The Sunday Six

Celebrating music with six random tracks at a time

It’s time again for what has become my favorite recurring feature on the blog. For first time visitors, the idea of The Sunday Six is to celebrate music in a random fashion, six tracks at a time. It could literally be anything from the past 60 years or so, in any order. My only “rule” is I have to like it. That’s consistent with my overall approach for this blog to write about music I dig. Without further ado, let’s get to this week’s picks.

Neil Cowley/Circulation

I’d like to start with Neil Cowley, an English contemporary pianist and composer I first included in a Sunday Six installment back in March. Born in London in November 1972, Cowley began as a classical pianist and already performed a Shostakovich piano concerto at Queen Elizabeth Hall as a ten-year-old. In his late teens, he played keyboards for various soul and funk acts, including  Mission ImpossibleThe Brand New HeaviesGabrielle and Zero 7. It appears his first album Displaced was released in 2006 under the name of Neil Cowley Trio. Fourteen additional albums featuring Cowley as band leader or co-leader have since come out. He has also worked as a sideman for Adele and various other artists. Circulation is another track from Cowley’s most recent solo album Hall of Mirrors released in March this year. This is very relaxing piano-driven music with elements of ambient electronics.

Cream/Crossroads

After a mellow start, here’s something crunchy from one of my favorite ’60s British rock bands: Cream. Featuring Eric Clapton (guitar, vocals), Jack Bruce (bass, vocals) and Ginger Baker (drums, vocals), they were a true supergroup. As such, it’s perhaps not surprising they broke up after just a little over two years. In fact, given the bad, sometimes physical fights between the volatile Mr. Baker and Bruce, it’s a miracle they lasted that long – not to mention the fact they still managed to record four amazing albums. One of my favorite Cream tunes is their remake of Robert Johnson’s Crossroads, which he first recorded as Cross Road Blues in May 1937. Clapton did a neat job in rearranging the acoustic Delta blues. Cream’s version appeared on the live record of their double LP Wheels of Fire. Their third album was first released in the U.S. in June 1968, followed by the UK two months later.

The Jayhawks/She Walks In So Many Ways

Lately, I’ve started exploring The Jayhawks. I first came across the alt. country and country rock band about a year ago after the release of their most recent album XOXO in July 2020. The Jayhawks were initially formed in Minneapolis in 1985. After seven records, they went on hiatus in 2014 and reemerged in 2019. She Walks In So Many Ways is a track off their eighth studio album Mockingbird Time from September 2011. It marked the return of original frontman Mark Olson (guitar, vocals), reuniting him Gary Louris (guitar, vocals), another co-founder. Not only did they co-write all songs on the album, but they also delivered great harmony vocals. The other members at the time included co-founder Marc Perlman (bass), together with Tim O’Reagan (drums, vocals) and Karen Grotberg (keyboards, backing vocals). All remain with the band’s current line-up except for Olson who left again in the fall of 2012. She Walks In So Many Ways has a nice Byrds vibe – my kind of music!

Lenny Kravitz/Are You Gonna Go My Way

Let’s turn to Lenny Kravitz, who first entered my radar in late 1991 when I coincidentally listened to his sophomore album Mama Said in a restaurant in France. My brother-in-law asked the waiter about the music, and the rest is history. I immediately got the CD after my return to Germany and have since listened to Kravitz on and off. While he has won various awards and, according to Wikipedia, sold more than 40 million albums worldwide during his 40-year career, success didn’t come easy – especially in the U.S. where initially Kravitz was told he didn’t sound “black enough” or “white enough”, and there was too much ’60s and Hendrix in his music. Jeez, that terrible guitarist Jimi Hendrix – what a bunch of crap! Anyway, here’s the title track of Kravitz’s third studio album from March 1993. Are You Gonna Go My Way was co-written by him and guitarist and longtime collaborator Craig Ross. I’ve always loved this cool kick-ass guitar riff.

The Police/Spirits in the Material World

Let’s jump to the ’80s and one of my favorite bands from that time, The P0lice. A visit of a tribute band music festival in Atlantic City last weekend brought the British trio of Sting (lead vocals, bass), Andy Summers (guitar) and Stewart Copeland (drums) back on my radar screen. During their seven-year run from 1977 to 1984, The Police recorded five albums, a quite productive output. While I have a slight preference for their earlier rawer sound, I think there are great songs on all of their albums. Here’s one I dig from Ghost in the Machine, the band’s second-to-last record released in October 1981: Spirits in the Material World. I love Sting’s bassline on that track, as well as the synthesizer-driven reggae groove. According to Wikipedia, he wrote that tune on a Casio keyboard, his first experience with a synthesizer.

Pink Floyd/One of These Days

What, are we already at the sixth and final track? Just when I was fully getting warmed up! Don’t worry, I have every intention to continue this zig-zag music journey next Sunday. For now, I’d like to wrap it up with Pink Floyd and the opening track of Meddle. Their sixth studio album from October 1971 is one of my favorite Floyd records and yet another great album that’s turning 50 this year. I was tempted to feature Echoes but realize very few if any readers would likely to listen to a 23-minute-plus track, though I can highly recommend it! 🙂 Here’s One of These Days, credited to all four members of the band, David Gilmour, Roger Waters, Richard Wright and Nick Mason. I think it’s one of the best space rock instrumentals. That pumping double-tracked bass guitar part played by Gilmour and Waters is just great. The lovely line, “one of these days, I cut you into little pieces,” was spoken by Mason, and recorded using an effect device called a ring modulator, and slowed down to make it even more creepy.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

It’s Sunday and we’ve made it through another week. This means the time has come for a new installment of The Sunday Six, my weekly recurring feature that randomly explores music, six tunes at a time.

Delvon Lamarr Organ Trio/Call You Mom

This week, I’d like to open the post with groovy instrumental music by Delvon Lamarr Organ Trio. Featuring Hammond B-3 organist Delvon Lamarr, guitarist Jimmy James and drummer Dan Weiss, the group blends organ jazz with funk and soul. I “found” and first covered them in February this year. Here’s an excerpt from their website for additional color: Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. To date, Delvon Lamarr Organ Trio have released three albums. Call You Mom, co-written by Lamarr (credited as Delvon Dumas) and James (credited as Jabrille Williams), is a track from their most recent one, I Told You So, which came out on January 19, 2021.

