Thankfully, not everybody was kung fu fighting

Posted on by brucehhackett

Each spring for the past six years, I have taken a look back at the albums that were released 50 years ago and done my best to select what I considered the Top 15. In 2018, sizing up the best LPs of 1968 wasn’t too difficult, because singles still ruled the roost at that point, and there simply weren’t that many superlative albums out there. That began changing in 1969, and each year since has become more and more challenging. The list of albums of 1971 in particular was an embarrassment of riches; I concluded there were upwards of 60 choices that were worthy candidates to make the Top 15 cut.

As I reviewed the roughly 350 albums released during the calendar year 1974, I realized I was going to struggle to find 15 LPs I thought were consistently superb. Frankly, it just wasn’t as great a year musically as the previous five. Sure, there were eight or ten that were easy to identify, but after that, there were a couple dozen “B”-grade choices. How to choose? Some of the year’s biggest sellers (like Marvin Hamlisch’s soundtrack to “The Sting” or Elton John’s “Caribou”) or even the Album of the Year Grammy winner (Stevie Wonder’s “Fulfillingness’ First Finale”) just didn’t light my fire, and paled when compared to the work of lesser known bands that had grabbed my attention that year.

Making “Best Of” lists has always been a subjective endeavor. What is the criteria for developing the list? Are these simply my favorites, or are they perhaps the biggest sellers, or maybe the most influential albums of that particular year?

Consequently, as is almost always the case, many (maybe most) of my readers will vociferously object to some of my selections.  You might howl in protest that one of your favorites was demoted to the “honorable mention” bin, or omitted entirely.  To that, I say:  Sorry ’bout that.  This is my blog, and I call ’em the way I see ’em.  Feel free to come up with your own list or maybe publish your own blog if you’re sufficiently motivated.

Meantime, I hope you enjoy the Spotify playlists below.  The first one features five songs from each of my Top 15 albums of 1974, while the second one includes three songs from each of the honorable mentions that didn’t quite make my list.

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“Court and Spark,” Joni Mitchell

From her modest debut LP in 1968 through her stunning 1972 album “For the Roses,” Joni Mitchell built a fanatical following (mostly women but also men like me) who were thunderstruck by her confessional lyrics and increasingly sophisticated songwriting. In early 1974, the mainstream music audience finally took notice of this unparalleled artiste through the sleek brilliance of “Court and Spark,” the highest charting record of her career (thanks to two hit singles, “Help Me” and “Free Man in Paris,” the album reached #2 on US charts). With the jazzy backing of musical pros like Tom Scott and the L.A. Express, Mitchell’s songs dipped and soared through many moods, from the raw emotion of “People’s Parties” and “The Same Situation” to the breezy rock ‘n roll of “Raised on Robbery” and the intellectual creativity of “Down to You” and “Trouble Child.”

“What Were Once Vices are Now Habits,” The Doobie Brothers

This hard-working band out of San Jose smoked so much pot in their formative days that they chose to name themselves The Doobie Brothers, and they ended up one of the most popular bands of the decade, with three vocalists, two guitarists and two drummers. Their catalog during the 1971-1975 period was evenly split between the no-nonsense rock of Tom Johnston and the more folk/country material by Patrick Simmons. Coming close on the heels of two superb albums (1972’s “Toulouse Street” and 1973’s “The Captain and Me”) came the wryly titled “What Were Once Vices Are Now Habits,” which featured the group’s first #1 single (“Black Water”). This LP is every bit as consistent as its predecessors — fine acoustic tunes like “Spirit,” “Tell Me What You Want” and “Another Park, Another Sunday”; and hard-driving rockers like “Eyes of Silver,” “Road Angel” and “Daughters of the Sea.”

