On This Day In Rock & Roll History: September 8

1952: Twenty-two-year-old Ray Charles, one of the greatest voices in jazz, R&B, blues and soul, recorded his first session for Atlantic Records. In June that year, the record company had bought out his contract from Swingtime for $2,500, the equivalent of approximately $23,700 today. With hits like I’ve Got A Woman, A Fool For You and What I’d Say Charles would release before he moved on to ABC-Paramount in November 1959, let’s just say Atlantic’s investment paid off handsomely. One of the four cuts Charles recorded during that first session with Atlantic was Roll With My Baby by Sam Sweet, which became his first single for the label backed by The Midnight Hour, another tune Sweet had written. Check out the great groove on this tune, which wants to make you snip along with your fingers!

1957: The infectious Reet Petite by Jackie Wilson was released for the first time. It gave “Mr. Excitement” his first solo hit, peaking at no. 6 on the U.K. Official Charts and climbing to no. 45 on the U.S. Cash Box chart, both in November that year. It would take another 29 years before the great tune, which was co-written by Berry Gordy, Gordy’s sister Gwen Gordy Fuqua, and Wilson’s cousin Roquel “Billy” Davis, would hit no. 1 in the U.K. in November 1986. Unfortunately, Wilson who passed away in January 1984, was not able to celebrate the tune’s late success. And, yes, feel free to sing along r-r-r-r-r-rolling that “r.”

1964: The Beatles performed two concerts that night at the Forum in Montreal, Canada before a crowd of 21,000 fans. At that time, Beatlemania was going on in full swing with its insanity, which for this particular event included death threats from French-Canadian separatists. The Fab Four never returned to Montreal thereafter. The two gigs that night included their standard 12-song set Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. Here’s an audio recording, which supposedly is from that show. It’s posted on The Beatles Bible, the source of the ultimate Fab Fab truth. The quality is mediocre, but hey, let’s not bitch here, it’s pop music history!

1973: Speaking of great voices, Marvin Gaye reached the top of the Billboard Hot 100 with the title track of his thirteenth studio album Let’s Get It On. Co-written by Gaye and Ed Townsend, the tune became his second no. 1 single in the U.S. after I Heard It Through The Grapevine from October 1968. Remarkably, Gaye would top the U.S. chart only one more time with Got To Give It Up released in March 1977. Let’s Get It On performed more moderately in the U.K., peaking at no. 31. Well, let’s get it on to a clip of the great tune!

1974: Eric Clapton topped the Billboard Hot 100 with his excellent cover of I Shot The Sheriff. Written by Bob Marley and first recorded for the sixth studio album by The Wailers Burnin’ from October 1973, the tune became Clapton’s only no. 1 single on the Hot 100. The song also appeared on his second solo album 461 Ocean Boulevard, which appeared in July 1972 and was his first record after beating a three-year heroin addiction.

Sources: Wikipedia, This Day In Music.com, This Day In Rock, The Beatles Bible, YouTube

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Hall & Oates Bring Back That Lovin’ Feelin’ To Allentown Fairgrounds

Homecoming gig features duo’s hits from the ’70s and ’80s

Earlier this year, my wife saw Hall & Oates were going to tour the U.S. and suggested we get tickets. While I always liked the pop duo, especially for their smooth ’70s soul-oriented music, they weren’t exactly on my radar screen. Well, I’m glad my wife paid attention and convinced me to see them. In general, our music tastes are very different, and I end up going to most shows by myself. It’s nice when every now and then we find an act we both like. Last night was showtime at The Fairgrounds in Allentown, Pa. And, boy, I have to say Daryl Hall and John Oates, who are now in their early seventies, were in excellent shape, and we had a great time!

Christian & Frances
The music muser with his sweet wife

Before getting to Hall & Oates, I’d like to say a few words about opening act G. Love & Special Sauce. I had never heard of this trio from Philadelphia, featuring frontman Garrett Dutton, a.k.a G. Love (lead vocals, guitar, harmonica), Jeffrey Clemens (drums) and Jim Prescott (double bass). Wikipedia describes them as “an alternative hip hop band…known for their unique “sloppy” and “laid back” blues sound that encompasses classic R&B. Well, last night, I particularly heard and liked blues-oriented music with the occasional touch of hip hop. Playing as a trio is challenging, but these guys were really bringing it. There was even a bit of on-stage drama when Prescott broke a bass string – yikes! While he was calmly replacing the string and tuning, the two other guys carried on as a duo, as if nothing had happened. After a few songs into their set, I randomly decided to capture this tune called Shooting Hoops. It’s from their eponymous debut album released in May 1994.

