The Sunday Six

After skipping last Sunday due to a short hiatus, I’m thrilled to be back with The Sunday Six and hope you’ll join me for another trip with the music time machine. As always, our journey will include six stops in different decades. Let’s do it!

Weather Report/Cannon Ball

Easing us into today’s trip are jazz fusion dynamos Weather Report, a band I’ve really come to dig. Austrian keyboarder Joe Zawinul, who is regarded as one of the creators of jazz fusion, co-founded Weather Report in 1970 with saxophone maestro Wayne Shorter. Cannon Ball, a Zawinul composition, appeared on the group’s sixth studio album Black Market, released in March 1976. This was their first album to feature the amazing Jaco Pastorius who played electric fretless bass on two tracks, one of which was Cannon Ball. Other Weather Report members on this particular tune included Narada Michael Walden (drums) and Alex Acuña (congas, percussion). The group’s most successful album Heavy Weather was still one year away. They would record seven more records thereafter before disbanding in 1986.

Buddy Holly/Peggy Sue

Our next stop takes us back to February 1958 and one of my all-time favorite early rock & roll tunes: Peggy Sue by Buddy Holly. During his short seven-year career, this bespectacled young man from Lubbock, Tx. wrote and performed amazing songs, creating a legacy that lasts to this day. Holly also was one of the early adopters of the Fender Stratocaster. His 1957 appearance on the Ed Sullivan Show with his band The Crickets helped popularize the legendary electric guitar. Peggy Sue, co-written by Crickets drummer Jerry Allison and producer Norman Petty, appeared on what technically was Holly’s first eponymous solo album. For contractual reasons, his previous record, The “Chirping” Crickets, was credited to The Crickets, though the same band played on both releases. Holly may not have had Elvis Presley looks, but this man was a true rock & roll star!

Katrina and the Waves/Cry to Me

Time to slow things down by traveling to March 1985 and a great tune by Katrina and the Waves. Initially called The Waves, the British-American band is best known for their 1985 hit Walking On Sunshine, which interestingly went unnoticed when they first recorded it for their December 1983 debut. But things changed dramatically with a re-recorded version that became the lead single of the band’s eponymous third studio album from March 1985. That record also included Cry to Me. Like Walking On Sunshine, it was penned by Kimberley Rew, the group’s lead guitarist and backing vocalist. Katrina and the Waves would make, well, waves one more time in May 1997 when they won the Eurovision Song Contest with Love Shine a Light. But they were not able to follow up that success with another hit. Lead vocalist and rhythm guitarist Katrina Leskanich left in 1998 after several disagreements with her bandmates, leading to the group’s dissolution in 1999.

Umbilicus/Hello Future

Let’s return to the present and a furious rock & roll tune by Umbilicus – ‘who?’ you may wonder. I had the same reaction until I came across Hello Future the other day and was immediately hooked! According to this post and interview on Maximum Volume Music, Umbilicus came together in the summer of 2020. Drummer Paul Mazurkiewicz noted their love of rock and roll from the late 60’s, 70’s and early 80’s, citing Grand Funk, Bad Company and Steppenwolf among his influences, along with lesser-known bands like Sir Lord Baltimore and Lucifer’s Friend. Umbilicus also include Taylor Nordberg (guitar), Vernon Blake (bass) and Brian Stephenson (vocals). Hello Future, credited to all four members of the band, is from their debut album Path of 1000 Suns, which came out in September 2022. Damn!

The Band/The Weight

No Sunday Six can exclude the ’60s, so we shall set our time machine to July 1968 and a timeless classic by The Band: The Weight, off their debut studio album Music from Big Pink. Officially, the Canadian-American group was formed the previous year in Toronto, Canada, but its origins go back to 1957 when it was called The Hawks and backing Toronto-based rockabilly singer Ronnie Hawkins. From 1965 to 1967, the group was Bob Dylan’s touring band and also recorded various sessions with the maestro. By the time of Music from Big Pink, The Band featured Robbie Robertson (guitar, vocals), Garth Hudson (organ, piano, clavinet, saxophone), Richard Manuel (piano, organ, vocals), Rick Danko (bass, fiddle, vocals) and Levon Helm (drums, tambourine, vocals) – the line-up that would stay in place until they first broke up in 1978. The Weight, written by Robertson, also became a single in August 1968, backed by the 1967 Dylan song I Shall Be Released.

Delbert McClinton/Everytime I Roll the Dice

And once again another music trip is coming to an end. For our final stop, we go to April 1992 and Never Been Rocked Enough, a studio album by Delbert McClinton. Shout-out to Cincinnati Babyhead who digs and effectively introduced me to the roots artist from Texas. BTW, Clinton hails from the same town as Buddy Holly. Blending country, blues, soul and rock & roll, McClinton has been active since 1957. Long before recording as a singer, he became an accomplished harmonica player. McClinton was prominently featured on Hey! Baby, a 1962 no. 1 hit for fellow Texan Bruce Channel. It took him until the mid-’70s to establish himself as a solo artist. In 1980, his rendition of Jerry Lynn Williams’ Giving It Up for Your Love reached no. 8 on the Billboard Hot 100, his only top 10 hit. Here’s Everytime I Roll the Dice, the excellent opener of the above-mentioned 1992 album, co-written by Max Barnes and Troy Seals.

