If you’ve read music journalism to any significant degree, then you’re well aware of the phenomenon known as the sophomore slump, wherein an artist takes everything they’ve ever learned in their life, applies the whole lot to their debut album, and then finds themselves left wanting creatively when they get around to putting together their second album. We only reference this phenomenon in order to underline the fact that Jethro Tull absolutely, positively did not succumb to it when they released their sophomore album, STAND UP.
With LITTLE EARTHQUAKES, she was a star straight out of the box, and with UNDER THE PINK she confirmed that she wasn’t just a flash in the pan, but it was BOYS FOR PELE that truly confirmed that Tori Amos was here for the long haul. From a commercial standpoint, it was a tremendous success - it remains her highest-charting studio album to date, having made it all the way to #2 on the Billboard 200 – but it was also where she found herself at full bloom creatively, producing herself for the first time in her career.
54 years ago today, Frankie Valli and the Four Seasons arrived at the pinnacle of the Billboard Hot 100 for the first of five weeks with a song inspired by a John Payne movie. As far as which movie, however, it depends on who you ask.
His mind is on vacation, but this time, sadly, it won’t be coming back: Mose Allison, the legendary jazz-blues singer-songwriter and pianist, died yesterday at the age of 89.
Allison kicked off his career in jazz in the mid-1950s, moving to New York City in 1956 and performing with a collection of artists that included Al Cohn, Stan Getz, Gerry Mulligan, Zoot Sims, and Phil Woods, just to name a few. Although he released his debut album, BACK COUNTRY SUITE, in 1957, it would be more than half a decade before his popularity put him in a position where he was able to release his first album featuring vocals on all tracks.
46 years ago today, Stephen Stills released the song that would go on to become the biggest hit single of his entire career.
The origins of the phrase that drives “Love The One You’re With” are a bit murky, but the recurring rumor that continued to run rampant on Wikipedia is that Stills heard Billy Preston utter the words, after which he reportedly asked for and received permission to write a song around them. The only problem with this story is that there doesn’t seem to be a single interview with the late Mr. Preston wherein he says anything about it, and you’d think there would be.