It’s Wednesday and time again for another imaginary trip to a desert island. And that also means I have to pick a song I would take with me by an artist or band I like but haven’t written about or only rarely covered. Thank goodness I don’t have to do this in real life – I’d go nuts with one song only and the other “rules”.
I’m doing this little exercise in alphabetic order and I’m up to “l”. Artists/ bands in my music library, who start with that letter, include Larkin Poe, Cindy Lauper, Led Zeppelin, Little Richard, The Lovin’ Spoonful and Lynyrd Skynyrd, among others. And my pick are Los Lobos and Kiko and the Lavender Moon, a really cool tune I wouldn’t have picked without the above restrictions. Frankly, this was a tough decision for me, since I still don’t know the band from East L.A. very well.
Kiko and the Lavender Moon appeared on the band’s sixth studio album Kiko released in May 1992. The tune was written by co-founding members David Hildago (guitars, accordion, violin, banjo, piano, percussion, vocals) and Louie Pérez (drums, vocals, guitars, percussion). Both remain part of the group’s present line-up. I dig the vibe of this tune, though it’s tricky to characterize. I can hear some retro jazz and a dose of Latin groove. If it doesn’t speak to you the first time, I’d encourage you to give it at least one more listen!
Los Lobos, who blend rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, were founded by Hildago and Pérez in East Los Angeles in 1973. When they met in high school, they realized they liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Subsequently, 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. Rosas and Lozano are also still around.
In early 1978, the band, then still known as Los Lobos del Este de Los Angeles, self-released their eponymous debut album in Spanish. 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 became their biggest hit. While it’s a great cover, I deliberately avoided it. Los Lobos are much more than a one-hit wonder! To date, they have released more than 20 albums, including three compilations and four live records.
Here’s how Kiko and the Lavender Moon and Los Lobos sound in 2022:
Following are some additional insights from Songfacts:
This song is about a magical, albeit lonely character called Kiko, who comes out at night to “dance and dance.” In our interview, Los Lobos’ drummer and songwriter, Louie Pérez, told us he reflected upon his childhood when writing the lyrics: “I took this remembrance of the little house that I grew up in and Mom’s dresser-top altar, and was able to fold that into a song.”
In 1993, Los Lobos performed this on Sesame Street, changing the lyrics to “Elmo and the Lavender Moon.”
Kiko saw Los Lobos adopt a more experimental sound, that mixed blues, rock, folk and psychedelic influences. Perez spoke to us about the spiritual experience that was the making of Kiko, which is his favorite Los Lobos album: “There’s a point when all songwriters fall into this vacuum where it seems so amorphic and almost surreal… all of us were on this crazy trip. It was like a canoe into the fog, all of us were right there paddling away, and knowing we just have to paddle. We don’t know where we’re going, but we just trusted it. And it was amazing.”
It’s a gray and rainy Sunday morning in New Jersey, at least in my neck of the woods. But I’m determined not to let that bring me down. Plus, we’ve had plenty of sunshine over the past couple of weeks, so there’s no good reason to complain and every reason to expect the sun will come back. Most importantly, bad weather isn’t a deterrent to listen to great music. In fact, one could argue a rainy day is a perfect opportunity to do just that. And, guess what, I have some suggestions! 🙂
ShwizZ /Clock Tower
Let’s get into the mood with an amazing brand new rock instrumental by ShwizZ. I had never heard of the group until Friday when I spotted the below clip on Facebook. I’m not even sure how to properly pronounce that name! According to their website, ShwizZ is a one of a kind powerhouse from Nyack, New York. Drawing a substantial influence from classic progressive rock and funk, they consistently put their musical abilities to the test to deliver a high intensity and musically immersive show.ShwizZ call out Frank Zappa, Yes, P-Funk and King Crimson as their influences – notably, all artists I essentially don’t listen to, except for Yes. Still, Clock Tower grabbed me right away! The band’s members include Ryan Liatsis (guitar), Will Burgaletta (keyboards), Scott Hogan (bass) and Andrew Boxer (drums). I know Scott who is a very talented bassist. Frankly, when I see him play, sometimes, I ask myself ‘what’s the point’ of me trying. But while skill is great, at the end of the day, playing an instrument should be about fun first and foremost. Anyway, after I watched the video, I messaged Scott with a few inquisitive questions. I think he has no idea I’m writing about him – sneaky, huh? Anyway, he told me ShwizZ have been around for about 10 years. He joined them 1.5 years ago. Most of their music is instrumental. Their website lists a few albums and singles, including Clock Tower, which was released as a single on Friday, April 8. Apparently, they’re working on other new music. Meanwhile, let’s give this cool-sounding tune a listen!
