The Year that was 2020 – Part 2 of 2

A look back on my music journey over the past 12 months

This is second and last installment of my two-part year in review. In case you missed part 1, you can read it here.

Celebrating new music one song at a time

With more than 150 songs highlighted since the launch of the Best of What’s New feature, I find it impossible to call out the best tunes. As I wrote in the inaugural March 21 post, While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. I should perhaps have added that I don’t need to like other tunes by an artist to include them. It’s literally about the specific song.

Best of What’s New installments have featured tunes ranging from prominent artists like Sheryl Crow, The Rolling Stones and Tom Petty to lesser known acts like rock bands Brother Man and Mondo Silicone and Austin, Texas-based band leader Joe Sparacino, aka. Dr. Joe. Frequently, these posts triggered new album reviews, e.g., LeRoux (One of Those Days), Mick Hayes (My Claim to Fame) and Niedeckens BAP (Alles Fliesst). Following are four songs I discovered in the context of Best of What’s New.

Dr. Joe: Believer

From Dr. Joe’s websiteBased in Austin TX but raised on a farm outside Salina, Kansas, band leader Joe Sparacino spent his early childhood learning piano from a southern gospel choir matron and listening to his family’s old vinyl collection of Ray Charles, Leon Russell and James Booker. Released on April 10, Believer was Dr. Joe’s then-latest single and it’s cooking!

The Reverberations: Under Your Spell

The Reverberations are a five-piece band from Portland, Ore. Their Bandcamp profile characterizes their music as “’60s influenced psychedelic jangle.” I’d call it psychedelic garage rock. Under Your Spell, the B-side to their single Palm Reader released May 28, features some cool Byrds-ey guitars and nice keyboard work. Did I mention it’s also got a quite catchy melody? And check out the lovely psychedelic cover art – super cool all around! For more on this great band, you can read my review of their February 2019 album Changes, their most recent full-fledged studio release.

Kat Riggins: No Sale

Kat Riggins is a blues artist hailing from Miami. According to her website, She travels the world with the sole mission of keeping the blues alive and thriving through her Blues Revival Movement. She has been vocally compared to Koko Taylor, Etta James and Tina Turner to name a few. The nice blues rocker No Sale, which has a bit of a ZZ Top vibe, is from Riggins’ fourth album Cry Out released on August 14. That woman’s got it!

Greta Van Fleet: Age of Machine

Age of Machine is the second single from Greta Van Fleet’s next album The Battle at Garden’s Gate, which is scheduled for April 16, 2021. I think this kickass rocker provides more evidence the young band has evolved their style, moving away from their initial Led Zeppelin-influenced sound. Looking forward to the album!

Live music in the year of the pandemic…

Except for two tribute band concerts in January, pretty measly for the ‘King of the Tribute Band,’ I didn’t go to any live gigs this year. Shows for which I had tickets, including The Temptations and The Four Tops, Ringo Starr and His All Starr Band, and Steely Dan with special guest Steve Winwood, were rescheduled until April, June and July 2021, respectively. Perhaps with the exception of the last concert, I hope all other shows will be rescheduled a second time and moved back to the second half of the year. For somebody who loves live music and over the past 4-5 years has gotten into the habit of seeing an average 20-30 shows per year (counting lower cost tribute band and free summer type concerts), seizing live concerts it’s a bitter but necessary pill to swallow until this lethal pandemic is behind us.

I ended up watching two live concerts via Internet stream: Southern Avenue at Instrumenthead Live Studio in Nashville, Tenn. last week, and Mike Campbell’s band The Dirty Knobs at the Troubador in Los Angeles in late November. It was fun and also a nice opportunity to support music via voluntary donations in lieu of buying official tickets, but no virtual experience can replace the real deal.

Some final musings…

While my primary motivation for the blog has always been the joy I get from writing about a topic I love, i.e., music, it’s nice to see continued growth in visitor traffic, followers and feedback. Just like in 2019, the most popular post remained my January 2018 piece about Bad Company’s live CD/DVD collection from their May 15, 2016 show at Red Rocks Amphitheatre; personally, I find the post average at best. By comparison, my July 12, 2020 post about the mellotron, which I’m proud of, received less than one percent of traffic than the Bad Company post. Perhaps, it was too geeky! 🙂 It’s funny how these things sometimes go.

I’d like to thank all visitors of the blog. If you’re here for the first time, you’re welcome back anytime. If you’re a regular, I hope you keep coming back. I also enjoy receiving comments, including different opinions. All I ever ask is to keep things civil.

Last but not least, I’d like to leave you with a great song by Southern Avenue they also played during the above noted virtual concert. I feel it’s a great message, especially during these crazy times: Don’t Give Up, from their eponymous debut album released in February 2017. Since I couldn’t capture footage from the above gig, here’s an alternative I can offer: a clip I recorded during a show at The Wonder Bar, a small venue in Asbury Park, N.J. in July 2019.

