Once again it’s time to pack my suitcases and head for that imaginary desert island in the sun. However, prior to my departure, I have to make an existential decision. If I could only take one tune by an artist I haven’t covered yet or only given marginal attention, what would be my pick?
More specifically, I’m up to the letter “F” in my online music library. Some of the options I didn’t select include Jose Feliciano, Fleetwood Mac, John Fogerty, The Four Tops and Peter Frampton. In the end, I decided to go with Foghat who sound like they should be right up my alley, yet until now I had not dedicated a post to this English rock band.
Admittedly, my knowledge of Foghat is, well, a bit foggy! While I had been aware of the name for many years, I could only name three of their songs. Perhaps not surprisingly, these are their most popular tunes: Slow Ride, I Just Want to Make Love to You and Fool for the City – all great songs! A look in Spotify revealed another gem I had heard before: Drivin’ Wheel.
And my pick is Slow Ride. Yes, selecting what has been called the group’s signature tune is a predictable choice, but I just love this song! Penned by Foghat co-founder and first guitarist Dave Peverett, Slow Ride first appeared on the group’s fifth studio album Fool for the City released in September 1975.
A shortened version of the 8:14-minute album track also appeared separately as a single in December that year. In fact, Wikipedia notes there are five versions of the song – looks like they really milked that one!
Slow Ride became Foghat’s biggest hit, riding all the way to no. 20 in the U.S. on the Billboard Hot 100. In Canada, it reached no. 14 on the top 100. The great song remains a staple on classic rock radio to this day. And since it’s so much fun, how about a live version? This is from an August 1977 release ingeniously titled Foghat Live, which happens to be the band’s best-selling album with over two million copies sold as of October 1984.
Let’s take a look at Songfacts for some additional tidbits about the tune:
While the “slow love” theme is common in R&B music where the tempo is more congruent with the lyrics, this is a rare rock song that pulls off the feat. The famous guitar riffs change speed and climax near the end, effectively simulating a lovemaking session. [Jeez, sex in rock & roll – I’m truly shocked, this should have been banned! – CMM] Those who are feeling strong can use the album version, but a single cut down to 3:56 with a fade out ending is also available.
A ’70s classic, this was used in the movie Dazed and Confused, which was set in that era. The song also appeared on The Simpsons, Seinfeld, That ’70s Show and My Name Is Earl…Did you know: Foghat got their name when Peverett came up with the word while playing a Scrabble-like game with his brother. Peverett convinced the band to go with it instead of Brandywine [I’ve always wanted to know this but never dared to ask – CMM]
But, wait, there’s more. Following is a recollection of Foghat co-founder and drummer Roger Earl, the band’s only remaining member who has played in all lineups. This is based on a 2010 interview with Vintagerock.com:
“We took time off to do the Fool For The City album. Nick [Nick Jameson (bass, guitar, keyboards, backing vocals) – CMM] had just joined the band…Rod [Rod Price (lead guitar, backing vocals) – CMM] and I had a house out here on Long Island, so Nick and I drove down from Woodstock and we had a basement, which was soundproof somewhat. And the first song to come out of there was “Slow Ride.””
“It was from a jam. We were just jamming. Nick had a cassette player and he would record whatever we played there. As I recall it, the whole song was written— the middle part and the bass part and the ending were all Nick’s ideas. Basically, Nick wrote the song, but we just jammed on it, and Nick cut the stuff up so it made sense as far as the song goes. And then Dave said, “I’ve got some words.” That’s how that came about (laughs).”
Celebrating music with six random tracks at a time
It’s Sunday again and a new mini music excursion is upon us. This time, we start in April 1993 with some jazzy blues, move on to rock from 1975, soul from 1965, pop rock from 2002 and blues rock from 2011, before finishing with classic rock & roll from 1957. Let’s go!
I’d like to begin today’s journey with Chris Isaak, a name I feel I hadn’t heard in ages – until the other day when I stumbled across this great tune: 5:15. Isaak recorded it for his fourth studio album San Francisco Days that was released in April 1993. It’s the follow-on to Heart Shaped World from June 1989, which became Isaak’s breakthrough record, thanks to Wicked Game, his biggest hit. Coming back to 5:15, I just love the jazzy blues vibe of this tune. It would have made a good single. Check it out!
Little River Band/It’s a Long Way There
Next, let’s go down under and 18 years back: It’s a Long Way There by Australian rockers Little River Band. I’ve dug this tune from the first time I heard it in Germany on the radio sometime in the late ’70s. In those days, I taped songs from the radio like a maniac to create one mixed music cassette after the other. This tune, off Little River Band’s eponymous debut album from October 1975, ended up on one of those mixed MCs. It was written by the group’s lead vocalist and guitarist Graham Goble. Yes, with its orchestration, the tune doesn’t exactly suffer from underproduction, but this guitar sound the harmony vocals are just sweet!
Four Tops/I Can’t Help Myself (Sugar Pie Honey Bunch)
On Thursday night, I saw The Temptations and Four Tops at a midsize theatre on Staten Island, N.Y. Watch for a forthcoming separate post on this show, but in a nutshell, I had a great time listening to some old-school Motown soul. So I just couldn’t help myself to feature one of my favorites by the Detroit quartet that helped shape the Motown sound. Co-written by the songwriting and production power trio of Brian Holland, Lamont Dozier and Eddie Holland, I Can’t Help Myself (Sugar Pie Honey Bunch) became the Four Tops’ first no. 1 U.S. single on the Billboard Hot 100 in June 1965, about six weeks after it had been released as a single. It was also their first charting single in the UK where it climbed to no. 23. In addition, the song was included on the group’s sophomore album ingeniously titled Four Tops Second Album. Okay, feel free to snip and move to that great bassline by James Jamerson!
I trust this next song doesn’t need much of an introduction. After it had come out in March 2003 and many months thereafter, it was pretty much impossible to listen to mainstream radio without hearing Clocks by Coldplay. I never explored the British pop rock band but always liked this track, credited to all four members, Chris Martin (lead vocals, piano, guitar), Jonny Buckland (lead guitar, backing vocals), Guy Berryman (bass) and Will Champion (drums, percussion, backing vocals) – the same lineup that exists to this day. Clocks was also included on Coldplay’s sophomore album A Rush of Blood to the Head that had been released in August 2002. It became one of the top 10 selling albums in the U.S. in 2003.
Gregg Allman/Just Another Rider
For this next tune, let’s stay in the current century but jump to the next decade. Just Another Rider is a track from Gregg Allman’s seventh solo album Low Country Blues, a late-career gem from January 2011, and sadly his final solo album released during his lifetime. The song was co-written by Allman and his Allman Brothers bandmate Warren Haynes. Low Country Blues, produced by T Bone Burnett, became Allman’s highest-charting solo record, reaching no. 5 on the Billboard 200 and topping the Top Blues Albums chart. It was also nominated for a 2011 Grammy Award for Best Blues Album.
