The Sunday Six

Good morning, afternoon, evening, night…in whichever time zone you are, I’d like to welcome you! Is 2023 already starting to feel old? Are you struggling with sticking to any new year’s resolutions? I hope you can put aside any such thoughts you may have and join me on another trip into the amazing world of music. Let’s all escape the present and have a great time together while it lasts!

Red Garland/Almost Like Being in Love

Today, our journey starts in June 1957 with some groovy jazz by pianist Red Garland. Born in 1923 in Dallas, Tx., Garland started playing the clarinet and alto. saxophone before switching to the piano in 1941. In the ’40s, he also had a short-lived career as a welterweight boxer. Garland who helped popularize the block chord style of playing in jazz piano, gained prominence when he joined the Miles Davis Quintet in 1954. In addition to Davis, it featured jazz greats John Coltrane, Philly Joe Jones and Paul Chambers. After leaving the quintet in 1958, Garland formed his own trio. They recorded with many other artists, such as Pepper Adams, Nat Adderley, Ray Barretto, Kenny Burrell and Eddie “Lockjaw” Davis. Garland continued to work until his death from a heart attack at age 60 in April 1984. Almost Being in Love, composed by Allen Jay Learner and Frederick Loewe, is a great track from Garland’s album Red Garland’s Piano. He was backed by Chambers (bass) and Art Taylor (drums). Feel free to snip along!

Toad The Wet Sprocket/All I Want

Our next stop takes us to the early ’90s and a great tune I was reminded of the other day when I coincidentally caught it on the radio: All I Want by Toad The Wet Sprocket. Formed in 1986 in Santa Barbara, Calif., this alternative rock band took their peculiar name from a Monty Python comedy sketch. After their first two albums, which didn’t receive much attention, the band broke through with their third studio release, Fear, which appeared in August 1991. That success was fueled by All I Want, the second single off the album and the group’s first to chart on the Billboard Hot 100, climbing to no. 15. Toad the Wet Sprocket had a few additional charting songs and disbanded in 1998 after their fifth album Coil. Yet they continued to work on and off until 2008. As of 2009, the band has officially reunited and released two additional albums to date. All I Want was written by Glen Philips (lead vocals, rhythm guitar, mandolin, keyboards), one of three founding members who remain with the group to this day. This jangly guitar sound and beautiful harmony singing are right up my alley!

The Georgia Satellites/Keep Your Hands to Yourself

Time to pay a visit to Atlanta, Ga. The year is 1986 and it’s the month of October. That’s when southern rock band The Georgia Satellites released their eponymous debut album. The record became their most successful to date, surging to no. 5 in the U.S. on the Billboard 200. In turn, that was thanks to Keep Your Hands to Yourself. Their biggest hit peaked at no. 2 on the Billboard Hot 100 and no. 3 in Canada. Elsewhere, it reached no. 20 in Australia and no. 69 in the UK. After two more albums and a few additional charting singles, the group went on hiatus in 1990. The Georgia Satellites reemerged in 1993, released another album in 1996, and have since been a touring act. Their current line-up features original member Rick Richards (lead guitar, backing and lead vocals), together with Fred McNeal (lead vocals, rhythm guitar), Bruce Smith (bass, backing vocals) and Todd Johnston (drums). Keep Your Hands to Yourself was penned by the group’s original lead vocalist and rhythm guitarist Dan Baird. That Stonesy rocker just makes me smile, but no touching, please!

