This tune should have been included in my last Best of What’s New installment from Friday, but I missed it. Confusion Wheel is a previously unreleased song by Tom Petty, which be on the forthcoming box-set Wildflowers and All the Rest slated for October 16.
According to a short announcement on Petty’s website on September 8, “Confusion Wheel,” written in 1994, eerily captures the uncertainty of 2020 as if it were written yesterday and somehow twists it with infinite hope. Yesterday, Heartbreaker Benmont Tench and Tom’s longtime engineer and co-producer Ryan Ulyate spoke to David Fricke and premiered the previously unreleased song on SiriusXM’s Tom Petty Radio. Listen/share “Confusion Wheel,” alongside a visualizer featuring artwork by Blaze Ben Brooks.
As previously reported by Variety and other media outlets, Wildflowers and All the Rest was jointly curated by Tom’s wife and daughters Dana, Adria and Annakim Petty, respectively, along with former Heartbreakers Mike Campbell and Tench. The collection was produced by Ulyate. In addition to remastered versions of the original Wildflowers tracks, the box set features home recordings/demos, live tracks and various previously unreleased songs.
I really miss Tom Petty, so looking forward to this release!
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.
Sometimes one beautiful thing leads to another. In my previous post, I wrote about Tom Petty’s affection for The Byrds and how he covered some of their tunes. One of the clips I included was a performance of Mr. Tambourine Man, the Bob Dylan tune popularized by The Byrds with their beautiful jingle-jangle version in the mid-’60s. The footage came from a concert that celebrated the 30th anniversary of Dylan’s eponymous debut album. This prompted me to further check out that tribute show and boy, do I love what I found!
The four-hour concert took place at Madison Square Garden in New York City on October 16, 1992. Regardless of what you think of Dylan, the fact that he is revered by so many top-notch artists speaks for itself. It was certainly reflected in the concert’s line-up, which featured John Mellencamp, Stevie Wonder, Lou Reed, Willie Nelson, Johnny Cash, Neil Young, Johnny Winter, Eric Clapton, George Harrison, Tom Petty and Roger McGuinn, among others.
The house band for the show included Booker T. Jones (organ) and other former members of the MG’sDonald “Duck” Dunn (bass) and Steve Cropper (guitar), along with Anton Fig and Jim Keltner (each on drums). And there were countless other musicians in different capacities I haven’t even mentioned. This was possibly a one-of-a-kind concert!
Let’s kick off the music with Like a Rolling Stone performed by John Mellencamp and special guest Al Kooper on the organ – great way to open the night! Dylan first recorded the classic tune for his sixth studio album Highway 61 Revisited from August 1965.
Among the show’s true gems was Stevie Wonder’s performance of Blowin’ in the Wind. One of the defining protest songs of the ’60s, it was the opener to Dylan’s sophomore album The Freewheelin’ Bob Dylan released in May 1963. As Wonder eloquently said, it’s a tune that “will always be relevant to something that is going on in this world of ours.” I’m afraid his words still ring true today.
Next up: Tracy Chapman and her beautiful version of The Times They Are A-Changin’. Recently, I’ve gained new appreciation of the singer-songwriter thanks to badfinger20, who covered Chapman the other day on his great PowerPop blog. The Times They Are A-Changin’ is the title track of Dylan’s third studio album that appeared in January 1964.
Ready for some hardcore blues? Enter Johnny Winter and his scorching version of Highway 61 Revisited, the title track of the above-noted album from August 1965. Ohhh, wham bam thank you man, to borrow creatively from David Bowie. Unfortunately, I could only find the audio version, but I think you can still picture it.
Just Like Tom Thumb’s Blues is yet another tune from the Highway 61 Revisited album. If I would have to name my favorite Dylan record, I think this would be it. Of course, the caveat is I haven’t listened to all of his records, not even close! The artist who got to perform the tune during the concert was Neil Young, who did a great job. BTW, he dubbed the concert “Bobfest,” according to Wikipedia.
Here’s a great cover of I Shall Be Released by Chrissie Hynde. The first officially released version of the song was on the July 1968 debut album by The Band, Music From Big Pink. Dylan’s first recording occurred during the so-called Basement Tapes sessions with The Band in 1967, which was released on The Bootleg Series 1-3 in 1991. In 1971, Dylan recorded a second version that appeared on Bob Dylan’s Greatest Hits Vol. II from November that year.
Don’t Think Twice, It’s All Right is one of my favorite Dylan tunes, so I faithfully followed his advice and didn’t hesitate to call it out. It’s another song from The Freewheelin’ Bob Dylan. Eric Clapton did a beautiful job making it his own. Don’t think twice, check it out!
George Harrison’s appearance at the show was remarkable. It marked his first U.S. concert performance in 18 years. Sadly, it would also be his last time performing in public, as Rolling Stone noted in a January 2014 story previewing the March 2014 super deluxe reissue of the concert. Harrison covered Absolutely Sweet Marie, a tune from Blonde on Blonde, Dylan’s seventh studio album from June 1966.
