My Playlist: Joe Walsh

Once asked about Joe Walsh, Eric Clapton said, “I don’t listen to many records, but I listen to his.” Or how about Jimmy Page? “I’ve loved his style since the early James Gang,” noting his “tremendous feel” for the guitar. And, as Walsh’s bio on his website adds, this praise from two of the greatest guitar icons on the planet came even before he joined the Eagles, my introduction to Walsh. I still get goosebumps to this day when listening to the solo with Don Felder on Hotel California, one of the most epic moments in rock music. Do I really need more reasons to justify a Walsh playlist?

Joe Fidler Walsh was born in Wichita, Kan. on November 20, 1947. His mother was an avid piano player who brought music into the family’s humble home before Joe was old enough to discover rock n’ roll on the radio. Though he had played guitar in a high school cover band and a popular Kent, Ohio bar band while in college, Joe really came into his own in 1968, when he joined the Cleveland-based James Gang. In March 1969, they released their debut Yer’ Album, which became a staple on FM radio. The sophomore James Gang Rides Again from July 1970, included Funk #49, which despite initial moderate success has become a rock classic.

In 1972, Walsh left James Gang, finding the band’s trio format too constraining only to form another trio later that year, Barnstorm. In addition to Walsh (guitar, keyboards), the band included his college buddy Joe Vitale (drums, flute, keyboards) and Kenny Passarelli (bass). Their record company decided to market their albums as Joe Walsh solo records, which eventually became a source of increasing frustration for Walsh and one of the reasons Barnstorm disbanded.

Eagles 1977
Eagles in 1977 (from left): Don Henley, Joe Walsh, Randy Meisner, Glenn Frey and Don Felder

In December 1974, Walsh released his first true solo album So What, which featured contributions from Don Henley, Glenn Frey and Randy Meisner of the Eagles, the band Walsh joined the following year to replace founding member Bernie Leadon. Walsh appeared on the Eagles’ studio albums Hotel California (December 1976), The Long Run (September 1979) and Long Road Out Of Eden (October 2007). He was part of the band’s reunion in 1994 and remains a member to this day. In addition to his various band projects, Walsh has also released 12 solo studio albums (including two Barnstorm records) and a live album to date. Time for some music.

What better tune to kick things off than the above mentioned Funk #49, a kick ass rocker co-written by Walsh and fellow James Gang members Jim Fox (drums, vocals, percussion, keyboards) and Dale Peters (bass, vocals, guitars, keyboards, percussion). “I came up with the basic guitar lick,” Walsh said according to Songfacts quoting the book The Guitar Greats. “It was a real good example of how we put things together, bearing in mind that it was a three piece group, and I don’t think that there was any overdubbing. The only thing we really added was the percussion middle part, which the three of us actually played, putting some parts on top of the drums, but that’s the three piece James Gang, and that’s the energy and kind of the symmetry we were all about.”

Rocky Mountain Way appeared on Barnstorm’s second album The Smoker You Drink, The Player You Get, which as previously noted was marketed as Walsh’s second solo record. The song is credited to Walsh, Vitale, Passarelli and Rocke Grace, who had joined the band as a keyboarder. One of the best known Walsh tunes, the track peaked at no. 23 on the Billboard Hot 100.

Next up: Welcome To The Club, the opener to So What, Walsh’s first true solo album from December 1974. This is another nice rocker!

For the aforementioned reasons, I was very tempted to include the title track from Hotel California in this playlist. Instead, I decided to feature Life In The Fast Lane, my second favorite tune from the Eagles’ fifth studio album that appeared in December 1976. Walsh came up with the signature guitar riff, while Henley and Frey co-wrote the lyrics. The song became the record’s third single, reaching no. 11 on the Billboard Hot 100.

In-between Hotel California and the next Eagles album The Long Run, Walsh released another solo record in May 1978. But Seriously, Folks… includes his most successful solo hit: Life’s Been Good. Here’s the full close to 9-minute album version of the hilarious take on the excesses rock stardom. It also appeared as a 4 1/2-minute single, which climbed to no. 12 on the Billboard Hot 100.

In The City is a tune co-written by Walsh and Barry De Vorzon from The Long Run, which appeared in September 1979 and was the Eagles’ final studio album until 2007’s Long Road Out Of Eden. It is one of the few Eagles tunes on which Walsh is also handling lead vocals. He had first recorded the song in 1979 for the soundtrack of the motion picture The Warriors.

In March 1981, Walsh released his next solo album, There Goes The Neighborhood. It featured a smoother sound and would become his final commercial and critical success for more than 25 years. Here’s Rivers (Of The Hidden Funk), a track Walsh originally had co-written with Don Felder for the Eagles’ The Long Run album that didn’t make the record. Felder appeared as a guest on talk box guitar.

