Best of What’s New

Another week flew by and I can’t believe we’re in June. Time to take a fresh look at new music releases. All of my picks for this revue are on albums released yesterday (June 3).

The Black Moods/Youth Is Wasted On The Young

Let’s kick it off with rock from Tempe, Ariz. The Black Moods, a trio of Josh Kennedy (vocals, guitar), Jordan Hoffman (bass) and Chico Diaz (drums), have been around since 2012. From their Apple Music profile: Combining a bluesy hard rock approach with a bit of grungy swagger, the Black Moods rose from regional Arizona bar band status to major-label touring act with the release of their sophomore LP, Medicine, in 2016. A classic guitar-bass-drums power trio, the band takes inspiration from a host of hard-hitting bands from Led Zeppelin to Foo Fighters, adding their own distinctive nuances to the rock & roll canon…Nicking their name from an offhand comment made by Ray Manzarek describing one of Jim Morrison’s stormy moods in a Doors documentary, they self-released their eponymous debut in 2012 and began establishing themselves as a road band, touring the country…gigs with acts like Jane’s Addiction, Shinedown, Everclear, and Doors guitarist Robby Krieger helped boost their profile over the next couple of years. This brings me to Into the Night, the fourth and latest studio album by The Black Moods and Youth Is Wast On the Young. Credited to the three members of the band and producer Johnny Karkazis, the album opener is a nice rocker!

Crobot/Better Times

Let’s throw in some more rock with Cobot who hail from Pottsville, Pa., a small city about 50 miles west of Allentown. Formed in mid-2011, the band currently includes co-founders Brandon Yeagley (lead vocals, harmonica) and Chris Bishop (guitar, backing vocals), together with Tim Peugh (bass) and Dan Ryan (drums). AllMusic characterizes their music as “rooted in groove-laden, fuzz-drenched hard rock delivered with greasy swagger and reckless abandon.” The group’s new album, their fourth, is titled Feel This. “This is the record we’ve been wanting to do ever since we started,” Yeagley stated on the band’s website. “We’ve always thought of ourselves as a live act,” he explained, adding they recorded 16 songs live in-studio in just 21 days. How about a sample? Here’s Better Times, co-written by Yeagly, Bishop and Ryan. This is fun when you’re in the mood for kickass rock!

Andrew Bird/Faithless Ghost

Time to take it down a notch. Andrew Bird doesn’t fit well into a specific genre. From his AllMusic bio: A virtuosic violinist, singer, songwriter, composer, actor, and expert whistler, Andrew Bird’s career has undergone a variety of stylistic shifts since his early days playing jazz and swing music. While folk and roots music has always played a part in his music, he’s also conversant in contemporary pop and indie rock, and he’s consistently shown a willingness to experiment, even within his more traditionally oriented projects. Bird has been active since 1992 and has released 16 studio albums to date, which includes his latest, Inside Problems. Here’s Faithless Ghost, which like all except one of the 10 other tracks on the album was penned by Bird. It’s an unusual yet catchy tune. In addition to singing, Bird also plays guitar and violin. I like the latter in particular.

Lettuce/RVA Dance

My last pick for this week is new music by American jazz and funk band Lettuce, who I first featured in a June 2020 Best of What’s New installment. Initially, the group was formed in Boston in the summer of 1992 when all of its founding members attended Berklee College of Music as teenagers. While it was a short-lived venture that lasted just this one summer, the members reunited in 1994 when all of them had become undergraduate students at Berklee. In 2002, their debut album Outta There appeared. And outta there they’ve been, with seven additional albums having since appeared. This includes their latest release Unify. Check out opener RVA Dance. I could picture James Brown singing to this funky groove. But it’s pretty cool as is, sans vocals!

And, yes, before wrapping up, here’s a Spotify playlist featuring the above and a few other tunes.

Sources: Wikipedia; Apple Music; Crobot website; YouTube; Spotify

On This Day in Rock & Roll History: January 4

Welcome to the first 2022 installment of On This Day in Rock & Roll History. While the approximately 70 different dates I’ve covered since the start of this irregular music history feature in 2016 feel like a lot of ground, the reality is this still leaves close to 300 dates I can pick. Today it’s going to be January 4.

1967: The Doors released their eponymous debut album, which proved to be a smash. Not only would it become the Los Angeles band’s best-selling record, but it also was a huge chart success. In the U.S., it surged to no. 2 on the Billboard Hot 100. It also performed well in Europe, reaching no. 3, no. 4 and n0.6 in France, Norway and Austria, respectively, as well as no. 43 in the UK, among others. Some of the album’s highlights include the singles Break on Through (To the Other Side) and Light My Fire, as well as the epic closer The End. Here’s the latter credited to all members of the group: Jim Morrison (vocals), Robbie Krieger (guitar, backing vocals) Ray Manzarek (organ, piano, backing vocals) and John Densmore (drums, percussion, backing vocals).

