The Sunday Six

Celebrating music with six random songs at a time

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

Great Covers, B.r.u.c.e. Style

Over his nearly 50-year recording career, Bruce Springsteen has amassed an enormous catalog. He could easily fill up his 3 to 4-hour shows he routinely plays with just his own songs and still not even perform half of the tunes he has written over the decades. Yet The Boss has always liked to mix up his sets with covers. Why? I think it’s because Springsteen loves great music and to honor the artists behind it.

The latest reminder is The Live Series: Songs Under Cover Vol. 2, a new album released on March 5 as part of Springsteen’s ongoing series of concert releases. It’s available via digital download at https://live.brucespringsteen.net and on music streaming services. With The E Street Band, Springsteen has the perfect group of road-tested warriors to back him. Just like Tom Petty’s Heartbreakers used to do, these guys can play anything. The new album triggered the idea to do a post on covers, B.r.u.c.e. style.

In the Midnight Hour

I couldn’t think of a better tune to kick things off than with a Stax gem. Here’s Springsteen’s version of In the Midnight Hour. Apparently, this was captured at Nassau Veterans Coliseum on Long Island, N.Y. in 1980 during The River Tour. Written by Wilson Pickett and Steve Cropper, the song was first recorded by Pickett, one of my favorite Stax artists, and appeared in June 1965. It also became the title track of Pickett’s second studio album that appeared in the same year.

Who’ll Stop the Rain

Who’ll Stop the Rain is one of my long-time favorite tunes by Creedence Clearwater Revival. Written by John Fogerty, the track was included on the band’s fifth studio album Cosmo’s Factory from July 1970. It’s one of the covers included on Springstreen’s new live release. This was recorded at London’s Wembley Arena in June 1981. Great version. I love the sax work by “The Big Man” Clarence Clemons – just wish his solo would have been longer!

Sweet Soul Music

Here’s an amazing version of Sweet Soul Music, another soul classic. Co-written by Sam Cooke, Arthur Conley and Otis Redding, the tune was recorded at FAME Studios in Muscle Shoals, Ala., and first released by Conley in 1967. Bruce Springsteen & The E Street Band were on fire that night in Stockholm, Sweden in July 1988. It was around the same time I saw Springsteen first in Frankfurt, Germany. I will never forget that show. Springsteen and the E Street Band belted out one cover after the other for more than one hour. Technically, I guess this was the encore. If I recall it correctly, they also played Sweet Soul Music in addition to gems like In the Midnight Hour, Land of a Thousand Dances and Shout. It was just unbelievable!

Highway 61 Revisited

Bob Dylan’s Highway 61 Revisited is another highlight from Springsteen’s latest live release. For this rendition at Shrine Auditorium in Los Angeles in December 1990, Springsteen got a little help from his friends Jackson Browne and Bonnie Raitt. It really doesn’t get much better! Written by Dylan, Highway 61 Revisited became the title track of his sixth studio album from August 1965. Check this out – this is to die for!

Twist & Shout/La Bamba

This fantastic medley of Twist & Shout and La Bamba was captured during the Human Rights Now! Tour, a series of 20 benefit concerts conducted in 1988 to raise awareness of Amnesty International during the year of the 40th anniversary of the Universal Declaration of Human Rights. Twist & Shout, co-written by Bert Berns and Phil Medley, was first recorded and released by American R&B vocal group The Top Notes in 1961. La Bamba, a Mexican folk song, became broadly popular in 1968 through the amazing rendition by Ritchie Valens – one of the artists who died in that plane crash near Mason City, Iowa in the early morning hours of February 3, 1959, together with Buddy Holly.

Rockin’ All Over the World

Let’s wrap up this post with another John Fogerty classic that became the title track for Status Quo’s 10th studio album from November 1977, and a huge hit for the British boogie rockers. Fogerty originally recorded Rockin’ All Over the World for his self-titled sophomore solo album that came out in September 1975. Bruce and the boys played the song during a gig at Olympiastadion in Helsinki, Finland in July 2012. As Springsteen said, “let’s do it right – alright!” Man, would I have loved to be there!

