The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another installment of The Sunday Six! Hope you join me on my first musical excursion in September 2022.

Delicate Steve/Looking Glass

Usually, I like to kick off this recurring feature with jazz, which for some reason seems to be a natural fit for a Sunday, especially during the morning. But it’s also good to shake up things every now and then. So here’s my first proposition for today: Delicate Steve, the stage name of American multi-instrumentalist Steve Marion, who has been active since 2010. His sound has blended elements of progressive rock, folksy twang, African rhythms, surf rock and 1970s pop. Marion is a sought after artist, having collaborated with the likes of The Black Keys, Paul Simon and Tame Impala. Looking Glass is a great-sounding track from Marion’s latest album After Hours released July 8. According to his website, it was “written and recorded on a 1966 Fender Stratocaster that reignited his love for the instrument.”

The Kinks/Living On a Thin Line

After a cool guitar instrumental, the next stop on our trip are the ’80s. If you’re well familiar with my music taste, you may be a bit surprised I picked a tune by The Kinks. After all, I’ve said more than once that while they are among my favorite British bands, I particularly dig their ’60s output. That’s still the case, but there are exceptions. One is Living On a Thin Line. Written by Dave Davies, the tune is from The Kinks’ 21st studio album Word of Mouth, which appeared in November 1984. Man, I love it! Are we going to see a reunion of The Kinks? “We’ve been talking about it,” Ray Davies told The Washington Post in January 2021. “I mean there’s a lot of material and, you know, it could still happen.” Now, you really got me!

Bob Dylan/Rainy Day Women #12 & 35

How do you move from ’80s Kinks to ’60s Bob Dylan? To borrow from a famous ad for sneakers, ‘just do it!’ The year is 1966. In May of that year, Dylan released his seventh studio album Blonde on Blonde, which I think is fair to say is widely considered to be among his best records. His accolades include the induction into the Grammy Hall of Fame in 1999 and a no. 38 ranking in the most recent 2020 update of Rolling Stone’s list of 500 Greatest Albums of All Time. Here’s the terrific opener Rainy Day Women #12 & 35. I just love the sound of the raucous brass band, which is a perfect match to the line, Everybody must get stoned!

Dolly Parton, Emmylou Harris & Linda Ronstadt/After the Gold Rush

Dolly Parton, Emmylou Harris and Linda Ronstadt are three artists I’ve really come to appreciate over the past five years or so. Bringing big acts together for an album doesn’t guarantee a successful outcome, but I feel in this case it worked – for the second time! The case is Trio II, the second collaboration album by these dynamite ladies, which came out in February 1999. While the songs had been recorded in 1994, seven years after the appearance of Trio, it actually took 12 years for these renditions to be released. Why? Label disputes and conflicting schedules. Whatever the reason, this record was worth the wait. Here’s one of my all-time favorites: After the Gold Rush, a tune written by Neil Young who first recorded it as the title track of his third studio album from September 1970. The angelic harmony singing gives me goosebumps every time I listen to the tune. This is so beautiful that it can make me well up!

The Doors/Roadhouse Blues

Okay, it’s time to shake off the goosebumps and kick it up a few notches with a great blues rocker by The Doors. Roadhouse Blues, written by Jim Morrison with the music credited to the band, is the opener of their fifth studio album Morrison Hotel released in February 1970. In case you’d like to read more about the record, fellow blogger Music Enthusiast recently covered it. Songfacts notes, When Jim Morrison got drunk, he liked to sing blues numbers at The Doors jam sessions. This [is] one of the songs he came up with at one of those inebriated sessions. Interestingly, Road House Blues also appeared separately as the B-side to the album’s only single You Make Me Real. Don’t get me wrong: I dig you You Make Me Real. I just find it surprising Road House Blues was a B-side. In my humble opinion, it would have deserved release as its own A-side single. Ladies and gentlemen, from Los Angeles, California, The Doors!

Roger Daltrey/As Long As I Have You

Once again, the time has come to wrap up another Sunday musical excursion. For this last tune, we return to the current century and Roger Daltrey. I trust the longtime lead vocalist of The Who needs no further introduction. What perhaps you may be less aware of is Daltrey’s tenth solo album As Long As I Have You, which came out in June 2018. The soulful record was Daltrey’s first solo effort in 26 years. In September 2015, Daltrey was diagnosed with viral meningitis during The Who Hits 50! North American tour, forcing the band to reschedule the remaining dates until 2016. This almost led Daltrey to scrap his solo album, for which he already had eight tracks. When his longtime partner in crime Pete Townshend heard the songs, he encouraged Daltrey to finish the project. Townshend also offered to play guitar on it. For more information, you can check my review I published at the time. I’ll leave you with the title track, a cover of a tune first released by American soul singer Garnet Mimms in 1964. It was co-written by Bob Elgin and Jerry Ragovoy. Check out Daltrey’s killer voice!

Last but not least, here’s a Spotify playlist featuring all of the above tunes. Hope you find something you dig!

Sources: Wikipedia; Delicate Steve website; The Washington Post; Songfacts; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another Sunday Six and hope you’re enjoying your weekend. Whatever it is you’re doing or plans you may have, most things go better with great music. I invite you to join me to embark on a new trip to celebrate music of the past and the present, six tunes at a time.

Coleman Hawkins Quartet/Love Song From “Apache”

Let’s start our journey in August 1963 with some soothing saxophone jazz by Coleman Hawkins. According to Wikipedia, German jazz music journalist Joachim-Ernst Berendt characterized Hawkins as one of the first prominent tenor sax jazz players, saying, “There were some tenor players before him, but the instrument was not an acknowledged jazz horn”. It’s my first exposure to Hawkins, so I’ll take that comment at face value. Born in St. Joseph, Mo. in 1904, Hawkins started playing saxophone at the age of 9. As a 17-year-old, he already was playing with Mamie Smith’s Jazz Hounds. While Hawkins became known with swing music during the big band era, he also had a role in the development of bebop in the ’40s. Love Song From “Apache”, composed by Johnny Mercer and David Raskin, is a beautiful track from a 1963 album by the Coleman Hawkins Quartet titled Today And Now. For jazz aficionados, Cole was backed by Tommy Flanagan (piano), Major Holley (upright bass) and Eddie Locke (drums).

