The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another installment of The Sunday Six! Hope you join me on my first musical excursion in September 2022.

Delicate Steve/Looking Glass

Usually, I like to kick off this recurring feature with jazz, which for some reason seems to be a natural fit for a Sunday, especially during the morning. But it’s also good to shake up things every now and then. So here’s my first proposition for today: Delicate Steve, the stage name of American multi-instrumentalist Steve Marion, who has been active since 2010. His sound has blended elements of progressive rock, folksy twang, African rhythms, surf rock and 1970s pop. Marion is a sought after artist, having collaborated with the likes of The Black Keys, Paul Simon and Tame Impala. Looking Glass is a great-sounding track from Marion’s latest album After Hours released July 8. According to his website, it was “written and recorded on a 1966 Fender Stratocaster that reignited his love for the instrument.”

The Kinks/Living On a Thin Line

After a cool guitar instrumental, the next stop on our trip are the ’80s. If you’re well familiar with my music taste, you may be a bit surprised I picked a tune by The Kinks. After all, I’ve said more than once that while they are among my favorite British bands, I particularly dig their ’60s output. That’s still the case, but there are exceptions. One is Living On a Thin Line. Written by Dave Davies, the tune is from The Kinks’ 21st studio album Word of Mouth, which appeared in November 1984. Man, I love it! Are we going to see a reunion of The Kinks? “We’ve been talking about it,” Ray Davies told The Washington Post in January 2021. “I mean there’s a lot of material and, you know, it could still happen.” Now, you really got me!

Bob Dylan/Rainy Day Women #12 & 35

How do you move from ’80s Kinks to ’60s Bob Dylan? To borrow from a famous ad for sneakers, ‘just do it!’ The year is 1966. In May of that year, Dylan released his seventh studio album Blonde on Blonde, which I think is fair to say is widely considered to be among his best records. His accolades include the induction into the Grammy Hall of Fame in 1999 and a no. 38 ranking in the most recent 2020 update of Rolling Stone’s list of 500 Greatest Albums of All Time. Here’s the terrific opener Rainy Day Women #12 & 35. I just love the sound of the raucous brass band, which is a perfect match to the line, Everybody must get stoned!

Dolly Parton, Emmylou Harris & Linda Ronstadt/After the Gold Rush

Dolly Parton, Emmylou Harris and Linda Ronstadt are three artists I’ve really come to appreciate over the past five years or so. Bringing big acts together for an album doesn’t guarantee a successful outcome, but I feel in this case it worked – for the second time! The case is Trio II, the second collaboration album by these dynamite ladies, which came out in February 1999. While the songs had been recorded in 1994, seven years after the appearance of Trio, it actually took 12 years for these renditions to be released. Why? Label disputes and conflicting schedules. Whatever the reason, this record was worth the wait. Here’s one of my all-time favorites: After the Gold Rush, a tune written by Neil Young who first recorded it as the title track of his third studio album from September 1970. The angelic harmony singing gives me goosebumps every time I listen to the tune. This is so beautiful that it can make me well up!

The Doors/Roadhouse Blues

Okay, it’s time to shake off the goosebumps and kick it up a few notches with a great blues rocker by The Doors. Roadhouse Blues, written by Jim Morrison with the music credited to the band, is the opener of their fifth studio album Morrison Hotel released in February 1970. In case you’d like to read more about the record, fellow blogger Music Enthusiast recently covered it. Songfacts notes, When Jim Morrison got drunk, he liked to sing blues numbers at The Doors jam sessions. This [is] one of the songs he came up with at one of those inebriated sessions. Interestingly, Road House Blues also appeared separately as the B-side to the album’s only single You Make Me Real. Don’t get me wrong: I dig you You Make Me Real. I just find it surprising Road House Blues was a B-side. In my humble opinion, it would have deserved release as its own A-side single. Ladies and gentlemen, from Los Angeles, California, The Doors!

Roger Daltrey/As Long As I Have You

Once again, the time has come to wrap up another Sunday musical excursion. For this last tune, we return to the current century and Roger Daltrey. I trust the longtime lead vocalist of The Who needs no further introduction. What perhaps you may be less aware of is Daltrey’s tenth solo album As Long As I Have You, which came out in June 2018. The soulful record was Daltrey’s first solo effort in 26 years. In September 2015, Daltrey was diagnosed with viral meningitis during The Who Hits 50! North American tour, forcing the band to reschedule the remaining dates until 2016. This almost led Daltrey to scrap his solo album, for which he already had eight tracks. When his longtime partner in crime Pete Townshend heard the songs, he encouraged Daltrey to finish the project. Townshend also offered to play guitar on it. For more information, you can check my review I published at the time. I’ll leave you with the title track, a cover of a tune first released by American soul singer Garnet Mimms in 1964. It was co-written by Bob Elgin and Jerry Ragovoy. Check out Daltrey’s killer voice!

Last but not least, here’s a Spotify playlist featuring all of the above tunes. Hope you find something you dig!

Sources: Wikipedia; Delicate Steve website; The Washington Post; Songfacts; YouTube; Spotify

If I Could Only Take One

My desert island song by Supertramp

Welcome to another installment of If I Could Only Take One, where I pick one song I would take with me on a desert island. To make the selection process more interesting, it can’t just be any tune.

For first-time visitors, I have to pick one tune only, not an album. In addition, the song must be by an artist or band I’ve rarely or not covered at all yet. Last but not least, selections must be made in alphabetical order.

This week, I’m up to “s.” There are plenty of artists (last names) and bands starting with that letter. Some examples include Sade, Sam & Dave, Santana, Simple Minds, Paul Simon, Small Faces, Southern Avenue, Bruce Springsteen, Steely Dan, Rod Stewart, Ringo Starr, Steppenwolf and Sting. And there’s my pick, Supertramp and The Logical Song.

Written by Supertramp co-founder Roger Hodgson, The Logical Song was the lead single of the English band’s biggest-selling sixth studio album Breakfast in America. Both appeared in March 1979. The Logical Song, one of four singles released from that album, also became Supertramp’s most successful song. It topped the charts in Canada, surged to no. 2 in France, and reached no. 6 in each the U.S. and Ireland. In the UK, the tune peaked at no. 7.

Breakfast in America topped the album charts in the U.S., Canada, Australia and various European countries, including France, Germany, The Netherlands, Norway and Switzerland. In the UK, it peaked at no. 3. The record reached platinum certification in the UK, France and The Netherlands, and 4x platinum status in the U.S.