Source: Wikipedia; YouTube

What I’ve Been Listening to: Yola/Walk Through Fire

When I included the latest single by Yola in my last Best of What’s New installment, I noticed her first full-length solo album Walk Through Fire received many accolades. Since the strong voice of the English singer-songwriter immediately grabbed me, I checked it out and have to say it’s a true gem, both musically and in terms of her vocal performance.

Getting to that point wasn’t exactly an easy path for Yola who was born as Yolanda Quartey in 1983 in Bristol, England. According to this review in Popmatters, Yola had a tough childhood characterized by poverty and a parent who didn’t care for her and banned music. Later she lived homeless in London for some time before establishing herself as a session singer and touring with acts like DJ collective Bugz in the Attic and electronic music outfit Massive Attack.

Yola Carter

In 2005, she co-founded country-soul band Phantom Limb and recorded two studio albums and a live record with them. But ultimately, as her artist profile in Apple Music notes, Yola felt the need to strike out on her own. Over the next few years, she started writing her own songs that were influenced by Muscle Shoals era country-soul, R&B and classic singer-songwriter style. In 2016, she released her debut EP Orphan Offering under the name of Yola Carter.

Eventually, Yola went to Nashville where she met Dan Auerbach after he had seen a video of her. Apparently, Auerbach was immediately impressed by her. “Her spirit fills the room, just like her voice,” he reportedly said. “She has the ability to sing in a full roar or barely a whisper and that is a true gift.” Auerbach teamed up with Yola to co-write songs, together with other writers, including Bobby Wood, Pat McLaughlin and Dan Penn.

Yola and Dan Auerbach

Auerbach also assembled an impressive group of seasoned studio musicians, including Dave Roe (bass), who played with Johnny Cash and John Mellencamp, among others; harmonica player Charlie McCoy (credits include Elvis Presley, Dolly Parton, Bob Dylan, etc.) and drummer Gene Crisman, who together with Bobby Wood was a member of the Memphis Boys. They were the house band of American Sound Studio in Memphis, Tenn. where artists like Elvis, Wilson Pickett, Aretha Franklin and Dusty Springfield recorded. Auerbach also produced Walk Through Fire, which appeared in February 2019 on his Easy Eye Sound label.

With all of the above, it’s not surprising the album has a retro late ’60s sound. This is also matched by the cover. And yet, to me, Walk Through Fire feels like an album that will hold up well over time. It simply is a work of beauty. Let’s get to some music.

Here’s the opener Faraway Look. The track was co-written by Auerbach, McLaughin and Yola. BTW, McLaughlin’s compositions have been performed by artists like Bonnie Raitt, Alan Jackson, Taj Mahal and Al Kooper, among others. Sure, the production might be a bit on the lush side, but this is just a beautiful tune.

Ride Out in the Country is another great track. The song was co-written by Auerbach, Yola and Joe Allen. Allen is a county songwriter and bassist who since the early ’70s has worked with the likes of Loretta Lynn, Merle Haggard, Waylon Jennings and Johnny Cash.

Next up is the title track, which according to Wikipedia references both a fire that damaged Yola’s home and an abusive relationship from which she escaped. The tune was co-written by Auerbach, Yola and Dan Penn. Penn has co-written many soul hits of the ’60s, including The Dark End of the Street and Do Right Woman, Do Right Man and Cry Like a Baby.

Rock Me Gently is my current favorite on the album. It’s another Auerbach-Allen-Yola co-write.

Let’s do one more: Love All Night (Work All Day), co-credited to Wood, Auerbach and Yola.

As noted above, Walk Through Fire was very well received. The album also generated three Grammy nominations: Best Americana Album, Best American Roots Song (Faraway Look) and Best New Artist. Walk Through Fire was also nominated for Album of the Year at the Americana Music Honors & Awards. And, yes, the album also did score a win: UK Album of the Year at the UK Americana Awards.

At age 37, Yola still is relatively young. I look forward to much more great music from this talented songwriter and vocalist.

