A Look Back on Rock the Farm Festival

The annual 11-hour marathon on the Jersey shore combines first rate tribute music with a great cause

Today would have been the 7th annual Rock the Farm festival, a great music tribute event conducted each year in the New Jersey shore town of Seaside Heights. But in light of the seemingly never-ending COVID-19 pandemic, the organizers made the responsible decision to cancel, hoping they can bring back the 11-hour music marathon in 2021.

I think the idea behind Rock the Farm is ingenious: Imagine an iconic music festival that could never happen in reality and bring it to life with compelling tribute acts and raise money for a great cause in the process! It’s almost like a mini Live Aid, except of course The Beatles or The Doors could have never have shared a bill with the Eagles, Guns N’ Roses or Tom Petty.

Fleetwood Mac tribute TUSK at Rock the Farm 2019

The event is organized by Jersey non-profit community organization CFC Loud N Clear Foundation, which offers post-rehab support programs to individuals and families struggling to overcome addiction to opioids, alcohol and other substances. Rock the Farm serves as their main annual fundraiser.

I realize that unless you are from Jersey and/or have been to the festival, this is a bit of an inside baseball post. But as more frequent visitors of the blog may recall, I dig seeing tribute bands, especially when they are of the high caliber Rock the Farm has attracted over the years. This year would have been my fourth time in a row to attend. Instead, I’m taking a look back at highlights from the past two years.

Let’s kick things off with a Guns N’ Roses tribute band from Dallas called Guns 4 Roses. While I haven’t found any information on when they were formed, their website lists gigs going back to 2009. Here’s their rendition of Sweet Child O’ Mine captured at Rock the Farm 2018.

TUSK are an outstanding tribute to Fleetwood Mac, mirroring the Rumours  lineup. This band from New Jersey, which tours nationally, features Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). Here’s Dreams and You Make Loving Fun, from Rock the Farm 2018.

Another highlight at Rock the Farm 2018 were Free Fallin’, a Tom Petty tribute from Minneapolis, founded in 2007. Their members are Tom Brademeyer  (as Tom Petty, guitar & lead vocals), Karl Swartz (as Mike Campbell, guitar & vocals), Craig Volke  (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals), Russ Lund  (as Ron Blair, bass) and Mark Larsen (as Stan Lynch, drums). Here they are with Refugee, one of my favorite Petty tunes.

The headliner at Rock the Farm 2018 were Live/Wire, a kickass AC/DC tribute from New York. Founded in 2000, the band includes Mike Hughes (as Angus Young, lead guitar), Bill Voccia (as Malcolm Young, rhythm guitar), Chris Antos (as Bon Scott and Brian Johnson, lead vocals), Bill ‘Daytona’ Bowden (as Cliff Williams, bass) and Billy Rauff (as Phil Rudd, drums). Based on their current schedule, the band’s touring radius appears to be the eastern half of the U.S. Here’s It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll). Despite some apparent technical issues with the bagpipe, it’s a pretty cool rendition.

One Fine Tapestry are a tribute to Carole King, one of my favorite singer-songwriters. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo performing a variety of different shows. At Rock the Farm 2019, they were backed by a full band. Here’s their rendition of King’s Sweet Seasons.

Decade is an act revolving around great Neil Young tribute artist John Hathaway, who is also from New Jersey and performs with different line-ups of talented backing musicians. Frequent members include guitarist Gordon Bunker Strout, pedal steel player Joseph Napolitano, bassists Ken Ramos and John Dickson and keyboarder Steve Cunniff. Sometimes, Hathaway’s band also features a female backing vocalist as was the case at Rock the Farm 2019 with Pam McCoy. Here’s Cinnamon Girl.

Always fun to watch are Rolling Stones tribute The Glimmer Twins from Philly. Named after the songwriting partnership of Mick Jagger and Keith Richards, this band is led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound fantastic: Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte  (keyboards), Valorie Steel (vocals) and Bobby Michaels (saxophone, flute, organ). Check ’em out with Can You Hear Me Knocking.

The final band I’d like to highlight in this look back were the headliner last year: Simply Queen. This Canadian to Queen, which has been around for 15 years, features Rick Rock (as Freddie Mercury), Bob Wegner (as Brian May), Phil Charrette (as Roger Taylor) and Mitch Taylor (as John Deacon). While Simply Queen mostly perform in Canada, they venture out to the U.S. fairly frequently. Here’s a nice rocker called It’s Late.

Sources: YouTube

The Venues: Hollywood Bowl

I rarely blog back-to-back in the same category, but yesterday’s post about Red Rocks Amphitheatre was so much fun that I decided to do another one. And the Hollywood Bowl certainly isn’t just any place, at least not in my book.

The first time I heard of the legendary Los Angeles entertainment venue was in connection with The Beatles at the Hollywood Bowl. It was one of the very first Beatles albums I got on vinyl. I must have been around 12 years at the time. I still own that copy!

Then, in 1980 as a 14-year-old, I got to visit the actual venue (though not for a concert) during a summer vacation in the U.S., which included L.A. – my first visit to this country. Also my very first time on an airplane! I still have so many vivid memories about this trip. Seeing the Bowl where The Beatles once played remains one of them.

I suppose the trip planted the seed that led me to come back years later to study in America and eventually stay here for good. My girlfriend I met during my studies, who I’m happy to call my wife for now 20-plus years, also had something to do with it! 🙂

Back to the Hollywood Bowl and a bit of history before we get to the ultimate thrill. It all started 101 years ago in 1919 when the Theatre Arts Alliance asked William Reed and his son H. Ellis Reed to find a suitable location for outdoor performances. After the Reeds found and selected the natural amphitheater because of its amazing acoustics and convenient proximity to downtown Hollywood, the Community Park and Art Association began construction of the facility.

The Bowl began as a community space rather than a privately owned venue. The first events were held there in 1921. Proceeds from the early performances were used to finance construction of new elements, such as a stage, seating and background, which were added in 1922, 1923 and 1924, respectively. Initially, the Bowl served as a venue for concerts by the Los Angeles Philharmonic, as well as a community space for Easter services, the Hollywood Community Chorus and younger musicians including children.

In 1926, the first band shell was constructed but it was considered unacceptable from both a visual and an acoustics standpoint. Lloyd Wright came up with the now-familiar concentric ring motif and the 120-degree arc in 1928. But his wooden construction was destroyed by water damage and replaced the following year by a shell with a transite skin over a metal frame. That structure stood until 2003 and evidently was the one I saw in 1980.

