What I’ve Been Listening to: Little Feat/Dixie Chicken

In March 2018, I listened to Waiting For Columbus by Little Feat after a dear longtime friend from Germany had highly recommended this great live album from 1978. I also wrote about it at the time. Then, as oftentimes happens, before I knew it, I was on to other music avenues, and the band fell off my radar screen again. Luckily, my streaming music provider served up the song Dixie Chicken as part of a playlist the other day. The title track of Little Feat’s third studio album from January 1973 prompted me to take a closer look at the record. It didn’t take long to realize that Dixie Chicken is a true gem.

Before I get to some music, I like to provide a bit of background on the group. Little Feat were formed in 1969 in Los Angeles by singer-songwriter, lead vocalist and guitarist Lowell George and pianist Bill Payne, together with Roy Estrada (bass) and Richie Hayward (drums). George and Estrada had played together in The Mothers of Invention.

Little Feat in 1975 (from left): Kenney Gradney, Bill Payne, Sam Clayton, Lowell George, Paul Barrere & Richie Hayward

While Frank Zappa was instrumental in the formation of Little Feat and getting them a recording contract, the details are disputed. One version is that Zappa encouraged George to form his own group after he had listened to George’s song Willin’. A second version is that Zappa who was strongly opposed to drugs fired George from the Mothers after he noticed some references to drugs in the lyrics of Willin’. The third version is the weirdest: Zappa kicked out George after George had played a 15-minute guitar solo with his amplifier off!

Whatever the true circumstances were, Little Feat signed a deal with Warner Bros. Records and soon thereafter started recording their eponymous debut album, which appeared in January 1971. By the time Little Feat went into the studio to make Dixie Chicken, the group had become a six-piece. Estrada had been replaced by Kenney Gradney on bass, and the band had added Paul Barrere (guitar, vocals) and Sam Clayton (congas). Among additional guest musicians were Bonnie Bramlett, of Delaney & Bonnie fame; Danny Hutton, vocalist in Three Dog Night; and Bonnie Raitt, who each provided backing vocals.

On to some music. Here’s the album’s opener and title track, which is widely viewed as the band’s signature song. Dixie Chicken was co-written by George, who had established himself as Little Feat’s frontman, producer and main songwriter, and Martin Kibbee, who according to Songfacts was credited as Fred Martin. Bramlett supported Lowell on lead vocals. Love the New Orleans vibe this tune has!

Two Trains, another George composition, is a nice groovy track. I dig the guitar work and the great singing. Check out the mighty group of backing vocalists: Bramlett, Raitt, Daring Dan Hutton, Debbie Lindsey and Gloria Jones.

Another tune on side one (in vinyl speak) is a great cover of On Your Way Down, a song by influential R&B New Orleans artist Allen Toussaint. It first appeared on his 1972 studio album Life, Love and Faith.

On to side two and Walkin’ All Night. Co-written by Barrere and Payne, it’s one of only three tracks on the album that were not penned by George. It’s got a bit of a Stones vibe. Of course, that’s also true for many of the other tunes on the record.

Fat Man in the Bathtub (gotta love that title!) was also written by George. Not much more that I can say here other than it’s yet another gem on an album that’s packed with great music.

Let’s do one more. Here’s Juliette, yet another song written by George.

Dixie Chicken is viewed as Little Feat’s landmark album that defined their sound, a tasty gumbo of southern rock, roots rock, blues rock, New Orleans R&B and swamp rock. Just like the band’s first two records, Dixie Chicken missed the charts, though it did reach Gold certification. This just goes to show that chart positions and sales certifications don’t necessarily capture an album’s greatness.

Following George’s death in late June 1979 from a cocaine overdose-induced heart attack at the age of 34 and the release of Little Feat’s seventh studio album Down On The Farm in November that year, the band called it quits. In 1987, surviving members Barrere, Clayton, Gradney, Hayward and Payne revived Little Feat, and added songwriter, vocalist and guitarist Craig Fuller and Fred Tackett (guitar, mandolin, trumpet) to the line-up.

Between 1988 and 2012, Little Feat released nine additional albums. Barrere passed away from cancer in October 2019. He was 71. The group remains active to this day, with Clayton, Gradney, Tackett and founding member Payne being part of the current line-up. According to Little Feat’s official website, they have scheduled a series of U.S. dates starting November 11 in Port Chester, N.Y. Also, if you feel like catching them in Jamaica, together with Nitty Gritty Dirt Band, Larry Campbell and Teresa Williams and Band, Tommy Emmanuel and Jack Broadbent, and have the time, not to mention the necessary dollars to go on a music adventure, you can do so from January 30 – February 5, 2022 at Featcamp.

Sources: Wikipedia; Songfacts; Little Feat website; YouTube

The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another installment of The Sunday Six, my weekly recurring feature where I stretch out across different genres and different decades to celebrate music I dig, six tracks at a time. This edition features blue-eyed soul/R&B, Americana rock and Stax soul, bookended by two beautiful guitar-driven instrumentals. It touches the ’60s, ’70s, ’80s, ’90s and 2021.

