Tedeschi Trucks Band’s I Am The Moon Called Their Most Ambitious Studio Project to Date

Part II: I Am The Moon: III. The Fall & I Am The Moon: IV. Farewell

Last Friday (Aug 26), Tedeschi Trucks Band released I Am The Moon: IV. Farewell, the fourth and final installment of their I Am the Moon four-album series. This is the second part of my review of what has been called the band’s most ambitious studio effort to date. You can read the first part here.

Borrowing from my previous post, I Am the Moon is a series of four albums, each accompanied by a film, with a total of 24 songs. The extraordinary project was inspired by a 12th-century Persian poem. Intriguingly, the very same poem also inspired one of the greatest blues rock albums of all time: Layla and Other Assorted Love Songs, by Derek and the Dominos.

Tedeschi Trucks Band: Led by Susan Tedeschi (guitar, vocals) and Derek Trucks (guitar), the group also includes original members Tyler Greenwell (drums, percussion), Mike Mattison (harmony vocals), Mark Rivers (harmony vocals) and Kebbi Williams (saxophone). Isaac Eady (drums & percussion), Alecia Chakour (harmony vocals), Elizabeth Lea (trombone), Ephraim Owens (trumpet), Brandon Boone (bass) and Gabe Dixon (keyboards & vocals) complete the current 12-piece lineup

I Am The Moon is the fifth studio effort by Tedeschi Trucks Band, who were founded in 2010 and are led by married couple Susan Tedeschi (guitar, vocals) and Derek Trucks (guitar). After touring together in 2007 as the Derek Trucks & Susan Tedeschi’s Soul Stew Revival, Trucks and Tedeschi merged their respective groups to create a mighty 11-piece band. In 2015, they added another member and have since been a 12-piece – what an army of musicians!

The project was inspired by Layla and Majnun, a poem written by Persian poet Nizami Ganjavi. The romantic narrative poem has been called the “Romeo and Juliet of the East” by English poet Lord Byron, who according to Wikipedia is considered one of the greatest English poets and a leading figure of the Romantic movement.

I’d say it’s time to get to some music. Let’s start with two tracks off I Am The Moon: III. The Fall, which was released on July 29. Here’s the opener Somehow, penned by the band’s keyboarder and vocalist Gabe Dixon, together with external songwriter Tia Sillers. The album’s accompanying essay by renowned American music journalist David Fricke describes the tune as “an easy-rolling groove that soon turns into full-blown soul power.” I could totally picture Bonnie Raitt singing it – love this!

Yes We Will is more bluesy. Penned by Susan Tedeschi, the tune is much closer to what I had associated with Tedeschi Trucks Band before listening to I Am The Moon. From Fricke’s essay: “Derek and I have so many blues roots,” she says, “and I really wanted to show those roots, where this band is at.” The result is early-Seventies B.B. King arm in arm with the Staple Singers, while the guitar breaks affirm the rise-and-shine in the lyrics and Tedeschi’s vocal. Come on, wake up people, can’t you see it now? Time is right now, she declares as Mattison, Mark Rivers and Alecia Chakour bring the train-to-glory in the chorus. You can’t help but believe it. Great song!

Here’s a Spotify link to I Am The Moon: III. The Fall:

Here’s the companion film for the third album:

On to I Am The Moon: IV. Farewell. My first pick here is Soul Sweet Song, co-written by Derek Trucks, Gabe Dixon and the band’s harmony vocalist Mike Mattison. From Fricke’s album essay: “That was Gabe,” Trucks says of Dixon, who co-wrote this song with the guitarist and Mattison. “He had the idea of writing it about Kofi” – original TTB keyboard player Kofi Burbridge, who was ill when Dixon joined in late 2018, at first on a temporary basis. (Burbridge died in February 2019, on the day his last album with the group, Signs, was released.) “Gabe writing lyrics about Kofi (I feel your rhythm moving me/’Cause your soul’s sweet song’s still singing) – that one hit me between the eyes.” A special guest on congas, Marc Quiñones – a longtime bandmate with Trucks in the Allman Brothers Band – adds a decisive and familiar, rhythmic element to the celebration.

The last track I’d like to call out is I Can Feel You Smiling, which perfectly sums up my sentiment about this album series. One last time quoting from Fricke’s album essay: This sparsely arranged ballad “was fun to write,” says Trucks, who “woke up in the morning, had the tune and put it on my phone. It reminded me of something Oliver Wood” – singer-guitarist in the Wood Brothers and a longtime friend of TTB – “would have written, so I sent it to him. He wrote back, ‘Man, I woke up the last few days with that melody in my head. Do you mind if I write something to it?’ I’m like, ‘Have at it, man.'” Wood sent back “this beautiful recording with one verse and a chorus, and I was like ‘Okay, that song’s done!'” Dixon contributed as well, underscoring the group work ethic – in composing, arranging and performance – that produced every song on I Am The Moon.

Here’s a Spotify link to the fourth album:

And here’s the companion film to I Am The Moon: IV. Farewell.

I Am The Moon is a massive project, so there’s a lot to take in here. While I knew Tedeschi Trucks Band were top-notch musicians, I really didn’t expect them to be as soulful as they are on these four albums. Admittedly, at least part of it could be plain ignorance. In any case, I really dig what this group has done here. Now I feel like seeing them. After four big-ticket shows back in June, it is going to have to wait!

Sources: Tedeschi Trucks Band website; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

After a two-week hiatus due to a vacation in Germany, I’m happy to be back. The first two songs highlighted in this post are from albums that were released yesterday (August 12). The two remaining picks reflect music that appeared while I was out. Let’s get to it!

