A selection of newly released music that caught my attention
It’s Saturday, so here we go again taking a fresh look at new music. All picks appear on releases that came out yesterday (June 10). Here we go!
My first pick this week is music from the debut album by Americana singer-songwriter Calder Allen. From his website: At only 19 years of age, Calder Allen is one of the newest rising acts to emerge out of Austin, Texas. Both audibly and lyrically beyond his years, Allen is a prolific singer-songwriter and self-taught guitarist who completed the recording of his first album in August 2021 at none other than the historic Arlyn Studios, shortly followed by his inaugural performance at Austin City Limits Music Festival…A fifth generation Austinite, Calder Allen’s natural ability and love for music is embedded into his DNA; among his music inspirations includes his grandfather Terry Allen, the legendary visual artist, and Buddy Holly Walk of Fame songwriter. His album producer Charlie Sexton, and other prolific artists like Gary Clark Jr., Caamp, Guy Clark and Townes Van Zandt are also impactful influences on Allen’s music. His debut album is titled The Game. Here’s the opener Shine. I really like what I’m hearing here!
Vance Joy/Solid Ground
Next, I’m turning to Australian singer-songwriter Vance Joy, born James Gabriel Keogh. From his AllMusicbio: Australian singer/songwriter Vance Joy was vaulted into the mainstream when his 2013 single “Riptide” became a massive international hit. His blend of thoughtful indie folk and breezy melodic pop helped both his EP and subsequent debut album, Dream Your Life Away, go multi-platinum. Joy maintained his success throughout the rest of the decade, topping the charts again with his 2018 follow-up Nation of Two. His third album, In Our Own Sweet Time, was released in 2022. Among the 12 tracks is Solid Ground, which Joy co-wrote with Dave Bassett. Pretty enjoyable tune!
Nick Mulvey/Another Way To Be
Nick Mulvey is an English singer-songwriter who has been active since 2007. From his Apple Musicprofile: After a successful stint with Portico Quartet — which included a Mercury Prize nomination in 2008, 150 shows worldwide, and signing to Peter Gabriel’s Real World Records — Nick Mulvey set about creating a sound that was both striking and individual, intertwining influences of great musicians such as Nick Drake, Joni Mitchell, and Tom Waits with a variation of African styles, including guitarist Kawele. His solo debut, 2014’s First Mind, landed in the U.K. Top Ten and was also nominated for the Mercury Prize. This brings me to New Mythology, Mulvey’s third and latest album, and Another Way To Be, a song written by him. While it’s not in my core wheelhouse, I like it!
Rise Against/The Answer
Let’s wrap up this revue with new music by Chicago punk rock band Rise Against. Formed in 1999, the group’s current line-up includes original members Tim McIlrath (lead vocals, rhythm guitar) and Joe Principe (bass, backing vocals), along with Zach Blair (lead guitar, backing vocals) and Brandon Barnes (drums, percussion), who have been with Rise Against since 2007 and 2000, respectively. In April 2001, the group released their debut album The Unraveling. Their fourth album The Sufferer & the Witness brought them first significant chart success in the U.S., reaching no. 10 on the Billboard 200, as well as their first charting album abroad, most notably in Canada where it peaked at no. 5. To date, the group’s catalog includes nine studio albums, two compilations and 10 EPs, among others. Their latest release is an EP titled Nowhere Generation II. Here’s the opener The Answer, credited to the entire band. This nicely rocks!
Before wrapping up, following is a Spotify playlist with all of the above and a few additional tunes.
Sources: Wikipedia; Calder Allen website; AllMusic; Apple Music; YouTube; Spotify
Celebrating music with six random tracks at a time
Welcome to another Sunday Six where I’d like to celebrate the beauty of music in different flavors over the past 60 years or so, six tunes at a time. Let’s embark on today’s journey.
Wayne Shorter/Infant Eyes
Getting us underway today is soothing jazz by saxophonist and composer Wayne Shorter. In addition to being a sideman playing with Art Blakey’s Jazz Messengers and Miles Davis’ Second Great Quintet, Shorter started his recording career as a bandleader in 1959 with Introducing Wayne Shorter – the first of more than 20 additional albums he has made in that role. In 1970, Shorter became a co-founder of jazz fusion band Weather Report. Here’s Infant Eyes, a beautiful track he composed for his sixth album Speak No Evil, which appeared in June 1966. After an incredible 60-year-plus recording career Shorter (88 years) is now retired.
John Cougar Mellencamp/Rain On The Scarecrow
Next, let’s go to August 1985 and the eighth studio album by heartland-turned-roots rock artist John Mellencamp, who I trust doesn’t need much of an introduction. Scarecrow was the record that brought Mellencamp on my radar screen. At the time, he was still known as John Cougar Mellencamp and nine years into his recording career that had started in 1976 with the Chestnut Street Incident, released as Johnny Cougar. His manager at the time, Tony Defries, had come up with this name, convinced an artist with the last name Mellencamp wouldn’t generate much interest. Mellencamp who hated the name kept “Cougar” through Scarecrow before finally adopting his real name John Mellencamp for the follow-on album The Lonesome Jubilee from August 1987. While Scarecrow is best known for its U.S. top 10 hits R.O.C.K. in the U.S.A., Small Town and Lonely Ol’ Night, I decided to highlight Rain On The Scarecrow, a tune I’ve always loved. Mellencamp penned it together with his childhood friend and longtime writing partner George Green.
The Byrds/Tiffany Queen
Every time I hear the name The Byrds, my first thought is the jingle-jangle guitar sound perfected by Rickenbacker maestro guitarist and vocalist Roger McGuinn. From the very first moment I heard songs like Mr. Tambourine Man, All I Really Want to Do and Turn! Turn! Turn! I was hooked, and I still get excited about the sound of a Rickenbacker to this day. While I knew there was more to The Byrds than a jangly guitar sound and great harmony singing, until the other day, I had not been aware of Tiffany Queen. Written by McGuinn, it became the opener of their 11th studio album Farther Along from November 1971. By that time, McGuinn was the band’s only original member, though the other co-founders Gene Clarke, David Crosby, Michael Clarke and Chris Hillman reunited with McGuinn one more time for the group’s 1973 eponymous final album. Here’s Tiffany Queen, which compared to the three above-mentioned tunes has more of a straight rock sound- I like it!
