Tuesday Tribute: Talking Heads

This Tuesday I get to look into the collection of one of my all-time favorites: The Talking Heads. It would be a severe understatement to classify this band as vastly ahead of their time. Whether picking up the electronic funk in bands like Passion Pit, the artsy weirdness in artists like Bjork, the global purcussion heard in the styles of Vampire Weekend, or the current collaborations with the Dirty Projectors, their influence has been undeniable and widespread throughout music's current state. I could give a brief history lesson on the band, but what I'd rather do is make a few points of conversation that pertain to the Heads. First off, I think that Tina Weymouth is one of the most underrated bass players of all time. David Byrne is seen as the face of the Talking Heads because he did the singing and songwriting, but Weymouth had very fast fingers and was extraordinary in formulating complicated bass lines to compliment Byrne's rhythm guitar (check out "Found a Job," "Cities," "Making Flippy Floppy," etc). She's also responsible for some of the more recognizable bass lines of the time ("Take Me to the River" comes to mind). Secondly, to me, the Talking Heads were a band of singles, not a band of albums. I know this is a stubborn way to look at it, but despite how big and influential the Heads are, they don't have an album that sticks out as one of the best of all time. On the other hand, they have singles that could occupy multiple best-of albums. This is not a bad thing, just interesting in that not many bands have seen popularity with such an approach. Lastly, no matter how much anybody wants them to, the Talking Heads will never reform. I may be a pessimist, but I just cannot see these guys getting back together. Byrne has had solo success, Tina Weymouth and Chris Frantz are married and have gone on to form Tom Tom Club, and their creative energies have all parted ways. This is both a blessing and a curse. It would be awesome to see them take the stage as a full band once again, but at the same time, they always strived to be hip, new, and cutting edge with their music- it would make no sense for a group of 50-somethings to begrudgingly reunite and play songs that were popular 25+ years ago. Regardless, their sound is timeless, their influence is endless, and they are clearly four of the funkiest white folks to ever come together.

First up is the frenzy of percussion known as "I Zimbra." This may be one of the hardest songs to sing along to, but it's a fair trade being one of the easiest tunes to dance to. Just follow David Byrne's lead!



The Local Natives are one of the hottest bands on the rise right now. Let's see how they do with "Warning Sign."



It's clear to see the creative influence that RISD had on the Talking Heads. This influence was seen not only in their music, but in their costumes, their stage antics, and their music videos. Check out this classic video for "Burning Down the House."



"Cities" is a great example of the Talking Heads combining artistic zaniness with pure upbeat dance grooves. Tina absolutely cooks on this one, but it's really taken to a new level with the guests on percussion. And no, even though they do a great cover, it is not a Phish song.



This last video is one of my current favorites. The children at PS22 in New York do a terrific rendition of "This Must Be The Place (Naive Melody)." I wish music classes were like this when I was in elementary school. I don't know who this teacher is, but he deserves some kind of award not only for conjuring up such a spectacular arrangement, but for exposing these kids to such awesome tunes. If you ignore the cheesy hand motions, this version is nothing short of beautiful.

Tuesday Tribute: Europe '72

The Grateful Dead weren't just a live band, but a live experience, and few years (if any) were better for this great American band than 1972. The year is most famous for the live album Europe '72 which was a compilation of the band's best tunes from their Western European tour of that year. 1972 was also the introduction of Keith Godchaux into the band. Some see this as a blessing and a curse because Keith was a hell of an addition, but he entered as a package deal with his wife Donna, who few express a genuine liking for. In 1972, Bill Kreutzman was the lone soldier behind the drum kit, which made for a different sounding Dead, but one that many fans would argue was tighter and almost funky at times. Sadly, 1972 was the final touring year for Ron "Pigpen" McKernan, who passed in 1973, but not before lending his unique talent and humor to an outstanding year for a legendary band. This Tuesday, we will explore some of the Dead's live recordings from 1972.

First up is a live staple for the band- one which the usually segue into "I Know You Rider." "China Cat Sunflower" features one of the more creative lead/rhythm guitar combinations of any song out there and it makes for a really interesting jam.



Up next is a cover of "How Sweet It Is" from New York City in March of '72. Jerry used to do this one a lot with the Jerry Garcia Band, but it was more of a rarity with the Dead. Donna Jean actually sounds pretty decent on the backups in this one too.



In my humble opinion, the Grateful Dead's finest grasp of Americana is in their poignant ballad "Jack Straw." One of my favorite Dead tunes, this one comes from an unreleased movie called Sunshine Daydream, which documents the band's Veneta, Oregon show on August 27, 1972.



Lastly, here's a take of "He's Gone" from an April 1972 show in Copenhagen, Denmark. Not long after this show, the tune would take on a whole new meaning with the passing of Pigpen. Just remember what Jerry says: "Nothin' left to do but smile, smile, smile."

