With a nod to the Hank Williams tune of the same name (which also was the name of a book Earle authored), this Steve Earle album released last spring is a collection of songs dealing mostly with mortality, keying off of his father’s passing.
Speakers Corner has unearthed an unlikely gem here: a 1957 blues set by a stellar assemblage of jazz musicians that's been obscured by time—at least I've never seen or heard of it before.
At first you might think "Can these tracks really have come from the same session that produced A Night in Tunisia?" That’s the claim, so you'd be expecting the same level of raw intensity, the same Van Gelder generated echoey backdrop and the same sense that this was a “cutting session” for the ages.
A more pleasant pairing of musical icons you’re not likely to hear and the backing by The Oscar Peterson Trio (Ray Brown on bass, Herb Ellis on guitar plus Buddy Rich on drums) completes the setting. Add a superb monophonic recording and a literally astonishing 45rpm re-mastering that just about brings them all back to life in your listening room and you have something truly special that’s clearly stood the test of (a long!) time.
The ‘60s played host to three significant, culture shifting music festivals. The first was the Newport Folk Festival where, in the decade’s early years, folk, blues and country blended to produce a beautiful noise that the boomer generation eventually embraced.
Q: You presented the SMiLEtracks to the Beach Boys when they returned from the tour. I seem to recall, with the exception of Dennis, there seemed to be some real hesitancy from band mates to really get involved singing to these instrumentals. Mike Love did not like the stuff presented.
A: No he didn’t.
Q And some other band members weren’t super thrilled, either.