Fats Domino/Blueberry Hill
Yes, it may seem a bit arbitrary to throw in Blueberry Hill by Fats Domino. But then again, this goes to the central idea of The Sunday Six to feature music from different eras, in a zig-zag fashion. Plus, it’s a timeless classic! Written by Vincent Rose with lyrics by John L. Rooney, Blueberry Hill was first recorded by the Sammy Kaye Orchestra in May 1940, featuring Tommy Ryan on vocals. In 1940 alone, the tune was recorded five more times, including by the Glenn Miller Orchestra, the most successful of the six versions, which reached no. 2 on the U.S. charts. But to this day, Blueberry Hill is best remembered by Fats Domino’s amazing rendition released in 1956. It was also included on Domino’s third studio album This Is Fats Domino!, which came out in December that year. It became his sixth no. 1 on the U.S. R&B chart and his biggest hit on the mainstream Billboard Hot 100 (no. 2), then-called the Top 100. Feel free to groove along!
Recently, fellow blogger Dave from A Sound Day hosted another great installment of his Turntable Talkfeature, which focused on the MTV music video era. Dave was kind enough to invite me back to participate, and as I noted in my contribution, Peter Gabriel’sSledgehammer would get my vote for best video. With the ex-Genesis lead vocalist on my mind, perhaps it’s not a big surprise a Gabriel tune is included in this Sunday Six. While I generally prefer So and his earlier albums, I decided to pick a song from Us, the follow-on to So, released in September 1992. Here’s Steam, a nice funky pop tune. It also appeared separately as a single in January 1993 and became Gabriel’s final significant chart success. This included a no. 1 in Canada and top 10 placements in the UK, Ireland and New Zealand. In the U.S., the song steamed to no. 2 on Billboard’s Mainstream Rock chart. Songfactsnotes similarities to Sledgehammer, including prominent horn lines and lyrics “loaded with sexual references.” I guess that’s a fair observation. It doesn’t bother me!
Sheryl Crow/Real Gone
And once again it’s time to wrap up. Since Sheryl Crow entered my radar screen in 1993 with All I Wanna Do, her breakthrough hit from her debut album Tuesday Night Music Club, I’ve enjoyed listening to her music. When she released Threads in August 2019, which I reviewed here, she noted the collaboration album was her final full-length release. Crow cited changed listening habits where most people build their own playlists rather than listen to albums. As sad as it is, it’s a fair point. Plus, Crow hasn’t retired from the music business and has since released a few additional singles. Plus, she’s currently on the road. Real Gone is a nice rock tune from the soundtrack of the 2006 animated film Cars, which appeared in May 2006. My son was four and a half years old at the time and liked the toy cars from Cars – dad liked them as well! Real Gone, which also was released in June 2006 as the second single from the soundtrack, was co-written by Crow and John Shanks who also produced the tune.
Last but least, here’s a Spotify list featuring the above picks.
It’s Wednesday and I’m back with my little exercise to pick one tune to take with me on an imaginary trip to a desert island. Given my arbitrary self-imposed rules, perhaps I should change the title of the recurring feature. When most folks hear the term ‘desert island song’, understandably, they associate with it their most favorite music. That’s not what I’m doing here, at least not on an absolute scale.
The idea of this feature is to pick an artist or band I have rarely or not covered at all to date and select one song from them I like. Oftentimes, the choice comes down to only a handful of their tunes I know. As such, this excludes many of all-time favorites like The Beatles, The Rolling Stones, The Who, Carole King, Neil Young, Marvin Gaye, Aretha Franklin, Bonnie Raitt, Buddy Guy or Steely Dan who otherwise would be preferred picks. Another restricting factor is I’m doing this exercise in alphabetic order.
What that said, let’s get to today’s pick. I’m up to the letter “n”. Looking in my music library reveals artists and bands, such as Graham Nash, Johnny Nash, Nazareth, Willie Nelson, Randy Newman, Nilsson and Nirvana. My pick is Yellow Moon by The Neville Brothers.
Sadly, The Neville Brothers are among the music acts whose names I had known for years but had not been able to identify a specific tune. To inform the above pick I sampled tracks of two compilations, including the one pictured in the clip, Uptown Rulin’, which came out in 1999.
I couldn’t find much information on Yellow Moon. This groovy tune is credited to band co-founder, keyboarder and vocalist Arthur Neville, who was also known as Art Neville, and Jack Neville who based on my findings in AllMusic was a songwriter, predominantly for country artists. Here’s a nice live version of the tune, featuring the great John Hiatt as a guest. While the group’s sax player Charles Neville introduces him, he notes the Nevilles had performed a song written by Hiatt on their 1978 eponymous debut album (Washable Ink).
Yellow Moon was the title track of a studio album The Neville Brothers released in March 1989. According to Wikipedia, it peaked at no. 66 in the U.S. on the Billboard 200. Notably, the album was produced by Daniel Lanois who also worked with Bob Dylan, Neil Young, Peter Gabriel, Emmylou Harris and Willie Nelson, among others. He also collaborated with Brian Eno to produce various albums for U2 including my favorite The Joshua Tree.
A review of Yellow Moon by Ron Wynn for AllMusic notes the album charted and remained there for many weeks, while the Nevilles toured and generated lots of interest. It didn’t become a hit, but it did respectably and represents perhaps their finest overall pop LP. The group won a 1990 Grammy for Best Instrumental Pop Performance for another track on that album, titled Healing Chant.
The seeds for The Neville Brothers were planted in 1976 during a recording session of The Wild Tchoupitoulas. This Mardis Gras Indian group was led by the Nevilles’ uncle, George Landry, known as Big Chief Jolly. In addition to the previously noted Art Neville (keyboards, vocals) and Charles Neville (saxophone), The Neville Brothers featured Aaron Neville (vocals) and Cyril Neville (vocals, percussion). All four were siblings and participated in the above recording session.
AllMusic and Wikipedia list nine studio albums The Neville Brothers released during their active period between 1976 and 2012. In the latter year, they formally disbanded but reunited one more time in 2015 for a farewell concert in New Orleans. Charles Neville and Art Neville passed away in April 2018 and July 2019 at the ages of 79 and 81, respectively. Aaron Neville, now 81, is retired. Seventy-two-year-old Cyril Neville, the youngest of the four brothers, still appears to be an active musician.
Happy Wednesday! Once again, the desert island is calling and I must make an important music decision. This time it’s picking a band or artist starting with the letter “G”.
