tag:blogger.com,1999:blog-46529933272437092772024-02-07T15:30:29.304+10:30Dr Robert Muller - 1960s Psychedelic Hippie Culture and MusicWelcome to the Hippie Music and Culture site! This site looks at a whole lot of 1960s culture as well as reviewing the classic psychedelic, jazz-rock and blues inspired music of the 1960s and 1970s.Unknownnoreply@blogger.comBlogger1386125tag:blogger.com,1999:blog-4652993327243709277.post-85761418355474233062018-01-31T20:10:00.000+10:302018-01-31T20:10:00.424+10:3050 Years Ago: The Doors Sparked Controversy On The Ed Sullivan Show When They Crossed The Line - The Infamous Performance That Infuriated Ed Sullivan!<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2-T23MBRwIByJ7-6fClQhw_IcFZ8tpKaT30dFX_I-8UExiMvP9J8-V1P1tXnG_VD9pJxs-VIr5C5IO0chFIdZwIAAHhZRnFKtnQkkL0zaYRT3wiazQUET6BRmD6l4Wj8Y_ygMx4Gp4E/s1600/unnamed.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="85" data-original-width="152" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2-T23MBRwIByJ7-6fClQhw_IcFZ8tpKaT30dFX_I-8UExiMvP9J8-V1P1tXnG_VD9pJxs-VIr5C5IO0chFIdZwIAAHhZRnFKtnQkkL0zaYRT3wiazQUET6BRmD6l4Wj8Y_ygMx4Gp4E/s320/unnamed.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Ed Sullivan Show / YouTube</td></tr>
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by Society of Rock: </div>
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<a href="http://societyofrock.com/50-years-ago-the-doors-sparked-controversy-on-the-ed-sullivan-show-when-they-crossed-the-line/">http://societyofrock.com/50-years-ago-the-doors-sparked-controversy-on-the-ed-sullivan-show-when-they-crossed-the-line/</a></div>
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Early into their career, legendary rock band <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Doors</span> broke onto the music scene in a massive way. Their hard hitting instrumentation and lyrical content made them a force to be reckoned with. They were provocative and controversial, to put it lightly. This was ever so evident when <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Doors</span>appeared for the first time on <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Ed Sullivan Show</span>.</div>
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If you’re unfamiliar with <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Ed Sullivan Show</span>, here’s what you need to know. If you were in a band and played as a musical guest on <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Ed Sullivan Show</span>, the next day, you were famous. It was that simple. Case in point… <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Beatles</span>!</div>
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Now here is where the controversy comes in. In 1967, <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Doors</span> were set to play on <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Ed Sullivan Show</span>. All seemed well until <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Ed Sullivan</span> told the band that they have to alter the lyrics of the song they were playing, which was <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">“Light My Fire”</span>, due to the sexual implications. <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Doors</span> were scrambling trying to figure out what to do. <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Jim Morrison</span> assured the band not to worry. As soon as they get on stage, <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Jim Morrison</span> realizes that it’s live TV and proceeds to go with the original lyric, thus going against <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Ed’s</span> wishes.</div>
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Soon after the performance, <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Ed Sullivan</span> bursts into their dressing screaming and cursing them out – saying that they’ll never play <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">The Ed Sullivan</span> <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Show</span> again. To which <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px;">Jim Morrison</span> said…<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px;"> “But we just did…”</em></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-22373389574140305002018-01-13T21:09:00.000+10:302018-01-13T21:09:13.943+10:30The Story of Bluesman Robert Johnson’s Famous Deal With the Devil Retold in Three Animations<span style="font-family: inherit; font-size: large;"><span style="background-color: white; color: #414141;">by </span><a href="http://www.openculture.com/author/jdavidjones" rel="author" sl-processed="1" style="background-color: white; color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;" title="Posts by Josh Jones">Josh Jones</a>, Open Culture: </span><br />
<span style="font-family: inherit; font-size: large;"><a href="http://www.openculture.com/2015/07/the-story-of-bluesman-robert-johnsons-famous-deal-with-the-devil-retold-in-three-animations.html">http://www.openculture.com/2015/07/the-story-of-bluesman-robert-johnsons-famous-deal-with-the-devil-retold-in-three-animations.html</a></span><br />
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<span style="font-family: inherit; font-size: large;">So many hugely successful and talented musicians have died at age 27 that it almost seems reasonable to believe the number represents some mystical coefficient of talent and tragedy. But several decades before Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, or Amy Winehouse left us too soon, <a href="http://www.robertjohnsonbluesfoundation.org/biography" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Robert Johnson</a>—the man who pioneered selling one's soul for rock and roll—died in 1938, at age 27, under mysterious and likely violent circumstances. He was already a legend, and his story of <a href="http://www.radiolab.org/story/199705-crossroads/" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">meeting Satan at the crossroads</a> to make an exchange for his extraordinary talent had already permeated the popular culture of his day and became even more ingrained after his death—making him, well, maybe the very first rock star.</span></div>
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<span style="font-family: inherit; font-size: large;">Johnson's few recordings—<a href="https://www.youtube.com/watch?v=-P4WhmJt9XM" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">29 songs in total</a>—went on to influence Eric Clapton, Keith Richards, <a href="http://www.rollingstone.com/music/pictures/a-brief-history-of-the-27-club-20131112" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">27 club</a>member Brian Jones and so many others. And that's not to mention the hundreds of Delta and Chicago blues guitarists who picked Johnson's brain, or stopped short of selling their souls trying to outplay him. But Johnson, begins the animated short above (which tells the tale of the bluesman's infernal deal) "wasn’t always such an amazing guitarist." Legend has it he "coveted the talents of <a href="https://en.wikipedia.org/wiki/Son_House" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Son House</a>" and dreamed of stardom. He acquired his talent overnight, it seemed to those around him, who surmised he must have set out to the crossroads, met the devil, and "made a deal."</span></div>