Tony Molina/The Last Time

Kicking things off today is Tony Molina. From his Apple Music profile: California native Tony Molina spent years working in the punk and hardcore scenes before venturing out into his much poppier solo work. Living in the Bay Area, Molina played in various D.I.Y. hardcore acts starting in his teenage years. In 2013, while still fronting the much more aggressive Caged Animal, Molina released his solo debut, Dissed and Dismissed, a collection of 12 short and fuzzy tunes that took notes from ’90s indie and power pop acts like Weezer, Dinosaur Jr., and Teenage Fanclub. The incredibly brief album (the 12 tunes rush by in as many minutes) caught the ears of various labels and booking agents, and within the year, Molina was scheduled to release singles with indie luminaries like Matador and Slumberland. Fast forward nine years to Molina’s third solo album In the Fade. Here’s The Last Time, a nice fuzzy rocker!

Collective Soul/Reason

The first time I heard of Collective Soul was in March 1993 when they seemingly emerged out of nowhere with their debut single Shine. I immediately dug what became their biggest hit to date. Then the alternative rock band completely fell off my radar screen. Frankly, I had no idea they are still around and have since released 10 additional studio albums, including their latest titled Vibrating. Three of the group’s founding members are still part of the current line-up: Ed Roland (lead vocals, guitars, keyboards), his brother Dean Roland (rhythm guitar) and Will Turpin (bass, percussion backing vocals). Jesse Triplett (lead guitar, backing vocals) and Johnny Rabb (drums, percussion) have been with the band since 2014 and 2012, respectively. Reason, penned by Ed Roland, is a nice melodic rock tune.

Sheryl Crow/Circles

I trust Sheryl Crow, one of my favorite pop rock artists, needs no further introduction. When Crow released Threads in August 2019, she said her 11th studio album would be her last full-length effort, citing changed listening habits in the era of music streaming. I reviewed it here at the time. But the singer-songwriter also noted this didn’t mean retirement or no more new music. While Crow hasn’t been exactly prolific since Threads, she has followed through on her announcement. The latest example is her rendition of Circles, a tune written by Post Malone who first released the song as a single in August 2019, off his third studio album Hollywood’s Bleeding that appeared in September of the same year. Crow put out her cover of the tune as a single on August 2.

Tedeschi Trucks Band/Emmaline

My last pick for this Best of What’s New installment is Emmaline, a song off Tedeschi Trucks Band’s I Am the Moon: III. The Fall, the third of their ambitious four-album I Am the Moon studio project, released July 29. I covered the first two installments here. The fourth and final album I Am The Moon: IV. Farewell is scheduled for August 23. I Am The Moon is the fifth studio effort by Tedeschi Trucks Band, a group founded in 2010 by married couple Susan Tedeschi  (guitar, vocals) and slide guitar virtuoso Derek Trucks, who among others was a member of The Allman Brothers Band from 1999 until they disbanded in 2014. Emmaline was written by Mike Mattison, one of the Tedeschi Trucks Band’s harmony vocalists – great tune!

This post wouldn’t be complete without a Spotify playlist of the above and a few additional tunes.

Sources: Wikipedia; Apple Music; YouTube; Spotify

If I Could Only Take One

My desert island song by Talking Heads

Happy Wednesday! It’s time to prepare for another imaginary desert island trip. As usual, this means I need to figure which one song to take with me.

In case you’re new to this weekly recurring feature, there’re a few other rules. My pick needs to be by an artist or band I’ve only rarely written about or not covered at all to date. I’m also doing this exercise in alphabetical order, and I’m up to “t”.

There are plenty of artists (last names) and bands whose name starts with the letter “t”. Some include Taj Mahal, Tears For Fears, Tedeschi Trucks Band, The Temptations, Thin Lizzy, Pete Townshend, Tina Turner, Toto, Traffic, T. Rex and The Turtles. And then there’s the group I decided to pick: Talking Heads. My song choice: Burning Down the House.

Burning Down the House, credited to all four members of the band, David Byrne (lead vocals, guitar), Jerry Harrison (keyboards, guitar, backing vocals), Tina Weymouth (bass, backing vocals) and Chris Frantz (drums, backing vocals), first appeared on their fifth studio album Speaking in Tongues released in June 1983. It also became the record’s first single and the group’s highest-charting song in North America, climbing to no. 9 on the Billboard Hot 100 and no. 8 in Canada. It did best in New Zealand where it peaked at no. 5. In Australia, on the other hand, it stalled at no. 94.

The origins of Talking Heads go back to 1973 when Rhode Island School of Design students David Byrne and Chris Frantz started a band called the Artistics. The following year, fellow student and Frantz’s girlfriend Tina Weymouth joined on bass after Byrne and Frantz had been unable to find a bassist. At that point, all three had relocated to New York.

In early June 1975, the group played their first gig as Talking Heads, opening for the Ramones at renowned New York City music club CBGB. After signing to Sire Records in November 1976, Talking Heads released their first single Love → Building on Fire in February 1977. The following month, Jerry Harrison joined, completing the group’s lineup ahead of recording their debut album Talking Heads: 77.

While Talking Heads: 77 enjoyed moderate chart success, it was voted the year’s seventh-best album in The Village Voice’s Pazz & Jop critics’ poll. Subsequently, it was ranked at no. 291 in Rolling Stone’s 2012 list of The 500 Greatest Albums of All Time. It didn’t make the most recent revision published in 2020. Until their break-up in December 1991, Talking Heads released seven additional albums. Also noteworthy is the acclaimed concert film Stop Making Sense shot over three nights in December 1983 during the tour that supported the Speaking in Tongues album.

After their disbanding, David Byrne launched a solo career, while the three remaining members toured in the early ’90s, billed as Shrunken Heads. In October 1996, they released an album, No Talking, Just Head as The Heads. Byrne wasn’t amused and took legal action to prevent the band from using the name The Heads. Talking Heads reunited one more time in March 2002 for their induction into the Rock and Roll Hame of Fame. During an induction performance, they were joined on stage by former touring members Bernie Worrell and Steve Scales.

