The Sunday Six

Hope everyone’s spending a nice weekend. I’d like to welcome you to another imaginary time travel excursion to visit six tracks in different flavors from six different decades. Let’s do it!

Sonny Rollins Quartet/Tenor Madness

Our journey today starts in October 1956 and some neat jazz by the Sonny Rollins Quartet. After tenor saxophonist Sonny Rollins had worked with Miles Davis and been part of the trumpeter’s band, he asked the members of Davis’ “First Great Quintet” – John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass) and Philly Joe Jones (drums) – to back him on an album titled Tenor Madness. The album is best known for the title cut, a Rollins composition. It’s the only track on which Coltrane played and, apparently, the sole recording featuring both Rollins and Coltrane.

Marc Benno/Lost in Austin

Our next stop takes us to 1979 and Texas singer-songwriter Marc Benno. I decided to earmark Lost in Austin right away after I had listened to the song at the suggestion of my longtime German music buddy – my not-so-secret weapon any longer! If you’re fan of Leon Russell, you may have heard of The Asylum Choir, a short-lived duo he formed with Benno around 1967. After The Asylum Choir had run its course, Benno launched a solo career in the early ’70s and also worked with the likes of The Doors, Eric Clapton, Stevie Ray Vaughan and Rita Coolidge. Lost in Austin is the title track of Benno’s fourth solo album – my kind of music!

Great Lake Swimmers/Uncertain Country

Ever since I started paying attention again to newly released music, time and again I realized great songs aren’t limited to the past. They’re just harder to find! Case in point: Uncertain Country by Canadian folk rock band Great Lake Swimmers. Granted, as a group founded in 2003, they aren’t exactly new, but my pick Uncertain Country is. It’s the title track of their eighth and latest studio album released in April this year.

Them/(Get Your Kicks On) Route 66

After a stop-over in the present, let’s jump back close to 60 years to June 1965. That’s when Northern Irish garage rockers Them came out with their first album The “Angry” Young Them. While best known for the garage anthem Gloria, it also featured a great cover of (Get Your Kicks On) Route 66, a popular R&B song composed in 1946 by Bobby Troup. Nat King Cole recorded it first that same year with the King Cole Trio. Initially, I heard and came to love the cover by The Rolling Stones. Then I came across this great rendition by Them, a tight sounding band with great musical chops and Van Morrison as a compelling frontman.

Pearl Jam/Even Flow

Time to pay a visit to the ninnnnnnnnnneties. In August 1991, American rock band Pearl Jam released their debut album Ten. While it wasn’t an immediate success, by late 1992, it had reached no. 2 in the U.S. on the Billboard 200. Even Flow was one of three hit singles Ten spawned , which ultimately made it the group’s most commercially successful album with over 13 million copies sold in the U.S. alone. Admittedly, every time I listen to Even Flow, I think of Adam Sandler’s silly spoof, but it’s a pretty good song with lyrics by vocalist Eddie Vedder and music by Stone Gossard, one of the group’s guitarists.

Crowded House/Something So Strong

This leaves us with one more stop. To wrap up today’s trip we shall travel down under to August 1986, which saw the release of Crowded House’s eponymous debut album. The New Zealand-Australian pop rock band had formed in Melbourne the year before. Best known for the beautiful Don’t Dream It’s Over, which became the band’s biggest hit, the album topped the Australian charts and reached no. 3 in New Zealand. Another single that enjoyed decent chart success, especially in these two markets, was Something So Strong. It was co-written by the band’s Neil Finn and producer Mitchell Froom who officially became their keyboarder in 2020 after Crowded House had reemerged from a multi-year hiatus.

Last but not least, following is a Spotify playlist of the above songs. Hope there’s something that speaks to you.

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

I hope everybody is spending a great weekend. Once again, I’d like to welcome you to another Sunday Six. In case you’re here for the first time, in this weekly recurring feature, I stretch out musically speaking, visiting different decades and different genres over the past 70 years, six tunes at a time. All onboard and let’s go!

Clifford Brown & Max Roach Quintet/Joy Spring

Today, our little trip starts in December 1954 with beautiful music by two jazz greats: Trumpeter Clifford Brown and drummer Max Roach. Earlier that same year, Roach had invited Brown to join him in creating a quintet. By the time, they recorded Clifford Brown & Max Roach, which I believe was their band’s first album, the line-up also featured Harold Land (tenor saxophone), Richie Powell (piano) and George Morrow (bass). Unfortunately, the quintet was short-lived due to a tragic car accident that killed Brown in June 1956 at age 25. He was on his way to a gig in Chicago together with Powell whose wife Nancy drove the car. They both lost their lives as well. The quintet’s last official album Clifford Brown and Max Roach at Basin Street, recorded earlier that year, featured then-up-and-coming tenor saxophonist Sonny Rollins. Here’s Joy Spring, a composition by Brown.

