut album Demon Blues in 2015, followed by sophomore Hairy Mountain in 2016. Give is a great rocker from Datura4’s most recent album West Coast Highway Cosmic, which appeared on April 17. I dig the harmony guitar playing and the keyboard work. These guys are cooking – check it out!

Michael van Merwyk/We’re Human

Michael van Merwyk is a blues singer-songwriter and guitarist from Germany. According to this biography, he has become famous as one of only a few lap steel guitar players in the blues business. Michael performs and entertains fans at large festivals and also smaller clubs throughout Europe, either together in an acoustic duo with a blues harp player and singer Gerd Gorge as Delta Boys or his own band called Bluesoul. The (German) website of Bluesoul also notes van Merwyk started playing guitar at the age of 15 and has been an active musician for almost 35 years. I had never heard of him before. We’re Human is from what appears to be his most recent CD The Bear released on May 8. According to Discogs, the CD was recorded live in studio in December 2019 and January 2020.

Sources: Wikipedia; Rolling Stone; Last.fm; Bluesoul; YouTube

On This Day in Rock & Roll History: June 6

After having done more than 50 installments of this recurring feature, I still find it intriguing what turns up when you look at a specific date throughout music history. I’ve said it before and I say it again: It’s a rather arbitrary way to do this. But, hey, at the end of the day, it’s all about great music. Without further ado, let’s see what happened on June 6.

1960: Roy Orbison, the rock & roller with an operatic voice, released Only the Lonely, his first big hit peaking at no. 2 in the U.S. and Canada, and topping the charts in Ireland and the U.K. According to Songfacts, it was one of the first tunes Orbison wrote together with Joe Melson. Among others, the two also co-wrote Crying and Blue Bayou. Songfacts also includes the following Orbison told NME in 1980 about writing “sad songs” like Only the Lonely: “I’ve always been very content when I wrote all those songs. By this I’m saying that a lot of people think you have to live through something before you can write it, and that’s true in some cases, but I remember the times that I was unhappy or discontent, and I couldn’t eat, I couldn’t sleep, I couldn’t communicate, and I certainly couldn’t write a song, no way. All the songs I wrote that were successful were written when I was in a contented state of mind.”

1962: The Beatles came together for their first artist test recording session at EMI Studios at 3 Abbey Road, St John’s Wood, London. According to The Beatles Bible, the action went down in studio no. 2, where between 7:00 pm and 10:00 pm they recorded four tracks: Besame Mucho, Love Me Do, P.S. I Love You and Ask Me Why. The session was produced by George Martin with assistant Ron Richards and was the only one to feature Pete Best on drums. Initially, Richards was in charge, and Martin was only brought in after engineer Norman Smith was intrigued with Love Me Do. At the end of the session, which was hampered by quality issues due to the poor equipment The Beatles had brought along, Martin called them to the control room to tell them what they would need to do to become professional recording artists. When none of them reacted, Martin said: “Look, I’ve laid into you for quite a time, you haven’t responded. Is there anything you don’t like?” After an awkward pause, George Harrison responded: “Yeah, I don’t like your tie!” That cracked the ice, and the rest is history. While none of the material recorded at the session was used, four months later, The Beatles featuring Ringo Starr on drums re-recorded Love Me Do with George Martin. Backed by P.S. I Love You, it became their first single (not counting My Bonnie they had recorded with Tony Sheridan in June 1961).

1971: After 23 years on the air, CBS aired the last episode of The Ed Sullivan Show. It was a repeat. The last original telecast, episode no. 1,068, had aired on March 28 of the same year. Originally co-created and produced by Marlo Lewis, the show’s initial title was Toast of the Town. On September 25, 1955, it officially became The Ed Sullivan Show. Countless famous artists performed on the program, such as Elvis Presley, The Beatles, The Supremes, Stevie Wonder, The Beach Boys, The Rolling Stones and The Doors. CBS and Sullivan were quite conservative, and there were some “controversial” performances on the show. One of the most notorious appearances were The Doors on September 17, 1967. For the song Light My Fire, Jim Morrison had been told to alter the line Girl, we couldn’t get much higher. He complied during the rehearsal, but when it came to the live performance, he sang the original line – committing the ultimate sin! The Doors were never invited back on the program. Here’s a short clip documenting the horrible transgression!

1982: The Peace Sunday: We Have a Dream concert took place at The Rose Bowl in Pasadena, Calif., which attracted a crowd of 85,000 people. The six-hour event to promote nuclear disarmament featured artists like Tom Petty, Crosby, Stills & Nash, Bob Dylan, Stevie Nicks and Jackson Browne. It was partly broadcast on ABC Television’s Entertainment Tonight program on the same day. Here’s a clip of Bob Dylan and Joan Baez performing the Dylan tune With God On Our Side. Dylan first recorded the song for his third studio album The Times They Are a-Changin’ from January 1964.

