Rock and pop music has seen many stars, but there is only one Ringo Starr. He is 79 years today and still going strong. Not sure how many other 79-year-old drummers are out there. One who comes close is Charlie Watts of The Rolling Stones, who turned 78 last month. It’s beautiful to see once again that age does not have to be a barrier when it comes to music!
Of course, when you mention Ringo the first thing that always comes to mind are The Beatles. Yes, he stood in the shadow of John Lennon, Paul McCartney and George Harrison, but I have no doubt The Fab Four would have been a different band without him. Not only did Ringo have a distinct drumming style but also a great sense of humor, which he continues to show to this day. Plus, let’s not forget Ringo has had a long and still ongoing solo career. If you’d like to see him with his All Starr Band during their 30th anniversary tour, which was recently extended, check out the schedule here.
I’d like to celebrate the happy occasion with republishing a slightly edited post from last year. Congratulations and don’t forget to join Ringo at noon today, wherever you are, to wish this world peace and love. I feel this is needed more than ever these days!
As a huge fan of The Beatles, I simply did not want to ignore that Ringo Starr turned 78 years today. Yes, when you think of the Fab Four, it’s fair to say John Lennon, Paul McCartney and George Harrison come to mind first due to their amazing songwriting and singing. And, yes, Ringo is no John Bonham, Mitch Mitchell or Ginger Baker – thank goodness, I don’t think The Beatles would have lasted very long with a volatile character like Baker, as much as a drum genius as he was!. But I also firmly believe The Beatles wouldn’t have been the same without Ringo. And, frankly, based on many accolades he has received from the likes of Dave Grohl, Jim Keltner, Steve Smith and others, Ringo certainly isn’t a shabby drummer!
In this post I don’t want to focus on recapping Ringo’s life, which I did on a couple of previous occasions, for example here. Instead, I’d like to celebrate his birthday in a way that is more fun than reading stuff: Seeing Sir Starkey in action, based on recent YouTube clips.
Let’s kick it off with a great rockabilly tune recorded by Carl Perkins in December 1956: Matchbox. Ringo shows us how it’s done at age 78 – sorry, he was actually only 77 years old at the time of that performance! Steve Lukather and Gregg Rolie are throwing in some nice guitar and keyboard solos!
It Don’t Come Easy was Ringo’s first single from April 1971, released following the breakup of The Beatles. It’s one of the few tunes Ringo doesn’t only sing but for which he also has sole writing credits, though he did have a little help from his friend and former band mate George!
Don’t Pass Me By is Ringo’s first solo composition and among the handful of tunes he got to sing while he was with The Beatles. According to Wikipedia, he first introduced the song to John, Paul and George after he had joined the band in 1962. Eventually, it was recorded during four separate sessions in June and July 1968 and appeared on The Beatles, aka The White Album, which came out in November that year. BTW, you just got to love Ringo’s good sense of humor when announcing the track. The German audience clearly enjoyed it!
Here’s another another fun tune: Boys! Written by Luther Dixon and Wes Farrell, and originally recorded by the Shirelles in November 1960, the song was first included by The Beatles on Please Please Me, their debut album from March 1963. I also dig the version that’s on the At The Hollywood Bowl live album, released in May 1977.
Of course, no Ringo playlist would be complete without With A Little Help From My Friends. Credited to Lennon and McCartney, the song appeared on Sgt. Pepper’s Lonely Hearts Club Band from May 1967 and was the only tune on that album, featuring Ringo on vocals. In the below clip, he surely did have a little help from some fabulous musicians. Like all of the other footage in this post, it shows Ringo during recent performances with his All Starr Band. Very fittingly, they’re also throwing in a little bit of Lennon’s Give Peace A Chance at the end.
Sources: Wikipedia, Ringo Starr official website, YouTube
If you’ve heard of Gino Vannelli before, chances are it’s because of his 1978 hit I Just Wanna Stop. Whether you like this tune or not, if you’re a music lover, I feel you have to be blown away by the above clip of Brother To Brother, the title track of the album on which I Just Wanna Stop appeared.
Other than obviously being captured during a ’70s show, I have no idea where the footage was taken. But I know one thing. What Vannelli and his backing band were playing on that stage was some crazy shit. Just check out the breaks and all the other complexities in this tune, which was written by Vannelli. Drummer Mark Craney, who unfortunately passed away in November 2005 at just 53 years of age, and guitarist Carlos Rios are just killing it, as do the other musicians. This is Steely Dan grade.