Tuesday Tribute: Tom Petty

In lieu of a massive summer tour announcement in which he will be supported by the likes of My Morning Jacket, Crosby, Stills and Nash, Joe Cocker, ZZ Top, and the Drive-By Truckers, this week's Tuesday Tribute goes out to none other than Tom Petty. One of the most prolific and inspiring songwriters in rock n roll, Tom Petty has pushed on from from his breakout in the 70's to become a consistently big name to the world of music in subsequent decades. Petty's first band, Mudcrutch, achieved little commercial success, but Petty and other members Mike Campbell and Benmont Tench went on to form Tom Petty & the Heartbreakers, who would be responsible for countless successful singles. The band's first self-titled album was fairly quiet among American audiences, but was driven by the single "Breakout" which would be enough to get the band some success overseas. The group's second album, You're Gonna Get It, was their first to reach the Top 40 and contained hits like "Listen to Her Heart" and "I Need to Know." Damn the Torpedoes was even more successful with radio hits like "Refugee," "Don't Do Me Like That," and "Here Comes My Girl." In the mid-80's, Tom Petty & The Heartbreakers toured with Bob Dylan and the Grateful Dead, played a set at Live Aid, and continued to achieve commercial success with a number of hit albums and singles. The bond that Petty had with Dylan would stick, as Petty decided in the late-eighties to take a break from the Heartbreakers and form rock supergroup the Traveling Wilburys. The band only released two albums, but gained success with songs like "Handle With Care" and "End of The Line" drew attention simply because of their stacked lineup of big names. Petty continued to release popular albums in the 90's both as a solo act and with the Heartbreakers when they reformed in 1991. Petty also went back to his roots in 2007 to release new album with his original band Mudcrutch. In 2008, The Heartbreakers played the Superbowl Halftime Show and headlined the Bonnaroo Music Festival two years earlier. The band will release a new album, Mojo, this spring to accompany their lengthy summer tour. Let us now take a look at some videos that exemplify the rock n roll excellence that Tom Petty has put forth in his long and successful career.

First up is "American Girl" live from the Midnight Special in 1978. I can't help but thinking of that scene in Silence of the Lambs whenever I hear this song, but it is definitely one of the catchier tunes in Petty's catalog and nothing beats the breakdown at the end.



Here's a take of "Don't Do Me Like That" live from France in 1980. These guys were pretty damn tight in concert back in the day.



Here's Tom doing the Traveling Wilbury's hit "End of the Line" with the Heartbreakers live in 2008. The audio is a little rough, and so is his beard, but the song is a keeper.



Lastly, we have a version of Tom and the Heartbreakers doing "Mary Jane's Last Dance" live at the Fillmore in 1999. Fine evidence that Tom keeps on keepin on.



tompetty.com

Tuesday Tribute: Steely Dan

Formed in 1967 by lead members Donald Fagen and Walter Becker, Steely Dan would become one of the most successful bands of the 1970's and continue on to make music throughout subsequent decades as well. Fagen and Becker met at Bard college in New York where they both played in various bands together (one of which featured Chevy Chase on drums). By 1972, Steely Dan's full lineup was formed and their first hit album Can't Buy a Thrill was released. "Do It Again," "Reelin' In The Years," and "Dirty Work" were just three of the singles that gained popularity for Steely Dan off of the album. The mid-seventies saw Steely Dan putting the utmost importance on studio work and song-craft. Albums such as Pretzel Logic, Katy Lied, and Aja all produced hits, yet the band stayed off the road for the most part, despite amazing musicians such as Skunk Baxter and Michael McDonald joining the group. After the success of 1978's Gaucho, Steely Dan was forced to call it quits after several law suits, personal issues, and band member departures. In their years off, Steely Dan members were able to clean up and keep writing, while Steely Dan fans both new and old were able to marinate on the groups successful 70's catalog, making the band only more popular. By the mid-nineties, Fagen and Becker decided to reform. While the band had been apart for over a decade, they were by no means a nostalgia act. In 2000, Steely Dan's album Two Against Nature controversially won four Grammy's including Album of the Year over Eminem's The Marshall Mathers LP. Also, Steely Dan has gained popularity as a live band in recent years, touring just about every year and proving their infused live jazz styles to people across the country. Steely Dan was undoubtedly one of the most successful and prolific bands of the 1970's, but once again, never seem to get mentioned among the heavy-hitters of the mid-to-late sixties. They were very different from your typical rock n' roll; some consider them a breath of fresh air, others consider them cheesy yacht-rock. Regardless, Steely Dan possess unbelievable songwriting talent and will be honored this week with a few videos for your enjoyment.

First up is a roaring version of "Reelin' In The Years" from Midnight Special in 1973. I love how they didn't slow the pace one bit, and how Bill Cosby is the one who introduces them.



"Black Cow" was one of Steely Dan's biggest hits off of Aja. Here is them doing a live version of it in 2003, not too long after Tatyana Ali ripped it off for her one and only hit "Daydreaming."



Check out this version on "Kid Charlemagne" from a Vh1 special. The bass player absolutely tears it up on this one, and the drummer ain't too shabby either. Donald Fagen almost makes the keytar look cool on this one, almost.



Lastly, perhaps my favorite Steely Dan song, is one of their slower ones, "Dirty Work." Although Fagen doesn't sing it, its got a great horn part and a great hook.

