In late March, I spotted and coveredMississippi Phone Booth, a tune from John Hiatt’s then-upcoming new collaboration album with Dobro resonator guitar master Jerry Douglas. Leftover Feelings since came out last Friday, May 21. While based on my still relatively limited knowledge of Hiatt’s previous catalog he doesn’t break new ground, I love the sound and high-quality handcrafted feel of the music, and feel confident enough to say if you dig Hiatt you’ll like this album!
As I noted in my previous post, while Hiatt and Douglas had known each other for years, the album marked the first time they recorded music together. Initially, Leftover Feelings was supposed to be released in April of last year. Like in so many other cases, COVID-19 threw a monkey wrench into everything. But there was one upside.
Hiatt and Douglas recorded the album at Nashville’s historic RCA Studio B during the shutdown, which they otherwise couldn’t have done. Usually, the space is used by the Country Music Hall of Fame and Museum for public tours. The cool thing is the storied studio is the very same place where they likes of Elvis Presley, The Everly Brothers and Waylon Jennings once recorded.
“The room’s just got a feel to it,” Hiatt toldPaste. “My mind started pedaling back to when I was a little boy hearing ‘Blue Christmas’ every Christmas and ‘Love Me Tender,’ and all of the great songs recorded there just kinda blew my mind.”
“The whole time you’re there, when you’re not playing, you’re thinking about who has been in that room and played,” added Douglas. “All these great music producers and musicians walked in and out through that room, and it was their playhouse.” One can only imagine what a thrill it must have been to record in this famous place!
This brings me to the musicians playing on the album. Apart from Hiatt (vocals, acoustic guitar) and Douglas (Dobro, lap steel guitar, backing vocals), they include Jerry Douglas Band members Mike Seal (acoustic and electric guitar), Daniel Kimbro (bass, string arrangements) and Christian Sedelmyer (fiddle). In addition, there’s Carmella Ramsey (backing vocals). ‘So who’s playing the drums?’ you might ask yourself. Well, nobody – frankly, there’s no drummer needed in this case!
Let’s get to some music. Here’s opener Long Black Electric Cadillac. Like all of the 10 other tracks, the song was written by Hiatt. As this review by The Associated Press cleverly observed, the tune introduces “a new musical form — the 12-bar blues gone green.” A little excerpt from the lyrics helps illustrate the point: I got a long black electric Cadillac/She goes a thousand miles on a charge/I got a long black electric Cadillac/She goes a thousand miles on a charge/I’m runnin’ subterranean air conditioning/And a full electron photo array in my backyard…
While Mississippi Phone Booth is one of my early favorite tunes, I’m skipping it here, given I covered it before and go right to All the Lilacs in Ohio. It’s an acoustic stripped back version of a song Hiatt previously recorded for The Tiki Bar is Open, a studio album released on September 11, 2001.
I’m in Ashville is “a song about a guy who’s left his lover in all but his mind and heart,” Hiatt toldRelix. “Jerry’s aching steel guitar floating above the rolling fiddle and the pulse of the bass and rhythm just expands on the dubious decision this fellow has made.” I love this tune. The warm sound is just beautiful!
On Little Goodnight things become slightly more electric, which is good for sound variety. It’s another tune Hiatt had released previously, in this case on his 2012 compilation Collected.
Let’s do one additional track: Keen Rambler. The above AP review characterizes the song as “spirited” (agree), comparing it to “a Chuck Berry car song, but it’s about walking.” Less sure about that. What I do know is I like the tune and that’s good enough for me to highlight it in this post.
Leftover Feelings is Hiatt’s 26th album and follows The Eclipse Sessions, his second live album from 2018. It was produced by Douglas and mastered by engineer Paul Blakemore. The album appears on New West Records, Hiatt’s eighth release on that label based in Nashville, Tenn. and Athens, Ga.
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’sAja 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 & Young, The Band, Grateful Dead, Eagles 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.
I just love this clip of heartland rocker John Hiatt teaming up with Dobro resonator guitar master Jerry Douglas. Mississippi Phone Booth, written by Hiatt, is from Leftover Feelings, an upcoming collaboration album by the two artists scheduled for May 21.