Sources: Christian’s Music Music Musings; YouTube

The Dirty Knobs Release Long Awaited Debut Album Wreckless Abandon

Mike Campbell’s band The Dirty Knobs finally released their debut album yesterday (November 20). Originally, Wreckless Adandon had been scheduled for March 20 but was pushed back after Campbell announced in early March he had to deal with “some health issues, which, while fully treatable, need to be addressed” and that “I’m going to be just fine,” as reported by Ultimate Classic Rock at the time. In a way, the eight-month delay was relatively minor, considering the band has been around for some 20 years.

Campbell formed The Dirty Knobs in the early 2000s as a side project to Tom Petty’s Heartbreakers. In August 2001, he told Rolling Stone he had recruited original Heartbreakers bassist Ron Blair and the band’s drummer at the time Steve Ferrone, together with guitarist Jason Sinay. Apart from Campbell and Sinay, the Knobs’ current lineup includes Lance Morrison (bass) and Matt Laug (drums). “It’s rougher-edged [than the Heartbreakers],” Campbell described their music at the time. “It’s slightly over-driven, less polished, lots of Sixties influence — the Kinks, Zeppelin, the Animals. It’s something I probably should have done a long time ago, but I didn’t ’cause I was wrapped up in the Heartbreakers.”

The Dirty Knobs were active in-between Heartbreakers tours and studio projects. They played small venues and did some recordings but weren’t looking for a record deal. “We would go and play clubs and do some recordings and it just got better and better,” Campbell said during a recent interview with Cleveland.com. “I always had in the back of my mind it would be a great project to do if the Heartbreakers ever took a hiatus or whatever. So now here we are, and I’m all fired up to do this band.” Of course, Campbell had also been pretty busy working with Bob Dylan, George Harrison, Johnny Cash and many other artists and since September 2018 as an official new member of Fleetwood Mac.

The Dirty Knobs (from left): Jason Sinay, Mike Campbell, Lance Morrison and Matt Laug

While Reckless Abandon isn’t meant to sound like a Heartbreakers album, perhaps inevitably, you find yourself looking for similarities, and there are definitely some influences. After all, Campbell and Petty had a long songwriting partnership, and it’s not a coincidence Campbell earned co-writing credits for two to three songs on many Heartbreakers albums and two of Petty’s solo records.

At times, even their voices sound a bit similar. “In the beginning I realized I had a lot of Tom’s nuances in my delivery ‘cause we grew up together, so I focused hard on trying to filter that out as much as possible and find my own voice and personality,” Campbell explained to Cleveland.com. “I don’t want to sound like Tom, of course, but I do from time to time ‘cause we have the same accents and this and that. But I think I found my own self.”

Time for some music. Here’s the opener and title track that had previously been released as the album’s lead single back in January. Like all other except for two songs, it was written by Campbell. Great tune – dig Campbell’s Rickenbacker sound. Frankly, this track could be a Heartbreakers song. One difference is there are no keyboards.

Pistol Packin’ Mama features Chris Stapleton on vocals. Stapleton also contributed a tune, Fuck That Guy. Likewise, Campbell was a guest on and co-wrote two songs for Stapleton’s new album Starting Over released on November 13. “He’s a great writer, a great artist, so I’m fortunate to be able to work with him,” Campbell told Cleveland.com. “I met Chris the first time just in passing; The Heartbreakers were headlining at (Chicago’s) Wrigley Field, and he was opening. He was going to take (Dirty Knobs) out to open for him in the summer.”

Next up: Southern Boy, another nice bluesy rocker. Again, I could also picture Tom Petty singing that tune.

On Irish Girl, The Dirty Knobs take it down a few notches. Released as the album’s most recent single on November 16, it’s among the tracks I like the best so far. “Irish Girl is my favorite lyric on the record,” Campbell told American Songwriter. “It’s whimsical and more poetic than most of the Knobs’ songs. I was inspired to write it driving home late one-night listening to Van Morrison on the radio. When I got home, the song just came to me. It’s very simple musically and I love the sound of the record. It reminds me of Ireland.” Here’s the official video.

Let’s wrap it up with one more bluesy rocker: Aw Honey. Ex-Heartbreaker Benmont Tench contributes piano.

Asked by Cleveland.com whether he feels a sense of mission to continue the legacy he had with Tom Petty, Campbell said, “Well, maybe subconsciously. I don’t perceive myself as on a mission, per se; my only mission is to have fun, really, and try to make great music and try to get better. He’s not here, obviously, so now it’s up to me, and I’ve got to carry on making music the best I can. I have a legacy to live up to. I hope the stuff that I do going forward holds up against that stuff. It’s kind of a high bar, but my only mission is just to enjoy myself and keep making music. That’s what keeps this alive.”