Following are a few additional tidbits on Burning Down the House from Songfacts:

Talking Heads drummer Chris Frantz and bass player Tina Weymouth, married since 1977, are big fans of funk. When they went to a P-Funk show at Madison Square Garden in New York City, the crowd started chanting, “Burn down the house, burn down the house” (this is before “The Roof Is on Fire”), which gave Frantz the idea for the title...

…With a lot of help from MTV, who gave the video a lot of play, this song became Talking Heads’ biggest hit. It didn’t get a great deal of radio play at the time, but has endured as an ’80s classic and is often used in movies and TV shows, including Gilmore Girls, 13 Going on 30, Six Feet Under, Revenge of the Nerds and Someone Like You…

…The music video was directed by David Byrne and was the first Talking Heads video to show the full band – their famous “Once In A Lifetime” video is just Byrne. The house seen in the video was located in Union, New Jersey, but it was shot at a New York City club called The World…

…The Talking Heads original recording failed to reach the UK charts. The song only became a British hit in 1999 when Tom Jones teamed up with The Cardigans for an entirely different version. Released as a single from his album of collaborations titled Reload, it peaked at #7.

There is also a cool cover of Burning Down the House by Bonnie Raitt, which she included on her live album Road Tested that came out in November 1995. Here’s a great clip of her rendition from December 2010. In my completely unbiased opinion, I think Bonnie is stealing the show, truly burning down the house! 🙂

Sources: Wikipedia; Songfacts; YouTube; Spotify

Tedeschi Trucks Band’s I Am The Moon Dubbed Their Most Ambitious Studio Project to Date

Part I: I. Crescent & II. Ascension

Since I came across I Am The Moon: II. Ascension, which Tedeschi Trucks Band released on CD and digitally on Friday, I’ve been listening to their latest album and quickly come to dig it. It’s the second in a series of four I Am The Moon albums the band calls “the most ambitious studio project of their storied career” on their website. While I’m still new to the group’s music though not their name, I’ve no doubt that claim is true.

A series of four albums, each accompanied by a film, with a total of 24 songs, all of which were inspired by a 12th-century Persian poem certainly sounds like an extraordinary effort. Intriguingly, that same poem also inspired one of the greatest blues rock albums of all time: Layla and Other Assorted Love Songs, by Derek and the Dominos. There’s a lot to unpack here, so please bear with me. 🙂

Tedeschi Trucks Band’s I’m The Moon includes four albums: I Am The Moon: I. Crescent, I’m The Moon: II. Ascension, I Am The Moon: III. The Fall and I Am The Moon: IV. Farewell

I Am The Moon is the fifth studio effort by Tedeschi Trucks Band, who were founded in 2010 and are led by married couple Susan Tedeschi (guitar, vocals) and Derek Trucks (guitar). After touring together in 2007 as the Derek Trucks & Susan Tedeschi’s Soul Stew Revival, Trucks and Tedeschi merged their respective groups to create a mighty 11-piece band. In 2015, they added another member and have since been a 12-piece – what an army of musicians!

Trucks, an incredible slide guitarist, started playing guitar at the age of nine and two years later performed his first paid gig. He was a former member of The Allman Brothers Band from 1999 until they disbanded in 2014. Derek is the nephew of the late Butch Trucks, a founder of the Allmans and their drummer. Tedeschi is no slouch either. She has played in bands since the age of 13, formed her first all-original group at 18, and in 1995 released the first of seven studio albums under her name. Tedeschi met Trucks in 1999 when her band opened for the Allmans. They hit it off, both personally and professionally.

Tedeschi Trucks Band: Led by Susan Tedeschi (guitar, vocals) and Derek Trucks (guitar), the group also includes original members Tyler Greenwell (drums, percussion), Mike Mattison (harmony vocals), Mark Rivers (harmony vocals) and Kebbi Williams (saxophone). Isaac Eady (drums & percussion), Alecia Chakour (harmony vocals), Elizabeth Lea (trombone), Ephraim Owens (trumpet), Brandon Boone (bass) and Gabe Dixon (keyboards & vocals) complete the current 12-piece lineup

Back to I Am The Moon. The Tedeschi Trucks Band’s latest project was inspired by Layla and Majnun, a poem written by Persian poet Nizami Ganjavi. The romantic narrative poem has been called the “Romeo and Juliet of the East” by English poet Lord Byron, who according to Wikipedia is considered one of the greatest English poets and a leading figure of the Romantic movement. I’m not a poetry expert, but I’m taking that statement at face value.

An album essay written by renowned American music journalist David Fricke notes I’m The Moon is inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era. There is the recurring fight for hope too, the reaching across damaged connections – all of that trial and urgency unfolding over a robust tapestry of blues, funk, country, jazz and gospel in collaborative writing, luminous singing and the instant fire of improvisation.

The initial idea to write an album based on the Layla and Majnun poem came from vocalist Mike Mattison in May 2020, two months after the group had been forced to stop touring by the pandemic. Nine months earlier, Tedeschi Trucks Band had performed the entire Layla and Other Assorted Love Songs live at the LOCKN’ Festival, which was released in July 2021 as Layla Revisited (Live at LOCKN’). Apparently, that created the initial spark.

“We get so carried away with the music – everyone knows it so well,” Mattison said, according to Fricke’s album essay. “That album is one point of view, Layla as this love object: ‘I want you, I can’t have you.'” But after Mattison read the original work, “I realized there are many things going on from different perspectives” and proposed “revisiting this source material as a band, as writers.”

