If you’ve followed this feature over the past six months, perhaps by now you may think, ‘jeez, when is he going to get it over with?’ I got news for you: This is the final installment!
For first-time visitors, this weekly series looked at music I would take with me on a trip to a desert island, one tune at a time and in alphabetical order by the name of the picked band or artist (last name). In addition, my selections had to be by a music act I had only rarely covered or even better not written about at all.
In last week’s installment, I featured the playlist that resulted from the above exercise. Obviously, the criteria limited my choices, as I also noted to some commenters throughout the series. Today, I’d like to present my “real” desert island playlist. The only rule I kept was to pick one song by a band or artist’s last name in alphabetical order.
In the following, I’m going to highlight four tunes. The entire playlist can be found at the end of the post.
Jethro Tull/Hymn 43
Over the years, Hymn 43 by Jethro Tull has become one of my favorite tunes by the English rock band. Penned by Tull’s flutist, frontman and lead vocalist Ian Anderson, Hymn 43 is off their fourth studio album Aqualung. Released in March 1971, that record is best known for the epic Locomotive Breath, even though incredibly, the single missed the charts in the UK, just like Hymn 43! In the U.S., Locomotive Breath and Hymn 43 became Tull’s first charting singles, reaching no. 62 and no. 92 on the Billboard Hot 100, respectively. Of course, one could argue that Tull’s music wasn’t about the charts!
American singer-songwriter Randy Newman has penned many tunes and film scores over his 60-year-plus-and-counting career. Some like Short People (1977), I Love L.A. (1983) and You’ve Got a Friend in Me (1995) became well known under his name, while others such as Mama Told Me Not to Come (1966), I Think It’s Going to Rain Today (1968) and You Can Leave Your Hat On (1972) were popularized by Three Dog Night, UB40 and Joe Cocker, respectively. Many other artists covered Newman’s songs as well. One of my favorite tunes by Newman is Guilty, included on his fourth studio album Good Old Boys, which appeared in September 1974. Evidently, Cocker liked the ballad as well and recorded it for his 1974 studio album I Can Stand a Little Rain.
Stevie Ray Vaughan/Pride and Joy
If you’re a frequent visitor of the blog or know my music taste otherwise you know I love the blues and blues rock. When it comes to that kind of music, in my book, it doesn’t get much better than Stevie Ray Vaughan. Not only was the man from Dallas, Texas an incredible guitarist – perhaps the best electric blues rock guitarist ever – but he also elevated the blues to the mainstream in the ’80s thanks to his great live performances and albums. Vaughan did both original songs and covers. I would argue that his rendition of Voodoo Child (Slight Return) is better than the original by Jimi Hendrix! Anyway, here’s Pride and Joy, penned by Vaughan, off his debut studio album Texas Flood.
Full disclosure: My first pick for “y” would have been Neil Young and Like a Hurricane. But since most of Neil’s music was pulled from Spotify earlier this year, I went with Yes. I’ve never gotten much into progressive rock (not counting Pink Floyd and a few others whose music includes prog-rock elements). Yes are one of the few exceptions, together with Genesis. That said, my knowledge of the British band’s music is mostly limited to their earlier catalog. In this context, a song I’ve really come to love is Roundabout. Co-written by vocalist Jon Anderson and guitarist Steve Howe, the track is from the group’s fourth studio album Fragile, released in November 1971. Until Owner of a Lonely Heart (1983), the band’s songs weren’t exactly radio-friendly. That said, Roundabout was released as a single and became the first top 20 song Yes had in the U.S.
Last but not least, here’s the entire playlist. In addition to the above, it includes many of the suspects you’d expect to see if you know my music taste, such as AC/DC, The Beatles, Cream, Deep Purple, Marvin Gaye and The Rolling Stones, to name some.
Celebrating music with six random tracks at a time
Another Sunday calls for another expedition into the great world of music and all its different beautiful flavors. In case you’re new to this weekly recurring feature, you may ask yourself why throw all kinds of tracks from different eras into a post in a seemingly arbitrary fashion. Well, I have a fairly eclectic taste and find it liberating not to limit myself to a specific theme like I typically do in my other posts. Hope you’ll join me!
Wes Montgomery/In Your Own Sweet Way
The first stop on today’s journey is April 1960, which saw the release of a studio album by Wes Montgomery. Even if you’re not a jazz aficionado, chances are you’ve heard of this amazing American jazz guitarist. His unusual technique to play the guitar, including plucking the strings with the side of his thumb and his frequent use of octaves, created a distinct and beautiful sound. During his active career spanning the years 1947-1968, Montgomery regularly worked with his brothers Buddy Montgomery (vibraphone, piano) and Monk Montgomery (bass), as well as Melvin Rhyne (organ). Sadly, Wes Montgomery’s life was cut short at age 45 when he suffered a heart attack in June 1968. In Your Own Sweet Way, composed by Dave Brubeck in 1952, is a track off an album aptly titled The Incredible Jazz Guitar of Wes Montgomery.
Chuck Prophet/Summertime Thing
Obviously, here in America, we’re into the summer season, so picking a tune titled Summertime Thing didn’t look far-fetched. The artist is Chuck Prophet, who only entered my radar screen earlier this year, and we now find ourselves in June 2002. From his AllMusicbio: Chuck Prophet is a singer, songwriter, and multi-instrumentalist who has created a handful of impressive solo albums when he isn’t busy collaborating with some of the most respected figures in roots rock. A songwriter with a naturalistic sense of storytelling and drawing characters, and a melodic sense that brings together the impact of rock with the nuance of country, blues, and folk, Prophet has been releasing worthwhile solo albums since 1990, when he brought out his first solo LP, Brother Aldo. Prior to that, he was a key member of the rough-edged Paisley Underground band Green on Red, who had a small cult following in the United States and a significantly larger one overseas, and in between solo efforts, he worked as a sideman, collaborator, or producer for Alejandro Escovedo, Kelly Willis, Warren Zevon, Cake, Kim Richey, and many more. Summertime Thing, written by Prophet, is from his 2002 solo album No Other Love. I really dig what I’ve heard from him thus far – good reminder to keep exploring!
