Fuck The Eagles. Don Henley and Glenn Frey were assholes. But Joe Walsh was always aces in my book. I saw him perform twice in New York. Once when the James Gang got back together, and once solo. Both shows were worth the admission. Granted he's a little older and a little harder to understand, but the show itself was proof that the man can still play. We stood the whole time, much to the dismay of the dinosaurs behind us. There was a bit of a nostalgic feeling my father said, watching these "old guys" try and relive the glory days, but it wasn't too much so as to interfere with the music itself. That was still fresh, and the show was still fun. Joe Walsh is truly a piece of work.
"The Bomber" is as raw as it gets. I remember it took me a little time before I really listened to this song. At first it was all Joe Walsh hits, like "Rocky Mountain Way," "In The City," and "Life's Been Good" type songs. Then when I started getting into James Gang stuff it was "Funk No. 49," "Ashes, The Rain, And I," and "Walk Away." That's when a friend of mine said to me, "What about The Bomber man? That's the James Gang's best song!" Well lets just say he was right. The Bomber is rock and roll at it's finest. At first, it's an unrelenting assault, but when it backs off and Joe Walsh lets the the guitar and music breath a bit, you can almost fall into a trance, depending on what you're doing. I'd advise against that if you're driving or working with any machinery. And you've absolutely got to love the "march" that follows the aforementioned spacial interlude, before it goes into a really pretty melodic section. Somehow they make it all work together, like a Jumbalaya of form and feeling. The one thing it never loses though, is that incredible guitar.
Tuesday, August 28, 2012
External Underpants
http://externalunderpants.blogspot.com/
This was a long time coming.
I don't read many blogs. In fact, I didn't read any blogs until External Underpants came along, to be perfectly honest. The blog is written by the frontman of The Frank Stalloners, true. But it has little to do with his rockstar alter ego, and much to do with other passions of his, namely comics and writing. Danny is an avid reader, and an even better writer. His ability to dissect the information that exists between the lines, and present it in a way that is digestible to the rest of us, is well...Uncanny. For those of you who may know Danny simply by his stage antics and humorous band leading persona, this blog will open your eyes. His writing affords us all new insight into the mind of a truly gifted analyst. I was never even that huge of a comic book purveyor, though I did read my fair share growing up. This fact only enhances his blog for me, as it's opened me up to a whole new world of literature.
In the relatively short time that Danny's blog has been operating now, it's changed the way I think about a lot of things related to social media. I am not a social media guy. I don't have Facebook or MySpace, Linked In or Twitter. I'm not prejudicial towards those who do, it's just not something I'm interested in. I like a degree of privacy, and likewise, I afford other people theirs. In short, and I mean this as inoffensively as possible, I don't care about other peoples day to day dealings outside of those whom I actually speak with. But that being said, it's becoming clear to me that this is not a passing fad, and that social media is, and is going to further become a staple of our societies communication landscape. I'd also be lying if I said I didn't enjoy reading and partaking in the blogosphere.
So, now I'm blogging. I've bought a ticket, and I'm taking the ride. It's still a very strange thing to me and I'm not sure I think of it in the same manner as other people. Then again, I don't really know because I haven't spoken to many people about it. When Kim set this whole thing up for me, I figured, what's the worst that happens, I have a forum to write everyday (which I do anyway), and save each entry by date. It's pretty much a journal. Personally, I struggle with the idea of putting things on display. I'm not good at that because I'm not comfortable with it, but I can acknowledge that it is my own issue. You see, I respect humbleness. I respect the guy who keeps his head down, works hard, and makes great things happen, all the while never asking for recognition, never feeling he deserves it. Granted, I haven't done anything great at this point in my life, but just publishing this stuff is asking for a certain degree of acknowledgement. Asking people to read your work, is a form a self-validation and at least a little egotistical. It assumes that your work is good enough to be read. Maybe mine is. Maybe it isn't.
I'm know not all of my posts have been worthy. I hope at least some have. It's a quick, train-of-thought type process for me. You don't proof and edit journal entries, you just lay your feelings out there, and let the chips fall where they may. That's essentially how I've treated the Junkyard Farmer process. When I go back and read some of my prior entries, I can't help but cringe. I find all the flaws, both grammatically and otherwise. That's just my nature. But I must say, on the whole, the process has been very positive for me (I don't know if that's the same for my readers!). Getting my thoughts down on subjects that either pop into my field of view, or have been important to me for a long time, has given me perspective on things I didn't even know I had. It also just feels good. So in that vein, I must say I recommend it or something like it, to everyone. You won't know, until you try it. And I'll tell you what, if you start your own, I'll sign up and read it as often as I possibly can. Because though I may not be a fan of social media, there are a lot of interesting people out there with something to say. Hell, I know many of them, and one of them is certainly posting under the moniker of External Underpants.
This was a long time coming.
I don't read many blogs. In fact, I didn't read any blogs until External Underpants came along, to be perfectly honest. The blog is written by the frontman of The Frank Stalloners, true. But it has little to do with his rockstar alter ego, and much to do with other passions of his, namely comics and writing. Danny is an avid reader, and an even better writer. His ability to dissect the information that exists between the lines, and present it in a way that is digestible to the rest of us, is well...Uncanny. For those of you who may know Danny simply by his stage antics and humorous band leading persona, this blog will open your eyes. His writing affords us all new insight into the mind of a truly gifted analyst. I was never even that huge of a comic book purveyor, though I did read my fair share growing up. This fact only enhances his blog for me, as it's opened me up to a whole new world of literature.
In the relatively short time that Danny's blog has been operating now, it's changed the way I think about a lot of things related to social media. I am not a social media guy. I don't have Facebook or MySpace, Linked In or Twitter. I'm not prejudicial towards those who do, it's just not something I'm interested in. I like a degree of privacy, and likewise, I afford other people theirs. In short, and I mean this as inoffensively as possible, I don't care about other peoples day to day dealings outside of those whom I actually speak with. But that being said, it's becoming clear to me that this is not a passing fad, and that social media is, and is going to further become a staple of our societies communication landscape. I'd also be lying if I said I didn't enjoy reading and partaking in the blogosphere.
So, now I'm blogging. I've bought a ticket, and I'm taking the ride. It's still a very strange thing to me and I'm not sure I think of it in the same manner as other people. Then again, I don't really know because I haven't spoken to many people about it. When Kim set this whole thing up for me, I figured, what's the worst that happens, I have a forum to write everyday (which I do anyway), and save each entry by date. It's pretty much a journal. Personally, I struggle with the idea of putting things on display. I'm not good at that because I'm not comfortable with it, but I can acknowledge that it is my own issue. You see, I respect humbleness. I respect the guy who keeps his head down, works hard, and makes great things happen, all the while never asking for recognition, never feeling he deserves it. Granted, I haven't done anything great at this point in my life, but just publishing this stuff is asking for a certain degree of acknowledgement. Asking people to read your work, is a form a self-validation and at least a little egotistical. It assumes that your work is good enough to be read. Maybe mine is. Maybe it isn't.
I'm know not all of my posts have been worthy. I hope at least some have. It's a quick, train-of-thought type process for me. You don't proof and edit journal entries, you just lay your feelings out there, and let the chips fall where they may. That's essentially how I've treated the Junkyard Farmer process. When I go back and read some of my prior entries, I can't help but cringe. I find all the flaws, both grammatically and otherwise. That's just my nature. But I must say, on the whole, the process has been very positive for me (I don't know if that's the same for my readers!). Getting my thoughts down on subjects that either pop into my field of view, or have been important to me for a long time, has given me perspective on things I didn't even know I had. It also just feels good. So in that vein, I must say I recommend it or something like it, to everyone. You won't know, until you try it. And I'll tell you what, if you start your own, I'll sign up and read it as often as I possibly can. Because though I may not be a fan of social media, there are a lot of interesting people out there with something to say. Hell, I know many of them, and one of them is certainly posting under the moniker of External Underpants.
Monday, August 27, 2012
SOD: The Frank Stalloners "Tijuana Shuffle"
Two weekends ago was the 5th annual Equifunk Music Festival. It was my third straight year attending the campground music venue, and it was just as insane as the years prior. All of us in the Stalloner camp look forward to this event each year, but this year was especially important because it marked the last performance by The Frank Stalloners for the foreseeable future. With one guitarist out west and the keyboardist following shortly, the group has found it's performances limited, so when the opportunity presents itself you can bet they're firing on all cylinders.
