LP Review: Lenny Kravitz, ‘Raise Vibration’ – A Hot Mess, But At Least It’s Hot

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“If  we’re right, and we can stop this thing…Lenny…you will have saved the lives of millions of registered voters.” – Peter Venkman (Bill Murray), Ghostbusters

I know what you’re thinking. Why post a quote from the movie Ghostbusters when we’re talking about rock and roll here? Well, if you remember correctly that line from Bill Murray’s character, Peter Venkman, comes during a scene when the Ghosbusters are in the Mayor’s office (the Mayor’s name is Lenny). Things are going badly. The Ghostbusters had been in jail prior to being summoned to see the Mayor. The evil spirits and ghosts had all been released and the sky had turned dark, blocking out the sun. There’s a cop in the room who says that a police precinct has walls that are “bleeding.” The Cardinal drops by, and says he thinks it’s all “a sign from God.” Things are looking bleak, “wrath of God, old Testament, cats living with dogs” kind of bad. If Lenny the Mayor will allow the Ghostbusters to go fight these supernatural foes, he may just save the lives of “millions of registered voters.”

Flash forward to the world today. Things are getting pretty bleak out there. I don’t even watch the news anymore and I consider myself pretty “wonky.” The U.S. seems more divided than at any time in history. Democracy itself is on the brink. Half the people are mad at the President, the other half are mad at the half that’s mad at the President. Scary, right-wing, Nationalist parties are winning elections, or doing well, all over Europe. There’s so much anger and hatred toward our fellow men out there, especially immigrants. Enter Lenny…in this case, not the Mayor, but Lenny Kravitz. With this backdrop of oppression, graft and rage, Lenny Kravitz has crafted an album highlighting the things he’s been singing about since his debut, 1989’s Let Love Rule. Namely peace, love, and unity. Lenny lays down a very positive message on his new LP, Raise Vibration. And let’s face it, if his message resonates… he may just save the lives of millions of registered voters… at least I hope there are millions of registered voters who dig Lenny’s message. And I hope they vote.

I’m on record admitting I’m a huge Lenny fan. I’m the second biggest Lenny fan in my house after the Rock Chick. I can’t tell about the cat… he may or may not dig Lenny but that’s how he is about everything, sort of “meh.: As I mentioned in my review of the fabulous first single from this album, “Its Enough,” (Lenny Kravitz: New Single, “It’s Enough,” His Inner City Blues Are A Smooth Groove) similar to my wife’s love of Lenny, it was a girlfriend who turned me onto his first album, the previously mentioned, Let Love Rule. If it weren’t how badly things ended, I’d probably call that ex and thank her for turning me onto Lenny’s music. I don’t want to replay the “girl throws phone” episode of my youth…but I digress. The height of everybody’s Lenny fandom, when you ask them, is typically Are You Gonna Go My Way, probably his masterwork. I stuck around for the dark, groovy little record that followed, Circus. When he released 5, it was such an uneven record, even after he added the single, “American Woman” to deluxe copies of the CD, I got off the bandwagon.

A while ago, the Rock Chick turned me onto his 2014 album, Strut (LP Review: Lenny Kravitz, “Strut” – How’d I Miss This Sexy Album?). I love that sexy, rocking album. That record sent me digging through Lenny’s back catalog and I realized he’d started a bit of a late (or perhaps for Lenny, a middle-) career renaissance. It’s Time For A Love Revolution, while a bit mellow was a strong album. Black and White America is a fabulous record, I almost like it as much as Strut. Needless to say, excitement was running high here at B&V for this year’s Raise Vibration. I’m sad to say though, despite the great energy and the positive message, this album left me a little lost. It’s a bit of a mess…although it’s still sexy enough to call a hot mess. Let’s face it, Kravitz probably makes folding his laundry look sexy. Am I right, ladies?

Lenny Kravitz plays most if not all of the instruments on his records. His long time lead guitar player, cool Afro-sporting dude, Craig Ross typically plays the solos, but other than that it’s all Lenny, except backing vocals or horns. Kravitz was actually the drummer in Slash’s first band when they were in high school. Naturally when you can do so many things well, you’re more willing to try a lot more things. And believe me, there’s a lot that Lenny tries on this record. Many people dismiss Lenny as derivative, and yes, I can spot the influences, but he has a way of making music that reminds you of someone else while still staying completely Lenny.

For me, the emotional center and best track on here remains “It’s Enough.” It reminds me of What’s Goin’ On era Marvin Gaye. It even has a trumpet solo. Gaye did some great protest, social-commentary music on that album, and that palette is the perfect setting for Lenny’s message. Beyond that, there are a lot of highlights here. After staring with a middling, midtempo rocker that left me a little cold, “We Can Get It Together,” (which could be considered the theme here), Lenny takes a left turn into a soulful, sexy groove on “Low.” “Low” may be an act of seduction or a pro-LGBTQ statement, I still can’t tell. Either way it’s a great song. The title track starts with an abrasive guitar riff that brings to mind John Lennon’s “I Found Out,” but Lenny loses me at the end when he tacks on an Indigenous people drum/chants thing. It’s a bit baffling to end a nice rock tune that way. I thought only the Cult did that.

Another highlight is the acoustic “Johnny Cash.” The track is about when Lenny lost his beloved mother, Roxie, and Johnny Cash reached out and consoled him. Which, lets face it, makes me love Johnny Cash even more. So while the song is about Roxie, it’s told through the prism of Johnny Cash’s generosity of spirit. I like “5 More Days Til Summer,” I even put it on my Eclectic Summer Playlist, BourbonAndVinyl Eclectic Summer/Sun/Beach Playlist) on Spotify, but there’s this annoying chorus where a group of high school girls sings “one, two, three, four, five.” Lenny… really? It’s a cheesy moment in a great song. He’s throwing a lot into some of these songs, too much at times. “The Majesty Of Soul” is the great kind of soulful, funky tune Lenny was born to sing.

But along the lines of throwing everything he’s got at this record… Lenny does what amounts to a Prince tribute on the awful, almost electronic “Who Really Are the Monsters?” The song even has a Prince-like guitar solo. I preferred Janelle Monae’s recent record, “Make Me Feel” as a tribute to Prince vs this. Yes, I listen to Janelle Monae, she’s awesome and she’s from Kansas City. “Here To Love” is an overwrought, depressing piano ballad, ending in Lenny holding a note until it sounds like his voice broke. “Gold Dust” is the kind of slinky, funky track that Lenny should leave alone… “Ride” and “I’ll Always Be Inside Your Soul” are alright tracks to end it, but nothing that really grabs me. The album left me feeling very similar to how I felt when I heard 5 for the first time. It’s a bit of an uneven record, with some great tracks on it.

