Before we can finally kiss this dismal year goodbye, I wanted to squeeze in another installment of my recurring rock/pop music history feature. Without further ado, here are some of the events that happened in the music world on December 29.
1965: American rock band The Sir Douglas Quintet were busted for marijuana possession in Corpus Christi, Texas. They got probation when they appeared in court with short hair, wearing suits. “I’m glad you cut your hair,” the judge told them. “I saw your pictures in the paper when you were arrested and I don’t go for that stuff.” The episode came in the wake of the band’s best-known song She’s About a Mover, written by their founder Doug Sahm.
1966: The Beatles were at EMI Studios at Abbey Road, working on three songs during three sessions: When I’m Sixty-Four, Strawberry Fields Forever and Penny Lane. None of the four mono mixes of When I’m Sixty-Four they made that day was used. The work on Strawberry Fields Forever included a tape copy of a December 22 mono mix, as well as creating the final stereo mix. I’ll skip the details, which laid out in The Beatles Bible. Paul McCartney also recorded the first takes of Penny Lane, working into the early morning hours of the following day. Here’s the magnificent Strawberry Fields Forever.
1967: Dave Mason left Traffic barely three weeks after the English rock band had released their debut album Mr. Fantasy. Only eight months earlier, Mason had been one of Traffic’s co-founders, together with Steve Winwood, Jim Capaldi and Chris Wood. Apparently, Mason didn’t have much interest in collaborating on songs. “We all [Winwood, Jim Capaldi and Chris Wood] tended to write together, but Mason would come in with a complete song that he was going to sing and tell us all what he expected us to play,” Winwood later recalled. “No discussion, like we were his backing group.” Mason would rejoin Traffic in 1968 while they were recording their eponymous sophomore album only to leave again after its release. Here’s House for Everyone, one of three tunes on Mr. Fantasy written by Mason.
1968: Led Zeppelin performed at Civic Auditorium in Portland, Ore. on their first 1968/1969 North American tour, opening for Vanilla Fudge. According to setlist.fm, their set included The Train Kept a-Rollin’, I Can’t Quit You Baby, As Long As I Have You, Dazed and Confused, White Summer/Black Mountain Side and How Many More Times. Here’s a clip of Dazed and Confused from 1968, or as somebody in the comments pointed out 1969. In any case, it’s probably reasonably close to how Zep sounded that night in Portland.
1973: Time in a Bottle, one of my favorite songs by Jim Croce, hit no. 1 in the U.S. on the Billboard Hot 100. Sadly, Croce was no longer around to witness the success. On September 20, 1973, he died at the age of 30 when his chartered plane crashed into a tree during takeoff from Natchitoches Regional Airport in Natchitoches, La. All other five members on board of the plane were also killed: Pilot Robert N. Elliott, Maury Muehleisen, comedian George Stevens, manager and booking agent Kenneth D. Cortese and road manager Dennis Ras. Time in a Bottle became Croce’s second and last no. 1 hit in the U.S. after Bad, Bad Leroy Brown, another great tune he had first released as a single in March of the same year.
Sources: Wikipedia; Songfacts Music History Calendar; The Beatles Bible; Setlist.fm; This Day in Music; YouTube
A look back on my music journey over the past 12 months
This is second and last installment of my two-part year in review. In case you missed part 1, you can read it here.
Celebrating new music one song at a time…
With more than 150 songs highlighted since the launch of the Best of What’s New feature, I find it impossible to call out the best tunes. As I wrote in the inaugural March 21 post, While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. I should perhaps have added that I don’t need to like other tunes by an artist to include them. It’s literally about the specific song.
Best of What’s New installments have featured tunes ranging from prominent artists like Sheryl Crow, The Rolling Stones and Tom Petty to lesser known acts like rock bands Brother Man and Mondo Silicone and Austin, Texas-based band leader Joe Sparacino, aka. Dr. Joe. Frequently, these posts triggered new album reviews, e.g., LeRoux (One of Those Days), Mick Hayes (My Claim to Fame) and Niedeckens BAP (Alles Fliesst). Following are four songs I discovered in the context of Best of What’s New.
