The Sunday Six

Celebrating music with six random songs at a time

It’s Sunday and we’ve made it through another week. This means the time has come for a new installment of The Sunday Six, my weekly recurring feature that randomly explores music, six tunes at a time.

Delvon Lamarr Organ Trio/Call You Mom

This week, I’d like to open the post with groovy instrumental music by Delvon Lamarr Organ Trio. Featuring Hammond B-3 organist Delvon Lamarr, guitarist Jimmy James and drummer Dan Weiss, the group blends organ jazz with funk and soul. I “found” and first covered them in February this year. Here’s an excerpt from their website for additional color: Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. To date, Delvon Lamarr Organ Trio have released three albums. Call You Mom, co-written by Lamarr (credited as Delvon Dumas) and James (credited as Jabrille Williams), is a track from their most recent one, I Told You So, which came out on January 19, 2021.

Sting & Shaggy/Just One Lifetime

Let’s stay on the groovy side with a reggae tune by Sting and Jamaican pop reggae fusion artist Shaggy. When I learned three years ago the two had teamed up for a collaboration album, 44/876 released in April 2018, I was a bit surprised at first. But given Sting’s versatility and previous reggae groove-influenced Police tunes like Roxanne and Walking On The Moon, it quickly made sense to me. Here’s Just One Lifetime, co-written by Sting, Shaggy (credited as Orville Burrell), Shane Hoosong, Shaun Pizzonia and Rohan Rankine. This is one seductive song that’s perfect for summer.

The Lovin’ Spoonful/Summer in the City

Speaking of summer, here’s one of my favorite summer tunes from the ’60s: Summer in the City by The Lovin’ Spoonful. It must have been 30 or 40 years ago when I first heard this song on the radio in Germany – most likely on an oldies show that aired on Sunday nights on my favorite station SWF3 (now SWR3). While I can’t recall the year, what I surely remember is that I loved this tune right away. Co-written by band members John Sebastian and Steve Boone, together with John’s brother Mark Sebastian, Summer in the City first appeared in July 1966 as the lead single of The Lovin’ Spoonful’s fourth studio album Hums of the Lovin’ Spoonful released in November of the same year. It became their biggest hit, topping the Billboard Hot 100 and the charts in Canada, surging to no. 3 in New Zealand, and reaching no. 8 in the UK. After disbanding in 1969 and a short reunion in 1979, founding members Joe Butler and Steve Boone revived the band with a new line-up in 1991. The Lovin’ Spoonful exist to this day, with Butler and Boone still being part of the current incarnation.

Katrina and the Waves/Walking on Sunshine

And since we’re in the middle of summer, let’s throw in another great tune associated with the season: Walking on Sunshine by Katrina and the Waves. Interestingly, the catchy song went unnoticed when it first appeared as the title track of their debut album in December 1983. Things changed dramatically with a re-recorded version that became the lead single of the band’s eponymous third studio album from March 1985. Walking on Sunshine turned out to be their biggest hit peaking at no. 9 and no. 8 in the U.S. and the UK, respectively. Chart success was even bigger in Ireland (no. 2), Canada (no. 3) and Australia (no. 4). I still remember the tune seemed everywhere on the radio in Germany at the time. Walking on Sunshine was written by Kimberley Rew, the group’s lead guitarist. After 10 albums Katrina and the Waves dissolved in 1999, following the departure of vocalist and rhythm guitarist Katrina Leskanich. This is one fun tune!

Yes/Roundabout

I’ve never gotten very much into prog rock, in part because I found some of it not very accessible. I can also get impatient with tracks that last six, seven or even more than eight minutes because of extended instrumental sections. One of the few exceptions are Yes. Initially, the British band entered my radar screen with Owner of a Lonely Heart, their hit single from October 1983, which of course sounds much more like ’80s pop rock than progressive rock. While I loved that tune right away, it took me some time to explore and fully warm to the band’s earlier output. And, to be fully transparent, my knowledge of their music is still quite spotty. Nowadays, one of my favorite Yes tunes is Roundabout, in all of its 8-minute-plus mighty! 🙂 Co-written by lead vocalist Jon Anderson and guitarist Steve Howe, the track appeared on the band’s fourth studio album Fragile from November 1971. Yes, who were inducted into the Rock and Roll Hall of Fame in April 2017, remain active to this day, with Howe as the only original member. In fact, just a few days ago, Yes announced a new studio album, The Quest, scheduled for October 1 – the first in seven years, as reported by Ultimate Classic Rock and other music news outlets.

Hurry/It’s Dangerous

Let’s wrap up things with some melodic contemporary indie rock by a band from Philadelphia I recently discovered as part of my Best of What’s New new music feature: It’s Dangerous by Hurry. The band originally started as a solo project by principal songwriter Matt Scottoline. Borrowing from my previous post, according to his Apple Music profile, Scottoline, the bassist of Philly EMO band Everyone Everywhere, spent his free time writing and recording songs on his own, delving further into power pop and ’90s guitar rock than his main band ever did…In 2012, he released an eight-song self-titled record under the Hurry name, playing all the instruments himself. When Everyone Everywhere began to cut back on their schedule in the early 2010s, Scottoline decided to form an actual band, recruiting drummer Rob DeCarolis and a rotating cadre of friends on bass to play live shows. In addition to Scottoline and DeCarolis, Hurry’s current line-up includes DeCarolis’ brother Joe DeCarolis (bass) and Justin Fox (guitar). It’s Dangerous, co-written by Scottoline and Chris Farren, is the opener of the band’s new album A Fake Idea released on June 25.