I leave you with a little fun fact. I Just Wanna Stop was written by Gino’s brother Ross Vannelli. Apparently, Gino wasn’t fond of the song at all and initially refused recording it. After he did, it became his biggest hit single, reaching no. 1 in his native Canada and peaking at no. 4 in the U.S. on the Billboard Hot 100. I suppose, it provided a nice income stream, helping to pay for some bills.
I definitely have to do more on Vannelli, who seems to be an incredibly versatile artist. For now, this will have to do it.
I almost would have missed Joe Jackson, just like my recent Who concert. Here’s to hoping that my apparent lack of music attention doesn’t become a trend, though it would probably not hurt my wallet! 🙂 Wait, what did I want to say? Right, the British artist who they called an “angry young man” when he broke through with his studio debut Look Sharp! in January 1979. While I don’t know whether Jackson was pissed then, he certainly doesn’t look angry to me these days! Instead, the man who once sang, “Everybody wants a happy ending,” comes across as feeling very comfortable in his skin and happy to still be making music people want to hear. I suppose that’s really all you can ask for as an artist!
By the time Jackson’s ongoing Four Decade Tour registered on my radar screen, all tickets I could afford seemed to be gone, and I just wasn’t willing to throw hundreds of bucks at some greedy reseller! Then I received an email from State Theatre New Jersey, a nice midsize venue in New Brunswick, cheerfully announcing Jackson’s gig there. I thought, ‘what the hell,’ so checked out the situation one more time. And, voila, while there weren’t many seats left, I managed to get one without losing my blue shirt. Last night was showtime – and, yes, you probably already guessed it, after 40 years as a professional recording artist, Jackson continued to look sharp and proofed he’s definitely still the man!
“So, here comes a big tour,” Jackson said in an announcement last October. “We want to celebrate the fact that this is happening after 40 years – anything else, would be like sulking in a room by yourself on your own birthday party. Looking for some way to organize a show out of 40 years’ worth of material, I decided to draw on five albums, each representing a decade: Look Sharp (1979) Night And Day (1982) Laughter And Lust (1991) Rain (2008) and Fool (2019). We’ll also throw in a couple of songs from other albums and some new covers. I can’t wait. Let’s party.”
And, boy, what a party it was! In addition to singing splendid lead vocals, Jackson played keyboards – something I read he typically didn’t do during past tours. If that’s true, it was certainly great he changed his mind this time. After all, he’s a true musician and multi-instrumentalist, who spent three years in his late teens and early twenties at London’s Royal Academy of Music, studying composition, piano and percussion. During that period, Jackson also learned jazz at the Academy and in the National Youth Jazz Orchestra. Apart from writing pop-oriented songs in genres like punk, new wave, rock, jazz and Latin, Jackson has also composed classical music. The question really becomes what the man has NOT done musically!
Once again the notion that great musicians tend to play with other great musicians turned out to be true. Jackson’s backing band was simply top-notch! The first guy I need to call out here is Graham Maby – and yes, I’m probably bassed, I mean biased. One of my favorite bassists, Maby still has a superb tone and a great sense for rhythmic and melodic basslines. Paul McCartney is who I wanna be when I grow up, but I’d also happily settle with Maby! 🙂 Jackson’s long-time friend and musical collaborator effectively drove the groove together with excellent drummer Doug Yowell, who by the way hails from New Jersey. They really breed musicians in the Garden State – just sayin’! Last but not least, Teddy Kumpel did an outstanding job on guitar. Man, what a fucking great band! Okay, I think it’s time to get to some music, shall we?
The set kicked off with Alchemy, the closer from Jackson’s great new album Fool, released this January, and then launched right into the furious One More Time, the opener from his debut Look Sharp! – a cool 40-year jump back in time, not to mention style, and a nice illustration of the band’s versatility. I thought Kumpel’s guitar-playing shined in particular during the more rock-oriented tunes. Unfortunately, my smartphone outsmarted me at the wrong time, so I’m relying on another clip I found that cut off the beginning of Alchemy, but it still gives a good impression of the tune.