Of course, I couldn’t write about the bloody concert without including Tom Petty and the Heartbreakers, who performed Rainy Day Women #12 & 35, another track from Blonde on Blonde. Love it!
For the final clip in this post, it’s about time to get to the man himself and My Back Pages. He first recorded the tune for his fourth studio album Another Side of Bob Dylan, which appeared in August 1964. For his rendition at the show, he got a little help from his friends Roger McGuinn, Tom Petty, Neil Young, Eric Clapton and George Harrison. That’s what friends are for, and they did a great job!
The last word shall belong to guitarist and the show’s musical director G.E. Smith, who is quoted in the above Rolling Stone story: “That gig was one of the highlights of my career… There aren’t a lot of people that can attract a lineup like that, and everyone was on their best behavior. Lou Reed and Neil Young can be prickly, but not in the three days we were prepping that show. I also got to talk to Johnny Cash. What’s cooler than that?”
This morning, my streaming music provider served up a great Get Up! playlist, which was based on my listening habits. It included Tom Petty’s version of Feel a Whole Lot Better. Not only did the tune immediately put me in a good mood, but it once again reminded me that in addition to writing so many great songs, Petty also performed fantastic covers. The Byrds and Roger McGuinn in particular were important musical influences. I also happen to dig the latter two, so I thought it would be fun to put together a post of Petty’s Byrds covers.
Let’s start with So You Want to Be a Rock ‘n’ Roll Star, which appeared on Pack Up the Plantation: Live!, the first live album by Tom Petty and the Heartbreakers from November 1985. Co-written by Roger McGuinn and Chris Hillman, the tune was first released in January 1967 as the lead single to The Byrds’ fourth studio album Younger Than Yesterday, which came out the following month.
Next up is the above-mentioned Feel a Whole Lot Better. Petty included that tune on his solo debut Full Moon Fever released in April 1989. The song was written by Gene Clark and first appeared in June 1965 as the b-side to the single All I Really Want to Do. Both of these songs were included on The Byrds’ debut album Mr. Tambourine Man released one week after the single.
For the last clip, I needed to cheat a bit. Mr. Tambourine Man, of course, is a Bob Dylan tune; however, it was The Byrds who popularized it in April 1965. And while Dylan has written many great songs, I think The Byrds not only made Mr. Tambourine Man their own, but also significantly improved it in the process! The following cover by Roger McGuinn and Tom Petty and the Heartbreakers is from a beautiful concert that took place at New York’s Madison Square Garden in October 1992 to celebrate the 30th anniversary of Dylan as a recording artist. Most of that show was captured on a live album released in August 1993 and separately on VHS, DVD and Blu-ray.
In the wake of Petty’s untimely death in October 2017, McGuinn was interviewed for a story published by Philly Voice. He recalled the first time he heard American Girl, the third single off the eponymous debut album by Tom Petty and the Heartbreakers. “I said, ‘when did I record that?…I was kidding, but the vocal style sounded just like me and then there was the Rickenbacker guitar, which I used. The vocal inflections were just like mine. I was told that a guy from Florida named Tom Petty wrote and sings the song, and I said that I had to meet him.” And he did, and the two hit it off!
McGuinn added, “When I covered ‘American Girl,’ I changed a word or two and Tom asked me if it was because the vocal was too high and I said ‘yes.’ I had fun with Tom’s song…There is nobody like Tom Petty.” I couldn’t agree more!
Boy, do I love this catchy tune, and now it’s stuck in my head! I heard it for the first time by Tom Petty and the Heartbreakers on their 1993 Greatest Hits compilation. Because it sounds so much like he could have written it, for a long time, I thought Something in the Air was a Tom Petty song! The original version was first released in May 1969 by Thunderclap Newman, a British band with an intriguing history that involves Pete Townshend who founded and produced them – something I might explore in a separate post. Townshend also played bass on the recording under the alias Bijou Drains. The tune was written by John David Percy “Speedy” Keen, Townshend’s former chauffeur who also penned Armenia in the City, a song The Who included on their 1967 album The Who Sell Out. Something In The Air topped the UK Singles Chart in July 1969 and was the sole no. 1 hit for Thunderclap Newman who only recorded one study album before they disbanded in April 1971.
Since I really dig the Tom Petty cover, here it is, taken from The Live Anthology, released in November 2009. This fantastic box set nicely illustrates that in addition to great original songs, Tom Petty and the Heartbreakers were a top-notch cover band – a potential fun topic for yet another post!