Tuesday Tribute: Lou Reed

Squeaking onto the music scene in the mid-sixties as a founding member of cult garage-rock heroes the Velvet Underground, Lou Reed was music's answer to Andy Warhol in Greenwich Village. Responsible for writing most of the Velvet Underground's songs, Reed put an artsy spin on a rotation of simple power-chords to become one of modern-rock's go-to influences. While the Velvet Underground didn't achieve tremendous mainstream success while active, they have become one of the most legendary American rock bands of all time with their two most famous albums The Velvet Underground and Nico and Loaded. After his time with the Velvet Underground, Reed pushed on in the 1970's with hits like "Walk on the Wild Side," and his famous Rock & Roll Animal band which helped him put on a monstrous live show. After being inducted into the Rock & Roll Hall of Fame in 1996, Reed dedicated much of his time to helping out other artists. Efforts include a two-disc set called The Raven which features many other artists and actors, a recording with The Killers' Brandon Flowers, and contributions to the upcoming Gorrilaz album. During the 2006 MTV Video Music Awards, Lou Reed got up on stage and stated, "MTV should be playing more rock & roll!" That rebellious act alone is enough for us to explore his expansive career this Tuesday.

First up is a solo take of the Velvet Underground hit "Heroin," which was used as part of some documentary. Not bad for a two chord song.



Next is the best version of "Sweet Jane" ever recorded. On Lou's 1974 live album Rock n' Roll Animal, his Rock n' Roll Animal band consisted of some of the best musicians of the time including Prakash John on bass and the duo of Dick Wagner and Steve Hunter on guitars. The intro is just face-melting.



Continuing on we've got a very eccentric live take of "Rock & Roll" from Paris in 1974. This version also features many of the Rock n' Roll Animal band, but sort of ditches the whole rock thing and gives a more organ-heavy funky feel.



Last up is Lou's most famous solo hit and perhaps the most famous song written about a transvestite groupie. "Walk on the Wild Side" was revisited again in the early 90's when A Tribe Called Quest sampled it for their hit "Can I Kick It?" This live cut from 1982 features a really different perspective of the song thanks to a fretless bass player.

Tuesday Tribute: David Bowie

Musician, actor, and producer extraordinaire, David Bowie has always been one of the more interesting characters in the music world since his break into the business in 1969. From there, Bowie has become a symbol for glam rock, funk, punk, psychedelic and alternative rock. Much of Bowie's early success was sparked from his alter-ego Ziggy Stardust, where his concept album Rise and Fall of Ziggy Stardust and the Spiders From Mars produced such hits as "Starman," "Suffragette City," and "Rock 'n' Roll Suicide." In the mid-70's Bowie successfully re-emerged with a new funky sound with hits like "Fame," "Young Americans," and "Golden Years." Bowie pushed on through the eighties with such hits as "Let's Dance," "Under Pressure," which was a collaboration with Queen, and a version of "Dancing In The Street" with Mick Jagger. He was one of the many big names to grace the stage at Wembley Stadium for Live Aid in 1985 and even broke into acting in the eighties, most notably in the Jim Henson movie "Labyrinth." Bowie has become a huge pop-culture icon over the years, both for his achievements, as well as his style and sexuality. He was an important part of one of the more notable Flight of the Conchords episodes as well a the inspiration behind The Life Aquatic with Steve Zissou soundtrack. He has become a go-to for artsy and creative people everywhere for inspiration and ideas. For his contributions to culture and entertainment, we will explore the achievements of David Bowie.

First up this week is one of the funkier tunes to ever come out of a white person. "Fame" was one of the hits that defined Bowie's soul/funk era and despite a pretty basic bassline, the guitar riffs are just phenomenal.



Here's some in your face rock from Bowie with "Queen Bitch." Gotta love his get-up in this one. Nothing out of the ordinary for a man who prided himself on kind of looking like a girl.



For a change of pace, here's a Portuguese cover of "Life on Mars?" by Brazilian acoustic guitar player Seu Jorge. The song was done for the soundtrack of The Life Aquatic with Steve Zissou along with various other Bowie covers. I recommend checking it out.



Last up is Bowie hitting the stage at Soul Train for a version of "Golden Years." Once again, he gets feet moving on the dance floor with a disco-like funk groove. One for the ages!

Tuesday Tribute: Holiday Songs

I know it's not Tuesday, but it's the holiday season dammit, so grab some nog, curl up by the yule log and check out some of the spirit I'm about to cast your way. When you think of the holiday season, the one thing that many loathe is hearing the constant holiday cheese on every single radio station the minute Thanksgiving is over. While it's complete overkill year after year, there are a handfull of tunes that personally, I don't mind getting down to. As a matter of fact, I would have to say that Vince Guaraldi's Charlie Brown Christmas album is one of my favorite piano-jazz albums of all time and I have no shame in saying that I have listened to it in July many times. Just like everybody has a sweet-spot for the holiday season, everybody has a sweet-spot for certain holiday tunes, no matter how embarrassing they may be. Here are my picks, but I would love to hear yours, even if only to make me feel like less of a loser.

First up is the classic "Christmas Wrapping" by The Waitresses. The same group that brought you the snide 80's classic "I Know What Boys Like," brings you one of Christmas' funkiest bass lines mixed with the nonchalant vocals of the now deceased Patty Donahue.



2009 has been a year of remembrance of the King of Pop, Michael Jackson. Keeping up with funky basslines, we go back to the times of the Jackson 5 (before they were exploiting Michael via reality show) for their rendition of "Santa Claus is Coming To Town." Many have done it, The Boss did a good one, but I'm partial to the Motown sounds of the Jackson 5.



