Happy Wednesday and welcome to another installment of Song Musings, a weekly feature taking a closer look at tunes I’ve only mentioned in passing or not written about at all to date. Today, I’m turning to Unknown Legend by Neil Young, one of my favorite artists.
Unknown Legend is the opener of Harvest Moon, which I think is one of the best albums by the Canadian-American singer-songwriter, released in November 1992. Young wrote this great country-flavored tune prior to the release of his 1978 album Comes a Time. Some critics saw a stylistic similarity to that record, pointing in particular to the song Motorcycle Mama – other than the motorcycle and a female singer supporting Young on vocals, it doesn’t seem to be very obvious to me!
The gorgeous backing vocals in the refrain of Unknown Legend were provided by Linda Ronstadt. The album’s co-producer Ben Keith played the great pedal steel guitar on the recording. It’s a simple yet beautiful song!
Even though Unknown Legend wasn’t released as a single, it proved to be popular, reaching no. 38 on Billboard’sMainstream Rock Tracks chart. The album continued Young’s commercial resurgence that had started with his two previous releases Freedom (October 1989) and Ragged Glory (September 1990), eventually outselling both. In Canada, Harvest Moon also won the 1994 Juno Award for Album of the Year. Here’s a nice “electric” live version of the song.
Following are some additional insights about Unknown Legend from Songfacts:
The woman in “Unknown Legend” is Neil Young’s wife (at the time), Pegi Morton Young. The two met in 1974, while Morton was working as a waitress at a diner near Young’s ranch.
The song talks about a waitress, now mother of two, who had once lived a life of travel and restlessness. The chorus harks back to her years of riding a Harley Davidson through the desert, with its chrome and steel “Collidin’ with the very air she breathes.” The song sounds both triumphant and sad. It laments the woman’s situation (“Now she’s dressin’ two kids, lookin’ for a magic kiss”) while celebrating the wild rambling imagery of her past, all while sweetly observing her graceful movements across the diner floor.
A historically interesting note is that “Unknown Legend,” which is an ode to Pegi, appeared on an entire album Young had made about keeping marriage alive. “This album here [Harvest Moon], it’s about making things last, how to keep that interest, how to keep the fire burning,” Young told New Musical Express in 1992. “Never get bored with the fact that you’ve been with someone for a long time, it’s a good thing, not a bad thing. Relationships should enrichen with age, that kind of thing.”
The marriage did indeed enrichen for over a decade after the song’s release, but then collapsed. In that same New Musical Express piece, writer Gavin Martin prophetically wrote, “No marriages are easy, rock ‘n’ roll relationships are particularly fraught. Placid and healing on the surface, Harvest Moon doesn’t try to deny the troubles and heartbreak beneath.”
Pegi spoke a lot about her divorce from Young on her album Raw. It’s an interesting dynamic – the “Unknown Legend” herself singing candidly about the harsher aspects of being married to the man who once immortalized her in song.
Until July, I had not heard the name Julian Lennon for many years. It’s safe to assume I was not the only one – no pun intended! After Saltwater, a nice tune from Lennon’s fourth album Help Yourself released in 1991, he had disappeared from my radar screen. Now, Lennon is back with Jude, his seventh studio album and first in 11 years, which was released last Friday (Sep 9). If you had been waiting and hoping for new music from him, it was definitely worth the wait!
Julian Lennon of course is the son John Lennon had with his first wife Cynthia Lennon (born Powell). After launching a music career in 1984 with the great album Valotte, he started branching out into other areas, including philanthropy, film (both before and behind the camera), photography and book publishing.
Lennon’s endeavors outside of music became more successful than his albums. For example, his 2006 documentary WhaleDreamers about an aboriginal tribe in Australia and its special relationship with whales won multiple awards and was shown at the 2007 Cannes Film Festival. In 2019, he completed what became a New York Times best-selling trilogy of children’s books.
After his previous album Everything Changes came out in October 2011, Lennon thought he was done with the music business for good. So what made him change his mind? “I just happened upon a box of old demos initially, which I brought to light and found that there were some really good songs that I still loved but I never quite finished or they just didn’t belong on an album or project back then,” Lennon toldSmashing Interviews Magazine in June 2022. “I thought, ‘Okay. Let me fix what needs fixing, update the production and go from there.'” And here we are. Let’s get to some music!
Since I just covered the opener Save Me in my latest Best of What’s Newinstallment I’m skipping it here and go right to Every Little Moment. The tune was co-written by Lennon and longtime collaborator Mark Spiro. Together with Freedom, it became available on April 8, coinciding with Lennon’s 59th birthday. “Every Little Moment,” is a song I wrote many years ago, Lennon stated on his website. The lyrical narrative not only confronts the wars within, but the ongoing battles we face on the outside. Commenting on the song’s official video, he added, it represents a more hopeful vision for the future. It celebrates a time of peace where someday, the weapons of war will be replaced with seeds of love. I love the song’s atmosphere! In addition, Lennon sounds very mature, which also is the case on the album’s 10 other tracks.
Not One Night is a nice acoustically-oriented ballad penned by Spiro. The tune has a personal feel to it. I used to dream of only you/But now I don’t do that/And I used to miss talking to you/But now I don’t do that/Since you’ve been gone I’ve learned to stop/Tryna hold on because there’s not/Only night, one single day/That I wouldn’t give to you/So with all my might, in every way/I’ll try to forget you, too…
Lucky Ones is the most recent single from the album, released on August 3. It is credited to multiple writers who in addition to Lennon include Albin Nedler, Gregg Alexander, Gregory Darling, John Martin, Kristoffer Fogelmark, Martijn Garritsen and Michel Zitron. “”Lucky Ones” is the realization of how lucky we really are,” Lennon toldSPIN. “We are faced with being on a beautiful planet, in a beautiful world and have the opportunity to have the most incredible of lives. Unfortunately, there are some negativities in this world, which I don’t think will ever go away. But, we must embrace the good and we must embrace it on such a level that we can share it with people, so that love spreads around the world and we can all “Imagine a world without war.””
The last track I’d like to call out is Stay, which Lennon penned together with yet another writer, Peter-John Vettese. Of course, one has to keep in mind Jude includes songs that were written over a long period of time.
I’d like to touch on two additional things. First, the album’s title, an obvious nod to Hey Jude, which Paul McCartney had penned in 1968 to comfort then-5-year-old Julian following his parents’ separation. Originally written as “Hey Jules,” McCartney changed the title to Hey Jude since he felt it sounded better.
“Calling the album Jude was very much a coming of age,” Lennon explained to Smashing Interviews Magazine. “A lot of people really don’t understand that may have been a great song, a great chanting song, a favorite Beatles song, but it’s a harsh reminder of what actually happened in my life, which was that my Father walked out on my Mother and me. I barely saw him at all before he was taken away. That was a truly, truly difficult time…It’s all about having understood what that was all about, coming to terms with that, coming to terms with me and who I am today and what that means not only for everybody else but for me, too.”
