Album Review: Hailey Whitters - Living the Dream

 

www.haileywhitters.com

Hailey Whitters confirmed her position as a recording artist with intent in 2020 via the release of THE DREAM. This, her second album, tracked a well-trodden journey from long term jobbing songwriter to one firmly fixed in the spotlight. The twelve track album detailed the evolution process from the awakening expressed in the critically acclaimed opener 'Ten Year Town' to the summarising closer 'Living The Dream'. Twelve months on, and buoyed by the spirit of the sentiment in the title of the last track, the story is updated with five additional songs forming a deluxe edition. 

Whereas 'Living the Dream' - the track - crowned the writing partnership of Hailey Whitters and her mentor Lori McKenna, LIVING THE DREAM - the deluxe album - sees Whitters move into a recording partnership with some of the biggest names in country music. Many of the new tracks emerge from previous associations with one surprise legendary performer also stepping in to lend a hand.

Trisha Yearwood topped the country charts while Hailey Whitters was still in her toddler years, but the generations have been conclusively bridged with the collaboration  'How Far Can It Go?' emerging as the pick of the additional tracks. The song is so reminiscent of Yearwood's classic single 'She's in Love with the Boy' and if it achieves only a fraction of the success there then it will go very far. 

All but one of the new tracks have been released as singles in advance of the official deluxe version launch. The exception ironically being 'How to Break a Heart' where the partnership is once again with Lori McKenna, although this time it extends into a trio with another stellar name from Nashville songwriting circles throwing her hat into the mix in Hillary Lindsey. 

Whitters wrote ten of the twelve songs on THE DREAM, borrowing Chris Stapleton's 'The Devil Always Made Me Think Twice' and Brent Cobb's 'Loose Strings'. The work from the latter is also called into action in the new songs with Cobb both solely writing and adding vocals to 'Glad to be Here'. The work with Cobb gives the tracks a more soulful roots feel to juxtapose the bouts of brash country pop and sincere soul searching song writing.

The brashness unabatedly reveals itself in the Little Big Town collaboration 'Fillin' My Cup'. This bouncy, catchy, boot scootin' piece is straight out the late 90s Shania Twain playbook. It reconnects Whitters with the chart topping trio after they cut and made a hit of 'Happy People'. You can find Whitters' version of this song on THE DREAM.

The final additional track to bring LIVING THE DREAM up to full complement is 'The Ride' featuring Jordan Davis, which was one of the first of the new set sent out into the digital world to test the waters of this deluxe project being deemed a hit. How fans embrace this release is likely to be indicative to the ways music is consumed in 2021. Streaming and digitally cherry picking the additions are there alongside fans refreshing their copy of THE DREAM with LIVING THE DREAM. However if you are new to Hailey Whitters you have the delight of getting up to speed with her story in one detailed place. 

https://haileywhitters.ffm.to/howfarcanitgo

Album Review: Sara Petite - Rare Bird

 

www.sarapetite.com

Keep the faith they say, and that is something done with the music of Sara Petite for over a decade. Where others shine, prosper, flicker and fade, this San Diego-based country singer continues to pop up in centre stage to re-affirm all the reasons that caught the ear several years ago. 

To put the whole story in context, the music of Sara Petite burst onto my horizon with DOGHOUSE ROSE in 2010, and instantly her two previous album releases - LEAD THE PARADE and TIGER MOUNTAIN were brought into the fold. Having moved into the world of blogging in 2012, the opportunity to review the 2013 album CIRCUS COMES TO TOWN was too good to resist with all the credentials of her appeal laid bare to savour and celebrate in words. 

There was a live presence in the UK in the early days, but my only opportunity to see a show was confined to an hour solo slot in a pub in Stroud in 2014. As rewarding as that experience was, the holy grail is seeing the full band, a format where her strong distinctive vocals and sound would truly shine. In the seven years since 2014, there has alas been no tours, but we were treated to an exceptional album in 2017. ROAD LESS TRAVELED came sailing across the airwaves and nestled into a well deserved slot in my end of year favourite list. 

Thus followed another quiet period from the perspective of an overseas fanbase until crash bang wallop a truly substantial album announced to lead us out of lockdown in 2021. RARE BIRD is the sixth and best release since, well err, ROAD LESS TRAVELED, which was the best since CIRCUS.. You get the drift. A slight difference with the new album is that a much more rounded sound has been explored and a rockier edge is added without any compromise to those stunning vocals that encompasses country music in its purest state. 