Sting & Shaggy/Just One Lifetime

Let’s stay on the groovy side with a reggae tune by Sting and Jamaican pop reggae fusion artist Shaggy. When I learned three years ago the two had teamed up for a collaboration album, 44/876 released in April 2018, I was a bit surprised at first. But given Sting’s versatility and previous reggae groove-influenced Police tunes like Roxanne and Walking On The Moon, it quickly made sense to me. Here’s Just One Lifetime, co-written by Sting, Shaggy (credited as Orville Burrell), Shane Hoosong, Shaun Pizzonia and Rohan Rankine. This is one seductive song that’s perfect for summer.

The Lovin’ Spoonful/Summer in the City

Speaking of summer, here’s one of my favorite summer tunes from the ’60s: Summer in the City by The Lovin’ Spoonful. It must have been 30 or 40 years ago when I first heard this song on the radio in Germany – most likely on an oldies show that aired on Sunday nights on my favorite station SWF3 (now SWR3). While I can’t recall the year, what I surely remember is that I loved this tune right away. Co-written by band members John Sebastian and Steve Boone, together with John’s brother Mark Sebastian, Summer in the City first appeared in July 1966 as the lead single of The Lovin’ Spoonful’s fourth studio album Hums of the Lovin’ Spoonful released in November of the same year. It became their biggest hit, topping the Billboard Hot 100 and the charts in Canada, surging to no. 3 in New Zealand, and reaching no. 8 in the UK. After disbanding in 1969 and a short reunion in 1979, founding members Joe Butler and Steve Boone revived the band with a new line-up in 1991. The Lovin’ Spoonful exist to this day, with Butler and Boone still being part of the current incarnation.

Katrina and the Waves/Walking on Sunshine

And since we’re in the middle of summer, let’s throw in another great tune associated with the season: Walking on Sunshine by Katrina and the Waves. Interestingly, the catchy song went unnoticed when it first appeared as the title track of their debut album in December 1983. Things changed dramatically with a re-recorded version that became the lead single of the band’s eponymous third studio album from March 1985. Walking on Sunshine turned out to be their biggest hit peaking at no. 9 and no. 8 in the U.S. and the UK, respectively. Chart success was even bigger in Ireland (no. 2), Canada (no. 3) and Australia (no. 4). I still remember the tune seemed everywhere on the radio in Germany at the time. Walking on Sunshine was written by Kimberley Rew, the group’s lead guitarist. After 10 albums Katrina and the Waves dissolved in 1999, following the departure of vocalist and rhythm guitarist Katrina Leskanich. This is one fun tune!

Yes/Roundabout

I’ve never gotten very much into prog rock, in part because I found some of it not very accessible. I can also get impatient with tracks that last six, seven or even more than eight minutes because of extended instrumental sections. One of the few exceptions are Yes. Initially, the British band entered my radar screen with Owner of a Lonely Heart, their hit single from October 1983, which of course sounds much more like ’80s pop rock than progressive rock. While I loved that tune right away, it took me some time to explore and fully warm to the band’s earlier output. And, to be fully transparent, my knowledge of their music is still quite spotty. Nowadays, one of my favorite Yes tunes is Roundabout, in all of its 8-minute-plus mighty! 🙂 Co-written by lead vocalist Jon Anderson and guitarist Steve Howe, the track appeared on the band’s fourth studio album Fragile from November 1971. Yes, who were inducted into the Rock and Roll Hall of Fame in April 2017, remain active to this day, with Howe as the only original member. In fact, just a few days ago, Yes announced a new studio album, The Quest, scheduled for October 1 – the first in seven years, as reported by Ultimate Classic Rock and other music news outlets.

Hurry/It’s Dangerous

Let’s wrap up things with some melodic contemporary indie rock by a band from Philadelphia I recently discovered as part of my Best of What’s New new music feature: It’s Dangerous by Hurry. The band originally started as a solo project by principal songwriter Matt Scottoline. Borrowing from my previous post, according to his Apple Music profile, Scottoline, the bassist of Philly EMO band Everyone Everywhere, spent his free time writing and recording songs on his own, delving further into power pop and ’90s guitar rock than his main band ever did…In 2012, he released an eight-song self-titled record under the Hurry name, playing all the instruments himself. When Everyone Everywhere began to cut back on their schedule in the early 2010s, Scottoline decided to form an actual band, recruiting drummer Rob DeCarolis and a rotating cadre of friends on bass to play live shows. In addition to Scottoline and DeCarolis, Hurry’s current line-up includes DeCarolis’ brother Joe DeCarolis (bass) and Justin Fox (guitar). It’s Dangerous, co-written by Scottoline and Chris Farren, is the opener of the band’s new album A Fake Idea released on June 25.

Sources: Wikipedia; Delvon Lamarr Organ Trio website; Ultimate Classic Rock; YouTube

The Sunday Six

Celebrating music with six random songs at a time

It’s hard to believe another Sunday is upon us – I feel I just wrote the previous installment of The Sunday Six! For first-time visitors, the idea of this recurring feature is to celebrate different genres of music from different decades, six tunes at a time. Without further ado, let’s jump right in!

Julian Lage/Boo’s Blues

I’d like to start where I left off yesterday’s Best of What’s New: Julian Lage, an American jazz guitarist and composer who released his solo debut album in March 2009. I first came across Lage’s music on Friday in connection with his new album Squint and immediately fell in love with his guitar tone! Borrowing from yesterday’s post, according to his Apple Music profileLage has been widely acclaimed as one of the most prodigious guitarists of his generation. The New York-based musician boasts a long resume as a desired sideman with artists as diverse as Gary Burton, Taylor Eigsti, John Zorn, Nels Cline, Chris Eldridge, Eric Harland, and Fred Hersch, to name just a few. Equally important is his reputation as a soloist and bandleader. He is equally versed in jazz, classical, pop, and show tunes, and has spent more than a decade searching through the myriad strains of American musical history via an impeccable technique and a gift for freely associating between styles, tempos, keys, and textures that adds to his limitless improvisational spirit. Here’s another track from Lage’s new album, which also features bassist Jorge Roeder and drummer Dave King: Boo’s Blues. Beautiful music for a Sunday morning!