And then there’s also that captivating photo of young Julian on the album cover. “I remember at that point [when the photo was taken – CMM] Dad was seeing May Pang and May Pang and my mother were trying to get Dad and I to spend more time together,” Lennon pointed out to SPIN. “It was taken in Disney World in 1974 after Christmas that year. It was just a moment where I looked like I was in another world, where all around was a blur. I guess because although I was happy to see dad again, it was a weird and unique situation not having seen him for years, to finally be with him again. The biggest question for me at this time, was “How long is this going to last?” or “Is he going to disappear again?” I think that’s predominately what the look on my face represents. It’s one big question.”
Jude is a mature pop album by a versatile artist who after nearly 40 years into his career finally appears to be fully comfortable in his own skin. The album appears on BMG. In March, Lennon announced he had signed a new global recordings agreement with that label. Jude was co-produced by Lennon and Justin Clayton, the lead guitarist of Lennon’s backing band who has played on most of his albums.
The final word shall belong to Lennon: “I feel very much that I am my own man, and I’ve built a very serious working foundation on many, many levels, and that cannot be taken away from me,” he told Smashing Interviews Magazine. “So some people think I’ve been a hermit, but no, I’ve just not been on the camera in front of everything. That’s not a place I actually like to be really. I could be there sometimes to do certain things, but for the most part, let me be behind the camera. I’m happiest behind the scenes on most of the things that I do. I just try to be me these days, and that’s part of who I am.”
A selection of newly released music that caught my attention
Yes, folks, it’s Saturday again, which kind of amazes me. Where did the week go? Anyway, Saturday means it’s time to take a fresh look at newly-released music. Unlike most previous Best of What’s New installments, which largely featured artists who are new to me, this week presents a mix of familiar and new names. All picks are from albums that appeared yesterday (July 8).
The Deslondes/Ways & Means
Kicking things off today are The Deslondes, a group formed in 2013 in New Orleans, blending folk, rock ‘n’ roll, bluegrass, R&B, American roots music, blues, gospel, country and zydeco – quite a stew! From their Apple Musicprofile: Bringing their own style of down-home, rootsy twang to the home of the blues, the Deslondes are a band of rough but tuneful troubadours who found their voice when they settled in New Orleans, Louisiana. The quintet members adopted their name from a street in the Lower Ninth’s Holy Cross neighborhood, and they found kindred spirits in another New Orleans outfit, Hurray for the Riff Raff. Between developing a loyal following at home and impressing audiences on the road opening for Hurray for the Riff Raff, word began to spread about the Deslondes, and New West Records signed them to a recording contract, releasing their self-titled debut album in June 2015. Two additional albums have since come out, including their latest Ways & Means. Here’s the title track – like their sound!
Wet are an indie pop group from Brooklyn, New York. They were formed in 2012 by Kelly Zutrau, Joe Valle and Marty Sulkow who had met in the city while they were students at NYU and Cooper Union. In 2013, after they had gained some attention through local gigs and posting music online, they signed with boutique record label Neon Gold and subsequently with Columbia. Wet’s self-titled debut EP came out in May 2014. Their first full-length album Don’t You was released in January 2016. Canyon, written by Zutrau, is a track from the group’s fourth and new studio album Pink Room. I find Zutrau’s vocals quite soothing.
Journey/Come Away With Me
After releasing The Way We Used to Be in June 2021, their first new music in 10 years, Journey are back with a new album. Yes, I know, some folks dismiss them as shallow arena rock or pop rock. I fully stand behind the fact that I have always liked a good number of their songs. Formed as the Golden Gate Rhythm Section in San Francisco in 1973 by former Santana members Neal Schon (lead guitar) and Gregg Rollie (keyboards), along with George Tickner (rhythm guitar), Ross Valory (bass) and Prairie Prince (drums), the band initially was conceived as a back-up group for Bay Area artists. However, they quickly abandoned the concept, renamed themselves Journey, and released their eponymous debut record in April 1975, a progressive rock album. After Steve Perry joined as lead vocalist in October 1977, they adopted a much more pop rock-oriented sound and entered their commercially most successful period. While following Perry’s departure in 1998 Journey’s success began to wane and the group has seen various lineup changes over the decades, they have hung on, with Schon remaining as the only original member. The current core lineup also includes Arnel Pineda (lead vocals) and Jonathan Cain (keyboards, backing vocals). Here’s Come Away With Me, a track off the new album Freedom, Journey’s 15th studio release – their first in 11 years since Eclipse from May 2011.
Neil Young & Crazy Horse/Goin’ Home
Let’s wrap up this Best of What’s New installment with something really cool – well, at least it excites me. Neil Young, one of my all-time favorite artists, is back with yet another previously abandoned album. In 2000, Young convened his longtime backing band Crazy Horse at Toast recording studio in San Francisco. But according to this review in Uncut, things didn’t work out, and while after playing some shows in South America the band returned to the studio invigorated, Young wasn’t happy with the outcome. Instead, he recorded an album with Crazy Horse guitarist Frank “Poncho” Sampedro and Booker T. & the M.G.’s. Titled Are You Passionate? and released in April 2002, it included some leftover songs from the record he abandoned, which appropriately is titled Toast. From Young’s website neilyoungarchives.com: For the past two decades, Toast has been whispered about in collectors’ circles in hushed tones, as Young has dropped pieces of information about it here and there, especially as it contains three never-before-released songs. Here’s one of them: Standing in the Light of Love, a great Neil rocker – I just love the man!
Last but not least, here’s a Spotify playlist with the above and some additional songs sans Neil Young. Most of his music remains off the platform after Young asked Spotify to remove it in April, protesting the company’s hosting of controversial podcaster Joe Rogan.
Sources: Wikipedia; Apple Music; Uncut; Neil Young Archives; YouTube; Spotify
A selection of newly released music that caught my attention
Happy Saturday and welcome to another Best of What’s New installment. My latest look at new music releases is coming together at the last minute, so without further ado, let’s get to it. All picks except for the last tune appear on albums that were released yesterday (May 6).