“Pretzel Logic,” Steely Dan

The songwriting duo of Donald Fagen and Walter Becker had reached the Top Ten twice on their debut LP, then stretched out with longer tracks on their 1973 follow-up, “Countdown to Ecstasy.” Beginning with “Pretzel Logic,” Steely Dan ceased being a working band and became more of a studio outfit featuring as many as 20 different guitarists, keyboardists, bassists and drummers appearing on the various songs. And what infectious, well-crafted songs they were: “Parker’s Band,” “Night By Night,” “Barrytown,” “Charlie Freak,” “With a Gun” and the bluesy title track offered fascinating lyrics and Fagen’s immediately identifiable voice. I never much cared for the overplayed single “Rikki Don’t Lose That Number,” but it wasn’t for nothing that it became their highest-charting hit (#4 on US charts). As satisfying as this album is, the best of Steely Dan was yet to come.

“Mother Lode,” Loggins and Messina

In 1970, Jim Messina had left Poco and been hired as a producer at Columbia Records, where he was assigned to work with newcomer singer-songwriter Kenny Loggins. Messina contributed so much to the debut effort that it ended up being titled “Kenny Loggins with Jim Messina Sittin’ In,” and the two men became a best-selling duo over the next six years. Messina’s country rock leanings juxtaposed beautifully with the more emotional songs Loggins was writing, and by 1974, they reached what is arguably their peak on the aptly titled “Mother Lode.” Incredibly, there were no hit singles (whose fault is that?!), but track after track features brilliant musicianship and stellar vocals. Messina’s “Be Free,” “Move On” and “Changes” were memorable, but Loggins’ songs were even better, especially “Brighter Days,” “Time to Space,” “Growin'” and “Fever Dream.”

“Souvenirs,” Dan Fogelberg

Illinois-born Fogelberg got his start as a session musician and songwriter in Nashville, and the debut album he recorded there (“Home Free”) offered appealing folk rock with a strong country influence. His next move was relocating to Los Angeles, where he was taken under the wing of the great Joe Walsh, whose sharp production gave “Souvenirs” an immediate vitality in its rockers and ballads alike. Walsh played electric guitar on most tracks and brought in members of his band, The Eagles and Crosby and Nash to participate. But it was Fogelberg and his material that were the real attraction. While “Part of the Plan” was the upbeat single, “As the Raven Flies,” “Illinois” and “There’s a Place in the World for a Gambler” competed for attention. Meanwhile, softer tunes like “Song From Half Mountain,” “Changing Horses” and “Souvenirs” cemented his reputation as one of the better balladeers of the ’70s.

“Bad Company,” Bad Company

The early ’70s saw the formation of countless “supergroups” comprised of survivors of other bands who teamed up with great hopes for superstardom. Most of these failed to find the necessary personal and musical chemistry necessary to find a big audience. The exception, though, was England’s Bad Company, which brought together vocalist Paul Rodgers and drummer Simon Kirke (both formerly with Free), guitarist Mick Ralphs from Mott the Hoople and bassist Boz Burrell of King Crimson. Launched on Led Zeppelin’s new Swan Song record label, Bad Company’s self-titled debut album took the rock world by storm in 1974, reaching #1 on US album charts as the first of five Top Ten albums. “Can’t Get Enough” and “Movin’ On” were hit singles, but you could hear songs like “Ready For Love,” “Rock Steady,” “Seagull” and the moody title track all over rock radio stations that year.

“461 Ocean Boulevard,” Eric Clapton

The unrequited love that Clapton felt for George Harrison’s wife Pattie may have led to some of the most anguished blues songs in rock history (especially “Layla”), but it also sent him spiraling into heroin addiction that almost killed him in 1971-1973. With the help of friends like Pete Townshend, Clapton found recovery, and began writing more spiritual lyrics and melodies. The result was the noticeably understated LP “461 Ocean Boulevard,” named after the Miami house he rented while the album was being recorded. Low-key tunes like “Give Me Strength” and “Please Be With Me” featured Clapton on Dobro, while shimmering synthesizers highlighted “Let It Grow.” The fiery electric guitar solos Clapton had built his career on were evident only on the closing track, “Mainline Florida.” Perhaps most unexpected was his cover of Bob Marley’s reggae tune “I Shot the Sheriff,” a surprising #1 hit single.

