Tony's Picks - 2022

It’s that time of year when every music/movie/book critic puts out his/her favorites for the year. I’ve done only one of these in the past few years because I simply didn’t have the time or energy to do it. This year I have plenty of time. I'm not so much a critic as I am a fan. Last year’s list was fairly eclectic with progressive rock, metal, English pop, some Americana, and a chick singer. For the most part, this year’s list has a bluish tint.

Bonnie Raitt - Just Like That... [2022] – Death casts a shadow over this collection of songs, and since it was recorded while the pandemic was raging, why not? There’s a convicted murder who seeks redemption as a prison hospice worker in Down the Hall. In the title track there’s the stranger who shows up unannounced on a woman’s doorstep after he received her dead son’s heart via transplant. Bonnie alludes to those no longer with us in Livin’ for the Ones, when she proclaims “If you ever start to bitch and moan, just remember the ones who won’t ever feel the sun on their faces again.” For the rest of the album, you get what one comes to expect with a Bonnie Raitt release ever since Nick of Time [1989], and we’re better off for it.

Buddy Guy - The Blues Don't Lie [2022] – The last of the blues giants is finally slowing down. His tour to support The Blues Don't Lie has been billed as the farewell tour. Unlike others who’ve had farewell tours only to come back [The Who, Kiss, Ozzy], I’ve got a feeling that at age 86, this one will stick. Since 2008, Tom Hambridge has been Buddy Guy’s producer, and since 2008 there’s been a formula. Guest musicians? Check. Songs written by Hambridge, Gary Nicholson, and/or Richard Fleming? Check. Playing like the assassin that Jimi Hendrix wanted to be? Check. For the most part Buddy has been recording the same album for over thirty years, not that there’s anything wrong with that. The only thing that doesn’t work here is “I’ve Got a Feeling.” Buddy Guy and the Beatles are mutually exclusive, and they should remain that way.

Eric Gales – Crown [2022] – “My name is Eric Gales – any questions?” So begins this superb album. Once upon a time, Eric Gales was a blues prodigy. He released his first album when he was sixteen. Eighteen albums, descent into drug addiction and some jail time later, Gales releases a flawless album. Produced by fellow blues prodigy Joe Bonamassa and his partner in crime Josh Smith, Crown has the blues, rock, soul, rhythm & blues, funk, a little bit of swing, a healthy dose of horns, and guitar heroics – lots of guitar heroics. Most of the songs are written by Gales, Bonamassa and Smith, Gales sings about race, jail, getting knocked down and getting back up, his wife [who sings backup and takes lead vocals for Take Me Just As I Am]. Check out Gales’ guitar duel with Joe Bonamassa on the title track. Somewhere Jimi Hendrix and Stevie Ray Vaughan are smiling. I have one question, Eric – why has it taken this long for me to find you?

Larry McCray - Blues Without You [2022] – Like Eric Gales’ Crown, this too was produced by Joe Bonamassa and Josh Smith. Those two are getting pretty good at the record production thing. The lead-off song Arkansas is a smoking autobiographical, horn-laden, funky statement of intent. Without Love It Doesn’t Matter changes things up immediately thereafter with a Fats Domino groove. Breaking News, with a 1970s sound of horns and strings, draws inspiration from the steady drumbeat of bad news heard every night. Roadhouse Blues [not to be confused with the Doors song of the same name] is Albert King territory. Drinkin’ Liquor and Chasin’ Women is back to the Fats Domino vibe [thanks to Reese Wynans]. Down to the Bottom is a big ballad with Warren Haynes. Mr. Easy is a slower, funkier tune with exceptional horns and the guitar talents of Joe Bonamassa. The album closes with a solo acoustic blues called I Play the Blues. I’m not sure which is the better album – Crown or Blues Without You – but both would be worthy additions to your blues collection.