On to Hall & Oates. Their gig last night was a homecoming. Daryl Hall was born in Pottstown, Pa., about 30 miles south of Allentown, while John Oates grew up in Philly suburb North Wales, which is approximately 40 miles southeast of Allentown. He was born in New York City. The duo opened their set with one of their biggest hits from the ’80s: Maneater. If I recall it correctly, that song was the first time I heard of Hall & Oates back in Germany. Co-written by John Oates, Daryl Hall and his then-girlfriend Sara Allen, it appeared on Hall & Oates’ 11th studio album H2O from October 1982. The track was also released separately as the record’s lead single and became their fifth no. 1 in the U.S. on the Billboard Hot 100

As noted above, I particularly dig Hall & Oates’ more soul-oriented tunes. Apart from loving the genre in general, I feel this type of music perfectly fits Daryl Hall’s vocals. Here’s their great rendition of You’ve Lost That Lovin’ Feelin’.  Co-written by songwriting duo Barry Mann and Cynthia Weil, together with producer Phil Spector, this classic was first recorded by The Righteous Brothers in 1964 and became their first major and biggest hit topping the charts in U.S., U.K. and Canada. Hall & Oates recorded their beautiful version for the Voices album from July 1980, their ninth studio release. It also became one of four singles from that record and a top 10 hit in the U.S.

Here’s another Hall & Oates classic and perhaps my favorite: She’s Gone, from their sophomore album Abandoned Luncheonette that came out in November 1973. Co-written by John Oates and Daryl Hall, the tune was also released as a single and became their first song to chart in the U.S., peaking at no. 60 on the Billboard Hot 100. While making the charts for a then-young pop duo in and of itself was a significant accomplishment, I find it somewhat mind-boggling the tune didn’t climb higher. The album fared better, hitting no. 33 on the Billboard 200, which was then called Top LPs and Tapes chart. After their debut Whole Oates had failed to make an impact, this was actually a quite important early milestone for Hall & Oates – certainly a nice consolation!

After 11 songs and I would say just over an hour, it was already time for the encore – perhaps the only thing I found a bit measly about the show. But Hall & Oates made it count with four additional nice tracks. Here’s the first: Rich Girl, another ’70s tune and one of my favorites. Written by Daryl Hall for their fifth studio album Bigger Than Both Of Us from August 1976, it became the duo’s first no. 1 hit in the U.S. Apparently, the song was written about an ex-boyfriend from Sara Allen who then was together in a relationship with Hall. But Hall didn’t feel rich boy sounded right, so he changed the lyrics.

The last track I’d to highlight is You Make My Dreams, the final song of the encore. Another track from the Voices album, it was co-written by Sara Allen, John Oates and Daryl Hall. It also became the album’s lead single in May 1981 and another hit, climbing to no. 5 on the Billboard Hot 100. Hall & Oates were a hit machine during the first half of the ’80s, especially in the U.S. Between 1981 and 1984, they scored 10 top ten singles there, including five that reached no. 1.

This post wouldn’t be complete without acknowledging Hall & Oates’ great backing band – except it’s tricky to find info on the musicians on the Internet. On the duo’s official website, there is a section about band members, which when you click on it cheerfully reveals the comment “Coming soon…” Are you kidding me? According to setlist.fm, the U.S. leg of their tour titled Real Deal 2019 kicked off August 15. When exactly are you planning to list your touring musicians, the guys that help you sound as great as you do?! Luckily, this recent story in the Minneapolis Star Tribune has some of the details.

One of the standouts to me was multi-instrumentalist Charles DeChant, who plays saxophone, flute, keyboards and guitar. In addition to Hall & Oates, DeChant’s impressive credits include Mick Jagger, The Temptations, Tina Turner and Bonnie Raitt, among others. Shane Theriot handled lead guitar. He used to be musical director for the TV show Live from Daryl’s House. He has also recorded or performed with many other artists like The Neville Brothers, Dr. John, Sam Moore (of Sam & Dave) and Little Feat. The backing band also included a drummer, bassist, second keyboarder (in addition to guitar, Hall played keys as well) and a percussionist. Perhaps once the touring musicians are added to Hall & Oates’ official website, I’d be happy to name them. Yes, Daryl and John you can go for that, yes can do. Just tell your website guy to fix what was probably an oversight!