And, coz’ three make a charm, let’s throw in yet another version of the song that until today I had no idea existed: The Dukes of September. Formed in 2010, this American “supergroup” included Donald Fagen, Michael McDonald and Boz Scaggs. Essentially, it was a revival of The New York Rock and Soul Revue, a music project produced by Fagen’s then-future wife Libby Titus. Led by Fagen, the project involved a series of concerts between 1989 and 1992, which also featured McDonald, Scaggs and various other prominent music artists who performed a mix of their own songs and covers.
Highlights of my rock & roll journey during the past 12 months
It feels unreal to me Christmas and New Year’s are upon us again – not to mention a new decade! I still recall a conversation with a school friend when we were 12 years old. He and I imagined where we might be when the year 2000 comes. At the time, the turn of the century was still more than two decades out. It seemed so far away. Now, not only has 2000 come and go, but we’re 20 years down the road, baby – crazy how time flies!
Well, this post doesn’t span decades. The idea is much more moderate: Looking back at my personal music journey over the past 12 months, as documented by this blog. While to some extent it reflects what happened in music this year, it’s not a broad review piece. Since I mostly listen to ’60s and ’70s artists or new music they release, I couldn’t do a legitimate comprehensive look-back on 2019 in music.
In the past, I’ve said more than once most new music nowadays lacks true craftsmanship and sounds generic and soulless to me. And while I still largely ignore what dominates today’s charts, I’ve finally come to accept contemporary music isn’t inherently bad. It’s just different and I generally don’t like it. Here’s the good news: I don’t have to. There’s so much “old” music out there I’ve yet to discover, and while artists may retire or pass away, their music will stay. Forever. That’s the beauty of music. It means for those of us who dig it, rock & roll will never die! Okay, enough with the wise-cracking and on to some highlights of my music journey this year.
As a retired band-turned-closet musician, live music remains the ultimate thrill to me. Yes, ticket prices continue to be outrageous for most top acts, and that’s not going to change. But this hasn’t deterred me yet from seeing artists I dig. However, it did require being more selective (for example, I skipped Steely Dan and The Doobie Brothers, since I had seen both in 2018) and oftentimes settling for cheaper seats.
My two concert highlights this year were The Rolling Stones at MetLife Stadium in East Rutherford, N.J. in early August and The Who at New York’s Madison Square Garden in May. I had seen both before, but since they are among my longtime favorite bands and in the twilight of their careers, I simply did not want to miss the opportunity. I’m glad I was able to catch both, especially The Who. At the time I bought my ticket, I had not realized this wasn’t a “regular” gig but The Who backed by a symphonic orchestra. Had I understood this, it may have deterred me. But the concept worked pretty well, so I’m happy I didn’t read the fine print! Here’s a clip from each show: Jumpin’ Jack Flash and the Love Reign O’er Me, two tunes that will never go out of style in my book!
I also saw various other great shows: Walter Trout (The Iridium, New York, April 9), Joe Jackson (State Theatre, New Jersey, New Brunswick, May 18), Govt’ Mule (The Stone Pony, Asbury Park, N.J., June 28), Southern Avenue (The Wonder Bar, Asbury Park, N.J., July 11) and Hall & Oates (Fairgrounds, Allentown, Pa.). I wouldn’t have gone to that last concert, had it not been for my wife. While I wouldn’t call myself a Hall & Oates fan, it was a great show.
As King/Emperor of Tribute Bands (blame Music Enthusiast for the title! 🙂 ), this concert section wouldn’t be complete without acknowledging the many tribute shows that continued to attract me. I know some folks roll their eyes when they hear the word tribute band. I find nothing wrong listening to music I dig, especially when it’s faithfully captured. Among the many tribute concerts I saw, two stood out: Pink Floyd tribute Brit Floyd (Sands Bethlehem Event Center, Bethlehem, Pa., March 30) and the annual Rock The Farm Tribute Festival (Seaside Heights, N.J., September 28). Here’s a clip from the Brit Floyd gig: Comfortably Numb – epic!
And then there’s of course Woodstock’s 50th anniversary. I finally got to see the director’s cut of the documentary on the big screen. While I can’t deny 224 minutes is pretty massive, I enjoyed every minute of it. Here’s the main post I did to commemorate the festival. And here’s a clip of one of the most iconic rock performances of all time: Joe Cocker and With A Little Help From My Friends.