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<span style="font-family: inherit; font-size: large;">The rest of the story—of Robert Johnson’s fatal encounter with the jealous husband of an admirer—is a more plausible development, though it too may be apocryphal. “Not all of this may be true," says the short film's title cards, "but one thing is for certain: No Robert Johnson, No Rock and Roll." This too is another legend. Other early bluesmen like <a href="https://en.wikipedia.org/wiki/Blind_Willie_Johnson" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Blind Willie Johnson </a>and Robert's hero Son House exerted similar influence on 60s blues revivalists, as of course did later electric players like Muddy Waters, Howlin' Wolf, and B.B. King. Johnson was a phenomenal innovator, and a singular voice, but his repertoire—like those of most blues players at the time—consisted of variations on older songs, or responses to other, very talented musicians.</span></div>
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<span style="font-family: inherit; font-size: large;">Most of the songs he recorded were in this vein—with at least two very notable exceptions: "<a href="https://www.youtube.com/watch?v=GsB_cGdgPTo" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Cross Road Blues</a>" (or just "Crossroads") and "<a href="https://www.youtube.com/watch?v=b7ZzfjRzZuk" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Me and the Devil Blues</a>," both of which have contributed to the myth of Johnson's pact with Lucifer, including the part about the dark angel coming to collect his debt. In the latter song, animated in a video above, Satan comes knocking on the singer's door early in the morning. "Hello Satan," says Johnson, "I believe it's time to go." Much of what we think about Johnson's life comes from these songs, and from much rumor and innuendo. He may have been murdered, or—like so many later stars who died too young—he may have simply burned out. One blues singer who claims she met him as a child remembers him near the end of his life as "ill" and "sickly," <a href="http://www.austinchronicle.com/music/2012-08-03/the-girl-who-met-robert-johnson/all/" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">reports the <em>Austin Chronicle</em></a>, "in a state of physical disrepair as though he'd been roughed up."</span></div>
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<span style="font-family: inherit; font-size: large;">Johnson scholar <a href="http://www.elijahwald.com/" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Elijah Wald</a> describes his history like that of many founders of religious sects: "So much research has been done [on Johnson] that I have to assume the overall picture is fairly accurate. Still, this picture has been pieced together from so many tattered and flimsy scraps that almost any one of them must to some extent be taken on faith." Johnson's "spiritual descendants," as <em><a href="http://www.rollingstone.com/music/lists/100-greatest-guitarists-of-all-time-19691231/robert-johnson-20101202" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">Rolling Stone'</a></em><a href="http://www.rollingstone.com/music/lists/100-greatest-guitarists-of-all-time-19691231/robert-johnson-20101202" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">s David Fricke</a>calls his rock and roll progeny, have no trouble doing just that. Nor do fans of rock and blues and other artists who find the Robert Johnson legend tantalizing.</span></div>
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<span style="font-family: inherit; font-size: large;">In the film above, "Hot Tamales," animator Riccardo Maneglia adapts the myth, and quotes from "Crossroad Blues," to tell the story of Bob, who journeys to the crossroads to meet sinister voodoo deity Papa Leg, replaying Johnson's supposed rendezvous in a different religious context. In "Crossroad"'s lyrics, Johnson is actually "pleading with God for mercy," <a href="http://www.vanityfair.com/culture/2008/11/johnson200811" sl-processed="1" style="color: #0183b2; line-height: 24px; outline: none; text-decoration-line: none;">writes Frank DiGiacomo in <em>Vanity Fair</em></a>, "not bargaining with the devil." Nonetheless—legendary or not—his evocation of devilish deals in "Me and the Devil Blues" and gritty, emotional account of self-destruction in "Crossroads" may on their own add sufficient weight to that far-reaching idea: "No Robert Johnson, No Rock and Roll."</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-39541554944245169002017-11-27T21:17:00.000+10:302017-11-27T21:17:54.875+10:30What Was It Like to Play With Guitarist Roy Buchanan?<div style="background-color: white; border: 0px; box-sizing: border-box; color: #444444; font-family: Lato, sans-serif; font-size: 20px; margin-bottom: 35px; outline: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
by <a href="http://www.culturesonar.com/author/john-montagna/">John Montagna</a>, Culture Sonar: <a href="http://www.culturesonar.com/playing-with-roy-buchanan/?mc_cid=678aeb5401&mc_eid=66f62f01ac">http://www.culturesonar.com/playing-with-roy-buchanan/?mc_cid=678aeb5401&mc_eid=66f62f01ac</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUKK8oMRrGXqLJRTsvuJyu4RZySMVDH94lxPu_GZcD3U8j1ZamfXGMKAq9MSQfl9TosBngITxWvoro-XlfKV-nYWbqWYVsZxegbuF57DFKs92u58cpAe4kUjRGzhqDNlLES7hbHQrfCw/s1600/roy-buchanan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="900" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUKK8oMRrGXqLJRTsvuJyu4RZySMVDH94lxPu_GZcD3U8j1ZamfXGMKAq9MSQfl9TosBngITxWvoro-XlfKV-nYWbqWYVsZxegbuF57DFKs92u58cpAe4kUjRGzhqDNlLES7hbHQrfCw/s640/roy-buchanan.jpg" width="640" /></a></div>
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<a href="https://www.allmusic.com/artist/roy-buchanan-mn0000341137/biography" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Roy Buchanan </a>might have been the quintessential “guitarist’s guitarist,” earning the respect and admiration of contemporaries such as <a href="http://www.ericclapton.com/LiveInSD?ref=https://www.google.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Eric Clapton</a> and <a href="https://www.jimihendrix.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Jimi Hendrix</a>, yet never achieving mainstream success. But one defines “success” on one’s own terms. As the artist himself said in the 1971 PBS documentary <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Introducing Roy Buchanan: The World’s Greatest Unknown Guitarist</em>: “I didn’t care whether I made it big…all I wanted to do was learn to play the guitar for myself. </div>
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<iframe class="alignright" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://ws-na.amazon-adsystem.com/widgets/q?region=US&ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=ss_til&ad_type=product_link&tracking_id=cultur04-20&marketplace=amazon&placement=B0000639AM&asins=B0000639AM&linkId=DGJQFSEETVP4VISP&show_border=true&link_opens_in_new_window=true" style="border-style: initial; border-width: 0px; box-sizing: border-box; float: right; font-family: inherit; font-style: inherit; font-weight: inherit; height: 240px; margin: 0px 0px 0px 25px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 120px;"></iframe>You’ll feel it in your heart whether you’ve succeeded or not.” By the time of his untimely — and, some say, <a href="http://articles.latimes.com/1988-08-16/news/mn-724_1_roy-buchanan" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">suspicious</a> — death in 1988 he’d done much more than “learn to play,” having established himself as one of the premiere American electric guitarists. His pioneering use of the full musical and sonic capabilities of the Fender Telecaster especially influenced the generation of guitarists who followed. Bass guitarist Jeff Ganz toured with Roy in one of his final lineups, a power trio also featuring drummer Ray Marchica. I had a conversation with the veteran NYC bassist recently, in which he shed some light on Roy Buchanan, both as man and musician.</div>