1972: Roundabout by Yes, the only single from their fourth studio album Fragile came out. Co-written by singer Jon Anderson and guitarist Steve Howe, the tune became the English prog rockers’ most successful U.S. single of the ’70s, reaching no. 13 on the Billboard Hot 100. Notably, it missed the charts in the UK. The album did much better in both countries, climbing to no. 4 and 7, respectively. Below is the 8:30-minute album version of Roundabout, one of my favorite Yes tunes. Since there was no way radio stations would play such a long track, the single edit was shortened to 3:27 minutes.

1975: Elton John stood at no. 1 in the U.S. on the Billboard Hot 100 with his rendition of Lucy in the Sky With Diamonds. The recording featured backing vocals by his friend John Lennon (under the pseudonym Dr. Winston O’Boogie), who wrote most of the original. Credited to him and Paul McCartney, as usual, Lucy in the Sky With Diamonds first appeared on The Beatles’ studio album Sgt. Pepper’s Lonely Hearts Club Band from May 1967. John took the tune to no. 1 in the U.S., which according to Wikipedia makes it one of only two songs credited to Lennon-McCartney to top the U.S. charts by an artist other than The Beatles. John’s version was also successful elsewhere, hitting no. 1 in Canada, no. 2 in New Zealand and no. 3 in Australia. In the UK, it peaked at no. 10.

1980: American rock band The Romantics released their eponymous debut album. It reached no. 61 in the U.S. on the Billboard 200 – not bad for a first record. Below is What I Like About You, which first appeared as the album’s lead single in December 1979. The garage rock-flavored tune was co-written by band members Wally Palmar (lead vocals, rhythm guitar, harmonica), Mike Skill (lead guitar, backing vocals) and Jimmy Marinos (vocals, drums, percussion). The Romantics remain active to this day, with Palmar and Skill still being part of the current line-up.

1986: Phil Lynott, who had best been known as a founding member, lead vocalist, bassist and principal songwriter of Irish rock band Thin Lizzy, passed away at the age of 36. The cause was pneumonia and heart failure due to blood poisoning (septicemia). Lynott’s final years of his life following the disbanding of Thin Lizzy in 1983 were marked by heavy drug and alcohol dependency. Here’s one of the group’s best tunes written by Lynott: The Boys Are Back in Town, off their sixth album Jailbreak from March 1976. It also became the record’s lead single the following month.

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

The Sunday Six

Welcome to another installment of The Sunday Six, my weekly zig-zag excursions exploring different styles of music over the past 70 years, six tunes at a time. This installment kicks off with jazz from 1956, followed by new jazzy pop-rock from 2021, country rock from 1976, new wave from 1984 and soft rock from 2013, before finishing up with some rock from 1967.

Charles Mingus/Profile of Jackie

I’d like to embark on this little journey with beautiful music by Charles Mingus, who is considered to be one of the greatest jazz musicians. Over a 30-year career, the double bassist, pianist, composer and bandleader played with many other greats like Louis Armstrong, Duke Ellington, Charlie Parker and Dizzy Gillespie, and released about 50 albums as a bandleader. Initially, Mingus started on the trombone and later studied the cello before picking up the double bass. As a teenager, he felt excluded from the classical music world since he couldn’t join a youth orchestra because of his inability to read musical notation quickly enough due to a poor education. These experiences, along with lifelong racism Mingus encountered influenced his music that oftentimes focused on themes like racial discrimination and injustice. By the mid-70s, sadly, Mingus had ALS. Eventually, this heinous disease made it impossible for him to play bass. Mingus continued to compose music until his untimely death in January 1979 at the age of 56. Here’s Profile of Jackie, a composition from a 1956 album titled Pithecanthropus Erectus. Mingus’ backing musicians included Jackie McLean (alto saxophone), J.R. Monterose (tenor saxophone), Mal Waldron (piano) and Willie Jones (drums).

ShwizZ/Overboard

For this next tune, I’d like to jump to the present and a cool band I first featured on the blog back in April as part of another Sunday Six installment: ShwizZ. Their website describes them as a one of a kind powerhouse from Nyack, New York. Drawing a substantial influence from classic progressive rock and funk, they consistently put their musical abilities to the test to deliver a high intensity and musically immersive show. ShwizZ note Frank Zappa, Yes, P-Funk and King Crimson as their influences. The band, which has been around for about 10 years, features Ryan Liatsis (guitar), Will Burgaletta (keyboards), Scott Hogan (bass) and Andrew Boxer (drums). Here’s their latest single Overboard. Not only do I love the cool Steely Dan vibe, but I also find the clip pretty hilarious.

Hoodoo Rhythm Devils/Safecracker

Any band that calls itself the Hoodoo Rhythm Devils gets my attention. Until a week ago or so, I had never heard of this ’70s American group until I came across their tune Safecracker. According to Apple Music, Hoodoo Rhythm Devils blended blues boogie with country-rock, rock & roll and some soul. Initially, they were formed in San Francisco in 1970 by guitar teacher John Rewind (guitar), his student Lee Humphries (guitar) and Humphries’ friend Joe Crane (vocals). They were later joined by Glenn Walter (drums) and Richard Greene (bass). Between 1971 and 1978, Hoodoo Rhythm Devils released five studio albums. The group’s line-up changed various times over the years until they disbanded in 1980 following Crane’s death from leukemia. Here’s the above-mentioned Safecracker, an awesome tune from the band’s fourth studio album Safe In Their Homes from 1976. The song also appeared separately as a single that year. I can hear some Doobies in here.

