In the past, I tended to wait several weeks before compiling the next installment of my music history feature. Not so this time. Let’s take a look at events that happened on January 28 in rock and pop history.
1956: Elvis Presley made his debut on national U.S. television with an appearance on the Stage Show, a popular variety show on CBS. Backed by guitarist Scotty Moore and upright bassist Bill Black, Presley performed covers of Shake, Rattle & Roll, Flip, Flop and Fly and I Got a Woman. Apparently, the show liked it. Elvis, Scotty and Bill returned five more times over the next two months that same year. Here’s a clip of Shake, Rattle & Roll, written by Charles F. Calhoun and first recorded and released by Big Joe Turner in 1954.
1965:The Who appeared on the popular British rock and pop music TV show Ready Steady Go!, marking their debut on television in the UK. They performed their brand new single I Can’t Explain, which had been released two weeks earlier. Written by Pete Townshend, it was the band’s second single and first released as The Who. To help ensure a successful visual outcome, manager Kit Lambert placed members of the band’s fan club in the audience, who were asked to wear Who football scarves.
1969: Stevie Wonder released the title track of his 11th studio album My Cherie Amour as a single, seven months ahead of the record. Co-written by him, Sylvia Moy and producer Henry Cosby, the tune was about Wonder’s girlfriend he had met at the Michigan School for the Blind in Lansing, Mich. The song peaked at no. 4 in the U.S. on the Billboard Hot 100. It also climbed to no. 4 on the UK singles chart, making it one of Wonder’s highest charting tracks there.
1978: Van Halen introduced the world to Eddie Van Halen’s furious signature guitar sound with their first single You Really Got Me. Written by Ray Davis and first released by The Kinks in August 1964 in the UK, the cover garnered a good amount of radio play and helped Van Halen kick off their career. It did quite well in the charts, reaching no. 36 in the U.S. on the Billboard Hot 100, climbing to no. 49 in Canada and peaking at no. 11 in Australia. The tune was also included on Van Halen’s eponymous debut album that came out two weeks after the single.
1980: The J. Geils Band released their ninth studio album Love Stinks. It became their first top 20 album on the Billboard 200 since Bloodshot from April 1973, reaching no. 18. In Canada, it went all the way to no. 4. Their biggest album Freeze-Frame would still be 16 months away. Yes, The J. Geils Band’s earlier records may have been better, but bands also need to have some hits every now and then to make a living. Here’s the title track, co-written by Peter Wolf and Seth Justman. I guess like some other folks, I will forever associate the tune with the 1998 American picture The Wedding Singer. Now it’s stuck in my head!
Sources: Wikipedia; Songfacts Music History Calendar; This Day in Music; uDiscoverMusic; YouTube
“Playing fast is something I used to do with John [Mayall] when things weren’t going well. But it isn’t any good. I like to play slowly and feel every note.” I think this quote from Peter Green, which was included in a June 16, 2020 feature by Guitar World, nicely reflects the philosophy of the English guitarist. About six weeks after that story had been published, Green passed away “peacefully in his sleep” on July 25, 2020 at the age of 73, as reported by the BBC and many other media outlets. This post is a late recognition of a great artist I only had known from some of his excellent work with the early Fleetwood Mac.
It’s really unfortunate that oftentimes it takes a death or other tragic event to get somebody on your radar screen. When it came to Peter Green, I first and foremost viewed him as this great British guitarist who wrote the fantastic tune Black Magic Woman, which I initially thought was a Santana song, and Albatross, an instrumental with one of the most beautiful guitar tones I’ve ever heard. As I started to explore some of Green’s post-Fleetwood Mac work, perhaps one of the biggest revelations was that apart from his guitar chops he also had a pretty good voice.
This post doesn’t aim to be a traditional obituary. You can find plenty of such pieces elsewhere. Instead, I’d like to focus on Green’s music, especially beyond Fleetwood Mac. Interestingly, Peter Allen Greenbaum who was born in London on October 29, 1946, started his music career as a bassist. According to the above BBC story, it was an encounter with none other than a young Eric Clapton that convinced Green to switch to guitar. “I decided to go back on lead guitar after seeing him with the Bluesbreakers. He had a Les Paul, his fingers were marvellous. The guy knew how to do a bit of evil, I guess.”
