The Year That Was 2019

Highlights of my rock & roll journey during the past 12 months

It feels unreal to me Christmas and New Year’s are upon us again – not to mention a new decade! I still recall a conversation with a school friend when we were 12 years old. He and I imagined where we might be when the year 2000 comes. At the time, the turn of the century was still more than two decades out. It seemed so far away. Now, not only has 2000 come and go, but we’re 20 years down the road, baby – crazy how time flies!

Well, this post doesn’t span decades. The idea is much more moderate: Looking back at my personal music journey over the past 12 months, as documented by this blog. While to some extent it reflects what happened in music this year, it’s not a broad review piece. Since I mostly listen to ’60s and ’70s artists or new music they release, I couldn’t do a legitimate comprehensive look-back on 2019 in music.

In the past, I’ve said more than once most new music nowadays lacks true craftsmanship and sounds generic and soulless to me. And while I still largely ignore what dominates today’s charts, I’ve finally come to accept contemporary music isn’t inherently bad. It’s just different and I generally don’t like it. Here’s the good news: I don’t have to. There’s so much “old” music out there I’ve yet to discover, and while artists may retire or pass away, their music will stay. Forever. That’s the beauty of music. It means for those of us who dig it, rock & roll will never die! Okay, enough with the wise-cracking and on to some highlights of my music journey this year.

Concerts

As a retired band-turned-closet musician, live music remains the ultimate thrill to me. Yes, ticket prices continue to be outrageous for most top acts, and that’s not going to change. But this hasn’t deterred me yet from seeing artists I dig. However, it did require being more selective (for example, I skipped Steely Dan and The Doobie Brothers, since I had seen both in 2018) and oftentimes settling for cheaper seats.

My two concert highlights this year were The Rolling Stones at MetLife Stadium in East Rutherford, N.J. in early August and The Who at New York’s Madison Square Garden in May. I had seen both before, but since they are among my longtime favorite bands and in the twilight of their careers, I simply did not want to miss the opportunity. I’m glad I was able to catch both, especially The Who. At the time I bought my ticket, I had not realized this wasn’t a “regular” gig but The Who backed by a symphonic orchestra. Had I understood this, it may have deterred me. But the concept worked pretty well, so I’m happy I didn’t read the fine print! Here’s a clip from each show: Jumpin’ Jack Flash and the Love Reign O’er Me, two tunes that will never go out of style in my book!

I also saw various other great shows: Walter Trout (The Iridium, New York, April 9), Joe Jackson (State Theatre, New Jersey, New Brunswick, May 18), Govt’ Mule (The Stone Pony, Asbury Park, N.J., June 28), Southern Avenue (The Wonder Bar, Asbury Park, N.J., July 11) and Hall & Oates (Fairgrounds, Allentown, Pa.). I wouldn’t have gone to that last concert, had it not been for my wife. While I wouldn’t call myself a Hall & Oates fan, it was a great show.

As King/Emperor of Tribute Bands (blame Music Enthusiast for the title! 🙂 ), this concert section wouldn’t be complete without acknowledging the many tribute shows that continued to attract me. I know some folks roll their eyes when they hear the word tribute band. I find nothing wrong listening to music I dig, especially when it’s faithfully captured. Among the many tribute concerts I saw, two stood out: Pink Floyd tribute Brit Floyd (Sands Bethlehem Event Center, Bethlehem, Pa., March 30) and the annual Rock The Farm Tribute Festival (Seaside Heights, N.J., September 28). Here’s a clip from the Brit Floyd gig: Comfortably Numb – epic!

And then there’s of course Woodstock’s 50th anniversary. I finally got to see the director’s cut of the documentary on the big screen. While I can’t deny 224 minutes is pretty massive, I enjoyed every minute of it. Here’s the main post I did to commemorate the festival. And here’s a clip of one of the most iconic rock performances of all time: Joe Cocker and With A Little Help From My Friends.

New Music

As stated above, for the most part, new music means new albums released by “old” artists I dig. As I looked back through my previous posts, I was surprised to find that I reviewed 22 new albums. Granted this number includes three live albums (The Doobie Brothers/Live From The Beacon Theatre, The Rolling Stones/Bridges To Bremen and Paul McCartney/Amoeba Gig) and an excellent posthumous compilation by Tom Petty And The Heartbreakers (The Best Of Everything), which do not feature new music. Even if you exclude these, it still leaves you with 18 albums. This makes me wonder what I would do if I also paid more attention to contemporary artists. It pretty much would be impossible to review their new music as well, given I have a family and a full-time job – another good reason to focus on what I truly dig! 🙂

Albums by “old hands” I’d like to call out are The Who (WHO), Booker T. (Note By Note), Neil Young (Colorado), Ringo Starr (What’s My Name), Santana (Africa Speaks),  Little Steven And The Disciples of Soul (Summer of Sorcery), Joe Jackson Fool and Sheryl Crow (Threads). One artist who seems to be missing here is Bruce Springsteen and Western Stars. While I dig Springsteen and don’t think it’s a bad record, it just doesn’t speak to me the way other music by The Boss does, so I ended up skipping a review. Crow said Threads is her final full-fledged release, explaining in the age of streaming music, most people make playlists and no longer listen to entire albums. Boy, this statement really reflects how much listening habits and the music business have changed! Here’s Live Wire, a nice bluesy tune co-written by Crow and Jeff Trott and featuring Bonnie Raitt and Mavis Staples.

There were also some new blues releases I enjoyed by both older and younger artists, including Walter Trout (Blues Survivor), Jimmie Vaughan (Baby, Please Come Home), Kenny Wayne Shepherd Band (The Traveler) and “wunderkind” Jontavious Willis (Spectacular Class), as Taj Mahal has called him. How about some music from Willis’ sophomore album? By the way, it was executive-produced by Mahal. Here’s opener Low Down Ways.

I also would like to call out albums from three other contemporary artists: Rick Barth (Fade), SUSTO (Ever Since I Lost My Mind) and Southern Avenue (Keep On). If you’re a more frequent visitor of the blog, you may recall Southern Avenue is one of the very few young bands I truly dig. I just love how these guys blend blues, soul and R&B, and the vocals are just killer! Here’s the title track from the above album, which is their second one. The tune was co-written by guitarist Ori Naftaly, lead vocalist Tierini Jackson and producer Johnny Black. There’s just something about Southern Avenue’s sound I find really seductive.

Coolest Clip

I think I came across a number of great clips I posted throughout the year. One of the best has to be this footage of The Who performing Won’t Get Fooled Again. That’s the raw power of rock & roll! It was filmed on May 25, 1978 at England’s Shepperton Studios, about 20 miles southwest of London, for the closing sequence of the band’s rockumentary The Kids Are Alright. And then, there’s this very different but equally mesmerizing clip: a live demonstration of the Hammond B3 by the amazing Booker T. Jones. To really get excited about it, I realize maybe you need to be a musician.

And Finally…

2019 marks the third full year I’m doing this blog. While I really wanted to start writing about my passion, I wasn’t sure whether I could keep it going when I set out in June 2016. Due to personal reasons, I had to slow down a bit during the past couple of months. But music and writing about artists I dig is therapy to me, so I have every intention to continue and hopefully pick up the pace again. When starting the blog, I also felt I’m doing this for myself first and foremost, not to become some “Internet sensation.” While that is still the case, I can’t deny it’s great to see visitors and that traffic has trended up nicely. Of course, growing from tiny numbers is relatively easy, and there is realistically no way I can keep up the current momentum.

Blog Stats

I’m leaving you with a clip from my most popular post this year (measured by total views): The above mentioned Rock The Farm Tribute Festival. The positive reception made me really happy, since it’s great music for a great cause. Here’s It’s Late by Canadian Queen tribute Simply Queen.

I’d like to thank all visitors for reading and especially those who go through the trouble of leaving comments. I always love getting feedback, even if I may not agree with everything folks say. But that’s cool.

Merry Christmas!

Merry Christmas Emoji

Sources: Christian’s Music Musings; YouTube

Keb’ Mo’ Releases Roots-Oriented Album Oklahoma

Keb’ Mo’ fully entered my radar screen only two years ago with TajMo, a collaboration album with Taj Mahal and one of my favorite new records from 2017. My fondness for Mo’ grew further when I saw him together with Mahal during the TajMo supporting tour, one of the greatest shows I’ve been to in recent years. Perhaps not surprisingly, I was full of anticipation about Mo’s new album Oklahoma, which appeared yesterday. Let me say this right upfront: It’s very different from TajMo, but after having listened to the 10 tracks for a few times, I like it and with every additional run-through, I like it even better.

Typically, the Nashville-based guitarist and singer-songwriter whose real name is Kevin Roosevelt Moore, is characterized as a blues artist. But based on my understanding, Mo’ has frequently ventured beyond the blues into other styles like R&B, Americana and roots music. While Oklahoma has some bluesy moments, it primarily falls into the Americana/roots genre.

Keb' Mo' & Dara Tucker
Dara Tucker & Keb’ Mo’

According to Mo’s website, the inspiration for the album’s title track came to Mo’ after he had visited the state for a benefit show in the aftermath of a tornado and seen all the destruction. But it wasn’t until he met American vocalist and Oklahoma native Dara Tucker that the idea of making an album focused on The Sooner State was born. As Mo’s website puts its, Together, they set about to portray the complicated depth of American history played out in her home state. Native American connection and tragedy, natural and man made disasters, incredible musicians and the Tulsa Sound, and western ruggedness and fortitude are all themes.