In the early ’80s an inner shell made from large cardboard tubes that had been there since the ’70s to improve the acoustics was replaced by large fiberglass spheres designed by Frank Gehry. Eventually, in 2003, the 1929 outer shell was replaced with a new, somewhat larger, acoustically improved shell. Initially, a curtain served as a backdrop until a proper back wall had been constructed, which was first revealed in 2005. I suppose that’s the structure that stands to this day.

Now on to the real fun. Those who’ve visited my blog more frequently won’t be surprised what comes next: The Rolling Stones – just kidding! I love the Stones, but the first clip must capture my favorite band of all time. And, yes, there is historic YouTube footage.

The Beatles played the Hollywood Bowl twice, in August 1964 and in August 1965. Here’s A Hard Day’s Night, the title track of the corresponding studio album, which as usually was credited to John Lennon and Paul McCartney. This version is from the August 23, 1964 gig, an impressive illustration of “Beatlemania.” According to The Beatles Bible, all 18,700 tickets had been sold for the show. A Hard Day’s Night was the second-to-last tune of their 12-song set.

Are you ready to set the night on fire? On July 1968, The Doors did just that. Their performance that evening was captured on Live at the Hollywood Bowl, the band’s third official live album released in May 1987. A VHS version of the concert also appeared at the time. In October 2012, the full version of the show came out on CD, LP and Blu-ray as Live at the Bowl ’68. Credited to all four members of The Doors, Light My Fire originally was included on the band’s eponymous debut album from January 1967. Man, watching this footage gives me goosebumps, especially Ray Manzarek’s extended organ solo – even though by definition it doesn’t have any vocals! 🙂

Let’s get it on with a nostalgic piece, as Elton John called it during his September 7, 1973 gig at the Hollywood Bowl: Crocodile Rock. That show was also filmed, for inclusion in a documentary by English film director Bryan Forbes, Elton John and Bernie Taupin Say Goodbye Norma Jean and Other Things. Co-written by John and his lyricist Bernie Taupin, Crocodile Rock was first recorded for John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player, which came out in January 1973. Now, that’s the Elton John I dig. You also gotta love the guy behind John in the crocodile outfit playing what looks like a Vox Continental keyboard!

Before jumping to the current century, let’s go to October 2, 1991, and a gig by Sting during his Soul Cages Tour that year. The show at the Hollywood Bowl also coincided with his 40th birthday. Here’s The Soul Cages, the great title track from Sting’s third solo release that appeared in January 1991. Like all songs on the album, the tune was written by him.

Next are two clips from the current century, for which it is easier to find YouTube footage. Let’s kick it off with The Rolling Stones and what according to Setlist.fm looks like the first of two dates played at the venue in 2005: November 6. There was another show there two days later. Both concerts were part of the Bigger Bang Tour. I caught the Stones for the first time during that tour on October 1, 2005 at Hersheypark Stadium in Hershey, Pa. I realize Satisfaction is the most overplayed Stones song, but unfortunately, it was the only complete clip I could find from their Bowl gig. Co-written by Mick Jagger and Keith Richards, (I Can’t Get No) Satisfaction became the first no. 1 for the Stones in 1965 and was also included on the American version of their fourth studio album Out of Our Heads released in July of the same year. Hey, it may be over-exposed, but it’s still one of the coolest guitar riffs in rock & roll! When watching Jagger in this footage I noticed he was still moving like this when I saw the Stones again last year – unbelievable!

The final clip I reserved for an artist who has been near and dear to me for many years. Unfortunately, he’s no longer with us: Tom Petty. The following footage is from his final show with The Heartbreakers. This gig at the Hollywood Bowl on September 25, 2017 marked the triumphant finale of the band’s 40th anniversary tour. You can watch the entire concert here. I’ve done it twice and have to say it’s just amazing. For this post I’d like to highlight the final two songs of the night: You Wreck Me from Petty’s second solo album Wildflowers (November 1994) and the classic American Girl, off the November 1976 eponymous debut by Tom Petty and the Heartbreakers.

Sources: Wikipedia; The Beatles Bible; Setlist.fm; YouTube

Best of What’s New

A selection of newly released music that caught my attention

This latest installment of the recurring new music feature must acknowledge two albums that dropped today by two of the most influential music artists of our time: Bob Dylan and Neil Young. I already covered Young’s record in my previous post, so I’m skipping him here. There is also a new band of veteran session musicians who recently released their first single in the U.S., a great rock tune by an Australian band and a song from a German blues singer-songwriter and guitarist.

Bob Dylan/Goodbye Jimmy Reed

Goodbye Jimmy Reed is a tune from Rough and Rowdy Ways, the new and widely anticipated album by Bob Dylan. It’s his 39th studio record and the first with original material since Tempest from September 2012. In-between, the great music poet put out three cover albums with standards from the American Songbook. I was going to add all that’s missing is a Christmas collection when I just noticed Dylan already checked off that box in October 2009 with Christmas in the Heart. If you’re frequent visitor of the blog, you probably know my sentiments about Dylan range from outstanding to less than brilliant and everything in-between. Regardless, there’s no doubt Dylan is one of the most important singer-songwriters of our time. I also give him huge credit that age 79 instead of releasing yet another cover album, he dropped a collection with brand new songs. Goodbye Jimmy Reed is a tribute to the American electric blues guitarist who influenced Elvis Presley, Hank Williams Jr., The Rolling Stones and many other artists who I have no doubt include Dylan.

The Immediate Family/Cruel Twist

The Immediate Family is what you could call a super group featuring five veteran session musicians: Danny Kortchmar (guitar), Waddy Wachtel (guitar), Leland Sklar (bass), Russ Kunkel (drums) and Steve Postell (guitar). Between them, they have worked individually and together with artists like Jackson Browne, Carole King, Neil Young, Linda Ronstadt, Stevie Nicks, Keith Richards, James Taylor, Bob Dylan, Joe Walsh – and the list goes on and on. It’s yet another illustration that great musicians like to play with great musicians. But throwing together a group of top-notch musicians doesn’t automatically guarantee the outcome is as great as their skills. In this case I have to say I really like what I’m hearing! Cruel Twist is the group’s first U.S. single released on June 12. As reported by Rolling Stone, an EP is planned for October, followed by a full-length album next year.