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<b style="box-sizing: border-box;">Q: When did you first become aware of Roy Buchanan?</b></div>
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A: I was made aware of him like everybody else, watching the PBS documentary on television. When I heard him, he was always in a very traditional surrounding, like in a 4-piece rhythm section. But it was polite, swinging, rockabilly-oriented rhythm section playing, with his brand of guitar: everything that became popular that you could do on a Telecaster later, (only) he was doing it in 1959!</div>
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<b style="box-sizing: border-box;">Q: How did the band come together?</b></div>
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A: I was recommended to be a local musician, which was his paradigm in the mid-‘80s; there were different versions of his band that didn’t last very long, and then it became not a band at all because he could make more money with “pickup” guys, because the people were not there to see anything but him. The fellow who produced the PBS documentary was named John Adams, and a mutual friend of ours named Scott Kuney recommended me to do the gig, and asked if I could get a drummer. So I recommended Ray Marchica. Ray has a very diverse resume, everything from Broadway pit work, to Dan Hartman, the <a href="http://www.palermobigband.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Ed Palermo Big Band</a>…this is a total musician, and one of my closest friends. The only time we ever got together to rehearse was the very first time he was checking us out on December 7th, 1984 at RCA Studios in New York.</div>
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<b style="box-sizing: border-box;">Q: How was it that first time you played with him?</b></div>
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A: Analogous to what John Paul Jones said about the first day of <a href="http://www.ledzeppelin.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Led Zeppelin</a>, the room just exploded! ‘Cause you’ve got New York guys who are listening and adapting to the situation, and are being asked to contribute their own ideas; all of that happened very simultaneously. Our first gig was the next day at the Capitol Theater in Passaic, NJ, opening for <a href="https://www.trowerpower.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Robin Trower</a>. To be honest with you, it went so well that we got some heavy, heavy reviews in the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Newark Star Ledger</em>; the guy really liked the band! Also, because Roy knew about this band’s versatility, even from the first gig he started to experiment. Like, he goes “Hey Jeff, do you know ’The Lady Is a Tramp?’” I said, “Yeah!” He says, “Well, can you <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">sing</em> it?” And that’s what happened on the first gig: I sang “Lady Is a Tramp,” and it sounded like “I Saw Her Standing There,” with Roy trying to cop that exact groove! So he started trusting this band right away.</div>
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<b style="box-sizing: border-box;">Q: What was the most fulfilling aspect of your experience with Roy?</b></div>
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A: My personal thing was when he was able to rip into a solo without a lot of accompaniment, when it was just me and the 8-string bass with him. So there was a lot of room to do what he did and experiment, and then Ray and I kind of music-directed him with “stop time” and stuff like that, but never really took him out of what he did. When you’re playing with a more “traditional” blues band, you play your solos and then you stop and you’re comping behind somebody else. That isn’t really what happened in our band. It was him, and arrangements on the spot. There were a lot of things going on in my head simultaneously: it was like, I’m doing a gig, but I’m being asked to be me! Now I’m feeling 14 again, and idealistic about why I started!</div>
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<b style="box-sizing: border-box;">Q: Roy gained the admiration of many legendary guitarists, but not their level of fame or recognition. How come?</b></div>
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A: The difference between Roy and those guys is that Roy was not the least bit conscious of his own image. He would get onstage and wear whatever he wanted to wear; he was not interested in any visual trends, he was strictly a real guitar player, you know what I mean? There were times when Ray and I wanted to leverage him into something bigger, and he simply wasn’t interested in pursuing it. It was a different kind of mind set; he just wanted to play the guitar, but he wanted to play <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">his</em> way. He was the antithesis of “showmanship.” He wasn’t lighting his guitar on fire, making himself look a certain way, or playing licks over and over to impress the crowd, like so many people are now. I think he was one of those guys who just wanted to work, but he was stuck being a genius! And with that came a lot of the demons.</div>
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<b style="box-sizing: border-box;">Q: So he wasn’t conscious of his “brand?”</b></div>
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A: Hard to say…it seemed that way to me, but how do I know? He took all the real answers with him.</div>
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-Interview by <a href="http://www.culturesonar.com/team/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;" target="_blank">John Montagna</a></div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Writer’s Note: Mr. Ganz’s comments have been edited for brevity and consistency.</em></div>
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PS. Some thoughts on <a href="http://www.culturesonar.com/technology-killed-guitar/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;" target="_blank">technology and the guitar</a>. And some other low-key <a href="http://culturesonar.com/new-york-session-players/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">heroes of the music scene</a>.</div>
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Photo of Roy Buchanan by Tom Morton of the <a href="https://youtu.be/1VeiEi3g6Ek" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Hochberg Photo Collection</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-67342155247771811022017-11-14T19:57:00.000+10:302017-11-14T19:57:02.407+10:30The Creme de la Creme of Cream’s Jack Bruce<span style="font-family: inherit; font-size: large;">by <a href="http://www.culturesonar.com/author/john-montagna/">John Montagna</a>, Culture Sonar: </span><br />
