It’s Wednesday and time again for another imaginary trip to a desert island. And that also means I have to pick a song I would take with me by an artist or band I like but haven’t written about or only rarely covered. Thank goodness I don’t have to do this in real life – I’d go nuts with one song only and the other “rules”.
I’m doing this little exercise in alphabetic order and I’m up to “l”. Artists/ bands in my music library, who start with that letter, include Larkin Poe, Cindy Lauper, Led Zeppelin, Little Richard, The Lovin’ Spoonful and Lynyrd Skynyrd, among others. And my pick are Los Lobos and Kiko and the Lavender Moon, a really cool tune I wouldn’t have picked without the above restrictions. Frankly, this was a tough decision for me, since I still don’t know the band from East L.A. very well.
Kiko and the Lavender Moon appeared on the band’s sixth studio album Kiko released in May 1992. The tune was written by co-founding members David Hildago (guitars, accordion, violin, banjo, piano, percussion, vocals) and Louie Pérez (drums, vocals, guitars, percussion). Both remain part of the group’s present line-up. I dig the vibe of this tune, though it’s tricky to characterize. I can hear some retro jazz and a dose of Latin groove. If it doesn’t speak to you the first time, I’d encourage you to give it at least one more listen!
Los Lobos, who blend rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, were founded by Hildago and Pérez in East Los Angeles in 1973. When they met in high school, they realized they liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Subsequently, 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. Rosas and Lozano are also still around.
In early 1978, the band, then still known as Los Lobos del Este de Los Angeles, self-released their eponymous debut album in Spanish. 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 became their biggest hit. While it’s a great cover, I deliberately avoided it. Los Lobos are much more than a one-hit wonder! To date, they have released more than 20 albums, including three compilations and four live records.
Here’s how Kiko and the Lavender Moon and Los Lobos sound in 2022:
Following are some additional insights from Songfacts:
This song is about a magical, albeit lonely character called Kiko, who comes out at night to “dance and dance.” In our interview, Los Lobos’ drummer and songwriter, Louie Pérez, told us he reflected upon his childhood when writing the lyrics: “I took this remembrance of the little house that I grew up in and Mom’s dresser-top altar, and was able to fold that into a song.”
In 1993, Los Lobos performed this on Sesame Street, changing the lyrics to “Elmo and the Lavender Moon.”
Kiko saw Los Lobos adopt a more experimental sound, that mixed blues, rock, folk and psychedelic influences. Perez spoke to us about the spiritual experience that was the making of Kiko, which is his favorite Los Lobos album: “There’s a point when all songwriters fall into this vacuum where it seems so amorphic and almost surreal… all of us were on this crazy trip. It was like a canoe into the fog, all of us were right there paddling away, and knowing we just have to paddle. We don’t know where we’re going, but we just trusted it. And it was amazing.”
Another 1971 gem in my book is hitting the big anniversary. Today, 50 years go, Led Zeppelin released Led Zeppelin IV, an album that to me hasn’t lost any of its magic. And it’s not just because of Stairway to Heaven. I will add, and I’ve said this before, Led Zeppelin and even the song that would be my choice if I could only pick one rock tune were an acquired taste.
The 50th anniversary of Led Zeppelin IV certainly deserves to be celebrated, so let’s go back to November 8, 1971. Actually, let’s make that 11 months earlier. Zep’s fourth studio album was recorded between December 1970 and February 1971 at Headley Grange, a historic 18th-century three-story stone workhouse in the southern English county of Hampshire, which was a popular recording and rehearsal venue in the ’60s and ’70s for artists like Fleetwood Mac, Peter Frampton, Genesis and Led Zeppelin.
Not only did the informal setting inspire the band to try different musical arrangements in various styles, but the absence of any bar or other leisure facilities allowed them to stay focused. “…there was no, ‘Let’s get stoned or go to the pub and get pissed.’,” Jimmy Page told Mojo in a recent interview for a cover story, as reported by Louder. He also said, “It’s like there was a magical current running through that place and that record. Like it was meant to be.”
Apparently, not all of Zep’s members were quite as enthusiastic about the place. “Headley Grange was cold, damp, dirty, smelly,” noted John Paul Jones in the same Mojo story. Page was quick to dismiss the comment, saying, “Why is John complaining? We were there to work.” Yet implicitly, Page seemed to least somewhat agree with Jones, adding, “I don’t want to say anything to embarrass Mrs. Smith, the lady in charge. Headley was a bit austere.”
