On This Day in Rock & Roll History: February 3

It’s time to take another look at music history. As always, these posts reflect my music taste and, as such, are not meant to be a complete account of events that happened on the select date. With that reminder out of the way, let’s take a look at February 3.

1959: Sadly, the first item here is the tragic and untimely death of early rock & roll star Buddy Holly at age 22. During a short 7-year professional career, the man from Lubbock, Texas recorded such original gems as That’ll Be the Day, Words of Love, Everyday, Not Fade Away and It’s So Easy, as well as great tunes penned by other songwriters like Peggy Sue and Oh, Boy! On January 3, 1959, Holly and his band embarked on the Winter Dance Party tour. Following a gig in Clear Lake, Iowa, they were supposed to travel to their next show in Mason City, Iowa. After Holly’s drummer Carl Bunch had been hospitalized for frostbites in his toes due to icy conditions on the tour bus, Holly decided to look for alternate transportation and chartered a small propeller plane. But the four-seat Beechcraft Bonanza never reached its destination. In the early morning hours of February 3, it crashed into a frozen cornfield close to Mason City, instantly killing Holly and the three other people on board: Fellow rock & roll artists Ritchie Valens and J.P. Richardson (aka The Big Bopper), as well as the pilot Roger Peterson. In 1971, the tragic event became known as “The Day the Music Died” in American singer-songwriter Don McLean’s tune American Pie.

1967: The Beatles were at Abbey Road’s EMI Studios to add overdubs to A Day in the Life, one of my all-time favorite tunes from the Sgt. Pepper’s Lonely Hearts Club Band studio album. According to The Beatles Bible, the session began at 7:00 pm and finished at 1:15am the following morning. Each of the overdubs replaced previously-recorded parts: Paul McCartney’s and Ringo Starr’s bass and drums parts they had recorded on January 20. McCartney then overdubbed his lead vocals to correct a wrong word sung during the previous session. Starr’s drum part recorded that night became one of his most- admired upon the album’s release in May of the same year. Here’s a neat clip.

1973: Elton John hit no. 1 in the U.S. on the Billboard Hot 100 with Crocodile Rock. According to Songfacts, John said the retro tune contains flavors of a lot of his favorite early rock songs, including “Little Darlin'”, “At The Hop” and “Oh Carol” as well as songs by The Beach Boys and Eddie Cochran. The title is a play on the Bill Haley song “See You Later Alligator” – Haley’s “Rock Around The Clock” even gets a mention, as that’s what the other kids were listening to while our hero was doing the Crocodile Rock. With music written by John and lyrics penned by Bernie Taupin, Crocodile Rock was John’s first no. 1 hit in the U.S. It also topped the charts in other countries, including Canada, New Zealand and Switzerland, and became a top 5 hit in Australia, the UK and a few other European countries. Crocodile Rock was also included on John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player, which had been released in January that same year.

1979: The Blues Brothers featuring comedians and actors John Belushi (“Joliet” Jake Blues ) and Dan Aykroyd (Elwood Blues) proved they were no joke, topping the Billboard 200 in the U.S. with their debut Briefcase Full of Blues. Capturing a live gig in Los Angeles from September 1979, the album also featured a formidable backing band. Among others, it included guitarist Steve Cropper and bassist Donald “Duck” Dunn, both formerly of Booker T. & the M.G.’s., and blues guitarist Matt “Guitar” Murphy who had worked with the likes of Howlin’ Wolf, Memphis Slim, Buddy Guy and Etta James. Belushi, Aykroyd, Cropper, Dunn and Murphy all would appear the following year in the cult comedy picture The Blues Brothers. Here’s their rendition of the 1967 Sam & Dave classic Soul Man, a tune written by Isaac Hayes and David Porter.

1986: Dire Straits were on top of the UK chart with their fifth studio album Brothers in Arms. The British band’s second-to-last studio release turned out to be their most successful one. It also reached no. 1 in the U.S., Canada, Australia, New Zealand and various other European countries. Additionally, with more than 30 million copies sold globally, Brothers in Arms is one of the world’s best-selling albums. It also holds the distinction of being one of the first albums recorded all digitally (DDD). One could argue its extremely clean sound gave it a bit of a sterile feel. Here’s the beautiful Your Latest Trick penned by Mark Knopfler, the group’s leader and main songwriter. The stunning saxophone part was played by American jazz saxophonist Michael Brecker.

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

The Sunday Six

Celebrating music with six random tracks at a time

I can’t believe it’s Sunday again – boy, this first week of 2022 flew by really quickly! Well, this means it’s time for another installment of my favorite weekly feature where I time-travel to celebrate music of the past and sometimes the present, six tunes at a time. Off we go!

Stevie Ray Vaughan and Double Trouble/Chitlins con Carne

Let’s kick it off with a great jazzy instrumental by Stevie Ray Vaughan, one of my favorite electric blues guitarists. Chitlins con Carne is from the fifth and final album of Vaughan and his backing band Double Trouble, appropriately titled The Sky Is Crying. This record appeared in November 1991, 14 months after Vaughan’s tragic and untimely death in a helicopter crash. He was only 35 years old – what a huge loss! Chitlins con Carne, composed by jazz guitarist Kenny Burrell, was first released on his 1963 album Midnight Blue. In case you’re curious you can check out the original here. Following is Vaughan’s excellent rendition!

Christine McVie/Got a Hold on Me

Christine McVie is best known as keyboarder, vocalist and songwriter of Fleetwood Mac, which she joined in 1970, coming from British blues band Chicken Shack. At the time she became a member of the Mac, she was the wife of bassist John McVie whom she had married in 1968. Their union fell apart after Christine had an affair with the band’s lighting engineer Curry Grant during the production of the Rumours album in 1976. Let’s just say there were many on and off relationships within Fleetwood Mac! Christine McVie wrote some of the band’s best-known songs, such as Don’t Stop, You Make Loving Fun (about her affair with Grant, though at the time she claimed it was about a dog!) and Say You Love Me. To date, she has also recorded three solo albums. Got a Hold on Me, co-written by her and Todd Sharp, is from her second solo effort Christine McVie, which came out in January 1984. I’ve always loved this pop-rock tune – simple and a bit repetitive, but quite catchy!