Looking at my library, I could have selected Peter Gabriel, Marvin Gaye, Genesis, Greta Van Fleet, Grateful Dead, Green Day and Guns N’ Roses, among others, but didn’t since I wrote about all of them previously. Instead, I picked Dutch rock band Golden Earring and one of the coolest driving songs I know: Radar Love.
Co-written by the band’s Barry Hay (lead and backing vocals, flute, saxophone, percussion) and George Kooymans (guitar, lead and backing vocals), Radar Love first appeared on Golden Earring’s ninth studio album Moontan from July 1973. Subsequently, a shortened version of the tune was released as a single in Europe in August 1973, except for the UK where it appeared in November that year. The U.S. release of the single took even longer, until April 1974. Here’s the album version.
Radar Love became Golden Earring’s biggest hit. In addition to topping the charts in The Netherlands, it climbed to no. 5 in Germany, no. 6 in Belgium, no. 7 in the UK, no. 10 in Austria and no. 13 in the U.S. Undoubtedly, the tune also helped make Moontan the band’s most successful album.
Before you could send a text message or call someone in their car, there was no way to communicate to a driver – unless you had a certain telepathic love that could convey from a distance your desire to be with that person, something you might call – Radar Love. In this song, the guy has been driving all night, but keeps pushing the pedal because he just knows that his baby wants him home.
…Like many of Golden Earring’s songs, this began with the title and grew from there. Originally intended only as an album track, it turned out to be the only cut on their US debut album Moontan that they could whittle down to a single for radio. It became their showstopper at concerts, and provided a striking moment for their drummer Cesar Zuiderwijk, who would take a few steps back and leap at the drum kit near the end of the song.
Following is a smoldering live version, which according to the clip was captured in 1973:
And here’s something for the geeks among us: 🙂
The song is all in 4/4 time, and the original tempo is around 100 BPM. It’s a very clever arrangement: the intro is on the beat of each bar at the start. The shuffle on the snare is semi triplets which give the illusion of the song speeding up. You have to quantize drum machines to a 6th beat. Consequently the chorus is doubled up to give the impression that the tempo has speeded up to 200 BPM. You have to transpose the 4/4 bar so it can be played with in 1 beat of the bar. It does take a bit of lateral thinking to get your head around the math, but the song is all 4/4 at 100 BPM.
Golden Earring, initially formed as The Tornadoes in 1961 in The Hague, were active until last year. Since 1970, their line-up had consisted of co-founders Rinus Gerritsen (bass, keyboards) and Kooymans, along with Hay and Cesar Zuiderwijk (drums, percussion). In 2021, they disbanded following Kooymans’ diagnosis with ALS, a devastating neurodegenerative condition aka Lou Gehrig’s disease.
When I love a song as much as I do Waterloo Sunset by The Kinks, I tend to be hyper-critical about covers from other music acts, especially when they make changes. In this case, not only did I not mind it, but I was truly blown away when I heard Peter Gabriel’s rendition the other day.
Waterloo Sunset, written by Ray Davies, first appeared in May 1967 as the lead single of Something Else by the Kinks, the group’s fifth UK studio album released in mid-September of the same year. Together with Death of a Clown, Waterloo Sunset became one of two hits the record generated, climbing to no. 2 in the UK on the singles chart. Elsewhere, it topped the charts in The Netherlands, climbed to no. 3 in Ireland, and reached no. 4 in Australia, among others.
The lyrics, which describe the narrator’s thoughts about a couple passing over a bridge, were rumored to have been inspired by the romance of British actors Terence Stamp and Julie Christie. But during a 2008 interview, Davies explained, “It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country.”
Peter Gabriel’s transformation of Waterloo Sunset reminds me of the haunting Wallflower from his fourth eponymous studio album released in September 1982. I’d be curious to know whether it grabs you as much as it did me. Check it out!
This rendition of Waterloo Sunset appeared as a bonus track on Gabriel’s eighth studio album Scratch My Back from February 2010. The record consists of cover versions of tunes from a broad variety of other artists. Co-produced by Gabriel and Bob Ezrin, the recordings only use orchestra and voice and have a bare-bones vibe. Based on briefly listening into the remaining tracks, Gabriel’s other renditions don’t work as well for me as Waterloo Sunset.
Initially, Gabriel had planned to release Scratch My Back with a companion album of covers of Gabriel songs performed by the same artists whose tunes he had covered on Scratch My Back. But due to delays, And I’ll Scratch Yours only appeared in September 2013. David Bowie, Neil Young and Radiohead declined to cover Gabriel songs and were “replaced” by Brian Eno, Joseph Arthur and Feist.
I don’t mean to make any advertising for Apple Music. Other music streaming platforms are probably just as good and some may even be better. It just so happens that 20 years ago, I decided to get iTunes and I’ve stuck with Apple ever since. Nowadays, I mostly use their streaming service Apple Music. Once you’re entrenched in one platform, switching becomes hard, so you’re kind of stuck with it.
In the early years of Apple Music, which I started using pretty much when it was introduced in 2015, I made fun of how they categorized music and what kind of listening suggestions they served up. Over time their algorithms have gotten much better. Nowadays, Apple Music pretty much knows what makes me tick. In a way that’s a bit scary.
Similar to Facebook, the presentation of new content based on previous choices can also work to your advantage. A good illustration is the latest “Favorites Mix” Apple Music generated, based on my listening habits. I pretty much dig each tune on here. Following are five of the 25 tracks. I deliberately picked songs I haven’t featured in a while or at all on the blog.
John Mellencamp/Grandview (feat. Martina McBride)
John Mellencamp has been among my favorite artists since the mid-’80s. While I still dig the straight heartland rock from his earlier years, I mostly prefer the roots-oriented music he plays nowadays. Grandview is a great tune from Mellencamp’s 23rd studio album Sad Clowns & Hillbillies that came out in April 2017. Much of that album includes contributions from country artist Carlene Carter. Grandview, co-written by Mellencamp and Bobby Clark, is an exception, featuring another country artist: Martina McBride. Love that tune!
Bonnie Raitt/Sugar Mama
My dear longtime music friend from Germany initially introduced me to Bonnie Raitt in the late ’80s. If you’re a more frequent visitor of the blog you likely know how much I dig that lady. For the most part, Raitt relies on other writers. Her picks tend to be excellent. Here’s Sugar Mama, co-written by Delbert McClinton and Glen Clark, and first released as Sugar Daddy on McClinton’s 1972 debut album Delbert & Glen. Raitt’s funky rendition of the tune was included on her fifth studio album Home Plate, which appeared in 1975.