I’m disappointed to say I can’t recommend this album, as a whole. There are certainly songs that you should check out like “Low” or “It’s Enough.” But on the whole this is a slinky, sexy, hot mess. There’s a lot to like on this album, but too much goes wrong. I love that Lenny is out there preaching the gospel of Peace and Love… Ringo can’t do it all by himself.

Cheers and stay positive out there folks… storm clouds have already gathered. Take care of each other and steer toward the light.

 

 

 

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LP Review: Paul McCartney’s ‘Egypt Station’ – All Aboard For The Album Of the Year

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Well, it took all the way to September, but I think finally – spoiler alert! – we have the B&V Album of the year in Paul McCartney’s epic new record Egypt Station. I reserve the right to change my mind should something stunning come out between now and New Year’s Eve… but I highly doubt anything like this will. We have to remember people, when the former Beatle puts an album out, it’s a pretty big fucking deal. McCartney’s late career renaissance continues. I’m still recovering from my Florida trip, but I have to say, this album really grabbed me. I’ve been thinking a lot since seeing Robert Plant on Monday night about artists who have to grapple with past glories but remain creative today (Concert Review: Robert Plant & The Sensational Space Shifters, KC 9/10/18). While Plant has headed off in different directions from Zeppelin, McCartney just continues to hone his gifts and create new melodic pop/rock.

The world was such a different place when the Beatles broke up. The world was devastated and as usual in break ups, everyone was looking for someone to blame. Many blamed Yoko, which is bullshit, we always seem to blame the girlfriend. Since McCartney was the one who announced it, he was widely blamed especially in the rock press. He quietly just released a series of great albums, which at the time were only moderately appreciated by critics, but are now widely lauded. From McCartney, Ram, Band On The Run through the mellow London Town McCartney remained popular with the fans. He was a hit-single machine. No wonder he has so many Greatest Hits packages. You have to wonder if Lennon and McCartney’s rivalry in those days might have been like Hemingway and Fitzgerald – Hemingway always admired Fitzgerald’s writing style and Fitzgerald always envied Hemingway’s sales numbers. I’ll let you guess who is who in that analogy… but I’m off on a tangent.

Things had already started to cool off for McCartney when in 1980 John Lennon was tragically assassinated. I remember walking into a record store in ’82 and the clerk had slipped Tug Of War on the turntable. I wasn’t there to buy that record, but I ended up doing so. That was such a brilliant album, well except for those Stevie Wonder duets. Many of those tracks were directly about John. After that McCartney’s career started to stall. The magic seemed to be gone. He’d have a great song every now and then like “No More Lonely Nights” or “Spies Like Us” but his music became more convoluted and impenetrable. I always wondered if Lennon’s absence unmoored him a bit. They always brought out the best in each other – McCartney sweetened Lennon and Lennon toughened up McCartney. Even though they weren’t working together anymore you wonder if the loss shook McCartney more than even he realized. People play up the feud, but at the heart of that relationship was friendship.

I had written McCartney off in terms of buying his records, but I always kept one eye, or perhaps more correctly, one ear on what he was doing. I even bought Press To Play, which in retrospect was ill advised. There was always an interesting single that would pierce my indifference. Then in 1995-1996 McCartney immersed himself in the wonderful Beatles Anthology series of albums and documentary. By returning to that early music I think he rediscovered the magic of simplicity and melody.

When he re-emerged from the Anthology thing with 1997’s Flaming Pie it was a comeback as seismic as Dylan’s Time Out of Mind comeback.To prep for this I listened to that record again and it’s one of his best ever. Thus began the McCartney renaissance. If you’ve been ignoring him, it’s at your own peril. His late career albums are the type of records this blog is built on. Run Devil Run recorded and released a year after he tragically lost his wife Linda, was a return to the music of McCartney’s youth, namely, old school rock and roll. It was joyful and cathartic. From there he’s been on fire – Driving Rain (a more experimental but great McCartney album), Chaos and Creation (a mellow grower of a record) were both great records. As great as all of those records are, they were each very distinctive, ie, the songs on those albums were all of the same sound. Flaming was built on acoustic guitars. Devil was straight up rock  (kudos to David Gilmour on guitar). Driving Rain was trippy. They each had a coherency and showed off a singular strength of McCartney, of which there are many.

By 2005, I think McCartney decided, to hell with it, I do a lot of things well and I’m going to do it all on each record. His melody writing and penchant for hooks have not diminished over the years. Memory Almost Full was brilliant. It even had a mini-suit of songs toward the end that hark back to side two of Abbey Road. He followed that up with New that saw McCartney stretching out even farther. Ballads, rockers and “Queenie Eye” a song that wouldn’t have been out of place on the “Penny Lane/Strawberry Fields” single… If you like the Beatles New is the record for you.

A few months ago on social media I began seeing McCartney posting black and white photos of instruments. A guitar leaning on an amp. Piano keys… Something was afoot. Indeed it was. He has returned after a five year absence with Egypt Station, a record he’s described as a “concept album.” I think that’s a conceit, as the concept is the listener boards a musical train at “Egypt Station” and each song is a stop along the line. It’s an odd concept, but it works in that it allows McCartney to go in any direction his creativity and melodies take him. There are ballads, rockers, even political songs on this album. Despite the variety of the material on the record, it hangs together very well. It was produced by Greg Kurstin who has worked with, gasp, Adele. Don’t let that scare you, this isn’t a mellow record. Kurstin puts a modern sheen on McCartney’s classic style. The record sounds current and yet timeless at the same time.The best moments on this album evoke past glories without wallowing in any nostalgia.

The first single, “Come On To Me” was a great crunchy rocker about sex. It’s catchy as hell. “Who Cares” starts with guitar feedback and deals with haters, “who cares what the idiots say?” “Caesar Rocks” (read that She’s a Rock) is another randy song about sex. For a guy 76 years old, this cat is horny still. We should all be so lucky. The only rocker that left me cold was the vulgar “Fuh You” (read Fuck You). It’s not the vulgarity, hell I cuss all the time, it’s that it’s a great riff and song but the lyric is kinda stupid.