At the Grammy Awards in 1980, Breakfast in America won in the Best Album Package and Best Engineered Non-Classical Recording categories. It had also been nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals.

Formed in London in 1969 by Roger Hodgson (vocals, keyboards, guitars) and Rick Davies (vocals, keyboards), Supertramp started out as a progressive rock band. Beginning with their third and breakthrough album Crime of the Century (1974), they embraced a more pop-oriented sound.

Hodgson left Supertramp following the tour that supported the album …Famous Last Words… and launched a solo career in 1984. Subsequent line-ups of the group were led by Rick Davies. The band folded in 1988. After an unsuccessful attempt of Davies and Hodgson to reunite in 1993, Davies ended up reforming Supertramp in 1996.

In April 2002, Slow Motion appeared, the group’s final album to date. Since then, except for a tour in 2010, Supertramp have been on hiatus. In 2015, Davies was diagnosed with multiple myeloma, and his treatment forced the cancellation of a tour that had been planned for November and December that year. During an August 2018 interview, Davies said he had largely overcome his health issues, but the band has stayed on hiatus.

Over the course of a 25-year period (excluding the 8-year hiatus between 1988 and 1996) Supertramp released eleven studio albums, as well as various live and compilation albums. As of 2007, album sales had exceeded more than 60 million.

Following are a few additional insights for The Logical Song from Songfacts:

The lyrics are about how the innocence and wonder of childhood can quickly give way to worry and cynicism as children are taught to be responsible adults. It makes the point that logic can restrict creativity and passion.

Like the Lennon/McCartney partnership, most of Supertramp’s songs are credited to their lead singers Roger Hodgson and Rick Davies, although in many cases one writer was entirely responsible for the song. “The Logical Song” was written by Hodgson, but it shares some themes with a song Davies wrote on Supertramp’s 1974 album Crime of the Century called “School.”

Hodgson often writes songs by singing over his keyboard riffs. He’ll try different words and phrases to get ideas for his lyrics, which is how the title of this song came about. Said Hodgson: “From singing absolute nonsense, a line will pop up that suddenly makes sense, then another one, and so on. I was doing that when the word ‘logical’, came into my head and I thought, ‘That’s an interesting word’.”

…Like another famous song from 1979, “Another Brick In The Wall (part II),” this song rails against English schooling. “What’s missing at school is for me the loudest thing,” Hodgson said. “We are taught to function outwardly, but we are not taught who we are inwardly, and what really the true purpose of life is. The natural awe and wonder, the thirst and enthusiasm and joy of life that young children have, it gets lost. It gets beaten out of them in a way.”

…At a concert appearance, Roger Hodgson said of this song: “I was sent to boarding school for ten years and I definitely emerged from that experience with a lot of questions, like What the hell happened to me? What is life about? And why a lot of the things I had been told didn’t make any sense. ‘Logical Song’ was really a light hearted way of saying something pretty deep. Which is they told me how to conform, to be presentable, to be acceptable and everything but they didn’t tell me who I am or why I m here. So, it s a very profound message and I think it really resonated with a lot of people when it came out.”

Sources: Wikipedia; Songfacts; YouTube

If I Could Only Take One

My desert island tune by Donovan

Once again it’s time for tough decisions, decisions. The letter “d” in my music library revealed artists I’ve featured repeatedly here like Roger Daltrey, Dion, Deep Purple, Dire Straits and The Doors, to name some. And then there’s Donovan who by comparison I’ve covered less, so Donovan Phillips Leitch shall be the chosen one for my weekly desert island exercise.

While I can’t claim to be a Donovan expert, I can safely say I know more than two songs by the Scottish singer-songwriter, so I actually had to make a true decision which one to pick. If memory serves me right, Colours and Universal Soldier were the first two Donovan tunes I encountered. At the time, I was actively playing acoustic guitar and taking lessons. Especially Colours with its three chords was easy to learn, even if you didn’t have the skill set of a Jose Feliciano or Paul Simon – and I didn’t, not even at my best!

Back to the task at hand, which is answering the existential question, if I had to move to a desert island and could only take one Donovan song, which one would I pick? I decided to go with Sunshine Superman. I’ve always loved how this tune combines folk, blues and psychedelic music. It also turned out there’s a back story behind the song I had not been aware of.

Donovan wrote Sunshine Superman in response to the break-up with Linda Lawrence at the end of 1965. After the couple had dated for a short time, Lawrence, the former girlfriend of Rolling Stones founding member Brian Jones, ended the relationship, not wanting to repeat getting the attention of being a music artist’s girlfriend.

Sunshine Superman first appeared as a single in July 1966, leading up to Donovan’s third studio album with the same title, which was released the following month, except for the UK. The tune became his first big hit and his only song to top the Billhoard Hot 100 in the U.S. Due to a contractual dispute, the single didn’t appear in the the UK until December 1966. The album was pushed back as well until September that year. Sunshine Superman (the single) still did pretty well, climbing to no. 8 of the Offical Singles Chart. Sunshine Superman also proved to be popular in Australia (no. 4), The Netherlands (no. 2) and Germany (no. 7).

Following is how Donovan played Sunshine Superman in January 2007 at the Kodak Theatre in Los Angeles. This is taken from a DVD, Donovan: Live in L.A. at the Kodak Theatre, which appeared in January 2008. It’s a more funky version – not bad!

What else is there to say? Let’s take a look at Songfacts:

It’s not a normal love song, the singer told Mojo magazine June 2011. “On the face of it, the song is about being with Linda again. But sunshine is a nickname for acid. The Superman is the person capable of entering higher states because it’s not easy to go into the fourth dimension and see the matrix of the universe in which everything is connected. The line, ‘everybody’s hustling’ referred to the pop scene at the time, where you could lose yourself very easily. Gyp (Mills – Donovan’s lifelong friend and tour manager) would always keep my feet on the ground; we had left home at 16 to busk so we could see fame for what it is.”

Donovan was good friends with The Beatles, and they were both making very innovative and trippy music at the time. Donovan’s producer Mickie Most told him not to play the Sunshine Superman album to Paul McCartney under any circumstances, because he knew McCartney would be tempted to do something similar.

Donovan, as pictured on his website

Donovan recalled to Uncut magazine: “My arse was being sued by Pye after Sunshine Superman so, my masterwork, sat on the shelves for seven months. If you date it, it was at least a year and a half before Sgt Pepper and I remember Mickie saying to me, ‘Don’t play it to McCartney’ but of course everybody was sharing with everyone else and nicking from each other.”