To make the album Led Zeppelin were using The Rolling Stones Mobile Studio, along with engineer Andy Jones who had just worked on engineering the Stones’ Sticky Fingers, one of my other favorite albums from 1971. Zep also had assistance from Stones co-founder and keyboarder Ian Stewart who played piano on the record’s tune Rock and Roll. And, speaking of other artists, Sandy Denny, the vocalist of Fairport Convention was another guest.
Headley Grange wasn’t the band’s first choice. In fact, recording sessions had started at Island Records’ Basing Street Studios in London in December 1970. Zep also had considered recording at Mick Jagger’s home and recording location Stargroves but felt it was too pricey! I guess the band had yet to make big bucks, or perhaps they were a bit skittish about cost, given the lukewarm reception of Led Zeppelin III by critics.
Once the basic tracks were in the can, Zep added overdubs at Island Studios in February. Initial mixing was done at Sunset Sound in Los Angeles. But the group wasn’t happy with the outcome, so following a tour in the spring and early summer, Page remixed the entire album in July 1971. Further delays occurred over discussions about whether Led Zeppelin IV should be a double album or be released as a set of EPs.
Nuff said – it’s time to turn to some music. Side one kicks of with Black Dog, a great rocker with a cool guitar riff. According to Songfacts, Jones got the idea for the song after he had listened to Electric Mud, a 1968 album by Muddy Waters: He wanted to try “electric blues with a rolling bass part,” and “a riff that would be like a linear journey.”…When they started putting the album together, Jones introduced this riff, the song started to form. The first version Jones played was comically complex. “It was originally all in 3/16 time, but no one could keep up with that,” he said.
The Battle of Evermore is a great example of Zep’s outstanding acoustic songs. As noted by Songfacts, it holds the distinction of being the band’s only tune that featured a guest vocalist: Sandy Denny, an excellent choice! Robert Plant’s lyrics were inspired by a book on Scottish history he had read. The music was written by Page using a mandolin he had borrowed from Jones. “The band was sitting next to the chimney in Headley, drinking tea, when Jimmy grabbed a mandolin and started playing,” Andy Jones recalled. “I gave him a microphone and stuck a Gibson echo on his mandolin. Jimmy had brought this stuff before and had asked me to take a look at it. Suddenly Robert started singing and this amazing track was born from nowhere.” What a mighty tune indeed!
Of course, no homage to Led Zeppelin IV would be complete without the big enchilada that’s closing out side one. Sadly, in addition to being one of the greatest rock songs of all time, Stairway to Heaven will always be remembered because of the copyright infringement litigation it triggered. Much has been written about this. All I will say is only a deaf person could possibly conclude that Page’s opening acoustic guitar arpeggios weren’t pretty much identical to Spirit’s 1968 instrumental Taurus whether done deliberately or not. By the way, again referring to Mojo, the above Louder piece notes the working title for Stairway was Cow And Gate – something I’m sure you always wanted to know but never dared to ask! That working title was inspired by Robert Plant who had recently bought a farm. I also found Cow & Gate was the name of a British dairy products company. Apparently, today the name lives on as a specialist baby food brand owned by a Dutch company.
On to side two. Similar to side one, it starts with a cool rocker, Misty Mountain Hop co-written by Page, Plant and Jones. “It’s about a bunch of hippies getting busted, about the problems you can come across when you have a simple walk in the park on a nice sunny afternoon,” Plant explained, as noted by Songfacts. “In England it’s understandable, because wherever you go to enjoy yourself, ‘Big Brother’ is not far behind.” Seems like somebody had some beef here! BTW, there are Misty Mountains in Wales.
Going to California is another acoustic gem I’d like to highlight. Songfactsexplains the Page-Plant co-write was inspired by Joni Mitchell’sCalifornia: Mitchell lived in the musically fertile but earthquake-prone Laurel Canyon area of Los Angeles; “California” finds her recalling her adventures on a trip to Europe but looking forward to a return home. In “Going To California,” Plant plays the part of a guy who’s looking to leave his no-good woman behind and make a fresh start in California.
