The Sunday Six

Celebrating music with six random songs at a time

The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.

Lonnie Smith/Lonnie’s Blues

Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s New installment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.

John Hiatt/Have a Little Faith in Me

Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.

Robbie Robertson/Go Back to Your Woods

Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.

Joni Mitchell/Refuge of the Roads

Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.

Los Lobos/I Got to Let You Know

Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!

Booker T. & the M.G.’s/Green Onions

Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!

Sources: Wikipedia; YouTube

When Covers Are Just As Much Fun As Originals

A playlist of some of my favorite covers part II

Recently, I remembered a post from July 2017, which featured some of my favorite cover versions of songs I dig. This triggered the idea to put together a second part. Rather than focusing on covers I already knew, this time, I decided to take a slightly different approach. Except for one instance, I picked some of my all-time favorite songs and checked whether they have been covered and, if yes, by whom. Not only did I find some intriguing renditions, but there were also a couple of real surprises.

Ella Fitzgerald/Sunshine of Your Love

Did you know that one of the greatest voices in jazz, Ella Fitzgerald, covered Cream? I had absolutely no idea! Not only did she do so, but she even named a live album after the tune: Sunshine of Your Love, released in 1969. Composed by Jack Bruce and Eric Clapton with lyrics by Pete Brown, the original was included on Cream’s sophomore album Disraeli Gears from November 1967. Fitzgerald’s orchestral version is really cool. Obviously her singing is amazing. Check it out!

Richie Havens/Won’t Get Fooled Again

Richie Havens performing The Who’s Won’t Get Fooled Again was another unexpected find. He recorded the tune for his final studio album Nobody Left to Crown that appeared in March 2008. The original, written by Pete Townshend, was included on my favorite album by The Who, Who’s Next, their fifth studio release from August 1971. Haven’s acoustic guitar-driven taken is great. I also like the violin. He really made the epic rocker his own.

Townes Van Zandt/Dead Flowers

Townes Van Zandt wrote almost all tunes that are on his 10 studio albums, and many of them have been recorded by the likes of Bob Dylan, Willie Nelson, Emmylou Harris, Steve Earle and Gillian Welch. One exception is the live album Roadsongs, a collection of live covers from the mid-’70s through the early ’80s, which was released in 1994. It includes a fantastic take of Dead Flowers, which has become my favorite song by The Rolling Stones, at least on most days! Co-written by Mick Jagger and Keith Richards, Dead Flowers was included on Sticky Fingers, which also happens to believe is the best Stones album that appeared in April 1971. It’s almost a bit painful to listen to Van Zandt’s version, considering he had struggled with drug addiction for most of his short life.

Noah Guthrie/Whipping Post

Noah Guthrie is a 27-year-old South Carolina-based singer-songwriter. According to his website, he taught himself to play guitar and began writing songs at 14. Here’s a “quarantine” cover version of Whipping Post Guthrie recorded with his band Good Trouble in April 2020. Written by Gregg Allman, Whipping Post appeared on the eponymous debut album of The Allman Brothers Band from November 1969. While this cover stays close to the original, these guys are doing a great job, giving this classic a nice build.

Heart/Stairway to Heaven

This cover of the Led Zeppelin gem is the exception I noted above. In other words, I had known about it. Just the other day, I watched this footage again from the 2012 Kennedy Center Honors, during which Heart with Jon Bonham’s son Jason Bonham on drums honored the surviving members of Led Zeppelin. This is one of the most amazing renditions of Stairway to Heaven, co-written by Jimmy Page, Robert Plant (and Randy California of Spirit!), and included on Led Zeppelin IV from November 1971. Messrs. Page, John Paul Jones and Plant were visibly touched. Yes, it’s a bit bombastic but still so good!

Kenny Lattimore/While My Guitar Gently Weeps

Here’s a great soulful version of While My Guitar Gently Weeps by Kenny Lattimore, an R&B and gospel singer-songwriter who has released seven studio albums to date. This cover of the George Harrison tune – one of his best during his period with The Beatles, IMO – is included on his sophomore album From the Soul of Man that came out in October 1998. While My Guitar Gently Weeps was first recorded for the White Album from November 1968. Thank goodness John Lennon and Paul McCartney didn’t reject all of Harrison’s songs!