Gerry Rafferty/Baker Street
From the very first moment I heard Baker Street by Scottish singer-songwriter Gerry Rafferty, I loved that tune. The saxophone part by Raphael Ravenscroft and the guitar solo by Hugh Burns still give me the chills. Rafferty wrote Baker Street for his second studio album City to City that came out in January 1978. The song was also released separately as a single and became Rafferty’s biggest hit, peaking at no. 2 and no. 3 in the U.S. and the UK, respectively, and charting within the top 10 in various other European countries. In Australia, it went all the way to no. 1. Rafferty had a complicated relationship with fame and the music industry, and unfortunately, he struggled with alcoholism and depression. On January 4, 2011, Rafferty passed away from liver failure at the untimely age of 63. Primarily fueled by Baker Street, City to City ended up to become his most successful album. Altogether, Rafferty released 10 albums during his solo recording career from 1971 to 2009. He also gained popularity as co-founder of Scottish folk rock band Stealers Wheel and their hit Stuck in the Middle with You.
Muddy Magnolias/Broken People
In December 2016, about seven months after I had started the blog, I named Muddy Magnolias “my new discovery for 2016 I’m most excited about.” Then the now-defunct duo of African American singer-songwriter Jesse Wilson from Brooklyn, New York, and Kallie North, a white pianist from Beaumont, TX, kind of fell off my radar screen until I remembered them out of the blue the other day. They got together in 2014 and released an amazing album titled Broken People in October 2016. The music represents an intriguing blend of each artist’s background. Wilson’s influences include Aretha Franklin, Smokey Robinson, Lauren Hill, Mary J. Blige and The Notorious B.I.G., while North grew up listening to artists like The Carpenters, Alison Krauss, James Taylor and Eagles. Unfortunately, the duo dissolved at the end 0f 2017. Wilson went on by herself and released her debut solo album Phase in May 2019, which was produced by Patrick Carney, the drummer of The Black Keys. No idea what happened to North who apparently initiated the duo’s breakup. While Muddy Magnolias only released one album, they certainly made it count. Here’s the cool title track.
Tom Faulkner/Lost in the Land of Texico
A few weeks ago, my longtime music buddy from Germany recommended that I check out Tom Faulkner and his 1998 album Lost in the Land of Texico. Usually, he has a good idea what will appeal to me, and once again he was right! While the singer-songwriter and producer, who was born in New Orleans, already at the age of five knew music was his calling, unfortunately, it appears he never quite broke through as a music artist. To date, decades into his career, Faulkner has only released two albums: Lost in the Land of Texico (1997) and Raise the Roof (2002). For the most part, he has made his living with commercial music for radio and TV. As his bio on last.fm notes, Faulkner has created hundreds of national jingles and scores, including some of the most memorable commercial music on television and radio. Most notably, he composed and sang the wildly popular “I Want My Baby Back” for Chili’s, a jingle that has since found its way into motion pictures (Austin Powers) and over a dozen major network TV shows. He also created the multi-award winning music theme for Motel 6 and Tom Bodett, the longest running commercial campaign in the history of advertising (23 years, 5 CLIOs, and counting). As of June 2019, when his bio was last updated, Faulkner was working on his third CD. Here’s the bluesy title track, which has a nice musical New Orleans flavor.
The Subdudes/Light in Your Eyes
Let’s stay with New Orleans and The Subdudes, another great tip from my German music friend. This band from The Big Easy blends folk, swamp pop, New Orleans R&B, Louisiana blues, country, cajun, zydeco, funk, soul and gospel into a tasty musical gumbo. They have been around since 1987 with breaks from 1996-2002 and 2011-2014. The band’s current members include Tommy Malone (vocals, guitar), John Magnie (vocals, accordion, keyboards), Steve Amedée (tambourine, drums, other percussions, vocals), Tim Cook (percussion, bass, vocals) and Jimmy Messa (bass, guitar), which is almost still their original line-up. Since their eponymous debut from 1989, The Subdudes have released nine additional studio and two live albums. Light in Your Eyes is a track from the band’s first album. It was co-written by Malone and Johnny Ray Allen, the band’s former bassist. The Subdudes’ harmony singing and the warm sound of their music are sweet. Check it out!
As has sort of become a Sunday Six tradition, the last tune I’d like to highlight is a rocker: Free by Chicago. Formed as The Chicago Transit Authority in The Windy City in 1967, a name that after the threat of legal action from Chicago’s actual transit authority was shortened to Chicago, the band doesn’t need much of an introduction. They started out as a rock group with horns before moving to an easy listening sound that was dominated by ballads, especially in the late ’70s and ’80s. Over their nearly 55-year career, Chicago have seen numerous line-up changes, as you’d expect. Notably, the current 10-piece still includes original members Robert Lamm (keyboards, lead vocals), Lee Loughnane (trumpet, flugelhorn, backing vocals) and James Pankow (trombone, backing vocals). Free dates back to a period when Chicago were rockin’ and on a true roll: Chicago III, the group’s third consecutive double album in less than two years. Written by Lamm, Free is part of the so-called Travel Suite of tunes that make up side 2 of the double LP. Featuring amazing lead guitarist Terry Kath on lead vocals, the tune also became the album’s lead single in February 1971. It’s hard for me to say and I’m sorry, while Chicago’s ’80s ballads were popular, it’s the rock & horns songs like Free where the band truly shines.
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 Newinstallment. 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!
Sonny Landreth is one of various top-notch guitarists I could have included in my recent slide guitar feature. This is what prompted me to check what Landreth who is also known as “the King of Slydeco” has been up to. Well, it turns out he released his 14th solo album Blacktop Run in February this year. While it’s classified as blues, I’d call it a tasty rootsy gumbo that includes flavors of blues, swamp rock, zydeco and jazz rock.
Before I get to it, first a few words about the man. According to his artist profile on Apple Music, Landreth was born February 1, 1951, in Canton, Mississippi, and his family lived in Jackson, Mississippi, for a few years before settling in Lafayette, Louisiana. Landreth began playing guitar after a long tenure with the trumpet. His earliest inspiration came from Scotty Moore, the guitarist from Elvis Presley’s band, but as time went on, he learned from the recordings of musicians and groups like Chet Atkins and the Ventures. As a teen, Landreth began playing with his friends in their parents’ houses.
…After his first professional gig with accordionist Clifton Chenier in the ’70s (where he was the only white guy in the Red Beans & Rice Revue for awhile), Landreth struck out on his own, but not before he recorded two albums for the Blues Unlimited label out of Crowley, Louisiana, Blues Attack in 1981 and Way Down in Louisiana in 1985…The second of those two albums got him noticed by some record executives in Nashville, which in turn led to his recording and touring work with John Hiatt.
That led to still more work with John Mayall, who recorded Landreth’s radio-ready “Congo Square.” More recently, he’s worked with New Orleans bandleader and pianist Allen Toussaint (who guests on several tracks on South of I-10, as does Dire Straits guitarist Mark Knopfler).Eric Clapton has called Landreth one of the most advanced guitarists in the world, notes Wikipedia, and one of the most under-appreciated. Landreth’s accolades include Instrumentalist of the Year (Americana Music Association, 2005) and a 2016 Blues Music Award in the Instrumentalist – Guitar category. Time for some music!
I’d like to kick it off with the opener and title track. It’s among the eight of the ten tacks that were written by Landreth.
Mule is a catchy up-tempo rocker that makes you want to dance. It features great slide guitar and accordion work.
Groovy Goddess is one of four instrumentals on the album. And groovy it certainly is! Its improvisational nature gives it a jazzy feel. And there’s more of Landreth’s amazing slide guitar work.
Two tracks on the album were written by Steve Conn, who also played electric piano, organ and accordion. Somebody Gotta Make a Move is one of them. Landreth’s website notes the newly arranged song features a guitar tuning Landreth developed but had not used in the studio.
The last tune I’d like to call out is Many Worlds, another instrumental.
Most of Blacktop Run’s tracks were recorded live in-studio at the storied Dockside Studios on the Vermilion River south of Lafayette, La., where artists like Dr. John, B.B. King and Taj Mahal are among past clients. In addition to Conn, Landreth was backed by David Ranson (bass) and Brian Brignac (drums).
The album was co-produced by Landreth, R.S. Field and Tony Daigletto. Field previously co-produced three of Landreth’s other albums. “His [Field’s] brilliance and creative energy recharged us,” Landreth stated. “We came up with new and better ideas, and that’s what you want. It couldn’t have gone better.”
He added, “All told, the different elements of this project came together and I’m really happy about it. Blacktop Run is probably the most eclectic recording I’ve done. And sonically, I think this is the best album we’ve ever made.” While I haven’t explored any of Landreth’s other albums, I know one thing: Blacktop Run is excellent and makes me want to hear more of his catalog.