Last but not least, here’s a Spotify playlist of the above tracks. Hope there’s something you like!

Sources: Wikipedia; Maximum Volume Music; YouTube; Spotify

Best of What’s New

Another Saturday calls for another Best of What’s New. This latest installment of my weekly music revue is coming together at the last minute, and it’s got six instead of the usual four picks, so let’s get to it right away. Unless noted otherwise, all featured tunes were released yesterday (March 18).

The Dream Syndicate/Where I’ll Stand

Starting us off today are The Dream Syndicate, an alternative rock band from Los Angeles, founded in 1981. Their Apple Music profile calls them one of the most celebrated bands to come out of the Los Angeles “Paisley Underground” scene of the ’80s, adding, A hit on the college rock circuit, they never made it through to the mainstream. Until the group’s break-up in 1989, they released four studio albums. Since the band’s reunion in 2012, four additional albums have appeared, the first of which only came out in 2017. The Dream Syndicate’s current line-up includes original member Steve Wynn (lead vocals, guitar), along with Jason Victor (guitar, backing vocals), Mark Walton (bass) and Dennis Duck (drums). Where I’ll Stand, released on March 8 and written by Wynn, is the lead single of the band’s upcoming studio album Ultraviolet Battle Hymns and True Confessions, scheduled for June 10.

Midlake/Bethel Woods

Midlake are a folk rock group from Denton, Texas, who have been around since 1999. According to their Apple Music profile, the band was formed by a group of musicians who had attended the North Texas School of Music. They were signed to Simon Raymonde’s Bella Union label in the U.K., leading to European concerts and their first full-length album, 2004’s Bamnan and Slivercork. For their next LP, Midlake changed gears and moved away from the psychedelic leanings of their debut toward a more ’70s-influenced sound. Released in 2006, The Trials of Van Occupanther was a critical success, resulting in bigger sales and an enhanced reputation for subsequent recordings like 2010’s The Courage of Others. A key lineup change followed in 2012 when frontman Tim Smith departed and long-time guitarist Eric Pulido stepped into his place on lead vocals. 2013’s Antiphon was their first record without Smith. Fast-forward to Midlake’s new album For the Sake of Bethel Woods, which appeared after an extended hiatus and is their first since the aforementioned Antiphon. Here’s Bethel Woods, credited to all of the band’s current members who in addition to Pulido include Jesse Chandler, Joey McClellan, McKenzie Smith and Eric Nichelson.

Oso Oso/Father Tracy

Oso Oso are a rock band from Long Beach, N.Y. around singer-songwriter and guitarist Jade Lilitri (Jonathan Dimitri), the group’s only permanent member. Here’s more from Apple Music: Originally Oso Oso was solely the work of Lilitri, who wrote and released an EP, 2014’s Osoosooso, and an album, 2015’s Real Stories of True People, Who Kind of Look Like Monsters…, through Soft Speak Records. Wanting to embark on more ambitious tours, Lilitri enlisted a full band to join him, including the addition of Aaron Wims on drums. Subsequently, the band took part in the recording of The Yunahon Mixtape in 2017 and sophomore full-length album Basking in the Glow in 2019, the latter of which saw release through Triple Crown Records. This brings me to Sore Thumb, Oso Oso’s fourth and latest album. Here’s Father Tracy, which like all other tunes was written or co-written by Dimitri.

Hailey Whitters/Raised

Hailey Whitters is a country artist who originally hails from Shueyville, Iowa. Here’s more from her website: On her 2020 breakthrough album The Dream, the singer-songwriter wrote about escaping her hometown of Shueyville, Iowa, to pursue stardom in Nashville. It was a fantasy record at first, full of far-off plans, hopes, and dreams. But it soon became Hailey’s reality — she signed a label deal with Big Loud/Songs & Daughters, went on tour with Luke Combs and Midland, and made her first of many appearances on the Grand Ole Opry...In the midst of that whirlwind, Hailey found herself reconnecting with her Midwestern roots. Shueyville was always in the back of her mind and the memories she made there — getting her first kiss; partying in the cornfields; gathering for Sunday supper — started to shape her writing. Over the past two years, she channeled those memories into her new album, Raised. Following is the title track.

Mavis Staples & Levon Helm/You Got to Move

I trust R&B and gospel vocalist Mavis Staples, who initially became known in the 1950s as a member of gospel, soul and R&B family group The Staple Singers, doesn’t need much of an introduction. Fellow blogger Lisa from Tao Talk featured her the other day as part of her ongoing Women Music March 2022 series. As reported by Pitchfork, on March 15, Staples announced a forthcoming live album that was recorded in 2011 with Levon Helm, former drummer and vocalist of The Band. Captured at Helm’s studio in Woodstock, N.Y., Carry Me Home is among the final recordings by Helm who passed away from throat cancer in April 2012 at the age of 71. The announcement of the album, which is slated for May 20, coincided with the release of a great single, You Got to Move. Staples, now 82, remains active and has a busy touring schedule ahead of her throughout the entire year. What an amazing lady! And check out that great clip with Helm.

