Here’s a classic by Bruce Springsteen & The E Street Band: Backstreets from Hammersmith Odeon, London ’75, a live album and video capturing a full-length performance by The Boss and his band at the British live entertainment venue in November 1975 during the Born to Run tour. This package was released in November 2005 as part of the 30th anniversary edition of Born to Run, my favorite Springsteen album.
While I feel there’s no need to justify this post, the reason I’m publishing this now is very simple. I was listening to a used vinyl copy of Born to Run I recently had picked up at a great local vintage record store. Backstreets, which like all other tracks on the record was written by Springsteen, is the final tune on Side one.
According to Songfacts, Backstreets is an intense story about a broken relationship; a tale of losing a lover where the narrator seems more concerned about losing her as a friend. The girl in the song, Terry, is a character Springsteen created based on girls he knew...Asked where this song came from in a 2016 interview with Rolling Stone, Springsteen replied: “Just youth, the beach, the night, friendships, the feeling of being an outcast and kind of living far away from things in this little outpost in New Jersey. It’s also about a place of personal refuge. It wasn’t a specific relationship or anything that brought the song into being.”
Songfacts also notes Backstreets is one of E Street Band drummer Max Weinberg’s favorite Springsteen tunes. They include the following quote from an ABC Radio interview: “I guess what hit me most about it was the emotionalism of the lyrics. I felt particularly proud to play on that record [Born to Run – CMM], because it was a kind of an involved drum part, it involved not playing a lot, just getting into that tom-tom figure – ba-ba-ba-ba-boom bom-boom, ba-ba-ba-ba-boom bom-boom. And if anyone’s every heard ‘Running Sacred’ by Roy Orbison, that was the kind of tension we were trying to create. And I like to think we did.”
In addition to Springsteen (electric guitar, vocals) and Weinberg, the tune’s original studio recording also featured Garry Tallent (bass) and Roy Bittan (piano, Hammond organ). Last but not least, there’s a magazine for Springsteen fans titled after the song. It’s been published quarterly since 1980.
A selection of newly released music that caught my attention
This doesn’t happen very often. As I was browsing and sampling newly released songs, I quickly realized there were a good amount of new tunes I could have featured in this Best of What’s New installment. During most weeks, it’s relatively easy to select four tracks that rise to the top based on my taste. This time, I could have included nine or 10, so I decided to broaden the set from the usual four to six tunes.
The result is an eclectic selection, including indie rock, post-hardcore rock, alternative rock, pop-oriented country, searing rock and even some bossa nova. All tracks appear on albums that were released yesterday (May 21). Hope you find some music in here you like!
Storefront Church/Smile-Shaped Scar
According to an artist page on the website of their record label Sargent House, Storefront Church is a Los Angeles-based project around singer-songwriter Lukas Frank. Smile-Shaped Scar, co-written by Frank and guitarist Waylon Dean Reactor, is a tune from the outfit’s debut album As We Pass. The project included more than 20 collaborators. Sargent House describes the outcome as “a sweeping artistic statement that paints dark, weathered landscapes paired with Frank’s mournful croon and howls summoned via poignant songwriting that recalls the likes of Roy Orbison, Scott Walker, and Jeff Buckley.” While the lyrics aren’t exactly cheerful, I really dig the sound of this tune, which is quite catchy as well. Check it out!
Fiddlehead, which has been active since 2014, are a rock band from Boston, featuring Patrick Flynn (vocals), Alex Henery (guitar), Alex Dow (guitar), Casey Nealon (bass) and Shawn Costa (drums). Wikipedia characterizes them as a post-hardcore supergroup bringing together former members from various other bands, including Have Heart, Basement, Big Contest, Intent, Youth Funeral, Death Injection and Glory – frankly, all groups I don’t know! Fiddlehead released their debut EP Out of the Bloom in 2014. Their first full-length album Springtime and Blind followed in 2018. Million Times, credited to the entire band, is a fairly melodic rocker from Fiddlehead’s new sophomore album Between the Richness. Here’s the official video that was released in March.
Counting Crows/Elevator Boots
There’s a name I hadn’t heard for quite some time. Alternative rock band Counting Crows entered my radar screen in late 1993 with Mr. Jones, the catchy lead single from their excellent debut album August and Everything After. The band was formed by lead vocalist Adam Duritz and producer and guitarist David Bryson in San Francisco in 1991. Together with Charlie Gillingham (keyboards, accordion, clarinet, backing vocals), Duritz and Bryson remain as original members in the group’s current line-up, which also features David Immerglück (guitars, bass, pedal steel guitar, banjo, mandolin, backing vocals), Millard Powers (bass, rhythm guitar, backing vocals), Dan Vickrey (lead guitar, banjo, backing vocals) and Jim Bogios (drums). To date, Counting Crows have released seven studio and various compilation and live albums. Elevator Roots, written by Duritz, is a song from the band’s new EP Butter Miracle Suite One, their first studio release since 2014. I like it!
Jordan Davis/I Still Smoked
Jordan Davis is a Nashville-based pop-oriented country singer-songwriter who originally hails from Shreveport, La. According to his artist profile on Apple Music, Davis had music in his bloodline. His uncle Stan Paul Davis wrote country hits for Tracy Lawrence and others in the ’90s, and in 2012, Jordan made his way to Music City to give his own songs a push. Five years later, his debut single, “Singles You Up,” stampeded up the country charts and went double platinum. His next couple of singles, “Take It From Me” and “Slow Dance in a Parking Lot,” became country smashes too, as did the album they appeared on, 2018’s Home State (his studio debut album). I Still Smoked, co-written by Davis, Jonathan Singleton and Randy Montana, is a melodic tune from Davis’ new sophomore album Buy Dirt.
Ayron Jones is a guitarist and singer-songwriter from Seattle. Jones has been active since the age of 19 when he started performing at local bars. In 2010, he formed Ayron Jones and the Way, a trio influenced by the likes of Cream, Jimi Hendrix Experience, Stevie Ray Vaughan and Double Trouble, and Prince and the Revolution. A gig at a Seattle bar in 2012 led to their discovery by local rapper, songwriter and record producer Anthony Ray, aka Sir Mix-a-Lot. The band’s debut album Dream appeared in October 2013. Jones has since released two additional albums including his new one Child of the State. Here’s Mercy co-written by Jones, Marti Fredericksen and Scott Stevens. Jones’ guitar-playing style has been compared to Gary Clark Jr. and Vaughan. This rocks quite furiously. Check out the official video.