Sources: Wikipedia; Delvon Lamarr Organ Trio website; Ultimate Classic Rock; YouTube

Happy Birthday and Peace & Love

A playlist to celebrate Ringo Starr’s 81st birthday

Today, Ringo Starr has turned 81 years old. It’s so great to see he’s still going strong! I just love the man and not only because he was the drummer of my all-time favorite band The Beatles. Ringo strikes me as a genuinely nice guy with a great sense of humor, who despite his fame comes across as a fairly regular person. A guy you’d love to hang out with. And somebody every band would want to have as a member since it always seems to be about the group, never about him.

Ringo is no technical virtuoso, which I’ve seen him acknowledge in interviews. I think his honesty and humbleness say a lot about him. And yet he’s held in high esteem by other professional drummers for his creative drumming style. That’s especially the case when it comes to certain Beatles songs where you can figure out the tune just by listening to Ringo’s drum part. When you think about it, that’s pretty cool!

But it’s perhaps the concept of Ringo’s All-Starr Band, which best illustrates what he’s all about. Yes, they play some songs from his solo period and his time with The Beatles, but they also perform tunes from the other members. It’s the “all” in the band’s name that matters. I so much hope I’ll finally see Ringo for the first time with the latest incarnation of the All-Starr Band at New York’s Beacon Theatre in June 2022. Meanwhile, let’s celebrate his 81st birthday with a selection of tunes spanning his 50-year-plus solo career.

It Don’t Come Easy – non-album single, April 1971

PhotographRingo, November 1973

No No SongGoodnight Vienna, November 1974

Wrack My BrainStop and Smell the Roses, October 1981

In My CarOld Wave, June 1983

Drift Away (featuring Tom Petty, Steven Tyler and Alanis Morissette) – Vertical Man, June 1998

Walk With You (duet with Paul McCartney) – Y Not, January 2010)

Postcards From ParadisePostcards From Paradise, March 2015

We’re on the Road AgainGive More Love (September 2017)

Waiting for the Tide to TurnZoom In (EP), March 2021

And, remember, wherever you are at noon today, Peace and Love!

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Here we are on another Sunday to explore the diversity of music six tunes at a time. Today marks the official start of summer and, boy, it’s certainly hot in my neck of the woods! But I take sun and heat over a dark and cold winter day any day. Regardless of the weather in your area and how you may feel about it, I hope you find something you enjoy among my picks for this new installment of The Sunday Six.

Jesse Colin Young/Song for Juli

Starting us off this time is a beautiful, largely instrumental track by Jesse Colin Young, co-founder and lead vocalist of The Youngbloods. When I stumbled across Song for Juli the other day, I immediately felt it would make for a nice Sunday Six opener. If you’ve read some of the weekly feature’s previous installments, you may have noticed my preference to start these posts on a softer note. After the dissolution of The Youngbloods in 1972, Jesse Colin Young (born Perry Miller) resumed his solo career he had first started in the early ’60s. That pre-Youngbloods phase had yielded two solo albums: The Soul of a City Boy (April 1964) and Young Blood (March 1965). Song for Juli is the title track of Young’s fourth solo album, a folk rock-oriented record that appeared in October 1973. The tune about his first child Juli was co-written by Young and the child’s mother Suzie Young, Young’s first wife. Young who last November turned 79 remains active and has released 13 additional albums to date. His most recent one is titled Dreamers and came out in February 2019.

The Turtles/Wanderin’ Kind

Every time I hear a song by The Turtles, I’m amazed by their great harmony singing. That being said, their biggest hit Happy Together, which I featured in a previous Sunday Six installment, is the only tune I’ve known by name, though I’ve heard some of their other songs. Well, now I can add Wanderin’ Kind, the opener of The Turtles’ debut album It Ain’t Me Babe from October 1965. The tune is one of the record’s four original tracks that were all written or co-written by the band’s lead vocalist and keyboarder Howard Kaylan. Fun fact from Wikipedia: Since at the time The Turtles recorded their first album their members were still underage, they required written permission from their parents to pursue the project. During their original five-year run from 1965 to 1970, The Turtles released six studio albums. In 1983, Kaylan and Turtles co-founder and guitarist Mark Vollman revived the band and have since toured as The Turtles…Featuring Flo and Eddie. They remain active and are planning to go on the road in the U.S. later this summer as part of the Happy Together Tour 2021.

Toto/Pamela

The other day, fellow blogger Music Enthusiast included Toto in an ’80s post, reminding me of a band I’ve listened to on and off since 1982 when they released their hugely successful fourth studio album Toto IV. Pamela is the opener of The Seventh One, which is, well, Toto’s seventh studio album that came out in March 1988. The tune was co-written by keyboarder David Paich and lead vocalist Joseph Williams. Among the features I’ve always dug about Pamela are Jeff Porcaro’s drumming and the cool breaks. Sadly, it turned out to be Porcaro’s final regular studio album with Toto. He died on August 5, 1992 at the age of 38 from a heart attack caused by coronary artery disease resulting from cocaine use. Following Toto’s second hiatus that started in October 2019 after the end of their last 40 Trips Around The Sun tour, they are back in business as of October 2020. A live album titled With a Little Help From My Friends, which captures a special lockdown performance from November 2020, is set to appear on June 25. Toto have also announced their next tour, The Dogz of Oz World Tour. Currently confirmed dates are for Europe starting in Bonn, Germany in July 2022. Paich and Williams are still part of the band’s current line-up, as is guitarist Steve Lukather, Toto’s only founding member who has continuously played in all of their incarnations.