Sources: Wikipedia; Apple Music; Sonny Landreth website; YouTube
A look back on my music journey over the past 12 months
This is second and last installment of my two-part year in review. In case you missed part 1, you can read it here.
Celebrating new music one song at a time…
With more than 150 songs highlighted since the launch of the Best of What’s New feature, I find it impossible to call out the best tunes. As I wrote in the inaugural March 21 post, While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. I should perhaps have added that I don’t need to like other tunes by an artist to include them. It’s literally about the specific song.
Best of What’s New installments have featured tunes ranging from prominent artists like Sheryl Crow, The Rolling Stones and Tom Petty to lesser known acts like rock bands Brother Man and Mondo Silicone and Austin, Texas-based band leader Joe Sparacino, aka. Dr. Joe. Frequently, these posts triggered new album reviews, e.g., LeRoux (One of Those Days), Mick Hayes (My Claim to Fame) and Niedeckens BAP (Alles Fliesst). Following are four songs I discovered in the context of Best of What’s New.
Dr. Joe: Believer
From Dr. Joe’swebsite: Based in Austin TX but raised on a farm outside Salina, Kansas, band leader Joe Sparacino spent his early childhood learning piano from a southern gospel choir matron and listening to his family’s old vinyl collection of Ray Charles, Leon Russell and James Booker. Released on April 10, Believer was Dr. Joe’s then-latest single and it’s cooking!
The Reverberations: Under Your Spell
The Reverberations are a five-piece band from Portland, Ore. Their Bandcamp profile characterizes their music as “’60s influenced psychedelic jangle.” I’d call it psychedelic garage rock. Under Your Spell, the B-side to their single Palm Reader released May 28, features some cool Byrds-ey guitars and nice keyboard work. Did I mention it’s also got a quite catchy melody? And check out the lovely psychedelic cover art – super cool all around! For more on this great band, you can read my review of their February 2019 album Changes, their most recent full-fledged studio release.
Kat Riggins: No Sale
Kat Riggins is a blues artist hailing from Miami. According to her website, She travels the world with the sole mission of keeping the blues alive and thriving through her Blues Revival Movement. She has been vocally compared to Koko Taylor, Etta James and Tina Turner to name a few. The nice blues rocker No Sale, which has a bit of a ZZ Top vibe, is from Riggins’ fourth album Cry Out released on August 14. That woman’s got it!
Greta Van Fleet: Age of Machine
Age of Machine is the second single from Greta Van Fleet’s next album The Battle at Garden’s Gate, which is scheduled for April 16, 2021. I think this kickass rocker provides more evidence the young band has evolved their style, moving away from their initial Led Zeppelin-influenced sound. Looking forward to the album!
Live music in the year of the pandemic…
Except for two tribute band concerts in January, pretty measly for the ‘King of the Tribute Band,’ I didn’t go to any live gigs this year. Shows for which I had tickets, including The Temptations and The Four Tops, Ringo Starr and His All Starr Band, and Steely Dan with special guest Steve Winwood, were rescheduled until April, June and July 2021, respectively. Perhaps with the exception of the last concert, I hope all other shows will be rescheduled a second time and moved back to the second half of the year. For somebody who loves live music and over the past 4-5 years has gotten into the habit of seeing an average 20-30 shows per year (counting lower cost tribute band and free summer type concerts), seizing live concerts it’s a bitter but necessary pill to swallow until this lethal pandemic is behind us.
I ended up watching two live concerts via Internet stream: Southern Avenue at Instrumenthead Live Studio in Nashville, Tenn. last week, and Mike Campbell’s band The Dirty Knobs at the Troubador in Los Angeles in late November. It was fun and also a nice opportunity to support music via voluntary donations in lieu of buying official tickets, but no virtual experience can replace the real deal.
Some final musings…
While my primary motivation for the blog has always been the joy I get from writing about a topic I love, i.e., music, it’s nice to see continued growth in visitor traffic, followers and feedback. Just like in 2019, the most popular post remained my January 2018 piece about Bad Company’s live CD/DVD collection from their May 15, 2016 show at Red Rocks Amphitheatre; personally, I find the post average at best. By comparison, my July 12, 2020 post about the mellotron, which I’m proud of, received less than one percent of traffic than the Bad Company post. Perhaps, it was too geeky! 🙂 It’s funny how these things sometimes go.