There are great ballads in here as well. “I Don’t Know” starts the record with a beautiful, melancholy piano. It may still be my favorite song on the record (Paul McCartney: Two New Songs From The Upcoming ‘Egypt Station’). McCartney has a reputation as being Mr. Sunshine, but there are sadder elements just under the surface here. “Do It Now” is another sweet, but slightly sad ballad where someone seems to be saying goodbye. “Happy With You” is a stunning acoustic guitar driven song about the joys of domestic bliss. McCartney sings, “I liked to get wasted, but these days I don’t, ’cause I’m happy with you.” Somehow, with a name like BourbonAndVinyl, I can relate to that. The Rock Chick saved my life, but that’s another blog post. “Hand In Hand” is another piano driven track that’s just straight up about love. The one song that also jumped out at me from the mellower end of things was “Confidante.” I don’t know if he’s singing to an ex-lover, John Lennon, or both. It’s a great track. There are so many layers to this music.

I was glad to see McCartney, an old hippy, take up the topic of politics. “People Want Peace” is a big anthem of a track. You wonder if McCartney has been hanging with Ringo, Mr. Peace & Love. It’s a short track but effective. “Dominoes” is another catchy rocker with distorted guitars and nice drums and seems to be a call for unity when he sings, “Soon we’ll see that you and me, we’re really friends.” “Come Together” people… right now! The heart of this record for me, was the brilliant political allegory, “Despite Repeated Warnings,” about a ship being piloted by a crazy captain. The line, “how can we stop him, grab the keys and lock him up,” tells you all you need to know. At almost seven minutes long, it’s pretty epic.

The only track that lost me here was “Back In Brazil.” Even a genius can throw a curve ball at you. The chorus of “Ichi Ban” being repeated over and over made me think somebody should have pushed back on that one… The album ends with an old-style Red Rose Speedway medley, “Hunt You Down/Naked/C-Link.” The “Hunt You Down” portion rocks. “C-Link” is some tasty guitar solo’ing.

Egypt Station finds McCartney in fine voice. His instrument has not diminished at all. I think he plays all the musical instruments too. It’s a sprawling epic McCartney’s been doing since the “White Album,” although, it’s only one guy so that comparison may be hyperbolic on my part. This is a highly recommended album to all fans of The Beatles, Paul McCartney and great rock everywhere. It’s a shame music like this can’t find a place on modern radio…

Enjoy this one, it’s a treasure!

Concert Review: Robert Plant & The Sensational Space Shifters, KC 9/10/18

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*Photo from the internet, credited to The Telegraph and likely copyrighted

“Kansas City, here I come…” Robert Plant, September 10, 2018

The Rock Chick and I had been on the road for a little R & R the last four or five days. We’d been barnstorming around Florida, partying like escaped, pirate convicts. I knew we’d be exhausted by the time we got home on Monday, September 10th, but when I saw Robert Plant was coming in concert at the beautiful, historic Midland Theater, I knew we’d have to suck it up. After a brief but – and I don’t say this word often – lovely opening set from violinist/singer/multi-instrumentalist Seth Lakeman, who joined the Space Shifters for their set, we were all anxiously awaiting the man himself, Robert Plant.

I hadn’t seen Plant solo since the tour in support of Dreamland. I did see him with Alison Krauss when they toured together and it was fabulous. I can’t believe it’d been almost 10 years since I’d seen him. When the lights came down, and the band walked on stage, Plant, looking fit and dressed all in black, hung back in the shadows, near the drum riser. He danced around the stage like a prize fighter before the championship match… I couldn’t take my eyes off of him…with his long hair and full beard he looks like a grizzled lion. The band launched into the opening track, “New World…” from their great album, last year’s Carry Fire LP Review: Robert Plant, The Sensational ‘Carry Fire’ and Plant stepped to the microphone… and he unleashed…the voice. Wow, can he still sing. In the back of my mind I always wondered if he wasn’t getting back with Led Zeppelin because he wouldn’t be able to hit those notes. I was terribly wrong about that. I mean, sure, it’d probably be hard for him to do “The Immigrant Song” at top banshee wail every night (who could?), but his voice is as strong as ever. He could go from a whisper to a Viking wail in one breath. On stage Plant’s charisma is palpable. Not just the voice, the looks on his face, the dancing, the hand gestures, it’s all amazing. He’s truly still one of the best front men, ever. And from all appearances last night, he’s having a blast.

When I see an artist like Plant it gets me thinking. I don’t think rock and roll was ever originally conceived with longevity in mind. When it came along in the middle 50s, built on post-war teen rebellion, I think people thought it was just a fad, and it’d fade away. No one ever imagined that a man who just turned 70 could walk out on stage and still captivate an audience. But therein lies the horns of the dilemma for Plant – how does someone like him balance past glories with the adventure of new creativity. How do you blend your past with your present without being trapped by it. And lets face it, Plant’s past, namely Led Zeppelin, casts a big shadow. I thought Plant and the Space Shifters – Justin Adams and Skin Tyson on guitars, Dave Smith on drums, Seth Lakeman on violin, Billy Fuller on drums, and John Baggott on keyboards – do a great job of blending the old with the new. Plant spends half his set playing Zeppelin tunes, and half on his solo career.

Plant and the band seem to shift back forth, past to present, seamlessly but there are moments where I fear the crowd doesn’t quite make that jump. When Plant would try to speak before songs, like when introducing “Gallows Pole,” which was sped up last night and played like a psychedelic hoe-down, he was explaining it was a Leadbelly song… Some idiot screamed, “We love you Robert!” To his credit, Plant gave a somewhat exhausted, “Yeah, yeah, I know.” During one of the most beautifully sung moments of the night, the band had gone quiet and Plant was softly singing a passage of “Please Read the Letter” (a Page-Plant track that he’d redone with Alison Krauss and he described as a song being written by two “up and coming songwriters,” in his funniest line), some crazy, fucking idiot chick in front of me, screams, “You’re incredible” at the top of her lungs… ruining the moment in the song. The look on Plant’s face was telling… mild frustration, surprise, and a long way from pleased. It’s not 1972, honey. Sober up and let the man sing a ballad. Despite all that, Plant remained charming the entire night. His between song anecdotes were always enjoyable.

At this stage in his career, it’d be easy for Plant to reunite with Jimmy Page and John Paul Jones and travel the world singing songs from the seventies. It’s obvious to me that Plant doesn’t care about that fame and fortune thing any more. For him, it appears, the joy is in the discovery and exploration of the roots of all music. He blends folk, rock and roll, Middle-eastern and African rhythms into one big, new whole in his latest music. That’s why I love it. He sees the commonality of a Celtic folk song and something that springs from the Appalachians to something that’s from the bazaars of Morocco. He’s searching and in that search he’s creating some of the most interesting music of his career. The fact that he can deliver that AND old Zeppelin classics over the course of one evening is mind blowing.