Lord Huron/Mine Forever

Kudos to fellow blogger Angie from The Diversity of Classic Rock, who recently did a great feature on new music that includes Lord Huron, one of her picks that got my immediate attention. The indie folk rock band was initially founded in Los Angeles in 2010 as a solo project of guitarist and vocalist Ben Schneider. After recording and releasing a few EPs all by himself, Schneider started adding members for support during live shows and Lord Huron’s first full-length album Lonesome Dreams from October 2012. Apart from Schneider, the band’s current line-up features Tom Renaud (guitar), Miguel Briseño (bass, keyboards) and Mark Barry (drums, percussion). Mine Forever, written by Schneider, is a track from their new album Long Lost released on May 21. The tune perfectly illustrates what attracted me to Lord Huron, which is their amazing moody sound of layered voices, jangly guitars and expanded reverb. It has a cinematic feel to it. Check it out!

Bob Marley and the Wailers/Is This Love

The first time I heard of Bob Marley must have been on the radio during my teenage years back in Germany. I assume it was Could You Be Loved, his hit single from 1980, which got lots of play on the airways. What I remember much better is how I further got into his music. It was the excellent live album Babylon by Bus, which my best friend had gotten around the same time. Released in November 1978, the double LP captured performances by Bob Marley and the Wailers, mostly from three concerts in Paris in late June 1978. One of my favorite tracks from that album has always been Is This Love. Written by Marley, the tune first appeared on Kaya, the tenth studio album by Marley and his band, which came out in March 1978. There’s just something infectious about reggae. That groove automatically makes me move. Unfortunately, Bob Marley passed away from cancer on May 11, 1981 at the age of 36.

U2/Vertigo

The time has come again to wrap up another Sunday Six. As has kind of become tradition, I’d like to do so with a rocker: Vertigo by U2. I first got into the Irish rock band in the mid-’80s with their fourth studio album The Unforgettable Fire. From there, if I recall it correctly, I went to the live album Under a Bloody Red Sky, which in turn led me to U2’s earlier records. My favorite The Joshua Tree from March 1987 was still nearly three years away. After the follow-on Rattle and Hum, released in October 1988, I became more of a casual U2 listener. I think they have had decent songs throughout their career. Vertigo, the lead single from the band’s 11th studio album How to Dismantle an Atomic Bomb from November 2004, was an acquired taste. The Edge’s more straight hard rock playing was quite a departure from what I consider his signature sound on The Unforgettable Fire and The Joshua Tree album. At the same time, I respect that U2 don’t want to do the same music over and over again. While Vertigo hasn’t become my favorite U2 tune, I’ve come around and think it’s a pretty good song.

Sources: Wikipedia; The Turtles website; YouTube

My Playlist: Bob Marley

In my case, reggae is a bit like jazz: I don’t dislike it but listen to it infrequently. When I do, the artist I keep coming back to is Bob Marley. My best friend who I’m fortunate to still call that way to this day got me into Marley with Babylon by Bus. It must have been around 1980 when he bought that excellent live album by Bob Marley and the Wailers. I recorded the double-LP right away on music cassette and it quickly became a favorite. Since I didn’t throw out my MCs and don’t think I ever will, the tape must still be floating around somewhere.

Bob Marley was born as Robert Nesta Marley on the farm of his maternal grandfather in Nine Mile, Saint Ann Parish, Jamaica on February 6, 1945. While his father Norval Sinclair Marley provided financial support, Bob rarely saw him. Two years after Norval’s death, his mother Cedella Malcolm moved with then 12-year-old Bob to Trenchtown, a low-income community in the Jamaican capital of Kingston. There, Cedella had a daughter with Thadeus Livingston, the father of Neville Livingston who later became known as Bunny Wailer.

Bob Marley

In the late 1950s, a new music genre called ska became popular in Jamaica, combining elements of Caribbean music with American jazz and R&B. By the mid-’60s, ska evolved into rock steady, the predecessor to reggae. The main characteristic feature all three music styles share is the rhythmic accentuation on the offbeat. Based on my understanding, one difference is tempo. While ska generally is fairly upbeat, rock steady has a slower beat, which tends to be further slowed down in reggae. It is that laid back groove of the latter I particularly dig.

In 1963, Bob Marley and Neville Livingston (Bunny Wailer) started taking vocal lessons with local singer Joe Higgs who introduced them to Winston Hubert McIntosh, who became known as Peter Tosh. Higgs also taught Marley how to play the guitar. The trio formed the core of what would become The Wailers. They were soon joined by Junior Braithwaite (vocals), as well as backing vocalists Cherry Smith and Beverley Kelso.

Bob Marley, Peter Tosh, Beverley Kelso and Bunny Livingston 1964
From left: Bob Marley, Peter Tosh, Beverley Kelso and Bunny Wailer ca. 1964

In December 1963, The Wailers released their first single Simmer Down, backed by ska group The Skatalites. By February 1964, the tune had hit no. 1 in Jamaica. The band’s debut album The Wailing Wailers appeared in late 1965. Only released on the island, it essentially was a compilation of tunes previously recorded in 1964 and 1965. The Wailers’ first album released outside of Jamaica was their sophomore Soul Rebels from December 1970.