Pink Floyd/See Emily Play

After three tunes into our current excursion, we must turn to the ’60s, one of my favorite decades in music. Our destination is the second single by Pink Floyd, See Emily Play. I love the early stage of the British group, formed in London in 1965 by Syd Barrett (guitar, lead vocals), Richard Wright (keyboards, vocals), Roger Waters (bass guitar, vocals) and Nick Mason (drums). See Emily Play, penned by Floyd’s initial leader and key songwriter Barrett, first appeared in the UK in June 1967 as a non-album single. This early gem was also included on the U.S. edition of the band’s debut album The Piper at the Gates of Dawn, which came out in August of the same year. Unfortunately, it was the only album featuring Barrett as a full member of Pink Floyd. Due to heavy drug use and mental illness, his behavior became increasingly erratic and led to his departure in April 1968. At that time, David Gilmour had already joined the group. While Floyd’s June 1968 sophomore album A Saucerful of Secrets still included some contributions from Barrett, Gilmour had fully taken over on guitar. Sadly, Barrett passed away from pancreatic cancer in 2006, after he essentially had lived in obscurity since the late ’70s.

Bob Dylan/Tangled Up in Blue

On to the ’70s and an artist I trust needs no introduction. When it comes to Bob Dylan, I’ve always had sentiments ranging from admiration to indifference. If anything, I’ve regained appreciation of Robert Zimmerman since his most recent studio album Rough and Rowdy Ways. To me, it’s a late-career gem. One of Dylan’s earlier tunes I’ve loved from the very first time I heard it is Tangled Up in Blue. In fact, I would count it among my all-time favorites by the Nobel Prize-winning singer-songwriter. It first appeared as a single on January 17, 1975, three days ahead of the release of Blood On the Tracks. Initially, Dylan’s 15th studio album received mixed reviews, but as we’ve seen all too often, the critics came around and now regard it as one of his greatest albums. Fans apparently agreed all along. Blood On the Tracks became Dylan’s second album to top the U.S. charts. It also was no. 1 in Canada and reached the top 5 in the UK (no. 4), Spain (no. 3), Norway (no. 2) and The Netherlands (no. 5). Man, I just love that song!

Melissa Etheridge/Hold On, I’m Coming

Once again, we’re reaching the final stop of yet another music journey. For this last pick, we turn to the current century, though it’s a ’60s Stax tune. You see what I did there? I sneaked in another song from one of my favorite decades in music! In October 2016, Melissa Etheridge released Memphis Rock and Soul, a great tribute to Memphis soul label Stax. One of my favorite tracks on that album is her sizzling rendition of Hold On, I’m Coming. Co-written by Isaac Hayes and David Porter, the tune was first recorded by Sam & Dave. Released in March 1966, it became one of their biggest hits. And, yes, it’s been covered by many other artists, such as Aretha Franklin, Waylon Jennings and Tina Turner, but I just dig Etheridge’s funky version.

Of course, this post wouldn’t be complete without a Spotify list of the above goodies. Hope there’s something you like!

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

Happy Sunday and welcome to another trip into the beautiful and diverse world of music, six tracks at a time. Hop on, fasten your seatbelts and let’s go!

Miles Davis/So What

Today, I’d like to start our journey in August 1959 with some early Miles Davis. I have to admit I find this more accessible than Bitches Brew and other of his later more experimental music I’ve heard. I guess I’m not alone. According to Wikipedia, many critics regard Davis’s Kind of Blue album as his masterpiece, the greatest jazz record, and one of the best albums of all time. In 1976, it became his first album to reach Gold certification in the U.S., and as of 2019, it has reached 5X Platinum. More importantly, the album’s influence reached far beyond jazz. None other than the great Duane Allman, guitarist of The Allman Brothers Band, said his soloing on songs like In Memory of Elizabeth Reed, “comes from Miles and Coltrane, and particularly Kind of Blue.” Pink Floyd keyboardist Richard Wright noted the chord progressions on Kind of Blue influenced the structure of the introductory chords to the song Breathe on their 1973 gem The Dark Side of the Moon. Meanwhile, Davis ended up viewing Kind of Blue and his other early work differently. During a 1986 interview, he said, “I have no feel for it anymore—it’s more like warmed-over turkey.” Here’s the album’s opener So What composed by Davis. BTW, Davis (trumpet) was in formidable company on the album, including saxophone greats John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, as well as Paul Chambers (double bass) and Jimmy Cobb (drums).