Marinero/Through the Fog
Let’s wrap up this post on a softer note: Through the Fog, a track from Hella Love, the debut album by Marinero. According to his Bandcampprofile, Marinero is the moniker for Jess Sylvester. Sylvester who grew up in San Francisco and is now based in Los Angeles, is of Mexican heritage. It’s difficult to classify or generalize about Marinero’s music or identity,notes his profile. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album… Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. I dig this tune’s jazzy bossa nova groove.
Sources: Wikipedia; Storefront Church Sargent House artist page; Apple Music; Marinero Bandcamp profile; YouTube
When Max from PowerPop blog recently posted about I Can’t Change It by Frankie Miller, I was immediately intrigued by the Scottish rock singer-songwriter’s soulful vocals. I also instantaneously recognized the name from an appearance on the German TV concert program Rockpalast I had watched in August 1982, though I still can’t remember any of the songs Miller performed during that show. Anyway, this is what prompted me to start listening to his music including his third studio album The Rock from September 1975.
Before getting to this gem, a few words about Miller are in order. He was born as Francis John Miller in Glasgow on November 2, 1949. Miller’s first exposure to music was his mother Cathy’s record collection. She particularly liked Ray Charles who interestingly ended up covering the above I Can’t Change It on his 1980 album Brother Ray Is at It Again, a song Miller had written as a 12-year-old and recorded for his debut album Once in a Blue Moon released in January 1973.
Going back to Miller’s childhood days, another music music influence were his older sisters Letty and Anne, who introduced him to Little Richard and Elvis Presley. Miller started writing his first songs at the age of nine after his parents had given him a guitar. While still being at school, he started singing in a series of bands. Eventually, he joined Glasgow outfit The Stoics. While Chrysalis signed them in 1970, the band broke up before making any recordings.
In 1971, Miller formed a band called Jude, together with former Procol Harum guitarist Robin Trower, ex Jethro Tull drummer Clive Bunker and James Dewar, a Glasgow bassist and vocalist. While the band got attention from the British music press, they dissolved in April 1972, also without recording any music. Miller ended up signing a contract with Chrysalis later that year and released his above debut album in January 1973.
Until 1985, Miller recorded eight additional solo albums. After his second-to-last solo release Standing on the Edge from 1982, he mostly focused on songwriting, including film music. Miller’s professional career came to a tragic end in August 1994 when he suffered a massive brain hemorrhage while writing music for a new band he and Joe Walsh had formed with English keyboarder and drummer Nicky Hopkins and Ian Wallace, respectively.
According to a bio on Miller’s website, the brain hemorrhage should have killed him but he has shown remarkable courage to claw his way slowly back to health, after spending 15 months in hospital. With massive support from his partner Annette, Frankie is learning to walk and talk again and has even written a new song with lyricist Will Jennings called “Sun Goes Up Sun Goes Down”. But sadly, Miller has not been able to resume performing.
While Miller’s records apparently received positive reviews, they were not commercially successful. His singles did not fare much better. Only two of them reached the top 40 in the UK: Be Good to Yourself from May 1977 (no. 27) and Darlin’ from October 1978 (no. 6). Miller’s songs have won writing awards and been performed by an impressive array of artists, such as Johnny Cash, Ray Charles, Bob Seger, Roy Orbison, Etta James, Joe Cocker, Joe Walsh and Eagles.
Time to get to The Rock, Miller’s only album officially credited to the The Frankie Miller Band. All tracks were written by Miller. Here’s the excellent opener A Fool in Love. Like other tunes on the album, it reminds me of Joe Cocker. The song was actually covered by Etta James on her 1990 album Stickin’ to My Guns.
The title track was inspired by the Alcatraz prison in San Francisco, which could be seen from the studio where the album was recorded. According to Wikipedia, Miller said that music saved him from prison. He dedicated the song to the plight of prisoners, apparently a reference to his second cousin Jimmy Boyle, a Scottish former gangster and convicted murderer who became a sculptor and novelist after his release from prison in October 1981. The Rock has got a cool Faces, early Rod Stewart vibe.
Another gem is Ain’t Got No Money. It’s probably not a coincidence that it became the album’s most covered tune, including by artists like Cher, Chris Farlowe and Bob Seger. Frankly, this would be a great song for The Rolling Stones.
Let’s slow things down with All My Love to You, a dynamite soulful tune. Why this didn’t become a hit beats me. Check it out this beauty!
Frankly, there’s no weak track on this album and I could have selected any other. Let’s do one one more: I’m Old Enough.
The Rock was produced by Elliot Mazer, one of the co-producers of Neil Young’sHarvest album. Musicians included Henry McCullough (lead guitar, backing vocals), Mick Weaver (keyboards), Chrissy Stewart (bass), Stu Perry (drums, percussion) and Miller’s former Jude mate James Dewar. The album also featured two ingredients for shaping its soul sound: The Memphis Horns and The Edwin Hawkins Singers.
Sources: Wikipedia; Frankie Miller website; YouTube
Moderator, journalist and author is a distinguished rock and pop expert who has influenced my music journey
This post was inspired by fellow blogger msjadeli who writes the Tao Talk blog. Msjadeli is a true music lover who frequently likes to discuss the subject. She also writes about it. Just yesterday, she published this post about “the Friday Song”, played on 97 WLAV FM, a Grand Rapids, Mich. radio station that became part of her music journey. This led to a discussion about radio DJs and how they can impact us. It reminded me of my radio days while growing up back in Germany in the ’70s and ’80s and one host, a pop and rock connoisseur who introduced me to lots of music from the ’50s and ’60s: Frank Laufenberg.
In previous posts, I acknowledged several people who had a major influence on my music journey, sometimes unknowingly: my six-year-older sister and her vinyl collection that, among others, included timeless gems like Carole King’s Tapestry, Pink Floyd’sWish You Were Here and Crosby, Stills, Nash & Young’sDéjà Vu, all albums I love to this day; my grandfather, a music professor and piano teacher who was thrilled when I told my parents I wanted to learn the guitar, and payed for most of my instruments; and my guitar and bass teacher who really got me into The Beatles and, of course, taught me how to play both instruments. Yesterday’s discussion made me realize the one person that’s missing is Laufenberg. Acknowledging him is overdue.
