His writing has appeared in The New York Times, The Village Voice, JazzTimes and The Nation. He is currently a lecturer in the Department of English and Comparative Literature at Columbia University.
Here’s the interview.
Saxophone Colossus is slated to be published in paperback on Nov. 14.
Brothers and Sisters by The Allman Brothers Band captured the Phoenixlike group at a new creative high when it came out 50 years ago, but it would end up being so much more.
Check out the archive, while the playlist is here.
Paul — a seasoned music journalist who has written extensively for Guitar World, The Wall Street Journal and Billboard among numerous other publications — unravels the intricate story behind the album that helped change the course of rock history.
It’s his second Allmans book following One Way Out: The Inside History of The Allman Brothers Band (St. Martin’s Press) in 2014. In 2019, he and Andy Aledort co-wrote Texas Flood: The Inside Story of Stevie Ray Vaughan Band (St. Martin’s Press). Each book was a New York Times bestseller.
More than 7 million copies of the album were sold and the Allmans enjoyed chart success they would never again equal, but it also impacted the music industry, social fabric and even the political landscape of the country.
The burgeoning “southern rock” genre was elevated by the massive AM and FM exposure of Brothers and Sisters which went to No. 1 on the Billboard chart for five weeks, boosted by “Ramblin’ Man” which was the band’s lone Top 10 single, reaching No. 2 on the Billboard Hot 100. The second single, “Jessica” went to No. 29 on Billboard’s Easy Listening chart and No. 65 on the Hot 100.
Band members have roundly disliked the category the band has long been associated with. Guitarist Dickey Betts once told a writer: “we’re just a progressive rock band from the south.”
One person who benefitted from the Allman’s new star status was Jimmy Carter, the then-governor of Georgia who enlisted the band to help him raise money to fund his long-shot presidential campaign in 1975.
The success of the album thrust the band into the national spotlight and far eclipsed any sales or chart appearances from their previous studio efforts with only At Fillmore East – the renowned double live album captured from four 1971 appearances at the fabled New York City venue — reaching No. 13, but not hitting platinum status until 1992.
This all came after the band was at an all-time low as it was still reeling from the death of its true leader and visionary, guitarist Duane Allman who was killed in a motorcycle accident less than four months following the release of At Fillmore East. Bassist Barry Oakley would die in a motorcycle accident a year later. They were each 24 years old.
The book takes the reader behind the scenes, offering an intimate perspective on the band’s triumphs, challenges and the creative process behind this groundbreaking record. Dive into the vibrant tapestry of the ’70s music scene as he delves into the band’s journey, exploring their unique blend of rock, blues, jazz, soul and — as evidenced by Brothers and Sisters — country.
In addition to tracking through Brothers and Sisters, the feature will include outtakes from sessions the band did during that period of time as well as well as live material from across the Allman’s career. A number of tracks by groups influenced by the Allmans will also work their way into the playlist.
Last month on The Soul Express, Dean Farrell presented three hours of long tracks. Since he was unable to get to a lot of the songs he wanted to play, he’ll revisit the theme on July 15 with “Extended Jams, Part 2”.
The program airs 2:30-5:30 p.m. EDT. Click here to listen live.
While Dean isn’t revealing what he plans on airing, sources say they know of 13-minute instrumentals by War and Sly & The Family Stone, along with a monster 19-minute James Brown track!
Other featured acts include Stevie Wonder, the Dells, the Three Degrees, the Temptations, Ike & Tina Turner, Fred Wesley & The JBs, Aretha Franklin, the Isley Brothers, Kool & The Gang, Stevie Wonder, B.B. King, Enchantment, the Undisputed Truth, and more.
First-generation rock of the 1950s and 60s returned to the WRTC airwaves with the debut of Roots Rock Radio on July 2.
Veteran host Dean Farrell — who presents the long-running Soul Express on alternating Saturdays — was blunt for his reason behind the new program: “This music has all but disappeared from the airwaves,” he said, “and I think that’s a crime.”