Dr. Joe: Believer
From Dr. Joe’swebsite: Based in Austin TX but raised on a farm outside Salina, Kansas, band leader Joe Sparacino spent his early childhood learning piano from a southern gospel choir matron and listening to his family’s old vinyl collection of Ray Charles, Leon Russell and James Booker. Released on April 10, Believer was Dr. Joe’s then-latest single and it’s cooking!
The Reverberations: Under Your Spell
The Reverberations are a five-piece band from Portland, Ore. Their Bandcamp profile characterizes their music as “’60s influenced psychedelic jangle.” I’d call it psychedelic garage rock. Under Your Spell, the B-side to their single Palm Reader released May 28, features some cool Byrds-ey guitars and nice keyboard work. Did I mention it’s also got a quite catchy melody? And check out the lovely psychedelic cover art – super cool all around! For more on this great band, you can read my review of their February 2019 album Changes, their most recent full-fledged studio release.
Kat Riggins: No Sale
Kat Riggins is a blues artist hailing from Miami. According to her website, She travels the world with the sole mission of keeping the blues alive and thriving through her Blues Revival Movement. She has been vocally compared to Koko Taylor, Etta James and Tina Turner to name a few. The nice blues rocker No Sale, which has a bit of a ZZ Top vibe, is from Riggins’ fourth album Cry Out released on August 14. That woman’s got it!
Greta Van Fleet: Age of Machine
Age of Machine is the second single from Greta Van Fleet’s next album The Battle at Garden’s Gate, which is scheduled for April 16, 2021. I think this kickass rocker provides more evidence the young band has evolved their style, moving away from their initial Led Zeppelin-influenced sound. Looking forward to the album!
Live music in the year of the pandemic…
Except for two tribute band concerts in January, pretty measly for the ‘King of the Tribute Band,’ I didn’t go to any live gigs this year. Shows for which I had tickets, including The Temptations and The Four Tops, Ringo Starr and His All Starr Band, and Steely Dan with special guest Steve Winwood, were rescheduled until April, June and July 2021, respectively. Perhaps with the exception of the last concert, I hope all other shows will be rescheduled a second time and moved back to the second half of the year. For somebody who loves live music and over the past 4-5 years has gotten into the habit of seeing an average 20-30 shows per year (counting lower cost tribute band and free summer type concerts), seizing live concerts it’s a bitter but necessary pill to swallow until this lethal pandemic is behind us.
I ended up watching two live concerts via Internet stream: Southern Avenue at Instrumenthead Live Studio in Nashville, Tenn. last week, and Mike Campbell’s band The Dirty Knobs at the Troubador in Los Angeles in late November. It was fun and also a nice opportunity to support music via voluntary donations in lieu of buying official tickets, but no virtual experience can replace the real deal.
Some final musings…
While my primary motivation for the blog has always been the joy I get from writing about a topic I love, i.e., music, it’s nice to see continued growth in visitor traffic, followers and feedback. Just like in 2019, the most popular post remained my January 2018 piece about Bad Company’s live CD/DVD collection from their May 15, 2016 show at Red Rocks Amphitheatre; personally, I find the post average at best. By comparison, my July 12, 2020 post about the mellotron, which I’m proud of, received less than one percent of traffic than the Bad Company post. Perhaps, it was too geeky! 🙂 It’s funny how these things sometimes go.
I’d like to thank all visitors of the blog. If you’re here for the first time, you’re welcome back anytime. If you’re a regular, I hope you keep coming back. I also enjoy receiving comments, including different opinions. All I ever ask is to keep things civil.
Last but not least, I’d like to leave you with a great song by Southern Avenue they also played during the above noted virtual concert. I feel it’s a great message, especially during these crazy times: Don’t Give Up, from their eponymous debut album released in February 2017. Since I couldn’t capture footage from the above gig, here’s an alternative I can offer: a clip I recorded during a show at The Wonder Bar, a small venue in Asbury Park, N.J. in July 2019.