Christine McVie/One in a Million

For our next stop, we’re jumping 25 years ahead to January 1984. I trust Christine McVie (born Christine Perfect) doesn’t need much of an introduction. It’s safe to assume most folks know her as a long-term member of Fleetwood Mac. She joined the group as keyboarder and vocalist in 1970 after her departure from blues band Chicken Shack and the release of her first solo album Christine Perfect. Following the Mac’s 13th studio album Mirage from June 1982, they went on a temporary hiatus, giving McVie the time to record her second eponymous solo album, Christine McVie. She was backed by Todd Sharp (guitar, backing vocals), George Hawkins (bass, backing vocals) and Steve Ferrone (drums, percussion) who 10 years later would join Tom Petty’s band The Heartbreakers. Mac’s Lindsey Buckingham (guitar) and Mick Fleetwood (drums) had guest appearances on certain tracks, as had Eric Clapton and Steve Winwood. Clearly, McVie didn’t have any challenges to secure high-caliber talent for the album. Here’s One in a Million, co-written by her and Sharp. It’s one of the tunes featuring Winwood who in addition to synthesizer also provided lead and backing vocals. Nice pop-rocker!

The Moody Blues/Watching and Waiting

This next pick has been on my list of earmarked Sunday Six songs for several months – not quite sure what took me so long! Watching and Waiting is the beautiful closer of the Moody Blues’s fifth studio album To Our Children’s Children’s Children, released in November 1969. Co-written by band members Justin Hayward (vocals, guitar, sitar) and Ray Thomas (vocals, flute, tambourine, bass flute, oboe), the tune also appeared separately as a single. It didn’t chart, unlike the album, which climbed to no. 2 in the UK, no. 11 in Canada and no. 14 in the U.S. The band’s remaining members at the time were Mike Pinder (Mellotron, piano), John Lodge (bass) and Graeme Edge (drums, percussion). During a 2014 interview Hayward said, “when we heard that song in its studio beauty, we thought, “This is it! All of those people who had been saying to us for the past 3 or 4 years, “You’ll probably just do another Nights in White Satin with it” — no! We had shivers up the spine, and that kind of stuff. But when it came out and you heard it on the radio, you kept saying, “Turn it up! Turn it up!! Oh no, it’s not going to make it.” So it didn’t happen.”

Tom Faulkner/River On the Rise

On to the ’90s and Tom Faulkner, a great American singer-songwriter who isn’t exactly a household name. My former bandmate and longtime music buddy from Germany brought him and his excellent 1997 album Lost In The Land Of Texico on my radar screen last year, and this is the second track from that album I’m featuring on The Sunday Six. To date, Faulkner has only released two albums. His most recent one, Raise the Roof, appeared in 2002. For the most part, he has made his living with commercial music for radio and TV. According to this bio on last.fm, Faulkner has created hundreds of national jingles and scores, including some of the most memorable commercial music on television and radio. Most notably, he composed and sang the wildly popular “I Want My Baby Back” for Chili’s, a jingle that has since found its way into motion pictures (Austin Powers) and over a dozen major network TV shows. He also created the multi-award winning music theme for Motel 6 and Tom Bodett, the longest running commercial campaign in the history of advertising (23 years, 5 CLIOs, and counting). Check out River On the Rise, a nice bluesy tune!

Joe Jackson Band/Take It Like a Man

It’s time to feature a couple of songs from the current century, don’t you agree? First, let’s go to March 2003 and Volume 4, the 16th studio album by versatile British music artist Joe Jackson, released as Joe Jackson Band. For this project, Jackson (piano, organ, electric piano, melodica, lead vocals) brought back together his original backing band of Gary Sanford (guitar, backing vocals), Graham Maby (bass, backing vocals) and David Houghton (drums, backing vocals). And there’s definitely some of that cool vibe from Jackson’s first three albums Look Sharp! (January 1979), I’m the Man (October 1979) and Beat Crazy (October 1980). Over his now 50-plus-year career, Jackson has touched many different genres ranging from pub rock, new wave, swing, and jazz-oriented pop to even classical music. Here’s the album’s great opener Take It Like a Man, which like all other tunes was penned by Jackson.