<span style="font-size: large;"><a href="http://www.culturesonar.com/creams-jack-bruce/">http://www.culturesonar.com/creams-jack-bruce/</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMuASvL076-EiLWaXBETrbIDZmixmxRGeW9ybWR5Bbv_jAp9D1FCfGPx_0CRoXFmwZiUe67dqycrENewaoXJoyxKumvO2_qJ_sLU45-U9bcolugPP-mnEVh8q9KND8Hn_liDiitegmu4/s1600/Jack-Bruce-Getty.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMuASvL076-EiLWaXBETrbIDZmixmxRGeW9ybWR5Bbv_jAp9D1FCfGPx_0CRoXFmwZiUe67dqycrENewaoXJoyxKumvO2_qJ_sLU45-U9bcolugPP-mnEVh8q9KND8Hn_liDiitegmu4/s640/Jack-Bruce-Getty.jpg" width="830" /></a></div>
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<span style="font-family: inherit; font-size: large;">Legendary bassist, vocalist and composer Jack Bruce passed away just over three years ago. His groundbreaking work with <a href="https://www.britannica.com/topic/Cream-British-rock-group" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Cream</a> in the 1960s made him a household name and bonafide rock star. But his unpredictable, genre-defying solo catalog is where the real goodies are to be found. </span><br />
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<span style="font-family: inherit; font-size: large;">Originally hailing from the tough streets of Glasgow, John Symon Asher Bruce began his career as a jazz bassist in his teens. Later he studied cello and composition at the Royal Scottish Academy of Music and Drama, but the Academy frowned upon its students playing jazz; they demanded he choose between school and his jazz gigs. Fortunately Jack (wisely) quit school and ultimately made his way to London and its vibrant jazz and R&B scene. </span><br />
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<span style="font-family: inherit; font-size: large;">Keeping company with top players such as <a href="http://ultimateclassicrock.com/alexis-korner-dies/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Alexis Korner</a>, <a href="http://www.johnmayall.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">John Mayall</a>, <a href="http://www.grahambond.org/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Graham Bond</a>, and (of course) Ginger Baker and <a href="http://www.ericclapton.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Eric Clapton</a>, his bold, melodic approach on acoustic AND electric bass set him apart from the pack. </span><br />
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<span style="font-family: inherit; font-size: large;">It is that spirit of adventure and experimentation that makes Jack Bruce’s solo work so captivating and addictive. He was equally adept at the fearless improvisation of jazz, the raw power of the blues and rock and roll, and harmonically rich compositions that reflect his early classical training. He was also unconcerned with the commercial potential of his solo recordings, choosing instead to follow wherever his muse led him. </span><br />
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<span style="font-family: inherit; font-size: large;">With such a rich and eclectic body of work it’s difficult to choose which of his albums to start with, but in my opinion these three are the purest examples of Jack Bruce at his essential best. If you’ve only heard him with Cream, you don’t know Jack.
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<b style="box-sizing: border-box;"><span style="font-family: inherit; font-size: large;"><iframe class="alignright" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://ws-na.amazon-adsystem.com/widgets/q?region=US&ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=ss_til&ad_type=product_link&tracking_id=cultur04-20&marketplace=amazon&placement=B000008DU1&asins=B000008DU1&linkId=DGJQFSEETVP4VISP&show_border=true&link_opens_in_new_window=true" style="border-width: 0px; box-sizing: border-box; float: right; font-style: inherit; font-weight: inherit; height: 240px; margin: 0px 0px 24px 25px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 120px;"></iframe>A Question of Time (1989)</span></b><br />
<span style="font-family: inherit; font-size: large;">An excellent primer, possibly the closest Jack ever came to making a “mainstream pop” album. But don’t let the smooth, streamlined production fool you. </span><br />
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<span style="font-family: inherit; font-size: large;">The full spectrum of Jack’s unique musical language is represented here, from head-banging rock (<a href="https://youtu.be/k3GhQz6lUI4" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">“Life On Earth”</a>) to greasy funk (“Grease The Wheels”), down-and-dirty blues (“Blues You Can’t Lose”) and a dreamy, soulful ballad based on an old Scottish folk song (“Make Love”). </span><br />
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<span style="font-family: inherit; font-size: large;">Jack glues it all together with thick bass lines from his Warwick fretless (some of his most potent playing on record) and his then-45-year-old voice, still strong and full of emotional power. Guests include Living Colour’s Vernon Reid, P-Funk’s Bernie Worrell, legendary jazz drummer Tony Williams, blues master <a href="http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/albert-collins-20111122" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Albert Collins</a>, and his old Cream mate <a href="http://www.gingerbaker.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">Ginger Baker</a>. A stunner.</span></div>
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<b style="box-sizing: border-box;"><span style="font-family: inherit; font-size: large;">Things We Like (1970, recorded in 1968)</span></b><br />
<span style="font-family: inherit; font-size: large;">Jack’s solo career is marked by bold choices. His first move after the demise of Cream was a return to the upright bass for this frenetic “free jazz” session featuring drummer Jon Hiseman, saxophonist Dick Heckstall-Smith, and guitarist <a href="http://www.johnmclaughlin.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;">John McLaughlin</a> (yes, THAT John McLaughlin). </span><br />
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<span style="font-family: inherit; font-size: large;">Egged on by old mates from his London jazz days, Jack mercilessly attacks his upright like Charles Mingus after a quart of Irish coffee (one wonders why he didn’t record on upright more; he’s a monster!).</span><br />
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<span style="font-family: inherit; font-size: large;">Jack claims to have written most of the tunes on <em style="border: 0px; box-sizing: border-box; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">TWL</em> when he was twelve years old, and the quartet gets right down to post-bop business using them as springboards for some mind-blowing group improvisation. Lean, mean and uncompromising, <em style="border: 0px; box-sizing: border-box; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Things We Like</em> is (dare I say it) far more compelling than the “live” half of the double <em style="border: 0px; box-sizing: border-box; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Wheels of Fire</em> album!</span><br />
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<b style="box-sizing: border-box;"><span style="font-family: inherit; font-size: large;">Harmony Row (1971)</span></b><br />
<span style="font-family: inherit; font-size: large;">In 1970 Jack toured sporadically with Tony Williams’ Lifetime, but the pioneering fusion group only saw marginal success. Returning home to London, Jack wrote an entire series of songs in one afternoon, and by January 1971 he was committing them to tape at Command Studios with ace session guitarist Chris Spedding and Soft Machine drummer John Marshall. </span><br />