A selection of newly released music that caught my attention
The weeks seem to be flying by these days. After having spent so much time at home since March due to the seemingly never-ending COVID-19 pandemic, I frequently find myself forgetting what day of the week it is. Anyhow, my calendar tells me today is Saturday, which means it’s time to take another look at newly released music. Without any further delay, let’s get to some great stuff I found!
Bob Mould/Siberian Butterfly
American guitarist and songwriter Bob Mould, who has been active since 1979, is primarily known for his work with punk and alternative rock bands Hüsker Dü in the late ’70s and ’80s, and Sugar in the ’90s. He also has released 13 solo albums to date. Siberian Butterfly is a catchy grungy pop rocker that reminds me a bit of Green Day. The tune came out on September 9 ahead of Mould’s 14th studio album Blue Hearts, which is scheduled for September 25. I’ve said it before and I’ll say it again: Old guys rock! 🙂
Doves are an English alternative rock band from Manchester, England. There were formed in 1998. After going on hiatus in 2010, they regrouped in December 2018. The band includes twin brothers Jez Williams (guitar, vocals) and Andy Williams (drums, vocals), along with Jimi Goodwin (bass, vocals, guitar). Martin Rebelski (keyboards) is part of Doves’ touring line-up and has also been involved in their recording sessions. Co-written by the Williams brothers and Goodwin, Broken Eyes is a tune from the band’s fifth and latest studio album The Universal Want that appeared on September 11. Check out the track’s great sound, which drew me in right away.
The Flaming Lips/Mother Don’t Be Sad
The Flaming Lips are an American band with an eclectic style, which were formed in Oklahoma City in 1983. They include founding members Wayne Coyne (vocals, guitar, keyboards) and Michael Irvins (bass), as well as Steven Drozd (guitar, keyboards), Derek Brown (guitar, keyboards), Jake Ingall (keyboards, guitar), Matt Duckworth Kirksey (drums) and Nick Ley (percussion). The current line-up has existed since 2014. According to Wikipedia, the band’s music has varied over time and included alternative, psychedelic and experimental rock and noise pop, among others. Their mainstream breakthrough came with their ninth studio album The Soft Bulletin in 1999. The band also won three Grammy awards, including Best Surround Sound Album for their 2006 studio release At War With the Mystics. Mother Don’t Be Sad is a track from their new album American Head released on September 11. Credited to the entire band, the tune also appeared separately on August 28 as the album’s sixth upfront single. This intriguing power ballad is beautiful and haunting at the same time.
Savoy Brown/Rocking in Louisiana
Okay, we’ve come to the final tune of this Best of What’s New installment, and there hasn’t been any blues rock. Of course, I can’t let this happen! Rocking in Louisiana is a terrific tune by longtime British blues rockers Savoy Brown from their new album appropriately titled Ain’t Done Yet, which came out on August 28. This band has been around since 1965, when it was founded by guitarist Kim Simmonds and harmonica player John O’Leary. The original line-up also included Brice Portius (vocals), Trevor Jeavons (keyboards), Ray Chappell (bass) and Leo Manning (drums). Since their debut album Shake Down from September 1967, Savoy Brown have released some 40 additional studio, live and compilation records. Simmonds remains as the only original member in the band’s current version that since 2009 has also featured Pat DeSalvo (bass) and Garnet Grimm (drums). These guys are nicely rockin’, with Simmonds throwing in some sweet slide guitar work. My kind of music!
Inspired by Hans Postcard’s fun 2020 album draft, where 10 participants pick albums in 10 rounds for a total of 100, I decided to put together my list of 10 albums I would take on a desert island. Essentially, I already came up with such a collection in May 2018, but some things have changed in the meantime and this list features five new picks, including three different artists.
While each of the albums are longtime favorites, I still can’t exclude the possibility that my picks might be different in a month or two. Since I couldn’t figure out how to rank my selections, I ingeniously decided to put them in chronological order. Conveniently, this means kicking things off with my favorite band of all time.