Stray Cats/Rock This Town
Let’s pick up the speed with some fun ’50s rockabilly brought to us by Stray Cats. Formed in the U.S. in 1979 by guitar virtuoso Brian Setzer, double bassist Lee Rocker and drummer Slim Jim Phantom (gotta love that stage name!), the trio initially established a following in the New York music scene. After a gig in London, they met Welsh singer-songwriter, guitarist and record producer Dave Edmunds who co-produced their eponymous debut album. First released in the UK in February 1981, the record generated an impressive three top 40 hits on the Official Singles Chart: Runaway Boys (no. 9), Stray Cat Strut (no. 11) and the tune I decided to pick, Rock This Town (no. 9), which was penned by Setzer. The Cats are still roaming the streets, though they’ve had a few breaks along the way. Remarkably, their current line-up is the original formation. Coinciding with their 40th anniversary, they put 40 in May 2019, their 10th and first new studio album in 26 years. Let’s shake it, baby – meow!
Little Feat/Rock and Roll Doctor
Time to see a doctor. ‘What kinda doctor?’ you may wonder. Well, obviously not any doctor. What we need is a Rock and Roll Doctor. And this brings us to Little Feat and August 1974. I had this tune earmarked for Sunday Six use a while ago. The group was formed in 1969 in Los Angeles by singer-songwriter, lead vocalist and guitarist Lowell George and pianist Bill Payne, together with Roy Estrada (bass) and Richie Hayward (drums). George and Estrada had played together in The Mothers of Invention. Notably, Frank Zappa was instrumental in the formation of Little Feat and getting them a recording contract. After George’s death in 1979, the group finished one more album, Down On the Farm, before disbanding. They reunited in 1987 and have had a history since then that is too long to recap here. Rock and Roll Doctor, co-written by George and Martin Kibbee, appeared on the band’s fourth studio release Feats Don’t Fail Me Now, their first charting album, reaching no. 36, no. 40 and no. 73 in the U.S., Canada and Australia, respectively.
Let’s pay the current century another visit with this gem by Lucinda Williams: Knowing, off her ninth studio album Little Honey, released in October 2008. While I had been aware of her name for many years, it wasn’t until June of this year that I started paying attention to her when she opened for Bonnie Raitt in Philly. The American singer-songwriter who has been active since 1978 blends Americana, folk, country and heartland rock. Her fifth studio album Car Wheels on a Gravel Road brought her commercial breakthrough. Nine additional albums have since come out. In November 2020, Williams suffered a debilitating stroke. While she has managed to largely recover and resume performing, some signs are still visible. Like most tunes on Little Honey, Knowing was solely written by Williams – great lady!
Elvis Presley/Suspicious Minds
And once again, we’re reaching the final stop of our music journey. I’d like to go back to 1969 and one of my all-time favorite Elvis Presley renditions: Suspicious Minds. The tune was written by American songwriter Mark James in 1968, who also first recorded it that year. Not sure what kind of impact the original single had but I know this: Presley’s version, which was released in August 1969, was a huge success, becoming his 18th and final no. 1 single in the U.S. Notably, as Wikipedia points out, session guitarist Reggie Young played on both the James and Presley versions. A leading session musician, Young also worked with the likes of Joe Cocker, John Prine, J.J. Cale, Johnny Cash and Merle Haggard. Man, I love that song!
Thanks for accompanying me on another zig-zag music excursion. Of course, this post wouldn’t be complete without a Spotify playlist of all featured tunes. Here you go – hope there’s some stuff you like!
When Dave recently reached out to introduce the new topic for this round of “Turntable Talk,” I didn’t hesitate one minute to participate again. Thanks, Dave, for having me back and your continued efforts to host this fun series!
When it comes to music, I think it’s fair to say we generally like to focus most of our attention on original tracks. That’s certainly the case for me. I always like to explore new songs, especially if they are written by an artist or a band I dig. But a good cover can also get my attention.
What’s a good cover? I think there’s no standard definition here. However, what it doesn’t mean, at least in my opinion, is that a cover has to be a faithful rendition of the original. In fact, one could argue what’s the point of covering a song when it exactly sounds like the original. As such, I tend to find it more intriguing when an artist or a band take some liberties and put their own spin on a song. In this case I prefer to use the term remake rather than cover.
There are some excellent remakes. My all-time favorite is Joe Cocker’s version of With a Little Help From My Friends. Two other terrific remakes that come to mind are Love Hurts by Nazareth and Proud Mary by Ike & Tina Turner. Not only did Cocker, Nazareth and Ike & Tina Turner make the respective songs their own, but they took them to the next level. I like all three renditions better than the originals!
In some cases, the original tunes are so great that tampering doesn’t make much sense. Two good examples I thought of are the covers of If I Needed Someone and Hard to Handle by Roger McGuinn and The Black Crows, respectively.
Yet another rendition I think is absolutely killer is Elton John’s version of The Who’sPinball Wizard. To me, this falls somewhere in-between a straight cover and a remake. In any case, John did what I always wished The Who would have done – make this fantastic song longer instead of fading it out in a seemingly arbitrary fashion.
Finally, this brings me to my “bold cover” I’d like to select for this post. I deliberately wanted to go with a tune that looked like an unlikely pick by any of the other participants. In fact, it’s not even a remake of a rock tune but a jazz standard: Al Jarreau’s amazing rendition of Dave Brubeck classic Take Five.
In case it’s been a while since you’ve heard it last or if you haven’t listened to it at all, here’s the original. Composed by saxophonist Paul Desmond, the track was first released by the Dave Brubeck Quartet in December 1959 on their album Time Out. This was one of the first jazz tunes I ever heard many moons ago. Even though I wasn’t into jazz at the time, I’ve always loved it!
And here’s where Al Jarreau took the tune on his December 1977 live album Look to the Rainbow: Live In Europe. When I heard his rendition for the first time, I was blown away. How Jarreau used his voice here as an instrument is just super cool. In fact, this type of rendition is called scat singing, which per Wikipedia is “vocal improvisation with wordless vocables, nonsense syllables or without words at all.”
SongfactsnotesTake Five is one of the rare jazz tunes that became a hit. In the U.S., it peaked at no. 25 on the pop chart in October 1961. Elsewhere it did even better, especially in the UK (no. 6), Australia (no. 7), New Zealand (no. 8) and The Netherlands (no. 8). Take Five has also been used in movies, including Mighty Aphrodite (1995), Pleasantville (1998) and Constantine (2005). And it’s one of the most compelling remakes.
