Back in 1980, an EP was released in the U.S. on clear green 10-inch vinyl by a band called Klark Kent. As it turned out, Klark Kent was a pseudonym for a solo project by Stewart Copeland, the powerhouse drummer of The Police.
At the time, The Police were riding high on the success of their third album, Zenyatta Mondatta. Copeland, wary of competing with his own band, initially denied any connection to the mysterious Klark Kent.
When the “band” performed the EP’s lead single, “Don’t Care,” on the British music program Top of the Pops, the lineup included Copeland, Sting, Andy Summers, Kim Turner, Florian Pilkington-Miksa, and Miles Copeland—all wearing masks to conceal their identities. The performance, delightfully bizarre and unmistakably tongue-in-cheek, is still available on YouTube.
“Don’t Care” is a classic Stewart Copeland track: fast-paced, punchy, and bursting with energy. It climbed to #48 on the UK Singles Chart. Remarkably, Copeland played all the instruments on the Klark Kent disc himself.
The name Klark Kent was a clever nod to Superman’s mild-mannered alter ego, a fitting disguise for a rock star moonlighting as his own one-man band.
If you listen to “Street Walker” for the first time, you might think it was recorded by one of the late ‘60s psychedelic rock bands like Steppenwolf.
So, let’s talk about “Street Walker,” the second cut off the Gotta Groove album the Bar‑Kays dropped in ’69 – released just two years after their world got turned inside out. It was the first record from the reformed Bar‑Kays following the tragic 1967 plane crash in Wisconsin that took Otis Redding and much of the original band.
What rises from the ashes is a record like Gotta Groove, and smack in the middle of it is “Street Walker,” a three-minute burner that doesn’t just walk — it glides through a shadowy, psychedelic back alley with fuzzed-up guitar, swirling organ, and a horn section that sounds like it’s been up all-night smoking with Sly Stone’s rhythm section. (The alum even kicks off with a “tribute” to Sly called “Don’t Stop the Dancing (To the Music)”.)
Gotta Groove reached No. 40 on the Billboard R&B LP chart and stayed there for four weeks, though it didn’t cross over to the pop charts. While “Street Walker” wasn’t released as a hit single, it played a key role in helping the album gain traction and establish the band’s post-reformation identity. It was probably too weird, too moody, too sideways. But that’s what makes it special. It wasn’t trying to sell — it was trying to explore.
And this is where you’ve gotta give the Bar‑Kays credit. They could’ve played it safe. They had the Stax name, they had the chops. But instead, “Street Walker” is steeped in a moody, fuzz-toned atmosphere: swirling organ riffs, distorted guitar licks, and a slightly off-kilter groove that gives it a late-night, acid-funk edge. The song’s instrumental layering — particularly its use of wah-wah guitar, echo-drenched horns, and droning rhythmic repetitions — recalls elements of psychedelic rock as heard in bands like Iron Butterfly, The Electric Flag, or even early Funkadelic, who were also blending soul with distorted, psychedelic textures.
“Street Walker” stands as a defining early statement from the reborn Bar‑Kays, melding psychedelic soul, incendiary funk, and jazzy sophistication into a compact 3-minute groove. It captures a band in transition, honoring their Stax past while pushing toward the richer, funk-infused future.
Dig it late at night with the lights low. Or better yet, spin it between “Dance to the Music” and “I Wanna Take You Higher” and watch the floor tilt sideways.
On October 3, 2015, I published a post to pay tribute to jazz greats Wilton Felder and Phil Woods, both of whom had passed away the previous month. I noted a curious coincidence: both had contributed to Steely Dan’s album Katy Lied. Felder played bass on “Chain Lightning,” while Woods delivered a memorable sax solo on “Doctor Wu.”
Over the years, many rock musicians have turned to jazz legends to infuse their recordings with sophistication, soul, and swing. Today, let’s spotlight a few of those memorable collaborations. But first, a simple ground rule: the featured jazz artists must have been born before 1940.
This eliminates many exceptional, yet more “contemporary,” jazz-fusion and smooth jazz icons such as Randy Brecker (Bruce Springsteen), Michael Brecker (Paul Simon), David Sanborn (David Bowie), Jaco Pastorius (Joni Mitchell), Branford Marsalis (Sting and the Grateful Dead), Tom Scott (Paul McCartney), and Larry Carlton (Steely Dan).