Candy Dulfer/Jammin’ Tonight (feat. Nile Rodgers)

And once again, it’s time to wrap up. For this final track, we’re traveling back to the present and a funky tune by Dutch jazz and pop saxophonist Candy Dulfer: Jammin’ Tonight featuring Mr. funky guitar Nile Rodgers. Dulfer, the daughter of Dutch tenor saxophonist Hans Dulfer, began playing the drums as a five-year-old before discovering the saxophone a year later. Since the age of seven, she has focused on the tenor saxophone. By the time she was 11, Dulfer made her first recordings for her father’s jazz band De Perikels (the perils). Three years later, she opened up two European concerts for Madonna with her own band Funky Stuff. Two years later, in 1989, she duetted with Dave Stewart (of Eurythmics) on the worldwide instrumental hit Lily Was Here, from the motion picture soundtrack of the same name. The following year, she put out her solo debut album Saxuality. The above tune Jammin’ Tonight is from Dulfer’s forthcoming album We Never Stop, which is scheduled for October 28. Funky!

Last but not least, here’s a Spotify playlist featuring all of the above tunes. Hope there’s something for ya!

Sources: Wikipedia; last.fm; YouTube; Spotify

The Sunday Six

Spring has officially arrived – Yay, finally, as it’s been a long and lonely winter! I’m also happy to report that with today’s installment, The Sunday Six has hit its first mini-milestone: This is the 10th post in the weekly recurring series that celebrates the beauty of music from different periods and genres, six random tunes at a time. I think I found a nice set of tracks I hope you will like.

Sonny Rollins Quartet/My Reverie

Let’s kick things off with some amazing saxophone action by American tenor sax player Sonny Rollins. I have to give a shoutout to fellow blogger Cincinnati Babyhead, who recently posted about Tenor Madness, a studio album Rollins released in 1956 as the Sonny Rollins Quartet. In addition to him, it also featured Red Garland (piano), Paul Chambers (double bass) and Philly Joe Jones (drums) – what a cool name, Philly Joe Jones – I love the flow! Oh, and there was this other fellow called John Coltrane, who joined the band on tenor sax for the album’s opener and title track. The track I’m featuring is called My Reverie. Apparently, the first jazz recording was by Larry Clinton and His Orchestra in 1938, featuring Bea Wain on vocals, with lyrics by Clinton. The music is based on Rêverie, a piano piece by French classical composer Claude Debussy, dating back to 1890. This really goes to show there’s such a thing as truly timeless and beautiful music!

The Horace Silver Quartet/Song for My Father

Let’s shake up things a bit on The Sunday Six with another another instrumental and another jazz track back to back. And, nope, Donald Fagen or Walter Becker are not Horace Silver’s father or otherwise related to the American jazz pianist, composer and arranger. But Becker and Fagen both loved listening to jazz. Undoubtedly, they also got inspired by the intro of Song for My Father. Somehow, it became the introductory riff of Steely Dan’s 1974 single Rikki Don’t Lose That Number, their most successful U.S. single, peaking at no. 4 on the Billboard Hot 100. Whether consciously or unconsciously, to me, this looks a bit like yet another case where a credit should have been given to the original composer. Perhaps Messrs. Becker and Fagen lost his number! Silver who began taking classical piano lessons as a child was active between 1946 and 2004. Initially, he started as a sideman before leading mainly smaller jazz groups. In the early ’50s, he became a co-founder of The Jazz Messengers, which at first he ran together with drummer Art Blakey. After leaving the band in 1956, Silver formed his own five-piece combo, which he led into the 1980s. He continued to release albums until 1998. In 2007, it became known that he had been diagnosed with Alzheimer’s. He passed away in June 2014 at the age of 85. Song for My Father, composed by Silver, is the title track of an album he released with his band in late 1965. Great tune!