The Cars/You Might Think

The Cars are a band I always realize know much better than I think I do once I start listening to their music. While I’m not very familiar with their background and can only name a few of their songs off the top of my head, I recognize a good deal of their songs when I hear them. It’s not really surprising since the American new wave and pop-rock band had hits throughout much of their career. The Cars were formed in Boston in 1976 and included Elliot Easton (lead guitar), Ric Ocasek (rhythm guitar), Greg Hawkes (keyboards), Benjamin Orr (bass) and David Robinson (drums). During their initial run until 1988, six studio albums appeared. After reuniting in 2010, The Cars released one more album before going on another hiatus in 2011. A second reunion followed in 2018 when they were inducted into the Rock and Roll Hall of Fame. In September 2019, Ocasek was found dead in his apartment in New York at the age of 75. You Might Think, written by Ocasek, is from the band’s fifth studio album Heartbeat City that appeared in March 1984. It also became the record’s lead single that same month, and one of the band’s biggest U.S. hits, reaching no. 7 on the Billboard Hot 100 and topping the Mainstream Rock chart. Quite a catchy tune!

Lenny Kravitz/I May Not Be A Star (Light Piece For Vanessa)

For this next track, let’s go to January 2013 and the 20th-anniversary edition of Are You Gonna Go My Way, which initially appeared in March 1993 as the third studio album by Lenny Kravitz. Kravitz entered my radar screen in late 1991 when I first heard his excellent sophomore album Mama Said that had been released in March of the same year. Since he started his recording career in 1989, Kravitz has released 11 studio albums, one greatest hits collection and various box set compilations, among others. I May Not Be A Star (Light Piece For Vanessa) is a bonus track on the aforementioned 20th-anniversary reissue of the Are You Gonna Go My Way album. I came across the tune coincidentally the other day. With the only lyrics being baby, I may not be a star, it sounds like an unfinished song – still, I dig it! I assume Vanessa refers to French singer and model Vanessa Paradis who Kravitz was dating at the time the original record came out.

The Doors/Break On Through (To The Other Side)

And once again, it’s time to wrap up things. For my final pick, I’d like to jump back to January 1967 when The Doors released their eponymous debut album. It was the first of six albums recorded by all four members of the great L.A. rock group, Jim Morrison (lead vocals, harmonica, percussion), Robby Krieger (guitar, vocals), Ray Manzarek (keyboards, keyboard bass, vocals) and John Densmore (drums, percussion, backing vocals). After Morrison’s death in July 1971 in Paris, France, The Doors released two more albums, Other Voices (October 1971) and Full Circle (1972), before they disbanded in 1973. A third Morrison post-mortem album, An American Prayer, appeared in 1978. Krieger and Densmore are still alive and remain active. Manzarek passed away in May 2013. Here’s one of my favorite tunes from the band’s first album, Break On Through (To The Other Side), credited to all four members.

Sources: Wikipedia; ShwizZ website; YouTube

The Sunday Six

I hope everyone is enjoying their weekend. It’s time again for The Sunday Six and another set of tunes from different genres and different decades. This installment touches the 1950s, ’60s, ’70s, 90s and 2021, and features jazz, psychedelic blues rock, alternative pop rock, rock and bluesy R&B.

Lou Donaldson/Blues Walk

Starting us off is beautiful saxophone jazz by American jazz alto saxophonist Lou Donaldson. Donaldson, who is 94 years old and only retired in 2016, had a 64-year career as an active performer. That’s just mind-boggling! Here’s an excerpt from the bio on his website: Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years — earning him his famed nickname –“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others.  After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. I’ve decided to highlight one of his earlier recordings: Blues Walk, the title track of his 1958 album, which according to Wikipedia “has been considered Donaldson’s undisputed masterpiece.” I’m not a jazz expert but I know is this: I love the saxophone, and Donaldson surely sounds sweet. Also, check out Herman Foster on piano!

The Doors/Riders on the Storm

Now let’s turn to a classic psychedelic tune with a great jazz and blues vibe by The Doors, who I trust need no further introduction. Riders on the Storm is the magnificent closer of their sixth studio album L.A. Woman from April 1971 – yet another great record that has turned 50 this year! It was the final to be released during the lifetime of lead vocalist Jim Morrison who passed away three months later in Paris, France at the age of 27. While the official cause of death was listed as heart failure, several people who maintained they were eyewitnesses said Morrison died from an accidental heroin overdose. Of course, we know all too well the history of rock is littered with so many talented artists who became casualties to drugs! Riders on the Storm was credited to all members of The Doors, who in addition to Morrison included Ray Manzarek (keyboards), Robby Krieger (lead guitar) and John Densmore (drums). It’s such a cool tune that still gives me goosebumps the moment that thunderstorm sound in comes on in the beginning.