Interestingly, some of them had early career breaks in rock bands. The Brecker Brothers, for instance, played in the original Al Kooper-led version of Blood, Sweat & Tears (Child Is Father to the Man, 1968), while Sanborn spent five years (1967–1971) with The Butterfield Blues Band.
So, who’s left under our ground rule? Quite a few, as it turns out.
Perhaps the most iconic jazz cameo in rock history is the sax solo Sonny Rollins played on the Rolling Stones’ “Waiting on a Friend.” In fact, Rollins contributed to three tracks on Tattoo You (1981), though he was uncredited in the liner notes. At the time, many saw this omission as a slight, but Rollins later explained that he had requested anonymity — fearing association with a rock record might damage his credibility in the jazz world. Rollins, often hailed as one of the greatest tenor saxophonists in jazz history, rose to prominence in the 1950s alongside legends like Thelonious Monk, Miles Davis, and Max Roach. His landmark albums — Saxophone Colossus, Tenor Madness, and Way Out West — cemented his status as a titan of modern jazz.
Another poignant fusion came on Elvis Costello’s “Shipbuilding.” Written by Clive Langer with lyrics by Costello, the song reflects on the bitter irony of war bringing economic revival to Britain’s shipyards during the 1982 Falklands War. Originally recorded by Robert Wyatt, Costello later included his own version on Punch the Clock (1983), enlisting the great Chet Baker to deliver a haunting, elegiac trumpet solo. Baker, a central figure in the West Coast “cool jazz” scene of the 1950s, became famous for his lyrical, introspective style. Known equally for his trumpet playing and intimate vocals, Baker first gained national attention with Gerry Mulligan’s pianoless quartet, and went on to lead a storied — and often tumultuous — career that spanned decades.
Then there’s Wayne Shorter — legendary saxophonist with Miles Davis and Weather Report — who graced the title track of Steely Dan’s Aja (1977) with a transcendent solo. Recording at the Village Recorder studio in Los Angeles, Steely Dan’s jazz-obsessed duo, Walter Becker and Donald Fagen, were determined to bring Shorter on board. Through a connection with studio owner Dick LaPalm, a friend of Shorter’s, they got their wish. Reportedly, Shorter laid down six takes over roughly 35 minutes, and was gone! What he left behind remains timeless.
And we circle back to Phil Woods — who earns a second mention for his gorgeous solo on Billy Joel’s “Just the Way You Are.” Often referred to as the “New Bird” for his stylistic ties to Charlie Parker, Woods had played with jazz titans like Sonny Stitt, Cannonball Adderley, and Dizzy Gillespie. His lyrical, yearning alto sax solo helped elevate Joel’s ballad to Grammy-winning heights in 1979, claiming both Record of the Year and Song of the Year.
These examples showcase how traditional jazz artists have not only crossed over into rock — they’ve enriched it. Their contributions remain some of the most expressive moments in rock music history.
Back in the early oughts, a Montreal-based band called The Chains released a terrific album – On Top of Things! (2002) – a tight, energetic blend of power pop and garage rock. At the time, the genre was enjoying a resurgence led by acts like The White Stripes (recently inducted into the Rock and Roll Hall of Fame), The Strokes out of New York, Sweden’s The Hives, and The Vines from Australia. That whole scene was right up my alley!
Unfortunately, The Chains never achieved the recognition and status of those better known bands. Following On Top of Things! they only managed one further release – the 2004 single Till You Come Back Home / The Boy Who Took My Place – before fading into obscurity.
Still, On Top of Things! holds up remarkably well. The opening track is “Her Name Is Love”.
It kicks off with a galloping rhythm that recalls the Count Five’s “Psychotic Reaction,” layered with touches of Rockpile-style neo-rockabilly. It’s a confident, hook-laden gem that sets the tone for the rest of the album.
It’s a shame this group didn’t receive more attention “back in the day” but their music hasn’t disappeared entirely. You can still catch a track or two on Little Steven’s Underground Garage — a fitting home for a band that deserved more love.
In the late ’60s and early ’70s, Tim Buckley emerged as the avatar of daring, adventurous folk music.
His beautifully aching song “Morning Glory,” co-written with Larry Beckett, appeared on his second album Goodbye and Hello (1967) and was later covered by several artists, including Blood, Sweat & Tears. However, the song was ultimately too conventional for Buckley, who felt compelled to keep pushing his music into new, uncharted territory.
