For some artists, the more fertile the imagination, the bigger the canvas required to contain the full range of that imagination. Such was the case with Todd Rundgren in 1972. Three-quarters of his double album SOMETHING/ANYTHING? contained nothing but Rundgren himself—on guitars, bass, drums, keyboards and a multitude of voices, a solo masterpiece from the one-time leader of Nazz that was in all regards solo.
45 years ago today, Van Morrison released the third and final single from his fourth full-length solo album, HIS BAND AND THE STREET CHOIR.
Recorded – like the rest of the album – at A&R Recording Studios in New York City, “Call Me Up in Dreamland” was one of the tracks laid down during the second set of sessions for the album. After “Domino” proved to be a top-10 hit and its follow-up, “Blue Money,” climbed into the top 30, Warner Brothers decided to go for broke and pick a third single.
Some bands become overnight sensations. Other bands have to work their way up to superstardom. In the case of INXS, it was definitely the latter situation, but although it may technically have been among the minor hits that served as a rung on their ladder to chart-topping success, “Original Sin” is still remembered as one of their greatest singles.
20 years ago this week, Bill Frisell released his first-ever album to be recorded in Nashville, and one presumes that the experience was a positive one, given the title Frisell bestowed upon the LP.
Recorded at the Sound Emporium, NASHVILLE wasn’t entirely a musical departure for Frisell: at the time of its release, Jazz Times described him as “a humble iconoclast who circulated on the fringes of various musical localities, including – but not restricted to – jazz, new music, rock, vaguely cinematic ideas, and, yes, country and western.”
Today is the birthday of Kate Pierson, best known as one of the two female singers in The B-52’s, but when she’s not working alongside Cindy Wilson, Fred Schneider, and Keith Strickland, she’s been known to step out and do a bit of vocalizing for other people’s projects. As such, we’ve pulled together a six-pack of tunes on which Pierson can be heard, but these are only a handful of the work that’s kept her busy outside of the band.
1. The Bongos, “Apache Dancing” (1985) – These Hoboken boys never managed to achieve the success that their music warranted, but if nothing else, the fans they picked up along the way are among the most devoted that any band could hope for. This album comes from the final album of their original run – 1985’s BEAT HOTEL – and while it was never released as a single, it’s a great number nonetheless.
40 years ago, one of the most famous dance clubs of the ‘70s – indeed, some would say that it was the only club in New York City that mattered during the disco era – first opened its doors.
If you’re a fan of classic ‘60s R&B, then it’s hard to say that anything from within the catalog of Wilson Pickett is truly a deep dive: during that particular decade, it seemed like the man they called “Wicked” was delivering an LP’s worth of instant classics whenever he released a new full-length effort. Still, if there’s one album from Pickett’s ‘60s output that’s worth diving for, then surely it’s the one that features his nickname.