This year, The Stalloners shared a bill with such acts as Galactic, Dumpstaphunk, The Pimps of Joytime, Bustle in Your Hedgerow, and Sister Sparrow and the Dirty Birds (who are from Brooklyn incidentally). The music is always good, and every year I leave with a new band I'm interested in hearing more of. The first year I went, I learned who Anders Osborne was. Now, I don't think there's another artist I've listened to more in the past three years. This year, having already heard of Dumpstaphunk and Galactic, the new group for me was Sister Sparrow. From the little investigating I've done of the band thus far (Hey, I've been busy...), I've come to realize that these guys are meant to be seen and heard. In other words, I'm thinking they're a Live band, and the recordings just don't give you the full scope of their performance and ability. Nonetheless, I will absolutely be listening to more of their stuff for a better crafted assessment.
This year, The Frank Stalloners had one of their most energetic performances. The additions of Tom Cumming on guitar, and Dave Chillano-Villano (aka DCV, please forgive spelling), brought a whole new layer to the already thunderous sound they possess. And even though there wasn't much time or space to practice with the new additions before the show, the group was as tight as I've ever seen them. Classics, like the Derek and the Dominoes anti-ballad "Why Does Love Got To Be So Sad," and Steely Dan's epic "Kid Charlemagne," were as powerful as they were intricate. Tom's solo on the latter was eerily identical to the records. But as I've always said about these guys, the real meat, is in the originals.
"Rita," a Johnny Vla original, is a tune everyone loves. From Bar's to Barbecue's, I've never heard someone say, "I didn't like that one," or anything close to it. "Hookers and Coke," is basically the anthem that sealed the deal between The Stalloners and Equifunk. Everyone who's heard of these guys, requests it by name. "Selena Roberts" is the ambitious instrumental with the obscure title, it's also a Melichar tour de force on bass. But it's "Tijuana Shuffle" that best represents the band as I see them. This was one of the first originals I heard them play, a long time ago. It's gotten tighter, quicker, and better since those early days, but it's never really changed, just like the band. It's a staple, a well written piece that plays to the strengths of each member, and even had newcomers Tom and Dave riding that wave. It's a shit-kicker of a song, and though they could probably play it in their sleep, they bring the same energy to it every time. Matty's slide guitar is the perfect accoutrement to Danny's stone-smoked voice, and as they trade lines for licks through the verses to the chorus, you can almost tell they're related. Almost.
This year, The Shuffle was given a dose of steroids. Though Danny's lyrics and charisma are the basis for this song (and it obviously goes without saying the song doesn't exist without them), the instrumentals were exceptional. Tom Cumming's guitar solo is simply one of the singular best I've ever seen. The build between him and the band is perfectly explosive. And when it all shifts back into a lower gear again, Matty does some simple slide work, that slowly grows a second nature of its own. There's a nice balance there between him and the keys, the kind of subtle wit that you have to listen for. Once you hear it though, you won't be able to stop listening for it. It's a great indicator of how well they know each other both musically and otherwise. DCV and Mega hold down a gnarly beat, ABB style, to top it all off. In other instances, I might say it's easy to forget about those two stick jockeys behind their rigs, but with this group that never happens. If they're not tight, the bands not tight. Fortunately, that never happens.
It's a bit disturbing to think that it could be another year before I hear these guys as a full group again. But knowing them, I'm confident it will be sooner. They love it too much. We all love it too much for it to end. So I have no fear that it will, but a tinge of remorse that it's over for now. Let this show stand as an example of their wild antics, and pure talent. It's been a pleasure to be a part of.
Don't worry, more videos to come...
"Rita," a Johnny Vla original, is a tune everyone loves. From Bar's to Barbecue's, I've never heard someone say, "I didn't like that one," or anything close to it. "Hookers and Coke," is basically the anthem that sealed the deal between The Stalloners and Equifunk. Everyone who's heard of these guys, requests it by name. "Selena Roberts" is the ambitious instrumental with the obscure title, it's also a Melichar tour de force on bass. But it's "Tijuana Shuffle" that best represents the band as I see them. This was one of the first originals I heard them play, a long time ago. It's gotten tighter, quicker, and better since those early days, but it's never really changed, just like the band. It's a staple, a well written piece that plays to the strengths of each member, and even had newcomers Tom and Dave riding that wave. It's a shit-kicker of a song, and though they could probably play it in their sleep, they bring the same energy to it every time. Matty's slide guitar is the perfect accoutrement to Danny's stone-smoked voice, and as they trade lines for licks through the verses to the chorus, you can almost tell they're related. Almost.
This year, The Shuffle was given a dose of steroids. Though Danny's lyrics and charisma are the basis for this song (and it obviously goes without saying the song doesn't exist without them), the instrumentals were exceptional. Tom Cumming's guitar solo is simply one of the singular best I've ever seen. The build between him and the band is perfectly explosive. And when it all shifts back into a lower gear again, Matty does some simple slide work, that slowly grows a second nature of its own. There's a nice balance there between him and the keys, the kind of subtle wit that you have to listen for. Once you hear it though, you won't be able to stop listening for it. It's a great indicator of how well they know each other both musically and otherwise. DCV and Mega hold down a gnarly beat, ABB style, to top it all off. In other instances, I might say it's easy to forget about those two stick jockeys behind their rigs, but with this group that never happens. If they're not tight, the bands not tight. Fortunately, that never happens.
It's a bit disturbing to think that it could be another year before I hear these guys as a full group again. But knowing them, I'm confident it will be sooner. They love it too much. We all love it too much for it to end. So I have no fear that it will, but a tinge of remorse that it's over for now. Let this show stand as an example of their wild antics, and pure talent. It's been a pleasure to be a part of.
Don't worry, more videos to come...
Friday, August 24, 2012
SOD: Elton John "Razor Face"
Elton John's fourth studio album was Madman Across the Water (1971), from which this song hails. It's hard to choose a favorite Elton John album, at least for me. The album following Madman, was Honky Chateau (1972), and that is perennially ranked as one of the top albums of John. With tracks like "Honky Cat," "Mona Lisas and Mad Hatters," and "Rocket Man," providing hits around which to build, it's a solid cover to cover album. So is Tumbleweed Connection (1970), which if pressed, is usually my top choice (or the live album 11-17-71). But I think Madman can get overlooked. When it came out, it was John's lowest charting album in the UK, though it did reach #8 on the Billboard 200. As time passed though, it's become more popular and has since gone 2x platinum.
In my musical circles, I don't hear a lot of people talking about the album as a whole. I aim to rectify that. Maybe it's because Elton John has so many hits and popular songs, albums can get overlooked by those who are not of the die-hard fan contingent. I know Johnny V never overlooks an Elton album, and in that vein I was going through my collection today when I realized I had in fact neglected this piece of work for quite sometime. Once I played it through today, I made the conscientious decision never to do that again.
Sure, this album opens with quite arguably the most famous (i.e. Almost Famous) Elton John song (if there can even be only one) , but it never loses traction after that. Just look at this track list (click songs for Youtube links):
1. Tiny Dancer (6:15)
2. Levon (5:22)
3. Razor Face (4:44)
4. Madman Across the Water (5:56)
5. Indian Sunset (6:45)
6. Holiday Inn (4:17)
7. Rotten Peaches (4:56)
8. All the Nasties (5:08)
9. Goodbye (1:48)
Now I have to assume not everyone knows all these songs, but take it from me, there isn't a "rotten peach" in the batch. In fact "Rotten Peaches" is one hell of an ass kicking track itself. "Levon" is unquestionably one of the all time greats (Johnny Vla does a mean one-man cover), and it's title character gets his name from the people's hero and American in The Band, Levon Helm. If this song doesn't somehow make you nostalgic about Levon, or emotional in general, than you're on your way to becoming a full-fledged Vulcan. The piano and string arrangement are as powerful as it gets for Elton John. "Indian Summer," another epic John tune dealing with an American Indian warriors defeat at the hands of the white man, evokes similar feelings to "Sixty Years On" in me. The title track is a mean piece of rock n' roll, and if you've never heard it before, don't sell yourself short any longer. It's got a heavy grit under the high wails of Elton, that at times create a beautifully menacing sound. And the song wouldn't be half as good without the marvelous string arrangement provided by Paul Buckmaster (who did all the arranging on this album including the incredible "Tiny Dancer").
Though I almost chose "Holiday Inn" for it's incredible lyrics and all around uplifting feeling, the reason I chose Razor Face is simply because it's just a great everyday, anytime, upbeat song that I've loved for a long time. Truth be told though, I hadn't heard in quite some time before today. I used to play "Razor Face," and "Amoreena" back to back all the time. For some reason, I liked making them a package deal when I had to get a dose of Elton on a public playlist or mix. So when I heard them both this morning on the subway and walk to work, I instantly knew it would be an Elton John fueled day. Let me tell you, it's been working out so far. You oughta try it yourselves.