The RARE BIRD ‘XI’ in a sporting context presents a formidable line up of tracks that would race up any league ladder table. Of course, while music is not a competition, that doesn't stop anointing this album a winner. From the cracking opener 'Feeling like an Angel' complete with a super chorus and anthem-like appeal to the folk stomping closer 'Working on a Soul' making this eleventh slot the ideal all embracing finale, you are well and truly rocked, serenaded, moved and taught a lesson in how to work a country style into several rip-roaring facets. 

The team assembled to assist Sara Petite excel on album #6 are given every opportunity to shine and sizzling guitar parts are aplenty, no finer than on 'Medicine Man' in the latter stages. You get an early exposure to this different angle from her previous work in the straight-up genuine rocker 'Runnin'. A song hitting the traps adorned with guitar licks no sooner as the dust settled on the stellar opener. 

This album isn't going to that vast post-release/review filing space any time soon, so there will be plenty of opportunities for other tracks to knock early pace setters 'Scars' and 'Floating with the Angels' off their mantle. Mind you, both are there on merit with some seriously impressive song writing matching the escalating sound on the former, while steel and fiddle keep wonderful country music still at the heart of a Sara Petite album in the latter. 

RARE BIRD - the album - spins on the axis of pivotal track 'The Misfits'. One of the rockier efforts on the record and suggestively indicative of where the music of Sara Petite fits as it never really ventures down roads or hits destinations where you expect. 'Rare Bird' - the track - forms a ballad pairing with 'Keep Moving On', though the latter is in left field sound wise coloured by a soulful tinge complete with participating brass. The two remaining tracks co-exist in the album's midriff with 'Missing You Tonight' possessing the record's most delightful track opening, followed by 'Crash, Boom Bang' bringing no more than a slice of good ole rock 'n' roll to the party.

Whatever edge Sara Petite adds to her music, it will always be underpinned by a sumptuous twang, that while honed in Southern California could reflect any part of the South from Pacific to Atlantic. To bring things up to date in 2021, RARE BIRD sees country and rock operating in rampant tandem. The result is a riveting album injecting life in a decade long appreciation, and rewarding faith in many ways. Hanging in there has hit the jackpot and now onto to the next decade. 

Album Review: Kat Danser - One Eye Open

 

www.katdanser.com

With a little bit of creative of licence it is possible to draw a fairly straight line from Edmonton Canada to Havana Cuba that intersects New Orleans Louisiana. By keeping these three interconnected locations in mind you can start to piece together the axis that forms the latest album from blues artist Kat Danser. ONE EYE OPEN is the 6th record from a Canadian who successfully transmits an almost intellectual enthusiasm for a music passion into an accessible and attractive package for those not so ingrained in such a style. Praise can be worthy from acknowledged sources, but maybe there is something extra rewarding from unexpected places where folks have tapped into and enjoyed the experience presented. 

Working alongside acclaimed musician and producer Steve Dawson in his Black Hen Music operation, Danser serves up ten juicy tracks that comprise of eight originals and a couple of covers. The latter pair pay homage to perhaps two lesser known luminaries of the twentieth century pantheon of American blues music in Gus Canon and Jesse Mae Hemphill. Danser offers her respects and dues in covering 'Bring It With You When You Come' and 'Get Right, Church' from the duo respectively. Thus in doing so plays a small part in keeping a flame flickering.

A big influence throughout is Danser's passion for Afro Cuban Jazz, and its impact upon this album is immense as it had to adapt like so much of pandemic released music to being created virtually in a multitude of remote settings. Not that such peripheral nuggets of information are detectable to the casual ear. What is detectable are hugely notable tracks such as album standout 'Frenchman Street Shake' where we are swiftly taken on an animated journey down to New Orleans, a curious yet striking blues meets punk track in 'One Eye Open' and an atmospheric romantic Spanish sung closer in 'Mi Corazon'.

This trio form a spine to the album to allow some of the other offerings to spiral in several directions. This occurs straight from the off where the jazzy blues vibes of 'Way I Like It Done' set you in the mood for a serious throwback experience. This track had been sectioned as a single to support the album release. You are welcomed to the party in the final throes of the song and can't grumble with the invite. This is immediately followed by the sultry 'Lonely & the Dragon' where shimmers of drooling organ export the proverbial shivers. 