After five additional solo albums that were not well received, Walsh took a 20-year break before resurfacing in June 2012 with Analog Man, his most recent solo effort. Co-produced by Jeff Lynne, the album features an impressive array of guests, who in addition to Lynne include Ringo Starr, Graham Nash, David Crosby and Little Richard, along with former Barnstorm members Kenny Passarelli and Joe Vitale, and former James Gang members Jim Fox and Dale Peters. In a May 2012 interview with The Huffington Post (now called HuffPost), Walsh said about Lynne, “Gradually, we worked on some stuff and checked out some of his stuff too. It ended up that he really helped me finish it up and ended up producing. He really put his stamp on my music and took it in a direction I never would have gone, and I’m really grateful to him.” The album reached no. 12 on the Billboard 200. Here’s the title track co-written by Walsh, Drew Hester and Gannin Arnold

To say Joe Walsh has had an eventful life would be an understatement. In addition to a 50-plus-year professional career, he has been married five times. His current wife is Marjorie Bach, sister of Barbara Bach and sister-in-law of Ringo Starr. Walsh battled alcohol and drug addiction for much of his early career but has been sober since 1995. In 1998, Walsh was inducted into the Rock and Roll Hall of Fame as a member of the Eagles. He is currently touring with the band in Europe. Starting in late September, they are playing three gigs at the MGM Grand Garden Arena in Las Vegas, during which they will perform Hotel California in its entirety, the band’s only scheduled dates in North America so far this year.

Sources: Wikipedia, Joe Walsh website, Songfacts, HuffPost, YouTube

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Clips & Pix: Sheryl Crow Featuring Bonnie Raitt & Mavis Staple/Live Wire

I came across this great bluesy tune from Sheryl Crow a few days ago. Called Live Wire and written by Crow, the track features Bonnie Raitt and Mavis Staples – quite a female power trio! It is the second single from Crow’s upcoming studio album Threads, which is scheduled for August 30th.

“Mavis Staples means so much more to me than any words I could write about her,” Crow told Rolling Stone. “I feel like, in many ways, she is the Godmother to Bonnie Raitt. To say that having both of these soulful women on ‘Live Wire’ is a treat would be a huge understatement.”

Threads is a collaboration album, which in addition to Raitt and Staples features many other heavyweights like Stevie Nicks, Eric Clapton, Sting, Willie Nelson, Keith Richards, Don Henley and Joe Walsh. Additionally, it includes a posthumous duet with Johnny Cash, Redemption Day, which appeared as the lead single in April. There is also already a third single out, Prove You Wrong, a collaboration with Nicks and Maren Morris.

As reported by Madison.com, Crow talked about the album at the CMT Music Awards in early May, saying it could be her last. “It may be my final album, so I am going out big. I grew up in the age where people made albums. But now, I think people do playlists and they will only hear one of two songs off a full-length album that you tried to make a full artistic statement. I kind of like the idea now of just putting out songs.”

Apparently, Crow is not planning to retire from music, just stop making full-fledged albums and instead focusing on singles and EPs. If that’s true, it certainly looks like it’s going to be compelling final album.

Sources: Wikipedia, Sheryl Crow website, Rolling Stone, Madison.com, YouTube

On This Day In Rock & Roll History: May 5

This is the 40th installment of my recurring feature on rock music history. While I generally enjoy doing research for the posts and seeing what comes up for a specific date, sometimes it feels I already must have covered most dates of the year. But this little milestone means I still have more than 300 other potential installments left! 🙂

Without further ado, let’s take a look at May 5:

1956: Elvis Presley for the first time topped the Billboard Hot 100, with Heartbreak Hotel, which also became his first million-selling single. It’s one of my all-time favorite tunes by Elvis who interestingly received a credit for singing it. Nashville steel guitarist  Tommy Durden wrote the lyrics. They were inspired by a newspaper article about a man who ended his life by jumping out of a hotel window, leaving a note behind that said, “I walk a lonely street.” The music was composed by Nashville songwriter Mae Boren Axton. Heartbreak Hotel is in the Grammy Hall of Fame and the Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. In my opinion, the track is perhaps the coolest Elvis song. It has also been covered by Willie Nelson, Leon Russell and other artists, and is included in Rolling Stone’s 2004 list of the 500 Greatest Songs of All Time.