Following the depature of Peter Tosh and Bunny Wailer in 1974, Marley continued as Bob Marley and the Wailers, with Marley on lead vocals and rhythm guitar. The Wailers at that time featured Aston Barrett (bass), Carlton Barrett (drums, percussion), Bernard Harvey (piano, organ), Jean Roussel (keyboards) and Al Anderson (lead guitar), along with the so-called I-Threes, a backing vocal trio consisting of Marley’s wife Rita Marley, Judy Mowatt and Marcia Griffiths – quite an army!

Bob Marley and the Wailers live

In July 1977, a malignant melanoma lesion was found under one of Marley’s toe nails. Due to his Rastafari beliefs and out of concern it would disrupt touring, Marley did not follow the medical advice to have his toe amputated and instead chose less invasive treatment. Unfortunately, it is safe to assume his decision most likely cost him his life less than four years later. On May 11, 1981, Marley passed away at a U.S. hospital in Miami at the age of 36. The cancer had spread throughout his body.

Altogether, Marley released 11 studio and two live albums during his lifetime. His posthumous greatest hits compilation Legend from May 1984 became the best-selling reggae album of all time, with sales in the U.S. and worldwide exceeding 15 million and 28 million copies, respectively. At an estimated total of more than 75 million sold records, Marley also ranks as one of the best-selling artists. In 1994, he was inducted into the Rock and Roll Hall of Fame. Rolling Stone magazine ranked him at no. 11 on their 2007 list of the 100 Greatest Artists of All Time. Let’s get to some music!

I’m skipping Marley’s early stage, since I’m not well familiar with it. Instead, I’d like to kick things off with Stir It Up, a Bob Marley tune that was included on The Wailers’ fifth studio album Catch a Fire from April 1973. It proved to be a good title – together with a supporting tour of England and the U.S., the record helped put the band on the map internationally.

In October 1973, The Wailers released their sixth studio album Burnin’, the last with Bunny Wailer and Peter Tosh. The lead single was the Marley-penned I Shot the Sheriff, which reached no. 67 in the UK and didn’t chart in the U.S. at all – that is until 1974, when Eric Clapton scored a major international hit with a great cover version. It topped the charts in the U.S., Canada and New Zealand, and was a top 10 in the UK and various other European countries. Similar to Cream and The Rolling Stones, who elevated African-American blues artists in the ’60s, Clapton’s cover significantly raised Marley’s international profile.

One of Marley’s best-known tunes is No Woman, No Cry, which he initially recorded for Natty Dread, the first album released as Bob Marley and the Wailers in October 1974. According to Rolling Stone, which included the song at no. 37 in their 2011 list of 500 Greatest Songs of All Time, Marley gave the official songwriting credit to his friend Vincent Ford to help keep Ford’s Kingston soup kitchen running. The most popular version of that song appeared on Live!, the first live album by Marley and the band from December 1975, which captured a gig in London in July that year. That version also came out seperately as a single and peaked at no. 7 on the UK Singles Chart, marking the band’s first top 10 hit in Britain.

Rastaman Vibration was Bob Marley’s first album to crack the top 10 on the Billboard 200, climbing to no. 8. Released in April 1976, it reached no. 15 in the UK and no. 26 in New Zealand. Here’s the opener Positive Vibration, another tune credited to Marley’s friend Vincent Ford.

After an assassination attempt in Jamaica in December 1976, which wounded but did not kill him, Marley relocated to London where he recorded his ninth album. Exodus, released in June 1977, elevated Marley to international stardoom and received Gold certifications in the UK, U.S. and Canada. Here’s the infectious Jamming, which also became one of the album’s six singles.

Next up: A fantastic live version of Is This Love from the aforementioned Babylon by Bus, released in November 1978. Marley and his band first recorded the tune for their 10th studio album Kaya from March 1978. Similar to No Woman, No Cry, I think the live version of Is This Love is superior to the initial studio recording. It has always been one of my favorite tracks on Babylon by Bus.

At the end of 1978, Bob Marley made his first visit to Africa, including Kenya and Ethiopia, the spiritual home of Rastafari. He subsequently became a supporter of Pan-African solidarity. This is reflected on his 11th studio album Survival that came out in October 1979. One of the songs, Zimbabwe, celebrates the liberation of the country formerly called Rhodesia.

One of the grooviest Bob Marley tunes is Could You Be Loved, which blends reggae with dance music. It became one of his highest-charting singles in the UK where it peaked at no. 5. While in the U.S. it missed the Hot 100, it reached no. 6 on the Dance Clubs Songs, another Billboard chart. Could You Be Loved was included on Uprising from June 1980, the final album released during Marley’s lifetime.

I’d like to wrap up with two more tunes that came out after Marley’s death. The first is Buffalo Soldier from Confrontation, a studio album that appeared in May 1983. The record was a compilation of unreleased material and singles recorded during Marley’s lifetime. Buffalo Soldier is co-credited to Marley and Jamaican DJ, musician and reggae producer Noel George Williams, who was known as King Sporty. The tune became Marley’s highest-charting UK single peaking at no. 4. It was even more successful in New Zealand where it reached no. 3.

This bring me to the final tune and one of by favorites by Bob Marley: Iron Lion Zion. Originally, Marley wrote and first recorded that song in 1973 or 1974. But it was not released until October 1992, when it first appeared on a four-disc box set called Songs of Freedom. The version I’m featuring here is a remix that was included on Natural Mystic: The Legend Lives On, an addendum to the 1984 compilation Legend.

Sources: Wikipedia; Bob Marley website; Rolling Stone; YouTube

Playing for Change – Reimaging a World Connected by Music

The other day, I came across an amazing video clip featuring Robbie Robertson and a bunch of well-known and to me unknown, yet pretty talented other musicians from all over the world, playing The Weight, one of my favorite tunes by The Band. At first, I only paid attention to their great version of the iconic song and ignored the chiron at the beginning and the end of the clip that notes “Playing for Change.” Then, I noticed other video clips on YouTube, which were also put together by Playing for Change. Finally, I got curious. Who or what is Playing for Change?

It didn’t take long to find their website, which describes their story as follows: Playing For Change is a movement created to inspire and connect the world through music… Playing For Change was born in 2002 as a shared vision between co-founders, Mark Johnson and Whitney Kroenke, to hit the streets of America with a mobile recording studio and cameras in search of inspiration and the heartbeat of the people. This musical journey resulted in the award-winning documentary, “A Cinematic Discovery of Street Musicians.”

PFC Co-Founders
PFC co-founders Mark Johnson & Whitney Kroenke

In 2005, Mark Johnson was walking in Santa Monica, California, when he heard the voice of Roger Ridley singing “Stand By Me.” Roger had so much soul and conviction in his voice, and Mark approached him about performing “Stand By Me” as a Song Around the World. Roger agreed, and when Mark returned with recording equipment and cameras he asked Roger, “With a voice like yours, why are you singing on the streets?” Roger replied, “Man I’m in the Joy business, I come out to be with the people.” Ever since that day the Playing For Change crew has traveled the world recording and filming musicians, creating Songs Around the World, and building a global family.

Creating Songs Around the World inspired us to unite many of the greatest musicians we met throughout our journey and form the Playing For Change Band. These musicians come from many different countries and cultures, but through music they speak the same language. Songs Around The World The PFC Band is now touring the world and spreading the message of love and hope to audiences everywhere.

I realize the above may embellish things a bit; still, PFC sounds like an intriguing concept. They also created the Playing for Change Foundation, a separate nonprofit organization that is funded through donations and supports arts and music programs for children around the world. Based on the foundation’s website, it looks like a legitimate organization. That being said, this isn’t an endorsement. Let’s get back to what originally brought me here – recorded musicians all over the world performing the same song and everything being neatly put together in pretty compelling video clips. Before getting to the above mentioned Robbie Roberson clip, let’s take a look at some of PFC’s other videos.

Walking Blues (Son House)

Walking Blues was written and first recorded by delta blues musician Son House in 1930. Robert Johnson, Muddy Waters and other blues musicians recorded their own versions. This clip features Kevin Roosevelt Moore, aka Keb’ Mo’, along with other musicians from Argentina, South Africa, Spain and Morocco. Apparently, the clip was put together in honor of Johnson’s birthday. Check it out!

Soul Rebel (Bob Marley)

Written by Bob Marley, Soul Rebel is the opener to Soul Rebels, the second studio album by Bob Marley and the Wailers, which appeared in December 1970. This clip features Bunny Wailer, an original member of the Wailers, French guitarist Manu Chao and Jamaican reggae singer Bushman, along with other musicians from Jamaica, Spain, Morocco, Cuba, Argentina and the U.S. Feel free to groove along!

Listen to the Music (Tom Johnston)

Listen to the Music is a classic by The Doobie Brothers from their second studio album Toulouse Street released in July 1972. It was written by guitarist and vocalist Tom Johnston, one of the band’s founding members. Apart from Johnston and fellow Doobies Patrick Simmons and John McFee, the clip features other musicians from Venezuela, India, Brazil, Lebanon, Japan, Argentina, Senegal, Congo, South Africa and the U.S., including a gospel choir from Mississippi. This is just a joy to watch!

All Along the Watchtower (Bob Dylan)

While perhaps best known by The Jimi Hendrix Experience, All Along the Watchtower was written by Bob Dylan. He first recorded it for John Wesley Harding, his eighth studio album from December 1967. Check out this riveting take featuring Cyril Neville of The Neville Brothers, John Densmore of The Doors and Warren Haynes of The Allman Brothers Band and Gov’t Mule, along with other musicians from Italy, Zimbabwe, Lebanon, Niger, Ghana, India, Japan, Mali and the U.S. The latter include singers and dancers from the Lakota, a native American tribe that is part of the Great Sioux Nation. This is just mind-boggling to watch!

The Weight (Robbie Robertson)

And finally, here comes the crown jewel that inspired the post: The Weight written by Robbie Robertson, and first recorded for the debut album by The Band, Music From Big Pink, released in July 1968. This clip was co-produced by PFC co-founder Mark Johnson and Robbie’s son Sebastian Johnson to celebrate the 50th anniversary of the song. And it’s quite a star-studded affair: In addition to Robertson, the clip features Ringo Starr, blues guitarist Marcus King, roots rockers Larkin Poe and country-rock guitarist Lucas Nelson, along with other musicians from Italy, Japan, Democratic Republic of Congo, Kingdom of Bahrain, Spain, Argentina, Nepal and Jamaica – what a beautiful tribute to this great tune. Just watch the smile on Robertson’s face at the end. He knows how figgin’ awesome this came out – priceless!

PFC clearly has their go-to musicians in each country, and they’re not hobby musicians. Based on PFC’s website, all musicians are professionals who appear to be recognized within their countries. While as such one could argue PFC doesn’t seem to use amateur/ hobby musicians, it doesn’t take away anything of the concept’s beauty, in my view. Most of their videos capture songs performed by individual artists from different countries or by the PFC band. But it’s the song-around-the-world videos I find most impressive. You can watch all of PFC’s clips on their YouTube channel.

Sources: Wikipedia; Playing For Change website; Playing for Change Foundation website; YouTube

What I’ve Been Listening To: Predator Dub Assassins/Songs In The Key Of Sea

Until last Sunday, I had never heard of a band with the somewhat fearsome sounding name Predator Dub Assassins. I had seen them billed as a reggae outfit to perform at a free summer concert in the park type of event in Ocean Branch, N.J. Listening to Jamaican grooves on a lovely summer evening sounded like a great proposition, so I went there together with my wife.

We arrived a bit late and ended up sitting on a park bench a good deal away from the stage where it almost felt like listening to background music. At some point, I recognized Stir It Up and thought the lead vocalist sounded pretty similar to the great Bob Marley himself – pretty cool! We kept listening, and I liked the singer’s voice, as well as the sound and groove of the band, though I didn’t recognize any of the songs.

About 10 to 15 minutes prior to the end of the concert, we got up and moved a little closer toward the stage. Suddenly, the band started playing a cover of the Rolling Stones’ Miss You. While admittedly it’s not my favorite Stones tune, I thought giving it a reggae groove was a brilliant idea – frankly, to me it sounded better than the disco-influenced original! Finally, these guys had my full attention – I wish this would have happened a bit earlier, but between chatting with my wife and slurping an iced coffee, I guess I was a bit distracted!

Predator Dub Assassins
P-Dub (center) and Predator Dub Assassins

Before the band finished, the vocalist mentioned something about a new CD. So I looked them up in iTunes. And, there it was, Songs In The Key Of Sea (clever title!), along with numerous older albums and singles, going all the way back to 2005. Obviously, this meant I had just listened to a band that wasn’t exactly a newcomer. Now I was really curious!

It turns out that Predator Dub Assassins is one of the bands of Timothy Boyce, a.k.a. P-Dub. There isn’t exactly a ton of public information out on this artist, especially given how long he has been around. His Facebook page doesn’t reveal much. According to his website, P-Dub’s unique brand of reggae music fuses classic rock and pop elements with contemporary island sounds. Not only has he released more than 12 full-length albums since 2005, but he has also worked as an instrumentalist, singer, songwriter and producer with numerous other artists like Akon, Sean Kingston and Paul Wall – pretty much all names I admittedly don’t know.

P-Dub
Timothy Boyce, a.k.a. P-Dub

According to a recent interview he gave to Irie magazine, P-Dub initially got into music by working as a sound engineer at a local recording studio close to his home town of Sea Bright, N.J. The owner, a 55-year-old Kingstonian named George, attracted many musicians from the West Indies. Eventually, George ended up forming a band with P-Dub as the core member on vocals and guitar.

While I’ve listened to Bob Marley since my teenage years and always liked his music, I still wouldn’t consider reggae to be part of my core wheelhouse. So P-Dub is not the type of music I usually listen to. But once I started doing so, there was something that drew me in immediately. I think it’s his great voice and songs with seductive melodies and nice grooves – to me it’s the perfect summer music!

Unlike on most of P-Dub’s previous records, the material on Songs In The Key Of Sea goes beyond reggae and is a fusion of various styles. In a related note on his website, he explains, “I did things a lot differently this time. Instead of sticking to the musical rules of the reggae genre, I just let the songs do whatever they wanted. If a song popped out sounding funky, I let it. If a waltz popped its head in the door, I welcomed it in and this eclectic album resulted. The reggae is definitely in there. Its one of the main elements of the stew but you may have to look harder to find it on some tunes, while on others it’s more than obvious.”

Time for some music.

Things start off with Pleasant Picnic, which has a clear reggae feel to it – pretty much what I expected, based on the above concert and from listening into some of P-Dub’s earlier records.

Next up: Special. I like the funky groove. The beginning reminds me a bit of Listen To The Music by The Doobie Brothers, perhaps in part since I’m going to see these guys next week, so I guess they are on my mind.

Another tune I like is Good Day, a more acoustic-oriented song.

Chico Was The Man has an interesting groove. I also like the flute, which is a bit reminiscent of Jethro Tull.

On Your Prayer things become a more rock-oriented. To me this tune has a Lenny Kravitz vibe.

The last track I’d like to highlight is Rockets Are Supposed To Fly. In this song, P-Dub’s reggae influence becomes more obvious again.

Songs In The Key Of Sea was released on June 1. It is available on iTunes, Amazon and Bandcamp. According to P-Dub’s website, he wanted to create a 60s garage band approach to recording a reggae band. ” While some tracks are certainly more layered than others on this album, every single song was cut live in the studio, with the band playing together. I only used three mics on the drums and I let it bleed. I wound up loving the results and I think you will too.” Indeed!

Sources: Predator Dub Assassins website, Irie, YouTube

Sting And Shaggy Deliver Sunny Pop Reggae

Unlikely pairing of artists teams up for groovy collaboration album

Like probably most folks, initially, I was surprised when I learned a few months ago that Sting and Jamaican pop reggae fusion artist Shaggy had teamed up to record an album together. Then I thought if anything, the British artist has demonstrated plenty of versatility throughout his now 45-year-plus career. As early as during his days with The Police, this has included occasional reggae groove-influenced tunes, such as Roxanne and Walking On The Moon. While 44/876, which was released yesterday, is unlikely to become my favorite Sting album, after having listened to it a few times, I have to say there is something intriguing about it.