Setlist
1. Maneater
2. Out Of Touch
3. Adult Education
4. Method of Modern Love
5. Say It Isn’t So
6. One On One
7. You’ve Lost That Lovin’ Feelin’
8. (The Righteous Brothers cover)
9. She’s Gone
10. Sara Smile
11. Is It a Star
12. I Can’t Go for That (No Can Do)

Encore
13. Rich Girl
14. Kiss on My List
15. Private Eyes
16. You Make My Dreams

On a more cheerful note about the Hall & Oates website, it does list upcoming U.S. gigs, which include Reno, Nev. (Sep 12), Puyallyp, Wash. (Sep 14) and Charleston, S.C. (Sep. 19). The full schedule is here.

Sources: Wikipedia, setlist.fm, Minneapolis Star-Tribune, YouTube

Sheryl Crow Goes Out With Big Bang On Final Full-Length Studio Album

Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list

“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)

So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow told NPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.

Sheryl Crow

“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”

Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.

Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”

Since I already previously covered Live Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”

Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.

Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.

The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.

I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.

Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.

Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube

The Venues: Beacon Theatre

In July 2017, I introduced The Venues, a category featuring famous concert halls, such as The Apollo Theatre and well known TV music programs like The Ed Sullivan Show. For some reason, the category fell off the bandwagon after the third post in November that year – not quite sure why. In any case, I felt the time was right for another installment. One of the venues that came to my mind immediately is the Beacon Theatre in New York City, in part because the beautiful historic theater on Manhattan’s Upper West Side is associated with two of my favorite bands: The Allman Brothers Band and Steely Dan, which both had frequent annual residencies there. The Dan still does! But first things first – a bit of history.

The Beacon Theatre opened as the Warner’s Beacon Theatre on December 24, 1929. It was designed by Chicago architect Walter W. Ahlschlager as a venue for silent films. But when the original owners financially collapsed, Warner Theatres acquired the theater to be a first-run showcase for Warner Bros. films on the Upper West Side. By that time, the movie genre of silent films had already become obsolete. The Beacon, which subsequently was operated by Brandt Theaters, remained a movie theater over next few decades. It would take until 1974, when Steven Singer became the first owner who turned the Beacon into a venue for live music.

NYT2009021118564738C

Fortunately, an effort in 1987 to convert the theater into a night club was blocked in court, given its historic and protected architecture. In 1982, it had been added to the National Register of Historic Places. Through the ’80s and ’90s, the Beacon Theatre continued to fill a spot in the midsize category venue in New York between the larger Radio City Music Hall and various smaller clubs and ballrooms. In 2006, sports and entertainment holding company The Madison Square Garden Company started operating the Beacon. In November that same year, the theater began a 20-year lease by Cablevision, which also leases Radio City Music Hall and owns Madison Square Garden.

Between the second half of 2008 and early 2009, the theater underwent a complete renovation. As reported by The New York Times, the work involved about 1,000 workers, lasted seven months and cost $16 million. The result can be seen in the above photo and is certainly stunning. I was fortunate to experience the mighty venue myself when I saw Steely Dan there in October 2018.

In addition to pop and rock concerts, the Beacon Theatre has hosted political debates, gospel choirs, comedians and many dramatic productions. The 2008 Martin Scorsese picture Shine a Light, which captured The Rolling Stones live in concert, was filmed there. In January 2016, Joan Baez celebrated her 75th birthday with a show at the Beacon. She also played the venue in May this year as part of her now completed 2018/2019 Fare Thee Well Tour. Time for some music that was performed at the Beacon.

Let’s kick things off with the Grateful Dead, who performed two shows at the theater on June 14 and 15, 1976. Apparently, the following footage of Not Fade Away was captured during a soundcheck there, not one of the actual concerts but, hey, close enough! Plus, it’s a fun clip to watch. Not Fade Away was written by Charles Hardin, a.k.a. Buddy Holly. His producer Norman Petty received a co-credit. The tune was first released as a single in October 1957. It was also included on Holly’s debut album The “Chirping” Crickets, released in November of the same year.

Next up: The Black Crowes and Remedy. Co-written by lead vocalist Chris Robinson and his brother and rhythm guitarist Rich Robinson, the tune appeared on the band’s sophomore album The Southern Harmony and Musical Companion from May 1992. The footage is from late August 1992 when the Black Crowes played a series of four shows at the Beacon.

James Taylor is one of my favorite singer-songwriters. One tune I dig in particular is Fire And Rain.  He recorded it for his second studio album Sweet Baby James, which was released in February 1970. The song also came out separately as a single and became Taylor’s first hit, peaking at no. 3 on the Billboard Hot 100. This clip was captured during a show on May 30, 1998.