A raft of aforementioned songs navigate through the album's middle order before the lower end is anchored by the all-original trio of 'Train Wreck', 'Please, Don't Cry' and 'End of Days'. The first two of these juxtapose as a groovy rocker and a late night smooch-fest before the rather drowsy blues of the third, complete with plenty more appetising organ, emphasises how Danser has successfully curated an eclectic and sumptuous tempo mix in the tracks chosen to update her love of the blues. 

From its danceable phase, late night chill out to full-on homage, you feel the heat of ONE EYE OPEN from start to finish. It takes one heck of a dreamer to effortlessly float from the cooler northern climes of Edmonton Canada and execute so much southernly warmth in a record. Kat Danser has achieved this and enlightened a few more folks on her eternal and revivalist journey. 

Album Review: Lainey Wilson - Sayin' What I'm Thinkin'

 

www.laineywilson.com

It is perhaps a sign of the times that over half the songs from this album have trickled out at a steady rate during the last year or so, likely to feed the way many consume music in 2021. However the time has arrived for the LP format to move onto centre stage as Lainey Wilson takes her bow as a recording artist on Broken Bow Records, an established sub-label operating in the mainstream of country music. For this her second album, she has been teamed up with influential producer Jay Joyce and a battalion of co-writers to bring the essence of her raw credentials to fruition. The result is SAYIN' WHAT I'M THINKIN' - a vivacious album carefully curated to evolve contemporary country music in a mindful way.

Make no mistake this is a luscious slice of country pop that at least creates some distance from the competition pumping music into the ears of a target audience via the omnipresent algorithms. You could even say it is on the front line taking the fight to other popular music genres that effectively operate in the brave new world. The album projects a slice of southern identity that has on a wider scale been open to debate in 2021, but doesn't wholly rely on a pre-determined template that can define country music from an industry perspective in many cases.

What keeps this album in the credit column are an abundance of hooks, infectious tunes and a purposeful delivery. Wilson does have a blueprint of many familiar themes, but she executes them well and has that never to be under rated knack of keeping the listener refreshed throughout the duration of the twelve tracks. She majors on the upbeat party anthems and the poignant moments where there is a determination for the intended message to prevail. 

There is both a brashness and sensibility to what Lainey Wilson offers on SAYIN' WHAT I'M THINKIN'. Factions of the album do splinter from the directed target into the sphere of those with a more measured approach to country music. There is no denying she is a talented performer. A marker has been suitably placed that her reach has the potential to branch out. Whether you feast on this album from start to finish or prefer to cherry pick some of the subtler moments, an active space can be found in the listening repertoire, and an enhanced scope of its relevance ensues. 

Tracks that lifted this from the pile were Neon Diamonds, Sunday Best, Things Man Oughta Know, WWDD, Rolling Stone and Sayin' What I'm Thinkin'. 

Album Review: Beth Lee - Waiting On You Tonight

www.bethlee.net/music

The music of Beth Lee creates images of a pre-techno age where fanzines and record shop rustling preceded websites and surfing streaming sites. There is an element of coolness and innocence to the sound emanating from her debut album as she spins on an axis of post-punk indie new wave rock 'n' roll while occasionally reaching out in a more sensitive direction. This Austin-based artist has previously traded under the fabulous moniker Beth Lee and the Break Ups, a band that ultimately took their name too literally. Now the dial is moved forward with the release of WAITING ON YOU TONIGHT - an eleven track album blessed with an outstanding lead song that thrives with playlist magnetism. 

The slated track arrives early in the album, slotting in straight after the title track doubles ups as the lead off number. 'Yale Street and 45' is rich with a great melody and sweet nostalgia, two dimensions that made an instant impression and keeps the head scratching of reminding you of a memorable song that you just can't put your finger on. The good thing about that is you never tire of playing it to try to trigger that memory. 

Prior to the standout track gracing the canvas, 'Waiting on You Tonight' greets you with a pulsating beat and an early reminder that good old rock 'n' roll is going to play its part. A little reading reveals Vicente Rodriguez as a driving force behind the record, a musician noted for his work with Chuck Prophet, and that influence is detected in the soundtrack composed to supplement Lee's often wistful vocals.