1966: Manfred Mann reached the top of the British charts with Pretty Flamingo. Written by American songwriter and record producer Mark Barkan, the song became the band’s second no. 1 in the U.K. after Do Wah Diddy Diddy in 1964. The tune fared less well in the U.S., where it peaked at no. 29 on the Billboard Hot 100 in late August – still not too shabby! The recording of Pretty Flamingo featured Jack Bruce, who briefly became a member of Manfred Mann before co-founding Cream with Eric Clapton and Ginger Baker in July 1966. Bruce was replaced by another prominent artist: German musician, record producer and graphic artist Klaus Voormann, who remained the band’s bassist until 1969.

1967: The Kinks released Waterloo Sunset, the lead single to their fifth British studio album Something Else by The Kinks, which appeared in September that year. Written by Ray Davies, it reached no. 2 on the U.K. Singles Chart, marking the band’s 10th Top 10 single. According to Songfacts, Davies called the tune “a romantic, lyrical song about my older sister’s generation.” Widely considered as one of The Kinks’ most acclaimed tunes, notably, the single did not chart in the U.S. It is ranked at no. 42 on Rolling Stone magazine’s 500 Greatest Songs of All Time list from 2004.

1969: The Beatles released Get Back in the U.S. Notably, their first single of 1969 was credited to The Beatles with Billy Preston, the only time such credit appeared on any release by the band. The U.S. single came out nearly a month after it had appeared in Britain. According to The Beatles Bible, this “may have been due to a last-minute remix ordered by Paul McCartney on 7 April 1969, four days before the official U.K. release date.” The delay didn’t hurt the single’s performance in America where it topped the Billboard Hot 100, just as it did in the U.K. Canada, Australia and many other countries.

1973: David Bowie started a five-week run for Aladdin Sane on the Official Albums Chart in the U.K. Bowie’s sixth studio album, which was the follow-up to breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, became his first of six records to top that chart. With Ziggy Stardust being my favorite Bowie album I may be biased here, but I’m actually somewhat in disbelief that it was outperformed by Aladdin Sane. Well, I suppose Rolling Stone seems to agree with me that Ziggy Stardust is the better record: While both albums are included in their 2003 version of the 500 Greatest Albums of All Time list, Ziggy Stardust is at no. 35, while Aladdin Sane is ranked at no. 277. Without meaning to get too much carried away with chart positions, Bowie’s next two albums following Aladdin Sane, Pin Ups (October 1973) and Diamond Dogs (May 1974), also hit no. 1 in Britain. I can’t imagine there are many other artists with three no. 1 albums in a row. The Beatles and The Rolling Stones are among them. One final fun fact: According to This Day In Music, Aladdin Sane is a pun on “A Lad Insane.” That definitely deserves extra points for creativity! Here’s the insane lead single The Jean Genie.

Sources: Wikipedia, This Day In Music, Songfacts, The Beatles Bible, YouTube

Raising Money For Parkinson’s Rocks

Light of Day Winterfest includes benefit concerts in New Jersey, New York and Philadelphia

Listening to my favorite music live is an experience I greatly enjoy. I find it even more powerful when it also involves raising money for an important cause, such as fighting hunger, poverty or disease. Last Sunday, I attended a Light of Day Winterfest 2019 event at The Stone Pony in Asbury Park, N.J. It was part of a series of regional concerts conducted between January 11 and January 21 to raise money for Parkinson’s disease and other related neurodegenerative disorders. My mother-in-law has had Parkinson’s for more than 10 years, which gave the event additional special meaning.

The annual series of concerts is the key fundraising vehicle of the Light of Day Foundation. According to its website, the New Jersey-based nonprofit funds research into possible cures, improved treatments and support for people living with Parkinson’s and related diseases and their caregivers. The foundation was established by music industry veteran and manager Bob Benjamin and some of his friends in 1998, shortly after he had been diagnosed with Parkinson’s. Light of Day is the title of a song written by Benjamin’s friend Bruce Springsteen for a 1987 motion picture with the same name.

The annual concerts have been held since 2000. Over the years, they grew from a one-day event in Asbury Park to a 10-day series of concerts held in different locations. In addition to the Jersey shore town, which remains the main hub, LOD Winterfest 2019 includes shows in Montclair, N.J., New York City, Philadelphia and Rockland County, N.Y. Light of Day concerts have also expanded beyond the U.S. to Canada, Australia and Europe. The most recent overseas shows took place in England, Germany, Switzerland and various other European countries in late November and December 2018.

Apart from Bruce Springsteen, who has appeared at various Light of Day concerts, other performers over the years have included prominent music artists, such as Southside Johnny, Jakob Dylan and Gary US Bonds, as well as numerous lesser known local artists. To date, Light of Day has raised more than $4.5 million for its support to find a cure for Parkinson’s.