The Jimi Hendrix Experience/One Rainy Wish

I trust Jimi Hendrix doesn’t need an introduction. One Rainy Wish is a tune from the second album by the Jimi Hendrix Experience, Axis: Bold as Love, which first appeared in the UK in December 1967, followed by release in the US the following month. The song wasn’t on my radar until my streaming music provider served it up as a listening suggestion the other day. Also known as Golden Rose, One Rainy Wish was written by Hendrix and recorded in October 1967 at Olympic Sound Studios in London, together with Noel Redding (bass) and Mitch Mitchell (drums). Based on the lyrics, the song was inspired by a dream Hendrix had. Quoting the Hendrix biography Jimi Hendrix: Electric Gypsy, Wikipedia notes the song is “creak[ing] with radical harmonies and rhythmic concepts, not least the fact that the verse is in 3/4 time while the chorus is in 4/4.” Songfacts adds Hendrix used an octavia, an effects pedal that reproduces the input signal from a guitar eight notes higher in pitch, mixing it with the original note and adding distortion. The octavia had been designed for Hendrix by Roger Mayer, a then-21-year-old electric engineer wunderkind. One Rainy Day Wish also became the B-side to the U.S. single Up From the Skies, which was released in February 1968, the only single from the album.

Bob Dylan/Series of Dreams

This next selection of the Bob Dylan tune Series of Dreams is a bit out of left field. Initially, I had planned to feature Angelina, a song I had come across recently and immediately thought would make a great pick for The Sunday Six. Dylan first released Angelina in March 1991 on his 3-CD box set The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. However, I couldn’t find a YouTube clip, something that rarely happens. This bummer prompted me to check whether other songs from this box set are available on YouTube and led to Series of Dreams. Dylan first recorded the tune in March 1989 for his 26th studio album Oh Mercy that was released in September of the same year. But Series of Dreams was ultimately omitted from the album. The version that ended up on the box set is a remix of the original with overdubs added in January 1991. Dylan also included an alternate take of the song on The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989-2006. While finding Series of Dreams was entirely circumstantial, I’m quite happy with it, so farewell, Angelina! 🙂

Joni Mitchell/This Flight Tonight

The first time I heard This Flight Tonight was the cover by Scottish rock band Nazareth, which must have been in the late ’70s on the radio back in Germany. I had no idea then that this tune was penned by Joni Mitchell. Another prominent example is Woodstock, which I first heard by Crosby, Stills, Nash & Young on the Déjà Vu album and simply assumed it was their song. I was very young back then! Anyway, Mitchell recorded This Flight Tonight for her widely renowned fourth studio album Blue, which was released in June 1971. The song tells of her regrets as she leaves her lover on a flight and wishes to return. The entire album, which Mitchell made after her breakup with Graham Nash and during her relationship with James Taylor, revolves around different aspects of relationships. While I always liked Mitchell’s songs, it took me a while to get used to her voice, which I felt was very high, especially on her earlier songs.

Tracy Chapman/Fast Car

I still remember when Tracy Chapman’s eponymous debut album came out in April 1988. Two songs from it, Talkin’ ’bout a Revolution and Fast Car, were very popular on the radio back in Germany. The combination of Chapman’s powerful voice, great lyrics and the relative simplicity of her songs blew me away, and I got the CD immediately. To this day, I believe it’s incredible. Chapman has since released seven additional studio albums. Her most recent, Our Bright Future, dates back to November 2008. There is also a Greatest Hits compilation that came out in November 2015. While Chapman has not been active for many years, she has not officially retired from music. In fact, last November, the night before the U.S. Presidential election, she made a rare TV appearance on Late Night with Seth Myers with a clip of her performing Talkin’ ‘about a Revolution and asking Americans to vote. Here’s a short related clip from Rolling Stone. While all of Chapman’s albums charted in the U.S. and numerous other countries, her debut remains her most successful. It topped the charts in the U.S., Canada, Australia and various European countries, including the UK and Germany. Here’s Fast Car. I absolutely love this song and hope eventually we will hear more from Tracy Chapman. She’s only 57 years old!

Green Day/Boulevard of Broken Dreams

This Sunday Six installment has been heavy on singer-songwriters, so I’d like to wrap it up with some rock from the present century: Boulevard of Broken Dreams by Green Day. Yes, that track from the band’s seventh studio album American Idiot from September 2004 certainly hasn’t suffered from under-exposure. And while I generally don’t follow Green Day, it’s one catchy tune I still dig. The song’s lyrics were written by lead vocalist Billie Joe Armstrong, with the music being credited to the entire band. Perhaps, not surprisingly Boulevard of Broken Dreams became Green Day’s biggest mainstream hit in America, climbing to no. 2 on the Billboard Hot 100 and raking up U.S. sales of over 2 million copies as of 2010. By 2009, the tune had sold more than 5 million copies worldwide, making it the ninth-highest selling single of the 2000-2009 decade. Green Day are rocking on to this day. Since American Idiot, they have released six additional studio albums, most recently in February 2020. According to their website, Green Day are also scheduled to kick off an eight-week, 22-date U.S. tour in Dallas on July 24.

Sources: Wikipedia; Songfacts; Green Day website; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Hope everybody is enjoying their weekend. It’s another Sunday, which means it’s time again for what has become my favorite recurring feature of the blog. The Sunday Six is where I feel I can stretch out, featuring all types of music from different decades. This new installment illustrates my point. It includes genres like instrumental pop, jazz pop, roots rock, country rock and blues rock, and touches on the ’60s, ’70s, ’80s, ’90s and 2010s. Are you ready to embark on a little music journey?

