And I thought I had known Carole King pretty well! Yes, I had been aware of her versatility as a songwriter, especially during the ’60s with her husband Gerry Goffin. But I had not been quite prepared for the above tune, Believe In Humanity, from Live At Montreux 1973, which came out in September. This great live album captures a 1973 show at the Montreux Pavillon in Switzerland, conducted as part of the Montreux Jazz Festival.
I don’t recall having heard King as soul and funk-oriented as on this track. This is really cool! I figured some readers who may know her primarily from the iconic and very different Tapestry album, may be surprised as well.
Undoubtedly, much of Believe In Humanity’s groove has do do with King’s 11-piece backing band that featured six horn and woodwind players, among others. Originally, Believe In Humanity appeared on her fifth solo album Fantasy from June 1973, a record I had hardly known. Oh, well, now I do!
According to King’s website, the material from Fantasy “was, at the time, untested. To up the stakes, almost everything about the new music broke with Carole’s past. This was her first attempt at a song cycle, a format which purposely blurs the songs into an unbroken piece, starting and ending with two distinct versions of the title track.”
When I saw that clip, I didn’t have to think twice about posting it: Carole King performing It’s Too Late on The Tonight Show withJimmy Fallon. King was backed by the show’s excellent house band The Roots. Live music really doesn’t get much better!
Written by her (music) and Toni Stern (lyrics), the beautiful tune appeared on the Tapestry album, a timeless gem and a record that after more than 40 years when I listened to it for the first time remains one of my all-time favorites.
King who turned 77 years old in February looks and sounds fantastic. Her appearance on Jimmy Fallon occured ahead of her performance at Global Citizen Festival 2019 in New York City’s Central Park on September 28. Frankly, that event had completely escaped my attention. I had all been focused on Rock the Farm, a great annual music tribute festival and fundraising event for after drug rehab programs, which also happened on September 28 and which I previously covered here.
Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list
“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)
So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow toldNPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.
“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”
Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.
Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”
Since I already previously coveredLive Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”
Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.
Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.
The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.
I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.
Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.
Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube
This great clip of Carole King performing It’s Too Late is from Live At Montreux 1973, a new released film documenting her concert at the Montreux Pavillon. According to King’s website, this appearance during the 1973 Montreux Jazz Festival was her first landmark show outside the United States. Watching this clip just gives me goosebumps.
As previously noted, my older sister introduced me to Carole King as an eight-year-old or so with the Tapestry album, one of the first vinyl records I ever heard. I loved King from the very beginning, even though I couldn’t understand a word she was singing. It didn’t matter. Her powerful voice and beautiful music were more than enough, though of course only add to the timeless classic. I still believe Carole King is one of the best American singer-songwriters I know.
Like most songs from Tapestry, the music for It’s Too Late was written by King. The words are by lyricist Toni Stern, who also wrote or co-wrote the lyrics for several other Carole King songs in the late ’60s and early ’70s.
Live At Montreux 1973 is available on DVD, CD and LP.
Sources: Wikipedia, Carole King website, Toni Stern website, YouTube
A long overdue tribute to one of my longtime favorite bands
Pink Floyd is one of my earliest music experiences dating back to the mid ’70s when I was nine or 10 years old and still living in Germany. It all started with Wish You Here, another record my sister had on vinyl – and yet another example where she introduced me, probably largely unconsciously, to music I still dig to this day. I’ve said it before and like to say it again: Thanks, sis, love you!
While I’ve mentioned Pink Floyd numerous times since I’ve started this blog more than two years ago, and I’ve written about Govt’ Mule’s great Dark Side of the Muleshow and a fantastic Floyd tribute band called Echoes, I haven’t dedicated a post to the actual band – well, I suppose better late than never! Before getting to the music, I’d be amiss not to provide some background on the British rock band. Obviously, Pink Floyd’s history has been told many times, so if you know it already, just skip it and go right to the clips, and maybe grab some headphones – there’s plenty of great music here!
Pink Floyd emerged from a band called The Tea Set in London in 1965. After noticing there was another music outfit with the same name, guitarist and lead vocalist Syd Barrett came up with the idea to combine the first names of two blues musicians who were part of his record collection: Pink Anderson and Floyd Council. Sounds pretty arbitrary to me, but the result sure as keck was a cool-sounding band name! Initially, they performed as The Pink Floyd Sound and also included Richard (Rick) Wright (keyboards), Roger Waters (bass, vocals) and Nick Mason (drums).
By 1966, the band was starting to get paid gigs, mainly playing R&B standards. They dropped “Sound” from their name at the recommendation of Peter Jenner who together with his friend Andrew King had taken over the band’s management earlier that year. Gradually, The Pink Floyd’s set featured more original compositions by Syd Barrett, the band’s first artistic leader. In early 1967, The Pink Floyd signed with EMI and recorded their debut single Arnold Layne.