The Beatles/Sgt. Pepper’s Lonely Hearts Club Band (May 1967)
While I dig all albums by the Fab Four, on most days, Sgt. Pepper’s Lonely Hearts Club Band is my favorite. The innovative use of recording technology, the cover art and the combination of different music styles like vaudeville, circus, music hall, avant-garde and traditional Indian music with pop and rock make Sgt. Pepper a true masterpiece. The first album after The Beatles had stopped touring was influenced by The Beach Boys’Pet Sounds, which Brian Wilson had created in response to Revolver, as well as Freak Out! by the Mothers of Invention. Had it not been because of silly pressure from EMI to issue Strawberry Fields Forever and Penny Lane as a single, Sgt. Pepper hands-down would have been the strongest Beatles album. Still, with tunes like the title track, Lucy in the Sky With Diamonds, Within You Without You and the magnificent A Day in the Life, there’s lots of great music.
Carole King/Tapestry (February 1971)
Carole King’sTapestry perhaps is the ultimate singer-songwriter album. Her sophomore release from 1971 featured 10 new tunes and two reinterpretations of songs King had written together with her former husband and lyricist Jerry Goffin in the ’60s. Like many of their other songs, Will You Still Love Me Tomorrow? and (You Make Me Feel Like) A Natural Woman became hits, in these cases by The Shirelles and Aretha Franklin, respectively. There’s really no weak tune on Tapestry and I could have selected any. It’s Too Late has always been one of my favorites.
The Rolling Stones/Sticky Fingers (April 1971)
I know many fans of The Rolling Stones consider Exile on Main St. or Some Girls as their best albums. While I can’t claim to know all of their records in detail, my favorite is Sticky Fingers. This was the second full-length record with Mick Taylor who had replaced Brian Jones in June 1969. Between Brown Sugar, Wild Horses, Can’t You Hear Me Knocking, Bitch, Sister Morphine and Dead Flowers, there are so many classics on this album. I just think the Stones never sounded better. And interestingly, it’s the country-influenced Dead Flowers that has become one of my favorite Stones tunes. I just love the guitar work!
Marvin Gaye/What’s Going On (May 1971)
I think Marvin Gaye had one of the most beautiful soulful voices I know. This artist was a smooth operator, even when he sang about serious issues like on this album. …(Oh, crime is increasin’) Oh, woo/Trigger happy policin’/panic is spreadin’/God knows where we’re headin’/Oh baby/Make me wanna holler/They don’t understand/Make me wanna holler/They don’t understand…It’s remarkable these lyrics were written almost 50 years, yet they sound frighteningly relevant in America in the year 2020.
Neil Young/Harvest (February 1972)
I dig a good number of Neil Young songs and feel his first compilation Decade is one of the best greatest hits collections I can think of. When it comes to his albums, my favorites are Harvest from 1972 and Harvest Moon from 1992. While I think the title track of the latter is among Young’s best tunes, I have a slight preference for Harvest from an overall album perspective. Featuring David Crosby, Graham Nash, Stephen Stills, James Taylor and Linda Ronstadt as guests, it became Young’s most successful record and the best-selling album in the U.S. in 1972 – in part thanks to Heart of Gold, which remains Young’s only no. 1 song on the U.S. Billboard Hot 100 to this day. There are many other gems on the record, including The Needle and the Damage Done.
Deep Purple/Machine Head (March 1972)
I don’t listen to hard rock a lot these days, but when I do, Deep Purple remain my favorite choice, especially their sixth studio album Machine Head from March 1972. I’ve always thought one of the cool things about this band are the equal roles the guitar and the keyboards play as solo instruments. Jon Lord was a true master of the Hammond organ who skillfully blended blues, hard rock and jazz with elements of classical music. Lazy is one of the tracks on which Lord shines in particular.
Pink Floyd/The Dark Side of the Moon (March 1973)
First, I was going to pick Meddle, Pink Floyd’s sixth studio album from October 1971. With the great Echoes, it foreshadowed the band’s classic mid-’70s sound on The Dark Side of the Moon and Wish You Were Here. All three albums are among my favorite Floyd records. Eventually, I settled on The Dark Side of the Moon. It’s a perfect album for headphones, and I’ve listened to it countless times at night in bed. The sound is just phenomenal. One of the standout tracks is The Great Gig In the Sky and the amazing vocal performance by British singer Clare Torry.