Marisa Anderson & William Tyler/Hurricane Light

Kicking off this post is beautiful instrumental music by Portland, Ore.-based guitarist and composer Marisa Anderson. From her website: Marisa Anderson channels the history of the guitar and stretches the boundaries of tradition. Her deeply original work applies elements of minimalism, electronic music, drone and 20th century classical music to compositions based on blues, jazz, gospel and country music, re-imagining the landscape of American music…Classically trained, she honed her skills playing in country, jazz and circus bands. Originally from Northern California, Anderson dropped out of college at age nineteen to walk across the US and after more than decade of wandering landed in Portland, Oregon, where she currently lives. Hurricane Light is a track from Anderson’s new album, Lost Futures, which appeared on August 27 and which she recorded together with William Tyler, a fellow guitarist from Nashville, Tenn. I find this music super relaxing. It’s got a cinematic feel to it, which perhaps isn’t surprising. Anderson’s website also notes she writes scores for short films and soundtracks.

Boz Scaggs/Lowdown

Let’s jump back 45 years to a very cool tune by Boz Scaggs. Lowdown, which features a seductive funky bassline and is smooth at the same time, is from Scaggs’ seventh studio album Silk Degrees released in February 1976. Co-written by Scaggs and then-future Toto co-founder David Paich, the song also became the highest-charting single off the album, climbing to no. 3 in the U.S. on the Billboard Hot 100. In Canada, it peaked at no. 2. It also charted in the UK and Australia. BTW, that neat bassline was played by David Hungate, another soon-to-become original member of Toto. And there was a third musician who would join Paich and Hungate to form Toto the following year, together with Steve Lukather and Bobby Kimball: drummer Jeff Porcaro. Scaggs started his career in 1959 in high school as vocalist in Steve Miller’s first band The Marksmen. The two musicians continued to play together in a few other groups, including Steve Miller Band. After staying with them for the first two albums, Scaggs secured a recording deal for himself and focused on his solo career. He is still active and has released 19 solo albums to date, the most recent of which, Out of the Blues, appeared in July 2018.

Steve Earle & The Dukes/I Ain’t Ever Satisfied

When my streaming music provider served up I Ain’t Ever Satisfied the other day, I was immediately hooked. I’ve listened to some of Steve Earle’s catalog, but there is a lot left for me to explore. I Ain’t Ever Satisfied, written by Earle, appeared on his sophomore album Exit 0 from May 1987, which he recorded together with his backing band The Dukes. The album placed in the U.S. and Canadian mainstream charts at no. 90 and no. 36, respectively, and earned Earle two 1988 Grammy nominations for Best Male Country Vocalist and Best Country Song. Earle has released 21 studio albums to date, including collaborations with Del McCoury Band and Shawn Colvin. His most recent album J.T., a tribute to his oldest son Justin Townes Earle who passed away from a drug overdose in August 2020, was released in early January this year. I previously reviewed it here.

Son Volt/Driving the View

Alternative country and Americana rock band Son Volt are a recent discovery for me. They entered my radar screen with their latest album Electro Melodier, which came out at the end of July. I featured a tune from it in a previous Best of What’s New installment. The group around singer-songwriter and guitarist Jay Farrar was formed by him in 1994 after the breakup of Uncle Tupelo, another alt. country outfit he had co-founded in 1987. Son Volt’s studio debut Trace appeared in September 1995. To date, the band has released 10 albums. In addition to Farrar, the current members include Chris Frame (guitar), Mark Spencer (keyboards, steel guitar),  Andrew DuPlantis (bass) and Mark Patterson (drums). Here’s Driving the View, a great track from Son Volt’s third studio album Wide Swing Tremolo that appeared in October 1998.

Wilson Pickett/In the Midnight Hour

Next we’re going back to 1965 and Memphis, Tenn. for some sweet soul music recorded at the Stax studio. By the time Atlantic recording artist Wilson Pickett recorded In the Midnight Hour, Stax founder Jim Stewart had signed a formal national distribution deal with Atlantic Records, a contract that would come to haunt him when Atlantic Records was sold to Warner Bros.-Seven Arts in 1967 and Stax would lose the rights to all Atlantic-distributed recordings between 1960 and 1967. Coming back to a happier subject, In the Midnight Hour was co-written by Pickett and guitarist Steve Cropper, a founding member of Stax house band Booker T. & the M.G.s, who also was the label’s A&R man. M.G.s members Al Jackson Jr. (drums) and Donald “Duck” Dunn (bass) participated in the recording session. In the Midnight Hour, which appeared in June 1965, also was the title track of Pickett’s sophomore album released the same year. The tune became Pickett’s first no. 1 on Billboard’s R&B singles chart and his highest charting song at the time on the mainstream Billboard Hot 100, where it reached no. 21. Just a timeless soul classic!

Robben Ford/A Dragon Tail

For the last track in this installment, we’re going back to the present time and a killer instrumental by guitarist extraordinaire Robben Ford, off his new album Pure that came out on August 27. Ford, who began playing the saxophone at age 10 before he discovered the guitar as a 13-year-old, has had a remarkable career. He has collaborated with Miles Davis, Joni Mitchell, George Harrison, Charlie Musselwhite, Larry Carlton and Little Feat, among many others. His solo debut Schizophonic, a jazz album, came out in 1976. Ford has since released close to 30 additional records under his name. This doesn’t include any of his collaboration albums. While primarily being associated with blues, Ford has played many other genres, including jazz, rock and funk. He has been nominated for five Grammys and was named one of the “100 Greatest Guitarists of the 20th Century” by trade publication Musician magazine that folded in 1999. Here’s A Dragon Tail from Ford’s above mentioned new album. Check out this amazing sound!

Sources: Wikipedia; Marissa Anderson website; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Hope everybody is enjoying their weekend. It’s another Sunday, which means it’s time again for what has become my favorite recurring feature of the blog. The Sunday Six is where I feel I can stretch out, featuring all types of music from different decades. This new installment illustrates my point. It includes genres like instrumental pop, jazz pop, roots rock, country rock and blues rock, and touches on the ’60s, ’70s, ’80s, ’90s and 2010s. Are you ready to embark on a little music journey?

Santana/Europa (Earth’s Cry Heaven’s Smile)

Let’s get in the mood with a beautiful instrumental by Carlos Santana. He may not be the most sophisticated guitarist from a strictly technical standpoint, but his tone is just unbelievable. I know of no other guitarist who sounds like Santana, and that’s what ultimately matters, not whether you’re a fretboard acrobat. While I generally most love his classic period that spans his first three albums, the tune I picked for this post, Europa (Earth’s Cry Heaven’s Smile), is from Moonflower released in October 1977. The double album features both studio and live tracks. She’s Not There, a nice cover of a song originally recorded by The Zombies in the mid-’60s, became a top 30 hit single for Santana. Europa, co-written by Carlos Santana and Tom Coster, first appeared on the March 1976 studio record Amigos. I’m more familiar with Moonflower, so I’m going with the live version here. Listen to this majestic guitar sound – so good!

Gino Vannelli/Brother to Brother

I don’t recall seeing any posts by my fellow bloggers about Gino Vannelli. While the Canadian singer-songwriter has been around as a recording artist since 1973, I suspect he may not necessarily be a household name. That being said, I assume most folks have heard some of his hits, such as the ballads I Just Wanna Stop (1978) and Living Inside Myself (1981), as well as the pop rock tunes Black Cars (1984) and Wild Horses (1987). Vannelli remains active to this day and has released 17 studio records, three live albums and one greatest hits compilation, according to Wikipedia. Brother to Brother is the amazing title track of his sixth studio album that came out in September 1978. While I Just Wanna Stop became the big hit off that album, the jazz-oriented Brother to Brother is far better. Written by Vannelli, the tune reaches the sophistication of Steely Dan’s Aja album, in my humble opinion. If you haven’t listened to this track before and like the Dan, check it out. You might be surprised!

Bonnie Raitt/Love Letter

Those who are familiar with my music taste may wonder what took me so long to feature Bonnie Raitt, one of favorite artists, in The Sunday Six. I don’t really have a good answer other than ‘better late than never!’ My long-time music buddy from Germany introduced me to Raitt in the late ’80s. I guess it must have been her 10th studio album Nick of Time, which to me remains a true gem to this day. While Raitt mostly relies on other songwriters, I love her renditions and her cool slide guitar playing. She also strikes me as no B.S., which is certainly not a very common quality in the oftentimes ego-driven music business. Nick of Time is perhaps best known for the single Thing Called Love, though according to Wikipedia, its chart success was moderate. The John Hiatt tune reached no. 86 on the UK Singles Chart and missed the mainstream chart in the U.S. altogether – though it did climb to no. 11 on Billboard’s Mainstream Rock chart. My pick from the album is Love Letter, written by another Bonnie, American singer-songwriter Bonnie Hayes. I simply love everything about this tune – the groove, the singing and Raitt’s sweet slide guitar sound.

John Mellencamp/Under the Boardwalk

John Mellencamp is another artist I’ve listened to for many years. If I recall it correctly, it was his eighth studio album Scarecrow released in August 1985 with tunes like Small Town and R.O.C.K. in the U.S.A. that started my long and ongoing journey exploring the music by the heartland and roots rocker from Seymour, Ind. Sure, I could have selected a track from that album. Or from the excellent successor The Lonesome Jubilee from August 1987, which remains among my all-time favorite Mellencamp records. Instead, I decided to highlight an album that isn’t as well known but still great, in my view: Rough Harvest. Released in August 1999 (that month appears to be a favorite for his records!), the album features a collection of alternate, roots-oriented versions of Mellencamp originals and covers. Under the Boardwalk, of course, falls into the latter category. The first version of the song I ever heard was the great rendition by The Rolling Stones. Co-written by Kenny Young and Arthur Resnick, it was first recorded by The Drifters in 1964 and became a no. 4 U.S. hit for the American doo-wop, R&B and soul vocal group. I think Mellencamp’s rootsy version takes the tune to a new level – just love it!

Cordovas/This Town’s a Drag

If you’ve followed my blog for some time, the name Cordovas may sound familiar; or perhaps you’ve heard otherwise of this Americana and country rock band from East Nashville, Tenn. They first entered my radar screen in the summer of 2018 when I caught them during a free concert in a park not far from my house. The group’s multi-part harmony singing proved to be an immediate attraction. So was their sound that reminds me of bands like Crosby, Stills, Nash & YoungThe BandGrateful DeadEagles and Little Feat. Led by bassist Joe Firstman, Cordovas have been around for more than 10 years. This Town’s a Drag is the opener of That Santa Fe Channel, the band’s third studio album from August 2018, which I previously reviewed here. Check out that beautiful warm sound!

Jimi Hendrix/Voodoo Child (Slight Return)

I guess the time has come again to wrap up another Sunday Six installment. Let’s make it count with a smoking rocker by Jimi Hendrix who I trust needs no introduction. Voodoo Child (Slight Return) is the fiery closer of Electric Ladyland, the third and final album by the Jimi Hendrix Experience, released in October 1968. Like most other tracks on this double album, the tune was written by Hendrix. The clip is taken from Live in Maui, one of the many post-mortem releases from the Hendrix archives. It captures an outdoor performance by the Jimi Hendrix Experience on July 30, 1970 on the Hawaiian island, only six weeks prior to Jimi’s untimely death on September 18 that year. Unlike Electric Ladyland, the band’s line-up during the gig featured Billy Cox on bass instead of Noel Redding. Mitch Mitchell was on drums, just like on the studio album. The 2-CD and 3-LP set came out on November 20, 2020, along with a video documentary titled Music, Money, Madness … Jimi Hendrix in Maui. It has received mixed reviews due to less than ideal recording conditions. I still think it’s cool to actually watch Hendrix in action rather than just listening to his blistering performance.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

It’s Sunday morning again, which means yet another week has flown by. But here in the U.S. it also brings us one week closer to the start of daylight savings time and another step toward spring – take this, winter! I’m also really happy how this latest installment of The Sunday Six came out. With smooth saxophone jazz, electric guitar-driven roots rock, pop, soul and some kickass rock, I think it’s another selection illustrating great music comes in many flavors.

Grover Washington Jr./Take Me There

I’d like to kick off the set with some beautiful smooth saxophone playing by Grover Washington Jr. with a tune from his 11th album Winelight released in 1980. When I listened to the record for the first time, which I believe was shortly after it had come out, I feel in love with the music right away. Hard core jazz fans may dismiss it as too pop-oriented. To me as an infrequent listener of jazz, I find it very accessible. More importantly, I really dig Washington Jr.’s smooth tone. Winelight, his highest charting album in the U.S. on the Billboard 200 (no. 5), became best known for Just the Two of Us, featuring the amazing Bill Withers on vocals. Take Me There was written by Washington Jr., who released 24 albums over a nearly 30-year recording career. His 25th and final record Aria appeared in March 2000 after his untimely death in December 1999 from a massive heart attack at age 56. What a loss!

Mark Knopfler/The Fizzy and the Still

Let’s do some more relaxing music. How about some magic Stratocaster played by maestro Mark Knopfler? The Fizzy and the Still is from his fifth solo album Kill to Get Crimson released in September 2007. I’ve always been a fan of Knopfler’s melodic guitar-playing ever since I listened to Dire Straits’ eponymous debut from October 1978. Like on all except one of his solo albums, Knopfler’s backing musicians included multi-instrumentalist Guy Fletcher, who had served as keyboarder in Dire Straits from 1984 until the band’s dissolution in 1995.

Cindy Lauper/Time After Time

Yep, this is an ’80s pop song. I dug Time After Time from the very first moment I heard it on the radio when it came out in 1984. Unlike many other ’80s tunes I also liked back then, this one holds up well to me. Time After Time was co-written by Cindy Lauper and Bob Hyman who is best known to be among the founding members of American rock band The Hooters (there’s another blast from the past!). The tune appeared on Lauper’s October 1983 debut album aptly titled She’s So Unusual. And what a start it was! Fueled by multiple hit singles, which in addition to Time After Time included Girls Just Want to Have Fun, She Bop and All Through the Night, She’s So Unusual became Lauper’s best-selling album. It also topped the charts in Canada, and made the top 10 in the U.S. (no. 4), Austria (no.5), Switzerland (no. 8), Australia (no. 5) and Japan (no. 5). Since then, Lauper has released 10 additional studio albums, various compilations and Broadway cast album Kinky Boots (2013), which was produced by Lauper who also wrote the songs. Now 67, Lauper remains active to this day.

The Rolling Stones/Hitch Hike

Let’s kick up the speed by a notch with a great cover by the The Rolling Stones: Hitch Hike. Originally, this tune was recorded and first released as a single in December 1962 by Marvin Gaye, who also co-wrote it with Clarence Paul and producer William “Mickey” Stevenson. Hitch Hike was also included on Gaye’s second studio album That Stubborn Kinda Fellow from January 1963. The Stones recorded the song for their fourth U.S. and third UK studio album Out of Our Heads released in July and September 1965, respectively. It was one of six tracks that appeared on both versions of the album.

Little Feat/Teenage Nervous Breakdown

The Stones may be the greatest rock & roll band in the world, but that doesn’t mean other groups can’t match them. Here’s the fun Teenage Nervous Breakdown by Little Feat. Penned by the band’s primary original guitarist, vocalist and songwriter Lowell George, the tune is from Little Feat’s sophomore album Sailin’ Shoes that came out in May 1972. Sadly, George died from a heart attack in June 1979 shortly after he had declared Little Feat would disband. The group reformed in 1987 and has since continued with different lineups. Vocalist and keyboarder Bill Payne remains as the only founding member in the current formation. To date, Little Feat have released 12 studio albums, as well as numerous live records and compilations. One of my favorites I feel like revisiting is Waiting for Columbus, which I previously reviewed here. For now, let’s have some fun with Teenage Nervous Breakdown. Tell me this doesn’t rock!