“I played it to McCartney anyway,” he continued. “But they were already there, anyway, and George Martin was doing something similar with The Beatles, working out arrangements from ideas they had in their heads. George Martin was The Beatles’ guy and John Cameron was my guy and they both had an appreciation of jazz which was key.” Originally, the “Sunshine Superman” single was subtitled “For John And Paul,” a reference to Lennon and McCartney.

A few additional tidbits:

A busy session guitarist called Jimmy Page played lead guitar on the recording of Sunshine Superman.

Sunshine Superman is considered to be among the first overtly psychedelic pop songs.

Apparently, the tune made The Beatles’ video for A Day in the Life, in which it supposedly can be seen to spin on a turntable. Of course, the nerd in me had to check it out. While there is very brief footage of a spinning record around the 4:00 minute mark, frankly, I find it impossible to name it. Perhaps you need to be on a controlled substance to see it! 🙂

The trippy clip also features other music artists like Mick Jagger and Marianne Faithfull. At around 38 seconds, there’s a guy on the left side, who could be Donovan, though I’m not sure – again, a mind-enhancing pill might help! 🙂

The story behind Sunshine Superman had a happy end. In October 1970, Linda Lawrence became Donovan’s wife, and they remain together to this day. How many other music artists can you name, who have been married for 50-plus years?

Donovan, now 75 years old, is still active and maintains a website, where you can listen to his most recent single Gimme Some of That, which came out in October 2021.

Sources: Wikipedia; Songfacts; Donovan website; YouTube

My Playlist: Billy Joel

As previously noted, while I’ve listened to Billy Joel on and off for more than 40 years and occasionally included him or one of his songs in some previous pieces, I had not dedicated a post to him. After more than five years of writing this blog, it’s about time to change that. It was all seeded by this recent post from fellow blogger Graham at Aphoristic Album Reviews. In turn, this led me to include the piano man in that post, which then triggered the idea to do this profile and playlist.

Billy Joel was born William Martin Joel on May 9, 1949 in The Bronx, New York, and grew up on Long Island where he has one of his residences to this day. Ironically, Joel wasn’t into the piano initially and only took it up reluctantly after his mother insisted. To be fair, he was only four years old at the time. During his teenage years, Joel got into boxing but decided to stop after he had suffered a broken nose in his 24th boxing match.

While attending high school, Joel was playing piano at a bar to help support himself, as well as his mother and his sister. His parents had divorced when he was eight years old. When he found himself with an insufficient amount of credits to graduate, he decided to forgo his high school diploma. After he had seen The Beatles on the Ed Sullivan Show, Joel knew he wasn’t going to Columbia University but to Columbia Records, according to the 2006 biography Billy Joel: The Life and Times of an Angry Young Man, by Hank Bordowitz.

Billy Joel at Madison Square Garden, New York, in 2014

In 1965, Joel joined British Invasion cover band The Echoes and played on some of their recordings. By the time he left the group in 1967, they had gone through a couple of name changes and were called Lost Souls. Joel’s new band, The Hassles, had a deal with United Artists Records, and over the next two years released two albums and a few singles, none of which were commercially successful.

In 1969, Joel and Lost Souls’ drummer Jon Small departed, formed the duo Attila and released an eponymous debut album in July 1970. Things unraveled after Joel had started an affair with Small’s wife Elizabeth Weber Small who eventually became Joel’s first wife in 1973 and manager. Making music and getting into relationships oftentimes don’t mix well!

Joel subsequently signed with Family Productions and launched his solo career with the album Cold Spring Harbor, which appeared in November 1971. It was the first of 12 pop albums Joel released between 1971 and 1993. In September 2001, Joel came out with a classical music album, Fantasies & Delusions, his last to date and I guess by now we can safely assume is his final release of original music.

This shall suffice for background. Let’s get to some music. Following, I’ll highlight six songs that are included in a Spotify playlist, together with some additional tunes. Here’s She’s Got a Way, a sweet love song that most likely is about Joel’s above-mentioned wife Elizabeth.

In October 1974, Joel released his third studio album Streetlife Serenade. In The Entertainer, he gets cynical about the music business and being subject to changing public taste where one day an artist is in only to find themselves out the next day.

After a series of only marginally successful records, Joel scored his breakthrough in September 1977 with the release of his fifth studio album The Stranger. It was the first of four records produced by Phil Ramone who worked with the likes of Ray Charles, Bob Dylan, Elton John, Paul McCartney and Paul Simon. Here’s Only the Good Die Young. Wikipedia notes the song’s lyrics about a young man’s determination to have premarital sex with a Catholic girl stirred controversy. Pressure from religious groups to have the tune banned from radio stations turned a relatively obscure single into a highly demanded tune overnight and a top 30 hit on the Billboard Hot 100.

Joel followed up his breakthrough album The Stranger with 52nd Street in October 1978, his first of four records to reach the top of the Billboard 200. It also earned him two Grammys. Here’s the catchy uptempo song My Life, which became the lead single. Reaching no. 3 on the Billboard Hot 100, it also was one of Joel’s highest-charting songs at the time.

If you’d ask me to name my favorite Billy Joel album, I’d go with The Nylon Curtain from September 1982. Joel’s eighth studio album isn’t among the four previously mentioned no. 1 records, though it did pretty well, reaching no. 7 in the U.S. on the Billboard 200. The opener Allentown, about the plight of American steelworkers following Bethlehem Steel’s decline and eventual closure, is one of my favorite Joel songs.

The last tune I’d like to highlight is from Joel’s most recent and likely final pop album River of Dreams, released in August 1993. At that time, I was a grad student, on Long Island of all places, and frequently listened to the album’s title track on the radio. I also got the record on CD when it was released. The song became Joel’s biggest hit of the ’80s, reaching no. 3 on the Billboard Hot 100, his last top 10 single. I’ve always loved the tune’s combination of pop and gospel elements.

Here’s the above-mentioned Spotify playlist, which includes the previously featured songs, as well as additional tunes from each of Joel’s 12 pop albums.

Billy Joel is one of the best-selling music artists of all time, with over 160 million records sold worldwide. During his 22-year pop recording career, he had 33 top 40 hits in the U.S., including three that topped the Billboard Hot 100. Joel was inducted into the Songwriters Hall of Fame (1992), Rock and Rock Hall of Fame (1999) and the Long Island Music Hall of Fame (2006). Frankly, I had no idea the latter existed – always nice to learn something new when putting together posts.