By the time Floyd released their first studio album The Piper At The Gates Of Dawn in August 1967, they had dropped “The” from their name to become Pink Floyd. Barrett had developed a serious LSD habit and, according to Mason, “became completely distanced from everything going on.” Barrett’s behavior on stage became increasingly erratic, forcing a premature end of Pink Floyd’s U.S. tour in November 1967. The following month, guitarist David Gilmour became the band’s fifth member. Essentially, the idea was that he would play the guitar parts of Barrett who would continue to write music for the band.
Unfortunately, things didn’t work out and Barrett left in March 1968. The line-up that eventually would transform Pink Floyd to international super-stardom was in place! Waters effectively took over the band’s artistic direction for the next 15-plus years. During that period, they recorded ten additional albums, including two of the best-selling records of all time: The Dark Side Of The Moon (1973) and The Wall (1979). By the time of the latter, Pink Floyd essentially had become a Roger Waters project. This created tension among the members and led to departures.
The first to leave was Rick Wright in the wake of the 1980-1981 tour that supported The Wall. Eventually, Waters called it quits himself in 1985 and declared Pink Floyd was “a spent force creatively.” He then engaged in a legal battle with Gilmour and Mason over the next few years, trying to prevent them from continuing to use the Pink Floyd name. While things were settled long before then, it took Waters until 2013 to publicly admit he had been wrong about the lawsuit and to regret his ill-guided actions.
Wright returned as a session musician for A Momentary Lapse Of Reason (1987), Pink Floyd’s first album in the post-Waters era. The band continued to tour and recorded one additional album during Wright’s lifetime, The Division Bell (1994). On July 2, 2005, Gilmour, Mason and Wright reunited one last time with Waters and performed as Pink Floyd at the Live 8 benefit concert in London.
On July 6, 2007, Syd Barrett died at the age of 60 after he had largely lived in seclusion for more than 35 years. Rick Wright passed away from cancer on September 15, 2008. He was 65 years old. In 2012, Gilmour and Mason decided to create one final Pink Floyd album, based on music that had been recorded with Wright during studio sessions for The Division Bell. Called The Endless River, the mostly instrumental record was released in November 2014. Now let’s get to some music!
I’d like to kick things off with the above mentioned Arnold Layne, one of my favorite early songs The Pink Floyd released as their debut single in March 1967. Like pretty much all of the band’s original music during the Syd Barrett phase, the tune was written by the guitarist and lead vocalist.
Bike from The Piper At The Gates Of Dawn, released in August 1967, is another Barrett composition. It’s both a bit weird and catchy at the same time. Two of the cool features I like are the sound collage toward the end, which resembles the turning gears of a bike, as well as the duck or geese-like sounding screams thereafter. According to Wikipedia, they were created with a tape loop of the band members laughing, played backwards and at double speed. Obviously, The Beatles weren’t the only band that effectively had started leveraging studio technology to their advantage during the second half of the ’60s.
In June 1968, Pink Floyd released their sophomore album A Saucerful Of Secrets. The early recording sessions still included Syd Barrett whose behavior and ability to perform had increasingly become less predictable. One of the tracks, for which he provided slide and acoustics guitars and background vocals is Remember A Day, a great composition by Rick Wright who also sang lead vocals, a rarity.
Next up is what over the years has become my favorite Pink Floyd track: The mighty Echoes from the band’s sixth studio album Meddle that appeared in October 1971. Credited to all four members of the band and clocking in at more than 23 minutes, the epic tune comprises the entire second side of the vinyl LP. I realize only a hard core fan may listen to the entire clip, but that’s fine with me. I simply couldn’t leave out this one!
In March 1973, Pink Floyd released The Dark Side Of The Moon. With estimated worldwide sales of more than 45 million units, Floyd’s eighth studio album became their most commercially successful record. Here is The Great Gig In The Sky featuring the amazing vocals of Clare Torry, who is co-credited for the tune together with Rick Wright. This track still gives me goosebumps every time I listen to it. BTW, as I wrote this, it happened to be on the radio as part of Q104.3’s countdown of the 1,043 Greatest Rock Songs Of All Time. While one can argue endlessly why certain songs make the list and their ranking positions, it’s a fun listening experience. I’ve written about the radio station’s annual tradition for the Thanksgiving holiday before, most recently here. BTW, The Great Gig In The Sky came in at no. 829 – way, way, way too low!😀
Have A Cigar was Roger Waters’ biting critique of hypocrisy and greed in the music industry. It appeared on Pink Floyd’s ninth studio album, the above mentioned Wish You Were Here from September 1975. Here’s an excerpt from the lyrics: I’ve always had a deep respect and I mean that most sincere/The band is just fantastic, that is really what I think/Oh, by the way, which one’s Pink? The lead vocals were provided by English folk rock singer Roy Harper, making it the only Floyd tune besides The Great Gig In The Sky that wasn’t sung by one of their members.