LOS ANGELES, CA – NOVEMBER 01: Mike Mattison of Tedeschi Trucks Band performs at The Greek Theatre on November 1, 2014 in Los Angeles, California. (Photo by Jeff Golden/WireImage)

This review includes I’m The Moon: II. Ascension, as well as the first album, I Am The Moon: I. Crescent, which appeared on June 3. The corresponding films premiered on May 31 and June 28, respectively. The two remaining albums, I Am The Moon: III. The Fall and I Am The Moon: IV. Farewell, are slated for July 29 and August 23, respectively, with their corresponding films scheduled to come out July 26 and August 23. I’m planning to review the two outstanding albums together in late August.

I’d say it’s finally time for some music. Let’s kick it off with the opener of I Am The Moon: I. Crescent, Hear My Dear. The beautiful tune was co-written by Trucks, Tedeschi and Gabe Dixon, the band’s keyboarder and one of the vocalists. Check out that warm sound – this is really sweet!

Another highlight on the first album of the series is the title track, which Dixon penned by himself. Pulling from Fricke’s album essay: “That was my idea, on the demo,” Dixon says of the space and crescendo at the end where Trucks solos, promising an even longer trip when this song goes into the setlists. “It was just me, playing some piano fills and singing over those chords. But of course, I thought, ‘This is going to be a solo section that can go however long we feel.'”

Let’s do one more from the first album: Circles ‘Round The Sun, co-written by Trucks, Tedeschi and Tyler Greenwell, one of the group’s two drummers. There’s a great soul vibe in that tune. With the gospel-like backing vocals, it also feels “churchy.” Check it out!

Here’s a Spotify link to the entire album:

And, in case you’re curious, here’s the accompanying film. Like the other three films, it was directed by American documentary filmmaker and television writer Alix Lambert.

On to I Am The Moon: II. Ascension, the current album in the series, which finally prompted me to take a closer look at Tedeschi Trucks Band. Since I just highlighted it in my last Best of What’s New installment, I’m skipping the excellent Playing With My Emotions and go right to the second track. Ain’t That Something is credited to Trucks, Dixon, Mattison and Tedeschi. It’s another soulful gem. I could see Bonnie Raitt play that tune. For some reason, I had always thought of Tedeschi Trucks Band as a “straight blues rock band.” Sure, there’s some of that here, but they also blend in soul and gospel. It’s one tasty stew!

Blues rock-oriented So Long Savior is closer to what I pictured Tedeschi Trucks Band to sound like. Written together by Trucks, Mattison and Tedeschi, the song shuffles along nicely and has some cool slide guitar action.

The last track I’d like to highlight from the second album is the closer. Hold That Line, a slower beautiful tune, was written together by Trucks, Dixon, Tedeschi and Greenwell. It’s neat the group has all these different writers!

Here’s a Spotify link to I Am The Moon: II. Ascension:

The companion film for the album is here.

Some remaining thoughts: Why four albums, you may wonder when the 24 songs could have fit on two or three CDs. According to Fricke’s album essay, the group looked at records they love such as Axis: Bold as Love, the 1967 album by the Jimi Hendrix Experience. “It’s 36 minutes long,” Trucks said. “That’s the way to digest a record.” That’s probably true for my and older generations. When it comes to most young folks, I’m afraid they no longer listen to albums and instead create their own playlists. Then again, teens and twenty-something-year-olds probably aren’t the group’s target audience in the first place.

As I noted at the beginning of the post, which at this point you can probably barely remember, I’m still new to Teschedi Trucks Band. As such, it’s a bit tricky to put I Am The Moon in the broader context of the band’s catalog to date. But having been a music fan for more than 45 years, I’m confident enough to say when I see greatness. To me, this album series has the ingredients of a career-defining Mount Rushmore-type release. I’d be curious to hear from readers who are more familiar with the group whether they agree with my assessment.

I Am The Moon certainly makes me want to see the Tedeschi Trucks Band who have been on the road since June 24. The Wheels of Soul 2022 tour is coming next to Westville Music Bowl, New Haven, Conn. (July 6) before moving on to Philly’s great The Mann Center for the Performing Arts (July 8) and Midway Lawn, Essex Junction, Vt. (July 9). Their U.S. tour concludes with a series of gigs at New York City’s Beacon Theatre in late September and early October before launching a European leg. The full schedule is here.

Last but not least, to all my readers in the United States, if you celebrate it, have a Happy Fourth of July. Most of all stay safe!

Sources: Wikipedia; Tedeschi Trucks Band website; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

Welcome to the first July installment of Best of What’s New. Summer is in full swing, and so are new music releases – time to take another look! All picks are from albums that came out yesterday (July 1).

Umphrey’s McGee/Always October

Kicking it off this time are American jam band Umphrey’s McGee, whose music has incorporated many different styles since they were formed in December 1997. From their AllMusic bio: Originating out of South Bend, Indiana in the late 1990s, Umphrey’s McGee became widely established on the American jam band circuit and have become known as one of more ambitious and musically versatile acts in the genre. Their wild amalgam of funk, metal, progressive rock, electronic, jazz, and folk has played out over numerous live and studio albums including 2006’s Safety in Numbers and 2009’s experimental Mantis…In the 2010s, the band continued to thrive, issuing an album tracked at London’s famed Abbey Road Studios and releasing the 2018 companion albums It’s Not Us and It’s You. Here’s Always October, a track from the group’s latest studio album Asking For a Friend. Credited to all six members, the tune’s pop rock sound seems to be representative of the remaining album, based on various other tunes I’ve heard – pretty pleasant!

Momma/Motorbike

Momma are a Los Angeles-based indie rock project of school friends and singer-songwriters Etta Friedman (guitar, vocals) and Allegra Weingarten (guitar, vocals), as well as Zach CapittiFenton (drums). They released their debut full-length album Interloper in 2018. This was followed by their 2020 sophomore Two of Me, which according to Apple Music was a “minor breakthrough.” Now Momma are back with Household Name, their third and new album. Apple Music calls it “their professional studio debut.” Here’s Motorbike, a track credited to the three members of Momma, as well as producer Aron Kobayashi Ritch. I like their sound!