While the above accomplishments are very impressive, what I find most amazing is that the piano man continues to sell out one show after the other as part of his monthly residency at New York’s Madison Square Garden. That’s about 20,000 tickets each time. And all of that despite not having released any new pop music in close to 30 years!

Sources: Wikipedia; YouTube; Spotify

On This Day in Rock & Roll History: February 7

Once again I’ve decided to do another installment in my recurring and now more regular music history feature. This time it’s February 7, and it turns out I found a number of events that sufficiently intrigued me to highlight.

1959: New Orleans blues guitarist Guitar Slim passed away from pneumonia in New York at the untimely age of 32. Born Eddie Jones in Greenwood, Miss. on Dec 10, 1926, he had a major impact on rock and roll and influenced guitarists like Buddy Guy, Albert Collins, Frank Zappa and Jimi Hendrix. In fact, he experimented with distorted overtones 10 years before Hendrix did. Slim is best known for writing the blues standard The Things That I Used to Do, arranged and produced by a young Ray Charles. After the tune was released in the fall of 1953, it topped Billboard’s R&B chart for weeks and sold more than a million copies, becoming one of label Specialty Records’ biggest hits. Guitar Slim was a favorite of Hendrix who recorded an impromptu version of The Things That I Used to Do in 1969, featuring Johnny Winter on slide guitar. The tune, which is on the Rock and Roll Hall of Fame’s list of 500 Songs That Shaped Rock and Roll, was also covered by Pee Wee Crayton, Tina Turner, James Brown and Stevie Ray Vaughan, among others.

1963: Please Please Me, The Beatles’ first U.S. single and their second single overall was released by Vee-Jay Records. This followed rejections by Capitol Records, EMI’s U.S. label, and Atlantic. Chicago radio station WLS‘s Dick Biondi, a friend of Vee-Jay executive Ewart Abner, became the first DJ to play a Beatles record in the U.S. Initially, the tune, written by John Lennon and credited to him and Paul McCartney, was a moderate success, peaking at no. 35 on the WLS “Silver Dollar Survey.” It would take until the song’s re-release in January 1964 that Please Please Me became a major U.S. hit, reaching no. 3 on the Billboard Hot 100 in mid-March 1964, trailing I Want to Hold Your Hand and She Loves You. Three weeks later, The Beatles held the top 5 spots on the U.S. chart, with Please Please Me at no. 5. Chart-topper Can’t Buy Me Love was followed by Twist and Shout, She Loves You and I Want to Hold Your Hand.

1970: Led Zeppelin topped the Official Albums Chart in the UK for the first time with their sophomore album Led Zeppelin II. The record also became a chart-topper in the U.S., Canada, Australia, Germany and The Netherlands, and reached no. 2 in Austria, Norway and Sweden.  Recording sessions for the album had taken place at several locations in both the UK and North America between January and August 1969. Zep guitarist Jimmy Page was credited as producer. Eddie Kramer, who by that time had already worked with The Beatles, The Rolling Stones, Small Faces, Traffic and Jimi Hendrix, served as engineer. Here’s the opener Whole Lotta Love, one of my favorite Zep rockers that also was released separately as a single. The tune was credited to all four members of the band and, following settlement of a lawsuit in 1985, to Willie Dixon. Once again, the group had borrowed from somebody else’s work without acknowledgment. It’s an unfortunate pattern by one of my all-time favorite rock bands!

1970: Meanwhile, in the U.S., Dutch rock band Shocking Blue topped the Billboard Hot 100 with Venus. Their biggest hit also reached no. 1 in Canada, Australia and New Zealand and France, no. 2 in Germany and Norway, and no. 3 in The Netherlands. According to Wikipedia, the song’s music is from the 1963 tune The Banjo Song by American folk trio The Big 3 with lyrics by Shocking Blue guitarist Robbie van Leeuwen. Officially, only van Leeuwen was credited – sounds a bit like the previous item! Shocking Blue who at the time of Venus also included Mariska Veres (lead vocals), Klaasje van der Wal (bass) and Cor van der Beek (drums), were active from 1967 until 1974 and had a few short-lived reunions thereafter. In 1986, British girl group Bananarama took Venus back to no. 1 in the U.S. and various other countries. While I appreciate they revived a great song, I much prefer the original.

1976: Paul Simon scored his first and only no. 1 hit in the U.S. on the Billboard Hot 100 with 50 Ways to Leave Your Lover, one of my all-time favorites by the American singer-songwriter. Penned by Simon, the song was the third single off his fourth solo album Still Crazy After All These Years from October 1975. The distinct drum part, one of the coolest I can think of, was performed by highly regarded session drummer Steve Gadd. He also played drums on Steely Dan song Aja and has worked with numerous other renowned artists. Backing vocals on 50 Ways were performed by Patti Austin, Valerie Simpson and Phoebe Snow. According to Songfacts, In a 1975 interview published in Rock Lives: Profiles and Interviews, Simon told the story of this song: “I woke up one morning in my apartment on Central Park and the opening words just popped into my mind: ‘The problem is all inside your head, she said to me…’ That was the first thing I thought of. So I just started building on that line. It was the last song I wrote for the album, and I wrote it with a Rhythm Ace, one of those electronic drum machines so maybe that’s how it got that sing-song ‘make a new plan Stan, don’t need to be coy Roy’ quality. It’s basically a nonsense song.”

1993: Neil Young recorded an installment of the MTV series Unplugged. Apparently, Young was not happy with the performances of many of his band members. It was his second attempt to capture a set he felt was suitable for airing and release. In spite of Young’s displeasure, the album still appeared in June that year. It was also published on VHS. Here’s Unknown Legend, a tune from his then-latest studio album Harvest Moon that had come out in November 1992. My ears can’t find anything wrong with how this sounds. Of course, it’s always possible certain kinks were fixed in the production process.

Sources: Wikipedia; This Day In Music; Songfacts Music History Calendar; YouTube

Paul Simon’s Eponymous U.S. Solo Debut Album Turns 50

Today, fifty years ago, Paul Simon released his eponymous solo album. His first record that appeared nearly two years after the break-up of his duo with Art Garfunkel was his second solo effort overall and the first to appear in the U.S. The Paul Simon Songbook from August 1965 had come out in the UK only. It would eventually be released in the U.S. in 1981 as part of a five-LP boxed set titled Collected Works.