The album opens with the title track, a combination of the codes of each artist’s respective home country, the U.K. and Jamaica. In addition to Sting and Shaggy, who like on all other songs trade lines back and forth, the tune also features Jamaican artists Aidonia and reggae band Morgan Heritage. By the way, all tracks are credited to Sting, Shaggy and their backing musicians.

Next up: Morning Is Coming, one of catchiest tunes on the record. It was also released separately as a single on March 9. I think the voices of Sting and Shaggy match particularly well on this track, which has summer written all over it.

Don’t Make Me Wait is another lovely tune, which became the album’s lead single in January. Here is the official video. Check out that cool Gibson SG Sting is playing, though no Highway To Hell in there!

Just One Lifetime reminds us that we each only have one life to make a difference, so we should make it count: Just one lifetime/And there is only one/Yes there is only one/Just one life to live/Assuming that we’ll make it/We’ve no choice but to take it…It’s one of the few songs on the album, where political undertones come more to the forefront. The lyrics borrow from The Walrus and the Carpenter, a poem from 19th Century English novelist Lewis Carroll, which originally appeared in his novel Through The Looking Glass.

The final track I’d like to call out is Dreaming In The U.S.A., a tune I’m afraid could easily be misunderstood, similar to what happened in the ’80s with Bruce Springsteen’s Born In The U.S.A. While the lyrics praise America for its movies, music, stars and clothes, they don’t mean to endorse the country’s present situation – in fact, quite the opposite! During a recent interview with ABC Nightline, Sting said, “We’re both immigrants. He’s [Shaggy] from Jamaica, I’m from Britain. And we came here because we love this country, because we value what this country represents. We both feel that the things we value about America are under threat. So it’s really a love letter to the United States.”

So how did Sting and Shaggy meet? According to a Billboard story, it was Martin Kierszenbaum who brought them together about a year ago. Kierszenbaum is Sting’s manager and Shaggy’s former A&R. Despite their very different backgrounds and approaches to music, they clicked and decided to record their first single Don’t Make Me Wait. In January, Sting performed at Shaggy and Friends, a biennial fundraising concert supporting Kingston’s Bustamante Children’s Hospital – his first time to play in Jamaica. During the show, he and Shaggy unveiled their new single. From there, they decided to pursue a collaboration album.

“We just had a rapport,” Sting explained to Billboard. “I decided a joint venture was much more exciting than him just guesting.” Added Shaggy: “He’s brought me patience and intuitiveness. He’s taught me to dissect a record down to the last T…. I used to do three or four songs a day, just write them, boom, boom, boom and done… [but] this is more exciting.”

Sting & Shaggy

Perhaps not surprisingly, various initial reviews of the album I’ve seen are lukewarm. “44/876 contains much of the sizzle of classic reggae or dancehall, though a little more substance would’ve been welcome too,” concluded Rolling Stone. “While the world wasn’t exactly clamoring for this album to exist, the end product is more lucid than many likely expected,” wrote USA Today. “If anything, 44/876 is proof that both Shaggy and Sting can keep evolving into the later era of their careers, and maintaining a sense of humor about it in the process.” The Guardian opined, “The sound of two millionaires fretting non-specifically about the state of the world is pretty annoying, especially given their only solutions are Marley-ish bromides about peace and love.”

As I said at the outset, 44/876 isn’t my favorite Sting album. But it’s undeniable he and Shaggy have developed a good rapport, blending their different styles and voices in groovy pop reggae tunes. I think a review by The Associated Press got it right: “The fact that Shaggy and Sting are teaming up on a CD does, admittedly, sound like a gimmick. Why are these two very different artists together? Because they happen to be known by a single name? Why not keep going and add Shakira, Sia, Slash and Seal? Maybe one day, but put the snarkiness aside and enjoy this warm bromance between the Jamaican dancehall king and the cool, intellectual Englishman.”

Sources: Wikipedia, ABC News, Billboard, Rolling Stone, USA Today, The Guardian, YouTube

What I’ve Been Listening To: Eric Clapton/461 Ocean Boulevard

1974 album marked Slowhand’s triumphant return to music after three-year heroin addiction

461 Ocean Boulevard represented a clear break for Eric Clapton from his hardcore blues rock-oriented days with John Mayall & The Bluesbreakers, The Yardbirds, Cream and Derek and the Dominos. I’m a fan of all the aforementioned bands but also dig the more laid back side Clapton showed on his second studio solo album, which was released in July 1974.

It’s important to remember this record came after a three-year hiatus during which Clapton had overcome a heroin addiction. As the great documentary Eric Clapton: Life In 12 Bars tells, he tragically ended up replacing heroin with alcohol before finally getting sober in 1987. Clapton had also grown weary about his previous status as a “guitar god,” so he was clearly looking for a new start.

The album opens with a cover of Motherless Children, a blues standard that was first recorded by American gospel blues singer Blind Willie Johnson in 1927. The sped up beat gives the tune a great groove. I also like Clapton’s slide guitar playing.

