It’s safe to assume many folks have watched the above clip, probably more than once – I certainly have. But after having done so yet another time, I simply couldn’t resist reposting it. This just has to be one of the greatest moments in rock & roll live history!
To start, While My Guitar Gently Weeps is one of my favorite George Harrison tunes. I also dig the all-star band that celebrated George and his music back in March 2004 at his posthumous induction as a solo artist into the Rock and Roll Hall of Fame: Tom Petty and fellow HeartbreakersSteve Ferrone (drums) and Scott Thurston (bass), Jeff Lynne, Steve Winwood, guitarist Marc Mann and George’s son Dhani Harrison – and of course the guy who ended up stealing the show: Prince!
While I had known Prince was a talented multi-instrumentalist, until that moment, I had not fully appreciated what a killer guitarist he was. And I’m not quite sure the other guys who were on stage with him that night had either.
Everything sort is flowing along nicely, with Petty and Lynne doing a beautiful job on vocals and Mann skillfully playing guitar fill-ins and Eric Clapton’s solo – kind of what you’d expect from top-notch musicians. Then, at about 3:29 minutes into the action, Prince who had been in the background steps forward and takes this performance to the next level.
At first, the other guys don’t quite seem to notice. At around 4 minutes, Prince is starting to ramp up. At 4:30 minutes, he’s in full attack mode. At 4:44 minutes, he’s turning around looking at Petty and lets himself slowly fall back into the audience. Petty has a second to briefly smile before he needs to resume singing, while Dhani is in full smile mode. The guy who is catching Prince is pushing him back up on stage. Once back on his feet and in a stable position, Prince continues his scorching solo. Eventually, the song is coming to an end.
While I can’t imagine Prince’s backward dive into the audience hadn’t been carefully planned in advance, to me, this is rock & roll at its best. Undoubtedly, this amazing performance and guitar solo raised the bar forever and won’t be forgotten!
Down on the Boulevard is Irish guitarist’s sixth solo album
Call me a happy camper. Gerry Lane is the second great artist I just “discovered” and write about during the same weekend. Like Minimum Vital, which I covered in my previous post, Lane popped up in the same “New Music Mix” my streaming provider served up yesterday. And like the French progressive rock band, Lane also doesn’t have a Wikipedia page, even though he has been active since 1970 and played with Noel Redding (yep, that bassist from the Jimi Hendrix Experience) and Gary Moore, among others. What’s up with that?
According to his website, Lane was born in West Cork, Southern Ireland. His first instrument was a button key accordion. He later progressed to guitar, and during his early teens he played in the family pub with whoever the visiting musician was. He played in many bands in the West Cork area, one of the most successful being a band called “SOUTHERN COMFORT”…
While in that band he met Noel Redding (Ex Bass player with the Jimi Hendrix Experience). Gerry and Noel played together in various bands around Southern Ireland. During the late 70’s Gerry played the showband circuit in Ireland and England with bands like, Stage 2, Tony Stevens Band and Discovery…In 1980 Gerry formed a band called ” DRIVESHAFT “. With that band he toured extensively in Ireland and England playing headline gigs…and supporting visiting international acts like: Rory Gallagher (also from Cork Ireland), Phil Lynott’s Grand Slam, ZZ Top, Def Leppard, Saxon and the Michael Schenker Group.
In 1983 Gerry moved to England and while living in London he got to work and record with Gary Moore, Cozy Powell (ex-Rainbow / Whitesnake / Jeff Beck / Black Sabbath), Neil Murray (ex-Bass player with Whitesnake / Brian May Band), John Sinclair (Keyboard player with Ozzy Osbourne / Uriah Heep)…In 1993 Gerry moved to the Canary Islands (Gran Canaria) where he now lives and works.
The singer-songwriter’s and producer’s vocal influences include Joe Cocker, Tony Joe White, Jimmy Barnes and Bob Seger. Lane’s website also notes Eric Clapton, Mark Knopfler, Rory Gallagher, BB King and Buddy Guy as guitarists who have influenced him. When it comes to songwriting, he cites Tony Joe White, Keb’ Mo’, Mark Knopfler, John Hiatt and Bob Seger. Okay, you might say, any music artist can name famous peers. At the end of the day what truly matters is the music. And the music on this album is a lot fun to listen to, so let’s finally get to some of it.
