A show loosely tied – via song titles, band names and a couple compilations I’ve drawn from – to the Family Day holiday in most Canadian provinces. Also, a ‘winter’ portion as a nod to the relentless snow we’ve been getting in southern Ontario and much of Canada of late. In between, a week late, a celebration of the 55th anniversary release of a classic Doors album – Morrison Hotel – I was reminded of by a friend which was timely, since I was thinking of playing The Doors in any event. My track-by-track tales follow the bare-bones list. Audio log will be posted after the show airs. Song clips also available on my Facebook page.

1. Family, The Weaver’s Answer
2. Jethro Tull, Back To The Family
3. John Mellencamp, Case 795 (The Family)
4. The Rolling Stones, Family
5. Danny Kirwan, Ram Jam City (from his solo album Second Chapter via The Fleetwood Mac Family Album compilation)
6. Rossington Collins Band, Tashauna (from the 1981 album This Is The Way via the Lynyrd Skynyrd: Family compilation)
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The Doors – Morrison Hotel

Original vinyl

Side One – Hard Rock Cafe (original name for the album)

1. Roadhouse Blues
2. Waiting For The Sun
3. You Make Me Real
4. Peace Frog
5. Blue Sunday
6. Ship Of Fools

Side Two – Morrison Hotel

7. Land Ho!
8. The Spy
9. Queen Of The Highway
10. Indian Summer
11. Maggie M’Gill

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7. Judas Priest, Winter/Deep Freeze/Winter Retreat
8. Genesis, Snowbound
9. Black Sabbath, Snowblind
10. Joe Jackson, Heart Of Ice
11. J. Geils Band, The Lady Makes Demands
12. Santana, Savor/Toussaint L’Overture (live, from Moonflower)

My track-by-track tales:

1. Family, The Weaver’s Answer . . . From the English progressive rock band’s 1969 album Family Entertainment, their second studio release. Arguably the band’s signature song, it tells the tale of a man looking back on his life as he nears death. Roger Chapman’s vibrato vocals add an urgent, theatrical quality to the shifting time signatures arrangement.

2. Jethro Tull, Back To The Family . . . A track that blends rock and folk, with often sarcastic lyrics contrasting the comforts of family life with its realities and one’s desire for independence from it. The song is from Stand Up, Tull’s 1969 album. It was the band’s second studio release and marked a change in direction – and introduced new guitarist Martin Barre – from the blues-based sound of the 1968 debut This Was that featured guitarist Mick Abrahams. Abrahams and lead singer/songwriter/flautist/multi-instrumentalist Ian Anderson then clashed over musical direction, with Abrahams leaving to continue his blues approach with Blodwyn Pig, a great if short-lived band in its own right I’ve played recently. Anderson has forever referred to This Was as being an appropriate album title, given that it ‘was’ Jethro Tull, at the time, before his creative vision prevailed although Tull has often still delved into the blues, just not in as singularly pronounced a manner as on the debut album.

I remember my musically influential on me older brother, by eight years, bringing Stand Up – and Led Zeppelin II – home upon release. We were living in Peru at the time, where my father was working. My older brother and sister were attending high school in Canada and in those days, the late 1960s, things weren’t as immediate as they are now. So, when the older siblings attending school in North America came home for holidays, it was not only a reunion celebration for all the American and Canadian families in town but a window, via what they brought back with them, through which we could see what was fresh and happening, particularly in entertainment. Hence albums like Stand Up and Zep II, which shook us out of our early Beatles and Stones listening habits, great as they obviously were, and further expanded our musical horizons.

3. John Mellencamp, Case 795 (The Family) . . . A gritty, grisly, bluesy song from Mellencamp’s 1993 album Human Wheels. The lyrics reveal a definitely dysfunctional family where things are rationalized as ‘everything’s all right’ despite various instances of violence amid family struggles, economic hardship and personal conflict. Not exactly Family Day fare, perhaps, but the title fits. Great tune, regardless, nice swampy groove.

4. The Rolling Stones, Family . . . An obscure Stones track, darkly cynical in a spare, mostly acoustic arrangement with unsettling lyrics about dysfunction and decay within a family in which, among other things, a daughter aspires to be a prostitute having her father as a customer and other such upbeat ideas. It’s from the 1968 Beggars Banquet album sessions, finally appearing in 1975 on Metamorphosis, a pseudo-official compilation of outtakes and alternate versions. It was issued by the Stones’ former manager Allen Klein, who at that point still retained rights to the band’s pre-1971 material, coming out on the same day as the Stones’ first authorized 1970s hits compilation, Made In The Shade.

5. Danny Kirwan, Ram Jam City . . . From the former Fleetwood Mac guitarist’s debut solo album, Second Chapter, issued in 1975. It ties into Family Day because I pulled it from a compilation – The Fleetwood Mac Family album – I own that features solo and offshoot band material from Fleetwood Mac members past and present. A melodic track with a folk-rock feel, it’s described in the compilation liner notes, accurately enough, as having a Celtic feel within a bluegrass – and I’d suggest almost rockabilly – context. Engaging stuff.