Neil Young & The Restless/Cocaine Eyes

I leave you with another goodie by “an old hand.” Neil Young has announced a new box set titled Neil Young Official Release Series Discs 13, 14, 20 & 21. Continuing the chronological re-releasing of his official releases, remastered where analog tapes exist, the decade-spanning box set includes Hawks & Doves (1980), Re•ac•tor (1981), This Note’s for You (1988) and the Eldorado EP (1989),  a 5 track mini-album, previously only released on CD in Australia and Japan. The EP features two tracks not available on any other album and different versions of three songs that appeared on the Freedom album. Here’s one of the two tracks, Cocaine Eyes, a classic blistering grungy Neil Young rocker.

Following is a Spotify playlist of the above tunes and a few others sans Neil Young who recently pulled his music from the platform.

Sources: Wikipedia; Apple Music; Hailey Whitters website; Pitchfork, Mavis Staples website; Neil Young Archives website; YouTube; Spotify

My Playlist: The Black Crowes

The recent appearance of the previously unreleased Charming Mess by The Black Crowes, which I included in my latest Best of What’s New installment, reminded me of this great band. While I wouldn’t call myself an outright fan, I’ve always enjoyed their songs, especially their ’70s style blues rockers. This triggered the idea to put together a career-spanning post about their music.

Chris Robinson (lead vocals, guitar) and his younger brother Rich Robinson (lead guitar) formed the band in Marietta, Ga. in 1984 while they were still in high school. Initially called Mr. Crowe’s Garden after the children’s book Johnny Crowe’s Garden by Leonard Leslie Brookes, they were influenced by R.E.M., classic southern rock and ’60s psychedelic pop before embracing ’70s style blues rock.

In 1987, the band recorded their first demos at A&M Records. Two years later, they met A&R executive George Drakoulias, who signed them at Def American Recordings (now American Recordings), the label founded by Rick Rubin. Apparently, Drakoulias had an important influence, turning the band’s attention to The Faces and Humble Pie, and encouraging them to cover Rolling Stones tunes.

Rich Robinson (left) and Chris Robinson

By the time the band released their debut album Shake Your Money Maker in February 1990, they had changed their name to The Black Crowes. In addition to the Robinson brothers, the group included Jeff Cease (guitar), Johnny Colt (bass) and Steve Gorman (drums). Their line-up would frequently change over the years, with the Robinson brothers as the only constant members.

After releasing five more studio and two live albums between 1992 and 2001, The Black Crowes went on hiatus, and the Robinson brothers recorded solo albums. In early 2005, the brothers reassembled the group with a new line-up. Two studio and several live and compilation albums followed, together with more line-up changes before The Black Crowes came to an end for the second time in January 2015. Apparently, it was due to differences between the brothers regarding ownership of the band – in other words, a typical rock & roll story!

The current chapter of The Black Crowes started in late 2019 when the Robinson brothers during an interview with Howard Stern revealed they had overcome their disagreements and were planning to revive the band for a 2020 tour to celebrate the 30th anniversary of the Shake Your Money Maker album. The newly reformed group premiered on November 11, 2019 at The Bowery Ball Room New York City with a backing band comprised of Isiah Mitchell (guitar), Tim Lefebvre (bass), Joel Robinow (keyboards) and Raj Ojha (drums). The tour was stopped by COVID-19 and is now set to resume in Florida in late June.

Time for some music. Let’s kick it off with the excellent Jealous Again from the Shake Your Money Maker debut. Like all originals, the tune was co-written by the Robinson brothers.

Here’s another track from the same album I really dig: She Talks to Angels.

In May 1992, The Black Crowes released their sophomore record The Southern Harmony and Musical Companion. It topped the Billboard 200, fueled by four singles that each hit no. 1 on the Mainstream Rock chart. Here’s one of them: Remedy.

A Conspiracy, off the band’s third album Amorica from November 1994, features some cool wah-wah guitar action and is reminiscent of Led Zeppelin, especially in the beginning.

Three Snakes and One Charm, the fourth album by The Black Crowes, appeared in July 1996. Here’s Blackberry.

On By Your Side from January 1999, The Black Crowes returned to a more straightforward approach from their debut album. According to Wikipedia, it drew praise from many reviewers while some critics dismissed it as a knock off of Rod Stewart and The Rolling Stones – well, I suppose you can’t make everybody happy. Here’s the dynamic opener Go Faster.

May 2001 saw Lions, the band’s sixth studio release and the last prior to their hiatus. Apple Music calls the Don Was-produced work “the most unusual album in The Black Crowes’ catalog.” Soul Singing, which became the album’s second single, has a soul and gospel touch.

Warpaint, released in March 2008, was the first album by The Black Crowes after they had reemerged from hiatus and their seventh studio effort overall. It became their first top 10 album on the Billboard 200 since their 1992 sophomore release, peaking at no. 5. Here’s Wounded Bird, which also appeared separately as the second single in June of the same year.

This brings me to Before the Frost…Until the Freeze, the eighth and to date most recent studio album by The Black Crowes. It was recorded at The Barn, Levon Helm’s studio in Woodstock, N.Y., before a live audience. Here’s the tasty opener Good Morning Captain.