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<span style="font-family: inherit; font-size: large;">The music on </span><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: x-large; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Harmony Row</em><span style="font-family: inherit; font-size: large;"> is unlike anything Jack (or anyone else) has produced: atonal harmonies, unorthodox song structures that allow for fiery group improvisation, and abstract lyrics by Jack’s longtime collaborator Pete Brown about post-war Britain, societal decay and complicated relationships.</span><br />
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<span style="font-family: inherit; font-size: large;">Jack later referred to </span><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: x-large; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">HR</em><span style="font-family: inherit; font-size: large;"> as his favorite album, and it’s easy to see why. Taking the album’s title from a tenement street in Glasgow not far from where he grew up, the nod to his humble roots and the personal nature of the music make </span><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: x-large; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Harmony Row</em><span style="font-family: inherit; font-size: large;"> a singular artistic statement by a singular artist. It feels like the musical heart of Jack Bruce: restless, always exploring new territory, sometimes dangerous and confusing, other times beautiful and profound.</span></div>
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<span style="font-family: inherit; font-size: large;">–<a href="http://www.culturesonar.com/team/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;" target="_blank">John Montagna</a></span></div>
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<span style="font-family: inherit; font-size: large;">PS. A meditation on a <a href="http://www.culturesonar.com/fender-jazz/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;" target="_blank">legendary musical instrument</a> and how it shaped rock and jazz … and an interview with another <a href="http://www.culturesonar.com/british-invasion-dave-mason/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; transition: 0.15s ease-in-out; vertical-align: baseline;" target="_blank">English blues-lover</a> who shaped rock music.</span></div>
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<span style="font-family: inherit; font-size: large;">Photo: Pierre Manevy (Express/Hulton Archive/Getty Images)</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-36817076999114919312017-11-06T22:30:00.000+10:302017-11-06T22:30:13.155+10:3010 Things You Didn’t Know About “I Am The Walrus”<div style="background-color: white; border: 0px; box-sizing: border-box; color: #444444; font-family: Lato, sans-serif; font-size: 20px; margin-bottom: 35px; outline: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
by <a href="http://www.culturesonar.com/author/scott-freiman/">Scott Freiman</a>, Culture Sonar: <a href="http://www.culturesonar.com/10-things-about-i-am-the-walrus/">http://www.culturesonar.com/10-things-about-i-am-the-walrus/</a></div>
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This November marks the 50th anniversary of the release of The Beatles’ “I Am The Walrus.” Written primarily by John Lennon for the TV movie <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.thebeatles.com/film/magical-mystery-tour" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Magical Mystery Tour</a><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, </em></em>“I Am The Walrus” features a cryptic Lennon lyric with a bizarre chorus, an innovative arrangement from producer George Martin that includes <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">sprechgesang</em> (don’t worry, I’ll define it in a moment), studio trickery from engineers Geoff Emerick and Ken Scott, and an excerpt from Shakespeare’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">King Lear</em>. All of this adds up to create The Beatles’ psychedelic masterpiece. Here are ten things you may not know about “I Am The Walrus.”</div>
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<b style="box-sizing: border-box;">1. The song owes a huge debt to Lennon’s favorite hallucinogenic…</b><br style="box-sizing: border-box;" />Lennon wrote the bulk of the song during several LSD trips. During one trip, he heard the two-note pattern of a police siren passing by. The sound morphed into the opening notes of “I Am The Walrus.” They are even mimicked in the two note motif in the verse (“Mis-ter ci-ty p’lice-man…”).</div>
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<b style="box-sizing: border-box;"><iframe class="alignright" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://ws-na.amazon-adsystem.com/widgets/q?region=US&ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=ss_til&ad_type=product_link&tracking_id=cultur04-20&marketplace=amazon&placement=B0041KVWI4&asins=B0041KVWI4&linkId=DGJQFSEETVP4VISP&show_border=true&link_opens_in_new_window=true" style="border-style: initial; border-width: 0px; box-sizing: border-box; float: right; font-family: inherit; font-style: inherit; font-weight: inherit; height: 240px; margin: 0px 0px 24px 25px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 120px;"></iframe>2. … And to Quarry Bank High School</b><br style="box-sizing: border-box;" />“He has too many of the wrong ambitions and his energy is too often misplaced.” That was a description of John Lennon written by the headmaster of Quarry Bank High School in 1956. Just ten years later, a student at Quarry Bank wrote Lennon to tell him that they were analyzing Beatles lyrics in class. Lennon decided to give the students (along with music critics) something a <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">little</em> more difficult to analyze. So, he turned an old playground nursery rhyme that he sang as a child (“yellow matter custard/green slop pie/all mixed together with a dead dog’s eye”) into the line “yellow matter custard dripping from a dead dog’s eye.”</div>
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<b style="box-sizing: border-box;">3. The Mysterious Eggman</b><br style="box-sizing: border-box;" />The title of the song was based on the poem <a href="https://www.poetryfoundation.org/poems/43914/the-walrus-and-the-carpenter-56d222cbc80a9" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">“The Walrus and The Carpenter”</a> by one of Lennon’s favorite authors, Lewis Carroll. It wasn’t until later that John realized that the walrus was the bad guy in the poem! There is no “egg man” in the poem, although Humpty Dumpty does make an appearance in <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Through the Looking Glass</em>. Surprisingly, <a href="http://www.rollingstone.com/music/lists/100-greatest-singers-of-all-time-19691231/eric-burdon-20101202" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Eric Burdon</a>, lead singer of The Animals, stepped forward to claim that <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">he</em> was the egg man referenced by Lennon. Burdon was known as “Eggs” to his friends, due to his strange fetish of breaking eggs over naked women.</div>
