Paul McCartney Got Back to Jersey’s MetLife Stadium

Final gig of North American tour features plenty of music, anecdotes and a surprise guest

Last night, I saw Paul McCartney for the third and possibly last time, at MetLife Stadium in New Jersey. It’s hard to believe six years had passed since my previous Macca concert in August 2016 at Hersheypark in Hershey, Pa. Yesterday’s show marked the final gig of his 16-date North American Got Back Tour. And back he got, with more than two and a half hours of songs, anecdotes and a surprise guest.

Overall, I share the same sentiments of fellow blogger Jim from Music Enthusiast, who recently got to enjoy McCartney in Boston and posted a nice review here. Backed by his longtime touring band, McCartney delivered many great songs and had an amazing amount of energy. His voice definitely wasn’t what it used to be, but I had fully anticipated that, so it didn’t bother me. I was simply happy to get another opportunity to see one of my biggest heroes in music.

Paul McCartney got back. So did I, to see him for the third time.

There was a LOT of music – 40 songs, including a snippet of Jimi Hendrix’s Foxey Lady at the end of Let Me Roll It, and not counting the audience’s rendition of Happy Birthday to congratulate Sir Paul in advance of his imminent big occasion. Putting together a setlist that between The Beatles, Wings and Paul McCartney solo tunes reflects a massive catalog must be tricky and cannot make everybody entirely happy. Personally, I would have loved to see a few more early Beatles songs. And from Egypt Station, Paul’s 17th solo album from 2018, which I feel is among his better post-Beatles efforts, Come On to Me and Fuh You wouldn’t have been my picks, but enough with the silly complaining!

While based on Jim’s blog and other accounts I’ve read Macca’s song announcements and shared anecdotes didn’t vary from show to show, nevertheless, this didn’t feel like some routine gig to me. You could see from Macca’s facial expressions that the soon-to-be 80-year-old still enjoyed performing for his fans. I mean, ‘drink this all in,’ to borrow one of Paul’s expressions he used last night!

Waiting for Macca with cool psychedelic renderings of The Beatles

Usually, I don’t “coordinate” my posts with fellow bloggers. But since I believe Jim and I have a number of common followers and given his recent review, I decided to focus on music Jim didn’t highlight in his great post, so our fellow bloggers don’t end up watching the same clips twice. And, as previously hinted, there is a surprise guest. Curious? Read on! 🙂

Let’s kick things off with a Beatles tune from Revolver: Got to Get You Into My Life. Written by Macca and credited to him and John Lennon, the song is a nice homage to Motown. I’ve always dug it! The performance also prominently showcased Paul’s neat horn section.

The next song I’d like to highlight is from Band on the Run, Macca’s third studio release with Wings. The 1973 record remains my favorite McCartney album post-Beatles. Here’s the great piano-driven Nineteen Hundred and Eighty-Five.

For this next tune, Macca went back, way back, to the very first song recorded in June 1958 as a demo by The Quarrymen, the group that eventually would evolve into The Beatles. In addition to Paul, John and George Harrison, the line-up featured John Lowe (piano) and Colin Hanton (drums). Sure, In Spite of All the Danger isn’t as good as I Saw Her Standing There, You Can’t Do That, She Loves You and other early Beatles tunes, but I still thought it was cool Paul decided to play it.

No Paul McCartney gig would be complete without some solo tunes on acoustic guitar. Here’s Blackbird, off The White Album, a song I loved from the get-go when I heard it many moons ago. In fact, my great guitar teacher showed me how to play it at the time. Unfortunately, these days, I can only partially remember it. But I suppose there’s always YouTube!

Next, I’d like to highlight a medley of You Never Give Me Your Money and She Came Into the Bathroom Window. During his announcement, Paul noted the North American tour marked the first time they performed this. It’s hard to believe they didn’t play these great tunes from Abbey Road during previous tours.

Did I mention there was a surprise? About two-thirds into the show, there was a sudden commotion in the audience. I heard people behind me speculate that Ringo Starr might be in the house. After all, Ringo had showed up at Dodger Stadium in Los Angeles in July 2019 where Macca wrapped his Freshen Up Tour. Well, we didn’t get Ringo. Instead, Bruce Springsteen walked up on stage to a screaming audience. Here are two tunes he performed with McCartney: His own Glory Days, off the Born in the U.S.A. album, and The Beatles’ I Wanna Be Your Man. For a moment, the Boss stole the show, but Macca seemed to be cool with it!

I could go on and on, but all things must pass, to borrow from the wise George Harrison. The last tune I’d like to call out is from the encore: Helter Skelter, another track from The White Album. And an impressive illustration of Sir Paul’s admirable energy level two and a half hours into the gig. Any young cat musicians out there, check this out – just incredible!

I briefly mentioned Paul’s excellent band in the upfront. These guys are simply top-notch musicians and Macca rightfully called them out last night: Paul “Wix” Wickens (keyboards), Brian Ray (bass/guitar), Rusty Anderson (guitar) and Abe Laboriel Jr. (drums). He also noted the name of his amazing horn section, but unfortunately, I did not catch it.

Last but not least, here’s the setlist:
• Can’t Buy Me Love (The Beatles song)
• Junior’s Farm (Wings song)
• Letting Go (Wings song)
• Got to Get You Into My Life (The Beatles song)
• Come On to Me
• Let Me Roll It (Wings song) (with “Foxy Lady” outro jam)
• Getting Better (The Beatles song)
• Let ‘Em In (Wings song)
• My Valentine
• Nineteen Hundred and Eighty-Five (Wings song)
• Maybe I’m Amazed
• I’ve Just Seen a Face (The Beatles song)
• In Spite of All the Danger (The Quarrymen song)
• Love Me Do (The Beatles song)
• Dance Tonight
• Blackbird (The Beatles song)
• Here Today
• New
• Lady Madonna (The Beatles song)
• Fuh You
• Jet (Wings song)
• Being for the Benefit of Mr. Kite! (The Beatles song)
• Something (The Beatles song)
• Ob-La-Di, Ob-La-Da (The Beatles song)
• You Never Give Me Your Money & She Came in Through the Bathroom Window (The Beatles songs)
• Get Back (The Beatles song)
• Band on the Run (Wings song)
• Glory Days (Bruce Springsteen cover with Bruce Springsteen)
• I Wanna Be Your Man (The Beatles song with Bruce Springsteen)
• Let It Be (The Beatles song)
• Live and Let Die (Wings song)
• Hey Jude (The Beatles song)

Encore:
• I’ve Got a Feeling (The Beatles song) (“virtual duet” w/video &… more )
• Happy Birthday to You (Mildred J. Hill & Patty Hill cover) (with Jon Bon Jovi)
• Birthday (The Beatles song)
• Helter Skelter (The Beatles song)
• Golden Slumbers (The Beatles song)
• Carry That Weight (The Beatles song)
• The End (The Beatles song with Bruce Springsteen)

Sources: Wikipedia; Setlist; YouTube

After Various Attempts, The Starrs Were Finally Aligned at The Beacon

Ringo Starr and His All Starr Band shine at New York City’s renowned performance venue

I finally got to see Ringo Starr and His All Starr Band Tuesday night at New York City’s storied Beacon Theatre. While as a huge Beatles fan I can’t quite explain why this didn’t happen years ago, I know one thing for sure: The night turned out to be a great memorable experience that was worth the wait!

At the beginning of the concert, which kicked off shortly after 8:00 p.m. with no opening act, Ringo noted that after various previously cancelled attempts he was glad to be back on the road. Based on the vibe he projected throughout the gig, those were honest words from a close to 82-year-old artist who still loves to perform.

The Beacon Theatre framed by construction scaffolding. And, nope, that black Mercedes wasn’t Ringo’s limousine.

One sad note: All Starr member Edgar Winter was absent. Ringo explained he had come down with COVID. Since his keyboards had been set up, I assume Winter literally must have found out just hours before the gig. But as professional musicians do, they decided the show must go on. Not only do I join Ringo who wished Winter the best, but I also hope nobody else from the band and the supporting staff got infected and the long postponed tour can go on.

Another bit of a bummer: I didn’t capture any video. You can thank the Beacon Theatre’s usher police. I’ve rarely seen ushers constantly pacing back and forth and telling people not to take photos or videos. Granted these are the official rules but, come on, regular concert visitors snapping some photos or taking some video aren’t doing this for profit.

Yes, there is a smile behind that bloody mask!

Well, other than taking a couple of pictures, I didn’t want to become a troublemaker, especially when the performer’s key motto is ‘peace and love’. Instead, I’m relying on YouTube videos captured by some other terrible violators! None of the clips was captured Tuesday night, but they are all from the current tour and feature Edgar Winter. And while he was defintely missed, the group did a great job without him.

Speaking of the All Starr Band beyond Ringo, each member had moments when they truly shined. The first two I’d like to call out are saxophonist Warren Ham, who also played flute and harmonica and sang vocals. Then there was British guitarist and bassist Hamish Stuart, a co-founder of Scottish funk and R&B group Average White Band, aka AWB. Check out their and and the band’s great rendition of AWB’s Pick Up the Pieces, off their 1974 eponymous sophomore album. And, yep, that’s Steve Lukather on bass, who occassionally traded the instrument with Stuart.

Colin Hay, best known as songwriter, guitarist and lead vocalist of Aussie band Men At Work, stood out on vocals, still sounding like business as usual in the ’80s, especially on Men At Work songs. Here’s Overkill, a tune from the band’s sophomore album Cargo, released in April 1993. Check out Hay hitting high notes at around 3 minutes. Hay also perfectly nailed the high notes on Toto’s Africa, a vocal highlight of the night. Unfortunately, I couldn’t find a clip that did the performance full justice.

Steve Lukather was great on guitar. Here here’s rocking out on Hold the Line, Toto’s debut single from October 1978, which gave them a big hit from the get-go. When anouncing the tune on Tuesday night, Lukather said he was 19 years old when Toto recorded that tune, adding in a few months he’s turning 65. I’ve always loved that song!

So where the heck is Ringo in all of this, you may wonder. Well, to begin with, he shared drumming responsibilities with Gregg Bissonette, and they both looked like they were having fun behind their kits. And then, of course, he also did some singing. Here’s Photograph, co-written by him and George Harrison, and first released in September 1973 as the lead single of Ringo’s eponymous third studio album that came out in November that year.

Following is the setlist from Tuesday night:
• Matchbox (Carl Perkins cover)
• It Don’t Come Easy (Ringo Starr song)
• What Goes On (Beatles cover)
• Rosanna (Toto cover feat. Steve Lukather)
• Pick Up the Pieces (AWB cover feat. Hamish Stuart)
• Down Under (Men At Work cover feat. Colin Hay)
• Boys (Shirelles cover feat. Ringo Starr)
• I’m The Greatest (Ringo Starr song)
• Yellow Submarine (Beatles cover feat. Ringo Starr)
• Cut the Cake (WAB cover feat. Hamish Stuart)
• Octupus’s Garden (Beatles cover feat. Ringo Starr)
• Back Off Boogaloo (Ringo Starr song)
• Overkill (Men At Work cover feat. Colin Hay)
• Africa (Toto cover feat. Steve Lukather)
• Work to Do (Isley Brothers cover feat. Hamish Stuart)
• I Wanna Be Your Man (Beatles cover feat. Ringo Starr)
• Who Can It Be Now? (Men At Work cover feat. Colin Hay)
• Hold the Line (Toto cover feat. Steve Lukather)
• Photograph (Ringo Starr song)
• Act Naturally (Johnny Russell cover feat. Ringo Starr)
• With a Little Help From My Friends/Give Peace A Chance (Beatles cover feat. Ringo; John Lennon cover)

Tuesday night’s gig was the second of three dates Ringo Starr and His All Starr Band did at the Beacon Theatre. Tomorrow night, they play Count Basie Theater, a great venue in Red Bank, N.J., before moving on to State Theater in Easton, Penn. (June 11) and Providenc PAC in Providence, R.I. (June 12). The current leg of the North American tour wraps up in Clearwater, Fla. on June 26. Part 2 starts in Bridgeport, Conn. on September 23. The full current schedule is here. If you haven’t seen Ringo yet and like his music and the All Starr Band concept, I can highly recommend the show!

Sources: Wikipedia; Setlist.fm; Ringo Starr website; YouTube

Musings of the Past

When The Beatles’ Revolver Turned 50

The other day, fellow blogger Max from PowerPop blog featured I Want to Tell You, a George Harrison tune from Revolver, rightfully noting the great opening riff and calling it very unrated. This reminded me of a post I originally published in August 2016 about the then-50th anniversary of what is widely considered one of the best albums by The Beatles.

I was about six weeks into my blogging journey. The blog was very bare-bones at the time with no embedded images or video clips in the posts. While my writing was also still evolving, I felt the content of this early post deserved to be republished. Unlike previous Musings of the Past installments, which essentially were straight reposts, I decided to enhance the Revolver post with both multi-media and some additional text at the end. I also slightly amended the headline. Here we go.

When The Beatles’ Revolver Turned 50

It was 50 years ago yesterday (Aug 5): The Beatles released Revolver in the UK, an album that is considered a leap from predecessor Rubber Soul, introducing more experimentation and innovative recording techniques.

On Aug 5, 1966, The Beatles released Revolver, their seventh studio album in the UK. Just the other day, a good friend of mine told me many experts consider it the best album of the Fab Four. Yesterday, I noticed a number of related articles from music sources like Rolling Stone and others commemorating the occasion. So I decided to take a closer look on this mold-breaking album.

On RevolverThe Beatles started experimenting with various new recording techniques, including tape loops, backwards recordings and varispeeding. The most significant innovation was Artificial Double Tracking (ADT), which was invented by Ken Townsend, a recording engineer at Abbey Road Studios. The technique essentially combines an original audio signal with a delayed copy of that signal. Previously, the effect could only be accomplished by natural doubling of a voice or instrument, a technique called double-tracking.

The invention of ADT mainly was spurred by a request from John Lennon who during the Revolver sessions asked for a less tedious alternative to double-tracking. ADT was soon adopted throughout the recording industry.

Revolver was also remarkable for other reasons. The title, by the way, had nothing to do with guns but was derived from the verb revolve. One of the album’s highlights is the string arrangement on Eleanor Rigby, which was written by George Martin. Otherwise, the tune was primarily penned by Paul McCartney. Blending classical and pop music broke conventions. It would take another four years before another British band, Electric Light Orchestra, would take this concept to the stratosphere.

Revolver also saw George Harrison take on a bigger role in song-writing and shaping the band’s sound: TaxmanLove You To and I Want to Tell You were all written by him. Love You To featured Indian classical instruments, which George had introduced on Rubber Soul with his use of the sitar on Norwegian Wood. On Revolver, he also introduced the tambura, another instrument used in Indian music, on John’s Tomorrow Never Knows. Another interesting tidbit I read: The guitar solo on Taxman was played by Paul after George had made multiple unsuccessful attempts.

Apart from the above, Revolver included other gems like Here, There and EverywhereGood Day Sunshine and Got to Get You into My Life. The sessions to the album also yielded the non-album single Paperback Writer with Rain as the b-side.

In the U.S., Revolver was released on August 8, 1966. The release coincided with The Beatles’ third and final concert tour in the U.S. and Toronto. Except for Paperback Writer, the band did not perform any of the songs from the Revolver sessions.

Revolver won the 1966 Grammy for Best Album Cover, Graphic Arts. The cover artwork was designed by Klaus Voormann, who had known The Beatles since 1960 when he met them during their time in Hamburg. While Revolver was well received in the UK, the initial reception in the U.S. was less enthusiastic due to John’s controversial statement that The Beatles had become bigger than Jesus. Eventually, the album was certified 5 times platinum in the U.S. and platinum in the UK.

– End –

The original post, first published on August 6, 2016, ended here. Following is some additional content about two songs that are among my favorites on Revolver.

First up: Taxman. According to Songfacts, George was a fan of the 1960s American television series Batman. The music for Taxman was inspired by the Batman Theme, written and first recorded by conductor/trumpeter Neal Hefti. It was subsequently covered in early 1966 by The Marketts, an American surf rock group. “‘Taxman’ was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes,” Harrison said. Subsequently, he changed his stance about money, telling BBC Radio in 1969, “No matter how much money you’ve got, you can’t be happy anyway. So you have to find your happiness with the problems you have and you have to not worry too much about them.”

Let’s wrap up with John Lennon tune And Your Bird Can Sing. From Songfacts: “Bird” is British slang for “Girl.” One theory is that this song is a scolding by John Lennon of his buddy Mick Jagger of the Rolling Stones, who loved to brag about his bird – Marianne Faithfull – who was great, green (jealous/young) and could sing. John made it clear that Mick and the Stones wear great but could never ever match up to John and the other Beatles...The signature dual-harmony electric lead guitar parts were played live (without overdubbing) by Harrison and McCartney. Lennon played the rhythm in the “D major” position with the capo on the second fret (to account for the song being in the key of E)...John Lennon said this was a throwaway song with random words of psychedelia added in designed to sound like it meant something. He considered it one of his worst songs. Not bad for a “junk tune”!

Last but not least here is a Spotify link to Revolver:

Sources: Wikipedia; The Beatles Bible; Songfacts; YouTube; Spotify

Ringo Starr and His All Starr Band Kick Off Long-Awaited North American Tour

15th All Starr Band features Steve Lukather, Colin Hay, Warren Ham, Hamish Stewart, Greg Bissonette and Edgar Winter

We’re on the road again/We’re on the road again/We’re on the road again/We’re gonna play some rock ‘n’ roll, that’s true/Now we’re heading down the highway to play for you...

The above excerpt from We’re On the Road Again, the opener of Ringo Starr’s 2017 studio album Give More Love, was my first thought when getting a recent email reminder for my scheduled upcoming gig by Ringo Starr and His All Starr Band at New York City’s storied Beacon Theatre. This prompted me to check on the status of their tour, which had been derailed twice in 2020 and then again in 2021 due to you know what! It’s now official. Ringo and his revolving cast of prominent bandmates are back on the road, the best news I’ve heard in a long time!

The tour kicked off on May 27 in Canada at Casino Rama in Rama, Ontario. An announcement on Ringo’s website notes the show marked the fifth time the band launched a tour at that venue after 2001, 2003, 2006 and 2014. The large casino, hotel and entertainment complex is located on the reserve land of the Chippewas of Rama First Nation.

Ringo Starr and his All-Starr Band perform at Casino Rama on Friday, May 27, 2022. PHOTO BY DARREN EAGLES /PHOTO

“It’s loose,” Ringo told the Toronto Sun when describing the atmosphere at Casino Rama and explaining why the band chose the venue yet again to kick off another tour. “For a week we live here and we just go to the same stage. It’s good being in the same vicinity as where we’re rehearsing.”

Following are some clips taken by concert attendees of both the initial May 27 show and the second Rama date of May 28. First up: It Don’t Come Easy, which has always been one of my favorite Ringo tunes. The song, which he co-wrote with George Harrison who also produced it, first appeared as a non-album single in April 1971. It was Ringo’s second solo single. The tune may be titled “it don’t come easy”, but you don’t get the sense performing it posed any bigger challenge to Ringo who is turning 82 in July and seems to be in superb shape!

While Ringo undoubtedly is central to the All Starr Band, the idea behind the live “rock supergroup”, which he founded in 1989, has always been to go beyond Ringo’s songs and showcase tunes by the band’s members. Now in its 15th iteration, the group features longtime members Steve Lukather (of Toto), Colin Hay (formerly of Men At Work), Warren Ham, Hamish Stuart (formerly of Average White Band) and Gregg Bissonette, as well as alumni Edgar Winter whose first tenure was from 2006 to 2011. Speaking of Edgar, here’s Free Ride, a song written by Dan Hartman and originally recorded in 1972 by the Edgar Winter Group. Yeah, baby, this rocks!

How ’bout some Aussie music. Ask you shall receive. Here’s Colin Hay with Men at Work’s Down Under. One of the band’s best-known tunes, Down Under appeared on Business As Usual, the group’s debut album released in November 1981. Hay’s proposition of the vegemite sandwich still sounds pretty tasty.

Three clips in, you may wonder, and no Beatles? Agree, this borders on a crime. Here’s Octopus’s Garden, one of two songs Ringo not only sang but also wrote for the band. The second one was Don’t Pass Me By. He penned Octopus’s Garden during a boating trip with his family in Sardinia after he had walked out on The Beatles during The White Album sessions in 1968. Of course, we know the rest of the story. When Ringo returned, he found his drum kit covered with flowers, thanks to George, and Octopus’s Garden ended up on Abbey Road, the actual final Beatles album, even though it was released in September 1969, eight months prior to Let It Be.

Let’s do one more: With a Little Help From My Friends combined with a snippet of Give Peace a Chance, the show finale. With a Little Help From My Friends, off Sgt. Pepper’s Lonely Hearts Club Band, was among the final songs John Lennon and Paul McCartney truly wrote together. Give Peace a Chance, recorded May 31, 1969 at a “bed-in” Lennon staged with Yoko Ono in a room at Queen Elizabeth’s Hotel in Montreal, was Lennon’s first solo hit.

Here’s the setlist from the May 27 show, as reported by the Toronto Sun:
• Matchbox
• It Don’t Come Easy
• What Goes On
• Free Ride
• Rosanna
• Pick Up the Pieces
• Down Under
• Boys
• I’m The Greatest
• Yellow Submarine
• Cut the Cake
• Overkill
• Africa
• Work to Do
• I Wanna Be Your Man
• Johnny B. Goode
• Who Can It Be Now
• Hold the Line
• Photograph
• Act Naturally
• With a Little Help From My Friends/Give Peace A Chance

“I can’t wait to get back out on the road and play,” Ringo said in the above statement that was issued in February. “This is the longest I’ve been off the road in years – up until 2020 I was touring every year with the All Starrs – and I’ve really missed it. Making music in the studio has been great, and it certainly saved me during the pandemic, but nothing beats playing live with great musicians in front of an audience. I love my fans and they love me and it’s going to be wonderful to be peace and loving and playing for them again.” That’s the spirit!

Tonight, Ringo and His All Starr Band are playing CMAC in Canandaigua, N.Y., before moving on to Boston’s Wang Theater on June 2 and Hanover Theater in Worcester, Mass. on June 3. The full tour schedule is available here.

Sources: Wikipedia; Ringo Starr website; Toronto Sun; Songfacts; YouTube

Elton John’s Honky Château at 50 Remains a Classic

While I know a good number of Elton John songs from throughout his 50-plus-year recording career, I cannot make that claim when it comes to his 30 studio albums. So why pick Honky Château to highlight in a post? Well, to start with, it includes Rocket Man, one of my all-time favorite tunes by John. I’ve also always dug Honky Cat. But the main reason for writing about Honky Château again today is the album’s 50th anniversary, another 1972 classic to hit the big milestone.*

Released on May 19, 1972, and named after Château d’Hérouville, an 18th-century French castle where it was recorded, Elton John’s fifth studio album is a gem that definitely has more to offer than the above-noted tunes. Moreover, it’s a significant album in his recording career. Honky Château became John’s first of seven consecutive no. 1 records in the U.S. on the Billboard 200. It also performed very well elsewhere: No. 2 in the UK, no. 3 in Canada and no. 4 in Australia, to name a few countries where it charted. John truly ruled during the first half of the ’70s!

Honky Château also marked the first record to feature core members of John’s road band: David Johnstone (acoustic and electric guitars, steel guitar, mandolin, backing vocals), Dee Murray (bass) and Nigel Olsson (drums). Murray and Olsson had joined John’s touring band from The Spencer Davis Group. Johnstone, a session musician, had first played with John on predecessor Madman Across the Water from November 1971. He pretty much has been with John ever since. Johnstone, Murray and Olsson became instrumental in shaping Elton John’s sound during the ’70s.

Let’s get to some music, and what better way to start than with the opener  Honky Cat. Like all other songs on the record, the music was composed by John with lyrics from his long-time partner in crime Bernie Taupin. I always liked the tune’s New Orleans vibe. The brass section, which was arranged by producer Gus Dudgeon, featured Jacques Bolognesi  (trombone), Ivan Jullien (trumpet), as well as saxophonists Jean-Louis Chautemps and Alain HatotHonky Cat also appeared separately as the album’s second single in July 1972, backed by Slave.

I Think I’m Going to Kill Myself has some of Honky Cat’s New Orleans vibe as well. According to Songfacts, John said the song about a moody teenager’s suicide thoughts isn’t to be taken too seriously. I’m not sure a tune like this could be released today without causing controversy. Of course, the times they are a-changin’, and you could make the same observation for other ’70s tunes. The tap-dancing routine was performed by “Legs” Larry Smith, the former drummer of the comedy satirical rock group the Bonzo Dog Doo-Dah Band. Smith was friends with George Harrison who would include a tribute song about him, His Name Is Legs (Ladies and Gentlemen), on his 1975 studio album Extra Texture (Read All About It).

Closing out Side 1 is the majestic Rocket Man (I Think It’s Going to Be a Long, Long Time), as it’s officially titled. Not surprisingly, the tale about a Mars-bound astronaut’s mixed feelings about leaving his family behind to carry out his mission became the album’s big hit. Separately released as the lead single in April 1972, backed by Susie (Dramas), it rose all the way to no. 2 in the UK and reached no. 6 in the U.S. Rocket Man also was a hit in various other countries, including Canada (no. 8), Germany (no. 18), Ireland (no. 6) and New Zealand (no. 11). It truly is a timeless classic!

Side 2 opens with Salvation. There isn’t much to say about this tune other than it’s the kind of ballad John excelled at in the ’70s, in my view.

Amy is another nice tune on Side 2. The song about young lust has a great groove. It features French jazz violinist and composer Jean-Luc Ponty on electric violin.

The last track I’d like to highlight is Honky Château’s closer Hercules. Initial plans to make Hercules the album’s third single did not materialize. While I haven’t read this anywhere, I’m wondering whether there may have been concerns it could have interfered with Crocodile Rock. One of John’s biggest hits, it was released in October 1972 as the lead single for his next studio album Don’t Shoot Me I’m Only the Piano Player.

Here’s a Spotify link to the entire album.

Honky Château was generally well received by music critics at the time and is regarded as one of Elton John’s best albums. In October 1995, the record was certified Platinum by the Recording Industry Association of America  (RIAA), meaning it had reached certified sales of one million units.

In 2003, Honky Château was ranked at no. 357 on Rolling Stone’s list of the 500 Greatest Albums of All Time, a position that remained nearly unchanged (no. 359) in the 2012 list. Interestingly, the album moved up by more than 100 spots to no. 251 in the list’s most recent revision from September 2020.

* This post was originally published on May 31, 2021. It has been slightly updated.

Sources: Wikipedia; Songfacts; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Happy Sunday! After another busy week on other fronts, I’m ready to time-travel to explore different flavors of the music world. Hope you’ll join me!

The Horace Silver Quartet/Serenade to a Soul Sister

Today’s journey starts in June 1968. This month saw some notable new music releases by artists like Aretha Franklin (Aretha Now), Iron Butterfly (In-A-Gadda-Da-Vida) and Pink Floyd (A Saucerful of Secrets). And Serenade to a Soul Sister, a studio album by The Horace Silver Quartet. The group was formed in 1956 by jazz pianist Horace Silver after he had left The Jazz Messengers which had co-founded with drummer Art Blakey in the early 1950s. The Horace Silver Quartet became Silver’s long-term combo he led into the ’80s. He continued to release albums until 1998. In 2007 and passed away in June 2014 at the age of 85. Here’s the groovy title track of the aforementioned record, composed by Silver. He was backed by Charles Tolliver (trumpet), Stanley Turrentine (tenor saxophone), Bob Cranshaw (bass) and Mickey Roker (drums).

Matthew Sweet & Susanna Hoffs/Maggie Mae

Ever since I first listened to power pop artist Matthew Sweet’s collaborations with Susanna Hoffs, who is best-known as a co-founder of The Bangles, I was hooked by how well their vocals blend in their covers of ’60s, ’70s and ’80s songs. Here’s their version of Rod Stewart classic Maggie Mae, which Stewart co-wrote with Martin Quittenton and recorded for his studio album Every Picture Tells a Story. Sweet and Hoffs included the tune on Under the Covers, Vol. 2, their second of three collaborative efforts that appeared in July 2009. The album featured covers of ’70s songs. From a vocal perspective, admittedly, there are perhaps more compelling examples of the Sweet/Hoffs harmony singing, but I just love that Rod Stewart tune!

Leon Russell/A Song For You

Our next stop takes us to March 1970 and the solo debut album by Leon Russell. Over a 60-year career that started as a 14-year-old in 1956, Russell proved to be a versatile artist spanning multiple genres, including rock & roll, country, gospel, bluegrass, R&B, southern rock, blues rock, folk, surf and Tulsa Sound. A Song For You from his eponymous solo debut album that came out in March 1970 is one of his best-known compositions. It’s probably not a coincidence the soulful ballad is Russell’s most popular song on Spotify. In addition to singing and playing the piano, he also provided the tune’s tenor horn part. The album featured multiple notable guests, including George Harrison, Ringo Starr, Eric Clapton, Steve Winwood and most members of The Rolling Stones.

Sting/The Soul Cages

Ever since my wife and I recently considered seeing Sting who is currently on the road, the ex-Police frontman has been on my mind. I was going to pick a track off Ten Summoner’s Tales, my favorite solo album by the British artist but then decided to select the title track from predecessor The Soul Cages. Sting’s third full-length solo effort from January 1991 was a concept album focused on the death of his father. It helped him overcome a prolonged period of writer’s block he had developed after his dad’s passing in 1987. I always dug the rock vibe of the title track, which also yielded Sting his first Grammy award in 1992, for Best Rock Song.

Bruce Hornsby and The Range/Mandolin Rain

During a recent interview, Bonnie Raitt revealed that Bruce Hornsby is her favorite artist, citing his versatility if I recall it correctly. I guess this planted a bug in my brain to feature a track from the album that brought Hornsby on my radar screen in April 1986: The Way It Is, the first with The Range, his backing band during his early recording career. And what a debut it was it was for the singer-songwriter and pianist who had been active since 1974. Led by the huge success of the title track, The Way It Is achieved multi-Platinum status and helped the band the Grammy Award for Best New Artist in 1987. I pretty much love every tune on that album. Here’s the beautiful Mandolin Rain, co-written by Bruce Hornsby and his brother John Hornsby.

Quaker City Night Hawks/Suit in the Back

And once again, we’ve reached the final stop of our little music excursion. In the past, I’ve repeatedly recognized examples of great music suggestions Apple Music had served up. This time the credit needs to go to Spotify. That streaming platform has what I find is an interesting feature where once you’ve listened to all songs in a playlist you created they continue playing music, selecting tunes they feel fit with your playlist. And that’s exactly how I came across this tune, Suit in the Back, by Quaker City Night Hawks. I had never heard of the Texas band combing southern rock, country and blues, who released their debut ¡Torquila Torquila! in May 2011. Suit in the Back, written by the band’s vocalist, songwriter and guitarist Sam Anderson, is from their most recent album QCNH released in March 2019. Quaker City Night Hawks, who also include David Matsler (vocals, guitar) and Aaron Haynes (drums), certainly look like a band worthwhile to further out.

Last but not least, here’s a Spotify playlist featuring the above tune. Hope you enjoyed this Sunday’s mini-trip.

Sources: Wikipedia; Quaker City Night Hawks website; YouTube; Spotify

Paul McCartney Kicks Off North American ‘Got Back’ Tour

Set includes tributes to John Lennon and George Harrison

On Thursday night, Paul McCartney kicked off his North American Got Back Tour at Spokane Arena in Spokane, Wash. Apparently, it was a fabulous show with emotional tributes to John Lennon and George Harrison.

“Well, we said we’d come back, and we got back,” McCartney told the audience, according to this online piece by classic rock station Q104.3, which triggered this post. “And believe me,” he added, “We’re really happy to be back. I’m gonna take a moment for myself to drink it all in.” Who can blame Macca, after nearly three years of being off the road!

As time-stopped by local newspaper The Spokesman-Review, the gig lasted more than 2.5 hours. To me, it’s an indication that at nearly 80 years, Sir Paul still has remarkable fire in the belly to perform, something I’ve always loved about the man!

The regular set of 30 tracks and encore of six tunes featured many Beatles gems, as well as songs from Macca’s Wings and solo career. Following are two beautiful tributes to John and George, evidently captured by folks who were there.

First up is I’ve Got a Feeling. According to Rolling Stone, Get Back film director Peter Jackson had texted McCartney to let him know they can extract John’s voice, so he could sing the tune with his former bandmate. And that’s exactly what happened, together with video footage of John from the famous roof concert. Unfortunately, it’s only a snippet and the cameraman was shaken but not stirred. But, hey, we’ll take it, hoping it’s going to stay on YouTube.

McCartney also paid tribute to George with a beautiful rendition of Something, one of my favorite Harrison tunes off Abbey Road. Macca did so using a ukelele George had given him all those years ago. McCartney also included that version during a July 2016 show at Hersheypark Stadium in Hershey, Pa. I was fortunate to attend – the last time I saw him.

Yes, let’s be honest here, it’s quite obvious Paul’s voice is showing signs of wear and tear. But I still love the man and the joy he continues to get from performing. I’m going to be amazed when seeing him at MetLife Stadium in New Jersey on June 16, and that’s not a maybe!

Last but not least, here’s the setlist, as recorded by The Spokesman-Review:

Start time: 8:09 p.m.

1. “Can’t Buy Me Love”

2. “Junior’s Farm”

3. “Letting Go”

4. “Got To Get You Into My Life”

5. “Come on to Me”

6. “Let Me Roll It”

7. “Getting Better”

8. “Women and Wives” (first song at piano)

9. “My Valentine” (with video featuring Natalie Portman and Johnny Depp)

10. “Nineteen Hundred and Eighty Five”

11. “Maybe I’m Amazed”

12. “I’ve Just Seen a Face”

13. “In Spite of All the Danger”

14. “Love Me Do”

15. “Dance Tonight”

16. “Blackbird”

17. “Here Today” (tribute to John Lennon)

18. “Queenie Eye” (the 2013 star-studded video includes Depp, as well)

19. “Lady Madonna”

20. “Fuh You”

21. “Being for the Benefit of Mr. Kite!”

22. “Something” (tribute to George Harrison)

23. “Ob-La-Di, Ob-La-Da”

24. “You Never Give Me Your Money”

25. “She Came in Through the Bathroom Window”

26. “Get Back”

27. “Band on the Run”

28. “Let It Be”

29. “Live and Let Die”

30. “Hey Jude”

31. Encore at 10:30 p.m. after Washington state, Ukraine, U.S. and British flags are waved onstage. “I’ve Got a Feeling” video duet with Lennon orchestrated by Oscar-winning director Peter Jackson.

32. “Birthday”

33. “Helter Skelter”

34. “Golden Slumbers”

35. “Carry That Weight”

36. “The End”

End time: 10:51 p.m.

The current schedule for Macca’s Got Back Tour is here. On February 18, it was announced they had added a second date in Boston: June 8 at Fenway Park.

Sources: Q104.3; The Spokesman-Review; Rolling Stone; YouTube

Musings of the Past

The Hardware: Rickenbacker 360/12

Time to take another trip down memory lane. In June 2017, this blog reached its one-year mark. I had recently introduced a new feature titled “The Hardware.” In a nutshell, the idea was to write about iconic music gear in rock, take a look at the technology without going overboard, and feature some of the artists who played the corresponding piece of equipment.

Among my all-time favorite instruments are Rickenbacker guitars, especially 12-string versions, even though I never owned one. I’ve always loved their distinct jangly sound. And, who knows, one of these days I might be crazy enough to get one, even though my guitar skills have become terribly rusty, and the electric guitar and I never became good friends. I suppose it can be tricky when you take classical guitar lessons and then try to apply what you learned to the electric.

Anyway, the following post first appeared on CMM on June 24, 2017. It has been slightly edited for style. I also added a Spotify playlist.

The Hardware: Rickenbacker 360/12

The “jangling” sound of the legendary 12-string guitar had a huge impact on 60s rock

Perhaps no other ’60s band is more closely associated with the chiming sound of the Rickenbacker 360/12 12-string electric guitar than The Byrds. The first time I distinctly noticed its beautiful sound must have been on Mr. Tambourine Man, though the musician who put the 360/12 initially on the map was not Roger McGuinn but George Harrison in early 1964.

Founded in 1931 as Ro-Pat-In Corporation by Swiss immigrant Adolph Rickenbacher and George Beauchamp, later named Electro String and eventually Rickenbacker, the company became a pioneer in electric musical instruments. It was the world’s first manufacturer of electric guitars. Initially, the company made electric Hawaiian guitars before starting to produce a large range of electric and bass guitars.

In 1963, Rickenbacker created the first 12-string electric guitar. In early 1964, Frances C. Hall, who had bought the company in the 1940s, met with The Beatles in New York during their first U.S. tour to show different models to them. John Lennon checked out a 360/12 but thought it would be better suited for Harrison, who was sick and didn’t attend the meeting. When Harrison eventually saw the guitar, he liked it right away. His use of the instrument in the motion picture A Hard Day’s Night would give Rickenbacker electric guitars an enormous boost in popularity.

And then, there was of course McGuinn who introduced The Byrds’ chiming signature guitar sound to the music world on the band’s 1965 debut album Mr. Tambourine Man. Coming from a folk tradition and using a 12-string  Rickenbacker, McGuinn essentially created folk-rock, a new genre at the time.

Asked during an interview with Guitar.com how he came up with the jingle-jangle sound, McGuinn explained, “It was a natural process. It wasn’t like we popped it out of the oven fully grown. I was playing folk music and we played a lot of fingerpicking stuff…And when I heard the Rickenbacker 12-string guitar in the movie A Hard Days Night, that’s where I first got the idea to use that [in my music]. And it made a difference in the sound. It was a much cleaner and bigger and fuller sound.” How about a little demo from the maestro on his Roger McGuinn limited edition Rickenbacker 12-string – isn’t that sound absolutely magical?

As for his preference for the Rickenbacker, McGuinn said, “it sounds different from any other 12-string on the market. I have a Fender 12-string and it sounds completely different even though I put Rickenbacker pickups on it. Maybe it’s the wood or the dimensions of the wood or the semi-hollow-body construction. It could be a lot of different things. But it’s got a distinctive sound. Also they do something different with the stringing. Normal 12-string guitars have an octave string and then the low string. Rickenbacker does it backwards. They have the low string first and then the octave. So the last thing you hear kind of rings out. It’s like you’re picking backwards.”

One of the 360/12’s defining features is the headstock and the way the 12 tuners are grouped in top- and side-mounted pairs. Like on a standard guitar, there are three tuners mounted on each side, with the tuner posts projecting out from the face of the headstock. In addition, three tuners are attached to the side of the headstock, with the tuner knobs pointing toward the rear of the headstock. This design allows the headstock to have the same size as a headstock of a standard six-string, which in turn avoids the head-heavy feel other 12-string guitars tend to have. Are you still with me? 🙂

Another distinct feature of the 360/12 is the string set-up. In a conventional 12-string, the high (octave) string is the first in each pair of strings. On the 360/12, the octave string is the second in each pair. Together with the semi-hollow body design, this string set-up creates the guitar’s signature sound.

“Straight away I liked that you knew exactly which string was which,” Harrison said, according to a recent story in Guitar World, adding with other 12-string guitars, “you spend hours trying to tune it.” I’ve never owned a 12-string, but the idea to tune the string pairs in exact octaves and relative to each other sounds pretty challenging to me, especially without a guitar tuner!

Not surprisingly, the Rickenbacker 360/12 became a very popular guitar. Following are some clips that prominently feature this beautiful instrument:

The Byrds/Mr. Tambourine Man

The Beatles/A Hard Day’s Night

Tom Petty and the Heartbreakers/The Waiting

The Byrds/Turn! Turn! Turn!

Okay, this is the second update to this post, so I hope the third version will make a charm! A dear friend brought to my attention this awesome take of If I Needed Someone, one of my all-time favorite Beatles songs, from McGuinn – sounds a bit like So You Want to be a Rock ‘n’ Roll Star meeting Harrison! I have to admit, I almost like it better than the original!

– End –

Following is a Spotify playlist including the above tunes and some others, allegedly featuring a Rickenbacker 360/12. In some cases, it’s definitely more obvious than in others.

Sources: Wikipedia; Guitar World; Guitar.com; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Good morning/good afternoon/good evening, wherever you are when reading this. It’s Sunday morning in my neck of the woods in lovely central New Jersey where you can always run into a confused deer or encounter a suicidal squirrel that jumps right before your moving vehicle. Why the hell am I saying this? Coz I just felt like it, plus how many times can you introduce a recurring feature that’s now in its 65th week?

Jean-Michel Jarre/Last Rendez Vous

Today, our music journey shall start in space with Jean-Michel Jarre, one of the pioneers of electronic, ambient and new-age music. The French composer who has been active since 1969 broke through with his third studio album Oxygène from December 1976. That record catapulted Jarre to the top of the French charts and the top 10 in various other European countries, including the UK (no. 2), Sweden (no. 3), The Netherlands (no. 4), Germany (no. 8), Norway (no. 9) and Austria (no. 10). Evidently, Europeans loved it, which in no small part was driven by the track Oxygène (Part IV) that subsequently became a single mirroring the album’s chart performance in Europe. Success was more moderate in the U.S. where the album peaked at no. 78 on the Billboard Hot 100 and Australia (no. 29) – still remarkable, given the genre! Last Rendez Vous is the closing track of Jarre’s eighth studio album Rendez-Vous, released in April 1986 – not quite as spacy as Oxygène but still very relaxing. That beautiful saxophone part was played by Pierre Gossez.

Drive-By Truckers/Gravity’s Gone

For the next tune, let’s travel to 2006 and pick up the speed with some great Southern rock by Drive-By Truckers. The group was formed in Athens, Ga. in 1996 by Patterson Hood (guitar, vocals, mandolin) and his longtime friend and musical partner Mike Cooley (guitar, vocals, banjo, harmonica). Both remain in the band’s current line-up, which also includes Jay Gonzalez (keyboards, guitar, accordion, saw, backing vocals), Matt Patton (bass, backing and lead vocals) and Brad “EZB” Morgan (drums). Drive-By Truckers helped launch the career of Jason Isbell who joined them at age 21 in 2001 and remained a member until April 2007. He recorded three albums with them, including A Blessing and a Curse, the group’s sixth record from April 2006. Here’s Gravity’s Gone, a great tune with a Stonesy vibe, written by Cooley. Since then, Drive-By Truckers have released seven additional studio albums, the most recent of which is The New OK from October 2020.

Todd Rundgren/I Saw the Light

When that song was served up to me by my streaming music provider the other day, I immediately decided to earmark it for a Sunday Six. The seductive power pop tune by Todd Rundgren reminds me of George Harrison. In fact, when I heard that slide guitar, I was near-100% sure this has to be Harrison. But, nope, the versatile Rundgren played all instruments and provided all vocals on this tune, which is the opener of his third album Something/Anything?. Released as a double-LP in February 1972, Something/Anything? became Rundgren’s commercial breakthrough as a solo artist. Peaking at no. 29 and no. 34 in the U.S. and Canada, respectively, Something/Anything? remains his most successful album to date. As of February 1975, it was certified gold by RIAA, based on 500,000 units sold. I Saw the Light also appeared separately as a single, reaching no. 16 on the U.S. Billboard Hot 100 and no. 15 in Canada. Elsewhere, it climbed to no. 21 in Australia and no. 36 in the UK. The album also featured Rundgren’s biggest hit single Hello It’s Me.

Leonard Cohen/Suzanne

Leonard Cohen/Suzanne

Time to play some ’60s. And, nope, for a change, it’s not a rocker. I can’t quite recall when I heard Suzanne by Leonard Cohen for the first time – must have been in the ’70s. What I do still remember is this song drew me in immediately. Frankly, I’m not even sure I already understood a word of English at the time. But Cohen’s vocals, the beautiful melody and the sparse instrumentation did the trick. Penned by the Canadian poet, novelist and singer-songwriter, Suzanne was the opener of Cohen’s debut album Songs of Leonard Cohen, which appeared in December 1967. It would be the first of fifteen studio albums he recorded over a close to 50-year-recording career. Cohen passed away from leukemia in Los Angeles in November 2016 at the age of 82 years. Suzanne sounds just as powerful today as it did back then.

Soundgarden/Black Hole Sun

Our next stop is the ’90s. It surprises me time and again how little I seem to know about this decade where alternative rock and grunge were all the rage. Well, I’m happy to report I was aware of Black Hole Sun by Soundgarden. In fact, when that tune came out in May 1994, I was in my second year of grad school in the U.S., and it seemed to be everywhere. Unless you lived under a rock, there really was no way you’d miss it! Black Hole Sun, written by Chris Cornell, became the third single off Soundgarden’s fourth studio album that ironically was titled Superunknown. Topping the charts in the U.S., Canada, Australia and New Zealand, reaching the top 5 in the UK, Sweden and Norway, and making the top 20 in The Netherlands, Germany and Austria, Superunknown not only became the Seattle band’s breakthrough but also their most successful album. Even though Black Hole Sun doesn’t have what you would call a catchy melody in the traditional sense, it still can easily get stuck in your brain!

Goodbye June/Stand and Deliver

And once again it’s time to wrap up another six-track journey. For my last pick, I’d like to jump to the present and Goodbye June, an exciting band that has been around since 2005. I love their embrace of classic rock, so it’s not surprising I’ve featured the band several times since I first came across them in December 2021. Goodbye June are comprised of Landon Milbourn (lead vocals), Brandon Qualkenbush (rhythm guitar, bass, backing vocals) and Tyler Baker (lead guitar), who are all cousins. The group was formed in honor of Baker’s brother who died in a car accident in June 2005. In 2009, they relocated to Nashville where they gained a reputation for their fiery live shows. Three years later, the band’s debut album Nor the Wild Music Flow came out. Stand and Deliver is a track from Goodbye June’s fourth and most recent studio release See Where the Night Goes, which appeared on February 18. I can hear some great ’70s style rock in here like AC/DC, Led Zeppelin and Aerosmith – love it!

And, last but not least, here’s a Spotify playlist of today’s songs.

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Little darling, it’s been a long, cold lonely winter – well, it actually wasn’t that bad, at least here in lovely Central New Jersey, but the line from George Harrison’s Here Comes the Sun was the first thing that came to mind in connection with spring, which officially started today! With that being said, let’s get to the first spring edition of The Sunday Six.

Tangerine Dream/Underwater Twilight

Today’s trip starts with a soothing instrumental by German electronic music stalwarts Tangerine Dream. This track was part of a “chill mix” playlist my streaming music provider served up the other day. Founded as a five-piece in 1967 by Edgar Froese, the group has seen numerous line-up changes over its long and still ongoing history. Wikipedia notes their best-known line-up was a trio, which in addition to Froese (keyboards, guitars) included Christopher Franke (keyboards, drums) and Peter Baumann (keyboards). Spanning the years 1971-1975, that line-up’s albums included Alpha Centauri (March 1971), Zeit (August 1972), Atem (March 1973), Phaedra (November 1973) and Rubycon (March 1975). To get to Underwater Twilight, a track from Tangerine Dream’s 16th studio album Underwater Sunlight, we need to jump forward 11 years to August 1986. By that time, Froese and Franke were joined by Paul Haslinger (synthesizer, grand piano, guitar). Froese remained with Tangerine Dream until his death in January 2015. The group’s current line-up has no original members. The only connection to the past remains Froese’s widow Bianca Froese-Acquaye who acts as the group’s manager.

Grant Lee Buffalo/Rock of Ages

Our next stop takes us to the ’90s and Grant Lee Buffalo, a rock band from Los Angeles, who initially were active between 1991 and 1999. Their members included Grant-Lee Phillips (vocals, guitar), Paul Kimble (bass) and Joey Peters (drums). All of the group’s four studio albums came out during that period. After they disbanded in early 1999, Phillips launched a solo career. In late 2010 and early 2011, Grant Lee Buffalo briefly came back together for a reunion tour. Rock of Ages, penned by Phillips, is a great track from the group’s sophomore album Mighty Joe Moon, released in September 1994. Its vibe reminds me a bit of Knockin’ On Heaven’s Door. I’m completely new to this group and dig what I’ve heard so far. I’d welcome listening tips any of you may have.

Joe Jackson/Friday

For this tune, we’re gonna step on the gas and go back to October 1979 and the sophomore album by Joe Jackson, aptly titled I’m the Man. The record, which I received as a present for my 14th birthday in 1980, was my introduction to the British artist. Initially, he gained popularity with post-punk and new wave before embracing a jazz-oriented pop sound. With Joe Jackson’s Jumpin’ Jive from June 1981, he also did an all-out jump blues and swing record. His most recent album Fool, which I reviewed here, appeared in January 2019. It’s quite compelling! Back to I’m the Man and Friday, which was penned by Jackson. One of his ingredients is excellent bassist Graham Maby, who continues to play with Jackson to this day. Check out Maby’s pulsating bassline – so good! I should also acknowledge Gary Sanford (guitar) and David Houghton (drums, vocals), which rounded out Jackson’s band at the time – the best backing group he has had, in my view.

The Association/Never My Love

After three tunes into our journey, it’s high time to visit my favorite decade the ’60s. And, boy, do I have a sunshine pop goodie that has California written all over it. The Association have been active since 1965, except for a short one-year break-up from 1978 to 1979. Their heyday was in the ’60s where they had a series of top 10 hits. The group also opened the Monterey International Pop Festival that took place June 16-18, 1967. Never My Love, co-written by American siblings Don Addrisi and Dick Addrisi, is among The Association’s biggest hits, climbing to no. 2 in the U.S. on the Billboard Hot 100 and topping the Canadian charts. The tune first appeared on the band’s third album Insight Out from June 1967, before being released as a single in August that year. The Association are still around. As one can imagine, they have had numerous line-up changes, and if I see this correctly, only guitarist and vocalist Jules Alexander remains as an original member. Check out that beautiful harmony singing – gives me goosebumps!

Mindi Abair and The Boneshakers/Vinyl

A few days ago, I featured The Boneshakers in a post dedicated to blues and blues rock. This cool group was formed in the early 1990s by Was (Not Was) guitarist Randy Jacobs and Hillard “Sweet Pea” Atkinson, one of the group’s vocalists, after Was (Not Was) had gone on hiatus. Since 2015, The Boneshakers have repeatedly worked with American saxophonist and vocalist Mindi Abair. This lady is one firecracker. Check out Vinyl, the opener of an album titled The EastWest Sessions that came out in September 2017. Love the funky groove and the soulfulness of this tune!

The Flaming Lips/Can’t Stop the Spring

As we’re once again reaching the final destination of our six-tune music time travel, I thought it would make sense to end this post where it started – spring! I give you Can’t Stop the Spring by psychedelic rock band The Flaming Lips, which I found through a search of my streaming provider’s music library. Somehow that title sounded familiar, so I searched my own blog, which sadly I’ve done more than once to see whether I already covered an artist or song. And, full disclosure, I previously included the tune in a post from March 2021 titled Here Comes the Spring. There’s nothing wrong to repeat a song, even if it’s what I like to call weirdly catchy. As I noted at the time, Can’t Stop the Spring, credited to the entire band, is from their sophomore album Oh My Gawd!!!…, released in January 1987. Formed in Oklahoma City in 1983, The Flaming Lips are still around. 

Sources: Wikipedia; YouTube; Spotify