Th vocals and the instrumentation do juxtapose in places, although there are plenty of tender moments especially the pairing of 'Understand Me' and 'It Was Enough' in the latter stages. The former drools in a 70s soulful pop territory, while the latter swoons in a haze of 60s doo wop. Occasionally you feel the album is torn between the sensitive moments and those of a higher intensity. 'Pens and Needles' is a splendid mid-album moment where the indie vibes take over and you are awash in a cloud of new wave meets alt-country.  Loads of twangy and chiming guitar fill the airwaves to please junkies of this type of music. 

While the soundtrack tends to be the overwhelming feature from the early plays, further listens shine a light on Lee's calming measured vocals. They evoke a dreamy alluring state in 'Playin' Along' and create an air of placidity in album closer 'All the Way'. 

Maybe it's the idealistic romanticism that wins the day when you let WAITING ON YOU TONIGHT run its course. You can choose your moment of induced nostalgia and I'm going to pump for mid 80s, but that is down to the era of the listener. Whatever is taken from this album, Beth Lee has eased swiftly into the role of solo artist and delivered an album of considerable note. 

Album Review: Will Overman - The Winemaker's Daughter

 www.willovermanmusic.com

From the moment of its first play you instantly feel that the music of Will Overman is something to latch on to and you are willing him to achieve. The good news is that THE WINEMAKER'S DAUGHTER supremely builds on this early promise and firmly stamps an imprint of A-grade Americana on your turntable or more versatile listening device. Hailing from Charlottesville Virginia, Overman possesses a vocal style to own the sentiment of his songs that are as intimate and sincere as you are likely to hear from an expressive singer-songwriter. These are deeply personal songs that resonate with a tensile strength. 

A handful of the nine tracks forming the full release have been strategically released in the run up to the formal album launch, and like the whole purpose of the LP format the entirety are best savoured in that single sitting. By tapping into Overman's mind you join him on an emotive journey of chasing dreams, reflecting fondly and ultimately celebrating what you have got. This is passionate storytelling of the highest calibre and representative of what is so captivating of the country/Americana songwriting genre. 

They say don't judge a book by its cover, but this album has the perfect image greeting you before you even delve into its contents. A solitary person and let's pretend the sun is rising not setting says a lot of about what Overman is pursuing in these songs. The winemaker's daughter may or not be his El Dorado, but listen to the album's standout track 'Living Wage' and you can experience a shared gratitude. 

From an instrumental perspective Overman knows what sounds are the perfect accompaniment to his songs, so expect plenty of acoustic guitar, harmonica, banjo and occasional shimmering keys to provide the backdrop, alongside moments when a fuller more produced sound kicks in. However it is the lived-in voice and compelling songs that haul this project from the pile into the elite. 

Outside the aforementioned standout track, 'Elwood' is the most impactful number that springs into life midway through propelling Overman from a bar hopping troubadour to a festival headliner. In 'Traveler's Promise' you are thrown back into a 'lights down - spotlight on the performer' moment when the hairs on your arm are prone to rise. The line 'drink Buckfast in Belfast' catches the ear to take the theme a long way from Virginia, but then again this is a traveler's song. A track that matures with each play is 'Little Things', where once again a fuller sound is in operation, and the song takes the mantle of a country roller with ear worm tendencies. 

Like so many albums of this ilk, the closing track is a mellow effort, with 'Miss California' fulfilling the role perfectly here. This beautifully curated song paradoxically pens the line 'city of angels, city of devils' as we are ushered out the door in a state of contentment. At the other end of the spectrum 'Bad Apartment' is an effective scene setter with a slice of good honest nostalgia tracing a journey back to its roots where getting by was an achievement. 

'Something to Hold' and 'Marine Street' are amongst the pre-released tracks, The former adopts a romantic stance, while the latter is straight out of the folk playbook where acoustic guitar and harmonica  give the song a sparser more basic edge. 'The Winemaker's Daughter' sits proudly in the number two slot and uses banjo effectively to convey the message of chasing what you really want. 

Among this melange of meaningful musings, Will Overman triumphs in spilling his thoughts and curating a near flawless album full of candidly honest and effortlessly presented songs. By twisting in elements of country, folk and singer-songwriter rock in places, THE WINEMAKER'S DAUGHTER is the ideal tonic to those turning to inspirational songwriting to help forge a brighter future You find yourself willing on Will Overman to achieve and can share in the success when he does. 

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Album Review: Rick Shea - Love and Desperation

 

www.rickshea.com

There are very few stones left unturned as Rick Shea packs an awful lot into his latest album. The twelve tracks that form LOVE & DESPERATION circumnavigate a multitude of musical styles to despatch a comprehensive package sure to interact well with listeners switched onto a diverse sound within a prescriptive template. That template mixes a little light blues with a touch of country stirred by short forays to the Tex-Mex border. What you are presented with is a distinguished and comprehensive album that steers lovers of acutely curated Americana music down a lavish path. 

Shea pivots from his California roots to absorb the impressions created of familiar people, places and locations Like a lot of multi-facetted albums, this one requires a fair few plays to fully grasp its mantle, but rest assured each spin will reveal a little bit more of a polished nugget. Twelve albums into an experienced and accomplished recording career, Rick Shea knows how to curate a record that creates a mutual bond of artistic intent and listener appetite. 

Each song planted on the album has a pulse of its own creating a separate niche in a collective mix of self & co-written tunes alongside a re-work, a cover and an instrumental. Just a snapshot of what to expect on this album includes a highly desirable melody attached to the lyrics of Kim Ringer in 'She Sang of the Earth' complete with fiddle in a Townes Van Zandt folk-country style, and a straight up country two step number in 'Big Rain is Comin' Mama' supplemented with pedal steel and accordion. Twin openers 'Blues Stop Knockin' at My Door' and 'Blues at Midnight' do what it says on the tin with the former being the sole cover, while personal commentary takes hold in the dual pairing of the subtly positive 'The World's Gone Crazy' and the tongue-in-cheek 'Nashville Blues'.

Enhancing the connection with Townes Van Zandt, '(Down at the Bar at) Gypsy Sally's' makes a direct reference to a bar named in 'Tecumseh Valley', although a jazzy ending spins the tune in an alternative direction. Title track 'Love and Desperation' has the feel of a Townes song in name and proceeds to be one of the more self-reflective tracks on the album. Continuing the theme of love, a late night passive feel accompanies the pedal steel tinted 'A Tender Hearted Love'. 

For a trip down to the border, Shea throws the odd bi-lingual line into 'Juanita (Why are You So Mean)' and 'Texas Lawyer'. Both tunes are awash with accordion to add a flavour of the location. On the topic of tunes, the sole instrumental 'Mystic Canyon' graces the final throes of this near-fifty minute album and proves a therapeutic piece aptly named after a favourite hiking beauty spot. 

Throughout LOVE & DESPERATION, Rick Shea holds court and presents what is largely a cosy, reliable and warmly re-assuring record. A hardish coating protects a mellower centre and when allowed space to breathe the album reveals plenty of alluring facets to decipher and enjoy without rewriting any scripts or breaking barriers. 

Album Review: KB Bayley - Little Thunderstorms

 

www.kbbayley.com

If you are more than a little partial for the sincere lyrical song offerings of artists like Jeffrey Foucault, Ben Glover and Danny Schmidt - to mention three for starters- , there is a new name to add in the guise of English singer-songwriter KB Bayley. Admittedly, the spin of words knows no nationality borders, but sometimes it is good to punch the bag from a local perspective when immersed in so much quality song writing from across the waters. Those three associates were not wholly plucked from thin air as Ben Glover lends backing vocals to one of the songs on the album, Jeffrey Foucault lends one of his songs for cover on the album and there is a stamp of Danny Schmidt's song structure right across the album. However let's put the names of others to one side and celebrate what KB Bayley has delivered in LITTLE THUNDERSTORMS.

Sorry, there is one more name in Martin Simpson. A similarity in style that struck me right from the first track and once again in the final song of Bayley originals before the album ends on an alternative footing. The final two songs of this eleven track collection took on a different strand as our protagonist shared his instrumental prowess on a lyric-free version of 'Wayfaring Stranger' and decided that a cover of Jeffrey Foucault's 'Cheap Suit' was apt way to close the album. 

The rump and depth of this album comes in the form of the nine tracks that precede the finale where Bayley finds a stable groove and proceeds to deliver a stream of poignant ruminative songs awash with as strong a lyrical content as you are likely to hear. This album is best savoured with the lyrics at hand so you can at least attempt to track the route our songwriter is plotting even if you're left scratching your head with the subtle meaning. It has to be said that this album will blossom further once it is taken on the road as there is likely to be a whole new substance to Bayley introducing them to an intense listening audience. 

Each of the nine tracks have a neat intro from a combination of sounds ranging from dobro to trumpet. You can also throw in the subtlest of pedal steel guitar, a slither of violin and some quintessential folk harmonica. All these provide a comfy base for Bayley to set about his task of pouring out a literary desire. A churchyard theme appears in opener 'Cold Rain' and again in pre-finale number 'North Shore Road', and you can just imagine using this location as an amazing source of song inspiration such is the wealth of stories that can be told. 

On the song structure front, Bayley frequently dips into repetition outside the conventional verse and chorus format, a fascinating style and often found in the songwriting of Danny Schmidt. He also majors on the lengthy chorus, which does work largely, but the slotting in of a couple of shorter snappier ones can reap rewards and make a song more memorable. Ben Glover nails this on 'Oh Soul'. By the way, the song Glover lends his backing vocals is 'Blood Red Lullaby' and one that does surface as a strong standout candidate if such is desired. A little historical reference is applied here before the intent meanders into more profound and deeper territory. It is probably the most produced of the eleven tracks with the widest instrumental input. 

In a lot of KB Bayley songs it is the journey that fascinates rather than the destination. Some are open to interpretation, while others no doubt have personal connotations. There is a slight northern thread in the songs and this may stem from his north-east upbringing. 'North Coast Girl', 'North Shore Road' and 'Throw it in the River' fall into this category, and not just based on the titles. 

Joining KB Bayley on backing vocals for a couple of tracks is Claudia Stark, whose voice gives the album a fairer edge. One of the musical contributors is Charlie Jonas Walter, who is known through is duo work with Jonas and Jane. 

LITTLE THUNDERSTORMS as a phrase may be metaphorically construed as these little bumps in the road that afflict all our lives, but it a very fine album that moves KB Bayley from an experienced peripheral operator on the wider music scene to one fully adopting centre stage to share a facet of his creative repertoire that contains a rich seam waiting to be mined. This is a sensitive album for life's quieter reflective times and one to excite the ears of a listener fascinated by the jigsaw puzzle of intuitive lyric laden songs. 

Album Review: A.J. Croce - By Request

 

www.ajcrocemusic.com

It may have a simple title that goes right to the point and an unobtrusive cover, but this tenth studio album by A.J. Croce opens doors on several fronts. Firstly those coming across this American singer-songwriter for the first time can be forgiven for asking what else has he done over a thirty-year career. Secondly it may lead to shining a new light on his late father Jim Croce who's backstory fits into his son's narrative albeit for a very brief period. Finally there could be an inquisitive nature to compare the versions of each of the twelve songs appearing on this record with their originals or many of the ubiquitous versions that have appeared over the years. 

BY REQUEST sees Croce take a break from the original material and literally put his hand to any song somebody as thrown at him in those late night sessions when anything musically goes. The result is a full-on production with Croce leading the way on trademark piano and vocals. Perhaps the indicative album cover suggests it's the songs that reign supreme and the performer merely has them on loan. It is supposed that when you are interpreting songs made famous by acts such as Neil Young, Tom Waites, Sam Cooke, Randy Newman and Alan Toussaint to name a few of the artists featured you are just adding an umpteenth coat. 

However from start to finish there is an air of quality and panache to how Croce puts his spin on them. It is a fun album to play and you get to feel the artist's sense of satisfaction to how this project has unveiled. There are no air of pretension and a relaxed aura feeds through the waves to your ear. 

The album explores a deeply influential corner of the American songbook, although Canada and the UK will pipe up to the origins of Neil Young and The Faces. The selections sweep across the genre divides with a common bond being acutely important entries in the journal of popular music. There is no shame in being pitched classic tracks and scratching your head as to where your ears have been over the years.

BY REQUEST is hugely personal to A.J. Croce, but I'm sure he will not mind if it provokes further interest in any direction. The most important thing is that a credible and enjoyable album is shared for folks to at least consider when they feel a break is needed from new music and to take a step back into what has influenced generations over the years. 

Track listing with some famous artist association:

Nothing from Nothing - Billy Preston: Only Love Can Break Your Heart - Neil Young: Have You Seen My Baby - Randy Newman: Nothing Can Change This Love - Sam Cooke: Better Day - Sonny & Browne: Ooh Child - The Five Stair Steps: Stay With Me - The Faces: Brickyard Blues - Alan Toussaint: San Diego Serenade - Tom Waits: Sail on Sailor - Beach Boys: Can't Nobody Love You - Solomon Burke: Ain't No Justice - Shorty Long