The Crickets/That’ll Be the Day
For the sixth and final tune of this music excursion, I like to go back to 1957. Every time I listen to a collection of Buddy Holly tunes, which I did the other day, I’m blown away by how many great songs he wrote during his short career. The bespectacled, somewhat geeky appearing young Texan may not have had the looks and moves of Elvis Presley, but in my book, he sure as heck was just as cool. Not only did Holly write or co-write an impressive amount of great songs, but he also was a pretty talented guitarist. That’ll Be the Day was written by Holly together with Jerry Allison, the drummer of his backing band The Crickets. Initially, Holly had recorded it in 1956 with The Three Tunes. He re-recorded the song with The Crickets, which was released in May 1957 and topped the mainstream charts in the U.S. and UK. That’ll Be the Day was also included on the band’s debut album The “Chirping” Crickets that came out in November of the same year.
Seminal album transformed Motown’s most successful artist to a social observer
…Mother, mother/There’s too many of you crying/Brother, brother, brother/ There’s far too many of you dying/You know we’ve got to find a way/To bring some lovin’ here today – Ya
Father, father/We don’t need to escalate/You see, war is not the answer/For only love can conquer hate/You know we’ve got to find a way/To bring some lovin’ here today…
It’s incredible to realize these music lyrics that could have come out today instead appeared exactly 50 years ago on May 21, 1971 when Marvin Gaye released What’s Going On. Earlier this month, I was reminded of this seminal studio album when I caught the CNN documentary What’s Going On: Marvin Gaye’s Anthem for the Ages. With Gaye being one of my all-time favorite soul vocalists, it wasn’t a difficult decision to dedicate a post to the 50th anniversary of this remarkable record.
The following lightly edited background on What’s Going On comes from a previous post I published about the album in April 2017. I thought it’s a perfect fit for this 50-year anniversary commemoration.
In the spring of 1970, Marvin Gaye found himself in a deep depression. Singer Tammi Terrell, his duet partner on songs like Ain’t No Mountain High Enough, Your Precious Love and Ain’t Nothing Like the Real Thing, had passed away from brain cancer at the age of 24. His marriage with Anna Gordy, an older sister of Motown founder Berry Gordy, was failing. And Gaye’s younger brother, Frances “Frankie” Gaye, had returned from Vietnam, sharing with Marvin the horrors of war he had seen firsthand.
Then Obie Benson from The Four Tops handed Gaye a protest song, What’s Going On, after his band and Joan Baez had passed on it. The lyrics had been inspired by police brutality against young anti-war protesters in Berkeley, Calif., which Benson had witnessed during a tour with his band. Gaye liked the song and initially had in mind to record it with Motown quartet The Originals. But Benson insisted that Gaye sing the song himself. It would prove to be the catalyst Gaye needed to express what was going through his mind and plant the seed for an entire album.
When Berry Gordy heard the tune for the first time, he reportedly called it “the worst thing I ever heard in my life.” As a business man, he was concerned a song with such political lyrics would not sell. But Gaye didn’t take ‘no’ for an answer and refused to record anything else for Motown unless Gordy would change his mind. With the support of Motown executive Harry Balk and company sales executive Barney Ales, the song was released as as single without Gordy’s knowledge – a gutsy move!
What’s Going On became an overnight sensation and Motown’s fastest-selling single at the time. Only during the first week, more than 100,000 copies were flying off the shelves. The song also climbed to no. 2 on the Billboard Hot 100 and hit no. 1 on the R&B Chart. A stunned Gordy told Gaye he could record whatever music he wanted, as long as he’d finish an album within 30 days. Gaye did not need any further encouragement and returned to the studio.
In only 10 days, between March 1 and March 10, 1971, Gaye recorded eight additional tracks for what would become a concept album. Kicking off with the title track, most songs lead into the next and have a similar laid back groove that is in marked contrast to the lyrics. Gaye covered a broad range of “heavy” topics, such as social unrest (What’s Going On), disillusioned Vietnam war veterans (What’s Happening Brother) – a song about his brother Frankie; environmental degradation (Mercy Mercy Me (The Ecology)); and the bleak socioeconomic situation of inner-city America (Inner City Blues (Make Me Wanna Holler).
Reflecting on What’s Going On, Gaye toldRolling Stone, “In 1969 or 1970, I began to reevaluate my whole concept of what I wanted my music to say. I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home. I realized I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world.”
Gaye dedicated the album to Marvin Gaye Sr., his strict father and a baptist minister, who had introduced him to singing through church music but also abused him as a child. Throughout his life, Marvin would seek his father’s approval, but whatever he did wasn’t good enough. During an excellent PBS documentaryMarvin Gaye, What’s Going On, Motown road manager Joe Schaffner explained: “Marvin went to buy his dad a Cadillac. He would send him all kinds of gifts…His father would accept them…But he would never come to grips and say, ‘thank you,’ or smile, or none of that!” Instead, he would tragically become the man who would shoot his own son Marvin Gaye to death during a physical argument on April 1, 1984 with a gun Marvin had previously given to him for protection.
Time for some music! And what better tune to start than the album’s marvelous title track. The tune ended up being credited to Benson, Gaye and Al Cleveland. The Originals provided backing vocals along with Gaye. Gaye also played piano and box drum. The remaining instrumentation was provided by Motown session musicians The Funk Brothers and Detroit Symphony Orchestra.
Save the Children is a haunting track about the failure of current generations to preserve the world for their children. The song was co-written by Cleveland, Gaye and Renaldo Benson. Motown female session group The Andantes sang backing vocals, with instrumentation provided by The Funk Brothers. An excerpt of the lyrics:…When I look at the world/(When I look at the world)/Oh, it fills me with sorrow/(It fills me with sorrow)/Little children today/(Children today)/Really gonna suffer tomorrow/(Really suffer tomorrow)…
Next up: Mercy Mercy Me (The Ecology), the album’s only track that Gaye wrote all by himself. Apart from singing lead and backing vocals, Gaye played piano and Mellotron. The Andantes and The Funk Brothers were also featured in this tune. I had not realized what an accomplished musician Gaye was and that he started out as a session drummer. In the CNN documentary, Smokey Robinson noted Gaye backed The Miracles on drums. …Woah, ah, mercy, mercy me/Ah, things ain’t what they used to be (ain’t what they used to be)/Where did all the blue skies go?/Poison is the wind that blows/From the north and south and east…
Let’s do one more track: Inner City Blues (Make Me Wanna Holler), the album’s powerful closer. The song about the bleak situation in certain inner cities in America was co-written by Gaye and James Nyx, Jr. In addition to lead and backing vocals, Gaye played piano. The distinct bongos were provided by percussionist Bobbye Jean Hall. Once again, the tune also featured The Funk Brothers and Detroit Symphony Orchestra. Check out this lyrical excerpt, which sounds like it could be from a present day song about Black Lives Matter: …Crime is increasing/Trigger happy policing/Panic is spreading/God know where we’re heading/Oh, make me wanna holler/They don’t understand…
Despite the charged topics it addresses, What’s Going On doesn’t come across as rabble-rousing or preachy. Undoubtedly, much of it has to do with Gaye’s soft and beautiful vocals. I think this quote from Sheila E., which was taken from the CNN film and included in this accompanying story, sums it up nicely: “His melodies were like a voice of cry…(He) talked about the ghetto, talked about injustice, talked about the war. But he wasn’t yelling and protesting.”