I’d like to wrap things up with a track from Croweology, a compilation of new acoustic-based recordings of songs from The Black Crowes’ first six studio albums. Hotel Illness initially appeared on their 1992 sophomore release The Southern Harmony and Musical Companion.

Sources: Wikipedia; Apple Music; YouTube

What I’ve Been Listening to: Mick Hayes/My Claim to Fame

If you’re a frequent visitor of the blog, the name Mick Hayes may ring a bill. I included him and a tune from his fantastic new album My Claim to Fame in the last installment of my Best of What’s New feature. On his website, Hayes gave the record the tagline “Southern Soul Music with a California Finish.” I’m not sure I understand the California finish, but folks who are aware of my music taste know that I’m all ears when it comes to southern soul.

One of the truly remarkable things about this album is that Hayes recorded it at FAME Studio in Muscle Shoals, Ala. on vintage equipment, together with musicians who backed artists like Ray Charles, Etta James and B.B. King during their recording sessions at the legendary studio. I’m mean, think about this for a moment, how friggin’ cool is that!

As I complained in my previous Best of What’s New post, Hayes doesn’t do a great job to put out some information on his background, such as a bio. Why still beats me! But at least his website has links to some reviews, and the folks who wrote them apparently got some insights from him.

Additionally, when you google Hayes, his birthday pops up as June 17, 1978, which means he’s 42 years old. Apparently, he was born in Buffalo, N.Y. A review by American Blues Scene notes Hayes became interested in the Muscle Shoals scene while browsing record stores as a young man and seeing albums by the likes of Ray Charles, Aretha Franklin, Duane Allman and Wilson Pickett, who were recorded at FAME. So using different sources, one can kind of get at least a blurry picture of him.

The American Blues Scene review also reveals some of the above studio musicians and artists they backed: Bassist Bob Wray (Ray Charles, The Marshall Tucker Band), electric piano and organ player Clayton Ivey (Etta James, B.B. King), trumpet and flugelhorn player Vinnie Ciesielski (Gladys Knight, Lyle Lovett), saxophonist and flute player Brad Guin (Jason Isbell) and rhythm guitarist Will McFarlane (Bonnie Raitt, Levon Helm). I mean, damn, let’s face it, Hayes isn’t exactly Stevie Wonder, so having gotten all these musicians is really something!

And the list continues. Also on the record are backing vocalists Marie Lewey and Cindy Walker, aka The Muscle Shoals Singers. Moreover, Hayes secured some impressive “outsiders”: Trombone player Billy Bargetzi (The Temptations, The Four Tops, The O’Jays, Bobby Vinton) and trumpet player Ken Watters (Natalie Cole, W.C. Handy Jazz All-Stars). Hayes provides lead guitar and vocals. And, as I stated in my last Best of What’s New, he co-produced My Claim to Fame with John Gifford III, who assisted with engineering Gregg Allman’s final studio album Southern Blood. Okay, on to the real fun part!

Here’s opener Sweet to Me. Like all tunes on the album, it was written by Hayes. He’s definitely got soul. I also think his voice isn’t bad.

Parking Lot Romance is another great tune. It openly pays homage to Ray Charles, undoubtedly one of Hayes’ musical heroes.

Want a bit of funky soul with a message? Ask and you shall receive! Hey, hey, hey, hey, here’s Political Funk.

Next up: No Second Chances. Frankly, I could have picked any other tune. They all sound great, in my opinion!

The last song I’d like to highlight is the album’s closer Saddest Picture of Me.

You might say, ‘Hayes isn’t exactly reinventing the wheel on this record.’ That’s certainly true, but it doesn’t bother me at all. In fact, I feel these recordings are beautifully executed, making My Claim to Fame a joyful listening experience. I’m curious to see what Hayes is going to come up with next. I feel with this album he set a high bar for himself.

Sources: Mick Hayes website; American Blues Scene; YouTube

Neil Young Releases Second Upfront Single From “The One That Got Away”

Evidently trying to build some buzz ahead of Homegrown, Neil Young on Friday released Vacancy, the second single from his long-awaited album that originally was supposed to come out in 1975. It’s a classic Young mid-tempo rocker he wrote and, as reported by Ultimate Classic Rock, one of seven tracks that were never issued on any other of his subsequent albums.

Homegrown was recorded at Young’s Broken Arrow Ranch Studio in 1974 and early 1975, and features Stan Szelest (organ), Ben Keith (lap steel), Tim Drummond (bass) and Karl T. Himmel (drums). Additionally, there are guest appearances by Levon Helm and Emmylou Harris. Originally, this album was scheduled to come out after Harvest and prior to Comes a Time.

I apologize, wrote Young on his website back in February. This album ‘Homegrown’ should have been there for you a couple of years after ‘Harvest.’ It’s the sad side of a love affair. The damage done. The heartache. I just couldn’t listen to it. I wanted to move on. So I kept it to myself, hidden away in the vault, on the shelf, in the back of my mind…but I should have shared it. The love affair Young alluded to was his relationship with actress Carrie Snodgress from late 1970 until 1975.

The album is actually beautiful, Young went on. That’s why I made it in the first place. Sometimes life hurts. You know what I mean. Anyway, it’s coming your way in 2020, the first release from our archive in the new decade.