Datura4/Give

According to their website, Datura4 are a Western Australian band combining full-tilt boogie, heavy psychedelia, blues and classic rock’n’roll for a sound heavy on riffage and mind-bending wig-outs – okey dokey. Founded in 2009, the band includes Dom Mariani (guitar), Bob Patient (keyboards), Stu Loasby (bass) and Warren “Wazza” Hall (drums). They released their debut album Demon Blues in 2015, followed by sophomore Hairy Mountain in 2016. Give is a great rocker from Datura4’s most recent album West Coast Highway Cosmic, which appeared on April 17. I dig the harmony guitar playing and the keyboard work. These guys are cooking – check it out!

Michael van Merwyk/We’re Human

Michael van Merwyk is a blues singer-songwriter and guitarist from Germany. According to this biography, he has become famous as one of only a few lap steel guitar players in the blues business. Michael performs and entertains fans at large festivals and also smaller clubs throughout Europe, either together in an acoustic duo with a blues harp player and singer Gerd Gorge as Delta Boys or his own band called Bluesoul. The (German) website of Bluesoul also notes van Merwyk started playing guitar at the age of 15 and has been an active musician for almost 35 years. I had never heard of him before. We’re Human is from what appears to be his most recent CD The Bear released on May 8. According to Discogs, the CD was recorded live in studio in December 2019 and January 2020.

Sources: Wikipedia; Rolling Stone; Last.fm; Bluesoul; YouTube

A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!

In Memoriam of Little Richard

“I created rock ‘n’ roll! I’m the innovator! I’m the emancipator! I’m the architect! I am the originator! I’m the one that started it! There wasn’t anyone singing rock ‘n’ roll when I came into it. There was no rock ‘n’ roll.” No, Richard Wayne Penniman wasn’t exactly known for modest self-assessment. I think this comment he made during an interview with SFGATE.com, the website of the San Francisco Chronicle, in July 2003 also illustrates he was a showman who had a knack for memorable quotes.

I’m writing this, as the obituaries still keep pouring in for the man known as Little Richard, who passed away this morning in Tullahoma, Tenn. at the age of 87, according to The New York Times. CNN reported Richard’s former agent Dick Alen confirmed the cause of death was related to bone cancer. Apparently, Richard had not been in good health for some time.

Little Richard 2

Instead of writing yet another traditional obituary, I’d like to primarily focus on what I and countless other rock & roll fans loved about Little Richard, and that’s his music. While he is sadly gone, fortunately, his music is here to stay. And there is plenty of it, so let’s get started and rock it up!

Richard’s recording career started in 1951 close to his 19th birthday when RCA Victor released Every Hour. An original composition, the soulful blues ballad doesn’t exactly sound like A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!, but one already can get an idea of Richard’s vocal abilities. While tune became a regional hit, it did not break through nationally, just like the other songs Richard recorded with RCA Victor, so he left in February 1952.

Following a few lean years and a struggle with poverty, which in 1954 forced Richard to work as a dishwasher in Macon, Ga., the breakthrough came when Specialty Records released Tutti Frutti as a single in November 1955. The record company had hired songwriter Dorothy LaBostrie to replace some of Richard’s sexual lyrics with less controversial words. Not only did the classic bring Richard long-sought national success, but the loud, hard-driving sound and wild (yet somewhat tamed) lyrics also became a blueprint for many of his tunes to come.

Tutti Frutti started a series of hits and the most successful two-year phase of Richard’s career. One of my favorites is the follow-up single Long Tall Sally from March 1956. Co-written by Richard, Robert “Bumps” Blackwell and Enotris Johnson, the song became Richard’s highest-charting U.S. mainstream hit, climbing to no. 13 on the Billboard Hot 100. It also marked his first no. 1 on the Hot R&B Singles chart. Over the years, I must have listened to Long Tall Sally 100 times or even more. It still grabs me. I also dig the cover by The Beatles. Classic rock & roll doesn’t get much better.

Ready, Teddy, for another biggie? Yeah, I’m ready, ready, ready to a rock ‘n’ roll.

Lucille, you won’t do your sister’s will?
Oh, Lucille, you won’t do your sister’s will?
You ran off and married, but I love you still

Lucille, released in February 1957, was co-written by Richard and Albert Collins – and nope, that’s not the blues guitarist. The two just happen to share the same name. According to Wikipedia, “the song foreshadowed the rhythmic feel of 1960s rock music in several ways, including its heavy bassline and slower tempo.” Okay, I guess I take that. Lucille became Richard’s third and last no. 1 on the Hot R&B Singles. The song reached a more moderate no. 27 on the Billboard Hot 100. In the UK, on the other hand, it climbed to no. 10 on the Official Singles Chart. In addition to Richard’s vocals and piano, the horn work on this tune is just outstanding!

And then came that tour of Australia together with Gene Vincent and Eddie Cochran in October 1957 that changed Richard’s trajectory. As Rolling Stone put it in their obituary, After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

After Richard left the music business, his record label Specialty Records continued to release previously recorded songs until 1960 when his contract ended and he apparently agreed to relinquish any royalties for his material. One of these tunes was another classic, Good Golly, Miss Molly. Co-written by John Marascalco and Blackwell, and first recorded in 1956, the single appeared in January 1958. It became a major hit, peaking at no. 10 and 8 in the U.S. and UK pop, charts respectively, and reaching no. 4 on the Hot R&B Singles.

Here’s the title track from the above noted 1959 album God Is Real. The tune was written by gospel music composer Kenneth Morris.

In 1962, Richard started a gradual return to secular music. While according to Rolling Stone, a new generation of music artists like The Rolling Stones and Bob Dylan welcomed him back, his music no longer sold well. When Richard performed at the Star-Club in Hamburg in the early ’60s, a then still relatively unknown British band called The Beatles opened up for him. The above Rolling Stone obituary included this quote from John Lennon: “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play…He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

In January 1967, Richard released a soul-oriented album titled The Explosive Little Richard. It was produced by his longtime friend Larry Williams and featured Johnny “Guitar” Watson. They co-wrote this tasty tune for Richard, Here’s Poor Dog (Who Can’t Wag His Own Tail). It also appeared as a single and reached no. 121 and 41 on the Billboard Hot 100 and Hot R&B Singles charts, respectively. The record didn’t chart.

While Richard enjoyed success as a live performer, his records continued to sell poorly. In April 1970, he had a short-lived comeback of sorts with Freedom Blues, a single from his album The Rill Thing released in August that year. Co-written by Richard and R&B singer Eskew Reeder, Jr., who had taught him how to play the piano, the tune reached no. 47 on the Billboard Hot 100 and peaked at no. 28 on the Hot R&B Singles.

During the remainder of the ’70s, Richard continued to perform and also had guest appearances on records by Delaney and Bonnie, Joe Walsh and Canned Heat, among others. He also became addicted to marijuana and cocaine. Eventually, his lifestyle wore him out, and in 1977, Richard quit rock & roll for the second time and returned to evangelism.