Somebody else in the CNN documentary made another observation I found interesting. What’s Going On sounded like a Motown production without following the traditional formula. During the ’60s and early ’70s, that formula generated the Motown sound and one hit after the other.
What’s Going On was Marvin Gaye’s first top 10 album on the Billboard 200. It climbed to no. 6 and stayed on the mainstream chart for almost one year. It also topped Billboard’s Top R&B Chart, then known as the Soul Chart. The album became Motown’s and Gaye’s best-selling record until his 1973 release Let’s Get It On.
What’s Going On was broadly hailed by music critics. It also received numerous accolades, including a no. 6 ranking on Rolling Stone’s 2003 list of the 500 Greatest Albums of All Time. In the list’s most recent revision from September 2020, the album moved up all the way to no. 1 – a clear sign how relevant the lyrics remain in present-day America! In the UK, the record also topped the 1985 list of NME Writers All Time 100 Albums. What’s Going On was also one of 50 recordings selected by the Library of Congress that same year to be added to the National Recording Registry.
In January, Universal Music Enterprises released three new digital collections to commemorate the 50th anniversary, as reported by uDiscoverMusic: What’s Going On: Deluxe Edition/50th Anniversary features the original album, plus 12 bonus tracks, including each of the LP’s original mono single versions and their B-sides. What’s Going On: The Detroit Mix is the album’s original mix, which Gaye cancelled at the last minute to have it redone in Los Angeles. The third release is Funky Nation: The Detroit Instrumentals, which includes 14 tracks Gaye recorded in the late summer and fall of 1971 after What’s Going On had come out.
Sources: Wikipedia; Rolling Stone; “Marvin Gaye, What’s Going On”, PBS “American Masters” documentary, May 2008; Variety; CNN; uDiscoverMusic; YouTube
By now it’s safe to assume more frequent visitors know what’s about to happen. To new readers, The Sunday Six is all about enjoying the diversity and beauty of music. I make a deliberate effort to feature different music genres including some I don’t listen to frequently. While the resulting picks, therefore, can appear to be random, these posts don’t capture the first six tunes that come to my mind. At the end of the day, anything goes as long as it speaks to me.
Kicking is off is some groovy guitar pop jazz by George Benson. Benson started to play the guitar as an eight-year-old, following the ukulele he had picked up a year earlier. Incredibly, he already recorded by the age of 9, which means his career now stands at a whooping 57 years and counting! He gained initial popularity in the 1960s, performing together with jazz organist Jack McDuff. Starting with the 1963 live album Brother Jack McDuff Live!, Benson appeared on various McDuff records. In 1964, he released his debut as a bandleader, The New Boss Guitar of George Benson, which featured McDuff on piano and organ. In the ’70s, Benson started to venture beyond jazz into pop and R&B. Breezin’ from May 1976 is a good example. Not only did it top Billboard’s jazz chart, but it also climbed to no. 1 on the R&B and mainstream charts. Here’s the title track, written by Bobby Womack who also originally recorded it in December 1970, together with Hungarian jazz guitar great Gábor Szabó. It appeared on Szabó’s 1971 album High Contrast. Here’s Benson’s version. The smooth and happy sound are perfect for a Sunday morning!
Steely Dan/Home at Last
Let’s stay in pop jazzy lane for a bit longer with Steely Dan, one of my all-time favorite bands. I trust Messrs. Donald Fagen and Walter Becker, who first met in 1967 as students at Bard College in Annandale-on-Hudson, N.Y. and quickly bonded over their mutual admiration for jazz and other music, don’t need much of an introduction. By the time they met guitarist Denny Dias in the summer of 1970, they already had written a good amount of original music. Steely Dan’s first lineup was assembled in December 1971, after Becker, Fagen and Dias had moved to Los Angeles. The additional members included Jeff “Skunk” Baxter (guitar), Jim Hodder (drums) and David Palmer (vocals). Earlier, Gary Katz, a staff producer at ABC Records, had hired Becker and Fagen as staff songwriters. It was also Katz who signed the Dan to the label. By the time their sixth and, in my opinion, best album Aja appeared in September 1977, Steely Dan had become a studio project by Fagen and Becker who surrounded themselves with a changing cast of top-notch session musicians and other artists. In this case, the latter included Larry Carlton (guitar), Chuck Rainey (bass), Jim Keltner (drums) and Michael McDonald (backing vocals), among others. Here’s Home at Last, which like all other tracks on the album was co-written by Fagen and Becker. In addition to them, the track featured Carlton (though the solo was played by Becker who oftentimes left lead guitar responsibilities to a session guitarist like Carlton), Rainey (bass), Victor Feldman (vibraphone), Bernard Purdie (drums), Timothy B. Schmit (backing vocals), and of course an amazing horn section, including Jim Horn (what an appropriate name!), Bill Perkins, Plas Johnson, Jackie Kelso, Chuck Findley, Lou McCreary and Dick Hyde.