As I mentioned, they opened up with “New World…” and carried on playing new tracks, the rocking “Turn It Up” from lullaby…And The Ceaseless Roar proved the night was not going to be a mellow affair. “The May Queen” his first single from Carry Fire was next and it was spot on. One has to give a special shout out to Adams and Tyson on guitars. They go from acoustic to blasting electric as effortlessly as Plant goes from quiet to loud. By song four, Plant had dug into the Zeppelin catalog when they launched into “Black Dog.” What I loved about it, the band and Plant played it perfectly, down to the call and response vocals, until the end where they stretched it out and jammed a little bit more in the style of Carry Fire than Led Zeppelin IV and then brought it right back to sounding like Zeppelin. It was like watching musical gymnastics. I will admit, the band did tend after that to stretch most songs out toward the end and I get it, when a band is grooving they like to jam, but if they’d cut a few of those jams short, they could have fit a few more songs in… I saw in Europe they were opening with “When the Levee Breaks” and were also doing “Rainbow” and I would have enjoyed hearing one or both of those versus the jams, but I’m splitting hairs.

After “Black Dog,” Tyson and Adams huddled on the side of the stage with an acoustic guitar and mandolin, respectively… Plant sang “Going to California” in what was perhaps the most beautiful moment of the night. I don’t mind admitting, I got goose bumps and tears welled in my eyes. I have no idea why I reacted that strongly, the performance just moved me. After that they played the Rock Chick’s favorite “Please Read the Letter” which was only marred by the aforementioned drunk idiot, and then the sped up “Gallows Pole.” It was then that Plant played “Carry Fire” the beautiful, Middle-Eastern flavored title track from his last album. I don’t know how Justin Adams was able to make the sounds he was making – it looked like he was playing a 12-string dobro, but I’m not a instrument genius. It was a real highlight for me.

The moment that brought the house down was the next track, from all the way back on Led Zeppelin I, “Babe I’m Gonna Leave You.” Skin Tyson sat down and played a beautiful acoustic solo intro that eventually led into the song. It was musically gorgeous. The band muscled into the electric portion of the track and the crowd, including me, went wild. After the exotic “Little Maggie” the band played an old Bukka White song, “Funny In My Mind, (I Think I’m Fixin’ To Die)” from Dreamland. While I love the song, they sped it up and played it almost in a Johnny Cash train-song style that lost me a bit. It went on for a long time.

The encore was a complete surprise and delight when they came out and played “In The Mood” from 1982. Plant typically eschews music from his first few albums so I was delighted they played one of the Rock Chick’s favs at the show. It was played more in the Plant-Krauss style, all natural instruments, piano/violin/great vocals, than the original synth version. It was smile-inducing pleasure. With that, it was time for the big jam – “Bring It On Home” which led to “Whole Lotta Love.” There was a weird interlude where they sang some song about heading down to the Gulf of Mexico… and then it was back to “Whole Lotta Love.” The crowd, who had been ready to release their Zeppelin mania in a guitar frenzy orgasm, seemed satisfied at last.

We were spent, but the Rock Chick looked up at me and said, “I’m tired, but that was awesome…” Plant waved to the crowd and said, “Remember what you heard tonight… see you next time, at least I hope so….” And right before left, he turned back and quoting the same song he’d quoted at the beginning of the night said, “Kansas City, here I go…” And with that the Legend, Robert Plant and his band left the stage.

I say this all the time, buy the ticket, see the show, folks. It was an enthralling evening of rock and roll. These artists are treasures and they ain’t gonna be around forever. I believe Plant when he says, “I carry fire for you, here in my naked hand…” He’s carrying the fire of rock and roll.

In Defense of Van Hagar, No Really… Complete With a B&V Van Hagar Playlist

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*Image of happier times taken from the internet and likely copyrighted (*not pictured, the hideous Alex Van Halen, for reasons that are obvious)

Early in our marriage, my wife and I got into the habit of going down to the basement, cranking up tunes and having what we called a drunken, rock and roll, dance party. Well she danced, I more lurched. She would usually DJ, but I always got some input. It was during one of those festive evenings, after I’d just dropped the needle on a Van Halen tune, sung by Sammy Hagar,  that the Rock Chick put her hand up in the universal “stop” gesture. It was then that she unburdened herself of a deep, dark secret she’d been keeping since we’d met… something I had never suspected. “I hate Van Hagar,” was all she said as she shook her head “no” to the tune I’d selected. We’d been randomly listening to Van Halen, both the Roth version and the Hagar version for years. I’d never suspected she didn’t like the Sammy incarnation of the band. I mean, no one likes the Gary Cherone version, but Sammy? It seems she liked Van Halen, she liked Sammy Hagar, just not together.

I’m not naive, I realize there is a divide between the Roth camp and the Hagar camp. It’s just that there was never any question for me when it came to Van Halen, the Roth albums are the best, period. I think when Roth left and Hagar came into the fold, the band fundamentally changed. It’s not fair to compare the early VH albums to the latter, Van Hagar (if you will) albums – they were, in my mind, different bands like Rage Against the Machine versus Audioslave. Same musicians, different singer, completely different bands. I was always disappointed that Eddie didn’t change the name of the band once Roth took off (or was fired, depending on who you listen to) but Ed’s name is on the side of the truck, I get it. It was Eddie’s world we all just lived in it.

People tend to view music in chronological decades. The sixties brought us the Beatles and the Stones, the seventies brought us Led Zeppelin and Bruce Springsteen etc. I’ve never looked it at it that way. The music of the early 70s was a lot different than the music of the latter half of that decade. I came of age, musically anyway, in the late-70s. Van Halen was one of the foremost rock bands that came out of that era. It’s hard to understate how huge they were as an influence. Before VH most of us in the late 70s were listening to what our older siblings listened to. VH was ours! When they appeared with their seminal first album, (Album Lookback: Van Halen – The Smirking Menace of Their Debut at 40) it was like nothing we’d ever heard. Eddie’s guitar sound, the way he played up the neck, hammering strings with his finger tips was all revolutionary stuff. But as important as all that was, David Lee Roth was equally as critical to the success. Roth had a swagger and menace combined with a crazy sense of humor, a mix I haven’t seen since. Roth was, to put it simply, just fucking cool. He was in his 20s but his lyrics were like that of a high school kid, “have you seen junior’s grades?” Roth was the guy we all wanted to be.