Green Day/Like a Rolling Stone

In case you’ve ever asked yourself how Bob Dylan would sound grunge style, here’s one possible answer. Green Day’s eighth studio album 21st Century Breakdown from May 2009 includes this version of Like a Rolling Stone as a bonus track. The maestro first recorded the tune for his sixth studio album Highway 61 Revisited released in August 1965.

Willie Nelson/Have You Ever Seen the Rain (feat. Paula Nelson)

The last cover I’d like to call out is a breathtakingly beautiful rendition of my favorite Creedence Clearwater Revival song: Have You Ever Seen the Rain, written by John Fogerty and included on CCR’s sixth studio album Pendulum from December 1970. Willie Nelson recorded this rendition with his daughter Paula Nelson for his 62nd studio album To All the Girls…, which appeared in October 2013. Nelson, who at age 87 remains active, has a new album coming out on February 26, his 71st! In April 2019, Nelson told Rolling Stone weed had “saved his life,” adding, “I wouldn’t have lived 85 years if I’d have kept drinking and smoking like I was when I was 30, 40 years old.”

Sources: Wikipedia; Noah Guthrie website; Rolling Stone; YouTube

Best of What’s New

A selection of newly released music that caught my attention

I can’t believe it’s October. What happened to summer? Perhaps on the upside, if time continues to race at its current pace, it also means this year will be over soon and we’re into 2021, which will hopefully bring better times. While it remains uncertain when live concerts can safely resume and some artists have delayed releasing new material, it’s great to see decent new music continues to come out.

As more frequent visitors of the blog know, my favorite music decades are the ’60s and the ’70s. As such, I’ve generally given up on what’s in the mainstream charts these days. Yet, in March this year, rather than continuing to complain about generic and soulless music populating the charts, I decided to pay more attention to new music that’s not in the charts, even if it’s not by artists I usually listen to, and to start the weekly recurring feature Best of What’s New. While finding new music I dig forces me to do some detective work, it’s been pretty rewarding, so I have every intention to continue this quest.

This brings me to the latest slate of songs. It’s a diverse set, featuring great music by an African American singer-songwriter reminiscent of a ’60s folk protest song, rich soul by a dynamite husband and wife duo, a delicious Louisiana music gumbo by a New Orleans-based singer-songwriter and multi-instrumentalist, and folk rock by a prolific Canadian artist. Like is oftentimes the case in this series, I had not heard of any of these artists before. Let’s get to it!

Tré Burt/Under the Devil’s Knee (featuring Leyla McCalla, Allison Russell and Sunny War)

Tré Burt is a Sacramento-based singer-songwriter. According to his website, Burt was drawn to music from an early age. He was raised with his grandfather’s passion for soul music, like the Temptations, Nina Simone, Otis Redding and Marvin Gaye. A school project on Woody Guthrie opened his eyes to the power of folk songwriting. And he discovered one of his songwriting heroes, Neil Young, through his older brother, Joey. In 2018…[he] self-released his debut album, Caught It From the Rye. The album, which showcases Burt’s literary songwriting and lo-fi, rootsy aesthetic, landed him a handful tour dates and some positive press, but Burt had no idea just how far it would get him: to a spot on the roster at John Prine’s Oh Boy Records. Burt’s first work appearing on Oh Boy is the single Under the Devil’s Knee. Released on September 22, it’s a powerful tune about the senseless deaths of George Floyd, Breonna Taylor and Eric Garner and the Black Lives Matter movement. To me it has a ’60s protest song vibe. It almost feels like looking at a modern day Richie Havens. Check it out!