The Temptations/Papa Was a Rollin’ Stone
Time to start switching up things with a dose of ’70s funk and psychedelic soul, don’t you agree? Papa Was a Rollin’ Stone by The Temptations is one of the coolest tunes I can think of in this context. Co-written by Motown’sNorman Whitfield and Barrett Strong, the song was first released as a single in May 1972 by the label’s recording act The Undisputed Truth. While the original to which you can listen here is pretty good as well, it’s the great rendition by The Temptations I heard first and have come to love! They recorded an 11-minute-plus take for their studio album All Directions from July 1972. In September that year, The Temptations also released a 6:54-minute single version of the song. While it still was a pretty long edit for a single, it yielded the group their second no. 1 on the Billboard Hot 100 in the ’70s. It would also be their last no. 1 hit on the U.S. mainstream chart. By the time Papa Was a Rollin’ Stone appeared, the group already had seen various changes and only featured two members of the classic line-up: Otis Williams (baritone) and Melvin Franklin (bass). The other members were Dennis Edwards (tenor), Damon Harris (tenor) and Richard Street (second tenor). Amazingly, The Temptations still exist after some 60 years (not counting the group’s predecessors), with 79-year-old Otis Williams remaining as the only original member. I have tickets to see them together with The Four Tops in early November – keeping fingers crossed! Meanwhile, here’s Papa Was a Rollin’ Stone, of course, the mighty album version, coz I don’t do things half ass here! 🙂
Peter Gabriel/Don’t Give Up (feat. Kate Bush)
Let’s go to a different decade with another artist I’ve come to dig, which in no small part was due to this album: Peter Gabriel and So, his fifth studio release from May 1986. It’s probably Gabriel’s most mainstream-oriented album. Much of the former Genesis lead vocalist’s other solo work has been more of an acquired taste. I also didn’t pay much attention after his follow-on Us that appeared in September 1992. Fueled by the hit single Sledgehammer, which topped the mainstream charts in the U.S. and Canada, peaked at no. 3 in Australia and New Zealand, and reached the top 10 in Germany and various other European countries, So became Gabriel’s best-selling solo album. I did catch him during the supporting tour in Cologne, Germany, and still have fond memories of that gig. Here’s Don’t Give Up, a haunting duet with Kate Bush. Inspired by U.S. Depression era photos from the 1930s Gabriel had seen, he applied the theme to the difficult economic conditions in Margaret Thatcher’s mid-1980s England. While the tune is a bit of a Debbie Downer, I find it extremely powerful. You can literally picture the lyrics as a movie. I also think the vocals alternating between Gabriel and Bush work perfectly.
The Turtles/Happy Together
I suppose after the previous tune, we all could need some cheering up. A song that always puts me in a good mood is Happy Together by The Turtles. Plus, it broadens our little musical journey to include the ’60s, one of my favorite decades in music. The Turtles started performing under that name in 1965. Their original members, Howard Kaylan (lead vocals, keyboards), Mark Volman (backing vocals, guitar, percussion), Al Nichol (lead guitar, keyboards, backing vocals), Jim Tucker (rhythm guitar, backing vocals), Chuck Portz (bass) and Don Murray (drums), had all played together in a surf rock-oriented band called The Crossfires. That group turned into The Tyrtles, a folk rock outfit, before becoming The Turtles and adopting more of a sunshine pop style. The band’s initial run lasted until 1970. Vollman and Kaylan subsequently launched pop duo Flo & Eddie and released a series of records between 1972 and 2009. In 1983, Vollman and Kaylan legally regained the use of the name The Turtles and started touring as The Turtles…Featuring Flo and Eddie. Instead of seeking to reunite with their former bandmates, Vollman and Kaylan relied on other musicians. The group remains active in this fashion to this day. Their website lists a poster for a Happy Together Tour 2021 “this summer,” though currently, no gigs are posted. Happy Together was the title track of the band’s third studio album from April 1967. Co-written by Alan Gordon and Garry Bonner, the infectious tune became The Turtles’ biggest hit, topping the Billboard Hot 100, climbing to no. 2 in Canada, and reaching no. 12 in the UK, marking their first charting single there.
Simple Minds/Stand by Love
I can’t believe it’s already time to wrap up this latest installment of The Sunday Six. For this last tune, I decided to pick a song from the early ’90s: Stand by Love by Simple Minds. While I wouldn’t call myself a fan of the Scottish new wave and pop rock band and don’t follow them closely, I generally enjoy their music. I also got to see them live once in Stuttgart, Germany in the early ’90s and remember it as a good show. Simple Minds emerged in late 1977 from the remains of short-lived punk band Johnny & The Self-Abusers. By late 1978, the band’s first stable line-up was in place, featuring Jim Kerr (lead vocals), Charlie Burchill (guitar), Mick MacNeil (keyboards), Derek Forbes (bass) and Brian McGee (drums). That formation recorded Simple Minds’ debut album Life in a Day released in April 1979. Their fifth studio album New Gold Dream (81–82–83–84) was the first to bring more significant commercial success in the UK and Europe. This was followed by a series of additional successful albums that appeared between 1984 and 1995, which included the band’s biggest hits, such as Don’t You (Forget About Me), Alive and Kicking, Belfast Child and Let There Be Love. Today, more than 40 years after their formation, Simple Minds are still around, with Kerr and Burchill remaining part of the current line-up. Here’s Stand by Love, co-written by Burchill and Kerr, from the band’s ninth studio album Real Life that came out in April 1991. This is quite a catchy tune. I also dig the backing vocals by what sounds like gospel choir, which become more prominent as the song progresses.
Sources: Wikipedia; The Turtles…Featuring Flo and Eddie website; YouTube
A look back on my music journey over the past 12 months
This is second and last installment of my two-part year in review. In case you missed part 1, you can read it here.
Celebrating new music one song at a time…
With more than 150 songs highlighted since the launch of the Best of What’s New feature, I find it impossible to call out the best tunes. As I wrote in the inaugural March 21 post, While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. I should perhaps have added that I don’t need to like other tunes by an artist to include them. It’s literally about the specific song.
Best of What’s New installments have featured tunes ranging from prominent artists like Sheryl Crow, The Rolling Stones and Tom Petty to lesser known acts like rock bands Brother Man and Mondo Silicone and Austin, Texas-based band leader Joe Sparacino, aka. Dr. Joe. Frequently, these posts triggered new album reviews, e.g., LeRoux (One of Those Days), Mick Hayes (My Claim to Fame) and Niedeckens BAP (Alles Fliesst). Following are four songs I discovered in the context of Best of What’s New.
Dr. Joe: Believer
From Dr. Joe’swebsite: Based in Austin TX but raised on a farm outside Salina, Kansas, band leader Joe Sparacino spent his early childhood learning piano from a southern gospel choir matron and listening to his family’s old vinyl collection of Ray Charles, Leon Russell and James Booker. Released on April 10, Believer was Dr. Joe’s then-latest single and it’s cooking!
The Reverberations: Under Your Spell
The Reverberations are a five-piece band from Portland, Ore. Their Bandcamp profile characterizes their music as “’60s influenced psychedelic jangle.” I’d call it psychedelic garage rock. Under Your Spell, the B-side to their single Palm Reader released May 28, features some cool Byrds-ey guitars and nice keyboard work. Did I mention it’s also got a quite catchy melody? And check out the lovely psychedelic cover art – super cool all around! For more on this great band, you can read my review of their February 2019 album Changes, their most recent full-fledged studio release.
Kat Riggins: No Sale
Kat Riggins is a blues artist hailing from Miami. According to her website, She travels the world with the sole mission of keeping the blues alive and thriving through her Blues Revival Movement. She has been vocally compared to Koko Taylor, Etta James and Tina Turner to name a few. The nice blues rocker No Sale, which has a bit of a ZZ Top vibe, is from Riggins’ fourth album Cry Out released on August 14. That woman’s got it!