Santana/Europa (Earth’s Cry Heaven’s Smile)

Let’s get in the mood with a beautiful instrumental by Carlos Santana. He may not be the most sophisticated guitarist from a strictly technical standpoint, but his tone is just unbelievable. I know of no other guitarist who sounds like Santana, and that’s what ultimately matters, not whether you’re a fretboard acrobat. While I generally most love his classic period that spans his first three albums, the tune I picked for this post, Europa (Earth’s Cry Heaven’s Smile), is from Moonflower released in October 1977. The double album features both studio and live tracks. She’s Not There, a nice cover of a song originally recorded by The Zombies in the mid-’60s, became a top 30 hit single for Santana. Europa, co-written by Carlos Santana and Tom Coster, first appeared on the March 1976 studio record Amigos. I’m more familiar with Moonflower, so I’m going with the live version here. Listen to this majestic guitar sound – so good!

Gino Vannelli/Brother to Brother

I don’t recall seeing any posts by my fellow bloggers about Gino Vannelli. While the Canadian singer-songwriter has been around as a recording artist since 1973, I suspect he may not necessarily be a household name. That being said, I assume most folks have heard some of his hits, such as the ballads I Just Wanna Stop (1978) and Living Inside Myself (1981), as well as the pop rock tunes Black Cars (1984) and Wild Horses (1987). Vannelli remains active to this day and has released 17 studio records, three live albums and one greatest hits compilation, according to Wikipedia. Brother to Brother is the amazing title track of his sixth studio album that came out in September 1978. While I Just Wanna Stop became the big hit off that album, the jazz-oriented Brother to Brother is far better. Written by Vannelli, the tune reaches the sophistication of Steely Dan’s Aja album, in my humble opinion. If you haven’t listened to this track before and like the Dan, check it out. You might be surprised!

Bonnie Raitt/Love Letter

Those who are familiar with my music taste may wonder what took me so long to feature Bonnie Raitt, one of favorite artists, in The Sunday Six. I don’t really have a good answer other than ‘better late than never!’ My long-time music buddy from Germany introduced me to Raitt in the late ’80s. I guess it must have been her 10th studio album Nick of Time, which to me remains a true gem to this day. While Raitt mostly relies on other songwriters, I love her renditions and her cool slide guitar playing. She also strikes me as no B.S., which is certainly not a very common quality in the oftentimes ego-driven music business. Nick of Time is perhaps best known for the single Thing Called Love, though according to Wikipedia, its chart success was moderate. The John Hiatt tune reached no. 86 on the UK Singles Chart and missed the mainstream chart in the U.S. altogether – though it did climb to no. 11 on Billboard’s Mainstream Rock chart. My pick from the album is Love Letter, written by another Bonnie, American singer-songwriter Bonnie Hayes. I simply love everything about this tune – the groove, the singing and Raitt’s sweet slide guitar sound.

John Mellencamp/Under the Boardwalk

John Mellencamp is another artist I’ve listened to for many years. If I recall it correctly, it was his eighth studio album Scarecrow released in August 1985 with tunes like Small Town and R.O.C.K. in the U.S.A. that started my long and ongoing journey exploring the music by the heartland and roots rocker from Seymour, Ind. Sure, I could have selected a track from that album. Or from the excellent successor The Lonesome Jubilee from August 1987, which remains among my all-time favorite Mellencamp records. Instead, I decided to highlight an album that isn’t as well known but still great, in my view: Rough Harvest. Released in August 1999 (that month appears to be a favorite for his records!), the album features a collection of alternate, roots-oriented versions of Mellencamp originals and covers. Under the Boardwalk, of course, falls into the latter category. The first version of the song I ever heard was the great rendition by The Rolling Stones. Co-written by Kenny Young and Arthur Resnick, it was first recorded by The Drifters in 1964 and became a no. 4 U.S. hit for the American doo-wop, R&B and soul vocal group. I think Mellencamp’s rootsy version takes the tune to a new level – just love it!

Cordovas/This Town’s a Drag

If you’ve followed my blog for some time, the name Cordovas may sound familiar; or perhaps you’ve heard otherwise of this Americana and country rock band from East Nashville, Tenn. They first entered my radar screen in the summer of 2018 when I caught them during a free concert in a park not far from my house. The group’s multi-part harmony singing proved to be an immediate attraction. So was their sound that reminds me of bands like Crosby, Stills, Nash & YoungThe BandGrateful DeadEagles and Little Feat. Led by bassist Joe Firstman, Cordovas have been around for more than 10 years. This Town’s a Drag is the opener of That Santa Fe Channel, the band’s third studio album from August 2018, which I previously reviewed here. Check out that beautiful warm sound!

Jimi Hendrix/Voodoo Child (Slight Return)

I guess the time has come again to wrap up another Sunday Six installment. Let’s make it count with a smoking rocker by Jimi Hendrix who I trust needs no introduction. Voodoo Child (Slight Return) is the fiery closer of Electric Ladyland, the third and final album by the Jimi Hendrix Experience, released in October 1968. Like most other tracks on this double album, the tune was written by Hendrix. The clip is taken from Live in Maui, one of the many post-mortem releases from the Hendrix archives. It captures an outdoor performance by the Jimi Hendrix Experience on July 30, 1970 on the Hawaiian island, only six weeks prior to Jimi’s untimely death on September 18 that year. Unlike Electric Ladyland, the band’s line-up during the gig featured Billy Cox on bass instead of Noel Redding. Mitch Mitchell was on drums, just like on the studio album. The 2-CD and 3-LP set came out on November 20, 2020, along with a video documentary titled Music, Money, Madness … Jimi Hendrix in Maui. It has received mixed reviews due to less than ideal recording conditions. I still think it’s cool to actually watch Hendrix in action rather than just listening to his blistering performance.

Sources: Wikipedia; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Another week has flown by, which means it’s time again to take a look at newly released music. After some digging, I think I’ve found a decent and diverse set of tunes. This installment of Best of What’s New features a great Hammond B-3 jazzy rendition of a popular Donovan song, melodic indie rock, pop folk-oriented alternative country and soulful Americana. All tunes appear on albums that came out yesterday (March 26). Sounds intriguing? Let’s get to it!