Celebrating music with six random tracks at a time
Welcome to another Sunday Six and hope you’re enjoying your weekend. Whatever it is you’re doing or plans you may have, most things go better with great music. I invite you to join me to embark on a new trip to celebrate music of the past and the present, six tunes at a time.
Coleman Hawkins Quartet/Love Song From “Apache”
Let’s start our journey in August 1963 with some soothing saxophone jazz by Coleman Hawkins. According to Wikipedia, German jazz music journalist Joachim-Ernst Berendt characterized Hawkins as one of the first prominent tenor sax jazz players, saying, “There were some tenor players before him, but the instrument was not an acknowledged jazz horn”. It’s my first exposure to Hawkins, so I’ll take that comment at face value. Born in St. Joseph, Mo. in 1904, Hawkins started playing saxophone at the age of 9. As a 17-year-old, he already was playing with Mamie Smith’s Jazz Hounds. While Hawkins became known with swing music during the big band era, he also had a role in the development of bebop in the ’40s. Love Song From “Apache”, composed by Johnny Mercer and David Raskin, is a beautiful track from a 1963 album by the Coleman Hawkins Quartet titled Today And Now. For jazz aficionados, Cole was backed by Tommy Flanagan (piano), Major Holley (upright bass) and Eddie Locke (drums).
Tears For Fears/Advice For the Young at Heart
On February 25, Tears For Fears released their first new album in nearly 18 years. While I’ve yet to spend more time with The Tipping Point, it brought the British new wave duo of Roland Orzabal and Curt Smith back on my radar screen. Formed in 1981, they are best remembered for their ’80s hits Mad World, Shout, Everybody Wants to Rule the World and Sowing the Seeds of Love. Given the Beatlesque sound of the latter, perhaps it’s not a surprise that tune, off their September 1989 album The Seeds of Love, is my favorite. Another song from that album I’ve always liked is Advice For the Young at Heart. Like several other tunes, it is credited to Orzabal and Nicky Holland, the keyboarder in Tears For Fears’ touring band during most of the second half of the ’80s.
John Hiatt & The Gooners/My Baby Blue
Next, let’s jump to May 2003 and a great tune by John Hiatt, an artist I’ve really come to appreciate over the past couple of years. While Hiatt has written songs for 50-plus years and recorded close to 30 albums, his tunes oftentimes became hits for other artists. Perhaps the most prominent examples are Thing Called Love and Have a Little Faith in Me, which became hits for Bonnie Raitt and Joe Cocker, respectively. Hiatt’s songs have also been covered by an impressive and diverse array of other artists like B.B. King, Bob Dylan, Buddy Guy, Emmylou Harris, Joan Baez, Linda Ronstadt, The Nitty Gritty Dirt Band and Willy DeVille. My Baby Blue, penned by Hiatt, is from his 17h studio album Beneath This Gruff Exterior, the only one that also credits his backing band The Gooners who also backed him on the Slow Turning (August 1988) and The Tiki Bar Is Open (September 2001) albums.
Chuck Prophet/Ford Econoline
When Spotify served up Ford Econoline by Chuck Prophet the other day, for a moment, I thought I was listening to a Ray Davies tune. From his AllMusicbio: Chuck Prophet is a singer, songwriter, and multi-instrumentalist who has created a handful of impressive solo albums when he isn’t busy collaborating with some of the most respected figures in roots rock. A songwriter with a naturalistic sense of storytelling and drawing characters, and a melodic sense that brings together the impact of rock with the nuance of country, blues, and folk, Prophet has been releasing worthwhile solo albums since 1990, when he brought out his first solo LP, Brother Aldo. Prior to that, he was a key member of the rough-edged Paisley Underground band Green on Red, who had a small cult following in the United States and a significantly larger one overseas, and in between solo efforts, he worked as a sideman, collaborator, or producer for Alejandro Escovedo, Kelly Willis, Warren Zevon, Cake, Kim Richey, and many more. Well, I’m glad to finally “meet” an artist who it sounds like should have entered my radar screen a long time ago. Ford Econoline, written by Prophet, is a track from Night Surfer, an album that appeared in September 2014. Man, I love that tune and really want to hear more by Prophet. Any tips are welcome!
Traffic/Walking in the Wind
Alrighty, time to pay the ’70s a visit. The year is 1974 and the month is September. That’s when Traffic released their seventh studio album When the Eagle Flies. It would be the English rock band’s last record before Steve Winwood and Jim Capaldi revived Traffic one more time for Far From Home, the final album released under that name in May 1994. On When the Eagle Flies, apart from Windwood (vocals, acoustic piano, organ, Mellotron, Moog synthesizer, guitars) and Capaldi (drums, percussion, backing vocals, keyboards), the band’s line-up also included founding member Chris Wood (flute, saxophones), as well as Rosko Gee (bass). By the time the record came out, percussionist Rebop Kwaku Baah had been fired. Perhaps this explains why he remained uncredited for the congas he provided for two tunes – not a nice thing to do! Here’s Walking in the Wind, which like all other tunes except one was co-written by Winwood and Capaldi.
The Animals/Boom Boom
And once again, we’ve reached the final stop of our little trip. Let’s finish things off with a great rendition of John Lee Hooker classic Boom Boom by The Animals. The British blues rock band first released this gem as a single in North America in November 1964. It was also included on their second American studio album The Animals on Tour from February 1965, a somewhat misleading title for a studio recording. Originally, Boom Boom had appeared in March 1962 on Hooker’s studio album Burnin‘. The Animals’ rendition reached no. 43 on the U.S. Billboard Hot 100 and no. 14 in Canada on the RPM Top 40 & 5 singles chart. Hooker’s original peaked at no. 60 on the Billboard Hot 100, only one of two of his songs that made the mainstream chart, as well as no. 16 on Billboard’s Hot R&B Sides. I never get tired to listen to Eric Burdon’s great voice and the band’s hot sound!
Here’s a Spotify playlist featuring the above goodies. Hope there’s something there you like!