I suppose such a lightning-hot band couldn’t hold together for long. The personalities were bound to implode the group. After the success of Fair Warning they were supposed to take a much needed break, but somehow ended up recording Diver Down and immediately touring. I’m sure nerves were frayed and everybody was tired. After that there was a lot of conflict about Eddie wanting to play keyboards. Roth kept saying, “you’re a guitar god, nobody wants to hear you play keyboards.” I blame Michael Jackson for a lot of that. Once Eddie showed up on a purely pop song, “Beat It” and his guitar solo fueled it to number 1, globally, I think Eddie thought that it didn’t matter who was singing or what type of song it was, as long as that magic guitar solo played. I think that is what ultimately made Eddie decide he could live without Roth. And of course Roth had to go out and do an EP, Crazy From the Heat. I’m sure that didn’t help.

In retrospect, it was going to be impossible for anybody to fill the shoes of David Lee Roth. Hell, even in 2012, Roth couldn’t fill his own shoes when he got back together with the rest of Van Halen for the reunion album, A Different Kind of Truth. As my buddy, the accountant said years ago, “Roth did jujitsu on stage, Hagar does calisthenics.” They certainly lost that great sense of humor when Roth left as well. Roth was the party, Sammy was the guy who brings the tequila to the party. While Roth was no Steve Perry, Sammy was a shouter. And Roth’s lyrics, while not Elvis Costello or Tom Waits-like, are preferred to Hagar’s lyrics which are, and I’ll be the first to admit it, borderline stupid. For example, a line I’ve never gotten over, “Only time will tell if we stand the test of time.” Think about that line for a while. It’s like saying “only Fred will tell us if we stand the test of Fred.” Well, it’s Fred’s fucking test, of course he’s going to be the one who tells us if we “stand the test.” But I digress… I mention all this just to say, again, Hagar fundamentally changed the DNA of the band. No one was going to live up to the original VH so to compare them is unfair.

I will say Hagar brought a camaraderie to the band they hadn’t seen since the early days. At least through 5150 and OU812 it seemed like everybody in the band was enjoying making music again. I remember a friend of mine telling me that OU812 was the new Fair Warning… well, it was certainly a grim record (without the menace), but you can’t compare the two. However, if you put the original band aside, these guys made some solid, if not really good harder rock. I think the whole Monster’s of Rock tour thing was Sammy’s idea. Sammy always pushed Eddie to think outside the box like Zeppelin did (Sammy loved Zeppelin and wanted to push in that bluesy direction). The results really never materialized other than “Finish What You Started,” which started as an acoustic/Zeppelin III thing Sammy wanted to do.

I went back and listened to the four albums Sammy and the brothers Van Halen did – with Michael Anthony on bass and harmony vocals, let’s not forget him, he’s a key ingredient – and those records aren’t bad. In fact, those records are pretty damn good. There may not be a Fair Warning or Women And Children First but there’s some fine rock and roll. They even put out a few decent tracks on greatest hits records. I went ahead and put together a play list of Van Halen tracks, but only from the Van Hagar albums. I feel these are the “best of Van Hagar” if you will… I’ll let the music do the talking. The Rock Chick has a blistering VH playlist but the Sammy tunes are missing… she also has an AC/DC tunes with virtually no Bon Scott. What can I say, she likes what she likes. Purists… what are you gonna do? I think this playlist will show you, this was not a bad band, it was just different from the original. Listen with fresh ears!

  1. “Best of Both Worlds” – My favorite track from 5150.
  2. “Don’t Tell Me What Love Can Do” – Yes, Hagar shouts random stuff about shooting, heroin, and shooting heroin but this song RAWKS. They were clearly in a bad place on Balance.
  3. “Top of the World” – From F.U.C.K.
  4. “Poundcake” – Love the riff on this one.
  5. “Up For Breakfast” – Great riff with Sammy’s kinda ridiculous lyrics about having sex when you wake up.
  6. “Judgement Day” – A great deep track from F.U.C.K.
  7. “Dreams” – I mostly avoided the keyboard stuff, but I loved the video with the Blue Angels flying around.
  8. “Feels So Good” – The most positive song VH ever did.
  9. “Right Now” – You couldn’t escape this song.
  10. “Black and Blue” – The first single and my favorite track from OU812.
  11. “Can’t Stop Loving You” – A bit poppy for my taste, but catchy as hell.
  12. “5150” – The title track… It’s police code for “insane or unstable persons who might be a danger to themselves or others.” Great riff and Sammy’s lyrics rise to the occasion.
  13. “Humans Being” – A track from the movie, ‘Twister.’ It’s mostly Sammy shouting about something I can’t understand but man, this rocks.
  14. “Mine All Mine” – One of Hagar’s finest lyrics… For once he’s not singing about chicks and getting loaded.
  15. “Summer Nights” – The first track Sammy wrote with VH.
  16. “Why Can’t This Be Love” – “Only time will tell if we…” oh, fuck it.
  17. “Man On A Mission” – Another hard rocker.
  18. “Finish What Ya Started” – Began as an acoustic number…
  19. “Runaround” – Another hit from F.U.C.K.
  20. “A Apolitical Blues” – A Little Feat blues cover? On a VH album? This was a bonus track but I love it and it’s a perfect way to end the list… they’d never have done this without Hagar.

Happy Labor Day Weekend Folks… I’ll be making the annual transition from vodka to bourbon over the weekend. Stay safe and don’t drink and drive. I don’t want any of you to end up “face down in Cabo…”

 

 

B&V News – BourbonAndVinyl Playlists: Now Posted on Spotify

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As many of you know, over the three-plus year life of B&V, I occasionally like to put together “themed” playlists of songs that address similar subject matter. Most recently I did a playlist around the theme of Telephones, Thoughts From The Traveling Salesman And A B&V Playlist: Hanging On The Telephone. I tend to think waaaay too much about music, especially when I’m traveling. While sitting in bars out on the road, mulling over a tumbler of something strong, my mind will often light upon a theme, and suddenly songs start to attach themselves to that theme… it’s a sickness, I know. Recently my friend Doug pointed out that I wasn’t putting those playlists out anywhere that people can go out and listen to them…

Well, that was only half true. I actually put about a third of my playlists out on Spotify. I’ll be the first to admit, I’ve been lazy about getting those posted. Over the last several weekends, I’ve culled through the archives of my B&V posts and wherever I put together a playlist, whether it be about Las Vegas/Gambling, Tax Day or my Eclectic Summer/Sun Playlist, I went ahead and posted those out on Spotify. If you subscribe to Spotify you can go out and search Spotify using the keywords “BourbonAndVinyl” or “BourbonAndVinyl.net” under Playlists, the B&V playlists should pop up. My naming convention is probably a little wacky, I start off each playlist name with “BourbonAndVinyl.net” Playlist of xyz (for example, one playlist is called “BourbonAndVinyl.net David Bowie 20 Best Deep Tracks” and another is named, “BourbonAndVinyl.net Drinking Songs (For Nancy).”