“Feats Don’t Fail Me Now,” Little Feat

The late great guitarist/singer/songwriter Lowell George formed Little Feat in 1970 with keyboardist Bill Payne, drummer Richie Hayward and bassist Roy Estrada. Their first two albums were critically praised but failed to chart, precipitating Estrada’s departure and the arrival of second guitarist Paul Barrère, bassist Kenny Gradney and percussionist Sam Clayton, all of whom added vocals as well. This new lineup still featured George’s slide guitar and vocals, but the songs now took on a New Orleans-style funk, and their first LP, “Dixie Chicken,” attracted a wider audience. It wasn’t until the release of “Feats Don’t Fail Me Now” in 1974 that the band reached the high 30s on the US album charts, thanks to killer tracks like “Oh Atlanta,” “Rock and Roll Doctor,” “The Fan,” “Cold Cold Cold/Tripe Face Boogie” and the title song. I played the hell out of this album that year and became a huge fan from then on.

“Crime of the Century,” Supertramp

Named after the 1908 book “The Autobiography of a Super-Tramp,” this British prog-rock band was led from their founding in 1970 by two singer-songwriters, Roger Hodgson and Rick Davies, who had different backgrounds and musical influences. Hodgson had gone to boarding school and preferred pop rock, while Davies was working class and leaned toward blues and jazz. While they co-wrote a lot of the band’s catalog, they more often wrote separately, each taking lead vocals on their own songs. They first hit paydirt in 1974 with their third LP, “Crime of the Century,” a Top Five album in the UK and Canada and cracking the Top 40 in the US. Hodgson’s light, airy voice took center stage on “Dreamer” and “School,” while Davies meatier, gruff vocals carried “Bloody Well Right” and the title track. Five years later, they had an international #1 album with “Breakfast in America.”

“Slow Dancer,” Boz Scaggs

While in high school in Dallas, William “Boz” Scaggs met Steve Miller, eventually following him to San Francisco, where he joined The Steve Miller Band as its second guitarist, singer and songwriter. After two albums, Scaggs chose to go solo, and his 1969 debut LP, recorded with the famed Muscle Shoals studio musicians in Alabama, also featured a young Duane Allman on the legendary 12-minute blues track “Loan Me a Dime.” He began developing a “blue-eyed soul” sound over his next three releases, and by 1974, his LP “Slow Dancer” received broad critical praise. Motown producer/writer Johnny Bristol co-wrote much of the album with Scaggs, including standout tracks like “Angel Lady,” “You Make It So Hard,” “Hercules” and the title cut. The album gave strong hints of what was to come on his phenomenal “Silk Degrees” album in 1976.

“Walking Man,” James Taylor

I never understood why Taylor’s fifth album, “Walking Man,” was so underrated and underplayed on radio. Critics said it was “listless” and “unremarkable,” but that’s not the way I saw it upon its release in June 1974. Looking for something a little different, Taylor moved from L.A. to a New York studio, employing a different producer and a raft of new backing musicians to support his latest material. The title tune and “Let It All Fall Down” (a diatribe against then-President Nixon), both strong songs, failed to chart as singles, and although the album reached #13, it simply didn’t get the attention it deserved, which is a crying shame. I strongly urge you to check out appealing tracks like “Hello Old Friend,” “Me and My Guitar,” “Ain’t No Song,” “Rock and Roll is Music Now” and Taylor’s cover of Chuck Berry’s “The Promised Land.”

“Dragon Fly,” Jefferson Starship

Jefferson Airplane singer/songwriter/guitarist Paul Kantner, a science fiction buff, put together a remarkable “solo” record in 1970 called “Blows Against the Empire,” which was partially credited to something called Jefferson Starship (actually members of the Grateful Dead and CSNY). When the Airplane broke up a couple years later, Kantner and paramour Grace Slick decided they liked the name Jefferson Starship, recruited guitarist Craig Chaquico and others to the lineup, and released “Dragon Fly,” the first of four strong LPs that charted well in the ’70s. Songs like “Ride the Tiger,” “All Fly Away,” “Devil’s Den” and “That’s For Sure” put the spotlight on the soaring Kantner/Slick vocal blend, while the welcome surprise track “Caroline” featured the return of Airplane founder Marty Balin, who became a mainstay in the group’s lineup for the “Red Octopus,” “Spitfire” and “Earth” albums that followed.