Jackson’s new album featured prominently in the show with three tracks, one of which (Alchemy) was repeated at the very end, providing nice bookends to the set. I have to say the new songs absolutely held up to his older, better known material. Here’s Fabulously Absolute, a rocker that was also released as a single. Stylistically, the tune isn’t that much different from Jackson’s first two albums. Whatever genre the man plays, he always has a great ear for catchy melodies, though he never aspired to become a pop star and never did – at least not in the traditional sense.
Next is a track from an album I don’t know well: Goin’ Downtown from Laughter And Lust, released in April 1991. The tune is co-credited to Jackson and a British singer-songwriter named Drew Barfield.
My personal highlight of the evening was a medley of three songs: A cover of Rain by The Beatles, Invisible Man and It’s Different For Girls. Jackson announced it by saying they are now playing the title track from an album called Rain (January 2008). He dryly added no such track exists, so they borrowed it, deciding to change some of the chords. Invisible Man is the opener of Rain, a fantastic song I frankly had forgotten about, which reminds me a little bit of Steely Dan. Apparently, Jackson digs the Dan; in fact, later in the show, he covered King Of The World from Countdown To Ecstasy, Steely Dan’s sophomore album from July 1973. And then there’s It’s Different For Girls, featuring Jackson’s lyrics reversing the stereotypical roles of men and women when it comes to sex and love – one of two tunes he played from I’m The Man.
His sophomore release from October 1979 remains my favorite Joe Jackson album. In fact, it was my introduction to him when I received it as a birthday present in July 1980. I own the vinyl record to this day, and it’s still in perfect shape! Instead of relying on his band, Jackson treated the audience to a solo performance of It’s Different For Girls. Okay, nuff said! This is a long clip, and the video is sometimes out of focus, but, hey, it least it’s authentic! Plus, the sound is pretty decent and, most of all, the musicianship is just outstanding. What I’m trying to say in so many words is if you dig Jackson, you should watch the friggin’ clip!
Another Jackson tune I’ve always liked is You Can’t Get What You Want. It appeared on his March 1984 gem Body And Soul blending pop, jazz and Latin. Even though the horns from the studio version are “missing” and Jackson plays their fill-ins on keyboards instead, I think the band does a beautiful job capturing the tune. Check out Kumpel’s funky guitar, which is really cool!
The last track of the regular set was I’m The Man. The title track from Jackson’s sophomore album was another highlight of the evening, which once again showed this band can rock. Not surprisingly, it brought the audience up to their feet!
The regular set was followed by a three-track encore, starting with Jackson’s biggest hit: Steppin’ Out, from the Night And Day album released in June 1982. I’m not a fan of drum machines, and that aspect has always bothered me about an otherwise great tune; but I just couldn’t resist filming it, especially after Jackson noted they’re about to do something truly shocking – playing a song almost exactly the way it appears on an album! Jackson is known for altering studio tracks for live performances, which has frustrated some of his fans in the past – a fact he acknowledged during the announcement of the tune, teasingly adding he doesn’t quite get it, since it’s so much fun changing up songs.
Next a roadie walked out on stage, carrying a small box. It was the original drum machine Jackson had used for the recording. He proudly explained he got that drum machine in 1979, adding it’s pretty much impossible to get this gear nowadays. On Night And Day, Jackson played all of the instruments by himself, except for the drum snare, which doubled the drum machine’s snare, a natural task for Yowell. Jackson also explained the other instruments on the studio recording, including a Glockenspiel that last night was played by Maby. Of course, they also had the programmed synthesizer bassline – again, something else I’m less than fond of! Kumpel took over the organ part on the keyboards, while Jackson handled the electric piano. The following clip captures some of Jackson’s introductory explanations. If you’re bit of a music nerd like I am, this footage may be for you.
Joe Jackson is definitely worthwhile seeing, and I’m glad I finally did so! The ongoing second U.S. leg of the Four Decade Tour lasts until June 1. Some of the upcoming gigs include Miami (May 24), New Orleans (May 28), Houston (May 29) and Dallas (June 1). Afterwards, Jackson is returning to Europe, with shows in Germany, France, Switzerland, The Netherlands, Italy and Spain. The last date on the current schedule is Tel Aviv, Israel on July 28.
Sources: Wikipedia, Joe Jackson website, Setlist.fm, YouTube
At first sight, Steely Dan, Gino Vannelli, Sting and Stevie Wonder don’t seem to have many things in common. Of course, each are distinguished artists who became successful during an era when you could easily find great music, even on mainstream radio. Music that involved true craftsmanship. Music that had soul. Music that would grab you. Music that would want you to learn how to play an instrument yourself. At least, that’s what it did to me when I was in my young teens!