James Taylor/Fire and Rain

Last Sunday, I caught a great CNN documentary, Carole King & James Taylor: Just Call Out My Name, focused on their 2010 Troubadour Reunion Tour – I could still kill myself that I completely missed that tour! Anyway, one of the tunes they played was Fire and Rain, my favorite James Taylor original song. I also love his rendition of King’s You’ve Got a Friend. Fire and Rain is off Taylor’s sophomore album Sweet Baby James from February 1970. The tune also appeared separately as a single in August that year. It became his first hit, reaching no. 3 on the Billboard Hot 100, no. 2 in Canada and no. 6 in Australia. It also charted in the UK (no. 48) and The Netherlands (no. 18). Here’s a beautiful live performance captured from the BBC’s In Concert series in November 1970. James Taylor, his smooth voice and his great guitar-playing – that’s really all you need!

Them/Gloria

Next, let’s jump back further to December 1964 and some dynamite British garage rock: Gloria by Them, a band formed in April 1964 in Belfast, Northern Ireland. Fronted by Van Morrison (lead vocals, saxophone, harmonica), the group’s original line-up also included Billy Harrison (guitar, vocals), Eric Wrixon (keyboards), Alan Henderson (bass) and Ronnie Milling (drums). Gloria, penned by Morrison, was first released in November 1964 as the B-side to Baby, Please Don’t Go, Them’s second single. The tune was also included on the group’s debut album The Angry Young Them from June 1965, which in the U.S. was simply titled Them. This song’s just a classic. I wish I could say the same about Van Morrison these days!

Elvis Presley/Heartbreak Hotel

As frequent visitors of the blog may recall, my childhood idol was Elvis Presley who, btw, would have turned 87 yesterday (January 8). While I no longer idolize him or anyone else for that matter, I still dig Elvis, especially his early period. One of the coolest songs I can think of in this context is Heartbreak Hotel. Credited to Tommy Durden, Mae Boren Axton and Presley, the slow jazzy blues tune first appeared as a single in January 1956 and became Elvis’ first big hit. Among others, it topped the charts in the U.S., Canada and The Netherlands, and reached no. 2 in the UK. Heartbreak Hotel was also included on the compilation Elvis’ Golden Records from March 1958. In addition to Presley’s regular backing musicians Scotty Moore (electric guitar) and Bill Black (double bass), the recording featured Chet Atkins (acoustic guitar), Floyd Cramer (piano) and D.J. Fontana (drums). Feel free to snip along!

Mark Knopfler/Prairie Wedding

And once again, this brings me to the sixth and final track in this installment. It’s yet another tune my streaming music provider recently served up as a listening suggestion: Prairie Wedding by Mark Knopfler. The song is from the former Dire Straits frontman’s second solo album Sailing to Philadelphia that came out in September 2000. Written by Knopfler like all other tunes on the album, the track features Gillian Welch and her musical partner David Rawlings on backing vocals, as well as Guy Fletcher on keyboards. Fletcher also served in that role in Dire Straits from 1984 until the band’s final dissolution in 1995. Great tune with a nice cinematic feel!

Here’s a playlist of the above tunes:

Sources: Wikipedia; YouTube; Spotify

Three Ladies Who Did It Twice

Tina Turner and Carole King have now joined Stevie Nicks as only female music artists inducted twice into Rock and Roll Hall of Fame

On Saturday night, Tina Turner and Carole King were officially inducted for the second time into the Rock and Roll Hall of Fame. Prior to them, only one other female music artist had accomplished that feat: Stevie Nicks.

I fully realize many music fans are highly critical of the Rock Hall, some to the point where they no longer care, as do certain artists based on what they’ve said. Debates about the secretive selection process and who’s in the Rock Hall and who’s not are certain to continue.

Instead of rehashing controversy, I’d like to celebrate these three amazing women, Stevie Nicks, Tina Turner and Carole King, and their great music. All three are among my longtime favorite artists and very deserving inductees, IMHO.

Stevie Nicks

Nicks was first inducted as a member of Fleetwood Mac in 1998, together with former and current band members Peter Green, Mick Fleetwood, Lindsey Buckingham, John McVie, Jeremy Spencer, Danny Kirwan and Christine McVie.

From Rock Hall website: After forming as a British blues band in the late ’60s, Fleetwood Mac evolved into one of the most influential rock groups of the ’70s. Not only did they write some of the decade’s most indelible songs—and release one of the best-selling albums of all time, 1977’s Rumours—but the troupe created a distinctive “California sound” that endures today as a sonic touchstone for countless bands.

Here’s one of my favorite tunes written by Nicks for Fleetwood Mac from the band’s second eponymous album that appeared in July 1975: Landslide. I really dig her singing and Buckingham’s acoustic guitar playing.

Nicks’ induction as a solo performer happened in 2019. From Rock Hall website: Stevie Nicks’ life and career have always had a touch of magical enchantment. Tonight represents a crowning validation of her spellbinding gifts as a rock & roll icon, as she becomes the first woman to be twice inducted into the Rock & Roll Hall of Fame – with Fleetwood Mac in 1998, and now as a solo artist.

Following is Stand Back, a tune from Nicks’ sophomore solo album The Wild Heart, which appeared in June 1983. Also released as a single, the song became one of her highest-charting, climbing to no. 5 in the U.S. on the Billboard Hot 100, peaking at no. 10 in Canada, and reaching the top 40 in various other countries, including The Netherlands, Germany and Australia. It’s definitely a child of its time!

Tina Turner

Tina Turner was first inducted into the Rock Hall in 1991 as part of Ike & Tina Turner. From Rock Hall website: A charismatic bandleader and an unbridled whirlwind of sexual energy formed one of the most formidable live acts in history. Ike and Tina Turner were such a presence onstage that even their own albums don’t do them justice. The explosive duo made such enduring hits as “River Deep–Mountain High,” “Proud Mary” and “Nutbush City Limits.” Ike Turner was a talented songwriter and guitarist. Unfortunately, his physical and psychological abuse of Tina Turner will forever diminish him. Here’s the amazing Nutbush City Limits, which actually was written by Tina Turner – I always mistakenly had thought Ike had penned it! The tune was the title track of Ike & Tina Turner’s studio album from November 1973 and became a signature song.