As reported by Paste, while Hiatt and Douglas have known each other for years, the album marks the first time they have recorded music together. Initially, Leftover Feelings was supposed to come out in April of last year. But like in so many other cases, COVID-19 threw a monkey wrench into everything.
On the upside, Hiatt and Douglas ended up having four days at Nashville’s historic RCA Studio B during the shutdown, which otherwise would have been used by the Country Music Hall of Fame and Museum for public tours. One can only imagine what it must have felt like to work in the same space where the likes of Elvis Presley, The Everly Brothers and Waylon Jennings once recorded.
“The whole time you’re there, when you’re not playing, you’re thinking about who has been in that room and played, Douglas told Paste. “All these great music producers and musicians walked in and out through that room, and it was their playhouse.”
“The room’s just got a feel to it,” added Hiatt. “My mind started pedaling back to when I was a little boy hearing ‘Blue Christmas’ every Christmas and ‘Love Me Tender,’ and all of the great songs recorded there just kinda blew my mind.”
As for Mississippi Phone Booth, Hiatt commented, “I maintain that I write fiction, but my stories are based on life experiences, or the experiences of people I know, or things I’ve read about and so on. And this one in particular chronicles my last sort of run with trying to make alcohol and drugs work successfully in my life, I’ll just put it that way!”
“I have a mental picture of exactly where he was standing in that phone booth, calling and just begging somebody, at least for the operator to stay on the line long enough for him to talk to somebody,” added Douglas. “It sounded like a miserable situation. But I try to bring…real life to what was there, to do what I could do to swamp it out a little bit.”
Last but not least, here’s how John Hiatt’s website describes the upcoming album: Leftover Feelings is neither a bluegrass album nor a return to Hiatt’s 1980s days with slide guitar greats Ry Cooder and Sonny Landreth, though Douglas’s opening riff on “Long, Black Electric Cadillac” nods to Landreth’s charged intro to “Tennessee Plates,” Hiatt’s epic tale of heisting Elvis Presley’s Cadillac, a car that was surely purchased with proceeds from some of the 250-plus songs the King recorded at Studio B.
There’s no drummer, yet these grooves are deep and true. And while the up-tempo songs are, as ever, filled with delightful internal rhyme and sly aggression, The Jerry Douglas Band’s empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable. Built when Hiatt was five years old, Studio B was designed for music to be made in real time by musicians listening to each other and reacting in the emotional moment. That’s what happened here: Five players on the studio floor, making decisions on instinct rather than calculation.
Mississippi Phone Booth follows All the Lilacs in Ohio, another Hiatt song from Leftover Feelings, which was released upfront in early March. I certainly look forward to hearing the entire album.
The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.
Lonnie Smith/Lonnie’s Blues
Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s Newinstallment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.
John Hiatt/Have a Little Faith in Me
Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.
Robbie Robertson/Go Back to Your Woods
Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.
Joni Mitchell/Refuge of the Roads
Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.
Los Lobos/I Got to Let You Know
Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!
Booker T. & the M.G.’s/Green Onions
Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!
Sonny Landreth is one of various top-notch guitarists I could have included in my recent slide guitar feature. This is what prompted me to check what Landreth who is also known as “the King of Slydeco” has been up to. Well, it turns out he released his 14th solo album Blacktop Run in February this year. While it’s classified as blues, I’d call it a tasty rootsy gumbo that includes flavors of blues, swamp rock, zydeco and jazz rock.
Before I get to it, first a few words about the man. According to his artist profile on Apple Music, Landreth was born February 1, 1951, in Canton, Mississippi, and his family lived in Jackson, Mississippi, for a few years before settling in Lafayette, Louisiana. Landreth began playing guitar after a long tenure with the trumpet. His earliest inspiration came from Scotty Moore, the guitarist from Elvis Presley’s band, but as time went on, he learned from the recordings of musicians and groups like Chet Atkins and the Ventures. As a teen, Landreth began playing with his friends in their parents’ houses.
…After his first professional gig with accordionist Clifton Chenier in the ’70s (where he was the only white guy in the Red Beans & Rice Revue for awhile), Landreth struck out on his own, but not before he recorded two albums for the Blues Unlimited label out of Crowley, Louisiana, Blues Attack in 1981 and Way Down in Louisiana in 1985…The second of those two albums got him noticed by some record executives in Nashville, which in turn led to his recording and touring work with John Hiatt.