While I’m afraid the days when great music was part of the top 40 charts and all you really needed to do find it was switching on the radio are largely gone, there’s something very powerful about great music: It’s here to stay, in some cases even for more than 200 years, when you think about classical composers. And it should be celebrated. Enter Good Stuff, a unique tribute band to the above noted artists.
As regular visitors of the blog know, I enjoy going to tribute shows and have done so quite frequently in recent years. This has included truly outstanding bands, and I’ve written about many of them in the past. Because of that my good blogger buddy Music Enthusiast has even jokingly called me The King of Tribute Bands. And why not? After all, there’s a king of pop, a king of rock & roll, a queen of soul, etc., so wouldn’t you agree it’s appropriate to have a king of tribute bands?😀
Most tribute acts I’ve seen focus on one particular artist or band. So when vocalist Mike Caputo, whom I’ve known for a couple of years, told me he was putting together a tribute band to celebrate the music of Steely Dan, Gino Vannelli, Sting and Stevie Wonder, frankly, I was a bit skeptical at first. Steely Dan made total sense to me. Mike has been a singer, songwriter and musician for more than five decades. From his previous longtime tenure as lead vocalist of a Steely Dan tribute band, I knew he nails the voice of Donald Fagen. But adding three other artists to the mix? Well, it may not be a common concept, but Good Stuff surely pull it off beautifully. And once you listen to their setlist, you realize these songs really work well together.
Of course, it’s not only about selecting the “right” music from four different artists; it also takes great musicians to implement the concept. Which brings me to the band: Don Regan (guitar), Axel Belohoubek (keyboards), Deanna Carroll (vocals), Jay Dittamo (drums), Scott Hogan (bass), Phil Armeno (saxophones, flute) and Linda Ferrano (vocals). Linda is a recent addition to Good Stuff and alternates vocal duties with Deanna. All of these guys are professional musicians; most of them have been for more than three decades with impressive accomplishments.
For example, Alex’s credits include tour pre-production for Madonna and David Bowie. Phil was a touring backing musician for Chuck Berry, Bo Diddley and The Duprees in the 70s. Chuck Berry and Bo Diddley? Only the thought of playing with these rock & roll pioneers would give me acid reflux. And Phil is so moderate about it! Or take Jay. He has performed nationally and internationally with artists like The Les Paul Trio, Jose Feliciano and Keith Emerson (yep, that Keith of ELP). Scott, the youngest member of the band and a student of Don, has toured with pop group Hanson, Bernie Worrel Orchestra and The Shirelles, among others. In addition to Good Stuff, almost all members also play solo or in other bands. Not surprisingly, all this impressive experience shows!
Time to get to some music! Half of Good Stuff’s show features Steely Dan tunes. As such, the band appropriately selected a name that not only reflects the music they play but is also related to Steely Dan, or more precisely to Donald Fagen. Good Stuff is a Fagen tune from his fourth studio album Sunken Condos released in October 2012. The song I’d like to highlight here is My Old School. Co-written by Fagen and Walter Becker, the tune appeared on Steely Dan’s second studio album Countdown to Ecstasy from July 1973.
Gino Vannelli is the one artist in the mix I’m much less familiar with than the others. Among the handful of his tunes I know and dig is Brother To Brother, the title track of his sixth studio record from September 1978. It’s a jazzy and pretty complex tune, which I think measures up nicely to the Aja album, the gem in Steely Dan’s catalog.
Next up: Sting. Good Stuff has decided to focus on featuring material from the ex-Police man’s fourth solo effort: the excellent Ten Summoner’s Tales, which happens to be my favorite Sting album. Here’s Heavy Cloud No Rain. Like the majority of the album’s tracks, the tune was entirely written by Sting.
The last song I’d like to call out is Don’t You Worry ‘Bout A Thing by Stevie Wonder. This great tune is from his 16th studio album Innervisions, which is widely considered to be one of the highlights of Wonder’s long catalog. He is one of my all-time favorite artists, and I would have loved to see him last year in Atlantic City during his short summer tour. But with ticket prices starting at $350, it was simply impossible.