Bruce Springsteen/Born to Run (August 1975)
Bruce Springsteen entered my radar screen in 1984 with the Born in the U.S.A. album. While I’m still fond of that record, I subsequently explored and came to appreciate his earlier work. To me, Born to Run turned out to be Springsteen’s Mount Rushmore. After two albums that were critically acclaimed but not successful from a commercial perspective, he really needed a hit. Born to Run would turn out to be exactly that and catapult Springsteen to fame beyond the U.S. Apart from the title song, my favorite tracks on the album include Thunder Road, Backstreets, Jungleland and the beautiful soul-oriented Tenth Avenue Freeze-Out.
Stevie Wonder/Songs in the Key of Life (September 1976)
Stevie Wonder has been one of my favorite artists for 40 years. I dig many of his songs starting from when he was known as Little Stevie Wonder. But it’s his classic period in the ’70s I like the most, especially the albums Talking Book (October 1972), Innervisions (August 1973) and Songs in the Key of Life (September 1976). The latter became the best-selling and most critically acclaimed album of Wonder’s long career. Here’s his beautiful tribute to jazz legend Duke Ellington who had passed away in May 1974.
Steely Dan/Aja (September 1977)
I’m wrapping up this list with Steely Dan. Walter Becker and Donald Fagen made many great records, but it’s this gem from September 1977 that’s my favorite: Aja. As usual, Becker and Fagen assembled top-notch session musicians to record the album. There were also prominent guests, including Michael McDonald and Timothy B. Schmit. All of the tracks on this album are great. Deacon Blues is my favorite Steely Dan song, but since I previously featured it more than once, I’m going with the closer Josie.
I just came across the above clip of See Emily Play performed by Nick Mason’s Saucerful of Secrets. It’s from an upcoming album titled Live at the Roundhouse, which is scheduled for September 18 and will be available as a double-CD/DVD package, double-vinyl and on Blu-ray. The material was taken from concerts the band played at the famous London venue in May 2019.
Nick Mason, of course, is the former co-founder and drummer of Pink Floyd and the band’s only member who played on all of their studio albums. In 2018, he formed Nick Mason’s Saucerful of Secrets together with guitarist Lee Harris. Other members of the band, which takes their name from Floyd’s 1968 sophomore album, include Gary Kemp (guitar, vocals), formerly with Spandau Ballet; Guy Pratt (bass, vocals) and Dom Beken (keyboards).
The idea behind Saucerful is to perform Pink Floyd’s early music prior to the TheDark Side of the Moon album. “We’re not a tribute band,” Mason toldUncut in May 2018. “It’s not important to play the songs exactly as they were, but to capture the spirit.”
Whatever you want to call them, I think it’s great fans of Floyd’s early years including the Syd Barrett era have an opportunity to hear tracks that haven’t been played live for decades like Interstellar Overdrive, Astronomy Domine, If, The Nile Song and, of course, See Emily Play. Written by Barrett, the tune appeared on Floyd’s debut album The Piper at the Gates of Dawn.
Now that I’ve watched the clip and other footage that’s on YouTube, I’m starting to regret I didn’t catch the band in April 2019 when they played the Beacon Theatre in New York City. A few weeks earlier, I had seen outstanding tribute band Brit Floyd, so I didn’t feel like going to another show of Pink Floyd music. Due to COVID-19, Nick Mason’s Saucerful of Secrets had to reschedule many gigs in England and elsewhere in Europe until next year. Their currently planned schedule is here.
Sources: Wikipedia; Uncut; Nick Mason’s Saucerful of Secretswebsite; YouTube
Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!
Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a listGuitar World put together.
I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.
John Mayall and the Blues Breakers/Steppin’ Out
Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.
Pink Floyd/Interstellar Overdrive
My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.
Deep Purple/Wring That Neck
Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.
Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.
The Allman Brothers Band/Jessica
Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂
Santana/Europa (Earth’s Cry Heaven’s Smile)
Santana’sEuropa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.