Following are some clips I captured from the event, which mostly focused on tributes. I’d like to kick it off with The Bell Bottom Blues, a Jersey band that captures music by Eric Clapton. This includes his solo career and his work in bands like Cream, Blind Faith and Derek And The Dominoes. Here’s one of my favorite Cream tunes, White Room,  from Wheels Of Fire, Cream’s third studio album released in August 1968.

Bob Burger & Friends played a great Tom Petty tribute set. Burger is a singer-songwriter, who according to his website has about 40 published songs to his credit. He has opened for other artists like Meatloaf, Robert Palmer, Hootie And The Blowfish and Southside Johnny And The Asbury Jukes. Among others, Burger was joined by some of his band mates from The Weeklings, a tribute to The Beatles that apart from renditions plays originals inspired by The Fab Four. Here’s Refugee, which Petty recorded with The Heartbreakers for their excellent third studio album Damn The Torpedoes from October 1979.

Next up: CSN Songs, a great tribute to Crosby, Stills, Nash & Young. On their website, the seven-piece band characterizes itself as the only national CSN&Y tribute show of its kind. CSN Songs does a beautiful job at replicating CSN&Y’s four-part harmony vocals. Here’s their rendition of Woodstock, the classic Joni Mitchell tune CSN&Y recorded for their second album Déjà Vu that came out in March 1970.

The last band I’d like to highlight is Best Of The Eagles (BTOE). Previously, I had seen a couple of other Eagles tribute bands. While they were pretty good, BTOE has been the best so far. According to their website, BTOE were founded in 2012 by guitarist/vocalist Joe Vadala and a group of professional New Jersey musicians. In addition to Eagles songs, they also played Don Henley and Joe Walsh solo tunes, including a blistering rendition of Rocky Mountain Way. Here’s their take of Witchy Woman from the Eagles’ eponymous debut album released in June 1972.

During the current concert series the Light of Day Foundation aims to reach the $5.5 million mark in total fundraising. The schedule of remaining LOD Winterfest 2019 events is here.

Sources: Light of Day Foundation website, Wikipedia, The Bell Bottom Blues Facebook page, Bob Burger website, CSN Songs website, Best Of The Eagles website, YouTube

Soul Men Comin’ To You With Good Lovin’

Sam & Dave were Stax top act along with Otis Redding

With the country teetering from one crisis to the other, the news isn’t great these days, but not all is bleak. When I spotted this recent story from the Memphis Commercial Appeal, it put a smile on my face. Sam & Dave will receive a Lifetime Achievement Award at the 61st Annual Grammy Awards in Los Angeles on February 10, 2019. While I don’t ever need a reason to cover great music, this well-deserved honor provides a great angle to celebrate “The Dynamic Duo” that became Stax Records’ top performers in the ’60s, together with Otis Redding.

Sam Moore, born on October 12, 1935 in Miami, and Dave Prater, born on May 9, 1937 in Sycamore, Ga., met at the King of Hearts Club in Miami in 1961 while working on the gospel music circuit. At the time, they had already individually established themselves in the gospel groups The Melionaires and the Sensational Hummingbirds, respectively. They decided to team up but success didn’t come right away.

Sam & Dave In Concert
Sam Moore & Dave Prater

Shortly after meeting at the above Miami club, Moore and Prater got a contract with Roulette Records. They released a series of six singles that went unnoticed. In late 1964, Billboard journalist turned record company partner Jerry Wexler signed them to Atlantic Records. Moore and Prater were excited about the prospect to record at the label’s headquarters in New York or perhaps at FAME Studios in Muscle Shoals, Ala. But, as the above Commercial Appeal story notes, “instead they were given two bus tickets to Memphis, home of Stax Records.”

To further quote from the article, “When Moore and Prater got off the bus, they were shocked at what they found: an integrated collection of musicians working out of a funky old studio on the city’s south side.” And I might add all of that during a time and in a place where racial segregation was still very much a reality despite the enactment of the Civil Rights Act on June 2, 1964.

Sam & Dave at Stax
Sam & Dave at Stax Records ca. 1970 (from left): Sam Moore, Isaac Hayes, Andrew Love, Wayne Jackson, Dave Prater, Jim Stewart and Steve Cropper

Initially, Sam & Dave worked with Stax producer and engineer Jim Stewart and songwriter Steve Cropper, guitarist of Stax dynamite house band Booker T. & The M.G.s. Then they moved to Isaac Hayes and David Porter, who at the time were still relative newcomers to writing and producing music. Sam & Dave’s first two singles didn’t make the charts. But success came with the third release You Don’t Know Like I Know, a no. 7 on the R&B chart.