In January 1977, Pink Floyd’s tenth studio album Animals appeared. Loosely based on George Orwell’sAnimal Farm, the concept album criticizes the social and political conditions in the U.K. at the time – two years before the leader of the Conservative Party Margaret Thatcher would become Prime Minister and a favorite target of Roger Waters. Here’s one of my favorite tracks from that album, Sheep, which like most tunes was solely written by Waters.
Perhaps the Pink Floyd song with the most epic guitar solo is Comfortably Numb, which was co-written by David Gilmour and Roger Waters. It appeared on the band’s 11th studio album The Wall, which came out in November 1979.
In September 1987, Pink Floyd released A Momentary Lapse Of Reason, their first record of the post-Waters area. Initially, David Gilmour set out to make it his third solo album, but things changed along the way. The record featured Nick Mason and Rick Wright, who was among the many guest musicians. Wright would later return to the band as a full member. Here’s the album’s closer Sorrow, which was written by Gilmour.
The last song I’d like to highlight is called High Hopes from Pink Floyd’s 14th studio album The Division Bell. Released in March 1994, it was the band’s final record issued during the lifetime of Rick Wright. He had an active role in writing much of the music with David Gilmour, while Gilmor’s fiancée and novellist Polly Samson co-wrote many of the lyrics. High Hopes was credited to Gilmour and Samson.
Pink Floyd were inducted into the Rock and Roll Hall of Fame in 1996. They also made the UK Music Hall of Fame in 2005. As of 2013, they had sold more than 250 million records worldwide, not only making them one of the most influential but also one of the most commercially successful bands of all time. While I don’t believe we will see another reincarnation of Pink Floyd, I’ve not doubt I’ll continue to enjoy their music, hopefully for many more years to come.
Here’s a clip from one of my all-time favorite artists, Carole King. Thanks to my older sister, who had the Tapestry album on vinyl, Carole was one of my first “discoveries” when I started listening to music as a 10-year-old or so. At the time, I didn’t speak English, so I couldn’t even understand any of her lyrics, which of course are essential to fully appreciate Tapestry. Even without grasping the lyrics, I was immediately drawn to the powerful and beautiful way Carole performs her songs. As the recently released above clip shows, she still has that magic passion to this day!
One is a tune Carole originally wrote and released in 1977 as part of her 9th solo album Simple Things. Worried about the current situation in the country, she was inspired to rewrite some of the lyrics. ” I kept thinking about the song “One” for which I had written both music and lyrics in 1977,” Carole noted. “It’s a song about wondering what we can do when we see injustice, and it expresses my long held belief that we – all of us humans – are most effective when we come together as “One” and stand up for our values such as dignity, inclusivity, equality of opportunity, and caring for our most vulnerable neighbors.” Eloquently said!
Part of what attracted me to the U.S. when I decided to live in this country more than 20 years ago were the above values. I also liked the idea of the melting pot and that if you were willing to work hard, the sky was the limit and it didn’t matter much where you came from and what accent you spoke. I realize this an idealistic view. I also understand that as a white guy, I easily fit in at least visually speaking. If my skin color were different, my experience may have been different. Unfortunately, racism and prejudice exist in all societies, and New York is hardly representative of America. But even with all these caveats, this country today feels very different than what I encountered 20-plus years ago.
I hope at the end of the day, despite the deep political division, people realize we’re all in this together. Each of us can play a constructive role. It starts with our everyday behavior. Stop aggressive driving. If you see somebody wants to enter a busy street, let them in. Hold the door for other people, even if you are in a rush to get to work in the morning. If you see an elderly person who has trouble moving wanting to cross the street, help them. This isn’t fucking rocket science. We can do this.
Here are the updated lyrics:
Poetic phrases come to mind Whenever I find injustice being done And I wonder, what am I gonna do What am I gonna do
What can one do except be one Talking to two, touching three, growing to four million Each of us is one All of us are one
Open your heart and let the love come shining through And you will do what you need to do To know just where the other you is coming from We are one
It just amazes me that I can be Part of the energy it takes to serve each other And I wonder, what am I gonna do What am I gonna do
What will we do We’re gonna run Reach for the sun Come together as one Show ‘em how it’s done At the end of the day we’ll be able to say Love won.
Earlier today, the sad news broke that Aretha Franklin passed away at age 75 from advanced pancreatic cancer. Not surprisingly, obituary after obituary has been published since. Instead of putting together yet another review of her life, I’m posting the above clip to celebrate Franklin’s music. I think the above footage of (You Make Me Feel Like) A Natural Woman says it all why Franklin rightly was called the Queen of Soul.
Co-written by Carole King and Jerry Goffin with input from producer Jerry Wexler, the beautiful tune was released by Franklin as a single in September 1967. It also was included on her 14th studio album Lady Soul from January 1968. King also recorded her own version of the song for her 1971 landmark record Tapestry.
Since Franklin certainly deserves more than this brief post, I’m planning to do additional writing about her in the coming days.