Dr. Lonnie Smith/Sunshine Superman (feat. Iggy Pop)

An artist calling himself Dr. Lonnie Smith who teams up with the godfather of punk Iggy Pop to cover a great Donovan tune was sure to get my attention. Born in Buffalo, N.Y. in July 1942, Smith is a jazz Hammond B3 organist who first came to prominence in the mid-60s when he joined the quartet of jazz guitarist George Benson. After recording two albums with Benson, Smith released his solo debut Finger Lickin’ Good Soul Organ in 1967. Twenty-six additional records have since appeared under his name. According to his website, Smith has recorded everything from covers of the Beatles, the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck-all by employing ensembles ranging from a trio to a fifteen-piece big band. He also appeared on close to 80 albums by other artists, such as Lou Donaldson, Marvin Gaye, Jimmy Ponder, Ron Holloway, Eric Gale and Nora Jones. His artist profile on Apple Music notes Smith at some point became Dr. Lonnie Smith (for “no particular reason,” the same reason he gives for why he always wears a traditional Sikh turban). His rendition of Sunshine Superman, the title track of Donovan’s third studio album from August 1966, is the closer of the doctor’s new album Breathe. Iggy Pop provides vocals on this tune, as well as album opener Why Can’t We Live Together. This is just cool stuff!

Real Estate/Half a Human

Real Estate are an indie rock band from Ridgewood, N.J. According to their artist profile on Apple Music, Real Estate’s core members were childhood friends, but the band didn’t take shape until 2008, after they’d all completed college and returned to their hometown of Ridgewood, New Jersey. Arriving in 2009, the group’s self-titled debut album earned a Best New Music tag from Pitchfork—a distinction that was also given to their next two LPs. Days, their 2011 sophomore LP, hit No. 11 on  Billboard’s Alternative Albums chart, and 2014’s Atlas did even better, reaching No. 7. Following the departure of guitarist Matthew Mondanile in 2016, lo-fi pop specialist Julian Lynch—another childhood friend from New Jersey—took his place in the band. In addition to Lynch, Real Estate’s current lineup includes co-founders Martin Courtney (vocals, guitar) and Alex Bleeker (bass, vocals), along with Matt Kallman (keyboards) and Sammi Niss (drums). Half a Human, co-written by Bleeker, Lynch, Courtney, Kallman and the band’s former drummer Jackson Pollis, is the title track of their sixth and new album. The melodic and laid back sound of this tune drew me in right away.

Esther Rose/Songs Remain

Esther Rose is a country artist from New Orleans, La. She began her career by collaborating with her then-husband and guitarist Luke Winslow-King. In 2017, Rose released her solo debut album This Time Last Night. Songs Remain is a track from her third and latest album How Many Times. On this record, Rose expands her alt-country sound into a blossoming world of folk pop and tender harmonies, notes her website. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs. I like what I’m hearing here!

Miko Marks & The Resurrectors/Ancestors

Let’s wrap up things with African American country singer Miko Marks who was born in Flint, Mich. In 2005, she released her debut single Freeway Bound, which also was the title track of her first studio album that appeared in September that year. The sophomore It Feels Good followed in August 2007. In 2006, Marks was named Best New Country Artist by U.S. trade magazine New Music Weekly. She also won various awards at the Independent Music Awards in 2006, 2007 and 2008. After a pretty successful looking early career, it appears things slowed down for Marks. Ancestors is the opener of Our Country, her first album since It Feels Good. She’s backed by The Resurrectors, the impressive sounding house band of Redtone Records. Well, it may have been more than 13 years since Marks’ last release, but it surely looks like the wait was worth it. I just love the soulful southern rock sound of Ancestors, which first appeared as a single in December 2020.

Sources: Wikipedia; Dr. Lonnie Smith website; Apple Music; YouTube

The Venues: Beat-Club

“Cult” German TV show featured prominent music acts from Alice Cooper to Zeppelin

A YouTube clip from Beat-Club I coincidentally caught on Sunday reminded me that I hadn’t done a post in my series about popular concert halls and music programs since July 2020. So I felt the popular German TV music show, which aired monthly between September 1965 and December 1972, would be a great topic for another installment.

Beat-Club was created by music producer Gerhard Augustin, who according to Wikipedia was Germany’s first professional disc jockey, and film director and writer Mike Leckebusch. Broadcast on one of Germany’s main national public TV channels ARD, the show was hosted by German architect-turned-singer-turned-TV presenter Uschi Nerke. Until early 1969, she was joined by Augustin and afterwards by Dave Dee, of Dave Dee, Dozy, Beaky, Mick & Tich, before Nerke started hosting alone in 1970.

Uschi Nerke kommt – blacksheep Festival
Uschi Nerke

Beat-Club began as a live program with music guests performing in front of a plain brick wall. In 1967, the program was revamped to adapt a “more professional look,” which among others included large cards in the background that displayed the names of the performers. The new format also allowed for inclusion of artists who could not appear live. In these cases, a troupe of young women called the “Go-Go-Girls” was dancing to the featured songs – ouch! On a cooler note, in its later years, Beat-Club incorporated psychedelic visual effects during many performances. These effects became much more pronounced after the program switched to color in late 1969.

German TV personality Wilhelm Wieben opened Beat-Club’s first episode with the following words: “Hello, dear beat friends. The time has finally come. In just a few seconds starts the first show on German television, which exclusively was made for you. Ladies and gentlemen, I ask you who may not enjoy beat music for your understanding. It’s a live program with young people for young people. And now, let’s go!”

Beat Club (TV) - March 27, 1969 / Bremen | Led Zeppelin Official Website
Led Zeppelin at Beat-Club, March 1969

I guess Wieben and the master minds behind the program pretty much foresaw what would happen: While Beat-Club’s target audience embraced the show right way, the older generation in Germany was horrified. This probably ensured young people liked it even more. In fact, the show quickly reached “cult” status.

Over its seven-year run, Beat-Club featured an impressive array of music artists and bands. Badfinger, Chuck Berry, Cream, Deep Purple, Jimi Hendrix, Led Zeppelin, The Rolling Stones and The Who were some among many others. Now on to the real fun part: Clips that capture some of the action. The year in parenthesis after each title marks the timing of the show episode. It’s all based on Beat-Club’s YouTube channel.

Cream/I Feel Free (1967)

The Jimi Hendrix Experience/Purple Haze (1967)

Canned Heat/On the Road Again (1968)

Joe Cocker/With a Little Help From My Friends (1968)

Chicago Transit Authority/I’m a Man (1969)

The Who/Sally Simpson & I’m Free (1969)

Black Sabbath/Paranoid (1970)

Muddy Waters/Honey Bee (1970)

Fleetwood Mac/Dragonfly (1971)

T. Rex/Jeepster (1971)

Ike & Tina Turner/Get Back (1972)

Manassas/Rock & Roll Crazies

Beat-Club eventually was replaced by another music program called Musikladen (music store). While I was too young to watch Beat-Club, I have some nebulous memories of Musikladen, and I’m afraid they aren’t great! Nerke co-moderated the program with main host Manfred Sexauer until September 1978. Subsequently, she hosted her own radio show Beat-Club until January 2013.

Sources: Wikipedia; YouTube

Best of What’s New

A selection of newly released music that caught my attention

When my weekly look at newly released music is delayed, it’s usually for one of two main reasons: Work has kept me pretty busy (not a bad thing!), or I had a hard time finding new music that sufficiently grabbed me to highlight it in a feature cheerfully titled “Best of What’s New.” This time, it was a combination of both. But, occasionally good things take time, and ultimately, I think I found a pretty solid and diverse set of new music, including Americana, shock rock, indie rock and funky soulful organ-driven jazz. Let’s get to it!

Nate Fredrick/Be the One

I’d like to kick things off with Nate Fredrick, a Nashville-based Americana singer-songwriter. According to his website, the native Missourian learned to play guitar as a 12-year-old and started writing songs 10 years thereafter. In 2015, he relocated to Nashville and wrote more than 100 tunes during the two following years. Fredrick’s website characterizes his music as “bluesy Americana style”, citing Guy Clark, Creedence Clearwater Revival and Van Morrison as some of his influences. Well, it might have taken him a while to transition from playing the guitar to writing his own songs, but the results are certainly compelling. Be the One is from Fredrick’s great-sounding debut album Different Shade of Blue released yesterday (February 26). “Somewhere in trying to figure out how to craft a good song, I figured out how not to just write a pile of sad songs,” he said about his album. “It’s not that my situation is different or even better, but I’ve found a different way to perceive my personal circumstances.”

Alice Cooper/Drunk and in Love

If you happened to read my February 14 Sunday Six installment, you may recall it featured a tune from Alice Cooper’s then-forthcoming album. Mr. Shock Rock’s 21st solo release Detroit Stories appeared yesterday. With 15 tracks and a total length over just 50 minutes, it’s a solid effort. Except for three covers of tunes by Lou Reed, Fred “Sonic” Smith (MC5) and Bob Seger, Cooper co-wrote all other tracks. Here’s Drunk and in Love, a slow burning bluesy rocker. The other co-writers include producer Bob Ezrin and Dennis Dunaway, the original bassist of the Alice Cooper rock band. “Romeo and Juliet is a great love story, but so is a love story about a guy that lives in a box under a bridge with a bunch of other people standing around big oil cans trying to keep warm—and he’s in love with the girl who lives in another box,” Cooper told Apple Music about the tune. “So it’s a very touching little love song. And just the fact that their situation is different than a normal one doesn’t mean their love is any less intense.” Check out Cooper’s cool harp solo that starts at around 1:25 minutes into the song, harmonizing with the lead guitar – pretty neat!

Hoorsees/Get Tired

Hoorsees are an indie rock band from Paris, France. The members are Alex Delamard (lead vocals, guitar), Thomas (lead guitar, backing vocals), Zoe (bass, backing vocals) and Nicolas (drums, backing vocals). Unfortunately, there is very little public information on their background. Get Tired, written by Delamard, is from the band’s eponymous full-length debut album that came out on February 19. Based on a somewhat measly artist page on the website of their U.S. label Kanine Records, the album is a follow-on to a previously released EP, Major League of Pain. No word about its release data, not to mention when Hoorsees were founded – jeez, so much for effective artist promotion!

Delvon Lamarr Organ Trio/Hole in One

Wrapping up this installment is a find I’m particularly excited about as a huge fan of the Hammond B-3: Delvon Lamarr Organ Trio, which blend organ jazz with soul and funk. Here’s how their website describes it: Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat…The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green-style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry. Hole in One, co-written by Lamarr (credited as Delvon Dumas) and James (credited as Jabrille Williams), is the groovy opener of the band’s third album I Told You So released January 19. More than Booker T. Jones, I can hear Steve Winwood in here. To me, it’s one of those rare tunes where you only need to hear the first few bars to realize you love it!

Sources: Wikipedia; Nate Fredrick website; Apple Music; Kanine Records website; Delvin Lamarr Organ Trio website; YouTube

What I’ve Been Listening to: Savoy Brown/Street Corner Talking

What do you do when you’re in the mood for some great blues rock? You get some! And so I did with Street Corner Talking by Britain’s Savoy Brown released in September 1971. As it oftentimes goes with these types of posts, I got the idea to listen to their seventh studio album after my streaming music provider had served up Tell Mama, the record’s dynamite opener.

Savoy Brown – btw, what a cool name! – have been around for a bit. ‘How long’, you might wonder. How about more than 55 years! Not surprisingly, their line-up has changed many times over the decades, though the founder is still around and going strongly. Before getting to the album, a bit of history is in order. The following background is taken from the band’s bio on their website.

Savoy Brown was formed in 1965 by guitarist Kim Simmonds in London, England. Simmonds has been the group’s guiding hand from the first singles released in 1966 through the band’s newest effort, their forty-first album “Ain’t Done Yet” [released in August 2020. At the time, I featured one of the album’s tunes in a Best of What’s New installment]

Energetic blues has been the calling card of the band from the beginning. Blues Rock became the catch-all phrase in the late 1960s to describe the band’s music along with that of contemporaries including Cream, Fleetwood Mac, and Jimi Hendrix

...Through the 1960s, 1970s and 1980’s songs such as “I’m Tired”, “Train to Nowhere”, “Tell Mama” and “Lay Back In The Arms Of Someone” became Hot 100 entries. Two of the band’s albums in the 1970s, “Looking In” and “Hellbound Train”, appeared on the Billboard Top Forty charts…Along the way, Savoy Brown has toured continuously, making it one of the longest running blues rock bands in existence. Through the years, the band has headlined concerts at many prestigious venues including Carnegie Hall, the Fillmore East, the Fillmore West, and London’s prestigious Royal Albert Hall...

