The Sunday Six

Celebrating music with six random tracks at a time

Another Sunday is upon us, which means the moment has come again for some music time travel. Hop on board, fasten your seat belt and let’s do this!

Santana/Welcome

Our journey today starts in 1973 with jazz fusion by Santana – very different from Evil Ways, Jingo, Soul Sacrifice, Oye Cómo Va, Samba Pa Ti and, of course, Black Magic Woman, which brought Carlos Santana and the classic line-up of his band on my radar screen 40-plus years ago. Welcome is the title track of Santana’s fifth studio album released in November 1973, and the follow-on to Caravanserai, which had marked a major departure from their classic seductive blend of Latin grooves and rock to free-form instrumental jazz fusion. I have to admit it was an acquired taste, and I still need to be in the right mood to listen to this type of music. If you haven’t done so, I encourage you to give this a listen. It’s amazing music!

Joe Jackson/Friend Better

After a six-and-a-half minute-trance-inducing instrumental, it’s time to add some vocals and pick something a bit more mainstream. Enter Joe Jackson, a British artist I’ve admired since ca. 1980 when I received his sophomore album I’m the Man as a present for my 14th birthday. Initially called “an angry young man,” Jackson quickly proved to be a versatile artist. Over a 40-year-plus-and-counting recording career, he has gone far beyond his origins of punk-oriented pub rock and embraced multiple other genres like new wave, big band jazz and pop. Friend Better is from Jackson’s most recent 20th studio album Fool, which came out in January 2019. All songs were written, arranged and produced by Jackson. I also got to see him during the supporting tour and thought he was still the man. If you’re so inclined, you can read more about Fool here and the gig here.

The Church/Reptile

For our next stop, let’s jump to February 1988 and The Church, and I’m not talking about a house of worship. That’s when Starfish came out, the Australian rock band’s fifth album, which brought them their international breakthrough. Fellow blogger Bruce from Vinyl Connection had a great post about this gem a couple of weeks ago. When back in the day I heard the album’s first single Under the Milky Way, I was immediately hooked by the amazing sound and got Starfish on CD right away. Only mentioning Milky Way gives me some chills. Okay, admittedly, I’m also listening to the bloody tune as I’m writing this! While this song undoubtedly is the best-known track on Starfish, there’s definitely more to the album. Point in case: Reptile, the second single, credited to all four members of the group Steve Kilbey (lead vocals, bass), Peter Koppes (guitars, lead vocals), Marty Willson-Piper (guitars, lead vocals) and Richard Ploog (drums, percussion). Kilbey remains the only original member in the Aussie band’s current incarnation.

The Temptations/Get Ready

I trust Motown legends The Temptations need no introduction. When it comes to multi-part harmony singing, the Detroit vocal group ruled in my book. If you haven’t heard it, check out their heavenly rendition of Silent Night, and you quickly know what I mean. This brings me to Get Ready, released in February 1966, the group’s third no. 1 single in the U.S. on Billboard’s R&B charts and their second top 10 on the UK Official Singles Chart. Written and produced by Smokey Robinson, the tune also appeared on The Temptations’ fourth studio album Gettin’ Ready, released in June that same year. Motown founder and head Berry Gordy Jr. wasn’t impressed with the song’s performance on the mainstream Billboard Hot 100 (no. 29). Subsequently, he replaced Robinson with Norman Whitfield as the group’s producer. Whitfield would become instrumental in shaping what became known as psychedelic soul in the late ’60s. Among others, he co-wrote and produced the epic Papa Was a Rollin’ Stone.

Counting Crows/Mr. Jones

We’re starting to get into the final stretch with one of my all-time favorite tunes by Counting Crows and the ’90s for that matter. Like I bet was the case for many other music listeners as well, Mr. Jones brought the rock band from San Franciso on my radar screen when they suddenly burst on the scene in December 1993. Not only marked Mr. Jones the group’s breakthrough, but it also was their very first single. Interestingly, the lead single off their studio debut August and Everything Thereafter, which had come out three months earlier, failed to chart in the U.S. but proved successful elsewhere. Mr. Jones, co-written by Counting Crows guitarist and lead vocalist David Bryson and Adam Duritz, respectively, hit no. 1 in Canada and no. 13 in Australia. In the UK, it reached a respectable no. 28. I wonder whether American audiences felt the tune sounded too much like R.E.M. – not an unfair comparison, though it never bothered me. Last year, Counting Crows hit their 30th anniversary (unreal to me!). Bryson and Duritz remain part of the current line-up.