Sources: Wikipedia; Popmatters; Apple Music; YouTube

What I’ve Been Listening to: Mick Hayes/My Claim to Fame

If you’re a frequent visitor of the blog, the name Mick Hayes may ring a bill. I included him and a tune from his fantastic new album My Claim to Fame in the last installment of my Best of What’s New feature. On his website, Hayes gave the record the tagline “Southern Soul Music with a California Finish.” I’m not sure I understand the California finish, but folks who are aware of my music taste know that I’m all ears when it comes to southern soul.

One of the truly remarkable things about this album is that Hayes recorded it at FAME Studio in Muscle Shoals, Ala. on vintage equipment, together with musicians who backed artists like Ray CharlesEtta James and B.B. King during their recording sessions at the legendary studio. I’m mean, think about this for a moment, how friggin’ cool is that!

As I complained in my previous Best of What’s New post, Hayes doesn’t do a great job to put out some information on his background, such as a bio. Why still beats me! But at least his website has links to some reviews, and the folks who wrote them apparently got some insights from him.

Additionally, when you google Hayes, his birthday pops up as June 17, 1978, which means he’s 42 years old. Apparently, he was born in Buffalo, N.Y. A review by American Blues Scene notes Hayes became interested in the Muscle Shoals scene while browsing record stores as a young man and seeing albums by the likes of Ray Charles, Aretha Franklin, Duane Allman and Wilson Pickett, who were recorded at FAME. So using different sources, one can kind of get at least a blurry picture of him.

The American Blues Scene review also reveals some of the above studio musicians and artists they backed: Bassist Bob Wray (Ray Charles, The Marshall Tucker Band), electric piano and organ player Clayton Ivey (Etta James, B.B. King), trumpet and flugelhorn player Vinnie Ciesielski (Gladys Knight, Lyle Lovett), saxophonist and flute player Brad Guin (Jason Isbell) and rhythm guitarist Will McFarlane (Bonnie Raitt, Levon Helm). I mean, damn, let’s face it, Hayes isn’t exactly Stevie Wonder, so having gotten all these musicians is really something!

And the list continues. Also on the record are backing vocalists Marie Lewey and Cindy Walker, aka The Muscle Shoals Singers. Moreover, Hayes secured some impressive “outsiders”: Trombone player Billy Bargetzi (The Temptations, The Four Tops, The O’Jays, Bobby Vinton) and trumpet player Ken Watters (Natalie Cole, W.C. Handy Jazz All-Stars). Hayes provides lead guitar and vocals. And, as I stated in my last Best of What’s New, he co-produced My Claim to Fame with John Gifford III, who assisted with engineering Gregg Allman’s final studio album Southern Blood. Okay, on to the real fun part!

Here’s opener Sweet to Me. Like all tunes on the album, it was written by Hayes. He’s definitely got soul. I also think his voice isn’t bad.

Parking Lot Romance is another great tune. It openly pays homage to Ray Charles, undoubtedly one of Hayes’ musical heroes.

Want a bit of funky soul with a message? Ask and you shall receive! Hey, hey, hey, hey, here’s Political Funk.

Next up: No Second Chances. Frankly, I could have picked any other tune. They all sound great, in my opinion!

The last song I’d like to highlight is the album’s closer Saddest Picture of Me.

You might say, ‘Hayes isn’t exactly reinventing the wheel on this record.’ That’s certainly true, but it doesn’t bother me at all. In fact, I feel these recordings are beautifully executed, making My Claim to Fame a joyful listening experience. I’m curious to see what Hayes is going to come up with next. I feel with this album he set a high bar for himself.

Sources: Mick Hayes website; American Blues Scene; YouTube

On This Day in Rock & Roll History: March 15

Time for another installment in my long-running, somewhat geeky music history feature. I still get a kick out of researching what happened on a certain date throughout the decades in rock & roll, even though it’s such an arbitrary concept. Admittedly, I’m using the term rock & roll loosely here. It pretty much includes all music genres I dig – hey, it’s my blog, so I get to make the rules. Without further ado, let’s get to March 15!