I’m kicking things off with high-energy hard rock by Halestorm. Here’s a bit of background from their Apple Musicprofile: Emerging in the late 2000s, Halestorm immediately distinguished themselves in hard-rock circles thanks to powerhouse vocalist/guitarist Lzzy Hale. The Pennsylvania native showed off both a silver-plated yowl and a dynamic lower range on the band’s 2009 breakthrough hit, “I Get Off,” while later singles unleashed a belting siren call (“I Miss the Misery”) and snarling metal ferocity (the Grammy-winning “Love Bites (So Do I)”). Halestorm’s roots date back to the late ’90s, when Hale and her younger brother Arejay, a drummer, started making music together. Following the release of several EPs as a duo, the group expanded into a quartet and made their major-label debut in 2006 with the One and Done live EP. A 2009 self-titled album established Halestorm as a band eager to slip between hard rock, post-grunge, and metal. In addition to Lzzy Hale (lead vocals, rhythm guitar, acoustic guitar, keyboards, piano) and Arejay Hale (drums, backing vocals), Halestorm’s current line-up also features Joe Hottinger (lead guitar, acoustic guitar, backing vocals) and Josh Smith (bass, keyboards, piano, backing vocals). Here’s Brightside, a track co-written by Lzzy Hale and Scott Stevens, off the band’s fifth and latest album Back From the Dead. I like it but can’t listen to this level of intensity for too long!
Belle and Sebastian/Prophets On Hold
For this next pick by Scottish indie-pop group Belle and Sebastian, we’re taking it down a few notches. The band started out as a project in Glasgow in 1994 by Stuart Murdoch (vocals, guitar, keyboards) and Stuart David (bass). They had both enrolled in a program for unemployed musicians at Stow College where together with their music professor they recorded some demos. This resulted in the release of their first full-length album Tigermilk on the college’s label Electric Honey. The album’s positive reception led Murdoch and David to recruit additional musicians and turn Belle and Sebastian into a full-time band. In August 1996, they signed with Jeepster Records and released their sophomore album If You’re Feeling Sinister in November of the same year. Today, the group consists of Murdoch, Stevie Jackson (guitar, vocals, piano), Sarah Martin (vocals, violin, guitar, flute, keyboards, recorder, percussion), Chris Geddes (keyboards, piano, percussion), Bobby Kildea (guitar, bass), Dave McGowan (bass, keyboards, guitar) and Richard Colburn (drums, percussion). Here’s Prophets On Hold from Belle and Sebastian’s new album A Bit of Previous. The catchy tune is credited to all members of the band.
Rolling Blackout Coastal Fever/The Way It Shatters
Rolling Blackout Coastal Fever are an Australian indie rock band founded in Melbourne in 2013. According to the Apple Musicprofile, Playing bright, energetic indie rock with lively guitar lines, sharp hooks, and dry wit, the Australian group Rolling Blackouts Coastal Fever turn the clock back to the glory days of 1980s jangle pop while giving it a tough, no-nonsense three-guitar update in the process. After two EPs, the band’s first two albums — 2018’s Hope Downs and 2020’s Sideways to New Italy — showed they were in firm control of their songcraft and sound. The band maintains their original line-up to this day: Fran Keaney (vocals, acoustic guitar), Tom Russo (vocals, guitar), Joe White (vocals, lead guitar, keyboards, harmonica), Joe Russo (bass) and Marcel Tussie (drums, percussion). The Way It Shatters, co-written by Keaney, White, Tussie and Tom Russo, appears on the band’s latest album Endless Rooms, their third full-length release. I love their sound!
Simple Plan/Wake Me Up (When This Nightmare’s Over)
Simple Plan are a Canadian pop-rock band formed in Montreal in 1999. Their members include Pierre Bouvier (lead vocals, guitar, percussion, bass), Jeff Stinco (lead guitar), Sébastien Lefebvre (rhythm guitar, backing vocals) and Chuck Comeau (drums, percussion), who have been with the group since its inception. Their debut album No Pads, No Helmets…Just Balls appeared in March 2002. While the pop-punk record received mixed reviews, it enjoyed significant chart success in Canada and various other countries and reached double-platinum certification in Canada and the U.S. Simple Plan have since issued five additional albums including their latest Harder Than It Looks. Here’s the opener Wake Me Up (When This Nightmare’s Over), co-written by Comeau, Bouvier and Nate Campany. Quite catchy!
Sheryl Crow/Live With Me
I just couldn’t resist and throw in two bonus tracks by two of my long-time favorite artists who need no introductions. Technically, these aren’t new songs, but both appear on newly released albums. First up is a great cover of Rolling Stones tune Live With Me from the soundtrack of Sheryl, a documentary directed by Amy Scott about Sheryl Crow, which debuted yesterday evening on Showtime. From a previous statement on Crow’s website: An intimate story of song and sacrifice, “Sheryl” navigates an iconic yet arduous musical career while the artist battles sexism, ageism, depression, cancer, and the price of fame, before harnessing the power of her gift. A career spanning album package including her classic hits and several new tracks will accompany the film, released via Big Machine Label Group, in cooperation with Universal Music Group. Co-written by Mick Jagger and Keith Richards, Live With Me first appeared on the Stones album Let It Bleed from November 1969. Crow’s rendition features Jagger on harmonica.
Neil Young & The Restless/Heavy Love
Wrapping up this new music revue is Heavy Love, a great rocker by Neil Young & The Restless. It appears on the EP Eldorado, which originally was released in April 1989 in Japan and Australia only. As of April 29 this year, it’s available worldwide. Heavy Love and Cocaine Eyes, which I featured in a previous Best of What’s Newinstallment, are not available on any other recording, while the three remaining tracks Don’t Cry, On Broadway and Eldorado subsequently appeared on Young’s 17th studio album Freedom from October 1989, though in different mixes. The EP is also included in Young’s latest archives vinyl box set titled Neil Young Official Release Series Discs 13, 14, 20 & 21. Like Cocaine Eyes, Heavy Love would have been a great addition to Freedom.
Here’s a Spotify playlist with the above tunes except for Neil Young, as well as a few additional tracks. Young earlier this year asked that his music be pulled from there in protest to Spotify providing a platform to prominent podcaster Joe Rogan who has been criticized for promoting misinformation about the coronavirus and vaccines.
Sources: Wikipedia; Apple Music; Sheryl Crow website; YouTube; Spotify
A selection of newly released music that caught my attention
Another Saturday calls for another Best of What’s New. This latest installment of my weekly music revue is coming together at the last minute, and it’s got six instead of the usual four picks, so let’s get to it right away. Unless noted otherwise, all featured tunes were released yesterday (March 18).
The Dream Syndicate/Where I’ll Stand
Starting us off today are The Dream Syndicate, an alternative rock band from Los Angeles, founded in 1981. Their Apple Musicprofile calls them one of the most celebrated bands to come out of the Los Angeles “Paisley Underground” scene of the ’80s, adding, A hit on the college rock circuit, they never made it through to the mainstream. Until the group’s break-up in 1989, they released four studio albums. Since the band’s reunion in 2012, four additional albums have appeared, the first of which only came out in 2017. The Dream Syndicate’s current line-up includes original member Steve Wynn (lead vocals, guitar), along with Jason Victor (guitar, backing vocals), Mark Walton (bass) and Dennis Duck (drums). Where I’ll Stand, released on March 8 and written by Wynn, is the lead single of the band’s upcoming studio album Ultraviolet Battle Hymns and True Confessions, scheduled for June 10.