Celebrating music with six random tracks at a time
Welcome to another Sunday morning/afternoon/evening, wherever you are when reading this. It’s time to resume some music time travel. Today’s six-stop journey starts in the ’60s with stop-overs in the ’90s, ’70s, ’10s and ’80s before coming to an end in the ’00s. Fasten your seatbelts and off we go!
Sonny Rollins/Where Are You?
I’d like to ease us into today’s musical trip with some relaxing jazz by Sonny Rollins. Jazz connoisseurs need no introduction to the American tenor saxophone great. For more casual jazz listeners like me, Rollins is widely recognized as one of the most important and influential jazz musicians who over an incredible 70-year-plus career has recorded more than 60 albums as a leader and appeared on many additional records as a sideman. Rollins has played with the likes of Charlie Parker, Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach and Modern Jazz Quartet. Where Are You? appeared on his 1962 studio album The Bridge, which Wikipedia notes was Rollins’ first release after a three-year sabbatical. Composed by Jimmy McHugh with lyrics by Harold Adamson, the track was written for the 1937 American comedy film Top of the Town and originally performed by Gertrude Niesen. On his rendition, Rollins was joined by Jim Hall (guitar), Bob Cranshaw (double bass) and Ben Riley (drums). I don’t have to be a jazz expert to love this track and neither do you. Just listen to that smooth saxophone sound! Rollins who celebrated his 91st birthday last September is still alive – bless the man!
Blue Rodeo/5 Days in May
Our next stop is the ’90s and beautiful music by Blue Rodeo, which is right up my alley. I’ve featured the Canadian country rock band on the blog before. They were formed in 1984 in Toronto by high school friends Jim Cuddy (vocals, guitar) and Greg Keelor (vocals, guitar), who had played together in various bands before, along with Bob Wiseman (keyboards). Cleave Anderson (drums) and Bazil Donovan (bass) completed the band’s initial lineup. After gaining a local following in Toronto and signing with Canadian independent record label Risque Disque, the group released their debut album Outskirts in March 1987. 5 Days in May is the opener of the band’s fifth studio album Five Days in July, which appeared in October 1993 in Canada and September 1994 in the U.S. With 6X Platinum certification in Canada, it remains their best-selling album to date. Like most other tunes on the record, 5 Days in May was co-written by Cuddy and Keelor. The harmonica and guitar action are very reminiscent of Neil Young. I also love that keyboard sound. It’s just a great song all around!
The Jaggerz/The Rapper
When I came across The Rapper by The Jaggerz the other day, I earmarked it immediately for an upcoming Sunday Six. The American rock band from Pittsburgh, Pa. was initially active from 1964 until 1977. During that period, they only released three albums. After the third, Come Again from 1975, they broke up in 1977. By that time, frontman and co-founder Dominic Ierace had already left the group and joined American funk rock band Wild Cherry, best known for Play That Funky Music, their only major single success. In 1989, The Jaggerz reunited sans Ierace with three other original founders and three new members. They have since released three additional albums, the most recent of which came out in 2014 – not an exactly overwhelming catalog! The group’s current formation, a six-piece, includes founding members Jimmie Ross (lead vocals, bass) and Benny Faiella (guitar). The Rapper became the band’s breakthrough single and only hit in January 1970, surging to no. 2 in the U.S. on the Billboard Hot 100. Written by Ierace, it was included on their sophomore studio album We Went to Different Schools Together, released that same year.
Alison Krauss & Union Station/Miles to Go
For this next pick, let’s go to the current century. Miles To Go is a song from Paper Airplane, released in April 2011 by Alison Krauss& Union Station. The bluegrass and country artist, who is also a talented fiddle player, has been active since 1984. She made her recording debut in 1986 with Different Strokes, a collaboration with Jim Hoiles & Friends and Swamp Weiss. To date, Krauss has released 14 albums, most frequently together with bluegrass and country band Union Station. I’m mostly aware of Krauss because of her two collaboration records with Robert Plant. Miles to Go was co-written by Union Station bassist Barry Bales and Chris Stapleton. Krauss is a great vocalist and I also dig the band’s sound. Yesterday, in addition to further checking out Paper Airplane, I sampled Lonely Runs Both Ways, her preceding album with Union Station from November 2004. Lots of great music only between these two records!
John Hiatt/Memphis in the Meantime
Memphis, Tenn. and its amazing music history are on my bucket list. Graceland, Sun Studio and the Stax Museum surely sound like worthy sites to visit. In the meantime, I’m picking a tune about the city by John Hiatt, a great artist I’ve started to explore in greater detail over the past few years. The singer-songwriter who has been active for 50 years is best known for tunes that have been covered by the likes of B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While Hiatt’s albums received positive reviews from critics, it took eight records and more than 10 years until he finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. Memphis in the Meantime is the opener of that great record. It also includes two tunes popularized by two of the aforementioned artists: Thing Called Love, by Bonnie Raitt; and Have a Little Faith in Me, by Joe Cocker.
The Chesterfield Kings/The Rise and Fall
Once again it’s time to wrap things up. For the final stop of our musical mini-excursion, let’s get a dose of psychedelic garage rock by The Chesterfield Kings. Founded in the late ’70s by Greg Prevost (lead vocals, multiple instruments), the band from Rochester, N.Y. was instrumental in sparking the 1980s garage band revival, according to Wikipedia. A partial discography there lists 11 albums by the group that was active until 2009. Rise and Fall, co-written by Provost and bandmate Andy Babiuk (bass and multiple other instruments), is a tune from a 2007 album titled Psychedelic Sunrise. The group’s line-up at that time also included Paul Morabito (guitars, mandolin, organ) and Mike Boise (drums, percussion). BTW, the album was produced by garage rock fan Steven Van Zandt. I could picture this tune played by The Rolling Stones during their psychedelic period.
Last but not least, here’s a Spotify playlist featuring all of the above goodies!
I guess the title of the post, which I creatively borrowed from an Etta James song, pretty much gives it away. I’ve been into the blues and blues rock on and off for close to 40 years. My relatively short-lived period as a hobby bassist many moons ago started in a blues band.
After primarily focusing on other genres, I’ve turned more of my attention back to the blues over the past few years. While the old blues guard, i.e., the likes of B.B. King, Muddy Waters and John Lee Hooker, is largely gone, encouragingly, a good number of relatively young artists including a significant amount of females are keeping the blues alive and putting their own stamp on it.
The idea for this post, which celebrates blues and blues rock from young and old artists, was triggered the other day when I came across Worried Life Blues, as covered by B.B. King and Eric Clapton on their great collaboration album Riding with the King from June 2000. Most of the music I feature here is in a Spotify playlist at the end of the post. I’m highlighting six of the tunes in the upfront.
B.B. King and Eric Clapton/Worried Life Blues
Starting with the song that inspired this post felt appropriate. Worried Life Blues was written by American blues pianist Major Merriweather, better known as Big Maceo Merriweather, and county blues artist Samuel John “Lightnin’” Hopkins, who was known as Lightnin’ Hopkins. It was first recorded and released by Merriwater in 1941. The tune was based on Someday Baby Blues, a Sleepy John Estes song from 1935. Worried Life Blues became one of the most recorded blues standards of all time.
The Boneshakers/Let’s Straighten It Out
My longtime music friend from Germany recently brought this excellent tune to my attention. The Boneshakers were 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. Let’s Straighten It Out is from The Boneshakers’ debut album Book of Spells, which appeared in January 1997. The tune was penned by blues vocalist Benny Latimore, who recorded it for his 1974 album More More More. The original is great, but this rendition is killer!
Shemekia Copeland/Salt In My Wounds
Shemekia Copeland, the daughter of Texas blues guitarist and vocalist Johnny Copeland, is an incredible blues vocalist who has released 10 albums to date. Salt In My Wounds is from her April 1998 debut Turn the Heat Up! The track was penned by blues guitarists Joe Louis Walker and AlanMirikitani. Copeland’s delivery is riveting.
Jontavious Willis/Take Me to the Country
Next up is Jontavious Willis, a young country blues guitarist from Greenville, Ga. Taj Mahal, one of his mentors, has called him “wunderkind”. I saw Willis open up for him and Keb’ Mo’ in August 2017 and was very impressed. Mahal also executive-produced Willis’ sophomore album Spectacular Class, which appeared in April 2019. I previously reviewed it here. Following is a tune from that album, Take Me to the Country. Check this out. Not only is the guitar-playing outstanding, but the singing is great as well!
Danielle Nicole/Save Me
Danielle Nicole (né Danielle Nicole Schnebelen) is a blues and soul musician from Kansas City, Mo. Prior to releasing her solo debut Wolf Den in 2015, Nicole co-founded Kansas City soul and blues rock band Trampled Under Foot in 2000 and was their lead vocalist and bassist. The band recorded five albums before it dissolved in 2015. Save Me, co-written by Schnebelen and drummer and producer Tony Braunagel, is a tune from Nicole’s third and most recent studio album Cry No More. It features Kenny Wayne Shepherd on guitar.
Little Steven/Blues Is My Business
It may seem a bit odd to highlight Little Steven’s version of the above-noted tune that was first recorded by Etta James as The Blues Is My Business for her 26th studio Let’s Roll. James’ version is great. Little Steven (Steven Van Zandt) takes the song, which was co-written by Kevin Bowe and Todd Cherney, to the next level with a soulful rendition that reminds me of Joe Cocker. He included it on his excellent studio album Soulfire from May 2017.
Here’s the above-mentioned playlist with plenty of additional music. Hope you find something you like.
Celebrating music with six random tracks at a time
Welcome to another installment of The Sunday Six. I always look forward to writing these weekly posts. It feels very liberating to explore the music of the past 60 years or so with no set theme or rules other than I have to like it and keep my picks to six tracks at a time. That being said, frequent readers may have noticed that I’ve kind of settled into a groove on how I tend to structure these posts.
Usually, they kick off on a softer note, given I’m publishing these installments on Sunday mornings, at least in my neck of the woods. I feel these intros present a nice opportunity to feature some jazz and other instrumental music. From there, the posts are pretty much all over the place, jumping back and forth between different decades and featuring different genres. With my methodology behind the madness now having been officially revealed in case you hadn’t already noticed, let’s get to this week’s picks!
Federico Albanese/The Stars We Follow
I’d like to begin today’s journey with beautiful instrumental music by Federico Albanese, an Italian composer, pianist and music producer. He emerged in Spotify after I had looked up the latest composition by English contemporary pianist Neil Cowley I featured in two previous Sunday Six installments, most recently here. From Albanese’s website: Albanese’s compositions are airy and cinematic, blending classical music, pop and psychedelia...When Federico Albanese was just two years old, a local music store owner told his mother that her son had a gift for music...After an early childhood playing piano, the next stop on Albanese’s musical journey was jazz. Inspired by a Woody Allen film, his father gave the young teenager a clarinet, and booked him lessons...Next came the bass guitar, because he wanted to play in a punk rock band. In addition to playing in several rock bands, he and his friends were listening to new age music of the late 90s, from Brian Eno to William Basinski…All of these musical interests have combined to influence his genre-fusing piano soundscapes, which also incorporate guitar, bass, violin and electronica. This brings me to The Stars We Follow, which is part of a soundtrack released in May 2019 Albanese wrote for a motion picture titled The Twelve. I find this music very relaxing and a nice way to start a Sunday morning.
Chuck Brown and Eva Cassidy/Dark End of the Street
Next, let’s turn to Eva Cassidy, a versatile American vocalist who was known for her interpretations of jazz, blues, folk, gospel, country and pop songs. Sadly, Cassidy’s life was cut short at age 33 when she passed away from melanoma. What a loss and at such a young age – truly heartbreaking! Cassidy gained most of her popularity after her death, especially overseas where three of her postmortem releases – a studio album, a live record and a compilation – topped the Offical Albums Chart in the UK and also reached the top 20 in various other European countries. Cassidy’s cover of Dark End of the Street appeared on The Other Side from January 1992, the only album released during her lifetime. She recorded it together with American guitarist, bandleader and vocalist Chuck Brown who was known as The Godfather of Go-Go. Written by Dan Penn and Chips Moman in 1967, Dark End of the Street was first recorded by R&B and soul singer James Carr that same year. Check out Cassidy’s beautiful rendition – I find it incredible!
The Box Tops/The Letter
After two mellow tracks, it’s time to speed things up. Here’s a great tune that became the first and biggest hit for American blue-eyed soul and rock band The Box Tops: The Letter, which first appeared as a single in May 1967. The tune, written by Wayne Carson, was also included on the group’s first album The Letter/Neon Rainbow. It was quickly put together and released in November of the same year after The Letter had reached no. 1 in the U.S. on the Billboard Hot 100. The Letter featured 16-year-old Alex Chilton on lead vocals, who after The Box Tops had disbanded in February 1970 became a co-founder of power pop group Big Star. The original line-up of The Box Tops also included Gary Talley (lead guitar, backing vocals), John Evans (keyboards, backing vocals), Bill Cunningham (bass, backing vocals) and Danny Smythe (drums, backing vocals). I’ve always loved The Letter, an excellent rendition of which was also recorded by Joe Cocker in 1970.
The Hooters/All You Zombies
While I was thinking about the ’80s the other day and a tune I could feature in a Sunday Six installment, suddenly, I recalled American rock band The Hooters. They became quite popular in Germany in the mid-’80s. The first song that brought them onto my radar screen was All You Zombies. I vaguely seem to recall rocking out on the dance floor to this great tune during high school parties and festivities as a young college student. The song was co-written by the band’s founding members Eric Brazilian (lead vocals, guitars, mandolin, harmonica, saxophone) and Rob Hyman (lead vocals, keyboards, accordion, melodica) who remain with the still-active group to this day. An initial version of All You Zombies first appeared on The Hooters’ debut album Amore and as a single, both released in 1983, and went unnoticed. I can see why it was the re-recorded and extended version from 1985, which became a hit. That take appeared on the band’s sophomore album Nervous Night from May 1985 and also separately as a single. The tune was most successful in Australia where it climbed to no. 8. It also charted in the top 20 in New Zealand and Germany (no. 16 and no. 17, respectively). In the U.S., it peaked at no. 11 on Billboard’sMainstream Rock chart and no. 58 on the Billboard Hot 100 pop chart.
Billy Joel/New York State of Mind
The other day, Graham who pens the great Aphoristic Album Reviews blog did a post titled “10 Worst Billy Joel Lyrics”. Just in case any Billy Joel fans are reading this, Graham digs the piano man, just not necessarily all of his lyrics, and I think he explains it very well. Joel also happens to be one of my longtime favorite singer-songwriters and I’ve yet to dedicate a post to him – I guess a new idea was just born. Perhaps one of the most remarkable things about the artist from Long Island, N.Y. is that while he hasn’t released a new pop album since his 12th studio record River of Dreams from August 1993, he remains as popular as ever. Joel is selling out one show after the other as part of his monthly residency at New York’s Madison Square Garden, a venue that can hold up to 20,000 people for concerts. One of my favorite songs by the piano man, especially musically, is New York State of Mind. The track appeared on Joel’s fourth studio album Turnstiles from May 1976. Surprisingly, this gem wasn’t released as a single at the time. Eventually, it appeared as a single in 2001, off a Tony Bennett album titled Playin’ with My Friends: Bennett Sings the Blues. You can check out Joel’s and Bennett’s jazzy bar tune-like take here – beautiful!
Jerry Lee Lewis/Whole Lot of Shakin’ Going On
And once again, it’s time to wrap up, so let’s make it count. Are you ready to groovin’? Ready to movin’? Ready to rockin’? Ready to rollin’? Get shakin’ with one of the best tunes by The Killer. I give you Jerry Lee Lewis, who at age 86 is the last man standing of the classic rock & roll era, and Whole Lot of Shakin’ Going On! Written by Dave “Curlee” Williams, the original jazzy version of the tune appeared as Whole Lotta Shakin’ Goin’ On by American R&B singer Big Maybelle in 1955. While it’s pretty groovy, Jerry Lee Lewis took the tune to a new level when he released his high-charged rendition as a non-album single in April 1957. Lewis’ propulsive boogie piano was backed by Sun Records session drummer J. M. Van Eaton and rockabilly guitarist Roland E. Janes, literally turning the tune into a killer rendition. “I knew it was a hit when I cut it,” a confident Lewis later proclaimed. “Sam Phillips [Sun Records founder – CMM] thought it was gonna be too risqué, it couldn’t make it. If that’s risqué, well, I’m sorry.” Whole Lot of Shakin’ Going On became one of Lewis’ highest-charting hits, climbing to no. 3 in the U.S. on the mainstream Billboard Hot 100, and topping both Billboard’s country and R&B charts. In the UK, the tune reached no. 8. Since it’s so much fun, I give you both the studio version and an incredible extended live take from 1964- and, yes, feel free to shake along!
Last but not least, here’s a Spotify playlist including the above picks!
John Hiatt is a great artist I’ve been aware of for many years. I’m glad his excellent recent collaboration album with Jerry Douglas, Leftover Feelings, brought the acclaimed singer-songwriter back on my radar screen. It finally made me start exploring some of Hiatt’s other albums in their entirety, including Perfectly Good Guitar, his 11th studio release that appeared in September 1993. I’m sure Hiatt aficionados are well aware of it; if you’re not and dig heartland and roots-oriented rock, you’re in for a treat.
Hiatt who was born in Indianapolis had a difficult childhood. After the death of his older brother and his father, he used watching IndyCar races and listening to music by the likes of Elvis Presley, Bob Dylan and blues artists as escape mechanisms. At the age of 11, Hiatt learned to play guitar and started his music career as a teenager in Indianapolis, playing local venues with the a variety of bands.
When he was 18, Hiatt moved to Nashville, Tenn. where he landed a job as a songwriter for the Tree-Music Publishing Company. He also continued local performances, both solo and with a band called White Duck. Hiatt got his break in June 1974 when Three Dog Night turned his song Sure As I’m Sitting Here into a top 40 hit. His original version he had released as a single in February that year had gone nowhere.
In July 1973, Hiatt recorded his debut album Hangin Around The Observatory, which came out the following year. While it received favorable reviews, the album was a commercial failure. When the same thing happened with his sophomore release Overcoats, his label Epic Records was quick to drop him. Meanwhile, other artists kept covering Hiatt’s songs. Unfortunately, the story pretty much kept repeating itself until Bring the Family from May 1987, finally giving Hiatt his first album to make the Billboard 200, reaching no. 107.
Bring the Family featured the gems Thing Called Love and Have a Little Faith in Me, which became hits for Bonnie Raitt and Joe Cocker, respectively. Hiatt’s songs have also been covered by an impressive and diverse array of other artists like B.B. King, Bob Dylan, Buddy Guy, Emmylou Harris, Joan Baez, Linda Ronstadt, The Nitty Gritty Dirt Band and Willy DeVille, and the list goes on and on.
To date, Hiatt has released 28 albums, including two live records and two compilations. In 1991, he also formed the short-lived group Little Village together with Ry Cooder, Nick Lowe and Jim Keltner. Previously, Hiatt had worked with each of the three artists on Bring the Family. After issuing a self-titled album in February 1992 and a short supporting tour the group disbanded.
Let’s get to some music from Perfectly Good Guitar. Here’s the great opener Something Wild. Like all other tracks except one, the tune was solely written by Hiatt. I dig the nice driving drum part by Brian McLeod. With the recent death of Charlie Watts, perhaps it’s not surprising that Satisfaction came to mind right away!
The title track perfectly captures my sentiments when I see footage of Pete Townshend trashing his guitar at the end of a Who gig; or Jimi Hendrix setting his guitar on fire for that matter. Oh, it breaks my heart to see those stars/ Smashing a perfectly good guitar/I don’t know who they think they are/Smashing a perfectly good guitar…Yes, of course, it was all for show and I believe Townshend at least glued some of his smashed guitars back together. And while I certainly don’t support jail sentences for guitar-smashing, destroying instruments still rubs me the wrong way! Instead, make some kid happy and give it to them! Who knows, you might even change their trajectory!
Another nice track is Buffalo River Home. I really like the guitar work on that tune.
Another track that got my attention, primarily because of the drum part, is Blue Telescope. McLeod’s drum work reminds me a bit of Steve Gadd’s action on Paul Simon’s50 Ways to Leave Your Lover. I have no idea whether Gadd’s unique drum part served as an inspiration here. Regardless, it sure as heck sounds cool to me!
The last track I’d like to call out is Old Habits, which has a great bluesy vibe. It’s the one song on the album Hiatt co-wrote with somebody else: Female singer-songwriter Marshall Chapman. Similar to Hiatt, it appears her songs have been covered by many other artists, such as Joe Cocker, Jimmy Buffett, Emmylou Harris, Irma Thomas and Ronnie Milsap.
Before wrapping up this post, I’d to acknowledge the other fine musicians on this great album. In addition to Hiatt (guitar, vocals, piano, organ) and MacLeod (drums, percussion), they include Michael Ward (guitar), Ravi Oli (electric sitar; Ravi Oli is a pseudonym of David Immerglück), Dennis Locorriere (harmony vocals) and John Pierce (bass guitar).
Perfectly Good Guitar was Hiatt’s last studio album with A&M Records. Once again, another great record failed to meet the commercial expectations of the label, though ironically, it became Hiatt’s most successful record on the U.S. mainstream charts to date, peaking at no. 47 on the Billboard 200. Hiatt subsequently signed with Capitol Records, which released his next two studio albums, including the Grammy-nominated Walk On from October 1995.
A selection of newly released music that caught my attention
It’s that time of the week again to take another look at newly released music. This latest Best of What’s New installment turned out to be pretty rock-oriented. All songs are on albums that came out yesterday (April 16).
Greta Van Fleet/Built By Nations
Kicking things off is some great blistering rock by Greta Van Fleet, a rock band from Frankenmuth, Mich. They were formed in 2012 by twin brothers Josh Kiszka (vocals) and Jake Kiszka (guitar) and their younger brother Sam Kiszka (bass), along with Kyle Hauck (drums). Hauck left in 2013 and was replaced by Danny Wagner who remains the band’s drummer to this day. Greta Van Fleet have attracted plenty of attention for embracing ’70s classic rock and some criticism from certain music reviewers who accused them of ripping off early Led Zeppelin. While there’s no denying some of the Michigan rockers’ early tunes have a Led Zeppelin I vibe, I always found the criticism overblown. Plus, I dig Zep, so selfishly I didn’t mind in the first place. Greta Van Fleet have since evolved their sound, as illustrated by their latest album The Battle at Garden’s Gate. Some tracks had been released as singles ahead of what is the band’s second full-length studio album, including My Way, Soon and Age of Machine. I previously featured them here and here. Following is Built By Nations. Like all other tracks on the album, it is credited to the entire band.
Eric Church/Heart on Fire
Eric Church is a country singer-songwriter from Nashville, Tenn. According to his artist profile on Apple Music, Church is a gifted storyteller, delivering relatable, regular-guy sing-alongs with a warm, reedy drawl. The North Carolina native started early—he was writing songs at 13 and taught himself to play guitar soon after, eventually getting a taste of touring with his college band, Mountain Boys. But his sharp lyrical observations and sly humor helped him find footing in Nashville’s songwriter circuit and land a solo record deal. His debut album Sinners Like Me appeared in July 2006. The third album Chief from July 2011 brought the big breakthrough, topping both the Billboard Top Country Albums and the Billboard 200 mainstream charts. Heart on Fire, written by Church, is the opener of Heart, the first part of an ambitious triple album titled Heart & Soul that features 25 tracks. Parts 2 and 3, & and Soul, are slated to be released on April 20 and April 23, respectively.
The Offspring/Let the Bad Times Roll
The Offspring were formed in 1984 as Manic Subsidal in Garden Grove, Calif. The band, which changed their name to The Offspring in 1986, has been credited for reviving mainstream interest in punk rock, together with fellow Californian outfits Green Day and Rancid. The current line-up includes founding member Bryan “Dexter” Holland (lead vocals, guitar), along with Kevin “Noodles” Wasserman (guitar), Todd Morse (bass) and Pete Parada (drums). The band released their eponymous debut album in June 1989. Their international breakthrough, appropriately titled Smash, appeared in April 1994. Fueled by hit singles Come Out and Play, Self Esteem and Gotta Get Away, the album surged to no. 4 in the U.S. on the Billboard 200, peaked at no. 3 in Canada, topped the charts in Australia, and reached the top 5 in various European countries. Altogether, The Offspring have released 10 studio albums, 4 EPs, two compilations and multiple singles over their now 37-year career. Let the Bad Times Roll, written by Holland, is the catchy title track of their new album.
Paul McCartney & Joshua Homme/Lavatory Lil
Wrapping up this Best of What’s New installment is Paul McCartney who has been on a remarkable roll. Following the release of his 18th solo album McCartney III last December, which I reviewed here, he is back with an encore titled McCartney III Imagined. According to an announcement on his website, the album features an A-List assortment of friends, fans and brand new acquaintances, each covering and/or reimagining their favorite McCartney III moments in their own signature styles…McCartney III Imagined continues the tradition of the biggest and most diverse names in music covering Paul’s songs — an ever-expanding lineup that ranges from more recent versions by Billie Eilish, Harry Styles, Dave Grohl, Coldplay and The Cure, to interpretations over the years from the likes of U2, Guns N’ Roses, Earth Wind & Fire, Siouxsie and the Banshees, Marvin Gaye, Bill Withers, Joe Cocker, Stevie Wonder, Frank Sinatra, Elvis Presley, Ray Charles and so many more. McCartney III Imagined is a testament of Paul’s enduring and unmatched influence, a legacy that stretches from “Yesterday” being the most covered song in contemporary musical history to the inspiration his current work continues to hold for generations of artists and fans. What I find remarkable is the apparent open-mindedness of McCartney who is turning 79 in June to work with a broad group of contemporary artists, such as Dominic Fike, Khruangbin, Blood Orange, St. Vincent, Phoebe Bridgers and Beck. Frankly, except for the last two, these are all new names to me! Here’s Lavatory Lil, imagined together with Joshua Homme who is best known as the main songwriter, lead vocalist and guitarist of American rock band Queens of the Stone Age.
Sources: Wikipedia; Apple Music; Paul McCartney website; YouTube
A selection of newly released music that caught my attention
This week was a bit of a drag, so I’m not unhappy it’s over. Of course, this also means it’s time to take another look at newly released music. Between an unusual but great sounding bluesy country trio, gospel from an amazing singer who is primarily known as a backing vocalist, as well as some alternative and indie rock, I think I’ve put together a pretty solid collection of songs. Unless noted otherwise, all music appeared yesterday, April 9. Let’s get to it!
The Reverend Peyton’s Big Damn Band/Too Cool to Dance
The Reverend Peyton’s Big Damn Band (this has got to be one of the coolest band names!) are an American country blues trio from Brown County, Ind. and have been around since 2003. Their members include Josh “The Reverend” Peyton (guitar, lead vocals), his wife “Washboard” Breezy Peyton (washboard) and Max Senteney (drums). According to Apple Music, the band’s sound is characterized by thick, bass-heavy, blues-based guitar figures and growling vocals accompanied by muscular but minimal drumming and the metallic percussive scratch of a washboard (making them one of the first rock bands to regularly feature the latter instrument since Black Oak Arkansas). Their style is informed by rural blues, honky-tonk country, and the rebellious spirit of rock & roll, as Reverend Peyton’s raw and wiry guitar figures add texture to their straightforward melodies. To date, they have released 10 full-length albums and one EP. Too Cool to Dance is from their new album Dance Songs for Hard Times, which addresses the hopes and fears of life during this seemingly never-ending pandemic. But, as the band’s website notes, don’t expect to hear depressing music. “I like songs that sound happy but are actually very sad,” Peyton says. “I don’t know why it is, but I just do.” Well, he isn’t kidding – check this out!
Merry Clayton/A Song For You
American soul and gospel singer Merry Clayton, who began her recording career in 1962, is best known for providing killer backing vocals on Gimme Shelter, the 1969 tune by The Rolling Stones. Moreover, Clayton sang backing vocals on Lynyrd Skynyrd’s Sweet Home Alabama and recorded with Elvis Presley, The Supremes, Ray Charles, Joe Cocker, Linda Ronstadt and Carole King, among others. In addition, Clayton was a member of Charles’ vocal backing group The Raelettes from 1966-1968. In 1963, her solo debut single When the Doorbell Rings appeared. Clayton has also released various solo albums since 1970. In the ’80s, she did some acting as well. A Song for You, which was written by Leon Russell and included on his eponymous debut solo album from March 1970, is a track from Clayton’s new album Beautiful Scars. She first covered the tune on her eponymous third solo album released in 1971. This may be an old tune and “only” a cover, but I just love Clayton’s singing!
The Natvral/New Moon
According to his Bandcamp profile, The Natvral is the new project of Kip Berman, who previously founded American indie rock band The Pains of Being Pure at Heart and was their main songwriter. Between 2009 and 2017, the New York group released four studio albums. As reported by Paste, in November 2019, Berman announced the band had dissolved and that he intended to focus on his new project The Natvral. Well, he did, and the result is Tethers, Berman’s debut album under his new name, which came out on April 2nd. Call me crazy, I seem to hear some Bob Dylan in this tune! Regardless, it sounds great to me!
Major Murphy/In the Meantime
Let wrap things up with Major Murphy, an indie rock from Grand Rapids, Mich. According to their artist profile on Apple Music, they were formed in 2015 behind the songwriting of singer/multi-instrumentalist Jacob Bullard. Jacki Warren (synth, bass, vocals) and Brian Voortman (drums) rounded out the lineup. A home-recorded debut EP called Future Release was issued by Winspear later in 2015, and the trio soon committed to performing live regularly and went on their first tours. Winspear released the follow-up EP On & Off Again in July 2017. That November, Major Murphy previewed a more vibrant sound with “Mary,” the lead track off their full-length debut. Recorded mostly live in the studio with producer/mixer Mike Bridavsky, No. 1 arrived on Winspear in March 2018. That same year, Chad Houseman joined Major Murphy on guitar, keyboards and percussion. He is on the band’s new sophomore album Access, which came out on April 2nd. Here’s In the Meantime, written by Bullard. It’s a catchy tune that has a bit of a Tom Petty vibe.
Sources: Wikipedia; Apple Music; The Reverend Peyton’s Big Damn Band website; YouTube