Five of Homegrown’s 12 tracks were previously released on other Young albums: Love is a Rose (Decade, 1977), the title track (American Stars ‘n Bars, 1977), White Line (Ragged Glory, 1990), Little Wing (Hawks & Doves, 1980) and Star of Bethlehem (American Stars ‘n Bars).

Homegrown was recorded in analog and mastered to vinyl from the original master tapes, restored with love by John Hanlon, Young further explained. This album, in vinyl, displays the beauty, feeling and depth of music recorded in the analog domain, before digital. It’s the perfect example of why I can’t forget how good music used to sound.

This is the one that got away…Well, while 45 years certainly is a long time, I have no doubt many Neil Young fans will be excited and think it was worth the wait! Homegrown is scheduled for June 19.

Sources: Wikipedia; Ultimate Classic Rock; Neil Young website; YouTube

Neil Young to Release Long-Lost Album “Homegrown”

Next month will see the release of new albums by two of the most influential singer-songwriters of our time: Bob Dylan and Neil Young. Both are scheduled for June 19, which I assume is a coincidence. I’ve previously written about Dylan’s new work Rough and Rowdy Ways, most recently here. Young recently announced the release date for Homegrown, an album that originally was supposed to come out in 1975. But the end of Young’s 5-year relationship with actress Carrie Snodgress caused him too much pain, so the songs ended up in the vault.

As reported by Relix, Homegrown includes 12 tracks and features guests like The Band’s Levon Helm (drums) and Robbie Robertson (guitar), as well as Emmylou Harris (backing vocals). Other musicians include Ben Keith (steel and slide guitar), Tim Drummond (bass) and Stan Szelest (piano).

The title song and tunes like Love Is a Rose, White Line, Little Wing and Star of Bethlehem already found their way on other Young records over the years. The remaining tracks will be released for the very first time. Here’s one of them called Try, a country tune you could easily picture on the Harvest album. It sounds like Harris is singing backing vocals on this song.

Relix also published a statement by Young: I apologize. This album Homegrown should have been there for you a couple of years after Harvest. It’s the sad side of a love affair. The damage done. The heartache. I just couldn’t listen to it. I wanted to move on. So I kept it to myself, hidden away in the vault, on the shelf, in the back of my mind….but I should have shared it. It’s actually beautiful. That’s why I made it in the first place. Sometimes life hurts. You know what I mean. This is the one that got away. Recorded in analog in 1974 and early 1975 from the original master tapes and restored with love and care by John Hanlon. Levon Helm is drumming on some tracks, Karl T Himmel on others, Emmylou Harris singing on one. Homegrown contains a narration, several acoustic solo songs never even published or heard until this release and some great songs played with a great band of my friends, including Ben Keith – steel and slide – Tim Drummond – bass and Stan Szelest – piano.  Anyway, it’s coming your way in 2020, the first release from our archive in the new decade. Come with us into 2020 as we bring the past.

Pitchfork revealed the album’s tracklist:

01 Separate Ways
02 Try
03 Mexico
04 Love Is a Rose
05 Homegrown
06 Florida
07 Kansas
08 We Don’t Smoke It No More
09 White Line
10 Vacancy
11 Little Wing
12 Star of Bethlehem

Looking forward to this one!

Sources: Relix; Pitchfork; YouTube

Time For Some Additional German Music

This post was inspired by a recent short trip back to Germany, the country in which I was born and lived for the first 26 years of my life. While I didn’t have time to look for new CDs by German music artists, I ended up listening to a playlist of German rock and pop songs while driving on the Autobahn from Frankfurt to the beautiful Rhine city of Bad Honnef near Bonn.

Once again, I was reminded there is some great German music out there, except it’s barely known beyond the country’s borders. To be clear, what I’m talking about is German language music, not German bands singing in English like Scorpions or electronic pioneers Kraftwerk. While I already previously posted about German music artists here and here, I thought this would be a good time for an encore. Since I left Germany more than 25 years ago, I’m not aware of any younger acts, so I’m revisiting artists I’ve known and liked for many years.

I’d like to kick things off with Wolf Maahn, a singer-songwriter, actor and producer. Born on March 25, 1955 in Berlin, Maahn got his initial start in 1976 as a founding member of the Food Band, which mixed soul, jazz, pop and rock and sang in English. His German language music debut was the album Deserteure from 1982. In 1985, he gained broad popularity as the first German act performing during Rockpalast Nacht, a recurring live six-hour concert event broadcast throughout Europe. To date, more than 20 studio, live and compilation Maahn albums have appeared. Slow-Mo In New York is his recently released latest single from an upcoming new studio album titled Break Out Of Babylon. ‘Wait a moment,’ you might think, didn’t I just note this post is about German language music? Yep, the lyrics are in German – for the most part. 🙂

Another longtime German music artist is Marius Müller-Westernhagen, also simply known as Westernhagen. The rock musician, who was born on December 6, 1948 in Düsseldorf, started his career as an actor at the age of 14. While he became interested in music during the second half of the ’60s, success didn’t come until the release of his fourth studio album Mit Pfefferminz Bin Ich Dein Prinz in 1978. Today, with 19 studio albums and various live and compilation records, Westernhagen is one of the most successful German music artists. Here’s a clip of Mit 18 from his upcoming release titled Das Pfefferminz-Experiment (Woodstock Recordings Vol. 1), scheduled for November 8. Based on what I’ve seen on the web, this appears to be a remake of the above album with new stripped down versions of the tracks. The album was recorded at Dreamland Studio in Woodstock with American musicians. This included multi-instrumentalist Larry Campbell, who has worked with the likes of Bob Dylan, Levon Helm, Sheryl Crow and Paul Simon. I have to admit the orginal Mit 18 is one of my favorite Westernhagen tunes, but after having listened to the remake a few times, I find it intriguing.