6. Rossington Collins Band, Tashauna . . . Beautiful, Lynyrd Skynyrd-like track but then that’s to be expected from a band formed from the surviving post-1977 plane crash members of Skynyrd, issued on the Rossington Collins band’s second release, 1981’s This Is The Way. Among the Skynyrd alumni on the album were guitarists Gary Rossington and Allen Collins, bassist Leon Wilkeson and pianist Billy Powell backing the terrifically atmospheric and emotional lead vocals of Dale Krantz-Rossington, Gary’s wife. I pulled it from another ‘family’ album, the 2006 compilation Lynyrd Skynyrd: Family that features various Skynyrd tracks as well as those by offshoot bands.

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The Doors – Morrison Hotel

Original vinyl Side One Hard Rock Cafe (original name for the album)

1. Roadhouse Blues . . . Likely the best-known track on the album, a blues-rock anthem driven by a gritty riff and Jim Morrison’s commanding vocal delivery. “Keep your eyes on the road, your hands upon the wheel . . . let it roll, baby, roll . . . ”

2. Waiting For The Sun . . . It could have been the title cut to the band’s 1968 album but one of those cases – like Queen’s Sheer Heart Attack just one example – where a song done for one album wound up being held back for a future release. Sheer Heart Attack was left unfinished during the sessions for Queen’s 1974 album of that name and didn’t appear on record until three releases later, 1977’s News Of The World. Similar happened with The Doors on this hazy, dreamlike, spooky track with an anthemic chorus, finally released on Morrison Hotel in 1970.

3. You Make Me Real . . . A fast-paced, piano-driven energetic toe-tapping rocker that showcases Ray Manzarek’s rollicking keyboard work combined with Jim Morrison’s wild and playful vocals.

4. Peace Frog . . . Funky rocker with striking lyrical imagery, referencing police violence and blood on the streets, mentioning various American cities including Chicago, a reference to the violence-plagued 1968 Democratic Party convention. Then the song abruptly stops and we’re into . . .

5. Blue Sunday . . . A slow, crooning love song contrasting sharply with Peace Frog. The pacing on the album is exemplary. It’s why, while hits compilations are great, often it pays to immerse oneself in a full album as a statement designed by an artist.

6. Ship Of Fools . . . A mid-tempo track lyrically playing on the metaphor of a world heading toward destruction. Musically compelling to draw you in, social commentary lyrics to make you think.

Side Two Morrison Hotel

7. Land Ho! . . . A lighthearted sea shanty-style rocker with a catchy chorus. Propulsive.

8. The Spy . . . A slow, sultry blues number I played, independent of the album, some time ago. Dark, mysterious and at once seductive and almost menacing, but such could be the quality of Jim Morrison’s vocals coupled with the band’s music.

9. Queen Of The Highway . . . Hypnotic groove with a driving rhythm fueled by the bassline and percussion.

10. Indian Summer . . . A quiet, meditative piece, sparse instrumentation and gentle delivery. Personal preference of course but it’s one of those songs that is another argument for listening to individual albums over just hits compilations, as good as those usually are.

11. Maggie M’Gill . . . A gritty album closer with a swampy feel arguably presaging the bluesy brilliance of the band’s next album, L.A. Woman. The opening part of this one could easily fit on something like ZZ Top’s Deguello album – nine years before the ZZ record was released. Perhaps the Texas trio was listening.

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7. Judas Priest, Winter/Deep Freeze/Winter Retreat . . . We start the ‘winter’ portion of the overall set with this trilogy from the first Priest album, 1974’s Rocka Rolla. It was a time before the band fully embraced metal and was more a hard rocking yet bluesy band with progressive rock elements. It’s dark, eerie and atmospheric across the near seven minutes of the combined songs, best heard as a single piece.

8. Genesis, Snowbound . . . A delicate, haunting track from the 1978 album And Then There Were Three which, via its hit single Follow You Follow Me introduced many people to Genesis – which to that point was rarely if ever played on AM radio. It broadened the band’s horizons and fan base while causing many who were more fond of the fully progressive rock epics of the Peter Gabriel era to abandon ship. Still, after Gabriel left, the group was able to strike a balance between prog and mass popularity on albums like 1976’s A Trick Of The Tail, And Then There Were Three and Duke in 1980 before 1981’s Abacab, which I really like, brought a new, even more commercial sound including horns.

9. Black Sabbath, Snowblind . . . A heavy, sludgy slab from 1972’s Vol. 4 album. The musical heaviness is trademark Sabbath of course but what often strikes me about early Sabbath is Ozzy Osbourne’s detached vocals. Perhaps it’s a function of production, or how I hear things, but however it comes about, his voice seems to enter each song from sideways somehow, from parts unknown if that description makes sense. It’s a potent mix of musical talent, both vocal and instrumental.

10. Joe Jackson, Heart Of Ice . . . A moody, jazz-infused track that starts and continues for the longest time in its seven-minute duration as an instrumental but finally incorporates sparse, haunting vocals in an intoxicating arrangement featuring saxophone and keyboards. It’s from JJ’s 1984 album Body And Soul which featured the hit single You Can’t Get What You Want (Until You Know What You Want).

11. J. Geils Band, The Lady Makes Demands . . . Typical J. Geils R & B/rock fusion energy on a track from the band’s 1973 album Ladies Invited. Lyrically, it pretty much sums up the push-and-pull of at least some relationships. From a man’s perspective, at least.

12. Santana, Savor/Toussaint L’Overture (live, from Moonflower) . . . An extended 13-minute jam highlighting Santana’s blend of Latin rock, jazz fusion and typically great playing, from the 1977 album that combined live with studio cuts.