It’s still relatively early days for Good Stuff. So far, they haven’t ventured beyond New Jersey. In fact, next Saturday, March 23, they will play Tim McLoone’s Supper Club, a great performance venue in Asbury Park, the hotbed of Jersey’s music scene. Mike told me he is starting to receive an increasing amount of queries from agents, including from out of state. As such, folks who do not reside in the Garden State may get a chance to see the band in the future. In case you’d like to further check them out, visit their website or Facebook page.
When it comes to Paul McCartney and his accomplishments, where do you even start? Co-founding member of The Beatles, which in my book was the greatest band of all time; a man who has written hundreds of songs, including timeless classics; multiple award-winning two-time inductee in the Rock & Roll Hall of Fame; and great musician who after more than five decades is sill hungry to perform live are some of the highlights that come to mind. This post focuses on something folks outside musician circles may not fully appreciate: McCartney’s significance in pop and rock music as a bassist.
As frequent readers of the blog know, I used to play bass guitar in my late teens and early twenties. As such, the topic should be right up my alley, so what the heck took me so long to write about it? Frankly, I don’t really have a good answer. I included McCartney in a previous post about some of my favorite bassists, and of course I’ve also covered him on other occasions. Still, as one of my all-time music heroes, Macca and his remarkable bass playing certainly deserve more attention.
The interesting thing one may sometimes forget is that McCartney not only started out as a guitarist but did not have any initial intention to become a bassist. A long interview with Macca, which Tony Bacon conducted in November 1994 as part of his research for a book about the bass, provides some great insights. It was published by online music gear and news website Reverb in January 2018. I’m relying on this interview for quotes throughout the remainder of the post.
“The bass player was normally a fat guy who stood at the back,” Macca told Bacon. [Note: This bassist was skinny, and while he has developed a little bit of the belly over the years, he’s far from fat. In fact, his dear wife still says he’s pretty handsome!😆] “In our minds it was the fat guy in the group nearly always played the bass, and he stood at the back. None of us wanted that. We wanted to be up front, singing, looking good. That was what we wanted, to pull the birds. There’s no other reason, basically.”
The above photo shows an early lineup of The Beatles. It must have been taken during the second half of 1960, after Pete Best had joined the band as a drummer. Stuart Sutcliffe, a friend of John Lennon from art school, had been added in January that year, after John and Paul had persuaded him to use prize money he had won for art to purchase a Hofner bass guitar. “So, Stu was suddenly there just because he could afford the bass, and none of us could,” Macca said. Ouch…
“The Hofner kind of dwarfed Stu a bit,” Macca further pointed out. “He was a smallish guy. But it looked kind of heroic—he stood a certain way, he had shades, he looked the part—but he wasn’t that good a player. And that was the problem with me and Stu. It was always much reported that we didn’t get along. There were two reasons, really. One, I was very ambitious for the group, and I didn’t actually like anything that might hold us back. There’s enough stuff holding you back anyway, without someone in the group who’s not that good, you know?”
In July 1961, after The Beatles had returned from one of their engagements in Hamburg, Germany, Sutcliffe decided to leave the band to pursue painting. “So it was like oh-oh, we haven’t got a bass player. And everyone sort of turned round and looked at me,” Macca recalled. “I was a bit lumbered with it, really. It was like, well, it better be you then. I don’t think you could have caught John doing it—I don’t think he would have done it. ‘No, you’re kidding. I’ve got a nice new Rickenbacker.’ I didn’t have a guitar [at the time], see, so I couldn’t really say, ‘But I want to be a guitarist.’ They’d say, Well get a fucking guitar then—that might be a start! As I say, I’d been playing piano, which was on the stage, and that was quite good for me, gave me a lot of piano practice. I couldn’t really play but I learned. So I was quite glad to get back in the front line.”
Sutcliffe ended up lending McCartney his bass for a short time. “Eventually I saw a bass in the window of a shop in Hamburg, this violin-shaped bass, the Hofner. It was a good price, because my dad, as I say, had always said I shouldn’t do the never-never, but we were earning reasonable money.” And so McCartney essentially became the bassist of The Beatles by, well, accident. “That was it. I had the bass. I was now the bass player in the group, and I kind of took it from there.” Well, he certainly did.