Udo Lindenberg, born on May 17, 1946 in Gronau, is a rock musician, writer and painter. He entered the music scene as a 15-year-old drummer playing in bars in Düsseldorf. In 1968, Lindenberg went to Hamburg and joined the City Preachers, Germany’s first folk-rock band. In 1969, he left and co-founded the jazz-rock formation Free Orbit. They released an album in 1970, Lindenberg’s first studio recording. Only one year later, his enponymous solo album appeared. Commerical breakthrough came with the third studio album Alles Klar Auf Der Andrea Doria. While Lindenberg has consistently recorded throughout the decades, success began to vane in the mid ’80s. Since 2008 and his 35th studio album Stark Wie Zwei, Lindenberg has experienced a late career surge. Today, the 73-year-old continues to go strong. His most recent album MTV Unplugged 2: Live vom Atlantik appeared last year. Here is Du Knallst In Mein Leben, which first appeared on Lindenberg’s 1983 studio album Odyssee. In this version, he shares vocals with German indie pop artist Deine Cousine.

Herbert Grönemeyer is one of the most versatile German artists. The musician, producer, vocalist, composer, songwriter and actor was born on April 12, 1956 in Göttingen. After his acting role in the acclaimed 1981 motion picture Das Boot, which also became an international success, Grönemeyer increasingly focused on music. His big national breakthrough as a music artist came in 1994 with his fifth studio record Bochum. To date, Grönemeyer has released 15 studio albums, as well as various compilations and live records. With more than 18 million units, he has sold more records than any other music artist in Germany since 1975, according to Wikipedia. While Grönemeyer has written some rock-oriented songs, for the most part, I would characterize his music as straight pop. Here is the ballad Warum from his most recent album Tumult, which came out in November 2018.

If I could only select one German rock band, it would be BAP, a group around singer-songwriter Wolfgang Niedecken, which nowadays performs as Niedecken’s BAP. The band has been around with different line-ups since 1976, and I’ve followed them since the early 1980s. They perform their songs in the dialect spoken in the region of Cologne, the home town of Niedecken who remains the group’s only original member. Bob Dylan and Bruce Springsteen are among his key influences. In fact, Niedecken is also friends with the Boss and has performed with him on the same stage. Niedecken’s BAP’s most recent release is a live album, Live & Deutlich, which was released in November 2018. Here’s Nix Wie Bessher, a track that first appeared on BAP’s excellent 10th studio album Amerika from August 1996.

Sources: Wikipedia; Wolf Maahn website; Westernhagen website; Udo Lindenberg website; Herbert Grönemeyer website; BAP website; YouTube

On This Day In Rock & Roll History: August 28

1964: The Beatles performed the first of two gigs at Forest Hills Tennis Stadium in Queens, New York during the U.S. leg of their world tour that year. They played their standard 12-song set of original tunes largely drawing from the A Hard Day’s Night album, as well as rock & roll covers. The tunes included Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. After the show, The Fab Four met Bob Dylan who visited them in their suite at the Delmonico Hotel in New York City. Beatles biographer Jonathan Gould noted the musical and cultural significance of the meeting, saying within six months, “Lennon would be making records on which he openly imitated Dylan’s nasal drone, brittle strum, and introspective vocal persona”; and six months after that, Dylan began performing with a backing band and electric instrumentation, and “dressed in the height of Mod fashion.” While the fact that great music artists influence each other isn’t exactly surprising, based on The Beatles Bible’s account of that night, it seems to me John, Paul, George and Ringo primarily got stoned with Dylan who brought along some grass to smoke. Not really sure how much their condition allowed them to have meaningful conversations about music. Here’s some footage from the Forest Hills show, a great illustration of Beatlemania, which makes me wonder why The Beatles didn’t stop touring earlier.

1965: Exactly one year after The Beatles, Bob Dylan took the stage at Forest Hills Tennis Stadium, marking the first night of a 40-date North American tour. Following a solo section, Dylan played an electric set. This all happened only about a month after he had rattled the “folkies” at the Newport Folk Festival. On that night in Forest Hills, Dylan’s electric backing band featured guitarist Robbie Robertson and drummer Levon Helm, who were then associated with a band called The Hawks, a predecessor to The Band. Harvey Brooks (bass) and Al Kooper (organ) rounded out the line-up. After the first two shows of the tour, Robertson and Helm insisted that their mates from The Hawks join Dylan’s backing band: Rick Danko (bass), Garth Hudson (keyboards) and Richard Manuel (drums). Dylan agreed, and until May 1966, they would be billed as Bob Dylan and the Band. Here’s a clip of Like A Rolling Stone, which supposedly was captured from the Forest Hills gig. The sound quality is horrible, but, hey, it’s mighty Dylan and it’s historical!