Noods/Starting Over Again

For this next tune, let’s jump 50 years to the present and a recent discovery: Starting Over Again by Noods. Unfortunately, there is very little public information about the group. This short profile on Oh My Rockness describes them as a “fuzzy jangle pop band from from NY” and lists the following members: Trish Dieudonne (vocals, guitars), Nick Seip (vocals, guitars, synths, piano), Shane Danaher (drums, synths) and Mandy Romano (bass, vocals). According to this preview piece on Stereogum, the band released their debut EP Noods Please in 2017. The first full-length album is titled Blush. It has since appeared on April 16 this year. Here’s Starting Over Again, a pleasant song co-written by Dieudonne and Seip. I like the jingle-jangle guitar sound and the laidback vibe.

Tom Petty and the Heartbreakers/Something in the Air

When it comes to Tom Petty, one of my long-time favorite artists, there are so many great original tunes I could have picked. And yet I chose to highlight a cover. Why? Coz I absolutely love this tune and Petty’s rendition, which he recorded with The Heartbreakers for their November 1993 Greatest Hits compilation. That album is best known for the single Mary Jane’s Last Dance, which climbed to no. 14 on the Billboard Hot 100, marking Petty’s first top 20 hit of the ’90s in the U.S. mainstream chart. The band’s cover of Something in the Air also appeared as a single but missed the Billboard Hot 100. It did make Billboard’s Main Stream Rock chart, reaching no. 19. Written by singer-songwriter Speedy Keen, the tune was first recorded by short-lived British band Thunderclap Newman and became a no. 1 hit in the UK in mid-1969. Before joining Thunderclap Newman, Keen was the driver of none other than Pete Townshend and shared an apartment with him in London. Keen also wrote Armenia in the Sky, a tune The Who included on their third studio album The Who Sell Out from December 1967. Townshend was the catalyst behind the formation of Thunderclap Newman and also produced Something in the Air and the band’s only album Hollywood Dream released in September 1970.

Credence Clearwater Revival/Have You Ever Seen the Rain

This brings me to another band and song I’ve dug for many years: Creedence Clearwater Revival and Have You Ever Seen the Rain. In my book, it’s a great timeless tune that holds up well, even though I literally must have listened to it more than 100 times. In fact, it’s running in the background as I’m writing this! 🙂 Like most CCR songs, Have You Ever Seen the Rain was penned by the great John Fogerty. CCR were on a roll when this came out. The tune was included on their sixth studio album Pendulum released in December 1970, only five months after predecessor Cosmo’s Factory. It’s perhaps my favorite CCR song, together with Hey Tonight, Proud Mary and Born on the Bayou.

The Animals/I’m Crying

Am I already again at the point to wrap up this post, just when I’m having so much fun? I guess this means it’s time to shed some tears! 🙂 But, don’t worry, since I started The Sunday Six this January, it’s become my favorite recurring feature, so there will be more. The final tune for this installment shall belong to The Animals. When I first learned about them as a teenager, essentially, I only knew The House of the Rising Sun, their signature song and biggest hit that topped the charts in the U.S., UK and Canada in 1964. While it’s a great tune, there’s much more to the British rock band that was fronted by one of the best white blues vocalists, Eric Burdon, who turned 80 just a few days ago. Which brings me to I’m Crying, a gem that first appeared as a single in September 1964. Co-written by Burdon and the band’s first keyboarder Alan Price, the tune was also included on The Animals’ second studio album The Animals on Tour from February 1965 – a somewhat misleading title for a record that didn’t include any live tracks. I always liked the band’s raw bluesy guitar sound combined with Price’s organ and Burdon’s distinct, deep vocals.

Sources: Wikipedia; Lou Donaldson website; Oh My Rockness; Stereogum; YouTube

Clips & Pix: The Doors/Riders on the Storm

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.

Sources: Wikipedia; YouTube

The Venues: Hollywood Bowl

I rarely blog back-to-back in the same category, but yesterday’s post about Red Rocks Amphitheatre was so much fun that I decided to do another one. And the Hollywood Bowl certainly isn’t just any place, at least not in my book.

The first time I heard of the legendary Los Angeles entertainment venue was in connection with The Beatles at the Hollywood Bowl. It was one of the very first Beatles albums I got on vinyl. I must have been around 12 years at the time. I still own that copy!

Then, in 1980 as a 14-year-old, I got to visit the actual venue (though not for a concert) during a summer vacation in the U.S., which included L.A. – my first visit to this country. Also my very first time on an airplane! I still have so many vivid memories about this trip. Seeing the Bowl where The Beatles once played remains one of them.