“War Child,” Jethro Tull

After critics incorrectly labeled Tull’s 1971 LP “Aqualung” a concept album, leader Ian Anderson responded by writing “the mother of all concept albums,” the brilliant prog rock piece “Thick as a Brick,” followed in 1973 by its darker cousin, “A Passion Play,” another 45-minute song stretching out over two sides. Fans loved both, but critics pounced on the latter, calling it “difficult to absorb.” Anderson relented on the next project, returning to regular-length tracks with a more festive atmosphere. “War Child” had been envisioned as a fanciful film soundtrack, but the movie was scrapped, and ten of the 20 songs the band had recorded became the next Tull album, an accessible disc that reached #2 and spawned the lightweight single “Bungle in the Jungle.” Far better were meatier tunes like “The Third Hoorah,” “Back Door Angels,” “War Child,” “Sea Lion” and “Skating Away on the Thin Ice of the New Day.”

“So What,” Joe Walsh

You’ve got to give Walsh a lot of credit. He was a triple threat (guitar, voice and songwriting) on the first three James Gang albums in 1969-1971, then established himself in 1972-73 as a formidable solo artist with his “Barnstorm” and “The Smoker You Drink, the Player You Get” LPs. In 1974, he not only produced and made major contributions to Dan Fogelberg’s breakthrough “Souvenirs” LP (see above), but he also simultaneously used the same cast of L.A.-based musical cohorts on his third solo album “So What,” the second of three Top Ten releases. Walsh’s oeuvre was hard rock with strong melodic elements, and this album featured such career highlights as “Welcome to the Club,” “County Fair,” “Time Out,” “Falling Down” and a remake of “Turn to Stone,” first heard on the “Barnstorm” album. By 1976, Walsh became a member of The Eagles while still periodically recording popular solo discs.

“Late For the Sky,” Jackson Browne

As a songwriter, Browne was regarded as a sort of prodigy, composing quality songs like “These Days” while still in his teens. Other artists like Linda Ronstadt, Nico and Tom Rush covered Browne’s songs before he eventually won his own record deal in 1971. Right out of the gate, he found success with his debut album and its singles, “Doctor My Eyes” and “Rock Me on the Water.” The 1973 follow-up, “For Everyman,” was even better, with his own version of “Take It Easy” (a 1972 hit for The Eagles). Less than a year later, critics were falling over themselves raving about “Late For the Sky,” which offers some of the most timeless songs in his career, especially the pensive “Fountain of Sorrow” and heartbreaking ode to a lost friend, “For a Dancer.” Add the title song and the apocalyptic “Before the Deluge,” and you’ve got one of 1974’s most respected works.

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“Dave Mason,” Dave Mason; “Heart Like a Wheel,” Linda Ronstadt; “Walls and Bridges,” John Lennon; “On the Border,” The Eagles; “Living and Dying in 3/4 Time,” Jimmy Buffett; “The Lamb Lies Down on Broadway,” Genesis; “Somethin’s Happening,” Peter Frampton; “Second Helping,” Lynyrd Skynyrd; “Fulfillingness’ First Finale,” Stevie Wonder; “Country Life,” Roxy Music; “Burn,” Deep Purple; “Not Fragile,” Bachman-Turner Overdrive; “Sundown,” Gordon Lightfoot; “Overnight Sensation,” Raspberries; “A New Life,” Marshall Tucker Band; “AWB,” Average White Band; “Eldorado,” Electric Light Orchestra; “Mirage,” Camel; “Bridge of Sighs,” Robin Trower.

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Two hearts beat as one

Posted on by brucehhackett

There’s always been something exciting about two musical stars joining forces to produce a memorable duet, either in the studio or on stage.

TV variety shows in the ’50s and ’60s often paired big names (Frank Sinatra and Ella Fitzgerald, Barbra Streisand and Judy Garland) performing standards together. Motown artists like Marvin Gaye enjoyed harmonizing with Tammi Terrell and Kim Weston to record hit singles (“It Takes Two,” “Ain’t No Mountain High Enough”) in the ’60s. Country singers like Dolly Parton and Porter Wagoner sang duets together often before heading off for solo careers.

The practice continued into the ’70s and ’80s — Phil Collins and Philip Bailey (“Easy Lover”), Joe Cocker and Jennifer Warnes (“Up Where We Belong”), and Kenny Rogers and Sheena Easton (“We’ve Got Tonight”), to name just a few. In the ’90s and beyond, we’ve seen whole albums of duets blending the voices of Sinatra or Tony Bennett with a dozen or more contemporary singers.

These days, it seems to be more popular than ever to put two stars in front of the same microphone: Taylor Swift and Kendrick Lamar (“Bad Blood”), Shakira and Rihanna (“Can’t Remember to Forget You”), Shawn Mendes and Justin Bieber (“Monster”), Adam Levine and Christina Aguilera (“Moves Like Jagger”). As long as the results prove so lucrative and satisfying, the duets trend shows no signs of slowing down.

I’ve selected 15 songs recorded mostly since 2000 involving classic rock era artists who blended their voices in magnificent fashion on tracks both famous and not-so-famous. I strongly suspect you’ll like what you hear in these musical mergers.

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“Wichita Lineman,” Jimmy Webb with Billy Joel, 2010

One of the most praised and successful songwriters of the past half-century is Webb, who composed Grammy winners like “Up, Up and Away,” “By the Time I Get to Phoenix” and “MacArthur Park” as well as “The Moon is a Harsh Mistress,” “Galveston” and “The Worst That Could Happen.” His best moment, in my view, was the achingly beautiful “Wichita Lineman,” a massive hit in 1968 for Glen Campbell. It’s been covered by many dozens of artists since then, with lyrics that succinctly describe the lonely work of a telephone line repairman toiling in the hot sun. Webb wasn’t much of a singer himself, but his voice was serviceable enough to record several LPs including “Just Across the River” in 2010, an album of collaborations including a superb one with Billy Joel on “Wichita Lineman.”

“Tin Foil Hat,” Todd Rundgren with Donald Fagen, 2017

On his 26th LP, 2017’s “White Knight,” Rundgren brought in Steely Dan leader Donald Fagen to join him on the funky parody he wrote about Donald Trump (who had just become President) and his lemming-like followers. Rundgren said he composed “Tin Foil Hat” to poke fun at the herd mentality of conspiracy theorists in general but he makes specific references to the MAGA crowd: “Because the man in the tin foil hat is gonna drain the swamp tonight, /And fill it with up with alternative facts, /It’s gonna be great, tremendous, amazing and all that…” Combining the avant-garde and jazz sensibilities of Rundgren and Fagen seems a natural fit on this catchy track, enough to make me hope the two might join forces again sometime, regardless of what the lyrics might have to say.

“Bang a Gong (Get It On),” U2 with Elton John, 2020

During the pandemic in 2020, many artists took to experimenting with home recordings, sometimes merging contributions from other musicians recording their instruments elsewhere in isolation. Bono and the boys of U2 took a stab at a few covers of classic British tracks, notably T. Rex’s hit “Bang a Gong (Get It On),” which Bono has called “one of my favorites from my teen years.” He persuaded Elton John to anchor the recording with his trademark piano stylings, and although Elton didn’t add any vocals to make this a true duet like the other selections here, this is the only instance of the two superstars joining forces on a studio recording.

“I Hear You Paint Houses,” Robbie Robertson with Van Morrison, 2019

Ever since they first worked together on The Band’s concert film “The Last Waltz” in 1978, Robertson and filmmaking legend Martin Scorsese teamed up another nine times, with Roberston composing or compiling the soundtrack music Scorsese used. Most recently, they partnered on the 2019 epic, “The Irishman,” and Robertson wrote several pieces that refer to the plot or characters in the film, although some were inexplicably not used. Most noticeably absent is “I Hear You Paint Houses,” the euphemism the mob employs when they’re looking for a capable hit man to kill someone. Robertson sang it in a duet with Van Morrison, and it ended up instead as the leadoff track on “Sinematic,” Robertson’s final solo LP before his death at age 80 in 2023.

“Live Wire,” Sheryl Crow with Bonnie Raitt and Mavis Staples, 2019

Since her debut LP and throughout her recording career, Crow has co-written many of her songs with songwriter Jeff Trott. “Every Day is a Winding Road,” “Soak Up the Sun,” “If It Makes You Happy” and others are all the result of the Crow/Trott collaboration. When Crow decided to assemble an album of duets in 2019, she again turned to Trott, who helped her come up with the delicious groove of “Live Wire,” on which she brought in the bluesy powerhouse voices of Bonnie Raitt and Mavin Staples. The trio performed the song on “The Ellen DeGeneres Show,” and Raitt and Staples ended up touring together in 2022. Crow’s “Threads” album also features the likes of Stevie Nicks, Vince Gill, St. Vincent, Neil Young and Joe Walsh.

“New York Is My Home,” Dion with Paul Simon, 2016

A big star in rock’s early years (“Runaround Sue,” “The Wanderer,” “A Teenager in Love”), Dion made a comeback in the late ’80s and is still highly regarded, recording multiple albums over the past 25 years (although not charting very much).  In 2015, the New York native wrote “New York is My Home” as a solo track, but he chose to invite his old friend Paul Simon to sing it with him as a duet.  “He’s from Queens, and I’m from the Bronx.  We share a love for rock & roll street music the way it was done when we were kids.  I knew Paul would get this song.  And he did.  Soon after I sent it to him, he called and said he’d become obsessed with it.  He added his own distinct touches to the production.  What a trip, a labor of love for us.”

“River Rise,” David Crosby with Michael McDonald, 2021

Once he turned 70 in 2012, Crosby became more focused on writing and recording as much music as he could in the time he had left. He churned out five quality LPs in eight years with the help of his son, producer/songwriter James Raymond. His final effort was 2021’s “For Free,” which includes his cover of that 1970 Joni Mitchell song and a new tune co-written by Donald Fagen. The opening track was “River Rise,” an expansive soft-rock piece co-written by Michael McDonald that also features McDonald’s smooth, husky vocals in a duet with Crosby. It’s a lush, captivating song about giving yourself over to the moment and letting the world move around you. Said Crosby, “When we sang together, it was scary how good it sounded. We just killed it.”

“Baby, I Love Your Way,” Dolly Parton with Peter Frampton, 2023

When Parton was told last year that she was being inducted into the Rock and Roll Hall of Fame, she was reluctant because the country music artist didn’t think she was deserving. “Well, I guess I’ll just have to make a rock and roll album,” she concluded, and put together “Rockstar,” a 30-song extravaganza on which she sang rock classics in collaboration with a wide range of musicians. Veteran rockers like Sting and Debbie Harry and Paul McCartney participated, as did newer stars like Brandi Carlile and Lizzo. Some of these efforts fell short, but other tracks proved to be convincing covers, like her duets with Chris Stapleton on “Night Moves” and with Ann Wilson on “Magic Man.” I think Parton’s pairing with Peter Frampton on “Baby, I Love Your Way” is the best of the bunch.

“Fever,” Ray Charles with Natalie Cole, 2004

In 2003, as his health was failing, the iconic Charles was enticed into taking on one last album project, a collection of duets appropriately titled “Genius Loves Company.” He paired up with a range of major artists (James Taylor, Elton John, Norah Jones, Bonnie Raitt, Willie Nelson, among others) on ’50s classics as well as newer songs from the ’70s and 80s. It was a runaway success, reaching #1 in several countries and winning the 2004 Album of the Year Grammy. His duet with Jones on his 1967 single “Here We Go Again” also won Record of the Year. It was hard to choose which of the duets to include here, but I was particularly drawn to the 1958 Peggy Lee blues standard “Fever,” which combines Charles with gifted R&B singer Natalie Cole.

“Please Read the Letter,” Robert Plant and Alison Krauss, 2007

There have been more curious collaborations than this one, but when these two released “Raising Sand,” their album of duets in 2007, the typical reaction was “WTF?” Plant, the hard rock vocalist known for his work with Led Zeppelin, seemed a strange bedfellow for the dulcet voice of country music star Krauss, but critics and the public alike responded favorably, and it ended up winning the Album of the Year Grammy. “Gone Gone Gone” was the skiffle-like hit single, but I was partial to the mid-tempo vibe of “Please Read the Letter,” co-written by Led Zep mate Jimmy Page. Truth be told, Plant has always shown a softer side, especially on his solo albums, and his voice actually complements Krauss’s in a satisfying way.