Here’s the title song and opener. Like all of the 10 tracks on the album, it was written by Lane. Down on the Boulevard also includes a new version of Meloneras Blues, the title track from what appears to be his solo debut from 2008. Check it out!
The album’s second track Kick off them Shoes has a cool blues and Stax soul vibe. It reminds me a bit of Cocker’s You Can Leave Your Hat On. This is some tasty shit!
Track no. 3 is called Cryin’ in the Rain. When the first three songs of an album are great, usually, it’s a good sign. Just like the previous tune, I dig the soulful vibe.
The Writing’s on the Wall features some nice slide guitar action.
Let’s finish things up with another tasty rocker: Solid as a Rock. With that cool guitar riff and sound, I could actually picture this as an AC/DC song. And guess what? It turns out the tune is a tribute to rhythm guitarist Malcolm Young, as the notes to the following clip point out.
Mal was a hard man/He was born into a clan/He was a guitar singer/In a rock & roll band/He was dynamite/He was TNT/He was out of sight/He touched the devil in me
He was solid as a rock/He took it to the top/He was solid as a rock/He never let it stop – that’s right/He was solid as a rock…
I suppose if you’re a cynic you could point out that when an artist releases a cover album of American standards or Christmas tunes for that matter, it’s a sign they’ve run out of ideas and may consider retirement, or they simply are trying make a quick buck. While in some cases this notion may not be unfounded, I feel differently when it comes to James Taylor. To me, his just-released new album American Standard is a legitimate undertaking by an artist who wants to highlight songs that have played an important role in his musical journey.
I’ve admired James Taylor for many years for his warm and soothing vocals and his impressive acoustic guitar chops. I wish I could play like that! His cover of Carole King’sYou’ve Got a Friend is one of my all-time favorite tunes. And, yes, Taylor has also written beautiful songs like Carolina in My Mind, Sweet Baby James and of course the amazing Fire and Rain. I realize this may make me a bit biased when it comes to his latest release.
So why come out with a cover album of American standards? Do we really need another version of Moon River and God Bless the Child? Here’s what the album’s liner notes say, as reported by American Songwriter: “These are songs I have always known. Most of them were part of my family’s record collection, the first music I heard as a kid growing up in North Carolina…Before I started writing my own stuff, I learned to play these tunes, working out chord changes for my favorite melodies. And those guitar arrangements became the basis for this album.”
“My collaborator, John Pizzarelli, is a living encyclopedia of the best popular music that the West has ever produced. Like his father, Bucky, he is a master guitarist and a casual, matter-of-fact genius. I asked John to come out to Western Massachusetts, where I live and do my recording in a big barn in the middle of the forest, to help me put down some tracks. I’d show him what changes I had found for a handful of songs and we’d work up the arrangements.”
Call me naive, but to me Taylor doesn’t sound like some artist who is just out there to cash in on his big name late in his recording career. I won’t pretend I’m an expert on the American songbook. I’m not. It’s simply not the kind of music I typically listen to. I also doubt this will change all for a sudden. What I do know is that I love how Taylor and Pizzarelli arranged these tunes. I think it’s time to let the music do some of the talking or writing.
Teach Me Tonight was written in 1953 by pianist Gene De Paul with lyrics by Sammy Cahn. This jazz standard has been covered by Dinah Washington, Count Basie, Sammy Davis Jr., Aretha Franklin, Al Jarreau and Stevie Wonder, among other countless artists. I dig the beautiful arrangement, including the trumpet solo and percussion played by Walt Fowler and Luis Conte, respectively. Here’s the official video.
Another beautiful tune is Almost Like Being in Love. The music and the lyrics were written by Frederick Loewe and Alan Jay Lerner, respectively, for the score of their 1947 musical Brigadoon. The song was first performed on Broadway by David Brooks. Gene Kelly sang the 1954 film version. The tune was also recorded by Nat King Cole, Frank Sinatra and Shirley Bassey. As a fan of old James Bond movies, she entered my radar screen with Goldfinger, perhaps the best 007 tune.