The personnel and production on this album is extensive. Every song has a different combination of musicians, and almost every track has a Paul Buckmaster arrangement. In short, it's a big album, with a big sound. Hope you enjoy it half as much as I am right now.
In my musical circles, I don't hear a lot of people talking about the album as a whole. I aim to rectify that. Maybe it's because Elton John has so many hits and popular songs, albums can get overlooked by those who are not of the die-hard fan contingent. I know Johnny V never overlooks an Elton album, and in that vein I was going through my collection today when I realized I had in fact neglected this piece of work for quite sometime. Once I played it through today, I made the conscientious decision never to do that again.
Sure, this album opens with quite arguably the most famous (i.e. Almost Famous) Elton John song (if there can even be only one) , but it never loses traction after that. Just look at this track list (click songs for Youtube links):
1. Tiny Dancer (6:15)
2. Levon (5:22)
3. Razor Face (4:44)
4. Madman Across the Water (5:56)
5. Indian Sunset (6:45)
6. Holiday Inn (4:17)
7. Rotten Peaches (4:56)
8. All the Nasties (5:08)
9. Goodbye (1:48)
Now I have to assume not everyone knows all these songs, but take it from me, there isn't a "rotten peach" in the batch. In fact "Rotten Peaches" is one hell of an ass kicking track itself. "Levon" is unquestionably one of the all time greats (Johnny Vla does a mean one-man cover), and it's title character gets his name from the people's hero and American in The Band, Levon Helm. If this song doesn't somehow make you nostalgic about Levon, or emotional in general, than you're on your way to becoming a full-fledged Vulcan. The piano and string arrangement are as powerful as it gets for Elton John. "Indian Summer," another epic John tune dealing with an American Indian warriors defeat at the hands of the white man, evokes similar feelings to "Sixty Years On" in me. The title track is a mean piece of rock n' roll, and if you've never heard it before, don't sell yourself short any longer. It's got a heavy grit under the high wails of Elton, that at times create a beautifully menacing sound. And the song wouldn't be half as good without the marvelous string arrangement provided by Paul Buckmaster (who did all the arranging on this album including the incredible "Tiny Dancer").
Though I almost chose "Holiday Inn" for it's incredible lyrics and all around uplifting feeling, the reason I chose Razor Face is simply because it's just a great everyday, anytime, upbeat song that I've loved for a long time. Truth be told though, I hadn't heard in quite some time before today. I used to play "Razor Face," and "Amoreena" back to back all the time. For some reason, I liked making them a package deal when I had to get a dose of Elton on a public playlist or mix. So when I heard them both this morning on the subway and walk to work, I instantly knew it would be an Elton John fueled day. Let me tell you, it's been working out so far. You oughta try it yourselves.
The personnel and production on this album is extensive. Every song has a different combination of musicians, and almost every track has a Paul Buckmaster arrangement. In short, it's a big album, with a big sound. Hope you enjoy it half as much as I am right now.
Wednesday, August 22, 2012
SOD: Stuff "Live at Montreux 1976" ("Foots" into "Signed, Sealed, Delivered" into "The Gadd Solo")
This is rhythm & blues / funk at its finest. Imagine this. Bassist Gordon Edwards is contracting and playing studio sessions. He's already been working with guitarist Cornell Dupree in this capacity, but keyboard virtuoso, Richard Tee, is also working on a job in the area. One of Edward's clients, Queen Esther Marrow, asks to use the studio band at a club date (at Mikell's) one night. The gig goes so well, that the group starts showing up every night, Monday to Thursday. Ultimately Ester Marrow leaves, but drummer Steve Gadd and guitarist Eric Gale catch wind of the musicians impromptu jam, and start appearing on a nightly basis. Suddenly, a band is born. The rest is history, as eventually someone at Warner Bros. is contacted, flies in to hear them play, and offers them a record deal.
Stuff, has an exceptional and unique flavor. There is also a liquidity to their sound that is best emphasized in their live recordings. As chords change and the music progresses, you can hear each player mold themselves around the others. Whether it be to a melody or soloist, each part rises and falls in perfect correspondence with the others. It's subtle, because they're so good. Taken separately, each part itself is very involved. Richard Tee holds down some tremendous chords and intricate rhythmic runs, a one man band himself. He's a freak of nature behind the black and whites, and to this day I've never heard anyone play like him. We lost him too soon. Steve Gadd, widely considered one of the best session drummers, has impecable timing and taste. This clip ends with the beginning of his drum solo (which is marvelous), but its his continuous drive through the entire performance that keeps the band and audience on its toes. There's no substitute for those sticks. Bassist Gordon Edwards is responsible for putting the group together, and in that same vein, he keeps the entire sound grounded with some seriously heavy, funk bass.
The guitar work on this album is a lesson in control. Never overbearing, always working together and sharing the stage, with perfect tone. Cornell Dupree is one of the best sidemen ever to hold an axe. He worked with an incredible array of artists, but I'm always drawn back to the beginning of his career, when he played in the Atlantic Records studio bands. It was there that he played on such recordings as Aretha Live at Fillmore West. This album is absolutely not to be overlooked, it is hands down my singular favorite piece of her work. He also lent his hand to Donny Hathaway's live album, recorded right here at The Bitter End in the West Village, NYC. Live is an incredible piece of Donny Hathaways collection, and Dupree brought a finespun cleverness to the sound. He also has an amazing solo on the final track "Voices Inside (Everything is Everything)" - solo begins around 5:50. Much thanks to Matt for passing that album my way.
The second half of the guitar equation belongs to another notable session musician, Eric Gale. It's estimated that he played on as many as 500 albums. Like Dupree, he recorded with Aretha, Cocker, King Curtis, and Grover Washington Jr., among many others. He also had a stint in Aretha's stage band. But as far as my listening is concerned, Eric Gale's best stuff, came with Stuff. When I first heard Stuff, I started dissecting it's parts one by one, and when I came to Eric Gale, I wasn't all that into his solo work. It had the flavor of Lee Ritenour, and his studio albums seemed a bit overproduced. But with Stuff, it was always the right mixture. He and Cornell had excellent chemistry, and their work together in this capacity is absolutely some of my all time favorite.
Tuesday, August 21, 2012
SOD: Derek & The Dominoes "Why Does Love Got to Be So Sad"
The guitar is impeccable, on the song and the album. This is wailing. Clapton and Allman together, creating a sound that would resonate to this day, as one of the all time greatest guitar albums. So why did Layla and Other Assorted Love Songs only get lukewarm reviews initially? Well, you can never trust reviews. Look at The Big Lebowski. Sometimes a little time to pass, is all that's needed. Now the masterpiece is continually ranked high on "Top Albums" lists, and is still winning awards (2012 Grammy for Best Surround Sound Album).
But it's not about reviews and awards when it comes to music. Everyone knows this. It's about what a song makes you feel. That's what's going to make your decision. And when I listen to this album, I feel everything. I feel it in my gut and heart, still to this day. I've listened to it so many times now that I'm at the point where I find myself anticipating the little nuances in each song. The things that bring you back to a time of true recording. You feel like your in the room with the group, there's atmosphere. Even listen to the harmonies over the chorus in this track. There's something so beautifully unrefined and real about it. And that's not saying it's at all less than perfect.
Eric Clapton (Derek) is best remembered as the face of this group, and many of the songs are often attributed to him. But keyboardist Bobby Whitlock helped write the majority of the album, and there were a couple covers on there too. In total, Clapton only wrote two of the fourteen songs by himself. Other Joe Cocker / Delaney & Bonnie outcasts were of course Jim Gordon (drums) and Carle Radle (bass). Duane Allman was invited to play when the sessions were not taking off as they planned in the beginning. He contributed slide guitar on 11 tracks of the album, including this one, and was an essential piece of the five-spot.
The cosmic joke of it all, is that they only gave us one album. They only gave me, one album. And although that one masterpiece seals the positive reputation of the group, it also relates to their failure. After less than a year, drugs, relationships and death had broken down one of the best blues supergroups of all time. Everyone in the group must have known to some degree that it wouldn't last. The name itself was an amalgamation of falsehoods, and Eric Clapton was quite possibly hiding behind it. After all, he was in love with his friend and fellow musician George Harrison's wife, and had no way to overtly say it. "Derek," gave him the opportunity to circumvent that head on collision with his mate, and "Layla" was the perfect guise for Patti Boyd.
I guess the optimist in me is thankful that somehow this group came together, and in six weeks recorded this supercharged blues album. But there's a piece of my heart that still aches for more from the group that set my standard for blues rock.