Simon started work on the album in early 1971. For the reggae-influenced song Mother and Child Reunion, one of the reasons why I spontaneously decided to write about this 50th anniversary, he traveled to Jamaica. Simon liked reggae and listened to artists like Jimmy Cliff, Desmond Dekker and Bryon Lee. So he decided to record the tune with Cliff’s backing band at a studio in Kingston to make it sound more authentic. Afterward, he went to San Francisco to record some demos there.

Let’s take a closer look at some of the songs. Opening Side one is the aforementioned Mother and Child Reunion. The tune had also appeared as the album’s lead single on January 17, 1972, Simon’s first single as a solo artist. Songfacts notes that Simon wrote this in response to the Jimmy Cliff song “Vietnam,” where a mother receives a letter about her son’s death on the battlefield…Simon said of the song that it “became the first reggae hit by a non-Jamaican white guy outside Jamaica. Among others, the tune reached no. 4 in the U.S. on the Billboard Hot 100, no. 4 in Canada and no. 5 in each the UK and Australia.

When I listened to the ballad Duncan for the first time, it reminded me of Simon & Garfunkel’s El Condor Pasa, because of the beautiful pan flute fill-ins. It turns out those flutes were played by Los Incas, the same Andean group of musicians who had previously collaborated with Simon & Garfunkel on El Condor Pasa. Duncan was also released separately as the album’s third and final single in July 1972. It charted in the U.S. and Australia but didn’t match the success of Mother and Child Reunion.

Another tune from Side one I’d like to call out is Run That Body Down, which has a nice jazzy touch. Some notable backing musicians on that track include renowned jazz double bassist Ron Carter and guitarist David Spinoza who among others worked with John Lennon, Paul McCartney and Ringo Starr in the ’70s and produced James Taylor’s 1974 studio album Walking Man. Also, check out the great guitar solo by jazz guitarist Jerry Hahn, which starts at around 2:25 minutes.

Side two kicks off with one of Simon’s best-known songs and one of my favorites: Me and Julio Down by the Schoolyard. The song’s meaning is unclear. Songfacts states, When asked what “Mama Pajama” saw that made her so distraught in this song, Paul Simon has said that he’s not exactly sure, but he assumed it was something sexual. Simon made up a crazy little story for the song, and named the main character Julio because it sounded like a typical New York neighborhood kid (Simon grew up in Queens). What Paul didn’t realize until years later was the impact the song had on Spanish-speaking listeners who were thrilled to hear a song coming out of America with a Latin name in the title. That’s how you do it: You just make up stuff, based on things you may have seen or read, and then have clever people debate what you meant. Bob Dylan anybody? Or how about Steely Dan’s Donald Fagen and Walter Becker? Julio also became the record’s second single. Its chart performance fell in-between Mother and Child Reunion and Duncan. It did best in Canada where it peaked at no. 6. On the U.S. and UK mainstream charts, it reached no. 22 and no. 15, respectively.

Next up: Peace Like a River. I decided to call out this song primarily because of Simon’s acoustic guitar playing, which blends folk with a dose of blues. Learning the acoustic guitar myself many years ago, I can definitely say he was one of the players I admired. The difference between Simon and myself: He became famous, while I always remained a closet acoustic guitarist! 🙂

The last tune I’d like to call out is a short instrumental titled Hobo’s Blues. Did I just say instrumental? No vocals, something I’m generally addicted to? Yep, sometimes you don’t need vocals. The standout here is French-Italian jazz violinist Stéphane Grappelli, the only musician on the track besides Simon on acoustic guitar. Pretty neat!

Paul Simon was co-produced by Simon and Roy Halee who had co-produced Simon & Garfunkel’s Bookends (April 1968) and Bridge over Troubled Water (January 1970) albums. He also had co-produced the tune Mrs. Robinson from the soundtrack of the motion picture The Graduate, for which he had won a Grammy Award.

The album was mostly well-received by critics. According to Wikipedia, even Robert Christgau had something positive to say, writing in the Village Voice, “this is the only thing in the universe to make me positively happy in the first two weeks of February 1972” – jeez, he must have been on some substance! And in Rolling Stone that year, Jon Landau called the album Simon’s “least detached, most personal and painful piece of work thus far — this from a lyricist who has never shied away from pain as subject or theme.”

The album, which in 1986 reached Platinum certification in the U.S., topped the charts in the UK, Sweden, Norway and Finland. Notably, it was Simon’s only no. 1 album in the UK in the ’70s. It would take until the fantastic Graceland from 1986 to reach the top spot again. In Canada and The Netherlands, Paul Simon climbed to no. 2, while in the U.S. and Australia, it reached no. 4 and no. 5, respectively. The record was ranked at no. 268 in Rolling Stone’s 2012 list of the 500 Greatest Albums of All Time. It also made the list for the 2020 update, coming in at no. 425.

Sources: Wikipedia; Songfacts; Discogs; YouTube; Spotify

When Two Make One

A playlist of songs by duos

The other day, fellow blogger Max from PowerPop posted about Cathy’s Clown, a great tune by The Everly Brothers. He wrote, “When Phil and Don would sing….their two voices would become one.” I couldn’t agree more! In this context, I thought about Simon & Garfunkel, another example of beautiful vocals in perfect harmony. Sometimes it takes two artists to make magic happen, not only when it comes to singing but also when creating music – a good topic for a post, I thought!

After doing a bit of research, I was quickly reminded of the large number of musical duos. The following doesn’t include one-offs. I’m also excluding songwriting partnerships like John Lennon and Paul McCartney, Mick Jagger and Keith Richards, Carole King and Gerry Goffin, or Barry Mann and Cynthia Weil, to name a few. All of my picks were or are permanent pairings. Apart from six tracks released in different decades, which are highlighted in the upfront, I’ve included numerous additional tunes in a playlist at the end of the post.

The Everly Brothers/Wake Up Little Susie

Since this post was inspired by an Everly Brothers tune, it felt right to kick things off with a song they performed. Wake Up Little Susie, co-written by Felice Bryant and Boudleaux Bryant, was my introduction to Don Everly and Phil Everly sometime during my teenage years back in Germany. First released as a single in September 1957, Wake Up Little Susie became their first no. 1 on the U.S. mainstream Billboard Hot 100. What a great acoustic rock & roll tune!

Simon & Garfunkel/The Sound of Silence

One of my favorite songs by Simon & Garfunkel is The Sound of Silence. Penned by Paul Simon, this gem is off their debut studio record Wednesday Morning, 3 A.M. from October 1964. It was also released separately as a single in September 1965 and became their first hit, topping the Billboard Hot 100, climbing to no. 2 in New Zealand, and reaching no. 3 in each Australia and Austria. It also charted in a few other European countries.