…Former [Savoy Brown] members, having cut their teeth under Simmonds’ leadership, have gone on to complete their careers with other bands. Among others, these include singer Dave Walker with Fleetwood Mac and Black Sabbath, Bill Bruford with King Crimson, Andy Pyle with the Kinks and Paul Raymond with UFO… Three other band alumni – Lonesome Dave Peverett, Roger Earl, and Tony Stevens, went on to become the founding members of the multi-platinum act Foghat. Sounds a bit like John Mayall to me!

Kim Simmonds (guitar, vocals), who has lived in the U.S. since 1980, remains the only original member of Savoy Brown’s current line-up. The other core members include Pat DeSalvo (bass, backing vocals) and Garnet Grimm (drums). Both have been with the band since 2009. With that, let’s get to some music!

I’d like to kick it off with the song that inspired the post. Tell Mama, the first track on the album, was co-written by Simmonds and Paul Raymond, the band’s keyboarder at the time. Just a great catchy rocker with some cool slide guitar action.

Taking on The Temptations perhaps is a near-impossible task, but I have to say I really dig where Savoy Brown took I Can’t Get Next to You. Co-written by Motown songwriters Norman Whitfield and Barrett Strong, this psychedelic soul gem was first released by The Temptations as a single in July 1969. It also appeared on their 11th studio album Puzzle People that came out in September of the same year. Check out how nicely Savoy Brown’s version of the tune is shuffling along. I also dig the keyboard work.

Time Does Tell is another great track. It was written by Simmonds. Andy Sylvester’s bass work gives this tune a great groove. I also like Simmonds’ guitar solo that starts at about 2:42 minutes. Damn, this is really cool – don’t take it from me, give it a listen!

Here’s the title track, another song Simmonds wrote. I can hear some Cream in that guitar riff. And that’s never a bad thing!

I’d like to wrap things up with another nice cover: Willie Dixon’s Wang Dang Doodle. Dixon wrote that tune in 1960, and it was first released by Howlin’ Wolf in 1961. Haven’t we all felt like hanging out with automatic slim, razor totin’ jim, butcher knife totin’ annie and fast talkin’ fanny to pitch a wang dang doodle all night long? 🙂

This is the first album by Savoy Brown I’ve explored in greater depth, and I really dig it – can you tell? 🙂 This certainly wants me to listen to more from this band. Any tips are welcome!

Sources: Wikipedia; Savoy Brown website; YouTube

The Sunday Six

Celebrating music with six random songs at a time

It’s Sunday again and hope everybody is doing well. I think I’ve put together another fairly eclectic collection of songs. Like in previous installments of The Sunday Six, I’d like to start things nice and easy, before hitting the accelerator and going a little bit more rough toward the end. I also spontaneously decided to throw in a bonus.

Sting/Fields of Gold

Let’s kick it off with one of my favorite tunes by Sting, Fields of Gold, a perfect song for a Sunday. It appeared on his fourth solo album Ten Summoner’s Tales from March 1993. I’d consider that album to be the Mount Rushmore of his solo catalog. Like most tracks on Ten Summoner’s Tales, Sting wrote Fields of Gold all by himself. The song also appeared separately as a single in May of the same year. Unlike the album, which peaked at no. 2 in the UK and the U.S. and topped the charts in Austria, Fields of Gold only made it to no. 16, no. 23 and no. 85, respectively, on these countries’ single charts.

Lou Reed/Caroline Says II

Why a tune by an artist I admittedly do not know as well as I probably should? Coz I came across it the other day and I like it. Now you know what oftentimes ends up driving my picks for The Sunday Six – hence the subtitle Celebrating music with six random songs at a time. Penned by Lou Reed, Caroline Says II was included on his third solo album Berlin released in July 1973. The lyrics that appear to be about physical spouse abuse are rather grim:…Caroline says/as she gets up from the floor/You can hit me all you want to/but I don’t love you anymore… The album also includes a track titled Caroline Says I. Both of these tunes came out as a single in 1973 as well. BTW, Reed had some notable guests on Berlin, who apart from producer Bob Ezrin (piano, mellotron) included Jack Bruce (bass), prolific drummer Aynsley Dunbar and Steve Winwood (Hammond, harmonium). To the mainstream audience, Reed, who passed away from liver disease in October 2013 at the age of 71, is probably best known for Walk on the Wild Side, his biggest single chart success.

The Jayhawks/This Forgotten Town

I love this tune by American alternative country and country rock band The Jayhawks. In fact, I previously featured it last August in a Best of What’s New installment. The Jayhawks were formed in Minneapolis in 1985. After seven records, they went on hiatus in 2014 and reemerged in 2019. Their current line-up consists of original co-founders Gary Louris (electric guitar, vocals) and  Marc Perlman (bass), together with Tim O’Reagan (drums, vocals), Karen Grotberg (keyboards, backing vocals) and John Jackson (acoustic guitar, violin, mandolin). This Forgotten Town, co-written by Louris, Perlman and O’Reagan, is from their most recent album XOXO from July 2020. I still stand behind what I said in August 2020. I dig the warm sound, and there’s some great harmony singing as well. And now that I’ve listened to the tune again, it does remind me a bit of The Band.

Lenny Kravitz/Fields of Joy

Lenny Kravitz entered my radar screen in France in late 1991 when his sophomore album Mama Said, which had come out in April that year, happened to play in the background in a restaurant I was visiting. I immediately liked what I heard. So did my brother-in-law, who asked the waiter about the music. After my return to Germany, I got the CD. I’ve since continued to listen to Kravitz who has faced all kinds of criticism. Some of the clever commentary, especially early in his career, included “not sounding Black enough” (no idea what exactly that’s even supposed to mean!) and being too close to some of his ’60s influences, such as Jimi Hendrix and The Beatles – jeez, how horrible to have been inspired by two of the greatest music acts of all time! Anyhoo, Fields of Joy, co-written by Michael Kamen and Hal Fredricks with musical arrangement by Doug Neslund and Kravitz, is the opener of Mama Said. It also became one of the album’s seven singles.