Here are The Rolling Stones with Jumpin’ Jack Flash from the aforementioned Martin Scorsese concert film. Credited to Mick Jagger and Keith Richards, the tune was released as a single in May 1968. The film includes footage from two shows the Stones played at the Beacon. This performance is from their second night there on November 1, 2006.

Starting from 1998, The Allman Brothers Band played spring residencies at the Beacon for 19 years in a row except for 2010 when the theater wasn’t available. This performance of Dreams is from their March 2013 series of gigs. The Gregg Allman song first appeared on the band’s eponymous debut album from November 1969.

On April 1 and 2, 2016, Bonnie Raitt played the Beacon Theatre as part of her extended Dig In Deep Tour, named after her most recent studio album from February 2016. I caught her during that tour in August 2016, which thus far was the first only time. Her gig at New Jersey Performing Arts Center in Newark remains one of the best shows I’ve seen. Co-written by Gordon Kennedy  and Wayne KirkpatrickGypsy In Me is one of the tracks from Dig In Deep. Not only is Raitt a superb guitarist and great vocalist, but she also is as genuine as it can get. There is no BS with this lady. What you get is what you see!

From The Allman Brothers it wasn’t a big leap to former member Derek Trucks, his wife Susan Tedeschi and the group they formed in 2010: Tedeschi Trucks Band. My knowledge of their music is fairly limited, and I definitely want to explore them more closely. Here’s their take of Ain’t Wastin’ Time No More, another great tune written by Gregg Allman. It first appeared on the Allmans’ third studio album Eat A Peach from February 1972, long before Trucks joined them in 1999. The song was also released separately as a single in April that year. This clip was captured on October 11, 2017 during what looks like a six-date residency the band did at the Beacon that year.

The last and most recent clip I’d like to feature is footage of Steely Dan from their 2018 U.S. tour, which ended with a seven-date residency at the Beacon. Of course, I couldn’t leave out the Dan! This performance of Pretzel Logic was from their final gig on October 30. Co-written by Walter Becker and Donald Fagen, Pretzel Logic is the title track of Steely Dan’s third studio album that appeared in February 1974.

Until last year when I saw them twice, which included the Beacon for an October 20 show dedicated to my favorite album Aja, I had never seen Steely Dan. Both concerts were fantastic. Fagen and co are currently touring again, which will bring them back to the Beacon in October. While the thought of returning to this beautiful venue is tempting, I can’t justify it to myself, given I saw them twice last year and other shows I’ve been to or still consider for this year.

Sources: Wikipedia, The New York Times, setlist.fm, YouTube

On This Day In Rock & Roll History: August 28

1964: The Beatles performed the first of two gigs at Forest Hills Tennis Stadium in Queens, New York during the U.S. leg of their world tour that year. They played their standard 12-song set of original tunes largely drawing from the A Hard Day’s Night album, as well as rock & roll covers. The tunes included Twist And ShoutYou Can’t Do ThatAll My LovingShe Loves YouThings We Said TodayRoll Over BeethovenCan’t Buy Me LoveIf I FellI Want To Hold Your HandBoysA Hard Day’s Night and Long Tall Sally. After the show, The Fab Four met Bob Dylan who visited them in their suite at the Delmonico Hotel in New York City. Beatles biographer Jonathan Gould noted the musical and cultural significance of the meeting, saying within six months, “Lennon would be making records on which he openly imitated Dylan’s nasal drone, brittle strum, and introspective vocal persona”; and six months after that, Dylan began performing with a backing band and electric instrumentation, and “dressed in the height of Mod fashion.” While the fact that great music artists influence each other isn’t exactly surprising, based on The Beatles Bible’s account of that night, it seems to me John, Paul, George and Ringo primarily got stoned with Dylan who brought along some grass to smoke. Not really sure how much their condition allowed them to have meaningful conversations about music. Here’s some footage from the Forest Hills show, a great illustration of Beatlemania, which makes me wonder why The Beatles didn’t stop touring earlier.