I suppose the trip planted the seed that led me to come back years later to study in America and eventually stay here for good. My girlfriend I met during my studies, who I’m happy to call my wife for now 20-plus years, also had something to do with it! 🙂

Back to the Hollywood Bowl and a bit of history before we get to the ultimate thrill. It all started 101 years ago in 1919 when the Theatre Arts Alliance asked William Reed and his son H. Ellis Reed to find a suitable location for outdoor performances. After the Reeds found and selected the natural amphitheater because of its amazing acoustics and convenient proximity to downtown Hollywood, the Community Park and Art Association began construction of the facility.

The Bowl began as a community space rather than a privately owned venue. The first events were held there in 1921. Proceeds from the early performances were used to finance construction of new elements, such as a stage, seating and background, which were added in 1922, 1923 and 1924, respectively. Initially, the Bowl served as a venue for concerts by the Los Angeles Philharmonic, as well as a community space for Easter services, the Hollywood Community Chorus and younger musicians including children.

In 1926, the first band shell was constructed but it was considered unacceptable from both a visual and an acoustics standpoint. Lloyd Wright came up with the now-familiar concentric ring motif and the 120-degree arc in 1928. But his wooden construction was destroyed by water damage and replaced the following year by a shell with a transite skin over a metal frame. That structure stood until 2003 and evidently was the one I saw in 1980.

In the early ’80s an inner shell made from large cardboard tubes that had been there since the ’70s to improve the acoustics was replaced by large fiberglass spheres designed by Frank Gehry. Eventually, in 2003, the 1929 outer shell was replaced with a new, somewhat larger, acoustically improved shell. Initially, a curtain served as a backdrop until a proper back wall had been constructed, which was first revealed in 2005. I suppose that’s the structure that stands to this day.

Now on to the real fun. Those who’ve visited my blog more frequently won’t be surprised what comes next: The Rolling Stones – just kidding! I love the Stones, but the first clip must capture my favorite band of all time. And, yes, there is historic YouTube footage.

The Beatles played the Hollywood Bowl twice, in August 1964 and in August 1965. Here’s A Hard Day’s Night, the title track of the corresponding studio album, which as usually was credited to John Lennon and Paul McCartney. This version is from the August 23, 1964 gig, an impressive illustration of “Beatlemania.” According to The Beatles Bible, all 18,700 tickets had been sold for the show. A Hard Day’s Night was the second-to-last tune of their 12-song set.

Are you ready to set the night on fire? On July 1968, The Doors did just that. Their performance that evening was captured on Live at the Hollywood Bowl, the band’s third official live album released in May 1987. A VHS version of the concert also appeared at the time. In October 2012, the full version of the show came out on CD, LP and Blu-ray as Live at the Bowl ’68. Credited to all four members of The Doors, Light My Fire originally was included on the band’s eponymous debut album from January 1967. Man, watching this footage gives me goosebumps, especially Ray Manzarek’s extended organ solo – even though by definition it doesn’t have any vocals! 🙂

Let’s get it on with a nostalgic piece, as Elton John called it during his September 7, 1973 gig at the Hollywood Bowl: Crocodile Rock. That show was also filmed, for inclusion in a documentary by English film director Bryan Forbes, Elton John and Bernie Taupin Say Goodbye Norma Jean and Other Things. Co-written by John and his lyricist Bernie Taupin, Crocodile Rock was first recorded for John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player, which came out in January 1973. Now, that’s the Elton John I dig. You also gotta love the guy behind John in the crocodile outfit playing what looks like a Vox Continental keyboard!

Before jumping to the current century, let’s go to October 2, 1991, and a gig by Sting during his Soul Cages Tour that year. The show at the Hollywood Bowl also coincided with his 40th birthday. Here’s The Soul Cages, the great title track from Sting’s third solo release that appeared in January 1991. Like all songs on the album, the tune was written by him.

Next are two clips from the current century, for which it is easier to find YouTube footage. Let’s kick it off with The Rolling Stones and what according to Setlist.fm looks like the first of two dates played at the venue in 2005: November 6. There was another show there two days later. Both concerts were part of the Bigger Bang Tour. I caught the Stones for the first time during that tour on October 1, 2005 at Hersheypark Stadium in Hershey, Pa. I realize Satisfaction is the most overplayed Stones song, but unfortunately, it was the only complete clip I could find from their Bowl gig. Co-written by Mick Jagger and Keith Richards, (I Can’t Get No) Satisfaction became the first no. 1 for the Stones in 1965 and was also included on the American version of their fourth studio album Out of Our Heads released in July of the same year. Hey, it may be over-exposed, but it’s still one of the coolest guitar riffs in rock & roll! When watching Jagger in this footage I noticed he was still moving like this when I saw the Stones again last year – unbelievable!

The final clip I reserved for an artist who has been near and dear to me for many years. Unfortunately, he’s no longer with us: Tom Petty. The following footage is from his final show with The Heartbreakers. This gig at the Hollywood Bowl on September 25, 2017 marked the triumphant finale of the band’s 40th anniversary tour. You can watch the entire concert here. I’ve done it twice and have to say it’s just amazing. For this post I’d like to highlight the final two songs of the night: You Wreck Me from Petty’s second solo album Wildflowers (November 1994) and the classic American Girl, off the November 1976 eponymous debut by Tom Petty and the Heartbreakers.