Jackson Browne/Our Lady of the Well
My introduction to Jackson Browne was the iconic Running On Empty album from December 1977. I believe my brother-in-law had it on vinyl. My guess is I heard it first in the early ’80s – can’t quite remember! I’ve listened to Browne on and off ever since. Our Lady of the Well, written by him, is from his sophomore album For Everyman that came out in October 1973. Browne’s just a great songwriter!
David Bowie/It Ain’t Easy
If I could only pick one David Bowie record, I’d go with The Rise and Fall of Ziggy Stardust and the Spiders from Mars, his fifth studio album released in June 1972. I’ve always loved Bowie’s glam rock period. On Ziggy Stardust, he wrote all except one tune: It Ain’t Easy. That song was penned by American songwriter Ron Davies who first recorded it for his 1970 debut album Silent Song Through The Land. It proved to be a popular cover song. In addition to Bowie, Three Dog Night, Long John Baldry, Dave Edmunds and Shelby Lynne are among the other artists who covered it. I guess the explanation is simple: It’s a great tune!
Genesis/Land of Confusion
Let me preface this final pick by saying I used to like Land of Confusion by Genesis much more when it came out back in 1986 than I do nowadays. Like many other ’80s tunes, to me, it doesn’t hold up that well. Still, I can’t deny a certain weak spot for the ’80s, the decade during which I grew up. Land of Confusion, credited to all three core members of Genesis at the time – Tony Banks, Phil Collins and Mike Rutherford – appeared on the group’s 13th studio album Invisible Touch from June 1986. It also became one of five singles. Perhaps the most memorable aspect of the tune is its remarkable video featuring caricature puppets of political leaders like Ronald Reagan, Margaret Thatcher, Leonid Brezhnev and Helmut Kohl. The video, which got heavy play on MTV, won a Grammy for Best Concept Music Video in 1987. It was also nominated for Video of the Year at the MTV Video Awards that same year but lost to Sledgehammer by former Genesis lead vocalist Peter Gabriel.
Below is a link to the entire playlist. While I supposedly copied the embed code, it doesn’t embed. Oh, well, not sure whether this has anything to do with my computer or my computer skills, which is entirely possible, or whether it’s, dare I say, a bug in Apple Music. I’ve seen fellow bloggers successfully embed Spotify playlists. Perhaps I should have chosen that platform instead – dang it!
Celebrating music with six random tracks at a time
Hope everybody is enjoying their Sunday and has had a good week. Time again to embark on another music journey where the only thing that’s certain is that nothing is certain. In other words, anything goes as long as I like it. Oftentimes, these posts are pretty eclectic, and this installment is no different, featuring country rock, progressive rock, rockabilly, synth pop, folk rock and Chicano garage rock.
Poco/What a Day
A recent post about Rusty Young and Paul Cotton by fellow blogger Mike from Ticket 2 Ride brought country rock pioneers Poco back on my radar screen – and the realization I’ve yet to take a deeper dive into their music. My first encounter with Poco was in the ’80s when a dear longtime music friend introduced me to the band with their excellent 11th studio album Legend from November 1978. After they had released records for nearly a decade, it finally gave them a top 20 on the Billboard 200, reaching no. 14. Poco were formed in 1968 by former Buffalo Springfield members Richie Furay (vocals, rhythm guitar) and Jim Messina (lead guitar, vocals), together with Rusty Young (pedal steel guitar, banjo, dobro, guitar, mandolin, vocals), Randy Meisner (bass, vocals) and George Grantham (drums, vocals). In addition to 19 studio albums, the band’s catalog includes multiple compilations and live recordings. Poco have continued to perform with many different line-ups, though with the death of Young from a heart attack at age 75 in April this year, their current status is uncertain. Here’s a tune I love off their debut album Pickin’ Up the Pieces that came out in May 1969: What a Day, written by Furay. You can read more about that album here.
Genesis/The Lamb Lies Down on Broadway
Let’s move to the ’70s and a dose of prog rock, a genre I’ve never really embraced with a few exceptions. One of them are Genesis. I began exploring the British group in the mid ’80s back in Germany when getting access to many of their albums through my best friend whom I’ve known since the second school grade. Genesis were formed in 1967 by Peter Gabriel (lead vocals, flute), Tony Banks (organ, piano, backing vocals), Anthony Phillips (lead guitar), Mike Rutherford (bass, guitar, backing vocals) and Chris Stewart (drums), who all attended a boarding school in the English town of Godalming. By the time their debut album From Genesis to Revelation appeared in March 1969, Stewart had been replaced on drums by Jonathan Silver. After a hiatus following their last studio album …Calling All Stations… from September 1997 and occasional reunions, Genesis reformed in March 2020 and announced The Last Domino? Tour set to kick off in mid-September Dublin, Ireland, and currently including 40 dates across Ireland, the UK, U.S. and Canada. The line-up features Banks, Collins and Rutherford, along with various touring musicians. Here’s the title track from the band’s sixth studio album The Lamb Lies Down on Broadway, which was released in November 1974 and was the last to feature Gabriel. Like the remaining tracks, the tune was credited to all members of the band, which at the time included Banks, Collins, Gabriel, Rutherford and guitarist Steve Hackett who had replaced Phillips on lead guitar in late 1970. For some additional thoughts on the album, you can check here.
After nearly 5 minutes of prog rock, I’m sure y’all are ready for some great rockabilly, a genre I’ve been digging the first time I heard it. Most likely, that was sometime during the second half of the ’70s when I started listening to the radio more frequently, in particular an oldies show that aired on Sunday evenings on my favorite station SWF3 (now SWR3). And it may well have been Carl Perkins or Bill Haley or Elvis Presley – frankly, I don’t remember. Perkins, a rockabilly pioneer, started his recording career in 1954 at Sam Phillips’Sun Records. In February 1957, he released Matchbox as the B-side to Your True Love. Matchbox shares some lyric phrases with Blind Lemon Jefferson’s 1927 recording of Match Box Blues, though musically the tunes are different. Matchbox and Your True Love also appeared on Dance Album Of Carl Perkins, his debut full-length record from 1957. It’s probably best remembered by the classic Blue Suede Shoes, another Perkins song that became his only no. 1 on Billboard’s country chart. It also surged to no. 2 on the mainstream Billboard Hot 100, his best-performing single there as well. Carl Perkins who passed away in January 1998 at the age of 65, was inducted into the Rock Roll Hall of Fame in 1987 by Sam Phillips.
Prince needs no further introduction. While I wouldn’t call myself a fan, I’ve admired him for many years because of his incredible musicianship and remarkable versatility. And I definitely like some of his songs. I was tempted to pick Purple Rain, the title track of Prince’s 1984 album, which brought him on my radar screen, and a tune I love to this day. Instead, I decided to go with another title track, 1999, from Prince’s fifth studio album that appeared in October 1982. To me, it’s one of the most infectious dance tunes I know. According to Songfacts, Prince wrote the party-like jam during the height of the Cold War. But while acknowledging Everybody’s got a bomb/We could all die any day, he resorted to an optimistic stance, telling people to enjoy their remaining time on earth: But before I’ll let that happen/I’ll dance my life away.
Mumford & Sons/I Will Wait
After some country rock, prog rock, rockabilly and a synth pop party tune about nuclear Armageddon, I think we’re ready for a dose of English folk rock, don’t you agree? Mumford & Sons were formed in London in late 2007 by multi-instrumentalists Marcus Mumford (lead vocals, guitars, drums), Ben Lovett (vocals, piano, keyboards, accordion), Winston Marshall (vocals, guitars, banjo, bass) and Ted Dwane (vocals, bass, double bass, drums). After their successful debut album Sigh No More from October 2009, which topped the charts in Australia, New Zealand and the Netherlands and hit no. 2 in the UK and the U.S., the band gained even greater prominence with their sophomore release Babel that appeared in September 2012. The record debuted at no. 1 on the UK Albums Chart and the U.S. Billboard 200 and also reached the top of the charts in many other countries. Babel became the fastest selling record of 2012 in the UK and was the biggest selling debut of any album in the U.S. that year. Mumford & Sons have since continued to enjoy success with two additional albums. Marshall left earlier this year, leaving Mumford & Sons as a trio for now. Here’s I Will Wait from the above noted Babel album. Written by Marcus Mumford, it’s the band’s most successful single to date and I assume the song most people have heard. Here’s the official video with footage captured at the breathtaking Red Rocks Amphitheatre near Morrison, Col.
Thee Midniters/Empty Heart
And, once again, this brings me to the sixth tune that will conclude this week’s musical excursion. Let’s go back to the ’60s where the post started with a pick inspired by my recent review of Los Lobos’ great new album. Native Sons, which largely features covers by bands and artists from L.A. or who ended up there, celebrates the city’s rich musical heritage. The covers include a tune by Thee Midniters, another Chicano rock band who like Los Lobos were from East Los Angeles. Formed in the mid ’60s, their members included Willie Garcia (lead vocals), George Dominguez (lead guitar), Roy Marquez (rhythm guitar), Ronny Figueroa (organ), Larry Rendon (saxophone), Romeo Prado (trombone), Jimmy Espinoza (bass) and George Salaza (drums). After releasing a few albums, the band split in the early ’70s. According to Wikipedia, The Midniters have continued to perform over the decades, led by original members Espinoza and Rendon. I haven’t been able to verify the group’s current status. Here’s their cover of The Rolling Stones’Empty Heart. Co-written by Mick Jagger and Keith Richards, the Stones first recorded the tune for their second EP Five by Five released in August 1964. Check out this cooking rendition by Thee Midniters.
By now it’s safe to assume more frequent visitors know what’s about to happen. To new readers, The Sunday Six is all about enjoying the diversity and beauty of music. I make a deliberate effort to feature different music genres including some I don’t listen to frequently. While the resulting picks, therefore, can appear to be random, these posts don’t capture the first six tunes that come to my mind. At the end of the day, anything goes as long as it speaks to me.
Kicking is off is some groovy guitar pop jazz by George Benson. Benson started to play the guitar as an eight-year-old, following the ukulele he had picked up a year earlier. Incredibly, he already recorded by the age of 9, which means his career now stands at a whooping 57 years and counting! He gained initial popularity in the 1960s, performing together with jazz organist Jack McDuff. Starting with the 1963 live album Brother Jack McDuff Live!, Benson appeared on various McDuff records. In 1964, he released his debut as a bandleader, The New Boss Guitar of George Benson, which featured McDuff on piano and organ. In the ’70s, Benson started to venture beyond jazz into pop and R&B. Breezin’ from May 1976 is a good example. Not only did it top Billboard’s jazz chart, but it also climbed to no. 1 on the R&B and mainstream charts. Here’s the title track, written by Bobby Womack who also originally recorded it in December 1970, together with Hungarian jazz guitar great Gábor Szabó. It appeared on Szabó’s 1971 album High Contrast. Here’s Benson’s version. The smooth and happy sound are perfect for a Sunday morning!
Steely Dan/Home at Last
Let’s stay in pop jazzy lane for a bit longer with Steely Dan, one of my all-time favorite bands. I trust Messrs. Donald Fagen and Walter Becker, who first met in 1967 as students at Bard College in Annandale-on-Hudson, N.Y. and quickly bonded over their mutual admiration for jazz and other music, don’t need much of an introduction. By the time they met guitarist Denny Dias in the summer of 1970, they already had written a good amount of original music. Steely Dan’s first lineup was assembled in December 1971, after Becker, Fagen and Dias had moved to Los Angeles. The additional members included Jeff “Skunk” Baxter (guitar), Jim Hodder (drums) and David Palmer (vocals). Earlier, Gary Katz, a staff producer at ABC Records, had hired Becker and Fagen as staff songwriters. It was also Katz who signed the Dan to the label. By the time their sixth and, in my opinion, best album Aja appeared in September 1977, Steely Dan had become a studio project by Fagen and Becker who surrounded themselves with a changing cast of top-notch session musicians and other artists. In this case, the latter included Larry Carlton (guitar), Chuck Rainey (bass), Jim Keltner (drums) and Michael McDonald (backing vocals), among others. Here’s Home at Last, which like all other tracks on the album was co-written by Fagen and Becker. In addition to them, the track featured Carlton (though the solo was played by Becker who oftentimes left lead guitar responsibilities to a session guitarist like Carlton), Rainey (bass), Victor Feldman (vibraphone), Bernard Purdie (drums), Timothy B. Schmit (backing vocals), and of course an amazing horn section, including Jim Horn (what an appropriate name!), Bill Perkins, Plas Johnson, Jackie Kelso, Chuck Findley, Lou McCreary and Dick Hyde.
The Temptations/Papa Was a Rollin’ Stone
Time to start switching up things with a dose of ’70s funk and psychedelic soul, don’t you agree? Papa Was a Rollin’ Stone by The Temptations is one of the coolest tunes I can think of in this context. Co-written by Motown’sNorman Whitfield and Barrett Strong, the song was first released as a single in May 1972 by the label’s recording act The Undisputed Truth. While the original to which you can listen here is pretty good as well, it’s the great rendition by The Temptations I heard first and have come to love! They recorded an 11-minute-plus take for their studio album All Directions from July 1972. In September that year, The Temptations also released a 6:54-minute single version of the song. While it still was a pretty long edit for a single, it yielded the group their second no. 1 on the Billboard Hot 100 in the ’70s. It would also be their last no. 1 hit on the U.S. mainstream chart. By the time Papa Was a Rollin’ Stone appeared, the group already had seen various changes and only featured two members of the classic line-up: Otis Williams (baritone) and Melvin Franklin (bass). The other members were Dennis Edwards (tenor), Damon Harris (tenor) and Richard Street (second tenor). Amazingly, The Temptations still exist after some 60 years (not counting the group’s predecessors), with 79-year-old Otis Williams remaining as the only original member. I have tickets to see them together with The Four Tops in early November – keeping fingers crossed! Meanwhile, here’s Papa Was a Rollin’ Stone, of course, the mighty album version, coz I don’t do things half ass here! 🙂
Peter Gabriel/Don’t Give Up (feat. Kate Bush)
Let’s go to a different decade with another artist I’ve come to dig, which in no small part was due to this album: Peter Gabriel and So, his fifth studio release from May 1986. It’s probably Gabriel’s most mainstream-oriented album. Much of the former Genesis lead vocalist’s other solo work has been more of an acquired taste. I also didn’t pay much attention after his follow-on Us that appeared in September 1992. Fueled by the hit single Sledgehammer, which topped the mainstream charts in the U.S. and Canada, peaked at no. 3 in Australia and New Zealand, and reached the top 10 in Germany and various other European countries, So became Gabriel’s best-selling solo album. I did catch him during the supporting tour in Cologne, Germany, and still have fond memories of that gig. Here’s Don’t Give Up, a haunting duet with Kate Bush. Inspired by U.S. Depression era photos from the 1930s Gabriel had seen, he applied the theme to the difficult economic conditions in Margaret Thatcher’s mid-1980s England. While the tune is a bit of a Debbie Downer, I find it extremely powerful. You can literally picture the lyrics as a movie. I also think the vocals alternating between Gabriel and Bush work perfectly.
The Turtles/Happy Together
I suppose after the previous tune, we all could need some cheering up. A song that always puts me in a good mood is Happy Together by The Turtles. Plus, it broadens our little musical journey to include the ’60s, one of my favorite decades in music. The Turtles started performing under that name in 1965. Their original members, Howard Kaylan (lead vocals, keyboards), Mark Volman (backing vocals, guitar, percussion), Al Nichol (lead guitar, keyboards, backing vocals), Jim Tucker (rhythm guitar, backing vocals), Chuck Portz (bass) and Don Murray (drums), had all played together in a surf rock-oriented band called The Crossfires. That group turned into The Tyrtles, a folk rock outfit, before becoming The Turtles and adopting more of a sunshine pop style. The band’s initial run lasted until 1970. Vollman and Kaylan subsequently launched pop duo Flo & Eddie and released a series of records between 1972 and 2009. In 1983, Vollman and Kaylan legally regained the use of the name The Turtles and started touring as The Turtles…Featuring Flo and Eddie. Instead of seeking to reunite with their former bandmates, Vollman and Kaylan relied on other musicians. The group remains active in this fashion to this day. Their website lists a poster for a Happy Together Tour 2021 “this summer,” though currently, no gigs are posted. Happy Together was the title track of the band’s third studio album from April 1967. Co-written by Alan Gordon and Garry Bonner, the infectious tune became The Turtles’ biggest hit, topping the Billboard Hot 100, climbing to no. 2 in Canada, and reaching no. 12 in the UK, marking their first charting single there.
Simple Minds/Stand by Love
I can’t believe it’s already time to wrap up this latest installment of The Sunday Six. For this last tune, I decided to pick a song from the early ’90s: Stand by Love by Simple Minds. While I wouldn’t call myself a fan of the Scottish new wave and pop rock band and don’t follow them closely, I generally enjoy their music. I also got to see them live once in Stuttgart, Germany in the early ’90s and remember it as a good show. Simple Minds emerged in late 1977 from the remains of short-lived punk band Johnny & The Self-Abusers. By late 1978, the band’s first stable line-up was in place, featuring Jim Kerr (lead vocals), Charlie Burchill (guitar), Mick MacNeil (keyboards), Derek Forbes (bass) and Brian McGee (drums). That formation recorded Simple Minds’ debut album Life in a Day released in April 1979. Their fifth studio album New Gold Dream (81–82–83–84) was the first to bring more significant commercial success in the UK and Europe. This was followed by a series of additional successful albums that appeared between 1984 and 1995, which included the band’s biggest hits, such as Don’t You (Forget About Me), Alive and Kicking, Belfast Child and Let There Be Love. Today, more than 40 years after their formation, Simple Minds are still around, with Kerr and Burchill remaining part of the current line-up. Here’s Stand by Love, co-written by Burchill and Kerr, from the band’s ninth studio album Real Life that came out in April 1991. This is quite a catchy tune. I also dig the backing vocals by what sounds like gospel choir, which become more prominent as the song progresses.
Sources: Wikipedia; The Turtles…Featuring Flo and Eddie website; YouTube
A selection of newly released music that caught my attention
Best of What’s New is hitting a bit of a milestone this week with its 20th installment. When I started 20 weeks ago, I didn’t expect the feature would become a weekly series. The fact it has turned into that tells me there’s more decent new music out there than I had previously realized. I also recognize my favorite decades in music, the ’60s and ’70s, are gone and won’t come back; still, at a time when the charts are dominated by music that feels largely generic and soulless to me, it’s reassuring to see not all new music is created equal.
I’m also happy about this latest installment, which among others features a psychedelic prog rock band from Norway. How many bands do you know from Norway? And how many of them play psychedelic prog rock? Or how about a multi-national pop prog rock (gee, try saying that quickly!) outfit from Belgium, the UK and the U.S.? Also, were you aware that in March The Boomtown Rats released their first new album in 36 years? But wait, there’s more. All you need to do to find out is to read on… 🙂
LeRoux, aka, Louisiana’s LeRoux, are a band from Baton Rouge, La., which have been around for some 45 years. From their website: Their 1978 Capitol press release read, “LeRoux takes its name from the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo.” LeRoux’s eponymous first album was a musical gumbo that blended various instruments and music arrangements into a spicy, mouth-watering southern rock sound. In fact, their Southern anthem ‘New Orleans Ladies’, voted Song of the Century by Gambit Magazine, simmered with the laid-back feel of the “Big Easy,” evoking images of Bourbon Street and the bayou…Over the years, LeRoux enjoyed performing with many of classic rocks’ greatest bands including The Allman Brothers, Wet Willie, Journey, Kansas, Heart, The Doobie Brothers, Charlie Daniels, Foreigner, Marshall Tucker, The Outlaws, ZZ Top and many, many more…LeRoux was inducted into the Louisiana Music Hall of Fame as their 50th inductee.Lucy Anna, co-written by Richard Ferreira and Solomon Paul Marshall, reminds me a bit of Little Feat. The song is from the band’s most recent, eighth studio album One of Those Days, released on July 24 – their first new album in 18 years. I really dig the harmony singing and warm sound. Check it out!
Nick D’Virgilio/In My Bones
Nick D’Virgilio is a session multi-instrumentalist, who according to Wikipedia is best known as the (studio) drummer of American progressive rock group Spock’s Beard, and is a member of Big Big Train, an English prog rock band – admittedly I had not heard of both outfits before, but my exposure to prog rock has been limited. Moreover, D’Virgilio has recorded and toured with artists, such as Genesis, Peter Gabriel and Sheryl Crow. And, you probably guessed it, he also has recorded some solo work. This included an album and an EP that both came out in 2011, and Invisible, his most recent album released on June 26. Here’s In My Bones, written by D’Virgilio. Part of the reason I decided to highlight this tune is the great organ and saxophone work.
Shaman Elephant/Ease of Mind
According to their Facebook page, Shaman Elephant are a Norwegian psychedelic progressive rock band. Ease of Mind is a tune from Wide Awake but Still Asleep, which a review by the blog The Progressive Aspect notes is their sophomore album. Their debut Crystals appeared in 2016. The review also lists Shaman Elephant’s members: Eirik Sejersted Vognstølen (vocals, guitar), Jard Hole (drums), Ole-Andreas Sæbø Jensen (bass) and Jonas Særsten (keyboards). I will say Ease of Mind falls outside my core wheelhouse, but there’s something about it I find intriguing. What drew me in initially is the acoustic guitar intro. Plus, other than synth pop band a-ha, I can’t think of any other group from Norway I know, so I’m happy to feature one here.
Fish on Friday/Mad at the World
On their Facebookpage, Fish on Friday (FoF) describe themselves as “a multi-national (Belgium-UK-USA) Progressive Poprock oriented project signed to UK label Esoteric recordings-Cherry Red.” Their website lists their members as Nick Beggs (bass, Chapman stick, backing vocals), Frank Van Bogaert (vocals, keyboards, guitars), Marty Townsend (guitars) and Marcus Weymaere (drums and percussion). Mad at the World is a track from Black Rain, which the website’s “bio” section indicates is the band’s fifth album. Unfortunately, there’s no actual bio there, but a news statement about FoF’s second album points out the band was founded in 2009 “when Belgian Producer and musician Frank van Bogaert and keyboard player William Beckers established FISH ON FRIDAY as a studio-based Progressive Rock project.” The band released their debut album Shoot the Moon in 2010. Apparently, it received stylistic comparisons with the Alan Parsons Project. Having listened to some of the tunes from Black Rain, which appeared on May 15, if anything, I seemed to pick up some traces of David Gilmour/post-Roger WatersPink Floyd, though not on Mad of the World. That tune may be a little bit closer to some of the previous music by the Alan Parsons Project. It doesn’t really matter – I like it and that’s good enough for me! Based on credits listed on Discogs, the tune was written van Bogaert, who also produced the album.
The Boomtown Rats/There’s No Tomorrow Like Today
How funny is that! I just finished publishing a mini-series to commemorate Live Aid and the next thing I come across is The Boomtown Rats released Citizens of Boomtown in March 2020, their first new album since 1984’s In the Long Grass! As I admitted in my Live Aid posts, other than Bob Geldof’s association with the band and I Don’t Like Mondays (and I should also add Banana Republic), I pretty much know nothing about this Irish band – rats! They initially formed in Dublin in 1975 and released six studio albums between 1977 and their first breakup in 1986. The band reunited in 2013 with a different line-up. But other than a few live records and two compilations, they did not come out with anything new – until March this year. Released on June 12, There’s No Tomorrow Like Today is the B-side to the album’s first single Trash Glam Baby; interestingly, it didn’t make the record. The tune is credited to Geldof, as well as the band’s other members Pete Briquette (bass), Simon Crowe (drums) and Garry Roberts (guitar). It’s a quite catchy pop rocker!
This post was updated on August 1, 2020 to correct information on There’s No Tomorrow Like Today, the above mentioned song by The Boomtown Rats. Bob Geldof-authorized fan site Bob Geldof Fans reached out to note that while the tune should have been on the album as my post had initially indicated, it was not. Instead, it became the b-side to the first single Trash Glam Baby.
Sources: Wikipedia; LeRoux website; Shaman Elephant Facebook page; The Progressive Aspect; Fish on Friday Facebook page; Discogs; YouTube
I never got much into progressive rock. One of the few exceptions I’ve further explored are Genesis. If I recall it correctly, it all started in my late teens through my best friend who knew a fan of Peter Gabriel and the English band. He borrowed all kinds of CDs from the guy and after he had taped them passed them on to me to do the same. We’re talking music cassettes here – remember MCs? I still have hundreds of them. While I can’t even remember when I last listened to one of them, I never throw them away!
Anyway, this is how I was introduced to most Genesis albums, including The Lamb Lies Down on Broadway. Released as a double LP in November 1974, their sixth studio album was the last with Peter Gabriel, who left after the supporting tour to launch a solo career. I randomly remembered all of the above earlier today – I suppose this is what happens when you spend a lot of time at home, as we all hopefully do during these unreal times of social distancing!