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<b style="box-sizing: border-box;">4. The Beatles Were Crying</b><br style="box-sizing: border-box;" />At the end of each verse, Lennon sings “I’m crying.” The Beatles had been doing a lot of crying around this time, since their manager <a href="https://www.beatlesbible.com/1967/08/27/brian-epstein-dies/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Brian Epstein</a> had recently died. In fact, “I Am The Walrus” was the first song The Beatles recorded after Epstein’s death four days earlier. “I’m crying” could also be an allusion to one of The Beatles’ favorite singers Smokey Robinson who had sung the same phrase in the 1965 song “Oooh, Baby Baby”.</div>
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<b style="box-sizing: border-box;">5. A Vocal from the Moon</b><br style="box-sizing: border-box;" />Lennon, one of rock’s best vocalists, was always frustrated by the sound of his voice. For “I Am The Walrus,” he asked engineer <a href="https://www.beatlesbible.com/people/geoff-emerick/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Geoff Emerick </a>to make his voice sound like it was coming from the moon. As always, Emerick turned Lennon’s strange request into the perfect effect. Violating EMI’s strict rules, Emerick had Lennon record his vocals using a low-fidelity talkback microphone (typically used by an engineer in the control room to “talk back” to musicians in the recording studio). This helped create one of rock music’s first distorted lead vocals.</div>
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<b style="box-sizing: border-box;">6. The Human Click Track</b><br style="box-sizing: border-box;" />The recording of “I Am The Walrus” was incredibly complex, ultimately taking 25 takes to complete. On one of the earlier takes, Lennon was playing an electronic keyboard called a Hofner Pianet (some sources say it was a Wurlitzer electric piano) and was making a lot of mistakes. Ringo was having trouble keeping a steady tempo — understandable, considering the song was long with a slow tempo. On top of all this, emotions were high due to Epstein’s recent death. <a href="https://www.beatlesbible.com/people/george-martin/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">George Martin</a> was getting frustrated and his temper was beginning to show. McCartney jumped into action and saved the day by playing tambourine next to Ringo, acting as a human click track to keep Ringo in sync with Lennon’s keyboard.</div>
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<b style="box-sizing: border-box;">7. What the Hell Am I Supposed To Do With This?</b><br style="box-sizing: border-box;" />When Lennon first performed “I Am The Walrus” for George Martin, he asked Martin for the producer’s opinion. “Well, John, to be honest, I have only one question,” Martin said. “What the hell do you expect me to do with that?!?” Luckily, the always inventive Martin came up with an innovative orchestral arrangement that fit the song perfectly. It features eight violins and four cellos, three French horns, and a contrabass clarinet — a rare member of the clarinet family that was a favorite of <a href="http://www.zappa.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Frank Zappa</a>. In fact, Zappa loved “I Am The Walrus,” and played it often in his concerts.</div>
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<b style="box-sizing: border-box;">8. Stick It Up Your Jumper</b><br style="box-sizing: border-box;" />Martin’s arrangement didn’t stop with the orchestral instruments. He clearly felt that Lennon’s song needed something more. So, he hired the Mike Sammes singers, known for their work on Disney films and TV themes. Rather than create a standard vocal arrangement, Martin took advantage of the singers’ excellent score reading skills and created a <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">sprechgesang</em> arrangement. <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sprechgesang</em>, which means “spoken singing”, is a vocal technique halfway between singing and speaking. In his score to “I Am The Walrus,” Martin had the Mike Sammes singers make whooping sounds, laugh, snort, and shout phrases like “Oompah, oompah, stick it up your jumper!” Nothing like this had ever been heard on a popular music recording.</div>
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<b style="box-sizing: border-box;">9. Thou Hast Slain Me</b><br style="box-sizing: border-box;" />At the end of the very complicated mixing sessions for “I Am The Walrus”, Lennon had an idea that made Martin roll his eyes — mixing a live radio broadcast into the recording. It took some engineering work from Geoff Emerick (plus some paperwork to get permission from his bosses at EMI) to patch an AM radio into the console. During the mix, Ringo manned the radio while John instructed him when to turn the knobs. Coincidentally, Ringo stumbled on the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">BBC</em> production of Shakespeare’s <a href="http://www.shakespeare-online.com/plays/kinglear/kinglearps.html" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Tragedy of King Lear</em></a>. The broadcast was at the point of Act IV, Scene VI, where the steward “Oswald” is killed.</div>
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<b style="box-sizing: border-box;">10. Walruses in White Satin?</b><br style="box-sizing: border-box;" />Many artists have claimed that they were part of a Beatles recording even though no proof exists. A few years ago, Ray Thomas of the <a href="http://www.moodybluestoday.com/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Moody Blues</a> claimed that he and Mike Pinder sang backing vocals on “I Am The Walrus.” This claim is not backed up by any other source. (Thomas also claimed that it was his idea to put harmonicas on “The Fool on the Hill” and that an adventure with a groupie inspired McCartney to write “She Came In Through the Bathroom Window.”)</div>
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<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bonus</span>: Who IS the “Walrus?”<br style="box-sizing: border-box;" />When John wrote and recorded “I Am The Walrus,” it was weeks before he donned the costume for the famous sequence in <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Magical Mystery Tour</em>. Mysteriously, the soundtrack album included a comment below the song listing: “’No, you’re not!’ said Little Nicola.” John confused things even more when he sang, “The walrus was Paul” in the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">White Album</em> song “Glass Onion.”</div>
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Some conspiracy theorists claimed that the walrus was a symbol of death in Greek and Eskimo mythology. The fact that this was blatantly false didn’t matter. It was one of the clues (along with the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">King Lear</em> death scene) that helped to create the “Paul Is Dead” myth.</div>
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Eventually, Paul had the last laugh when he wore a walrus mask for the video to George Harrison’s 1988 song <a href="https://youtu.be/AVu6nPTVbBQ" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">“When We Was Fab</a>.” Finally, he <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">was</em> the walrus.</div>
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–<a href="http://www.culturesonar.com/team/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;" target="_blank">Scott Freiman</a></div>
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PS. He was <a href="http://culturesonar.com/george-martin-walrus/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">invaluable</a> in shaping one of their most colorful albums. Plus, read more about the <a href="http://www.culturesonar.com/beatles-books/" rel="noopener" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;" target="_blank">legends, stories and tall tales</a> behind many Beatle tracks.</div>
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Photo: Keystone, courtesy Getty Images</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-50872946808292916112017-10-31T11:40:00.000+10:302017-10-31T11:40:59.321+10:30Bootleg Series #21: Jack Bruce & Friends: Fillmore East, New York, NY, USA // 31st January 1970<div style="background-color: white; border: 0px; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px; margin-bottom: 1.5em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
by Tom Caswell: <a href="https://tomcaswell.net/2017/10/25/bootleg-series-21-jack-bruce-friends-fillmore-east-new-york-ny-usa-31st-january-1970/">https://tomcaswell.net/2017/10/25/bootleg-series-21-jack-bruce-friends-fillmore-east-new-york-ny-usa-31st-january-1970/</a></div>
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Jack Bruce has long been one of my all time favourite bassists due to his work with Cream but I’m ashamed to say that aside from his 1969 solo album <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Songs For A Tailor</em>, I’m not overly familiar with the rest of his solo career. However that changed after hearing this excellent recording of a show he played at Fillmore East in New York with Jack Bruce & Friends, which includes Mitch Mitchell on drums, Larry Coryell on guitar and Mike Mandell on organ. The band only played seventeen dates together between the 24th January and 1st March 1970 and sadly there are less than a handful of live recordings of them. Thankfully, however, this late show recording from the 31st January is one of them.</div>
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The band open with the Cream song <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Politician</em>. Immediately it’s obvious that Bruce has no hesitation in playing old material from previous bands unlike Eric Clapton who refused to play any Cream songs in Blind Faith aside from the odd track when the crowds demanded it. From Bruce’s point of view, he wrote them, so why shouldn’t he play them? While this version of <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Politician</em> lacks Clapton’s explosive lead guitar work you can really get a sense of how the song sounds with an expanded lineup and the addition of a keys player. Mike Mandell on organ doesn’t do anything extraordinary here but he manages to lay down beautiful tones behind the bass, guitar and drums that gives the song a steady foundation that perhaps wasn’t there in the Cream version. It’s an extremely enjoyable listen which makes me wonder if this is what Cream’s sound would have gone on to become had they invited Steve Winwood to join them.</div>
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<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Politician</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Weird Of Hermiston/Tickets To Waterfalls</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">HCKHH Blues</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">We’re Going Wrong</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Clearout</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sunshine Of Your Love</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Smiles And Grins (Jam)</strong></em></li>
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A two song medley follows <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Politician</em> which features two tracks from Bruce’s 1969 debut album <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Songs For A Tailor</em>. The first is <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Weird Of Hermiston</em> which is one of my favourite tracks on the album. Before listening to this bootleg I hadn’t heard a live version of this song before and while parts of the song are a little different in a live setting, I absolutely love it. Bruce’s strong vocal performance dominates the song and manages to control the band and audience perfectly. The band themselves are on top form here and you can really sense they are starting to get into things as they go straight from <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Weird Of Hermiston </em>into <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Tickets To Waterfalls</em>. The two songs are actually the other way around on the studio album but the rotation works perfectly and the band kick it up a notch in the process. The jam sections of this particular song are some of the best from the whole show and emphasise how great the band sound together, even though they were only a unit for a short amount of time.</div>
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The fourth song is taken from Bruce’s 1970 solo album <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Things We Like</em> which was actually recorded when he was still with Cream in August 1968. The album wouldn’t be released until late 1970 in the UK but the band performed the song <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">HCKHH Blues</em> at Fillmore East. Whereas the studio version is all jazz the band transform the song into a blues/rock monster reminiscent of Cream with the addition of a more jazz based guitarist and an organ. It’s a wonderful track with an incredible amount of energy from start to finish. This is the first time you get to fully appreciate Mitch Mitchell on drums who lays down some incredible grooves from start to finish in a way only he can. It’s a sublime performance that lasts just short of nine minutes and even though the track changes directions numerous times the band never lose the energy or focus. <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">We’re Going Wrong</em> comes next which gives the show a needed mellow moment after the previous track. It’s impossible to compare these Cream numbers to when Cream actually performed them because they are just so different. The music may be the same, the lyrics might not have changed, but the way the songs are performed are different with Jack Bruce & Friends. It’s a really good rendition with the organ playing a key role although it’s sometimes difficult to hear on this particular recording.</div>
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After a brief break the band return with a song Bruce originally wanted to include on Cream’s 1967 album <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Disraeli Gears</em> called <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Clearout.</em> This song can be heard being played by Cream in the studio on the expanded set <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Those Were The Days</em> which was released in 1997 but it was left off and eventually included on Bruce’s debut <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Songs For A Tailor.</em> It’s a great track and to be honest suits his solo album a lot more than Cream so I think it was the right choice in the end, although I would have liked to have heard a finished Cream version. While the album version is just two minutes and forty three seconds long the band here extend it to seven minutes which really gives it the life and depth that it deserves as a song. It’s great. Then, out of nowhere, the explosive riff that could only be <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sunshine Of Your Love</em> sends tremors through the auditorium and the crowd goes wild. The organ here sounds excellent paired with the bass and guitar, giving the riff some added depth. Mitch Mitchell on drums lays down the kind of grooves that he did when performing the track with Hendrix and then it hits you that two members of arguably the two best trios of all time are playing together on stage. It’s a monumental moment.</div>
