Tag: ’60s rock
The Pulse album has been released at CDBaby.com, remastered with six bonus tracks and new cover art. These are real bonus tracks that were intended for the group’s second album, not tracks such as Can Can Girl and the like that were released by a previous version of the group and have nothing to do with the blues-rock group that produced this album. Click below to buy the album or individual tracks. The album and individual tracks are also available at HearNow. Enjoy!
The two tunes below were intended for the second Pulse album, Reach For The Sun, which never saw the light of day.
Both were written while the original six-piece band was together but weren’t arranged and recorded until 1969 during the transition period to a four-piece group that included second guitarist Harvey Thurott along with Beau Segal, Paul Rosano and Peter Neri.
Sometime Sunshine was the only tune on which Peter and I collaborated in Pulse. Peter wrote the main part of the song in late 1968, during a hiatus from the band for several months. When he came back in late ’68/early ’69 he had written a plethora of outstanding tunes that included Too Much Lovin’ (the Pulse album opener), Hypnotized, Garden Of Love and Days Of My Life (another unreleased gem), among others.
Sometime Sunshine was one of the band’s favorites of these tunes but Peter had no bridge for it. In early 1969 I had a song fragment that I believed would work in the middle of the tune. We tried it and somehow we made it happen in that little rehearsal shed at the back of the parking lot at Syncron Studios, our home base.
The song also became a showcase for the contrasting guitar tones and styles of Peter (Guild) and Harvey (Strat) as you can hear in the middle section call and answers between the two. And it was one of the highlights of the four-piece band’s live set.
Peter sang the middle section and I joined him in unison and harmony, one of my first recorded vocals.
The other tune, Heaven Help Me was one of my early compositions. At that time, I couldn’t pull off the opening acoustic and voice section of the tune so I taught the melody and changes to Peter, who developed the fingering style acoustic part and sang the melody exactly as I wanted it. I always thought that was amazing.
I sing the middle section, which still included Richie Bednarczyk on Steinway Grand, which attests to this being recorded during the transition, and Peter and I sing in unison mostly on the third section, which concludes the 7-minute tune.
An interesting side note on this song:
A license to use the song in a film by a Yale student was granted for an undisclosed (by my manager) sum of money. In fact, I didn’t even hear about this until weeks later when one of my fellow band mates mentioned it. When I went into the office of my manager/producer/publisher, he looked sheepishly at me, feigning disbelief that I didn’t know. He wouldn’t tell me for what the granting of the song’s rights were sold. Eventually, I was handed a check for $100, not an insignificant sum in the late ’60s, but for some reason I always felt it wasn’t commensurate with what it should have been.
One of the things that made me feel this was that when my manager’s accountant handed me the check he smirked and sarcastically remarked that I didn’t deserve to receive that much! Ah, the music business. Yet another familiar tale.
Anyways, I always liked both of these tunes and they were an indicator of where the band was headed. Unfortunately, this version of Pulse was no more after December of 1970. That then led to the New York-based Island.
Thanks For Thinking Of Me But It’s Alright is the closing track of Side 1 from the self-titled Pulse album from 1969. After it was written and we arranged it in late 1968, it was also almost always Pulse’s opening tune in concert.
The group Pulse was based in New Haven, Connecticut, more specifically Wallingford at Syncron Studios soon to become Trod Nossel, which is still operating, and managed and produced by Doc Cavalier. The first version of the band was a six-piece. We started rehearsing in January, 1968 and were together until almost mid-1970. There was a four-piece group for the remainder of 1970.
The personnel: Carl Donnell (Augusto), vocals, guitar; Peter Neri, lead guitar, vocals; Beau Segal, drums; Paul Rosano, bass, background vocals; Jeff Potter, harp, percussion; Rich Bednarzcyk, keyboards.
The album was recorded in 1968 and early 1969, this track as stated probably late ’68. It was written by our drummer Beau Segal. We were huge fans of the Butterfield Blues Band, one of our main influences at the time, and we had seen them a number of times at the Cafe Au Go Go in New York and the Psychedelic Supermarket in Boston as well as the Oakdale Theatre in Wallingford.
Beau has said he took the lead line from a Butterfield tune he heard live. I know the one. Actually he embellished it a bit. If you listen to a live version of the tune by Butter it doesn’t have the chromatic ascent or the closing phrase that bounces off a minor third. And in fact, it’s not a Butterfield composition.
