When I included the latest single by Yola in my last Best of What’s Newinstallment, I noticed her first full-length solo album Walk Through Fire received many accolades. Since the strong voice of the English singer-songwriter immediately grabbed me, I checked it out and have to say it’s a true gem, both musically and in terms of her vocal performance.
Getting to that point wasn’t exactly an easy path for Yola who was born as Yolanda Quartey in 1983 in Bristol, England. According to this review in Popmatters, Yola had a tough childhood characterized by poverty and a parent who didn’t care for her and banned music. Later she lived homeless in London for some time before establishing herself as a session singer and touring with acts like DJ collective Bugz in the Attic and electronic music outfit Massive Attack.
In 2005, she co-founded country-soul band Phantom Limb and recorded two studio albums and a live record with them. But ultimately, as her artist profile in Apple Music notes, Yola felt the need to strike out on her own. Over the next few years, she started writing her own songs that were influenced by Muscle Shoals era country-soul, R&B and classic singer-songwriter style. In 2016, she released her debut EP Orphan Offering under the name of Yola Carter.
Eventually, Yola went to Nashville where she met Dan Auerbach after he had seen a video of her. Apparently, Auerbach was immediately impressed by her. “Her spirit fills the room, just like her voice,” he reportedly said. “She has the ability to sing in a full roar or barely a whisper and that is a true gift.” Auerbach teamed up with Yola to co-write songs, together with other writers, including Bobby Wood, Pat McLaughlin and Dan Penn.
Auerbach also assembled an impressive group of seasoned studio musicians, including Dave Roe (bass), who played with Johnny Cash and John Mellencamp, among others; harmonica player Charlie McCoy (credits include Elvis Presley, Dolly Parton, Bob Dylan, etc.) and drummer Gene Crisman, who together with Bobby Wood was a member of the Memphis Boys. They were the house band of American Sound Studio in Memphis, Tenn. where artists like Elvis, Wilson Pickett, Aretha Franklin and Dusty Springfield recorded. Auerbach also produced Walk Through Fire, which appeared in February 2019 on his Easy Eye Sound label.
With all of the above, it’s not surprising the album has a retro late ’60s sound. This is also matched by the cover. And yet, to me, Walk Through Fire feels like an album that will hold up well over time. It simply is a work of beauty. Let’s get to some music.
Here’s the opener Faraway Look. The track was co-written by Auerbach, McLaughin and Yola. BTW, McLaughlin’s compositions have been performed by artists like Bonnie Raitt, Alan Jackson, Taj Mahal and Al Kooper, among others. Sure, the production might be a bit on the lush side, but this is just a beautiful tune.
Ride Out in the Country is another great track. The song was co-written by Auerbach, Yola and Joe Allen. Allen is a county songwriter and bassist who since the early ’70s has worked with the likes of Loretta Lynn, Merle Haggard, Waylon Jennings and Johnny Cash.
Next up is the title track, which according to Wikipedia references both a fire that damaged Yola’s home and an abusive relationship from which she escaped. The tune was co-written by Auerbach, Yola and Dan Penn. Penn has co-written many soul hits of the ’60s, including The Dark End of the Street and Do Right Woman, Do Right Man and Cry Like a Baby.
Rock Me Gently is my current favorite on the album. It’s another Auerbach-Allen-Yola co-write.
Let’s do one more: Love All Night (Work All Day), co-credited to Wood, Auerbach and Yola.
As noted above, Walk Through Fire was very well received. The album also generated three Grammy nominations: Best Americana Album, Best American Roots Song (Faraway Look) and Best New Artist. Walk Through Fire was also nominated for Album of the Year at the Americana Music Honors & Awards. And, yes, the album also did score a win: UK Album of the Year at the UK Americana Awards.
At age 37, Yola still is relatively young. I look forward to much more great music from this talented songwriter and vocalist.
Sources: Wikipedia; Popmatters; Apple Music; YouTube
The other day, I found myself revisiting Wolf Maahn, one of my favorite German rock artists I’ve featured on the blog before. More specifically, I listened again to his third studio album Irgendwo in Deutschland (somewhere in Germany) from 1984. I got it on vinyl at the time and really dug it – turns out I still do!
Before getting to the record that became is national breakthrough, I’d like to provide a bit of background on Maahn, borrowing from a previous post. Wolf Maahn was born in Berlin on March 25, 1955. He grew up in Munich, where he saw The Beatles as an 11-year-old in 1966. Perhaps not surprisingly, that concert left a lasting impression. “The Beatles were simply untouchable to me,” he told a German newspaper during an interview in 2001.
In 1975, Maahn co-founded Food Band in Cologne, together with his brother Hans Maahn and other musicians. They released their studio debut Foodband in England in 1979. A version of that album for the German market, ingeniously titled Last Year’s Album, appeared the following year. Just like its predecessor, it featured all English music. Food Band released on more album in 1981, Rhythm ‘N’ Juice, another clever title, before they disbanded.
Following the dissolution of Food Band, Maahn launched his solo career. Former band mate, song co-writer and guitarist Axel Heilhecker joined Maahn’s backing band Deserteure (deserters). In September 1982, Wolf Maahn und die Deserteure released their studio debut Deserteure. The sophomore Bisse Und Küsse (bites and kisses) appeared the following year. Which brings me to Irgendwo in Deutschland.
Let’s kick it off with the opener Rosen im Asphalt (roses in the asphalt). Like most of the album’s tracks, Maahn composed the tune’s music and wrote the lyrics.
Here’s Fieber (fever). The catchy rocker is one of Maahn’s best known song and is the tune, which prompted me to buy the album. Again, he wrote the music and the lyrics.
Another highlight on the record is Der Clown hat den Blues (the clown is feeling blue). The song was co-written by Maahn, Heilhecker and backing vocalist Jane Palmer, with lyrics by Maahn.
The opening riff of Total gut drauf (feeling really great), another song Maahn wrote all by himself, could be from a John Mellencamp tune. I think it’s fair to say the sound of the entire album has an American flair.
The last song I’d like to call out is the title track. And, yes, you guessed it right, it’s yet another tune solely written by Maahn.
Irgendwo in Deutschland was produced by Maahn. In addition to him (lead vocals, guitar), Heilhecker (lead guitar) and Palmer (backing vocals), other musicians included Werner Kopal (bass) and Jürgen Zöller (drums). Kopal and Zöller later joined German rock band BAP. Kopal still is part of the current line-up of that band, now known as Niedeckens BAP.