In addition to the album, The Dirty Knobs also postponed their supporting tour. It’s now scheduled to kick off in San Bernardino, Calif on June 5, 2021 and wrap up in New Orleans on November 2. Some of the other gigs include Denver (June 25 & 26), Chicago (July 17), Gainesville, Fla. (September 10 & 11), Nashville, Tenn. (September 14), Asbury Park, N.J. (September 18), Boston (September 23 & 24), Indianapolis (October 2 & 3), San Francisco (October 15 & 16) and Austin, Texas (October 30 & 31). The full schedule is available here.

Sources: Wikipedia; Ultimate Classic Rock; Rolling Stone; Cleveland.com; American Songwriter; The Dirty Knobs website; YouTube

Best of What’s New

A selection of newly released music that caught my attention

It’s that time of the week again where I’d like to take a peek at newly released music. All of the selections in this Best of What’s New installment are truly new. They were all released yesterday. I’m also pleased the collection features a good deal of variety, including indie pop grunge, alternative pop, country rock, heavy rock and even some African music. Most importantly, no matter what you call it, it’s all great music, so let’s get to it!

Viji/Are You in My Head

Are You in My Head is the title track of what appears to be the debut EP by Viji. Unfortunately, there is very little publicly available information on this young artist. According to her Spotify profile, Viji is the moniker of Austrian-Brazilian, London-based singer-songwriter Vanilla Jenner. She creates imaginative and original music that crosses the worlds of alternative pop and lo-fi indie weirdness. A review by Dork Magazine includes some commentary from the artist on the song and the EP. “The song ‘Are You In My Head’ is about the internal struggle of relationships. Especially how little things can blow up in your head if you’re in a bad mood…The EP is the first body of work that I’ve ever brought out. I finished writing all the songs for it around this time last year, and then took a few months to record it…The sound is very raw, and we kept a lot of my tracks from the demos. It’s pop melodies over lofi indie chords.” While the music falls outside my core wheelhouse, I can’t deny there’s something charming about it.

Shenandoah/High Class Hillbillies (featuring Cody Johnson)

How about a nice country rocker with the lovely title High Class Hillbillies? This is from the new album Every Road by Shenandoah, a country music band founded in Muscle Shoals, Ala. in 1984. Their eponymous debut album appeared in September 1987. According to Billboard, Every Road is a collaboration album “featuring some of today’s top hitmakers” and the band’s first album in 26 years with all new music. One of the collaborators is country singer-songwriter Cody Johnson, who contributes vocals on High Class Hillbillies. The tune was co-written by Marty Raybon (lead vocals, guitar) and Mike McGuire (drums, backing vocals), the band’s two remaining original members, together with songwriters Jim Collins and Wade Kirby.

Benee/Happen to Me

Benee (born Stella Rose Bennett) is a 20-year-old singer-songwriter from Auckland, New Zealand. According to Apple Music’s artist profile, With her introspective lyrics and smoky, stylized vocals, BENEE combines the sophisticated R&B of artists like Sade and Corinne Bailey Rae with the atmospheric, head-voice electronics of Billie Eilish. In 2017, during her final year in high school, Benee began posting music covers to Soundcloud. Her debut single Tough Guy appeared later that year. This was followed by her debut EP Fire on Marzz from June 2019, which included the lead single Soaked that climbed to no. 14 on the Official New Zealand Music Chart. Supalonely featuring American singer Gus Dapperton, a single from Benee’s second EP Stella & Steve, gained her international popularity. Happen to Me is the opener of Hey u, x, Benee’s first full-length album. Again, it’s not the kind of music I typically listen to, but there’s just something to it.

Chris Stapleton/Arkansas

Arkansas is another great country rocker. It appears on the fourth studio album Starting Over by Chris Stapleton. The singer-songwriter, who has been active since the early 2000s, released his debut studio in May 2015. It was well received, earned Stapleton several awards and remains his most successful record to date. Billboard is pretty upbeat about his latest release: You’ll be hard-pressed to find a better country album this year than Starting Over…From Stapleton’s ragged, soulful vocals to Dave Cobb’s feral production, Starting Over is all untamed emotion. What triggered my attention in part is the involvement of two former members of Tom Petty and the Heartbreakers I dig: Guitarist Mike Campbell and keyboarder Benmont Tench. Arkansas is one of two tunes on the album Stapleton co-wrote with Campbell who has an album with his own band The Dirty Knobs set for release on November 20.

Phil Campbell and the Bastard Sons/We’re the Bastards

Let’s crank it up a notch with a crunchy rocker by Phil Campbell and the Bastard Sons: We’re the Bastards. This Welsh band was formed in 2016 by Campbell, longtime guitarist of Motörhead, following the death of frontman Ian Fraser Kilmister, better known as Lemmy. We’re the Bastards is the title track of the band’s new album, the second full-length record after 2018’s The Age of Absurdity. The band’s remaining members include Phil’s three sons Todd Campbell (guitar, harmonica), Tyla Campbell (bass) and Dane Campbell (drums), along with lead vocalist Neil Starr. Take it away, boys!

Star Feminine Band/Femme Africaine

I almost would have skipped over this last group, but how many all-girl female bands from Africa you know? According to The Vinyl Factory, the members of Star Feminine Band from the West African country Benin range from 10 to 17 years. The line-up inclides Angélique Balaguemon (drums, vocals), Julienne Sayi (bass guitar), Marguerite Kpetekout (drums), Grâce Marina Balaguemon (keyboard, vocals), Anne Sayi (electric guitar), Urrice Borikapei (percussion, vocals) and Sandrine Ouei (keyboard). The group came together after they responded to a local radio station’s advert inviting girls to participate in a series of free music training sessions. Femme Africaine is from their eponymous debut album, which The Vinyl Factory notes incorporates elements of highlife, garage rock, Congolese rumba, Beninese sato, and psychedelia as they address themes of equality, empowerment and female genital mutilation. Check out this video, which is such a joy to watch!

Sources: Wikipedia; Spotify; Dork Magazine; Billboard; Apple Music; The Vinyl Factory; YouTube

A Look Back on Rock the Farm Festival

The annual 11-hour marathon on the Jersey shore combines first rate tribute music with a great cause

Today would have been the 7th annual Rock the Farm festival, a great music tribute event conducted each year in the New Jersey shore town of Seaside Heights. But in light of the seemingly never-ending COVID-19 pandemic, the organizers made the responsible decision to cancel, hoping they can bring back the 11-hour music marathon in 2021.

I think the idea behind Rock the Farm is ingenious: Imagine an iconic music festival that could never happen in reality and bring it to life with compelling tribute acts and raise money for a great cause in the process! It’s almost like a mini Live Aid, except of course The Beatles or The Doors could have never have shared a bill with the Eagles, Guns N’ Roses or Tom Petty.

Fleetwood Mac tribute TUSK at Rock the Farm 2019

The event is organized by Jersey non-profit community organization CFC Loud N Clear Foundation, which offers post-rehab support programs to individuals and families struggling to overcome addiction to opioids, alcohol and other substances. Rock the Farm serves as their main annual fundraiser.

I realize that unless you are from Jersey and/or have been to the festival, this is a bit of an inside baseball post. But as more frequent visitors of the blog may recall, I dig seeing tribute bands, especially when they are of the high caliber Rock the Farm has attracted over the years. This year would have been my fourth time in a row to attend. Instead, I’m taking a look back at highlights from the past two years.

Let’s kick things off with a Guns N’ Roses tribute band from Dallas called Guns 4 Roses. While I haven’t found any information on when they were formed, their website lists gigs going back to 2009. Here’s their rendition of Sweet Child O’ Mine captured at Rock the Farm 2018.

TUSK are an outstanding tribute to Fleetwood Mac, mirroring the Rumours  lineup. This band from New Jersey, which tours nationally, features Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). Here’s Dreams and You Make Loving Fun, from Rock the Farm 2018.

Another highlight at Rock the Farm 2018 were Free Fallin’, a Tom Petty tribute from Minneapolis, founded in 2007. Their members are Tom Brademeyer  (as Tom Petty, guitar & lead vocals), Karl Swartz (as Mike Campbell, guitar & vocals), Craig Volke  (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals), Russ Lund  (as Ron Blair, bass) and Mark Larsen (as Stan Lynch, drums). Here they are with Refugee, one of my favorite Petty tunes.

The headliner at Rock the Farm 2018 were Live/Wire, a kickass AC/DC tribute from New York. Founded in 2000, the band includes Mike Hughes (as Angus Young, lead guitar), Bill Voccia (as Malcolm Young, rhythm guitar), Chris Antos (as Bon Scott and Brian Johnson, lead vocals), Bill ‘Daytona’ Bowden (as Cliff Williams, bass) and Billy Rauff (as Phil Rudd, drums). Based on their current schedule, the band’s touring radius appears to be the eastern half of the U.S. Here’s It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll). Despite some apparent technical issues with the bagpipe, it’s a pretty cool rendition.

One Fine Tapestry are a tribute to Carole King, one of my favorite singer-songwriters. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo performing a variety of different shows. At Rock the Farm 2019, they were backed by a full band. Here’s their rendition of King’s Sweet Seasons.

Decade is an act revolving around great Neil Young tribute artist John Hathaway, who is also from New Jersey and performs with different line-ups of talented backing musicians. Frequent members include guitarist Gordon Bunker Strout, pedal steel player Joseph Napolitano, bassists Ken Ramos and John Dickson and keyboarder Steve Cunniff. Sometimes, Hathaway’s band also features a female backing vocalist as was the case at Rock the Farm 2019 with Pam McCoy. Here’s Cinnamon Girl.

Always fun to watch are Rolling Stones tribute The Glimmer Twins from Philly. Named after the songwriting partnership of Mick Jagger and Keith Richards, this band is led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound fantastic: Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte  (keyboards), Valorie Steel (vocals) and Bobby Michaels (saxophone, flute, organ). Check ’em out with Can You Hear Me Knocking.

The final band I’d like to highlight in this look back were the headliner last year: Simply Queen. This Canadian to Queen, which has been around for 15 years, features Rick Rock (as Freddie Mercury), Bob Wegner (as Brian May), Phil Charrette (as Roger Taylor) and Mitch Taylor (as John Deacon). While Simply Queen mostly perform in Canada, they venture out to the U.S. fairly frequently. Here’s a nice rocker called It’s Late.

Sources: YouTube

Clips & Pix: Tom Petty/Confusion Wheel

This tune should have been included in my last Best of What’s New installment from Friday, but I missed it. Confusion Wheel is a previously unreleased song by Tom Petty, which be on the forthcoming box-set Wildflowers and All the Rest slated for October 16.

According to a short announcement on Petty’s website on September 8, “Confusion Wheel,” written in 1994, eerily captures the uncertainty of 2020 as if it were written yesterday and somehow twists it with infinite hope. Yesterday, Heartbreaker Benmont Tench and Tom’s longtime engineer and co-producer Ryan Ulyate spoke to David Fricke and premiered the previously unreleased song on SiriusXM’s Tom Petty Radio. Listen/share “Confusion Wheel,” alongside a visualizer featuring artwork by Blaze Ben Brooks.

As previously reported by Variety and other media outlets, Wildflowers and All the Rest was jointly curated by Tom’s wife and daughters Dana, Adria and Annakim Petty, respectively, along with former Heartbreakers Mike Campbell and Tench. The collection was produced by Ulyate. In addition to remastered versions of the original Wildflowers tracks, the box set features home recordings/demos, live tracks and various previously unreleased songs.

I really miss Tom Petty, so looking forward to this release!

Sources: Tom Petty website; Variety; YouTube

It Was 35 Years Ago

A look back on Live Aid benefit concert – Part 3

The last part of this mini-series reviews highlights from the U.S. portion of Live Aid at John F. Kennedy Stadium in Philadelphia. Things there got underway at close to 9:00 a.m. EDT (2:00 p.m. BST) on July 13, 1985. The British concert at London’s Wembley Stadium ended at 10 pm BST (5:00 pm EDT). As such, both shows overlapped by eight hours. Unfortunately, this meant viewers could not see all artist performances on their television broadcasts.

The Philly concert included reunions of Crosby, Stills, Nash & Young, the original Black Sabbath with Ozzy Osbourne and The Beach Boys with Brian Wilson. It also featured a less than stellar appearance of Led Zeppelin with Robert Plant, Jimmy Page and John Paul Jones who were joined by Phil Collins and Tony Thompson on drums.

With Page’s guitar out of tune and Plant’s hoarse voice, unfortunately, it was one of Zep’s poorest performances. Later, Page blamed the drumming of Collins who had played at Wembley earlier and traveled to the U.S. by supersonic jet, so he could perform in Philly as well – the only artist who pulled off that stunt. It seems to me the reality of the fiasco was a combination of factors, including lack of rehearsal, some technical challenges and probably a portion of bad luck.

While white artists were well represented at Live Aid, the same cannot be said for artists of color, especially at Wembley, where I believe only two performed: Sade and Brandon Marsalis – a bit of an oddity for a charity concert put on for the African nation of Ethiopia. The U.S. did better in this regard. The show line-up featured The Four Tops, Billy Ocean, Run-D.M.C., Ashford & Simpson, Patti LaBelle, as well as Eddie Kendricks and David Ruffin of The Temptations. In addition, U.S.A. for Africa performed their charity single We Are the World, which included additional artists of color, such as Lionel Richie, Harry Belafonte and Dionne Warwick.

Let’s kick off this last part with one of the above noted reunions: Black Sabbath with Ozzy Osbourne. Here’s Paranoid, the epic title track of the band’s sophomore album from September 1970. The music was credited to all members of Sabbath, while the lyrics were written by bassist Geezer Butler.

One of my favorite bands performing in Philly were Tom Petty and the Heartbreakers. They closed their mini-set with Refugee, one of their best songs, in my opinion. Co-written by Tom Petty and Mike Campbell, the tune is from Damn the Torpedoes, the band’s third studio album released in October 1979. It also became the record’s second single that appeared in January 1980.

Neil Young is another of my all-time favorite artists. Here is Powderfinger, a beloved tune among Young fans. He first recorded the song for his live album Rust Never Sleeps from June 1979. It was also included on various other live albums he released thereafter.

As a fan of Cream, of course, I couldn’t skip Eric Clapton and his rendition of White Room. Composed by Jack Bruce with lyrics by poet Pete Brown, the classic tune was included on Wheels of Fire, Cream’s third studio album that appeared in August 1968.

The last clip I’d like to call out is a great medley of tunes by The Temptations performed by Hall & Oates, together with Eddie Kendricks und David Ruffin: Get Ready, Ain’t Too Proud To Beg and My Girl, which all first appeared as singles. Get Ready from February 1966 was penned by Smokey Robinson. Ain’t Too Proud To Beg, co-written by Norman Whitfield and Edward Holland Jr., came out in May 1966. And My Girl was first released in December 1964. Robinson and Ronald White wrote that tune together.

While you may not agree with Bob Geldof who in his introduction to Live Aid 35 said it was commonly called the ‘greatest concert of all time,’ I think there can be no doubt Live Aid was a one of a kind event. Sure, there were other historic concerts like Woodstock and the Monterey Pop Festival that brought together many of the leading music artists at the time. One must also mention the Concert for Bangladesh, the first benefit music event of significant magnitude. But none of these concerts came anywhere close to Live Aid in terms of audience reach and logistics – and in the case of the Concert for Bangladesh the scale of fundraising.

Sources: Wikipedia; 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

Music From Down Under That Rocks: Part I

A two-part musical journey to Australia

I guess it’s safe to assume this has happened to most folks, particularly those who are into music – suddenly, out of the blue, a song pops into your head you haven’t heard in a million years. Well, that’s what I encountered yesterday with When the War is Over, a tune by Australian rock band Cold Chisel.

It brought me right back to my early twenties when I was playing bass in a band. When the War is Over was one of the covers we did. I was delighted to find it in the library of my streaming music provider. It also turned out I still like it. Then I checked out Cold Chisel. Not only did I discover they still exist, but I also saw they are from Australia. I had no idea about the latter, or at least I don’t recall.

Australian Music Collage

The above episode further made me think about music from Australia. It didn’t take long to remind myself how much great music has come from this part of the world. And there’s much more than just AC/DC, Men at Work and Little River Band, the first three acts that came to my mind.

Since for the most part, this blog focuses on the U.S., England and Canada with occasional posts about German artists, I thought taking a musical trip down under would be well warranted and fun. And since putting everything in one post would be too much, I spontaneously decided to make this a two-part mini-series. So, all on board and let’s go!

AC/DC

One of the greatest rock bands I know, AC/DC were formed in Sydney in 1973 by Scottish-born brothers Malcolm Young (guitar, backing vocals) and Angus Young (lead guitar). The band has gone through many line-up changes and a good deal of tragedy over the decades. Technically, they are still around. There were some recent reports about a new album, for example here and here. Supposedly, it’s a tribute to Malcolm Young, who passed away in November 2017. Reportedly, the album reunites Angus Young with former lead vocalist Brian Johnson, bass player Cliff Williams and drummer Phil Rudd, featuring songs Malcolm had recorded with the band before he was no longer able to play due to dementia. It also features Malcolm’s nephew Stevie Young. Well, I guess we’ll just have to wait and see. Meanwhile, here’s a tune arguably from AC/DC’s best phase with lead vocalist Bon Scott. I don’t care that is has been played 100 million times. To me, Highway to Hell will always remain one of the most epic rock songs. Co-written by the Young brothers and Scott, it was the title track from AC/DC’s sixth studio album released in July 1979.

Bee Gees

I realize seeing the Bee Gees in this mini-series may surprise readers, especially fans of blues and rock, music genres I dig and celebrate in this blog. But while the Bee Gees clearly fall outside these genres, I actually like many of their songs for their three-part harmonies, catchy melodies and grooves. And, dare I say it, this even includes their disco-oriented tunes. Since the Gibb brothers were born in England, only lived in Australia for about nine years and didn’t become famous until after they had returned to England, one could also ask whether the Bee Gees should even be considered to be an Australian band. I think it’s defensible since their story started down under when Barry Gibb, Robin Gibb and Maurice Gibb started singing together in December 1957 – remarkably before they had even reached their teenage years. During the first half of the ’60s, they released a few singles each year. In November 1965, their debut album The Bee Gees Sing and Play 14 Barry Gibb Songs appeared, billed as Barry Gibb & The Bee Gees. But their early efforts remained largely unsuccessful, so the Gibb brothers decided to return to England in early 1967. Before they did, they recorded various tunes, including Spicks and Specks, which became their first hit. In February 1967, the Bee Gees signed a deal with Polydor and in July that year released their first international full-length record, Bee Gees’ 1st. The psychedelic pop album marked their international breakthrough and the rest is history. Here’s the above noted Spicks and Specks, written by Barry Gibb.