In 1984, he returned to music yet another time, feeling he could reconcile his roles as a rock & roll artist and an evangelist. Following a role in the movie picture Down and Out in Beverly Hills, Richard released another album, Lifetime Friend, in 1986. I actually got it on CD at the time. Here’s the nice opener Great Gosh A’Mighty, which Richard co-wrote with Billy Preston. Reminiscent of the old “A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom Richard,” the tune had also been included in the soundtrack of the aforementioned movie.

In 1992, Richard released Little Richard Meets Masayoshi Takanaka, which featured newly recorded versions of his hits. The final Little Richard album Southern Child appeared in January 2005. Originally, the record had been scheduled for release in 1972 but had been shelved. Richard continued to perform frequently through the ’90s and the first decade of the new millennium. Nerve pain in his left leg and hip replacement forced him to reduce concerts and eventually to retire in 2013.

Richard was inducted into the Rock and Roll Hall of Fame in 1986 as part of the very first group of inductees, which also included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley. He also was inducted into the Songwriters Hall of Fame and received numerous awards. Four of his songs, Tutti Frutti (no. 43), Long Tall Sally (no. 55), Good Golly, Miss Molly (no. 94) and The Girl Can’t Help It (420), are in Rolling Stone’s list of 500 Greatest Songs of All Time from April 2010.

I’d like to end this post with a few reactions from other music artists:

“He was the biggest inspiration of my early teens and his music still has the same raw electric energy when you play it now as it did when it first shot through the music scene in the mid 50’s” (Mick Jagger)

“So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock’n Roll!” (Keith Richards)

“He will live on always in my heart with his amazing talent and his friendship! He was one of a kind and I will miss him dearly” (Jerry Lee Lewis)

“God bless little Richard one of my all-time musical heroes. Peace and love to all his family.” (Ringo Starr)

“He was there at the beginning and showed us all how to rock and roll. He was a such a great talent and will be missed. Little Richard’s music will last forever.” (Brian Wilson)

Sources: Wikipedia; SFGATE.com; The New York Times; CNN; Rolling Stone; YouTube

Best of What’s New

A selection of newly released music that caught my attention

This is the fifth installment of Best of What’s New. I’m starting to think this may become a weekly feature, which would make me happy and frankly is something I had not expected when I introduced it five weeks ago. Unlike the previous times, this installment mostly features new releases by well-established artists from Bob Dylan to Mavis Staples. Perhaps not surprisingly, four of the songs were released because of COVID-19, though three were written pre-pandemic. In one case, the lyrics were slightly tweaked, so the tune better fits the current situation. Let’s get to it!

Bob Dylan/I Contain Multitudes

What’s up with Robert Zimmerman? Last Friday, he released his second new song in three weeks. I Contain Multitudes, which took its title from the Walt Whitman poem Song of Myself, comes on the heels of the 17-minute Murder Most Foul centering on the assassination of John F. Kennedy. While as a more casual Dylan listener, I would not dare to try and figure out what’s going on in his head, releasing a song about a traumatic event in 1963, followed by a tune with cheerful lines like The flowers are dyin’ like all things do or I sleep with life and death in the same bed doesn’t strike me as a coincidence during a global pandemic. It is also likely to fuel hope among Dylan fans that a new album may be in the making, though in perhaps typical fashion Mr. Zimmerman hasn’t made any comments in this regard.

Alicia Keys/Good Job

Earlier this week, I had caught a CNN announcement that Alicia Keys was going to debut a new song on the cable news channel last night. And she did: Good Job. While Keys recorded the powerful ballad last year for her next album ALICIA, the lyrics are a beautiful fit to say a heartfelt ‘thank you’ to all folks who look after the sick and keep the country going during the pandemic, oftentimes by risking their own lives. The tune was co-written by Keys, her husband and producer Swizz Beatz, singer-songwriter The-Dream and songwriter, composer and producer Avery Chambliss. “Whether you’re on the frontlines at the hospitals, balancing work, family and homeschool teaching, delivering mail, packages, or food, or facing other personal difficulties because of COVID-19, I feel you. You are seen, loved and deeply appreciated,” said Keys. While I don’t necessarily dig each and every song by Keys, I believe she has an incredible voice and is a powerful performer. She also comes across as very genuine to me.

The Rolling Stones/Living in a Ghost Town

I’d like to give a shoutout to Hanspostcard who first brought this new tune by The Rolling Stones to my attention yesterday on his Slicethelife blog. Similar to Alicia Keys, Mick Jagger wrote Living in a Ghost Town prior to COVID-19. As reported by Rolling Stone, it’s the band’s first new original tune since their 2012 compilation GRRR!, which featured two new tracks, Doom and Gloom and One More Shot. To make it a better fit for the current situation, Jagger had to tweak some of the lyrics. The Rolling Stone story quoted him from an interview with Apple Music: “Keith Richards and I both had the idea that we should release it,” he said. “But I said, ‘Well I’ve got to rewrite it.’ Some of it is not going to work and some of it was a bit weird and a bit too dark. So I slightly rewrote it. I didn’t have to rewrite very much, to be honest. It’s very much how I originally did it.” The Rolling Stone piece also included this quote by Richards: “We’ve got another five or six tracks and there’s a lot of sort of soul feel about it for some reason without anybody intending to,” Richards said. “Obviously right now we’ve got nothing else to do but write some more songs, right?” Could this finally be a new Stones album, which has been rumored for some time?

Cowboy Junkies/Misery

I think the only time I had heard of this Canadian band, which Wikipedia classifies as alternative country and folk rock, was in the late ’80s – probably in connection with their sophomore album The Trinity Session from November 1988, which looks like their most successful release. It included a cover of Lou Reed’s Sweet Jane, which became their highest-charting single the U.S., peaking at no. 5 on the Billboard Modern Rock chart. Well, it turns out Cowboy Junkies are still active, and on March 30, 2020, they released their latest album Ghosts. Three of their founding members, Margo Timmins (vocals), Michael Timmins (guitar, ukulele) and Peter Timmins (drums, percussion) – are siblings, and the album’s eight tracks are all related to the death of their mother Barbara, who passed away in 2018. The fourth member, Alan Anton (bass, keyboards), has also been part of the band since its formation in Toronto in 1985. I’ve listened to some of the album’s songs and like what I’ve heard so far. Here is Misery.