1965: Exactly one year after The Beatles, Bob Dylan took the stage at Forest Hills Tennis Stadium, marking the first night of a 40-date North American tour. Following a solo section, Dylan played an electric set. This all happened only about a month after he had rattled the “folkies” at the Newport Folk Festival. On that night in Forest Hills, Dylan’s electric backing band featured guitarist Robbie Robertson and drummer Levon Helm, who were then associated with a band called The Hawks, a predecessor to The BandHarvey Brooks (bass) and Al Kooper (organ) rounded out the line-up. After the first two shows of the tour, Robertson and Helm insisted that their mates from The Hawks join Dylan’s backing band: Rick Danko (bass), Garth Hudson (keyboards) and Richard Manuel (drums). Dylan agreed, and until May 1966, they would be billed as Bob Dylan and the Band. Here’s a clip of Like A Rolling Stone, which supposedly was captured from the Forest Hills gig. The sound quality is horrible, but, hey, it’s mighty Dylan and it’s historical!

1968: Simon and Garfunkel’s fourth and second-to-last studio album Bookends hit no. 1 on the UK Official Albums Chart Top 100, starting a five-week run in the top spot there. Apart from the title track, the record featured gems like America and the no. 1 U.S. single Mrs. Robinson. Written by Paul Simon, the tune had become famous the previous year when it had been included in the American motion picture The Graduate. I’ve always loved the bluesy touch of that song.

1972: Alice Cooper topped the British singles chart with School’s Out, scoring his only no. 1 hit anywhere in the world. Credited to Cooper (lead vocals) and the members of his band at the time, Michael Bruce (rhythm guitar, keyboards, backing vocals), Glen Buxton (lead guitar), Dennis Dunaway (bass, backing vocals) and Neal Smith (drums, backing vocals), the tune was the title track of the band’s fifth studio album released in June 1972. School’s Out also became Cooper’s biggest chart success in the U.S., peaking at no. 7 on the Billboard Hot 100. According to Songfacts, Cooper during a 2008 interview with Esquire said, “When we did ‘School’s Out,’ I knew we had just done the national anthem. I’ve become the Francis Scott Key of the last day of school.” It’s also safe to assume, Cooper shocked some school principals and parents.

1981: British DJ, producer and band manager Guy Stevens passed away at the age of 38 years from an overdose of prescription drugs he was taking to reduce his alcohol dependency – yikes! Among others, Stevens gave Procol Harum and Mott the Hoople their distinct names. He also co-produced The Clash’s fifth studio album London Calling from December 1979, together with Mick Jones, the band’s co-founder, lead guitarist and co-lead vocalist. Stevens also brought Chuck Berry to the U.K. for his first tour there in 1963. He also was the president of the Chuck Berry Appreciation Society. According to Wikipedia, Stevens introduced lyricist Keith Reid to keyboarder Gary Brooker and told Reid at a party that a friend had turned “a whiter shade of pale”. Supposedly, these words inspired the song with the same title that was subsequently recorded by Brooker’s newly formed band Procol Harum and became a major international hit in 1967.

Sources: Wikipedia, This Day In Music, The Beatles Bible, Songfacts, YouTube

What I’ve Been Listening To: Paul Simon/Still Crazy After All These Years

My introduction to Paul Simon happened many moons ago with Simon & Garfunkel and their second compilation Greatest Hits from 1972, which my sister owned on vinyl. I loved that record from the very beginning and still do to this day. Not long after I had heard it for the first time, I started taking guitar lessons and eventually got a songbook for that collection. I practiced hard to learn the tunes and soon found out what a formidable acoustic guitarist Paul Simon is. Eventually, I managed to figure out the finger-picking for The Boxer – haven’t tried playing that tune in 20-plus years. Anyway…

While there’s an obvious connection to Simon & Garfunkel, this post is about Paul Simon’s fourth studio album Still Crazy After All These Years, which appeared in October 1975. I would say I know a good deal of Simon’s tunes he recorded as a solo artist, but other than the fantastic Graceland from August 1986, I cannot really make the same claim for his albums. As oftentimes happens, the idea for this post was triggered when my streaming music provider served up the record as a listening suggestion. It didn’t take me long to realize this is a great album with a smooth jazz, blues and soul-influenced sound – my kind of music!

Let’s kick things off with the excellent opener and title track. Like all songs on the record, it was written by Simon, one of my favorite American singer-songwriters. It nicely sets the mood for the album. BTW, the recording features the Muscle Shoals Rhythm SectionBarry Beckett (Fender Rhodes piano), David Hood (bass) and Roger Hawkins (drums). Also, check out that beautiful saxophone solo by Michael Brecker, which starts at around 2:12 minutes.