Jackson Browne/Shaky Town

I trust Jackson Browne needs no introduction. The American singer-songwriter who has been active since 1966 is one of my all-time favorite music artists. I dig both his vocals and his songwriting. I also have something in common with him: We were both born in the lovely town of Heidelberg, Germany. He went on to become a rock star. I ended up playing bass in two bands in my late teens and early ’20s with short-lived ambitions to become a professional musician. It’s probably a good thing it didn’t happen (though never say never! 🙂 ), and I’m a daddy though not rocking in the U.S.A. Instead, I get to enjoy listening to great music by fantastic artists and giving my two cents as a hobby blogger – not such a terrible thing, after all! The one Jackson Browne album I keep coming back to is Running on Empty, his fifth studio release that appeared in December 1977. When I had that aforementioned dream to become a professional musician, I actually envisaged sounding like Browne on Running on Empty, notably, not like The Beatles – true story. I was tempted to go with the title track. Instead, perhaps somewhat ironically, I decided to pick a tune that’s not by Browne: Shaky Town. The song was written by guitarist Danny Kortchmar, who has worked with the likes of Linda Ronstadt, James Taylor, Neil Young, Carly Simon and not to forget Carole King. Kortchmar also provided harmony vocals. And check out that sweet lap steel guitar by the amazing David Lindley.

The Church/Under the Milky Way

The Church are an alternative rock band from down under, formed in Sydney in 1980. Their debut album Of Skins and Heart appeared in April 1981. Since then, the band that remains active to this day, has released 16 additional studio albums. Their most recent one, Man Woman Life Death Infinity, came out in October 2017. I covered it here at the time. But it was their fifth international breakthrough album Starfish from February 1988, which brought the Aussie band on my radar screen. I just love the sound, and it remains one of my favorite ’80s records. Here’s the fantastic lead single Under the Milky Way. It was co-written by the band’s bassist and vocalist Steve Kilbey and his then-girlfriend and guitarist Karin Jansson, founder of alternative Australian rock band Curious (Yellow). The atmospheric sound and Kilbey’s distinct vocals still give me good chills.

George Harrison/Blow Away

What’s better than enjoying some sweet slide guitar? You guessed it – more sweet slide guitar action! One of the artists I’ve always admired in this context for his unique tone is George Harrison. I don’t know of any guitarist who got that same sweet slide sound. Blow Away was first released in February 1979 as the lead single from Harrison’s eighth, eponymous studio album that came out a few days later. Written by him, it became one of eight top 20 mainstream hits Harrison had in the U.S., peaking at no. 16 on the Billboard Hot 100. It did even better in Canada, hitting no. 7, one of his nine top 10 hits there. The recording features former Sly and the Family Stone member and session drummer Andy Newmark. Nuff said – let’s get blown away!

Elton John/Your Sister Can’t Twist (But She Can Rock ‘n’ Roll)

Time to wrap things up. How about kicking ass with some good ole rock & roll Elton John style? Ask and you shall receive! I guess Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) is more of a deep track. As usual, the lyrics were written by Bernie Taupin, while Sir Elton composed the music. According to Songfacts, the tune is a “throwback to music of the late ’50s and early ’60s when lots of songs were about dance crazes and teenage girls.” Songfacts also quotes John from a 1973 interview with now-defunct American rock magazine Circus, in which he reportedly characterized the tune as “a cross between surfing music and Freddie Cannon records” that was intended “to end the ‘Crocodile Rock’ thing.” Sounds like John had hoped it would help people forget about that latter tune. While it’s a great song that appeared on his masterpiece Goodbye Yellow Brick Road from October 1973, it’s fair to say Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) was completely overshadowed by other tunes from the album, such as Saturday Night’s Alright for Fighting, Bennie and the Jets, Candle in the Wind and of course the title track. John also didn’t release it as a single.

Source: Wikipedia; Songfacts; YouTube