The Asylum Choir/Tryin’ to Stay ‘Live

The next stop on today’s journey is November 1971. That’s when the second and final album by Leon Russell’s (keyboards) and Marc Benno’s (guitar) studio project The Asylum Choir came out. Initially formed in 1967, they put out their debut Look Inside the Asylum Choir the following year. While The Asylum Choir II had been recorded in 1969, its release was delayed due to contract disputes. In fact, by the time the record finally appeared, they had already dissolved the project. Russell and Benno were backed by prominent session musicians, including Jesse Ed Davis (guitar), Carl Radle (bass), Donald “Duck” Dunn (of Booker T. & the M.G.’s) and Chuck Blackwell (drums). Here’s the great honky tonk rocker Tryin’ to Stay ‘Live, which was co-written by Russell and Benno.

R.E.M./Losing My Religion

Let’s continue our excursion with a stopover in the ’90s. Losing My Religion was the first R.E.M. tune that really got the alternative rock band from Athens, Ga. on my radar screen. While I remember the song was on the radio back in Germany all the time, I still dig it to this day. Credited to all members of R.E.M. – Bill Berry (drums, percussion), Peter Buck (guitar, mandolin), Mike Mills (bass, backing vocals) and Michael Stipe (lead vocals) – Losing My Religion is from the group’s seventh studio album Out of Time, which appeared in March 1991. According to Songfacts, R.E.M. were surprised about their record label’s decision to make the tune the album’s lead single. After all, it didn’t have a chorus and featured a mandolin as a lead instrument, not exactly your typical ingredients for a hit. Not only did it become the album’s best-performing single but the band’s most successful overall!

Taj Mahal & Keb’ Mo’/Don’t Leave Me Here

Four tracks into this Sunday Six it’s time to jump to the current century with some sizzling blues by Taj Mahal and Keb’ Mo’, who in May 2017 came out with a great collaboration album, TajMo. Together with Buddy Guy’s 2016 studio album Born to Play Guitar, it reignited my love for the blues, a genre I had first explored in my late teens after I had picked up the bass and joined a blues band – the start of my intense but short-lived band career! 🙂 I also caught Taj Mahal and Keb’ Mo’ in August 2017 during their tour that supported the album and have seen Guy three times since Born to Play Guitar. Here’s TajMo’s great opener Don’t Leave Me Here, which was co-written by the two artists and Gary Nicholson. I should add that while the tune has a traditional blues vibe, overall, TajMo, which includes elements of soul and world music, is an uplifting album. “Some people think that the blues is about being down all the time, but that’s not what it is,” Mahal said at the time. “It’s therapeutic, so you can get up off that down.” He added, “We wanted to do a real good record together, but we didn’t want to do the record that everyone expected us to do.”

Echo & The Bunnymen/Lips Like Sugar

Our next stop takes us back to the ’80s. In July 1987, Echo & The Bunnymen released their eponymous fifth studio album. While The English post-punk band had been around since 1978, if I recall correctly, it wasn’t until Lips Like Sugar that I heard of them for the first time. The catchy tune was co-written by band members Will Sergeant (guitar), Ian McCulloch (lead vocals, guitar, piano) and Les Pattinson (bass). Pete de Freitas (drums) completed their line-up at the time. Interestingly, it only reached no. 36 on the UK Official Singles Chart, lower than most of their earlier singles. After the band’s breakup in 1993, Sergeant and McCulloch reunited the following year. When Pattinson rejoined them in 1997, they decided to revive Echo & The Bunnymen. Ever since Pattinson exited again in 1999, Sergeant and McCulloch have continued to tour and record under that name.

Jerry Lee Lewis/Whole Lotta Shakin’ Goin’ On

Once again we’ve reached our final destination. The last tune is in memory of Jerry Lee Lewis, who passed away on Friday at the age of 87. Lewis was the last man standing of a generation of pioneering classic rock & roll artists who also included the likes of Elvis Presley, Carl Perkins, Chuck Berry and Little Richard. “The Killer” was known for his high-energy performances. After his popularity had taken off in 1957, his career was nearly derailed when it became known he was married to his 13-year-old cousin once removed while still being married to his previous wife. Lewis was blacklisted from the radio and his earnings were nearly wiped out overnight. Eventually, he managed to reinvent himself as a country artist. But scandal continued to follow him for much of his life. Here’s Lewis’ remake of Whole Lotta Shakin’ Goin’ On and his biggest hit, which was released as a single in April 1957. The tune was written by Dave “Curlee” Williams and first recorded by Big Maybelle in 1955.

Last but not least, here’s a Spotify playlist of the above tunes. Hope there’s something you dig.

Source: Wikipedia; YouTube; Spotify