Next up is the Mariah Carey classic that even the most hopeless singers croon along to in the car. I wish this song wasn't so damn catchy, because every year it hits a weak spot inside of me that compels me to put it on every playlist I make in the month of December.



James Brown passed away on Christmas a few years ago. I remember it clearly because my dad was basically depressed the whole day and it made for one of the more awkward Christmasses in memory. Regardless, his James Brown's Funky Christmas album is a classic and so is its first track "Santa Claus Go Straight to the Ghetto."



Last up is the legendary Vince Guaraldi and his unforgettable "Linus and Lucy." Before there was Ritalin, apparently the kiddies would dance there crazies out because these kids can really go. This is only a short clip from the movie, so I included another tune from the album, "Skating," featuring a very makeshift homemade video. Enjoy and Happy Holidays to you and yours.

Tuesday Tribute: Pete Townshend

Pete Townshend is both a rock and roll pioneer and an icon for anyone who has ever played air guitar and really meant it. One of the founding members of The Who, Townshend is responsible for writing such songs as "My Generation," "I Can't Explain," and "Substitute." Known for his on stage theatrics, Townshend had a knack for smashing instruments and taking an attack-style approach to guitar, sometimes swinging his left arm around for his signature windmill style. Not only was he an incredible guitar player, but he was the principal songwriter in The Who. Townshend was responsible for creating Tommy, which may be the greatest "rock opera" of all time. He also wrote a second rock opera, Quadrophenia, which featured more experimental guitar styles. In the 1980's, Townshend had a mildly successful solo career with his most popular work being the 1980 tune "Let My Love Open The Door." Nowadays, Townshend still plays with The Who, who now round off their lineup with Pino Palladino and Zak Starkey (Ringo Starr's son) who replace John Entwhistle and Keith Moon. Some criticize Townshend for being too showy, but the fact is he is a pioneer. He may not have stacked up with Hendrix or Clapton as a soloist, but he wrote some of rock's greatest riffs that have only become sweeter with time. Today, we'll take a look at his impressive career.

The Who had countless memorable singles and one of the best is "Won't Get Fooled Again." It's odd to hear this tune stripped down because it's such a fist-pumper, but here's Townshend doing an acoustic version.



Not many people know that Townshend formed the one-hit-wonder group Thunderclap Newman. Townshend played bass on their single "Something In The Air." Not much of a video for it, but it plays the tune.



Here's a clip of Townshend doing an impromptu version of "The Seeker" with The Raconteurs. The rendition isn't too elaborate, but it is a good example of the influence that Townshend has had on Rock and Roll.



Lastly, we have some later Townshend with his hit "Let My Love Open the Door." This song has been used in commercials and movies alike and proved that Townshend could have a successful solo career as well.

Tuesday Tribute: Beck

Beck Hansen, better known simply as Beck is recognized as one of the most creative and multi-dimensional artists of the past twenty years. Growing up in Los Angeles, Beck soaked in influences from the diverse music scene including hip-hop, punk, and latin music. After dropping out of high school and spending time in Europe and New York City, Beck met Chris Ballew, who would go on to form the Presidents of the United States of America, and the two performed regularly together. Beck was eventually picked up by independent label Bong Load Records and wrote his first big hit "Loser." "Loser" made its way up through the college rankings and eventually gained wide mainstream success. Beck signed with Geffen and became an instant 90's sensation. Beck's career is notable because of it's different creative stages. The absurd feelgoodness of Mellow Gold and Odelay as well as the more emotional Sea Change and the experimental Guero and Midnite Vultures have constantly kept Beck fans on their feet and anticipating his next move. He was made famous by his nonsensical white boy raps over funky sampled beats, but has gone on to write sophisticated folk melodies and well orchestrated funk grooves. Beck is an interesting character all around, being both an accomplished artist as well as an outspoken Scientologist. He is able to pull elements from his everyday life and translate them into song concepts as he did brilliantly for his 2002 album Sea Change which stems mainly from a breakup of a long time relationship. Despite the off-color approach of his initial jump on the music scene, Beck has been received very warmly by critics, having had two Rolling Stone Albums of the Year and been nominated for multiple Grammy Awards. With the turn of the decade, it is tough to tell how Beck may once again transform his styles, but today we can take a glance at the past and explore where he has gone thus far.

The first video this week is of Beck performing one of his biggest hits "Where Its At" on the short lived musical TV program Sessions at West 54th. The show, which was hosted by David Byrne, featured some really cool artists such as Phish, Beck, Ben Folds Five, and Keb Mo and a lot of the stuff is up on YouTube, so you should check it out. I love Beck's unusually funky stage presence.



Next up is Beck's later hit "Mixed Bizness" performed live on the show Farmclub in 2000. At this point in his touring career, Beck was using a full horn section and was getting a really solid sound. This tune is a great party starter as shown by the energy the crowd possesses.



When I first saw the video for "Loser" I thought either I was on drugs or the TV was on drugs. I have come to appreciate it as one of the best videos of all time to accompany one of the best songs of recent times. Rolling Stone named "Loser" song number 200 on its list of the 500 greatest songs of all time.