Not only did Green manage to retool fairly quickly, but before he knew it, he ended up replacing Clapton in The Bluesbreakers. Here’s a nice anecdote that’s included in the previously noted feature in Guitar World. When John Mayall & The Bluesbreakers assembled for the sessions to record their sophomore album A Hard Road in October 1966, producer Mike Vernon nervously asked, “Where’s Eric Clapton?” Mayall replied, “He’s not with us any more, but don’t worry, we’ve got someone better.” Apparently, somewhat in disbelief, Vernon said, “You’ve got someone better – than Eric Clapton?” Mayall responded, “He might not be better now, but in a couple of years, he’s going to be the best.” The Godfather of British Blues simply knew talent when he saw it!
Here’s The Supernatural from A Hard Road, a track Green wrote. Check out that mighty guitar tone! It reminds me a bit of Black Magic Woman. The instrumental helped establish Green’s trademark sound and earn him the nickname “The Green God.” In case you didn’t know what inspired the post’s headline, now you do!
By July 1967, Green had left The Bluesbreakers and formed his new band initally called Peter Green’s Fleetwood Mac Featuring Jeremy Spencer. Apart from Green (vocals, guitar, harmonica), the lineup included Mick Fleetwood (drums), Jeremy Spencer (vocals, slide guitar, piano) and John McVie (bass). Not only had all of them been previous members of The Bluesbreakers, but John Mayall turned out to be the band’s enabler by offering Green free recording time. Mayall strikes me as somebody who was more than happy to provide apprenticeships to talented up and coming musicians! Here’s Long Grey Mere, a tune Green wrote for Fleetwood Mac, the February 1968 debut by the band that by then was called Peter Greene’s Fleetwood Mac. Bob Brunning, who technically was the band’s first bassist before John McVie joined, played bass on the track.
In early 1970, Fleetwood Mac were on tour in Europe. At that time, Green had become a frequent user of LSD. In Munich, Germany, he ended up visiting a hippie commune and “disappearing” for three days. A New York Timesobituary included a later quote from Green saying he “went on a trip, and never came back.” After a final performance on May 20 that year, he left Fleetwood Mac. The following month, Green started work on what became his first solo album, The End of the Game. Released in December of the same year, the record featured edited free-form jazz rock jam sessions, marking a radical departure from his music with the Mac. Here’s the title track.
Following his solo debut, Green’s output became unsteady. In 1971, he briefly reunited with Fleetwood Mac, filling in for Jeremy Spencer after his departure to help the band complete their U.S. tour under the pseudonym Peter Blue. Beasts of Burden is a single Green recorded with fellow British guitarist Nigel Watson, who many years later would become part of Peter Green Splinter Group. The tune later was added to an expanded version of the above album.
Eventually, Green’s mental health issues took a heavy toll. He was diagnosed with schizophrenia and ended up being in psychiatric hospitals in the mid-’70s, undergoing electroconvulsive therapy – yikes! To me, this frighteningly sounds like One Flew Over the Cuckoo’s Nest, the 1975 picture starring Jack Nicholson, one of his best performances I’ve ever watched. Luckily, Green reemerged professionally and in May 1979 released his sophomore solo album In the Skies. Here’s the great title track and opener, which Green co-wrote with his wife Jane Greene (nee Samuels) whom he had married in January 1978. Sadly, the marriage was short-lived and ended in divorce in 1979.
Starting with his next album Little Dreamer from April 1980, Green mostly relied on others to write songs for him, including his brother Mike Green (born Michael Greenbaum) for next few years. Here’s the groovy opener Loser Two Times. While the song was written by Mike Green, one cannot help but notice these words feel very autobiographic. I’m a loser two times/I’m a loser two times/I tried to change my ways but I was too blind/I lost my money, I lost my girl/And now I’ve almost lost my mind/Yes, I’m a loser two times…
Peter Green’s first reemergence from his health challenges ended with Kolors, his sixth solo album from 1983, which largely consisted of songs from previous recording sessions that had been unreleased. According to The New York Times, Green’s medications essentially incapacitated him. Eventually, he managed to wean himself from prescription tranquilizers in the ’90s. In 1997, he returned to music for the second time with Peter Green Splinter Group. Here’s Homework from their eponymous first album, a tune by Dave Clark and Al Perkins I had known and liked for many years by The J. Geils Band. The Splinter Group’s rendition features Green on lead vocals.