In true Farrell fashion, he promises to be the daddy-o of the radio spinning these classic platters.
On a typical Soul Express show, host Dean Farrell plays about 60 songs ranging in length from 2.5 to four minutes.
The June 24 edition had a playlist that was about half as long as Dean presented three hours of extended jams. Check out the archive!
Featured acts included Sly & The Family Stone, James Brown, Aretha Franklin, Isaac Hayes, Millie Jackson, War, Little Richard, Stevie Wonder, Joe Bataan, the Dramatics, Parliament, Wilson Pickett, Billy Stewart, Eddie Kendricks, Parliament and the Bar-Kays.
Check out the archive, while the playlist is here.
There was also interviews with Oliver Wood who discussed The Wood Brothers’ latest, Heart Is The Hero (Honey Jar/Thirty Tiger) and Boris Garcia’s Bob Stirner, who talked about It’s Time For Tea (Porchwerk Music) which includes Fairport Convention drummer Dave Mattacks on board for the project.
…And Trinity celebrates WRTC as one of its 200 Years, 200 Stories. Originally published in the Trinity Reporter last year, The Enduring Voice of Trinity College was written in honor of WRTC’s 75th anniversary.
Are you a WRTC/Trinity alumnus? Would you like to talk on the air about your WRTC memories? We’d love to have you. Please contact General Manager Chris Cowles for more information.
Just like peanut butter and chocolate, some music just goes really well together, but the May 13 edition of Greasy Tracks presented a pairing not often heard: prog and krautrock.
Check out the archive, while the playlist is here.
Each style has roots in psychedelic rock and emerged in the late 60s — prog in the UK and kosmische music (cosmic music), best known as krautrock, in West Germany.
The golden age for each lasted less than a decade.
You can “Dance to the Music” in the “Land of 1000 Dances”, cause it “Ain’t Nothin’ But a House Party”!
You can do the Jerk, Twine, Boogaloo, Philly Dog, Skate, Boomerang, Breakdown, Funky Chicken, Hitch-Hike, Monkey, Swim, Funky Broadway, Duck, Bird, Popcorn, Dog, Temptation Walk and more.
You’ll be “Dancing in the Street” and “Twistin’ the Night Away” as you “Shout and Shimmy”!
This of course probably begs the question posed by host Dean Farrell: “Do You Love Me (Now That I Can Dance)”?
The April 29 edition of Greasy Tracks featured a three-hour Ian Hunter feature, including an interview and tracking through his just-released gem, Defiance Part I (Sun Records).
Hunter’s latest is the first of a two-part project, most all of which was recorded during the Covid pandemic when musicians were off the road.
It’s a star-laden affair and guests include a veritable who’s who from many eras of rock, including Jeff Beck, Mike Campbell, Dane Clarke, Joe Elliott, Billy F. Gibbons, Taylor Hawkins, Duff McKagan, Todd Rundgren, Slash, Ringo Starr, Robert Trujillo, Jeff Tweedy, Waddy Wachtel and Brad Whitford, amongst others.
Sadly, Beck and Hawkins passed away before the album was finished. Beck’s contributions were his last recordings.
Collaborations are nothing new for Hunter, nor is his consistency for delivering the goods.
A founding member of Mott The Hoople, Hunter embarked on a solo career when the band called time in 1974. In addition to the great musical partnership he forged with guitarist Mick Ronson, there was no shortage of noted additional personnel when it came time to make records. Over the years, members of Queen, The Clash and The E Street Band were on sessions along with Jaco Pastorius, David Sanborn, Earl Slick and Andy York to name but a few.
Hunter’s songwriting is often introspective and reflective and the latest work continues the tradition with a collection of 11 tracks, primarily upbeat, straight-ahead rockers, but with a handful of ballads to strike a perfect balance.
In addition to the new album, there will be music featured that will go deep into Hunter’s catalog.