In addition, I realized that I can create a link from Spotify, that I went back and posted into the original blog post. My wife found out I wasn’t even doing that and the accusations of laziness, general sloth and drunkenness got out of hand. She’s right, I should have been doing that all along. So if there is an old playlist you were curious about, there is now a link in the post to the songs on Spotify. Being a bit of a caveman when it comes to all this technology, I think it all works, but I could be wrong. If I screwed that up, please tell me in the comments and I’ll try and get my technical support to help me… and by technical support I mean my daughter. These kids and their gadgets. It should look something like this:

And remember everyone – I am on record on this – The Rock Chick has always been better at putting together playlists than I have. Her songs always fit together seamlessly. I tend to get caught up in the theme of the playlist and I can go through wild tempo/style changes in one playlist and it doesn’t bother me. I can go from early acoustic Dylan to Metallica in one set. Yeah, I’m weird that way. My hope on these are that a) you enjoy the playlist, and b) even if the songs don’t always fit stylistically you’ll hear a song that might be so obscure you hadn’t heard it before. It’s all about expanding the palette.

And to that point, I consider these BourbonAndVinyl Playlists to be a communal thing. I’ve had recommendations on some of those playlists for songs I should add from various readers – I’ve tried to incorporate those into the playlists out on Spotify. As these are communal playlists, I consider them living documents. So even if someone suggests an update from something I did a couple of years ago, I’ll go out and add it. Just yesterday, after a long car ride, I went out and added Steely Dan’s “Show Biz Kids” to my Vegas/Gambling Playlist and Dire Straits’ “Twisting By the Pool” to my Eclectic Summer/Sun Playlist… both of those were egregious oversights on my part in the first place.

I hope I have overcome my hopeless laziness when it comes to tying all this technology together… I blame the bourbon. Enjoy the playlists and again, thanks to everybody for reading and making suggestions on additional songs to add. Cheers and Happy Labor Day!

B&V’s Favorite Cover Albums: Singing Other People’s Songs

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“You took the words right out of my mouth…” – Meatloaf

I read on-line the other day that Paul Simon has an album, In The Blue Light, coming out in September. It’s yet another artist who is teeing up a new album for next month. It’s going to be a busy September down in the B&V Labs. I look forward to sipping a nice Buffalo Trace, enjoying the slow fade of summer and the sweet decay of autumn with all this new rock and roll. I’ll be watching football in my underwear, tumbler in hand, with the volume muted and cranking tunes all month. The Rock Chick will likely travel to points west to escape that torture… The fact that Paul Simon was putting out an album caught my eye. It’s only been two years since his last album, the wonderful Stranger To Stranger Review (Full LP): Paul Simon’s “Stranger To Stranger”. Simon typically takes half a decade between studio albums so this seemed awfully quick for him. A little further digging and I realized that Simon is revisiting some of his more obscure tracks from his back catalog and redoing them on the new LP. I saw he’s even re-cutting “One Man’s Ceiling Is Another Man’s Floor.”

I have to admit to being a tad surprised by all of this Paul Simon news. I have seen artists revisit songs before, but never an entire album of their past material. Artists typically want to move forward creatively. Sting likes to go back and redo Police tracks, like “Shadows In The Rain.” Phil Collins redid “Behind The Lines,” a Genesis track, on his debut album. Yes, Phil Collins… don’t give me any shit, everybody had that first album because of “In The Air Tonight.” Robert Plant went back to a Page-Plant track, “Please Read The Letter” and redid it with Alison Krauss and frankly, I liked that version better. Sometimes a song just isn’t done. There are different ways to approach a song and sometimes a reassessment, or if you will, a look back is worth taking and the results can be more satisfying. Keith Richards always says that Stones tunes are never really finished in the studio, and they always continue to evolve on the road.

All of this got me thinking about cover songs. A cover song is where an artist, usually an established artist, sings/performs a song written by another artist. Think of a cover song as a two-for-one…you get a taste of both the performer and the original artist. Often times the artist doing the cover finds something in the song that the writer/original performer might have missed. Think, “Hallelujah” by Jeff Buckley versus Leonard Cohen’s original version (although I prefer Cohen’s version, the rest of the planet dug the Buckley version). Or perhaps Aretha Franklin’s version of “Respect” which is definitive, instead of Otis Redding’s original. Most artists do prefer to write their own stuff. Typically every band/artist starts as a cover artist… every bar band I’ve ever seen typically does other people’s stuff until they can establish their own music. If an established artist chooses to do cover songs, they typically limit it to one or two tracks on an album. However, there are a number of cases where an artist does an entire album of cover songs, or as I like to call it, a “covers albums.” Unlike Paul Simon, these cover albums tend to cover other artists, not the artist’s own back catalog, but Paul Simon gonna Paul Simon.

Over the years I think the cover album has gotten a bad reputation. The reaction from fans usually runs along the lines of questioning whether the band has run out of ideas. Is the band getting lazy? Sometimes the cover album is considered a contract filler, much like some of the lesser live albums out there tend to be. Cut a covers album, hand it in to the record company to fulfill the specified number of albums in the contract and sign a new deal. And I’ll be the first to admit, there have been some really bad covers albums. The Band, who weren’t getting along, and couldn’t really function put out Moondog Matinee in an attempt to recapture their early, bar-band days. They missed the mark pretty widely… Although I dug their version of “Mystery Train.” Annie Lennox’s Medusa left me stone cold, and I love her voice. And, while most people would disagree with me, I loathed Springsteen’s album, We Shall Overcome: The Seeger Sessions. I can’t even listen to that record and I think everybody knows I’m a Springsteen fanatic.

All that aside, when the right artist is paired with the right material, a covers album can be something quite special. I think the following records are examples of those rare occasions where the artist chose material that was perfect for them. Whether it’s an artist returning to the roots music that originally turned them on or the artist’s take on some of their contemporaries tracks, there are plenty of examples of great covers albums. These are my favorites.