Midlake are a folk rock group from Denton, Texas, who have been around since 1999. According to their Apple Musicprofile, the band was formed by a group of musicians who had attended the North Texas School of Music. They were signed to Simon Raymonde’s Bella Union label in the U.K., leading to European concerts and their first full-length album, 2004’s Bamnan and Slivercork. For their next LP, Midlake changed gears and moved away from the psychedelic leanings of their debut toward a more ’70s-influenced sound. Released in 2006, The Trials of Van Occupanther was a critical success, resulting in bigger sales and an enhanced reputation for subsequent recordings like 2010’s The Courage of Others. A key lineup change followed in 2012 when frontman Tim Smith departed and long-time guitarist Eric Pulido stepped into his place on lead vocals. 2013’s Antiphon was their first record without Smith. Fast-forward to Midlake’s new album For the Sake of Bethel Woods, which appeared after an extended hiatus and is their first since the aforementioned Antiphon. Here’s Bethel Woods, credited to all of the band’s current members who in addition to Pulido include Jesse Chandler, Joey McClellan, McKenzie Smith and Eric Nichelson.
Oso Oso/Father Tracy
Oso Oso are a rock band from Long Beach, N.Y. around singer-songwriter and guitarist Jade Lilitri (Jonathan Dimitri), the group’s only permanent member. Here’s more from Apple Music: Originally Oso Oso was solely the work of Lilitri, who wrote and released an EP, 2014’s Osoosooso, and an album, 2015’s Real Stories of True People, Who Kind of Look Like Monsters…, through Soft Speak Records. Wanting to embark on more ambitious tours, Lilitri enlisted a full band to join him, including the addition of Aaron Wims on drums. Subsequently, the band took part in the recording of The Yunahon Mixtape in 2017 and sophomore full-length album Basking in the Glow in 2019, the latter of which saw release through Triple Crown Records. This brings me to Sore Thumb, Oso Oso’s fourth and latest album. Here’s Father Tracy, which like all other tunes was written or co-written by Dimitri.
Hailey Whitters is a country artist who originally hails from Shueyville, Iowa. Here’s more from her website: On her 2020 breakthrough album The Dream, the singer-songwriter wrote about escaping her hometown of Shueyville, Iowa, to pursue stardom in Nashville. It was a fantasy record at first, full of far-off plans, hopes, and dreams. But it soon became Hailey’s reality — she signed a label deal with Big Loud/Songs & Daughters, went on tour with Luke Combs and Midland, and made her first of many appearances on the Grand Ole Opry...In the midst of that whirlwind, Hailey found herself reconnecting with her Midwestern roots. Shueyville was always in the back of her mind and the memories she made there — getting her first kiss; partying in the cornfields; gathering for Sunday supper — started to shape her writing. Over the past two years, she channeled those memories into her new album, Raised. Following is the title track.
Mavis Staples & Levon Helm/You Got to Move
I trust R&B and gospel vocalist Mavis Staples, who initially became known in the 1950s as a member of gospel, soul and R&B family group The Staple Singers, doesn’t need much of an introduction. Fellow blogger Lisa from Tao Talkfeatured her the other day as part of her ongoing Women Music March 2022 series. As reported by Pitchfork, on March 15, Staples announced a forthcoming live album that was recorded in 2011 with Levon Helm, former drummer and vocalist of The Band. Captured at Helm’s studio in Woodstock, N.Y., Carry Me Home is among the final recordings by Helm who passed away from throat cancer in April 2012 at the age of 71. The announcement of the album, which is slated for May 20, coincided with the release of a great single, You Got to Move. Staples, now 82, remains active and has a busy touring schedule ahead of her throughout the entire year. What an amazing lady! And check out that great clip with Helm.
Neil Young & The Restless/Cocaine Eyes
I leave you with another goodie by “an old hand.” Neil Young has announced a new box set titled Neil Young Official Release Series Discs 13, 14, 20 & 21. Continuing the chronological re-releasing of his official releases, remastered where analog tapes exist, the decade-spanning box set includes Hawks & Doves (1980), Re•ac•tor (1981), This Note’s for You (1988) and the Eldorado EP (1989), a 5 track mini-album, previously only released on CD in Australia and Japan. The EP features two tracks not available on any other album and different versions of three songs that appeared on the Freedom album. Here’s one of the two tracks, Cocaine Eyes, a classic blistering grungy Neil Young rocker.
Following is a Spotify playlist of the above tunes and a few others sans Neil Young who recently pulled his music from the platform.
Sources: Wikipedia; Apple Music; Hailey Whitters website; Pitchfork, Mavis Staples website; Neil Young Archives website; YouTube; Spotify
Celebrating music with six random tracks at a time
Welcome to Sunday and another installment of The Sunday Six, a journey celebrating music six random tunes at a time. If you’re impacted by tropical storm Henri, I hope you are safe. My area of Central New Jersey has been under a tropical storm warning since Friday afternoon, but other than rain, so far, so good -knock on wood!
Weather Report/A Remark You Made
The fact I’m kicking off this post with jazz fusion group Weather Report has nothing to do with the storm but instead can be attributed to coincidence. A few days ago, my streaming music provider served up A Remark You Made as a listening suggestion. While jazz fusion remains a largely unknown genre to me, this track blew me away immediately. Appearing on Weather Report’s eighth studio album Heavy Weather from March 1977, the tune undoubtedly has to be one of the most beautiful instrumentals I’ve heard in a long time. Written by Austrian jazz keyboarder and Weather Report co-founder Joe Zawinul, the track also features Wayne Shorter (tenor saxophone), Jaco Pastorious (fretless bass) and Alex Acuña (drums). What matters more to me than all these big names is the incredible music, especially Pastorious who literally makes his fretless bass sing – check out that amazing tone! As a huge saxophone fan, I’m also drawn to Shorter’s tenor sax playing – just incredibly beautiful and a perfect match to the singing fretless bass! I realize this very accessible jazz fusion isn’t typical for the genre. Perhaps not surprisingly, Heavy Weather became Weather Report’s highest charting album on the U.S. mainstream chart Billboard 200 where it peaked at no. 30. It also was one of the group’s two records to top Billboard’s jazz albums chart.
Joe Jackson/Geraldine and John
Let’s stay in the ’70s and move to October 1979. Joe Jackson’s sophomore album I’m the Man brought the versatile British artist on my radar screen in 1980, when I received it on vinyl as a present for my 14th birthday – still have that copy. The album is probably best known for its singles I’m the Man, It’s Different for Girls and Kinda Cute, while the song I picked, Geraldine and John, is more of a deeper but nevertheless great cut. And it’s another bassist who absolutely shines on that tune, in my view: Graham Maby. He still plays with Jackson to this day. Rounding up Jackson’s backing band were guitarist Gary Sanford and drummer David Houghton. Jackson worked with them on his first three albums that are among my favorites by the man. Check out Maby’s great melodic bassline on Geraldine and John!
Speaking of great basslines, here’s yet another master bassist who conveniently also played in my favorite band of all time. Not only is Something from the Abbey Road album among the absolute gems written by George Harrison, but I think it’s also The Beatles tune with the best bassline Paul McCartney has ever come up with. In addition to Harrison (vocals, lead guitar) and McCartney (bass, backing vocals), the tune featured John Lennon (piano), Ringo Starr (drums) and Billy Preston (Hammond). BTW, Something is also a good example of Ringo’s creative drumming. The Beatles Biblenotes the song was recorded and mixed during six sessions between April 16 and August 15, 1969. At this late stage of The Beatles when they took full advantage of the studio, McCartney oftentimes recorded his bass as one of the last instruments. That way he could hear all other instrumental tracks and come up with complementary basslines. In this case, the outcome was truly magnificent!
Sheryl Crow/If It Makes You Happy
Okay, time to get off my little bass obsession – something I admittedly can get excited about as a former bassist! On to Sheryl Crow, an artist I have dug since her debut album Tuesday Night Music Club from 1993. Oh, did I mention she also plays bass in addition to guitar and piano? 🙂 Perhaps my favorite tune by Crow is If It Makes You Happy from her eponymous sophomore album that came out in September 1996. She co-wrote the nice rocker with Jeff Trott who became a longtime collaborator and appeared on almost every Sheryl Crow album thereafter. In August 2019, Crow released what she said would be her final full-length album, Threads, citing changed music consumption habits where most listeners make their own playlists with cherry-picked songs rather than listening to entire albums. I previously reviewed it here. Well, the good news is Crow’s statement at the time apparently didn’t include live albums. On August 13, she released Live From The Ryman & More, a great looking 27-track career spanning set I’ve yet to check out. Meanwhile, here’s the excellent If It Makes You Happy. Yep, it surely does!
Neil Young/Hangin’ On a Limb
Next I like to come back to Hangin’ On a Limb, a Neil Young tune I first had planned to include in the August 1 Sunday Sixinstallment. But inspired by a tornado warning that had been issued for my area of central New Jersey a few days earlier, I decided to go with Like a Hurricane instead. BTW, earlier this week, we had another tornado warning and as noted above, there is a tropical storm warning in effect for my area. You can’t make this stuff up – climate change is real, whether the naysayers like it or not! Anyway, Hangin’ On a Limb is a beautiful tune featuring Linda Ronstadt on backing vocals. It’s from Young’s 17th studio album Freedom that appeared in October 1989 and is best known for the epic Rockin’ in the Free World.
And this brings me again to the final tune. Wrapping it up is Buzz, a great track from Hate for Sale, the 11th and most recent album by Pretenders released in July 2020. Time has been kind to Chrissie Hynde’s voice that sounds just as compelling as back in 1980, the year the band’s eponymous debut album came out. There’s another commonality: Original drummer Martin Chambers who had returned after eight years. Apart from Hynde (rhythm guitar, lead vocals, harmonica) and Chambers, Pretenders’ current line-up also includes James Walbourne (lead guitar, backing vocals), Eric Heywood (pedal steel guitar, backing vocals) Carwyn Ellis (keyboards) and Nick Wilkinson (bass). Hate for Sale is pretty solid. In case you’re curious, check out my previous review here. Like all other songs on the album, Buzz was co-written by Hynde and Walbourne.
A few minutes ago, I coincidentally saw that Neil Young turned 75 today. Young is one of my favorite artists, and perhaps somewhat selfishly, the first thing that came to mind was ‘Keep On Rockin’ in the Free World, Neil, so I can hopefully catch you again sometime!’
The above clip was captured during Young’s 1991 tour with Crazy Horse to support the Ragged Glory album. When I saw the footage, I simply couldn’t resist posting it, even though I covered the tune before, which is one of my favorite Neil Young rockers. Evidently, the audience loved it as well. I mean, how can you not!
Young first recorded Keep On Rockin’ in the Free World for his 17th studio album Freedom released in October 1989. In fact, the track bookends the album with an acoustic opener and an electric closer. The tune was inspired by political events at the time and a conversation between Young and his guitarist Frank “Poncho” Sampedro while they were touring in the northwestern U.S.
Here’s an explanatory excerpt from Songfacts: “There was supposed to have been a cultural exchange between Russia and United States,” Sampedro recalled to Mojo in a 2018 interview. “Russia was getting Neil Young and Crazy Horse and we were getting the Russian ballet! All of a sudden, whoever was promoting the deal, a guy in Russia, took the money and split. We were all bummed, and I looked at him and said, ‘Man I guess we’re just gonna have to keep on rockin in the free world. He said, ‘Well, Poncho, that’s a good line. I’m gonna use that, if you don’t mind.'”
“So we checked into the hotel in Portland,” the guitarist continued. “And we needed a song. We needed a rocker. We’d written some songs and they were good but we didn’t have a real rocker. I said, ‘Look man, tonight, get in your room, think about all this stuff that’s going down – the Ayatollah, all the stuff in Afghanistan, all these wars breaking out, all the problems in America… “Keep On rockin in the free world,” you got that: put something together man, let’s have a song!’ And the next morning, we got on the bus to leave and he says, ‘OK, I did it!'”
While I had known her name for decades, it really wasn’t until July 2017 that I started paying closer attention to Emmylou Harris when seeing her in Philadelphia as part of a concert headlined by John Mellencamp. There was something special about this lady with her all-white hair who recently had turned 70. Now 73, Harris has been active for more than 50 years, released dozens of solo and collaborative albums, scored 20 top 10 hits on the Billboard country charts and collected numerous Grammy and other awards. This playlist is an attempt to shine a light on her long and impressive career.
Harris was born on April 2, 1947 in Birmingham, Ala. Her dad, Walter Harris, was a Marine Corps officer, while her mom Eugenia was a wartime military wife. After high school graduation in Woodbridge, Va., Harris went to the School of Music, Theater and Dance at the University of North Carolina at Greensboro on a drama scholarship. It was there where she started to learn songs by Pete Seeger, Bob Dylan and Joan Baez on guitar and develop her musical aspirations. Harris dropped out, moved to New York City during the second half of the ’60s, and started performing on the folk circle in Greenwich Village while waiting tables.
In 1969, Harris married fellow songwriter Tom Slocum who wrote the title track for her debut album Gliding Bird. The folk record also included five songs written by Harris. The label Jubilee Records went under shortly after the release, so all distribution and promotion was ceased. Subsequently, Harris disowned the record. She regards her second release Pieces of the Sky from February 1975 as her official debut.
In 1971, after he had seen her perform, Flying Burrito Brothers co-founder Chris Hillman introduced Harris to his music partner Gram Parsons who became a key figure in her early career. Harris worked with Parsons on his solo debut GP from January 1973 and toured as a member of his band the Fallen Angels. Later that year, she also worked with Parsons on his second and final solo album Grievous Angel, which was released in January 1974, following his death from an accidental overdose of drugs and alcohol in September 1973.
In February 1975, the aforementioned Pieces of the Sky appeared. It’s the album that launched Harris’ career as a country artist and established what she became mainly known, i.e., covering songs written by other artists. The album also coincided with the formation of The Hot Band, Harris’ high-profile backing band until 1991. The initial lineup included James Burton (guitar), Glen Hardin (piano), Hank DeVito (pedal steel guitar), Emory Gordy, Jr. (bass) and John Ware (drums).
To date, Harris has released 21 solo studio albums, three live records and a dozen compilations. Additionally, her impressive catalog includes seven collaboration albums with artists like Dolly Parton, Linda Ronstadt and Rodney Crowell. Harris also has worked as a guest with numerous other artists, including The Band, Glen Campbell, Johnny Cash, Guy Clark, Bob Dylan, Sheryl Crow and Steve Earle, among others. Let’s get to some music!
While perhaps not as representative of Harris as her other records, I’d like to kick off this playlist with a tune from 1969’s Gliding Bird, which was written by her: Black Gypsy.
If I Could Only Win Your Love from her second album Pieces of the Sky became Harris’ first hit single, climbing to no. 4 on the Billboard Hot Country Songs chart in 1975. Co-written by Charlie Louvin and Ira Louvin who formed the country and gospel duo The Louvin Brothers, it also marked the first of only a handful of Harris singles that charted on the Billboard Hot 100, in this case at no. 58. Linda Ronstadt sang backing vocals on the album.
While Emmylou Harris is best known as a country artist, her song choices can be eclectic. Here’s an example from her third studio album Elite Hotel released in December 1975: A beautiful cover of The Beatles tune Here, There and Everywhere. Credited to John Lennon and Paul McCartney, the McCartney ballad originally appeared on the Revolver album from August 1996.
Harris’ next album Luxury Liner from December 1976 included the first cover of Townes Van Zandt’sPancho and Lefty, which subsequently became the revered singer-songwriter’s best known composition. The tune has also been covered by other artists, most notably Willie Nelson and Merle Haggard, who recorded it as the title track of their collaboration album that came out in January 1983.
Roses in the Snow, Harris’ first ’80s album, appeared in May 1980. Unlike her preceding country and country rock records, this album was more bluegrass-oriented. Here’s a great rendition of the Paul Simon tune The Boxer, featuring beautiful harmony singing by Cheryl White and her sister Sharon White. The Boxer first appeared on Simon & Garfunkel’s final studio album Bridge Over Troubled Water from January 1970.
In February 1985, Harris released The Ballad of Sally Rose, a concept album loosely based on her relationship with Gram Parsons. The record also stood out for another reason. Like her debut 16 years earlier, it illustrates Harris is more than just a cover artist. All songs were co-written by her, mostly together with her then-second husband Paul Kennerley, an English singer-songwriter, musician and record producer, who also produced this record. Here’s White Line, one of the record’s two singles.
Next, I’d like to jump to the ’90s and Wrecking Ball, Harris’ 18th studio album. The record became her first since Pieces of the Sky that did not make the country charts. Perhaps that wasn’t too surprising, given the music moved away from her traditional acoustic to a more edgy and atmospheric sound. Producer Daniel Lanois who produced and co-produced various U2 albums like The Joshua Tree and Achtung Baby undoubtedly had something to do with it. Here’s the title track written by Neil Young who also provided harmony vocals. Young had first recorded the tune for his 1989 studio album Freedom. And, coming back to U2, Larry Mullen, Jr. played drums on most of the album’s songs including this one.
Given the significance of collaboration albums in Harris’ catalog, I’d like to at least acknowledge one: Trio II from February 1999, the second album she did together with Dolly Parton and Linda Ronstadt. All tracks had actually been recorded in 1994, but label disputes and conflicting schedules had prevented the release at the time. While I’ve featured it on the blog before, I just couldn’t resist including the ladies’ angelic rendition of After The Gold Rush, the title track of Neil Young’s third studio album from September 1970. Interestingly, while the remake did not chart when it was released as a single from Trio II, it won the 2000 Grammy for Best Country Collaboration with Vocals. The intensity of this version is just killing me. This is why I dig vocals!
In September 2003, Harris released Stumble into Grace, her second album of the current century. Like some of her previous records, it includes a significant number of her own compositions. She also co-wrote most of the remaining tracks. Here’s the opener Here I Am, one of her tunes.
I’d like to wrap up this playlist with a track from what is Harris’ most recent solo album, Hard Bargain, released in April 2011. Her two latest records are collaborations with Rodney Crowell from February 2013 and March 2015. There’s also the Complete Trio Collection, a compilation of the Trio I and Trio II collaborative albums with Dolly Parton and Linda Ronstadt, which came out in September 2016. Given the enormous role of Gram Parsons, it felt right to highlight opener The Road, a tune Harris penned about her musical mentor – the first to focus on his death since Boulder to Colorado, a song from Pieces of the Sky. It’s also noteworthy that Hard Bargain became Harris’ highest chart entry since the above Roses in the Snow from 1980, peaking at no. 3 on the Billboard Top Country Albums. It also hit no. 18 on the Billboard 200, her highest mainstream chart success since 1977’s Luxury Liner, a remarkable late-stage career success.
Emmylou Harris has sold 75 million records in the U.S. alone. She has won 14 Grammy awards out of 48 for which she had been nominated. She has also won numerous country, bluegrass and Americana awards, and was inducted into the Country Music Hall of Fame in February 2008.
…By the time we got to Woodstock/We were half a million strong/And everywhere was a song and a celebration/And I dreamed I saw the bomber death planes/Riding shotgun in the sky/Turning into butterflies/Above our nation… (excerpt from Joni Mitchell tune Woodstock)
Next week is the 50th anniversary of Woodstock, which took place from August 15-18, 1969. Much has been written about this festival, which officially was titled the Woodstock Music & Art Fair. The initiators Michael Lang, Artie Kornfeld, Joel Rosenman and John P. Roberts. The selection of the venue, which ended up being Max Yasgur’s 600-acre dairy farm in Bethel, N.Y. The acts who were not invited or and those who were but chose to decline or didn’t make it there. The artists who performed at the event. The overcrowding with an audience exceeding 400,000 people, more than twice the 200,000 that had been expected, based on advance sales of 186,000 tickets. The mud bath conditions resulting from bad weather.
As a huge fan of music from that era, it felt natural to commemorate this extraordinary moment in 20th Century entertainment history. At the same time, I did not want to create yet another write-up that recaps the history. Instead, this post focuses on what my blog is supposed to be all about: Music I love and therefore like to celebrate. Following are some performance highlights from Woodstock. Since I didn’t have strong feelings about a particular order, I decided to go chronologically.
Let’s kick it off with Richie Havens, the opening act on the first day, Friday, August 15, in the late afternoon, and his riveting performance of Freedom. It was an improvised encore based on the traditional spiritual Motherless Child. “When you hear me play that long intro, it’s me stalling. I was thinking, ‘What the hell am I going to sing?'” he later explained, according to Songfacts. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me. I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.” Sounds like a cool story.
Sweet Sir Galahad is a tune by Joan Baez. Like in other cases at Woodstock, her performance predated the actual recording and release of the song, which first appeared on her 1970 studio album One Day At A Time. BTW, when Baez played it at the festival, it was already past 1:00 am on Saturday, August 16. In order to squeeze the 32 acts into the three days, many artists ended up performing after midnight. As you might imagine, some weren’t exactly happy about it.
Undoubtedly, one of Woodstock’s highlights I’ve seen is Soul Sacrifice by Santana. The band played on Saturday afternoon. Credited to Carlos Santana (guitar), Gregg Rolie (keyboards), David Brown (bass) and Marcus Malone (congas), Soul Sacrifice was included on the band’s eponymous studio debut album, released two weeks after their iconic appearance at the festival. I’ve watched this clip many times, and it continues to give me goosebumps. These guys were lightening up the stage. Live music doesn’t get much better than that. This appearance in and of itself already would have justified Santana’s place in music history. Of course, there was much more to come.
Moving on to Saturday evening brings us to blues rockers Canned Heat and their great tune On The Road Again. Co-credited to the band’s vocalist Alan Wilson, who also played harmonica and guitar, and blues artist Floyd Jones, the track was adapted from earlier blues songs. It first appeared on Canned Heat’s second studio album Boogie With Canned Heat released in January 1968. At Woodstock, it was the band’s closer of their set – what a way to wrap things up!
Next up: Born On The Bayou, one of the killer tunes by Creedence Clearwater Revival. Written by John Fogerty, the song was included on CCR’s sophomore album Bayou Country from January 1969. The band was among the acts performing in the wee wee hours of Sunday morning, August 17. I recall reading that Fogerty wasn’t happy with that time slot, saying the audience was half asleep. That’s why he refused CCR’s inclusion in the 1970 Woodstock documentary, something this band mates felt was a mistake, but John was the undisputed boss. However, footage of CCR is featured in an expanded 40th anniversary edition of the film, which came out in June 2009.
Another highlight of the early hours of Sunday was Janis Joplin with The Kozmic Blues Band. Here’s Try (Just A Little Bit Harder), the opener of Joplin’s third studio album I Got Dem Ol’ Kozmic Blues Again Mama! from September 1969. The song was co-written by Jerry Ragovoy and Chip Taylor. I don’t feel there was any way Joplin could have tried any harder to sing that song than she did. Similar to Santana, the energy of her performance was through the roof. And all of this after 2:00 am in the morning – whatever substance she was on, it apparently worked!
If I see this correctly (based on Wikipedia), the set with the most songs at Woodstock belonged to The Who with 22 tracks. They kicked their gig off at 5:00 am on Sunday. Again, what a crazy thought to play at that time! Still, the kids certainly were alright. Here’s We’re Not Gonna Take It/See Me, Feel Me, the final track from Tommy, the band’s fourth studio album that appeared in May 1969. Like most tunes on the record, it was written by Pete Townshend.
Apart from Jimi Hendrix’s rendition of The Star-Spangled Banner, perhaps the most iconic performance at Woodstock was With A Little Help From My Friends by Joe Cocker, the first act who officially opened the festival’s final day on Sunday afternoon. To me, Cocker’s version of The Beatles’ tune is the best rock cover I know. He truly made it his own. In fact, The Beatles were so impressed with it that they allowed him to cover more of their songs like She Came Into The Bathroom Window. With A Little Help From My Friends was the title track of Cocker’s debut album from May 1969. What an amazing performance!
On to 3:00 am on Monday, August 18 and Crosby, Stills, Nash & Young. For the most part, including set opener Suite: Judy Blue Eyes, it was actually David Crosby, Stephen Stills and Graham Nash only. Neil Young skipped most of the acoustic songs but joined the band during the electric set. Neil being Neil, he also refused to be filmed, feeling it was distracting to both the performers and the audience. Written by Stills, Suite: Judy Blue Eyes was the opening track of CSN’s debut album from May 1969.
A post about Woodstock’s musical highlights wouldn’t be complete without the closing act: Jimi Hendrix. Playing on Monday from 9:00 to 11:00 am, it looks like he had the longest set. Here is his unforgettable rendition of the aforementioned The Star-Spangled Banner. Hendrix effectively used heavy guitar distortion, feedback and sustain to imitate the sounds from rockets and bombs. He truly gave it all he got and collapsed from exhaustion while leaving the stage after his encore Hey Joe.
Woodstock’s original co-creator Michael Lang also helped organize a planned 50th anniversary festival. However, after a series of production issues, venue relocations and artist cancellations, it was canceled on July 31, 2018. A second Woodstock anniversary festival was planned at Bethel Woods Center for the Arts, but in February, the Center announced that instead it will focus on “A Season of Song & Celebration” for the entire summer. The anniversary dates coincide with concerts from Ringo Starr and His All Starr Band (Aug 16), Santana with The Doobie Brothers (Aug 17) and John Fogerty with Tedeshi Trucks Band & Grace Potter (Aug 18).
I’ll leave you with a little fun fact: Tickets for Santana with The Doobies start at about $128.00 (including fees). By today’s standards, sadly, this is fairly normal. But, to be clear, these tickets are the cheapest and will only get you the lawn, the area farthest away from the stage. By comparison, tickets for the entire Woodstock festival in 1969, which as noted above included 32 acts, sold for $18.00 in advance and $24.00 at the gate. That’s the equivalent of approximately $123.00 and $164.00 today. Once again, we see the times they are a changin!
Sources: Wikipedia, Songfacts, Syracuse.com, Bethel Woods Center for the Arts website, YouTube
A two-part feature looking back at music of the decade
Here is the second and final installment of my feature looking back at music and some related events in the ’80s. This part is focused on the second half of the decade. As noted in part 1, it isn’t meant to be a comprehensive review but instead a selection of things I find noteworthy.
To me the key music event during this year and perhaps the entire decade was Live Aid. I was watching it on TV from Germany while simultaneously taping it on music cassette from the radio. Organized by Bob Geldorf and Midge Ure as a fundraiser to fight starvation in Ethiopia, Africa, the benefit concert was conducted on July 13 simultaneously in the U.K. at London’s Wembley Stadium and the U.S. at John F. Kennedy Stadium in Philadelphia. Among others, it featured Status Quo, Queen, U2, David Bowie, The Who and Paul McCartney at Wembley, while some of the performers in Philly included Joan Baez, Madonna, Tom Petty, Bob Dylan, Mick Jagger, Tina Turner and, in a less-than-stellar appearance, a reunited Led Zeppelin featuring Phil Collins on drums. The concerts were watched by an estimated global TV audience of 1.9 billion across 150 countries and raised approximately 150 million British pounds.
Other events that year included the official launch of VH-1 on cable TV in the U.S. (Jan 1); recording of the charity single for Africa We Are The World (Jan 28), co-written by Michael Jackson and Lionel Ritchie and performed by USA For Africa, who apart from Jackson and Ritchie featured Ray Charles, Billy Joel, Cindy Lauper, Paul Simon, Bruce Springsteen, Stevie Wonder and numerous other top artists; release of Dire Straits’ fifth studio album Brothers In Arms, their best-selling record that among others became known for its exceptional sound quality due to its all-digital recording (May 13); Michael Jackson’s purchase of the publishing rights for most of The Beatles’ catalog for $47 million, out-bidding former artistic collaborator McCartney whose success in music publishing had inspired Jackson to increase his activities in the business (Sep 6); and Roger Waters’ announced intention to leave Pink Floyd, which marked the start of a two-year legal battle over the rights to the band’s name and assets.
The biggest hit singles of 1985 were Shout (Tears For Fears), We Are The World (USA For Africa), Take On Me (a-ha), I Want To Know What Love Is (Foreigner) and Material Girl (Madonna). Following is Money For Nothing, the second single from Dire Straits’Brothers In Arms album, which they performed at Live Aid. Like on the studio recording, it featured Sting on backing vocals.
On Jan 30, the Rock and Roll Hall of Fame held its first induction ceremony. The first batch of inductees included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley. While over the years since, there has been much debate over who should be in the Rock Hall, the selection process, the award categories, etc., I think there is no doubt that the above artists all well-deserving inductees.
Other events: Bob Geldorf’s knighthood award to recognize his work for Live Aid and other charity concerts for Africa (Jun 10); release of Madonna’sTrue Blue album, the best-selling record of year (Jun 30); and disbanding of The Clash, Electric Light Orchestra (revived by Jeff Lynne in 2000) and Men At Work.
The top-performing hit singles included Rock Me Amadeus (Falco) – the first German-language song to top the U.S. Billboard Hot 100, Papa Don’t Preach (Madonna), The Final Countdown (Europe), Take My Breath Away (Berlin) and West End Girls (Pet Shop Boys). The 1986 tune I’d like to highlight is Sledgehammer by Peter Gabriel, which was first released as a single in April. It also appeared on his fifth studio album So that came out the following month. Here’s the song’s official video, which won multiple accolades in 1987, including a record nine awards at the MTV Music Video Music Awards and “Best British Video” at the Brit Awards. It’s definitely one of the most memorable music videos of the decade.
Some of the events in music during that year included the induction of Aretha Franklin as the first woman into the Rock and Roll Hall of Fame (Jan 3); release of U2’s fifth studio album The Joshua Tree (Mar 9), which topped the charts in 20-plus countries and became one of the world’s most commercially successful records, selling more than 25 million copies; Whitney Houston’s second studio album Whitney, the first record by a female artist to debut at no. 1 on the Billboard 200 (Jun 27); launch of MTV Europe (Aug 1); and release of A Momentary Lapse Of Reason, Pink Floyd’s first studio album after the departure of and legal battle with Roger Waters (Sep 7). Waters finally wrapped up his legal separation from the band later that year.
The highest-charting hit singles were La Bamba (Los Lobos), Never Gonna Give You Up (Rick Astley); I Wanna Dance With Somebody Who Loves Me (Whitney Houston), It’s A Sin (Pet Shop Boys) and Who’s That Girl (Madonna) – I remember each of these songs like it was yesterday! Here’s Where The Streets Have No Name from my favorite U2 album The Joshua Tree. Credited to the band (music) and Bono (lyrics), the tune was released as the album’s third single in August 1987, five months after the record’s appearance.
Some of the music events that year included the induction of The Beach Boys, The Beatles, The Drifters, Bob Dylan and The Supremes into the Rock and Roll Hall of Fame (Jan 20); near-death experience for Alice Cooper on stage after one of the props, the Gallows, malfunctioned – yikes! (Apr 7); sale of legendary soul label Motown Records to MCA and financial firm Boston Ventures for $61 million (Jun 27); John Fogerty’s win of what sounds like a frivolous self-plagiarism lawsuit Fantasy Records had brought against him, claiming his 1985 comeback tune The Old Man Down The Road was too similar to Run Through The Jungle, which he had recorded with Creedence Clearwater Revival in 1970 (Nov 7); and final concert by Roy Orbison in Akron, Ohio (Dec 4) prior to his death from a heart attack only two days thereafter.
Leading hit singles: A Groovy Kind Of Love (Phil Collins), Don’t Worry Be Happy (Bobby McFerrin), Always On My Mind (Pet Shop Boys), Heaven Is A Place On Earth (Belinda Carlisle) and Take Me To Your Heart (Rick Astley). One 1988 song I like in particular is Under The Milky Way Tonight by Australian outfit The Church. Co-written by Steve Kilbey and Karin Jansson, it became the lead single to their excellent fifth studio album Starfish. Both were released in February that year. Here’s a clip.
I can’t believe I made it to the last year of the decade! Some of the events I’d like to highlight are criticism of Madonna by religious groups worldwide over alleged blasphemous use of Christian imagery in her music video for Like A Prayer (Feb 23), which had premiered on MTV the day before; release of Bonnie Raitt’s 10th studio album Nick Of Time, one of my favorite records from her (Mar 21); release of Tom Petty’s excellent debut solo album Full Moon Fever (Apr 24); Ringo Starr’s formation of his All-Starr Band (Jul 23); opening of The Rolling Stones’ North American tour in Philadelphia to support their comeback album Steel Wheels (Aug 31), two days after the album had dropped; and release of Neil Young’s 17th studio album Freedom (Oct 2), best known for the epic Rockin’ In The Free World.
Key hit singles were Like A Prayer (Madonna), Eternal Flame (The Bangles), Another Day In Paradise (Phil Collins), The Look (Roxette) and Love Shack (The B-52s). The final ’80s tune I’d like to call out via clip is Down To London by Joe Jackson, an artist I’ve listened to for many years. He recorded the song for his 10th studio release Blaze Of Glory, which appeared in April 1989.