Steve Vai/The Attitude Song
When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’sEruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂
Stevie Ray Vaughan/Scuttle Buttin
Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.
Jeff Beck/A Day in the Life
The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.
My area of Central New Jersey was hit by tropical storm Isaias this afternoon. We got a good deal of fallen tree branches around my property and had a few near misses, but fortunately, nobody got hurt and we didn’t encounter significant damage either. We’re also not among the two million folks in the area who lost electricity, so it’s a happy outcome.
After being exposed to howling wind for a few hours, perhaps it’s not surprising that storm was on my mind. So I cleverly thought I feature one of my favorite storm songs: Riders on the Storm by The Doors.
Credited to all four members of the band, John Densmore (drums), Robby Krieger (guitar), Ray Manzarek (keyboards) and Jim Morrison (vocals), the tune first appeared on their sixth studio album L.A. Woman from April 1971. A shortened version was also released separately as the record’s second single in June of the same year.
Riders on the Storm charted in many countries – hard to imagine from today’s dismal chart perspective! In the U.S. and the UK, the song reached no. 14 and no. 22, respectively. It topped the charts in France. The tune also did well in Canada and the Netherlands where it climbed to no. 7.
Not even a month after the single had come out, Jim Morrison passed away on July 3, 1971 in Paris, France at the age of 27. While the official cause of death was listed as heart failure, there were reports he actually died from an overdose of heroin.
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
If you read my previous Best of What’s Newpost all the way to the end and know me a little bit, it probably doesn’t come as a shocking surprise that the ’60s retro sound of The Reverberations proofed way too seductive to leave things at one clip. I’m still somewhat in disbelief this band from Portland, Ore. doesn’t do a better job to make it easier for music fans to find them. In my case, I have to thank Apple Music for including these guys in their most recent New Music Mix playlist.
The good news is in the meantime I uncovered some more background information, but I still feel it’s not nearly enough. According to Discogs, as of Changes, their second and most recent full album released in February 2019, the band’s members are Dave Berkham (lead guitar, vocals), John Jenne (rhythm guitar), Bob Fountain (keyboards), Cam Mazzia (bass) and Ian Bixby (drums, percussion). June Coryell and producer Pat Kearns are listed as guest backing vocalists.
According to Wikipedia, Kearns is a singer-songwriter for Blue Skies for Black Hearts, another Portland-based band, and has done production and engineering work for various other artists, such as The Exploding Hearts, Pat McDonald and Jerry Joseph. None of these names ring a bell, but that doesn’t mean much.
Among things that remain unclear is the origin of the band’s name. Given their psychedelic garage touch, I’m wondering whether it’s a nod to ’60s psychedelic garage rockers The 13th Floor Elevators and their song Reverberation (Doubt). Another clue is the album’s cover art, which was designed by Bixby and has features that are reminiscent of the Elevators’ debut The Psychedelic Sounds of the 13th Floor Elevators.
But, all of what I said in the preceding paragraph is speculation. It’s also not clear to me how long The Reverberations have been around. The oldest listing in Discogs is a self-released EP from 2015. What I do know is I really dig the band’s sound that heavily borrows from the ’60s, especially The Byrds and The Beatles. And, if you look at the image above, these guys kind of look like transplants from that era. Time for some music!
Here’s the excellent opener Footsteps. It appears all songs are credited to the entire band. Don’t get fooled by the track’s beginning, which sounds psychedelic but perhaps not so much like The Byrds. But wait until about 1:42 minutes into the song when that mighty jingle-jangle Rickenbacker gets going – can’t get enough of it!
Here’s Dream Catcher. Man, again, what a cool sound. And that harmony singing is just awesome!
The beginning of Left Behind has the same chord progression like Nights in White Satin by The Moody Blues, while the sitar-sounding instrument (I assume it’s sampled) reminds me of Paint It Black by The Rolling Stones. Not trying to be a smart ass here, but it’s obvious. Plus, the tune then takes off in its own direction. It’s all good!
