Episoder
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British superstar Cliff Richard has released his first album of new material in 14 years, and the man who launched his career in the late 1950s as England’s answer to Elvis Presley, still sounds fresh and energetic.
The album features songs written by some of Richard’s long-time associates, including Terry Britten (“Devil Woman,” “What’s Love Got to Do with It”), Christopher Neville Eaton ("Lost in a Lonely World,” “Saviour’s Day”) and Chris Neil (“All I Need Is A Miracle”). Additionally, long-time friend Olivia Newton-John sings a duet with Richard, who, at 78-years-old, has apparently found the vocal Fountain of Youth.
The album also features four of Richard’s past hits that have been given new arrangements with the Royal Philharmonic Orchestra. Producers Juliette Pochin and James Morgan were charged with classically enhancing songs such as “Devil Woman” and “Miss You Nights,” and the husband and wife team speak to journalist Robert Neil about the process (as well as the nervousness of presenting the songs to Richard).
This episode also offers a brief profile of Richard for the American audience, where he was never able to achieve the same level of stardom as he did in the UK, where he is one of the best-selling artists of all time.
Notable Quotes about Sir Cliff Richard, who was knighted in 1995:
Bob Geldof
“It’s never been said, but without Cliff and (his backing group) The Shadows, there’s no English pop business. As George Harrison said: ‘No Shadows, no Beatles.’”
John Lennon
“The first English record that was anywhere near anywhere was “Move It” by Cliff Richard. Before, there’d been nothing.”
Sting
“Cliff Richard is, in my opinion, one of Britain’s finest singers technically and emotionally. I’ve been a fan since “Living Doll.” Long may he sing.”
Queen’s Freddie Mercury
“A tremendous influence on my early days as a performer.”
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One of the true joys of Christmas is music, which brings out the emotions of the season; however, many radio stations and streaming services only play a small selection of songs. As a result, many wonderful tunes go unheard.
This episode of Documenting Popular Music takes a look at 10 songs that are either unknown or underplayed in the United States at this time of year. The selections include songs from well-known American artists such as Bob Dylan, Kenny Loggins, John Denver, Herb Alpert and Simon & Garfunkel as well as legendary performers from other countries – Gordon Lightfoot (Canada), Cliff Richard (England), Dreams Come True (Japan) and Tatsuro Yamashita (Japan).
Music journalist Robert Neil narrates the presentation with background information about the songs.
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If you’ve ever thought your favorite superhero theme songs would sound great as original jazz tunes, then pianist extraordinaire Randy Waldman has the new album you’ll need to add to your collection. Waldman is one of the music industry’s most successful and popular session players, and he’s been featured on songs and album from numerous top-selling artists such as Barbra Streisand, Michael Jackson, Whitney Houston, Madonna, Olivia Newton-John, Kenny Rogers, Barry Manilow and many, many others.
Waldman has taken his love for jazz and combined it with his love for comic book heroes, and the result is the new album ‘Superheroes,’ which features jazz arrangements of 11 classic superhero theme songs. In an interview with journalist Robert Neil, Waldman says the idea for the album came from a conversation he had with Adman West (Batman) a number of years ago.
The collection of songs, which Waldman worked on as an arranger for several years, includes the themes from Superman, Batman, The Incredible Hulk and the Six Million Dollar Man. Waldman also reveals his playful nature with a fast-pace, fun rendition of Super Chicken.
Waldman is joined on the album by Carlitos del Puerto on bass and Vinnie Colaiuta on drums, who make up the stellar rhythm section. Additionally, an “A” list of jazz musicians making guest appearances on the album includes George Benson, Wynton Marsalis, Chick Corea, Steve Gadd and the vocal group Take 6.
The fun, drama and sentimentality of the songs on the album – along with the top-notch musicians – not only make this one of the most satisfying jazz albums of the year, but also a new prize for superhero fans to add to their collections.
You can learn more about Randy Waldman (including the long list of artists with whom he’s worked) by visiting his website www.JazzPilot.com.
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The songwriter who could easily be considered America’s unofficial poet laureate has a new album in which he revisits past composition with new recordings and new interpretations. Paul Simon has been writing the soundtrack to multiple generations’ lives since the 1960s, when he and childhood friend Art Garfunkel took folk-rock music to new heights of popularity.
Simon’s subsequent solo career allowed him to continue growing as a writer, musician and performer who produced some of the most critically acclaimed albums and songs from the 1970s and 1980s.