Eric Clapton (Derek) is best remembered as the face of this group, and many of the songs are often attributed to him. But keyboardist Bobby Whitlock helped write the majority of the album, and there were a couple covers on there too. In total, Clapton only wrote two of the fourteen songs by himself. Other Joe Cocker / Delaney & Bonnie outcasts were of course Jim Gordon (drums) and Carle Radle (bass). Duane Allman was invited to play when the sessions were not taking off as they planned in the beginning. He contributed slide guitar on 11 tracks of the album, including this one, and was an essential piece of the five-spot.
The cosmic joke of it all, is that they only gave us one album. They only gave me, one album. And although that one masterpiece seals the positive reputation of the group, it also relates to their failure. After less than a year, drugs, relationships and death had broken down one of the best blues supergroups of all time. Everyone in the group must have known to some degree that it wouldn't last. The name itself was an amalgamation of falsehoods, and Eric Clapton was quite possibly hiding behind it. After all, he was in love with his friend and fellow musician George Harrison's wife, and had no way to overtly say it. "Derek," gave him the opportunity to circumvent that head on collision with his mate, and "Layla" was the perfect guise for Patti Boyd.
I guess the optimist in me is thankful that somehow this group came together, and in six weeks recorded this supercharged blues album. But there's a piece of my heart that still aches for more from the group that set my standard for blues rock.
Wednesday, August 15, 2012
SOD: James Horner "Braveheart Soundtrack - Sons of Scotland"
A good soundtrack can make or break a movie. The greatest film composers like Hans Zimmer, John Williams, Ennio Morricone, Henry Mancini, and handful of others, have the audience eating out of the palm of their hand, sometimes without even knowing it. Their ability to cue up emotion is uncanny. Sometimes these composers are so good, you absolutely must own the score after you see the film, so you can play it at your leisure. And though this music isn't written, created, or used like your typical song that's played on the radio, or written for a girl, it's absolutely just as important.
I remember when I was young, my sisters favorite movie was "The Last of the Mohicans." Coincidentally, it was my fathers favorite soundtrack. When we would all drive upstate in the winter time, he would always pop the soundtrack in just as we'd enter the mountains, frozen streams on our left, and giant evergreens on our right. Those images set to that music will forever be seared in my mind. It's one of my most beautiful memories.
James Horner was always my favorite film composer. When I was twelve, I saw Braveheart. Besides the amazing battle sequences, the music was what I remembered most about the film. It absolutely blew me away, I had never heard anything so beautiful and complete. I honestly must have listened to that soundtrack everyday at some point, for the next two years. That sealed the deal for me, and from that point on I would actively seek out James Horner soundtracks, even if I hadn't seen the films themselves! He's honestly that good.
James Horner has scored well over 100 films. I've listened to over half these at this point. To this day Braveheart is still my favorite, but he's got so many to be proud of. I'll lay a few on you, just to make the point:
- Commando
- Willow
- Apollo 13
- Sneakers
- Star Trek II: The Wrath of Khan
- Legends of the Fall
- Aliens
- Glory
- Field of Dreams
- Clear and Present Danger
- Troy
- The Rocketeer
- Titanic
- The Devil's Own
- A Beautiful Mind
- Bicentennial Man
- The Perfect Storm
- Apocalypto
- Avatar
- The Amazing Spider-Man (which I believe is his most recent effort)
He also did two of my childhood favorites, The Land Before Time and An American Tale, both of which I've listened to recently and found that I still love.
Though Horner is my clear favorite, I think it is worth mentioning that Hans Zimmer gave him a run for his money (in my world), because of the Gladiator soundtrack, and Thomas Newman also was in contention as he has a stable of strong films as well. I've also piqued my own curiosity while writing this entry, because I'm genuinely curious about what other peoples favorite soundtracks are, and who their favorite film composers are. Could be the makings of a great conversation...
I remember when I was young, my sisters favorite movie was "The Last of the Mohicans." Coincidentally, it was my fathers favorite soundtrack. When we would all drive upstate in the winter time, he would always pop the soundtrack in just as we'd enter the mountains, frozen streams on our left, and giant evergreens on our right. Those images set to that music will forever be seared in my mind. It's one of my most beautiful memories.
James Horner was always my favorite film composer. When I was twelve, I saw Braveheart. Besides the amazing battle sequences, the music was what I remembered most about the film. It absolutely blew me away, I had never heard anything so beautiful and complete. I honestly must have listened to that soundtrack everyday at some point, for the next two years. That sealed the deal for me, and from that point on I would actively seek out James Horner soundtracks, even if I hadn't seen the films themselves! He's honestly that good.
James Horner has scored well over 100 films. I've listened to over half these at this point. To this day Braveheart is still my favorite, but he's got so many to be proud of. I'll lay a few on you, just to make the point:
- Commando
- Willow
- Apollo 13
- Sneakers
- Star Trek II: The Wrath of Khan
- Legends of the Fall
- Aliens
- Glory
- Field of Dreams
- Clear and Present Danger
- Troy
- The Rocketeer
- Titanic
- The Devil's Own
- A Beautiful Mind
- Bicentennial Man
- The Perfect Storm
- Apocalypto
- Avatar
- The Amazing Spider-Man (which I believe is his most recent effort)
He also did two of my childhood favorites, The Land Before Time and An American Tale, both of which I've listened to recently and found that I still love.
Though Horner is my clear favorite, I think it is worth mentioning that Hans Zimmer gave him a run for his money (in my world), because of the Gladiator soundtrack, and Thomas Newman also was in contention as he has a stable of strong films as well. I've also piqued my own curiosity while writing this entry, because I'm genuinely curious about what other peoples favorite soundtracks are, and who their favorite film composers are. Could be the makings of a great conversation...
Tuesday, August 14, 2012
SOD: Steely Dan "Night By Night"
Pretzel Logic was Steely Dan's third studio album, and the last album to receive a live tour for decades. The end of this tour marked the beginning of Steely Dan becoming a true studio band. It was the last album that retained a core group of musicians that had been there from the start, before Steely Dan essentially became Donald Fagen and Walter Becker.
Pretzel Logic was the final album with guitarist Jeff "Skunk" Baxter, before he joined the Doobie Brothers, and ultimately landed a defense consultant job with the U.S. Missle Defense Agency. It was also the last time guitarist Denny Dias toured with the band, though he lent his hand in studio work on some of the following Steely Dan albums. Dias ultimately became a computer programer. Finally, it was the last album that original drummer Jim Hodder worked on with the group. He ultimately drowned in his swimming pool at age 42. I honestly don't know what to make of these three stories, but I thought it was worth mentioning so you could draw your own conclusions. Lets move on.
Pretzel Logic is a strong album, but it doesn't make my Top Three. "Rikki Don't Lose That Number," became the bands most successful hit, reaching #4 on the charts. To be completely honest though, its not one of my favorites. Personally songs like "Night by Night," the short but rippin' "With a Gun," and the short but groovy "Monkey In Your Soul," were my favorites off the album. "Parker's Band" was a tribute to Charlie Parker, and deserves a mention as well, as does "Any Major Dude Will Tell You."
The album received really strong reviews, better than Can't Buy A Thrill, Countdown To Ecstasy, and Royal Scam, but I personally enjoy those three albums more. That's not to say that Pretzel Logic isn't a very strong album, but it pretty much comes down to the fact that I find the other albums much more playable cover to cover (Countdown To Ecstasy to a lesser extent). I've met a few people at live shows who have cited Pretzel Logic as their unquestionably favorite Steely Dan album, but that could've been because it was the last album they saw live, with the original line-up. That might have effected my opinion as well, if I was alive to have seen it. Overall though, Night by Night is up there on my list of favorite 'Dan tunes. It's a track that not a lot of my peers know, but when I've shown it to them, they've immediately become drawn to it. It has all the quintessential Steely Dan elements, but it never gets any play these days. On the radio or at house parties. So here's to bringing it back, night by night, one night at a time.
Pretzel Logic was the final album with guitarist Jeff "Skunk" Baxter, before he joined the Doobie Brothers, and ultimately landed a defense consultant job with the U.S. Missle Defense Agency. It was also the last time guitarist Denny Dias toured with the band, though he lent his hand in studio work on some of the following Steely Dan albums. Dias ultimately became a computer programer. Finally, it was the last album that original drummer Jim Hodder worked on with the group. He ultimately drowned in his swimming pool at age 42. I honestly don't know what to make of these three stories, but I thought it was worth mentioning so you could draw your own conclusions. Lets move on.
Pretzel Logic is a strong album, but it doesn't make my Top Three. "Rikki Don't Lose That Number," became the bands most successful hit, reaching #4 on the charts. To be completely honest though, its not one of my favorites. Personally songs like "Night by Night," the short but rippin' "With a Gun," and the short but groovy "Monkey In Your Soul," were my favorites off the album. "Parker's Band" was a tribute to Charlie Parker, and deserves a mention as well, as does "Any Major Dude Will Tell You."
The album received really strong reviews, better than Can't Buy A Thrill, Countdown To Ecstasy, and Royal Scam, but I personally enjoy those three albums more. That's not to say that Pretzel Logic isn't a very strong album, but it pretty much comes down to the fact that I find the other albums much more playable cover to cover (Countdown To Ecstasy to a lesser extent). I've met a few people at live shows who have cited Pretzel Logic as their unquestionably favorite Steely Dan album, but that could've been because it was the last album they saw live, with the original line-up. That might have effected my opinion as well, if I was alive to have seen it. Overall though, Night by Night is up there on my list of favorite 'Dan tunes. It's a track that not a lot of my peers know, but when I've shown it to them, they've immediately become drawn to it. It has all the quintessential Steely Dan elements, but it never gets any play these days. On the radio or at house parties. So here's to bringing it back, night by night, one night at a time.
Friday, August 10, 2012
SOD: The Highwaymen "Highwayman"
I really don't think this song needs any introduction or explanation. It's probably the coolest thing since Miles Davis. I want to be a highwayman, or a sailor, or a dam builder, and especially a starship pilot. Christ, I feel like all four of those things every time I put this song on and sing along. Most recently was with Venice and Johnny, and if somebody caught that on tape they'd be a youtube sensation. I think I found my Halloween costume, who's with me? ...(crickets)
The Highwaymen were a supergroup who were quite fittingly, always on the road. They were comprised of Willie Nelson, Kris Kristofferson, Waylon Jennings, and Johnny Cash. That's also the order in which they take their turn at a verse in this epic song. The group was active from 1985-1995, and released three studio albums.
The Highwaymen were a supergroup who were quite fittingly, always on the road. They were comprised of Willie Nelson, Kris Kristofferson, Waylon Jennings, and Johnny Cash. That's also the order in which they take their turn at a verse in this epic song. The group was active from 1985-1995, and released three studio albums.
Thursday, August 9, 2012
SOD: Jackson Browne "The Pretender"
Up until I met Nancy about ten years ago, I didn't know any Die-Hard Jackson Browne fans. I thought they were kind of a myth, like Bigfoot or a free lunch. But Nancy shattered the questionability of it, and I have to say, he's grown on me in the past decade as well.
I knew the hits, but I didn't know everything else. Then I started to research him. Through his career, his reviews have been lukewarm, and he's never garnered whole sale respect. That surprised me. I thought for sure this guy was one of the top dogs, but it's a bit more modest than that. I personally don't like a lot of what he puts out, but there are these gems (both albums and songs) that have a unique pull to them. They're nicely crafted blends of folk, soft rock, and country, that don't ask too much of you.
Now just because the critics didn't give him all A+'s doesn't mean he's without fans. He's got millions. I've never met them, but they're out there. He's got 7 platinum albums (3x of which are multiplatinum), that have sold over 17 million copies in the U.S. alone. The Pretender is my favorite, and this title track is might be my pick of the lot. Sometimes I want to hate it, but it has a depressing allure that keeps me coming back for more. It's almost masochistic. The album opens with a tune called "The Fuse" which Johnny introduced me to one day when he played and sang it, off the cuff(yea, he's that good). That song is a masterpiece in it's own right. But overall, it's an album that I think a lot can be taken from, and it certainly winds up getting a lot of face time on my ipod.
I knew the hits, but I didn't know everything else. Then I started to research him. Through his career, his reviews have been lukewarm, and he's never garnered whole sale respect. That surprised me. I thought for sure this guy was one of the top dogs, but it's a bit more modest than that. I personally don't like a lot of what he puts out, but there are these gems (both albums and songs) that have a unique pull to them. They're nicely crafted blends of folk, soft rock, and country, that don't ask too much of you.
Now just because the critics didn't give him all A+'s doesn't mean he's without fans. He's got millions. I've never met them, but they're out there. He's got 7 platinum albums (3x of which are multiplatinum), that have sold over 17 million copies in the U.S. alone. The Pretender is my favorite, and this title track is might be my pick of the lot. Sometimes I want to hate it, but it has a depressing allure that keeps me coming back for more. It's almost masochistic. The album opens with a tune called "The Fuse" which Johnny introduced me to one day when he played and sang it, off the cuff(yea, he's that good). That song is a masterpiece in it's own right. But overall, it's an album that I think a lot can be taken from, and it certainly winds up getting a lot of face time on my ipod.
A Junkyard Playlist 8/9/12
A playlist from this time a year ago, gave me a glimpse at what new (and old) music I was listening to at the time.
Also, thanks to Amanda's suggestion, you can listen to these playlists on Spotify now. Just look for thejumpsuit. Otherwise, click the songname for the youtube video.
1. Six Ways From Sunday - Mofro
2. Livin' In the Jungle - Black Joe Lewis & The Honeybears
3. Rock 'N Roll Stew - Traffic
4. Mozambique - Bob Dylan
5. Windows Are Rolled Down - Amos Lee
6. Already Yours - Bahamas
7. Back Home to Harlem - The Rosewood Thieves
8. Medicine Man - The Band of Heathens
9. Go Amanda - Steve Earle
10. Six Feet - The London Souls
11. Loaded - The Wood Brothers
12. Badfish - Sublime
13. Give it Back - Sharon Jones & The Dap-Kings
14. Diyo Dayo - JJ Grey and Mofro
15. Meet Me In New Mexico - Anders Osborne
16. Manoovas (feat. Derek Trucks) - Dr. John & The Lower 911
17. Up All Night - Widespread Panic
18. Lord of the Thighs - Aerosmith
19. Over the Hill (Live) - Brothers of a Feather, Chris Robinson & Rich Robinson
20. Long As I Can See the Light - Creedence Clearwater Revival
21. Chocolate On My Tongue - The Wood Brothers
22. Living the Blues - Bob Dylan
23. Game of Thrones (theme) - Ramin Djawadi (composer)
RT: 79:06
Also, thanks to Amanda's suggestion, you can listen to these playlists on Spotify now. Just look for thejumpsuit. Otherwise, click the songname for the youtube video.
1. Six Ways From Sunday - Mofro
2. Livin' In the Jungle - Black Joe Lewis & The Honeybears
3. Rock 'N Roll Stew - Traffic
4. Mozambique - Bob Dylan
5. Windows Are Rolled Down - Amos Lee
6. Already Yours - Bahamas
7. Back Home to Harlem - The Rosewood Thieves
8. Medicine Man - The Band of Heathens
9. Go Amanda - Steve Earle
10. Six Feet - The London Souls
11. Loaded - The Wood Brothers
12. Badfish - Sublime
13. Give it Back - Sharon Jones & The Dap-Kings
14. Diyo Dayo - JJ Grey and Mofro
15. Meet Me In New Mexico - Anders Osborne
16. Manoovas (feat. Derek Trucks) - Dr. John & The Lower 911
17. Up All Night - Widespread Panic
18. Lord of the Thighs - Aerosmith
19. Over the Hill (Live) - Brothers of a Feather, Chris Robinson & Rich Robinson
20. Long As I Can See the Light - Creedence Clearwater Revival
21. Chocolate On My Tongue - The Wood Brothers
22. Living the Blues - Bob Dylan
23. Game of Thrones (theme) - Ramin Djawadi (composer)
RT: 79:06
Wednesday, August 8, 2012
SOD: Miley Cyrus "You're Gonna Make Me Lonesome When You Go"
I know, I probably just lost the majority of the few people who read this blog. You're thinking "WTF, Miley Cyrus?" To be honest, I'm thinking the same thing, but more wondering why, if she can sound like this, does she not do it more often. Aside from picking the perfect Bob Dylan song to cover, there's a maturity and confidence in her singing here resemblant of the best female country vocalists on the scene today. If this is the direction she's headed in, then I will begin to respect her.
Now I did not come across this song because I was researching Miley, that doesn't happen in my world. Instead I came across it when I purchased the album Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International. Yea, it's a charity compilation album, but it's not bad. It's a four disc album, with a plethora of covers by a whole array of artists. Pete Townshend, Adele, My Chemical Romance, Seal, Jeff Beck, Elvis Costello, Mark Knopfler, Eric Burdon, Sting, Patti Smith, My Morning Jacket, Rise Against, Jackson Browne, Joan Baez, Ziggy Marley, Steve Earle and many, many more each cover a tune. Some of it is downright awful, some of it is alright, and some of it is worthy of note. I happen to think that this cover is absolutely worth the mention.
You're Gonna Make Me Lonesome When You Go is unquestionably one of my favorite Dylan tunes. It's light and playful in music and lyrics, but beautiful and earnest in it's message. I'll just say that if you serenade a girl with this song, you're gonna get her, or else she doesn't deserve you. It's the kind of song you wish you wrote yourself. And I think Miley absolutely does the song justice, and then some. Her version has been very well received, it's gotten good reviews, and there's even a tasteful music video (featuring Johnzo West, who arranged this version and plays guitar, drums and sings on it). I watched her Behind The Scenes of the song as well, which I think proves that the girl has grown up. It shows a whole different side of her I think, a side that reminds me that she was NINE years old when she started her career, and she's only NINETEEN now. So anyone that would pass judgement on her future is a fool, because she's still just growing up. Like any other kid, she is and was impressionable, and she's entitled to mistakes, faults, and bumps in the road. But after hearing this, I think there's hope for her, and I have no intention of writing her off just yet. I mean, we could afford her a few more years, no?
Blood On The Tracks (1975) is hands down my favorite Dylan album, and maybe that sounds typical, but there's just no fighting it for me. "Buckets Of Rain" is probably my all time favorite Dylan song, which will probably leave a lot of people scratching there heads (seeing as there are so many bigger, more thoughtfully written tunes by the man), but you can't help when a song speaks to you. And that one has had a hold on me for nearly twenty years now. The entire album is a gift to the airwaves. I challenge anyone to listen to that album cover to cover, and not feel a change in themselves. I've listened to it hundreds of times, and it still changes me each time I play it. It's Dylan at his absolute finest. Lily, Rosemary, and the Jack of Hearts should be a movie, Tangled Up In Blue is some of the finest songwriting ever created, and the same goes for Shelter From The Storm. Buckets of Rain and Simple Twist Of Fate always give me chills, if something was ever to make me cry, it would be either of those songs, and Meet Me In The Morning might just be my favorite song to crack the day/nights first beer to. Just go listen to the album. Trust me, you won't be disappointed.
Now I did not come across this song because I was researching Miley, that doesn't happen in my world. Instead I came across it when I purchased the album Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International. Yea, it's a charity compilation album, but it's not bad. It's a four disc album, with a plethora of covers by a whole array of artists. Pete Townshend, Adele, My Chemical Romance, Seal, Jeff Beck, Elvis Costello, Mark Knopfler, Eric Burdon, Sting, Patti Smith, My Morning Jacket, Rise Against, Jackson Browne, Joan Baez, Ziggy Marley, Steve Earle and many, many more each cover a tune. Some of it is downright awful, some of it is alright, and some of it is worthy of note. I happen to think that this cover is absolutely worth the mention.
You're Gonna Make Me Lonesome When You Go is unquestionably one of my favorite Dylan tunes. It's light and playful in music and lyrics, but beautiful and earnest in it's message. I'll just say that if you serenade a girl with this song, you're gonna get her, or else she doesn't deserve you. It's the kind of song you wish you wrote yourself. And I think Miley absolutely does the song justice, and then some. Her version has been very well received, it's gotten good reviews, and there's even a tasteful music video (featuring Johnzo West, who arranged this version and plays guitar, drums and sings on it). I watched her Behind The Scenes of the song as well, which I think proves that the girl has grown up. It shows a whole different side of her I think, a side that reminds me that she was NINE years old when she started her career, and she's only NINETEEN now. So anyone that would pass judgement on her future is a fool, because she's still just growing up. Like any other kid, she is and was impressionable, and she's entitled to mistakes, faults, and bumps in the road. But after hearing this, I think there's hope for her, and I have no intention of writing her off just yet. I mean, we could afford her a few more years, no?
Blood On The Tracks (1975) is hands down my favorite Dylan album, and maybe that sounds typical, but there's just no fighting it for me. "Buckets Of Rain" is probably my all time favorite Dylan song, which will probably leave a lot of people scratching there heads (seeing as there are so many bigger, more thoughtfully written tunes by the man), but you can't help when a song speaks to you. And that one has had a hold on me for nearly twenty years now. The entire album is a gift to the airwaves. I challenge anyone to listen to that album cover to cover, and not feel a change in themselves. I've listened to it hundreds of times, and it still changes me each time I play it. It's Dylan at his absolute finest. Lily, Rosemary, and the Jack of Hearts should be a movie, Tangled Up In Blue is some of the finest songwriting ever created, and the same goes for Shelter From The Storm. Buckets of Rain and Simple Twist Of Fate always give me chills, if something was ever to make me cry, it would be either of those songs, and Meet Me In The Morning might just be my favorite song to crack the day/nights first beer to. Just go listen to the album. Trust me, you won't be disappointed.
Tuesday, August 7, 2012
SOD: Freddie King "Key to the Highway"
This song has been covered by many, but it's actually a blues standard first recorded in 1940 by Charlie Segar ("Key to the Highway" by Charlie Segar). Little Walter's version from 1958 has a bit more grit to it, and is in contention for my favorite version because of the brilliant ensemble who played on it. Little Walter's vocals are perfect, and his harp is deadly. He's got to be in the running for the best all time harmonica player, if he's not already considered The Best. Of course he's got Muddy Waters playing slide guitar with him, and Willie Dixon on Bass. But also on this recording is Luther Tucker on guitar, and the great Otis Spann on piano (drums are played by either George Hunter or Francis Clay - neither of which I can say I know). This version of the song was very popular in it's day, spending 14 weeks on the R&B charts ("Key to the Highway" by Little Walter).
Eric Clapton also recorded the song with Derek and the Dominos for their epic album, Layla and Other Assorted Love Songs. This version lasts 9:46, and was essentially an unrehearsed jam between Duane Allman and Eric Clapton. Proof of this is in the fact that the song starts with a fade-in to them already playing. The recording was only made because Tom Dowd (producer) heard what was going on between the two musicians, and scrambled to get the engineers to record it. It's an amazing piece for those who love Clapton and Allman, and their brilliant blues guitar work together ("Key to the Highway" by Derek and the Dominoes). Clapton also played this song in two memorable performances with the Allman Brothers Band at the Beacon Theater in March 2009.
In addition to the above, the song has been recorded by John Lee Hooker (1959), Count Basie (1960), The Band (1968), Steve Miller Band (1968), Muddy Watters (1971), Freddie King (1977), and the Derek Trucks Band (2006), among many others.
The Freddie King version is in contention for my favorite with Little Walter's. I love the faster pace, and Freddies voice and guitar are just too perfect for this song. It feels as if it was written for him alone. The piano provided an exceptional accompaniment in this superbowl version as well, and the whole performance is simply stellar. Why don't we get these kinds of superbowl halftime shows anymore? If we had a show like that, I'd actually watch it! This performance would outshine the superbowl for me. I at least consider myself lucky to have the recording.
Eric Clapton also recorded the song with Derek and the Dominos for their epic album, Layla and Other Assorted Love Songs. This version lasts 9:46, and was essentially an unrehearsed jam between Duane Allman and Eric Clapton. Proof of this is in the fact that the song starts with a fade-in to them already playing. The recording was only made because Tom Dowd (producer) heard what was going on between the two musicians, and scrambled to get the engineers to record it. It's an amazing piece for those who love Clapton and Allman, and their brilliant blues guitar work together ("Key to the Highway" by Derek and the Dominoes). Clapton also played this song in two memorable performances with the Allman Brothers Band at the Beacon Theater in March 2009.
In addition to the above, the song has been recorded by John Lee Hooker (1959), Count Basie (1960), The Band (1968), Steve Miller Band (1968), Muddy Watters (1971), Freddie King (1977), and the Derek Trucks Band (2006), among many others.
The Freddie King version is in contention for my favorite with Little Walter's. I love the faster pace, and Freddies voice and guitar are just too perfect for this song. It feels as if it was written for him alone. The piano provided an exceptional accompaniment in this superbowl version as well, and the whole performance is simply stellar. Why don't we get these kinds of superbowl halftime shows anymore? If we had a show like that, I'd actually watch it! This performance would outshine the superbowl for me. I at least consider myself lucky to have the recording.
A Junkyard Playlist 8/7/12
When I'm not listening to an album, I will still make myself a playlist for the day. Sometimes to walk to, sometimes to work to. Sometimes to drive to and others to draw to. Here's one I started this morning and added to through the day (click song for youtube link).
1. To Be Alone With You - Bob Dylan
2. Pray Enough - The Wood Brothers
3. In The Morning - Adam Levy
5. Beach House - The Cave Singers
6. Pisces Apple Lady - Leon Russell
7. I Don't Know What You Got - Little Richard
8. The Weight - King Curtis
9. Getaway - Dr. John
10. The Same Love That Made Me Laugh - Bill Withers
11. Boomer's Story (Acoustic Version) - The Black Crowes
12. Deep Ellum Blues - Carter Brothers
13. Learn How To Love - Tedeschi Trucks Band
14. Lone Pine Hill - Justin Townes Earle
15. Hide Your Love - The Rolling Stones
16. Stuck On My Baby - Anders Osborne
17. Have A Heart - Bonnie Raitt
18. Dylan's Hard Rain - Ryan Bingham
19. Outside Woman Blues - Cream
Monday, August 6, 2012
SOD: Miles Davis "In A Silent Way"
In the spirit of the weekend (Newport Jazzfest), I'll continue the flavor with one of the best efforts from Miles Davis. Props must be given to Matt (again), as he mentioned he came upon the album recently and cannot stop listening to it. As we speak, it's on it's fourth pass today in my office, and it's getting better every time.
