The Year That Was 2019

Highlights of my rock & roll journey during the past 12 months

It feels unreal to me Christmas and New Year’s are upon us again – not to mention a new decade! I still recall a conversation with a school friend when we were 12 years old. He and I imagined where we might be when the year 2000 comes. At the time, the turn of the century was still more than two decades out. It seemed so far away. Now, not only has 2000 come and go, but we’re 20 years down the road, baby – crazy how time flies!

Well, this post doesn’t span decades. The idea is much more moderate: Looking back at my personal music journey over the past 12 months, as documented by this blog. While to some extent it reflects what happened in music this year, it’s not a broad review piece. Since I mostly listen to ’60s and ’70s artists or new music they release, I couldn’t do a legitimate comprehensive look-back on 2019 in music.

In the past, I’ve said more than once most new music nowadays lacks true craftsmanship and sounds generic and soulless to me. And while I still largely ignore what dominates today’s charts, I’ve finally come to accept contemporary music isn’t inherently bad. It’s just different and I generally don’t like it. Here’s the good news: I don’t have to. There’s so much “old” music out there I’ve yet to discover, and while artists may retire or pass away, their music will stay. Forever. That’s the beauty of music. It means for those of us who dig it, rock & roll will never die! Okay, enough with the wise-cracking and on to some highlights of my music journey this year.

Concerts

As a retired band-turned-closet musician, live music remains the ultimate thrill to me. Yes, ticket prices continue to be outrageous for most top acts, and that’s not going to change. But this hasn’t deterred me yet from seeing artists I dig. However, it did require being more selective (for example, I skipped Steely Dan and The Doobie Brothers, since I had seen both in 2018) and oftentimes settling for cheaper seats.

My two concert highlights this year were The Rolling Stones at MetLife Stadium in East Rutherford, N.J. in early August and The Who at New York’s Madison Square Garden in May. I had seen both before, but since they are among my longtime favorite bands and in the twilight of their careers, I simply did not want to miss the opportunity. I’m glad I was able to catch both, especially The Who. At the time I bought my ticket, I had not realized this wasn’t a “regular” gig but The Who backed by a symphonic orchestra. Had I understood this, it may have deterred me. But the concept worked pretty well, so I’m happy I didn’t read the fine print! Here’s a clip from each show: Jumpin’ Jack Flash and the Love Reign O’er Me, two tunes that will never go out of style in my book!

I also saw various other great shows: Walter Trout (The Iridium, New York, April 9), Joe Jackson (State Theatre, New Jersey, New Brunswick, May 18), Govt’ Mule (The Stone Pony, Asbury Park, N.J., June 28), Southern Avenue (The Wonder Bar, Asbury Park, N.J., July 11) and Hall & Oates (Fairgrounds, Allentown, Pa.). I wouldn’t have gone to that last concert, had it not been for my wife. While I wouldn’t call myself a Hall & Oates fan, it was a great show.

As King/Emperor of Tribute Bands (blame Music Enthusiast for the title! 🙂 ), this concert section wouldn’t be complete without acknowledging the many tribute shows that continued to attract me. I know some folks roll their eyes when they hear the word tribute band. I find nothing wrong listening to music I dig, especially when it’s faithfully captured. Among the many tribute concerts I saw, two stood out: Pink Floyd tribute Brit Floyd (Sands Bethlehem Event Center, Bethlehem, Pa., March 30) and the annual Rock The Farm Tribute Festival (Seaside Heights, N.J., September 28). Here’s a clip from the Brit Floyd gig: Comfortably Numb – epic!

And then there’s of course Woodstock’s 50th anniversary. I finally got to see the director’s cut of the documentary on the big screen. While I can’t deny 224 minutes is pretty massive, I enjoyed every minute of it. Here’s the main post I did to commemorate the festival. And here’s a clip of one of the most iconic rock performances of all time: Joe Cocker and With A Little Help From My Friends.

New Music

As stated above, for the most part, new music means new albums released by “old” artists I dig. As I looked back through my previous posts, I was surprised to find that I reviewed 22 new albums. Granted this number includes three live albums (The Doobie Brothers/Live From The Beacon Theatre, The Rolling Stones/Bridges To Bremen and Paul McCartney/Amoeba Gig) and an excellent posthumous compilation by Tom Petty And The Heartbreakers (The Best Of Everything), which do not feature new music. Even if you exclude these, it still leaves you with 18 albums. This makes me wonder what I would do if I also paid more attention to contemporary artists. It pretty much would be impossible to review their new music as well, given I have a family and a full-time job – another good reason to focus on what I truly dig! 🙂

Albums by “old hands” I’d like to call out are The Who (WHO), Booker T. (Note By Note), Neil Young (Colorado), Ringo Starr (What’s My Name), Santana (Africa Speaks),  Little Steven And The Disciples of Soul (Summer of Sorcery), Joe Jackson Fool and Sheryl Crow (Threads). One artist who seems to be missing here is Bruce Springsteen and Western Stars. While I dig Springsteen and don’t think it’s a bad record, it just doesn’t speak to me the way other music by The Boss does, so I ended up skipping a review. Crow said Threads is her final full-fledged release, explaining in the age of streaming music, most people make playlists and no longer listen to entire albums. Boy, this statement really reflects how much listening habits and the music business have changed! Here’s Live Wire, a nice bluesy tune co-written by Crow and Jeff Trott and featuring Bonnie Raitt and Mavis Staples.

There were also some new blues releases I enjoyed by both older and younger artists, including Walter Trout (Blues Survivor), Jimmie Vaughan (Baby, Please Come Home), Kenny Wayne Shepherd Band (The Traveler) and “wunderkind” Jontavious Willis (Spectacular Class), as Taj Mahal has called him. How about some music from Willis’ sophomore album? By the way, it was executive-produced by Mahal. Here’s opener Low Down Ways.

I also would like to call out albums from three other contemporary artists: Rick Barth (Fade), SUSTO (Ever Since I Lost My Mind) and Southern Avenue (Keep On). If you’re a more frequent visitor of the blog, you may recall Southern Avenue is one of the very few young bands I truly dig. I just love how these guys blend blues, soul and R&B, and the vocals are just killer! Here’s the title track from the above album, which is their second one. The tune was co-written by guitarist Ori Naftaly, lead vocalist Tierini Jackson and producer Johnny Black. There’s just something about Southern Avenue’s sound I find really seductive.

Coolest Clip

I think I came across a number of great clips I posted throughout the year. One of the best has to be this footage of The Who performing Won’t Get Fooled Again. That’s the raw power of rock & roll! It was filmed on May 25, 1978 at England’s Shepperton Studios, about 20 miles southwest of London, for the closing sequence of the band’s rockumentary The Kids Are Alright. And then, there’s this very different but equally mesmerizing clip: a live demonstration of the Hammond B3 by the amazing Booker T. Jones. To really get excited about it, I realize maybe you need to be a musician.

And Finally…

2019 marks the third full year I’m doing this blog. While I really wanted to start writing about my passion, I wasn’t sure whether I could keep it going when I set out in June 2016. Due to personal reasons, I had to slow down a bit during the past couple of months. But music and writing about artists I dig is therapy to me, so I have every intention to continue and hopefully pick up the pace again. When starting the blog, I also felt I’m doing this for myself first and foremost, not to become some “Internet sensation.” While that is still the case, I can’t deny it’s great to see visitors and that traffic has trended up nicely. Of course, growing from tiny numbers is relatively easy, and there is realistically no way I can keep up the current momentum.

Blog Stats

I’m leaving you with a clip from my most popular post this year (measured by total views): The above mentioned Rock The Farm Tribute Festival. The positive reception made me really happy, since it’s great music for a great cause. Here’s It’s Late by Canadian Queen tribute Simply Queen.

I’d like to thank all visitors for reading and especially those who go through the trouble of leaving comments. I always love getting feedback, even if I may not agree with everything folks say. But that’s cool.

Merry Christmas!

Merry Christmas Emoji

Sources: Christian’s Music Musings; YouTube

What I’ve Been Listening To: Jimmie Vaughan/Baby, Please Come Home

Lately, I’ve been listening to blues music quite a lot. In part, it’s thanks to fellow music blogger Music Enthusiast and his recent New Music Review that featured two excellent artists, Christone “Kingfish” Ingram and Big Daddy Wilson. The other part is my own curiosity, which led me back to the Billboard Blues Albums chart where the other day I had spotted a surprising entry: a collection of Fats Domino and Chuck Berry covers by George Benson. This time, I came across Baby, Please Come Home, another great covers album by an old hand of Texas blues: Jimmie Vaughan.

Other than the fact that Jimmie is the older brother of electric blues dynamo Stevie Ray Vaughan, one of my long-time favorite blues guitarists, admittedly, I knew next to nothing about Jimmie, so had to read up a little. But that happens to be one of the aspects I particularly enjoy about music blogging – learning about new artists and their music. Yes, this can be time-consuming, but I’m not in a hurry. Most importantly, it would be far less fun if I would only write about stuff I knew!

Jimmy Vaughan

Jimmie Vaughan was born on March 20, 1951 in the Dallas area, about three and a half years prior to his brother Stephen Ray. He started playing the guitar as a child and in fact inspired his younger brother to pick up the instrument as well. At the age of 19, Jimmie moved to Austin and played in different blues bar bands for some time. In 1972, he formed his own group, The Storm, which backed many touring blues artists. Two years later, he co-founded The Fabulous Thunderbirds with harmonica player Kim Wilson. While the T-Birds gained a strong fan base in Texas, their first four albums didn’t sell well, and by the end of 1982 their record company Chrysalis had dropped them.

Meanwhile, Stevie Ray Vaughan broke through and became a dominating force in the Texas and national blues scene. It took the T-Birds until 1986 to score a success with their fifth studio album Tough Enuff. The record featured more of a mainstream sound, an approach the band replicated on their next two albums. Unhappy about the commercial direction the T-Birds had taken, Jimmie left in 1990 and recorded an album with his brother, Family Style. It came out one month after Stevie Ray’s untimely death in a helicopter crash under the name The Vaughan Brothers.

Jimmie & Stevie Ray Vaughan
Jimmie Vaughan (left) with his brother Stevie Ray Vaughan

Jimmie’s solo debut Strange Pleasure appeared in 1994. He hasn’t been exactly prolific since then, sometimes leaving many years in-between releasing new studio records and focusing on touring and guest-appearing on albums by other artists. Baby, Please Come Home, which was mostly recorded at Fire Station Studio in San Marcos, Texas, came out on May 17 on the Last Music Co. label. It features deeper cuts from a variety of different artists, such as Lloyd Price, T-Bone Walker, Etta James, Fats Domino and Jimmy Reed. Let’s get to some music.

Here is the opener and title track of the album. The tune was written by Lloyd Price and released as a single in 1955. Often called “Mr. Personality,” after his 1959 million-seller Personality, the R&B singer from Louisiana is also known for Lawdy Miss Clawdy, a song he recorded in 1952, featuring Fats Domino on piano. I just dig the horn section and the cool retro sound on Baby, Please Come Home, which is present throughout this 11-tune collection.

No One To Talk To (But The Blues) is a song by country music singer-songwriter Lefty Frizzell, which he recorded in 1957 as a single with country and rockabilly vocalist  Shirley Caddell, who later became known as Shirley Collie Nelson. From 1963 until 1971, she was married to Willie Nelson.

Another great tune, and frankly I could have selected any other track, is What’s Your Name?  That song was written by blues, R&B and rock & roll singer Chuck Willis and appeared as a single in 1953.

Next up: I’m Still In Love With You by T-Bone Walker, one of Vaughan’s guitar influences. Co-written by Walker and Charles Glenn, the ballad was released by Walker with Marl Young And His Orchestra in 1945. From what I have heard thus far, Jimmie is more of an old-style pre-Jimi Hendrix type blues guitarist whereas his younger brother clearly embraced the virtuosity and sound of Hendrix.

The last track I’d like to highlight is So Glad by Fats Domino, which first appeared on his 1963 album Walking To New Orleans. The song was co-credited to Domino and his musical collaborator Dave Bartholomew.

In addition to playing guitar, Vaughan is also handling all lead vocals, something I understand he hasn’t always done. While I think it’s fair to say he’s a better guitar player than a singer, his vocals go well with the music. Vaughan is backed by outstanding musicians, with some of whom he has worked for a long time: George Rains (drums), Ronnie James (bass), Billy Pittman (rhythm guitar), Mike Flanigan (Hammond B3), T. Jarrod Bonta (piano), Greg Piccolo (tenor saxophone), Doug James (baritone saxophone), Randy Zimmerman (trombone) and Jimmy Shortell (trumpet), as well as the Texas horns: Kaz Kazanoff (tenor saxophone), John Mills (baritone saxophone) and Al Gomez (trumpet). The record also features guest vocalists Georgia Bramhall and Emily Gimble.

Commenting on the eclectic mix of tracks, Vaughan told Guitar World, “When I was young, I didn’t really pay much attention to categories of music. I just heard what I liked and decided to explore that. And that’s really what I’m still doing.” The result is a great-sounding. old style blues record I find very enjoyable. I also agree with one review I read that it was not Vaughan’s goal to make a hit record but simply play music he loves. That being said, the album is currently at no. 2 on the Billboard Blues Albums chart. No. 1, by the way, is Christone “Kingfish” Ingram with his eponymous debut – that 20-year-old blues guitarist and singer from Clarksdale, Miss is just dynamite!

Vaughan is going on the road starting June 19 in Atlanta, and playing what mostly look like smaller venues. Now, that could be fun – I know I’ve been saying I need to restrain myself investing in concerts, but seeing Vaughan up and close in some intimate venue probably would be a great experience! Some of the other dates include Cleveland (Jun 26); Austin, Texas (Jul 6); Boston (Jul 16); Washington, D.C. (Jul 20); Los Angeles (Aug 7); and San Francisco (Sep 11). The last current gig is in Dallas on Sep 21. The full schedule is here.

Sources: Wikipedia, Apple Music, Jimmie Vaughan website, Guitar World, YouTube