Tears For Fears/Advice For the Young at Heart

On February 25, Tears For Fears released their first new album in nearly 18 years. While I’ve yet to spend more time with The Tipping Point, it brought the British new wave duo of Roland Orzabal and Curt Smith back on my radar screen. Formed in 1981, they are best remembered for their ’80s hits Mad World, Shout, Everybody Wants to Rule the World and Sowing the Seeds of Love. Given the Beatlesque sound of the latter, perhaps it’s not a surprise that tune, off their September 1989 album The Seeds of Love, is my favorite. Another song from that album I’ve always liked is Advice For the Young at Heart. Like several other tunes, it is credited to Orzabal and Nicky Holland, the keyboarder in Tears For Fears’ touring band during most of the second half of the ’80s.

John Hiatt & The Gooners/My Baby Blue

Next, let’s jump to May 2003 and a great tune by John Hiatt, an artist I’ve really come to appreciate over the past couple of years. While Hiatt has written songs for 50-plus years and recorded close to 30 albums, his tunes oftentimes became hits for other artists. Perhaps the most prominent examples are Thing Called Love and Have a Little Faith in Me, which became hits for Bonnie Raitt  and Joe Cocker, respectively. Hiatt’s songs have also been covered by an impressive and diverse array of other artists like B.B. KingBob DylanBuddy GuyEmmylou HarrisJoan BaezLinda RonstadtThe Nitty Gritty Dirt Band  and Willy DeVille. My Baby Blue, penned by Hiatt, is from his 17h studio album Beneath This Gruff Exterior, the only one that also credits his backing band The Gooners who also backed him on the Slow Turning (August 1988) and The Tiki Bar Is Open (September 2001) albums.

Chuck Prophet/Ford Econoline

When Spotify served up Ford Econoline by Chuck Prophet the other day, for a moment, I thought I was listening to a Ray Davies tune. From his AllMusic bio: Chuck Prophet is a singer, songwriter, and multi-instrumentalist who has created a handful of impressive solo albums when he isn’t busy collaborating with some of the most respected figures in roots rock. A songwriter with a naturalistic sense of storytelling and drawing characters, and a melodic sense that brings together the impact of rock with the nuance of country, blues, and folk, Prophet has been releasing worthwhile solo albums since 1990, when he brought out his first solo LP, Brother Aldo. Prior to that, he was a key member of the rough-edged Paisley Underground band Green on Red, who had a small cult following in the United States and a significantly larger one overseas, and in between solo efforts, he worked as a sideman, collaborator, or producer for Alejandro Escovedo, Kelly Willis, Warren Zevon, Cake, Kim Richey, and many more. Well, I’m glad to finally “meet” an artist who it sounds like should have entered my radar screen a long time ago. Ford Econoline, written by Prophet, is a track from Night Surfer, an album that appeared in September 2014. Man, I love that tune and really want to hear more by Prophet. Any tips are welcome!

Traffic/Walking in the Wind

Alrighty, time to pay the ’70s a visit. The year is 1974 and the month is September. That’s when Traffic released their seventh studio album When the Eagle Flies. It would be the English rock band’s last record before Steve Winwood and Jim Capaldi revived Traffic one more time for Far From Home, the final album released under that name in May 1994. On When the Eagle Flies, apart from Windwood (vocals, acoustic piano, organ, Mellotron, Moog synthesizer, guitars) and Capaldi (drums, percussion, backing vocals, keyboards), the band’s line-up also included founding member Chris Wood (flute, saxophones), as well as Rosko Gee (bass). By the time the record came out, percussionist Rebop Kwaku Baah had been fired. Perhaps this explains why he remained uncredited for the congas he provided for two tunes – not a nice thing to do! Here’s Walking in the Wind, which like all other tunes except one was co-written by Winwood and Capaldi.

The Animals/Boom Boom

And once again, we’ve reached the final stop of our little trip. Let’s finish things off with a great rendition of John Lee Hooker classic Boom Boom by The Animals. The British blues rock band first released this gem as a single in North America in November 1964. It was also included on their second American studio album The Animals on Tour from February 1965, a somewhat misleading title for a studio recording. Originally, Boom Boom had appeared in March 1962 on Hooker’s studio album Burnin‘. The Animals’ rendition reached no. 43 on the U.S. Billboard Hot 100 and no. 14 in Canada on the RPM Top 40 & 5 singles chart. Hooker’s original peaked at no. 60 on the Billboard Hot 100, only one of two of his songs that made the mainstream chart, as well as no. 16 on Billboard’s Hot R&B Sides. I never get tired to listen to Eric Burdon’s great voice and the band’s hot sound!

Here’s a Spotify playlist featuring the above goodies. Hope there’s something there you like!

Sources: Wikipedia; AllMusic; YouTube; Spotify

On This Day in Rock & Roll History: July 5

It’s been four and a half months since the last installment of On This Day in Rock & Roll History, a feature that has appeared irregularly since the very early days of the blog. What tends to happen is I remember the feature, do a few installments based on dates I haven’t covered yet, and then it kind of drops off the radar screen again.

Whenever I come back to it, usually, I find it intriguing what turns up by looking at a specific date throughout music history. Typically, my time period of reference for these posts are the ’50s, ’60s and ’70s. Without further ado, following are some of the events that happened on July 5.

1954: Elvis Presley recorded his first single That’s All Right at Sun Records in Memphis, Tenn. The song was written by blues singer Arthur Crudup who also first recorded it in 1946. Some of the lyrics were traditional blues verses Crudup took from Blind Lemon Jefferson, recorded in 1926. Presley’s cover of That’s All Right came together spontaneously when during a break in the studio Elvis started to play an uptempo version of Crudup’s song on guitar. Bill Black joined in on string bass and they were soon joined by Scotty Moore on lead guitar. When producer Sam Phillips heard them play, wisely, he asked them to start over, so he could record. That’s All Right appeared on July 19, 1954, with Blue Moon of Kentucky as the B-side. While the tune gained local popularity and reached no. 4 on the Memphis charts, it missed the national charts.

1966: Chas Chandler, who at the time was the bassist for The Animals, saw Jimi Hendrix for the first time at Café Wha? in Greenwich Village, New York City. He was awestruck by the 23-year-old guitarist’s performance. Hendrix was playing with a band and they called themselves Jimmy James and the Blue Flames. One of the songs Hendrix performed that day was Hey Joe. Coincidentally, When Chandler had heard a version of the tune by folk singer Tim Rose a few days earlier and immediately was determined to find an artist to record it after his return to England. Shortly after the Café Wha? gig, Chandler became Hendrix’s manager and producer and took the guitarist to London. Chandler brought Hendrix together with bassist Noel Redding and drummer Mitch Mitchell. They became the Jimi Hendrix Experience, recorded Hey Joe and released the tune as their first single in December of the same year. And the rest is history.

1969: The Who released I’m Free, the second single from Tommy, their fourth studio album. Like most of the rock opera album, the tune was written by Pete Townshend. Backed by We’re Not Gonna Take It, the single didn’t chart in the UK. In the U.S., it reached no. 37 on the Billboard Hot 100. It did best in Germany and the Netherlands where it climbed to no. 18 and no. 20, respectively. The relatively moderate performance is remarkable for a tune that is one of the best-known tracks from the album. Townshend has said the song was in part inspired by The Rolling Stones’ Street Fighting Man.

1974: Linda Ronstadt recorded You’re No Good at The Sound Factory in Los Angeles, working with renowned producer Peter Asher. Written by Clint Ballard Jr., You’re No Good was first recorded by Dee Dee Warwick in 1963, produced by Jerry Leiber and Mike Stoller. Ronstadt’s rendition became her breakthrough hit and the most successful version, topping the U.S. Billboard Hot 100 and reaching no. 7 on the Canadian mainstream chart. Elsewhere it climbed to no. 15, no. 17 and no. 24 in Australia, The Netherlands and New Zealand, respectively. You’re No Good actually also turned out to be, well, pretty good for Heart Like a Wheel, helping Ronstadt’s fifth solo record to become her first no. 1 in the U.S. on the Billboard 200.

1981: A performance of The Cure at the annual Rock Werchter in Belgium was cut short when the English gothic rock and new wave band was told they had to wrap up so Robert Palmer could begin his set. “This is the final song because we’re not allowed to carry on anymore, ’cause everybody wants to see Robert Palmer,” Cure vocalist Robert Smith told the crowd before the band defiantly launched into an extended 9-minute version of A Forest. While they were wrapping up, bassist Simon Gallup grabbed the microphone and yelled, “Fuck Robert Palmer! Fuck Rock and Roll!” Apparently, the festival organizers forgave The Cure who returned several times in subsequent years. By contrast, Robert Palmer’s 1981 performance at Rock Werchter remained his only appearance at the festival.

Sources: Wikipedia; Songfacts Music History Calendar; Ultimate Classic Rock; YouTube

If I Could Only Take One

My desert island song by Roxy Music

I can’t believe it’s Wednesday again and we’re almost in July! This would be the perfect time for a summer vacation, and a beautiful tropical island sounds like an attractive proposition. But wait, before I can leave on yet another imaginary trip to some remote island in the sun, once again, I have to pick one song to take with me.

In case you’re a first-time visitor, there are a few rules that limit my options, which make the exercise both challenging and interesting at the same time. My pick cannot be a tune by a music act I’ve frequently written about. Ideally, it should be a band or artist I haven’t covered yet. It can only be one track, not an entire album. And picks must be in alphabetical order.

This week I’m up to “r.” Bands and artists (last names) starting with that letter include Radiohead, Bonnie Raitt, Ramones, R.E.M., Red Hot Chili Peppers, Otis Redding, Lou Reed, Keith Richards, The Rolling Stones, Linda Ronstadt and Roxy Music, among others.

Based on the above criteria, Bonnie Raitt, The Rolling Stones and Linda Ronstadt were immediately excluded from further consideration. For some of the other artists, sadly, I had to search my own blog to refresh my memory to what extent I had covered them before. At the end, it came down to picking Radiohead or Roxy Music, and I decided to go with the latter and More Than This.

More Than This, written by Bryan Ferry, first appeared in April 1982 as the lead single of Roxy Music’s eighth and final studio album Avalon, released the following month. It’s just a gorgeous pop tune I’ve loved from the very first moment I heard the band playing it on the radio at the time it came out.

More Than This was popular, reaching no. 6 in each the UK and Australia, but it wasn’t the group’s biggest hit. The latter was their great cover of John Lennon’s Jealous Guy, which they recorded and released as a non-album single in February 1981 to honor the ex-Beatle who had been senselessly killed by a deranged individual in New York in December 1980.

Art and pop rock group Roxy Music were founded by Ferry, the band’s lead vocalist and main songwriter, and bassist Graham Simpson in England in 1970. While they have been on and off ever since, their active recording period spanned 1972 to 1982. During these 10 years, Roxy Music released eight studio albums, three of which topped the UK charts: Stranded (1973), Flesh and Blood (1980) and the above-noted Avalon.

In 1982, at the height of their commercial success, Ferry who at that time was the only original member together with Andy Mackay (saxophone, oboe, keyboards, backing vocals), decided to dissolve Roxy Music and focus on his solo career, which he had launched in parallel to the group in 1973.

Roxy Music have since reunited several times for tours and are currently gearing up to be on the road again starting in September to celebrate their 50th anniversary. In addition to co-founders Ferry and Mackay, this includes Phil Manzanera  (guitar) and Paul Thompson (drums), who were all part of the group’s lineup that recorded Roxy Music’s 1972 eponymous debut album. The schedule of the five-week tour, which includes dates in Canada, the U.S. and the UK, is here.

Following are a few additional tidbits on More Than This from Songfacts:

Written by lead singer Bryan Ferry, this song is about a love affair that fell apart. Asked in 2014 by Entertainment Weekly why the song endures, Ferry replied, “For some reason, there’s something in the combination of the melody and the lyric that works for people.”

In America, this song got some traction when it featured in Sofia Coppola’s 2003 film Lost In Translation in a scene where Bill Murray sings it in a Tokyo karaoke bar. When the song was first released, however, it had little impact on the charts, bubbling under at just #102 on the Hot 100. Many college radio stations played the song, but commercial stations stayed away for the most part.

Roxy Music occupied just a small niche in America, where they hit the Top 40 just once (“Love Is the Drug” – #30 in 1975), but they were far more successful in the UK.

Ferry told The Mail on Sunday June 28, 2009 about the Avalon album: “I started writing the songs while on the west coast of Ireland, and I like to think that some of the dark melancholy of the album comes from that place.”

10,000 Maniacs covered this in 1997 on their album Love Among The Ruins. Mary Ramsey sang lead, as original Maniacs lead singer Natalie Merchant had just left the band to go solo.

Sources: Wikipedia; Roxy Music website; Songfacts; YouTube

The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another Sunday morning/afternoon/evening, wherever you are when reading this. It’s time to resume some music time travel. Today’s six-stop journey starts in the ’60s with stop-overs in the ’90s, ’70s, ’10s and ’80s before coming to an end in the ’00s. Fasten your seatbelts and off we go!

Sonny Rollins/Where Are You?

I’d like to ease us into today’s musical trip with some relaxing jazz by Sonny Rollins. Jazz connoisseurs need no introduction to the American tenor saxophone great. For more casual jazz listeners like me, Rollins is widely recognized as one of the most important and influential jazz musicians who over an incredible 70-year-plus career has recorded more than 60 albums as a leader and appeared on many additional records as a sideman. Rollins has played with the likes of Charlie ParkerMiles DavisDizzy GillespieThelonious MonkMax Roach and Modern Jazz QuartetWhere Are You? appeared on his 1962 studio album The Bridge, which Wikipedia notes was Rollins’ first release after a three-year sabbatical. Composed by Jimmy McHugh with lyrics by Harold Adamson, the track was written for the 1937 American comedy film Top of the Town and originally performed by Gertrude Niesen. On his rendition, Rollins was joined by Jim Hall (guitar), Bob Cranshaw (double bass) and Ben Riley (drums). I don’t have to be a jazz expert to love this track and neither do you. Just listen to that smooth saxophone sound! Rollins who celebrated his 91st birthday last September is still alive – bless the man!

Blue Rodeo/5 Days in May

Our next stop is the ’90s and beautiful music by Blue Rodeo, which is right up my alley. I’ve featured the Canadian country rock band on the blog before. They were formed in 1984 in Toronto by high school friends Jim Cuddy (vocals, guitar) and Greg Keelor (vocals, guitar), who had played together in various bands before, along with Bob Wiseman (keyboards).  Cleave Anderson (drums) and Bazil Donovan (bass) completed the band’s initial lineup. After gaining a local following in Toronto and signing with Canadian independent record label Risque Disque, the group released their debut album Outskirts in March 1987. 5 Days in May is the opener of the band’s fifth studio album Five Days in July, which appeared in October 1993 in Canada and September 1994 in the U.S. With 6X Platinum certification in Canada, it remains their best-selling album to date. Like most other tunes on the record, 5 Days in May was co-written by Cuddy and Keelor. The harmonica and guitar action are very reminiscent of Neil Young. I also love that keyboard sound. It’s just a great song all around!

The Jaggerz/The Rapper

When I came across The Rapper by The Jaggerz the other day, I earmarked it immediately for an upcoming Sunday Six. The American rock band from Pittsburgh, Pa. was initially active from 1964 until 1977. During that period, they only released three albums. After the third, Come Again from 1975, they broke up in 1977. By that time, frontman and co-founder Dominic Ierace had already left the group and joined American funk rock band Wild Cherry, best known for Play That Funky Music, their only major single success. In 1989, The Jaggerz reunited sans Ierace with three other original founders and three new members. They have since released three additional albums, the most recent of which came out in 2014 – not an exactly overwhelming catalog! The group’s current formation, a six-piece, includes founding members Jimmie Ross (lead vocals, bass) and Benny Faiella (guitar). The Rapper became the band’s breakthrough single and only hit in January 1970, surging to no. 2 in the U.S. on the Billboard Hot 100. Written by Ierace, it was included on their sophomore studio album We Went to Different Schools Together, released that same year.

Alison Krauss & Union Station/Miles to Go

For this next pick, let’s go to the current century. Miles To Go is a song from Paper Airplane, released in April 2011 by Alison Krauss & Union Station. The bluegrass and country artist, who is also a talented fiddle player, has been active since 1984. She made her recording debut in 1986 with Different Strokes, a collaboration with Jim Hoiles & Friends and Swamp Weiss. To date, Krauss has released 14 albums, most frequently together with bluegrass and country band Union Station. I’m mostly aware of Krauss because of her two collaboration records with Robert Plant. Miles to Go was co-written by Union Station bassist Barry Bales and Chris Stapleton. Krauss is a great vocalist and I also dig the band’s sound. Yesterday, in addition to further checking out Paper Airplane, I sampled Lonely Runs Both Ways, her preceding album with Union Station from November 2004. Lots of great music only between these two records!

John Hiatt/Memphis in the Meantime

Memphis, Tenn. and its amazing music history are on my bucket list. Graceland, Sun Studio and the Stax Museum surely sound like worthy sites to visit. In the meantime, I’m picking a tune about the city by John Hiatt, a great artist I’ve started to explore in greater detail over the past few years. The singer-songwriter who has been active for 50 years is best known for tunes that have been covered by the likes of B.B. KingBob DylanBonnie RaittEmmylou HarrisEric ClaptonJoe CockerLinda RonstadtRy Cooder and Nick Lowe. While Hiatt’s albums received positive reviews from critics, it took eight records and more than 10 years until he finally had an album that made the Billboard 200Bring the Family, from May 1987, which reached no. 107. Memphis in the Meantime is the opener of that great record. It also includes two tunes popularized by two of the aforementioned artists: Thing Called Love, by Bonnie Raitt; and Have a Little Faith in Me, by Joe Cocker.

The Chesterfield Kings/The Rise and Fall

Once again it’s time to wrap things up. For the final stop of our musical mini-excursion, let’s get a dose of psychedelic garage rock by The Chesterfield Kings. Founded in the late ’70s by Greg Prevost (lead vocals, multiple instruments), the band from Rochester, N.Y. was instrumental in sparking the 1980s garage band revival, according to Wikipedia. A partial discography there lists 11 albums by the group that was active until 2009. Rise and Fall, co-written by Provost and bandmate Andy Babiuk (bass and multiple other instruments), is a tune from a 2007 album titled Psychedelic Sunrise. The group’s line-up at that time also included Paul Morabito (guitars, mandolin, organ) and Mike Boise (drums, percussion). BTW, the album was produced by garage rock fan Steven Van Zandt. I could picture this tune played by The Rolling Stones during their psychedelic period.

Last but not least, here’s a Spotify playlist featuring all of the above goodies!

Sources: Wikipedia; Discogs; YouTube; Spotify

On This Day in Rock & Roll History: February 15

Today in my recurring music history feature I’d like to take a look at select events that happened on February 15. And, as oftentimes is the case, it all starts with this band from Liverpool, England.

1965: The Beatles released Eight Days a Week as a single in the U.S., backed by I Don’t Want to Spoil the Party. The song had first appeared on the UK album Beatles for Sale that had come out on December 4, 1964. It was also included on the U.S. album Beatles VI released on June 14, 1965. According to Songfacts, most of the tune was written by Paul McCartney, though as usual, it was credited to John Lennon and him. Unlike the usual arrangement where whoever of the two wrote most of the song would sing lead, John ended up taking over lead vocals here. Songfacts also maintains Eight Days a Week was the first pop song that fades up from silence. The tune became the seventh no. 1 Beatles single on the U.S. Billboard Hot 100. Here’s a clip with footage around their legendary August 1965 performance at New York City’s Shea Stadium.

1969: Sly and the Family Stone hit no. 1 on the Billboard Hot 100 with Everyday People, their first of three chart-topping hits on the U.S. mainstream chart. Written by Sly Stone, the song had first appeared as a single in November 1968. It was also included on the psychedelic soul and funk group’s fourth studio album Stand!, released in May 1969. Songfacts notes the tune is about how everyone is essentially the same, regardless of race or background, adding, Sly & the Family Stone was a mash-up of musical styles, with band members of different genders and ethnic backgrounds. It also states Billy Preston played keyboards on the recording.

1975: Linda Ronstadt reached the top of the Billboard Hot 100 with You’re No Good. While between 1967 and 2006 she scored 20 top 40 hits on the U.S. mainstream chart, You’re No Good was her only no. 1. Written by Clint Ballard Jr., the tune was first recorded and released in 1963 by American soul singer Dee Dee Warwick, the sister of Dionne Warwick. You’re No Good has been covered by numerous other very different artists like The Swinging Blue Jeans, Elvis Costello, Ike & Tina Turner and Van Halen. Remarkably, You’re No Good’s chart-topping position coincided with Heart Like a Wheel, the album on which the tune appeared, hitting no. 1 on the Billboard 200. It became the first of three no. 1 records for Ronstadt on that chart.

1979: The Bee Gees ruled the 21st Annual Grammy Awards held in Los Angeles. The Saturday Night Fever soundtrack won Album of the Year, and the Bee Gees won Best Vocal Pop Performance by a Duo or Group for Saturday Night Fever and Best Arrangement for Voices for Stayin’ Alive. Billy Joel and Donna Summer had a good night as well. The piano man scored Record of the Year and Song of the Year for Just the Way You Are. The tune is from Joel’s fifth studio album The Stranger that came out in September 1977 and also appeared separately as a single at that time. Summer won two Grammys for Last Dance: Best R&B Vocal and Best R&B Song.

1980: Elvis Costello released his fourth studio album Get Happy!!, the third with his backing band The Attractions. Wikipedia notes the record marked “a dramatic break in tone from Costello’s three previous albums, and for being heavily influenced by R&B, ska and soul music.” Apparently, that change didn’t have much of an impact on the record’s chart performance. Like predecessor Armed Forces it reached no. 2 in the UK on the Official Albums Chart, while in the U.S. it climbed to no. 11 on the Billboard 200, just a notch below no. 10 for Armed Forces. Get Happy!! was ranked at no. 11 on Rolling Stone’s list of the 100 Best Albums of the Eighties, published in November 1989. Here’s I Can’t Stand Up for Falling Down. Co-written by Homer Banks and Allen Jones, the tune was first recorded in 1967 by soul duo Sam & Dave.

Sources: Wikipedia; The Beatles Bible; Songfacts; Songfacts Music History Calendar; This Day in Music; YouTube

Neil Young’s Harvest Turns 50

On February 1, 1972, Neil Young released his fourth studio album Harvest. The 50th anniversary of what is among my all-time favorite Young records almost escaped my attention. I mistakenly had assumed the release date was February 14.

Young recorded Harvest following the breakup of Crosby, Stills, Nash & Young in July 1970 after the end of their tour that year, which had strained relationships among the four members. It would take until 1974 before they would get back together again for a reunion tour.

For Harvest Young assembled a backing band he called The Stray Gators. The members were Jack Nitzsche (piano), Ben Keith (steel guitar), Tim Drummond (bass) and Kenny Buttry (drums). In addition to The Stray Gators, Harvest featured various notable guests, including James Taylor, Linda Ronstadt and, interestingly, each of Young’s former CSNY’s bandmates.

Let’s take a look at some of the songs. Side one kicks off with the beautiful Out on the Weekend. Like all other tracks, the tune was written by Young.

A Man Needs a Maid is a song about Young’s girlfriend at the time, the actress Carrie Snodgress. According to Songfacts, initially, the tune was coupled with Heart of Gold and played on piano. “It was like a medley,” Young said in [the autobiography – CMM] Shakey, “the two went together.”

Speaking of Heart of Gold, a post celebrating the 50th anniversary of Harvest wouldn’t be complete without this song. One of Neil Young’s best-known tunes, it also appeared separately as the album’s lead single in January 1972 and became his biggest hit. James Taylor and Linda Ronstadt provided backing vocals. Taylor also played banjo.

On to Side two. Here’s Old Man, a tune Young wrote about the caretaker of the ranch he bought in 1970 as a 25-year-old. Like on Heart of Gold, backing vocals were provided by Taylor and Ronstadt, with Taylor also contributing banjo. Songfacts quotes Ronstadt from an interview with music magazine Mojo: “I can’t remember why Neil wanted me to sing with him – I guess he just figured I was there and could do it – but we went in there and they were doing ‘Heart of Gold’ and ‘Old Man’ and I thought they were such beautiful songs.” Old Man also became the album’s second single in April 1972.

Another great tune on Side two is Alabama. According to Songfacts, This song can be seen as a follow-up to Young’s 1970 song “Southern Man” from After The Gold Rush. Canadian-born Young abhorred the idea of racism and spoke out – loudly – about his feelings. This song went unnoticed by most, but combined with the previous effort, it caused Lynyrd Skynyrd to pen their Southern Rock classic “Sweet Home Alabama” in response to Young’s assertions...In his 2012 autobiography  Waging Heavy Peace, Neil Young said of this song, “I don’t like my words when I listen to it today. They are accusatory and condescending, not fully thought out, and too easy to misconstrue.” Stephen Stills and David Crosby provided backing vocals.

The last song I’d like to highlight is The Needle and the Damage Done, a tune about heroin use and what this drug sadly will do to many who get into it. Young wrote this song about ex-Crazy Horse guitarist Danny Whitten who struggled with heroin addiction. In fact, Young hired him in April 1972 to join rehearsals for his tour to support the Harvest album. But Whitten wasn’t up to the task and Young ended up firing him on November 18 that year, giving him $50 and a plane ticket to Los Angeles. Once Whitten got there, he overdosed on alcohol and Valium, which killed him – making Young feel guilty for many years.


Harvest topped the Billboard 200 for two weeks and became the best-selling album of 1972 in the U.S. While most music artists would have been pleased with such success, Neil Young felt alienated. He followed up Harvest with what became known as the “ditch trilogy”: the live album Time Fades Away (October 1973), as well as the studio records On the Beach (July 1974) and Tonight’s the Night (June 1975). While these three records didn’t match Harvest’s chart and sales performance, they became favorites of many Young fans.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random tracks at a time

Another Sunday is upon us, and the show must go on with a new explorative trip to celebrate great music of the past and present, six tunes at a time. This installment of The Sunday Six strikes out broadly, touching the ’40s, ’60s, ’70s, ’80s, ’90s and 2017. Let’s do it!

Ry Cooder/I Think It’s Going to Work Out Fine

I’d like to start today’s journey with some beautiful instrumental music by Ry Cooder. I believe the first time I heard of him was in connection with the great 1984 Wim Wenders motion picture Paris, Texas, for which Cooder wrote the score. This is some of the best acoustic slide guitar-playing I’ve heard to date – if you don’t know the movie’s score, check it out! In addition to 17 film scores, the versatile Cooder has released the same amount of solo albums since his 1970 eponymous debut. Not surprisingly, Cooder has also collaborated with the likes of John Lee Hooker, The Rolling Stones, Randy Newman, Linda Ronstadt, David Lindley and numerous other artists. This brings me to Bop Till You Drop, Cooder’s eighth solo album from July 1979, which I received as a gift in the late ’80s from my longtime German music buddy and former bandmate. Here’s Cooder’s great instrumental rendition of It’s Gonna Work Out Fine. Written by Rose Marie McCoy and Joe Seneca, the tune first appeared as a single by Ike & Tina Turner in June 1961.

The Animals/It’s My Life

After a gentle start, I’d like to step on the gas a bit with one of my favorite ’60s blues rock and R&B bands: The Animals. Not surprisingly, I’ve covered the British group’s music on various previous occasions, which among others include this Sunday Six installment and this post dedicated to their original lead vocalist Eric Burdon, one of the best British blues vocalists I can think of! It’s My Life first came out as a single in October 1965. Notably, it was penned by Roger Atkins and Carl D’Errico. This was not the only time Brill Building songwriters wrote a tune for the group. In May 1966, The Animals released another single, Don’t Bring Me Down, co-written by Gerry Goffin and Carole King. It’s My Life was also included on the band’s first compilation The Best of The Animals, which appeared in the U.S. only in February 1966. I’ve always loved this great psychedelic-flavored tune.

Steve Winwood/Roll With It

When it comes to Steve Winwood, I generally prefer his early years with The Spencer Davis Group, Traffic and Blind Faith over his oftentimes more pop-oriented solo period. Perhaps the biggest exception is Windwood’s fifth solo album Roll With It from June 1988. While undoubtedly influenced by ’80s pop, this record is also quite soulful. It became his most successful album, topping the Billboard 200 in the U.S. and reaching no. 4 in the UK, with more than three million copies having been sold. Here’s the excellent opener and title track, a co-write by Winwood and Will Jennings. Subsequently, Motown songwriters Holland-Dozier-Holland received a co-credit due to the tune’s similarities publishing rights organization BMI saw to (I’m a) Roadrunner, which had been a hit in 1966 for Junior Walker & the Allstars.

Sister Rosetta Tharpe/Strange Things Happening Every Day

Next let’s turn to a trailblazer and true rock & roll pioneer, the amazing Sister Rosetta Tharpe. While John Lennon famously said, “If you were to try to give rock & roll another name, you might call it Chuck Berry,” one of the genre’s early pioneers we must not forget was Tharpe. The prominent gospel singer started playing the guitar as a four-year-old and began her recording career at age 23 in 1938. She was one of the first popular recording artists using electric guitar distortion. Her technique had a major influence on British guitarists like Eric ClaptonJeff Beck and Keith Richards. She also influenced many artists in the U.S., including Elvis PresleyLittle Richard, Jerry Lee Lewis and Chuck Berry, to name a few. Tharpe has been called “the original soul sister” and “the godmother of rock & roll.” Unfortunately, her health declined prematurely and she passed away from a stroke in 1973 at the untimely age of 58. In May 2018, Tharpe was inducted into the Rock & Roll Hall of Fame as an Early Influence. Here’s Strange Things Happening Everyday, originally a traditional African American spiritual that became a hit for Tharpe in 1945. This recording is historic, as it’s considered to be one of the very first rock & roll songs. Tharpe’s remarkable guitar-playing, including her solos, distorted sound and bending of strings, is more pronounced on later tunes, but you can already hear some of it here. Check out this clip and tell me this amazing lady didn’t rock!

Prince/Cream

For this next pick, I’m jumping 46 years forward to 1991. Prince is an artist I’ve always respected for his remarkable versatility and amazing guitar skills, though I can’t say I’m an all-out fan. But I really like some of his songs. I must also add I’ve not explored his catalog in greater detail. It was largely my aforementioned German music buddy who introduced me to Prince. I recall listening together to his ninth studio Sign o’ the Times from March 1987. Cream, off Diamonds and Pearls that appeared in October 1991, is a tune I well remember hearing on the radio back in Germany. Based on Wikipedia’s singles chart, it looks like the song was Prince’s first big hit in the ’90s. Among others, it topped the U.S. charts, climbed to no. 2 in Canada and Australia, and reached the top 5 in France, Switzerland and Sweden. Here’s the official video. The actual tune starts at about 2:05 minutes into the clip. Sadly, we lost Prince way too early in April 2016 at age 57.

Greta Van Fleet/Safari Song

Last but not least, I’d like to turn to Greta Van Fleet, one of the contemporary bands that give me hope classic rock isn’t entirely dead yet. L.A. rockers Dirty Honey are another great example in this context. Greta Van Fleet were formed in Frankenmuth, Mich. in 2012 by brothers Josh Kiszka (lead vocals), Jake Kiszka (guitars, backing vocals) and Sam Kiszka (bass, keyboards, backing vocals), along with Kyle Hauck (drums). Other than Hauck who was replaced by Danny Wagner in 2013, the band’s line-up hasn’t changed. The group has been criticized by some as a Led Zeppelin knock-off, and the tune I’m featuring here probably is part of the reason. Selfishly, I don’t care since in my book, Zep are one of the greatest rock bands of all time. I would also add Greta Van Fleet’s sound has evolved since their early days. To me, their most recent album The Battle at Garden’s Gate from April 2021 bears very little if any resemblance to Zep. Here’s Safari Song, Greta’s second single released in October 2017. Credited to all members of the band, it was also included on their debut EP Black Smoke Rising that had come out in April of the same year. This just rocks and I could care less about the critics!

Here’s a playlist featuring all of the above tracks.

Sources: Wikipedia; YouTube; Spotify

John Hiatt Done by Others

A playlist of the singer-songwriter’s tunes covered by other artists

Lately, I’ve been getting more into John Hiatt’s music. Last week, when writing about his excellent ninth studio album Slow Turning, I noted many other artists have covered the singer-songwriter’s tunes over the decades. The man is a true goldmine! This triggered the idea for this post to look at great renditions of Hiatt songs, some of which ended up becoming hits, unlike his originals. For each pick, I’m going to feature both a cover and Hiatt’s original version. I’m also adding a playlist at the end with additional covers and originals.

B.B. King & Eric Clapton/Riding with the King

In 2000, B.B. King and Eric Clapton teamed up for a collaboration album. They cleverly named it Riding with the King, after the title track of Hiatt’s sixth studio release from 1983. Released in June 2000, King’s and Clapton’s record hit no. 1 on Billboard’s Top Blues Albums chart and won the 2000 Grammy Award for Best Traditional Blues Album.

Bob Dylan/The Usual

Here’s a terrific Bob Dylan cover of The Usual. This is from a soundtrack of the 1987 American motion picture Hearts of Fire, in which Dylan also co-starred, alongside Fiona Flanagan and Rupert Everett. I love the soulful vibe of this version! Hiatt recorded the original for his seventh studio album Warming Up to the Ice Age that appeared in January 1985. George Thorogood and the Destroyers also did a nice cover of The Usual on their 10th studio album Rockin’ My Life Away released in March 1997. Since I couldn’t find Dylan’s rendition in Spotify, I included Thorogood’s cover in the below playlist instead.

Bonnie Raitt/Thing Called Love

I suppose one of the best-known John Hiatt renditions is Thing Called Love by Bonnie Raitt. She included the tune on her tenth studio album Nick of Time from March 1989, which after years of personal and professional struggles finally gave her commercial breakthrough and her first no. 1 album in the U.S. on the Billboard 200. The song’s official video featured a flirtatious Dennis Quaid. Bonnie did not seem to mind! I was actually surprised to see the song didn’t make the Billboard Hot 100, though it reached no. 11 on the Mainstream Rock chart. Hiatt included that tune on Bring the Family, his eighth studio record that appeared in May 1987.

Delbert McClinton/Have a Little Faith in Me

Have a Little Faith in Me is one of the most beautiful John Hiatt songs I know. Like Thing Called Love, it appeared on Bring the Family. Delbert McClinton included a great cover on his studio album from April 1992, titled Never Been Rocked Enough. This is just neat!

Emmylou Harris/Icy Blue Heart

The last tune I’d like to highlight in this post is Icy Blue Heart, a powerful track off Hiatt’s above noted Slow Turning album from August 1988. Emmylou Harris recorded a beautiful cover for her 15th studio album Bluebird released in January 1989. It features Bonnie Raitt on background vocals – what an amazing pairing! Frankly, Harris’ angelic voice can make me well up. I also love how her vocals bend with Bonnie’s. This is just stunning!

The below playlist includes some additional Hiatt covers by Aaron Neville (It Feels Like Rain), Iggy Pop (Something Wild), Linda Ronstadt (When We Ran), Willie Nelson (The Most Unoriginal Sin) and Jimmy Buffett (The Tiki Bar is Open). Hope you enjoy it as much, as I did putting together this post and playlist. And, as always, feel free to comment, especially if I missed your favorite John Hiatt cover!

Sources: Wikipedia; YouTube

What I’ve Been Listening to: John Hiatt/Slow Turning

Sometimes one song is enough to draw me in, and I love when all of this happens coincidentally. Case in point: Is Anybody There? by John Hiatt. The tune, off his ninth studio album Slow Turning from August 1988, was included in yet another playlist my streaming music provider had served up to me the other day.

While I’ve started exploring Hiatt’s music, I still can’t claim anything resembling close familiarity with his catalog. But I’ve heard enough to know one thing: I love what this singer-songwriter does. Evidently, so do many other artists who have ranged from Aaron Neville, B.B. King, Bob Dylan, Bonnie Raitt, Chaka Khan, Delbert McClinton, Emmylou Harris…and the list goes on and on.

John Hiatt - Slow Turning - Amazon.com Music

What’s Hiatt’s secret? Quite simply, the man writes great songs! At the same time, he’s a perfect example that great songs don’t necessarily translate into chart success, at least not for himself.

In fact, if I see this correctly, Hiatt’s best-performing record on the U.S. mainstream charts to date is Perfectly Good Guitar, his 11th studio album from September 1993, which reached no. 47 on the Billboard 200. I previously covered it here. His most successful U.S. single to date is the title track of the Slow Turning album, which climbed to no. 8 on the Billboard Hot 100, his only top 10 song.

Let’s take a closer look at some of the goodies on Slow Turning. All of the 12 tracks except one were solely written by Hiatt. Here’s the opener Drive South. Subsequently, it was covered by country vocal group The Forester Sisters who in 1990 took it to no. 63 in the U.S. on the Hot Country Singles & Tracks chart. It also made the Canada Country Tracks chart, reaching no. 60 there.

Tennessee Plates is the only aforementioned co-write on the album. Hiatt penned it together with Mike Porter. The tune was featured in the 1991 motion picture Thelma & Louise, starring Susan Sarandon and Gina Davis. A rendition of the song by American guitarist and singer-songwriter Charlie Sexton was included in the soundtrack album.

Another great tune I’d like to highlight is Icy Blue Heart. How about these great opening lines? She came onto him like a slow movin’ cold front/An’ his beer was warmer than the look in her eye… Frankly, I could have picked any other track. There’s really no weak song on this album, but these opening lines are just great. Emmylou Harris ended up covering the track on her 1989 studio album Bluebird, featuring Bonnie Raitt on backing vocals and slide guitar – what a dream pairing! In case you’re curious, their beautiful rendition is here.

This post would be incomplete without the above noted Slow Turning, the album’s title track. Again I’d like to call out some memorable lyrics: …Now I’m in my car/Ooh, I got the radio down/Now I’m yellin’ at the kids in the back/’Cause they’re banging like Charlie Watts… Gotta love this!

The last tune I’d like to highlight is the song that prompted me to listen to this gem of an album: Is Anybody There? Once again, Hyatt delivers great lyrics and a beautiful and warm sound. Based on Wikipedia, it looks like the gospel-style backing vocals were provided by Ashley Cleveland and Dennis Locorriere. And check out Hiatt’s falsetto fill-ins!

Taking a closer look at the album’s credits reveals two guests I find particularly intriguing: Blues guitarist Sonny Landreth who provides electric guitar, acoustic slide guitar, twelve-string guitar and steel guitar; and singer-songwriter Bernie Leadon who contributes guitar, mandolin, banjo and mandocello. Leadon, of course, is best known as a co-founder of the Eagles.

Last but not least, Slow Turning was produced by Glyn Johns – yep, that Glyn Johns who recently could be prominently seen in Peter Jackson’s The Beatles: Get Back documentary. Johns has also done production and/or engineering work for the likes of Led Zeppelin, The Rolling Stones, The Who, Bob Dylan, Linda Ronstadt, Eric Clapton…you get the picture. I guess it’s safe to say working with The Beatles didn’t exactly harm Jones’ career.

Sources: Wikipedia; YouTube