In 1986, Maahn dissolved Deserteure and has since performed without a standing backing band. To date, he has released 15 studio albums, five live albums and one greatest hits compilation.
A selection of newly released music that caught my attention
Another weekend brings another slate of new music. This installment of Best of What’s New features a nice mix of big name and lesser known artists. Genres include country-oriented rock, folk, indie rock and folk rock. Let’s get to it!
Bon Jovi & Jennifer Nettles/Do What You Can
Jon Bon Jovi and country band Sugarland frontwoman Jennifer Nettles joined forces for an updated version of Do What You Can, a tune from Bon Jovi’s 15th studio album 2020 scheduled for October 2. Written during the early days of COVID-19, initially, the song only included the first verse and the chorus. Jon Bon Jovi invited fans via social media to contribute lyrics, essentially asking them to tell their own pandemic stories. He first revealed an acoustic version of the complete song during the Jersey4Jersey benefit online concert. The tune was subsequently released as a single on July 23. “As I finished the mix and did the video, I said, ‘Boy, this song would have such crossover potential’, Bon Jovi toldRolling Stone. “It makes you feel good and the message is just right on at this time that when you can’t do what you do, do what you can,” added Nettles during a recent Facebook chat. Do What You Can very much has the same feel of the artists’ previous collaboration Who Says You Can’t Go Home from 2006. Both tunes remind me of The Lonesome Jubilee, one of my favorite John Mellencamp albums from 1987.
Jeff Tweedy/Love Is the King
American songwriter, musician and record producer Jeff Tweedy is best known as vocalist and guitarist of alternative rock band Wilco, founded in 1994 by former members of Uncle Tupelo, an alternative country group, which Tweedy co-founded as well. Between these two bands and his solo efforts, Tweedy has released close to 20 albums over the past 30 years. Love Is King is the title track of his fourth solo album that is set to come out on October 23. As reported by Pitchfork, Tweedy announced the tune on September 15, together with a second track of the forthcoming album, Guess Again. “At the beginning of the lockdown I started writing country songs to console myself,” he pointed out in an accompanying statement. “Folk and country type forms being the shapes that come most easily to me in a comforting way. “Guess Again” is a good example of the success I was having at pushing the world away, counting my blessings—taking stock in my good fortune to have love in my life. A few weeks later things began to sound like “Love Is the King”—a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe.”
Elizabeth Cook/Perfect Girls of Pop
Elizabeth Cook is an American country singer-songwriter who has been an active recording artist since 2000. Originally, she hails from Wildwood, Fla. where she was born as the youngest of 12 children. Cook already joined her parents on stage at the age of 4. Her mother Joyce was a mandolin and guitar played and her dad Thomas played upright bass, which he had learned while serving time in an Atlanta prison for illicit production of high-proof distilled spirits. Cook holds the distinction of having performed more than 400 times on the Grand Ole Opry since her March 2000 debut, the most appearances to date by a non-member. Her studio debut The Blue Album came out in November 2000. Perfect Girls of Pop is a track from her seventh and most recent album Aftermath released on September 11. It’s catchy tune that sounds much more like indie pop rock than country.
Native Harrow/Carry On
Native Harrow are a folk rock duo from Eastern Pennsylvania, comprised of Devin Tuel (lead vocals, guitar) and her partner Stephen Harms (bass, drums, keyboards, guitar). Unfortunately, publicly available information on them is limited and the following is based on this Facebookpiece and a review by Staccatofy. Carry On is a beautiful tune from Native Harrow’s fourth studio album Closeness, which came out on August 21. Two things about this song grabbed me right away: The warm sound, especially the keyboard, and the vocals by Tuel, who apparently is a classically trained singer. I also think the gospel style choir in the last third of the track is a perfect fit to what essentially is a gospel song. Tuel and Harms recorded the album’s 10 tunes at a Chicago studio together with drummer and engineer Alex Hall over the course of only two 3-day sessions in late December 2019 and early January 2020. The basic tracks were captured live in studio with Tuel, Harms and Hall on vocals/guitar, bass and drums, respectively. The album follows their 2019 release Happier Now.
Sources: Wikipedia; Rolling Stone; Pitchfork; Facebook; Staccatofy; YouTube
A selection of newly released music that caught my attention
A lot of cool new music I came across this week made it tough what to include in this latest installment of my recurring feature. That’s actually a nice problem to have, at least in my book. While you may not be a Bon Jovi fan, have you ever heard the Jersey rocker do an outright protest song? I certainly had not. Or how about a cool Byrds-ey-sounding psychedelic garage band called The Reverberations? Or young and amazingly talented bluegrass and Americana artist Molly Tuttle? These are just three of the artists I’m featuring this week. Do I have your attention?
Bon Jovi/American Reckoning
While a band that has sold more than 100 million albums worldwide has probably done more than one thing right, I realize opinions about Bon Jovi are divided. On most of their 14 studio albums that have come out so far over some 37 years, I can at find at least one or two songs I enjoy. American Reckoning, released July 10, will be on the band’s next album Bon Jovi 2020, which has been pushed back until December 31, 2020 due to you know what. Both the single and the album have something in common that’s new for Bon Jovi: Political lyrics. Written by Jon Bon Jovi, American Reckoning is a protest song reflecting on the death of George Floyd caused by reckless police action. “I was moved to write American Reckoning as a witness to history,” Bon Jovi said in a statement on the band’s website, “I believe the greatest gift of an artist is the ability to use their voice to speak to issues that move us.” All net proceeds from downloads of the song will support the Bryan Stevenson’s Equal Justice Initiative through December 31, 2020. Kudos!
Gillian Welch & David Rawlings/Hello in There
For some 28 years, country, folk, bluegrass and Americana singer-songwriter Gillian Welch has been writing and performing with her musical partner David Rawlings. The two first met during a music audition at Berklee College of Music in Boston where Welch majored in songwriting. Following her graduation in 1992, she moved to Nashville. Rawlings soon followed and they started to perform as a duo. After getting a record deal with Almo Sounds, they met T-Bone Burnett who had seen them perform. Burnett produced their debut album Revival, which like most of their records appeared under Welch’s name in April 1996. Welch and Rawlings have since released five additional studio albums. Hello in There is from their most recent release All the Good Times Are Past & Gone, a covers album that came out on July 10. The tune was written by John Prine and included on his 1971 eponymous debut album.