Initially, Mo’ had set out to make an acoustic solo album, and it wasn’t supposed to be called Oklahoma. “I just wanted some good songs, like I always do—I wanted 10 really good, authentic songs,” Mo told Blues Rock Review. “I had this idea about Oklahoma, and I was like, ‘Oh god, Oklahoma—that’s just crazy. That has nothing to do with me.’ I had a writing session with a writer I’d never written with, Dara Tucker. I said, ‘Where are you from?’ She says, “Oklahoma.” I go, ‘Okay—there might be something with this Oklahoma idea. Let’s just write this idea; I don’t know what’s going to come of it.'”

Well, let’s find out! Here’s the title track co-written by Mo’ and Tucker. The tune features great lap steel guitar playing by Robert Randolph.

Put A Woman In Charge features singer-songwriter Rosanne Cash, the eldest daughter of Johnny Cash and his first wife Vivian Liberto Cash. The track was co-written by Mo’, John Lewis Parker and Beth Nielsen Chapman. “That was supposed to be a stand-alone single, but I loved the way it turned out, so I had to put it on the album,” Mo’ noted on his website. “I’d never worked with Rosanne before, but somebody suggested that she might like it. She said yes, and she put down her part, and it was just so badass.” The message of the groovy tune is pretty clear. Here’s an excerpt of the lyrics.

Way back when/In the beginning of time/Man made the fire then the wheel/Went from a horse to an automobile

He said “the world is mine”/He took the oceans and the sky/He set the borders – build the walls/He won’t stop till he owns it all

And here we are/Standing on the brink of disaster/Enough is enough is enough is enough/I know the answer

Put a woman in charge/Put a woman in charge/Put a woman in charge/Put a woman in charge…

Since I previously wrote about This Is My Home, one of my favorite tunes on Oklahoma, I’m skipping it here and jump right to Don’t Throw It Away. Co-written by Mo, Charles Esten and Colin Linden, Mo’s friend and the album’s primary producer, with Mo’ co-producing, the bluesy tune about the virtues of recycling features Taj Mahal and is the closest it gets to TajMo.

The last track I’d like to highlight is Ridin’ On A Train, another bluesy tune co-written by Mo’ and Jenny Yates. The song only features Mo’ on vocals and resonator guitar and drummer Marcus Finnie.

Commenting on the album overall on his website, Mo’ said, “I’m more interested in pleasing myself, and making records that make me feel proud and make me feel like I’ve done my best. And if other people like it, that’s gravy.” He further pointed out, “When you are in a certain part of your life, the concept of an album is woven into the process. All of these songs stemmed from important issues and topics worldwide that really resonated with me during the time we were recording the project.”

Oklahoma appears on Concord Records. Mo’ dedicated the album to his late mother, Lauvella Cole, who passed away in September 2018 at the age of 91. Mo’ is currently on the road to support the record. After finishing a U.S. leg, he is headed overseas at the end of the month for a series of dates in Europe, lasting well into the second half July, before returning to the U.S. in late August after taking a break. The full schedule is on his website.

Sources: Wikipedia, Keb’ Mo’ website, Blues Rock Review, Glide Magazine, YouTube

 

Pix and Clips: Keb’ Mo’/This Is My Home

I just spotted this beautiful tune and clip by Keb’ Mo’. Since his fantastic collaboration album with Taj Mahal TajMo and seeing the two artists in August 2017 during the tour that supported the record, I’ve come to dig Mo’.

Co-written by Mo’ and John Lewis Parker, This Is My Home is from Mo’s upcoming new album Oklahoma, which is set for release on June 14. “This Is My Home is a love story about people making their way in a changing world,” Mo’ commented. “Immigrant, enslaved or native, we all have a story and a history.”

To me, the lyrics go to the heart and soul of what America has traditionally stood for. Nowadays, unfortunately, this philosophy seems to be in danger. But in countries that have free elections, it’s up to the people to decide what kind of leaders and country they want to have.

Lupe came here from Mexico
About 3 or 4 years go
And the journey, the journey, the journey was long
She got a job at a local factory
Sent money back home to her family
She said, “This is where I belong
This is my home
This is where I belong”

A man arrives from Pakistan
A stranger in the promised land
Mohammed, Mohammed was finally free
He drove day and night in a taxi cab
When people got mean
He didn’t get mad
He knew, this is where I belong
This is my home
This is where I belong

La la la la la la…

Lupe had school on Monday night
When a man walked in who looked just right
Mohammed and Lupe were falling in love
Well they raised a beautiful family
Taught them all their history
They know, this is where they belong
This is their home
This is where they belong

My people came over from Africa
To North and South America
And the journey, the journey, the journey was long
They sacrificed and they paid the price
So I could live this wonderful life
And I know, this is where I belong
This is my home
This is where I belong

La la la la la la…

This is where I belong
This is my home
This is where I belong

Sources: Facebook, YouTube