In April 1966, Sam & Dave released their debut album Hold On, I’m Comin’. And comin’ they did. Both the record and the title track became hugely successful. Over the next three years, Sam & Dave scored eight additional consecutive top 20 R&B chart hits. Then their luck ran out. After a series of unsuccessful singles in 1969 and early 1970, they broke up in June that year.

Sam & Dave_Back at 'Cha

Each went on to record some solo singles that didn’t make an impact, and in August 1971, Sam & Dave decided to reunite, just before their contract with Atlantic expired. While they didn’t have a label, they continued to be a sought after live act. In 1975, they released a new studio album, Back At ‘Cha via United Artists. Produced by Steve Cropper and featuring the M.G.s and The Memphis Horns, the record yielded a top 100 single appropriately titled A Little Bit Of Good (Cures A Whole Lot Of Bad).

The emergence of The Blues Brothers in the late ’70s and their cover of Soul Man brought Sam & Dave back into the limelight. A series of concert appearances and two compilation albums (Soul Study Vol. 1 and Soul Study Vol. 2) followed, before The Dynamic Duo gave their last concert as a pair on new year’s eve in 1981.

Sam Moore at the White House
Sam Moore performing at The White House in July 2013

Following the second and final break-up, Prater hired singer Sam Daniels to perform the Sam part and started touring under the “Sam & Dave” name or as “The New Sam & Dave Revue.” This didn’t go over well with Moore, who tried to block Prater from using the name. On April 9, 1988, Prater was killed in a car accident in Sycamore, Ga.

Since 1981, Moore has continued to tour with other famous soul artists, such as Wilson Pickett, Booker T. & The M.G.s and Carla Thomas. He has also done some recording, for example, You Must Not Be Drinkin’ Enough, together with Don Henley for his 1984 album Building The Perfect Beast. In 1986, he also re-recorded Soul Man with Lou Reed for a motion picture with the same name. In October, Moore turned 83 and still appears to be active. Let’s get to some music!

What better tune to start off this playlist than with Hold On, I’m Comin’, the title track of Sam & Dave’s debut studio album released in April 1966. The song was co-written by Isaac Hayes and David Porter. Initially, I was going to include a clip of the studio recording. Then I came again across this killer live footage. Damn’, if this doesn’t make you get up and dance or at least groove along by snipping your fingers, you’ve probably had too much eggnog or too many Christmas cookies!

In addition to Hayes and Porter, other Stax musicians were involved in writing music for Sam & Dave. One such example is If You Got The Loving, another tune from the debut album, for which Steve Cropper received a co-writing credit, along with Hayes and Porter.

Here’s Soul Man from Sam & Dave’s third studio album Soul Men, which appeared in October 1967. Another Hayes-Porter composition, Soul Man became a no. 1 single on what was then the Billboard Hot Rhythm & Blues Singles chart, nowadays known as the Hot R&B/Hip-Hop Songs. It also peaked at no. 2 on the Billboard Hot 100. Like for many other Stax recordings at the time, the label’s killer house band Booker T. & The M.G.s  provided the instrumentation. It’s acknowledged in the second chorus with the line, I‘m a soul man, play it Steve, a reference to guitarist Steve Cropper.

Next up: Broke Down Piece Of Man, another great tune from the Soul Men album. This song was written by Cropper and Joe Shamwell, a frequent co-writer of Stax music.

In 1968, Sam & Dave released I Thank You, their fourth and final studio album prior their first official breakup. Here’s the title track

I Thank You was the title track from Sam & Dave’s fourth studio album from 1968, the final record prior to their first official breakup. Another great Hayes-Porter co-write, the tune became Sam & Dave’s last top 10 single.

Here’s another hot tune from the record: Wrap It Up, yet another co-write by Hayes and Porter. If the song sounds familiar, yet you haven’t heard this version, you may know it from The Fabulous Thunderbirds, who included a great cover on their January 1986 studio album Tuff Enuff.

I’d like to close this post with two tunes from Sam & Dave’s final studio album released in May 1974. First is the above mentioned A Little Bit Of Good (Cures A Whole Lot Of Bad). The song was co-written by Gary Dalton and Kent Dubarri, who also performed as Dalton & Dubarri and released four records in the ’70s.

Last but not least, here’s Shoo Rah, Shoo Rah, a nice cover of a tune written by Allen Toussaint and first recorded by American soul and R&B singer Betty Wright.

In addition to the upcoming Grammy Lifetime Achievement Award, Sam & Dave have received various other accolades. In 1992, they were induced into the Rock and Roll Hall of Fame. According to Wikipedia, they are also members of the Grammy Hall of Fame, Vocal Group Hall of Fame and the Memphis Music Hall of Fame – gee, frankly, I didn’t know there were so many different halls of fame. Apart from Soul Man, their songs have been covered by many other top music artists, such as Aretha Franklin, The Temptations, Bonnie Raitt and Eric Clapton & B.B. King.