Time Traders, which appeared in October 2001, was the Splinter Group’s sixth album. Unlike their predecessors that had largely featured covers, especially of Robert Johnson, Time Traders entirely consisted of original tunes that had been written by members of the band. Here’s Underway, an instrumental by Green, which first had appeared on Fleetwood Mac’s third studio album Then Play On from September 1969. The track showcases more of that magic tone Green got out of his guitar.
February 2003 saw the release of the Splinter Group’s eighth and final album Reaching the Cold 100. Here’s Don’t Walk Away From Me, written by Roger Cotton, who played guitar, keyboards and organ in the band, featuring Green on guitar and vocals. Beautiful tune with a great sound – and yet another good example of Green’s vocal abilities!
The final track I’d like to highlight is Trouble in Mind, which Peter Green released together with Ian Stewart, Charlie Hart, Charlie Watts and Brian Knight in February 2009. Written by jazz pianist Richard M. Jones, the blues standard was first recorded by singer Thelma La Vizzo in 1924. It was also covered by Dinah Washington, Nina Simone and many other artists.
Peter Green was inducted into the Rock & Roll Hall of Fame in 1998 together with Fleetwood Mac, including Stevie Nicks, Mick Fleetwood, Lindsey Buckingham, John McVie, Jeremy Spencer, Danny Kirwan and Christine McVie. In June 1996, Green was voted the third greatest guitarist of all time in Mojo magazine. And in December 2015, Rolling Stoneranked him at no. 58 in their list of 100 Greatest Guitarists of All Time. No matter how you rank Peter Green, there’s no doubt the “Green God” was a master of tone and I think an undervalued vocalist.
Sources: Wikipedia; Guitar World; BBC; The New York Times; Rolling Stone; YouTube
Lil’ Ed And The Blues Imperials – good golly, Miss Molly, sure like to ball, to borrow a famous line from Richard Wayne Penniman, the dynamite rock & roll artist known as Little Richard! I don’t believe I had heard from Chicago blues slide guitarist Lil’ Ed Williams and his backing band until this morning, when my music streaming provider served up their eighth studio album Full Tilt as a listening suggestion. Released in August 2008, this record is nothing short but an invitation to party, and I couldn’t help to start grooving behind the wheel of my car. Did I mention I’m a passionate dashboard drummer? 🙂
Here are some excerpts from the band’s official bio: In Chicago, a city overflowing with unrivaled blues talent, world-renowned Lil’ Ed & The Blues Imperials have been standing tall for over 30 years. The band’s big sound, fueled by Lil’ Ed’s gloriously rollicking slide work and deep blues string bending, along with his rough-edged, soulful vocals, is as real and hard-hitting as Chicago blues gets…
…Lil’ Ed Williams comes to the blues naturally. His uncle, Chicago slide guitar king and master songwriter J.B. Hutto, taught him how to feel, not just play the blues. Nine albums and thousands of performances later, Lil’ Ed is now universally hailed as a giant of the genre. Lil’ Ed and The Blues Imperials —bassist (and Ed’s half-brother) James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton— have remained together for over 30 years —an extraordinary feat for any group—, the band fueling Ed’s songs with their rock-solid, road-tested, telepathic musicianship…
…Born in Chicago on April 8, 1955, in the heart of Chicago’s tough West Side, Ed grew up surrounded by music. He was playing guitar, then drums and bass, by the time he was 12. Ed and Pookie received lessons and support from their famous uncle. “J.B. taught me everything I know,” says Ed. “I wouldn’t be where I am today without him.” Ed and Pookie spent their teen years making music together, and in 1975 formed the first incarnation of The Blues Imperials…
…Lil’ Ed & The Blues Imperials released eight Alligator albums between 1986 and 2012. With each one, the band’s national and international stature grew as their fan base —known internationally as “Ed Heads”— continued to expand. With 2006’s Rattleshake, Ed and company reached a whole new audience. Die-hard “Ed Head” Conan O’Brien brought the band before millions of television viewers on two separate occasions. Success and accolades never stop pouring in…The group took home the Living Blues Award for Best Live Performer in 2011, 2012 and 2013. They won the prestigious Blues Music Award for Band Of The Year in both 2007 and 2009…
‘Okay, enough of the hype,’ you might think, ‘show me the goods!’ Ask and you shall receive. Why don’t we just start with opener Hold That Train. Written by Williams, the tune got my immediate attention. If you’re into electric blues slide guitar, how can you not love it?