The Lamb Lies Down on Broadway is a concept album. According to Songfacts, it tells the story of Rael, a poor Puerto Rican boy from The Bronx. As “The Lamb,” Rael goes on an adventure in New York City. Peter Gabriel explained to The Daily Telegraph September 30, 2014 that the album “was intended to be an intense story of a young rebellious Puerto Rican in New York who would face challenges with family, authority, sex, love and self-sacrifice to learn a little more about himself. I wanted to mix his dreams with his reality, in a kind of urban rebel Pilgrim’s Progress.”
All tracks were credited to the band’s five members at the time: Peter Gabriel (lead vocals, flute, “varied instruments”, “experiments with foreign sounds”), Steve Hackett (acoustic and electric guitars), Mike Rutherford (bass, 12-string guitar), Tony Banks (Hammond T-102 organ, RMI 368x Electra Piano and Harpsichord, Mellotron M-400, ARP Pro Soloist synthesizer, Elka Rhapsody string synthesizer, piano) and Phil Collins (drums, percussion, vibraphone, backing vocals, second lead vocal on The Colony of Slippermen and Counting out Time). Most of the lyrics were written by Gabriel. The full story of Rael is in the liner notes of the album. Wikipedia provides a plot summary, which I’m using as I’m looking at each of the double LP’s four sides.
One morning in New York City, Rael is holding a can of spray paint, hating everyone around him. He witnesses a lamb lying down on Broadway which has a profound effect on him. (“The Lamb Lies Down on Broadway”) As he walks along the street, he sees a dark cloud take the shape of a movie screen and slowly move towards him, finally absorbing him (“Fly on a Windshield”), seeing an explosion of images of the current day (“Broadway Melody of 1974”) before he wakes up in a cave and falls asleep once again (“Cuckoo Cocoon”).
Rael wakes up and finds himself trapped in a cage of stalactites and stalagmites which slowly close in towards him. As he tries to escape, he sees his brother John and calls for him, but John walks away and the cage suddenly disappears (“In the Cage”). Rael now finds himself on the floor of a factory and is given a tour of the area by a woman, where he watches people being processed like packages. He spots old members of his New York City gang and John with the number “9” stamped on his forehead. Fearing for his life, Rael escapes into a corridor (“The Grand Parade of Lifeless Packaging”). Here’s the album’s opener and title track.
Rael has an extended flashback of returning from a gang raid in New York City, (“Back in N.Y.C.”) a dream where his hairy heart is removed and shaved with a razor, (“Hairless Heart”) and his first sexual encounter (“Counting Out Time”). Rael’s flashback ends, and he finds himself in a long, red carpeted corridor of people crawling towards its exit via a spiral staircase (“Carpet Crawlers”). At the top, he enters a chamber with 32 doors, surrounded by people and unable to concentrate (“The Chamber of 32 Doors”).
The Carpet Crawlers was the album’s second single. According to Wikipedia, it charted nowhere, which I find hard to believe. At least in Germany, you could hear it many times on the radio. If I recall it correctly, it was around the same time when I’m Not in Love by 10cc was all the rage. Both of these tunes got plenty of air time. Anyway, here it is.
Rael finds a blind woman who leads him out of the chamber and into another cave (“Lilywhite Lilith”), where he becomes trapped by falling rocks (“The Waiting Room”, “Anyway”). Rael encounters Death (“Here Comes the Supernatural Anaesthetist”) and escapes the cave. Rael ends up in a pool with three Lamia, beautiful snake-like creatures, and has sex with them, but they die after drinking some of his blood (“The Lamia”). He leaves the pool in a boat (“Silent Sorrow in Empty Boats”). Here’s Lilywhite Lilith.
Rael finds himself in a group of Slippermen, distorted, grotesque men who have all had the same experience with the Lamias, and finds that he has become one of them (“The Arrival”). Rael finds John among the Slippermen, who reveals that the only way to become human again is to visit Doktor Dyper and be castrated (“A Visit to the Doktor”). Both are castrated and keep their removed penises in containers around their necks. Rael’s container is taken by a raven and he chases after it, leaving John behind (“The Raven”). The raven drops the container in a ravine and into a rushing underground river (“Ravine”). Jeez, this is some crazy shit!
As Rael walks alongside it, he sees a window in the bank above his head which reveals his home amidst the streets (“The Light Dies Down on Broadway”). Faced with the option of returning home, he sees John in a river below him, struggling to stay afloat. Despite being deserted twice by John, Rael dives in to save him and the gateway to New York vanishes (“Riding the Scree”). Rael rescues John and drags his body to the bank of the river and turns him over to look at his face, only to see his own face instead (“In the Rapids”). His consciousness then drifts between both bodies, and he sees the surrounding scenery melting away into a haze. Both bodies dissolve, and Rael’s spirit becomes one with everything around him (“it.”). Here’s The Light Dies Down on Broadway.
While Genesis weren’t sure how the concept and extended format of the album would be received, it was met with critical acclaim from the time it came out. In 2015, NME included the album in its 23 Maddest and Most Memorable Concept Albums list for “taking in themes of split personalities, heaven and hell and truth and fantasy. The album also ended up at no. 9 in Rolling Stone’s 2015 list of 50 Greatest Prog Rock Albums of All Time, calling it “one of rock’ more elaborate, beguiling and strangely rewarding concept albums”. “Strangely rewarding” – that characterization kind of nicely sums up how I feel about this album!
In the U.S., The Lamb Lies Down on Broadway marked the first Genesis album to crack the top 50 on the Billboard 200, peaking at no. 41. On the other hand, in the UK, it climbed to no. 10, falling short of the chart success of the predecessor Selling England by the Pound, which had reached no. 3. In both countries, it ended up being certified gold.
About three weeks ago, Rolling Stone and other media outlets reported that Genesis are reuniting for a tour of England and Ireland in November 2020, their first since 2007. The line-up features Collins, Banks and Rutherford, along with touring guitarist/bassist Daryl Stuermer and Nic Collins, Phil’s 19-year-old son on drums. Nic also handled drums during his dad’s successful 2017-2019 solo tour, since Phil hasn’t been able to play drums due to extensive nerve damage to his hands. He performed the entire shows seated in a chair.
Sources: Wikipedia; Songfacts; Rolling Stone; YouTube