Butter was covering a Little Walter tune. Everything’s Gonna To Be Alright (1959). Butter’s version changed several times over the years. The only studio track I’ve heard is from an early session on the Original Lost Elecktra Sessions, which pre-dates the first Butterfield Band album.
It didn’t start with Little Walter either. The line was used by Elmore James in his Dust My Blues from 1955 as his closing solo. There are probably other examples from that time frame.
If you dig deeper you’ll hear the line as a part of the vocal melody on the bridge of Robert Johnson’s Kind Hearted Woman Blues, and the line is the basis for the main melody in Johnson’s Sweet Home Chicago. Wonder where he heard it if he didn’t originate it himself.
This stuff is fascinating, the Blues tradition. It’s reminiscent of the folk tradition in which entire chord structures and melodies of existing tunes were continually updated with new lyrics, particularly in the ’50s and early ’60s.
Going forward, it pops up in a number of other unusual places. In 1970, Atco Records released Live Cream, which included a studio outtake Lawdy Mama. The original Cream version of this song was a shuffle and included the same lead line. The outtake on Live Cream sees the track changed to a straight rock feel with the line still used but stretched out a bit.
However, many of us have heard this line hundreds of times on a slightly different track. The group ditched the Lawdy Mama version of the song when Felix Pappalardi was brought in to produce and his wife, Gail Evans, wrote new lyrics creating the tune Strange Brew. I never recognized the similarity until I heard the shuffle version of Lawdy Mama by Cream on a grey market item.
Eric Clapton would use the line again to good effect in his outstanding version of Sweet Home Chicago on the Sessions For Robert J album (2004). And so it goes.
The Butterfield Band was and remains one of my favorite groups of all-time and is sorely underappreciated. Thanks For Thinking Of Me was our tip of the hat to them, one of our major influences.
The last time we had seen Joe Bonamassa was about five years ago in New London, Conn., at the Garde Arts Center with Sam Bush and his band playing in support of the young blues master. A lot has transpired since then.
Bonamassa can fill a much larger venue now because of his relentless touring of the States and Europe and issuing one, if not, two albums a year. His special blend of blues-oriented rock also routinely jumps to the top of the Blues charts on release and deservedly so.
Bonamassa was in Springfield, Mass., Tuesday at Symphony Hall, a concert hall evidently not built for rock, but was suitable nonetheless as the sound was outstanding during the two-hour-plus show with only Bonamassa and his band of bassist Carmen Rojas, keyboardist Rick Melick and drummer Tal Bergman playing, no opening act. (continue reading…)
Tucked away in the Blu-Ray/DVD Deluxe Edition of Martin Scorcese’s Living In The Material World, a biopic on Beatle George Harrison, is a 10-track CD made up of acoustic renderings and some early takes of Harrison songs, some of which run through the feature film.
The collection has also been released as a single CD or on vinyl, and is appropriately titled Early Takes Volume 1. The 1 teases at possible subsequent releases in what is presumed to be a series. That’s not guaranteed but has been indicated by Harrison’s widow, Olivia.
This set is nothing short of wonderful. A nice glimpse into George’s world, where he is in the early stages of getting songs down on tape, either purely with acoustic guitar and vocal or with a small backing band. Some of these tunes are so familiar to the Harrison fan that the many instrumental parts we’re all familiar with on songs such as My Sweet Lord, Awaiting On You All and All Things Must Pass, for instance, run through your mind in the background even while listening to the demo versions.
But it’s nice to hear the songs in their raw state. The listener gets a greater appreciation for the singer and the song. And in some cases those bombastic Phil Spector-produced tracks are improved upon in a more primal form.
There are some delightful covers as well, one of Bob Dylan’s Mama You’ve Been On My Mind and the classic early ’60s Everly Brothers ballad Let It Be Me. On Let It Be Me, Harrison delivers simple acoustic guitar accompaniment to his lead and harmony vocal tracks. One of the few times, if ever, Harrison sang a harmony part to himself on tape. The effect is beautiful on this gorgeous melody.