Sources: Wikipedia, Memphis Commercial Appeal, YouTube

John Mayall Has Turned 85 And No Plans For Retirement After More Than 50 Years

The Godfather of British Blues has announced a tour and a new album for 2019

What do Eric Clapton and Jack Bruce have in common? Together with Ginger Baker, they formed what perhaps was the ultimate blues rock power trio Cream. How about Peter Green, John McVie and Mick Fleetwood? Well, they became part of the first incarnation of Fleetwood Mac. Andy Fraser? He joined Free as a 15-year-old bass player. Last but not least, Mick Taylor? He of course became a member The Rolling Stones during what is widely considered their musical peak. What else do all these top-notch artists share? They all played with John Mayall, mostly before they became famous.

As a ’60s blues rock fan, it is pretty much impossible not to come across the name of John Mayall & The Bluesbreakers. That being said, I’m the first to admit that oftentimes my music knowledge is still pretty insular. While I was well aware of Eric Clapton’s connection with Mayall, I didn’t know about all of the other above mentioned artists. I also had not heard much of John Mayall’s music and had not appreciated that in addition to being a multi-instrumentalist, he’s a pretty good vocalist. What finally caught my attention was a great story about him for his recent 85th birthday in German national daily newspaper Süddeutsche Zeitung, which I spotted on Facebook the other day. It made me start listening to some of Mayall’s more recent solo albums I dug instantly, which in turn inspired this post.

John Mayall was born on November 29, 1933 in Macclesfield, England, and grew up in a village close to Manchester. He was first exposed to jazz and blues as a young teenager when he listened to the 78 record collection of his father Murray Mayall, a guitarist and jazz music fan. So it certainly was no coincidence that young John initially became attracted to the guitar and guitarists like Big Bill Broonzy, Brownie McGhee, Josh White and Leadbelly. As a 14-year-old, he began to learn the basics for playing the piano. A couple of years later, he also picked up the harmonica. Not only does this mean Mayall is a multi-instrumentalist, but he’s also self-taught – pretty cool!

Bluesbreakers with Eric Clapton
John Mayall & The Bluesbreakers ca. 1966 (from left): John Mayall, Eric Clapton, Hughie Flint and John McVie

While Mayall had been playing music since his teenage years and during his twenties, it wasn’t until 1962 that he decided to make a living with music. He gave up his job as a graphic designer and moved from Manchester to London. Soon thereafter, he started The Bluesbreakers. In the spring of 1964, the band recorded their first two tracks: Crawling Up A Hill and Mr. James. Afterwards, they backed John Lee Hooker on his 1964 British tour. At the end of the year, Mayall signed with Decca and recorded his debut John Mayall Plays John Mayall, a live record that appeared in March 1965, but it was not successful.

Things started cooking for The Bluesbreakers when Eric Clapton joined the band in April 1965. While initially Clapton only stood until August and left for another venture called The Glands, he returned in November. A few months later, the band recorded Blues Breakers With Eric Clapton. But by the time the album was entering the charts, Clapton and then-Bluesbreakers bassist Jack Bruce had already left to form Cream. The next few years saw a succession of guitarists who came and left, including Peter Green, Mick Taylor, Jon Mark and Harvey Mandel. In fact, frequent line-up changes would become a constant for Mayall, yet I haven’t read anything that he was ever annoyed about it.

John Mayall 2018
John Mayall at 2018 Jazz Fest in New Orleans

In 1969, Mayall moved from England to Laurel Canyon, Los Angeles and began playing with American musicians. Over the next three decades, he recorded many albums featuring artists like Blue Mitchell, Red Holloway, Larry Taylor, Harvey Mandel, Buddy Guy, Mavis Staples, Albert Collins and Mick Taylor. In 2008, Mayall decided to retire The Bluesbreakers name. The following year, he started touring with Rocky Athas (guitar), Jay Davenport (drums) and Greg Rzab (bass). In 2016, after Athas had been unable to attend a festival gig due to airline cancellations, Mayall was left with Davenport and Rzab. He liked the trio format and decided to keep it until May of this year, when guitarist Caroyln Wonderland joined the band.

With a recording career of more than 50 years and 60-plus albums, it’s impossible to do Mayall and his music full justice, so the following selection can only scratch the surface. Let’s start with the above mentioned Blues Breakers With Eric Clapton. Here’s Double Crossin’ Time, a tune co-written by Mayall and Clapton. Apart from them, the core line-up of The Bluesbreakers at the time also included John McVie (bass) and Hughie Flint (drums).