The War and Treaty/Little Boy Blue

The War and Treaty is a husband and wife duo of Michael Trotter, Jr. and Tanya Blount. Apple Music describes their style as impassioned soul music that draws on traditional folk, country, R&B, and spirituals, often combining them all. Initially known as Trotter & Blount, they released their debut album Love Affair under that name in 2016. This was followed by the EP Down to the River in July 2017, their first music appearing as The War and Treaty. Healing Tide, the first full-fledged studio album under the current moniker, came out in August 2018. The record, which featured a guest appearance of Emmylou Harris, was well received and reached no. 11 on the Billboard Top Heatseekers Albums and no. 26 on the Independent Albums charts. Blount first became prominent in 1993, when she performed a duet with Lauryn Hill in the comedy picture Sister Act 2: Back in the Habit. The following year, she released her solo debut album Natural Thing. Little Boy Blue is a terrific soul song from Hearts Town, the second full-length album by The War and Treaty that appeared on September 25.

Ric Robertson/Louisiana Love Thing

Ric Robertson is a New Orleans-based songwriter and multi-instrumentalist, who according to his website synthesizes the full canon of American music—New Orleans jazz, classic American pop songsmiths, country, modern funk, swampy blues, and R&B to name a few—and births it into something out of this worldRobertson conjures this musical pedigree into a cohesive potion, a finely-tuned sonic concoction with just enough rock n’ roll to kill, just enough blues to keep you alive, and just enough country to make you hold on to love. It’s stirred by Robertson’s distinct voice: sweet, enticing, and contoured with the finely subtle grit of Mississippi River silt and the warmth of vintage vinyl. Robertson’s debut album The Fool, The Friend was released in June 2018. A review in The Big Takeover characterized it as “a fresh and authentic blend of swampy blues, rock and country” and called Robertson “a force to be reckoned with.” While I haven’t listened to that album yet, I agree based on Robertson’s new tune Louisiana Love Thing. It’s from his new EP Strange World that came out on September 25. That’s one delicious gumbo!

Daniel Romano/Joys Too Often Hollow

Wikipedia describes Daniel Romano (born Daniel Travis Romano in 1985) as a Canadian musician, poet and visual artist based out of his hometown of Welland, Ontario. He is primarily known as a solo artist, though he is also a member of [Canadian indie rock band] Attack in Black and has collaborated with [fellow Canadian music artists] Julie Doiron and Frederick Squire. He has also produced and performed with City and Colour, the recording project of Dallas Green [another Canadian music artist]…and is a partner in his own independent record label, You’ve Changed Records. Romano is a prolific artist. His solo debut Workin’ for the Music Man appeared in 2010. He has since released 11 additional solo records, nine collaboration albums and two EPs. An incredible 10 of these releases all appeared this year, including How Ill Thy World Is Ordered, his fourth 2020 album with his backing band Outfit. Here’s Joys Too Often Hollow, a nice folk rocker from that album released on September 18.

Sources: Wikipedia; Tré Burt website; Apple Music; Ric Robertson website; The Big Takeover; YouTube

LeRoux’s First New Album in 18 Years Serves Tasty Gumbo of Blues, Southern Rock and Zydeco

Until Friday, I had never heard of LeRoux, aka Louisiana’s LeRoux. Then I came across their great song Lucy Anna and featured it in my latest Best of What’s New installment. The tune, which has a nice Little Feat vibe, is from the Baton Rouge-based group’s new album One of Those Days. Earlier today, I found myself in the car and spontaneously decided to listen into the album. All it really took to realize I’m going to dig this music were the first minute or two of the opener and title track – sometimes you just know right away!

Released on July 24, One of Those Days is LeRoux’s first new album in 18 years since 2002’s Higher Up. Prior to that, five of their six earlier records came out between 1978 and 1983. What evidently were the band’s most active years coincided with the period that lasted until their first breakup in 1984 after they had been dropped by their label RCA. However, they already regrouped in 1985. As explained on their website, the band took their name from “the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo,” a rich, thick soup with meat or shellfish and vegetables that’s popular in Louisiana.

LeRoux (from left): Front: Tony Haselden (vocals, guitars) and Jim Odom (guitars); Back: Randy Carpenter (drums), Joey Decker (bass, backing vocals), Jeff McCarty (vocals), Mark Duthu (percussion), Nelson Blanchard (keyboards, vocals) and Rod Roddy (vocals, keyboards)

It doesn’t look like LeRoux ever had a significant national breakthrough, at least not based on chart performance. Their most successful single, which somewhat ironically was titled Nobody Said It Was Easy (Lookin’ For The Lights), peaked at no. 18 on the U.S. Billboard Hot 100 – to be clear, I’m not saying this makes them a bad band. After all, I wouldn’t be writing about them if I thought they suck. I’m simply stating some facts.