Greta Van Fleet: Age of Machine
Age of Machine is the second single from Greta Van Fleet’s next album The Battle at Garden’s Gate, which is scheduled for April 16, 2021. I think this kickass rocker provides more evidence the young band has evolved their style, moving away from their initial Led Zeppelin-influenced sound. Looking forward to the album!
Live music in the year of the pandemic…
Except for two tribute band concerts in January, pretty measly for the ‘King of the Tribute Band,’ I didn’t go to any live gigs this year. Shows for which I had tickets, including The Temptations and The Four Tops, Ringo Starr and His All Starr Band, and Steely Dan with special guest Steve Winwood, were rescheduled until April, June and July 2021, respectively. Perhaps with the exception of the last concert, I hope all other shows will be rescheduled a second time and moved back to the second half of the year. For somebody who loves live music and over the past 4-5 years has gotten into the habit of seeing an average 20-30 shows per year (counting lower cost tribute band and free summer type concerts), seizing live concerts it’s a bitter but necessary pill to swallow until this lethal pandemic is behind us.
I ended up watching two live concerts via Internet stream: Southern Avenue at Instrumenthead Live Studio in Nashville, Tenn. last week, and Mike Campbell’s band The Dirty Knobs at the Troubador in Los Angeles in late November. It was fun and also a nice opportunity to support music via voluntary donations in lieu of buying official tickets, but no virtual experience can replace the real deal.
Some final musings…
While my primary motivation for the blog has always been the joy I get from writing about a topic I love, i.e., music, it’s nice to see continued growth in visitor traffic, followers and feedback. Just like in 2019, the most popular post remained my January 2018 piece about Bad Company’s live CD/DVD collection from their May 15, 2016 show at Red Rocks Amphitheatre; personally, I find the post average at best. By comparison, my July 12, 2020 post about the mellotron, which I’m proud of, received less than one percent of traffic than the Bad Company post. Perhaps, it was too geeky! 🙂 It’s funny how these things sometimes go.
I’d like to thank all visitors of the blog. If you’re here for the first time, you’re welcome back anytime. If you’re a regular, I hope you keep coming back. I also enjoy receiving comments, including different opinions. All I ever ask is to keep things civil.
Last but not least, I’d like to leave you with a great song by Southern Avenue they also played during the above noted virtual concert. I feel it’s a great message, especially during these crazy times: Don’t Give Up, from their eponymous debut album released in February 2017. Since I couldn’t capture footage from the above gig, here’s an alternative I can offer: a clip I recorded during a show at The Wonder Bar, a small venue in Asbury Park, N.J. in July 2019.
The last part of this mini-series reviews highlights from the U.S. portion of Live Aid at John F. Kennedy Stadium in Philadelphia. Things there got underway at close to 9:00 a.m. EDT (2:00 p.m. BST) on July 13, 1985. The British concert at London’s Wembley Stadium ended at 10 pm BST (5:00 pm EDT). As such, both shows overlapped by eight hours. Unfortunately, this meant viewers could not see all artist performances on their television broadcasts.
The Philly concert included reunions of Crosby, Stills, Nash & Young, the original Black Sabbath with Ozzy Osbourne and The Beach Boys with Brian Wilson. It also featured a less than stellar appearance of Led Zeppelin with Robert Plant, Jimmy Page and John Paul Jones who were joined by Phil Collins and Tony Thompson on drums.
With Page’s guitar out of tune and Plant’s hoarse voice, unfortunately, it was one of Zep’s poorest performances. Later, Page blamed the drumming of Collins who had played at Wembley earlier and traveled to the U.S. by supersonic jet, so he could perform in Philly as well – the only artist who pulled off that stunt. It seems to me the reality of the fiasco was a combination of factors, including lack of rehearsal, some technical challenges and probably a portion of bad luck.
While white artists were well represented at Live Aid, the same cannot be said for artists of color, especially at Wembley, where I believe only two performed: Sade and Brandon Marsalis – a bit of an oddity for a charity concert put on for the African nation of Ethiopia. The U.S. did better in this regard. The show line-up featured The Four Tops, Billy Ocean, Run-D.M.C., Ashford & Simpson, Patti LaBelle, as well as Eddie Kendricks and David Ruffin of The Temptations. In addition, U.S.A. for Africa performed their charity single We Are the World, which included additional artists of color, such as Lionel Richie, Harry Belafonte and Dionne Warwick.
Let’s kick off this last part with one of the above noted reunions: Black Sabbath with Ozzy Osbourne. Here’s Paranoid, the epic title track of the band’s sophomore album from September 1970. The music was credited to all members of Sabbath, while the lyrics were written by bassist Geezer Butler.
One of my favorite bands performing in Philly were Tom Petty and the Heartbreakers. They closed their mini-set with Refugee, one of their best songs, in my opinion. Co-written by Tom Petty and Mike Campbell, the tune is from Damn the Torpedoes, the band’s third studio album released in October 1979. It also became the record’s second single that appeared in January 1980.
Neil Young is another of my all-time favorite artists. Here is Powderfinger, a beloved tune among Young fans. He first recorded the song for his live album Rust Never Sleeps from June 1979. It was also included on various other live albums he released thereafter.
As a fan of Cream, of course, I couldn’t skip Eric Clapton and his rendition of White Room. Composed by Jack Bruce with lyrics by poet Pete Brown, the classic tune was included on Wheels of Fire, Cream’s third studio album that appeared in August 1968.
The last clip I’d like to call out is a great medley of tunes by The Temptations performed by Hall & Oates, together with Eddie Kendricks und David Ruffin: Get Ready, Ain’t Too Proud To Beg and My Girl, which all first appeared as singles. Get Ready from February 1966 was penned by Smokey Robinson. Ain’t Too Proud To Beg, co-written by Norman Whitfield and Edward Holland Jr., came out in May 1966. And My Girl was first released in December 1964. Robinson and Ronald White wrote that tune together.
While you may not agree with Bob Geldof who in his introduction to Live Aid 35 said it was commonly called the ‘greatest concert of all time,’ I think there can be no doubt Live Aid was a one of a kind event. Sure, there were other historic concerts like Woodstock and the Monterey Pop Festival that brought together many of the leading music artists at the time. One must also mention the Concert for Bangladesh, the first benefit music event of significant magnitude. But none of these concerts came anywhere close to Live Aid in terms of audience reach and logistics – and in the case of the Concert for Bangladesh the scale of fundraising.
If you’re a frequent visitor of the blog, the name Mick Hayes may ring a bill. I included him and a tune from his fantastic new album My Claim to Fame in the last installment of my Best of What’s New feature. On his website, Hayes gave the record the tagline “Southern Soul Music with a California Finish.” I’m not sure I understand the California finish, but folks who are aware of my music taste know that I’m all ears when it comes to southern soul.