  1. Aerosmith, Honkin’ On Bobo – Arriving three years after the over-produced Just Push Play, this album was a welcome return to Aerosmith’s sleazy, bloozy, early sound. It was touted as a blues covers album but it’s more like covers of songs by groups who covered the blues… but I’m splitting hairs here. Aretha’s “I Never Loved A Girl,” “Baby Please Don’t Go” and a rockin’ version of “Road Runner” are some of the highlights. I haven’t been a fan of much that Aerosmith has done since Permanent Vacation, but this one is a fun record.
  2. Gregg Allman, Low Country Blues and Southern Blood – Gregg’s 2011 LP, Low Country Blues was a T. Bone Burnett produced blues album that I just loved. It’s the perfect pairing of material and artist. Gregg was made to sing the blues. His 2017 follow up, Southern Blood was supposed to feature all new material, but alas, Allman was overcome by cancer. Both of these albums were late career gems… My thoughts on the latter, LP Review: Gregg Allman, ‘Southern Blood’: A “Brother’s” Beautiful Farewell.
  3. Billie Joe Armstrong & Norah Jones, Foreverly- Billie Joe Armstrong heard an old Everly Brother’s album, Songs Our Daddy Taught Us, a covers album the Everly’s did after they got famous. As a master stroke he brought in Norah Jones to sing the harmony vocal that Phil sang. I love “Roving Gambler,” “Silver Haired Daddy of Mine,” and of course, the old standard “Barbara Allen.” This is a quiet, laid back, rootsy treat.
  4. David Bowie, Pin-Ups – This album was considered at the time to be Bowie in a holding pattern. It’s basically Bowie doing a bunch of late-60s blues based covers. He also does a Springsteen track, “Growin’ Up” and an early Syd Barret Pink Floyd track, “See Emily Play.” I love the song selection and Bowie rocks on this album.
  5. Johnny Cash, American Recordings – Rick Rubin pulled Johnny Cash out of career oblivion and exile to record this fabulous set of covers, including songs by Danzig, Tom Waits and Leonard Cohen. It still sends chills up my spine to hear The Man In Black return. His follow-up, cut with Tom Petty and the Heartbreakers, was another gem, Unchained. If you dig those albums, I also highly recommend the box set of out-takes, Unearthed, that has some mind blowing stuff including Cash singing Neil Young’s “Heart of Gold” backed by the Chili Peppers (sans Anthony Kiedis). This is essential listening.
  6. Eric Clapton, From The Cradle – Clapton returning to where it all began for him, the blues. The critics suggested he was a tad too reverent on some of these blues chestnuts, but who wouldn’t be reverent with a song like “Hoochie Coochie Man,” a track written by Willie Dixon and first done by Muddy Waters? Clapton sounds more engaged on this record than anything he’s done since Layla.
  7. Bob Dylan, Shadows In the Night – The world’s greatest song writer doing covers from the great American songbook that are all related in some way to Frank Sinatra? This should be a disaster but it just works. He went on to record four more discs worth of these covers,which like Rod, was overdoing it. I still love this one though…
  8. The Hindu Love Gods, The Hindu Love Gods – R.E.M. (sand Michael Stipe) backed Warren Zevon on his album, Sentimental Hygiene. They had some extra studio time and decided to bang out this grab bag of covers. They’re mostly old blues or country standards but he also did “Raspberry Beret” which became a surprise hit. I don’t think this music was ever supposed to see the light of day and it’s release soured Zevon’s relationship with R.E.M., which is too bad because this is a great record.
  9. Alison Krauss & Robert Plant, Raising Sand – Another T. Bone Burnett produced gem. T. Bone paired Plant and Krauss at a benefit and Plant was so enthused by the harmonizing, they decided to cut an album. I always wished they’d come back in and recorded some original stuff, but this covers album is super. Oh, and I think it won a Grammy or two.
  10. John Lennon, Rock ‘N’ Roll – Lennon returning to the music of his youth, the music that turned him onto rock n roll in the first place. This music is so joyful. I think people were put off by this album when it came out, but I think it’s aged very well. Lennon owns “Stand By Me.”
  11. Paul McCartney, Run Devil Run – Dylan always returns to folk music in troubled times… McCartney always seems to return to the music of his youth, early rock n roll when he’s facing tough times. This was the first album he cut after the loss of his beloved wife Linda. David Gilmour plays guitar. What’s amazing are the three originals McCartney penned sound like oldies… I didn’t realized he’d written them until later.
  12. Metallica, Garage, Inc. – This started as a five song cassette tape and evolved into a sprawling two disc opus. They cover a lot of early British heavy metal from bands I’d never heard of. They also do a great job on Thin Lizzy’s “Whiskey In a Jar.” They even throw in “Turn the Page” by Seger and “Tuesday’s Gone” by Skynyrd for good measure. Wild, heavy good times.
  13. Harry Nilsson, Nilsson Sings Newman – Harry Nilsson’s voice was one of the most amazing of the 70s singer/songwriter genre. He was, to put it lightly, eccentric. He was a huge fan of Randy Newman, also a tad idiosyncratic. Harry did Randy’s “Simon Smith and the Amazing Dancing Bear” and became so enamored with Newman he did a whole album of his songs. Harry is largely credited with breaking Newman to the rest of the world. I love this record. The vocal overdubs are the thing of legend.
  14. Robert Plant, Dreamland – After pairing with his old guitarist for the Page & Plant albums and tours, Plant re-emerged as a solo artist with a covers album of old blues tracks and sixties songs he liked/admired. Dylan’s “One More Cup of Coffee” sounds like it was written for Plant. I love his take on “Hey Joe,” which has more in common with the original than Hendrix’s cover version. “Darkness Darkness” and “Morning Dew” are definitive here. I also saw Plant on this tour and his voice was sublime.
  15. Rage Against the Machine, Renegades – Rick Rubin pushing a band to do covers, who’d have thought? At least this wasn’t his usual acoustic approach. Tom Morello’s guitar dive bombs through Zach de la Rocha’s vocals on some great tracks from “The Ghost of Tom Joad” (Springsteen), to “Maggie’s Farm” (Dylan) to “Down On The Streets” (Iggy & The Stooges). RATM never did a bad album.
  16. The Rolling Stones, Blue & Lonesome – The Stones going back to their blues roots… It’s like hearing them in London at the Marquee Club in 1965. This album was, again, the perfect pairing of artist and material. This is essential listening for Stones fans, blues fans and fans of rock n roll. I would recommend their album, On Air, a compilation of live takes from their early days on the BBC, as a companion piece. My thoughts on Blue & Lonesome, LP Review: The Rolling Stones, The Superb “Blue And Lonesome” – They Come Full Circle and On Air, LP Review: The Rolling Stones, ‘On Air’ – An Exciting Look Back To The Early BBC Performances.
  17. Bob Seger, Smokin’ O.P.s – The title purportedly was supposed to mean “smokin’ other people’s songs.” Seger takes on oldies, “Bo Diddley” to takes on contemporaries, Stephen Stills “Love The One Your With,” and Tim Rice’s “If I Were a Carpenter.” This is an upbeat rocking album, and a must for fans of Seger’s rockier stuff.