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

A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!

In Memoriam of Little Richard

“I created rock ‘n’ roll! I’m the innovator! I’m the emancipator! I’m the architect! I am the originator! I’m the one that started it! There wasn’t anyone singing rock ‘n’ roll when I came into it. There was no rock ‘n’ roll.” No, Richard Wayne Penniman wasn’t exactly known for modest self-assessment. I think this comment he made during an interview with SFGATE.com, the website of the San Francisco Chronicle, in July 2003 also illustrates he was a showman who had a knack for memorable quotes.

I’m writing this, as the obituaries still keep pouring in for the man known as Little Richard, who passed away this morning in Tullahoma, Tenn. at the age of 87, according to The New York Times. CNN reported Richard’s former agent Dick Alen confirmed the cause of death was related to bone cancer. Apparently, Richard had not been in good health for some time.

Little Richard 2

Instead of writing yet another traditional obituary, I’d like to primarily focus on what I and countless other rock & roll fans loved about Little Richard, and that’s his music. While he is sadly gone, fortunately, his music is here to stay. And there is plenty of it, so let’s get started and rock it up!

Richard’s recording career started in 1951 close to his 19th birthday when RCA Victor released Every Hour. An original composition, the soulful blues ballad doesn’t exactly sound like A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!, but one already can get an idea of Richard’s vocal abilities. While tune became a regional hit, it did not break through nationally, just like the other songs Richard recorded with RCA Victor, so he left in February 1952.

Following a few lean years and a struggle with poverty, which in 1954 forced Richard to work as a dishwasher in Macon, Ga., the breakthrough came when Specialty Records released Tutti Frutti as a single in November 1955. The record company had hired songwriter Dorothy LaBostrie to replace some of Richard’s sexual lyrics with less controversial words. Not only did the classic bring Richard long-sought national success, but the loud, hard-driving sound and wild (yet somewhat tamed) lyrics also became a blueprint for many of his tunes to come.

Tutti Frutti started a series of hits and the most successful two-year phase of Richard’s career. One of my favorites is the follow-up single Long Tall Sally from March 1956. Co-written by Richard, Robert “Bumps” Blackwell and Enotris Johnson, the song became Richard’s highest-charting U.S. mainstream hit, climbing to no. 13 on the Billboard Hot 100. It also marked his first no. 1 on the Hot R&B Singles chart. Over the years, I must have listened to Long Tall Sally 100 times or even more. It still grabs me. I also dig the cover by The Beatles. Classic rock & roll doesn’t get much better.

Ready, Teddy, for another biggie? Yeah, I’m ready, ready, ready to a rock ‘n’ roll.

Lucille, you won’t do your sister’s will?
Oh, Lucille, you won’t do your sister’s will?
You ran off and married, but I love you still

Lucille, released in February 1957, was co-written by Richard and Albert Collins – and nope, that’s not the blues guitarist. The two just happen to share the same name. According to Wikipedia, “the song foreshadowed the rhythmic feel of 1960s rock music in several ways, including its heavy bassline and slower tempo.” Okay, I guess I take that. Lucille became Richard’s third and last no. 1 on the Hot R&B Singles. The song reached a more moderate no. 27 on the Billboard Hot 100. In the UK, on the other hand, it climbed to no. 10 on the Official Singles Chart. In addition to Richard’s vocals and piano, the horn work on this tune is just outstanding!

And then came that tour of Australia together with Gene Vincent and Eddie Cochran in October 1957 that changed Richard’s trajectory. As Rolling Stone put it in their obituary, After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

After Richard left the music business, his record label Specialty Records continued to release previously recorded songs until 1960 when his contract ended and he apparently agreed to relinquish any royalties for his material. One of these tunes was another classic, Good Golly, Miss Molly. Co-written by John Marascalco and Blackwell, and first recorded in 1956, the single appeared in January 1958. It became a major hit, peaking at no. 10 and 8 in the U.S. and UK pop, charts respectively, and reaching no. 4 on the Hot R&B Singles.

Here’s the title track from the above noted 1959 album God Is Real. The tune was written by gospel music composer Kenneth Morris.