Hall & Oates/She’s Gone

While Daryl Hall and John Oates have written many great tunes, I’m mostly drawn to their ’70s output. Here’s She’s Gone, a track from their sophomore album Abandoned Luncheonette that appeared in November 1973. The song was also released as a single that same month and became their first charting tune in the U.S., reaching no. 60 on the Billboard Hot 100. I’ve always loved its great soul vibe.

Eurythmics/Sweet Dreams (Are Made of This)

When I think about duos and the ’80s, Hall & Oates, Tears For Fears and Eurythmics come to mind first. The first time I heard of Annie Lennox and Dave Stewart was in 1983 when they came out with Sweet Dreams (Are Made of This). Penned by Stewart and released in January that year, the tune became their first big hit. Among others, it topped the charts in the U.S. and Canada, and reached no. 2 in the UK, Ireland and New Zealand. While I’m generally not fond of synth pop, this is a pretty catchy tune and Annie Lenox’s voice is stunning!

Indigo Girls/Galileo

Amy Ray and Emily Saliers first met in elementary school and were performing together by the time they were in high school. After going separate ways, they again found themselves studying at the same institution (Atlanta’s Emory University) in the mid-’80s and became Indigo Girls. Galileo, written by Saliers, is from their fourth studio album Rites of Passage, which came out in May 1992. The tune was the first single off the record and their only top 10 hit in the U.S., reaching no. 10 on Billboard’s Modern Rock Tracks chart.

The White Stripes/Seven Nation Army

This brings me to the present century and the last tune I’d like to call out: Seven Nation Army by The White Stripes. Written by Jack White, it first appeared in March 2003 as the lead single of their fourth studio album Elephant released the following month. Seven Nation Army topped the Alternative Airplay chart in the U.S., making it one of the biggest hits of the duo, which also includes Meg White. I dig the song’s raw garage feel.

Last but least, here’s the above-mentioned playlist:

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

Celebrating music with six random tracks at a time

Welcome to another Sunday Six where I time-travel through the past 70 years or so to celebrate the diversity of music by picking six tunes. This installment features saxophone jazz from 2013, pop from 1980, rock & roll from 1977, blues-rock from 1990, rockabilly from 1957 and rock from 1969. Can you guess what and the last one might be?

Kenny Garrett/Homma San

Today, I’d like to kick off our little music excursion with American post-bop jazz saxophonist Kenny Garrett. According to his Apple Music profile, Garrett is among the most distinctive instrumentalists to emerge from Detroit’s 1980s and 1990s jazz scenes. A versatile musician, he is equally at home playing classic jump-and-rhythm & blues, standards, modal music and jazz-funk. Garrett’s professional career took off in 1978 when he became a member of the Duke Ellington Orchestra as an 18-year-old. He also played and recorded with Miles Davis, Art Blakey, Freddie Hubbard and Woody Shaw, among others. In 1985, he released his debut album as a bandleader, Introducing Kenny Garrett. Wikipedia lists 16 additional records in this capacity to date. Here’s Homma San, a Garrett composition that’s perfect for a Sunday morning. It’s from a September 2013 studio album titled Pushing the World Away. It reached no. 6 on the Billboard Top Jazz Albums chart and received a Grammy nomination for Best Jazz Instrumental Album.

Paul Simon/Long Long Day

Let’s stay on the mellow side with this beautiful tune by Paul Simon. Long Long Day is a song from the soundtrack of One-Trick Pony, a 1980 film written by and starring Simon as a once-popular but now struggling folk-rock musician. The soundtrack, Simon’s fifth solo album released in August 1980, is best known for Late in the Evening. The Grammy-nominated tune reached no. 6 on the Billboard Hot 100, marking Simon’s final top 10 hit on the U.S. mainstream chart. Long Long Day became the B-side of the album’s second single One-Trick Pony. Written by Simon, Long Long Day features Patti Austin on backing vocals. Other musicians on the recording, among others, include Richard Tee (piano), Toni Levin (bass) and Steve Gadd (drums), who also appeared in the film as members of Simon’s backing band.

AC/DC/Whole Lotta Rosie

After two quiet tunes, I’d say it’s time to push the pedal to the metal. In order to do that I could hardly think of any better band than hard-charging Australian rock & rollers AC/DC. Here’s one of my favorites among their early tunes: Whole Lotta Rosie, off their fourth studio album, Let There Be Rock from March 1977. Co-written by the band’s Angus Young (lead guitar), Malcolm Young (rhythm guitar) and Bon Scott (lead vocals), Whole Lotta Rosie also appeared separately as the album’s second single. It became AC/DC’s first charting tune in the U.K. and The Netherlands where it reached no. 68. and no. 5, respectively. Their international breakthrough hit Highway to Hell was still two years away. Whole Lotta Rosie rocks just as nicely!

Gary Moore/Walking By Myself

Let’s keep up the energy level with some electric blues-rock by Gary Moore. The Northern Irish guitarist started his career in the late ’60s as a member of Irish blues-rock band Skid Row. In 1971, he left to start a solo career. Following the release of the album Grinding Stone in May 1973, credited to The Gary Moore Band, he became a member of Thin Lizzy in early 1974. This reunited him with Phil Lynott, Skid Row’s lead vocalist at the time Moore joined that group. While still playing with Thin Lizzy, Moore released his first album solely under his name, Back on the Streets, in 1978. After his departure from the band in 1979, he focused on his solo career. This brings me to Walking By Myself, a great cover of a blues tune written by Jimmy Rogers and released in 1956, together with Little Walter and Muddy Waters. Moore’s rendition was included on his eighth solo album Still Got the Blues from March 1990. It became his most successful solo record climbing to no. 13 in the UK and no. 5 in Australia, topping the charts in Finland and Sweden, and charting within the top 5 in Germany, Norway and Switzerland. Walking By Myself also appeared as a single in August that year, reaching no. 48 and no. 55 in the UK and Australia, respectively.

Carl Perkins/Matchbox

For this next pick, let’s go back to early 1957 and rockabilly classic Matchbox by Carl Perkins. According to Wikipedia, the tune was sparked when Perkins’ father Buck told him to write a song based on some lines of lyrics he remembered from Match Box Blues, a tune Blind Lemon Jefferson had recorded in 1927. As Perkins began to sing these lyrics at Sun Studios in Memphis, Tenn. in December 1956, a session pianist called Jerry Lee Lewis started playing a boogie-woogie riff. In turn, this prompted Perkins to improvise on his guitar, and the rest is history. While Matchbox ended up as the B-side to Perkins’ single Your True Love, it still became one of his best-known songs. The tune was also included on his debut record Dance Album Of Carl Perkins that appeared in 1957. Matchbox has been covered by various other artists, most notably The Beatles who included it on their UK EP Long Tall Sally released in June 1964. In the U.S., it appeared on their fifth American album Something Else from July 1964 and subsequently as a single in August of the same year.

The Beatles/Don’t Let Me Down

Speaking of The Beatles, having just watched the Disney+ premiere of Peter Jackson’s docuseries The Beatles: Get Back, not surprisingly, the four lads have been very much on my mind. As such, I’d like to end this installment of The Sunday Six with Don’t Let Me Down. Written by John Lennon as a love song for Yoko Ono and credited to him and Paul McCartney as usual, the tune became the B-side of the single Get Back that came out in April 1969. Not only did both songs feature Billy Preston on electric piano, but they also were released as The Beatles with Billy Preston. Here’s a clip with footage from the rooftop performance in late January 1969, the last time The Beatles played in front of an audience.

Sources: Wikipedia; Apple Music; YouTube

Rock the Farm Triumphantly Returns to Jersey Shore

Ten-hour open air festival for great cause features top-notch music tribute acts

After taking a break last year due to this seemingly never-ending pandemic, Rock the Farm 2021 had felt a long time coming – especially the weeks leading up to it! Yesterday (September 25), the wait was finally over. The annual event in Seaside Heights, N.J., organized by the CFC Loud n Clear Foundation, combines music performed by outstanding tribute bands with raising funds and awareness for programs that support individuals and families struggling with addiction. CFC’s efforts aim to fill the gap after clinical treatment, a period when staying sober and remaining on track can be particularly challenging. You can read more about this nonprofit organization and their important work here.

Rock the Farm 2021 marked the seventh time the festival took place. As in years past, the line-up of tribute acts was impressive: One Fine Tapestry (Carole King), Coo Coo Cachoo (Simon & Garfunkel), Walk This Way (Aerosmith), Decade (Neil Young), The Traveling Milburys (The Traveling Wilburys), Guns 4 Roses (Guns N’ Roses), TUSK (Fleetwood Mac) and Tramps Like Us (Bruce Springsteen).

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Just imagine for a moment these would have been the real acts. Apart from being non-affordable for most music fans, obviously, it wouldn’t have been possible to have all these artists appear at the same festival. Creating a unique music experience is a key idea behind Rock the Farm! And it’s definitely part of what makes it so much fun to attend!

Following are some highlights from the 10-hour music marathon that took place on two stages next to each other. I’m going in chronological order, featuring one clip per tribute act that are all from New Jersey except when noted otherwise.

One Fine Tapestry/I Feel the Earth Move

As in years past, One Fine Tapestry, a tribute to Carole King, kicked off Rock the Farm. At the core of this act are Gerard Barros and Diane Barros, a versatile husband and wife duo performing a variety of different tribute shows. Yesterday, they were backed by a full band. Here’s I Feel the Earth Move, a tune from King’s Tapestry album that appeared in February 1971 – one of the many gems celebrating their 50th anniversary this year!

Coo Coo Cachoo/Mrs. Robinson

Coo Coo Cachoo are Thomas Johnston and Ed Jankiewicz, who have been performing Simon & Garfunkel songs since they met in high school close to 50 years ago – that’s just remarkable! Here’s their set opener Mrs. Robinson. Written by Paul Simon, the tune was included on Simon & Garfunkel’s fourth studio album Bookends from April 1968. It also became the record’s lead single and, of course, was part of the soundtrack for the romantic comedy drama The Graduate released in December 1967.

Walk This Way/Love in an Elevator

Walk This Way are a Dallas, Texas-based tribute to Aerosmith, featuring Ian Latimer as Steven Tyler (vocals), David Semans as Joe Perry (guitar, backing vocals), Chris Bender as Tom Hamilton (bass), Martin Turney as Joey Kramer (drums), Eamonn Gallagher as Brad Whitford (guitar) and Chris Loehrlein as Russ Irwin (keyboards). They opened their set with Love in an Elevator, a track co-written by Perry and Tyler, and included on Aerosmith’s 10th studio album Pump that appeared in September 1989. It also became the record’s second single.

Decade/Almost Cut My Hair

Decade are a band around Neil Young tribute artist John Hathaway (guitar, vocals), who has performed with different line-ups over the years. Yesterday’s backing band included Gordon Bunker Strout (guitar, backing vocals), Joseph Napolitano (pedal steel guitar), Billy Siegel (keyboards), John Perry (bass), Bob Giunco (drums) and Pam McCoy (backing vocals). In addition to Young songs, they also throw in a few tunes by Crosby, Stills, Nash & Young, such as this great rendition of Almost Cut My Hair featuring Pam McCoy on lead vocals. Penned by David Crosby, the song is from the Déjà Vu album, the first CSN record with Neil Young, released in March 1970.

The Traveling Milburys/Telephone Line

Traveling Wilburys tribute act The Traveling Milburys feature Nelson Milbury as George Harrison, Lefty Milbury as Roy Orbison, Charlie T. Milbury as Tom Petty, Otis Milbury as Jeff Lynne and Lucky Milbury as Bob Dylan. Also part of this Canadian band are Rick Hyatt (keyboards), Mike Berardelli (bass) and Danny Sandwell (drums). Apart from Wilburys songs, the group plays many tunes from the individual artists that made up the Wilburys. Here’s Telephone Line, a track written by Lynne from ELO’s sixth studio album A New World Record that came out in September 1976.

Guns 4 Roses/Sweet Child o’ Mine

Guns 4 Roses, another Dallas-based band, are a tribute to Guns N’ Roses. Their members are Laz as Axl Rose (lead vocals), Eamonn as Slash (guitar), Chris as Duff McKagan (bass), David as Dizzy Reed (keyboards), Martin as Steven Adler (drums) and Chris as Izzy Stradlin (guitar). Here’s Sweet Child o’ Mine from Guns N’ Roses’ debut album Appetite for Destruction released in July 1987. The tune, which also became the record’s third single, was credited to the entire band. These guys were truly rockin’ the farm!