From Rock Hall press release announcing 2021 inductees: …Tina Turner is known as the Queen of Rock & Roll, a title she earned not just once but twice. The first time, she rose to fame in the 1960s as part of the duo Ike and Tina Turner, belting out soulful rock songs in a non-stop stage show where she danced the audience into a frenzy. But all of that is backstory to the most successful and triumphant rebirth in the history of rock…

The most important album of Turner’s solo career is Private Dancer from May 1984, which not only turned her into a viable solo artist but an international superstar. Here’s the title track, written by Mark Knopfler. While it’s obviously a radical departure from the R&B sound of Ike & Tina Turner, I still love that tune!

Carole King

Carole King’s initial induction into the Rock Hall occurred in 1990, together with her ex-husband and former lyricist Jerry Goffin. From Rock Hall website: Gerry Goffin and Carole King wrote much of the soundtrack of the Sixties. Chances are, you have danced around to a hit single by the dynamic songwriting duo. Goffin wrote the lyrics and King wrote the music for such hits as “Will You Love Me Tomorrow,” “One Fine Day” and “Don’t Bring Me Down.”

After their breakthrough Will You Love Me Tomorrow, which The Shirelles took to no. 1 on the Billboard Hot 100 in January 1961, Goffin-King became a hit machine. There are so many tunes I could have picked here. I decided to go with Chains, first recorded by American girl group The Cookies in 1962, climbing to no. 6 on Billboard’s R&B Singles chart and reaching a respectable no. 17 on the mainstream Hot 100. The tune was also covered by The Beatles and appeared on their UK debut album Please Please Me.

This brings me to Carole King’s second induction as a solo artist. From Rock Hall website: After writing the soundtrack of the 1960s, Carole King wove a tapestry of  emotion and  introspection as a singer-songwriter in the 1970s.  Her solo work was a clarion call to generations of female artists and  millions of  fans  –  giving  them voice and confidence.  King has too many accolades to list – six Grammys,  the  2013  Library of Congress Gershwin Prize,  a  2015 Kennedy Center Honor,  and beyond.

As somebody who has loved Carole King’s music since his childhood days, I’m very happy she also finally got the Rock Hall’s well-deserved recognition as a solo artist. It was also great to read that she was able to attend Saturday’s induction ceremony – unlike Tina Turner who is turning 82 on November 26 and sadly not in good health. You can watch King’s performance of You’ve Got a Friend here, featuring Danny Kortchmar (guitar) and Leland Sklar (bass), among others – probably King’s last major public performance, since she has said she’s no longer touring.

Similar to Goffin-King, there were so many songs I could have picked from King’s solo career, including pretty much any track from Tapestry. Instead, I decided to highlight Hard Rock Cafe, a song from her eighth album Simple Things that appeared in July 1977. I’ve always liked this happy song, which also was released as a single and charted in the top 30 in the U.S., Canada, Australia and various European countries, including Austria, Belgium and Switzerland.

Sources: Wikipedia; Rock Hall website; YouTube

Dylan’s Latest Bootleg Series Installment Is a True Revelation

Collection spans Shot of Love, Infidels and Empire Burlesque albums that are widely considered to be the “low point” of his career

The Eighties are widely regarded as the low point of Bob Dylan’s entire career, a time when he struggled to find relevance in the MTV era and released a series of tacky, rudderless albums that were savaged by fans and critics. So reads the opening sentence of Rolling Stone’s recent review of Springtime In New York: The Bootleg Series Vol. 16 1980-1985, the latest installment in Bob Dylan’s ongoing bootleg series. This pretty much reflects what I also read in Ultimate Classic Rock, Glide Magazine, Flood Magazine and other media outlets. Rolling Stone was quick to back up their statement with a quote from the maestro who in his 2004 memoir Chronicles: Volume One said, “[I was pretty] whitewashed and wasted out…I’m in the bottomless pit of cultural oblivion. I can’t shake it.” As I was listening to Springtime this morning, I kept thinking, ‘gee, Dylan at his worst sounds mighty good!’

Before going any further, I must reveal that while I dig many Dylan songs, there are huge gaps in my knowledge of the man’s mighty catalog. From the three albums Springtime captures – Shot of Love (August 1981), Infidels (October 1983) and Empire Burlesque (June 1985) – I had only listened to some tunes from Infidels, and all I remembered off the top of my head were Jokerman and I and I – both decent songs, in my opinion. I’m more familiar with Dylan’s records from the ’60s until the mid ’70s. I’ve also listened to his most recent work Rough and Rowdy Ways and have come to dig it.

Bob Dylan / Springtime in New York: The Bootleg Series, Vol. 16 / 1980-1985  – SuperDeluxeEdition
5-CD Deluxe Edition

The Bootleg Series Vol. 16: Springtime in New York 1980–1985, released yesterday (September 17), is the 14th installment in the series Dylan started in March 1991 with The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. Springtime includes previously unreleased tour rehearsals and outtakes from the three aforementioned albums, as well as various live versions. The compilation comes in three different formats, including a 2-CD standard edition, 5-disc deluxe edition, as well as 2-LP and 4-LP formats.

Let’s get to some music, based on the 5-CD edition. The rehearsal of Need a Woman is a track from disc one. Dylan first released the song on the aforementioned inaugural installment of his bootleg series as an outtake from Shot of Love. He is backed by fine musicians, including guitarists Steve Ripley and Danny Kortchmar; Carl Pickhardt (keyboards); Tim Drummond (bass); Jim Keltner (drums), as well as Carolyn Dennis, Madelyn Quebec and Clydie King who provide dynamite backing vocals and clapping.

Let’s move on to disc two and Price of Love, another outtake from Shot of Love. Not sure whether Dylan had previously released that song elsewhere. In addition to Ripley, Pickhardt, Drummond, Keltner, King and Quebec, he’s backed by Fred Tackett (guitar), Benmont Tench (keyboards), Steve Douglas (saxophone) and Regina McCrary (backing vocals). Love this outtake!

Blind Willie McTell, a track from disc three, is another Dylan tune he first released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 as an outtake from Infidels. This is a different version of Dylan’s tribute to Piedmont blues and ragtime singer and guitarist William Samuel McTier. Known as Blind Willie McTell, he influenced The Allman Brothers Band, Taj Mahal, Alvin Youngblood Hart, Jack White, Mr. Zimmerman and many other artists.

Next up: An alternate take of Sweetheart Like You from disc four, a song Dylan first released on the Infidels album. It also appeared separately as the record’s second single and became Dylan’s first official music video, which you can watch here if you’re so inclined. Here’s a clip of the alternate take featuring another neat backing band: Guitarists Mark Knopfler and Mick Taylor; Alan Clark (keyboards); Robbie Shakespeare (bass) and Sly Dunbar (drums), of reggae production duo Sly and Robbie; and Clydie King (backing vocals). Not too shabby for an artist who supposedly was at a low point in his career – well, I suppose it’s all relative, isn’t it?

Let’s wrap up this post with two tracks from disc five. Both are my early favorites from the collection, based on what I’ve heard thus far. First is a great live version of a tune called Enough Is Enough, captured at a gig at Slane Castle in Ireland. Based on what I could find on Setlist.fm during the timeframe this latest bootleg installment covers, it looks like Dylan played the song during this 1984 concert. After some additional digging, I found Dylan’s backing band included Mick Taylor (guitar), Ian McLagan (keyboards, formerly with Faces), Greg Sutton (bass) and Colin Allen (drums). Damn, this rocks!

And last but not least, here’s New Danville Girl, an outtake from Dylan’s Empire Burlesque album. According to Wikipedia, Dylan co-wrote the nearly 12-minute satirical with American actor, playwright, author, screenwriter and director Sam Shepard. Originally, the tune was intended to be an answer to Doin’ the Things That We Want To, a 1984 song by Lou Reed that had been inspired by a Shepard play. The tune would later be re-written and re-titled Brownsville Girl. Dylan included it on Knocked Out Loaded, the 1986 follow-on album to Empire Burlesque. I absolutely love this tune!

Listening to Springtime In New York: The Bootleg Series Vol. 16 1980-1985 has been quite a revelation. Apart from great renditions, I really like Dylan’s singing here – something I certainly can’t say for all other songs I’ve heard. And the musicians backing him on these recordings are spectacular, though I suppose if you’re Bob Dylan, you can secure pretty much anyone. Now I’m also curious to further explore the Shot of Love, Infidels and Empire Burlesque albums.

Sources: Wikipedia; Rolling Stone; Ultimate Classic Rock; Glide Magazine; Flood Magazine; Setlist.fm; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Welcome to a new weekly celebration of music in different flavors from different eras, six tunes at a time. Today, The Sunday Six recurring feature is hitting another mini milestone with its 25th installment. And it’s the Fourth of July holiday here in the U.S., so to those who celebrate it, happy Fourth and please be safe!

Teenage Fanclub/The Sun Won’t Shine on Me

Kicking us off today is a band with the somewhat strange name Teenage Fanclub. If you follow the great PowerPop blog, you may have seen this Scottish power pop band was just featured there. In this context, Aphoristic Album Reviews, another music blog I highly recommend, noted that not only are Teenage Fanclub still around (after more than 30 years), but they recently came out with a new album. It’s titled Endless Arcade. Founded in Bellshill near Glasgow in 1989, the band’s initial formation largely included members of The Boy Hairdressers, another local group that had just dissolved. Following a well received more edgy rock-focused debut album, A Catholic Education from June 1990, Teenage Fanclub adopted their signature power pop-oriented sound inspired by groups like Big Star, Badfinger and the Byrds. The third album Bandwagonesque brought them more attention and significant success in the U.S. where the single Star Sign hit no. 4 on the Billboard Modern Rock Tracks chart. Not surprisingly, Teenage Fanclub’s line-up has changed over the decades and currently features co-founding members Norman Blake (vocals, guitar) and Raymond McGinley (vocals, guitar), together with Euros Childs (keyboards, vocals), Dave McGowan (keyboards, guitar, bass, vocals) and Francis Macdonald (drums, vocals). Frankly, I had never heard of the band until the above fellow bloggers brought them to my attention. Here’s The Sun Won’t Shine On Me, written by Blake, which appears on Teenage Fanclub’s new album released on April 30. While the lyrics are blue, I love the tune’s jangly guitar sound!

Steely Dan/Rikki Don’t Lose That Number

On to the great Steely Dan and one of my favorite songs from their early phase as a standing band. Rikki Don’t Lose That Number, off their third studio album Pretzel Logic from February 1974, also became Steely Dan’s biggest hit single, surging to no. 4 on the U.S. Billboard Hot 100. It did even better in Canada where it peaked at no. 3. Donald Fagen and Walter Becker were huge jazz fans. When writing Rikki Don’t Lose That Number, evidently, they were inspired by The Horace Silver Quartet and the intro to Song for My Father, which I covered in a previous Sunday Six installment. Pretzel Logic was the final Steely Dan album featuring the full quintet line-up of Becker, Fagen, Denny Dias, Jim Hodder and Jeff “Skunk” Baxter. It was the first to include significant contributions from L.A. session musicians, a concept Becker and Fagen fully embraced on subsequent albums after they had turned Steely Dan into a studio project that became an increasingly sophisticated and complex.

The Youngbloods/Get Together

I’ve always loved this next tune by The Youngbloods, and it’s been on my “list” for a Sunday Six for some time. Get Together appeared on their eponymous debut album from December 1966. Written by Chet Powers, who was also known as Dino Valenti and a member of psychedelic rock outfit Quicksilver Messenger Service, the song first appeared on a 1963 record by bluegrass band The Folkswingers. It was also included as Let’s Get Together on Kingston Trio’s live album Back in Town released in June 1964, as well as on Jefferson Airplane’s debut album Jefferson Airplane Takes Off from August 1966. But it was the rendition by The Youngbloods, which became most successful, giving them their only top 40 hit in the U.S. mainstream charts. Their cover reached a peak there in 1969 when it was reissued as a single and hit no. 5 on the Billboard Hot 100. It’s a pity The Youngbloods did not achieve widespread popularity. After their fifth studio album High on a Ridge Top from November 1972, they called it quits.

Dire Straits/Skateaway

This next pick was also inspired by fellow blogger Aphoristic Album Reviews, who recently did a post on the 10 best songs by Dire Straits. I’ve always liked the British rock band and the great melodic guitar-playing by Mark Knopfler, especially on their 1978 eponymous debut album and Making Movies, their third studio release from October 1980. It’s widely considered as one of Dire Straits’ best records. Knopfler’s songwriting had matured, especially in comparison to sophomore release Communiqué from June 1979, which largely sounded like the eponymous debut. Personally, this never bothered me much, since I dig that first album. Here’s the great Skateway. Let’s go, roller girl! And…don’t worry/D.J. play the movies all night long

Chicago/Saturday in the Park

Given today is the Fourth of July, I thought it made sense to feature a tune that references the holiday. I decided to go with Saturday in the Park by Chicago. Written by Robert Lamm, the track appeared on the band’s fourth studio album Chicago V that came out in July 1972. Why calling it five when it was their fourth, you may wonder? Because the band, which was founded as Chicago Transit Authority in 1967, was in their fifth year at the time. Wikipedia notes two different background stories about the song. According to then-fellow band member Walter Parazaider, Lamm was inspired after he had seen steel drum players, singers, dancers and jugglers in New York’s Central Park on July 4, 1971. Lamm recalled it differently, telling Billboard in 2017 the song “was written as I was looking at footage from a film I shot in Central Park, over a couple of years, back in the early ‘70s.” Regardless of which recollection is accurate, there’s no doubt the tune was inspired by Central Park and that it became Chicago’s biggest U.S. mainstream hit at the time, peaking at no. 3 on the Billboard Hot 100 in September 1972. It would take another five years before they had an even bigger hit with their single If You Leave Me Now released in July 1976 and topping the Hot 100 in October that year. Chicago are still around and are currently touring. Original members Lamm (keyboards, vocals), Lee Loughnane (trumpet, vocals) and James Pankow (trombone) are part of the present nine-piece line-up. The tour schedule is here. I’ve seen Chicago once more than 20 years ago and recall it as a solid show.

Magic Castles/Sunburst

Let’s wrap up this installment of The Sunday Six with some more recently released music. Again, I’d like to acknowledge a fellow blogger, Angie from The Diversity of Classic Rock, where I first read about psychedelic rock band Magic Castles. For background, here’s an excerpt from their Apple Music profile: The band formed in Minneapolis in 2006, growing out of singer/guitarist Jason Edmonds’ home-recording project as he tapped singer/guitarist Jeremiah Doering, bassist Paul Fuglestad, drummer Brendan McInerney, and Kait Sergenian. Magic Castles played their first show at a friend’s birthday party later that year, began recording their first record the following summer, and by June 2008 offered their self-released debut, The Lore of Mysticore. By then, the group had added keyboardist/singer Noah Skogerboe to further flesh out their sound, and Matt Van Genderen had replaced McInerney on the drums. This new incarnation pulled double duty in 2009, offering sophomore album Dreams of Dreams plus a limited-edition cassette, Sounds of the Forest. Fast-forward some 12 years to April 30, 2021 and Sun Reign, the band’s sixth studio album and their first since 2015. Here’s the seductive opener Sunburst. Written by Edmonds, the band’s only constant member, the tune has a cool ’60s garage rock vibe, featuring a great jangly guitar sound reminiscent of the Byrds. I’m definitely planning to take a closer look at the group.

Sources: Wikipedia; Billboard; Apple Music; Chicago website; 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

What I’ve Been Listening to: Sonny Landreth/Blacktop Run

Sonny Landreth is one of various top-notch guitarists I could have included in my recent slide guitar feature. This is what prompted me to check what Landreth who is also known as “the King of Slydeco” has been up to. Well, it turns out he released his 14th solo album Blacktop Run in February this year. While it’s classified as blues, I’d call it a tasty rootsy gumbo that includes flavors of blues, swamp rock, zydeco and jazz rock.

Before I get to it, first a few words about the man. According to his artist profile on Apple Music, Landreth was born February 1, 1951, in Canton, Mississippi, and his family lived in Jackson, Mississippi, for a few years before settling in Lafayette, Louisiana. Landreth began playing guitar after a long tenure with the trumpet. His earliest inspiration came from Scotty Moore, the guitarist from Elvis Presley’s band, but as time went on, he learned from the recordings of musicians and groups like Chet Atkins and the Ventures. As a teen, Landreth began playing with his friends in their parents’ houses.

Sonny Landreth: "How Not to Sound Awful" | WWNO

After his first professional gig with accordionist Clifton Chenier in the ’70s (where he was the only white guy in the Red Beans & Rice Revue for awhile), Landreth struck out on his own, but not before he recorded two albums for the Blues Unlimited label out of Crowley, Louisiana, Blues Attack in 1981 and Way Down in Louisiana in 1985…The second of those two albums got him noticed by some record executives in Nashville, which in turn led to his recording and touring work with John Hiatt.

That led to still more work with John Mayall, who recorded Landreth’s radio-ready “Congo Square.” More recently, he’s worked with New Orleans bandleader and pianist Allen Toussaint (who guests on several tracks on South of I-10, as does Dire Straits guitarist Mark Knopfler). Eric Clapton has called Landreth one of the most advanced guitarists in the world, notes Wikipedia, and one of the most under-appreciated. Landreth’s accolades include Instrumentalist of the Year (Americana Music Association, 2005) and a 2016 Blues Music Award in the Instrumentalist – Guitar category. Time for some music!

I’d like to kick it off with the opener and title track. It’s among the eight of the ten tacks that were written by Landreth.

Mule is a catchy up-tempo rocker that makes you want to dance. It features great slide guitar and accordion work.

Groovy Goddess is one of four instrumentals on the album. And groovy it certainly is! Its improvisational nature gives it a jazzy feel. And there’s more of Landreth’s amazing slide guitar work.

Two tracks on the album were written by Steve Conn, who also played electric piano, organ and accordion. Somebody Gotta Make a Move is one of them. Landreth’s website notes the newly arranged song features a guitar tuning Landreth developed but had not used in the studio.

The last tune I’d like to call out is Many Worlds, another instrumental.

Most of Blacktop Run’s tracks were recorded live in-studio at the storied Dockside Studios on the Vermilion River south of Lafayette, La., where artists like Dr. John, B.B. King and Taj Mahal are among past clients. In addition to Conn, Landreth was backed by David Ranson (bass) and Brian Brignac (drums).

The album was co-produced by Landreth, R.S. Field and Tony Daigletto. Field previously co-produced three of Landreth’s other albums. “His [Field’s] brilliance and creative energy recharged us,” Landreth stated. “We came up with new and better ideas, and that’s what you want. It couldn’t have gone better.”

He added, “All told, the different elements of this project came together and I’m really happy about it. Blacktop Run is probably the most eclectic recording I’ve done. And sonically, I think this is the best album we’ve ever made.” While I haven’t explored any of Landreth’s other albums, I know one thing: Blacktop Run is excellent and makes me want to hear more of his catalog.

Sources: Wikipedia; Apple Music; Sonny Landreth website; YouTube

Singer-Songwriter Jason Isbell Releases New Album

“Reunions” may have been his most challenging record to make so far

While I had heard of Jason Isbell before and listened to some of his past music, I had not taken a closer look at the singer-songwriter from Green Hill, Ala., who at age 41 has experienced both remarkable success and full-blown addiction to alcohol and cocaine in his late ’20s. Both sides of his story provide important context for Reunions, Isbell’s new album, which he recorded with his backing band The 400 Unit. It was broadly released yesterday, May 15.

Apparently, Isbell grew up in a musical family. His grandfather and uncle showed him how to play various instruments. As a 6-year-old, he learned the mandolin, and in high school, he played the trumpet and French horn. Somewhere along the way, he picked up the guitar and started playing in a garage band and a country cover band. Eventually, he met session bassist David Horn, whose son Patterson Hood was a co-founder of alternative country and Southern rock band Drive-By Truckers. When he was 21, Isbell got a publishing deal with FAME Studios in Muscle Shoals, Ala., where he worked until he joined Drive-By-Truckers the following year during their supporting tour for their third studio album Southern Rock Opera.

Isbell stayed for six years and recorded three studio albums with the band, contributing guitar and vocals, and writing some of their songs. During these years with Drive-By Truckers, Isbell developed his alcohol and cocaine addiction. Apparently, it did not slow him down much. Following his departure from the band in April 2007, Isbell wasted no time to launch a solo career and released his solo debut Sirens of the Ditch in July that year.

Jason Isbell

The 400 Unit, weirdly named after a colloquial name for the psychiatric ward of a local hospital in Florence, Ala., came together for Isbell’s sophomore album Jason Isbell and The 400 Unit released in February 2009. Two years later, Isbell agreed to enter a rehab program at a Nashville facility. He managed to overcome his addiction and has been sober since. In February 2013, Isbell married singer-songwriter and violinist Amanda Shires. Since 2011, she had been a guest on his albums and eventually became a member of The 400 Unit. In parallel, Shires continued to pursue her solo career. In 2019, she also formed country band The Highwomen. Isbell played guitar on their eponymous debut album, which appeared last September.

Since Isbell got out of drug rehab, he won many accolades for his music, which among others include four Grammy awards and various Americana Music Honors & Awards. They turned out to be a mixed blessing when making his new album. “For some reason, I felt really pressured,” Isbell told The New York Times. “You think, ‘If I make a record that’s not great, everybody’s going to dismiss me entirely. If I [expletive] up my relationship, everybody’s going to be so shocked that they’ll write me off completely.’ All those things, when you say them out loud sound ridiculous, but they stay in there and gnaw at you.”

Jasom Isbell & Amanda Shires
Jason Isbell with Amanda Shires

The pressure took a toll on his marriage and at some point prompted Shires to move to a motel, since she felt belittled. “I want him to make the best art he can but not at the expense of making me feel less,” she noted to The New York Times. “I needed space because lines were getting crossed.” So with all the drama surrounding the album, how did it turn out? Pretty good, in my opinion, though one hopes this outcome happened despite the aforementioned challenges, not because of them. Let’s get to some music!

Here is the opener What’ve I Done to Help. Like all of the remaining nine tracks on the album, the tune was written by Isbell. “It seems like this song set the right mood for the record,” Isbell told Apple Music. “It’s a little bit indicting of myself, but I think it’s also a positive message: Most of what I’m talking about on this album is trying to be aware as possible and not just get lost in your own selfish bubble, because sometimes the hardest thing to do is to be honest with yourself.” BTW, none other than David Crosby provides harmony vocals on the tune!

In Overseas, Isbell was trying to write a song that’s about multiple things at once, which he views as a big challenge. “On the one hand, you have an expatriate who had just had enough of the country they’re living in and moved on and left a family behind,” he explained to Apple Music. “And the other is more about my own personal story, where I was home with our daughter when my wife was on tour for a few months.” Apparently, the song was inspired by Eric Clapton, who once said in an interview he didn’t feel he would ever be a great songwriter since he wasn’t able to write allegorically. “I was probably 12 or 13 when I read that,” Isbell said, “and it stuck with me.”

Running With Your Eyes Closed has a little bit of a Mark Knopfler guitar vibe, which is definitely part of the reason it speaks to me. According to Isbell, “It’s a love song, but I really try hard to look at relationships from different angles, because songs of the initial spark of a relationship – that territory has been covered so many times before and so well that I don’t know that I would have anything new to bring.” I really dig the sound of this track. Check it out!

One of the most personal tracks on the album is It Gets Better. “I was awake until four in the morning, just sort of laying there, not terribly concerned or worried about anything,” Isbell explained. “And there was a time where I thought, ‘Well, if I was just drunk, I could go to sleep’. But then I also thought, ‘Well, yeah, but I would wake up a couple hours later when the liquor wore off.’ I think it’s important for me to remember how it felt to be handicapped by this disease and how my days actually went. I’ve finally gotten to the point now where I don’t really hate that guy anymore, and I think that’s even helped me because I can go back and actually revisit emotions and memories from those times without having to wear a suit of armor.”

Let’s do one more. Here’s the closer Letting You Go, a tune Isbell wrote for his four-year-old daughter, recalling her as a baby and fast-forwarding to picture her getting married and leaving the house. Well, that certainly looks like a big jump into the future; then again, time flies, as I can attest when it comes to my own son who is 18 now – how did that happen so quickly? “Once, when my daughter was very little, my wife said, ‘Every day, they get a little bit farther away from you’,” Isbell reflected. “And that’s the truth of it: It’s a long letting-go process.” He clearly is very attached to the little girl.

Reunions is Isbell’s fourth straight album produced by Dave Cobb, who has also produced for Chris Stapleton, Sturgill Simpson and John Prine, among others. In addition to Shires (fiddle, backing vocals), The 400 Unit features Sadler Vaden (guitar, backing vocals), Jimbo Hart (bass, backing vocals), Derry DeBorja (keyboard, accordion, backing vocals) and Chad Gamble (drums, backing vocals).

So what does David Crosby think about Isbell? “Jason has become one of the best writers in the country,” he commented to The New York Times. “And my idea of really good writers is Paul Simon, Joni Mitchell, Bob Dylan. His singing is emotional. It’s honest. He’s really trying to tell you the story.” Hopefully, Crosby’s praise won’t put additional pressure on Isbell when comes to making his next record. As strange as it sounds, it might actually be a good thing for Isbell if he doesn’t get a ton of accolades for Reunions!

Sources: Wikipedia; The New York Times; Apple Music; YouTube

Gerry Lane’s New Album Shows There’s Still Some Life Left in Rock

Down on the Boulevard is Irish guitarist’s sixth solo album

Call me a happy camper. Gerry Lane is the second great artist I just “discovered” and write about during the same weekend. Like Minimum Vital, which I covered in my previous post, Lane popped up in the same “New Music Mix” my streaming provider served up yesterday. And like the French progressive rock band, Lane also doesn’t have a Wikipedia page, even though he has been active since 1970 and played with Noel Redding (yep, that bassist from the Jimi Hendrix Experience) and Gary Moore, among others. What’s up with that?

According to his website, Lane was born in West Cork, Southern Ireland. His first instrument was a button key accordion. He later progressed to guitar, and during his early teens he played in the family pub with whoever the visiting musician was. He played in many bands in the West Cork area, one of the most successful being a band called “SOUTHERN COMFORT”…

While in that band he met Noel Redding (Ex Bass player with the Jimi Hendrix Experience). Gerry and Noel played together in various bands around Southern Ireland. During the late 70’s Gerry played the showband circuit in Ireland and England with bands like, Stage 2, Tony Stevens Band and Discovery…In 1980 Gerry formed a band called ” DRIVESHAFT “. With that band he toured extensively in Ireland and England playing headline gigs…and supporting visiting international acts like: Rory Gallagher (also from Cork Ireland), Phil Lynott’s Grand Slam, ZZ Top, Def Leppard, Saxon and the Michael Schenker Group.

In 1983 Gerry moved to England and while living in London he got to work and record with Gary Moore, Cozy Powell (ex-Rainbow / Whitesnake / Jeff Beck / Black Sabbath), Neil Murray (ex-Bass player with Whitesnake / Brian May Band), John Sinclair (Keyboard player with Ozzy Osbourne / Uriah Heep)…In 1993 Gerry moved to the Canary Islands (Gran Canaria) where he now lives and works.

Gerry Lane

The singer-songwriter’s and producer’s vocal influences include Joe Cocker, Tony Joe White, Jimmy Barnes and Bob Seger. Lane’s website also notes Eric Clapton, Mark Knopfler, Rory Gallagher, BB King and Buddy Guy as guitarists who have influenced him. When it comes to songwriting, he cites Tony Joe White, Keb’ Mo’, Mark Knopfler, John Hiatt and Bob Seger. Okay, you might say, any music artist can name famous peers. At the end of the day what truly matters is the music. And the music on this album is a lot fun to listen to, so let’s finally get to some of it.

Here’s the title song and opener. Like all of the 10 tracks on the album, it was written by Lane. Down on the Boulevard also includes a new version of Meloneras Blues, the title track from what appears to be his solo debut from 2008. Check it out!

The album’s second track Kick off them Shoes has a cool blues and Stax soul vibe. It reminds me a bit of Cocker’s You Can Leave Your Hat On. This is some tasty shit!

Track no. 3 is called Cryin’ in the Rain. When the first three songs of an album are great, usually, it’s a good sign. Just like the previous tune, I dig the soulful vibe.

The Writing’s on the Wall features some nice slide guitar action.

Let’s finish things up with another tasty rocker: Solid as a Rock. With that cool guitar riff and sound, I could actually picture this as an AC/DC song. And guess what? It turns out the tune is a tribute to rhythm guitarist Malcolm Young, as the notes to the following clip point out.

Mal was a hard man/He was born into a clan/He was a guitar singer/In a rock & roll band/He was dynamite/He was TNT/He was out of sight/He touched the devil in me

He was solid as a rock/He took it to the top/He was solid as a rock/He never let it stop – that’s right/He was solid as a rock…

Yeah, baby!

Sources: Gerry Lane website; YouTube

Aw, The ’80s (Part 2: 1985-1989)

A two-part feature looking back at music of the decade

Here is the second and final installment of my feature looking back at music and some related events in the ’80s. This part is focused on the second half of the decade. As noted in part 1, it isn’t meant to be a comprehensive review but instead a selection of things I find noteworthy.

1985

To me the key music event during this year and perhaps the entire decade was Live Aid. I was watching it on TV from Germany while simultaneously taping it on music cassette from the radio. Organized by Bob Geldorf and Midge Ure as a fundraiser to fight starvation in Ethiopia, Africa, the benefit concert was conducted on July 13 simultaneously in the U.K. at London’s Wembley Stadium and the U.S. at John F. Kennedy Stadium in Philadelphia. Among others, it featured Status Quo, Queen, U2, David Bowie, The Who and Paul McCartney at Wembley, while some of the performers in Philly included Joan Baez, Madonna, Tom Petty, Bob Dylan, Mick Jagger, Tina Turner and, in a less-than-stellar appearance, a reunited Led Zeppelin featuring Phil Collins on drums. The concerts were watched by an estimated global TV audience of 1.9 billion across 150 countries and raised approximately 150 million British pounds.