Los Lobos - Native Sons [2021] – This came out last year, but I didn’t buy it until this year. Musicians had lots of time on their hands when COVID hit, many of whom recorded new music with imaginative titles including the word “lockdown.” Los Lobos put some thought into what they would call their collection of songs recorded under similar conditions. This is a covers album [except for one original song, the title track], but this one has a theme – it features a dozen songs originally written and recorded by artists from Los Angeles. Their choice of songs reflects the melting pot that is LA music. They cover the Chicano side with Thee Midniters, Lalo Guerrero, and Willie Bobo. I admit to being ignorant of their music, but as luck would have it, the one song I did recognize was Lalo Guerrero’s Los Chucos Suaves, which I heard him sing on Ry Cooder’s Chavez Ravine album [on which David Hidalgo played]. They venture to the black side with War’s The World Is a Ghetto. Their clever medley of Buffalo Springfield’s Bluebird and For What It’s Worth brilliantly captures the interplay of the guitar parts as done by Stephen Stills, Neil Young and Richie Furay. They keep the original arrangements but add their own Los Lobos spin. One band I never imagined Los Lobos would cover is the Beach Boys, but they chose wisely which song to cover – Sail On Sailor. The other knuckleball they threw me was when they ventured into singer/songwriter territory with Jackson Browne’s Jamaica Say You Will.  Only once did they pay tribute to one of their contemporaries – The Blasters [Flat Top Joint].  This eclectic set of songs is a good companion piece to The Ride/Ride This [2004], which included performances from a couple of the artists covered here [The Blasters’ Dave Alvin and Thee Midniters Little Willie G.]. Covers albums are ok for a stopgap, but I would love to hear original music from this great band.

Tears for Fears - The Tipping Point [2022] – Here’s something that is completely unlike anything on this list. I have always been a sucker for good English pop, and this one’s pretty good. Eighteen years had passed since TFF’s last album [Everybody Loves a Happy Ending]. They wanted to record another album shortly after that last album, but Roland Orzabal’s wife got sick. She died in 2017, then Orzabal had his own bouts with ill health. He turned to his TFF partner Curt Smith to create something new. What resulted was a collection of songs dealing with loss, grief, and reconciliation. Given my own circumstance, this hit home, and it spoke to me – I knew the feeling all too well. That is reason enough for me to include this on my list.

Edgar Winter – Brother Johnny [2022] – Johnny Winter has been gone since 2014, when he passed away in Zurich while on tour. His brother Edgar resisted doing a tribute album. He felt like doing so soon after his brother’s death would be exploitative. Eight years have passed, and Edgar reconsidered – the time was finally right. For this album he gathered many guitarists - Kenny Wayne Shepherd, Joe Bonamassa, Warren Haynes, Derek Trucks [without his wife for once], Billy Gibbons, David Grissom, Joe Walsh, Steve Lukather [yeah, the Toto guy], Doyle Bramhall II, and Keb’ ‘Mo. Oddly enough Rick Derringer is nowhere to be found here. Edgar sings some but not all of the songs. His voice has gotten gravelly over the years, but this is the blues, so it works. Rather than go song-by-song because they’re almost all good, I’ll single out one as being great – Mean Town Blues. Edgar sings, Joe Bonamassa plays. I single this one out because, if you close your eyes while you listen, you can hear Johnny Winter. Joe B nails Johnny’s tone. This is an Edgar Winter CD, but it’s his brother’s music, and it’s wonderful.

Gov’t Mule - Heavy Load Blues [2022] – Ever since the Allman Brothers Band called it a day in 2014 [and Gregg Allman’s subsequent death two and a half years later], Gov’t Mule has been the next best thing for me.  I have followed the Mule since the beginning, when Warren Haynes and Allen Woody were still in the Allman Brothers and Gov’t Mule was still a side gig.  In those 28 years hence, Heavy Load Blues is the first [and hopefully not last] “all-blues” album. Of the twenty-one songs that make up the two-disk version, thirteen of them are songs by Little Milton, Bobby ‘Blue’ Bland, Junior Wells, Howlin’ Wolf, Elmore James, and Muddy Waters among others. The remaining songs have the blues vibe but have the hard rock ethos we’ve come to expect from Gov’t Mule. One foot in the blues, indeed. I saw Gov’t Mule twice this year, and the “new” songs were fabulous. Eleven years ago, Warren Haynes recorded an R&B/soul album under his own name, Man In Motion. It’s the blues side of soul [the “B” in R&B is “blues," after all]. I think of Heavy Load Blues and Man In Motion as companion pieces. Buy both of them.