Ron Sexsmith/Dig Nation

Ron Sexsmith, a singer-songwriter from St. Catharines, Canada, is an artist I had not heard of before. According to Wikipedia, he has been a performing musician since 1978 and began releasing his own music in 1985. To date, he has issued 16 studio albums, the most recent of which is Hermitage that came out on April 17. Here’s Dig Nation. Really like the warm sound of that tune. And it’s quite catchy, too. Check it out!

Mavis Staples/All In It Together

Mavis Staples, who started her career in 1950 at the age of 11 as part of her family band The Staple Singers, needs no lengthy introduction. Since 1969, she has also performed as a solo artist and has released 14 solo albums to date. The most recent one, We Get By, came out in May 2019. The single All In It Together, which was released on April 2, 2020, is a collaboration with singer-songwriter Jeff Tweedy who is best known as the vocalist and guitarist of alternative rock band Wilco. “The song speaks to what we’re going through now – everyone is in this together, whether you like it or not,” Staples said in a statement, as reported by Rolling Stone. “It doesn’t matter how much money you have, what race or sex you are, where you live…it can still touch you…We will get through this but, we’re going to have to do it together. If this song is able to bring any happiness or relief to anyone out there in even the smallest way, I wanted to make sure that I helped to do that.” According to Staples’ website, proceeds from the song will be donated to My Block, My Hood, My City – a Chicago organization ensuring seniors have access to the essentials needed to fight COVID-19. Staples and Tweedy’s vocals nicely blend in this blues-oriented rock tune. I also like Tweedy’s slide guitar work.

Steve Forbert/Good Time Charlie’s Got the Blues

Here’s another great new tune by a long-time artist I mostly know by name, and this needs to change: Steve Forbert. Good Time Charlie’s Got the Blues is the lead single from Forbet’s covers album Early Morning Rain, which is set to come out next Friday, May 1. “I wish I could release this record as a magic wand, in order to renew people’s appreciation for the fine craftsmanship these songs represent,” Forbert writes on his website. “Early Morning Rain contains 11 of my favorites, with only one written later than 1973.” Good Time Charlie’s Got the Blues was written by Danny O’Keefe who also first recorded the song in 1967 but did not release it at the time. Instead, it was a band named The Bards who first put out the tune in 1968 as a b-side to a single. O’Keefe first included the song on his eponymous debut album from 1970. A re-recorded version was released as a single in August 1972 and became his best-known song. “I think ‘Good Time Charlie’s Got the Blues’ will be really good to put out there right now,” Forbert told American Songwriter. “I’ve always had a kinship with this song.”

Jeff Beck & Johnny Depp/Isolation

While multi-talent Johnny Depp certainly is not a newcomer to music and has played with the likes of Joe Perry and Alice Cooper, teaming up with guitar legend Jeff Beck is intriguing. The first outcome of their collaboration is a great cover of the John Lennon tune Isolation, which appeared last Friday, April 16. Lennon included the song on his first official solo album John Lennon/Plastic Ono Band from December 1970. According to a statement on Beck’s website, The musical soulmates have been working behind-the-scenes for the past few several years on new music. “Isolation” finds Beck in classic form on guitar with Depp on vocals, joined by long-time Beck collaborators Vinnie Colaiuta on drums and Rhonda Smith on bass…“Johnny and I have been working on music together for a while now and we recorded this track during our time in the studio last year. We weren’t expecting to release it so soon but given all the hard days and true ‘isolation’ that people are going through in these challenging times, we decided now might be the right time to let you all hear it,” says Beck. “You’ll be hearing more from Johnny and me in a little while but until then we hope you find some comfort and solidarity in our take on this Lennon classic.” Johnny Depp adds, “…Lennon’s poetry – ‘We’re afraid of everyone. Afraid of the Sun!’ – seemed to Jeff and me especially profound right now, this song about isolation, fear, and existential risks to our world. So we wanted to give it to you, and hope it helps you make sense of the moment or just helps you pass the time as we endure isolation together.”

Sources: Wikipedia; CNN; Rolling Stone; Mavis Staples website; Steve Forbert website; American Songwriter; Jeff Beck website; YouTube

Tangerine Trees and Marmalade Skies

A trip back to ’60s psychedelic music

While it’s quite possible that more than three weeks of social distancing are starting to have an impact, I can say without hesitation that my interest in psychedelic music predates COVID-19 – I would say by at least three decades. But it wasn’t exactly love at first sight.

I guess a good way to start would be to define what I’m writing about. According to Wikipedia, psychedelic music (sometimes called psychedelia) is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline and DMT to experience visual and auditory hallucinations, synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs.

To be clear, I don’t want to judge people using drugs but personally don’t take any and never had any particular interest to explore stuff. With the exception of alcohol, which I occasionally like to enjoy, I guess the furthest I ever took it was to try cigarettes during my early teenage years. Around the same time, I also smoked a cigar, cleverly thinking that just like with a cigarette, you’re supposed to inhale. As you can see, I was definitely young and stupid. And, yes, I did feel a bit funny afterwards! 🙂

Psychedelic Music Collage 2

Psychedelic music has some characteristic features. Again, Wikipedia does a nice job explaining them: Exotic instrumentation, with a particular fondness for the sitar and tabla are common. Songs often have more disjunctive song structures, key and time signature changes, modal melodies and drones than contemporary pop music. Surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often a strong emphasis on extended instrumental segments or jams. There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven ‘sampler’ keyboard.

Elaborate studio effects are often used, such as backwards tapes, panning the music from one side to another of the stereo track, using the “swooshing” sound of electronic phasing, long delay loops and extreme reverb. In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin. Later forms of electronic psychedelia also employed repetitive computer-generated beats.

Before getting to some examples, I should add that psychedelic music developed in the mid-’60s among folk and rock bands in the U.S. and the U.K. It included various subgenres, such as psychedelic folk, psychedelic rock, acid rock and psychedelic pop. The original psychedelic era, which is the focus of this post, ended in the late ’60s, though there have been successors like progressive rock and heavy metal and revivals, e.g., psychedelic funk, psychedelic hip hop and electronic music genres like acid house and trance music.

Apparently, the first use of the term psychedelic rock can be attributed to The 13th Floor Elevators, an American rock band formed in Austin, Texas in December 1965. Here’s their debut single You’re Gonna Miss Me. Written by guitarist and founding member Roky Erickson, the tune reached no. 55 on the Billboard Hot 100 and became their only charting song.