Another great tune is Levitate Away. And, yes, the beginning sounds like Jimi Hendrix’s Purple Haze. But similarly to the previous track, the song then goes in a different direction. It’s quite catchy!
I’d like to call out one more track: What Can I Do? Coz, I dig these guys, what can I do? It’s another beautiful jingle-jangle guitar-driven tune.
Changes appeared on Beluga Music, which according to Discogs is an independent label based in Stockholm, Sweden, and has been around since 1994. On their website, they describe themselves as “The Home of Punk & Garage Records”. It does seem to be a bit odd for a U.S.-based band to have a Swedish label, but hey, what do I know? Plus, at the end of the day, it’s all about the music. And their music surely sounds sweet to me!
Sources: Wikipedia; Discogs; Beluga Music website; YouTube
I could have titled this post “What I’ve Been Listening to For the Past 40-Plus Years.” Wish You Were Here not only marked the start of my long Pink Floyd journey but also was an essential part of my early discovery of music. This album was one of various gems my sister had on vinyl as a 16-year-old or so. I was ten years old at the time and essentially didn’t understand a word of English. It didn’t matter. The music bug had infected me forever. It’s the most beautiful infection I can think of!
Of course, I also explored the other 14 studio albums Pink Floyd released between 1967 and 2014. That was many moons ago as well. And I realized records like The Piper at the Gates of Dawn, Meddle or The Dark Side of the Moon match or even exceed the mighty of Wish You Were Here. Still, Floyd’s masterpiece from September 1975 will forever keep a special place in my heart. Always.
I know it may seem to be weird to tout what I believe is perfect music as a natural sleeping aid. Wish You Were Here is great for that! In fact, I started using the record for that purpose when I had my first stereo and first set of headphones. I still love listening to the album at night in bed, nowadays using my smartphone and earbuds, which I have to admit is a less than perfect way to enjoy music. I’m happy to report I also keep listening to Pink Floyd during the daytime while I’m wide awake! 🙂
Recorded at Abbey Road Studios in London between January and July 1975, Wish You Were Here is Floyd’s ninth studio album. It’s the band’s second record after The Dark Side of the Moon, which was based on a conceptual theme that was entirely written by Roger Waters. In this case, the topics include biting criticism of the music business and alienation. And, of course not to forget, a tribute to founding member Syd Barrett who had been instrumental to the band’s early phase until his ouster in April 1968 due to mental illness and the use of psychedelic drugs.
In fact, on June 5, 1975, the day when Pink Floyd were completing the mix of Shine On You Crazy Diamond, Syd Barrett showed up at the studio out of the blue. Being overweight with shaven head and eyebrows, he barely resembled the 22-year-old man back in 1968. Waters and Nick Mason didn’t recognize him, while David Gilmour first thought he was an EMI staff member. Richard Wright first realized it was Barrett who reportedly said he was happy to help with the recording. But according to Mason’s Pink Floyd memoir Inside Out, Barrett “sat round and talked for a bit but he wasn’t really there.”
Apparently, Barrett also joined a wedding reception in the canteen at EMI for David Gilmour who a month later got married to his first wife, American artist, sculptor, author and former model Ginger Gilmour. He left the festivities quietly without saying goodbye to anybody. It was the last time the band members had seen Barrett who passed away from pancreatic cancer in 2006 – what an incredibly sad story!
Wikipedia includes this quote from Roger Waters, taken from Crazy Diamond: Syd Barrett and the Dawn of Pink Floyd, a 2001 Barrett biography written by Mike Watkinson and Pete Anderson: I’m very sad about Syd. Of course he was important and the band would never have fucking started without him because he was writing all the material. It couldn’t have happened without him but on the other hand it couldn’t have gone on with him. “Shine On” is not really about Syd—he’s just a symbol for all the extremes of absence some people have to indulge in because it’s the only way they can cope with how fucking sad it is, modern life, to withdraw completely. I found that terribly sad.