Tedeschi Trucks Band/Playing With My Emotions

As a blues rock fan, I can’t believe I’ve yet to dedicate a post to Tedeschi Trucks Band! They were founded in 2010 by married couple Susan Tedeschi (guitar, vocals) and slide guitar virtuoso Derek Trucks, who among others was a member of The Allman Brothers Band from 1999 until they disbanded in 2014. To date, Tedeschi Trucks Band have released six studio and three live albums. This includes their latest studio effort I Am The Moon: II. Ascension, which is part of a series of albums. Here’s how their website explains it: Tedeschi Trucks Band announces the most ambitious studio project of their storied career: I Am The Moon, an epic undertaking in four albums with four corresponding films and 24 original songs. Inspired by a mythic Persian tale of star-crossed lovers, and emotionally driven by the isolation and disconnection of the pandemic era, the thematic I Am The Moon totals more than two hours of music, unfolding a robust tapestry of genre-defying explorations that propel the treasured American ensemble into new and thrilling creative territory. How about a sample? Here’s Playing With My Emotions – love that tune! This entire album series surely sounds pretty intriguing to me and definitely something I want to further explore!

Camp Trash/Feel Something

Let’s wrap up this Best of What’s New installment with some more indie rock, coz why not? Here’s some new music from Camp Trash – not a lot of publicly available information about this group from Florida. At least I found the following on the website of their label Count Your Lucky Stars Records: Camp Trash seemingly burst out of nowhere with their debut EP Downtiming at the beginning of 2021, armed with catchy riffs and infectious vocals that earwormed their way into your head and wouldn’t let go. It landed on several prominent playlists from NPR, Stereogum, and the cover/feature track of Spotify’s official editorial list, ‘Fresh Finds- Rock’. They have only leveled up for their first full length, The Long Way, the Slow Way. Crafting songs that somehow feel original but familiar at the same time, Camp Trash blends 90s alternative rock and 2000s emo with pop-punk sensibilities. Here’s Feel Something, credited to all four members: Alex Roberts, Bryan Gorman, Keegan Bradford and Levi Bradford. I like it! My humble recommendation: Ramp up your PR to get the word out. Start by putting a bio on your website!

This post wouldn’t be complete without a Spotify list of the above and some additional tunes.

Sources: Wikipedia; AllMusic; Tedeschi Trucks Band website; Count Your Lucky Stars Records website; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

Welcome to another installment of Best of What’s New, my weekly look at newly-released music. This time, three of the four featured artists are entirely new to me, while the last pick I’ve primarily known by name for more than 30 years. All tunes came out yesterday (February 4).

Eric Krasno/Lost Myself

My first pick this week is Eric Krasno, a versatile New York-based guitarist, singer-songwriter and producer. According to his Apple Music profile, he is best known for his work with Soulive [a funk/jazz trio – CMM] and Lettuce [a Boston funk group – CMM], both of which he co-founded. His own musical roots lie in funk, jazz, rock, and hip-hop, and he has written songs and produced records for a variety of artists in a range of genres including Norah Jones, Aaron Neville, Talib Kweli, Tedeschi Trucks Band, Ledisi, 50 Cent, and Matisyahu…His earliest influences were his musician grandfather, a professional pianist who played gypsy jazz and swing, as well as his older brother and father, also accomplished musicians though amateurs. His early attraction to classic rock records from Led Zeppelin, the Rolling Stones, Jimi Hendrix Experience, Jeff Beck, and Grateful Dead influenced his decision to become a guitarist. He began playing in local bands during high school. After graduating, he attended the Berklee School of Music for one semester before transferring to Hampshire College. Despite its brevity, it was at Berklee that he encountered other founding members of the funk/jam unit Lettuce during a summer program…In 1999, he joined brothers Alan and Neal Evans, and Sam Kininger, to co-found Soulive, a jazz/hip-hop/folk/groove unit that recorded for several labels including Blue Note and, like Lettuce, they’re known for a rigorous touring schedule. In 2010, Krasno released his first solo album Reminisce. This brings me to this third and latest studio release Always and Lost Myself. The funky, soulful, bluesy tune was co-written by Krasno and David Gutter. Krasno’s vocals remind me a bit of John Mayer.

Black Country, New Road/The Place Where He Inserted the Blade

Black Country, New Road are an English rock band established in London in 2018. The initial lineup included Tyler Hyde (bass), Lewis Evans (saxophone), May Kershaw (keyboards), Charlie Wayne (drums) and Isaac Wood (lead vocals, guitar), who all had been members of Cambridge, England-based group Nervous Conditions. After the release of their debut single Athen’s, France, guitarist Luke Mark joined the band. That formation subsequently recorded Black Country, New Road’s debut album For the First Time that came out in February 2021. The Place Where He Inserted the Blade, credited to all members, is a tune from the group’s sophomore and latest album Ants from Up There. It’s an unusual, interesting track, mixing rock, pop and classical music elements. Four days prior to the record’s release, Wood announced his departure from the band due to mental health issues. Bassist Hyde will assume lead vocals for now.