My Heart Stood Still was composed by Richard Rodgers in 1927, with lyrics by Lorenz Hart. It was written for a British musical revue by Charles Cochran, which opened in London in May 1927. It was also featured later that same year in the American Broadway musical A Connecticut Yankee. Like with most other tracks on the album, it’s a tune that was recorded by many artists over the decades, including Chet Baker, Ella Fitzgerald, Frank Sinatra and Bing Crosby. The lovely violin part is played by Stuart Duncan.
The last tune I’d like to call out is It’s Only a Paper Moon, which I previously only knew from the 1973 motion picture Paper Moon. But the song’s origin dates all the way back to 1932, when it was titled If You Believed in Me and first performed by Claire Carleton during a Broadway play called The Great Magoo. The music was composed by Harold Arlen, with lyrics by Yip Harburg and Billy Rose. According to Wikipedia, the song’s lasting fame stems from its revival by popular artists during the last years of World War II, with hit recordings being made by Nat King Cole, Ella Fitzgerald, and Benny Goodman.
American Standard, which was released yesterday (Feb 28), is Taylor’s 20th studio album. It was co-produced by Dave O’Donnell, Taylor and Pizzarelli. O’Donnell has worked in different capacities (engineering, mixing, producing) with an impressive array of artists, who in addition to Taylor include Sheryl Crow, Keith Richards, Eric Clapton and John Mayer, among others. Pizzarelli, a jazz guitarist and vocalist, isn’t exactly obscure either. According to Wikipedia, apart from recording more than 20 solo albums, he has appeared on more than 40 albums, including Paul McCartney, Rickie Lee Jones and Natalie Cole.
Taylor will be touring Canada and the U.S., starting in mid-April and featuring special guests. In Canada, it is going to be Bonnie Raitt, while for most U.S. gigs Jackson Browne will be his special guest. This surely does sound tempting to me. If Raitt would be the special guest in the U.S., I’d probably get a ticket right away. Don’t get me wrong, I dig Jackson Browne as well but saw him relatively recently in May 2018. My previous and so far only Bonnie Raitt show, on the other hand, dates back to August 2016. And, yes, I admit it, I do have a weak spot for her – she’s just an amazing lady!
Sources: Wikipedia; American Songwriter; James Taylor website; Dave O’Donnell website; YouTube
This may still be a new year and we’re even in a new decade, but some things don’t change, at least not on this blog. One of them is this recurring rock music history feature. By now, I guess I must have put together more than 30 installments; but as a music nerd, this tells me I have more than 300 other dates left to cover! Let’s start with January 12 and the debut single by a then-teenaged Etta James.
1955: The first single by Etta James, The Wallflower, was released. It was co-written by James, who was only 16 years at the time, together with Johnny Otis and Hank Ballard. While due to the lyrics the song’s original version was considered “too risque” to be played on pop radio, it became a hit on the Billboard R&B Chart, which it topped for four weeks. The same year, the tune was covered as Dance With Me, Henry by Georgia Gibbs for the pop market. James released her own cover version of Dance With Me, Henry in 1958. Here’s the scandalous original tune, for which James received a Grammy Hall of Fame Award in 2008.
1968: George Harrison recorded the origins of what became The Inner Light at a studio in Bombay, India (now known as Mumbai). He had traveled there to record the soundtrack for Wonderwall, a psychedelic picture by Joe Massot co-starring 21-year-old Jane Birkin. According to The Beatles Bible, by January 12, Harrison had almost completed the work on the soundtrack and found himself with additional studio time he did not want to go to waste. He decided to record some additional ragas, one of which formed the basis for The Inner Light. The tune was completed at London’s Abbey Road Studios in early February of 1968 and appeared as the B-side to the single Lady Madonna. I think it’s the most beautiful Indian music-influenced tune Harrison wrote. I also love the lines, The farther one travels/The less one knows/The less one really knows. This is how I often feel when it comes to exploring music!