Last up is Beck performing "E-Pro," which is the first single off of his album Guero. This take is from Jools Holland's show and is a good example of how Beck has constantly morphed his musical styles and his live shows. This one features an oddly placed backup dancer/hype man/percussionist.



beck.com

Tuesday Tribute: Spin Doctors

Emerging in the 1980's from New York City along with buddy John Popper (of Blues Traveler fame) were Chris Barron and Eric Schenkman who would go on to form one of the early 90's biggest sensations, the Spin Doctors. Bridging the gap between outstanding live jams and radio friendly pop, the Spin Doctors' bass-heavy sound and playful lyrics were blasted at every college party for a solid few years. While the band achieved tremendous success with hits like "Two Princes" and "Little Miss Can't Be Wrong," people tend to overlook the amazing energy that this band put into their live performance. The funky slap bass of Mark White locked in with the solid drum grooves of Aaron Comess as well as the lead licks of Eric Schenkman and the stage presence of frontman Chris Barron in a live setting all played a significant part in attracting both neo-hippies as well as 90's pop rock fiends. The band took off after the release of their debut album, Pocket Full of Kryptonite in 1991 and then in 1992 they toured with Blues Traveler, Phish, and Widespread Panic as part of the first ever H.O.R.D.E. festival. As the band's popularity began to wane later in the 90's, Chris Barron suffered a vocal chord paralysis that left him unable to speak well, let alone sing. Despite given a 50/50 chance to ever sing again, he gained his voice back a year later and reunited with the Spin Doctors in the early 2000's. The band released a studio album in 2005 called Nice Talking To Me and they still play scattered gigs, but have never seen the radio or touring success that they had in the 90's. The Spin Doctors could be one of the more underrated bands of the past 20 years. With stations like VH1 criticizing the Spin Doctors' biggest hit "Two Princes" for being "awesomely bad," few people take the time to explore their deeper cuts which were responsible for giving them their notable live following. It is because of this that this week we go back and explore some of the Spin Doctors' material.

First up this week is a playful rendition of the party anthem "What Time is It?" live on David Letterman in 1993. Gotta love the stage presence of Chris Barron, and it seems as though Demi Moore enjoyed the performance too.



Up next is the band doing their bluesy tune "Cleopatra's Cat" live at Woodstock '94. The lead riff on this song is completely mean and it looks like the band drew a pretty decent crowd. Check out Mark White's rainbow bass, yikes!



The band gets a bit of help from Elmo and friends for a version of "Two Princes" on Sesame Street. This rendition is lyrically tweaked to emphasize the importance of sharing and cooperation. Nice!



Last up, the boys are paid a visit by the great Roger Daltrey for a version of The Who's "Substitute" on David Letterman. Daltrey still sounds pretty young in this recording and the Spins look like their having a blast.



spindoctors.com

Tuesday Tribute: Dr. John

New Orleans music is one based on deep rooted tradition. Having played a huge part in the spread and popularity of jazz, funk, and zydeco music, New Orleans is one of the music capitals of the world. One of the biggest names and most venerated musicians from the bayou is Mac Rebennack, better known as Dr. John. One of the most recognizable voices in modern music, Dr. John has had an eventful solo career and has been a part of many successful collaborations. Dr. John's 1968 debut album, Gris Gris, is considered one of the all-time greats and sounded very original in an era when psychedelic rock and guitar-gods ruled the airwaves. Sparked by the popularity of the single "Gris-Gris Gumbo Ya Ya," the album was heavily influenced by Creole culture and proved that Dr. John was an experimental composer from the get-go. Although he was rarely in the forefront of American music, he once again achieved notoriety in the 1970's for his work covering popular New Orleans standards such as "Iko Iko" and for funkier, horn-driven originals such as "Right Place Wrong Time." Dr. John gained the respect of many artists in the music world such as The Meters, Allen Toussaint, and The Band, who featured Dr. John in their famous final show, The Last Waltz. Another person whom Dr. John had an influence on was Jim Henson, who fashioned his character Dr. Teeth after Dr. John. Dr. John has continued to record and perform to the present day. Much of his recent work has benefited the victims of Hurricane Katrina and helped to rebuild New Orleans both physically and in character. Dr. John is an incredible musician and personality who embodies the New Orleans spirit, so this week, we send a tribute out to him.

The first video this week is of the Doctor playing "Such a Night." This is the same tune that he plays with the band on The Last Waltz, but this version features some help from Jools Holland and his horn section as well as Eric Clapton. You get a good sense of just how respected he is when Clapton doesn't even step out for a solo.



The next video is pure gold. Etta James sits in with Dr. John for a version of her tune "I'd Rather Go Blind (Blind Girl)." Etta absolutely rips it up on this one and Dr. John doesn't do a bad job making it a duet either.



Here's one of Dr. John doing "Iko Iko" with an impressive line-up that includes Ringo Starr, Levon Helm, Rick Danko, and Clarence Clemons. Dr. John is sporting some nice Mardi Gras apparel for this tune.