Muscadine Bloodline/Dead on Arrival

Muscadine Bloodline are a Nashville-based duo of Charlie Muncaster and Gary Stanton who blend country and Southern rock. From their website: Charlie Muncaster and Gary Stanton grew up in Mobile, Alabama, but didn’t cross paths until they each started to pursue their musical dreams. In 2012, they forged a friendship when Stanton opened a show for Muncaster’s band at Soul Kitchen in Mobile. Charlie’s contemporary vocals complimented by Gary’s harmonies and masterful guitar licks showcase a powerfully refreshing mix of talent, passion and unfiltered authenticity. Since naming themselves Muscadine Bloodline in 2015, they’ve had two Billboard-charting critically-acclaimed EP’s, have sold out shows across the country, opened concerts for hundreds of artists and earned a standing ovation at their Grand Ole Opry debut in 2018. The guys’ Southern roots carry over to their band name as well: Muscadine grapes grow in the South while Bloodline represents their heritage. In September 2020, they released their debut record Burn It at Both Ends. Bluesy country rocker Dead on Arrival is a song from the duo’s second and new album Dispatch to 16th Ave. The tune was co-written by Muncaster and Stanton, along with Adam Hood and producer Gary Stanton.

Red Hot Chili Peppers/Black Summer

Wrapping up this week’s music revue is the latest single by Red Hot Chili Peppers. While they have been around since 1983, other than Under the Bridge and Californication, I can’t name any other tunes by the rock band from Los Angeles. As expected, the group has had numerous line-up changes over the decades. The current members include co-founders Anthony Kiedis (lead vocals) and Michael Peter Balzary, known as Flea (bass, trumpet, piano, backing vocals), along with John Frusciante (guitars, keyboards, backing vocals) and Chad Smith (drums, percussion). To date, the Chili Peppers have released 11 studio, two live and 12 compilation albums. A new album, their first in nearly six years, is coming out on April 1: Unlimited Love. It was produced by Rick Rubin, who previously had served as their producer for six albums in a row, released between 1991 and 2011. Here’s Black Summer, the lead single from the new album, credited to all four members. I think it’s a great tune that makes me want to hear more.

Last but not least, as usual, here’s a playlist of the above songs, along with a few others.

Sources: Wikipedia; Apple Music; Muscadine Bloodline website; YouTube; Spotify

The Blues Comes Alive…Live – Part II

For people who have frequently visited this blog or know me otherwise, this won’t come as a big surprise: I love the blues and blues rock. I also feel it’s a type of music that’s perfect to be experienced live. This is the second part of a two-part post celebrating great live performances of blues and blues rock gems. In case you missed part I, you can check it out here. Now, come on, let’s have some more fun!

Buddy Guy/Damn Right, I’ve Got the Blues

Having mentioned Buddy Guy more than once in part I, it’s about damn time that I feature the man. Damn Right, I’ve Got the Blues, written by Guy, is the title track of his seventh studio album from July 1991. The video footage documents his performance of the tune in September 2018 at the Americana 17th Annual Honors, held at the storied Ryman Auditorium in Nashville, Tenn. Guy was 82 at the time – an unbelievable force of nature! I saw him in April that year in New York City at B.B. King Blues Club & Grill, where he was on fire was well. Sadly, his gig marked one of the last shows at that venue before they closed it down!

Jimi Experience Experience/Voodoo Child (Slight Return)

This post wouldn’t be complete without this killer performance by the Jimi Hendrix Experience. Voodoo Child (Slight Return), written by Hendrix, first appeared on the band’s third and final studio album Electric Ladyland that came out in October 1968. The clip is from a documentary titled Music, Money, Madness … Jimi Hendrix in Maui, which chronicles the Experience’s visit to the Hawaiian island in July 1970 including their two performances there. The film and a companion album were released in November 2020.

Stevie Ray Vaughan & Double Trouble/Pride and Joy

Don’t get me started on Stevie Ray Vaughan. In my book, he was the most talented non-black electric blues guitarist I can think of. Buddy Guy during the previously noted documentary said Vaughan was to the blues what Michael Jordan was to basketball – great observation! Pride and Joy, written by the guitar virtuoso, was included on his debut studio album Texas Flood released in June 1983. The clip captures a performance of Vaughan and his backing band at Montreux Jazz Festival in 1982 – not exactly a match in heaven, since the audience clearly was less than enthusiastic about the band’s performance – I guess it was simply too much for their jazz ears! The band took it with pride, perhaps less with joy, though they still put on a killer performance!

Walter Trout/Bullfrog Blues

Walter Trout perhaps is the ultimate blues survivor. At about 2:30 minutes into his 2019 rendition of Bullfrog Blues at a jazz festival in Bavaria, Germany, Trout hints at what I mean, saying, “My life was saved by an organ donor. So sign up, be an organ donor and do something good for humanity.” In 2013, Trout’s past use of drugs and alcohol had caught up with him, and he found himself with end-stage liver disease, requiring a transplant to live or die. Luckily, a donor liver was found in time, and after a lengthy recovery during which Trout needed to relearn how to speak, walk and play the guitar, he was able to resume his career. Bullfrog Blues, a traditional, became the B-side of Canned Heat’s debut single Rollin’ and Tumblin’ from 1967. At the time, Trout was a 16-year-old growing up in New Jersey. Little did he know that he would join the band’s version that existed in 1981 and become their lead guitarist until 1985.

Ana Popović/Ana’s Shuffle

Time to feature another contemporary female blues rock artist: Ana Popović who was born in Serbia and has lived in the U.S. since 2016. It was her father Milton Popović, who introduced her to the blues, and she started playing guitar in Serbia at the age of 15. Four years later in 1995, she founded R&B band Hush there. The group disband in 1998 when Popović went to The Netherlands to study jazz guitar. The following year, she launched the Ana Popović Band in the Netherlands. In 2001, her solo debut Hush! appeared. Here’s a great live version of Ana’s Shuffle, an instrumental Popović first recorded for her sixth studio album Can You Stand the Heat from March 2013. It was co-written by her and co-producer Tony Coleman who was B.B. King’s drummer for 25 years. The following clip is from a March 2017 performance at a blues festival in Bethlehem, Pa.