Will Hoge/Midway Hotel
Will Hoge is a singer-songwriter from Nashville, Tenn. According to Wikipedia, which characterizes his music as Americana and southern rock, Hoge grew up in a musical family that influenced him. After enrolling in Western Kentucky University with plans to become a high school history teacher and basketball coach, Hoge realized music was his calling. In 1997, he released an EP with his band at the time Spoonful, but it wasn’t successful and the group disbanded. After self-releasing a live CD and his first studio album Carousel, Hoge managed to get a deal with Atlantic Records in early 2002. While it was short-lived, it resulted in his major label debut Blackbird ona Lonely Wire in March 2003. Hoge has since released seven additional studio records, as well as various EPs and live albums. Midway Motel, co-written by Hoge and Ricky Young, is the opener to Hoge’s most recent studio album Tiny Little Movies that appeared on June 26. I can hear some John Mellencamp in here.
Grace Potter/Eachother (feat. Jackson Browne, Marcus King & Lucius)
Grace Potter is a 37-year-old bluesy, roots rock-oriented singer-songwriter, multi-instrumentalist and actress, hailing from Waitsfield, Vt., who has released various albums solo and with her former band Grace Potter and the Nocturnals since the early 2000s. While studying theater at St. Laurence University, she met drummer Matt Burr. Together with bassist Courtright Beard, they formed the initial lineup of indie rock band Grace Potter and the Nocturnals. In 2004, they self-released their debut album Original Soul. Four additional albums followed. In 2015, Potter’s solo album Midnight appeared. Potter left the band in 2017, shortly after announcing her divorce from Burr with whom she had been married since 2013. Another solo album, Daylight, appeared in October 2019. Eachother is Potter’s latest single released on May 22. Written by her during the early days of the pandemic, the ballad features Jackson Browne, blues artist Marcus King and indie pop band Lucius. Check it out!
Molly Tuttle/Helpless (feat. Old Crow Medicine Show)
Based on what I’ve read and heard, it seems Molly Tuttle is what you could call a wunderkind. It’s virtually impossible to do full justice here to the 27-year-old singer-songwriter, banjo player and guitarist, who is focused on bluegrass and Americana. Tuttle is noted for her outstanding guitar skills, and she can definitely sing as well. She grew up in the San Francisco Bay area in a musical family. Her father Jack Tuttle is a bluegrass multi-instrumentalist and teacher. Her siblings Sullivan and Michael play guitar and mandolin, respectively. Molly started playing guitar as an 8-year-old and three years later already performed on stage with her dad. At age 13, she recorded her first album with Jack. In 2015, she joined the family band The Tuttles with AJ Lee, featuring her father and siblings, along with mandolist AJ Lee. Her debut EP Rise appeared in October 2017, followed by her first full-fledged album When You’re Ready in April 2019, which climbed to no. 5 and no. 11 on the U.S. Billboard Top Heatseekers and Independent Albums charts. Her multiple accolades include Instrumentalist of the Year at the 2018 Americana Music Awards and Guitar Player of the Year from the International Bluegrass Association in 2017 and 2018. Molly who has lived in Nashville, Tenn. since 2015, has a new covers album scheduled for August 28, …but I’d rather be with you. It doesn’t include her beautiful rendition of Neil Young’sHelpless, which she released on May 22 and features Nashville-based Americana band Old Crow Medicine Show. The tune first appeared on Crosby, Stills, Nash & Young’s Déjà Vu album from March 1970.
The Reverberations/Under Your Spell
Let’s wrap things up with some really cool rock. The Reverberations are a five-piece from Portland, Ore. Their Bandcamp profile characterizes their music as “’60s influenced psychedelic jangle.” Based on what I’m hearing on their latest single Under Your Spell, that description hits the nail on the head. Unfortunately, the band has hardly published any information about themselves. Neither their Bandcamp nor their Facebook page provide any background – I don’t get it! Discogs lists two albums, Mess Up Your Mind (2016) and Changes (2019, along with various EPs and singles, dating back as far as 2015. Based on their photos on Facebook and Bandcamp, these guys don’t exactly look like high school kids, and with their Byrds-ey guitars, they certainly don’t sound like it. Whoever is familiar with my music taste knows that’s a sound I never get tired of. On Under Your Spell, which is the B-side of the band’s most recent single Palm Reader, I also love the keyboard work. And check out the lovely psychedelic cover art. Damn, now I feel I’m literally under their spell!
Sources: Wikipedia; Bon Jovi website; Apple Music; Grace Potter website; Molly Tuttle website; The Reverberations Facebook and Bandcamp pages; YouTube
While I had known her name for decades, it really wasn’t until July 2017 that I started paying closer attention to Emmylou Harris when seeing her in Philadelphia as part of a concert headlined by John Mellencamp. There was something special about this lady with her all-white hair who recently had turned 70. Now 73, Harris has been active for more than 50 years, released dozens of solo and collaborative albums, scored 20 top 10 hits on the Billboard country charts and collected numerous Grammy and other awards. This playlist is an attempt to shine a light on her long and impressive career.
Harris was born on April 2, 1947 in Birmingham, Ala. Her dad, Walter Harris, was a Marine Corps officer, while her mom Eugenia was a wartime military wife. After high school graduation in Woodbridge, Va., Harris went to the School of Music, Theater and Dance at the University of North Carolina at Greensboro on a drama scholarship. It was there where she started to learn songs by Pete Seeger, Bob Dylan and Joan Baez on guitar and develop her musical aspirations. Harris dropped out, moved to New York City during the second half of the ’60s, and started performing on the folk circle in Greenwich Village while waiting tables.
In 1969, Harris married fellow songwriter Tom Slocum who wrote the title track for her debut album Gliding Bird. The folk record also included five songs written by Harris. The label Jubilee Records went under shortly after the release, so all distribution and promotion was ceased. Subsequently, Harris disowned the record. She regards her second release Pieces of the Sky from February 1975 as her official debut.
In 1971, after he had seen her perform, Flying Burrito Brothers co-founder Chris Hillman introduced Harris to his music partner Gram Parsons who became a key figure in her early career. Harris worked with Parsons on his solo debut GP from January 1973 and toured as a member of his band the Fallen Angels. Later that year, she also worked with Parsons on his second and final solo album Grievous Angel, which was released in January 1974, following his death from an accidental overdose of drugs and alcohol in September 1973.