The Church

The Church were initially established as a trio in Sydney in March 1980 by singer-songwriter and bassist Steve Kilby, guitarist Peter Koppes and drummer Nick Ward. English guitarist Marty Willson-Piper joined one month later after he had seen one of the band’s gigs. In April 1981, The Church released their debut album Of Skins and Heart in Australia, which internationally came out in January 1982 and was titled The Church. The band is still around. Just recently on February 1st, Kilby announced Koppes had departed, leaving him as the only original member. In October 2017, I covered the most recent album by The Church, Man Woman Life Death Infinity, which reminded me of their album I know best and dig to this day: Starfish from April 1988. I just love the atmospheric, spacial sound of that record. Here’s Reptile, credited to all four members of the band at the time: Kilby, Koppes, Ward and Richard Ploog (drums, percussion).

Cold Chisel

Since the idea of this mini-series was sparked by When the War is Over, I simply couldn’t leave out Cold Chisel. That being said, this song and a few other tunes I’ve heard in the meantime pretty much sum up what I know about this band, which was founded in Adelaide in 1973. Wikipedia describes their music as pub rock, R&B, hard rock and rock & roll. Based on what I’ve heard thus far, this doesn’t seem to be off-base. Cold Chisel’s original line-up consisted of Ian Moss (lead guitar, vocals), Don Walker (keyboards, backing vocals), Jimmy Barnes (vocals, guitar), Les Kaczmarek (bass) and Steve Prestwich (drums). They broke up in December 1983 and reunited in October 1997 with a different line-up. While Cold Chisel have enjoyed significant popularity in Australia and New Zealand, success has largely eluded them in other parts of the world. The lyrics of the November 1981 single You Got Nothing I Want, an attack on the U.S. music industry over its lack of the band’s promotion, pretty much sealed their fate in this market. Here’s the aforementioned When the War is Over, which was written by Prestwich and appeared on the band’s fourth studio album Circus Animals released in March 1982.

Crowded House

Crowded House, which I know best from their ’80s pop-rock, were formed in Melbourne in 1985 by Neil Finn (guitar, vocals), Paul Hester (drums) and Nick Seymour (bass). Following their break-up in 1996, Crowded House have been on and off. In 2016, Finn confirmed the band is on indefinite hiatus. In April 2018, he joined Fleetwood Mac to replace Lindsey Buckingham, together with Mike Campbell. But now that the Mac’s 13-month world tour is over and, according to a recent interview Mick Fleetwood gave to Rolling Stone, they are unlikely to do another extended tour, Crowded House are back with a new line-up: Finn (lead vocals, guitar keyboards), Seymour (bass, backing vocals) and Mitchell Froom (keyboards, guitar, backing vocals), along with Finn’s sons Liam Finn (guitars, keyboards, backing vocals) and Elroy Finn (guitars). Perhaps they should consider renaming themselves The Crowded Finns! Anyway, here’s a tune I loved back in the day and still dig: Don’t Dream It’s Over, written by Neil Finn, and from their 1986 eponymous debut album.

Stay tuned for part II…

Sources: Wikipedia; Fox News; Ultimate Classic Rock; Rolling Stone; YouTube

Clips & Pix: The Dirty Knobs/Wreckless Abandon

I just saw Mike Campbell turned 70 years today, so thought it would be fun to post the above official clip of Reckless Abandon, a new song he wrote. It’s the title track of the upcoming debut album by The Dirty Knobs, a side-band to The Heartbreakers Campbell founded nearly 12 years ago. The album is set for release on March 20 – can’t wait to hear all of it!

Happy birthday!

Sources: Relix; YouTube

Second Tom Petty Posthumous Album Out

Career-spanning compilation features hits and two previously unreleased recordings

The title pretty much says it all. The Best Of Everything is a compilation of Tom Petty’s amazing music from his 40 years as a recording artist, largely focusing on his better known songs. Released yesterday, it’s billed as his first career-spanning collection of hits. Unlike last September’s An American Treasure, the 38 tracks for the most part were taken from past albums. There are two exceptions: For Real, a previously unreleased tune, and an alternate version of the title track that restores a lost second verse.

While to a longtime Tom Petty fan like myself it’s not exactly news what an outstanding songwriter he was, it’s still impressive when you see the track listing. Free Fallin’, Mary Jane’s Last DanceSaving Grace, Breakdown, Refugee, American GirlThe Last DJRunnin’ Down A Dream and Even The Losers, to name some of the gems, surely make for a beautiful collection. While I would say American Treasure is more for die-hard Tom Petty fans, The Best Of Everything is a terrific compilation for folks who know just a few songs and would like to further explore his music beyond the fantastic first Greatest Hits mid-career collection from November 1993.

Tom Petty_The Best Of Everything Collage
Released via Geffen Records/UMe, The Best Of Everything is available as a 2-CD or 4-LP set

To make it truly career-spanning, it would have been nice to include a couple of tunes from The Traveling Wilburys. Sure, it’s fair to note the supergroup wasn’t Petty’s band. The Wilburys were primarily initiated by George Harrison and Jeff Lynne, and their songs were credited to all members. Unlike Mudcrutch and Petty’s solo albums, Mike Campbell and Benmont Tench, who helped put together The Best Of Everything and last year’s compilation, had no involvement with the Wilburys. There may also have been legal reasons for keeping the supergroup’s material out. Still, adding two tunes featuring Charlie T. Wilbur Junior on lead vocals would have been cool, in my humble opinion!

Let’s get to some music. I deliberately skip the big hits. The track order seems to be a bit random. Perhaps part of the idea here was to spread the bigger hits throughout to keep the more casual Tom Petty fans engaged. The number of YouTube clips from The Best Of Everything is still limited, so I’m borrowing clips from the original albums, as needed. The first tune I’d like to call out is Dreamville from The Last DJ, the 11th studio album by Tom Petty and the Heartbreakers, released in October 2002. I’m glad they included this beautiful ballad, which definitely is not among Petty’s big hits.

I Should Have Known It is a nice rocker with a great guitar riff – my kind of song! Perhaps not surprisingly Campbell was a co-writer for this guitar player type of tune, which appeared on the band’s 12th studio record Mojo from June 2010. “I was glad that was on there, because I’m really proud of that track and that performance,” Campbell noted during an interview with Variety, conducted together with Tench and Petty’s eldest daughter Adria Petty, who was also involved in assembling the collection. “It showed a band in their later development still doing quality music.” Listen for yourself!

Next up: The alternate version of The Best Of Everything, another great tune! Originally, Tom Petty and the Heartbreakers recorded it for their sixth studio album Southern Accents, which came out in March 1985. Even though I own that record on CD, frankly, I had forgotten about the song.

Scare Easy is a track from the first Mudcrutch album simply titled Mudcrutch, which appeared in April 2008. Initially formed in Gainesville, Fla. in 1970, Mudcrutch was the predecessor to The Heartbreakers. After recording some demos and releasing one single that failed to chart, Mudcrutch broke up in 1975. It’s kind of remarkable they lasted for more than four years. Then, in August 2007, Petty reunited the band. In addition to Campbell (guitar, mandolin) and Tench (keyboards), the lineup featured the other two original members Randall Marsh (drums) and Tom Leadon (guitar), with Petty on bass and lead vocals.

The last tune I’d like to call out is For Real. This previously unreleased song also wasn’t available on any bootlegs, so until it came out as a single a few weeks ago, it’s something even fans hadn’t heard before. According to Rolling Stone, the track was recorded in August 2000 and is “a declaration of purpose” by Petty. “That song to me sounds like Tom reporting from his heart — reporting from the front,” Tench told Variety during the above interview. “It may sound like it’s meant to be a summing up of a career or something, but it’s not, really, because it’s almost 20 years old. We weren’t quite as long-in-tooth and gray then.” I think Tench is right, though it’s the perfect tune to close out the collection.

“When I went back through all this stuff… I don’t want to get heavy with it, but it’s very emotional, in being nostalgic, because we were never nostalgic when we were working,” Campbell told Variety. “We never looked back. We just always were looking forward. But Ben and I were forced to look back as we went through this stuff, and we both had an epiphany about how we have a legacy that has integrity. We were sad, but also very proud of what we’ve done.” Who can blame them.

Added Adria Petty: “I feel like Ben and Mike haven’t had a second to process this, what the next chapter can be, and I think for us, it’s kind of the same. Ben had a baby for the first time six or seven weeks after my dad died, and he’s been deeply in love and entrenched in that. It’s a really horrible thing to have to process both things at the same time, so he probably finally has a little space to just focus on that. Mike’s going to be on the road with Fleetwood Mac through April. He had his first grandchild right after Dad died. There’s a third generation of Heartbreaker kids coming in that are all amazing.”

Benmont Tench & Mike Campbell
Benmont Tench (l) and Mike Campbell, August 2018

So after two major compilations, what else might be in store or in the vault I should perhaps better ask. “There a bunch of really great stuff,” Tench told Billboard. He noted early Mudcrutch recordings, demos from The Last DJ and music from the period of Hypnotic Eye, the final studio album by Tom Petty and the Heartbreakers from July 2014.

Campbell would like to explore a live album from the band’s shows at the Fillmore from 1997 to 1999, he explained to Rolling Stone. “For me, that was almost the pinnacle of the band just being totally spontaneous night to night to night. We might throw in a Grateful Dead song that we just learned that afternoon. We recorded every show and we had guest artists from Bo Diddley to Roger McGuinn to John Lee Hooker. And I know, in my memory of those 20 nights, there’s an amazing album in there.” That surely sounds like a great idea to me!

However, both Tench and Campbell want to be mindful about further releases to make sure the quality is right and Petty would have wanted to release the material. Adria Petty agrees. “I don’t want to inundate the fans with “Hey, here’s another record!”,” she told Variety. That’s a good thing!

Sources: Wikipedia, Tom Petty official website, Variety, Rolling Stone, Billboard, YouTube