1968: Simon and Garfunkel’s fourth and second-to-last studio album Bookends hit no. 1 on the UK Official Albums Chart Top 100, starting a five-week run in the top spot there. Apart from the title track, the record featured gems like America and the no. 1 U.S. single Mrs. Robinson. Written by Paul Simon, the tune had become famous the previous year when it had been included in the American motion picture The Graduate. I’ve always loved the bluesy touch of that song.

1972: Alice Cooper topped the British singles chart with School’s Out, scoring his only no. 1 hit anywhere in the world. Credited to Cooper (lead vocals) and the members of his band at the time, Michael Bruce (rhythm guitar, keyboards, backing vocals), Glen Buxton (lead guitar), Dennis Dunaway (bass, backing vocals) and Neal Smith (drums, backing vocals), the tune was the title track of the band’s fifth studio album released in June 1972. School’s Out also became Cooper’s biggest chart success in the U.S., peaking at no. 7 on the Billboard Hot 100. According to Songfacts, Cooper during a 2008 interview with Esquire said, “When we did ‘School’s Out,’ I knew we had just done the national anthem. I’ve become the Francis Scott Key of the last day of school.” It’s also safe to assume, Cooper shocked some school principals and parents.

1981: British DJ, producer and band manager Guy Stevens passed away at the age of 38 years from an overdose of prescription drugs he was taking to reduce his alcohol dependency – yikes! Among others, Stevens gave Procol Harum and Mott the Hoople their distinct names. He also co-produced The Clash’s fifth studio album London Calling from December 1979, together with Mick Jones, the band’s co-founder, lead guitarist and co-lead vocalist. Stevens also brought Chuck Berry to the U.K. for his first tour there in 1963. He also was the president of the Chuck Berry Appreciation Society. According to Wikipedia, Stevens introduced lyricist Keith Reid to keyboarder Gary Brooker and told Reid at a party that a friend had turned “a whiter shade of pale”. Supposedly, these words inspired the song with the same title that was subsequently recorded by Brooker’s newly formed band Procol Harum and became a major international hit in 1967.

Sources: Wikipedia, This Day In Music, The Beatles Bible, Songfacts, YouTube

Southern Avenue Keep On Delivering Distinct Blend of Powerful Soul, Blues And R&B On New Album

Southern Avenue perhaps couldn’t have chosen a better title for their sophomore album. Released yesterday, Keep On continues to effectively draw from different musical backgrounds of the band’s members. Southern Avenue skillfully blend Stax-style soul with blues, R&B, gospel, funk and rock. The result is powerful music combining familiar with new influences and a sound that has noticeably matured and become more distinct since the band’s eponymous debut from February 2017.

The five-piece band from Memphis, Tenn. has been on my radar screen since I listened to the first album about two years ago. I also witnessed what a great live act Southern Avenue are when I saw them in New York City last August. At the time, I briefly chatted with guitarist Ori Naftaly, who mentioned their new album. My anticipation grew further with the release of the lead single Whiskey Love in early April, followed by the appearance of the second single Savior.

For brief background, Southern Avenue were founded in 2015 when Israeli blues guitarist Ori Naftaly met Memphis vocalist Tierinii Jackson and her sister Tikyra Jackson, drummer and backing vocalist. Jeremy Powell on keyboards rounds out the band’s core line-up. Bassist Gage Markey has been a touring member for the past couple of years and also plays on the new record. Southern Avenue took their name from a street that runs from East Memphis to “Soulsville,” the original home of Stax Records. While that’s a clear nod to the band’s admiration for the legendary soul label, they are not a Stax revival act.

Southern Avenue (from left): Tierinii Jackson, Jeremy Powell, Gage Markey, Tikyra Jackson and Ori Naftaly

Keep On features some impressive guests. In this context, I first would like to mention the great horn section comprised of saxophonist Art Edmaiston and trumpet player Mark Franklin. They are an important factor for the above noted more mature sound. Edmaiston has played with artists like Levon Helm and Gregg Allman, while Franklin  has supported sessions for the likes of Aretha Franklin, B.B. King, Solomon Burke and Booker T. & the M.G.s. Another prominent guest is William Bell, who is perhaps best known for co-writing Born Under a Bad Sign with Booker T. Jones. The tune was first recorded by Albert King in 1967 and popularized by Cream the following year.

Alright, I think it’s time for some music. Here’s the album’s opener and title track. Co-written by Ori Naftaly, Tierinii Jackson and producer Johnny Black, the tune is a nice example of how Southern Avenue blend different genres. Naftaly clearly is a blues guitarist at heart and I can hear some Cream in his cool riff. The horns add a dose of soul while Jackson’s strong vocals throw in some R&B.

Since I previously wrote about the first two singles Whiskey Love and Savior, I’m skipping these great tracks here and jump to the nice funky Switchup. Like the title track, the song is co-credited to Naftaly, Jackson and Black.

Next up: Lucky. Co-written by Naftaly and Jackson, this song has a beautiful retro Stax vibe to it. But, as if to emphasize that Southern Avenue don’t want to be a retro Memphis soul band, Naftaly throws in a fairly rock-oriented guitar solo.