Walter Trout – Ride [2022] – Walter Trout is one of the best blues guitarists nobody has heard of. I saw him open for Gregg Allman in Sacramento in 1998. I loved what I heard and have been a fan ever since. Ride is his 30^th [!] album, a superb follow-up to his equally superb Ordinary Madness [2020] album. Trout’s music is joyous, or at least as joyous as the blues can be. He can step on the gas and go full throttle, or he can ease back and play a slow, minor-chord blues that would make Gary Moore or Peter Green proud. A ferocious soloist, this 71-year-old blues man shows no signs of fading into “adult contemporary Hell,” unlike a British guitarist of renown I could mention.

Mike Campbell & The Dirty Knobs - External Combustion [2022] – I never saw Tom Petty live. This year I saw the next best thing, Mike Campbell and his band The Dirty Knobs. I saw them open for Gov’t Mule in October. Wouldn’t you know they played a fairly Tom Petty-centric set, but I digress. External Combustion is this unit’s second album [Wreckless Abandon (2020) being their first]. During his life as a Heartbreaker, Mike Campbell never had to write an entire album’s worth of material himself. With a songwriter as great as Tom Petty he never had to. Now he’s done it twice, and he’s made the transition from being Tom Petty’s co-pilot to front man look easy. It can’t be easy to start your career over when you’re seventy, but Mike Campbell has done it. In addition to the hard-hitting rock one comes to expect from the Dirty Knobs, they cover more stylistic bases - rockabilly [Bridget Bardot], “country”-ish rock [Electric Gypsy], ballads [State of Mind, In This Lifetime], boogie [Lightning Boogie], and ELO/Revolver-era Beatles [Cheap Talk]. With External Combustion, Mike Campbell & the Dirty Knobs have avoided the sophomore slump.

Jethro Tull - Tony's Picks

Jethro Tull has been one of my top ten favorite bands since I was a college freshman. KILO 94 used to have quite a few Tull songs in heavy rotation.  Throughout its existence, Jethro Tull has been a lot of bands.  Since its inception, the band has had more than twenty different members, the only constant being Ian Anderson.  The band embraced the blues, jazz, English folk, medieval, classical, hard rock and electronic music.  My first two Tull records were of the “greatest hits” variety – M.U. - The Best of Jethro Tull [1976] and Repeat - The Best Of Jethro Tull - Vol. II [1977]. It wasn’t until after I saw them on their Broadsword and the Beast tour in 1982 that I started buying their music in earnest.  My favorite era of the band is from the early days and the albums Stand Up [1969], Benefit [1970], and [of course] Aqualung [1971].

Their first album is This Was [1968]. It sounds nothing like anything else in their catalog. Guitarist Mick Abrahams shared songwriting duties with Ian Anderson. It was Abrahams’ influence that steered Tull’s music in the direction of the blues and jazz.  Of the album’s ten songs, four of the songs are instrumentals, two of which are covers [Cat’s Squirrel and Roland Kirk’s Serenade to a Cuckoo].  The vocal tracks of note from the album are Beggar's Farm and A Song for Jeffrey. As good as they are, they just don’t sound like Jethro Tull, not as we know them anyway.  This band sounded more like The Graham Bond Organization than the progressive outfit that it became, and This Was is an anomaly in the Tull catalog.  By the time of This Was’ release in October 1968, Mick Abrahams was on his way out of the band.  Abrahams wanted to continue in the blues direction, while Ian Anderson wanted to branch out into other musical forms.  This Was is a good album, just not representative of the rest of Tull’s recorded output.  In my opinion it is for completists only.

My playlist of early Tull starts with a single recorded with Mick Abrahams.  Love Story is an A-side for a non-album single that was released in the US after This Was. A straightforward guitar rocker that sounds like nothing on This Was, it includes some flute and mandolin segments that foreshadows the folk sound that would come later.  Released in November 1968, it was the last Tull recording Mick Abrahams would contribute to before leaving Tull to form Blodwyn Pig [his last Tull gig was November 30, 1968].  The 50^th anniversary release of This Was includes both the single and the version recorded for the BBC.  I prefer the BBC version since it has more of a “live” feel.