In September 1967, John Mayall & The Bluesbreakers released their fourth album Crusade. It was the first record with then-18-year-old Mick Taylor. Check out this hot track called Snowy Wood, which is credited to Mayall and Taylor.

To A Princess is an unusual tune from Mayall’s 13th album Empty Rooms, which appeared in 1970. It includes a bass duet featuring band member Steven Thompson and former Canned Heat bassist Larry Taylor as a guest. In addition to Mayall (vocals, harmonica, guitars, keyboards), Thompson and Taylor, other musicians on the record were Jon Mark (guitar) and Johnny Almond (saxophone, flute). Mark and Almond left right after the album’s recording to form the duo Mark-Almond.

Next up: The title track of Mayall’s 19th album Ten Years Are Gone released in September 1973. I dig the brass work on this groovy tune, which gives it a cool jazzy and soulful vibe. The musicians on the record included Mayall (piano, guitar, harmonica, vocals), Freddy Robinson (guitar), Victor Gaskin (bass), Keef Hartley (drums), Sugarcane Harris (violin), Blue Mitchell (trumpet, flugelhorn) and Red Holloway (saxophone, flute).

In 1975, Mayall’s 22nd album Notice To Appear came out. For the most part, it featured covers, including the following hot funky take of The Beatles’ A Hard Day’s Night. The track features Mayall (vocals), Rick Vito (guitar), Larry Taylor (bass), Soko Richardson (drums), Jay Spell (keyboards), Don Harris (violin) and Dee McKinnie (backing vocals).

In 1988, Mayall recorded his 34th album called Archives To Eighties. It included revised versions of select tunes that originally had appeared on his 1971 release Back To The Roots. Just like the earlier record, Archives To Eighties featured Eric Clapton and Mick Taylor. Here’s Force Of Nature.

Wake Up Call was Mayall’s 39th album. The Grammy-nominated record from 1994 brought together many prominent musicians, including Buddy Guy, Mick Taylor, Albert Collins and Mavis Staples, among others. Here’s the smoking hot title track with Taylor on guitar and Staples on vocals.

In 2005, Mayall released his 53rd album called Road Dogs, one of the last under The Bluesbreakers name. The band’s line-up at the time included Buddy Whittington (guitars), Hank Van Sickle (bass) and Joe Yuele (drums), in addition to Mayall (vocals, keyboard, harmonica). Following is the record’s closer Scrambling.

Here’s the title track of Mayall’s 61st record A Special Life from May 2014. It featured his then-core backing band Rocky Athas (guitar), Greg Rzab (bass, percussions) and Jay Davenport (drums), as well as C. J. Chenier (accordion, vocals). As usually, Mayall provided vocals, guitar, harmonica and keyboards.

The last album I’d like to touch on is Mayall’s most recent, Three For The Road. Released in February 2018, it is his 66th record – unbelievable! It presents live recordings from two 2017 concerts in Germany, performed by the trio format of Mayall, Rzab and Davenport. Here’s Lonely Feelings.

Just before his 85th birthday on November 29, Mayall made two announcements. After completing a few shows in California, he is planning a 2019 tour and has started booking gigs in Europe. A look on the current schedule already reveals 22 dates starting February 26 in Tampere, Finland and stretching out to March 24 in Ancona, Italy. U.S. dates are supposed to be announced soon. Mayall also revealed a new studio album, Nobody Told Me, which is scheduled to be released on February 22, 2019. Apart from his new guitarist Carolyn Wonderland, it includes numerous prominent guest guitarists, including Todd Rundgren, Steven Van Zandt and Alex Lifeson.

I’d like to finish this post with a few quotes posted on Mayall’s website, which I think speak for themselves:

John Mayall has actually run an incredible school for musician. (Eric Clapton)

John Mayall, he was the master of it. If it wasn’t for the British musicians, a lot of us black musicians in America would still be catchin’ the hell that we caught long before. So thanks to all you guys, thank you very much! (B.B. King)

I had this friend in London, John Mayall of the Bluesbreakers, who used to play me a lot of records late at night. He was a kind of DJ-type guy. You’d go back to his place, and he’d sit you down, give you a drink, and say “Just check this out.” He’d go over to his deck, and for hours he’d blast you with B.B. King, Eric Clapton – he was sort of showing me where all of Eric’s stuff was from, you know. He gave me a little evening’s education in that. I was turned on after that, and I went and bought an Epiphone. So then I could wind up with the Vox amp and get some nice feedback. (Paul McCartney)