Tedeschi Trucks Band/Midnight in Harlem

Since this two-part post was inspired by Tedeschi Trucks Band, it feels right to end it with a tune by what I would consider to be the best contemporary blues rock band. Here’s an August 2011 performance of Midnight in Harlem recorded in Atlanta. Co-written by the band’s harmony vocalist Mike Mattison and slide guitarist extraordinaire Derek Trucks, the track first appeared on their debut album Revelator released in June of the same year. Trucks absolutely shines on slide guitar, while Susan Tedeschi demonstrates her solid vocal skills. She’s also a great guitarist. The entire army of a band is just killer – this is what perfect musicianship looks like!

Sources: Wikipedia; YouTube

The Blues Comes Alive…Live – Part I

For people who have frequently visited this blog or know me otherwise, this won’t come as a big surprise: I love the blues and blues rock. I also feel it’s a type of music that’s perfect to be experienced live. I was reminded of this on Saturday when thanks to fellow blogger Mike from Ticket 2 Ride I listened to Layla Revisited (Live at LOCKN’).

This cool live album by Tedeschi Trucks Band, released back in July, celebrates Layla and Other Assorted Love Songs, the sole 1970 studio album by Derek and the Dominos. And just like blues musicians often feed off one another, I let this inspire me and decided to come up with a post of great live blues and blues rock performances. I’m going to do this in two parts. Hope you dig this as much as I do!

B.B. King/The Thrill Is Gone

Let’s kick off part I with the king of electric guitar blues, the amazing B.B. King. He demonstrated that it’s not about speed and how many notes you play, it’s what you play. And when it comes to this man, he made every note count he played on his beloved “Lucille”. Check out this cool rendition of The Thrill Is Gone, captured in Chicago at the 2010 Crossroads Guitar Festival. Written by Roy Hawkins and Rick Darnell and first recorded by Hawkins in 1951, The Thrill Is Gone became a major hit for King in 1969 and I would argue his signature song. King is joined by many of the musicians he influenced, including Eric Clapton, Robert Cray and Jimmie Vaughan, among others. Check it out, this is just amazing!

John Lee Hooker/Boogie Chillen’

Recently, I watched the great documentary Buddy Guy: The Blues Chase the Blues Away, in which Guy identified John Lee Hooker’s Boogie Chillen’ as the first single he bought, and the song that got him hooked to the guitar and the blues! I’m thrilled I found this clip of Hooker performing the tune with Eric Clapton and The Rolling Stones in 1989 in Atlantic City, N.J. That’s what I call a cool backing band! Hooker wrote and first recorded the song in 1948. Clapton and the Stones, who are huge fans of American blues artists like Muddy Waters, Howlin’ Wolf, Buddy Guy and John Lee Hooker and have done a lot to promote their music, especially in the U.S., clearly cherished the moment.

Muddy Waters/Rollin’ Stone

Speaking of Muddy Waters, here’s a great live performance of Rollin’ Stone, the very song that inspired the name of the “world’s greatest rock & roll band.” An interpretation of delta blues tune Catfish Blues, Waters recorded Rollin’ Stone in 1950. The clip shows his performance of the song at the Newport Jazz Festival in 1960. It’s the oldest footage features in this two-part post.

Cream/Crossroads

Cream possibly are my all-time favorite blues rock band. Eric Clapton, Jack Bruce and Ginger Baker perfectionated the art of the power trio. Here’s a great clip of Crossroads performed by the band in March 1968 at the Fillmore Auditorium & Winterland Ballroom in San Francisco. Written by Robert Johnson who originally recorded it as Cross Road Blues in 1936, Crossroads (arranged by Clapton) appeared on Cream’s 1968 album Wheels of Fire. The live version on the record seems to be the same than the one that is captured in this clip.

Dani Wilde/Mississippi Kisses

Buddy Guy, who together with Taj Mahal is one of the last men standing of what I would call the old blues guard, often speaks about the need for young artists to come along to keep the blues alive when he will be gone. I’m actually pretty optimistic about this. Some great examples coming to mind include 22-year-old Christone “Kingfish” Ingram; 24-year-old Jontavious Willis who has been called “wunderkind” by none other than Mahal; or 44-year-old Kenny Wayne Shepherd. But guess what? There are also some dynamite female blues and blues rock artists out there like 36-year-old British singer-songwriter Dani Wilde. Ana Popović, Shemekia Copeland and Eliana Cargnelutti are among some of the others who come to mind. Here’s a 2015 performance by Wilde of Mississippi Kisses, a tune she wrote for her 2012 album Juice Me Up.

J. Geils Band/First I Look at the Purse

A post about great live renditions of blues rock tunes would be amiss without the ultimate party group, the J. Geils Band, don’t you agree? I think it’s also a perfect way to wrap up part I. Here’s a cool clip taken from what looks like a 1979 appearance of the band on the German music TV program Rockpalast. One of my all-time favorites by the J. Geils Band is their high energy rendition of First I Look at the Purse. It’s the main part of this encore medley, which starts at around 4 minutes into the clip. Co-written by Smokey Robinson and Bobby Rogers, the song was first released by Motown R&B group The Contours in 1965. J Geils Band recorded their cover of the tune for their eponymous debut album from November 1970, but it’s really their live rendition that brings out the song’s true magic. When watching this, don’t you feel like dropping anything you’re doing right now and going to a fuckin’ rock & roll show? What a killer performance by a killer live band!

Sources: Wikipedia; Discogs; YouTube

Of Slides and Bottlenecks

The sound of a well played slide guitar is one of the coolest in music in my opinion. I’ve always loved it. It’s also one of the most challenging techniques that requires great precision and lots of feeling. You can easily be off, which to me is the equivalent of a violin player who hasn’t mastered yet how to properly use the bow or a trumpet player who is still working on their blowing technique – in other words real torture, if you miss!