1967: The Beatles began work on Within You Without You, a song by George Harrison. According to The Beatles Bible, Harrison had written the tune at the London home of longtime Beatles friend Klaus Voormann who first had met the band in Hamburg and had shared a flat with Harrison and Ringo Starr in the British capital in early ’60s. Several musicians from the collective Asian Music Circle played traditional Indian instruments during the recording session. They were joined by Harrison and The Beatles’ then-personal assistant Neil Aspinall on tamburas. “The tabla had never been recorded the way we did it,” commented sound engineer Geoff Emerick. “Everyone was amazed when they first heard a tabla recorded that closely, with the texture and the lovely low resonances.” Within You Without You was included on Sgt. Pepper’s Lonely Hearts Club Band instead of Only a Northern Song, another Harrison tune that would later appear on Yellow Submarine.

1969: Cream hit the top spot on the UK Albums Chart with their fourth and final studio album appropriately titled Goodbye. It would stay in that position for two weeks. Here’s one of the record’s tracks, Politician, which also is one of my favorite Cream tunes. Co-written by Jack Bruce and Pete Brown, Politician was one of three live tracks on the record that were captured on October 19, 1968, at The Forum in Los Angeles during the band’s farewell tour. By the time Goodbye came out in February 1969, Cream had already disbanded.

1975: Black Water, a classic by The Doobie Brothers, climbed to the top of the Billboard Hot 100, the first of only two no. 1 hits the band had in the U.S. The second one was What a Fool Believes in 1979. Penned by Patrick Simmons who also sang lead, Black Water first appeared on the Doobies’ fourth studio album What Were Once Vices Are Now Habits released in February 1974. Interestingly, the initial single release of Black Water was as the b-side to the record’s lead single Another Park, Another Sunday. While it’s not a bad song, you still have to wonder about that decision, which seems to suggest that between the band and the record company, they hadn’t quite noticed what a gem Black Water was.

1986: The Bangles reached no. 2 on the UK Singles Chart with Manic Monday, scoring their first hit, which also peaked at no. 2 in the U.S., Australia, Germany and Ireland, and placed in the top 5 in Austria, Norway, New Zealand and Switzerland. Written by Prince under the pseudonym Christopher, the tune was included on the American pop-rock band’s sophomore album Different Light, which had appeared in January of the same year. I generally find listening to The Bangles fairly enjoyable. In particular, I like their harmony singing, plus they have some pretty catchy songs. Just please spare me with Eternal Flame, which at the time was hopelessly burned by overexposure on the radio back in Germany and I suspect in many other countries. BTW, The Bangles are still around in almost their original lineup. Following the band’s breakup in 1989, they reunited in 1998.

1999: Curtis MayfieldDel ShannonDusty SpringfieldPaul McCartneyThe Staple SingersBilly Joel, and Bruce Springsteen were inducted into the Rock and Roll Hall of Fame by Sean Combs, Art Alexakis, Elton John, Neil Young, Lauryn Hill, Ray Charles and Bono, respectively –  sounds fucking unreal to me! Springsteen reunited with the E Street Band to perform at the ceremony. Here are Bruce and the boys with Wilson Pickett, performing a scorching version of In The Midnight Hour, a Stax classic Pickett had co-written with Steve Cropper in 1965. Watching Pickett say he wants to kick Bruce in the ass but will keep it light since he’s The Boss and Bruce responding ‘Let’s give it a shot’ is priceless –  damn, this wants me to go and listen to some kickass live music, so badly – fuck you, COVID-19!

Sources: Wikipedia; The Beatles Bible; This Day In Music; This Day In Rock; Songfacts Music History Calendar; YouTube

Clips & Pix: Southern Avenue/No Time To Lose

I’ve written about Southern Avenue before, for example here. Together with Greta Van Fleet, this five-piece funky blues, R&B and soul band from Memphis, Tenn. is one of the very few younger contemporary music acts I’m truly excited about. I had a chance to briefly chat with guitarist Ori Naftaly and lead vocalist Tierinii Jackson at a gig in New York last August, and apart from being talented artists, they are such nice and regular people – not necessarily a given in the music world, especially for a band that appears to be received enthusiastically wherever they perform. These guys are keeping it real!

Co-written by Jackson and Naftaly, No Time To Lose is included on Southern Southern’s eponymous debut album that appeared in February 2017 on Stax Records – yep, that Stax where the likes of Otis Redding, Wilson Pickett and Sam & Dave released their music. That in and of itself is pretty cool in my book. I also think this tune rocks: great guitar riff and superb singing. The sound of the keys played by Jeremy Powell is right up my alley as well. Tierinii’s sister Tikyra Jackson on drums completes the band’s core lineup. Bassist Gage Markey is a touring member.