This leaves me with the album’s excellent closer When the Levee Breaks. The song’s original lyrics are based on The Great Mississippi Flood of 1927 and were written by Memphis Minnie. The tune was first recorded as a country blues by Minnie and Kansas Joe McCoy in 1929. Plant who had the record in his collection kept most of the original lyrics while Page rearranged the music. Zep’s version is credited to the entire band and Minnie.
Unlike its predecessor, Led Zeppelin IV was widely praised by music critics. Fans liked it as well. The record topped the charts in the UK, U.S., Canada, Australia, Austria and Italy, and also strongly performed in many other countries. Additionally, it became Led Zeppelin’s most commercially successful album with more than 37 million copies sold worldwide, and one of the best-selling albums in the U.S.
Last but not least, Led Zeppelin IV is included in many lists, such as Rolling Stone’s500 Greatest Albums of All Time (no. 58 in 2020) and Colin Larkin’s All Time 1000 Albums (no. 42 in 2000). In June 2004, Pitchfork also ranked it at no. 7 on their list of Top 100 Albums of the 1970s.
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 Newinstallment. 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!
Bonnie Raitt is one my favorite artists, and I finally got a chance to see her live.
Yesterday (Aug 13), the wait was finally over. It was time to see Bonnie Raitt at New Jersey Performing Arts Center!
During the week leading up to the show, I had listened to her music pretty much whenever I got a chance to get in the mood. And with a 45-year professional career and 17 studio albums, there is a lot to listen to!
A good friend of mine who has been to various Bonnie Raitt concerts over the years had highly recommended that I go see her. He was right – the show was absolutely amazing!
Bonnie presented a mix of new and old songs, including a few of her previous hits. She started off with her cover of the INXS song Need You Tonight, which appears on her latest excellent album, Dig In Deep. Throughout the show, she also played various other songs from that album including Unintended Consequence of Love and Gypsy In Me. Another cover included Burning Down the House, the 1983 hit from the Talking Heads. In my opinion, it’s even better than Need You Tonight.
Perhaps the best known hit songs she played were Something To Talk About and the beautiful ballad I Can’t Make You Love Me, both from Bonnie’s 1991 album, Luck of the Draw. I was a bit surprised and disappointed that she didn’t play material from Nick of Time, such as Thing Called Love, the title song and Love Letter. At least I didn’t recognize any songs from the 1989 Grammy Award winning album. She did perform one of my other favorite songs, Can’t Get Enough (from 1982’s Green Light).
As I had expected, Bonnie’s slide guitar playing was superb! But I have to say I was even more intrigued by the songs she played on acoustic guitar. The highlight in this context and perhaps of the entire night was Angel from Montgomery, from her fourth studio album Streetlights, released in 1974. BTW, Bonnie’s voice live sounds just as great as recorded. I would also like to acknowledge her fantastic band: Ricky Fataar (drums), George Marinelli (guitars), James Hutchinson (bass) and Mike Finnigan (keyboards).
Another shout-out is in order for Bonnie’s opening act, Richard Thompson Trio. Thompson, a founding member of the Fairport Convention, is an outstanding British electric and acoustic guitarist. I have to admit I’m not familiar with his music, but I certainly enjoyed what I heard! The drummer and bassist who performed with Thompson were excellent as well.
Notably, Bonnie asked Thompson to come back to the stage and play a song with her. You could clearly see the admiration she has for him. I think the gesture also shows what a class act Bonnie Raitt is when it comes to acknowledging other artists.
Here’s a clip of Raitt’s entire gig.
Need You Tonight (INXS cover)
Used to Rule the World (Randall Bramblett cover)
All Alone with Something to Say
Shakin’ Shakin’ Shakes (Los Lobos cover)
Not the Only One (Paul Brady cover) (with Richard Thompson)
Round and Round (J.B. Lenoir cover)
I Feel the Same (Chris Smither cover)
Hear Me Lord (Oliver Mtukudzi cover)
Something to Talk About
The Comin’ Round Is Going Through
Angel From Montgomery (John Prine cover)
Don’t Answer the Door (B.B. King cover) (Mike Finnegan, vocal)
Gypsy in Me
Unintended Consequence of Love
I Believe I’m in Love With You (The Fabulous Thunderbirds cover)
What You’re Doin’ to Me
I Can’t Make You Love Me (Mike Reid cover)
Burning Down the House (Talking Heads cover)
Louise (Paul Siebel cover)
Your Sweet and Shiny Eyes
Note: This post was updated on November 15, 2020 with above clip and setlist.