Frank Laufenberg was born on January 2, 1945 in the East German small town of Lebus. He grew up in Cologne where he started his professional career at record label EMI Electrola, working in A&R from 1967 to 1970. In 1970, while accompanying an artist to an interview at SWF3, he met Walther Krause, who created and oversaw a then-new radio show called Pop-Shop and offered Laufenberg a trial period as moderator. It would turn out to be a career-changing encounter.
The artist (I don’t remember who it was) did the interview,” recalls Laufenberg in this short online background section on the website of Internet radio station PopStop, one of his current professional homes. “Afterwards, I went to the boss of Pop-Shop, to Walther Krause, to politely thank him, and he asked me how I thought the interview went. ‘If I had recorded it with the artist, it would have been better for him, for me and the listeners’, I replied. And Krause went: ‘If you feel you could do better than the current moderator, why don’t you give a try for a week?’ Evidently, Laufenberg didn’t lack confidence!
A week turned into many years, and Laufenberg became a key moderator at SWF3, a popular mainstream radio station on regional TV and radio network Südwestfunk. In addition to Pop-Shop, one of the other shows Laufenberg moderated at SWF3 was Oldies on Sunday nights. To the best of my recollection, the program aired from 9:00 pm to 11:00 pm. That’s the show through which Laufenberg introduced me to a lot of ’50s and ’60s music, really helping me establish a deeper appreciation for music from these decades. I’ll get back to that later.
In the ’80s, Laufenberg also moderated various television shows for regional networks Westdeutscher Rundfunk (WDR), Bayerischer Rundfunk (BR) and Südwestfunk. On the latter, this included an excellent live music program called Ohne Filter (literal translation: without filter). In September 1990, Laufenberg started moderating programs on privately owned channel Sat1. Idiotically, this led SWF3 to terminate him with the stupid explanation Laufenberg could not work for public broadcast while also moderating programs for a private channel. Subsequently, he worked at various other private and public channels.
In 2013, Laufenberg founded the above mentioned internet radio station PopStop, where he is a moderator to this day. Since April 2018, he also hosts two shows on SR 3 Saarlandwelle, a radio channel on regional broadcast network Saarländischer Rundfunk. In addition to having worked as a radio and TV moderator, Laufenberg has published various music-related books, perhaps most notably Frank Laufenbergs Rock- und Pop Lexikon, which also has been published in English as Rock und Pop Diary.
Now it’s time for some music. Let’s start with the above noted SWF3 Oldies show. Obviously, I don’t have YouTube clips from actual program episodes. But, as you can see in the above photo, I still have music cassettes with songs I taped from the program. So I guess the closest I can offer is YouTube clips of some of the songs that are on these tapes. Unfortunately, when I started taping music on MCs, I didn’t note dates. This tells me these MCs must be from the late ’70s/early ’80s. Here’s a tune from the earliest SWF3 Oldies MC I could find: I’m Into Something Good, co-written by Gerry Goffin and Carole King, and popularized by Herman’s Hermits in 1964 – a tune I’ve always dug.
I’m fairly certain the first time I heard Chuck Berry’sMemphis, Tennessee was on Laufenberg’s SWF3 Oldies. The classic was released as a single in 1959.
Here’s another track that has become one of my all-time favorite ’60s tune with a killer guitar riff: Oh, Pretty Woman by Roy Orbison, the rocker with an opera voice. Co-written by him and Bill Dees, the song first appeared as a single in 1964. It was also included on the compilation album Orbisongs (clever title!) from November 1965.
Here’s one more tune I taped from the show: The Rolling Stones’ version of Under the Boardwalk. The song was co-written by Kenny Young and Arthur Resnick and first recorded by The Drifters in 1964. The Stones included their rendition, the first version of the song I heard, on their sophomore studio album 12 X 5, which appeared in October 1964.
The last clip I’d like to feature is from the above noted Ohne Filter TV show Laufenberg moderated: Excellent English guitarist Chris Rea and his tune Josephine, which received lots of radio play on (radio station) SWF3 when it came out. The song is from Rea’s seventh studio album Shamrock Diaries, which was released in December 1984. The footage is from a 1986 episode of Ohne Filter Extra I watched at the time.
The last word shall belong to Frank Laufenberg. Here’s a translation of what he says on the PopStopwebsite about the internet radio station: ‘PopStop – das Musikradio’ wants to bring back variety to radio, variety that’s not only missing to me. We can’t reinvent radio – but we can bring back the good aspects it had. Content that predated the days of “Radio GaGa.” As Queen correctly warned in 1984: ‘Radio – don’t become some background noise’. That’s what it unfortunately has become. But Queen also sing: ‘Radio what’s new? Radio, someone still loves you’. ‘PopStop’ will appeal to exactly these lovers of radio and those who are interested in music. We’re always happy about new listeners and would appreciate if you could recommend us.
After having done more than 50 installments of this recurring feature, I still find it intriguing what turns up when you look at a specific date throughout music history. I’ve said it before and I say it again: It’s a rather arbitrary way to do this. But, hey, at the end of the day, it’s all about great music. Without further ado, let’s see what happened on June 6.
1960: Roy Orbison, the rock & roller with an operatic voice, released Only the Lonely, his first big hit peaking at no. 2 in the U.S. and Canada, and topping the charts in Ireland and the U.K. According to Songfacts, it was one of the first tunes Orbison wrote together with Joe Melson. Among others, the two also co-wrote Crying and Blue Bayou. Songfacts also includes the following Orbison told NME in 1980 about writing “sad songs” like Only the Lonely: “I’ve always been very content when I wrote all those songs. By this I’m saying that a lot of people think you have to live through something before you can write it, and that’s true in some cases, but I remember the times that I was unhappy or discontent, and I couldn’t eat, I couldn’t sleep, I couldn’t communicate, and I certainly couldn’t write a song, no way. All the songs I wrote that were successful were written when I was in a contented state of mind.”