The only other listed musician on the album in Jonathan Clyde on mouth harp for the bluesy Harrison original Woman Don’t You Cry For Me from his solo album 33 1/3. (continue reading…)
Recently a tepid review of Roberta Flack’s latest offering put me off a bit on checking it out right away. But I thought to myself that Flack covering The Beatles sounded refreshing and intriguing. She is one of our great song interpreters and the album had to be worth a listen, no? What have I ever heard by Roberta Flack that I didn’t like?
I came across it in my local library and immediately scooped it up. I’m glad I did. Let It Be Roberta – Roberta Flack Sings The Beatles is a wonderfully inventive, imaginative approach to classic tunes many of us have grown up with. And why wouldn’t it be? This is what Flack does – brings her own special style and creativity to songwriters’ material.
With the help of a number of producers, but mainly the remarkably talented Sharrod Barnes, Flack has produced a poignant and mesmerizing set breathing yet new life into these standards. Her voice is alternately as delicate and as fiery as it ever has been and her way with a melody is, as always, rarely rivaled.
She takes In My Life, a Lennon tune from Rubber Soul, and gives it a Latin samba feel, infused with a middle eastern opening and repeating riff, while playing with the melody in various combinations, making it her own. McCartney’s Hey Jude is a stripped down acoustic folk number in contrast to the choral tour de force it becomes in The Beatles’ hands.
We Can Work It Out has a moderate R&B feel, while Let It Be retains its gospel roots but features a seering guitar solo by Barnes that stands in stark contrast to the original. Not necessarily better, but just as valid. Her bluesy take on Oh Darling places this ’50s style rocker in a new light and features another hot guitar solo, this time from Dean Brown. The Long And Winding Road, which employs a novel electric sitar in the backing, features a soulful duet vocal with Barnes, a form long associated with Flack for her stellar collaborations with Donny Hathaway.
The only misfires and they are slight are the dance house treatment of I Should Have Known Better and a quirky rhythmic feel to And I Love Her, though her vocal treatment on each is still exquisite. As it is on If I Fell, another that becomes Flack’s own as she weaves her way through the melody in myriad variations. On Come Together she almost sounds child-like and her inclusion of the Harrison tune Isn’t It A Pity is inspired, the only song from a Beatles solo album. Although in truth it was demoed for The White Album.
The set ends with a beautiful live version from 1972 of Revolver’s Here, There And Everywhere.
Not enough can be said about Barnes’ production and particularly the arrangements, which are all inspired and effective.
It’s been a while since I’ve picked up a Roberta Flack album. I’m glad I picked this one up. One of my favorites from this year’s releases.
Finally a list of favorite albums from 2011. I’ve included the best albums of early 2012 as well. Here are the top albums from 2011:
1. El Camino, The Black Keys: No they haven’t lost their way. No, this isn’t a step back or a step to the side. This is infectious, rocking and raw, though not as raw as their early releases, tuneful and driving. They keep moving forward.
2. The Harrow & The Harvest, Gillian Welch and Let England Shake, P.J. Harvey: It’s a tie. Second choices each. Can’t separate them. Welch and her partner David Rowlings have produced an extraordinary duet album underpinned with roots guitar and banjo and enchanting vocals. The songs are spare country-folk pieces beautifully executed. As for Harvey, I’ve already mentioned this one in an early 2011 best-of list. It continues to grow on me if that’s possible. Highly thoughtful, enveloping musical statement featuring Harvey’s and her friends’ expert muscianship and musicality. There, I’ve used a form of music three times in that sentence.
4. I’m With You, The Red Hot Chili Peppers: Talk about an overlooked album. Oh, I’m sure it sold well. The only problem with this album is that it had to follow Stadium Arcadium, which was a career effort in creativity and popularity. Still, it’s more of the Peppers and the Peppers are quite something.
5. Hard Bargain, Emmylou Harris: This was my top choice for the early list. It’s dropped a few places, not because it isn’t worthy, because the later releases were just that good.
6. Tedeschi Trucks Band, Revelator: Another early choice that stood up. Blues, soul, R&B mix with Tedeschi’s heartfelt, soulful vocals on top and Trucks’ dynamic, penetrating slide running through it all. (continue reading…)
In early August, 1969, there was quite a buzz about Woodstock. I don’t believe anyone, even at that late date, anticipated how big it was going to be. At least not among my friends.
Most of us were not planning on a trip to upstate New York though. On Sunday the 17th during the festival weekend, a concert was scheduled at the original Oakdale Music Theatre, with its theatre-in-the-round stage, in Wallingford, Conn., that was not to be missed, Led Zeppelin.