When Tull needed a new guitarist they hired Tony Iommi.  The inventor of heavy metal was in the band two weeks before he realized he didn’t fit in with Tull. He stuck around long enough to appear with the band in the Rolling Stones’ Rock and Roll Circus [only Ian Anderson performed live, the rest of the band mimed]. After Iommi’s departure Tull hired guitarist Martin Barre in December 1968.  Barre had to learn This Was quickly, as the band resumed touring. In addition to performing songs from This Was the band also road-tested songs that would appear on the next album, Stand Up [1969].

Stand Up [1969]. With Mick Abrahams gone, Ian Anderson had full control over the music and the lyrics. He also had a guitarist who was more sympathetic to exploring different musical avenues – Martin Barre.  Gone was the blues puritanism, and with that came more eclecticism, and “the riff.”  Martin Barre played a Les Paul Junior, a guitar described by his main influence Leslie West [also a LP Junior player] as “a tree with a microphone.” Barre’s guitar tones were thicker, darker, and louder than those of Mick Abrahams.  Martin Barre was also an exceptional acoustic player. The first song Martin Barre recorded with Jethro Tull was Living In The Past - its 5/4 time was definitely NOT the blues. On Stand Up, Tull still had one foot in the blues with A New Day Yesterday. But this isn’t really the blues, it was more “blues rock,” and it has a great riff. Tull did a jazzy re-working of Bach’s Bourrée in E minor BWV 996 (Fifth Movement) [Ian Anderson would refer to it as “cocktail jazz], and English folk elements entered into the mix [Jeffery Goes to Leicester Square]. Back to the Family is Ian Anderson being annoyed with his parents. Side One ends with Look into the Sun, a sad acoustic ballad about a girl. Side Two is where I think the meat of Stand Up is.  It begins and ends with furious rockers [Nothing Is Easy and For a Thousand Mothers, respectively].  Nothing Is Easy has always been a personal favorite of mine from Tull. Fat Man is a mandolin/balalaika excursion into Eastern-sounding music which pokes fun at Mick Abrahams. We Used to Know is a depressing turn toward psychedelia.  Reasons for Waiting is a well-done ballad with Ian Anderson playing the acoustic guitar and Hammond organ, while Martin Barre plays the flute [his first instrument]. Adding to the song is wonderful orchestration from David/Dee Palmer. Ian Anderson is annoyed with his parents again on For a Thousand Mothers.  After the pastoral beauty that is Reasons for Waiting, For a Thousand Mothers is a manic closer for Stand Up. Sweet Dream was a single cut after Stand Up’s release. It’s a heavy and somewhat experimental tune (for them, anyway) with horns and strings. Martin Barre played the horn parts on guitar in concert [an example of which can be found on the 20 Years Of Jethro Tull box set (1988)].  With Stand Up, Martin Barre the “guitar hero” is born.

Benefit [1970] isn’t as great stylistic leap from Stand Up as Stand Up was from This Was.  Martin Barre’s guitar heroics continue here. Benefit featured the same core line-up as Stand Up [Ian Anderson, Martin Barre, Glenn Cornick (bass), and Clive Bunker (drums)].  John Evan [piano, organ], a pre-Tull bandmate of Anderson’s, joined the core line-up on a “temporary” basis and ended up staying for eight years. Benefit has a darker, moodier feel than its immediate predecessor. Ian Anderson’s flute is less prevalent, the music is less folky, but there’s still plenty of English folk to be heard. The opener With You There to Help Me is a great piece of melancholy that features guitar chords that switch between gentle acoustic and jarring electric, punctuated by Anderson’s smooth yet unnerving flute.  It has a two-minute finale that is a bit of a freak-out, with backwards-recorded flute. Nothing To Say has an intriguing folk melody and a strong, hard rock chorus. Alive and Well and Living In has a jazz vibe, thanks to Evan's piano.  The folky For Michael Collins, Jeffrey and Me - the third and final tribute to Jeffrey Hammond - has a very nice melody and a catchy chorus. Son is pure hard rock where Ian Anderson is annoyed with his parents yet again. It is one of Jethro Tull’s strangest songs. It clocks in at under three minutes, but it wildly vacillates between melodic hard rock and strange folk rock led by plinking piano and acoustic guitar.  To Cry You A Song has an endlessly repetitive Martin Barre riff, with Ian Anderson’s vocals sounding like they’re coming through a Leslie speaker, giving the song a bit of a psychedelic feel. The stand-alone single from the same period, The Witch’s Promise, has a medieval tint that foreshadows the band’s future folk direction [Songs From the Wood, Heavy Horses, Minstrel in the Gallery, Stormwatch]. It’s one of a very few Jethro Tull songs to feature a mellotron. Teacher is the flip side of The Witch’s Promise. It has a simple yet addictive riff from Martin Barre that earned extensive FM radio airplay. Bassist Glenn Cornick left the band after the tour for this album was completed.