In February 1975, the aforementioned Pieces of the Sky appeared. It’s the album that launched Harris’ career as a country artist and established what she became mainly known, i.e., covering songs written by other artists. The album also coincided with the formation of The Hot Band, Harris’ high-profile backing band until 1991. The initial lineup included James Burton (guitar), Glen Hardin (piano), Hank DeVito (pedal steel guitar), Emory Gordy, Jr. (bass) and John Ware (drums).
To date, Harris has released 21 solo studio albums, three live records and a dozen compilations. Additionally, her impressive catalog includes seven collaboration albums with artists like Dolly Parton, Linda Ronstadt and Rodney Crowell. Harris also has worked as a guest with numerous other artists, including The Band, Glen Campbell, Johnny Cash, Guy Clark, Bob Dylan, Sheryl Crow and Steve Earle, among others. Let’s get to some music!
While perhaps not as representative of Harris as her other records, I’d like to kick off this playlist with a tune from 1969’s Gliding Bird, which was written by her: Black Gypsy.
If I Could Only Win Your Love from her second album Pieces of the Sky became Harris’ first hit single, climbing to no. 4 on the Billboard Hot Country Songs chart in 1975. Co-written by Charlie Louvin and Ira Louvin who formed the country and gospel duo The Louvin Brothers, it also marked the first of only a handful of Harris singles that charted on the Billboard Hot 100, in this case at no. 58. Linda Ronstadt sang backing vocals on the album.
While Emmylou Harris is best known as a country artist, her song choices can be eclectic. Here’s an example from her third studio album Elite Hotel released in December 1975: A beautiful cover of The Beatles tune Here, There and Everywhere. Credited to John Lennon and Paul McCartney, the McCartney ballad originally appeared on the Revolver album from August 1996.
Harris’ next album Luxury Liner from December 1976 included the first cover of Townes Van Zandt’sPancho and Lefty, which subsequently became the revered singer-songwriter’s best known composition. The tune has also been covered by other artists, most notably Willie Nelson and Merle Haggard, who recorded it as the title track of their collaboration album that came out in January 1983.
Roses in the Snow, Harris’ first ’80s album, appeared in May 1980. Unlike her preceding country and country rock records, this album was more bluegrass-oriented. Here’s a great rendition of the Paul Simon tune The Boxer, featuring beautiful harmony singing by Cheryl White and her sister Sharon White. The Boxer first appeared on Simon & Garfunkel’s final studio album Bridge Over Troubled Water from January 1970.
In February 1985, Harris released The Ballad of Sally Rose, a concept album loosely based on her relationship with Gram Parsons. The record also stood out for another reason. Like her debut 16 years earlier, it illustrates Harris is more than just a cover artist. All songs were co-written by her, mostly together with her then-second husband Paul Kennerley, an English singer-songwriter, musician and record producer, who also produced this record. Here’s White Line, one of the record’s two singles.
Next, I’d like to jump to the ’90s and Wrecking Ball, Harris’ 18th studio album. The record became her first since Pieces of the Sky that did not make the country charts. Perhaps that wasn’t too surprising, given the music moved away from her traditional acoustic to a more edgy and atmospheric sound. Producer Daniel Lanois who produced and co-produced various U2 albums like The Joshua Tree and Achtung Baby undoubtedly had something to do with it. Here’s the title track written by Neil Young who also provided harmony vocals. Young had first recorded the tune for his 1989 studio album Freedom. And, coming back to U2, Larry Mullen, Jr. played drums on most of the album’s songs including this one.
Given the significance of collaboration albums in Harris’ catalog, I’d like to at least acknowledge one: Trio II from February 1999, the second album she did together with Dolly Parton and Linda Ronstadt. All tracks had actually been recorded in 1994, but label disputes and conflicting schedules had prevented the release at the time. While I’ve featured it on the blog before, I just couldn’t resist including the ladies’ angelic rendition of After The Gold Rush, the title track of Neil Young’s third studio album from September 1970. Interestingly, while the remake did not chart when it was released as a single from Trio II, it won the 2000 Grammy for Best Country Collaboration with Vocals. The intensity of this version is just killing me. This is why I dig vocals!
In September 2003, Harris released Stumble into Grace, her second album of the current century. Like some of her previous records, it includes a significant number of her own compositions. She also co-wrote most of the remaining tracks. Here’s the opener Here I Am, one of her tunes.
I’d like to wrap up this playlist with a track from what is Harris’ most recent solo album, Hard Bargain, released in April 2011. Her two latest records are collaborations with Rodney Crowell from February 2013 and March 2015. There’s also the Complete Trio Collection, a compilation of the Trio I and Trio II collaborative albums with Dolly Parton and Linda Ronstadt, which came out in September 2016. Given the enormous role of Gram Parsons, it felt right to highlight opener The Road, a tune Harris penned about her musical mentor – the first to focus on his death since Boulder to Colorado, a song from Pieces of the Sky. It’s also noteworthy that Hard Bargain became Harris’ highest chart entry since the above Roses in the Snow from 1980, peaking at no. 3 on the Billboard Top Country Albums. It also hit no. 18 on the Billboard 200, her highest mainstream chart success since 1977’s Luxury Liner, a remarkable late-stage career success.
Emmylou Harris has sold 75 million records in the U.S. alone. She has won 14 Grammy awards out of 48 for which she had been nominated. She has also won numerous country, bluegrass and Americana awards, and was inducted into the Country Music Hall of Fame in February 2008.
I guess this is another post you can put in the one-thing-leads-to-another category. The latest installment of my Best of What’s New recurring feature included a new song by Niedeckens BAP, Ruhe Vor’m Sturm, which will be on the German rock band’s next album scheduled for September. After listening to that tune, I felt hungry for more music by what has been my favorite rock band singing in German for close to 40 years. When I checked my streaming music provider, Live & Deutlich (live & clear) popped up, a live double CD capturing a concert at Circus Krone in Munich, Germany on June 6, 2018, conducted as part of the band’s 2018 Live & Deutlich tour.
Perhaps not surprisingly, I think it’s a great album – otherwise, I wouldn’t be writing about it! Plus, as a longtime fan, I’m not unbiased here. Of course, I realize a rock band that not only sings in German but more specifically in Kölsch, a regional dialect spoken in the area of Cologne, may be a tough proposition to most of the blog’s readers who it’s safe to assume don’t speak German. That doesn’t discourage me. It’s also not the first time I’m writing about the band. I hope to those who don’t understand the lyrics – and trust me, not all people in Germany understand Kölsch either – the music, which I feel is an international language, will be enjoyable.