The second track Give Me Strength is one of three tunes, for which Clapton has writing credits. I dig the dobro he plays on that track, something that at the time of the album’s release seemed to irritate a Rolling Stone critic, who also noted, “What’s disturbing is not that Clapton plays differently, but that he plays so little.” In my humble opinion, knowing when and how to show restraint is part of being a great guitarist.

Willie And The Hand Jive is one of two songs that were also released separately as singles. The tune was written by Johnny Otis and first appeared in 1958. Like the original version, Clapton’s take has a cool Bo Diddley beat.

The second and undoubtedly much better known single from the record is I Shot The Sheriff, a nice cover of the Bob Marley tune. I really like the slightly funky guitar sound and the keyboard part on this recording. It became a big hit for Clapton, hitting no. 1 in the U.S. on the Billboard Hot 100, and also topping the charts in Canada and New Zealand. According to Wikipedia, years later Marley told Clapton he liked his cover.

Next up: Let It Grow, which is my personal favorite on the album and another tune written by Clapton and on which he plays the dobro. Yvonne Elliman sings backup vocals. Before joining Clapton’s band in 1974, she had played Mary Magdalene in the musical Jesus Christ, Superstar. Elliman also scored a hit with If I Can’t Have You in 1978, which became part of the soundtrack of the motion picture Saturday Night Fever. Music critics noted the chord progression of Let It Grow is similar to Led Zeppelin’s Stairway To Heaven, something Clapton himself acknowledged. I wonder whether those same critics also worried about the similarity between Stairway and Taurus, the instrumental by Spirit.

The last track I’d like to call out is Steady Rollin’ Man, a song written by Robert Johnson, one of Clapton’s influences. In fact, 30 years later, he would record Me And Mr. Johnson, an entire album dedicated to the delta blues artist. This is another example where Clapton took an old blues tune and gave it new life and a nice groove by speeding it up.

While 461 Ocean Boulevard received mixed reviews from music critics, it became one of Clapton’s most successful albums with strong chart performances in the U.S. and many other countries. In August 1974, it was awarded Gold status by the Recording Industry Association of America. And, oh yes, it’s also listed at no. 409 in Rolling Stone’s 2012 list of the 500 Albums Of All Time – the same publication whose critic ripped it apart when it originally appeared.

This post wouldn’t be complete without acknowledging the musicians who helped Clapton record the album. Some critics felt they were less than capable – yes, there was no John Mayall, Ginger Baker, Jack Bruce or Duane Allman, but to say that Clapton’s band essentially was mediocre is simply ridiculous, in my opinion.

The musicians included Dick Sims (keyboards), George Terry (guitar, vocals), Carl Radle (bass), Jamie Oldacker (drums, percussion), Al Jackson Jr. (drums on Give Me Strength and Albhy Galuten (synthesizer, piano, clavichord). In addition to Elliman, Tom Bernfield and Marcy Levy were backing vocalists.

Last but not least, the album was produced by studio wizard Tom Dowd. This certainly helps explain the great sound.

Sources: Wikipedia, Rolling Stone, YouTube

What I’ve Been Listening to: Bob Marley & the Wailers/Babylon By Bus

This 1978 gem is one big reggae party, from the first to the last track

Babylon By Bus was my first deeper introduction to Bob Marley in ca. 1979/1980. I borrowed the album from my best friend shortly after he had gotten it on vinyl. This was still pre-CD days. I was immediately drawn in by the music’s amazing groove and the record’s party mood that invites you to get off your chair and move!

Released on November 10, 1978, Babylon By Bus was the second live album from Bob Marley & the Wailers and their 12th release overall. By that time, Marley already had been making music for some 13 years. But broad international success had not started until 1977, when Marley and the band released their ninth studio album Exodus. This came on the heels of Marley seeking exile in London after he had survived an assassination attempt on his life in Jamaica.

Babylon By Bus is believed to capture performances from three shows recorded at the Pavillon de Paris in France from June 25-27, 1978 during Marley’s Kaya Tour, which included the U.S. and Europe. The album kicks off with Positive Vibration from the 1976 studio album Rastaman Vibration, which became Marley’s first release to crack the top 10 on the Billboard 200, peaking at no. 8.

I could literally call out every other song on Babylon By Bus as well, since each tune is incredibly powerful. Obviously, that would not be practical, so the following selection is somewhat arbitrary. First up is Exodus, the title track from the above mentioned studio album.

The next tune I’d like to highlight is Stir It Up, one of Marley’s early songs he composed in 1967. It was first released as a single that year and later also included on Catch a Fire, the fifth studio album from Marley & the Wailers released in 1973.

Is This Love is another song I’d like to call out. It has always been one of my favorite Marley tunes, especially the live version on Babylon By Bus. It is faster than the studio recording, which I’ve always felt is how the song was meant to be played. The studio version appeared on Kaya, the 10th studio album from Marley & the Wailers, which was released in March 1978. The speed of the version on the following clip is somewhere in-between the studio recording and Babylon By Bus.

The final tune I’d like to note is Jamming, the album’s closer. The track originally appeared on the above mentioned studio album Exodus. It was also released as a single. Stevie Wonder used it as inspiration for Master Blaster (Jammin’), his tribute to Marley with whom he had performed live in the fall of 1980. It must have been one of Marley’s last live appearances prior to his premature death from metastasized cancer in May 1981.

Not only is Babylon By Bus my favorite Bob Marley album, but I would also consider it as one of the best live albums I’ve heard. It remains just as vibrant today, almost 40 years after its release, a great testament to an exceptional artist.

Sources: Wikipedia, YouTube