Aqualung [1971].  Some would have you believe Aqualung is a concept album – it isn’t.  Tull would hit their listening public with the real thing a year later with Thick as a Brick.  Aqualung has themes running throughout.  Side One looks at urban characters – the lecherous homeless bum from the title song, the schoolyard slut in Cross-Eyed Mary.  It has a couple of short acoustic reflections on love and life – Cheap Day Return and Wond’ring Aloud. Mother Goose is a wonderful acoustic number with multi-tracked flutes. The usual suspects from this album – the title song, Cross-Eyed Mary, and Locomotive Breath – populate my playlist.  In the minds of classic rock radio programmers, these are the only three songs on the album.  Side Two is Ian Anderson ranting against organized religion in general, and the Church of England in particular.  My God is the most progressive thing on the album [and probably the song on the album I like the most] with tons of heavy guitar work and an extended flute solo. It starts off at a slower pace and sort of brooding, then introduces the electric guitar and eventually flute and things start getting crazy. It ranges from the brooding acoustic guitar [courtesy of Ian Anderson], a solemn piano to another savage riff from Barre and an unexpected medieval choral breakdown [Gregorian chants?].  Hymn 43 focuses on how people will use God's word to explain their actions and mocks American pop culture in the process. The piano serves a more leading role here, which offers a nice change of pace, and the guitar serves well in a supportive role. It has a guitar riff that sticks in your head for days. Drummer Clive Bunker left the band after touring for Aqualung so he could get married.

Life Is a Long Song [1971] is another exercise in folk acoustic bliss from Ian Anderson.  Anderson said he took up the flute because he realized he was never going to be as good a guitarist as Eric Clapton. He sells himself short as he is very good at the folk acoustic thing as this song attests. Tull recorded an EP of the same name that appeared six months after Aqualung.

The playlist

This somewhat resembles a “best of” with quite a few well-known songs, but I have enough deep tracks to make it interesting.  Of note, I like to sequence the songs from the second side of Stand Up [minus We Used to Know] and the first side of Benefit in order like one would hear the vinyl albums played on an old-style turntable with a record changer.  I like the flow.

Love Story [BBC Sessions] – 1968
Nothing Is Easy [Stand Up, 1969]
Fat Man [Stand Up, 1969]
Reasons for Waiting [Stand Up, 1969]
For a Thousand Mothers [Stand Up, 1969]
With You There To Help Me [Benefit, 1970]
Nothing To Say [Benefit, 1970]
Alive And Well And Living In [Benefit, 1970]
For Michael Collins, Jeffrey And Me [Benefit, 1970]
Son [Benefit, 1970]
To Cry You A Song [Benefit, 1970]
The Witch's Promise [Single, 1970]
Teacher [Single, 1970]
Aqualung [Aqualung, 1971]
Cross-Eyed Mary [Aqualung, 1971]
Cheap Day Return [Aqualung, 1971]
Mother Goose [Aqualung, 1971]
Wond'ring Aloud [Aqualung, 1971]
My God [Aqualung, 1971]
Hymn 43 [Aqualung, 1971]
Locomotive Breath [Aqualung, 1971]
Life Is a Long Song [Life Is a Long Song EP, 1971]
Sweet Dream [Single, 1970]
Living in the Past [Single, 1969]
A New Day Yesterday [Stand Up, 1969]