Interestingly, Alan Parsons, who still was a staff engineer at EMI and had played a key role in shaping the sound of Pink Floyd’s previous album The Dark Side of the Moon, declined to continue working with the band. While I couldn’t find any specific explanatory accounts, Wikipedia’s entry for Dark Side notes the members of the band had some disagreements over the style of the mix. Ultimately, they decided to bring in producer Chris Thomas to provide “a fresh pair of ears.” Perhaps that didn’t sit well with Parsons. Instead of him, Brian Humphries served as recording engineer for Wish You Were Here. The band had previously worked with him on the More soundtrack album from June 1969 and again in 1974. Time for some music.
While it’s a long track (not a rarity when it comes to Pink Floyd!), I just couldn’t skip the magnificent opener Shine On You Crazy Diamond (Parts I-V). Of course, this is the tune that even if it’s not an outright tribute to Syd Barrett as the above quote by Waters seems to suggest, at a bare minimum is inspired by him. Especially, the instrumental intro makes me feel like floating in space – which is why the tune is perfect to relax and fall asleep! 🙂 The music is credited to Gilmour, Wright and Waters.
Next up: Have a Cigar, which on the vinyl edition is the first track of the B-side. An excerpt from the lyrics leaves on doubt what Waters was writing about. I just wonder how the executives at the record company felt when they heard the tune for the first time. I guess somebody there was smart enough to realize that while the words weren’t exactly flattering, they had a masterpiece on their hands that would sell many copies. They call it riding the gravy train!
Come in here, dear boy, have a cigar, You’re gonna go far, You’re gonna fly high, You’re never gonna die, You’re gonna make it if you try, They’re gonna love you. I’ve always had a deep respect and I mean that most sincere; The band is just fantastic, that is really what I think, Oh, by the way, which one’s Pink?
Both the tune’s lyrics and music were credited to Waters. English folk singer Roy Harper sang on the tune, making Have a Cigar only one of two Floyd songs that featured a guest singer on lead vocals. The other one was The Great Gig in the Sky from Dark Side with the amazing Clare Torry.
The last tune I’d like to highlight is the album’s title track – undoubtedly one of Pink Floyd’s best-known songs. Interestingly, Wish You Were Here wasn’t released as a single at the time, though the tune quickly became a staple on the radio in Germany and elsewhere. Eventually, a live version of the song from the band’s third live album Pulse appeared as a single in September 1994. Gilmour and Waters co-wrote the music. Together with Welcome to the Machine, it is one of two tunes on the album featuring Gilmour on lead vocals.
According to Wikipedia, the song’s distinct intro was recorded from Gilmour’s car radio. His guitar intro, played on a 12-string, was processed to sound as if it was playing through an AM radio, and then overdubbed a fuller-sounding acoustic guitar solo. This passage was mixed to sound as though a guitarist were listening to the radio and playing along. As the acoustic part becomes more complex, the ‘radio broadcast’ fades away and Gilmour’s voice enters, while the rest of the band joins in. What a brilliant concept!
Upon its release, Wish You Were Here received a mixed reception from music critics. For example, Rolling Stone cleverly noted the band’s”lackadaisical demeanor”, leaving the subject of Barrett “unrealised; they give such a matter-of-fact reading of the goddamn thing that they might as well be singing about Roger Waters’s brother-in-law getting a parking ticket.” The Village Voice’sRobert Christgau, on the other hand, was shockingly positive: “The music is not only simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for comment, but it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously.”
Of course, Wish You Were Here has since been frequently regarded as one of the greatest albums of all time. In fact, it is ranked at no. 211 in Rolling Stone’s 2012 list of 500 Greatest Albums of All Time – way too low, in my humble and completely unbiased opinion! In the magazine’s 50 Greatest Prog Rock Albums of All Time from June 2015, it came in at no. 4. This sounds more acceptable to me!
No matter how you feel about Wish You Were Here, one thing is undisputed: The album became one of Pink Floyd’s most successful records topping the charts in the U.S., Australia, New Zealand and various European countries including the UK, France, The Netherlands and Switzerland. It has sold an estimated 13 million copies, compared to more than 45 million for Dark Side, Floyd’s best-seller. Gilmour and Wright have called Wish You Were Here their favorite Pink Floyd album.