My Little Town reunited Simon with Art Garfunkel. The tune, which also appeared on Garfunkel’s second solo album Breakaway that was released about 10 days prior to Still Crazy, became the first single credited to the duo since America, a single off their above Greatest Hits compilation. Simon and Garfunkel may have had a complicated relationship, but they surely recorded some great music together and their voices blended perfectly with each other. While perhaps a little bit lush in the second part (hey, it’s the ’70s!), the song has a nice build.

The big hit from the album of course is 50 Ways To Leave Your Lover. Yes, I realize it’s perhaps an obvious choice everybody knows, but I just dig that tune way too much to skip it. I love that cool drum part played by Steve Gadd, as well as the song’s bluesy feel and clever lyrics. It became the record’s third single and Simon’s only solo song to top the Billboard Hot 100.

Next up: Gone At Last, another gem on the album with a great soul and gospel vibe. Phoebe Snow and The Jessy Dixon Singers provided dynamite guest vocals. The track also became the album’s lead single in August 1975. According to Wikipedia, Phoebe received a credit on the single. The song charted in the top 25 on the Billboard Hot 100.

The last track I’d like to highlight is Have A Good Time, which nicely sums up what I feel when listening to this record. This is another great song with a nice bluesy feel. Musically, it’s the slide guitar, as well the alto saxophone played by Phil Woods, which speak to me in particular. Check it out!

Still Crazy After All These Years was co-produced by Simon and South African born recording engineer and producer Philip Ramone. The record won Grammy Awards for Album Of The Year and Best Male Pop Vocal Performance in 1976. It hit no. 1 on the Billboard 200 and received Gold certification from the Recording Industry Association of America, making it one of Simon’s most successful solo albums.

Sources: Wikipedia, YouTube

What I’ve Been Listening To: Katrina And The Waves/Katrina And The Waves

Now here’s a blast from the past! The other day while driving in the car with my wife who likes ’80s music big time, we listened to some sampler of tunes from that decade. One of the songs was Walking On Sunshine, which became a huge hit for Katrina and The Waves in 1985. Unlike some of that sampler’s other tunes I dug at the time but now not so much, I thought Walking On Sunshine still sounds like a perfect summer song. This made me revisit the band’s album on which the tune appeared and realize I also still like most of the other tracks.

According to Wikipedia, Katrina and the Waves were a British-American band that emerged from a pop cover group called Mama’s Cookin’. Founded in 1978, that band from Feltwell, England featured American guitarist and vocalist Katrina Leskanich and Vince de la Cruz (vocals, lead guitar). In late 1980, Alex Cooper joined on drums. He brought in guitarist Kimberley Rew. Rounding out the five-piece was Bob Jaskins on bass. Subsequently, the band renamed themselves The Waves before finally becoming  Katrina and The Waves in August 1982.

Katrina and The Waves Poster
Katrina and The Waves in the ’80s (from left): Alex Cooper, Katrina Leskanich, Vince de la Cruz and Kimberley Rew

In early 1983, the band recorded their self-financed debut album Walking On Sunshine. Eventually, they got a deal with Canadian label Attic Records, which released the record in Canada only. The sophomore Katrina and The Waves 2 appeared in 1984, also in Canada only. The following year, the band signed an international deal with Capitol Records and recorded their third album. Titled Katrina and The Waves, it became their breakthrough, fueled by the single Walking On Sunshine. Interestingly, all tracks on that album were re-recorded, remixed or overdubbed tunes from the band’s two previous Canadian albums. Time for some music!

Let’s kick it off with the nice opener Red Wine And Whisky. Like all except two of the 10 tracks, the tune was written by Rew.

Here’s the excellent Cry For Me. I dig the nice soulful vibe and Leskanich’s strong lead vocals.

Next up, the above noted Walking On Sunshine. You could not switch on the radio in Germany at the time and not hear that tune. Though according to Wikipedia, it was more successful in other countries, especially in Ireland, Canada, U.K. and the U.S. where it reached no. 2, 3, 8 and 9, respectively on the corresponding singles charts. In Germany, it peaked at no. 28.

The last track I’d like to call out is the closer The Game Of Love. The tune features some nice Chuck Berry style guitar, as well as great brass work by Irish saxophonist John Earle.

While Katrina and The Waves continued to release six additional records through the remainder of the ’80s and most of the ’90s, they couldn’t repeat the success of the above album. In 1997, the band scored another hit single with Love Shine A Light, after they won the Eurovision Song Contest with it the same year. Let’s just say it’s quite different from the previously featured tunes. After the band broke up in 1999, Leskanich launched a solo career and has released various albums since then. Apparently, Rew also continued to write, record and release music.

Sources: Wikipedia, YouTube