1962: The Beatles came together for their first artist test recording session at EMI Studios at 3 Abbey Road, St John’s Wood, London. According to The Beatles Bible, the action went down in studio no. 2, where between 7:00 pm and 10:00 pm they recorded four tracks: Besame Mucho, Love Me Do, P.S. I Love You and Ask Me Why. The session was produced by George Martin with assistant Ron Richards and was the only one to feature Pete Best on drums. Initially, Richards was in charge, and Martin was only brought in after engineer Norman Smith was intrigued with Love Me Do. At the end of the session, which was hampered by quality issues due to the poor equipment The Beatles had brought along, Martin called them to the control room to tell them what they would need to do to become professional recording artists. When none of them reacted, Martin said: “Look, I’ve laid into you for quite a time, you haven’t responded. Is there anything you don’t like?” After an awkward pause, George Harrison responded: “Yeah, I don’t like your tie!” That cracked the ice, and the rest is history. While none of the material recorded at the session was used, four months later, The Beatles featuring Ringo Starr on drums re-recorded Love Me Do with George Martin. Backed by P.S. I Love You, it became their first single (not counting My Bonnie they had recorded with Tony Sheridan in June 1961).
1971: After 23 years on the air, CBS aired the last episode of The Ed Sullivan Show. It was a repeat. The last original telecast, episode no. 1,068, had aired on March 28 of the same year. Originally co-created and produced by Marlo Lewis, the show’s initial title was Toast of the Town. On September 25, 1955, it officially became The Ed Sullivan Show. Countless famous artists performed on the program, such as Elvis Presley, The Beatles, The Supremes, Stevie Wonder, The Beach Boys, The Rolling Stones and The Doors. CBS and Sullivan were quite conservative, and there were some “controversial” performances on the show. One of the most notorious appearances were The Doors on September 17, 1967. For the song Light My Fire, Jim Morrison had been told to alter the line Girl, we couldn’t get much higher. He complied during the rehearsal, but when it came to the live performance, he sang the original line – committing the ultimate sin! The Doors were never invited back on the program. Here’s a short clip documenting the horrible transgression!
1982: The Peace Sunday: We Have a Dream concert took place at The Rose Bowl in Pasadena, Calif., which attracted a crowd of 85,000 people. The six-hour event to promote nuclear disarmament featured artists like Tom Petty, Crosby, Stills & Nash, Bob Dylan, Stevie Nicks and Jackson Browne. It was partly broadcast on ABC Television’s Entertainment Tonight program on the same day. Here’s a clip of Bob Dylan and Joan Baez performing the Dylan tune With God On Our Side. Dylan first recorded the song for his third studio album The Times They Are a-Changin’ from January 1964.
Sources: Wikipedia; Songfacts: Music History Calendar; Songfacts; The Beatles Bible; YouTube
Southern Avenue perhaps couldn’t have chosen a better title for their sophomore album. Released yesterday, Keep On continues to effectively draw from different musical backgrounds of the band’s members. Southern Avenue skillfully blend Stax-style soul with blues, R&B, gospel, funk and rock. The result is powerful music combining familiar with new influences and a sound that has noticeably matured and become more distinct since the band’s eponymous debut from February 2017.
The five-piece band from Memphis, Tenn. has been on my radar screen since I listened to the first album about two years ago. I also witnessed what a great live act Southern Avenue are when I saw them in New York City last August. At the time, I briefly chatted with guitarist Ori Naftaly, who mentioned their new album. My anticipation grew further with the release of the lead single Whiskey Love in early April, followed by the appearance of the second single Savior.
For brief background, Southern Avenue were founded in 2015 when Israeli blues guitarist Ori Naftaly met Memphis vocalist Tierinii Jackson and her sister Tikyra Jackson, drummer and backing vocalist. Jeremy Powell on keyboards rounds out the band’s core line-up. Bassist Gage Markey has been a touring member for the past couple of years and also plays on the new record. Southern Avenue took their name from a street that runs from East Memphis to “Soulsville,” the original home of Stax Records. While that’s a clear nod to the band’s admiration for the legendary soul label, they are not a Stax revival act.
Keep On features some impressive guests. In this context, I first would like to mention the great horn section comprised of saxophonist Art Edmaiston and trumpet player Mark Franklin. They are an important factor for the above noted more mature sound. Edmaiston has played with artists like Levon Helm and Gregg Allman, while Franklin has supported sessions for the likes of Aretha Franklin, B.B. King, Solomon Burke and Booker T. & the M.G.s. Another prominent guest is William Bell, who is perhaps best known for co-writing Born Under a Bad Sign with Booker T. Jones. The tune was first recorded by Albert King in 1967 and popularized by Cream the following year.
Alright, I think it’s time for some music. Here’s the album’s opener and title track. Co-written by Ori Naftaly, Tierinii Jackson and producer Johnny Black, the tune is a nice example of how Southern Avenue blend different genres. Naftaly clearly is a blues guitarist at heart and I can hear some Cream in his cool riff. The horns add a dose of soul while Jackson’s strong vocals throw in some R&B.
Since I previously wrote about the first two singles Whiskey Love and Savior, I’m skipping these great tracks here and jump to the nice funky Switchup. Like the title track, the song is co-credited to Naftaly, Jackson and Black.
Next up: Lucky. Co-written by Naftaly and Jackson, this song has a beautiful retro Stax vibe to it. But, as if to emphasize that Southern Avenue don’t want to be a retro Memphis soul band, Naftaly throws in a fairly rock-oriented guitar solo.
Another great number is Jive, a co-write by Naftaly, Black and both Jackson sisters. I dig the tune’s driving beat, which makes you want to get up and dance. The horns and the backing vocals set great accents.
On the upbeat We’ve Got The Music, William Bell joins Tierinii Jackson on vocals. Bell also shares writing credits with Naftaly and her. I like the song’s message about the power of music and how it can bridge differences among people: If you don’t look like me/If you don’t talk like me, that’s alright/We’ve got the music/If you don’t know my face/But you’re feeling the sound, it’s okay/We’ve got the music…
The last track I’d like to call out is the album’s closer We’re Gonna Make It. I think music publication No Depression nicely described the tune in their review of Keep On. “This gospel-inflected song opens with a nod to Sam Cooke’s “A Change is Gonna Come,” and builds a message of love, persistence, and encouragement layer-by-layer. The song takes up where the Staple Singers left off, carrying the torch of hope in a world of darkness and giving us a new anthem for these times.”
“Making this album was an interesting journey,” Ori explained. “Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it’s a big progression from the first album.” Added Tierinii: “The experience was completely different from making the first one. We learned a lot about each other and a lot about the band.”
One of the cool things about Keep On is that the album was recorded at Sam Phillips Recording. The studio was opened in Memphis in 1960 by no one other than legendary Sun Records founder and producer Sam Phillips, who worked with artists like Elvis Presley, Carl Perkins, Johnny Cash,Jerry Lee Lewis, Roy Orbison and B.B. King. Wow, one can only imagine what it must have felt like for this young band to record in that studio – the thought of it gives me goosebumps!
“The thing that stood out most to me about Southern Avenue is their dedication to making this record ‘the hard way’,” stated producer Johnny Black. “Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort.” In my humble opinion, I think Black is spot on.
Southern Avenue currently is where they seem to be most of the time – on the road. Their tour schedule is packed between now and mid-November and mostly includes U.S. dates. From late May to mid-June, the band is also playing a series of shows in Europe. I have no doubt Southern Avenue will keep on wowing audiences with their performances that are passionate, authentic and humble at the same time. As a communications professional, I also have to commend the band for their effective use of Facebook to build their fan base. I’m planning to catch them again on July 11 during Jams on the Sand, a free outdoor event in Asbury Park, N.J.
Sources: Wikipedia, Southern Avenue website, William Bell website, No Depression, YouTube
Almost Queen couldn’t have come up with a better a name. These four guys from New York really make you feel like you’re watching Freddie Mercury, Brian May, John Deacon and Roger Taylor. While unfortunately this is no longer possible and, as such, they are almost Queen, this band is doing a true killer job. I caught their show last night at The Stone Pony in Asbury, N.J. They really blew the frigging roof off the place!
Queen has been on my radar screen on and off since the late ’70s/early ’80s. While I wouldn’t call myself a die-hard fan, I’m well familiar with their better known songs and like many of them. In fact, I had contemplated doing a post on the English rock band a couple of times before. Then I spotted a notification on Facebook about Almost Queen’s gig last night and watched a few YouTube clips. Since yours truly has been called the King Of The Tribute Bands, of course, I had to continue performing my duties to continue living up to the title. 🙂
Before getting to last night’s gig and of course some clips, a few words about the band. There isn’t a lot of public background information out there, so I’m quoting from their website: Almost Queen delivers a live performance showcasing signature four part harmonies and intricate musical interludes. Donning genuine costumes, Almost Queen captures the live energy and precision that is the penultimate Queen experience. Okay, you simply could have said they are a kick-ass tribute that sounds and looks pretty darn close to the real deal!
Almost Queen are Joseph Russo as Freddie Mercury, Steve Leonard as Brian May, Randy Gregg as John Deacon and John Cappadona as Roger Taylor. While I couldn’t find any bios on these guys, it’s pretty clear to me that Almost Queen isn’t their first trip to the rodeo – there’s simply too much serious musician craftsmanship going on here! Take it from a guitarist and former bassist, who may have been only moderately capable but who sure as heck knows skill when he sees or hears it! Okay, let’s get to some killer clips before we all get a sheer heart attack!
After the great opener Tie Your Mother Down, one of my favorite Queen tunes I unfortunately missed to capture, Leonard rhetorically asked, are you ready to get crazy?When the crowd unambiguously expressed their sentiments, the band appropriately kept their foot on the gas pedal with Stone Cold Crazy. The tune first appeared on Queen’s third studio album Sheer Heart Attack from November 1974 and was credited to all four members of the band. The track was also released separately as a single and became a staple of Queen’s live shows thereafter.
Next up: Killer Queen, another track from Sheer Heart Attack. Written by Freddie Mercury, the tune also became the album’s lead single in October 1974. Almost Queen did a great job with the harmony vocals here. These guys definitely can do both play and sing!
Another One Bites The Dust is from Queen’s eighth studio record The Game, released in June 1980. The funky tune was written by John Deacon and also came out separately as the album’s fourth single. Ever since I’ve heard the hilarious version by “Weird Al” Yankovic, who turned it into Another One Writes The Bus, his take is in my ears.
By the time Almost Queen got to Don’t Stop Me Now, there was absolutely no chance anything could get in their way. The crowd had fully embraced them right from the get-go of the show, and the room was cooking, fueled by the pulsating drums and pumping bass! Written by Freddie Mercury, Queen first recorded Don’t Stop Me Now for their seventh studio album Jazz from November 1978. It also became the record’s second single released in January the following year.
Next up: Fat Bottomed Girls, another track from Jazz, written by Mercury. The tune also became the B-side to the album’s lead single Bicycle Race. Almost Queen made it another vocal gem.
Crazy Little Thing Called Love is not an Elvis Presley song, as Russo reminded the crowd, but yet another great Freddie Mercury composition from The Game. The cool rockabilly tune also became the album’s lead single in October 1979.
And then the time had come for Almost Queen to pay tribute to David Bowie with Under Pressure. The collaboration with The Thin White Duke was included on Queen’s 10th studio release Hot Space from May 1982. It also appeared as the album’s lead single in October the previous year and became Queen’s second no. 1 hit in the U.K. after Bohemian Rhapsody, topping the Official Singles Chart for nine week. For Bowie it was his third no. 1 on that chart, following Ashes To Ashes and the 1975 reissue of Space Oddity. The track is credited to all members of Queen and David Bowie.
No Queen tribute show would be complete without the above mentioned Bohemian Rhapsody. In my humble opinion, it is one of the weirdest and the same time most brilliant rock songs I know. The epic track was first recorded by Queen for A Night At The Opera, their fourth studio album from November 1975. Written by Mercury and also released separately as the record’s lead single in October that year, the tune should have laid to rest any doubts anyone might ever have had that he could have been an opera singer as well. There aren’t many rock vocalists with that quality – the only other one that comes to my mind spontaneously is Roy Orbison.
And since all things must pass, including great rock & roll shows, the time had finally come for Almost Queen to wrap things up. And what better songs to choose than We Will Rock You and We Are The Champions, just like Queen did traditionally. Both songs appeared back to back as the openers on Queen’s sixth studio album News Of The World. Perhaps not surprisingly, the guitar rocker We Will Rock You was penned by Brian May, while We Are The Champions is yet another Freddie Mercury composition.
So here we are, nine clips later – can you tell somebody got a little bit excited here? I just wish the sound quality of the footage would be better, since I feel it doesn’t do full justice to the band. The audience’s ability to sing, on the other hand, is captured accurately, I’m afraid! 🙂 Oh well, ultimately live music should be about having a great time, and I highly doubt there was anyone last night walking out of the place and being disappointed.
While I obviously recorded a good deal of the show, obviously, there were many things I left out, including pretty impressive drum and guitar solos by Leonard and Cappadona, respectively. Each of the band’s guys is massively talented.
According to the tour schedule on their website, upcoming Almost Queen shows include Brooklyn, N.Y. (Sep 8), Beverly, Mass. (Sep 21) and Plymouth, N.H. (Sep 22). If you like Queen and these guys come to your neck of the woods, you should seriously consider them. Tickets are quite affordable. Take it from the King Of The Tribute Bands – Almost Queen truly is almost Queen! 🙂
A two-part feature looking back at music of the decade
Here is the second and final installment of my feature looking back at music and some related events in the ’80s. This part is focused on the second half of the decade. As noted in part 1, it isn’t meant to be a comprehensive review but instead a selection of things I find noteworthy.
To me the key music event during this year and perhaps the entire decade was Live Aid. I was watching it on TV from Germany while simultaneously taping it on music cassette from the radio. Organized by Bob Geldorf and Midge Ure as a fundraiser to fight starvation in Ethiopia, Africa, the benefit concert was conducted on July 13 simultaneously in the U.K. at London’s Wembley Stadium and the U.S. at John F. Kennedy Stadium in Philadelphia. Among others, it featured Status Quo, Queen, U2, David Bowie, The Who and Paul McCartney at Wembley, while some of the performers in Philly included Joan Baez, Madonna, Tom Petty, Bob Dylan, Mick Jagger, Tina Turner and, in a less-than-stellar appearance, a reunited Led Zeppelin featuring Phil Collins on drums. The concerts were watched by an estimated global TV audience of 1.9 billion across 150 countries and raised approximately 150 million British pounds.
Other events that year included the official launch of VH-1 on cable TV in the U.S. (Jan 1); recording of the charity single for Africa We Are The World (Jan 28), co-written by Michael Jackson and Lionel Ritchie and performed by USA For Africa, who apart from Jackson and Ritchie featured Ray Charles, Billy Joel, Cindy Lauper, Paul Simon, Bruce Springsteen, Stevie Wonder and numerous other top artists; release of Dire Straits’ fifth studio album Brothers In Arms, their best-selling record that among others became known for its exceptional sound quality due to its all-digital recording (May 13); Michael Jackson’s purchase of the publishing rights for most of The Beatles’ catalog for $47 million, out-bidding former artistic collaborator McCartney whose success in music publishing had inspired Jackson to increase his activities in the business (Sep 6); and Roger Waters’ announced intention to leave Pink Floyd, which marked the start of a two-year legal battle over the rights to the band’s name and assets.
The biggest hit singles of 1985 were Shout (Tears For Fears), We Are The World (USA For Africa), Take On Me (a-ha), I Want To Know What Love Is (Foreigner) and Material Girl (Madonna). Following is Money For Nothing, the second single from Dire Straits’Brothers In Arms album, which they performed at Live Aid. Like on the studio recording, it featured Sting on backing vocals.
On Jan 30, the Rock and Roll Hall of Fame held its first induction ceremony. The first batch of inductees included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley. While over the years since, there has been much debate over who should be in the Rock Hall, the selection process, the award categories, etc., I think there is no doubt that the above artists all well-deserving inductees.
Other events: Bob Geldorf’s knighthood award to recognize his work for Live Aid and other charity concerts for Africa (Jun 10); release of Madonna’sTrue Blue album, the best-selling record of year (Jun 30); and disbanding of The Clash, Electric Light Orchestra (revived by Jeff Lynne in 2000) and Men At Work.
The top-performing hit singles included Rock Me Amadeus (Falco) – the first German-language song to top the U.S. Billboard Hot 100, Papa Don’t Preach (Madonna), The Final Countdown (Europe), Take My Breath Away (Berlin) and West End Girls (Pet Shop Boys). The 1986 tune I’d like to highlight is Sledgehammer by Peter Gabriel, which was first released as a single in April. It also appeared on his fifth studio album So that came out the following month. Here’s the song’s official video, which won multiple accolades in 1987, including a record nine awards at the MTV Music Video Music Awards and “Best British Video” at the Brit Awards. It’s definitely one of the most memorable music videos of the decade.
Some of the events in music during that year included the induction of Aretha Franklin as the first woman into the Rock and Roll Hall of Fame (Jan 3); release of U2’s fifth studio album The Joshua Tree (Mar 9), which topped the charts in 20-plus countries and became one of the world’s most commercially successful records, selling more than 25 million copies; Whitney Houston’s second studio album Whitney, the first record by a female artist to debut at no. 1 on the Billboard 200 (Jun 27); launch of MTV Europe (Aug 1); and release of A Momentary Lapse Of Reason, Pink Floyd’s first studio album after the departure of and legal battle with Roger Waters (Sep 7). Waters finally wrapped up his legal separation from the band later that year.
The highest-charting hit singles were La Bamba (Los Lobos), Never Gonna Give You Up (Rick Astley); I Wanna Dance With Somebody Who Loves Me (Whitney Houston), It’s A Sin (Pet Shop Boys) and Who’s That Girl (Madonna) – I remember each of these songs like it was yesterday! Here’s Where The Streets Have No Name from my favorite U2 album The Joshua Tree. Credited to the band (music) and Bono (lyrics), the tune was released as the album’s third single in August 1987, five months after the record’s appearance.
Some of the music events that year included the induction of The Beach Boys, The Beatles, The Drifters, Bob Dylan and The Supremes into the Rock and Roll Hall of Fame (Jan 20); near-death experience for Alice Cooper on stage after one of the props, the Gallows, malfunctioned – yikes! (Apr 7); sale of legendary soul label Motown Records to MCA and financial firm Boston Ventures for $61 million (Jun 27); John Fogerty’s win of what sounds like a frivolous self-plagiarism lawsuit Fantasy Records had brought against him, claiming his 1985 comeback tune The Old Man Down The Road was too similar to Run Through The Jungle, which he had recorded with Creedence Clearwater Revival in 1970 (Nov 7); and final concert by Roy Orbison in Akron, Ohio (Dec 4) prior to his death from a heart attack only two days thereafter.
Leading hit singles: A Groovy Kind Of Love (Phil Collins), Don’t Worry Be Happy (Bobby McFerrin), Always On My Mind (Pet Shop Boys), Heaven Is A Place On Earth (Belinda Carlisle) and Take Me To Your Heart (Rick Astley). One 1988 song I like in particular is Under The Milky Way Tonight by Australian outfit The Church. Co-written by Steve Kilbey and Karin Jansson, it became the lead single to their excellent fifth studio album Starfish. Both were released in February that year. Here’s a clip.
I can’t believe I made it to the last year of the decade! Some of the events I’d like to highlight are criticism of Madonna by religious groups worldwide over alleged blasphemous use of Christian imagery in her music video for Like A Prayer (Feb 23), which had premiered on MTV the day before; release of Bonnie Raitt’s 10th studio album Nick Of Time, one of my favorite records from her (Mar 21); release of Tom Petty’s excellent debut solo album Full Moon Fever (Apr 24); Ringo Starr’s formation of his All-Starr Band (Jul 23); opening of The Rolling Stones’ North American tour in Philadelphia to support their comeback album Steel Wheels (Aug 31), two days after the album had dropped; and release of Neil Young’s 17th studio album Freedom (Oct 2), best known for the epic Rockin’ In The Free World.
Key hit singles were Like A Prayer (Madonna), Eternal Flame (The Bangles), Another Day In Paradise (Phil Collins), The Look (Roxette) and Love Shack (The B-52s). The final ’80s tune I’d like to call out via clip is Down To London by Joe Jackson, an artist I’ve listened to for many years. He recorded the song for his 10th studio release Blaze Of Glory, which appeared in April 1989.
1957: The music program American Bandstand debuted on U.S. national television. It was hosted by Dick Clark who had joined the show the previous year when it still had been known as Bandstand and aired on Philadelphia TV station WFIL-TV (now local ABC affiliate WPVI-TV). The program, which ran until 1989, featured many artists who lip-synced their latest hits. While as such it was chart-oriented, it coincided with time periods when great music was part of the mainstream. So it’s perhaps not a surprise to see which artists appeared on the show. According to Wikipedia, American Bandstand helped introduce famous artists to Americans, such as Prince, Michael Jackson and Aerosmith. Some of the other acts who were on the program included The Animals, The Beach Boys, Chuck Berry, The Doors, Marvin Gaye, B.B. King, Van Morrison, R.E.M., Steely Dan, Stevie Wonder and even Pink Floyd. Here’s a clip of a 1966 appearance of Roy Orbison performing Oh, Pretty Woman, featuring one of the coolest ’60s guitar riffs that still sounds awesome to this day.
1966:The Beatles released their seventh studio album in the U.K., Revolver, which many fans consider the band’s best record. While it’s undoubtedly a great album, if I had to choose, I would go with the follow-on release Sgt. Pepper’s Lonely Hearts Club Band. Revolver, apart from gems like Taxman, Eleanor Rigby and Got To Get You Into My Life, stands out for the introduction of various new recording techniques, including tape loops, backwards recordings, varispeeding and, most significantly, Artificial Double Tracking (ADT). George Martin’s string arrangement on Eleanor Rigby broke conventions by blending classical and pop music. George Harrison, who took on a bigger role in the album’s songwriting, introduced another Indian instrument to pop music after the sitar on predecessor Rubber Soul: the tambura. Here’s a clip of Eleanor Rigby.
1978:The Rolling Stones hit no. 1 on the U.S. Billboard Hot 100 with Miss You, their eighth and last no. 1 single in the U.S. Credited to Mick Jagger and Keith Richards, the song was written by Jagger while jamming with Billy Preston during rehearsals in 1977. It became the lead single for Some Girls, the band’s 14th and 16th British and American studio album, respectively. Apparently, there is some disagreement between Jagger and Ronnie Wood who maintain the track wasn’t supposed to be a disco song, while according to Richards, “Miss You’ was a damn good disco record; it was calculated to be one.” To me it’s obvious that Richards hates the tune. In my humble opinion, there’s no question the Stones have released much better songs.
1984:Bruce Springsteen & The E Street Band played the first of 10 gigs at Brendan Byrne Arena, now called Meadowlands Arena, in East Rutherford, N.J. during the Born In The U.S.A. Tour, Springsteen’s longest and most successful tour to date. The show included two sets and an encore, with a total of 28 tracks. As is typical for The Boss, he went far beyond the album that the tour supported and dug deep into his catalog. He also played a number of covers. Here’s a cool clip of the Detroit Medley captured during the same tour two months later in Vancouver, Canada. The medley includes Devil With The Blue Dress, Good Golly Miss Molly, CC Rider, Jenny Jenny and Travelin’ Band, among others. The band is absolutely killing it – rock & roll simply doesn’t get better than this! The crazy thing is that Springsteen pretty performed with the same intensity 32 years later when I saw him last in August 2016 at MetLife Stadium, right across the highway from Meadowlands.
1992:Jeff Porcaro, best known as co-founder and drummer of Toto, passed away at the young age of 38 years. The circumstances of his death remain ambiguous. According to the band history on the official Toto website, Porcaro died from a heart attack that resulted from a severe allergic reaction to chemicals in pesticide he had sprayed in his garden earlier that day. But the Los Angeles Times reported the heart attack stemmed from atherosclerosis triggered by years of cocaine use. One thing is clear: Porcaro was an excellent, sought after session drummer, who apart from Toto worked with Steely Dan, Eric Clapton, Paul McCartney and Boz Scaggs, among others. Here’s a clip of Rosanna from Toto IV, which I think features some of Porcaro’s finest drum work.
Sources: Wikipedia; This Day In Music.com; Billboard Hot 100 chart history; setlist.fm; Toto website; YouTube
World’s first commercially successful solid-body electric guitar continues to be popular to this day, more than 65 years after its introduction
Similar to the Fender Stratocaster and the Gibson Les Paul, which I covered in previous posts here and here, I could have called the Fender Telecaster the quintessential electric guitar. After all, that model predated the Stratocaster and the Les Paul by three years and one year, respectively. And while Paul Bigsby built the first solid-body for country and western artist Merle Travis in 1948, it was the Telecaster that became the first such electric guitar that was manufactured on a substantial scale.
But the truth is “quintessential” is largely in the eye of the beholder. I always loved the seductive shape of the Stratocaster. I also thought Mark Knopfler created such a cool signature sound with it on Sultans of Swing, Once Upon a Time In the West and other early Dire Straits classics. Ultimately, that’s why I feel the Strat is THE electric guitar and wrote about it first. On to the Telecaster.
The Telecaster was developed by inventor Leo Fender, the founder of the Fender Electric Instrument Company. He built the first prototype in the fall of 1949 and introduced it to the market in 1950 as the Fender Esquire, a solid-body with one single-coil pickup. But the Esquire was hampered by quality issues, especially around the guitar neck that easily bent, so it was only produced in limited numbers.
Fender addressed the lacking neck stability with the placement of a tross rod. He also added a second single-coil pickup to the guitar and renamed it the Fender Broadcaster. That name was very similar to Broadkaster drum sets made by Gretsch, so needed it be changed. The Broadcaster became the Telecaster in 1951, and the guitar has been sold under that brand name ever since.
The Telecaster featured several innovations and used production techniques that made manufacturing and repairing the guitar more cost-effective compared to models from Gibson and other manufacturers. Rather than constructing the Telecaster individually, Fender introduced the production of components that could easily be put together into the finished product on an assembly line.
Unlike the traditional glued in neck, the Telecaster had a “bolt-on” neck. Not only did this make production easier, but it also allowed for faster repair or replacement of the neck. Additionally, the neck on the classic Telecaster was made from a single piece of maple without a separate fingerboard.
Moreover, the bodies of the Telecaster were built with solid pieces of wood instead of being hand-carved individually. The Telecaster also featured easily accessible electronics. This was made possible through a removable control plate. In contrast, the electronics of the then-predominant hollow-body electric guitars could only be accessed through the soundholes.
Unlike the Stratocaster, which got a lukewarm initial reception from many guitarists, the Telecaster was an immediate hit. This can be explained by the guitar’s distinct properties, which according to Reverb include: “A bridge pickup tone like to no other. The definition of twang when clean. The definition of rock when dirty; Liberating simplicity. Two pickups, two knobs, six strings, no frills. It forces you to be a better player; Surprising versatility. Across three pickup positions, different tone knob positions and varying levels of gain, the Tele is capable of an unexpected number of voices.”
I think it’s mainly the guitar’s versatility, which has made the Telecaster a staple in country, electric blues, rock & roll and other music genres. Like in the case of the Stratocaster and the Les Paul, several customized versions of the Telecaster have appeared over the decades. These variants feature different pickup configurations like a humbucker in the neck position, dual humbuckers and three single-coil pickups. There is also a semi-hollow version called the Telecaster Thinline.
Now comes the part of this type of gear-focused post that excites me the most – a list of musicians who have championed the equipment.
American guitarist James Burton, who has performed with Ricky Nelson, Elvis Presley, Johnny Cash, Glen Campbell, Roy Orbison and many others, has played a Telecaster since age 13 and is considered to be the most visible Tele player in the late ’50s. Here’s a great clip of Burton performing Johnny B. Goode live with Presley.
Also known as Mr. Telecaster, English guitarist Albert Lee has played a Telecaster since 1963. Here is a cool live clip from the early ’70s of Lee performing Country Boy with British country rock band Heads Hands & Feet – holy moly!
American electric blues guitarist Albert Collins was called The Master of the Telecaster. The Fender Custom Shop offers an Albert Collins Signature Telecaster, which is based on his 1966 model featuring a humbucker pickup in the neck position. Here’s Collins with Iceman, the title song of his tenth and final studio album released in March 1991, two and a half years prior to his untimely death from lung cancer in November 1993 at age 61.
Rolling Stones guitarist Keith Richards has used a variety of Telecasters throughout his long career. The most famous one is a ’53 Tele called Micawber. According to the Fender website, Richards got the Micawber from Eric Clapton as a present for his 27th birthday in 1970. At the time, the Stones were gearing up for Exile On Main Street. Shortly after the band’s ’72 tour, Richards replaced the single-coil pickup in the neck position with a ’50s Gibson PAF humbucker for extra bite. Here’s a clip of Richards in action with his Micawber, together with the Stones: Brown Sugar, from the 2016 concert in Havana, Cuba.
Blues guitar legend Muddy Waters played a red ’57 Telecaster. Until 2010, Fender offered a replica as part of its signature series, the Muddy Waters Telecaster. Here is a great clip of the maestro and his red Telecaster, performing I’m A King Bee, captured during ChicagoFest in 1981.
Of course, this short list of Telecaster champions would be incomplete without The Boss. Bruce Springsteen’s iconic guitar, which is pictured on the cover of the Born To Run album from 1975, is not a pure breed Telecaster. As Bobby Owsinskiexplains on his Music Production Blog, it’s actually a hybrid from at least two other guitars: a ’50s Telecaster body with what looks like a ’57 Esquire neck, which Springsteen purchased at a guitar shop in Neptune, N.J.
Before selling it to The Boss, store owner Phil Petillo removed the two additional pickups that had been added to return the guitar to its original Telecaster configuration. Over the years, Petillo made significant additional modifications requested by Springsteen, including triangular Precision Frets, a six saddle titanium bridge, as well as custom hot-wound waterproofed pickups and electronics, so the guitar could better withstand Springsteen’s marathon shows. In 2005, he retired his beloved instrument from live shows and has since played clones of it during tours. Springsteen continues to use the original for studio recordings. Here’s a clip of the mighty Born To Run, which is from a 1978 show and presumably features Springsteen’s original Telecaster hybrid. Man, watching this footage makes me want to see The Boss again!
Sources: Wikipedia; “Telecaster Buying Guide,” The Hub, March 2017; “Statocaster vs. Telecaster: The Differences That Matter,” Reverb, Nov 2016; “Interesting Mods: Keith Richards’ ‘Micawber’,” Fender website; “The Story Behind Bruce Springsteen’s Iconic Hybrid Telecaster,” Bobby Osinski, Music Production Blog; YouTube