That led to still more work with John Mayall, who recorded Landreth’s radio-ready “Congo Square.” More recently, he’s worked with New Orleans bandleader and pianist Allen Toussaint (who guests on several tracks on South of I-10, as does Dire Straits guitarist Mark Knopfler).Eric Clapton has called Landreth one of the most advanced guitarists in the world, notes Wikipedia, and one of the most under-appreciated. Landreth’s accolades include Instrumentalist of the Year (Americana Music Association, 2005) and a 2016 Blues Music Award in the Instrumentalist – Guitar category. Time for some music!
I’d like to kick it off with the opener and title track. It’s among the eight of the ten tacks that were written by Landreth.
Mule is a catchy up-tempo rocker that makes you want to dance. It features great slide guitar and accordion work.
Groovy Goddess is one of four instrumentals on the album. And groovy it certainly is! Its improvisational nature gives it a jazzy feel. And there’s more of Landreth’s amazing slide guitar work.
Two tracks on the album were written by Steve Conn, who also played electric piano, organ and accordion. Somebody Gotta Make a Move is one of them. Landreth’s website notes the newly arranged song features a guitar tuning Landreth developed but had not used in the studio.
The last tune I’d like to call out is Many Worlds, another instrumental.
Most of Blacktop Run’s tracks were recorded live in-studio at the storied Dockside Studios on the Vermilion River south of Lafayette, La., where artists like Dr. John, B.B. King and Taj Mahal are among past clients. In addition to Conn, Landreth was backed by David Ranson (bass) and Brian Brignac (drums).
The album was co-produced by Landreth, R.S. Field and Tony Daigletto. Field previously co-produced three of Landreth’s other albums. “His [Field’s] brilliance and creative energy recharged us,” Landreth stated. “We came up with new and better ideas, and that’s what you want. It couldn’t have gone better.”
He added, “All told, the different elements of this project came together and I’m really happy about it. Blacktop Run is probably the most eclectic recording I’ve done. And sonically, I think this is the best album we’ve ever made.” While I haven’t explored any of Landreth’s other albums, I know one thing: Blacktop Run is excellent and makes me want to hear more of his catalog.
Sources: Wikipedia; Apple Music; Sonny Landreth website; YouTube
Down on the Boulevard is Irish guitarist’s sixth solo album
Call me a happy camper. Gerry Lane is the second great artist I just “discovered” and write about during the same weekend. Like Minimum Vital, which I covered in my previous post, Lane popped up in the same “New Music Mix” my streaming provider served up yesterday. And like the French progressive rock band, Lane also doesn’t have a Wikipedia page, even though he has been active since 1970 and played with Noel Redding (yep, that bassist from the Jimi Hendrix Experience) and Gary Moore, among others. What’s up with that?
According to his website, Lane was born in West Cork, Southern Ireland. His first instrument was a button key accordion. He later progressed to guitar, and during his early teens he played in the family pub with whoever the visiting musician was. He played in many bands in the West Cork area, one of the most successful being a band called “SOUTHERN COMFORT”…
While in that band he met Noel Redding (Ex Bass player with the Jimi Hendrix Experience). Gerry and Noel played together in various bands around Southern Ireland. During the late 70’s Gerry played the showband circuit in Ireland and England with bands like, Stage 2, Tony Stevens Band and Discovery…In 1980 Gerry formed a band called ” DRIVESHAFT “. With that band he toured extensively in Ireland and England playing headline gigs…and supporting visiting international acts like: Rory Gallagher (also from Cork Ireland), Phil Lynott’s Grand Slam, ZZ Top, Def Leppard, Saxon and the Michael Schenker Group.
In 1983 Gerry moved to England and while living in London he got to work and record with Gary Moore, Cozy Powell (ex-Rainbow / Whitesnake / Jeff Beck / Black Sabbath), Neil Murray (ex-Bass player with Whitesnake / Brian May Band), John Sinclair (Keyboard player with Ozzy Osbourne / Uriah Heep)…In 1993 Gerry moved to the Canary Islands (Gran Canaria) where he now lives and works.