Eight Miles High by The Byrds is one of my favorite tunes from the psychedelic era. Written by co-founding members Roger McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals) and David Crosby (rhythm guitar, vocals), the song first appeared as a single in March 1966 and was also included on the band’s third studio album Fifth Dimension released in July of the same year. That jingle-jangle guitar sound and the brilliant harmony singing simply do it for me every time!

In May 1966, The Rolling Stones released Paint It Black. Credited to Mick Jagger and Keith Richards, the song was also included on the U.S. edition of Aftermath, the band’s fourth British and sixth U.S. studio album. Not only did Paint It Black top the charts in the UK, U.S., The Netherlands, Australia and Canada, but it also had the distinction to become the first no. 1 hit to feature a sitar.

One of the hotspots for psychedelic music in the U.S. during the second half of the ’60s was San Francisco. Among the key bands based in the city by the bay were Jefferson Airplane. Here’s White Rabbit, a tune written by lead vocalist Grace Slick. Initially, it was recorded for the band’s sophomore album Surrealistic Pillow from February 1967. It also came out separately as a single in June that year.

After ten paragraphs into the post, it’s about time I get to the band that probably is one of the first that comes to mind when thinking about psychedelic rock: Pink Floyd, especially during their early phase with Syd Barrett. Here’s a tune I’ve always dug: Arnold Layne, their debut single from March 1967, written by Barrett. According to the credits, this video was directed by Derek Nice and filmed on the beach in East Wittering, West Sussex, England in late February 1967.

March 1967 also saw the release of Purple Haze, the second single by the Jimi Hendrix Experience, and one of my favorite Jimi Hendrix tunes. The track features blues and Eastern modalities, along with novel recording techniques and sound effects like the Octavia pedal that doubled the frequency of the sound it was fed. The song also marked the first time Hendrix worked with sound engineer Eddie Kramer who would play a key role in his future recordings. Purple Haze climbed all the way to no. 3 in the UK; in the U.S., it only reached no. 65 on the Billboard Hot 100.

Two months later, in May 1967, The Beatles released their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band. It included the psychedelic gem Lucy In the Sky with Diamonds, the tune that inspired the headline of the post:

Picture yourself in a boat on a river
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes

While credited to John Lennon and Paul McCartney as usual, the song was primarily written by Lennon.

After the break-up of The Animals, lead vocalist Eric Burdon formed Eric Burdon & The Animals in December 1966. The band subsequently relocated to San Francisco. In May 1968, they released their second album The Twain Shall Meet. Among the record’s tunes is the anti-war song Sky Pilot. Credited to Burdon and each of the other members of the band Vic Briggs (guitar), John Weider (guitar, violin), Barry Jenkins (drums) and Danny McCulloch (bass), the tune also appeared separately as a single. Due to its length, the track had to be split across the A and B sides. Remarkably, Sky Pilot reached no. 14 on the Billboard Hot 100, and no. 7 in Canada and Australia. Chart success in the UK was more moderate, where it peaked at no. 40.

In June 1968, Iron Butterfly released their sophomore album In-A-Gadda-Da-Vida. The 17-minute title track, which occupied all of the record’s B-side, was written by the band’s keyboarder and vocalist Doug Ingle. Separately, a shortened version appeared as a single and became the band’s biggest hit reaching no. 30 in the U.S. In-A-Gadda-Da-Vida not only is psychedelic rock, but is also considered to be an early example of heavy metal. Here’s the single edit.

The last tune I’d like to highlight is Shotgun by Vanilla Fudge. It was included on their fourth studio album Near the Beginning from February 1969. “Near the End” perhaps would have been a more appropriate title, since by that time, the original psychedelic era was entering the twilight zone. Written by Autry DeWalt, the tune was first recorded by Junior Walker & the All Stars in 1965.

Sources: Wikipedia; YouTube

 

Best of What’s New

A selection of new music I like

Lately, I’m finding myself coming across lots of new music I like. Ironically, it’s largely due to my streaming music provider. I used to complain they do a rather mediocre job of serving up music I’m supposed to dig, based on my listening habits. While some of their suggestions still look a bit odd to me, I have to give credit where credit is due: Finally, it appears their algorithms have improved, and lately, they’ve been proposing some pretty good stuff.

Hoping this is going to continue, I’m introducing a new feature to the blog ingeniously titled Best of What’s New. The idea is to highlight new songs rather than new albums. I’m already doing the latter and have no intention to change that. While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. With this disclaimer out of the way, let’s get to the inaugural post.

Clarke Thorndycaft/Jumpin’ Jack Flash

‘Really,’ you might wonder, ‘a cover?’ I didn’t say these posts will only include original music! Behind Clarke Thorndycraft are guitarist Mick Clarke and singer and harmonica player Bill Thorndycraft, who both were among the founding members of Killing Floor, a British blues-rock band that initially was active between 1968 and 1972 and has been revived in 2002. More than just a cover, the tune is an homage to The Rolling Stones, which becomes obvious when they call out each member of “the world’s greatest rock & roll band” at the end of the tune. Co-written by Mick Jagger, Keith Richards and an uncredited Bill Wyman, the song was first released as a single in May 1968.

Emil Ingmar/Ellegatan

I betcha didn’t see a modern jazz type instrumental coming, did ya? Well, while for the most part, I anticipate not to veer off too far from my core wheelhouse, I have no problem doing so, if I like it. And I find this tune beautiful and very soothing. According to Naxos Direct, Ingmar is a jazz pianist, composer and freelance musician from Uppsala, Sweden. He also is the chairman of the Uppsala Jazz Club and organizer of the Live Jazz Bar at Uplands Nation and the Jazz Corner at UKK. Coolio, Julio! Ellegatan is from Ingmar’s new album Karlavagnen, which came out yesterday. Let’s hear it!

Deep Purple/Throw My Bones

Wait, what, haven’t these guys been on a farewell tour for the past couple of years? And now new music? Well, Deep Purple ingeniously called it “The Long Goodbye Tour.” I suppose the emphasis is on long. Just released yesterday, Throw My Bones is the lead single from the band’s upcoming new studio album Whoosh! set for release on June 12. According to a statement on Deep Purple’s website, the tune “is an invitation to take a step back and see the bigger picture, a call for action and an invitation to observe the planet and the current situation on earth” – have they turned into philosophers now? The song is co-credited to the band’s current members Don Airey (keyboards), Ian Gillan (lead vocals), Roger Glover (bass), Steve Morse (guitar) and producer Bob Ezrin. While it’s not exactly Machine Head caliber, Deep Purple remain my favorite hard rock band, and I will always have a weak spot for them. Check out Steve Morse’s guitar solo on that tune – obviously, he’s a hell of a guitarist!

Durand Jones & The Indications/Young Americans

From their website: Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time. The website lists two albums: The eponymous debut from 2016 and the sophomore American Love Call, which came out last year. Their cover of Young Americans was released as a single on January 28. Written by David Bowie, Young Americans is the title track of Bowie’s ninth studio album from March 1975. While it’s not very different from the original, I think Durand Jones and the band give it a nice soul vibe.

Ready for one more? How ’bout some more contemporary jazz? Ever heard of Pat Metheny? Yep, the American jazz guitarist and composer who has been around like forever – to be more precise since 1974, according to Wikipedia. His debut album Bright Size Life dates back to early 1976. This tune, Love May Take a While, is off Metheny’s latest album From This Place. Released on February 21, it appears to be his 10th studio record. I don’t wanna pretend that all of a sudden, I’ve turned into a jazz connoisseur. The truth is I rarely listen to jazz and know next to nothing about it. But it ain’t rocket science, baby: I simply dig the smooth and relaxing sound of this tune. The tone of Metheny’s guitar is just beautiful. Hope you enjoy it as much as I do!

Source: Wikipedia; Clarke Thorndycraft Facebook page; Naxos Direct; Deep Purple website; Durand Jones & The Indications website; YouTube

James Taylor Releases American Songbook Cover Album

I suppose if you’re a cynic you could point out that when an artist releases a cover album of American standards or Christmas tunes for that matter, it’s a sign they’ve run out of ideas and may consider retirement, or they simply are trying make a quick buck. While in some cases this notion may not be unfounded, I feel differently when it comes to James Taylor. To me, his just-released new album American Standard is a legitimate undertaking by an artist who wants to highlight songs that have played an important role in his musical journey.

I’ve admired James Taylor for many years for his warm and soothing vocals and his impressive acoustic guitar chops. I wish I could play like that! His cover of Carole King’s You’ve Got a Friend is one of my all-time favorite tunes. And, yes, Taylor has also written beautiful songs like Carolina in My Mind, Sweet Baby James and of course the amazing Fire and Rain. I realize this may make me a bit biased when it comes to his latest release.

So why come out with a cover album of American standards? Do we really need another version of Moon River and God Bless the Child? Here’s what the album’s liner notes say, as reported by American Songwriter: “These are songs I have always known. Most of them were part of my family’s record collection, the first music I heard as a kid growing up in North Carolina…Before I started writing my own stuff, I learned to play these tunes, working out chord changes for my favorite melodies. And those guitar arrangements became the basis for this album.”

James Taylor in this studio
James Taylor in his barn studio in Western Mass.

“My collaborator, John Pizzarelli, is a living encyclopedia of the best popular music that the West has ever produced. Like his father, Bucky, he is a master guitarist and a casual, matter-of-fact genius. I asked John to come out to Western Massachusetts, where I live and do my recording in a big barn in the middle of the forest, to help me put down some tracks. I’d show him what changes I had found for a handful of songs and we’d work up the arrangements.”

Call me naive, but to me Taylor doesn’t sound like some artist who is just out there to cash in on his big name late in his recording career. I won’t pretend I’m an expert on the American songbook. I’m not. It’s simply not the kind of music I typically listen to. I also doubt this will change all for a sudden. What I do know is that I love how Taylor and Pizzarelli arranged these tunes. I think it’s time to let the music do some of the talking or writing.

Teach Me Tonight was written in 1953 by pianist Gene De Paul with lyrics by Sammy Cahn. This jazz standard has been covered by Dinah Washington, Count Basie, Sammy Davis Jr., Aretha Franklin, Al Jarreau and Stevie Wonder, among other countless artists. I dig the beautiful arrangement, including the trumpet solo and percussion played by Walt Fowler and Luis Conte, respectively. Here’s the official video.

Another beautiful tune is Almost Like Being in Love. The music and the lyrics were written by Frederick Loewe and Alan Jay Lerner, respectively, for the score of their 1947 musical Brigadoon. The song was first performed on Broadway by David Brooks. Gene Kelly sang the 1954 film version. The tune was also recorded by Nat King Cole, Frank Sinatra and Shirley Bassey. As a fan of old James Bond movies, she entered my radar screen with Goldfinger, perhaps the best 007 tune.

My Heart Stood Still was composed by Richard Rodgers in 1927, with lyrics by Lorenz Hart. It was written for a British musical revue by Charles Cochran, which opened in London in May 1927. It was also featured later that same year in the American Broadway musical A Connecticut Yankee. Like with most other tracks on the album, it’s a tune that was recorded by many artists over the decades, including Chet Baker, Ella Fitzgerald, Frank Sinatra and Bing Crosby. The lovely violin part is played by Stuart Duncan.

The last tune I’d like to call out is It’s Only a Paper Moon, which I previously only knew from the 1973 motion picture Paper Moon. But the song’s origin dates all the way back to 1932, when it was titled If You Believed in Me and first performed by Claire Carleton during a Broadway play called The Great Magoo. The music was composed by Harold Arlen, with lyrics by Yip Harburg and Billy Rose. According to Wikipedia, the song’s lasting fame stems from its revival by popular artists during the last years of World War II, with hit recordings being made by Nat King ColeElla Fitzgerald, and Benny Goodman.

American Standard, which was released yesterday (Feb 28), is Taylor’s 20th studio album. It was co-produced by Dave O’Donnell, Taylor and Pizzarelli. O’Donnell has worked in different capacities (engineering, mixing, producing) with an impressive array of artists, who in addition to Taylor include Sheryl Crow, Keith Richards, Eric Clapton and John Mayer, among others. Pizzarelli, a jazz guitarist and vocalist, isn’t exactly obscure either. According to Wikipedia, apart from recording more than 20 solo albums, he has appeared on more than 40 albums, including Paul McCartney, Rickie Lee Jones and Natalie Cole.

Taylor will be touring Canada and the U.S., starting in mid-April and featuring special guests. In Canada, it is going to be Bonnie Raitt, while for most U.S. gigs Jackson Browne will be his special guest. This surely does sound tempting to me. If Raitt would be the special guest in the U.S., I’d probably get a ticket right away. Don’t get me wrong, I dig Jackson Browne as well but saw him relatively recently in May 2018. My previous and so far only Bonnie Raitt show, on the other hand, dates back to August 2016. And, yes, I admit it, I do have a weak spot for her – she’s just an amazing lady!