Speaking of touring, Southern Avenue seems to be on the road most of the time. They’re playing in many parts of the U.S. and occasionally even oversees. You can check out their current schedule on their Facebook page here. They are also scheduled to release their sophomore album later this year.

Sources: Southern Avenue website and Facebook page, YouTube

Clips & Pix: The Commitments/Mustang Sally

Friday night, I watched The Commitments in a charming little theater close to Princeton, N.J.,  where they featured the Irish musical comedy in celebration of St. Patrick’s Day. It must have been the third or fourth time I saw the picture about a lad putting together a soul band of working class youngsters on the northside of Dublin. Apart from being pretty hilarious, the movie features great Stax-like soul music. One of my favorites is Mustang Sally.

While the tune is most closely associated with Wilson Pickett, who released it in 1966 and scored a hit, it was actually first recorded the previous year by Stax fellow artist Bonny “Mack” Rice, who also penned the song. Apart from Mustang Sally, Rice is best known for co-writing Respect Yourself with Luther Ingram. I like both the original and Pickett’s cover of Mustang Sally but have to say the added pep in the version by The Commitments kicks it up a notch for me.

Andrew Strong, who plays the band’s obnoxious lead vocalist Deco Cuffe, just has a fantastic raspy soulful voice. According to Wikipedia, all other band members acting in the movie were actually performing as well and selected because of their musical talents. The only exception was saxophonist Joey ‘The Lips’ Fagan (gotta love that name) played by Johnny Murphy.

At the end of the day, whoever was playing what you hear in the picture or on the soundtrack did a phenomenal job. Apparently, there is a still-active touring version of the band called Stars From The Commitments featuring various members from the movie’s cast.

Sources: Wikipedia, YouTube

Clips & Pix: Booker T. Jones Demonstrates Hammond B3

When one of the coolest Hammond B3 players on the planet demonstrates the legendary organ and chats about how he got into playing this beautiful instrument, you know you’re in for a treat! To me the above NPR footage of Booker T. Jones hands-down is one of the most mesmerizing music clips I’ve ever watched on YouTube. Observing the man explain how you “crawl” on the Hammond and seeing the joy he still gets out of playing the organ is just priceless. His voice isn’t shabby either! If you’re into soulful music craftsmanship and haven’t seen this yet, I would strongly encourage you to invest the 18 minutes it takes to watch this clip in its entirety.

In fact, if you’ve visited the blog in the past, you may have seen a previous feature I did on the Hammond B3 back in June 2017. That piece included the above clip as well, but it was kind of buried all the way at the end. I was reminded of this great footage last night when I talked to a keyboarder of a jam band. I told him Green Onions would be a cool addition to their set list and in this context mentioned Jones’ great demo and that he had to watch it. Did I mention I can have strong opinions about music? In any case, I felt featuring this clip again and this time doing it more prominently was warranted.

Apart from Jones sharing nice anecdotes from the past, including how his piano teacher changed his life, he plays three tunes: Green Onions, Born Under A Bad Sign and Down In MemphisGreen Onions became a signature tune for Booker T. & The M.G.s in 1962 and launched their career as a standalone act. Of course, they were primarily known as the house band of Stax Records where they backed such amazing artists like Wilson Pickett, Otis ReddingCarla Thomas and Albert King on hundreds of recordings.

Born Under A Bad Sign was co-written by Jones and Stax longtime recording artist William Bell for Albert King, who recorded it in 1967. The tune became the title track of King’s second studio album that appeared in August of the same year. Jones closes out his presentation with Down In Memphis, a new song at the time this footage was recorded. The track was included on Jones’ ninth studio album The Road From Memphis released in May 2011. I don’t recall having ever listened to that record, so I should go and check it out!

Sources: Wikipedia, YouTube

Soul Men Comin’ To You With Good Lovin’

Sam & Dave were Stax top act along with Otis Redding

With the country teetering from one crisis to the other, the news isn’t great these days, but not all is bleak. When I spotted this recent story from the Memphis Commercial Appeal, it put a smile on my face. Sam & Dave will receive a Lifetime Achievement Award at the 61st Annual Grammy Awards in Los Angeles on February 10, 2019. While I don’t ever need a reason to cover great music, this well-deserved honor provides a great angle to celebrate “The Dynamic Duo” that became Stax Records’ top performers in the ’60s, together with Otis Redding.

Sam Moore, born on October 12, 1935 in Miami, and Dave Prater, born on May 9, 1937 in Sycamore, Ga., met at the King of Hearts Club in Miami in 1961 while working on the gospel music circuit. At the time, they had already individually established themselves in the gospel groups The Melionaires and the Sensational Hummingbirds, respectively. They decided to team up but success didn’t come right away.

Sam & Dave In Concert
Sam Moore & Dave Prater

Shortly after meeting at the above Miami club, Moore and Prater got a contract with Roulette Records. They released a series of six singles that went unnoticed. In late 1964, Billboard journalist turned record company partner Jerry Wexler signed them to Atlantic Records. Moore and Prater were excited about the prospect to record at the label’s headquarters in New York or perhaps at FAME Studios in Muscle Shoals, Ala. But, as the above Commercial Appeal story notes, “instead they were given two bus tickets to Memphis, home of Stax Records.”

To further quote from the article, “When Moore and Prater got off the bus, they were shocked at what they found: an integrated collection of musicians working out of a funky old studio on the city’s south side.” And I might add all of that during a time and in a place where racial segregation was still very much a reality despite the enactment of the Civil Rights Act on June 2, 1964.

Sam & Dave at Stax
Sam & Dave at Stax Records ca. 1970 (from left): Sam Moore, Isaac Hayes, Andrew Love, Wayne Jackson, Dave Prater, Jim Stewart and Steve Cropper

Initially, Sam & Dave worked with Stax producer and engineer Jim Stewart and songwriter Steve Cropper, guitarist of Stax dynamite house band Booker T. & The M.G.s. Then they moved to Isaac Hayes and David Porter, who at the time were still relative newcomers to writing and producing music. Sam & Dave’s first two singles didn’t make the charts. But success came with the third release You Don’t Know Like I Know, a no. 7 on the R&B chart.

In April 1966, Sam & Dave released their debut album Hold On, I’m Comin’. And comin’ they did. Both the record and the title track became hugely successful. Over the next three years, Sam & Dave scored eight additional consecutive top 20 R&B chart hits. Then their luck ran out. After a series of unsuccessful singles in 1969 and early 1970, they broke up in June that year.

Sam & Dave_Back at 'Cha

Each went on to record some solo singles that didn’t make an impact, and in August 1971, Sam & Dave decided to reunite, just before their contract with Atlantic expired. While they didn’t have a label, they continued to be a sought after live act. In 1975, they released a new studio album, Back At ‘Cha via United Artists. Produced by Steve Cropper and featuring the M.G.s and The Memphis Horns, the record yielded a top 100 single appropriately titled A Little Bit Of Good (Cures A Whole Lot Of Bad).

The emergence of The Blues Brothers in the late ’70s and their cover of Soul Man brought Sam & Dave back into the limelight. A series of concert appearances and two compilation albums (Soul Study Vol. 1 and Soul Study Vol. 2) followed, before The Dynamic Duo gave their last concert as a pair on new year’s eve in 1981.

Sam Moore at the White House
Sam Moore performing at The White House in July 2013

Following the second and final break-up, Prater hired singer Sam Daniels to perform the Sam part and started touring under the “Sam & Dave” name or as “The New Sam & Dave Revue.” This didn’t go over well with Moore, who tried to block Prater from using the name. On April 9, 1988, Prater was killed in a car accident in Sycamore, Ga.

Since 1981, Moore has continued to tour with other famous soul artists, such as Wilson Pickett, Booker T. & The M.G.s and Carla Thomas. He has also done some recording, for example, You Must Not Be Drinkin’ Enough, together with Don Henley for his 1984 album Building The Perfect Beast. In 1986, he also re-recorded Soul Man with Lou Reed for a motion picture with the same name. In October, Moore turned 83 and still appears to be active. Let’s get to some music!

What better tune to start off this playlist than with Hold On, I’m Comin’, the title track of Sam & Dave’s debut studio album released in April 1966. The song was co-written by Isaac Hayes and David Porter. Initially, I was going to include a clip of the studio recording. Then I came again across this killer live footage. Damn’, if this doesn’t make you get up and dance or at least groove along by snipping your fingers, you’ve probably had too much eggnog or too many Christmas cookies!

In addition to Hayes and Porter, other Stax musicians were involved in writing music for Sam & Dave. One such example is If You Got The Loving, another tune from the debut album, for which Steve Cropper received a co-writing credit, along with Hayes and Porter.

Here’s Soul Man from Sam & Dave’s third studio album Soul Men, which appeared in October 1967. Another Hayes-Porter composition, Soul Man became a no. 1 single on what was then the Billboard Hot Rhythm & Blues Singles chart, nowadays known as the Hot R&B/Hip-Hop Songs. It also peaked at no. 2 on the Billboard Hot 100. Like for many other Stax recordings at the time, the label’s killer house band Booker T. & The M.G.s  provided the instrumentation. It’s acknowledged in the second chorus with the line, I‘m a soul man, play it Steve, a reference to guitarist Steve Cropper.

Next up: Broke Down Piece Of Man, another great tune from the Soul Men album. This song was written by Cropper and Joe Shamwell, a frequent co-writer of Stax music.

In 1968, Sam & Dave released I Thank You, their fourth and final studio album prior their first official breakup. Here’s the title track

I Thank You was the title track from Sam & Dave’s fourth studio album from 1968, the final record prior to their first official breakup. Another great Hayes-Porter co-write, the tune became Sam & Dave’s last top 10 single.

Here’s another hot tune from the record: Wrap It Up, yet another co-write by Hayes and Porter. If the song sounds familiar, yet you haven’t heard this version, you may know it from The Fabulous Thunderbirds, who included a great cover on their January 1986 studio album Tuff Enuff.

I’d like to close this post with two tunes from Sam & Dave’s final studio album released in May 1974. First is the above mentioned A Little Bit Of Good (Cures A Whole Lot Of Bad). The song was co-written by Gary Dalton and Kent Dubarri, who also performed as Dalton & Dubarri and released four records in the ’70s.

Last but not least, here’s Shoo Rah, Shoo Rah, a nice cover of a tune written by Allen Toussaint and first recorded by American soul and R&B singer Betty Wright.

In addition to the upcoming Grammy Lifetime Achievement Award, Sam & Dave have received various other accolades. In 1992, they were induced into the Rock and Roll Hall of Fame. According to Wikipedia, they are also members of the Grammy Hall of Fame, Vocal Group Hall of Fame and the Memphis Music Hall of Fame – gee, frankly, I didn’t know there were so many different halls of fame. Apart from Soul Man, their songs have been covered by many other top music artists, such as Aretha Franklin, The Temptations, Bonnie Raitt and Eric Clapton & B.B. King.

Sources: Wikipedia, Memphis Commercial Appeal, YouTube

On This Day In Rock & Roll History: October 21

After more than two months, I thought this would be a good time for another installment of the recurring music history feature. These posts are driven by happenings that sufficiently intrigue me, which limits their number, plus I’ve already covered numerous dates. But it seems to me there is still plenty left to explore.

As on previous occasions, this post is an arbitrary selection of events, not an attempt to capture everything that happened on that date. For example, while as a parent I find child birth a beautiful thing, I don’t include birthdays of music artists’ children. However, birthdays of the artists qualify. But if you die to know, Jade Jagger, daughter of Mick Jagger and Bianca Jagger, one of eight children Mick has with five women, was born on October 21, 1971 in Paris, France. With that important factoid out of the way, let’s get to some other events that happened on October 21 throughout rock & roll history.