One of the truly remarkable things about this album is that Hayes recorded it at FAME Studio in Muscle Shoals, Ala. on vintage equipment, together with musicians who backed artists like Ray Charles, Etta James and B.B. King during their recording sessions at the legendary studio. I’m mean, think about this for a moment, how friggin’ cool is that!
As I complained in my previous Best of What’s New post, Hayes doesn’t do a great job to put out some information on his background, such as a bio. Why still beats me! But at least his website has links to some reviews, and the folks who wrote them apparently got some insights from him.
Additionally, when you google Hayes, his birthday pops up as June 17, 1978, which means he’s 42 years old. Apparently, he was born in Buffalo, N.Y. A review by American Blues Scene notes Hayes became interested in the Muscle Shoals scene while browsing record stores as a young man and seeing albums by the likes of Ray Charles, Aretha Franklin, Duane Allman and Wilson Pickett, who were recorded at FAME. So using different sources, one can kind of get at least a blurry picture of him.
The American Blues Scene review also reveals some of the above studio musicians and artists they backed: Bassist Bob Wray (Ray Charles, The Marshall Tucker Band), electric piano and organ player Clayton Ivey (Etta James, B.B. King), trumpet and flugelhorn player Vinnie Ciesielski (Gladys Knight, Lyle Lovett), saxophonist and flute player Brad Guin (Jason Isbell) and rhythm guitarist Will McFarlane (Bonnie Raitt, Levon Helm). I mean, damn, let’s face it, Hayes isn’t exactly Stevie Wonder, so having gotten all these musicians is really something!
And the list continues. Also on the record are backing vocalists Marie Lewey and Cindy Walker, aka The Muscle Shoals Singers. Moreover, Hayes secured some impressive “outsiders”: Trombone player Billy Bargetzi (The Temptations, The Four Tops, The O’Jays, Bobby Vinton) and trumpet player Ken Watters (Natalie Cole, W.C. Handy Jazz All-Stars). Hayes provides lead guitar and vocals. And, as I stated in my last Best of What’s New, he co-produced My Claim to Fame with John Gifford III, who assisted with engineering Gregg Allman’s final studio album Southern Blood. Okay, on to the real fun part!
Here’s opener Sweet to Me. Like all tunes on the album, it was written by Hayes. He’s definitely got soul. I also think his voice isn’t bad.
Parking Lot Romance is another great tune. It openly pays homage to Ray Charles, undoubtedly one of Hayes’ musical heroes.
Want a bit of funky soul with a message? Ask and you shall receive! Hey, hey, hey, hey, here’s Political Funk.
Next up: No Second Chances. Frankly, I could have picked any other tune. They all sound great, in my opinion!
The last song I’d like to highlight is the album’s closer Saddest Picture of Me.
You might say, ‘Hayes isn’t exactly reinventing the wheel on this record.’ That’s certainly true, but it doesn’t bother me at all. In fact, I feel these recordings are beautifully executed, making My Claim to Fame a joyful listening experience. I’m curious to see what Hayes is going to come up with next. I feel with this album he set a high bar for himself.
Sources: Mick Hayes website; American Blues Scene; YouTube
A selection of newly released music that caught my attention
I could have called this latest installment of the recurring feature best of what’s new in blues. If you’re a more frequent visitor of the blog, you may have read this sentiment before: In my opinion, unlike classic rock, the blues remains as vibrant as ever. And this, my friends, makes me a very happy camper!
Are you ready for some good ole’ blues, featuring three veterans and three younger female artists? Ready or not, here we go! Coz, to creatively borrow from the American blues artist who was known as Little Milton, hey, hey, the blues is alright, alright (alright), alright (alright) every day and night.
Joe Louis Walker/Blues Comin’ On
How can you go wrong with a guy named Joe Louis Walker and a tune called Blues Comin’ On? From his web bio: Joe Louis Walker, a Blues Hall of Fame inductee and four-time Blues Music Award winner celebrates a career that exceeds a half a century…A true powerhouse guitar virtuoso, unique singer and prolific songwriter, he has toured extensively throughout his career, performed at the world’s most renowned music festivals, and earned a legion of dedicated fans…Born on December 25, 1949 in San Francisco, at age 14, he took up the guitar. Just two years later, he was a known quantity on the Bay Area music scene, playing blues with an occasional foray into psychedelic rock. For a while, he roomed with Mike Bloomfield, who introduced him to Jimi Hendrix and the Grateful Dead. Okay, I have to say I feel a bit ignorant that I don’t recall having heard of this blues veteran before who released his debut Cold Is the Night in 1986. Blues Comin’ On, which features Eric Gales and Dion DiMucci, is the title track of his most recent 26th album that was released on June 5. Dion co-wrote the tune with Mike Aquilina and included his own version on his Blues With Friends album, which interestingly also came out on June 5.
Dion/Bam Bang Boom
Obviously, I couldn’t ignore the above noted Blues With Friends by “The Wanderer” Dion, who after a 63-year career is still marching strong. With those friends including the likes of Jeff Beck, Billy Gibbons, Sonny Landreth, Brian Setzer, Joe Louis Walker and Bruce Springsteen, this surely looks like a killer album! Dion has been active since 1957 and is turning 81 years on July 18 – holy cow, how many other artists can you name with such a long career! And, boy, does he still sound great! “Great songs, great guitarists. What more do you need?” is how Dion confidently summed up the record in a statement. Here’s Bam Bang Boom featuring Billy Gibbons. “Billy Gibbons was a joy to work with on this,” noted Dion in the same statement. “There’s nobody like him.” This surely sounds sweet – damn!
Gina Sicilia/Love Me Madly
Gina Sicilia is a 35-year-old singer-songwriter hailing from Newtown, Pa. Characterizing her music as blues, roots, Americana, soul and R&B, Wikipedia notes Sicilia began singing at 6 years old performing at local talent shows and by the age of 12 she began writing songs. At 14 years old she became interested in blues and classic soul music and decided to pursue singing in that genre. Sicilia’s debut album Allow Me to Confess came out in 2007. She has since released eight additional albums. Love Me Madly is her most recent, which appeared on May 29. Here’s the soulful title track, co-written by her and the album’s producer Cody Dickinson. He is also a member of North Mississippi Allstars, a Southern blues rock band he formed together with his brother Luther Dickinson. I really dig Sicilia’s vocals. Gosh, I can hear some Anita Baker in here!