For his new album, entitled In the Blue Light, Simon has chosen 10 songs from his past that he felt needed to be update with new arrangements, harmonic structures, lyrics and various other alterations. The songs featured on the album are not from his large collection of Top 40 hits, but are instead album tracks that have filled out his unique ability to cleverly tell stories that have made him one of the most important songwriters of the past 50 years.
In a special approach to reviewing In the Blue Light, journalist Robert Neil looks at a handful of the new recordings and compares them to the original versions of the songs. Ultimately, Neil concludes that “fans who appreciate Simon’s inherent ability to write songs with rhythms, phrasings and melodies that can’t be found elsewhere, will find that In the Blue Light fits nicely alongside his best albums.”
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(This is Part II of the episode and runs about 20 minutes. Part I, which also runs about 20 minutes, is also available. The documentary is also available uncut in a 37 minute edition. Please check the menu for all episodes of ‘Documenting Popular Music,’ or visit http://documentingpopularmusic.libsyn.com or iTunes.)
In the 1970s, the most popular song of the entire decade was Debby Boone’s “You Light Up My Life,” which spend 10 weeks at the top of Billboard’s singles chart in 1977. While the overwhelming success of the song overshadows other aspects of Boone’s career, the eternally optimistic singer has had a varied and successful career in multiple musical genres.
In a new interview with journalist Robert Neil, Boone talks about the unusual circumstances that created the opportunity to record “You Light Up My Life,” and the odd path that followed. In her typically good-natured way, Boone jokes about how ‘green’ she was at that time and how her desire to sing in a variety of styles ultimately left her with a ‘branding’ problem.
She also talks about members of her famous family, and the conversation goes well beyond her legendary father Pat Boone. Debby is also related to two other iconic and hugely important musical performers: country singer Red Foley and singer/actress Rosemary Clooney.
Foley, considered one of the most important figures in the history of country music, was Boone’s maternal grandfather, and Clooney, who recorded some of the most popular pop songs of the early 1950s, was Boone’s mother-in-law.
In a free-flowing, casual interview, Boone talks about her famous relations, and Neil also speaks with John Rumble, senior historian at the Country Music Hall of Fame and Museum, who offers some insights into Foley’s career.
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(This is Part I of the episode and runs about 20 minutes. Part II, which also runs about 20 minutes, is also available. The documentary is also available uncut in a 37 minute edition. Please check the menu for all episodes of ‘Documenting Popular Music,’ or visit http://documentingpopularmusic.libsyn.com or iTunes.)
In the 1970s, the most popular song of the decade was Debby Boone’s “You Light Up My Life,” which spend 10 weeks at the top of Billboard’s singles chart in 1977. While the overwhelming success of the song overshadows other aspects of Boone’s career, the eternally optimistic singer has had a varied and successful career in multiple musical genres.
In a new interview with journalist Robert Neil, Boone talks about the unusual circumstances that created the opportunity to record “You Light Up My Life,” and the odd path that followed. In her typically good-natured way, Boone jokes about how ‘green’ she was at that time and how her desire to sing in a variety of styles ultimately left her with a ‘branding’ problem.
She also talks about members of her famous family, and the conversation goes well beyond her legendary father Pat Boone. Debby is also related to two other iconic and hugely important musical performers: country singer Red Foley and singer/actress Rosemary Clooney.
Foley, considered one of the most important figures in the history of country music, was Boone’s maternal grandfather, and Clooney, who recorded some of the most popular pop songs of the early 1950s, was Boone’s mother-in-law.
In a free-flowing, casual interview, Boone talks about her famous relations, and Neil also speaks with John Rumble, senior historian at the Country Music Hall of Fame and Museum, who offers some insights into Foley’s career.
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(This version of the episode is presented in its entirety and runs about 37 minutes; however, for listeners who prefer shorter episodes, the program is also available in Part I and Part II editions, which each run about 20 minutes. Please check the menu for all episodes of ‘Documenting Popular Music,’ or visit http://documentingpopularmusic.libsyn.com or iTunes.)
In the 1970s, the most popular song of the decade was Debby Boone’s “You Light Up My Life,” which spend 10 weeks at the top of Billboard’s singles chart in 1977. While the overwhelming success of the song overshadows other aspects of Boone’s career, the eternally optimistic singer has had a varied and successful career in multiple musical genres.
In a new interview with journalist Robert Neil, Boone talks about the unusual circumstances that created the opportunity to record “You Light Up My Life,” and the odd path that followed. In her typically good-natured way, Boone jokes about how ‘green’ she was at that time and how her desire to sing in a variety of styles ultimately left her with a ‘branding’ problem.
She also talks about members of her famous family, and the conversation goes well beyond her legendary father Pat Boone. Debby is also related to two other iconic and hugely important musical performers: country singer Red Foley and singer/actress Rosemary Clooney.
Foley, considered one of the most important figures in the history of country music, was Boone’s maternal grandfather, and Clooney, who recorded some of the most popular pop songs of the early 1950s, was Boone’s mother-in-law.
In a free-flowing, casual interview, Boone talks about her famous relations, and Neil also speaks with John Rumble, senior historian at the Country Music Hall of Fame and Museum, who offers some insights into Foley’s career.
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Rita Coolidge was one of the staples of Top 40 and Adult Contemporary radio in the 1970s and early 1980s. She’s back with a new album entitled 'Safe in the Arms of Time,' which takes a unique look at love, life and relationships.
The songs on the album reflect the maturity of someone who has already gone through the highs and lows of love and is now experiencing what the emotion is like at this stage of her life. Coolidge gives voice to the realization that relationships and romance don’t end after you reach a certain age, but that they are filtered through years of experiences.
Legendary Delta blues musician Keb Mo is featured on the album. He co-wrote two of the songs and sings a duet with Coolidge on “Walking on Water.”
The album was produced by Ross Hogarth and is on Blue Ělan Records, a company quietly gaining a reputation as an artists’ label, because of the way it embraces performers of all ages and genres. Coolidge says Blue Ělan reminds her of her days at A&M Records, when Herb Alpert and Jerry Moss were running the independent label as an artist friendly, family company.
Included in the review is a brief look at Coolidge’s career in the 70s and 80s.
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That unmistakable sound of West Coast smooth rock was all over the radio in the late 1970s and early 1980s with groups such as Hall&Oates, Player, Steely Dan, the Little River Band, Boz Scaggs, the Michael McDonald lead version of the Doobie Bros and many others.
The genre, which incorporated elements of smooth jazz and soul, is making a comeback, and a group helping to make the past current is Young Gun Silver Fox. The band is made up of Andy Platts and Shawn Lee, who are not recording cover versions of 80s songs, but are creating new material that sounds like it was originally recorded from that era.
They duo has a new album out called ‘AM Waves,’ and the guys are so skilled at what they’re doing that if you didn’t know better, you would think you were listening to songs you somehow missed 35 years ago.
On the new episode of ‘Documenting Popular Music,’ journalist Robert Neil speaks with Platts and Lee from their studio in London about the new album and the retro sound that is starting to get a good deal of attention.
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In the late 1970s, when Neil Diamond was asked to star in the movie the Jazz Singer, his career was at the peak of popularity, and he had not only established himself as an elite performer, but also an accomplished songwriter. Similarly, Gilbert Bécaud, who had reached stardom more than a decade before Diamond, was also revered as a top performer and songwriter in France and other European countries.
These two men came together in the late 1970s for a writing partnership that would ultimately produce about a dozen songs, including the first single from the Jazz Singer soundtrack – a song that would become one of the biggest recordings in Diamond’s career.
On this episode of Documenting Popular Music, veteran journalist Robert Neil spotlights the remarkable songwriting collaboration and offers details about the Diamond/Bécaud partnership that have not been highlighted before.
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For this ‘Throwback Thursday’ (TBT) episode of Documenting Popular Music, we are replaying our 2015 review of James Taylor’s ‘Before this World' album. To date, it is the last studio album Taylor has released, and he has been performing songs from the album on his current concert tour.
‘Before this World’ was produced by one of Taylor’s long-time collaborators, Dave O’Donnell, and the core musicians who perform on the album have also been part of Taylor's inner circle for a long time. Additionally, guests Sting and Yo-Yo Ma appear on the album, which debuted at #1 on Billboard’s album chart when it was released.
Included on the album is the now classic “Angels of Fenway,” a tribute to the Boston Red Sox World Series championship season in 2004.