Are you ready for the next tune? Here’s Housekeeping Job, another fun track penned by Williams. Love that funky and soulful vibe. In addition to great electric slide guitar action, check out the tasty saxophone work by Eddie McKinley (tenor sax) and David Basinger (baritone sax). Damn, if this doesn’t make you move, I’m afraid you might be deaf or dead!
Okay, let’s slow things down to catch our breath with Check My Baby’s Oil. This track was co-written by Lil’ Ed and his wife Pam Williams. What I’m wondering is why would somebody want to hang out with a car. 🙂
First I Look At The Purse is speeding things back up. Co-written by Smokey Robinson and Bobby Rogers, the classic tune was first recorded by Motown act The Contours in 1965. Probably the best version I’ve heard of this tune is by The J. Geils Band and their fantastic “Live” Full House album from September 1972. But Lil’ Ed and his guys, whose dynamic playing style reminds me a bit of the ultimate party band, aren’t far behind.
Okay, all parties have to come to an end. Here’s one more, and yes, it’s sweet: Candy Sweet, another co-write by Lil’ Ed and his wife Pam.
After having listened to this album, boy, do I feel like seeing these guys live. And they are indeed on the road. The only problem is, none of the currently scheduled gigs is within reasonable distance from my house. The closest I can see is New Year’s Eve in Moon, Pa. While entering the 2020s with that kind of music sounds like a lot of fun, it would be a six-hour drive. Even for a music nut like me, that’s a dealbreaker. Perhaps instead, I’ll write a blues about it: Oh, Lil’ Ed, can’t you no see/Oh, Lil’ Ed, can’t you no see/Why can’t you play a lil’ closer to me…
Sources: Wikipedia; Lil’ Ed & The Blues Imperials website; YouTube
Ultimate party band’s studio debut went largely unnoticed
At first sight it’s somewhat puzzling. When The J. Geils Band released their eponymous studio debut in November 1970, they already had established themselves as a dynamic live act opening shows all around the country for top-notch artists like B.B. King, Johnny Winter and The Allman Brothers Band. Yet this dynamite album went largely unnoticed, barely making the Billboard 200 at no. 195, and not charting at all in other countries.
I was reminded how great this record is when Apple Music served it up to me as a listening suggestion. I also think this observation from their bio of the band is spot on: While their muscular sound and the hyper jive of frontman Peter Wolf packed arenas across America, it only rarely earned them hit singles. Seth Justman, the group’s main songwriter, could turn out catchy R&B-based rockers like “Give It To Me” and “Must Of Got Lost,” but these hits never led to stardom, primarily because the group had trouble capturing the energy of its live sound in the studio.
The J. Geils Band started out as an acoustic blues trio in the mid-’60s, calling themselves Snoopy and the Sopwith Camels (clearly a ’60s name!) and consisting of J. Geils (guitar), Danny Klein (bass) and Richard Salwitz, known as “Magic Dick” (harmonica). In 1968, the band adopted an electric sound, hired Stephen Bladd (drums) and Peter Wolf (vocals), and became The J. Geils Blues Band. They completed their line-up when Seth Justman (keyboards) joined later that year. By the time they signed with Atlantic Records in 1970, the band had dropped “Blues” from their name and become The J. Geils Band.
Time for some music. Here’s the great opener Wait. One of the album’s five original tunes, it was co-written by Justman and Wolf.
Next up: Icebreaker (For The Big “M”), an excellent instrumental composed by Geils. Check out the cool guitar and harmonica harmony playing. This tune is cooking, even without Wolf’s vocals!
Hard Drivin’ Man is another terrific original track. It was co-written by Wolf and Geils.
I’d like to conclude this post with two covers by The J. Geils Band I’ve always liked. The first is called Homework, a tune co-written by Otis Rush, Al Perkins and Dave Clark. I believe the song was first recorded and released as a single in 1965 by Perkins and soul singer Betty Bibbs.
Last but not least, here’s First I Look At The Purse. Initially recorded by Motown act The Contours in 1965, the tune was co-written by Smokey Robinson and Bobby Rogers. It’s perhaps the example on the album, which best illustrates the above observation from the Apple Music bio. While it’s a great take, it feels a bit timid compared to the live version that can be found on the excellent Live Full House album from September 1972.
The J. Geils Band would go and record 10 additional studio albums and three live records, and release various compilations. Only one of their ’70s studio records, Bloodshot, charted in the top 10 on the Billboard 200 at no. 10. Ironically, shortly after the band finally hit commercial success with Freeze-Frame from October 1981, fueled by the singles Centerfold and the title track, The J. Geils Band started to fall apart.
Peter Wolf left in 1983. The band released one more album in October 1984, You’re Gettin’ Even While I’m Gettin’ Odd, and called it quits the following year. The J. Geils Band has since reunited for various tours. In 2012, J. Geils who after the 1985 breakup had gotten into auto racing and restoration, sewed the other band members, charging they had planned a tour without him. He quit permanently thereafter and sadly passed away in April 2017 at the age of 71.
Skynyrd Nation celebration also features Atlanta Rhythm Section and Peter Wolf as special guests
When Johnny Van Zant asked the audience last night whether folks showed up because they are die-hard Lynyrd Skynyrd fans or because it’s their farewell tour, I answered ‘both’ to myself. While I’ve listened to Skynyrd for 20-plus years and like many of their songs, I wouldn’t call myself a die-hard fan. And, yes, part of my motivation to see these southern rockers at PNC Bank Arts Center in Holmdel, N.J. on Friday was the fact that this may well have been the last opportunity, if they indeed retire.
Recently, I read that Skynyrd added dates to extend their Last of the Street Survivors Farewell Tour. Maybe additional gigs will follow. Maybe it’ll turn into a Deep Purple-like “long goodbye tour.” Or maybe they’ll change their minds altogether, just like Scorpions did a few years go when the German rockers realized they couldn’t just decelerate from running at 200 mph to zero. Who knows.
Compared to artists like The Rolling Stones, Paul McCartney, Neil Young and especially 81-year-old Buddy Guy, Skynyrd certainly has relatively young members – at age 68, guitarist Rickey Medlocke is the oldest. Gary Rossington, guitarist and the band’s only remaining co-founder, is 66. Johnny Van Zant, the younger brother of co-founder and initial lead vocalist, the late Ronnie Van Zant, is 58. The other members are still in their 50s as well. One thing was crystal clear to me last night: Lynyrd Skynyrd sounded absolutely fantastic! And maybe that’s the whole point of the early retirement plan – go out while they’re still on top of their game.
Before Skynyrd came on and set the stage on fire, there were three guests. I didn’t catch the name of the band that opened up the long evening but certainly recognized the artists who followed: Atlanta Rhythm Section and Peter Wolf, ex-vocalist of the J. Geils Band. They compensated for my disappointment when I realized that contrary to what I had read somewhere before, Bad Company, a band I would have loved to see, wasn’t among the special guests.
Frankly, I wasn’t even aware that ALR are still performing. Two of their current members, Rodney Justo (lead vocals) and Dean Daughtry (keyboards), have been around since the band’s formation in 1971, though in Justo’s case, it looks like were some breaks along the way. The remaining current line-up includes Steve Stone (guitar, harmonica, backing vocals), Justin Senker (bass), David Anderson (guitar, backing vocals) and Rodger Stephan (drums, backing vocals).
Except for Spooky and So Into You, I’m not well familiar with ALR’s songs but can confirm that in addition to these tunes, their set included Champagne Jam and Imaginary Lover, among others. Here’s a clip I took of my favorite ALR tune So Into You, a song I liked for its smoothness from the moment I heard it for the first time on the radio in Germany in the late 70s.
Next up was Peter Wolf. I was pretty pumped when I found out he was among the special guests last night. I’ve really come to like the J. Geils Band and ended up seeing them a few years ago. These guys truly were the ultimate party band. Wolf pretty much brought out that same swagger last night. He still has his distinct voice, charismatic stage presence and the occasional machine gun-like fast talking!
The set included a mix of J. Geils Band tunes, such as Homework, Give It To Me, Must Of Got Lost and Love Stinks, and songs from Wolf’s solo career like Wastin’ Time and Piece Of Mind. The Midnight Travelers, which include Duke Levine (guitar), Kevin Barry (guitar), Marty Ballou (bass), Tom Arey (drums) and Tom West (keyboards), proved to be a top-notch backing band. Here’s my clip of Homework.
After Wolf and The Midnight Travelers had fired up the crowd with an energetic performance, it was time for the big enchilada. From the opening bars of Working For MCA till the last note of the epic Free Bird, Skynyrd made it clear they meant business and didn’t want to say farewell quietly. In addition to these tunes, their set included many other gems like What’s Your Name, That Smell, Saturday Night Special, Tuesday’s Gone, Simple Man, Call Me The Breeze and, of course, Sweet Home Alabama.
Below is my clip of What’s Your Name, one of my favorite Skynyrd tunes. Co-written by Rossington and Ronnie Van Zant, it appeared on their fifth studio album Street Survivors in October 1977 – released only three days prior to the devastating plane crash that killed Ronnie, Steve Gains (guitarist) and Steve’s sister Cassie Gains (backing vocalist), along with the pilot, co-pilot and the band’s assistant road manager. Incredibly, Rossington not only survived the crash, but eventually made a fully recovery despite breaking both arms, legs, wrists, ankles and his pelvis.
Another highlight of Skynyrd’s set to me was That Smell, also from the Street Survivors album, which was co-written by guitarist and founding member Allen Collins and Ronnie Van Zant. In particular, I dug the harmonizing guitar parts. Since my cell phone battery was starting to run low on juice, I didn’t capture the performance, so needed to rely on other footage I found on YouTube. Here’s a clip from a gig in Tampa last month. Obviously, it was taken from a location way closer to the stage where I was last night, and frankly it is much better than anything I could have recorded!
Another song I’d like to highlight is Call Me The Breeze. I’ve always liked that J.J. Cale tune and Skynyrd’s take of it. As they were playing it last night, they turned it into an homage to the Stones, Jimi Hendrix, Chuck Berry, Elvis Presley and many other music legends, displaying images of them on the main monitor behind the stage – I thought this was kind of cool. Apparently, Skynyrd didn’t do that during their concert back in March in Atlanta, where the following clip was recorded. But it’s great quality concert footage.
In light of my cell phone battery situation, it came down to a choice between capturing Sweet Home Alabama or the encore Free Bird. Given the extended length of the latter, I went for Alabama, which is also my favorite of the two. The opener to Skynyrd’s sophomore record Second Helping, released in April 1974, was co-written by Rossington, Van Zant and then-bassist Ed King. To me it hasn’t lost any of its appeal to this day!
Of course, making the above choice doesn’t mean skipping Free Bird in this post, especially when there are great other clips on YouTube. The song, which was included on Skynyrd’s debut album Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd from August 1973, turned into an emotional commemoration of Ronnie Van Zant. Here’s a beautiful clip from the above Tampa show.
In addition to Van Zant, Medlocke and Rossington, Skynyrd’s current line-up features Michael Cartellone (drums), Mark Matejka (guitar), Peter Keys (keyboards) and Keith Christopher (bass). The touring band is complemented by backing vocalists Dale Krantz-Rossington (Gary’s wife) and Carol Chase. Skynyrd’s upcoming dates include Jones Beach Theatre, Wantagh, N.Y. tonight; Coastal Credit Union Music Park, Raleigh, N.C., June 29; and PNC Music Pavilion, Charlotte, N.C., June 30. Earlier this month, Ultimate Classic Rockreported that the band announced 21 additional dates, which extend the current tour from early September all the way to December. Let’s hope there will be additional extensions.
Sources: Wikipedia, Setlist.com, Atlanta Rhythm Section official website, Ultimate Classic Rock, YouTube
To me there is nothing that beats the experience of listening to music live. But there are only so many shows one can go to. Plus, at least in my case, some of my favorite artists are no longer around or bands have changed their line-ups to the point where they no longer have much to do with the act I initially came to like.
Fortunately, many music artists have recorded live albums. While a live record can never replace attending an actual show, if well produced, it can at least convey an idea of how it must have felt being there. Obviously, some live albums are better and more authentic than others. Following is a list of songs from some of my favorite live records.
Things We Said Today/The Beatles(The Beatles at the Hollywood Bowl, 1977/1964 & 1965)
Sunny Afternoon/The Kinks (Live at Kelvin Hall, 1967)
Jumpin’ Jack Flash/The Rolling Stones (Get Yer Ya-Ya’s Out!, 1970)
First I Look At the Purse/The J. Geils Band (“Live” Full House, 1972)
Rock And Roll All Nite/Kiss (Alive!, 1975)
Turn the Page/Bob Seger & The Silver Bullet Band (Live Bullet, 1976)
I Want You to Want Me/Cheap Trick (Cheap Trick At Budokan, 1978)
Rock You Like a Hurricane/Scorpions (World Wide Live, 1985)
Nutbush City Limits/Tina Turner (Tina Live In Europe, 1988)
Pride (In the Name of Love)/U2 (Rattle And Hum, 1988)
Earlier this week, blues and jazz guitarist J. Geils, who led what Rolling Stone called “the world’s greatest party band,” passed away at age 71.
Like most other people, the first time I heard about The J. Geils Band was in the early 80s when Centerfold was playing on the radio. The song and the album on which it appeared, Freeze-Frame, took the band to its commercial peak. Ironically, as is all too common in rock & roll, long sought and finally achieved success led to the band’s demise only a few years thereafter.
John Warren “J.” Geils Jr. was born in New York on Feb 20, 1946. As a child, he listened to Count Basie, Duke Ellington, Benny Goodman and other artists in the record collection of his father, who was a big jazz fan. During his high school years, he took up the trumpet and learned how to play Miles Davis tunes. But after Geils had heard Howlin’ Wolf, Muddy Waters and other blues legends on the radio, he put the trumpet aside and switched to blues guitar.
In 1965, while attending Worcester Polytechnic Institute in Massachusetts, Geils got together with bassist Danny Klein and blues harpist Richard “Magic Dick” Salwitz to form Snoopy and the Sopwith Camels, an acoustic blues trio. In 1968, the band changed its style to electric blues, added singer Peter Wolf and drummer Stephen Bladd, and became The J. Geils Blues Band. Later that year, keyboarder Seth Justman completed the lineup. Prior to the release of its eponymous 1970 debut album, the band dropped “Blues” from its name.
While The J. Geils Band may be best known to most people for Love Stinks, Centerfold and Freeze-Frame, they were at their very best during their earlier years, particularly as a live band. In addition to 11 studio albums, 30 singles and various compilations, the band recorded three live albums between 1970 and its breakup in 1985. In particular Live Full House from 1972 is truly electrifying. I had a chance to see the band live myself in New Jersey in 2013, when they were an opening act – I believe for Bon Jovi. They played a great set, though Geils was not part of the lineup.
Justman and Wolf wrote most of band’s original material. Geils only has writing credits on their debut album, for which he wrote the instrumental Ice Breaker and co-wrote Hard Drivin’ Man together with Wolf, which I think is the best original tune of the album.
Apart from their own music, the band recorded fantastic covers of songs from other artists, especially on their early albums. First I Look at the Purse (Robert Roberts, Smokey Robinson) and Homework (Otis Rush, Al Perkins, Dave Clark) from their first album, and So Sharp (Arlester Christian) and Looking For a Love (J.W. Alexander, Zelda Samules) from the second studio album The Morning After are great examples in this context.
After the band split up in 1985, Geils got into car racing and restoring old sports cars. In 1992, he returned to music, producing an album for Klein and forming a band with Salwitz called Bluestime for Magic Dick. They released two albums: Bluestime (1994) and Little Car Blues (1996). Another project included New Guitar Summit, a blues trio with Duke Robillard and Gerry Beaudoin, which released two records in 2004. In 2005, Geils also put out a solo jazz album, Jay Geils Plays Jazz.
The J. Geils Band did occasional reunions after their breakup. Then things started to go downhill. In 2009, Geils obtained a trademark for The J. Geils Band name, of which he informed his band mates in 2011, his lawyer told Billboard. In August 2012, Geils sued his former band mates after they had announced a tour without him. As reported by Rolling Stone, he claimed Wolf, Salwitz, Klein and Justman “planned and conspired” to exclude him from the tour while unlawfully using the group’s trademarked name.
On April 12, Geils was found dead by police officers at his home in Groton, Mass. He appeared to have died of natural causes. Unfortunately, it doesn’t look like Geils and his former band mates reconciled.
Here’s a clip of a live performance of First I Look At the Purse.
Sources: Wikipedia, AllMusic, Rolling Stone, Billboard, The New York Times, YouTube