To describe the album is very difficult, but if it doesn't draw some kind of emotion out of you, you're brain dead. It opens with an amazing rhodes and guitar intro, that's playful but foreboding. Throughout the entire first section there's an ethereal and spacious quality to it, that the trumpet only seems to enhance (whereas one might have expected it to reel it all back in). The second part continues this idea, but lapses into some very tight grooves, the groundwork for which, is set by the bass. Yet it still retains that mysterious and breathable quality we feel in the beginning, and often returns to, or draws from that.
The album is seen as some of the most experimental work structurally, that Davis did. It's also largely said that this was the beginning of his "electric period." For more info, read the blurb written under the video. Definitely take note of the musicians who lent their hands to this album, because they are absolutely some of the best at their craft.
I chose to include the whole album as a "song" of the day, because in my eyes, there is no breaking this masterpiece into pieces. Its all or nothing.
To describe the album is very difficult, but if it doesn't draw some kind of emotion out of you, you're brain dead. It opens with an amazing rhodes and guitar intro, that's playful but foreboding. Throughout the entire first section there's an ethereal and spacious quality to it, that the trumpet only seems to enhance (whereas one might have expected it to reel it all back in). The second part continues this idea, but lapses into some very tight grooves, the groundwork for which, is set by the bass. Yet it still retains that mysterious and breathable quality we feel in the beginning, and often returns to, or draws from that.
The album is seen as some of the most experimental work structurally, that Davis did. It's also largely said that this was the beginning of his "electric period." For more info, read the blurb written under the video. Definitely take note of the musicians who lent their hands to this album, because they are absolutely some of the best at their craft.
I chose to include the whole album as a "song" of the day, because in my eyes, there is no breaking this masterpiece into pieces. Its all or nothing.
2012 Newport Jazz Fest
On saturday night, after a full day of jazz, we all sat down to dinner. After seeing a variety of performances, Venice begged the question, "what exactly defines Jazz?" I think because of the diversity of sound we heard between groups, she was a bit perturbed about what qualified something as jazz. At first, I gave a somewhat textbook answer, saying that like any other genre of music it was defined by the instruments, scales/notes, and rhythms used, and of course in this case, the improvisation. I also thought it pertinent to say that like blues, it grew out of the American South, but drew its influences from African and European traditions. But like any other genre, it was open to a broad spectrum of styles and influences and manifestations. I think genres should never be taken seriously, they're merely a broad way to guide your taste, especially this day in age where fusions and combinations of genre's are constantly being created, explored, and thus, named.
The Newport Jazz Festival, in my opinion, if for lovers of the jazz craft. It's nothing like Jazzfest down in New Orleans, where we saw the likes of Paul Simon, The Allman Brothers, and even My Morning Jacket. That was a music festival, with many different kinds of musical styles. Newport Jazz Fest was for Jazz aficionados, looking for the real deal with very little room for interpretation of the word. Acts like Pat Metheny, Jack DeJohnette, The Bad Plus, The James Carter Organ Trio, Dianne Reeves, and Bill Frisell all played on the day we attended, as well as a good deal others.
The first thing you noticed upon entry, was the people. This was not like other music festivals I've been to, full of raucous groups of young'ins and ambling masses of drunkards in the sun. This crowd was older, fatter, weirder, and exponentially more docile. Some of them looked like the lemonade in their hand, might in fact be their last. But from what I could tell, the majority of them came for the music, and only the music. They weren't there for "the scene," or the drugs, or the social nature of it. And some of these people were absolutely able to comprehend all the music being played for them. They were true fans (and in some cases, students) of the genre.
I am not as knowledgeable of Jazz I probably should be. I'd like to think I know enough to hold my own in a relaxed conversation, but upon overhearing some of the discussion going on around me, I knew I was a true amateur in this setting. Even of the groups I knew and wanted to see, I held little understanding comparative to the masses. I had wanted to see The Bad Plus for quite some time, as they are a groundbreaking group who's eclectic sound has caused a physical reaction in me at times. Its hard to sit still to songs like the epically evil "Dirty Blonde" and their twisted version of "Smells Like Teen Spirit." The trio has certainly had an impact on me to say the least, and opened my eyes to certain sounds and chords that I had not been previously "comfortable" with. But their set on Saturday, was completely indigestible to me.
The Bad Plus are big fans of Paul Motian. For those of you who don't know him, he is an American Jazz drummer who just died last year at age 80, after being featured on six new recordings. One of those was Live at Birdland with a favorite pianist of mine, Brad Mehlau (as well as Charlie Haden and Lee Konitz). To say this guy has been an innovator in the field for quite some time, is an understatement. He was still doing it until the day he died. But Paul Motian made his name in the late 1950's in the piano trio of Bill Evans, and went on to become an advocate of the movment to relieve drummers from their strict time-keeping duties (i.e. Live in Germany, 1972). This is where the issues began for me.
You see, the Bad Plus decided to use their limited time to cover a couple of his songs, and essentially based their set around it. Bill Frissel, another idol of theirs, played guitar with them, but it didn't help. It only contributed to the madness. I never had a grip on any of the music they played, and it was all well over my head. But at the end of each song, they received a standing ovation worthy of a Springsteen show. People were going nuts for them! At one point, I thought the women next to me was suffering from spastic twitches, but it turned out she was just going along with the beat-less music. Matty classified the music in a way that made a lot of sense to me. He said it was "soulless". I think that sounds harsher than its intend to be, but that is how I felt about it. There was nothing for me to create emotion or feeling from. Im sure the other 500+ people in the tent and surrounding area would disagree, and that's their prerogative. But I personally did not have any taste for it.
Pat Metheny closed the day on the main stage, and he was definitely the artist I was most looking forward to seeing. Bundell (aka Mom) is probably his biggest fan, unbeknownst to him of course. The first thing she said to me was, "Do you see! He's wearing a striped shirt again!" She was of course pointing to the fact that Metheny has a penchant for striped shirts, and come to think of it I've never seen him play without one. His set was good, and he was very judicious about passing solo time around to the band, especially saxophone virtuoso, Chris Potter. Antonio Sanchez was playing drums with him, as is often the case these days, and he is a phenomenal drummer, so on point. You have to hear him play live to get it, but otherwise, you'll just have to trust me. The group was rounded out by bassist Ben Williams. But I dare say, it was a little lackluster for Metheny? Maybe I'm just spoiled, having seen him a dozen times now, but he didn't seem as intense or energized as I'm used to. He also didn't afford himself the time to build those story-like solo's he crafts, since the set was significantly shorter than a normal show, and he was sharing solo time quite generously. But to put it into perspective, this guy is the best Jazz Guitarist on the scene in my opinion, and any opportunity to see him is an opportunity worth taking.
Dianne Reeves did a set on the mainstage as well, but her time overlapped with The Bad Plus, and I rode it out with the trio. I did catch her last two songs, and her booming voice was a nice break from all the instrumental chatter. The band behind her definitely made the performance, as they kept things "big" and upbeat. But it was a lesser known group that I had never heard of that was the most enjoyable for me. "The James Carter Organ Trio" was a lively group, with a great sound. James Carter is a reed instrumentalist, and his chops on the saxophone were immense. He had all the right pieces put together around him to create a well defined and dynamic sound. It wasn't just a spotlight on James Carter, and the background filling in the spaces, there was a nice give and take, with a playful back and forth between instruments. Gerard Gibbs was on Organ, Leonard Clyde King Jr. on drums, and they had special guest Rodney Jones on guitar. The four of them drifted into some bluesier tunes as well, especially when they brought up vocalist Miche Braden. This was music I could understand and feel, and it was a nice accoutrement to the rest of the day.
I'll close by saying Newport Jazzfest is tasteful affair. There is no alcohol outside of two designated areas for it, and even there it's only beer and wine. It's a smaller event, never overcrowded or stuffy, never any lines. It also happens to be set amongst the beautiful scenery of Fort Adams (built in 1799), looking out on the water. There were yachts and sailboats in the harbor, and the whole coastal scene felt very "New England" in general. It was a nice departure from the large scale music festivals I am used to visiting, and a much better environment to attend with your family. I know I sound like some half-rate travel site now, but I thought it was worth the mention.