As far as being a blues-guitar sideman, the Bluesbreakers gig is the pinnacle. That’s Mount Everest. You could play with B.B. King or Buddy Guy, but you’re just gonna play chords all night. This guy features you. You get to play solos. He yells your name after every song, brings you to the front of the stage, and lets you sing. He creates a place for you in the world. (Walter Trout)

Sources: Wikipedia, John Mayall website, YouTube

John Mellencamp’s New Album Features His Now-Familiar Roots Sound With A Twist

“Other People’s Stuff” presents selection of covers from seminal albums, compilations, unearthed sessions and documentaries

John Mellencamp today released his new previously announced 24th studio album Other People’s Stuff. Fans of his transformation from straight rock to a roots-oriented sound, which has been gradual and begun with the excellent The Lonesome Jubilee from 1987, are going to dig what they hear – count me as one of them! Whether Other People’s Stuff will gain Mellencamp new fans is perhaps less certain. Something tells me the fiercely independent-minded Indiana rocker, who clearly is comfortable with the place to which his long musical journey has taken him, won’t be losing any sleep over it!

According to an announcement accompanying its release, Other People’s Stuff presents a collection of covers Mellencamp has recorded throughout his long career. It also includes a new version of Eyes On The Prize, a song he originally performed at The White House during a 2010 Obama Administration celebration of music from the civil rights movement, as I previously covered here. Yes, it still is hard to believe that not long ago America had a leader who truly cared about these issues – and the arts I might add. Eyes On The Prize also became the album’s lead single in early November, coinciding with the record’s initial announcement.

John Mellencamp 2019 Tour Poster

“Most, if not all, of the songs on Other People’s Stuff come from The Great American Songbook,” Mellencamp reiterated. “These are songs that have been recorded over the last 40 years of my career, but had never been put together as one piece of work. Now, they have.”

So there’s your little twist – rather than your traditional covers album an artist typically records at given time period, here you have recordings Mellencamp initially captured at different times during his career and subsequently put a collection of thesm on one record. The other commonality of all these tunes are lyrics that are clearly on the darker side – probably a reflection of Mellencamp’s sentiments about the current state of the country. Let’s get to some music.

Here’s Teardrops Will Fall, which Mellencamp first recorded for the Trouble No More album from June 2003. His great take, which prominently features accordion and violin, would have been a perfect fit for The Lonesome Jubilee. The song was co-written by singer and record producer Gerry Granaham and Marion Smith. Granaham had a string of charting singles in the late 1950s and early ’60s, performing as Dickey Doo & The Don’ts.

Next up: Stones In My Passway, a great Robert Johnson blues tune Mellencamp also first recorded for Trouble No More. It features some nice slide guitar-playing – I assume by multi-instrumentalist Andy York, who has been part of Mellencamp’s band for some 20 years.

Wreck Of The Old ’97 is a song Mellencamp initially recorded for a 2004 compilation album titled The Rose & The Briar: Death, Love And Liberty In The American Ballad. Credited to Fred Lewey, Henry Whitter and Charles Noell, the old country song was inspired by a bad rail accident in September 1903 when a Southern Railway mail train derailed near Danville, Va. The accident, which became known as the Wreck of the Old ’97, killed seven on-board personnel, injured seven others and destroyed a bridge as the train careened off the side of the structure.

The last track I’d like to highlight is I Don’t Know Why I Love You. Interestingly, it’s a Stevie Wonder tune from his ninth studio album For Once In My Life, which was released in December 1968. I didn’t think Wonder, one of my favorite artists, was on Mellencamp’s radar screen, so I was surprised about this pick. Mellencamp’s cover first appeared on a sampler from June 2003 called Conception – An Interpretation of Stevie Wonder’s Songs. The tribute to the soul legend also featured Eric Clapton, Mary J. Blige and Brian McKnight, among other artists.

Mellencamp will support his new album with The John Mellencamp Show (see tour poster above). Appropriately, the 2019 tour is scheduled to kick off on February 7 in South Bend, Ind. The dense 40-date schedule among others includes Cincinnati (Feb 10), Baltimore, Md. (Feb 20), New York (Feb 25-27), Kansas City, MO (Mar 14), Nashville, Tenn. (Mar 19-20) and Wichita (Apr 16), before it concludes on Apr 20 in Albuquerque, N.M.

One of the other stops is right in my backyard in New Brunswick, NJ (Feb 23) at a great theatre. The thought of seeing Mellencamp for what would be my third time is certainly appealing. I guess I just need to find another reason to justify buying a ticket – and hope by the time I do remaining seats will be reasonably affordable!

Sources: Wikipedia, John Mellencamp website, YouTube