Musicians on the Album:
Luis Conte: Percussion
Walt Fowler: Handclaps
Steve Gadd: Drums
Larry Goldings: Piano, Wurlitzer, Fender Rhodes, Organ, Accordion, Harmonium
Jimmy Johnson: Bass
Michael Landau: Electric and Nylon-String Guitars
David Lasley: Vocals
Yo-Yo Ma: Cello
Kate Markowitz: Vocals
Arnold McCuller: Vocals
Rajendra Prasanna: Shehnai
Caroline Taylor: Vocals
Henry Taylor: Vocals
James Taylor: Vocals, Acoustic Guitar, Harmonica, Hi-Strung Guitar, Synth Guitar
Sting: Vocals
Andrea Zonn: Fiddle and Vocals
The O&F Studios is currently working on an elaborate edition of Documenting Popular Music, which will take a look at the year in music from 1977, a significant year that helped shape the latter half of the 70s.
Additional episodes currently being produced include an interview with the author of a new biography about Gordon Lightfoot and an in-depth interview with Merilee Rush (“Angel of the Morning”).
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The Monkees TV show debuted in September of 1966 and ran until March of 1968. During that time, the band saturated the music charts and radio stations with songs such as “I’m a Believer,” “Daydream Believer,” “Last Train to Clarksville,” “Valleri,” “A Little Bit Me, A Little Bit You,” “Pleasant Valley Sunday,” “I’m Not Your Stepping Stone” and many others.
The group consisted for Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork, and the four had been assembled by producers at Screen Gems for the television show. In the beginning, the members of the group didn’t have much say in the music they recorded, and their vocals were their main contributions. However, the Monkees were eventually able to wrestle away more control of the recordings, and their musical careers continued after the television show ended.
This episode of Documenting Popular Music, takes a look at the individual members of the Monkees and what they did after the break up – in the 1970s and 1980s. Insight into their careers is provided by Monkees expert Fred Velez, who writes a blog for the website Monkees.net, and he authored the book A Little Bit Me, A Little Bit You: The Monkees From A Fan's Perspective.
Velez, who has a wealth of knowledge about the group, also offers some behind the scenes history, including how the Monkees and the Beatles hung out together, and how Dolenz ended up using a Beatles song in an episode of the Monkees TV show.
Part I of this feature takes a look at Nesmith and Dolenz.
Part II spotlights Jones and Tork.
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The Monkees TV show debuted in September of 1966 and ran until March of 1968. During that time, the band saturated the music charts and radio stations with songs such as “I’m a Believer,” “Daydream Believer,” “Last Train to Clarksville,” “Valleri,” “A Little Bit Me, A Little Bit You,” “Pleasant Valley Sunday,” “I’m Not Your Stepping Stone” and many others.
The group consisted for Micky Dolenz, Davy Jones, Michael Nesmith and Peter Tork, and the four had been assembled by producers at Screen Gems for the television show. In the beginning, the members of the group didn’t have much say in the music they recorded, and their vocals were their main contributions. However, the Monkees were eventually able to wrestle away more control of the recordings, and their musical careers continued after the television show ended.
This episode of Documenting Popular Music takes a look at the individual members of the Monkees and what they did after the break up – in the 1970s and 1980s. Insight into their careers is provided by Monkees expert Fred Velez, who writes a blog for the website Monkees.net, and he authored the book A Little Bit Me, A Little Bit You: The Monkees From A Fan's Perspective.
Velez, who has a wealth of knowledge about the group, also offers some behind the scenes history, including how the Monkees and the Beatles hung out together, and how Dolenz ended up using a Beatles song in an episode of the Monkees TV show.
Part I of this feature takes a look at Nesmith and Dolenz.
Part II spotlights Jones and Tork.
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Dan Fogelberg passed away 10 years ago this month. His memory has been kept alive this year by a number of events, including the release of two new albums, ‘Live At Carnegie Hall’ (a previously unheard performance from 1979) and a tribute album that features a long list of musicians that loved Fogelberg’s music.
This episode of Documenting Popular Music takes a look at the tribute album and artist such as Garth Brooks, who performs “Phoenix” with Trisha Yearwood providing background vocals; the late Donna Summer, who sings an inspiring version of “Nether Lands” using the same backing track that Fogelberg used for the 1977 classic; Amy Grant and Vince Gill, who provide a duet on “Longer” that gives new life to Fogelberg’s biggest hit; Randy Owen, the legendary voice of the group Alabama – the best-selling country group of all time – sings “Sutter’s Mill,” originally from Fogelberg’s progressive bluegrass album ‘High Country Snows;’ Zac Brown and his band deliver a live version of “Leader of the Band;” and Fogelberg’s good friend Joe Walsh of the Eagles sings “Part of the Plan,” a song he originally produced for Fogelberg for the 1974 album Souvenirs. Fellow Eagles Don Henley and Timothy B. Schmit sing backing harmonies for the new version of the song.
Other artists on the album include Michael McDonald, Jimmy Buffett, Boz Scaggs, the Nitty Gritty Dirt Band with Richie Furay, the late Dobie Gray, Train, Fool’s Gold (originally Fogelberg’s backing band) and Casey James.
Included in this presentation is inside, background information from Fogelberg’s former record producer, Norbert Putnam, one of the tribute album’s co-producers. Putnam explains how Brooks and Summer got involved in the project, which is a true labor of love from Fogelberg’s widow, Jean Fogelberg, also a producer on the album. She has worked hard to create a celebrated year for her late husband, and the tribute album is the final, very satisfying piece to an eventful year.
You can hear more from Putnam about his relationship with Dan Fogelberg in the Documenting Popular Music episode ‘Leader of the Band -- Remembering Dan Fogelberg with Stories and Insights from His Record Producer’ released earlier this year.
Read the Show Notes at
http://oandfstudios.com/documenting-popular-music/
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Coming soon from Documenting Popular Music, a look at Gordon Lightfoot’s career with author Nicholas Jennings; a conversation with Merrilee Rush (“Angle of the Morning”), a look at TV theme songs from the 1970s that became Top 40 hits; and a biographical sketch of the Rock and Roll Hall of Fame’s Class of 2018.
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It was 1971, and a 25-year-old Barry Manilow was still a struggling musician and commercial jingles writer when he came up with a melody he felt was very special. That melody would become the song “Could It Be Magic,” which featured a chorus based on the chord changes in Chopin’s Prelude in C Minor.
“Could It Be Magic” had several early incarnations, including a version produced by a well-intending Tony Orlando that Manilow says thankfully didn’t become a hit. The behind the scenes story of how the song eventually became a Top 10 single – as well as Manilow’s unwavering belief that the song was something special – are detailed in this episode of Documenting Popular Music.
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About two years ago, Sarah Partridge began working on a project to bring new life to Janis Ian’s songs by presenting them with fresh jazz interpretations. Ian, who debuted during the folk scene of the 1960s, rose to fame with her hits “Society’s Child” (1967) and “At Seventeen” (1975), and she’s written numerous songs – some of which were previously unrecorded – that deal with social, political and relationship issues.
Partridge and her arrangers – Allen Farnham and Tim Horner – have mined Ian’s rich catalog of music for the tribute album Bright Lights and Promises: Redefining Janis Ian (Origin Records). The selection of songs and new arrangements work so well, it’s a wonder no one has attempted this before.
Making the project even more special is Ian’s involvement. She co-wrote two new songs with Partridge, and Ian and Partridge perform a duet on one of those new songs, “A Quarter Past Heartache.”
On this episode of Documenting Popular Music, Partridge tells us how the album came together and how she was able to get Ian involved in the project.
You can find more about Sarah Partridge, who, before becoming a jazz singer, had an acting career that featured a role in the 1983 movie Risky Business, at the website, www.SarahPartridge.com, and you can find more about Janis Ian at the website www.JanisIan.com.
Upcoming episodes of Documenting Popular Music will feature a look at Gordon Lightfoot’s career with author Nicholas Jennings, a conversation with Merrilee Rush (“Angel of the Morning”) and a look at the story behind one of Barry Manilow’s most beloved hits.
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Documenting Popular Music puts a spotlight on the thriving musical scene in Alabama and the city of Birmingham, where musician Scott McDavid was born and raised. McDavid’s journey is representative of numerous other musicians who work under some anonymity, but who have been vital to the creation, maintenance and spread of popular music in America.
McDavid’s career began in his hometown, where he played with a number of local bands, including KD Ryzer, a very popular regional group. He later joined former members of the group Hotel (“You’ll Love Again” 1978) as part of 1980s band Split the Dark (“Always a Chance” 1986).
In Part I of this feature, McDavid talks about some of the highlights of his Birmingham career, including winning the MTV Basement Tapes Contest with Split the Dark. He also discusses his work with jazz guitarist Eric Essix and his band.
In Part II of this feature, McDavid reveals why his respect and admiration for the legendary Chuck Berry didn’t match the difficult task of actually working for the rock and roll great. McDavid also discusses his award winning work in scoring documentaries and independent films. Additionally, he talks about the process of making his newest single, “The Lady in Black (Just Let Me Dance),” which features singer Stephanie Love. The show concludes with his recollections of Birmingham’s music scene.
You can learn more about McDavid at his website, www.ScottMcDavid.com and you can watch the music video for his new song at his YouTube page.
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Documenting Popular Music puts a spotlight on the thriving musical scene in Alabama and the city of Birmingham, where musician Scott McDavid was born and raised. McDavid’s journey is representative of numerous other musicians who work under some anonymity, but who have been vital to the creation, maintenance and spread of popular music in America.
McDavid’s career began in his hometown, where he played with a number of local bands, including KD Ryzer, a very popular regional group. He later joined former members of the group Hotel (“You’ll Love Again” 1978) as part of 1980s band Split the Dark (“Always a Chance” 1986).
In Part I of this feature, McDavid talks about some of the highlights of his Birmingham career, including winning the MTV Basement Tapes Contest with Split the Dark. He also discusses his work with jazz guitarist Eric Essix and his band.
In Part II of this feature, McDavid reveals why his respect and admiration for the legendary Chuck Berry didn’t match the difficult task of actually working for the rock and roll great. McDavid also discusses his award winning work in scoring documentaries and independent films. Additionally, he talks about the process of making his newest single, “The Lady in Black (Just Let Me Dance),” which features singer Stephanie Love. The show concludes with McDavid's recollections of Birmingham’s music scene.
You can learn more about McDavid at his website, www.ScottMcDavid.com and you can watch the music video for his new song at his YouTube page.
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For this ‘Throwback Thursday’ (TBT) episode of Documenting Popular Music, we are replaying our 2014 review of Neil Diamond’s Melody Road album. To date, it is the last studio album of all new songs Diamond has delivered, and he is currently out of the country with his concert tour, celebrating 50 years in music. The TBT replay of the album review is a small way to satisfy Diamond’s legion of fans during his absence.
The episode also offers some Neil Diamond history and takes a close-up look at the ‘A-list’ of musicians who performed on the album under the guidance of rock producers Don Was and Jacknife Lee.
The album was ultimately another Top 5 success for Diamond and featured several standout songs such as “Nothing But a Heartache,” “In Better Days” and “Something Blue.” Melody Road also continued the success Diamond is having late in a career that first saw him hit the charts in 1966.
Future episodes of Documenting Popular Music will feature a look at the making of one of Barry Manilow’s most beloved hits, an interview with the author of a new biography about Gordon Lightfoot, an in-depth interview with Merilee Rush (“Angel of the Morning”) and a conversation with a well-traveled musician from the 1980s who will be debuting a new jazz song.
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After more than 50 years in music, Rusty Young, the leader of the group Poco, has recorded his first solo album. The new set is entitled ‘Waitin’ for the Sun,’ (Blue Élan Records) and it features 10 songs that not only give you a peek into Young’s life, but also into his emotions, as the “Crazy Love” singer/songwriter is unabashedly sentimental.
In an interview with veteran journalist Robert Neil, Young tells the stories behind the songs, and when he gets to the track “My Friend,” already rising in popularity, it becomes an historic, musical trip down memory lane about the musicians he’s known and the friendships that have endured.
While some artists promoting a new album might not want to talk about the past, Young embraces it and happily talks about former Poco bandmates Randy Meisner, Richie Furay, Jim Messina and Timothy B. Schmit, as well as others such as Gregg Allman (who once auditioned to be a member of Poco), Gram Parsons, JD Souther, Don Henley and Glenn Frey.
A few of the members of Poco – past and present – are featured on the new album.
‘Waitin’ for the Sun’ also features songs about Young’s family, and in the interview he provides the backstories to songs about his daughter (“Sara’s Song”) and his grandparents (“Honey Bee”).
Young says life has been good to him, and the album is a reflection of his appreciation. Poco fans will easily be drawn to the album as will fans of the southern rock genre that emerged in the early 1970s. The most satisfying news about the album may be that Young had such a good time making it, he’s interested in a follow up, and more stories from this natural storyteller would be welcome.
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