It’s fair to say that McCartney didn’t become a brilliant bassist overnight. He started out largely playing root notes, which probably wasn’t that much different from Sutcliffe. But McCartney liked to push himself forward by experimenting. “The thing with the bass on a lot of this stuff was that you’ll try anything once,” he explained. “So, I’ll try a capo on a bass…I often used to tune ‘em down, too – tune the strings down a tone, so the E would become a D. You’d have to be careful how hard you hit them, but it was kind of interesting. I would just mess around with any experimental effects, just to try it.”
After The Beatles had stopped touring, the studio became a major enabler for experimentation. Advances in technology also allowed the separate recording of instruments. By the time of Sgt. Pepper, Macca would oftentimes record the bass part as one of the last tracks. This allowed him to hear all other instrumental parts and take the bass beyond it’s traditional role of timekeeper to becoming an additional melody-driving instrument. And this is where Macca’s true magic as a bassist happened. From a strictly technical standpoint, his playing is nothing extraordinary, which he himself has stated in various interviews I’ve read over the years.
When after the breakup of The Beatles Macca formed Wings, many things changed, including his bass playing. Not only did he now consistently use his Rickenbacker 4001S he had been given by Mr. Rickenbacker himself as a freebie during The Beatles’ 1965 U.S. tour, but his playing became more traditional again. Asked about it, he said, “I think it was OK, but I think I never quite had the interest that I had during that sort of dream period around Sgt. Pepper and Rubber Soul, when I was doing something.”
“See, with Wings, I was now the band leader, the business manager, the this, the that, the this,” he went on. “We didn’t have Apple, we didn’t have Epstein, we didn’t have anything. It was me doing it all. That was the biggest headache – that’s difficult. In The Beatles, I’d been free of all of that. We had a manager, we had three other great guys.” Macca also could have added that unlike The Beatles in their later stage, Wings was not set up as a studio band.
Asked about his influences for the bass, McCartney said, “Mainly as time went on it was Motown, James Jamerson—who became just my hero, really. I didn’t actually know his name until quite recently. James was very melodic, and that got me more interested. Actually he and Brian Wilson [from The Beach Boys] were my two biggest influences: James just because he was so good and melodic. Brian because he went to very unusual places. Brian would use, if you were playing in C, he might stay on the G a lot just to hold it all back, and I started to realize the power you had within the band.”
I’d like to wrap up this post by highlighting some of McCartney’s great basslines during his time with The Beatles. I apologize to the non-musicians, who may find the following clips a bit geeky. I think the best way to hear Macca in action, especially on a computer or other non hi-fi device, is to listen to his isolated bass parts. First up: Rain, the B-side from the non-album single Paperback Writer, released in May 1966. The song was written by Lennon and, as usually, credited to Lennon-McCartney. This is quite a busy bassline that provides a nice complementary melody to the tune. Since I couldn’t find a YouTube clip with the original isolated part, I’m relying on a chap called Norby Hofner, who does a pretty decent job.
With A Little Help From My Friends from Sgt. Pepper’s Lonely Hearts Club Band is an example of a melodic bassline where McCartney nicely varies between sparing and busy playing. The tune wasn’t only credited to Lennon-McCartney but was also written collaboratively.
Another great example of a busy Macca bassline is Hey Bulldog, a song off the Yellow Submarine album, primarily written by Lennon and again credited to Lennon-McCartney. I dig how the bass is pushing the tune forward.
The last bassline I’d like to call out is one of my all-time favorites by Macca: Something. Should I ever go back to playing the bass, this would be on top of my list to learn. This bass part represents such great melodic playing that one can easily enjoy listening to it all by itself. I also think that Something, which appeared on Abbey Road, is one of George Harrison’s best compositions.
For those who are old enough to remember, first, there were Charlie’s Angels, now there are The Jersey Angels. While Kate Jackson, Farrah Fawcett and Jaclyn Smith became well-known actresses, I don’t believe their talents included singing. And if they did, I doubt it was anywhere as close as the angelic harmony singing of The Jersey Angels, a pop-oriented country duo I saw Friday night when they performed backing vocals for an excellent Neil Young tribute band.
According to their website, The Jersey Angels are Annie and Gianna. Both grew up in the Garden State and are childhood friends. They got together in 2015 and have performed live since November that year. In addition to their impressive vocals, each is also a musician. Annie is playing the violin while Gianna is a guitarist. As a (mostly former) hobby guitarist and bassist, that’s something I like. The ladies also write their own songs. And, as Annie confirmed to me, they’re doing all of this while having “full-time jobs and tons of other obligations.”