1940: Manfred Mann was born as Michael Lubowitz in Johannesburg, South Africa. In 1961, he moved to the U.K. and began his long music career. He initially became successful with a band named Manfred Mann and a series of hits in the mid to late ‘60s like Do Wah Diddy DiddySha La La and Pretty Flamingo. Immediately after that band’s breakup, Mann formed experimental jazz rock outfit Manfred Mann Chapter Three. They lasted for two years and two albums before Mann found long-lasting success with progressive rockers Manfred Mann’s Earth Band. They had hits throughout the ‘70s and ‘80s, especially with covers of Bruce Springsteen tunes like Spirits In The Night and Blinded By The Light. After a hiatus in the late ‘80s and early ‘90s, the band still appears to be active to this day. Mann has also released various solo albums. Here’s a clip of Do Wah Diddy Diddy, Mann’s first number one single released in July 1964. Written by Jeff Barry and Ellie Greenwich, the song was first recorded in 1963 as Do-Wah-Diddy by American vocal group The Exciters.

1941: Steve Cropper was born as Steven Lee Cropper on a farm near Dora, Missouri. An accomplished guitarist, who is ranked at no. 39 on the Rolling Stone list of the 100 Greatest Guitarists Of All Time, Cropper got his first guitar via mail order as a 14-year-old. At the time, he was already living in Memphis, Tenn. where in 1964 be became A&R man of Stax Records and a founding member of the label’s house band Booker T. & The M.G.’s. Together with the band, be backed soul legends, such as Otis ReddingSam & Dave and Wilson Pickett, and co-wrote some of their songs like (Sittin’ On) The Dock Of The Bay, Soul Man and In The Midnight Hour. Booker T. & The M.G.’s also released their own music. During the second half of the ’70s, Cropper became a member of The Blues Brothers. He has also worked as a producer with many artists. Here’s a great clip of a Sam & Dave performance of Soul Man from 1974 – always loved that tune and Cropper’s guitar work on it!

1957: Steve Lukather was born as Steven Lee Lukather in the San Fernando Valley, Calif. The prolific session guitarist is best known for being a longtime member of Toto, which he co-founded with David Paich (keyboards), Steve Porcaro (keyboards) and Jeff Porcaro (drums) in 1976. Lukather also is a songwriter, arranger and producer. He played guitar and bass on various tracks of Michael Jackson’s Thriller album from 1982. While Beat It was among those songs, he did not play the killer solo on that tune, which was performed by Eddie Van Halen. Lukather has also released seven solo records to date. He is currently on the road with Toto for their 40th anniversary tour. Here’s a clip of I Won’t Hold You Back, a ballad Lukather wrote for Toto IV, the band’s most successful album released in April 1982.

1965: As part of the recording sessions for their sixth studio album Rubber SoulThe Beatles were working at Abbey Road Studios. Following an unsatisfactory attempt to record Norwegian Wood 10 days earlier, they did three additional takes on October 21, of which they ended up selecting the last. Lyrically influenced by Bob Dylan and credited to John Lennon and Paul McCartney, the tune is an early example of a Western pop song featuring Indian instruments. In this case, it was the sitar played by George Harrison, who had been inspired by sitar maestro and his friend Ravi Shankar.

1976: Keith Moon performed his last public show with The Who at Maple Leaf Gardens in Toronto, Canada. It was the final gig of the band’s 1976 tour. Moon’s lifestyle had begun to impact his health and performance several years earlier. In perhaps the most infamous incident, Moon passed out on stage at Cow Palace in Daly City, Calif. during the first U.S. date of The Who’s 1973 Quadrophenia tour. Prompted by Pete Townshend who asked whether anyone in the audience was good at playing the drums, Scot Halpin, a drummer, stepped forward and played the rest of the show. Moon also faced challenges during the ’76 tour. By the end of the U.S. leg in Miami in August, a delirious Moon was treated in a hospital for eight days. When The Who performed a private show at a theater in London in December 1977 for The Kids Are Alright, a visibly overweight Moon had difficulty sustaining a solid performance. Moon passed away in September 1978 at the age of 32 from an overdose of a medication to treat alcohol withdrawal symptoms. Here’s a clip of Moon in action with The Who during a raucous 1967 performance of My Generation. As a guitar lover, I’m glad Townshend no longer smashes his gear these days.

Sources: Wikipedia, This Day In Rock, This Day In Music, The Beatles Bible, YouTube