Alice Cooper/Rock & Roll

“Mr. Shock Rock” is always good for some kickass music. Rock & Roll is the opener of Alice Cooper’s upcoming studio album Detroit Stories scheduled for February 26 – based on Wikipedia, it’s his 21st, not counting the seven records released with the band that had been named after him between 1969 and 1973. Written by Lou Reed (there he is again!), the tune was first recorded by The Velvet Underground for their fourth studio album Loaded from November 1970. I think Cooper does a nice job giving the tune more of a rock vibe. I also like how he’s dialing up the soulful backing vocals. In addition to Rock & Roll, two (original) tunes from Detroit Stories are already out. Looks like we can look forward to a fun album.

The Byrds/Eight Miles High

Okay, admittedly, a pattern seems to emerge for The Sunday Six. After doing five tunes from other decades, it suddenly occurs to me I just cannot leave out the ’60s, one of my favorite decades in music. Not sure whether this pattern is going to continue, but I just noticed it myself. The Byrds and probably also this tune need no introduction. Co-written by Gene Clark, Roger McGuinn and David Crosby, Eight Miles High is from their third studio album Fifth Dimension  released in July 1966. It remains one of my all-time favorite ’60s tunes. I think it’s pretty cool how the band combined their jingle-jangle pop rock a la Mr. Tambourine Man with psychedelic influences – simply a great song!

And just as I was about to wrap up this post, I came across this instrumental live version of Eight Miles High. Did I mention I dig this tune? 🙂 Apparently, this footage was captured at New York’s Fillmore East in September 1970 – kinda feels like The Byrds embracing the jam style of The Grateful Dead. Okay, do we really need an almost 10-minute instrumental of Eight Miles High? I’m leaving it up to you to decide. I think it’s pretty cool, showing the band’s impressive instrumental chops.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

This is the third installment I’m posting on the third Sunday in a row. Whether I’ll be able to make The Sunday Six a weekly recurring feature remains to be seen. But there’s one thing I already can say for sure: I’m having lots of fun putting together these posts featuring six random tracks. This should be a good motivation to keep it going on a regular basis.

Pete Townshend/Content

When I came across this tune the other day, I thought it would be perfect to kick off a Sunday Six installment. Content is from Pete Townshend’s debut solo album Who Came First released in October 1972. The record featured demos Townshend had recorded for Lifehouse, a science fiction rock opera concept album that was supposed to become the follow-on to Tommy. But Lifehouse was abandoned, and The Who ended up recording what I’d consider their best album: Who’s Next. In addition to Who Came First, songs for Lifehouse ended up as Who singles and on various of their albums, as well as other Townshend solo efforts. Content was co-written by him and Maud Kennedy.

Poco/Barbados

I’ve always loved this tune since my dear longtime music friend from Germany introduced me to it many moons ago. With my area being on snow storm watch, having a dream I was on my way to Bridgetown also sounds like a pretty good proposition! Barbados is a track by Poco from their 11th studio album Legend that appeared in November 1978. If I see this correctly, it became the country rock band’s most successful record to date, climbing to no. 14 in the U.S. on the Billboard 200, and reaching Gold status in both the U.S. and Canada where it peaked at no. 12 in the charts. Barbados was written by Poco guitarist and vocalist Paul Cotton. I also love the album’s cover art.

Dave Mason/Sad and Deep as You

Sad and Deep as You is a beautiful song written by Dave Mason. In addition to Steve Winwood with whom he co-founded Traffic, Mason has worked with the likes of Paul McCartney, George Harrison, The Rolling Stones, Jimi Hendrix, Eric Clapton and Fleetwood Mac over his 55-year-and-ongoing career. Sad and Deep as You is a track from his solo debut album Alone Together that came out in July 1970 – almost 51 years ago!

The Rainmakers/Small Circles

This is another tune falling in the love-at-first-sight category, or perhaps it should rather be love-at-first-listen. Whatever you wanna call it, I dig this song with its jingle-jangle Byrds-like guitar sound and catchy melody. Small Circles is by The Rainmakers, a rock band formed in 1983 in Kansas City, Mo.. They are active to this day, though it looks like they had a couple of off-periods along the way. Written by front man Bob Walkenhorst, who remains a member of the band’s current line-up, Small Circles appeared on their third studio album Tornado from 1987. I could only find the official music video, which is a bit awkward. But, hey, the song is cool!

Tears For Fears/Sowing the Seeds of Love

As a huge Beatles fan, I’ve asked myself more than once how The Fab Four might have sounded post their April 1970 breakup. In the late ’80s, it may have been similar to this amazing tune by Tears For Fears. Sowing the Seeds of Love, co-written by co-founders Roland Orzabal and Curt Smith, is from their third studio album Seeds of Love released in September 1989. According to Songfacts, the tune is a throwback to ’60s nostalgia (big in the late ’80s) with a nod to The Beatles and a kind of Flower Power philosophy to it, including political lyrics starting with “High time we made a stand and shook up the views of the common man” and ending with “An end to need and the politics of greed.” Remarkably, these lyrics still ring true today. Next to Shout and Everybody Wants to Rule the World, Sowing the Seeds of Love became one of Tears For Fears’ biggest hits. This is one catchy tune that I think holds up pretty well to this day.

The Animals/I’m Crying

A Sunday Six just doesn’t feel complete without an actual ’60s tune. So let’s wrap things up with The Animals and I’m Crying. Already the first few bars of this great rocker with Eric Burdon’s long ‘ahhhh’ and the signature sound of Alan Price’s Vox Continental give me the chills. Even though it’s a simple blues progression, this track just rocks! Co-written by Burdon and Price, I’m Crying first appeared as a single in September 1964. It “only” peaked at no. 8 in the UK and barely made the top 20 in the U.S. (no. 19), compared to The House of the Rising Sun that topped the charts in both countries. The song was also included on The Animals’ second studio album somewhat misleadingly titled The Animals on Tour.

Sources: Wikipedia; Songfacts; YouTube