As you would expect from a group that has been around for more than 40 years, LeRoux have seen many changes in their line-up. Apparently, two of the co-founding members, Tony Haselden (vocals, guitars) and Rod Roddy (vocals, keyboards), are still around. The current line-up also features Jim Odom (guitars), Nelson Blanchard (keyboards, vocals), Mark Duthu (percussion), Randy Carpenter (drums), Jeff McCarty (vocals) and Joey Decker (bass, backing vocals). Except for Decker who joined in 2014, most of the other members have been with the band for at least 10 years.

Let’s get to some music. A great place to start is the aforementioned opener and title track co-written by Odom and Haselden. Here’s the official video. I just love the warm sound, the guitars and keyboard work. I can hear some Allman Brothers and some Doobies in here. What a great tune! Why aren’t these guys better known, or is it just my ignorance?

No One’s Gonna Love Me (Like The Way You Do) is another great tune. It was written by Dustin Ransom, who per Wikipedia is a Nashville-based multi-instrumentalist, producer, vocalist, arranger, music transcriber and film composer – jeez, I guess they forgot to add over-achiever! And, oh, yeah, he’s 33 years old. Man, check out these harmonies and tell me this doesn’t sound friggin’ awesome!

Next up: Don’t Rescue Me, another Odom-Haselden co-write. This one reminds me a bit of Lynyrd Skynyrd. No matter what influence may be in there, it’s just a solid tune – love that opening guitar riff, and there’s more great harmony singing!

On After All, LeRoux are slowing it down a bit. Coz you gotta take a break from going full throttle every now and then after all! 🙂 The tune was co-written by Randy Sharp and Donald Anderson. According to Wikipedia, over the past 40 years, Sharp’s songs have been performed by the likes of Linda Ronstadt, Blood Sweat and Tears, Edgar Winter and Emmylou Harris.

Here’s one more: Lifeline (Redux), a groovy rocker co-written by Odom, Haselden and McCarty. Apparently, it’s a new version of a tune the band initially recorded for their fifth studio album So Fired Up from 1983, the last release prior their first breakup.

“It’s the best combination of LeRoux’s musical palette and represents the abilities of the band better than any album we’ve probably ever done,” Haselden notes in a statement on the band’s website. “It covers a wide spectrum of blues, southern rock, and zydeco.” Now you know from where I got the inspiration for the post’s headline!

I can’t speak to other LeRoux records, but what I do know is One of Those Days is a great-sounding album I’m very happy I found. Last but not least, I should also mention some notable guests: Blues guitarist Tab Benoit; original Toto vocalist Bobby Kimball; and Bill Champlin, former longtime keyboarder and guitarist of Chicago.

Sources: Wikipedia; LeRoux website; YouTube

My Playlist: Emmylou Harris

While I had known her name for decades, it really wasn’t until July 2017 that I started paying closer attention to Emmylou Harris when seeing her in Philadelphia as part of a concert headlined by John Mellencamp. There was something special about this lady with her all-white hair who recently had turned 70. Now 73, Harris has been active for more than 50 years, released dozens of solo and collaborative albums, scored 20 top 10 hits on the Billboard country charts and collected numerous Grammy and other awards. This playlist is an attempt to shine a light on her long and impressive career.

Harris was born on April 2, 1947 in Birmingham, Ala. Her dad, Walter Harris, was a Marine Corps officer, while her mom Eugenia was a wartime military wife. After high school graduation in Woodbridge, Va., Harris went to the School of Music, Theater and Dance at the University of North Carolina at Greensboro on a drama scholarship. It was there where she started to learn songs by Pete Seeger, Bob Dylan and Joan Baez on guitar and develop her musical aspirations. Harris dropped out, moved to New York City during the second half of the ’60s, and started performing on the folk circle in Greenwich Village while waiting tables.

In 1969, Harris married fellow songwriter Tom Slocum who wrote the title track for her debut album Gliding Bird. The folk record also included five songs written by Harris. The label Jubilee Records went under shortly after the release, so all distribution and promotion was ceased. Subsequently, Harris disowned the record. She regards her second release Pieces of the Sky from February 1975 as her official debut.

In 1971, after he had seen her perform, Flying Burrito Brothers co-founder Chris Hillman introduced Harris to his music partner Gram Parsons who became a key figure in her early career. Harris worked with Parsons on his solo debut GP from January 1973 and toured as a member of his band the Fallen Angels. Later that year, she also worked with Parsons on his second and final solo album Grievous Angel, which was released in January 1974, following his death from an accidental overdose of drugs and alcohol in September 1973.

In February 1975, the aforementioned Pieces of the Sky appeared. It’s the album that launched Harris’ career as a country artist and established what she became mainly known, i.e., covering songs written by other artists. The album also coincided with the formation of The Hot Band, Harris’ high-profile backing band until 1991. The initial lineup included James Burton (guitar), Glen Hardin (piano), Hank DeVito (pedal steel guitar), Emory Gordy, Jr. (bass) and John Ware (drums).

To date, Harris has released 21 solo studio albums, three live records and a dozen compilations. Additionally, her impressive catalog includes seven collaboration albums with artists like Dolly Parton, Linda Ronstadt and Rodney Crowell. Harris also has worked as a guest with numerous other artists, including The Band, Glen Campbell, Johnny Cash, Guy Clark, Bob Dylan, Sheryl Crow and Steve Earle, among others. Let’s get to some music!

While perhaps not as representative of Harris as her other records, I’d like to kick off this playlist with a tune from 1969’s Gliding Bird, which was written by her: Black Gypsy.

If I Could Only Win Your Love from her second album Pieces of the Sky became Harris’ first hit single, climbing to no. 4 on the Billboard Hot Country Songs chart in 1975. Co-written by Charlie Louvin and Ira Louvin who formed the country and gospel duo The Louvin Brothers, it also marked the first of only a handful of Harris singles that charted on the Billboard Hot 100, in this case at no. 58. Linda Ronstadt sang backing vocals on the album.

While Emmylou Harris is best known as a country artist, her song choices can be eclectic. Here’s an example from her third studio album Elite Hotel released in December 1975: A beautiful cover of The Beatles tune Here, There and Everywhere. Credited to John Lennon and Paul McCartney, the McCartney ballad originally appeared on the Revolver album from August 1996.

Harris’ next album Luxury Liner from December 1976 included the first cover of Townes Van Zandt’s Pancho and Lefty, which subsequently became the revered singer-songwriter’s best known composition. The tune has also been covered by other artists, most notably Willie Nelson and Merle Haggard, who recorded it as the title track of their collaboration album that came out in January 1983.

Roses in the Snow, Harris’ first ’80s album, appeared in May 1980. Unlike her preceding country and country rock records, this album was more bluegrass-oriented. Here’s a great rendition of the Paul Simon tune The Boxer, featuring beautiful harmony singing by Cheryl White and her sister Sharon White. The Boxer first appeared on Simon & Garfunkel’s final studio album Bridge Over Troubled Water from January 1970.

In February 1985, Harris released The Ballad of Sally Rose, a concept album loosely based on her relationship with Gram Parsons. The record also stood out for another reason. Like her debut 16 years earlier, it illustrates Harris is more than just a cover artist. All songs were co-written by her, mostly together with her then-second husband Paul Kennerley, an English singer-songwriter, musician and record producer, who also produced this record. Here’s White Line, one of the record’s two singles.

Next, I’d like to jump to the ’90s and Wrecking Ball, Harris’ 18th studio album. The record became her first since Pieces of the Sky that did not make the country charts. Perhaps that wasn’t too surprising, given the music moved away from her traditional acoustic to a more edgy and atmospheric sound. Producer Daniel Lanois who produced and co-produced various U2 albums like The Joshua Tree and Achtung Baby undoubtedly had something to do with it. Here’s the title track written by Neil Young who also provided harmony vocals. Young had first recorded the tune for his 1989 studio album Freedom. And, coming back to U2, Larry Mullen, Jr. played drums on most of the album’s songs including this one.