Here’s another female performer with a compelling voice: 34-year-old Dani Wilde from the village of Hullavington, England. Well, whatever they may have in their water there, it doesn’t seem to damage the vocal chords! According to her website, Over the past 10 years Blues and Country singer-songwriter Dani Wilde has performed at thousands of venues and festivals across Europe, America, Canada and Africa; from the main stage at London’s Royal Albert Hall, to the slum communities of Kenya, to Times Square – New York City…In September 2015, Wilde was awarded ‘Best Female Vocalist” at the British Blues Awards. Wilde has released four studio solo albums to date, starting with Heal My Blues in 2008. Written by Wilde and released on May 6, Brave his her latest single. The tune is dedicated to healthcare professionals and other essential workers around the globe. “I wanted to maintain the organic raw emotion of the blues whilst also taking inspiration from traditional popular song arrangements,” Wilde toldBlues Matters. “I love how artists like Patty Griffin, Paul Simon and John Mayer take the blues but fuse it with Americana and popular song to create something beautiful.”
Eliza Neals/Black Crow Moan
From her website: Eliza Neals is a prolific songwriter, confident producer, arranger, bandleader, pianist, and one-of-a-kind live performer…Eliza’s history of performing/opening for legendary musicians goes back many years from Detroit’s songwriting godfather Barrett Strong to George Clinton,The Four Tops, Kenny Olson, Mike Zito, Tommy Castro, Walter Trout, Poppa Chubby, Albert Castiglia, Micki Free,Victor Wainwright and recently Blues Foundation HOF man Joe Louis Walker.Kind of ironical – until today, I had not been aware of Walker, and now he seems to be everywhere. I suppose this only confirms my prior ignorance! Black Crow Moan is the title track of Neals’ most recent studio album that was released on April 6; if I interpret it correctly, it’s her seventh. And, yes, you guessed it correctly, the tune features Walker – okay, keep rubbing it in my face!
Mick Clarke/Snappin’ at Your Heel
Let’s wrap things up with another blues veteran: British blues guitarist Mick Clarke, who began his career in 1968 as co-founder of blues rock band Killing Floor. They recorded two albums until their break-up in mid-1972. In 2002, the original line-up reunited. The band remains active with Clarke and Bill Thorndycraft (vocals, harmonica) as original members. During the ’70s, Clarke was also involved in two other bands, Salt and Ramrod, before forming The Mick Clarke Band in the early ’80s. His first solo album Looking For Trouble came out in 1986. Snappin’ at Your Heel is from Clarke’s most recent album Big Wheel released on April 17.
Sources: Wikipedia; Joe Louis Walker website; Dion DiMucci website; Gina Sicilia website; Blues Matters; Eliza Neals website; Mick Clarke website; YouTube
Joss Stone is only 33 years old, yet already has been active for two decades. In 2001 at the age of 13, the British singer, songwriter and actress auditioned for the BBC Television talent show Star for a Night. Not only did she pass the audition but she went on to win the entire contest.
From there, things moved very quickly. The following year, Stone was signed by S-Curve Records. Her studio debut The Soul Sessions, a covers album of ’60s and ’70s soul songs, was released in September 2003. Mind, Body & Soul is Stone’s sophomore record. She regards it as her actual debut – understandably so, given this was her first record, for which in addition to performing lead vocals she also co-wrote most of the tracks.
Until yesterday when I came across her 2005 Grammy Awards Janis Joplin tribute performance with Melissa Etheridge, I had only been casually aware of Stone. But, as frequent readers of the blog know, one thing that typically gets my attention are great vocals. And Jess Stone undoubtedly has compelling pipes, which her online bio nicely characterize as “gravely-but-lustrous.”
Released in September 2004, Mind, Body & Soul is blend of mainly soul, R&B and pop. It combines elements of “old” soul with more contemporary R&B and hip-hop influences. While the album is a bit more commercial than what I usually listen to, I still find it pretty enjoyable. The sound is great and that woman can sing!
Here’s the opener Right to Be Wrong. The tune was co-written by Stone, Desmond Child and Betty Wright. It also became the album’s second single in November 2004 and reached no. 29 in the U.K. on the Official Singles Chart.
Next up is the groovy You Had Me, which became Stone’s first major hit. Apart from climbing to no. 9 in the U.K., the song charted in numerous other countries, such as Australia, New Zealand, Germany and Canada. Co-written by Stone, Wright, Francis White and Wendy Stoker, the tune became the lead single released on September 13, 2004, two days prior to the album.
Spoiled, yet another single, is one of the record’s highlights. The song was co-written by Stone, Lamont Dozier and his son and Stone’s then-boyfriend Beau Dozier. And, yes, that’s the Lamont Dozier of Motown fame who wrote many hits for Martha and the Vandellas, The Supremes, The Four Tops and The Isley Brothers. He was part of the songwriting and production team with brothers Brian Holland and Eddie Holland, better known as Holland-Dozier-Holland. Now, that’s my kind of music!
How about throwing in some Jamaican groove? Ask and you shall receive. Okay, Less Is More doesn’t exactly sound like Bob Marley, since it’s really a blend of reggae and R&B. Still, it’s a pretty groovy affair! The tune was co-written by Stone, Jonathan Shorten and Conner Reeves.
The last track I’d like to highlight is Killing Time. It was co-written by Stone, Wright and Beth Gibbons. Well, listening to this tune certainly doesn’t feel like killing time to me!
Mind, Body & Soul is an impressive production, especially for a sophomore album. It features ten different producers, with head of S-Curve RecordsSteve Greenberg serving as executive producer. The making of the record involved five different studios in New York City, New Jersey and Miami. The army of musicians backing Stone includes drummer Cindy Blackman, who is also the wife of Carlos Santana, and Nile Rodgers (guitar), among others.
The album was generally well received by music critics. It won Stone two 2005 Brit Awards for British Female Solo Artist and British Urban Act. The same year, Stone also received three Grammy nominations in the categories Best New Artist, Best Female Pop Vocal Performance for You Had Me and Best Pop Vocal Album.
Mind, Body & Soul became Stone’s best chart success and second best selling album to date. It entered the UK charts at no. 1, making 17-year-old Stone the youngest female artist accomplishing the feat at the time. In April 2019, that record was broken by Billie Eilish for her album When We All Fall Asleep, Where Do We Go? Eilish is two months younger than Stone. The album also charted in numerous other countries, gaining top 10 positions in Australia, Austria, Belgium, France, Germany, The Netherlands and Switzerland. In the U.S., it just missed the top 10, climbing to no. 11 on the Billboard 200.
When it comes to vocal groups, I can’t think of a more compelling example than The Temptations. Their perfect multi-part harmonies have impressed me from the very first moment I heard them sometime during my early teenage years. I was reminded of The Temptations’ mighty singing while listening to a Christmas playlist yesterday that includes their beautiful rendition of Silent Night. Since I’m a huge fan of great harmony vocals, I decided a tribute post was an order.