“All I Know,” Jimmy Webb with Linda Ronstadt, 2010

Ronstadt, one of the premier song stylists of the 1970s and 1980s, was sadly forced to retire from performing — and, eventually, recording — when Parkinson’s robbed her of the ability to control her unparalleled voice. One of the last songs she attempted was at her friend Webb’s behest, who thought she’d be the perfect person to nail his song “All I Know,” which had been a hit as Art Garfunkel’s debut solo single in 1973. She hesitated, but ultimately gave it her all, and the result was stunning. It appears on the same 2010 Webb album “Just Across the River” as the “Wichita Lineman” duet mentioned earlier. Ronstadt has since expressed gratitude to Webb for pushing her to record the tune, which she feels is one of his prettiest.

“Moon River,” Eric Clapton with Jeff Beck, 2023

This classic tune, with music by Henry Mancini and lyrics by Johnny Mercer, will forever be linked to the 1961 Audrey Hepburn film “Breakfast at Tiffany’s” and the 1962 instrumental recording that won multiple Grammy awards. Crooner Andy Williams turned it into his signature song, and dozens of other singers recorded it over the years. As one critic put it, “It’s a love song in which the romantic partner is the idea of romance.” How extraordinary it is that rock guitarists Eric Clapton and Jeff Beck would collaborate on this tasty arrangement featuring Beck’s sublime guitar work and Clapton’s subtle vocals. Again, not a vocal duet, but Beck never sang on a record even once in his lengthy career. It was recorded mere months prior to Beck’s passing in early 2023, and released four months later. What a fine record!

“Sailing to Philadelphia,” Mark Knopfler with James Taylor, 2000

Following the dissolution of Dire Straits in 1993, Knopfler began a solo career that showcased his interest in history, folk tales and Celtic influences while retaining his prowess in smooth, fluid rock songs. As he began working on his second album, he had been reading the Thomas Pynchon novel “Mason & Dixon,” about the two English surveyors who mapped out the symbolic boundary line between free and slave states before the U.S. Civil War. Knopfler wrote lyrics creating a lively conversation between the two men, and asked James Taylor to assume the role of Charlie Mason for the recording. “He had asked me to produce his next album, and it occurred to me that with his folk background, he’d be ideal to sing Mason’s part,” Knopfler said. “I’m thrilled with how it turned out.”

“Desert Rose,” Sting with Cheb Mami, 1999

Even with The Police, Sting showed a keen interest in unusual rhythms from other cultures, and each of his solo albums in the ’80s and ’90s included at least one track that could be classified as “world beat.” On his sixth LP, 1999’s “Brand New Day,” Sting collaborated with Algerian songwriter Cheb Rabah to write “Desert Rose,” a song of longing and lost love which became a Top Ten hit in Italy, Canada, Switzerland, the UK. In the US, it peaked at #17. He invited Algerian rai singer Cheb Mami to sing it as a duet, which gave it an exotic, North African vibe. Mami also appeared with Sting in the music video, which depicted the two men performing the song in a Las Vegas club following Sting’s drive across the Mojave Desert.

“Don’t Give Up,” Peter Gabriel with Kate Bush, 1986

In 1985, Gabriel had been particularly moved by a book of photographs by renowned photojournalist Dorothea Lange, showing poverty-stricken Americans during the Depression Era of the 1930s. He was inspired to write about the consequences of unemployment on family life, and devised a give-and-take between a disconsolate husband and his encouraging wife. Envisioning the song as a duet, Gabriel approached country singer Dolly Parton, who had grown up poor in Tennessee, but she declined. British singer Kate Bush, who had four successful albums in the UK at that point, stepped in and turned “Don’t Give Up” into a wrenching ballad of hope. A number of celebrities who had faced personal struggles have cited the record as crucial to their recovery.

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