Last up is Dr. John pairing up with Johnny Winter for a take of "Talk To Your Daughter." Both of them step out for solos and they also give a little time for the blues harp player to lay down some licks.



drjohn.org

Tuesday Tribute: Steve Winwood

Steve Winwood could possibly be Rock n Roll's greatest legend that not enough people know a lot about. Spencer Davis Group, Traffic, and Blind Faith are just a few of the collectives that Winwood has masterminded as he has gradually earned the utmost respect in the music business. When Winwood was only 15, he entered the music business playing the Hammond B3 and blowing people away with his spectacular voice as the lead singer for the Spencer Davis Group. Hits such as "Gimme Some Loving" and "I'm a Man" got his name on the map early before he left the group to be a founding member of the groundbreaking group Traffic. Traffic is seen by many to be rock's first jam-band because of Winwood's ability to lock in a groove with Jim Capaldi, Dave Mason, and Chris Wood while leaving ample room for improvisation. Winwood also stretched out his repertoire to the guitar, which can be heard on such Traffic hits as "Dear Mr. Fantasy." Around this time, Winwood met up with guitar-master Eric Clapton and the two formed supergroup Blind Faith along with Ginger Baker and Ric Grech. The project was short-lived, but their self-titled album is still considered a classic. One of Winwood's best qualities is his ability to "get with the times." Once Traffic split up, Winwood had a successful solo career throughout the 80's with hits that included "Higher Love," "Valerie," and "Back in the High Life Again." Winwood continues to release albums quite proficiently and has toured throughout the current decade. Winwood was included in Eric Clapton's Crossroads Guitar Festival in 2007 and he is currently touring with Clapton all around the world. Steve Winwood may never receive the individual attention he deserves, but behind the godly praise that guys like Clapton, Hendrix, and Jimmy Paige receive, Winwood is a Rock God in his own right. This Tuesday, who honor Steve Winwood's greatness.

The first video this week is from way back in 1967 when Winwood was still tickling the ivories for the Spencer Davis Group. Winwood's vocals in this clip are absolutely mind-blowing; it's no wonder this song is such a classic. If I could recommend an album, the Traffic album "Live at the Canteen" features great takes of this tune as well as "Medicated Goo," "Dear Mr. Fantasy," and others.



Next up is a nice live take of Traffic doing "Light Up or Leave Me Alone." Jim Capaldi sings this one, but Winwood steps up on the axe for a few solos. The whole band looks like they might have "lit up" before this tune.



80's Winwood was perhaps most famous for the upbeat "Higher Love." But another great tune, while totally soaked up in 80's cheesieness, is "Back in the High Life Again." Here's the official music video for the song.



While a bit shaky on the video quality, the final video shows Winwood being joined by Eric Clapton on stage for "Dear Mr. Fantasy" in 2009. The two clearly show-off their unfathomable chops, but check out Clapton's drummer, Abe Laborial Jr., tear up the kit as well.



stevewinwood.com

Tuesday Tribute: Paul Simon

It doesn't take much effort to get on YouTube and be overwhelmed by the Paul Simon relics that flash before you, so this week, I will honor the man himself. Paul Simon gained fame as one half of the Simon and Garfunkel duo and the group prospered until their breakup in 1970. After the breakup, both artists went their separate ways, but Simon proved to be the most successful. The duo reunited for the first of many occasions for a free concert in New York's Central Park. The show was attended by over 500,000 and helped the two musicians reform for a brief tour in 1982. Perhaps Simon's greatest solo work is 1986's Graceland. Much of the album was recorded with the assistance of the African collective Ladysmith Black Mambazo and is famous for such hits as "Graceland," "You Can Call Me Al," and "Diamonds on the Soles of her Shoes." The album helped relaunch Simon's name back into the forefront of American music and helped shine a spotlight not only on Ladysmith Black Mambazo, but on African music in general. Simon has done various solo projects over the past two decades and has reunited with Garfunkel on various occasions. Today, he is recognized as one of America's greatest living songwriters and has become an icon of America and more specifically New York City.

The first clip this week comes from a concert in Zimbabwe in 1986. Ladysmith Black Mambazo joins Simon on stage for a take of "Diamonds on the Soles of her Shoes." Some great stage presence from all parties involved, but check out how well the bass player can get around.



Up next is a video that is sure to bring a smile to your face. Paul Simon is shown here performing "Me and Julio Down By the Schoolyard" on Sesame Street. The spotlight is almost stolen from Simon by an anxious young girl who tries to encourage her peers to get up and dance.



Much of Simon's best songwriting is from his days with Art Garfunkel. Here is a clip of him doing "The Only Living Boy in New York" on a British television show.



Lastly is one of the better feel-good tracks of all time. Chevy Chase lends a helping hand for the goofy music video for "You Can Call Me Al." If you do not have Graceland, it is an essential for any collection.



www.paulsimon.com

Tuesday Tribute: Peter Tosh

In the early 60's, Peter Tosh met Bob Marley and Bunny Wailer. The trio went on to form the Wailers and the world of reggae music was forever changed. As the Wailers achieved fame both in Jamaica and the US, Bob Marley became the face of the group, and by 1974, Tosh had gone solo. Tosh traded mainstream success for the ability to convey his militant views and political messages through his songs. A passionate advocate for the legalization of marijuana, Tosh's first and perhaps biggest hit was 1976's "Legalize It." His views on marijuana made him a common target of the police and he was beaten by Jamaican officers more than once. Tosh continued making solo records throughout the early eighties and at one point went on tour with the Rolling Stones. Tosh left the music world in 1983 to move to Africa and make spirituality a priority. While in Africa, he wrote numerous Anti-Apartheid songs and performed at a number of Anti-Apartheid concerts, once again getting his voice heard on the political and social levels. Sadly, Tosh was murdered at his Jamaica home in 1987, but not before leaving a lasting impression on world, reggae, and soul music as well as passing on numerous messages through his lyrics and his actions.