I thought it would be fun putting together a post that features great slide guitarists from different eras. Before getting to some music, I’d like to give a bit of background on the technique and a very brief history. More specifically, I’m focusing on slide guitar played in the traditional position, i.e., flat against the body, as opposed to lap steel guitar where the instrument is placed in a player’s lap and played with a hand-held bar.

How to Play Slide Guitar - Quickstart Guide | Zing Instruments

Slide guitar is a technique where the fret hand uses a hard object called a slide instead of the fingers to change the pitch of the strings. The slide, which oftentimes is a metal of a glass tube aka “bottle neck,” is fitted on one of the guitarist’s fingers. Holding it against the strings while moving it up and down the fretboard creates glissando or gliding effects and also offers the opportunity to play pronounced vibratos. The strings are typically plucked, not strummed with the other hand.

The technique of holding a hard object against a plucked string goes back to simple one-string African instruments. In turn, these instruments inspired the single-stringed diddley bow, which was developed as a children’s toy by Black slaves in the U.S. It was considered an entry-level instrument played by adolescent boys who once they mastered it would move on to a regular guitar.

Clockwise starting from left in upper row: Sylvester Weaver, Robert Johnson, Elmore James, Brian Jones, Mike Boomfield, Muddy Waters, Duane Allman, Bonnie Raitt, Ry Cooder and Derek Trucks

The bottleneck slide guitar technique was popularized by blues musicians in the Mississippi Delta near the beginning of the twentieth century. Country blues pioneer Sylvester Weaver made the first known slide guitar recording in 1923. Robert Nighthawk, Earl Hooker, Elmore James, Muddy Waters and other blues artists popularized the use of slide guitar in the electric blues genre. In turn, they influenced the next generation of blues and rock guitarists like Mike Bloomfield (The Paul Butterfield Blues Band), Brian Jones (The Rolling Stones), Duane Allman (The Allman Brothers Band) and Ry Cooder.

Time for some music. Here’s Sylvester Weaver with the instrumental Guitar Blues, one of the earliest slide guitar recordings.

One of the masters of Delta blues who prominently used slide guitar was Robert Johnson. Here’s the amazing Cross Road Blues from 1936 from one of only two recording sessions in which Johnson participated. If you haven’t heard this version but it somehow sounds familiar, chances are you’ve listened to Cream’s cover titled Crossroads.

Are you ready to shake it? Here’s smoking hot Shake Your Money Maker written by Elmore James. James released this classic blues standard in December 1961.

The Rolling Stones were fans of the Chicago blues. One of their blues gems featuring Brian Jones on slide guitar was Little Red Rooster, which they released as a single in the UK in November 1964. It was also included on their third American studio album The Rolling Stones, Now! from February 1965. Written by Willie Dixon, the tune was first recorded by Howlin’ Wolf in October 1961.

Next is Walkin’ Blues, which The Paul Butterfield Blues Band covered on their second studio album East-West from August 1966, featuring Mike Bloomfield on slide guitar. The tune was written by Delta blues artist Son House in 1930.

In May 1969, Muddy Waters released his sixth studio album After the Rain. Here’s slide guitar gem Rollin’ and Tumblin’, which was first recorded by Hambone Willie Newbern (gotta love this name!) in 1929. It’s unclear who wrote the tune.

Here’s one of the greatest slide guitarists of all time: Duane Allman with The Allman Brothers Band and One Way Out. This amazing rendition appeared on an expanded version of At Fillmore East released in October 1992. The original edition appeared in July 1971, three months prior to Duane’ deadly motorcycle accident. Co-written by Marshall Sehorn and Elmore James, the tune was first recorded and released in the early to mid-’60s by Sonny Boy Williamson II and James.

A post about slide guitar wouldn’t be complete without the amazing Bonnie Raitt, an artist I’ve dug for many years. Here’s Sugar Mama, a song co-written by Delbert McClinton and Glen Clark, which she recorded for her fifth studio album Home Plate from 1975.

Let’s do two more tracks performed by two additional must-include slide guitar masters. First up is Ry Cooder with Feelin’ Bad Blues, a tune Cooder wrote for the soundtrack of the 1986 picture Crossroads, which was inspired by the life of Robert Johnson. This is a true slide beauty!

Last but not least, here’s Derek Trucks who is considered to be one of the best contemporary slide guitarists. Trucks is best known as an official member of the Allmans from 1999-2014 and as co-founder of the Tedeschi Trucks Band, which he formed together with his wife Susan Tedeschi in 2010. Here’s a great live performance of Desdemona by The Allman Brothers, featuring some amazing slide guitar playing by Trucks. Co-written by Gregg Allman and Warren Haynes, the tune was included on the band’s final studio album Hittin’ the Note that came out in March 2003.

Sources: Wikipedia; YouTube

Clips & Pix: Tedeschi Trucks Band/Angel From Montgomery & Sugaree

I coincidentally came across the above excellent clip of Tedeschi Trucks Band and didn’t have to think twice about posting it here. Apparently, the footage captures the group at Sunshine Blues Festival in Boca Raton, Fla. in January 2013, playing a great medley of Angel From Montgomery and Sugaree.

Angel From Montgomery was written by John Prine and originally appeared on his eponymous debut album from 1971. It was covered by various other artists, most notably Bonnie Raitt who recorded it for her 1974 studio album Streetlights – the version that came to my mind immediately when hearing Susan Tedeschi’s amazing vocals. Another highlight is the flute work by Kofi Burbridge.

The song neatly blends into Sugaree, a Jerry Garcia song with lyrics by long-time Grateful Dead lyricist Robert Hunter. Garcia recorded it for his first solo album Garcia, which appeared in January 1972. The Tedeschi Trucks Band’s version features a blistering solo by Derek Trucks. What a kick-ass band. I definitely need to do more on them!

Sources: Wikipedia; YouTube