Live Aid Wembley
The Live Aid concert at London’s Wembley Stadium was attended by 72,000 people

Other events that year included the official launch of VH-1 on cable TV in the U.S. (Jan 1); recording of the charity single for Africa We Are The World (Jan 28), co-written by Michael Jackson and Lionel Ritchie and performed by USA For Africa, who apart from Jackson and Ritchie featured Ray Charles, Billy Joel, Cindy Lauper, Paul Simon, Bruce Springsteen, Stevie Wonder and numerous other top artists; release of Dire Straits’ fifth studio album Brothers In Arms, their best-selling record that among others became known for its exceptional sound quality due to its all-digital recording (May 13); Michael Jackson’s purchase of the publishing rights for most of The Beatles’ catalog for $47 million, out-bidding former artistic collaborator McCartney whose success in music publishing had inspired Jackson to increase his activities in the business (Sep 6); and Roger Waters’ announced intention to leave Pink Floyd, which marked the start of a two-year legal battle over the rights to the band’s name and assets.

The biggest hit singles of 1985 were Shout (Tears For Fears), We Are The World (USA For Africa), Take On Me (a-ha), I Want To Know What Love Is (Foreigner) and Material Girl (Madonna). Following is Money For Nothing, the second single from Dire Straits’ Brothers In Arms album, which they performed at Live Aid. Like on the studio recording, it featured Sting on backing vocals.

1986

On Jan 30, the Rock and Roll Hall of Fame held its first induction ceremony. The first batch of inductees included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley. While over the years since, there has been much debate over who should be in the Rock Hall, the selection process, the award categories, etc., I think there is no doubt that the above artists all well-deserving inductees.

Rock Roll Hall of Fame 1986 Inductees
Rock & Roll Hall of Fame 1986 inductees (left to right): upper row: Chuck Berry, James Brown, Ray Charles, Sam Cooke and Fats Domino; lower row: The Everly Brothers, Buddy Hollie, Jerry Lee Lewis, Little Richard and Elvis Presley

Other events: Bob Geldorf’s knighthood award to recognize his work for Live Aid and other charity concerts for Africa (Jun 10); release of Madonna’s True Blue album, the best-selling record of year (Jun 30); and disbanding of The Clash, Electric Light Orchestra (revived by Jeff Lynne in 2000) and Men At Work.

The top-performing hit singles included Rock Me Amadeus (Falco) – the first German-language song to top the U.S. Billboard Hot 100Papa Don’t Preach (Madonna), The Final Countdown (Europe), Take My Breath Away (Berlin) and West End Girls (Pet Shop Boys). The 1986 tune I’d like to highlight is Sledgehammer by Peter Gabriel, which was first released as a single in April. It also appeared on his fifth studio album So that came out the following month. Here’s the song’s official video, which won multiple accolades in 1987, including a record nine awards at the MTV Music Video Music Awards and “Best British Video” at the Brit Awards. It’s definitely one of the most memorable music videos of the decade.

1987

Some of the events in music during that year included the induction of Aretha Franklin as the first woman into the Rock and Roll Hall of Fame (Jan 3); release of U2’s fifth studio album The Joshua Tree (Mar 9), which topped the charts in 20-plus countries and became one of the world’s most commercially successful records, selling more than 25 million copies; Whitney Houston’s second studio album Whitney, the first record by a female artist to debut at no. 1 on the Billboard 200 (Jun 27); launch of MTV Europe (Aug 1); and release of A Momentary Lapse Of Reason, Pink Floyd’s first studio album after the departure of and legal battle with Roger Waters (Sep 7). Waters finally wrapped up his legal separation from the band later that year.

The highest-charting hit singles were La Bamba (Los Lobos), Never Gonna Give You Up (Rick Astley); I Wanna Dance With Somebody Who Loves Me (Whitney Houston), It’s A Sin (Pet Shop Boys) and Who’s That Girl (Madonna) – I remember each of these songs like it was yesterday! Here’s Where The Streets Have No Name from my favorite U2 album The Joshua Tree. Credited to the band (music) and Bono (lyrics), the tune was released as the album’s third single in August 1987, five months after the record’s appearance.

1988

Some of the music events that year included the induction of The Beach Boys, The Beatles, The Drifters, Bob Dylan and The Supremes into the Rock and Roll Hall of Fame (Jan 20); near-death experience for Alice Cooper on stage after one of the props, the Gallows, malfunctioned – yikes! (Apr 7); sale of legendary soul label Motown Records to MCA and financial firm Boston Ventures for $61 million (Jun 27); John Fogerty’s win of what sounds like a frivolous self-plagiarism lawsuit Fantasy Records had brought against him, claiming his 1985 comeback tune The Old Man Down The Road was too similar to Run Through The Jungle, which he had recorded with Creedence Clearwater Revival in 1970 (Nov 7); and final concert by Roy Orbison in Akron, Ohio (Dec 4) prior to his death from a heart attack only two days thereafter.

Leading hit singles: A Groovy Kind Of Love (Phil Collins), Don’t Worry Be Happy (Bobby McFerrin), Always On My Mind (Pet Shop Boys),  Heaven Is A Place On Earth (Belinda Carlisle) and Take Me To Your Heart (Rick Astley). One 1988 song I like in particular is Under The Milky Way Tonight by Australian outfit The Church. Co-written by Steve Kilbey and Karin Jansson, it became the lead single to their excellent fifth studio album Starfish. Both were released in February that year. Here’s a clip.

1989

I can’t believe I made it to the last year of the decade! Some of the events I’d like to highlight are criticism of Madonna by religious groups worldwide over alleged blasphemous use of Christian imagery in her music video for Like A Prayer (Feb 23), which had premiered on MTV the day before; release of Bonnie Raitt’s 10th studio album Nick Of Time, one of my favorite records from her (Mar 21); release of Tom Petty’s excellent debut solo album Full Moon Fever (Apr 24); Ringo Starr’s formation of his All-Starr Band (Jul 23); opening of The Rolling Stones’ North American tour in Philadelphia to support their comeback album Steel Wheels (Aug 31), two days after the album had dropped; and release of Neil Young’s 17th studio album Freedom (Oct 2), best known for the epic Rockin’ In The Free World.

Key hit singles were Like A Prayer (Madonna), Eternal Flame (The Bangles), Another Day In Paradise (Phil Collins), The Look (Roxette) and Love Shack (The B-52s). The final ’80s tune I’d like to call out via clip is Down To London by Joe Jackson, an artist I’ve listened to for many years. He recorded the song for his 10th studio release Blaze Of Glory, which appeared in April 1989.

Sources: Wikipedia, YouTube