According to this review by Sounds & Books, Live & Deutlich marked the band’s first-ever tour that featured a full-blown horn section, including saxophone (Axel Müller), trombone (Franz Johannes Goltz) and trumpet (Christoph Moschberger). “That was a lot of fun for us, since the three horn players opened up new possibilities for the band,” commented Wolfgang Niedecken, who has led the band since it was founded in 1976 in Cologne and is the only remaining original member. “We had a ball on stage and enjoyed having songs in the set we had not played in a long time and playing other tunes for the first time with real horns.”
The 30 tracks feature a nice variety of songs spanning much of the band’s 40-plus-year catalog. There are classics, such as Verdamp lang her (it’s been a long time), Kristalnaach (night of broken glass), Du kanns zaubere (you can do magic) and Anna, as well as deeper cuts like Nem mich met (take me with you), Psycho-Rodeo and Ruut-wieß-blau querjestriefte Frau (red-white-blue horizontal striped lady). There is also a cover version of Bob Dylan’sYou Ain’t Goin’ Nowhere. Many of the tunes were rearranged, in part because of the horn section. Time to get to some music!
Let’s kick it off with Drei Wünsch frei (three free wishes), which is a nice introduction to the horn section. As usual for original tunes, the lyrics are written by Wolfgang Niedecken. The song first appeared on Zwesche Salzjebäck un Bier (between salt pretzels and beer) from May 1984, the fifth studio album by the band that between 1982 and 2014 was simply called BAP. On that record, the music was credited to the entire band.
Psycho-Rodeo has a cool Stonesy sound. I dig the slide guitar (I assume it’s played by lead guitarist Ulrich Rode) and again, the horn work is great. The band recorded this tune for their 11th studio album Comics & Pin-ups that appeared in January 1999. The song was co-written by Klaus Heuser, BAP’s guitarist from 1980 until 1999, and Niedecken. In fact, the two of them wrote most of the band’s songs during that time period.
Diss Naach ess alles drin (tonight, anything is possible) is another track from the aforementioned Zwesche Salzjebäck un Bier album. I had not heard that song in many years and feel it sounds really fresh. The horn work is a standout.
Time to slow it down. Here’s a beautiful ballad called Jupp, which is a male name. Originally, it appeared on BAP’s national breakthrough album Für usszeschnigge! (to cut out) from October 1981. The acoustic guitar part combined with the beautiful violin played by Anne de Wolff is the song’s highlight. The tune, another Heuser-Niedecken co-write, also has a nice build turning from an acoustic-focused to an electric power ballad.
After four German songs, I thought it might be a good idea to throw in an English tune, the aforementioned Dylan cover – well, sort of, it’s half English, half German, but, hey, at least it’s got some English! 🙂 Dylan wrote You Ain’t Goin’ Nowhere in 1967 in Woodstock, N.Y. during his self-imposed exile from public appearances following his motorcycle accident earlier that year. The tune was first released in November 1971 on his second compilation Bob Dylan’s Greatest Hits Vol. II. For this version, the band is joined by two Bavarian artists, Werner Schmidbauer (guitar, backing vocals) und Hannes Ringlstetter (guitar, backing vocals). I just love this cover – dare I say it, even more so than the original! The Bavarian artists with their local dialect provide character. I also dig the warm rootsy sound of the music, which almost has a John Mellencamp flair to it.
Over the decades, Wolfgang Niedecken has repeatedly written songs with political themes. A recurring topic has been discrimination against immigrants. Here is one of his best, included on BAP’s fourth studio album Vun drinne noh drusse (from the inside to the outside) from August 1982, the above noted Kristallnaach (night of broken glass), another co-write with Heuser.
After such a serious song, I think it’s time for some reggae happiness. Aff un zo (every now and then) is the title track from BAP’s 13th studio album, released in June 2001. The song was co-written by Niedecken and Helmut Krumminga, who succeeded Heuser as lead guitarist in 1999 and was with the band until 2014. Just like Heuser, he became Niedecken’s key songwriting collaborator.
I’d like to highlight one more track, another ballad called Jraaduss (straight shooter). This tune is also from the previously mentioned album Für usszeschnigge! Yet another Heuser-Niedecken co-write, it’s one of my favorite BAP tunes, in part because of the lyrics. An excerpt: Stay where you are/hold on to something/and stay like you used to be/a straight shooter.
“I’ve always liked live albums,” wrote Niedecken on the band’s website. “Because they authentically capture the sound of a band and are a time capsule. In the ideal case, live recordings document how a band sounds at a particular moment in time.” Speaking of the band, I’d like to acknowledge the other core members I haven’t mentioned yet: Marius Goldhammer (bass), Sönke Reich (drums) and Michael Nass (keyboards). I think I agree with Sounds & Books, which called Live & Deutlich “perhaps the best BAP live album with the most variety since Bess demnähx (see you soon).”
Sometimes one beautiful thing leads to another. In my previous post, I wrote about Tom Petty’s affection for The Byrds and how he covered some of their tunes. One of the clips I included was a performance of Mr. Tambourine Man, the Bob Dylan tune popularized by The Byrds with their beautiful jingle-jangle version in the mid-’60s. The footage came from a concert that celebrated the 30th anniversary of Dylan’s eponymous debut album. This prompted me to further check out that tribute show and boy, do I love what I found!
The four-hour concert took place at Madison Square Garden in New York City on October 16, 1992. Regardless of what you think of Dylan, the fact that he is revered by so many top-notch artists speaks for itself. It was certainly reflected in the concert’s line-up, which featured John Mellencamp, Stevie Wonder, Lou Reed, Willie Nelson, Johnny Cash, Neil Young, Johnny Winter, Eric Clapton, George Harrison, Tom Petty and Roger McGuinn, among others.
The house band for the show included Booker T. Jones (organ) and other former members of the MG’sDonald “Duck” Dunn (bass) and Steve Cropper (guitar), along with Anton Fig and Jim Keltner (each on drums). And there were countless other musicians in different capacities I haven’t even mentioned. This was possibly a one-of-a-kind concert!
Let’s kick off the music with Like a Rolling Stone performed by John Mellencamp and special guest Al Kooper on the organ – great way to open the night! Dylan first recorded the classic tune for his sixth studio album Highway 61 Revisited from August 1965.
Among the show’s true gems was Stevie Wonder’s performance of Blowin’ in the Wind. One of the defining protest songs of the ’60s, it was the opener to Dylan’s sophomore album The Freewheelin’ Bob Dylan released in May 1963. As Wonder eloquently said, it’s a tune that “will always be relevant to something that is going on in this world of ours.” I’m afraid his words still ring true today.
Next up: Tracy Chapman and her beautiful version of The Times They Are A-Changin’. Recently, I’ve gained new appreciation of the singer-songwriter thanks to badfinger20, who covered Chapman the other day on his great PowerPop blog. The Times They Are A-Changin’ is the title track of Dylan’s third studio album that appeared in January 1964.
Ready for some hardcore blues? Enter Johnny Winter and his scorching version of Highway 61 Revisited, the title track of the above-noted album from August 1965. Ohhh, wham bam thank you man, to borrow creatively from David Bowie. Unfortunately, I could only find the audio version, but I think you can still picture it.
Just Like Tom Thumb’s Blues is yet another tune from the Highway 61 Revisited album. If I would have to name my favorite Dylan record, I think this would be it. Of course, the caveat is I haven’t listened to all of his records, not even close! The artist who got to perform the tune during the concert was Neil Young, who did a great job. BTW, he dubbed the concert “Bobfest,” according to Wikipedia.
Here’s a great cover of I Shall Be Released by Chrissie Hynde. The first officially released version of the song was on the July 1968 debut album by The Band, Music From Big Pink. Dylan’s first recording occurred during the so-called Basement Tapes sessions with The Band in 1967, which was released on The Bootleg Series 1-3 in 1991. In 1971, Dylan recorded a second version that appeared on Bob Dylan’s Greatest Hits Vol. II from November that year.
Don’t Think Twice, It’s All Right is one of my favorite Dylan tunes, so I faithfully followed his advice and didn’t hesitate to call it out. It’s another song from The Freewheelin’ Bob Dylan. Eric Clapton did a beautiful job making it his own. Don’t think twice, check it out!
George Harrison’s appearance at the show was remarkable. It marked his first U.S. concert performance in 18 years. Sadly, it would also be his last time performing in public, as Rolling Stone noted in a January 2014 story previewing the March 2014 super deluxe reissue of the concert. Harrison covered Absolutely Sweet Marie, a tune from Blonde on Blonde, Dylan’s seventh studio album from June 1966.
Of course, I couldn’t write about the bloody concert without including Tom Petty and the Heartbreakers, who performed Rainy Day Women #12 & 35, another track from Blonde on Blonde. Love it!
For the final clip in this post, it’s about time to get to the man himself and My Back Pages. He first recorded the tune for his fourth studio album Another Side of Bob Dylan, which appeared in August 1964. For his rendition at the show, he got a little help from his friends Roger McGuinn, Tom Petty, Neil Young, Eric Clapton and George Harrison. That’s what friends are for, and they did a great job!
The last word shall belong to guitarist and the show’s musical director G.E. Smith, who is quoted in the above Rolling Stone story: “That gig was one of the highlights of my career… There aren’t a lot of people that can attract a lineup like that, and everyone was on their best behavior. Lou Reed and Neil Young can be prickly, but not in the three days we were prepping that show. I also got to talk to Johnny Cash. What’s cooler than that?”
If you have followed my blog for some time, you may recall seeing the name BAP. The group around singer-songwriter Wolfgang Niedecken was founded in the West German city of Cologne in 1976. They entered my radar screen in 1981 after their national breakthrough with their third studio album Für Usszeschnigge! (translation: to cut out). BAP remain my favorite German rock band, which I realized once again the other day when listening to some of their music. This triggered my decision to do another post on them. And it may not by my last!
One of BAP’s defining features is that Niedecken performs their songs in Kölsch, the regional dialect spoken in the area of Cologne. While I think they are on par with many English singing bands, undoubtedly this has largely limited their appeal to Germany, though they have ventured out to neighboring countries and even once to China. BAP have seen many line-up changes over the decades, and Niedecken remains the only original member. Since September 2014 after the departure of two longtime members, Niedecken announced that going forward the band would perform under the name Niedeckens BAP and no longer have a standing line-up.
Niedecken has been BAP’s driving creative force. His key influences are Bob Dylan, Bruce Springsteen, The Kinks and The Rolling Stones. Niedecken has a friendly relationship with Springsteen. In fact, I previously read that whenever the Boss performs in Germany and Niedecken is around, he likes to invite him on stage to play a song together – to me this sounds like something Springsteen would do. BAP have released 17 studio albums, eight live recordings and three compilations to date – more than enough fodder for another playlist, so let’s get to it. Unlike the first chronological playlist I published here, this time, I’m going randomly.
Let’s kick it off with a nice blues rocker called Diego Paz Wohr Nüngzehn (Diego Paz was 19). Co-written by then-guitarist Helmut Krumminga and Niedecken, the tune has a cool ZZ TopLa Grange vibe. It appeared on BAP’s 15th studio album Radio Pandora from May 2008.
The next song takes us all the way back to 1980 and Affjetaut (defrosted), BAP’s sophomore release. Here’s the opener Ne schöne Jrooß (greetings) co-written by Niedecken and Klaus Heuser, who had joined the band as their lead guitarist prior to the recording sessions and would become Niedecken’s key musical partner until his departure in 1999. While perhaps not surprisingly the sound is a bit dated, I still dig that tune.
In August 1996, BAP released their 10th studio album Amerika (America), one of my favorites. Here’s the great opener Nix Wie Bessher (nothing like it used to be), another Niedecken-Heuser co-write. As you can hear, BAP’s sound had significantly matured by then.
Time Is Cash, Time Is Money, a humorous take on organized vacation travel, appeared on the band’s sixth studio record Ahl Männer, Aalglatt (old slick guys). The song was co-written by Niedecken and producer Reinhold Mack. Mack had produced, co-produced and sound-engineered for Queen, Billy Squier and E.L.O. According to Wikipedia, it was the first time BAP relied on a “professional” producer – I assume by this they mean somebody who had worked with international acts.
Next up: Do Kanns Zaubere (you can do magic), one of my favorite BAP ballads, and yet another co-write by Niedecken and Heuser. The tune is from their fourth studio album Vun Drinne Noh Drusse (from the inside to the outside) released in August 1982.
Over their long history, BAP have released a number of songs addressing social and political issues, including racism/hostility against foreigners and nationalism – sadly topics I never thought would remain as relevant as they are today in the 21st Century. Here’s Denn Mer Sinn Widder Wer (Coz we’re great again – sound fucking familiar?) The track appeared on BAP’s eighth studio album X Für ‘e U (an “x” for a “u”) released in October 1990 in the wake of Germany’s reunification. And, yes, in case you wondered, Niedecken and Heuser teamed up for this tune as well. The clip I found is not an official video but was put together by the guy who uploaded it YouTube.
How ’bout Shoeshine? Ask and you shall receive. This great song, written by Niedecken, is from BAP’s 13th studio album Aff Un Zo (every now and then) from June 2001. It was an important record for the band after the departure of longtime members Heuser and keyboarder Alexander Büchel. The only YouTube clip of the tune I could find is this version from the 2014 unplugged live album Das Märchen Vom Gezogenen Stecker – Live (the tale of the pulled plug – live). While it’s a bit different from the studio recording, I think it’s actually pretty cool.
A BAP playlist without a tune from their aforementioned breakthrough album would be incomplete. Since I previously featured what is perhaps their best-known song Verdamp Lang Her (such a long time ago), I’m going with the road tune Frau, Ich Freu Mich (Can’t wait to see you, baby). Given this record appeared in 1981, guess who co-wrote the rocker? Yep, Niedecken and Heuser had done it again!
For the next tune, let’s jump all the way forward to BAP’s most recent studio release, Lebenslänglich (for a lifetime), which appeared in early 2016: Et Ess Lang Her (long ago). The song was co-written by Niedecken and keyboarder Michael Nass. I dig the beautiful acoustic roots sound, which reminds me a bit of John Mellencamp.
The last tune I’d like to highlight is from Halv Su Wild (not a big deal) another of my favorite BAP albums. It is from their 16th and the last studio record to date released under the name BAP. It also marked the final album with longtime drummer Jürgen Zöller (1987-2014) and Helmut Krumminga, who had been the band’s lead guitarist from 1999 until 2014. Here’s a live version of Et Levve Ess En Autobahn (life is a highway), which apparently was captured during an open-air gig in Germany in 2012. Written by Niedecken, it’s an autobiographic song about the band’s long history.
During an interview with Swiss newspaper Tagblatt, Niedecken confirmed BAP are working on a new studio album that will likely appear sometime this year, followed by a tour in 2021. Mentioning his most recent solo effort Das Familienalbum (the family album), which was recorded in New Orleans and came out in 2017, Niedecken also hinted the band’s next record is going to feature some of the same U.S. horn players. For a long-time BAP fan like myself, this does sound intriguing.
What do Robert Allen Zimmerman and Philip David Ochs have in common? Both wrote brilliant protest songs in the ’60s. The difference? Robert changed his name to Bob Dylan and became one of the most famous music artists of our time. Philip chose to perform as Phil Ochs and remained largely obscure outside singer-songwriter circles.
Until recently, I had never heard of Phil Ochs myself. Then I saw somebody ranting on Facebook that Bob Dylan undeservedly gets all the credit for being this brilliant protest singer when the recognition should really go to Ochs. The truth is while both artists at some point were important protest singer-songwriters, none of them invented the genre. According to Wikipedia, the tradition of protest songs in the U.S. long predates the births of Dylan and Ochs – in fact going all the way back to the 18th century.
One of the important forerunners to the 1950s and 1960s protest singer-singwriters were the Hutchinson Family Singers, who starting from 1839 became well known for singing about social issues, such as abolition, war and women’s suffrage. And let’s not forget Woody Guthrie, who was born in 1912 and started learning folk and blues songs during his early teens. Over a 26-year-period as an active music artist, Guthrie wrote hundreds of political, folk and children’s songs. He was a major influence on numerous other songwriters who in addition to Dylan and Ochs included Johnny Cash, Pete Seeger, Harry Chapin, Bruce Springsteen, John Mellencamp and many other former and contemporary artists.
‘I get it,’ you might think, ‘but who the hell is Phil Ochs?’ Sadly, it’s a pretty rough story, and it doesn’t have a Hollywood happy ending.
Ochs was born on December 19, 1940 in El Paso, Texas. His dad Jakob “Jack” Ochs was a physician from New York, and his mom Gertrude Finn Ochs hailed from Scotland. The two met there and got married in Edinburgh where Jack was attending medical school at the time. After their wedding, they moved to the U.S. Jack joined the army as a doctor and was sent overseas close to the end of World War II. He returned as a sick man with bipolar disorder and depression.
Jack’s health conditions prevented him from establishing a successful medical practice. Instead, he ended up working at a series of hospitals around the country and frequently moving his family. As a result, Phil Ochs grew up in different places, along with an older sister (Sonia, known as Sonny) and a younger brother (Michael). His father was distant from the family, eventually got hospitalized for depression, and passed away from a brain bleeding in April 1963. Phil’s mother died in March 1994.
During his teenage years, Ochs became a talented clarinet player. Prior to the age of 16, he was principal soloist with the orchestra at the Capital University Conservatory of Music in Columbus, Ohio. Although Ochs had become an accomplished classical instrumentalist, he soon discovered the radio and started listening to the likes of Buddy Holly, Elvis Presley, Hank Williams and Johnny Cash.
Initially, Ochs wanted to become a journalist. Well, he of sort did, combining his interest in writing about politics with music. During his journalism studies at Ohio State University, he met fellow student, activist and future folk singer Jim Glover in the fall of 1960, who introduced him to the music of Pete Seeger, Woody Guthrie and The Weavers, and taught him how to play guitar. It wouldn’t take long before Ochs merged his interest of politics and music and started writing his own songs. He preferred to characterize himself as a topical rather than a protest singer.
Glover and Ochs started performing as a duo called The Singing Socialists and later The Sundowners but broke up before their first professional gig. Glover went to New York, while Ochs started performing professionally at a local fok club in Cleveland. In 1962, he went to the Big Apple as well and soon established himself in the Greenwich Village folk music scence. Ochs described himself as a “singing journalist,” explaining his songs were inspired by stories he saw in Newsweek. By the summer of 1963, he had developed a sufficiently high profile and was invited to perform at the Newport Folk Festival, along the likes of Dylan, Joan Baez and Peter, Paul & Mary.
Ochs’ debut album All The News That’s Fit To Sing, an allusion to The New York Times‘ slogan “All the news that’s fit to print,” appeared in 1964. Here is Ballad of William Worthy. The tune tells the story about an American journalist who traveled to Cuba despite the U.S. embargo and was forbidden to return to the U.S. Check out the brilliant lyrics of this tune – safe to assume Ochs’ words didn’t endear him to the Johnson Administration.
In 1965, Ochs’ sophomore album I Ain’t Marching Anymore came out. Here’s the excellent satirical anti-war tune Draft Dodger Rag, which quickly became an anthem of the anti-Vietnam war movement.
After Ochs’ first three albums with Electra Records had gone nowhere commercially speaking, he signed with A&M Records and in October 1967 released his fourth studio record Pleasures Of The Harbor. Unlike his first three folk music-oriented records, the album went beyond folk, featuring elements of classical, rock & roll, Dixieland and even experiental synthesized music. Apparently, the idea was to produce a folk-pop crossover. While the album included great tunes, it’s safe to say it didn’t bring Ochs commercial success. Here is Outside Of A Small Circle Of Friends, which became one of Ochs’ most popular songs. The tune was inspired by the case of a 28-old woman who was stabbed to death in front of her home in Queens, New York, while dozens of her neighbors reportedly ignored her cries for help.
Tape From California is Ochs’ fifth album. Released in July 1968 on A&M Records, it continued his shift away from straight folk-oriented protest songwriting, though he was far from abandoning topical songs. The War Is Over is a tune that was inspired by poet Allen Ginsberg who in 1966 declared the Vietnam war was over. Ochs decided to adopt the idea and organize an anti-war rally in Los Angeles, for which he wrote the song.
Phil Ochs’ final studio album came out in February 1970. Weirdly, it was called Greatest Hits, even though it was not a compilation but a collection of 10 new tracks. Most of the record was produced by Van Dyke Parks, who previously had appeared on Tape From California, contributing piano and keyboards to the title track. Greatest Hits featured an impressive array of guest artists, including Clarence White and Gene Parsons, both from The Byrds; Ry Cooder; Jim Glover; and members of Elvis Presley’s backing band, among others. The album cover was an homage to Elvis, showing Ochs in a gold lamé suit reminiscent of the outfit Elvis wore for the cover of his 50,000,000 Elvis Fans Can’t Be Wrong greatest hits compilation. Here is Jim Dean Of Indiana, a tune about the actor James Dean, who like Elvis was one of Ochs’ idols.
Greatest Hits was Ochs’ final attempt to connect with average Americans, who he was convinced weren’t listening to topical songs. Disillusioned by key events of 1968, including the assassinations of Martin Luther King, Jr. and Robert F. Kennedy, the police riot in Chicago around the Democratic National Convention and the election of Richard Nixon, Ochs felt he needed to be “part Elvis Presley and part Che Guevara,” as Wikipedia puts it. Ochs supported the album with a tour, performing in the Elivs-like suit and being backed by a rock band, singing his own songs, along with tunes by Buddy Holly, Elvis Presley and Merle Haggard. But his fans weren’t sure what to make of the “new Phil Ochs.”
Pretty much from there, things went downhill for Ochs. He developed writer’s block and slipped into depression and alcoholism. He did not release any additional records. On April 9, 1976, Ochs committed suicide by hanging himself in the home of his sister Sonny. He was only 35 years old.
I’d like to conclude this post with a few quotes I found on Life of a Rebel, a blog dedicated to Ochs. “As a lyricist, there was nobody like Phil before and there has not been anybody since,” said fellow folk singer Dave Van Ronk. “He had a touch that was so distinctive that it just could not be anybody else. He had been a journalism student before he became a singer, and he would never sacrifice what he felt to be the truth for a good line.” In a note to Ochs in 1963, Pete Seeger wrote, “I wish I had one tenth your talent as a songwriter.” And what did the mighty Bob Dylan tell Broadside magazine in 1964? “I just can’t keep up with Phil. And he’s getting better and better and better.”
I met Rick Barth in June 2018 and at the time wrote about his 2015 debut album Hand Me Down Soul. Now the singer-songwriter from Budd Lake, N.J. is out with his second record titled Fade. It’s a nice continuation of his acoustic-oriented rock, singer-songwriter ballads, as well as country and roots-oriented music.
While Barth has been performing on the New Jersey music scene as a solo artist and a member of various bands and duos for about three decades, he only decided to start writing his own music less than 10 years ago. His named influences include Butch Walker, Ryan Adams, John Lennon, Ryan Bingham, Tom Petty, Michael Trent, Jason Isbel and Parker Milsap. I can also hear traces of John Mellencamp, Bruce Springsteen and Steve Earle.
Let’s get to some music. I’d like to kick things off with the opener We Had Fun (Didn’t We?). Like all other tunes on the album, the song was written by Barth.
Next up is the title track featuring nice pedal steel guitar accents.
A vocal highlight on the album is Shine, in my opinion, where Barth’s voice beautifully blends with backing vocalist Louise Trezza.
Here is another tune I like: Stranger Things. Check out the nice dobro work!
The last track I’d like to call out is Change, a country song that to me is perhaps the musical highlight of the record. I dig the beautiful violin playing and the pedal steel guitar, which sound great together. This is perhaps somewhat ironical coming from a guy who used to say he doesn’t like country. Oh well, it just goes to show again that genres don’t need to define great music.
Apart from lead vocals, Barth handles guitars, bass and mandolin. In addition to Louise Trezza (backing vocals), other musicians on the album include Keith Dunham (bass), Wayne Wilson (pedal steel), Jim Reeber (keyboards), Rick Krueger (lap steel, dobro), Ralph Heiss (bass), Dawn Patrick (violin) and Rob Ot (percussion).
Fade was produced by Barth and Dunham and recorded at Rifftide Studio in Ledgewood, N.J. Dunham also served as recording engineer. The album is available on streaming platforms and since yesterday on CD through Barth’s website. By the way, the picture on the cover shows the former Bethlehem Steel plant in Bethlehem, Pa., which during its heyday was one of the world’s largest steel producers.
Sources: Rick Barth website, ReverbNation, BandMix.com, GigMasters, YouTube