By 1969, Buckley was embracing jazz influences, collaborating with vibraphonist David Friedman and conga player C.C. Collins on Happy Sad (1969). His exploration of improvisational structures culminated in what many of his most devoted fans consider his masterpiece: Starsailor (1970).
Buckley understood that this shift in musical direction would likely alienate his core fanbase, but he was determined to follow his artistic instincts. He toured the album in small jazz clubs, often to indifferent or confused audiences.
The standout track from Starsailor is “Song to the Siren,” also co-written with Beckett.
The song draws on Greek mythology, referencing the sirens who lured sailors to their doom. Its poetic lyrics reflect Beckett’s literary sensibilities, offering a stark contrast to Buckley’s more emotionally direct songwriting style.
The arrangement is minimal — anchored by a reverb-drenched guitar that perfectly frames Buckley’s extraordinary five-octave vocal range.
“Song to the Siren” found new life in 1983 through a haunting cover by This Mortal Coil, which has since been featured in numerous film and television soundtracks.
Buckley died 50 years ago of an accidental drug overdose. He was 28. His friend and drug dealer, Richard Keeling, had given him heroin the night he died. On the advice of Keeling’s lawyer, he pleaded guilty to involuntary manslaughter, and served four months in jail. Today, he says he regrets that decision and wishes he had fought the charge.
This past week has been heartbreaking for those of us who love music — especially if you grew up on the sounds of the ’60s and ’70s. We lost two absolute legends of Rock and Soul: Sly Stone and Brian Wilson, both coincidentally at the age of 82.
If you’ve read my missives before, you already know the major milestones of their lives and careers. But if you’re still hungry for more, I recommend their New York Times obituaries:
So much has already been said about them this week that I’ll keep this post short and sweet.
While There’s a Riot Goin’ On (1971) is widely considered Stone’s masterpiece, I’ve always had a soft spot for his earlier release of new material, Stand! (1969).
The album’s title track, “Stand!”, cracked the Billboard Hot 100 Top 40 — an impressive feat for a song that doubled as a subtle civil rights anthem. Its message of empowerment resonated broadly, not just with Black Americans, but with all underrepresented groups — including hippies. Maybe that’s part of why it struck such a chord. That, and its absolutely infectious melody.
As for Brian Wilson, his masterpiece is Pet Sounds (1966) — and you won’t hear any argument from me. Just look at how it’s fared in critical rankings over the years:
It’s the most perfect pop song ever written and recorded. The lead vocal is stunning, the harmonies are flawless, and the instrumentation—courtesy of the legendary Wrecking Crew — is nothing short of sublime. Wilson, as producer, guided it all. The Baroque stylings complement the lyrics beautifully, and small touches — like Hal Blaine’s use of sleigh bells (who uses sleigh bells outside of Christmas music?) — elevate it to something transcendent. It’s one of the few songs that can still bring me to tears.
Even Paul McCartney, no slouch in the songwriting department himself, has often named “God Only Knows” as the greatest song ever written.
As the week winds down, let’s take a moment to honor Sly Stone and Brian Wilson — for making this world a better, more soulful, more beautiful place through their music.
Sly Stone has died. That makes me very sad because he has always been one of my favorite artists. The post below was only the second SotW I wrote, back on February 16, 2008. I’m reposting it to honor Sly’s passing.
This week I’m listening to Sly Stone. In my last band session, we played “You Can Make It If You Try.” It was a lot of fun to play that funky music. But sometimes I prefer his slow burn funk to the “punch the sky”, “take you higher” rave ups.
Check out the deep cut “Runnin’ Away” from There’s A Riot Goin’ On and “If You Want Me To Stay” from Fresh. Both have those trademark Family Stone horn accents. “Stay” has one of the coolest Larry Graham bass lines on record. You gotta move (at least a little) when you hear it.
Next week, on June 10th, Howlin’ Wolf would have turned 115 years old. A giant of a man — both in physical stature and musical legacy — he stood 6’3”, weighed nearly 300 pounds, and loomed just as large in the world of blues.
He’s best known for recording many blues standards, including:
Smokestack Lightning
Spoonful
Little Red Rooster
Wang-Dang Doodle
Back Door Man
Killing Floor
A personal favorite of mine is “Evil (Is Going On)”.