Given the significance of collaboration albums in Harris’ catalog, I’d like to at least acknowledge one: Trio II from February 1999, the second album she did together with Dolly Parton and Linda Ronstadt. All tracks had actually been recorded in 1994, but label disputes and conflicting schedules had prevented the release at the time. While I’ve featured it on the blog before, I just couldn’t resist including the ladies’ angelic rendition of After The Gold Rush, the title track of Neil Young’s third studio album from September 1970. Interestingly, while the remake did not chart when it was released as a single from Trio II, it won the 2000 Grammy for Best Country Collaboration with Vocals. The intensity of this version is just killing me. This is why I dig vocals!

In September 2003, Harris released Stumble into Grace, her second album of the current century. Like some of her previous records, it includes a significant number of her own compositions. She also co-wrote most of the remaining tracks. Here’s the opener Here I Am, one of her tunes.

I’d like to wrap up this playlist with a track from what is Harris’ most recent solo album, Hard Bargain, released in April 2011. Her two latest records are collaborations with Rodney Crowell from February 2013 and March 2015. There’s also the Complete Trio Collection, a compilation of the Trio I and Trio II collaborative albums with Dolly Parton and Linda Ronstadt, which came out in September 2016. Given the enormous role of Gram Parsons, it felt right to highlight opener The Road, a tune Harris penned about her musical mentor – the first to focus on his death since Boulder to Colorado, a song from Pieces of the Sky. It’s also noteworthy that Hard Bargain became Harris’ highest chart entry since the above Roses in the Snow from 1980, peaking at no. 3 on the Billboard Top Country Albums. It also hit no. 18 on the Billboard 200, her highest mainstream chart success since 1977’s Luxury Liner, a remarkable late-stage career success.

Emmylou Harris has sold 75 million records in the U.S. alone. She has won 14 Grammy awards out of 48 for which she had been nominated. She has also won numerous country, bluegrass and Americana awards, and was inducted into the Country Music Hall of Fame in February 2008.

Sources: Wikipedia; YouTube

Clips & Pix: Emmylou Harris & the Hot Band/Ooh Las Vegas

I rarely post clips twice but felt the above warranted an exception. I previously included this amazing footage in a July 2017 post about the British TV music show The Old Grey Whistle Test. It captures Emmylou Harris, who appeared on the program in 1977 with The Hot Band, her backing group from 1974 until 1991. That band couldn’t have selected a better name – I mean, holy smoke!

Ooh Las Vegas was co-written by Gram Parsons and Ric Grech. Harris included her rendition of the tune on her third studio album Elite Hotel released in December 1975. She also sang on Parsons’ original from his January 1974 studio record Grievous Angel. I think both versions are fantastic and represent county rock at its finest. Call it hillbilly music, if you want – I don’t care, this just rocks!

The Hot Band featured Albert Lee (lead guitar, vocals), Rodney Crowell (guitar, vocals), Emory Gordy Jr. (bass, vocals), Glen D. Hardin (piano), Hank DeVito (steel guitar) and John Ware (drums). Harris provided lead vocals and guitar.

I really need to further explore Emmylou Harris. The more of her music I hear, the more I like her. It’s already clear to me she absolutely deserves more than just one clip. Look for a post on her in the near future.

Sources: Wikipedia; YouTube

Neil Young Releases Second Upfront Single From “The One That Got Away”

Evidently trying to build some buzz ahead of Homegrown, Neil Young on Friday released Vacancy, the second single from his long-awaited album that originally was supposed to come out in 1975. It’s a classic Young mid-tempo rocker he wrote and, as reported by Ultimate Classic Rock, one of seven tracks that were never issued on any other of his subsequent albums.

Homegrown was recorded at Young’s Broken Arrow Ranch Studio in 1974 and early 1975, and features Stan Szelest (organ), Ben Keith (lap steel), Tim Drummond (bass) and Karl T. Himmel (drums). Additionally, there are guest appearances by Levon Helm and Emmylou Harris. Originally, this album was scheduled to come out after Harvest and prior to Comes a Time.