We’d seen Cream there the previous summer and myriad other mid-to-late ’60s acts: The Paul Butterfield Blues Band, Lovin’ Spoonful, Ray Charles. Shows I didn’t get to see included The Who, The Doors and Chicago. One of my bands, The Bram Rigg Set opened for The Dave Clark Five in late summer, 1967. It was an almost-perfect venue to get an up-close look at performers. Seating was perhaps no more than about 2,000, the closest within about 15 to 20 feet of the musicians, sometimes even closer when they came to the edge of stage, which was only a few feet off the ground.
Zeppelin’s first album was released in early 1969 and it made quite an impact. Surprising really. Jimmy Page was well known and I’d seen him with the last version of The Yardbirds in 1967 at the Village Theater in New York. But Robert Plant, John Paul Jones, John Bonham, where did they come from? (continue reading…)
Best 10, plus one, I’ve heard this year:
1. Hard Bargain, Emmylou Harris: A longtime fan, I was still stunned by the beauty and poignancy of this record. Dark but not despairing lyrics that hold a wealth of experience and ring true. Spare instrumentation expertly chosen, and a clear, full production by Jay Joyce. Harris, whose voice — gorgeous and penetrating — is one of the best in not only country but contemporary music today, has consistently released quality albums, but this is the best of recent vintage.
2. Revelator, Tedeschi Trucks Band: A delectable brew of blues, R&B and southern soul. Tedeschi’s voice is suited well for the material and Trucks is stellar on his signature slide or single string guitar playing. Augmented by a fine horn section, the material, from slow burners to infectious grooves, brings out the best in the musicians with opener Come See About Me, Until You Remember and Learn How To Love standouts from a quality set.
3. Buddy Miller’s The Majestic Silver Strings: Miller leads a dream guitar band of Marc Ribot, Bill Frisell and Greg Leisz with guest singers, including Ann McCrary, Patty Griffin, Lee Ann Womack, Emmylou Harris and Shawn Colvin through a roots-style outing with western, country, jazz and rock overtones. The playing is a joyful listen, as expected, on material in part from Lefty Frizzell, Libby Cotton, Tex Owens and traditional pieces.
4. Mayhem, Imelda May: May’s follow-up to the big success of debut Love Tattoo sees her stretching out from her rock-a-billy base to show jazz and R&B leanings. Don’t worry there’s plenty of ’50s and early ’60s rocking material on hand. She’s been attracting a lot of attention for her collaborations with Jeff Beck in the past two years, but her own steamy, proficient delivery shines here.
5. Let England Shake, PJ Harvey: With each new album it seems Harvey perfects her playing on an instrument or learns a new one and for this one it’s autoharp, last seen with the Lovin’ Spoonful in the late 1960s. Much has been made of the lyrics on this record being more outwardly directed and socially conscious rather than a reflection or Harvey’s inner self. That’s true, but it’s Harvey’s wonderful vocals, melodies, instrumentation, arrangements and production that make this another compelling addition to her strong catalogue.
It you’ve forgotten how good a guitar player Nils Lofgren is or for that matter how good a singer and songwriter he is, you should take in his latest Acoustic Duet show. Many probably don’t realize the depth of talent Bruce Springsteen’s guitar player possesses. But Lofgren has been around since his teens in the late 1960s and has continued to create a catalogue of classic rock tunes on a string of creative albeit somewhat overlooked albums.
When I noticed Lofgren would be playing at the Ridgefield Playhouse in late June, I quickly scooped up tickets for a venue I like a lot and an artist I had never seen in a solo atmosphere. Although an ardent fan, I didn’t know what to expect from a solo show. I figured a couple of acoustic guitars and Lofgren weaving through his most memorable compositions with perhaps help from one of his brothers. It was anything but.
He’s on acoustic for much of the night, but it has big, embellished sonics by his use of a number of effects that give it a rich texture, with chorus- and doubling-style layers almost sounding like a keyboard at times. Before he gets to it though, Lofgren comes out and plays a tune on electric harp, and he’s very musical on the unusual instrument, then rips into Too Many Miles with a Stratocaster that rocks the house, accompanied by the remarkable Greg Varlotta on electric keyboards. (continue reading…)