Another great number is Jive, a co-write by Naftaly, Black and both Jackson sisters. I dig the tune’s driving beat, which makes you want to get up and dance. The horns and the backing vocals set great accents.

On the upbeat We’ve Got The Music, William Bell joins Tierinii Jackson on vocals. Bell also shares writing credits with Naftaly and her. I like the song’s message about the power of music and how it can bridge differences among people: If you don’t look like me/If you don’t talk like me, that’s alright/We’ve got the music/If you don’t know my face/But you’re feeling the sound, it’s okay/We’ve got the music…

The last track I’d like to call out is the album’s closer We’re Gonna Make It. I think music publication No Depression nicely described the tune in their review of Keep On. “This gospel-inflected song opens with a nod to Sam Cooke’s “A Change is Gonna Come,” and builds a message of love, persistence, and encouragement layer-by-layer. The song takes up where the Staple Singers left off, carrying the torch of hope in a world of darkness and giving us a new anthem for these times.”

“Making this album was an interesting journey,” Ori explained. “Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it’s a big progression from the first album.” Added Tierinii: “The experience was completely different from making the first one. We learned a lot about each other and a lot about the band.”

One of the cool things about Keep On is that the album was recorded at Sam Phillips Recording. The studio was opened in Memphis in 1960 by no one other than legendary Sun Records founder and producer Sam Phillips, who worked with artists like Elvis Presley, Carl Perkins, Johnny Cash, Jerry Lee Lewis, Roy Orbison and B.B. King. Wow, one can only imagine what it must have felt like for this young band to record in that studio – the thought of it gives me goosebumps!

“The thing that stood out most to me about Southern Avenue is their dedication to making this record ‘the hard way’,” stated producer Johnny Black. “Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort.” In my humble opinion, I think Black is spot on.

Southern Avenue currently is where they seem to be most of the time – on the road. Their tour schedule is packed between now and mid-November and mostly includes U.S. dates. From late May to mid-June, the band is also playing a series of shows in Europe. I have no doubt Southern Avenue will keep on wowing audiences with their performances that are passionate, authentic and humble at the same time. As a communications professional, I also have to commend the band for their effective use of Facebook to build their fan base. I’m planning to catch them again on July 11 during Jams on the Sand, a free outdoor event in Asbury Park, N.J.

Sources: Wikipedia, Southern Avenue website, William Bell website, No Depression, YouTube

Southern Avenue Release Whiskey Love, Single From Upcoming Second Album

I rarely get excited when it comes to contemporary music – most of what I know to me sounds generic, artificial and without any true soul. A caveat here is that I’m primarily referring to the mainstream. One of the few exceptions of contemporary music I dig is Southern Avenue, a band from Memphis, Tenn. that blends southern soul, blues and R&B. More regular visitors of the blog may recall that I’ve covered them on previous occasions, for example here. Today, Southern Avenue released Whiskey Love, the first single from their upcoming sophomore album Keep On set to drop May 10.

According to the band’s website, Whiskey Love is one of the original tracks on the record. The tune has a cool bluesy groove, fueled by rhythm section Tikyra Jackson (drums) and guest bassist Gage Markey, along with nice guitar work from Ori Naftaly. Keyboarder Jeremy Powell and a horn section set great accents. Tierinii Jackson once again is delivering a powerful and soulful performance on lead vocals. This is going to be a great song live!

The horn section features saxophonist Art Edmaiston, who has played with artists like Levon Helm and Gregg Allman, and trumpet player Mark Franklin. In addition to Allman, Franklin has been in sessions with the likes of Aretha Franklin, B.B. King, Solomon Burke and Booker T. & the M.G.s. – holy mackerel!

“Making this album was an interesting journey,” Ori explained. “Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it’s a big progression from the first album.” Added Tierinii: “The experience was completely different from making the first one. We learned a lot about each other and a lot about the band.”

“The thing that stood out most to me about Southern Avenue is their dedication to making this record ‘the hard way’,” noted producer Johnny Black. “Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort.”

Southern Avenue (from left: Tierinii Jackson, Jeremy Powell, Gage Markey, Tikyra Jackson and Ori Naftaly

“What makes it Southern Avenue is that when we come together, the music we make together is music we could never come up with individually,” Tierinii further stated. “It’s really rewarding to have so many influences in the band, and that we can find the balance between them.”

The last comment shall belong to Ori: “I’m proud that we don’t sound like anyone else. We’ve been all over the world, from Australia to Poland to Norway to Spain to Canada to Mexico. Those experiences, and all the highs and lows, it’s all reflected in the music. I’ve waited all my life to be in a band like this, and it’s amazing to me that I get to play with these people every night.”

Southern Avenue are one of the hardest touring bands I’ve seen. That’s great news for their fans. If you happen to be in Aspen, Colo., you can see them at The Après tonight. Other upcoming gigs include Chicago (Apr 13), Asheville, N.C. (Apr 19), Salisbury, N.C. (Apr 20) and New Orleans (Apr 28). Altogether, the band’s current schedule lists more than 50 gigs between now and early November in the U.S., Canada and various European countries, and I’m sure more will be added!

Sources: Southern Avenue website, YouTube