1969: Led Zeppelin released their mighty eponymous debut album in the U.S. The recording took place at Olympic Studios in London in September and October that year. Since the band had not secured a contract yet, the album was self-produced by Jimmy Page. He also paid the £1,782 for the 36 hours of studio time it took to complete the sessions. A key reason for the short recording time was a well-rehearsed band that had just performed as the New Yardbirds during a Scandinavian tour. Much of the music was recorded live in-studio. While Led Zeppelin initially received some poor reviews, the album was an instant chart success, peaking at no. 10 on the Billboard 200 and climbing to no. 6 on the UK Albums Chart where it spent a total of 71 weeks. Here’s the great opener Good Times Bad Times, which is credited to Page, John Paul Jones and Jon Bonham.
1974: The Steve Miller Band abracadabra scored their first no. 1 on the Billboard Hot 100 with The Joker. Co-written by Eddie Curtis, Ahmet Ertegün and Steve Miller, the tune also was the title track of the band’s 8th studio album that appeared in October 1973. Ertegün is best-known as co-founder and president of Atlantic Records, and I admittedly had no idea he also was involved in writing classic blues and pop songs! The farther one travels…More than 16 years later in September 1990, The Joker again flew like an eagle and rose to the top in the UK, after the tune had been used in a Levi’s TV ad. According to Wikipedia, this makes it the single with the longest gap between transatlantic chart-toppers – wow, it’s amazing what people track!
1993: The eighth annual Rock & Roll Hall of Fame induction ceremony took place in Los Angeles. Honored inductees included Creedence Clearwater Revival, The Doors, Etta James, Van Morrison, Sly & the Family Stone, Ruth Brown and Cream, who reunited for the event for the first time in 23 years. And what would the spectacle be without some drama? John Fogerty refused to perform with his former CCR bandmates Doug Clifford and Stu Cook. But fans still got to hear some CCR music. Fogerty recruited session musicians on drums and bass, and also got some help from Bruce Springsteen and Robbie Robertson. Here’s Cream’s performance of Sunshine of Your Love from that night. Boy, did Jack Bruce, Eric Clapton and Ginger Baker sound mighty sweet! While apparently Bruce and Baker were interested in touring at the time, solo projects and I imagine some other issues prevented reunion shows until early May 2005 when Cream performed a series of concerts at London’s Royal Albert Hall.
Sources: Wikipedia; This Day In Music; This Day In Rock; Songfascts Music History Calendar; YouTube
I believe Jerry Leiber and Mike Stoller first entered my radar screen as a 13-year-old when I got an Elvis Presley songbook for guitar. It was shortly after I had started taking lessons and was able to play a few chords. Elvis was my idol at the time. What I didn’t know then and frankly didn’t fully appreciate until conducting some research for this post was the enormous scope of Leiber-Stoller’s work, which goes far beyond some of the best-known early classic rock & roll tunes.
For some time, I had contemplated writing about important songwriting partnerships including Leiber-Stoller, but once I noticed how many songs these guys wrote and how many artists they worked with, I felt they warranted a dedicated post. I also decided to largely exclude their production work and primarily focus on their writing during the ’50s and early ’60s, which is their most exciting period, in my opinion.
Lyricist Jerry Leiber was born as Jerome Leiber on April 25, 1933 in Baltimore, Md. Composer Michael Stoller, who later changed his legal fist name to Mike, was born on March 13, 1933 in Belle Harbor, Queens, N.Y. In addition to being born the same year to Jewish families, Leiber and Stoller also shared a love for blues, boogie-woogie and black culture. They met in Los Angeles in 1950, while Leiber was a senior in high school and Stoller was a college freshman.
According to an extended interview Lieber and Stoller gave to NAMM Oral History Program in December 2007, Leiber had written some lyrics and knew he wanted to be a songwriter. What he didn’t know was how to write music. A drummer referred him to piano player Mike Stoller. Once they met and Stoller looked at some of Leiber’s lyrics, he noticed they were 12-bar blues. He said, “I love the blues” and started playing the piano, with Leiber singing along. And Stoller said, “Mike, I think this is the beginning of a beautiful friendship.” Okay, I made up that last quote, borrowing from one of my favorite black and white movies of all time. What is true is that day the two men agreed to form a partnership that would generate some of the best-known songs of the ’50s and ’60s.
The first artist who recorded a Leiber-Stoller composition was Jimmy Witherspoon, one of the blues singers the duo followed to help them develop their “black style” of writing music and lyrics. Real Ugly Woman appeared as a single in 1951. The words are just as lovely as the title! 🙂 A little excerpt: Well, she’s a real ugly woman/Don’t see how she got that way/Yeah, she’s a real ugly woman/Don’t see how she got that way/Yes, and every time she comes around/she runs all my friends away…
The following year in 1952, Leiber and Stoller scored their first hit with Hard Times, which was recorded by Charles Brown. The tune climbed to no. 7 on the Billboard R&B Chart.
1952 also saw one of Leiber and Stoller’s best-known songs, Hound Dog, which was first recorded by Big Mama Thornton. It was also the first time the duo produced music, though the production credits went to Johnny Otis, who was supposed to lead the recording session but ended up playing the drums on the tune. Released in February that year, it sold more than half a million copies and topped the Billboard R&B Chart. Three years later, Elvis Presley turned Hound Dog into a mega-hit. I like his version but have to say Thornton really killed it, so here’s her original.
Another early rock & roll classic penned by Lieber-Stoller is Kansas City, which according to Wikipedia is one of their most recorded tunes with over three hundred versions – they had to count them all! Initially, the tune was titled K.C. Loving and recorded by American boogie-woogie pianist and singer Little Willie Littlefield. It appeared in August 1952. While the song had some regional success, it didn’t chart nationally. That changed in April 1959 when Wilbert Harrison released his version, which became a no. 1 on the Billboard’s Hot 100 and R&B charts. Here’s the original. Feel free to shuffle along!
Going back to Elvis, while Leiber and Stoller didn’t mind having written a million-seller with Hound Dog, they weren’t particularly fond of Presley’s cover. But it led to writing more songs for Elvis, including one of my favorite ’50s rock & roll tunes of all time: Jailhouse Rock. Released in September 1957, is was the title track of the Elvis motion picture that came out in November of the same year. Leiber-Stoller played a prominent role in the making of the film’s soundtrack. Apart from Jailhouse Rock, they wrote three other tunes and worked with Elvis in the studio. Of course, I had to take a clip from the picture, which has to be one of the most iconic dance scenes ever captured on film. Doesn’t it feel a bit like watching an early version of a Michael Jackson music video?
Blues and rock & roll represent the early years of Leiber and Stoller’s songwriting. Beginning in the mid-’50s after they had started working for Atlantic Records, the duo branched out and became more pop-oriented. Among other artists, they wrote a number of songs for The Drifters and The Coasters. Here’s Ruby Baby, a great soulful, groovy, doo-wop tune from 1956. More than 25 years later, Donald Fagen became one of the other artists covering the song, when he included it on his excellent debut solo album The Nightfly from October 1982.
Next up: Yakety Yak by The Coasters. The song was released in April 1958 and topped the Billboard Pop Chart, Billboard R&B Chart and Cash Box Pop Chart. The track was also produced by Leiber-Stoller and became the biggest hit for The Coasters.
The last Leiber-Stoller tune I’d like to highlight is Stand By Me, which they co-wrote with Ben E. King. He first recorded it in April 1961, a year after he had left The Drifters to start a solo career. In addition to writing, once again Leiber-Stoller also produced the beautiful track, which remains one of my favorite ’60s songs to this day.
Asked during the above NAMM interview to comment on the fact that “nice Jewish boys didn’t really write a whole lot of hit records for blues singers at that point” (in the early ’50s), Stoller said, “Actually, they did later on, or at least later on we did know…It was considered to be somewhat peculiar at the time.” Added Lieber: “Black people always thought we were black until they came in contact with us and saw that we weren’t.” BTW, if you’re into rock & roll history, you may enjoy watching the entire interview, even though it’s close to 90 minutes. Again, you can do so here.
Altogether, Jerry Leiber and Mike Stoller wrote or co-wrote 70-plus chart hits. According to lieberstoller.com, their songs have been performed by more than 1,000 artists, who in addition to the above include The Beatles, The Rolling Stones, B.B. King, James Brown, Little Richard, Jerry Lee Lewis, The Beach Boys, Buddy Holly, Fats Domino, Frank Sinatra, Barbra Streisand, Jimi Hendrix, Muddy Waters, Joe Williams, Tom Jones, Count Basie, Eric Clapton, Willie Nelson, Luther Vandross, John Lennon, Aretha Franklin and even Edith Piaf, among others – wow, it almost poses the question which artists did not sing their songs!
Leiber-Stoller’s work has extensively and rightly been recognized. Accolades include inductions into the Rock and Roll Hall of Fame and Songwriters Hall of Fame in 1987 and 1985, respectively, as well as a Lifetime Achievement Award by the National Academy of Songwriters in 1996. As reported by The New York Times, Jerry Leiber died from cardio-pulmonary failure on August 22, 2011 in Los Angeles at the age of 78. Mike Stoller is 86 years old and still alive. He can be heard introducing Little Steven & The Disciples of Soul on their great 2018 Soulfire Live! album for a gig at the Orpheum Theatre in New York – priceless!
Sources: Wikipedia; NAMM; Leiberstoller.com; The New York Times; YouTube
1952: Twenty-two-year-old Ray Charles, one of the greatest voices in jazz, R&B, blues and soul, recorded his first session for Atlantic Records. In June that year, the record company had bought out his contract from Swingtime for $2,500, the equivalent of approximately $23,700 today. With hits like I’ve Got A Woman, A Fool For You and What I’d Say Charles would release before he moved on to ABC-Paramount in November 1959, let’s just say Atlantic’s investment paid off handsomely. One of the four cuts Charles recorded during that first session with Atlantic was Roll With My Baby by Sam Sweet, which became his first single for the label backed by The Midnight Hour, another tune Sweet had written. Check out the great groove on this tune, which wants to make you snip along with your fingers!
1957: The infectious Reet Petite by Jackie Wilson was released for the first time. It gave “Mr. Excitement” his first solo hit, peaking at no. 6 on the U.K. Official Charts and climbing to no. 45 on the U.S. Cash Box chart, both in November that year. It would take another 29 years before the great tune, which was co-written by Berry Gordy, Gordy’s sister Gwen Gordy Fuqua, and Wilson’s cousin Roquel “Billy” Davis, would hit no. 1 in the U.K. in November 1986. Unfortunately, Wilson who passed away in January 1984, was not able to celebrate the tune’s late success. And, yes, feel free to sing along r-r-r-r-r-rolling that “r.”
1964: The Beatles performed two concerts that night at the Forum in Montreal, Canada before a crowd of 21,000 fans. At that time, Beatlemania was going on in full swing with its insanity, which for this particular event included death threats from French-Canadian separatists. The Fab Four never returned to Montreal thereafter. The two gigs that night included their standard 12-song set Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. Here’s an audio recording, which supposedly is from that show. It’s posted on The Beatles Bible, the source of the ultimate Fab Fab truth. The quality is mediocre, but hey, let’s not bitch here, it’s pop music history!
1973: Speaking of great voices, Marvin Gaye reached the top of the Billboard Hot 100 with the title track of his thirteenth studio album Let’s Get It On. Co-written by Gaye and Ed Townsend, the tune became his second no. 1 single in the U.S. after I Heard It Through The Grapevine from October 1968. Remarkably, Gaye would top the U.S. chart only one more time with Got To Give It Up released in March 1977. Let’s Get It On performed more moderately in the U.K., peaking at no. 31. Well, let’s get it on to a clip of the great tune!
1974: Eric Clapton topped the Billboard Hot 100 with his excellent cover of I Shot The Sheriff. Written by Bob Marley and first recorded for the sixth studio album by The WailersBurnin’ from October 1973, the tune became Clapton’s only no. 1 single on the Hot 100. The song also appeared on his second solo album 461 Ocean Boulevard, which appeared in July 1972 and was his first record after beating a three-year heroin addiction.
Sources: Wikipedia, This Day In Music.com, This Day In Rock, The Beatles Bible, YouTube
Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list
“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)
So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow toldNPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.
“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”
Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.
Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”
Since I already previously coveredLive Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”
Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.
Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.
The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.
I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.
Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.
Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube