The Sunday Six

Celebrating music with six random tracks at a time

It’s Sunday morning and time again to embark on another eclectic music mini-journey. Somehow it doesn’t feel a week has gone by since the last published installment of The Sunday Six, but the calendar doesn’t lie. This time, my picks include some saxophone-driven jazz, rock, funk and country, touching the 1950s, ’70s, ’80s and 2021. I actually skipped one of my favorite decades, the ’60s, which is a rare occurrence!

Sonny Rollins/St. Thomas

This time, I’d like to start with some saxophone jazz by Sonny Rollins. I first featured the American tenor saxophonist, who is very influential in the jazz world, earlier this year in this Sunday Six installment from March. Over an incredible 70-year-plus career, Rollins has recorded more than 60 albums as a leader and appeared on many additional records as a sideman. He has played with the likes of Charlie Parker, Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach and Modern Jazz Quartet. St. Thomas is the lead track off his breakthrough album Saxophone Colossus from 1957. The title of his sixth record became Rollins’ nickname. Credited to Rollins, St. Thomas is based on a nursery song his mother sang to him when he was a child. On the recording, he was joined by Tommy Flanagan (piano), Doug Watkins (bass) and Max Roach (drums). Earlier this month, Rollins turned 91.

Dave Mason/Let It Go, Let It Flow

Dave Mason had been a familiar name to me in connection with Traffic, the English rock band he founded together with Steve Winwood, Jim Capaldi and Chris Wood in April 1967. Over the course of his 50-year-plus career, Mason also played and recorded with many other artists, such as Paul McCartney, George Harrison, Jimi Hendrix, Eric Clapton, Fleetwood Mac and Leon Russell. Between 1993 and 1995, Mason was a member of Fleetwood Mac and appeared on their 16th studio album Time from October 1995. In addition to that, he launched a solo career in 1970 and has released 15 albums to date. Let It Go, Let It Flow, written by Mason, is from his seventh solo record Let It Flow that appeared in April 1977. This is a catchy tune – I love the singing and the harmony guitar action, as well as the organ (Mike Finnegan) and bass work (Gerald Johnson). Let It Go, Let It Flow also was released separately as a single and reached no. 45 in the U.S. on the Billboard Hot 100.

Cold Chisel/When the War is Over

A recent post by Robert Horvat from Rearview Mirror about Cold Chisel reminded me of When the War is Over, another song by the Australian rock band. Not only do I love this tune, especially the vocals, but it also brings back memories of my years as a bassist in a band when I was in my early ’20s. In addition to originals written by the group’s leader, we also did some covers. And, yes, this included When the War is Over, a track from Cold Chisel’s fourth studio album Circus Animals that came out in March 1982. Written by the band’s drummer and backing vocalist Steve Prestwich, When the War is Over also became the album’s third single in July 1982, climbing to no. 25 on the Australian charts. The song has been covered by various other artists, including Little River Band and Scenic Drive. ‘Who the hell is Scenic Drive?’ you might wonder. Hint: A German band that focused on West Coast-oriented pop rock and existed between 1987 and 1989.

Stevie Wonder/Superstition

After a beautiful rock ballad, it’s time for something more groovy, something funky. Superstition by Stevie Wonder was the first track that came to my mind in this context. One of my all-time favorite tunes by Wonder, Superstition became the lead single of his 15th studio album Talking Book from October 1972. It also yielded his first no. 1 hit on the Billboard Hot 100 since Fingertips – Part 2 from 1963 when he was still known as Little Stevie Wonder. Jeff Beck who participated in the recording sessions for Talking Book came up with the opening drum beat. Wonder improvised the guitar-like riff, playing a Hohner clavinet. They created a rough demo of the tune with the idea that Beck would record the song for his next album. However, by the time Beck did so, Wonder had recorded the tune for Talking Book, and at the insistence of Berry Gordy who saw a hit, it had been released as a single. Apparently, Beck wasn’t happy and made some comments to the press Wonder didn’t appreciate. Eventually, Beck released his version of Superstition on his 1973 eponymous debut album with Beck, Bogert & Appice.

Scott Hirsch/Dreamer

For this next pick, let’s jump to the present and beautiful music from a forthcoming album by producer and singer-songwriter Scott Hirsch. From his Facebook page: You’ve heard the sound of Scott Hirsch. You might not know it, but his audio production has lurked deep in the cut of many admired recordings from the late 1990s to the present. A founding member of Hiss Golden Messenger, he was integral to the band’s formative years in the studio and on the road. His sonic imprint remains on their productions; most recently mixing the forthcoming album Quietly Blowing It. He recorded and mixed a Grammy nominated record by the legendary folk-singer Alice Gerrard and has produced and played on records by William Tyler, Mikael Jorgensen, Orpheo McCord and Daniel Rossen. I’m completely new to Hirsch who released his solo debut Blue Rider Songs in 2016. Dreamer, which features folk and alt. country singer-songwriter Kelly McFarling, is a mellow country-oriented tune from Hirsch’s upcoming third solo album Windless Day scheduled for October 8. He released the tune upfront on August 13.

The Robbin Thompson Band/Brite Eyes

And once again, it’s time to wrap up this latest music zig-zag excursion. Let’s pick up the speed with a great tune by Robbin Thompson. Thompson was a member of Steel Mill, an early Bruce Springsteen band that existed from November 1969 to January 1971 and included three members of the future E Street Band: Vini Lopez, Danny Federici and Steve Van Zandt. Thompson also worked with Timothy B. Schmit, Phil Vassar, Butch Taylor and Carter Beauford. Between 1976 and 2013, he recorded a series of albums that appeared under his and other names. Thompson passed away from cancer in 2015 at the age of 66. Here’s Brite Eyes, a track from Two B’s Please, an album released in 1980 by The Robbin Thompson Band. The seductive rocker also became a single and a minor national hit in the U.S., peaking at no. 66 on the Billboard Hot 100. It’s got a bit of a Jackson Browne flair, while the harmony singing is reminiscent of America. Also, check out that great bassline – what an awesome tune!

Sources: Wikipedia; Scott Hirsch Facebook page; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Welcome to another installment of The Sunday Six. To those who follow my blog I no longer need to explain the idea behind the weekly recurring feature. For first time visitors, basically, these posts celebrate music in many different flavors from different periods of time, spanning the past 60 to 70 years or so. Ready?

Fleetwood Mac/Albatross

Let’s start off our little musical excursion with one of the most beautiful guitar-driven instrumentals I know: Albatross by Fleetwood Mac. This track goes all the way back to the Mac’s beginning when they were a blues rock band led by amazing British guitarist, vocalist and co-founder Peter Green who also wrote Albatross. At the time this dreamy track was released as a non-album single in November 1968, Fleetwood Mac also featured co-founders Jeremy Spencer (guitar, backing vocals), Mick Fleetwood (drums) and John McVie (bass), as well as Danny Kirwan (guitar, vocals) who had just joined two months earlier. In fact, it was Kirwan who helped Green complete Albatross, which was recorded without Spencer. The tune was subsequently included on the U.S. and British compilation albums English Rose (January 1969) and The Pious Bird of Good Omen (August 1969), respectively. Green’s guitar tone is just unbelievable.

Supertramp/Take the Long Way Home

The other day, I found myself listening to Breakfast in America, the sixth studio album by English prog-rock-turned-pop band Supertramp. I got it on vinyl shortly after its release in March 1979 and own that copy to this day. While I played the record over and over again at the time, it’s still in fairly good shape. It also turns out I continue to enjoy the songs – something I certainly cannot say for a good deal of other music I listened to back then as a 13-year-old in Germany. Breakfast in America, which spawned various hit singles, was hugely popular in Germany where it topped the charts, just like in many other countries in Europe and beyond. Take the Long Way Home remains one of my favorite tracks from the album. Written by the band’s co-frontman and principal songwriter Roger Hodgson, the tune also became the record’s fourth single in October 1979. BTW, you also gotta love the cover art, which won the 1980 Grammy Award for Best Recording Package.

John Prine/Angel From Montgomery

I still know very little about John Prine, who is widely viewed as one of the most influential singer-songwriters of his generation. But I’ve finally started listening to his music. According to Wikipedia, Prine has been called the “Mark Twain of songwriting.” The likes of Bob Dylan, Johnny Cash and Roger Waters have called out Prine. He mentored younger artists, such as Jason Isbell, Amanda Shires, Brandi Carlile and Margo Price. In fact, I first listened to at least one John Prine song a long time before I even knew his name: Bonnie Raitt’s great cover of Angel From Montgomery, which she recorded for her fourth studio album Streetlights that appeared in September 1974. Here’s the original from John Prine’s eponymous debut album released in 1971. I’m starting to like it as much as Raitt’s rendition.

Peter Frampton/Avalon

If you read my Best of What’s New installment from a week ago, you probably recall it featured a great instrumental cover of George Harrison’s Isn’t It a Pity from Peter Frampton’s new album Peter Frampton Forgets the Words. Since my recent “discovery” of the all-instrumental record, I’ve enjoyed listening to it. Here’s another beautiful track that’s perfect for a Sunday morning: Avalon, the title song of the eighth and final studio album by English outfit Roxy Music, released in May 1982. Written by frontman Bryan Ferry, the tune also became the album’s second single in June 1982. I was a bit surprised to see it “only” reached no. 13 in England, while it didn’t chart at all in the U.S. – unlike the record that topped the charts in the UK and climbed to no. 53 in the U.S. and became Roxy Music’s best-selling album. In 1983, Ferry dissolved the band to focus on his solo career. In 2001, Roxy Music reformed for a 30th anniversary tour and was active on and off until they disbanded for good in 2011. Check out this great clip of Frampton and his band. Not only does he sound great, but you can clearly see how he and his fellow musicians enjoyed recording the tune. I don’t think you can fake this!

Traffic/Dear Mr. Fantasy

Time for some more ’60s music, don’t you agree? While I hate traffic when I’m in my car, I love it when it refers to the British rock band. Undoubtedly, much of my affection has to do with Steve Winwood, one of my long-time favorite artists. I get excited to this day when I hear the man sing and play his growling Hammond B-3. But amid all my love for Winwood, let’s not ignore excellent fellow musicians Jim Capaldi (drums, vocals), Dave Mason (guitar, bass, multiple other instruments, vocals) and Chris Wood (flute, saxophone, Hammond, percussion, vocals), who founded Traffic with Winwood in April 1967. It’s quite amazing that at that time, 18-year-old Winwood already had had a successful four-year career under his belly with The Spencer Davis Group. Dear Mr. Fantasy, co-written by Capaldi, Winwood and Wood, is from Traffic’s debut album Mr. Fantasy released in December 1967. When I saw Winwood live in March 2018, he played guitar on that tune, demonstrating his impressive fretboard chops.

Bruce Springsteen & the E Street Band/Tenth Avenue Freeze-Out

For the last tune in this Sunday Six installment, let’s have a true rock and soul party. In this context, I can’t think of anything better than this live clip of Bruce Springsteen & the E Street Band, captured in June 2000 at New York City’s Madison Square Garden at the end of the band’s triumphant 1999-2000 reunion tour. In this 19-minute-plus version of Tenth Avenue Freeze-Out, the Boss is literally taking his audience to rock & soul church. Yes, it’s long and perhaps somewhat over the top, but I believe Springsteen was authentic when at some point he noted, “I’m not bull-shittin’ back here.” Tenth Avenue Freeze-Out, written by Springsteen and first appearing on his legendary breakthrough album Born to Run from August 1975, tells the story about the band’s formation. Watching this amazing footage, I get a bit emotional when seeing the big man Clarence Clemons and Danny Federici, who sadly passed away in 2011 and 2008, respectively. Though at the end of the day, it’s a beautiful celebration of their lives. If you haven’t seen this, I encourage you to watch it. And even if it’s not your first time, it’s worthwhile watching again. Live music doesn’t get much better!

Sources: Wikipedia; YouTube

On This Day in Rock & Roll History: December 29

Before we can finally kiss this dismal year goodbye, I wanted to squeeze in another installment of my recurring rock/pop music history feature. Without further ado, here are some of the events that happened in the music world on December 29.

1965: American rock band The Sir Douglas Quintet were busted for marijuana possession in Corpus Christi, Texas. They got probation when they appeared in court with short hair, wearing suits. “I’m glad you cut your hair,” the judge told them. “I saw your pictures in the paper when you were arrested and I don’t go for that stuff.” The episode came in the wake of the band’s best-known song She’s About a Mover, written by their founder Doug Sahm.

1966: The Beatles were at EMI Studios at Abbey Road, working on three songs during three sessions: When I’m Sixty-Four, Strawberry Fields Forever and Penny Lane. None of the four mono mixes of When I’m Sixty-Four they made that day was used. The work on Strawberry Fields Forever included a tape copy of a December 22 mono mix, as well as creating the final stereo mix. I’ll skip the details, which laid out in The Beatles Bible. Paul McCartney also recorded the first takes of Penny Lane, working into the early morning hours of the following day. Here’s the magnificent Strawberry Fields Forever.

1967: Dave Mason left Traffic barely three weeks after the English rock band had released their debut album Mr. Fantasy. Only eight months earlier, Mason had been one of Traffic’s co-founders, together with Steve Winwood, Jim Capaldi and Chris Wood. Apparently, Mason didn’t have much interest in collaborating on songs. “We all [Winwood, Jim Capaldi and Chris Wood] tended to write together, but Mason would come in with a complete song that he was going to sing and tell us all what he expected us to play,” Winwood later recalled. “No discussion, like we were his backing group.” Mason would rejoin Traffic in 1968 while they were recording their eponymous sophomore album only to leave again after its release. Here’s House for Everyone, one of three tunes on Mr. Fantasy written by Mason.

1968: Led Zeppelin performed at Civic Auditorium in Portland, Ore. on their first 1968/1969 North American tour, opening for Vanilla Fudge. According to setlist.fm, their set included The Train Kept a-Rollin’, I Can’t Quit You Baby, As Long As I Have You, Dazed and Confused, White Summer/Black Mountain Side and How Many More Times. Here’s a clip of Dazed and Confused from 1968, or as somebody in the comments pointed out 1969. In any case, it’s probably reasonably close to how Zep sounded that night in Portland.

1973: Time in a Bottle, one of my favorite songs by Jim Croce, hit no. 1 in the U.S. on the Billboard Hot 100. Sadly, Croce was no longer around to witness the success. On September 20, 1973, he died at the age of 30 when his chartered plane crashed into a tree during takeoff from Natchitoches Regional Airport in Natchitoches, La. All other five members on board of the plane were also killed: Pilot Robert N. Elliott, Maury Muehleisen, comedian George Stevens, manager and booking agent Kenneth D. Cortese and road manager Dennis Ras. Time in a Bottle became Croce’s second and last no. 1 hit in the U.S. after Bad, Bad Leroy Brown, another great tune he had first released as a single in March of the same year.

Sources: Wikipedia; Songfacts Music History Calendar; The Beatles Bible; Setlist.fm; This Day in Music; YouTube