The story of The Temptations began in Detroit in 1960 when members of two other vocal bands formed a group called The Elgins: Otis Williams, Elbridge “Al” Bryant and Melvin Franklin of Otis Williams & the Distants, and Eddie Kendricks and Paul Williams who came from a group called The Primes. Following an audition in March 1961, an impressed Berry Gordy signed the group to Motown imprint Miracle Records. However, there was one problem. The name Elgins was already taken by another band. According to Wikipedia, Miracle Records employee Billy Mitchell, songwriter Mickey Stevenson, Otis Williams and Paul Williams came up with the idea to call the group The Temptations.
In April 1961, the group released their debut single Oh, Mother of Mine. Co-written by Otis Williams and Mickey Stevenson, who also produced the track, the tune was not successful. Neither were the following seven singles The Temptations released. In January 1964, Al Bryant was replaced by David Ruffin, marking the start of “The Classic Five” era that would turn the group into superstars. In the meantime, Smokey Robinson had become their producer, and it was one of his tunes that became the group’s first no. 1 on both the Billboard Hot 100 and the Hot R&B Singles charts: My Girl, released in December 1964. Every time I hear that song, I got sunshine, no matter how cloudy my day may be. By the way, that cool bass intro is played by the amazing James Jamerson. Feel free to snip and groove along!
While it would take The Temptations another four and a half years before scoring their second double no. 1 on the Hot 100 and Hot R&B Singles charts, they released plenty of other hits in the meantime, many of which topped the Hot R&B Singles. Here’s one of my favorites: Get Ready, another tune written and produced by Smokey Robinson. I was going to feature an audio clip of the track but couldn’t resist using the below footage instead, which was captured during a TV appearance in 1966. The song appeared in February that year. Even though none of the singing and music are live, just watching the dance choreography of these guys and the female backing dancers is priceless!
And then the era of The Classic Five came to an end after success and fame apparently had gotten to David Ruffin’s head. His behavior led to friction with the other members of the group, and The Temptations ended up firing him on June 27, 1968. The very next day, he was replaced by Dennis Edwards, a former member of The Contours. The new line-up became what some called the group’s “second classic line-up.” But more changes were in store.
Norman Whitfield took over as producer, and The Temptations started adopting a more edgy sound, influenced by contemporaries like Sly & The Family Stone and Funkadelic. The group’s four-year psychedelic soul period kicked off with their ninth studio album Cloud Nine from February 1969. The record climbed to no. 4 on the Billboard 200 and brought the group their first Grammy Award in the category Best Rhythm & Blues Group Performance, Vocal or Instrumental. Here’s Run Away Child, Running Wild, a co-write by Norman Whitfield and Barrett Strong. A shorter version of the tune was also released separately as a single and became another no. 1 on the Hot R&B Singles chart. Here’s the full album version. That’s one hell of a hot funky tune!
Even though The Temptations had come a long way from their oftentimes romantic songs that marked their early years, the group did not entirely abandon sweet ballads. Here’s one of the most beautiful in my opinion, released in January 1971: Just My Imagination (Running Away With Me). Evidently, the public liked it as well. The song became the group’s third and last to top both the Hot 100 and Hot R&B Singles charts. Interestingly, it was written by the same guys who penned Runaway Child, Running Wild. Perhaps appropriately, the track also appeared on an album called Sky’s The Limit. Damn, these guys could harmonize – it’s pure perfection and actually no imagination!
Writing about The Temptations’ psychedelic soul era wouldn’t be complete without including another epic tune: Papa Was A Rollin’ Stone, another Whitfield-Barrett gem. Initially, it was recorded and released as a single in May 1972 by another Motown act called The Undisputed Truth – something I had not known until I did some research for this post. While their original is pretty cool, I still prefer The Temptations’ version. Interestingly, it hit no. 1 on the Billboard Hot 100 but “only” peaked at no. 5 on the Hot R&B Singles chart. Here it is in its full 12-minute glory!
By the time of the release of 1990 in December 1973, The Temptations had become tired of psychedelic soul and wanted to move back to their more upbeat style and lyrics of the ’60s. The album turned out to be the final record produced by Whitfield. January 1975 saw the release of the group’s next studio album A Song For You. Wikipedia lists a hodge-podge of producers, including Berry Gordy, Jeffrey Bowen, James Anthony Carmichael, Suzy Wendy Ikeda, Clayton Ivey and Terry Woodford. The record was the group’s last to top the Billboard Hot R&B LPs chart. It also featured their two last no. 1 singles on the Hot R&B Singles chart, Happy People and Shakey Ground. Here’s the latter, a nice groovy tune co-written by Jeffrey Bowen, Alphonso Boyd and Funkadelic guitarist Eddie Hazel, who also played lead guitar on the track.
Following A Song For You, success dried up. After the release of The Temptations Do The Temptations in August 1976, the group left Motown and signed with Atlantic Records. That didn’t change their trajectory, and after two albums, they returned to Motown in 1980. Two years later, they reunited with co-founder Eddie Kendricks and “Classic Five” era member David Ruffin for a tour, during which they recorded a studio album appropriately titled Reunion. Released in April 1982, the record marked a comeback of sorts, peaking at no. 2 on the Hot R&B LPs and a respectable no. 37 on the Billboard 200. Here’s opener Standing On The Top, a funk tune written and produced by Rick James, who also contributed vocals and clavinet.
While success has largely eluded them since Reunion, The Temptations have released 17 additional studio albums. The most recent, All The Time, appeared in 2018. Here’s Stay With Me, a cover of the beautiful pop soul tune by English songwriter and vocalist Sam Smith. In fact, when I heard this version for the first time, I thought it was Smith together with The Temptations, but apparently it’s not. The tune is credited to Smith, James Napier and William Phillips, as well as Tom Petty and Jeff Lynne, following a legal settlement. After the song’s release, Petty’s published had noticed a similarity to I Won’t Back Down and reached out to Smith’s team.
Altogether, The Temptations have had an impressive 14 chart-toppers on the Hot R&B LPs, including eight in a row between March 1965 and February 1969 – I suspect this must be a record. The group also scored 14 no. 1 hits on the Hot R&B Singles chart and topped the Hot 100 chart four times. In 1989, The Temptations (Dennis Edwards, Melvin Franklin, Eddie Kendricks, David Ruffin, Otis Williams and Paul Williams) were inducted into the Rock and Roll Hall of Fame. Rolling Stone has ranked them at no. 68 on their list of 100 Greatest Artists of All Time.
The Temptations are active to this day, with Otis Williams remaining as the only original founding member. The other current line-up includes Ron Tyson (since 1983), Terry Weeks (since 1997) and Willie Green (since 2016). Next year, the group will embark on a tour through the U.S., U.K. and Germany to celebrate their 60th anniversary. This includes two dates in May in my area. My wife and I saw The Temptations once in the early 2000s at The Apollo in New York City, together with The Four Tops. We both remember it as a great show, so we’re thinking to catch them again. The current tour schedule is here.