TUSK/You Make Loving Fun

TUSK are a tribute band focused on the pop rock period of Fleetwood Mac. The group includes Kathy Phillips as Stevie Nicks (vocals), Kim Williams as  Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums). Their harmony singing is just incredible! Here’s You Make Loving Fun written by Christine McVie and from the Rumours album that appeared in February 1977. It also became the record’s fourth and final single.

Tramps Like Us/Tenth Avenue Freeze-Out

Closing out Rock the Farm 2021 was music by The Boss performed by longtime Bruce Springsteen tribute Tramps Like Us – great way to end a 10-hour music marathon! Formed in 1990, the band features front man Mark Salore as Bruce Springsteen (vocals, guitar), together with Jon Malatino (acoustic guitar, percussion, backing vocals), Ken Hope (piano, organ, keyboards, backing vocals), Tom LaRocca (saxophone, keyboards, guitar, backing vocals), Scott Bennert (bass, backing vocals) and Marty Matelli (drums, percussion). Here’s Tenth Avenue Freeze-Out, one of my favorite tunes from Born to Run, Springsteen’s third studio album from August 1975.

This was my fourth Rock the Farm in a row. While except for The Traveling Milburys I had seen all other tribute acts at previous Rock the Farm and/or other concerts, this event truly has been a gift that keeps on giving. Admittedly, my decision to attend this year did not come as easily as in the past, given COVID-19. After all, I had stayed away from most music events over the summer. Rock the Farm was the one I simply didn’t want to miss!

Sources: Wikipedia; CFC Loud n Clear Foundation website; One Fine Tapestry website; Coo Coo Cachoo Facebook page; Walk This Way website; Decade Facebook page; Traveling Milburys website; Guns 4 Roses website; TUSK website; Tramps Like Us website; YouTube

What I’ve Been Listening to: John Hiatt/Perfectly Good Guitar

John Hiatt is a great artist I’ve been aware of for many years. I’m glad his excellent recent collaboration album with Jerry Douglas, Leftover Feelings, brought the acclaimed singer-songwriter back on my radar screen. It finally made me start exploring some of Hiatt’s other albums in their entirety, including Perfectly Good Guitar, his 11th studio release that appeared in September 1993. I’m sure Hiatt aficionados are well aware of it; if you’re not and dig heartland and roots-oriented rock, you’re in for a treat.

Hiatt who was born in Indianapolis had a difficult childhood. After the death of his older brother and his father, he used watching IndyCar races and listening to music by the likes of Elvis Presley, Bob Dylan and blues artists as escape mechanisms. At the age of 11, Hiatt learned to play guitar and started his music career as a teenager in Indianapolis, playing local venues with the a variety of bands.

When he was 18, Hiatt moved to Nashville, Tenn. where he landed a job as a songwriter for the Tree-Music Publishing Company. He also continued local performances, both solo and with a band called White Duck. Hiatt got his break in June 1974 when Three Dog Night turned his song Sure As I’m Sitting Here into a top 40 hit. His original version he had released as a single in February that year had gone nowhere.

In July 1973, Hiatt recorded his debut album Hangin Around The Observatory, which came out the following year. While it received favorable reviews, the album was a commercial failure. When the same thing happened with his sophomore release Overcoats, his label Epic Records was quick to drop him. Meanwhile, other artists kept covering Hiatt’s songs. Unfortunately, the story pretty much kept repeating itself until Bring the Family from May 1987, finally giving Hiatt his first album to make the Billboard 200, reaching no. 107.

Bring the Family featured the gems Thing Called Love and Have a Little Faith in Me, which became hits for Bonnie Raitt and Joe Cocker, respectively. Hiatt’s songs have also been covered by an impressive and diverse array of other artists like B.B. King, Bob Dylan, Buddy Guy, Emmylou Harris, Joan Baez, Linda Ronstadt, The Nitty Gritty Dirt Band and Willy DeVille, and the list goes on and on.

To date, Hiatt has released 28 albums, including two live records and two compilations. In 1991, he also formed the short-lived group Little Village together with Ry Cooder, Nick Lowe and Jim Keltner. Previously, Hiatt had worked with each of the three artists on Bring the Family. After issuing a self-titled album in February 1992 and a short supporting tour the group disbanded.

Let’s get to some music from Perfectly Good Guitar. Here’s the great opener Something Wild. Like all other tracks except one, the tune was solely written by Hiatt. I dig the nice driving drum part by Brian McLeod. With the recent death of Charlie Watts, perhaps it’s not surprising that Satisfaction came to mind right away!

The title track perfectly captures my sentiments when I see footage of Pete Townshend trashing his guitar at the end of a Who gig; or Jimi Hendrix setting his guitar on fire for that matter. Oh, it breaks my heart to see those stars/ Smashing a perfectly good guitar/I don’t know who they think they are/Smashing a perfectly good guitar…Yes, of course, it was all for show and I believe Townshend at least glued some of his smashed guitars back together. And while I certainly don’t support jail sentences for guitar-smashing, destroying instruments still rubs me the wrong way! Instead, make some kid happy and give it to them! Who knows, you might even change their trajectory!

Another nice track is Buffalo River Home. I really like the guitar work on that tune.

Another track that got my attention, primarily because of the drum part, is Blue Telescope. McLeod’s drum work reminds me a bit of Steve Gadd’s action on Paul Simon’s 50 Ways to Leave Your Lover. I have no idea whether Gadd’s unique drum part served as an inspiration here. Regardless, it sure as heck sounds cool to me!

The last track I’d like to call out is Old Habits, which has a great bluesy vibe. It’s the one song on the album Hiatt co-wrote with somebody else: Female singer-songwriter Marshall Chapman. Similar to Hiatt, it appears her songs have been covered by many other artists, such as Joe Cocker, Jimmy Buffett, Emmylou Harris, Irma Thomas and Ronnie Milsap.

Before wrapping up this post, I’d to acknowledge the other fine musicians on this great album. In addition to Hiatt (guitar, vocals, piano, organ) and MacLeod (drums, percussion), they include Michael Ward (guitar), Ravi Oli (electric sitar; Ravi Oli is a pseudonym of David Immerglück), Dennis Locorriere (harmony vocals) and John Pierce (bass guitar).

Perfectly Good Guitar was Hiatt’s last studio album with A&M Records. Once again, another great record failed to meet the commercial expectations of the label, though ironically, it became Hiatt’s most successful record on the U.S. mainstream charts to date, peaking at no. 47 on the Billboard 200. Hiatt subsequently signed with Capitol Records, which released his next two studio albums, including the Grammy-nominated Walk On from October 1995.

Sources: Wikipedia; YouTube