In 1962, Richard started a gradual return to secular music. While according to Rolling Stone, a new generation of music artists like The Rolling Stones and Bob Dylan welcomed him back, his music no longer sold well. When Richard performed at the Star-Club in Hamburg in the early ’60s, a then still relatively unknown British band called The Beatles opened up for him. The above Rolling Stone obituary included this quote from John Lennon: “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play…He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

In January 1967, Richard released a soul-oriented album titled The Explosive Little Richard. It was produced by his longtime friend Larry Williams and featured Johnny “Guitar” Watson. They co-wrote this tasty tune for Richard, Here’s Poor Dog (Who Can’t Wag His Own Tail). It also appeared as a single and reached no. 121 and 41 on the Billboard Hot 100 and Hot R&B Singles charts, respectively. The record didn’t chart.

While Richard enjoyed success as a live performer, his records continued to sell poorly. In April 1970, he had a short-lived comeback of sorts with Freedom Blues, a single from his album The Rill Thing released in August that year. Co-written by Richard and R&B singer Eskew Reeder, Jr., who had taught him how to play the piano, the tune reached no. 47 on the Billboard Hot 100 and peaked at no. 28 on the Hot R&B Singles.

During the remainder of the ’70s, Richard continued to perform and also had guest appearances on records by Delaney and Bonnie, Joe Walsh and Canned Heat, among others. He also became addicted to marijuana and cocaine. Eventually, his lifestyle wore him out, and in 1977, Richard quit rock & roll for the second time and returned to evangelism.

In 1984, he returned to music yet another time, feeling he could reconcile his roles as a rock & roll artist and an evangelist. Following a role in the movie picture Down and Out in Beverly Hills, Richard released another album, Lifetime Friend, in 1986. I actually got it on CD at the time. Here’s the nice opener Great Gosh A’Mighty, which Richard co-wrote with Billy Preston. Reminiscent of the old “A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom Richard,” the tune had also been included in the soundtrack of the aforementioned movie.

In 1992, Richard released Little Richard Meets Masayoshi Takanaka, which featured newly recorded versions of his hits. The final Little Richard album Southern Child appeared in January 2005. Originally, the record had been scheduled for release in 1972 but had been shelved. Richard continued to perform frequently through the ’90s and the first decade of the new millennium. Nerve pain in his left leg and hip replacement forced him to reduce concerts and eventually to retire in 2013.

Richard was inducted into the Rock and Roll Hall of Fame in 1986 as part of the very first group of inductees, which also included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley. He also was inducted into the Songwriters Hall of Fame and received numerous awards. Four of his songs, Tutti Frutti (no. 43), Long Tall Sally (no. 55), Good Golly, Miss Molly (no. 94) and The Girl Can’t Help It (420), are in Rolling Stone’s list of 500 Greatest Songs of All Time from April 2010.

I’d like to end this post with a few reactions from other music artists:

“He was the biggest inspiration of my early teens and his music still has the same raw electric energy when you play it now as it did when it first shot through the music scene in the mid 50’s” (Mick Jagger)

“So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock’n Roll!” (Keith Richards)

“He will live on always in my heart with his amazing talent and his friendship! He was one of a kind and I will miss him dearly” (Jerry Lee Lewis)

“God bless little Richard one of my all-time musical heroes. Peace and love to all his family.” (Ringo Starr)

“He was there at the beginning and showed us all how to rock and roll. He was a such a great talent and will be missed. Little Richard’s music will last forever.” (Brian Wilson)

Sources: Wikipedia; SFGATE.com; The New York Times; CNN; Rolling Stone; YouTube

Steve Forbert Releases New Album Early Morning Rain

Collection features 11 covers of singer-songwriter’s favorite tunes by Gordon Lightfoot, Elton John, Ray Davies, Leonard Cohen and other artists

While I’ve heard of Steve Forbert before, included one of his songs in my previous Best of What’s New installment and some fellow music bloggers I follow have covered him, I still feel I know next to nothing about this longtime American singer-songwriter. But here’s one thing I know for sure: I dig Early Morning Rain, Forbert’s first covers album in a 40-plus-year career, which came out today.

Forbert was born on December 13, 1954 in Meridian, Miss. He started writing songs as a 17-year-old and moved to New York City in 1976. He became a street performer in Greenwich Village and soon started playing CBGB and other local clubs. In 1978, Forbert got a record contract with Nemperor and later that year released his debut album Alive on Arrival. The record was well-received, and some critics were quick to call him “the new Dylan,” a label Forbert dismissed as a cliche.

His sophomore album Jackrabbit Slim from 1979 included Romeo’s Tune, which also was released separately as a single and became what essentially has been his only hit to date. In the U.S., the tune climbed to no. 11 on the Billboard Hot 100. It also charted in other countries, including Canada where it peaked at no. 8, as well as Australia, New Zealand and South Africa. I don’t recall hearing the song on the radio in Germany back then.