Thursday, August 2, 2012
SOD: Howlin' Wolf "Killing Floor"
Chester Arthur Burnett, better known as Howlin' Wolf, was one of the most influential and popular blues singers of his time. His music is still played and covered today, and always ranks among the top in electric blues standards. Along with Muddy Waters, Sonny Boy Williamson, and Little Walter, Howlin Wolf rounded out the group of greatest artists to record for Chess Records.
"Smokestack Lightinin'" was always a favorite of mine, long before I even knew who Howlin' Wolf was. And like most of his music, you just want to move to it. It's sexy, it's smooth, it's tough, and it's simply cool. In college I discovered my love for a lot of this music as I delved deeper into the genre. I remember riding around listening to Muddy Waters, Robert Johnson, Buddy Guy, and just feeling untouchable. That music did something to me. I had grown up listening to The Rolling Stones and Led Zeppelin, but to hear exactly where their sound came from, and in certain cases, the exact songs and licks they were ripping off, changed my outlook entirely. Suddenly I had new heroes, and a new understanding of where the music I loved really came from. Suddenly Led Zeppelin didn't seem as innovative, or original.
I don't want to be misunderstood however. I still love Led Zeppelin. They were innovative, and they were absolutely one of the most talented and influential bands of their day. But chronologically, it's important to keep things in perspective. Led Zeppelin was a force in their time. But the music they played, and were influenced by came directly from Howlin' Wolf's time. In fact, Howlin' Wolf had to sue Led Zeppelin just to get credit on "The Lemon Song", as Zeppelin had no intention of giving him any. I'm more than agitated by this, and it's simply one example in an ongoing list of occurrences of this kind. Such was the culture back then, and giving credit to old school African-American R&B musicians was not part of the plan. European rock bands came in, took what they wanted from their American predecessors, and with a few very minor changes, tried to pawn it off as their own. Hey, Elvis (and many others) got away with it, right?
Fortunately, the age of information has given us the ability to look these things up on our own now. So anyone interested enough, can go and research it. And believe me when I tell you, it's a fascinating subject because you'd be absolutely shocked at how rampant plagiarism was among the bands we consider to be the biggest and best of that time. It's certainly a bit sad and disheartening to see your musical heroes for what they really were in many instances, but at the same time, it's worth knowing the truth. And it's worth finding out who your real heroes are and should be.
"Killing Floor" is one of the dirtiest upbeat 12-bar blues songs I've ever heard. That guitar riff is so familiar now, it's practically ingrained in our DNA. But somehow, it never gets old. Its one of my all-time favorite songs, sung by one of the all-time best vocalists out there. The imposing figure of a six-foot six-inch, 300 pound Howlin' Wolf, growling out a song like this, must've been a sight to see. What I would've given to see him live just once. But I'm thankful that in this day in age it's so easy to get my hands on his music. We're truly fortunate to have so much music at our fingertips, because simply put, we get to enjoy music from any and every genre, and time. And thanks to youtube, it's free.
"Smokestack Lightinin'" was always a favorite of mine, long before I even knew who Howlin' Wolf was. And like most of his music, you just want to move to it. It's sexy, it's smooth, it's tough, and it's simply cool. In college I discovered my love for a lot of this music as I delved deeper into the genre. I remember riding around listening to Muddy Waters, Robert Johnson, Buddy Guy, and just feeling untouchable. That music did something to me. I had grown up listening to The Rolling Stones and Led Zeppelin, but to hear exactly where their sound came from, and in certain cases, the exact songs and licks they were ripping off, changed my outlook entirely. Suddenly I had new heroes, and a new understanding of where the music I loved really came from. Suddenly Led Zeppelin didn't seem as innovative, or original.
I don't want to be misunderstood however. I still love Led Zeppelin. They were innovative, and they were absolutely one of the most talented and influential bands of their day. But chronologically, it's important to keep things in perspective. Led Zeppelin was a force in their time. But the music they played, and were influenced by came directly from Howlin' Wolf's time. In fact, Howlin' Wolf had to sue Led Zeppelin just to get credit on "The Lemon Song", as Zeppelin had no intention of giving him any. I'm more than agitated by this, and it's simply one example in an ongoing list of occurrences of this kind. Such was the culture back then, and giving credit to old school African-American R&B musicians was not part of the plan. European rock bands came in, took what they wanted from their American predecessors, and with a few very minor changes, tried to pawn it off as their own. Hey, Elvis (and many others) got away with it, right?
Fortunately, the age of information has given us the ability to look these things up on our own now. So anyone interested enough, can go and research it. And believe me when I tell you, it's a fascinating subject because you'd be absolutely shocked at how rampant plagiarism was among the bands we consider to be the biggest and best of that time. It's certainly a bit sad and disheartening to see your musical heroes for what they really were in many instances, but at the same time, it's worth knowing the truth. And it's worth finding out who your real heroes are and should be.
"Killing Floor" is one of the dirtiest upbeat 12-bar blues songs I've ever heard. That guitar riff is so familiar now, it's practically ingrained in our DNA. But somehow, it never gets old. Its one of my all-time favorite songs, sung by one of the all-time best vocalists out there. The imposing figure of a six-foot six-inch, 300 pound Howlin' Wolf, growling out a song like this, must've been a sight to see. What I would've given to see him live just once. But I'm thankful that in this day in age it's so easy to get my hands on his music. We're truly fortunate to have so much music at our fingertips, because simply put, we get to enjoy music from any and every genre, and time. And thanks to youtube, it's free.
Wednesday, August 1, 2012
SOD: Black Sabbath "War Pigs"
Tuesday Night Jam at Greens, was one hell of a good show last night. It was an up-tempo jam, full of really fast paced but tight grooves. There was a good crowd, people were dancing, and the energy was high. And the next thing I knew, we were playing "Space Captain," and then it was over. Four hours just kind of flew by. The night however, was just getting started.
After we packed up the majority of our instruments, we took some shots, and we're just messing around with each other, when people started fiddling with the remaining instruments left "on stage." Ultimately this was comprised of (not including random percussion instruments), a drum kit, a Gibson SG, a Bass, and a microphone. It was getting loud and nutty, when finally Danny brought some order to the chaos. He orchestrated the following lineup:
Pat - Bass
John Burns - Guitar
Mega - Drums
Himself - Vocals
So they started fucking around with some blues riffs, and some Hendrix, and the next thing you know, I think Burns is playing "Gypsy Eyes," and boy is he ripping it. And somehow without a lot of discussion or interruption, a transition is made, and oh what a transition it was. It turned out to be one of the greatest twenty-minute jams ever. I'm talking epic, quite possibly better than the entirety of Tuesday Night Jam itself. A mind-numbing version of "War Pigs, " filled the air, and anyone still there (which was a solid 12-15 people) stopped what they were doing and started going ape shit. Clapping, stomping, yelling, fist pumping, and many other knee-jerk wild motions were brought forth by the music. Maybe it was the full moon. Or maybe it was just the perfect version of the song, at the perfect time. Burns was absolutely ripping it, destroying the guitar, creating absolute madness. It was beautiful. It was also 1:30am on a Tuesday.
After humming the tune the whole ride home, and then waking up with it in my head this morning, it seemed only fitting to choose it for SOD. I only wish I could play you their version somehow...
After we packed up the majority of our instruments, we took some shots, and we're just messing around with each other, when people started fiddling with the remaining instruments left "on stage." Ultimately this was comprised of (not including random percussion instruments), a drum kit, a Gibson SG, a Bass, and a microphone. It was getting loud and nutty, when finally Danny brought some order to the chaos. He orchestrated the following lineup:
Pat - Bass
John Burns - Guitar
Mega - Drums
Himself - Vocals
So they started fucking around with some blues riffs, and some Hendrix, and the next thing you know, I think Burns is playing "Gypsy Eyes," and boy is he ripping it. And somehow without a lot of discussion or interruption, a transition is made, and oh what a transition it was. It turned out to be one of the greatest twenty-minute jams ever. I'm talking epic, quite possibly better than the entirety of Tuesday Night Jam itself. A mind-numbing version of "War Pigs, " filled the air, and anyone still there (which was a solid 12-15 people) stopped what they were doing and started going ape shit. Clapping, stomping, yelling, fist pumping, and many other knee-jerk wild motions were brought forth by the music. Maybe it was the full moon. Or maybe it was just the perfect version of the song, at the perfect time. Burns was absolutely ripping it, destroying the guitar, creating absolute madness. It was beautiful. It was also 1:30am on a Tuesday.
After humming the tune the whole ride home, and then waking up with it in my head this morning, it seemed only fitting to choose it for SOD. I only wish I could play you their version somehow...
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