Sources: Wikipedia; The Beatles Bible; Setlist.fm; YouTube

The Hardware: Vox Continental

When I listened to Light My Fire by The Doors the other day, I was reminded of Ray Manzarek’s distinct keyboard on that tune, a sound I’ve always loved. It also came to me that I hadn’t done a post on important music hardware in a long time – two good reasons to write about the Vox Continental, a handy and cool-looking organ that became popular in the ’60s and can be heard on many songs released during that decade and thereafter.

For those who are visiting my blog for the first time or haven’t seen one of my previous hardware posts, I’d like to reiterate that I’m not an engineering guy; in fact, having two left hands, it’s more of the opposite! As such, one could say there’s a certain degree of irony that I write about the subject. But while I’m not exactly a techie and therefore don’t go deeply into the technical aspects, music gear can still excite me like a little child, primarily from a sound and visual perspective. With that disclaimer out of the way, let’s get to it.

Jennings Organ Company founder Thomas Walter Jennings at his Dartford factory in Kent, England in 1964

Prior to the Vox Continental’s introduction in England in 1962, the Vox brand name had been synonymous with guitar amplifiers, especially the Vox AC30 used by The Shadows, The Beatles, The Rolling Stones, The Kinks and other ’60s bands. However, as its name already indicates, the company that made the amps, The Jennings Organ Company founded by Thomas Walter Jennings in Kent, England after the Second World War and renamed Jennings Musical Industries (JMI) in 1957, started out as a manufacturer of home and church organs. Their first successful product was the Univox, an electronic keyboard similar to the Clavioline.

The Vox Continental is a so-called combo keyboard. Does it come with French fries and a Coke you might ask? Well, not quite. Combo actually is another (British) term for band. Okay, it’s a keyboard for a band, but so is a Hammond or a regular piano, so what’s the big deal? While pianos were frequently used in the recording studio, amplifying their sound during live performances was tricky. Hammond organs like the mighty B3 certainly could meet volume requirements, but they were pretty clunky. A compact combo keyboard like the Vox Continental offered a great solution. It also looked pretty cool!

The electronic inside of a Vox Continental

The Vox Continental was made possible by the invention of transistors that were less heavy and smaller than the electron tubes used in big electronic organs. The handy keyboard came in two basic variations, a single manual and a dual manual. One of the Continental’s distinct visual features is its reversed colored keys: what on a regular keyboard are the white keys are black, while the traditionally black keys are white (see image on top of the post). The top part covering the electronics with its orange or grey finish stands out as well. The curving and removable chrome stand is another distinct feature. Without a bass section, no bass pedals, no percussion, no sustain and only a single-speed vibrato, the Vox Continental was fairly archaic. Yet because of its sound and the aforementioned design features, the instrument became very popular.

Initially, Vox Continental keyboards were made at two plants in Kent: JMI’s facility in Dartford and the Vox Sound plant in Erith. In 1964, Jennings signed a licensing deal with the Thomas Organ Company in the U.S. JMI and Thomas subsequently also formed EME (Elletronica Musicale Europea), a joint venture with Italian guitar and keyboard manufacturer EKO. With the advent of the Moog and other more elaborate keyboards by the early ’70s, the appeal of Vox Continental organs started to decrease, and production was phased out. While it continued to have a significant following and remains sought-after, it took until September 2017 that Vox revived the Continental with an updated version. Since 1992, the company has been owned by Japanese electronics corporation Korg.

As noted at the outset, the Vox Continental is featured in many songs released during the ’60s and thereafter. This post wouldn’t be complete without some examples.

The House Of The Rising Sun (The Animals)

The version of the traditional by The Animals featuring Alan Price on keys is one of the most compelling showcases of the Vox Continental, in my humble opinion as somebody who isn’t a keyboard player. Sure, the sound isn’t as fat and growling as the Hammond B3; in fact, it’s rather thin by comparison, and yet it still sounds awesome at least to my ears!

Because (The Dave Clark Five)

Written by Dave Clark, Because was recorded for the band’s third U.S. studio album American Tour from August 1964. The song also appeared as a single and became the band’s second most successful hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Here’s a nice clip of an appearance on American music variety TV program Shindig! from 1965. While it is much less dominant than in The House Of The Rising Sun, one can nicely see Mike Smith playing the organ.

I’m A Believer (The Monkees)

I’m A Believer appeared on More Of The Monkees, the band’s second studio album released in January 1967, and as the record’s lead single in November the previous year. Written by Neil Diamond, the song became the band’s most successful hit, topping the charts in many countries, including the U.S., Canada, U.K., Australia and Germany, among others. While Peter Tork had known how to play keyboards, the keyboarder on the studio recording was Stan Free. Initially formed a musical acting quartet for a TV series, all of The Monkees eventually learned how to play their instruments.