Steve Forbert

Forbert’s songs have been covered by a wide range of artists, including Keith Urban, Rosanne Cash, Marty Stuart and John Popper. In 2004, his album Any Old Time, a tribute to Jimmy Rodgers, was nominated for a Grammy in the category of “Best Traditional Folk.” In 2006, Forbert was inducted into the Mississippi Music Hall of Fame, and just earlier this year, he received a 2020 Governor’s Arts Award for Excellence in Music from that state. But it seems to me all this recognition hasn’t translated much into chart or other commercial success for Forbert.

Early Morning Rain is Forbert’s 21st studio album. The tracks represent what he calls 11 of his favorite folk-rock songs. Artists he covers include Gordon Lightfoot, Richard Thompson and Linda Thompson, Elton John, Leonard Cohen, Bob Dylan and Ray Davies – quite an interesting group. Forbert told American Songwriter he made his choices from an initial list of 150 tracks. So why does this album speak to me? To start with, I love the warm sound. I also like how Forbert approached the songs and made them his own. While his voice is distinct and certainly not exactly opera quality, I think it greatly matches the song arrangements.

Let’s get to some music. Since on YouTube you currently cannot access clips unless you’re a premium subscriber, following are links to the album on Soundcloud and Spotify. Hope that at least one of these platforms will work for readers. If you have Apple Music, you also can get it there.

While I think it’s worthwhile listening to the entire album, I’d like to call out some of the tunes. The opener and title track Early Morning Rain was written by Gordon Lightfoot. It appeared on his debut album Lightfoot! from January 1966. The beautiful steel guitar fill-ins that according to the credits listed in this review by Americana Highways were provided by Marc Muller, particularly stand out to me in this tune.

Your Song is one of my favorite Elton John tunes. Composed by John with lyrics by longtime collaborator Bernie Taupin, the track first appeared on John’s sophomore eponymous studio album released in April 1970. The backing vocals in Forbert’s version were provided by New Jersey singer-songwriter Emily Grove.

Pretty much all of the tunes on the album are on the quieter side. One exception is Supersonic Rocketship. Interestingly, Forbert’s take sounds more rock-oriented than the relatively mellow original by The Kinks. Written by Ray Davies, the track was included on the band’s 11th studio album Everybody’s in Show-Biz, which appeared in August 1972. Again, Grove features on backing vocals and nicely blends with Forbert.

Someday Soon is a country & western song by Ian Tyson written in 1964. The Canadian singer-songwriter recorded with his wife Sylvia Tyson as part of their duo Ian & Sylvia. It appeared on their third studio album Northern Journey. For this cover, Forbert is supported on backing vocals by Anthony Crawford, a singer-songwriter from Birmingham, Ala.

The last tune I’d like to call out is Leonard Cohen’s Suzanne, a song I’ve dug for many years. Suzanne was first published as a poem in 1966 before it was recorded as a song by Judy Collins later that year. Cohen included it on his debut album Songs of Leonard Cohen from December 1967. It also appeared separately as the lead single to that record.

In addition to Muller, Grove and Crawford, I like to acknowledge the other musicians listed in the credits: George Naha (electric guitar), Rob Clores (keyboards), Aaron Comess (drums), and John Conte and Richard Hammond (both bass). The album was produced, mixed and engineered by Steve Greenwell. Based on AllMusic, Greenwell also produced Forbert’s previous albums The Magic Tree (2018) and Compromised (2015).

“I’ve never done a cover record, and after 40 years, that’s a lot of pent up thinking,” Forbert told American Songwriter. “The point was to be able to really make a contribution. It’s not that much different from making an album of my own material. I wanted to pick things that hopefully fit like a glove…I do have a style and so like I’m presenting my style instead of playing out my heart and soul with original material.”

Given the large initial list of songs, Forbert also didn’t rule out the possibility of a sequel. Some of the tunes he mentioned in this context include Dance the Night Away (Cream), I Should Have Known Better (The Beatles), North Country Blues (Bob Dylan), Are You Lonesome Tonight (Elvis Presley) and Lather (Jefferson Airplane). As a fan, I’m delighted to see a Beatles tune, but I’d be even more curious to hear Forbert’s take on Dance the Night Away.

I realize there is a certain degree of irony that Forbert’s first record I explored more closely and decided to write about is a covers album. But I suppose you got to start somewhere, and Early Morning Rain is a new album I happened to know was coming out today. Plus, I’m definitely encouraged and certainly curious to listen to more of Fobert’s music.

Sources: Wikipedia; Steve Forbert website; American Songwriter; Americana Highways; AllMusic; YouTube