That’s it folks! If I missed an album of covers by an artist you know and love, let me know in the comments. I recommend everybody check out or buy these albums. If you’re thinking there’s a lot to love here, well, “you took the words right out of my mouth…”

 

 

RIP Aretha Franklin, The Queen of Soul: Another Legend Gone

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Another day, another legend gone.

And make no mistake people, Aretha Franklin, the Queen of Soul was a legend. She’s the first person outside of the Beatles (John, Paul, George, Ringo) who could be identified with only one name… Aretha. You didn’t need to include the Franklin, people knew.

As I mentioned in an earlier post, I’ve been traveling a lot lately (Thoughts From The Traveling Salesman And A B&V Playlist: Hanging On The Telephone). I was in the airport on Monday, waiting for a plane, when I heard the news that Aretha was in hospice. “How could that be?” I asked myself. She was only 76, way too young to pass. My thoughts the rest of the week were centered on Aretha and her brilliant career. I was moving slowly through the labyrinth style security line at DIA on Thursday morning, yesterday, when I heard this scruffy kid with a really sorry excuse for a mustache, who looked thirteen, say “Aretha Franklin just died.” I spun around quickly…”When?” was all I could say. “Just now…” He went on to say, “I can’t really think of any of her songs…” I considered striking him and challenging him to a duel, but he was a TSA agent and I didn’t want to end up in a padded room in the basement of the airport. Instead, I walked in sad silence to my gate. The Queen of Soul was gone.

I couldn’t help yesterday, flashing back 41 years to the day, on a similarly sad August afternoon. I was in junior high school and I was piled into my football coach’s car, along with what seems like ten other players, all shoulder pads and helmets, on our way to football practice. The news came over the radio that Elvis Presley, the King of Rock and Roll had died. My coach, Coach Taylor, pulled his blue Mercury over to the side of the road and we all listened to the radio news report. “How could this be, the coach uttered, Elvis was my age?” Indeed, coach, how could this be?

Aretha Franklin was a titanic talent. She got her start, like many singers, in church. In this case, it was her father, the Reverend C.L. Franklin’s church. Aretha could sing but she was also a self-taught pianist. Frankly, I’ve always felt, like Elton John said on social media yesterday, that she was an underrated pianist. Rev C.L. Franklin was actually a preacher of some renown and had a touring tent gospel show, preaching the word. Aretha would sing. Because of that renown, many other famous people would stop by the Franklin residence in Detroit. The Soul Stirrers featuring none other than Sam Cooke were friends and occasional visitors. Martin Luther King, Jr was also a guest in the Franklin home. I read somewhere, that when she was 12 years old, Aretha actually sang for the first time publicly for MLK. That moment, if that’s true, sort of crystallizes a lot of things that Aretha conjures in my mind- singer, gospel, and civil rights advocate. In 1968, she also sang at Reverend King’s funeral cementing her connection with the Civil Rights Movement.

It wasn’t long after beginning her singing career, inspired by Sam Cooke’s switch from gospel to secular, pop music, that Aretha was moved to do the same. She transplanted to New York and signed with Columbia Records. But it wasn’t until she moved to Atlantic Records, and teamed with Producer Jerry Wexler, that things clicked. And boy did they. My frame of reference and focus on Aretha’s catalog has always been the must-have albums, I Never Loved A Man The Way That I Loved You and Lady Soul. There are so many other great Aretha albums from that late-60s early 70s time period, that are essential soul: Aretha Now, Soul ’69, Spirit in the Dark, and Young, Gifted And Black. It was a criminal omission on my part, to not include her fabulous live album Live At The Fillmore West on my Essential Live LPs list (BourbonAndVinyl Comes Alive: The Epic List Of Essential Live Albums). I advise everyone to dive deeply into this woman’s catalog. So many hits, so many great songs. My favorite might be “Baby, I Love You,” but it’s hard to name just one. She sold over 75 million albums in her career. That’s a ton of records. And like Elvis, Aretha would occasionally return to her gospel roots on records like Amazing Grace.

When you think about Aretha’s career, it all boils down that voice. What Wexler was so genius at in terms of producing was that he brought her gospel roots out in the soul music she performed. No matter what genre Aretha was interpreting, blues, soul, jazz, you could always hear the gospel in her voice. The Stones, both Mick and Keith, commented in their tributes yesterday, the same thing, that Aretha “took you to church.” My buddy Stormin’ once said that same thing to me about Aretha, years ago. I know what they all mean. She was one of the most brilliant interpreters of other people’s music, no matter who it was – Sam Cooke, B.B. King, or Otis Redding – Aretha would make the songs her own. And her mastery of the call and response with her back up singers is another thing she just owns for me.

The most famous song she did, was Otis Redding’s “Respect.” When Otis heard the Aretha’s version of the song, he muttered, “Damn, that girl just stole my song.” He knew it wasn’t his any more. “Respect” indeed became Aretha’s “signature song,” much the same way “Satisfaction” is for the Stones. It was the perfect song for Aretha. She fought her whole life as a black woman for civil rights but also for women’s rights. It was such a strong statement in her voice, demanding respect as a proud, black woman. That’s why Aretha is such a legend, she transcends music and soul. She was the voice of America, not just musically but culturally. It’s a shame so many of the issues she fought for remain problems to this very day… but I digress. I could literally listen to this woman sing all day. In fact, the last two days, that’s what I’ve done.

It’s going to be a very soulful weekend here at the B&V labs, sipping dark, murky fluids and listening to the Queen of Soul into the early morning hours. I do like to think, if there is a “Heaven,” that the King of Rock n Roll and the Queen of Soul are reunited today… singing a great, great gospel song. That’s a service that even I’d attend…

RIP Aretha Franklin! Long live the Queen!