I apologize, wrote Young on his website back in February. This album ‘Homegrown’ should have been there for you a couple of years after ‘Harvest.’ It’s the sad side of a love affair. The damage done. The heartache. I just couldn’t listen to it. I wanted to move on. So I kept it to myself, hidden away in the vault, on the shelf, in the back of my mind…but I should have shared it. The love affair Young alluded to was his relationship with actress Carrie Snodgress from late 1970 until 1975.

The album is actually beautiful, Young went on. That’s why I made it in the first place. Sometimes life hurts. You know what I mean. Anyway, it’s coming your way in 2020, the first release from our archive in the new decade.

Five of Homegrown’s 12 tracks were previously released on other Young albums: Love is a Rose (Decade, 1977), the title track (American Stars ‘n Bars, 1977), White Line (Ragged Glory, 1990), Little Wing (Hawks & Doves, 1980) and Star of Bethlehem (American Stars ‘n Bars).

Homegrown was recorded in analog and mastered to vinyl from the original master tapes, restored with love by John Hanlon, Young further explained. This album, in vinyl, displays the beauty, feeling and depth of music recorded in the analog domain, before digital. It’s the perfect example of why I can’t forget how good music used to sound.

This is the one that got away…Well, while 45 years certainly is a long time, I have no doubt many Neil Young fans will be excited and think it was worth the wait! Homegrown is scheduled for June 19.

Sources: Wikipedia; Ultimate Classic Rock; Neil Young website; YouTube


Neil Young to Release Long-Lost Album “Homegrown”

Next month will see the release of new albums by two of the most influential singer-songwriters of our time: Bob Dylan and Neil Young. Both are scheduled for June 19, which I assume is a coincidence. I’ve previously written about Dylan’s new work Rough and Rowdy Ways, most recently here. Young recently announced the release date for Homegrown, an album that originally was supposed to come out in 1975. But the end of Young’s 5-year relationship with actress Carrie Snodgress caused him too much pain, so the songs ended up in the vault.

As reported by Relix, Homegrown includes 12 tracks and features guests like The Band’s Levon Helm (drums) and Robbie Robertson (guitar), as well as Emmylou Harris (backing vocals). Other musicians include Ben Keith (steel and slide guitar), Tim Drummond (bass) and Stan Szelest (piano).

The title song and tunes like Love Is a Rose, White Line, Little Wing and Star of Bethlehem already found their way on other Young records over the years. The remaining tracks will be released for the very first time. Here’s one of them called Try, a country tune you could easily picture on the Harvest album. It sounds like Harris is singing backing vocals on this song.

Relix also published a statement by Young: I apologize. This album Homegrown should have been there for you a couple of years after Harvest. It’s the sad side of a love affair. The damage done. The heartache. I just couldn’t listen to it. I wanted to move on. So I kept it to myself, hidden away in the vault, on the shelf, in the back of my mind….but I should have shared it. It’s actually beautiful. That’s why I made it in the first place. Sometimes life hurts. You know what I mean. This is the one that got away. Recorded in analog in 1974 and early 1975 from the original master tapes and restored with love and care by John Hanlon. Levon Helm is drumming on some tracks, Karl T Himmel on others, Emmylou Harris singing on one. Homegrown contains a narration, several acoustic solo songs never even published or heard until this release and some great songs played with a great band of my friends, including Ben Keith – steel and slide – Tim Drummond – bass and Stan Szelest – piano.  Anyway, it’s coming your way in 2020, the first release from our archive in the new decade. Come with us into 2020 as we bring the past.

Pitchfork revealed the album’s tracklist:

01 Separate Ways
02 Try
03 Mexico
04 Love Is a Rose
05 Homegrown
06 Florida
07 Kansas
08 We Don’t Smoke It No More
09 White Line
10 Vacancy
11 Little Wing
12 Star of Bethlehem

Looking forward to this one!

Sources: Relix; Pitchfork; YouTube

You’re So Good, Baby, You’re So Good

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).

Linda Ronstadt Feb 2019
Linda Ronstadt in Feb 2019

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’s The 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’s After 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

Sheryl Crow Goes Out With Big Bang On Final Full-Length Studio Album

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 told NPR 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.

Sheryl Crow

“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 covered Live 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