Song Musings

Happy Wednesday and welcome to another installment of Song Musings where I take a closer look at tunes I’ve only mentioned in passing or not covered at all to date. Today’s pick is Amelia by Joni Mitchell.

My intro to the Canadian singer-songwriter happened some 40 years ago with her 11th studio album Wild Things Run Fast from 1982 and I instantly loved Chinese Café / Unchained Melody. That said, I didn’t start to further explore her music until a couple of years ago.

From Mitchell’s albums I’ve heard to date, Hejira has become a favorite. Amelia is the second cut on Side one (speaking in vinyl terms). Like all other tracks on the great record, it was solely written by her. Check out that beautiful and warm sound – I totally dig it!

Amelia was inspired by Mitchell’s breakup of a short relationship with John Guerin, the drummer of jazz fusion ensemble L.A. Express, her backing band from the mid to late ’70s. According to Wikipedia, The song interweaves a story of a desert journey (the “hejira within the hejira”) with the famous aviator Amelia Earhart who mysteriously vanished during a flight over the Pacific Ocean.

Mitchell has commented on the origins of the song: “I was thinking of Amelia Earhart and addressing it from one solo pilot to another… sort of reflecting on the cost of being a woman and having something you must do.” Here’s a nice live version from 1983.

Hejira had some notable guests. Amelia featured prominent session guitarist Larry Carlton, who played on hundreds of albums by artists, such as Steely Dan, Linda Ronstadt, Michael Jackson, Quincy Jones and Sammy Davis, Jr. Vibraphone was provided by English jazz musician Victor Feldman, who has played with the likes of Cannonball Adderley, Gregg Allman, Johnny Cash and Rickie Lee Jones, among many others. Carlton and Feldman also appeared on various other albums by Mitchell.

Hejira, which captures Mitchell’s experiences during a period of frequent travel in late 1975 and early 1976, was received favorably when it appeared but neither matched sales nor chart performance of its predecessors. In Canada, it peaked at no. 22 and in the U.S. it climbed to no. 13. It did best in the UK where it reached no. 11.

But, as happens frequently in music, in the years since its release the album has been considered one of the gems in Mitchell’s recording catalog. The most recent revision of Rolling Stone’s list of 500 Greatest Albums of All Time, published in September 2020, ranks Hejira at no. 133. It was also voted no. 776 in the third edition (2000) of Colin Larkin’s All Time Top 1000 Albums.

Following are some additional insights on Amelia by Songfacts:

Mitchell (from a 1996 interview with the Los Angeles Times): “I wrote the album while traveling cross-country by myself and there is this restless feeling throughout it… the sweet loneliness of solitary travel...“

Amelia Earhart vanished while flying over the Pacific Ocean in 1937. Mitchell alludes to this when she sings:

A ghost of aviation
She was swallowed by the sky
Or by the sea like me she had a dream to fly
Like Icarus ascending
On beautiful foolish arms

Icarus is a figure from Greek mythology whose father, Daedalus, crafted him a set of wings made of wax. Despite his father’s warnings, Icarus flew too close to the sun and his wings melted, sending him to his death in what is now called the Icarian Sea.

Joni Mitchell sings in the first verse about:

Six jet planes
Leaving six white vapor trails across the bleak terrain
It was the hexagram of the heavens
it was the strings of my guitar
Amelia, it was just a false alarm

She explained the lyric to Robert Hepburn for Mojo magazine in 1994. “Basically the false alarm was the end of a relationship. Two scorpios couldn’t let each other go. It was done, but we couldn’t let go; we belonged to each other. It was winding down and I am driving solo without a driver’s license across the country. I think of Amelia I think solo flight. I can’t remember how many hotel rooms later it was complete.”

The late David Crosby, who was in a brief relationship with Joni Mitchell in 1967 and remained a friend thereafter, covered Amelia on his sixth solo album Sky Trails, which came out in September 2017. Nice rendition!

Going back to Songfacts, here’s what Crosby reportedly told Uncut about the tune:

“I’ve always wanted to sing that song. I love that song! What a stunning piece of work she did, the two levels of it talking about Amelia Earhart and taking about her own love life at the same time, so eloquently, with such a beautiful set of words. Her version is quite ornate. I tried to sing it very simply.”

Sources: Wikipedia; Songfacts; YouTube

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The Sunday Six

The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.

Lonnie Smith/Lonnie’s Blues

Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s New installment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.

John Hiatt/Have a Little Faith in Me

Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.

Robbie Robertson/Go Back to Your Woods

Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.

Joni Mitchell/Refuge of the Roads

Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.

Los Lobos/I Got to Let You Know

Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!

Booker T. & the M.G.’s/Green Onions

Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!

Sources: Wikipedia; YouTube