I’d like to thank all visitors of the blog. If you’re here for the first time, you’re welcome back anytime. If you’re a regular, I hope you keep coming back. I also enjoy receiving comments, including different opinions. All I ever ask is to keep things civil.
Last but not least, I’d like to leave you with a great song by Southern Avenue they also played during the above noted virtual concert. I feel it’s a great message, especially during these crazy times: Don’t Give Up, from their eponymous debut album released in February 2017. Since I couldn’t capture footage from the above gig, here’s an alternative I can offer: a clip I recorded during a show at The Wonder Bar, a small venue in Asbury Park, N.J. in July 2019.
Until Friday, I had never heard of LeRoux, aka Louisiana’s LeRoux. Then I came across their great song Lucy Anna and featured it in my latest Best of What’s Newinstallment. The tune, which has a nice Little Feat vibe, is from the Baton Rouge-based group’s new album One of Those Days. Earlier today, I found myself in the car and spontaneously decided to listen into the album. All it really took to realize I’m going to dig this music were the first minute or two of the opener and title track – sometimes you just know right away!
Released on July 24, One of Those Days is LeRoux’s first new album in 18 years since 2002’s Higher Up. Prior to that, five of their six earlier records came out between 1978 and 1983. What evidently were the band’s most active years coincided with the period that lasted until their first breakup in 1984 after they had been dropped by their label RCA. However, they already regrouped in 1985. As explained on their website, the band took their name from “the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo,” a rich, thick soup with meat or shellfish and vegetables that’s popular in Louisiana.
It doesn’t look like LeRoux ever had a significant national breakthrough, at least not based on chart performance. Their most successful single, which somewhat ironically was titled Nobody Said It Was Easy (Lookin’ For The Lights), peaked at no. 18 on the U.S. Billboard Hot 100 – to be clear, I’m not saying this makes them a bad band. After all, I wouldn’t be writing about them if I thought they suck. I’m simply stating some facts.
As you would expect from a group that has been around for more than 40 years, LeRoux have seen many changes in their line-up. Apparently, two of the co-founding members, Tony Haselden (vocals, guitars) and Rod Roddy (vocals, keyboards), are still around. The current line-up also features Jim Odom (guitars), Nelson Blanchard (keyboards, vocals), Mark Duthu (percussion), Randy Carpenter (drums), Jeff McCarty (vocals) and Joey Decker (bass, backing vocals). Except for Decker who joined in 2014, most of the other members have been with the band for at least 10 years.
Let’s get to some music. A great place to start is the aforementioned opener and title track co-written by Odom and Haselden. Here’s the official video. I just love the warm sound, the guitars and keyboard work. I can hear some Allman Brothers and some Doobies in here. What a great tune! Why aren’t these guys better known, or is it just my ignorance?
No One’s Gonna Love Me (Like The Way You Do) is another great tune. It was written by Dustin Ransom, who per Wikipedia is a Nashville-based multi-instrumentalist, producer, vocalist, arranger, music transcriber and film composer – jeez, I guess they forgot to add over-achiever! And, oh, yeah, he’s 33 years old. Man, check out these harmonies and tell me this doesn’t sound friggin’ awesome!
Next up: Don’t Rescue Me, another Odom-Haselden co-write. This one reminds me a bit of Lynyrd Skynyrd. No matter what influence may be in there, it’s just a solid tune – love that opening guitar riff, and there’s more great harmony singing!
On After All, LeRoux are slowing it down a bit. Coz you gotta take a break from going full throttle every now and then after all! 🙂 The tune was co-written by Randy Sharp and Donald Anderson. According to Wikipedia, over the past 40 years, Sharp’s songs have been performed by the likes of Linda Ronstadt, Blood Sweat and Tears, Edgar Winter and Emmylou Harris.
Here’s one more: Lifeline (Redux), a groovy rocker co-written by Odom, Haselden and McCarty. Apparently, it’s a new version of a tune the band initially recorded for their fifth studio album So Fired Up from 1983, the last release prior their first breakup.
“It’s the best combination of LeRoux’s musical palette and represents the abilities of the band better than any album we’ve probably ever done,” Haselden notes in a statement on the band’s website. “It covers a wide spectrum of blues, southern rock, and zydeco.” Now you know from where I got the inspiration for the post’s headline!
I can’t speak to other LeRoux records, but what I do know is One of Those Days is a great-sounding album I’m very happy I found. Last but not least, I should also mention some notable guests: Blues guitarist Tab Benoit; original Toto vocalist Bobby Kimball; and Bill Champlin, former longtime keyboarder and guitarist of Chicago.