Sources: Wikipedia; American Songwriter; James Taylor website; Dave O’Donnell website; YouTube

Rock The Farm Once Again Proves To Be Gift That Keeps On Giving

Sixth annual music tribute festival on Jersey show delivers day of great music for a great cause

While late September in New Jersey means fall is upon us and soon folks will start bitching about rain, wind and cold weather, I’ve been looking forward to this last weekend of the month all year. The reason is Rock the Farm, the annual music tribute festival and fundraiser in Seaside Heights, N.J., organized by the CFC Loud n Clear Foundation. As previously noted on these pages, this charitable organization provides support to families struggling with addiction at a particularly critical time when their loved ones come out of drug rehab and need to rebuild their lives while staying sober.

It’s a good thing if you like me have never been hooked on drugs, but let’s not kid ourselves: Even if we think we’re immune, there’s no doubt in my mind addiction can happen to anybody. And it can probably go faster than we want to admit. Therefore, I strongly feel we shouldn’t look down on folks who are in the throes of drugs. Instead, we should support them as best as we can. It’s safe to assume nobody wants to be a drug addict, if they could freely choose. And, yes, impacted people probably made some choices they wish they could take back. But we shouldn’t judge. Behind each case, there is a human being with a unique story.

In fact, just like last year, the event featured individuals who had the courage to come on stage and briefly share their stories with the audience. It’s safe to assume it takes guts to this. It’s also extremely powerful. Among these folks was an 18-year-old woman who said she became a drug addict at age 13. Thirteen years – that’s a good deal younger than my 17-year-old. Her life fell totally apart and she lost everything. This is truly heart-breaking stuff. Luckily, thanks to support from the CFC Foundation, this young woman was able to turn things around and now feels she’s stronger than ever. While it was obviously a happy outcome, I have to admit these stories get to me. I also love the message of hope and empowerment. With that being said, let’s get to some music. There was plenty, and once again, most of it was outstanding.

Rock the Farm 2019 Line-up

For readers who aren’t familiar with Rock the Farm, the concept of the 10-hour open air event is this: Imagine a music festival many folks wish would happen but can’t, since artists have passed away or no longer perform. As a music lover, I think it’s a fun idea. Yesterday’s line-up brought a nice mix of tributes playing different music styles, including folk, rock, pop and even hair metal. Following are some clips.

I’d like to kick things off with One Fine Tapestry, a tribute to Carole King, one of my favorite singer-songwriters. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo performing a variety of different shows. Yesterday, they were backed by a full band and in addition to King also played some tunes by Joni Mitchell and Carly Simon. For more information and their schedule of shows mostly in Jersey, you can check out their website. Here’s Sweet Seasons, a tune off King’s third solo album Music from December 1971, co-written by her and Toni Stern.

Coo Coo Cachoo, another Jersey-based act, are Thomas Johnston and Ed Jankiewicz, who have been singing Simon & Garfunkel songs since they met in high school some 47 years ago. This means they started about two years after Simon & Garfunkel had released their fifth and last studio album Bridge Over Troubled Water. I find that pretty amazing. In addition to performing as a duo, they each do solo projects. Johnston recently completed his third album of original singer-songwriter material. Jankiewicz has recorded one original album and plays in an eclectic array of music groups , from symphony to blue grass to jazz. More information is on the duo’s Facebook page. Here is their rendition of America. Written by Paul Simon, the song appeared on Simon & Garfunkel’s fourth studio record Bookends released in April 1968. I’ve always liked this tune!

Following are a few tribute acts I covered before, but they’re just too good to skip. First up: Decade, a great act revolving around Neil Young tribute artist John Hathaway, who is also from New Jersey and performs with different line-ups of great backing musicians. Frequent members include guitarist Gordon Bunker Strout, pedal steel player Joseph Napolitano, bassist John Dickson and keyboarder Steve Cunniff. Sometimes, Hathaway’s band also features a female backing vocalist as was the case yesterday with Pam McCoy. For more information and upcoming gigs, visit Decade’s Facebook page. Here’s Cinnamon Girl, a tune from Everybody Knows This Is Nowhere, which Young released as his second solo album in May 1969.

The Glimmer Twins, a Rolling Stones tribute from Philly, are another excellent band I previously featured. Adopting the nickname of the songwriting partnership of Mick Jagger and Keith Richards, this bandis led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound fantastic:  Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte  (keyboards), Valorie Steel (vocals) and Bobby Michaels (saxophone, flute, organ). For more information, check out their website. Here’s Can You Hear Me Knocking, one of my favorite tunes from the Sticky Fingers album that appeared in April 1971. Check out the nice sax work by Michaels!

Yet another outstanding band I’ve covered before is TUSK, a tribute to Fleetwood Mac, which mirrors the Rumours lineup. Their members include Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). While TUSK are from Jersey, they tour nationally. Check the band’s website for more information including their schedule. If you are into Rumours and other albums the band recorded with that line-up, this is definitely a tribute act I can recommend. Here’s the McVie tune You Make Loving Fun from Rumours, the Mac’s 11th studio album released in February 1977.

The last band I’d like to call out is Simply Queen, a tribute to – yes, you guessed it – Queen. This Canadian band, which has been around for 15 years, features Rick Rock (as Freddie Mercury), Bob Wegner (as Brian May), Phil Charrette (as Roger Taylor) and Mitch Taylor (as John Deacon). Despite some technical issues they seemed to have, especially in the beginning, Simply Queen put on a great show. It was quite obvious that Rock and Wegner have closely studied Mercury and May, respectively, beyond the music to mimic their onstage personas. So similar to the Glimmer Twins and also TUSK, Simply Queen is an audio-visual experience. While they mostly perform in Canada, they venture out to the U.S. fairly frequently. For more information and their schedule, visit their website. Here’s a nice rocker called It’s Late. Written by Brian May, the song is from News of the World, Queen’s sixth studio album released in October 1977. 

With some not so great things that have happened on the family front over the past two weeks, Rock the Farm could not have come at a better time for me. Oftentimes, I feel music is the best therapy and distraction when the shit hits the fan. I was a happy camper. Can you tell from the selfie?

Selfie

This was the 6th annual Rock the Farm festival and my third time there in a row. I have every intention to return next next year. More information about this great event is available here.

Sources: Wikipedia, Rock the Farm website, One Fine Tapestry website, Coo Coo Cachoo Facebook page, Decade Facebook page, Glimmer Twins website, TUSK website, Simply Queen website, YouTube

Sheryl Crow Goes Out With Big Bang On Final Full-Length Studio Album

Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list

“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)

So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow told NPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.

Sheryl Crow

“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”

Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.

Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”

Since I already previously covered Live Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”

Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.

Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.

The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.

I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.

Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.

Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube