Happy Birthday, John Lennon

Today, John Lennon, one of my all-time favorite artists, would have turned 80 years old. He was born John Winston Lennon on October 9, 1940 in Liverpool, England. The former Beatles member’s life was tragically cut short on December 8, 1980 when he was shot to death by Mark David Chapman. A mentally unstable Beatles fan, Chapman had turned against Lennon over his lifestyle and public statements, including his comment during a March 1966 interview that the Fab Four were more popular than Jesus. Lennon was only 40 years old.

Instead of writing yet another biographical post, I’d like to celebrate the occasion with Lennon’s music by reposting a playlist I originally published in January 2018. It’s focused on his solo career.

My Playlist: John Lennon

I’m introducing a new feature to the blog with the ingenious name “My Playlist.” Why? Coz I write the bloody blog, so I can!ūüėÄ

On a more serious note, there are many different ways how to enjoy music. Apart from listening to entire albums, I like creating playlists for my favorite artists. Oftentimes, they include tracks from multiple records and span their entire recording career. Typically, it’s a combination of popular tunes and deeper cuts. That’s really the basic idea behind what I envisage is going to become a recurrent feature.

First up: John Lennon, one of my biggest music heroes!

John Lennon & Yoko Ono

Following his marriage to Yoko Ono in March 1969, Lennon quietly left The Beatles in September. Around the same time, he and Ono were contacted by the promoters of the Toronto Rock & Roll Festival, and hastily put together a band to perform there. The result was the first incarnation of the Plastic Ono Band, which in addition to Lennon (lead vocals, rhythm guitar) and Ono (vocals) included Eric Clapton (lead guitar, backing vocals), Klaus Voorman (bass) and Alan White (drums). Their performance at the festival was captured on the album Live Peace Toronto 1969, which appeared in December 1969.

After the official breakup of The Beatles in April 1970, Lennon recorded his first solo album John Lennon/Plastic Ono Band and released it in December that year. Until his death in December 1980, six other solo records followed: Imagine (1971), Some Time In New York City (1972), Mind Games (1973), Walls And Bridges (1974), Rock ‘N’ Roll (1975) and Double Fantasy (1980). Milk And Honey (1984) was recorded during the final months of his life and appeared postmortem. Let’s get to some music!

Cold Turkey (Single 1969)

Cold Turkey was Lennon’s second solo single released in October 1969. Written by him and credited to the Plastic Ono Band, the tune was recorded right in the wake of their appearance at the Toronto Rock & Roll Festival, where it had been performed in public for the first time. In fact, the song had been so new that Lennon hadn’t memorized the lyrics yet, so Ono held up the words on a cheat sheet! Unlike Live Peace Toronto 1969, Ringo Starr played the drums on the studio recording. In addition, Ono’s wailing sounds were absent – frankly, something I don’t miss in particular.

Instant Karma! (Single 1970)

Instant Karma! was the third Lennon tune that appeared as a non-album single credited to the Plastic Ono Band. Peaking at no. 3 and no. 5 on the U.S. Billboard Hot 100 and UK Single Charts, respectively, it became the first solo single by a former Beatles member to sell one million copies in America. In addition to Lennon, Ono, Voorman and White, it featured George Harrison (guitar, piano, backing vocals), Billy Preston (Hammond organ, backing vocals) and Mal Evans (chimes, handclaps, backing vocals).

Mother (John Lennon/Plastic Ono Band 1970)

Mother is the opener of Lennon’s first solo album John Lennon/Plastic Ono Band, which came out in December 1970. The painful cry to his parents, who abandoned him as a child, is one of the most powerful tunes he wrote. The relative sparse instrumentation of just piano, drums and bass, combined with Lennon’s screaming voice, still gives me goose bumps every time I listen to the song.

Jealous Guy (Imagine 1971)

Jealous Guy first appeared on Lennon’s second studio album Imagine released in September 1971 in the U.S. While that record is best known for its beautiful and timeless title track, which became the top-selling single of his solo career, to me Jealous Guy is an equal. Interestingly, it didn’t come out as a single until November 1985, four and a half years after Roxy Music had scored a no. 1 hit with their great cover.

New York City (Some Time In New York City 1972)

To me, Lennon was one of the greatest rock & roll singers. I just love this original tune from¬†Some Time In New York City, his third solo album from June 1972, credited to John & Yoko, Plastic Ono Band and American rock band¬†Elephant’s Memory, best known for backing Lennon and Ono in the early ’70s. The autobiographic track is both an anthem to the city, which had become Lennon’s and Ono’s home in September 1971, and a middle finger to the Nixon Administration. Concerned about their political activism, President Nixon was looking for ways to kick Lennon and Ono out of the country. Instead, he turned out to be a crook and was forced to resign. Maybe another Lennon would come in handy these days!

Mind Games (Mind Games 1973)

Mind Games is the title track and lead single of Lennon’s fourth solo album from October 1973. According to Wikipedia, he started work on the song in 1969, which originally was titled Make Love, Not War. Lennon finished the tune after he had read the 1972 book Mind Games: The Guide To Inner Space by Robert Masters and Jean Houston. The track was recorded around the time Lennon separated from Ono and with her encouragement had an 18-month relationship with May Pang. Let’s just leave it at that!

Whatever Gets You Thru The Night (Walls And Bridges 1974)

Included on Lennon’s fifth solo album Wall And Bridges from September 1974, Whatever Gets You Thru The Night also was the record’s first single. It became his first no. 1 single on the Billboard Hot 100, a chart success that was only achieved one more time with (Just Like) Starting Over from the Double Fantasy album in the wake of his death. The above clip shows Lennon joining Elton John live at New York’s Madison Square Garden in November 1974, his last major concert appearance. While the quality of the video is poor, not including it would have been a great miss. John also played piano and provided harmony vocals on the studio version.

Bring It On Home To Me/Send Me Some Lovin’ (Rock ‘N’ Roll 1975)

As previously noted, I’ve always thought Lennon was great at singing rock & roll. He also loved the genre, and this record is an homage. The medley of Sam Cooke’s Bring It On Home To Me and Send Me Some Lovin’, co-written by John Marascalso and Leo Price for Little Richard, is one of my favorites on the album. Rock ‘N’ Roll was Lennon’s last studio release prior to his five-year family hiatus, following his reunification with Ono and the birth of their son Sean.

Watching The Wheels (Double Fantasy 1980)

Watching The Wheels is from Double Fantasy, which came out in November 1980 – the first studio album after Lennon had reemerged from secluded family life. Credited to him and Ono, it is sadly the last release that appeared during his life time. The tune also became the record’s third single in March 1981, following Lennon’s death in New York City on December 8, 1980. While the song couldn’t match the chart success of the album’s first two singles (Just Like) Starting Over and Woman, I like it just as much.

Borrowed Time (Milk And Honey 1984)

I’ve always dug the cool groove Borrowed Time Lennon’s last studio album Milk And Honey that appeared postmortem in January 1984. According to Wikipedia, the song was inspired by a frightening sailing trip through rough seas from Newport, R.I. to Bermuda in 1980. After pretty much everybody else on board had become incapacitated due to sea sickness, Lennon who wasn’t impacted ended up taking the yacht’s wheel for many hours by himself.¬†It’s crazy if you think about it – the man survived what clearly were much lower odds than being shot to death by some nutcase!

Sources: Wikipedia, YouTube

Best of What’s New

A selection of newly released music that caught my attention

It’s very satisfying to me that since the introduction of this recurring feature two months ago, I’ve discovered newly released music each week that sufficiently intrigues me to write about it. This may sound arrogant, but¬†the reality is most new music simply doesn’t speak to me, especially pretty much anything that’s in the current charts. So it’s been great to see there are exceptions.

This week’s installment includes nice variety, featuring rock, country, folk, Americana and soul. The majority of these artists are new to me, even though most have been around for more than 20 years. There are also two who have been active for 60 years, including one name I had not heard in a long time. Let’s get to it.

Jupiter Coyote/Hungry Ghost

According to AllMusic, Jupiter Coyote is a five-piece band blending bluegrass with traditional rock, which has been around since the early ’90s. Their debut album appears to be Cemeteries and Junkyards from November 1993. In total, AllMusic lists 12 records in the band’s discography, the most recent of which is The Interplanetary Yard Dog from February this year. Hungry Ghost is their latest single, which came out last Friday, May 8. It’s not on the aforementioned album. It was written by co-founding members and guitarist Matthew Mayes. I can hear some Hootie & the Blowfish in the tune, mostly because of the vocals that stylistically remind me a bit of Darius Rucker, though the music has a nice build toward a more edgy rock sound. It’s pretty cool – check it out!

John Frinzi/Used to These Blues

John Frinzi is a country singer-songwriter from Lakeland, Fla. According to his website, he was discovered by Doyle Grisham, the pedal steel guitarist of the Coral Reefer Band, Jimmy Buffett’s touring and recording group. Their working relationship led to Frinzi’s 2003 debut album Into the Dawn. On his second album Shoreline, he co-wrote many songs with Tom Corcoran, a Florida-based mystery novel author who has also been in Buffett’s circle. In 2017, Frinzi recorded Blue Sky View, an EP with songwriter and producer Aaron Scherz. Used to These Blues is Frinzi’s most recent single released on April 27. I like his vocals and the tune’s warm sound and pedal steel fill-ins. Nicely done!

Delbert McClinton/Still Rockin’

Unlike the title suggests, Still Rockin’ actually is a rather mellow ballad and the most recent single by Delbert McClinton, which appeared on March 31. McClinton, which Rolling Stone has called “Godfather of Americana Music”, has been around for more than 60 years. He released his debut album Delbert & Glen together with Glen Clark. While he has since released 29 additional albums, apparently, mainstream chart success has largely eluded him, though since the late 1990s, most of his records reached top positions on Billbord’s U.S. Blues chart. His most recent album Tall, Dark, and Handsome was well received and won the 2020 Grammy for Best Traditional Blues Album. Based on the opener I just checked out, this definitely sounds like a record I should check out sooner than later! For now, back to Still Rockin’, which McClinton co-wrote with Bob Britt and Pat McLaughlin.

Gordon Lightfoot/Do You Walk, Do You Talk

Here’s a name I haven’t heard in a long time. Admittedly, other than If You Could Read My Mind, Sundown and The Wreck of the Edmund Fitzgerald, which were all released in the ’70s and became hits in the U.S. and Canada, I don’t know Gordon Lightfoot’s music. What I do know is I like all of these tunes, as well as Do You Walk, Do You Talk, which is on the Canadian singer-songwriter’s new album Solo that appeared on March 20. According to a Rolling Stone story, it is his first album of newly released material in more than 15 years. Lightfoot who last November turned 81, discovered the material for the album in his home office. Initially, these tunes were recorded in late 2001 and early 2002. But before anything could be released, Lightfoot had an abdominal aortic aneurysm that nearly killed him. After unearthing the old recordings, he decided to re-record the tracks, using his guitar only.¬† ‚ÄúI thought my fans would be interested in hearing what songs sound like when first written,‚ÄĚ Lightfoot stated. According to this fansite, Lightfoot vigorously toured throughout last year and as recently as February. His tour schedule also shows many dates between March and June, which have all been rescheduled to later in the year to due COVID-19. Lightfoot has been active since 1958 (that’s an incredible 62 years!) and released his eponymous debut album in January 1966. According to Wikipedia, Solo is his 21st. Here’s Do You Walk, Do You Talk. Lightfoot still sounds pretty compelling.

Nadia Reid/Oh Canada

Nadia Reid is a 28-year-old singer-songwriter from Port Chalmers, New Zealand. Somehow her name sounded familiar and I had an idea, so I checked Aphoristic Album Reviews, and surely enough Graham covered her before, among others in this post from last October titled The Ten Next Best Singer-Songwriters Ever. Oh Canada is from Reid’s third album Out of My Province that came out on March 6. She released her debut Listen to Formation, Look for the Signs in March 2015. Not quite sure what it is about this tune, but I like it. Reid’s vocals are definitely part of it. Check out the official video.

The James Hunter Six/I Can Change Your Mind

James Hunter is an English R&B and soul singer-songwriter who has been around for 30 years. According to his website, he‚Äôs worked on the railway, busked in the streets of London, provided backup vocals and guitar for Van Morrison, played clubs and theaters all over the world, written scores of original songs, and recorded some of the most original and honest rhythm & soul albums of the last two decades.¬† By 2006, Hunter was recognized with nominations for a GRAMMY¬ģ Award (‚ÄúBest Traditional Blues Album‚ÄĚ for People Gonna Talk (Rounder)) and an American Music Award (‚ÄúBest New/Emerging Artist‚ÄĚ). He and his band then hit the road for a decade of extensive touring and recorded critically-acclaimed studio albums‚ÄĒ The Hard Way (Hear Music), Minute by Minute (Fantasy), Hold On! (Daptone), Whatever it Takes (Daptone).¬† By 2016, MOJO magazine had crowned him ‚ÄúThe United Kingdom‚Äôs Greatest Soul Singer.‚Ä̬†Somehow, I missed all of that, but I’m glad Hunter is now on my radar screen. I Can Change Your Mind sounds like beautiful old-fashioned soul. The vocals are pretty amazing. I can some Sam Cooke and Otis Redding in there. Check it out!

Sources: Wikipedia; Rolling Stone; GordonLightfoot.com fansite; AllMusic; YouTube

A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!

In Memoriam of Little Richard

“I created rock ‘n’ roll! I’m the innovator! I’m the emancipator! I’m the architect! I am the originator! I’m the one that started it! There wasn’t anyone singing rock ‘n’ roll when I came into it. There was no rock ‘n’ roll.” No, Richard Wayne Penniman wasn’t exactly known for modest self-assessment. I think this comment he made during an interview with SFGATE.com, the website of the San Francisco Chronicle, in July 2003 also illustrates he was a showman who had a knack for memorable quotes.

I’m writing this, as the obituaries still keep pouring in for the man known as Little Richard, who passed away this morning in Tullahoma, Tenn. at the age of 87, according to The New York Times. CNN reported Richard’s former agent Dick Alen confirmed the cause of death was related to bone cancer. Apparently, Richard had not been in good health for some time.

Little Richard 2

Instead of writing yet another traditional obituary, I’d like to primarily focus on what I and countless other rock & roll fans loved about Little Richard, and that’s his music. While he is sadly gone, fortunately, his music is here to stay. And there is plenty of it, so let’s get started and rock it up!

Richard’s recording career started in 1951 close to his 19th birthday when RCA Victor released Every Hour. An original composition, the soulful blues ballad doesn’t exactly sound like A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!, but one already can get an idea of Richard’s vocal abilities. While tune became a regional hit, it did not break through nationally, just like the other songs Richard recorded with RCA Victor, so he left in February 1952.

Following a few lean years and a struggle with poverty, which in 1954 forced Richard to work as a dishwasher in Macon, Ga., the breakthrough came when Specialty Records released Tutti Frutti as a single in November 1955. The record company had hired songwriter Dorothy LaBostrie to replace some of Richard’s sexual lyrics with less controversial words. Not only did the classic bring Richard long-sought national success, but the loud, hard-driving sound and wild (yet somewhat tamed) lyrics also became a blueprint for many of his tunes to come.

Tutti Frutti started a series of hits and the most successful two-year phase of Richard’s career. One of my favorites is the follow-up single Long Tall Sally from March 1956. Co-written by Richard, Robert “Bumps” Blackwell and Enotris Johnson, the song became Richard’s highest-charting U.S. mainstream hit, climbing to no. 13 on the Billboard Hot 100. It also marked his first no. 1 on the Hot R&B Singles chart. Over the years, I must have listened to Long Tall Sally 100 times or even more. It still grabs me. I also dig the cover by The Beatles. Classic rock & roll doesn’t get much better.

Ready, Teddy, for another biggie? Yeah, I’m ready, ready, ready to a rock ‘n’ roll.

Lucille, you won’t do your sister’s will?
Oh, Lucille, you won’t do your sister’s will?
You ran off and married, but I love you still

Lucille, released in February 1957, was co-written by Richard and Albert Collins – and nope, that’s not the blues guitarist. The two just happen to share the same name. According to Wikipedia, “the song foreshadowed the rhythmic feel of 1960s¬†rock music¬†in several ways, including its heavy¬†bassline¬†and slower¬†tempo.” Okay, I guess I take that. Lucille became Richard’s third and last no. 1 on the Hot R&B Singles. The song reached a more moderate no. 27 on the Billboard Hot 100. In the UK, on the other hand, it climbed to no. 10 on the Official Singles Chart. In addition to Richard’s vocals and piano, the horn work on this tune is just outstanding!

And then came that tour of Australia together with Gene Vincent and Eddie Cochran in October 1957 that changed Richard’s trajectory. As Rolling Stone put it in their obituary, After what he interpreted as signs ‚Äď a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation ‚Äď Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

After Richard left the music business, his record label Specialty Records continued to release previously recorded songs until 1960 when his contract ended and he apparently agreed to relinquish any royalties for his material. One of these tunes was another classic, Good Golly, Miss Molly. Co-written by John Marascalco and Blackwell, and first recorded in 1956, the single appeared in January 1958. It became a major hit, peaking at no. 10 and 8 in the U.S. and UK pop, charts respectively, and reaching no. 4 on the Hot R&B Singles.

Here’s the title track from the above noted 1959 album God Is Real. The tune was written by gospel music composer Kenneth Morris.

In 1962, Richard started a gradual return to secular music. While according to Rolling Stone, a new generation of music artists like The Rolling Stones and Bob Dylan welcomed him back, his music no longer sold well. When Richard performed at the Star-Club in Hamburg in the early ’60s, a then still relatively unknown British band called The Beatles opened up for him. The above Rolling Stone obituary included this quote from John Lennon: ‚ÄúWe used to stand backstage at Hamburg‚Äôs Star-Club and watch Little Richard play…He used to read from the Bible backstage and just to hear him talk we‚Äôd sit around and listen. I still love him and he‚Äôs one of the greatest.‚ÄĚ

In January 1967, Richard released a soul-oriented album titled The Explosive Little Richard. It was produced by his longtime friend Larry Williams and featured Johnny¬†“Guitar”¬†Watson. They co-wrote this tasty tune for Richard, Here’s Poor Dog (Who Can’t Wag His Own Tail). It also appeared as a single and reached no. 121 and 41 on the Billboard Hot 100 and Hot R&B Singles charts, respectively. The record didn’t chart.

While Richard enjoyed success as a live performer, his records continued to sell poorly. In April 1970, he had a short-lived comeback of sorts with Freedom Blues, a single from his album The Rill Thing released in August that year. Co-written by Richard and R&B singer Eskew Reeder, Jr., who had taught him how to play the piano, the tune reached no. 47 on the Billboard Hot 100 and peaked at no. 28 on the Hot R&B Singles.

During the remainder of the ’70s, Richard continued to perform and also had guest appearances on records by Delaney and Bonnie, Joe Walsh and Canned Heat, among others. He also became addicted to marijuana and cocaine. Eventually, his lifestyle wore him out, and in 1977, Richard quit rock & roll for the second time and returned to evangelism.

In 1984, he returned to music yet another time, feeling he could reconcile his roles as a rock & roll artist and an evangelist. Following a role in the movie picture Down and Out in Beverly Hills, Richard released another album, Lifetime Friend, in 1986. I actually got it on CD at the time. Here’s the nice opener Great Gosh A’Mighty, which Richard co-wrote with Billy Preston. Reminiscent of the old “A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom Richard,” the tune had also been included in the soundtrack of the aforementioned movie.

In 1992, Richard released Little Richard Meets¬†Masayoshi Takanaka, which featured newly recorded versions of his hits. The final Little Richard album Southern Child appeared in January 2005. Originally, the record had been scheduled for release in 1972 but had been shelved. Richard continued to perform frequently through the ’90s and the first decade of the new millennium. Nerve pain in his left leg and hip replacement forced him to reduce concerts and eventually to retire in 2013.

Richard was inducted into the Rock and Roll Hall of Fame in 1986 as part of the very first group of inductees, which also included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley. He also was inducted into the Songwriters Hall of Fame and received numerous awards. Four of his songs, Tutti Frutti (no. 43), Long Tall Sally (no. 55), Good Golly, Miss Molly (no. 94) and The Girl Can’t Help It (420), are in Rolling Stone’s list of 500 Greatest Songs of All Time from April 2010.

I’d like to end this post with a few reactions from other music artists:

“He was the biggest inspiration of my early teens and his music still has the same raw electric energy when you play it now as it did when it first shot through the music scene in the mid 50’s” (Mick Jagger)

“So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock‚Äôn Roll!” (Keith Richards)

“He will live on always in my heart with his amazing talent and his friendship! He was one of a kind and I will miss him dearly” (Jerry Lee Lewis)

“God bless little Richard one of my all-time musical heroes. Peace and love to all his family.” (Ringo Starr)

“He was there at the beginning and showed us all how to rock and roll. He was a such a great talent and will be missed. Little Richard’s music will last forever.” (Brian Wilson)

Sources: Wikipedia; SFGATE.com; The New York Times; CNN; Rolling Stone; YouTube

A Change Is Gonna Come, Ooo, Yes It Is

I was born by the river in a little tent
Oh and just like the river I’ve been running ev’r since
It’s been a long time, a long time coming
But I know a change gonna come, oh yes it will

This great song by Sam Cooke popped up in my mind yesterday. While he wrote it in a very different context, I still felt it fits the current situation where so many of us are hunkered down at home, hoping this bloody COVID-19 pandemic is going to turn a corner and that eventually, the country can get back to more normal circumstances.

It’s been too hard living, but I’m afraid to die
‘Cause I don’t know what’s up there, beyond the sky
It’s been a long, a long time coming
But I know a change gonna come, oh yes it will

The tune was inspired by unfortunate events Cooke experienced in Louisiana in October 1963. On October 8, Cooke called a local motel in Shreveport to reserve rooms for his wife and himself, as well as his entourage. But it turned out to be a “whites-only” motel, so when they arrived, a nervous front desk clerk told them there were no vacancies. Cooke got angry and demanded to speak with the manager, but his wife convinced him to leave. After he eventually agreed, they drove away voicing insults and blowing their horns. When they got to another local motel, the police were waiting and arrested them for “disturbing the peace.”

I go to the movie and I go downtown
Somebody keep tellin’ me don’t hang around
It’s been a long, a long time coming
But I know a change gonna come, oh yes it will

Sam Cooke New York Times 1963

The news agency UPI reported on the incident with the headline Negro Band Leader Held in Shreveport. The piece was picked up by The New York Times on October 9 (see picture above). The story lead reads as follows: SHREVEPORT, La., Oct. 8 (UPI) – Sam Cooke of Los Angeles, a Negro band leader; his wife and two associates were arrested for disturbing the peace today after they tried to register at a white motel.¬†George D’Artois, Public Safety Commissioner, said the four were not arrested for trying to register at the motel, but for creating a disturbance after they failed to get accommodations

Last year – that’s 56 years after the despicable incident – Shreveport mayor Adrian Perkins apologized to Cooke’s family for the event – well, I suppose better late than never! He also posthumously awarded Cooke the key to the city. Sadly, something tells me his actions were not embraced by everybody. Ignorance and racism are a bit like the coronavirus – they persist, at least in certain circles. Let’s leave at that!

Another factor that prompted Cooke to write the song was Bob Dylan’s Blowin’ in the Wind. According to Songfacts, he couldn’t believe that tune had been penned by a white man. After hearing it, he became determined to write something similar. And he did. Following Christmas in 1963, Cooke presented the tune to J.W. Alexander, a close music associate. Apparently, Alexander cautioned Cooke the song may not be as successful as his previous¬†lighter, poppier songs, but Cooke decided to proceed anyway, saying he wanted to make his father proud.

A Change Is Gonna Come was recorded at RCA Studios in Los Angeles on January 30, 1964. The session was conducted by Cooke’s musical arranger and guitarist Ren√© Hall. Production is credited to songwriting and producer duo and cousins Luigi Creatore and Hugo Peretti. They worked out of New York City’s storied Brill Building and are also known for having produced other Cooke songs like Twistin’ the Night Away and Another Saturday Night, The Lion Sleeps Tonight by The Tokens, and Shout by The Isley Brothers.

A Change Is Gonna Come first appeared on Cooke’s final studio album Ain’t That Good News released on March 1, 1964. It wasn’t issued as a single until December 11, 1964, two weeks after Cooke had been shot to death under mysterious circumstances by the manager of a motel in Los Angeles. The manager claimed she had acted in self-defense after Cooke had forced himself into her office, half-naked, looking for a woman who had spent the evening with him. The single version omitted the verse and chorus preceding the bridge (“I go to the movies‚Ķ”) for radio airplay.

The tune became an anthem for the Civil Rights Movement. Interesting, Cooke only performed it once in public, on The Tonight Show Starring Johnny Carson on February 7, 1964 – and only after his manager Allen Klein had pushed him to do so. Cooke told him there was no time to pull together the necessary musical arrangement, but Klein managed for RCA to pay for a full string section. According to Wikipedia, after that performance, Cooke had second thoughts about the tune, apparently in part triggered by Bobby Womack who felt it sounded “like death.” Cooke reportedly answered, “Man, that’s kind of how it sounds like to me. That’s why I’m never going to play it in public.”

As you’d expect, a gem like A Change Is Gonna Come has been covered by many other artists. One of my favorite takes is by Solomon Burke, who made it the title track of a studio album he released in 1986. He truly made it his own with a riveting version that takes the song to the then-present time of the mid-’80s. If you haven’t heard it, give this a listen!

I’d like to close with another intriguing cover by rock band Greta Van Fleet. Yep, you read this right – they included it on their second EP From the Fires that came out in November 2017. And, holy smoke, their gifted lead vocalist Josh Kiszka is absolutely killing it!

Sources: Wikipedia; Songfacts; YouTube

My Favorite Female Vocalists

It’s no secret that I’m a huge fan of vocals. Oftentimes, this becomes clear to me when listening to instrumental music. After a while, something seems to be missing. So I thought it would be fun to think about my favorite vocalists and feature some of them in a post. And since much of the blog is focused on male artists, I decided to keep the list to females. While I can’t deny a certain bias for artists I generally dig for their music, this selection first and foremost is based on vocal ability that grabs me. And with that let’s roll.

I’d like to kick things off with Annie Lennox, who of course is best known for Eurythmics, her pop duo with Dave Stewart, which became a powerhouse during the ’80s. Following Eurythmics’ hiatus in 1990, Lennox launched a solo career. Here’s Why, a beautiful tune that nicely showcases her amazing voice. She wrote this song for her solo debut album Diva released in April 1992.

Alicia Keys is an artist I rarely listen to, but every time I do what typically stands out to me is her vocal performance.¬†One of her most compelling songs I know in this context is called Fallin’. Written by Keys, it was included on her debut¬†record Songs in A Minor from June 2001. Listening to this tune gives me goosebumps!

Carole King needs no further introduction. I’ve been a fan from the first time I heard her 1971 album Tapestry. Since my sister who had this record on vinyl was a young teenager then, I must have been eight years old or so. I didn’t understand a word of English. But King’s beautiful music and voice were more than enough to immediately attract me. From Tapestry here is Way Over Yonder.

Next, I’d like to highlight an artist I bet most readers don’t know, though frequent visitors of the blog may recall the name of the band she’s in: Tierinii Jackson, the powerful lead vocalist of Southern Avenue. This contemporary band from Memphis, Tenn. blends traditional blues and soul with modern R&B. I’ve covered them on various previous occasions, most recently here in connection with a concert I saw. That lady’s voice is something else, especially live! Check out Don’t Give Up, a great tune co-written by Jackson and Southern Avenue guitarist Ori Naftaly. It’s from their eponymous debut album that came out in February 2017.

Another artist I dig both as a guitarist and a vocalist is Bonnie Raitt. In fact, I have to admit, I’ve really come to love her over the years, so there could be a bit of bias at play. But I don’t care what you may think, Raitt does have a great voice. One of my favorite songs she recorded is Angel from Montgomery written by John Prine. It appeared on Raitt’s fourth studio album Streetlights from September 1974.

Perhaps the artist with the most distinctive voice in this playlist is Stevie Nicks. No other vocalist I know sounds like her. The first tune that came to mind was Landslide, a timeless gem she wrote and recorded with Fleetwood Mac on their second eponymous studio album released in July 1975, the tenth overall in their long catalog.

An artist who to me was both an amazing performer and a great vocalist is Tina Turner – I say was, since she retired from performing in 2009. I was going to feature a song from her 1984 Private Dancer album, but then I thought what could possibly be better than her killer version of John Fogerty’s Proud Mary. Her initial recording is from 1971 as part of Ike & Tina Turner. Instead, I decided to select this clip capturing an amazing and extended live performance. I’ve been fortunate to see Tina Turner twice, including this tune. It was mind-boggling! Every now and then, she liked to do things nice and easy. But somehow she never ever seemed to do nothing completely nice and easy. Why? Because she liked to do it nice and rough. Go, Tina!

No list of my favorite female vocalists would be complete without Linda Ronstadt. Here is her beautiful cover of When Will I Be Loved. Written by Phil Everly, this great tune was first released by The Everly Brothers in May 1960, giving them a top 10 hit. Ronstadt’s version, which was included on her fifth solo album Heart Like a Wheel from November 1974, became even more successful, peaking at no. 2 on the Billboard Hot 100. It’s not hard to see why!

The next artist in this playlist may be the biggest surprise, at least for folks who have read previous posts: Christina Aguilera. Yep, an artist I have never covered, since I generally¬†don’t listen to her music. But I think she’s one of the best female vocalists I know. Beautiful is a powerful ballad written by Linda Perry, the former lead vocalist of 4 Non Blondes, who has a pretty decent voice herself. Aguilera recorded the track for her fourth studio album Stripped that appeared in October 2002. To me, singing doesn’t get much better!

This brings me to the final artist I’d like to highlight – Aretha Franklin. No playlist of female vocalists would be complete without the Queen of Soul either! In addition to being a songwriter, pianist and civil rights activist, Franklin was an incredible singer. Here’s her cover of the beautiful Sam Cooke song A Change Is Gonna Come from her 10th studio album I Never Loved a Man the Way I Love You, released in March 1967. I was reminded of this great record by hotfox63, who covered it the other day.

Sources: Wikipedia; YouTube

Little Steven Releases New Album Summer Of Sorcery

Van Zandt’s first studio record of new original material in 20 years features mighty backing band The Disciples of Soul

Steven Van Zandt is back in full force on Summer of Sorcery,¬†and he’s pulling all the stops on what is his first album of new original music in 20 years. The launch activities include record release shows this evening in Los Angeles and next Wednesday in Asbury Park, N.J. Since yesterday afternoon, Van Zandt has also “taken over” SiriusXM’s Classic Vinyl¬†(Ch. 26), where he presents vintage and classic rock tracks, as well as songs from the new album throughout the weekend. Moreover,¬†Summer of Sorcery will be supported with an extended tour through Europe and North America.

Little Steven clearly has been reenergized as a solo artist since the May 2017 release of predecessor Soulfire¬†and that record’s supporting tour, which was also captured on last April’s¬†Soulfire Live!¬†album. He cut down the time between solo record releases from almost 20 to two years –¬†Born Again Savage, the album prior to Soulfire, came out in 1999. And why not? With Bruce Springsteen’s previous Broadway engagement and his upcoming solo album Western Stars, the timing has been perfect for the E Street Band guitarist to focus on his own music.

Little Steven Tour Banner

In many ways, Summer of Sorcery represents a continuation of Soulfire. On both albums,¬†Little Steven is backed by the¬†impressive 14-piece band The Disciples of Soul,¬†and both releases represent¬†a musical journey back to the ’60s and ’70s. If one music artist can pull this off, it is Van Zandt, who frequently showcases his encyclopedic knowledge of music history on his SiriusXM program Underground Garage. He also did so when I saw him and the Disciples in September 2017 during the Soulfire tour.

The key difference between the two records is that Summer of Sorcery features new original music, whereas Soulfire includes songs Van Zandt wrote or co-wrote throughout his career. Most of the tracks on Soulfire¬†also did not appear under his name but were released by other artists, such as¬†Southside Johnny and the Asbury Jukes, the band Van Zandt co-founded with John Lyon (‚ÄúSouthside Johnny‚ÄĚ) in the mid-70s and whose first three albums he produced, and Gary U.S. Bonds. You can read more about Soulfire here. Time to get to some new music!

Here’s the opener Communion, a brassy soul rocker and one of the 10 original tunes on the album.

Next up perhaps is a bit of a surprise, at least from my perspective: a Latin song called Party Mambo!¬†I asked my wife who is from Puerto Rico about the tune. She expressed some doubts that fellow Hispanics will like it. While it may not 100 percent authentic, I think it’s groovy.

Vortex throws in blaxploitation, a genre that Little Steven clearly seems to like. Soulfire¬†features a cool cover of¬†Down And Out In New York City, which James Brown first recorded for the soundtrack album of the 1973 blaxploitation crime drama¬†Black Cesar. Unlike that tune, Vortex is an original, which sounds like an homage to Isaac Hayes’ Shaft. When I’m listening to the tune, I can literally hear the backing vocalists in Shaft.

The title of the next track I’d like to call out pretty much says it all: Soul Power Twist. Another original, the soul horns-meet rock tune could have appeared on an album by Southside Johnny and the Asbury Jukes. It has a Sam Cooke vibe to it.

How about some blues? Ask and you shall receive. Here’s I Visit The Blues.

The last tune I’d like to call out is the title track and closer. “The whole theme of the album is summed up in that song, that wizardry, that magic mixture of falling in love in the summer,” Van Zandt stated in a press release. With clocking in at over eight minutes, it’s perhaps not your typical love song.

“With this record I really wanted to travel back to a time when life was exciting, when unlimited possibilities were there every day,” Van Zandt further pointed out. “That was the feeling in the ’60s, the thrill of the unexpected coming at you. Our minds were blown every single day, one amazing thing after another, constantly lifting you up. So you kind of walked around six inches off the ground all the time, there was something that kept you buoyant in your spirit. I wanted to try and capture that first and foremost.”

Van Zandt seems to be a smart man, so I assume his above statement refers to the world of music, or he simply got carried away by excitement over his new album. The real world in America during the ’60s certainly was much more complicated, with racial segregation, the deaths of John F. Kennedy and Martin Luther King Jr. and the Vietnam War, to name some the events that happened during that period.

Little Steven and The Disciples of Soul in concert
Little Steven and The Disciples of Soul in concert (2017)

Summer of Sorcery, which was produced by Van Zandt and appears on Wicked Cool/UMe, is available on CD, digitally, and on vinyl as double LP on 180-gram black vinyl. There is also a limited edition double LP on 180-gram psychedelic swirl vinyl one can get exclusively via uDiscover. The album was mixed and mastered by veteran Bob Clearmountain, who has worked in various capacities with Bruce Springsteen, The Rolling Stones, Paul McCartney, David Bowie, Toto and many other top music artists.

In my opinion, Summer of Sorcery is a fun listening experience, even though it’s perhaps not quite as compelling as Soulfire. Like on that album, the production is a bit massive, but The Disciples of Soul are a hell of a band. Directionally speaking, I also agree with American Songwriter, which wrote¬†the tracks¬†“are often little more than revitalized riffs, melodies and rhythms of already existing songs retrofitted with new words and creative, even complex, rearrangements” – a little harsh, in my opinion. They added the album pulls out “all the stops to make this sonic smorgasbord explode out of the speakers with passion and clout.” I don’t think Van Zandt would claim the music represents anything new; in fact, I would argue it was his clear intention to pay homage to artists and music of the past, so the album’s retro sound isn’t surprising and doesn’t bother me.

As noted above, Little Steven and The Disciples of Soul are going on the road. Following the above two album release gigs in the U.S., a 19-date European tour kicks off on¬†May 16 in Liverpool, UK. Some of the other gigs include Berlin, Germany (May 28); Stockholm, Sweden (June 1); Brussels, Belgium (June 7) and Zurich, Switzerland (June 11), before that leg wraps up on June 23 in Paris, France. This is followed by 13 North American gigs, starting on June 29 in Syracuse, N.Y. and finishing on July 28 in Annapolis, Md. Then it’s back again to Europe until the beginning of September, before the band returns to North America with four shows in Las Vegas from September 5-8. There are plenty of additional dates during that second North American leg, including Tuscon, Ariz. (Sep 15); Austin, Texas (Sep 29); Birmingham, Ala. (Oct 3); Chicago (Oct 23); and New York City (Nov 6), the last listed gig. The current tour schedule is included in the above press release.

Sources: Wikipedia, UMe press release, Little Steven website, American Songwriter, YouTube

Aw, The ’80s (Part 2: 1985-1989)

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.

1985

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.

Live Aid Wembley
The Live Aid concert at London’s Wembley Stadium was attended by 72,000 people

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.

1986

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.

Rock Roll Hall of Fame 1986 Inductees
Rock & Roll Hall of Fame 1986 inductees (left to right): upper row: Chuck Berry, James Brown, Ray Charles, Sam Cooke and Fats Domino; lower row: The Everly Brothers, Buddy Hollie, Jerry Lee Lewis, Little Richard and Elvis Presley

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’s True 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.

1987

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.

1988

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.

1989

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.

Sources: Wikipedia, YouTube