Light My Fire (The Doors)

Credited to all members of the band, Light My Fire was included on The Doors’ eponymous debut album issued in January 1967. It also became the record’s second single released in April that year. It was the first of their two no. 1 U.S. hits on the Billboard Hot 100. The tune is another great example where the Vox Continental is quite dominant.

In-A-Gadda-Da-Vida (Iron Butterfly)

In-A-Gadda-Da-Vida is the title track of Iron Butterfly’s second studio album from June 1968. It was written by the band’s lead vocalist and keyboarder Doug Ingle. Clocking at more than 17 minutes, the track makes up the record’s entire side B. Iron Butterfly also released a single version, which was shortened to just under three minutes. Here’s a clip of the track in its entire mighty.

Watching The Detectives (Elvis Costello)

After production of Vox Continental keyboards had seized, the combo organs remained popular, as previously noted. One of their champions was Steve Nieve, who among others became known as keyboarder in Elvis Costello’s backing band The Attractions. Here’s a clip of Watching The Detectives from Costello’s debut album My Aim Is True, released in July 1977. Written by Costello, the tune became his first hit, peaking at no. 15 on the U.K. Official Singles Chart.

Don’t Do Me Like That (Tom Petty And The Heartbreakers)

Don’t Do Me Like That, the last song I’d like to highlight in this post, is another post ’60s example featuring a Vox Continental, played by Benmont Tench in this case. It appears on Damn The Torpedoes, the third studio album by Tom Petty And The Heartbreakers from October 1979. In November that year, the song also came out as the record’s lead single. Written by Petty, it became the band’s first top 10 hit in the U.S., reaching no. 10 on the Billboard Hot 100.

Sources: Wikipedia, Engineering And Technology History Wiki (ETHW), Combo Organ Heaven, YouTube

Memorable Rock & Roll Hall Of Fame Induction Performances

Last evening’s HBO broadcast of the 2018 Rock & Roll Hall Of Fame induction ceremony gave me the idea to take a look at previous inductions and highlight some of the performances there. I’m not getting into the nomination and selection process, the judges, which artists who currently aren’t in should be inducted, etc. – topics that undoubtedly will continue to be discussed. This post is about some of the great music that was performed at the induction festivities over the years.

I’d like to start with the 1999 induction ceremony that featured a great performance of In The Midnight Hour by Wilson Pickett and Bruce Springsteen, one of the inductees that year. They were backed by The E Street Band. Springsteen, a huge fan of Pickett, frequently performs some of the soul legend’s tunes during his shows. Recorded at Stax studios in Memphis, the song was initially released in June 1965 and became Pickett’s first hit for Atlantic Records. He co-wrote the tune with Stax session guitarist Steve Cropper.

In 1993, The Doors were inducted into the Hall. The band’s then-living original members Ray Manzarek (keyboards), Robbie Krieger (guitar) and John Densmore (drums) teamed up with Pearl Jam lead vocalist Eddie Vedder, who did a fine job singing the parts of the charismatic Jim Morrison. Here’s Light My Fire, one of my favorite Doors tunes that appeared on their eponymous debut album from January 1967. Like each of the original songs on the band’s first two records, the tune was credited to all members.

The 1993 inductees also included another legendary band: Cream. Jack Bruce (lead vocals, bass), Eric Clapton (guitar) and Ginger Baker (drums) reunited for the occasion. One of the songs they played was the terrific Sunshine Of Your Love from Cream’s second studio album Disraeli Gears, released in November 1967. The tune was co-written by Bruce, Clapton and Pete Brown. To this day I think Sunshine has one of the coolest guitar riffs in rock.

Among the 2018 inductees were The Moody Blues, a band whose second studio album Days Of Future Passed became one of the first successful concept albums and put them on the map as pioneers of progressive rock. They played the mighty Nights In White Satin from that record, but the first tune they performed was I’m Just A Singer (In A Rock & Roll Band). That song is from their seventh studio album Seventh Sojourn, which appeared in October 1972. It was written by John Lodge (vocals, bass, guitar), who together with Justin Hayward (lead vocals, guitar) and Graeme Edge (drums) is one of the remaining original members who performed at the induction.

Last but not least, here is a clip of what may be the best Rock & Roll Hall Of Fame performance to date: While My Guitar Gently Weeps, played during the induction of George Harrison as a solo artist in 2004. The performance featured Tom Petty, Jeff Lynne, Steve Winwood, Dhani Harrison and Prince, among others. It will forever be remembered for Prince’s incredible guitar solo. While My Guitar Gently Weeps appeared on the “White Album,” the ninth studio album by The Beatles from November 1968.

Source: Wikipedia, Legacy.com, YouTube

When Covers Are Just As Much Fun As Originals

Lately, I’m somehow in the mood of compiling lists: first car songs, then train tunes and now remakes. Given how much I enjoy listening to great covers, it’s a surprise I didn’t do this list first!