Queen/Tie Your Mother Down

And that we’re on this accelerating rock & roll train, let’s wrap things up with yet another rock gem in my book: Tie Your Mother Down by Queen. But before getting to it, I need to credit Angie Moon from The Diversity of Classic Rock blog, who brought the tune back on my radar screen with her recent post about Queen. Written by guitarist and astrophysicist Brian May CBE, Tie Your Mother Down first appeared on Queen’s fifth studio album A Day at the Races that came out in December 1976. It was also released separately as the album’s second single in March 1977. I just can’t get enough of that main guitar riff – Status Quo simple, to borrow from Angie who also compared it to Rory Gallagher, but so good!

Sources: Wikipedia; YouTube

Americana Rockers Cordovas Release New Single and Announce New Album

Cordovas recently released High Feeling, the first song from their new album Destiny Hotel that’s slated for October 16. The Americana and country rock band from East Nashville, Tenn. first entered my radar screen two years ago, when I caught them during a free outdoor summer concert close to my house. The group’s multi-part harmony singing got my immediate attention. Together with their guitar-driven sound, they remind me of bands like Crosby, Stills, Nash & YoungThe BandGrateful DeadEagles and Little Feat.

“We just wanted to write something true and easy,” bassist and vocalist Joe Firstman told Rolling Stone about the new single that appeared on August 5. “That was the vibe from the very beginning,” added Firstman, a singer-songwriter, who founded Cordovas in 2011, following a six-year stint as bandleader for NBC late-night show Last Call with Carson Daly. The band’s other current core members include include Toby Weaver (guitar, vocals), Lucca Soria (guitar, vocals) and Sevans Henderson (keyboards).

Cordovas (from left): Lucca Soria, Sevans Henderson, Joe Firstman and Toby Weaver

Recorded in Los Angeles and produced by Rick Parker, Destiny Hotel is the third full-length album by Cordovas, following their first label release That Santa Fe Channel from August 2018, which I previously reviewed here. Rolling Stone also calls out contributions from Black Pumas. I included the psychedelic soul band from Austin, Texas in a recent installment of my Best of What’s New feature. The group’s Adrian Quesada  provided additional production, guitar, and mixing work for High Feeling, which also features backing vocals by Angela Miller and Lauren Cervantes, who are both touring members of Black Pumas.

According to Cordovaswebsite, Destiny Hotel is a work of wild poetry and wide-eyed abandon, set to a glorious collision of folk and country and groove-heavy rock-and-roll…[The album] expands on the harmony-soaked roots rock of Cordovas’ ATO Records debut That Santa Fe Channel, a 2018 release that earned abundant praise from outlets like Rolling Stone and NPR Music. While the statement certainly doesn’t lack confidence, I think the record’s first single lives up to it, and I look forward to listening to the entire album.

Sources: Wikipedia; Rolling Stone; Cordovas website; Discogs; YouTube

LeRoux’s First New Album in 18 Years Serves Tasty Gumbo of Blues, Southern Rock and Zydeco

Until Friday, I had never heard of LeRoux, aka Louisiana’s LeRoux. Then I came across their great song Lucy Anna and featured it in my latest Best of What’s New installment. The tune, which has a nice Little Feat vibe, is from the Baton Rouge-based group’s new album One of Those Days. Earlier today, I found myself in the car and spontaneously decided to listen into the album. All it really took to realize I’m going to dig this music were the first minute or two of the opener and title track – sometimes you just know right away!

Released on July 24, One of Those Days is LeRoux’s first new album in 18 years since 2002’s Higher Up. Prior to that, five of their six earlier records came out between 1978 and 1983. What evidently were the band’s most active years coincided with the period that lasted until their first breakup in 1984 after they had been dropped by their label RCA. However, they already regrouped in 1985. As explained on their website, the band took their name from “the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo,” a rich, thick soup with meat or shellfish and vegetables that’s popular in Louisiana.

LeRoux (from left): Front: Tony Haselden (vocals, guitars) and Jim Odom (guitars); Back: Randy Carpenter (drums), Joey Decker (bass, backing vocals), Jeff McCarty (vocals), Mark Duthu (percussion), Nelson Blanchard (keyboards, vocals) and Rod Roddy (vocals, keyboards)

It doesn’t look like LeRoux ever had a significant national breakthrough, at least not based on chart performance. Their most successful single, which somewhat ironically was titled Nobody Said It Was Easy (Lookin’ For The Lights), peaked at no. 18 on the U.S. Billboard Hot 100 – to be clear, I’m not saying this makes them a bad band. After all, I wouldn’t be writing about them if I thought they suck. I’m simply stating some facts.

As you would expect from a group that has been around for more than 40 years, LeRoux have seen many changes in their line-up. Apparently, two of the co-founding members, Tony Haselden (vocals, guitars) and Rod Roddy (vocals, keyboards), are still around. The current line-up also features Jim Odom (guitars), Nelson Blanchard (keyboards, vocals), Mark Duthu (percussion), Randy Carpenter (drums), Jeff McCarty (vocals) and Joey Decker (bass, backing vocals). Except for Decker who joined in 2014, most of the other members have been with the band for at least 10 years.

Let’s get to some music. A great place to start is the aforementioned opener and title track co-written by Odom and Haselden. Here’s the official video. I just love the warm sound, the guitars and keyboard work. I can hear some Allman Brothers and some Doobies in here. What a great tune! Why aren’t these guys better known, or is it just my ignorance?

No One’s Gonna Love Me (Like The Way You Do) is another great tune. It was written by Dustin Ransom, who per Wikipedia is a Nashville-based multi-instrumentalist, producer, vocalist, arranger, music transcriber and film composer – jeez, I guess they forgot to add over-achiever! And, oh, yeah, he’s 33 years old. Man, check out these harmonies and tell me this doesn’t sound friggin’ awesome!

Next up: Don’t Rescue Me, another Odom-Haselden co-write. This one reminds me a bit of Lynyrd Skynyrd. No matter what influence may be in there, it’s just a solid tune – love that opening guitar riff, and there’s more great harmony singing!

On After All, LeRoux are slowing it down a bit. Coz you gotta take a break from going full throttle every now and then after all! 🙂 The tune was co-written by Randy Sharp and Donald Anderson. According to Wikipedia, over the past 40 years, Sharp’s songs have been performed by the likes of Linda Ronstadt, Blood Sweat and Tears, Edgar Winter and Emmylou Harris.

Here’s one more: Lifeline (Redux), a groovy rocker co-written by Odom, Haselden and McCarty. Apparently, it’s a new version of a tune the band initially recorded for their fifth studio album So Fired Up from 1983, the last release prior their first breakup.

“It’s the best combination of LeRoux’s musical palette and represents the abilities of the band better than any album we’ve probably ever done,” Haselden notes in a statement on the band’s website. “It covers a wide spectrum of blues, southern rock, and zydeco.” Now you know from where I got the inspiration for the post’s headline!

I can’t speak to other LeRoux records, but what I do know is One of Those Days is a great-sounding album I’m very happy I found. Last but not least, I should also mention some notable guests: Blues guitarist Tab Benoit; original Toto vocalist Bobby Kimball; and Bill Champlin, former longtime keyboarder and guitarist of Chicago.

Sources: Wikipedia; LeRoux website; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Best of What’s New is hitting a bit of a milestone this week with its 20th installment. When I started 20 weeks ago, I didn’t expect the feature would become a weekly series. The fact it has turned into that tells me there’s more decent new music out there than I had previously realized. I also recognize my favorite decades in music, the ’60s and ’70s, are gone and won’t come back; still, at a time when the charts are dominated by music that feels largely generic and soulless to me, it’s reassuring to see not all new music is created equal.

I’m also happy about this latest installment, which among others features a psychedelic prog rock band from Norway. How many bands do you know from Norway? And how many of them play psychedelic prog rock? Or how about a multi-national pop prog rock (gee, try saying that quickly!) outfit from Belgium, the UK and the U.S.? Also, were you aware that in March The Boomtown Rats released their first new album in 36 years? But wait, there’s more. All you need to do to find out is to read on… 🙂

LeRoux/Lucy Anna

LeRoux, aka, Louisiana’s LeRoux, are a band from Baton Rouge, La., which have been around for some 45 years. From their website: Their 1978 Capitol press release read, “LeRoux takes its name from the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo.”  LeRoux’s eponymous first album was a musical gumbo that blended various instruments and music arrangements into a spicy, mouth-watering southern rock sound. In fact, their Southern anthem ‘New Orleans Ladies’, voted Song of the Century by Gambit Magazine, simmered with the laid-back feel of the “Big Easy,” evoking images of Bourbon Street and the bayou…Over the years, LeRoux enjoyed performing with many of classic rocks’ greatest bands including The Allman Brothers, Wet Willie, Journey, Kansas, Heart, The Doobie Brothers, Charlie Daniels, Foreigner, Marshall Tucker, The Outlaws, ZZ Top and many, many more…LeRoux was inducted into the Louisiana Music Hall of Fame as their 50th inductee. Lucy Anna, co-written by Richard Ferreira and Solomon Paul Marshall, reminds me a bit of Little Feat. The song is from the band’s most recent, eighth studio album One of Those Days, released on July 24 – their first new album in 18 years. I really dig the harmony singing and warm sound. Check it out!

Nick D’Virgilio/In My Bones

Nick D’Virgilio is a session multi-instrumentalist, who according to Wikipedia is best known as the (studio) drummer of American progressive rock group Spock’s Beard, and is a member of Big Big Train, an English prog rock band – admittedly I had not heard of both outfits before, but my exposure to prog rock has been limited. Moreover, D’Virgilio has recorded and toured with artists, such as Genesis, Peter Gabriel and Sheryl Crow. And, you probably guessed it, he also has recorded some solo work. This included an album and an EP that both came out in 2011, and Invisible, his most recent album released on June 26. Here’s In My Bones, written by D’Virgilio. Part of the reason I decided to highlight this tune is the great organ and saxophone work.

Shaman Elephant/Ease of Mind

According to their Facebook page, Shaman Elephant are a Norwegian psychedelic progressive rock band. Ease of Mind is a tune from Wide Awake but Still Asleep, which a review by the blog The Progressive Aspect notes is their sophomore album. Their debut Crystals appeared in 2016. The review also lists Shaman Elephant’s members: Eirik Sejersted Vognstølen (vocals, guitar), Jard Hole (drums), Ole-Andreas Sæbø Jensen (bass) and Jonas Særsten (keyboards). I will say Ease of Mind falls outside my core wheelhouse, but there’s something about it I find intriguing. What drew me in initially is the acoustic guitar intro. Plus, other than synth pop band a-ha, I can’t think of any other group from Norway I know, so I’m happy to feature one here.

Fish on Friday/Mad at the World

On their Facebook page, Fish on Friday (FoF) describe themselves as “a multi-national (Belgium-UK-USA) Progressive Poprock oriented project signed to UK label Esoteric recordings-Cherry Red.” Their website lists their members as Nick Beggs (bass, Chapman stick, backing vocals), Frank Van Bogaert (vocals, keyboards, guitars), Marty Townsend (guitars) and Marcus Weymaere (drums and percussion). Mad at the World is a track from Black Rain, which the website’s “bio” section indicates is the band’s fifth album. Unfortunately, there’s no actual bio there, but a news statement about FoF’s second album points out the band was founded in 2009 “when Belgian Producer and musician Frank van Bogaert and keyboard player William Beckers established FISH ON FRIDAY as a studio-based Progressive Rock project.” The band released their debut album Shoot the Moon in 2010. Apparently, it received stylistic comparisons with the Alan Parsons Project. Having listened to some of the tunes from Black Rain, which appeared on May 15, if anything, I seemed to pick up some traces of David Gilmour/post-Roger Waters Pink Floyd, though not on Mad of the World. That tune may be a little bit closer to some of the previous music by the Alan Parsons Project. It doesn’t really matter – I like it and that’s good enough for me! Based on credits listed on Discogs, the tune was written van Bogaert, who also produced the album.

The Boomtown Rats/There’s No Tomorrow Like Today

How funny is that! I just finished publishing a mini-series to commemorate Live Aid and the next thing I come across is The Boomtown Rats released Citizens of Boomtown in March 2020, their first new album since 1984’s In the Long Grass! As I admitted in my Live Aid posts, other than Bob Geldof’s association with the band and I Don’t Like Mondays (and I should also add Banana Republic), I pretty much know nothing about this Irish band – rats! They initially formed in Dublin in 1975 and released six studio albums between 1977 and their first breakup in 1986. The band reunited in 2013 with a different line-up. But other than a few live records and two compilations, they did not come out with anything new – until March this year. Released on June 12, There’s No Tomorrow Like Today is the B-side to the album’s first single Trash Glam Baby; interestingly, it didn’t make the record. The tune is credited to Geldof, as well as the band’s other members Pete Briquette (bass), Simon Crowe (drums) and Garry Roberts (guitar). It’s a quite catchy pop rocker!

This post was updated on August 1, 2020 to correct information on There’s No Tomorrow Like Today, the above mentioned song by The Boomtown Rats. Bob Geldof-authorized fan site Bob Geldof Fans reached out to note that while the tune should have been on the album as my post had initially indicated, it was not. Instead, it became the b-side to the first single Trash Glam Baby.

Sources: Wikipedia; LeRoux website; Shaman Elephant Facebook page; The Progressive Aspect; Fish on Friday Facebook page; Discogs; YouTube

My Playlist: Jackson Browne

“…The Pretender, These Days, For Every Man, I’m Alive, Fountain of Sorrow, Running On Empty, For a Dancer, Before the Deluge. Now, I know the Eagles got in first; but let’s face it it – and I think Don Henley would agree with me – these are the songs they wish they had written. I wish I had written them myself, along with Like a Rolling Stone and Satisfaction…”

The above words were spoken by Bruce Springsteen in 2004 as part of his Rock & Roll Hall of Fame induction speech for Jackson Browne. Springsteen also recalled when he first met Browne in New York City at The Bitter End, a storied Greenwich Village performance venue, he knew the singer-songwriter from California was “simply one of the best”. Coming from somebody who has written so many great songs himself and during that same speech also admitted to be “a little competitive”, I think these remarks speak volumes.

The first Jackson Browne record I listened to in its entirety was what I still consider a true ’70s gem: Running On Empty. If I recall it correctly, my brother-in-law had it on vinyl, and I initially copied it on music cassette. I was spending countless hours at the time taping music from records, CDs and certain radio programs. I still have hundreds of tapes floating around. While it’s safe to assume the quality of most is less than stellar at this time, I just cannot throw them out!

Back to Browne with whom I happen to share one fun fact: We were both born in Heidelberg, Germany, though close to 18 years apart. Browne’s dad was stationed in Germany, working for American military newspaper Stars and Stripes. Two of his three siblings were born there as well. In 1951 when Browne was three years old, his family relocated to Los Angeles.

During his teenage years, Browne started performing folk songs at local L.A. venues like The Ash Grove and The Troubador Club. After graduating from high school in 1966, he joined country rockers Nitty Gritty Dirt Band, which would later record some of his songs. After a few months, Browne left and moved to New York City where he became a staff writer for Elektra Records’ publishing company Nina Music.

In 1967, Browne met and became romantically involved with singer Nico of The Velvet Underground. He became a significant contributor to her debut solo album Chelsea Girl. After they broke up in 1968, Browne returned to Los Angeles where he met Glenn Frey soon thereafter. Before he started recording his own songs, Browne’s music was recorded by other artists such as Tom Rush, Gregg Allman, Eagles, Linda Ronstadt and of course the aforementioned Nico and Nitty Gritty Dirt Band.

In 1971, Browne finally managed to get a deal with Asylum Records, and in January 1972, he released his eponymous debut album. Thirteen additional studio records have since appeared, as well as seven compilation and live albums and more than 40 singles. And this brings us to the most fun part of the post: Some of Browne’s music he has released during his close to 50-year recording career.

I’d like to kick things off with Song for Adam from Brown’s above noted eponymous debut album. The mournful memory of Adam Saylor, a friend of Browne who died in 1968 – possibly by suicide – was covered by various other artists, including Gregg Allman, who included a moving rendition with Browne singing harmony vocals on his final studio album Southern Blood from September 2017.

By the time Browne recorded Take It Easy for his sophomore album For Everyman, which appeared in October 1973, the Eagles had released the tune as their first single in May 1972. It gave them their first hit peaking at no. 12 on the Billboard Hot 100 and one of their signature songs. Originally, Browne began writing the tune for his eponymous debut album. But he got stuck with it, so played it to his friend Glenn Frey, who ended up finishing it. When Browne finally recorded the song, he also released it as a single, but it didn’t chart – perhaps it sounds pretty similar to the Eagles‘ version.

Fountain of Sorrow is a great track from Browne’s third studio Late for the Sky. Released in September 1974, it was his first top 20 record in the U.S., climbing to no. 14 on the Billboard 200. Like Take It Easy, the tune also appeared separately as a single but did not chart either.

In November 1976, Browne released The Pretender, his fourth studio album. It was his first major album chart success, climbing to no. 5 on the Billboard 200, and marking his first record to chart in the U.K., where it reached no. 26. Here’s the title track, which also became the second single. It did moderately well, reaching no. 58 on the Billboard Hot 100 – love that tune!

Next is the album that started my Jackson Browne journey: The amazing Running on Empty from December 1977. Frankly, I could list each tune on that record, so let’s go with one that is a less obvious choice: The Road, written by American singer-songwriter Danny O’Keefe. Themed around life on the road as a touring musician, Running on Empty was an unusual record featuring live recordings on stage and in other locations associated with touring, such as hotel rooms, tour buses or backstage. The first 2:28 minutes of The Road were captured in a hotel room in Columbia, Md., while the remainder was recorded live at Garden State Arts Center in Holmdel, N.J., which nowadays is known as PNC Bank Arts Center and a venue where I’ve seen many great shows.

In June 1980, Browne released Hold Out, his sixth studio album. While the record received poor reviews from music critics, ironically, it became his only no. 1 album in the U.S. It also was Browne’s second record to chart in the U.K. Here’s Of Missing Persons, a beautiful tribute to Little Feat co-founder Lowell George, a collaborator and longtime friend of Browne’s who had passed away the year before. The tune was specifically written for George’s then six-year-old daughter Inara George who since became a music artist as well.

For many years, Jackson Browne has been a political activist, e.g., speaking up against the use of nuclear power and supporting environmental causes. But it wasn’t until the ’80s that political themes starting to play a more dominant role in Browne’s lyrics. The album that comes to my mind first in that context is Lives in the Balance, which came out in February 1986. Here’s the catchy opener For America. It also became the lead single and reached no. 30 on the Billboard Hot 100.

For the next tune, I’m jumping to the ’90s, specifically to February 1996 and Browne’s 11th studio album Looking East. Like many of his previous records, it featured various notable guests, such as Bonnie Raitt, David Crosby, Ry Cooder and Mike Campbell. Here is Baby How Long, for which Cooder provided a great slide guitar part and Raitt sang harmony vocals, together with Australian singer Renée Geyer.

Let’s do two more from the current millennium. First up: The title track from The Naked Ride Home, Browne’s 12th studio album from September 2002, which my streaming music provider served up as a listening suggestion that in turn triggered the idea to do this post.

The final song I’d like to highlight is from Browne’s most recent 14th studio album Standing in the Breach, which was released in October 2014. Here is the nice opener The Birds of St. Marks. Originally, Browne wrote that tune in 1967 after his breakup with Nico and return from New York to California. While first released on his 2005 live album Solo Acoustic, Vol. 1., it wasn’t until this 2014 studio album that Browne properly recorded the tune. “This is a song I always heard as a Byrds song, and that was even part of the writing of the song,” Brown told Rolling Stone in an August 2014 interview. Standing in the Breach became a remarkable late-stage career chart success, reaching no. 15 on the Billboard 200 and no. 31 in the U.K.

Earlier this year, in the wake of testing positive for COVID-19 (though luckily with relatively light symptoms), Browne released A Little Soon to Say, a song from his next studio album scheduled for October 9, which I featured in this previous Best of What’s New installment. To date Browne has sold more than 18 million albums in the U.S. alone. Apart from the above mentioned Rock & Roll Hall of Fame induction, Browne has also been inducted into the Songwriters Hall of Fame in June 2007. He is ranked at no. 37 in Rolling Stone’s 2015 list of 100 Greatest Songwriters of All Time.

Sources: Wikipedia; Rolling Stone; YouTube

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 Stone, Cordovas Facebook page and website, ATO Records website, YouTube