Hall & Oates Bring Back That Lovin’ Feelin’ To Allentown Fairgrounds

Homecoming gig features duo’s hits from the ’70s and ’80s

Earlier this year, my wife saw Hall & Oates were going to tour the U.S. and suggested we get tickets. While I always liked the pop duo, especially for their smooth ’70s soul-oriented music, they weren’t exactly on my radar screen. Well, I’m glad my wife paid attention and convinced me to see them. In general, our music tastes are very different, and I end up going to most shows by myself. It’s nice when every now and then we find an act we both like. Last night was showtime at The Fairgrounds in Allentown, Pa. And, boy, I have to say Daryl Hall and John Oates, who are now in their early seventies, were in excellent shape, and we had a great time!

Christian & Frances
The music muser with his sweet wife

Before getting to Hall & Oates, I’d like to say a few words about opening act G. Love & Special Sauce. I had never heard of this trio from Philadelphia, featuring frontman Garrett Dutton, a.k.a G. Love (lead vocals, guitar, harmonica), Jeffrey Clemens (drums) and Jim Prescott (double bass). Wikipedia describes them as “an alternative hip hop band…known for their unique “sloppy” and “laid back” blues sound that encompasses classic R&B. Well, last night, I particularly heard and liked blues-oriented music with the occasional touch of hip hop. Playing as a trio is challenging, but these guys were really bringing it. There was even a bit of on-stage drama when Prescott broke a bass string – yikes! While he was calmly replacing the string and tuning, the two other guys carried on as a duo, as if nothing had happened. After a few songs into their set, I randomly decided to capture this tune called Shooting Hoops. It’s from their eponymous debut album released in May 1994.

On to Hall & Oates. Their gig last night was a homecoming. Daryl Hall was born in Pottstown, Pa., about 30 miles south of Allentown, while John Oates grew up in Philly suburb North Wales, which is approximately 40 miles southeast of Allentown. He was born in New York City. The duo opened their set with one of their biggest hits from the ’80s: Maneater. If I recall it correctly, that song was the first time I heard of Hall & Oates back in Germany. Co-written by John Oates, Daryl Hall and his then-girlfriend Sara Allen, it appeared on Hall & Oates’ 11th studio album H2O from October 1982. The track was also released separately as the record’s lead single and became their fifth no. 1 in the U.S. on the Billboard Hot 100

As noted above, I particularly dig Hall & Oates’ more soul-oriented tunes. Apart from loving the genre in general, I feel this type of music perfectly fits Daryl Hall’s vocals. Here’s their great rendition of You’ve Lost That Lovin’ Feelin’.  Co-written by songwriting duo Barry Mann and Cynthia Weil, together with producer Phil Spector, this classic was first recorded by The Righteous Brothers in 1964 and became their first major and biggest hit topping the charts in U.S., U.K. and Canada. Hall & Oates recorded their beautiful version for the Voices album from July 1980, their ninth studio release. It also became one of four singles from that record and a top 10 hit in the U.S.

Here’s another Hall & Oates classic and perhaps my favorite: She’s Gone, from their sophomore album Abandoned Luncheonette that came out in November 1973. Co-written by John Oates and Daryl Hall, the tune was also released as a single and became their first song to chart in the U.S., peaking at no. 60 on the Billboard Hot 100. While making the charts for a then-young pop duo in and of itself was a significant accomplishment, I find it somewhat mind-boggling the tune didn’t climb higher. The album fared better, hitting no. 33 on the Billboard 200, which was then called Top LPs and Tapes chart. After their debut Whole Oates had failed to make an impact, this was actually a quite important early milestone for Hall & Oates – certainly a nice consolation!

After 11 songs and I would say just over an hour, it was already time for the encore – perhaps the only thing I found a bit measly about the show. But Hall & Oates made it count with four additional nice tracks. Here’s the first: Rich Girl, another ’70s tune and one of my favorites. Written by Daryl Hall for their fifth studio album Bigger Than Both Of Us from August 1976, it became the duo’s first no. 1 hit in the U.S. Apparently, the song was written about an ex-boyfriend from Sara Allen who then was together in a relationship with Hall. But Hall didn’t feel rich boy sounded right, so he changed the lyrics.

The last track I’d to highlight is You Make My Dreams, the final song of the encore. Another track from the Voices album, it was co-written by Sara Allen, John Oates and Daryl Hall. It also became the album’s lead single in May 1981 and another hit, climbing to no. 5 on the Billboard Hot 100. Hall & Oates were a hit machine during the first half of the ’80s, especially in the U.S. Between 1981 and 1984, they scored 10 top ten singles there, including five that reached no. 1.

This post wouldn’t be complete without acknowledging Hall & Oates’ great backing band – except it’s tricky to find info on the musicians on the Internet. On the duo’s official website, there is a section about band members, which when you click on it cheerfully reveals the comment “Coming soon…” Are you kidding me? According to setlist.fm, the U.S. leg of their tour titled Real Deal 2019 kicked off August 15. When exactly are you planning to list your touring musicians, the guys that help you sound as great as you do?! Luckily, this recent story in the Minneapolis Star Tribune has some of the details.

One of the standouts to me was multi-instrumentalist Charles DeChant, who plays saxophone, flute, keyboards and guitar. In addition to Hall & Oates, DeChant’s impressive credits include Mick Jagger, The Temptations, Tina Turner and Bonnie Raitt, among others. Shane Theriot handled lead guitar. He used to be musical director for the TV show Live from Daryl’s House. He has also recorded or performed with many other artists like The Neville Brothers, Dr. John, Sam Moore (of Sam & Dave) and Little Feat. The backing band also included a drummer, bassist, second keyboarder (in addition to guitar, Hall played keys as well) and a percussionist. Perhaps once the touring musicians are added to Hall & Oates’ official website, I’d be happy to name them. Yes, Daryl and John you can go for that, yes can do. Just tell your website guy to fix what was probably an oversight!

Setlist
1. Maneater
2. Out Of Touch
3. Adult Education
4. Method of Modern Love
5. Say It Isn’t So
6. One On One
7. You’ve Lost That Lovin’ Feelin’
8. (The Righteous Brothers cover)
9. She’s Gone
10. Sara Smile
11. Is It a Star
12. I Can’t Go for That (No Can Do)

Encore
13. Rich Girl
14. Kiss on My List
15. Private Eyes
16. You Make My Dreams

On a more cheerful note about the Hall & Oates website, it does list upcoming U.S. gigs, which include Reno, Nev. (Sep 12), Puyallyp, Wash. (Sep 14) and Charleston, S.C. (Sep. 19). The full schedule is here.

Sources: Wikipedia, setlist.fm, Minneapolis Star-Tribune, YouTube

Cordovas Release New Album That Santa Fe Channel

Harmony vocals and warm guitar-driven sound feel like trip back to late ’60s and early ’70s

Until a few weeks ago, I hadn’t heard of Cordovas. Then I saw the Americana rock band from East Nashville, Tenn. in a free summer concert in the park in Woodbridge, N.J. and immediately liked what I heard. Frankly, I’m still a bit in disbelief they played there in the first place but, hey, that’s how they got on my radar screen, so I’m not complaining! Today, they released what I understand is their second studio album, That Santa Fe Channel, and it’s a real beauty.

Listening to Cordovas feels a bit like taking a journey back in time to the late ’60s and early ’70s, a period in music I love. Sometimes, my dear wife tells me I grew up during the wrong decade – she may be right about it!:-) Anyway, Cordovas’ beautiful triple-stacked harmony vocals and guitar-driven sound remind me of bands like Crosby, Stills, Nash & Young, The Band, Grateful Dead, Eagles and Little Feat.

Billboard called Cordovas’ music a blend of Southern and California Americana. Rolling Stone, in a June 2017 feature titled 10 New Country Artists You Need To Know, described their sound as “decidedly American” and “caught halfway between Duane Allman’s Telecaster twang, the Dead’s hazy harmonies and the stoned swoon of California’s folk-rock heyday.”

I could never come up with such clever attributes, which is why I probably wouldn’t get far as a music journalist. But while I may be challenged to find the right buzz words, given my former band days as a bassist (admittedly many moons ago!) and close to four decades of listening experience, I feel confident enough to say that This Santa Fe Channel is great music, since I know it when I hear it! Of course, ultimately, it comes down to individual taste.

Cordovas
Cordovas (left to right): (left to right) Toby Weaver, Graham Spillman, Lucca Soria, Sevans Henderson and Joe Firstman

Led by bassist Joe Firstman, Cordovas have been around for some time. According to Billboard, the first album released under their name appeared in 2011 and essentially was a solo effort by Firstman. Firstman has a long history predating the band, which includes a 2002 solo debut album, War Of Women, and a stint as music director on Last Call with Carson Daly. “For this one [the new album] we had the idea to make it a band and go forward to do it,” he told Billboard. “I saw the weaknesses in that first (solo) process and I recognized that I felt like I was much stronger in the band, with guys that I really trust and are like-minded individuals. I wanted to build something that would last.”

The band’s current line-up, which also includes Toby Weaver (guitar, vocals), Lucca Soria (guitar, vocals), Sevans Henderson (keyboards) and Graham Spillman (drums), has been together for five years. Cordovas are exceptionally tight-knit. Not only are they band mates who tour prolifically, but they also live together in the same compound in East Nashville. “The Cordovas are a 24-hour, 7-days-a-week job,” explains Firstman on the band’s Facebook page. “We’re eating dinner together, hanging out together, and making art. We don’t have rehearsal times, because rehearsal is always. You have to honor the art first, and everything else comes second.” I think it’s fair to say these conditions wouldn’t work for most bands, so kudos to Cordovas for their extraordinary commitment. Time to let some music do the talking, or perhaps I should better say the writing!

Here’s the album’s opener This Town’s A Drag. This tune nicely sets the tone for the record: Great harmony singing and a warm sound blending electric and pedal steel guitar.

Selfish Loner is the longest track on the album, clocking in at just over four and a half minutes. Most tunes are only around three minutes or less. In fact, the nine songs on the album only total about 29 minutes altogether.

Here’s Frozen Rose, one of two tunes Cordovas had released as a single ahead of the album.

The last tune I’d like to highlight is Standin’ On The Porch, which in addition to country rock throws in some blues. I also dig the tune’s groove.

That Santa Fe Channel was produced by Kenneth Pattengale, a singer and guitarist in American indie folk duo The Milk Carton Kids. The album appears on ATO Records, an independent New York-based label founded in 2000 by Dave Matthews and manager Coran Capshaw. Among others, their roster includes Alabama Shakes.

Cordovas are currently where they appear to be most of the time – on the road. Their present U.S. schedule posted on their website goes until early October. Upcoming gigs include Chicago (Aug 16), Washington, D.C. (Aug 23), Fort Worth (Aug 30) and Cleveland (Sep 5). Earlier this year, the band toured in Europe.

Sources: Billboard, Rolling Stones, Cordovas Facebook page and website, ATO Records website, YouTube

Cordovas, Seductive Americana Rock From Nashville

Last year, Rolling Stone included them as one of “10 new country artists you need to know.” Now, Cordovas are about to release their studio debut on ATO Records

It’s simply amazing what kind of bands you sometimes encounter when going to free summer-concert-in-the-park events, at least in my neck of the woods. Until yesterday, I had never heard of Americana/country rock band Cordovas. Since it was a beautiful summer evening and – big shocker – I enjoy seeing live music, I decided to go to Parker Press Park in Woodbridge, N.J. I’m glad I did!

While this central Jersey town may not exactly be a metropolis, they surely have an impressive summer concert series. Between late June and mid-September, there are frequent concerts each day of the week except for Saturdays. Most days even have a dedicated theme: Mondays are oldies, on Tuesdays they have tribute bands, and on Fridays it’s jazz. As the “king of tribute bands,” my eyes lightened up when I saw their Tuesday theme, so chances are I’ll be back! Anyway, Wednesdays appear to be reserved for artists playing original music. And last night, it was Cordovas.

So who the hell are Cordovas? A five-piece band hailing from Nashville, Tenn. While it’s not entirely clear to me when they were founded, these guys definitely are no beginners, and this isn’t their first trip to the rodeo! Pictured above, the band’s members include (left to right) Toby Weaver (guitar, vocals), Graham Spillman (drums), Lucca Soria (guitar, vocals), Sevans Henderson (keyboards) and Joe Firstman (bass, vocals).

Cordovas’ music features impressive triple harmony vocals and nice double-lead guitar lines. When Rolling Stone described them in the above story, they dropped names like Grateful Dead, Little Feat and The Allman Brothers Band. I could definitely hear some influences from all of these mighty bands last night. Some others that come to mind are CSNY, The Band and early-phase Eagles.

The band’s set included a mix of covers and original tunes. Following is a clip I recorded – frankly, not sure whether that’s one of their own compositions or a cover. In any case, it gives you a nice flavor of the band’s style.

Here’s a second clip featuring the two guitarists performing a nice version of Robert Johnson’s Sweet Home Chicago, while the rest of the band took a short break. Blues just never gets boring!

According to a May 6 announcement, Cordovas are set for their debut album on ATO Records for August 10. Based on the band’s website, this record doesn’t appear to be their first. The merchandise section lists their eponymous album on vinyl, adding it is out of stock. One can still get it on Amazon. Apparently, it’s from 2017 and weirdly listed as an import.

Anyway, speaking of the new album, two tunes already are out. Here’s a clip of opener This Town’s A Drag – more great harmony singing and a great Telecaster twang!

And here’s the second track: Frozen Rose. Does this sound great or what?!

I’ll be surely to keep Cordovas on my radar screen. BTW, the band has a busy performance schedule. They just returned to the U.S. from a European tour that had started in early June. Between now and the end of September, they have some 20 domestic dates lined up at what appear to be smaller venues. Some of their upcoming gigs are in Boston (Jul 20), New York (Jul 30), Chicago (Aug 16), Washington (Aug 23) and Cleveland (Sep 5). Frankly, while I never mind a free show, I’d pay money to see these guys!

Sources: Cordovas Facebook page and official website, Rolling Stone, YouTube

What I’ve Been Listening To: Little Feat/Waiting For Columbus

Band’s 1978 double LP is one of the best live gems

Little Feat is one of the many bands whose names I’ve known for a long time but for some reason never got around to listen to. When I recently asked a dear friend who is also a huge fan of the band which album he’d recommend to start me off, he half-jokingly said all of them. Then he noted some box set. But he quickly realized none of these recommendations would be, well, exactly a little feat, for a guy with a family and a full-time job, so he mentioned Waiting For Columbus. Let’s just say, he has a pretty good idea what makes me tick!

I’ve now listened to this album for a few times and pretty much dig it from the first to the last bar. The caliber of the musicians around co-founder, songwriter, lead vocalist and guitarist Lowell George is simply outstanding. Together with the fantastic backing horn section Tower Of Power, this double LP from February 1978 truly makes for a compelling listening experience. In fact, I would go as far as calling it one of the very best live albums I’ve come across to date, and for what it’s worth, I’ve definitely listened to many over last 40 years.

With that being said, it’s hard to decide where to even start. How about the beginning? The album, which captures recordings from seven different shows that took place in London and Washington, D.C. in August 1977, kicks off with a nice short acappella version of Join The Band, a traditional, followed by Fat Man In The Bathtub. Written by George, like the majority of the band’s tunes until his death in June 1979, the song is from their third studio album Dixie Chicken.

All That You Dream is a track from The Last Record Album, the band’s fifth studio release from November 1975. It is one of the few tunes that doesn’t include George in the writing credits. Instead, it was created by Paul Barrere, who joined Little Feat in 1972 as a guitarist, and band co-founder and keyboarder Bill Payne. With a nice funky groove driven by a cool guitar riff and strong harmony vocals, it’s got the key ingredients that make for a great tune.

Oh Atlanta is from Little Feat’s fourth studio album Feats Don’t Fail Me Now, released in August 1974. The song was written by Payne, who also sang lead. I guess this explains the cool honky tonk style piano that draws you in immediately, along with the nice harmony vocals and a groove that makes you move – my kind of music!

Dixie Chicken is the title track from Little Feat’s aforementioned 1973 album. Wikipedia and AllMusic call this record the band’s signature release. While I haven’t listened enough to their music to make such a definitive statement, I know good music when I hear it, and this track definitely makes my list! It was co-written by George and Martin Kibbee (credited as Fred Martin), a collaborator with whom George initially had played in a garage punk band after high school, according to American Songwriter. Like other tunes on Waiting For Columbus, this is an extended version – again, it’s the honky tonk piano I love and the horns, which give the song a nice New Orleans feel.

Rocket In My Pocket is another I tune I’d like to call out, though I find it really hard to choose one track over the other. Also composed by George, the song is from Little Feat’s sixth studio record Time Loves A Hero, which came out in May 1977. If I see this correctly, it’s the band’s last studio album that was released during George’s lifetime.

Spanish Moon is another track from Feats Don’t Fail Me Now. To me it’s again the groove that stands out on this George tune. I love the intro with the conga and the bass, and how the track picks up from there. The horn accents give it a seductive soul touch – just awesome!

Willin’ appears on Little Feat’s second studio album Sailin’ Shoes, released in May 1972. According to Wikipedia, it’s a reworked version of a song George had written that made Frank Zappa fire him from The Mothers Of Invention in May 1969. However, there is some dispute about the exact circumstances. George had joined Zappa’s backing band in November 1968 as rhythm guitarist and vocalist.

As I noted above, I could easily go on forever about this record, but as George Harrison once wisely sang, “all things must pass.” The last track I’d like to highlight is another co-write by George and Martin called Rock & Roll Doctor, the opener from Feats Don’t Fail Me Now. 

In addition to George, Barrere and Payne, Little Feat’s line-up at the time of Waiting For Columbus included Sam Clayton (congas, vocals), Kenny Gradney (bass) and Richard Hayward (drums, vocals). There were also two prominent guests: Ace guitarist Mick Taylor (yep, that Mick Taylor from John Mayall’s Bluesbreakers and The Rolling Stones!) played lead and slide guitar on A Apolitical Blues. Doobie Brothers vocalists Michael McDonald and Patrick Simmons provided backing vocals on Red Streamliner. The Tower Of Power horn section included Emilio Castillo (tenor saxophone), Greg Adams (trumpet), Lenny Pickett (alto and tenor saxophone, clarinet on Dixie Chicken), Stephen “Doc” Kupka (baritone saxophone) and Mic Gillette (trombone, trumpet).

In April 2015, Rolling Stone ranked Waiting For Columbus at no. 49 on their list of 50 Greatest Live Albums Of All Time. While I may have rated this recorded higher, it certainly is in mighty company with other artists and records like James Brown (Live At The Apollo, 1963; no. 1), The Allman Brothers Band (At Fillmore East, 1971; no. 2), The Who (Live At Leeds, 1970; no. 4), The Rolling Stones (Get Ya Ya-Ya’s Out, 1970; no. 17), Jimi Hendrix (Jimi Plays Monterey, 1986; no. 18), Bruce Springsteen & The E Street Band (Live/1975-85, 1986; no. 20), Bob Seger & the Silver Bullet Band (Live Bullet, 1976; no. 26) and U2 (Under A Bloody Red Sky, 1983; no. 44), to name some.

Following George’s death and the release of the band’s seventh studio album Down On The Farm in November 1979, Little Feat called it quits. In 1987, the band’s surviving members Barrere, Clayton, Gradney, Hayward and Payne reunited, and added songwriter, vocalist and guitarist Craig Fuller and Fred Tackett (guitar, mandolin, trumpet) to the line-up. Little Feat has since released nine additional studio records, as well as various live and compilation albums. They remain active to this day, with Barrere, Clayton, Payne and Tackett still being part of the mix. Their official website lists multiple shows for this year, mostly featuring different members of the band.

Sources: Wikipedia, AllMusic, American Songwriter, Rolling Stone, Little Feat official website, YouTube