The first video this week is of Tosh, Bob Marley, and the rest of the Wailers doing "You Can't Blame The Youth." Although Bob Marley normally got the spotlight not only with the Wailers, but in the entire face of reggae music, Tosh takes his turn here both on vocals and wah-wah rhythm guitar.



The next tune doesn't have much of a video, but I think its my personal favorite Tosh song, so
I figured I'd share it anyway. "Reggaemylitis" is one of his later tunes, but it has a really solid, happy groove. Its also off of one of the most awesome album titles of all time: Wanted Dread & Alive.



Here is a cover of the Temptations' tune "Don't Look Back" that Tosh did with Mick Jagger. I could be the world's biggest fan of Mick's signature strut, but even I can tell that he looks a bit out of place in this one.



The last clip is a live take of Tosh doing his biggest hit, "Legalize It." The video also shows numerous shots of pot being smoked. The song itself has become an anthem of those involved in the movement to legalize marijuana, but there is no denying that it is a classic tune.

Tuesday Tribute: Chris Robinson

This week, we take a look at one of the best lead singers of the 1990's who is still going strong. Chris Robinson, along with his brother Rich, started Mr. Crowe's Garden back in the mid-1980's, which is a band we know today as the Black Crowes. One of the immediate draws about the Crowes and more specifically Chris' voice is its strong resemblance to a classic rock sound. Bands such as Led Zeppelin, The Faces, and Humble Pie clearly shine through in Robinson's soulful wail, which has gained the Crowes quite a diverse fan base. Few bands have been able to achieve such a vintage sound and still have so much success on American popular radio. Despite achieving early success with albums like Amorica and Shake Your Money Maker, however, the Crowes have never experienced the fame of other pop, rock, and alternative groups of the 90's and 00's. Many have written them off as just a "stoner band" because they happen to play guitar solos that exceed one minute long. While some can't quite comprehend the appeal of such a characteristic, others eat up the fact that not only Chris's brother Rich can tear through guitar solos, but also that Chris himself can have his presence felt on stage the whole time as well. Many also do not recognize Robinson's extraordinary songwriting talent, but his lyrics and progressions have gained him praise from the likes of Phil Lesh, Levon Helm, and the Dickinson brothers of North Mississippi Allstars, one of whom, Luther, now plays with the Crowes. This week, I've found some clips dedicated to Chris Robinson.

The first clip is of Chris doing his best Rod Stewart-circa-The Faces impression. "Jealous Again" was one of the Crowes' first hits of off Shake Your Money Maker. Here they are on Letterman making their network television debut.



Here's a clip of one of Robinson's solo groups, New Earth Mud, doing a cover of the tune "Boney Maroney." Sitting in for this take is one of the hardest working men in rock, axemaster Warren Haynes.



Some remember a few years ago when the legendary Jimmy Page decided to go on tour and chose the Black Crowes as his backing band. Here's Chris doing his best Robert Plant on "What Is and What Should Never Be."



Lastly, I bring you a beautiful cut of the Crowes performing an unplugged version of a later tune called "Soul Singing." This was filmed for part of a television special and features Luther Dickinson on slide and Rich Robinson on a 12-string guitar. Enjoy!

Tuesday Tribute: Mark Mulcahy

Mark Mulcahy has never been a household name by any means, but it is surprising how such a no-frills, simple songwriter has achieved the respect and recognition of some of our times' best musicians. Beginning his musical ventures with the New Haven, Connecticut college rock band Miracle Legion in 1984, Mulcahy gained little more than New England fame, but captured the admiration of many college-aged fans. Two of these fans were Will McRobb and Chris Viscardi, who went looking for Mulcahy years later when searching for a band to soundtrack their alternative children's show The Adventures of Pete and Pete. Mulcahy gladly accepted and formed Polaris, who wrote a handful of songs for the show including the popular theme song, "Hey Sandy," that are now available on the album Music From the Adventures of Pete and Pete. Since his work with the show, Mulcahy has remained rather quiet, but has kept up with music by performing on his own and co-writing a couple of musicals. While the music of the various Mulcahy projects has never been too elaborate, it has been extremely influential to artists of the same generation. Recently, tragedy stuck and Mulcahy's wife sadly passed away, leaving him to raise their twin 3-year old daughters. To support the musician, many of of his longtime fans including Thom Yorke, Frank Black, Dinosaur Jr., and Ben Kweller, contributed tracks to Caio My Shining Star: The Songs of Mark Mulcahy. The proceeds of this cover album will help to benefit Mulcahy and his family. In honor of this cult hero, I have a few videos to share with you this week.

The first video should be recognizable to any child who didn't grow up under a rock in the 90's. The Adventures of Pete and Pete was a genius show, but part of what made it so special was Polaris' spectacular soundtrack. Here are the opening credits of the show, featuring a chunk of the band's biggest hit, "Hey Sandy." Check out Mulcahy and his bandmates rocking out on the front lawn of the Wrigley household.