Roots is The Jersey Angels’ debut album, which appeared in March 2018. Frequent visitors of the blog may be surprised that I’m writing about a country duo when my core wheelhouse is ’60s and ’70s classic rock and blues. While that hasn’t changed, my music taste is more eclectic than it may seem. At the end of the day, what I truly care about is whether music speaks to me, not the genre. And these two ladies simply sound great to me! Time for some music.
Let’s kick it off with the opener Hick At Heart.
Next up: The album’s title track.
Appropriately, the record also has a tune called Jersey Girls. And why not? After all, Tom Waits wrote a song about a Jersey Girl in 1980, though his delivery was slightly less angelic. And let’s not forget about another music artist from the Garden State, who did a great cover of that song. His name? Of course, you probably already knew: Bruce Springsteen.
The last tune I’d like to call out is a beautiful picker-upper called Albatross.
Roots is available on Amazon and iTunes. As I was listening to the album, I could picture Cheryl Crow singing some of the songs. And, call me crazy, the combination of acoustic guitar and violin also reminded me a bit of John Mellencamp, though similar to Tom Waits it would be a quite a different vocal sound.
Frequent visitors of the blog perhaps may be a bit surprised that I chose to highlight Picture Book by Simply Red. After all, sometimes it may appear I just can’t get enough of classic rock and blues. And while it’s certainly true these two genres form my core wheelhouse, I also enjoy other music.
Released in October 1985, Picture Book was the debut album by Simply Red. I’ve always dug it for its smooth soul and funky sound and Mick Hucknall’s distinct lead vocals. Before getting to some of the record’s music, I’d like to briefly touch on the band’s background.
Simply Red were formed in Manchester, England in 1984. Surprisingly, and I had not known about this until I read it on Wikipedia, most of the initial members came from musical backgrounds that were very different from Simply Red. Lead vocalist Mick Hucknall’s previous music venture was a punk band called The Frantic Elevators. That band was founded in 1976 and in addition to Hucknall (vocals) included Neil Moss (guitar), Brian Turner (bass) and Kevin Williams (drums). After seven years, The Frantic Elevators called it quits – ironically after the release of their fourth and final single Holding Back The Years had finally gotten them some attention.
Following the demise of the Elevators Hucknall teamed up with band manager Elliot Rashman, and they put together a band of local session musicians, which became Simply Red. Their initial line-up consisted of Hucknall (lead vocals), David Fryman (guitar), Tony Bowers (bass), Fritz McIntyre (keyboards and vocals), Tim Kellett (brass, live backing vocals) and Chris Joyce (drums). Bowers, Kellett and Joyce each had previously been members of post-punk bands.
In 1985, Simply Red got a record deal with Elektra and started working in the studio. After recording one tune, Red Box, which would become the B-side of their first single Money’s Too Tight To Mention, Fryman left the band and was replaced by Sylvan Richardson on guitar. Let’s get to some music from Picture Book.
Here’s the opener Come To My Aid, a funky tune with a catchy melody. Co-written by Hucknall and McIntyre, the track also appeared separately as the album’s second single in August 1985.
One of my favorite songs on Picture Book is the second track Sad Old Red. I love the jazz and blues groove of the tune, which was written by Hucknall. It’s the kind of music that makes you snip your fingers.
Next up: A fantastic cover of Heaven, which was co-written by David Byrne and Jerry Harrison of the Talking Heads and initially appeared on the band’s third studio album Fear Of Music from August 1979. I like the original but feel Simply Red kicked it up a notch by turning the tune into a beautiful soul ballad.
The second great cover on the album is the above mentioned Money’s Too Tight (To Mention). The song was co-written by brothers John Valentine and William Valentine who performed as The Valentine Brothers and first recorded it in 1982.
The last tune I’d like to call out is Holding Back The Years, the previously noted tune by The Frantic Elevators. Co-written by Hucknall and the band’s guitarist Neil Moss, the song also became Simply Red’s most successful single, topping the U.S. Billboard Hot 100 and peaking at no. 2 on the U.K. Singles Chart.
Simply Red went on to record nine additional studio albums before disbanding in 2010. By that time, Hucknall was the only remaining original member and Simply Red essentially had become his solo project. In 2015, the band reunited and has since released a new studio album, Big Love, in May 2015 and conducted two anniversary tours.