What draws me to this track is its dark, menacing tone. It capitalizes on the fearsome image Wolf projected — using his imposing size and the gravelly, raw timbre of his voice. After just a single, ominous guitar chord, Wolf bursts in, practically shouting the opening lines:
If you’re a long way from home Can’t sleep at night Grab your telephone Somethin’ just ain’t right
He heightens the drama by using a different voice for the chorus, creating a chilling call-and-response effect:
That’s evil Evil is goin’ on wrong I am warnin’ you, brother You better watch your happy home
The band behind him is equally powerful. Guitarists Hubert Sumlin and Jody Williams deliver a fierce dual-guitar attack. Otis Spann dances over the keys in the high register. Willie Dixon — who also wrote the song — anchors everything with a deep, steady bassline, while Earl Phillips keeps flawless time on the drums. Wolf himself adds some haunting blues harp work.
The entire track carries the weight of the lyrics: a desperate, urgent warning to men (himself included) to beware of creeping infidelity.
Originally released in 1954, “Evil” didn’t chart until 1969, when a re-recorded version finally reached #43 on the Billboard R&B chart.
Let’s honor Howlin’ Wolf’s birthday this June 10th by keeping his music — and his legacy — alive.
Nearly 47 years ago to the day, the British new wave group The Motors released their hit “Airport” — just a few days before my college graduation.
The song reached #4 on the UK charts and broke into the Top 10 in several other European countries. While it didn’t bother the U.S. charts, it did receive a fair amount of airplay on college and alternative rock radio stations.
I’m tempted to label “Airport” a UK one-hit wonder, though that’s not entirely accurate. Andrew McMaster — the band’s songwriter, vocalist, and keyboardist — also penned “Forget About You,” which climbed to #13 in the UK.
Although McMaster led The Motors, it was his bandmate Bram Tchaikovsky who arguably found greater post-Motors success. After leaving the group in 1979, Tchaikovsky formed his own eponymous band and scored a U.S. Top 40 hit with “Girl of My Dreams,” which peaked at #37 — making him a one-hit wonder stateside as well.
“Girl of My Dreams” is Tchaikovsky’s ode to his inflatable doll:
Some of the late ’70s and early ’80s power pop still holds up surprisingly well — even if only as a guilty pleasure.
Judy was an American girl She came in the morning with the U.S. mail Didn’t say nothing but she looked pretty good to me
Golden hair that shined so bright
Loving eyes that seem out of sight
She could keep the secrets that we shared in my world of dreams
Some of the late ’70s and early ’80s power pop still holds up surprisingly well — even if only as a guilty pleasure.
When Alison Krauss teamed up with Led Zeppelin frontman Robert Plant to create the Grammy-winning album Raising Sand, the unexpected pairing raised eyebrows in the country/bluegrass community. But for those who had followed Krauss’s eclectic career, the collaboration was less bewildering than it seemed. Krauss has long embraced a diverse array of musical influences, consistently demonstrating an adventurous spirit and an open ear.
One particularly surprising influence? Her admiration for British rock titans Def Leppard.
In the June 2025 issue of MOJO, journalist Sylvie Simmons conducted an insightful, revealing interview with Krauss that shed light on this unlikely connection.
You and Def Leppard have something going. Years ago you interviewed Joe Elliott for Q magazine.
It’s crazy. I don’t remember how that came together but I do remember when the idea came up. Union Station were making a record called So Long So Wrong (1997) and around that same time I was listening to Def Leppard all the time – just the way that they do their harmonies. Bluegrass people are crazy over Def Leppard. Because bluegrass is a lot about harmonies. Among other things, Def Leppard did the best harmony parts.
When asked which Def Leppard songs best resonate with the bluegrass crowd, Krauss didn’t hesitate.
The songs on Hysteria particularly, like Animal and Armageddon It. All the parts where they do the high lead and they put what we call the baritone underneath the lead. That’s a very kind of heroic sound for the bluegrass people. Because when you have a high male lead, and you stack the parts underneath, it’s a real magical harmony stack that bluegrass people love.
Here’s “Armageddon It”.
Krauss took her passion for Def Leppard to a new level in 2022, when she recorded two emotionally rich tracks — “This Guitar” and “Lifeless” — for the band’s album Diamond Star Halos.
“This Guitar” stands out as a tender, wistful ballad. Krauss’s ethereal harmony with Joe Elliott, paired with a gently weeping slide guitar, allows the song to slip seamlessly into contemporary country playlists.
The moral of the story? Stay curious. Like Krauss, refuse to confine music into neat little boxes. True artistry often lies where genres collide.