As stated above, for the most part, new music means new albums released by “old” artists I dig. As I looked back through my previous posts, I was surprised to find that I reviewed 22 new albums. Granted this number includes three live albums (The Doobie Brothers/Live From The Beacon Theatre, The Rolling Stones/Bridges To Bremen and Paul McCartney/Amoeba Gig) and an excellent posthumous compilation by Tom Petty And The Heartbreakers (The Best Of Everything), which do not feature new music. Even if you exclude these, it still leaves you with 18 albums. This makes me wonder what I would do if I also paid more attention to contemporary artists. It pretty much would be impossible to review their new music as well, given I have a family and a full-time job – another good reason to focus on what I trulydig! 🙂
Albums by “old hands” I’d like to call out are The Who (WHO), Booker T. (Note By Note), Neil Young (Colorado), Ringo Starr (What’s My Name), Santana (Africa Speaks), Little Steven And The Disciples of Soul (Summer of Sorcery), Joe JacksonFool and Sheryl Crow (Threads). One artist who seems to be missing here is Bruce Springsteen and Western Stars. While I dig Springsteen and don’t think it’s a bad record, it just doesn’t speak to me the way other music by The Boss does, so I ended up skipping a review. Crow said Threads is her final full-fledged release, explaining in the age of streaming music, most people make playlists and no longer listen to entire albums. Boy, this statement really reflects how much listening habits and the music business have changed! Here’s Live Wire, a nice bluesy tune co-written by Crow and Jeff Trott and featuring Bonnie Raitt and Mavis Staples.
There were also some new blues releases I enjoyed by both older and younger artists, including Walter Trout (Blues Survivor), Jimmie Vaughan (Baby, Please Come Home), Kenny Wayne Shepherd Band (The Traveler) and “wunderkind” Jontavious Willis (Spectacular Class), as Taj Mahal has called him. How about some music from Willis’ sophomore album? By the way, it was executive-produced by Mahal. Here’s opener Low Down Ways.
I also would like to call out albums from three other contemporary artists: Rick Barth (Fade), SUSTO (Ever Since I Lost My Mind) and Southern Avenue (Keep On). If you’re a more frequent visitor of the blog, you may recall Southern Avenue is one of the very few young bands I truly dig. I just love how these guys blend blues, soul and R&B, and the vocals are just killer! Here’s the title track from the above album, which is their second one. The tune was co-written by guitarist Ori Naftaly, lead vocalist Tierini Jackson and producer Johnny Black. There’s just something about Southern Avenue’s sound I find really seductive.
I think I came across a number of great clips I posted throughout the year. One of the best has to be this footage of The Who performing Won’t Get Fooled Again. That’s the raw power of rock & roll! It was filmed on May 25, 1978 at England’s Shepperton Studios, about 20 miles southwest of London, for the closing sequence of the band’s rockumentary The Kids Are Alright. And then, there’s this very different but equally mesmerizing clip: a live demonstration of the Hammond B3 by the amazing Booker T. Jones. To really get excited about it, I realize maybe you need to be a musician.
2019 marks the third full year I’m doing this blog. While I really wanted to start writing about my passion, I wasn’t sure whether I could keep it going when I set out in June 2016. Due to personal reasons, I had to slow down a bit during the past couple of months. But music and writing about artists I dig is therapy to me, so I have every intention to continue and hopefully pick up the pace again. When starting the blog, I also felt I’m doing this for myself first and foremost, not to become some “Internet sensation.” While that is still the case, I can’t deny it’s great to see visitors and that traffic has trended up nicely. Of course, growing from tiny numbers is relatively easy, and there is realistically no way I can keep up the current momentum.
I’m leaving you with a clip from my most popular post this year (measured by total views): The above mentioned Rock The Farm Tribute Festival. The positive reception made me really happy, since it’s great music for a great cause. Here’s It’s Late by Canadian Queen tribute Simply Queen.
I’d like to thank all visitors for reading and especially those who go through the trouble of leaving comments. I always love getting feedback, even if I may not agree with everything folks say. But that’s cool.
Career-spanning compilation features hits and two previously unreleased recordings
The title pretty much says it all. The Best Of Everything is a compilation of Tom Petty’s amazing music from his 40 years as a recording artist, largely focusing on his better known songs. Released yesterday, it’s billed as his first career-spanning collection of hits. Unlike last September’s An American Treasure, the 38 tracks for the most part were taken from past albums. There are two exceptions: For Real, a previously unreleased tune, and an alternate version of the title track that restores a lost second verse.
While to a longtime Tom Petty fan like myself it’s not exactly news what an outstanding songwriter he was, it’s still impressive when you see the track listing. Free Fallin’, Mary Jane’s Last Dance, Saving Grace, Breakdown, Refugee, American Girl, The Last DJ, Runnin’ Down A Dream and Even The Losers, to name some of the gems, surely make for a beautiful collection. While I would say American Treasure is more for die-hard Tom Petty fans, The Best Of Everything is a terrific compilation for folks who know just a few songs and would like to further explore his music beyond the fantastic first Greatest Hits mid-career collection from November 1993.
To make it truly career-spanning, it would have been nice to include a couple of tunes from The Traveling Wilburys. Sure, it’s fair to note the supergroup wasn’t Petty’s band. The Wilburys were primarily initiated by George Harrison and Jeff Lynne, and their songs were credited to all members. Unlike Mudcrutch and Petty’s solo albums, Mike Campbell and Benmont Tench, who helped put together The Best Of Everything and last year’s compilation, had no involvement with the Wilburys. There may also have been legal reasons for keeping the supergroup’s material out. Still, adding two tunes featuring Charlie T. Wilbur Junior on lead vocals would have been cool, in my humble opinion!
Let’s get to some music. I deliberately skip the big hits. The track order seems to be a bit random. Perhaps part of the idea here was to spread the bigger hits throughout to keep the more casual Tom Petty fans engaged. The number of YouTube clips from The Best Of Everything is still limited, so I’m borrowing clips from the original albums, as needed. The first tune I’d like to call out is Dreamville from The Last DJ, the 11th studio album by Tom Petty and the Heartbreakers, released in October 2002. I’m glad they included this beautiful ballad, which definitely is not among Petty’s big hits.
I Should Have Known It is a nice rocker with a great guitar riff – my kind of song! Perhaps not surprisingly Campbell was a co-writer for this guitar player type of tune, which appeared on the band’s 12th studio record Mojo from June 2010. “I was glad that was on there, because I’m really proud of that track and that performance,” Campbell noted during an interview with Variety, conducted together with Tench and Petty’s eldest daughter Adria Petty, who was also involved in assembling the collection. “It showed a band in their later development still doing quality music.” Listen for yourself!
Next up: The alternate version of The Best Of Everything, another great tune! Originally, Tom Petty and the Heartbreakers recorded it for their sixth studio album Southern Accents, which came out in March 1985. Even though I own that record on CD, frankly, I had forgotten about the song.
Scare Easy is a track from the first Mudcrutch album simply titled Mudcrutch, which appeared in April 2008. Initially formed in Gainesville, Fla. in 1970, Mudcrutch was the predecessor to The Heartbreakers. After recording some demos and releasing one single that failed to chart, Mudcrutch broke up in 1975. It’s kind of remarkable they lasted for more than four years. Then, in August 2007, Petty reunited the band. In addition to Campbell (guitar, mandolin) and Tench (keyboards), the lineup featured the other two original members Randall Marsh (drums) and Tom Leadon (guitar), with Petty on bass and lead vocals.
The last tune I’d like to call out is For Real. This previously unreleased song also wasn’t available on any bootlegs, so until it came out as a single a few weeks ago, it’s something even fans hadn’t heard before. According to Rolling Stone, the track was recorded in August 2000 and is “a declaration of purpose” by Petty. “That song to me sounds like Tom reporting from his heart — reporting from the front,” Tench told Variety during the above interview. “It may sound like it’s meant to be a summing up of a career or something, but it’s not, really, because it’s almost 20 years old. We weren’t quite as long-in-tooth and gray then.” I think Tench is right, though it’s the perfect tune to close out the collection.
“When I went back through all this stuff… I don’t want to get heavy with it, but it’s very emotional, in being nostalgic, because we were never nostalgic when we were working,” Campbell told Variety. “We never looked back. We just always were looking forward. But Ben and I were forced to look back as we went through this stuff, and we both had an epiphany about how we have a legacy that has integrity. We were sad, but also very proud of what we’ve done.” Who can blame them.
Added Adria Petty: “I feel like Ben and Mike haven’t had a second to process this, what the next chapter can be, and I think for us, it’s kind of the same. Ben had a baby for the first time six or seven weeks after my dad died, and he’s been deeply in love and entrenched in that. It’s a really horrible thing to have to process both things at the same time, so he probably finally has a little space to just focus on that. Mike’s going to be on the road with Fleetwood Mac through April. He had his first grandchild right after Dad died. There’s a third generation of Heartbreaker kids coming in that are all amazing.”
So after two major compilations, what else might be in store or in the vault I should perhaps better ask. “There a bunch of really great stuff,” Tench toldBillboard. He noted early Mudcrutch recordings, demos from The Last DJ and music from the period of Hypnotic Eye, the final studio album by Tom Petty and the Heartbreakers from July 2014.
Campbell would like to explore a live album from the band’s shows at the Fillmore from 1997 to 1999, he explained to Rolling Stone. “For me, that was almost the pinnacle of the band just being totally spontaneous night to night to night. We might throw in a Grateful Dead song that we just learned that afternoon. We recorded every show and we had guest artists from Bo Diddley to Roger McGuinn to John Lee Hooker. And I know, in my memory of those 20 nights, there’s an amazing album in there.” That surely sounds like a great idea to me!
However, both Tench and Campbell want to be mindful about further releases to make sure the quality is right and Petty would have wanted to release the material. Adria Petty agrees. “I don’t want to inundate the fans with “Hey, here’s another record!”,” she told Variety. That’s a good thing!
Sources: Wikipedia, Tom Petty official website, Variety, Rolling Stone, Billboard, YouTube
For more than 50 years, Eric Burdon has been one of rock’s most distinctive vocalists
Oftentimes, I feel the best blog ideas are inspired by a previous post. In this case, it was my writing about great covers performed by Tom Petty and the Heartbreakers, which included I’m Crying by The Animals. The tune reminded me of Eric Burdon and a voice I’ve always felt was made for singing the blues. Just like many other blues artists or more generally those who started out during the ’60s and ’70s, Burdon has experienced it all, from the highest high to the deepest low and everything else in-between. Unlike many fellow artists, he’s still there, which I think makes him one of the ultimate survivors.
Eric Victor Burdon was born on May 11, 1941 in the northeastern English industrial town of Newcastle upon Tyne. His upbringing in a lower class working family was rough. Burdon started smoking at the age of 10 and skipping school with friends to drink beer. He described his early school years as a Dickens novel-like “dark nightmare,” which included bullying, sexual molestation and sadistic teachers hitting kids with a leather strap. While his father Matt Burdon struggled as an electric repairman, this allowed the family to have a TV by the time Eric was 10. Yet again the TV sparking it all!
Seeing Louis Armstrong on the tube triggered Burdon’s initial interest in music, first in the trombone, then in singing. The next decisive stage in his life was secondary school and a teacher named Bertie Brown who helped him get into the local art college. There he met John Steele, the original drummer of The Animals. They ended up playing in a band called The Pagan Jazzmen. By early 1959, keyboardist Alan Price had joined. After a few iterations and name changes, the band evolved into The Animals in 1962.
The initial lineup featured Burdon (lead vocals), Steele (drums), Price (keyboards), Hilton Valentine (guitar) and Chas Chandler (bass), who later became the manager of Jimi Hendrix. Between September and December 1963, The Animals developed a following in Newcastle by playing local clubs there. During that period, Burdon met some of his blues heroes, including John Lee Hooker and Sonny Boy Williamson. The Animals also backed Williamson during a local gig.
In December 1963, The Animals recorded their first single Baby Let Me Take You Home. It climbed to a respectable no. 22 on the UK singles chart. But it was the second single, The House Of The Rising Sun from June 1964, which brought the big breakthrough, topping the charts in the UK, U.S., Canada and Sweden. It also started the beginning of the band’s demise when the arrangement of the traditional was only credited to Price who collected all the songwriting royalties.
The band’s first studio album The Animals appeared in the U.S. in September 1964. Their British debut record followed two months later. As was quite common at the time, the track listing between the two versions differed. Altogether, the original incarnation of The Animals released five U.S. and three U.K. studio albums. Here’s the above mentioned I’m Crying, which was included on the second U.S. record The Animals On Tour, a peculiar title for a studio album. Co-written by Burden and Price, it’s one of only a few original tracks by the band that was mostly known for fiery renditions of blues and R&B staples by the likes of John Lee Hooker, Jimmy Reed and Ray Charles.
In May 1966, The Animals released Don’t Bring Me Down. Co-written by songwriter duo Gerry Goffin and Carole King, the tune became Burdon’s favorite single, he toldLouder/The Blues during a long interview in April 2013. The song also became the opening track to the band’s fourth U.S. album Animalization released in July 1966. The great tune is characterized by a distinct Hammond B3 sound played by Dave Rowberry, who had replaced Alan Price following his departure in late 1965, and Hilton Valentine’s fuzz guitar. Burdon recalled the song’s recording in a hotel in the Bahamas. “There was an old record player in the room where we were recording and it had this strange, thin electrostatic speaker. Dave Rowberry connected it to his Hammond B3 and that’s where the sound comes from on that track.”
By September 1966, The Animals had dissipated and Burdon started work on his first solo album Eric Is Here, which wouldn’t appear until the following year. Meanwhile, in December 1966, he formed Eric Burdon & The Animals. In addition to him, the band included Barry Jenkins, who had replaced John Steel on drums during the first incarnation of The Animals, John Weider (guitar, violin, bass), Vic Briggs (guitar, piano) and Danny McCulloch (bass). The band subsequently relocated from the U.K. to San Francisco. By that time, Burdon had become a heavy user of LSD.
In October 1967, Eric Burdon & The Animals released their debut. Appropriately titled Winds Of Change, it featured mostly original tracks and psychedelic-oriented rock, a major departure from the past. But, as Louder/The Blues noted, except for San Franciscan Nights, “the British public were reluctant to accept Eric’s transformation from hard-drinking Geordie bluesman to LSD-endorsing, peace and love hippy.” Three more albums followed before this second incarnation of The Animals dissolved in late 1968. Here’s Monterey, the opener to their second record The Twain Shall Meet from May 1968. Reflecting the band’s drug-infused experiences at the Monterey Pop Festival, where they also had performed, the tune is credited to all five members.
Disillusioned with the music business, Burdon went to LA to try acting. But after one year, he returned to music, fronting a Californian funk rock band that would be called War. Together they recorded two original albums in 1970. Here’s Spill The Wine from the first, Eric Burden Declares “War”, which appeared in April 1970. Credited to the members of War, the tune became the band’s first hit, peaking at no. 3 on the Billboard Hot 100. It also marked Burdon’s last major chart success.
Burdon’s relationship with War abruptly unraveled after the band had decided to record their next album without him. It was around the same time his friend Jimi Hendrix passed away. Burden was devastated. “That became the end of the parade because it affected us so much,” he stated during the above Louder/The Blues interview. “It was tough for me. It was tough for everybody.” Unfortunately, one of Burdon’s answers was drugs and more drugs.
During the ’70s and ’80s, Burdon had numerous drug excesses. In 1983, this lead to an arrest in Germany where he had lived since 1977. Subsequently, he returned to the U.S. Yet despite all the upheaval, Burdon still managed to continue recording albums and touring. In 1971, he teamed up with American jump blues artist Jimmy Witherspoon for a record titled Guilty! Here’s Home Dream, a great slow blues tune written by Burdon.
In August 1977, the first incarnation of The Animals released the first of two reunion albums, Before We Were So Rudely Interrupted, billed as The Original Animals. Despite positive reviews, the record only reached no. 70 on the Billboard 200. Lack of promotion, no supporting tour and most importantly appearing at a time when punk and disco ruled were all factors. Here’s the great opener Brother Bill (The Last Clean Shirt), a tune co-written by Jerry Leiber, Mike Stoller and Clyde Otis.
Next up: Going Back To Memphis, a song co-written by Burdon and Steve Grant. It appeared on Burdon’s 1988 album I Used To Be An Animal. Released in the wake of his autobiography I Used To Be An Animal, But I’m Alright Now, it was Burdon’s first new album in almost four years.
In April 2004, My Secret Life appeared, Burdon’s first new solo record in almost 16 years. Here’s the opener Once Upon A Time, a nice soulful tune co-written by Burdon and Robert Bradley.
‘Til Your River Runs Dry is Burdon’s most recent studio release, which came out in January 2013. His website calls it his “most personal album to date.” Here’s Old Habits Die Hard, co-written by Burdon and Tom Hambridge. “This song is dedicated to the people in Egypt and Libya trying to throw off the shackles of all those centuries of brutality,” Burdon toldRolling Stone a few days prior to the record’s release. “It reminds me of Paris in 1968 when I saw the kids going up against the brutal police force or the L.A. uprising. I went through these experiences and they’re still with me today. The struggle carries on. I wrote this song so I won’t forget and to say, even though I’m older now, I am still out there with you.”
Burdon’s most recent recording is a nice cover of For What It’s Worth, written by Stephen Stills and originally released by Buffalo Springfield in December 1966. He commented on his website: The whole idea of recording this song came as a result of a conversation I had with a young fan backstage, when she asked me, “Where are the protest songs today?” Right then and there, I wanted to write something about the brutality that’s going on in the world today but I couldn’t find any better way to say it than Buffalo Springfield did in “For What It’s Worth.
In 1994, Eric Burdon was inducted into the Rock & Roll Hall Of Fame as part of The Animals, along with the other original members of the band. He did not attend the induction ceremony. Burdon remains active to this day and uses the name The Animals for his backing band, which includes Evan Mackey (trombone), Davey Allen (piano), Dustin Koester (drums), Johnzo West (guitar), Justin Andres (bass) and Ruben Salinas (saxophone).
While Burdon’s website currently does not list any upcoming gigs for this year, according to Consequence of Sound, Eric Burdon & The Animals are part of the lineup for the KAABOO Festival in Arlington, Texas, May 10-12. The band is also scheduled to perform on May 26 at Avila Beach Blues Festival in California.
Asked by Louder/The Blues during the above interview how he would sum up the past 50 years, Burdon said, “I’d been screwed by [War], I’d been screwed by The Animals. All use Burdon because he’s a great front guy and then come payday where’s the money? A lot of people had a great ride off me being on stage and I didn’t get much of it.” With a little chuckle he added, “I’m not bitter. I’m bittersweet.”
Sources: Wikipedia, Louder/The Blues, Deutsche Welle, Eric Burdon website, Rolling Stone, Consequence of Sound, Eventbrite, YouTube
American Girl, Refugee, You Got Lucky, Runnin’ Down A Dream, Breakdown, Free Fallin’, Southern Accents, Mary Jane’s Last Dance, The Last DJ – there are countless great songs written by Tom Petty. In addition to that, Petty has also performed many fantastic covers, especially during his concerts. With The Heartbreakers, he had one hell of a backing band. I was reminded of that earlier today, when I came across and listened to an EP titled Bad Girl Boogie, which apparently was exclusively released on Amazon.com in June 2010 as a bonus CD to the DVD Live At The Olympic: The Last DJ. This triggered the idea of putting together a post focused on covers played by Tom Petty and the Heartbreakers.
I’d like to start things off with what I believe was the first cover I ever heard from Tom Petty: Needles And Pins, a song I’ve always dug. It was included on Pack Up The Plantation: Live!, the first official live album by Tom Petty and the Heartbreakers, which appeared in November 1985. Written by Jack Nitzsche and Sonny Bono, the tune was first released by Jackie DeShannon in April 1963. In January 1964, The Searchers turned it into a no. 1 hit single in the U.K. In the U.S., it performed strongly as well, peaking at no. 13 on the Billboard Hot 100. Petty’s great rendition features Stevie Nicks on backing vocals.
Next up: Green Onions, simply one of the coolest instrumentals I know. It appears on The Live Anothology, a live box set and true treasure trove released in November 2009. The tune was initially written by Booker T. Jones and recorded by Booker T. & The M.G.’s in 1962 in a largely improvised fashion while waiting to back another artist in the studio. It became the title track of the Stax house band’s debut album from October 1962 and their signature tune. According to the liner notes, the Heartbreakers’ killer take was recorded during a February 6, 1997 gig at The Fillmore in San Francisco.
Here’s I’m Crying from the above mentioned bonus CD to the Live At The Olympic DVD. The concert was recorded on October 16, 2002 at the Grand Olympic Auditorium in Los Angeles. Written by Eric Burden and Alan Price, this great tune by The Animals first appeared as the B-side to the Australian version of their 1964 single Boom Boom, a cover of the John Lee Hooker tune. I’m Crying was also included on their second U.S. studio album The Animals On Tour.
Another intriguing cover appearing on The Live Anthology is Goldfinger – yep, that would be the title track of the classic 1964 James Bond motion picture! Composed by John Barry, with lyrics co-written by Leslie Bricusse and Anthony Newley, it’s one of the greatest movie songs I know. Presumably because it would have been hard to capture the amazing vocal by Shirley Bassey, Tom Petty and the Heartbreakers played the track as a cool Shadows-style instrumental. Mike Campbell is doing an outstanding job that I assume made Hank Marvin proud, if he heard it. Like Green Onions, Goldfinger was captured at The Fillmore in San Francisco, except it was a different date: January 31, 1997.
The last cover I’d like to highlight in this post also appears on the above Bad Girl Boogie EP/bonus CD: The Chuck Berry classic Carol, first released as a single in August 1958. It also appeared on Berry’s first compilation album Chuck Berry Is On Top from July 1959. This take features more awesome guitar work by Campbell and some kickass honky piano by Benmont Tench – great gosh a’ mighty, to borrow from another talented gentleman and piano player called Richard Wayne Penniman, better known as Little Richard.
Will Stairway To Heaven finally be toppled from the no. 1 spot it has held for 17 straight years on Q104.3’s Top 1,043 Classic Rock Songs Of All Time?
When hearing Thanksgiving, it’s safe to assume most folks think of family, friends, turkey and other feasts. To many it also involves travel to spend time together with their loved ones. While there’s nothing wrong with all of that, to me the upcoming holiday first and foremost means it’s time again for classic rock radio station Q104.3’s annual tradition to play the Top 1,043 Classic Rock Songs Of All Time, as voted by listeners. I suppose the fact that I care of much about this rock & roll marathon indicates I can be quite nerdy. But when it comes to music, that’s just fine with me!
Playing 1,043 rock songs means many hours of great rock music. And, yes, each is fully played, even Pink Floyd’s epic 23-minute Echoes! In order to accommodate all that music, Q104.3 needs to start the countdown the day before Thanksgiving at 1:00 pm ET and go all the way to Sunday evening – a fantastic listening experience for any rock fan! It’s also a nice break from the 50 or so songs they tend to play all the time – just like most other radio stations do!
One of the things I find remarkable about the list, which is compiled for the 18th time this year and presented in a countdown from no. 1,043 to no. 1, is that for the past 17 years, Stairway to Heaven has consistently captured the no. 1 spot. While I dig Led Zeppelin and, if given only one choice, may even select the tune myself as the greatest rock song ever, the reality is there are so many other outstanding classic rock tunes. As such, I feel it’s time to shake up the list! While I doubt there will be many changes in the top 10, following are my selections I submitted earlier this morning.
1. Sunshine Of Your Love – Cream (78)
2. Purple Haze – Jimi Hendrix Experience (80)
3. Layla – Derek & The Dominoes (4)
4. Tush – ZZ Top (865)
5. Stairway To Heaven – Led Zeppelin (1)
6. While My Guitar Gently Weeps – The Beatles (29)
7. Refugee – Tom Petty and the Heartbreakers (110)
8. Dead Flowers – The Rolling Stones (547)
9. Soulshine – The Allman Brothers Band (-)
10. Echoes – Pink Floyd (311)
The numbers in parentheses indicate the ranks of the songs in last year’s countdown. One, Soulshine by The Allman Brothers Band, didn’t make the cut – I told ya, I’m a music nerd! In case you’d like to join the fun, you can enter your submissions here. Happy voting and happy listening!