In general, remakes I like fall into two categories: A version that changes the character of a song, essentially turning it into a new tune. Perhaps the best example I can think of is Joe Cocker’s version of The Beatles’ With a Little Help From My Friends. Or it simply can be a remake of a tune that stays true to its original – nothing wrong with that, especially if it’s a great song! One terrific example I came across recently is Roger McGuinn’s cover of If I Needed Someone, one of my favorite Beatles tunes. I know, again the Fab Four – I just can’t help it!

Obviously, it won’t come as a big surprise that both of the above tunes are on my list. Here is the entire compilation.

With a Little Help From My Friends/Joe Cocker

Not only credited to John Lennon and Paul McCartney by actually also written collaboratively by the two, With a Little Help From My Friends first appeared in May 1967 on Sgt. Pepper’s Lonely Hearts Club Band. It was one of only a handful of Beatles tunes featuring Ringo Starr on lead vocals. Cocker’s version came out two years later as the title song of his debut album.

Love Hurts/Nazareth

Written by American songwriter Boudleaux Bryant, Love Hurts was first recorded by The Everly Brothers in July 1960. In 1975, Scottish hard rock band Nazareth turned the tune into an epic power ballad, including it on their sixth studio album Hair of the Dog. It’s another great example of a remake that completely changed the character of the original tune.

Under the Boardwalk/John Mellencamp

Under the Boardwalk was first recorded by The Drifters and released as a single in June 1964. The song was created by songwriters Kenny Young and Arthur Resnick. Perhaps the best known cover of the tune is from The Rolling Stones, which was included on their second U.S. record 12 X 5 released in October 1964. While I like the Stones version, I think John Mellencamp did an even better remake for his 1999 studio album Rough Harvest.

Pinball Wizard/Elton John

Pinball Wizard is one of my all-time favorite tunes from The Who. Written by Pete Townsend, it was released as a single in March 1969 and also included on the Tommy album that appeared two months thereafter. The one thing I always felt about The Who’s version is that it ended somewhat prematurely. Enter Elton John and his dynamite, extended cover for the rock opera’s 1975 film adaption.

Stand By Me/John Lennon

One of the most beautiful ballads of the 60s, Stand By Me was written by Ben E. King, together with the songwriter powerhouse of Jerry Leiber and Mike Stoller. The tune was first released by King as a single in 1961 and also later included on his 1962 studio album Don’t Play That Song. One of my favorite remakes is John Lennon’s version, which he included on his sixth studio album Rock ‘n’ Roll released in February 1975.

If I Needed Someone/Roger McGuinn

Written by George Harrison, If I Needed Someone was included on The Beatles’ sixth studio album Rubber Soul from 1965. Harrison played his Rickenbacker 360/12 to record the tune, which he had first used the previous year during the motion picture A Hard Day’s Night. That’s where Roger McGuinn for the first time heard the beautiful sound of the 12-string electric guitar. He decided to use it for his own music, which resulted in The Byrds’ signature jingle jangle sound. Given this inspiration, it’s perhaps not a big surprise that McGuinn ended up recording a cover of the tune. It was included on his 2004 studio record Limited Edition.

Proud Mary/Ike & Tina Turner

Proud Mary was written by the great John Fogerty and first released by Creedence Clearwater Revival in early 1969, both as a single and on their second studio album Bayou Country. Then in 1971, Ike & Tina Turner recorded an amazing remake. It appeared as a single and was included on the album Working Together. The cover, which became their biggest hit, is another great example of how a remake can become a completely new song.

Light My Fire/José Feliciano

Credited to all four members of The Doors – Jim Morrison, Robbie Krieger, John Densmore and Ray Manzarek – Light My Fire appeared on the band’s eponymous debut album from January 1967. It was also released as a single in April that year. I’ve always loved the organ part on that tune. And then there is of course the cover from José Feliciano, which as a guitarist I appreciate in particular. It appeared on 1968’s Feliciano!, his fourth studio record. Feliciano’s laid-back jazzy style to play the tune is exceptionally beautiful.

Runaway/Bonnie Raitt

Runaway is one of my favorite early 60s pop tunes. Written by Del Shannon and keyboarder Max Crook, it was first released as a single by Shannon in February 1961. The song was also included on his debut studio album Runaway with Del Shannon, which appeared in June that year. Bonnie Raitt, who I’ve admired for many years as an exceptional guitarist and songwriter, recorded a fantastic remake for her 1977 studio album Sweet Forgiveness.  I was fortunate enough to see this amazing lady last year. She is still on top of her game!

Hard to Handle/The Black Crowes

Hard to Handle is one of the many great tunes from Otis Redding, who co-wrote it with Al Bell and Allen Jones. It was released in June 1968, six months after Redding’s untimely death at age 26 in a plane crash. In 1990, The Black Crowes recorded a fantastic rock version of the song for their debut studio album Shake Your Money Maker, scoring their first no. 1 single on the Billboard Album Rock Tracks. It is perhaps the tune’s best known cover.

Sources: Wikipedia; The Beatles Bible; YouTube