Little Richard/Tutti Frutti

And once again, this brings us to our final destination for this Sunday. While he called himself Little Richard, there was nothing small about Richard Wayne Penniman. The flamboyant artist was a giant of the classic rock & roll era, one of the most exciting performers who also wrote and co-wrote gems like Tutti Frutti, Slippin’ and Slidin’, Long Tall Sally and Jenny, Jenny. And I’m only talking about tunes from Richard’s debut album Here’s Little Richard released in March 1957. As was common at the time, it essentially was a compilation of Richard’s singles that had appeared earlier. Tutti Frutti, co-written by Penniman and Dorothy LaBostrie, had first been released in October 1955 and become Little Richard’s first U.S. hit, a no. 2 on Billboard’s R&B charts. It also reached the top 20 on the mainstream pop chart (no. 18). Inexplicably, at least from a musical perspective, Penniman never had a no. 1 on the Billboard Hot 100. His most successful tune there, Long Tall Sally, reached no. 6.

This wraps up another installment of The Sunday Six, folks, but we’ll embark on a new trip next Sunday. Meanwhile, this post wouldn’t be complete without a Spotify playlist of the above tunes.

Sources: Wikipedia; YouTube; Spotify

Best of What’s New

A selection of newly released music that caught my attention

New music never stops, even on Christmas. I almost would have forgotten today is Friday, meaning it’s time again for Best of What’s New. BTW, this is the 40th installment of the recurring feature. Let’s get to it!

Eddie Vedder/Matter of Time

Matter of Time is the title track of a new solo EP released by Eddie Vedder today. Initially, the Pearl Jam frontman had put out the tune as a single on November 18. The EP features four additional tracks, including a cover of Bruce Springsteen’s Growin’ Up. As reported by Blabbermouth.net, Vedder premiered Matter of Time and Say Hi, another tune from the EP, during Venture Into Cures, a digital event presented by EB Research Partnership. Co-founded by Vedder and his wife Jill, the non-profit organization funds research for epidermolysis bullosa, a group of devastating and life-threatening skin disorders that affect children from birth. I salute music artists taking on such noble causes. It’s also quite a powerful tune and video clip!

Slaughter Beach, Dog/Are You There

The first thing that struck me about Slaughter Beach, Dog is “Slaughter Beach, Dog.” Who comes up with such a weird name? It turns out singer-songwriter Jake Ewald, who initially started this indie rock outfit in 2014 as a side project to Modern Baseball, his then primary indie rock band from Philadelphia. In October 2017, Ewald confirmed Modern Baseball is on indefinite hiatus. Slaughter Beach, Dog has since become his main focus. In addition to Ewald (vocals, guitar), the group’s regular line-up also features Nick Harris (guitar), Ian Farmer (bass) and Zack Robbins (drums). Slaughter Beach, Dog put out their debut album Welcome in 2016. Since Modern Baseball’s hiatus, three other albums have appeared, including At the Moonbase released December 24. According to this review in Consequence of Sound, Ewald wrote and recorded the album alone at his house and recording studio. Here’s the opener Are You There.

CMON/Blue-ray Saturday

CMON is a project by Josh Da Costa and Jamen Whitelock who initially started Regal Degal in 2009, a band Apple Music noted dabbled in everything from distorted synth punk to repetitive Krautrock-styled jamming over the next several years. After Regal Degal disbanded, Da Costa and Whitelock formed CMON and released their eponymous EP in 2018. According to Apple Music, The duo kept some of the textural atmospheres of their previous band but leaned heavily into programmed rhythm and disco-pop grooves on their 2020 debut Confusing Mix of Nations. Blue-ray Saturday is CMON’s new single that appeared December 10. The melodic mid-tempo tune doesn’t sound at all like disco-pop. If anything, the melody of the laid-back tune reminds me a bit of Bob Dylan’s Like a Rolling Stone. In any case, I like the feel of it. Plus, it’s quite catchy!

Sea Girls/This Is The End

Sea Girls are an indie rock band from England I first featured in an August Best of What’s New installment. They were founded in London in 2015 and include Henry Camamile (vocals, guitar), Rory Young (lead guitar), Andrew Noswad (bass) and Oli Khan (drums). Following their June 2017 debut single Call Me Out and a series of additional self-released singles and three EPs, the band secured a deal with Polydor Records in 2019 and released their full-length debut album Open Up Your Head on August 14 this year. This Is The End is their new single that came out on December 4. Back in August, I called the band’s guitar-driven sound catchy. I still stand behind that statement. The title also makes the song an appropriate choice to wrap up this installment.

Sources: Wikipedia; Blabbermouth.net; Consequence of Sound; Apple Music; YouTube