The singer-songwriter’s and producer’s vocal influences include Joe Cocker, Tony Joe White, Jimmy Barnes and Bob Seger. Lane’s website also notes Eric Clapton, Mark Knopfler, Rory Gallagher, BB King and Buddy Guy as guitarists who have influenced him. When it comes to songwriting, he cites Tony Joe White, Keb’ Mo’, Mark Knopfler, John Hiatt and Bob Seger. Okay, you might say, any music artist can name famous peers. At the end of the day what truly matters is the music. And the music on this album is a lot fun to listen to, so let’s finally get to some of it.
Here’s the title song and opener. Like all of the 10 tracks on the album, it was written by Lane. Down on the Boulevard also includes a new version of Meloneras Blues, the title track from what appears to be his solo debut from 2008. Check it out!
The album’s second track Kick off them Shoes has a cool blues and Stax soul vibe. It reminds me a bit of Cocker’s You Can Leave Your Hat On. This is some tasty shit!
Track no. 3 is called Cryin’ in the Rain. When the first three songs of an album are great, usually, it’s a good sign. Just like the previous tune, I dig the soulful vibe.
The Writing’s on the Wall features some nice slide guitar action.
Let’s finish things up with another tasty rocker: Solid as a Rock. With that cool guitar riff and sound, I could actually picture this as an AC/DC song. And guess what? It turns out the tune is a tribute to rhythm guitarist Malcolm Young, as the notes to the following clip point out.
Mal was a hard man/He was born into a clan/He was a guitar singer/In a rock & roll band/He was dynamite/He was TNT/He was out of sight/He touched the devil in me
He was solid as a rock/He took it to the top/He was solid as a rock/He never let it stop – that’s right/He was solid as a rock…
“Blue & Lonesome” feels like the Stones took a journey back to the early 1960s and made their best album in more than 20 years.
Yesterday (Dec 2, 2016), The Rolling Stones released their long anticipated blues album, Blue & Lonesome. After having listened to it for a few times, I would say it’s their best music since 1989’s Steel Wheels.
Blue & Lonesome is the band’s first studio album since 2005 when they released A Bigger Bang, and their 23rd British and 25th American studio release overall. It is also their first full-length record that includes covers only. While the Stones started out playing mostly blues covers, even their early albums had at least one song credited to Mick Jagger and Keith Richards.
Produced by long-time Stones’ producer Don Was, the collection of 12 vintage blues songs was recorded in a London studio in just three days. According to a recent feature in Rolling Stone, the Stones initially went into the studio to work on an album of original songs that is still in its early stages. To warm up they did what they oftentimes do – play blues songs they have loved for many years. Since they knew the tunes so well, they played them (mostly) live and didn’t need to run through many takes. This gives the album a fresh and spontaneous feel.
To me one of the highlights is Jagger’s blues harp playing. I have to say I wasn’t aware how talented he is. Keith Richards and Ronnie Wood also provide great guitar work, while drummer Charlie Watts and Darryl Jones, who after playing bass for more than 20 years still is not an official member of the band, effectively drive the rhythm.
And then there is Eric Clapton, who happened to work on an album at the same study while the Stones were doing their sessions. They invited him to play slide guitar on two songs: Everybody Knows My Good Thing, a tune by Miles Grayson and Lermon Horton, and Willie Dixon’sI Can’t Quit You Baby.
Other contributing musicians include Matt Clifford (keyboards); Chuck Leavell (keyboards), who was a member of The Allman Brothers Band in the 70s and has frequently recorded and toured with the Stones since 1981; and long-time session drummer Jim Keltner who worked with John Lennon, George Harrison, Ringo Starr, John Hiatt and Ry Cooder, among others, and plays percussion on Hoo Doo Blues (Otis Hicks & Jerry West).
Following are a few clips of tunes on the album.
Just Your Fool (Walter Jacobs)
Blue and Lonesome (Walter Jacobs)
Everybody Knows My Good Thing (featuring Eric Clapton) (Miles Grayson and Lermon Horton)
Ride ‘Em On Down (Eddie Taylor Jr.)
I think what Richards said about Jagger’s harmonica playing and the album overall in the above mentioned Rolling Stone feature sums it up perfectly. “This is the best record Mick Jagger has ever made…It was just watching the guy enjoying what he really can do better than anybody else. And also, the band ain’t too shabby.”