While the next video lacks a "video," it features the Miracle Legion tune "A Heart Disease Called Love." This tune, which was featured on the 1987 album Glad, is a slower love song, perhaps influencing later tunes such as "She is Staggering."



Up next is the video for Thom Yorke's take on "All for the Best." Yorke is an outspoken Mulcahy fan, not only contributing to the tribute album, but also dedicating a song to him at a Boston Radiohead show a few years ago. This is an interesting rearranging of a simple Mulcahy tune, definitely worth a listen.



Lastly, I deliver another Polaris track from Pete and Pete. "Summerbaby," is a ska influenced tune that actually turns out to be Little Pete's favorite song in one of the first season episodes. I'm sure Nickalodeon did a bit of censoring with some of the sexually driven lyrics of the chorus. While once again, the song is not overly complex, it is a great example of the versatility of Mulcahy's songwriting and playing.


www.markmulcahy.com/

Tuesday Tribute: Blind Melon

This week's Tuesday Tribute goes to a band that not many people see beyond just one song. Blind Melon was formed in 1989 and quickly rose to fame after the release of their debut self titled album in 1992. In a time when the grunge sounds of Pearl Jam, Nirvana, and Soundgarden ruled the radio waves, Blind Melon's most unique attribute was the unforgettable voice of lead singer Shannon Hoon. Hoon's voice could possibly be described as lying somewhere between Janis Joplin and Axl rose, but many would agree it was one of the defining voices of 90's. While a bit heavier than jambands like Phish or Widespread Panic, Blind Melon was also known to drift into improvisational segments in their live performances. The release of single "No Rain" saw Blind Melon at their highest peak of popularity, but the band was able to push no further after the tragic death of Hoon in 1995. The remaining members of Blind Melon were quiet for years after Hoon's death until 2006 when they decided to reunite with a new lead singer. Fan reception was anything but warm as the reunited group decided to keep the name Blind Melon, but regardless of some hostility by many Hoon loyals, the band continues to gig today.

The first video I'll share today is the video of the 1993 single "Tones of Home." With a bass heavy feel and in-your-face lyrics, this song was one that shoved Blind Melon into the same realm as the grunge counterparts of their day. Nonetheless, it is a catchy tune and it wonderfully highlights Hoon's terrific vocals.



The next video is of a very groovy cover that the band did of Schoolhouse Rocks' "Three is The Magic Number." The song is complete with jazz flute fills, sound bytes of the Schoolhouse Rock narrator, and a great deal of arithmetic. The cover fits perfectly with the original animation.



Next up is a clip of Blind Melon performing the tune "Soup" live at Woodstock '94. Hoon had just gotten out of drug rehab at the time of this performance, but didn't tell his bandmates that he took acid before their set. As you can see, he is in his own world as the rowdy crowd of thousands push and shove each other to this beautiful song.



Lastly, I bring you the tune that defined this band in their short lifespan. "No Rain" was a track that brought the band great success in the 90's and continues to flourish today as it has been used in numerous soundtracks, commercials, and television shows since its release over 15 years ago. While Shannon Hoon struggled throughout his final years on earth, "No Rain" was a testament to carefree happiness and optimism. It is good to see him smile in this acoustic take.



www.myspace.com/blindmelon

Tuesday Tribute: Prince

This week's Tuesday Tribute goes to a man who you may know by name, or you may know by sign. He's won Grammys, he's won Academy Awards, he's performed at the Super Bowl halftime show, and he's still one of the best entertainers in the world. Having a career that has held strong in four decades now, Prince is known for his theatric live performances, as well as his on-screen rock operas such as the acclaimed Purple Rain and the lesser known, but in my opinion, equally as strong Sign O' The Times. Finding most success with his band the Revolution, Prince introduced and featured the insanely talented Sheila E as his drummer. Despite constant comparisons to Michael Jackson and many risque career moves, there is no denying his supreme versatility as a musician and his overwhelming power as an entertainer. With that said, I hope to portray Prince's unbelievable coolness through my internet video finds.

The first video is the opening scene of Sign O The Times where Prince performs his tune of the same name. People criticize the 80's for their music and their style, but Prince makes both of these things look better than ever. My favorite part is his call and response with the crowd at the beginning of the song where he hits a note that few other males in the world have the ability of hitting.



Check out this clip of the king of soul James Brown and the King of Pop Michael Jackson calling Prince up the stage early on in Prince's career. Michael keeps it short and sweet and James Brown has no clue who Prince is, but when Prince hits the stage, he attempts to steal the show but is so cool that he only gives the crowd one note on the mic. The quality is iffy, but the video is kind of funny.




The next video is of Prince performing his later hit "Kiss" on the Ellen DeGeneres show. With a "Soul Man" intro, Prince uses the highest of his many pitches to crank out one of his sexiest tunes.


Lastly, I bring you some of the new-millennium Prince with his tune "Black Sweat." Off of 2006's 3121, "Black Sweat" is Prince's response to the the crunk hip-hop of the early 2000's. My favorite line is "You'll be screaming like a white lady when I count to three." Clearly, he hasn't lost his touch

prince - black sweat
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Prince has no official website, so here is his online fan page: http://prince.org/