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Nine minutes later the final song begins called <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Smiles And Grins</em>, a song which wouldn’t be released in studio format until Bruce’s 1971 album <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Harmony Row. </em>The studio song itself wasn’t recorded until a full year after this show so this is an early jam rendition which rounds the show of perfectly. In 1970 there were a lot of bands that copied Cream’s lead of jamming entire songs like The Allman Brothers Band and the Grateful Dead so it’s great to hear Bruce do what he did best in Cream once again. I’ve long thought that jamming brings out the best in musicians to the point where they have to think things up on the spot and this is exactly what happens here. The audience obviously feels the same as they explode with applause as the song comes to an end, capping off a magnificent show.</div>
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<strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Peter Iacontino – Audience Member:</strong> “I was at that show. Mountain was also on the bill, we went to see Jack. I think Jack opened the show, Mountain was the headliner. Jack and the band were good. Played about one hour, I remember it filled the whole 60 minute tape. It was a more jazzy show with Larry Coryell on guitar, Mitch Mitchell on drums and Mike Mandel on organ. I think Jimi Hendrix was at the show also! It was a great night for music!</div>
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The cassette recorder I used for the show was new technology for 1970. It had a built in mic. The reason I’m telling you is because we had first row seats. I put the recorder on the stage. No one said anything. The Fillmore East was such a cool place to see concerts!”</div>
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I’d spoke to Peter previously about other concerts at Fillmore East including Derek and the Dominos, so to find out that this recording of Jack Bruce & Friends was his was very special. There are a vast number of great bootlegs recorded at Fillmore East and it was obviously a very special place not only to go and see bands but also to bootleg. As Peter says, no-one said anything to him when he put his recorder on the stage. And as far as recordings go it is extremely good to the point where a bit of remastering could result in an official live album, or at least some kind of official bootleg release like The Allman Brothers Band have done over the years.</div>
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This particular period of Bruce’s career isn’t widely talked about which is disappointing given the great music the band played right here on this bootleg. And as I mentioned at the beginning of this article, Jack Bruce & Friends weren’t together for that long and less than a handful of good recordings are known to exist. But thankfully Peter brought his cassette recorder that night because it was a great show. We can’t thank him enough.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-65238226616864162592017-10-23T11:36:00.002+10:302017-10-23T11:36:46.504+10:30VIDEOS: Watch David Gilmour Play the Songs of Syd Barrett with the Help of David Bowie and Richard Wright<span style="background-color: white; color: #414141; font-family: Lora, Lora, Times, serif; font-size: 16px;">by </span><a href="http://www.openculture.com/author/jdavidjones" rel="author" sl-processed="1" style="background-color: white; color: #0183b2; font-family: Lora, Lora, Times, serif; font-size: 16px; line-height: 24px; outline: none; text-decoration-line: none;" title="Posts by Josh Jones">Josh Jones</a>, Open Culture: <a href="http://www.openculture.com/2017/10/watch-david-gilmour-play-the-songs-of-syd-barrett-with-the-help-of-david-bowie-richard-wright.html">http://www.openculture.com/2017/10/watch-david-gilmour-play-the-songs-of-syd-barrett-with-the-help-of-david-bowie-richard-wright.html</a><br />
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Though he eventually disappeared from the public eye, Syd Barrett did not fade into obscurity all at once after his "erratic behavior," as Andy Kahn writes at <a href="https://www.jambase.com/article/happy-birthday-david-gilmour-performing-songs-syd-barrett" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">JamBase</a>, "led to his leaving" Pink Floyd in 1968. The founding singer/songwriter/guitarist went on in the following few years to write, record, and even sporadically perform new solo material, appearing on John Peel’s BBC show in 1970 and giving a <a href="http://www.rollingstone.com/music/news/syd-barrett-the-madcap-who-named-pink-floyd-19711223" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">long <em>Rolling Stone</em> interview</a> the following year. He even started, briefly, a new band in 1972 and worked on new recordings in the studio until 1974.</div>
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Barrett released two solo albums, <a href="http://aax-us-east.amazon-adsystem.com/x/c/Qo47puTenFTM5TmRnyU-7-8AAAFfRsDeIgEAAAFKAc4x76o/https://assoc-redirect.amazon.com/g/r/http://www.amazon.com/gp/product/B003ZZAXNG/ref=as_at/?imprToken=zQ22IngZhdJ4aPYLRkpnLg&slotNum=0&ie=UTF8&tag=openculture-20&camp=1789&creative=9325&linkCode=w61&creativeASIN=B003ZZAXNG&linkId=a9ea864cd6b8569f7598377b219d7c85" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>The Madcap Laughs</em></a> and <a href="http://aax-us-east.amazon-adsystem.com/x/c/Qo47puTenFTM5TmRnyU-7-8AAAFfRsDeIgEAAAFKAc4x76o/https://assoc-redirect.amazon.com/g/r/http://www.amazon.com/gp/product/B003ZZAXN6/ref=as_at/?imprToken=zQ22IngZhdJ4aPYLRkpnLg&slotNum=1&ie=UTF8&tag=openculture-20&camp=1789&creative=9325&linkCode=w61&creativeASIN=B003ZZAXN6&linkId=48d31273c5d909a11cf5ea230a1662c4" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>Barrett</em></a>, in 1970. Like the solo work of <a href="http://thequietus.com/articles/13927-the-13th-floor-elevators-roky-erickson" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Roky Erickson</a> and <a href="http://teamrock.com/feature/2015-01-23/dark-star-the-tragic-genius-of-skip-spence" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Skip Spence</a>—two other tragic psychedelic-era geniuses with mental health struggles—Barrett’s later compositions are frustratingly rough-cut gems: quirky, sinister, meandering folk-psych adventures that provide an alternate look into what Pink Floyd might have sounded like if their original intentions of keeping him on as a non-performing songwriter had worked out.</div>
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Assisting him during his studio sessions were former bandmates Roger Waters, Richard Wright, and David Gilmour. The band still admired his singular talent, but they found working, and even speaking, with him difficult in the extreme. As Gilmour has <a href="https://www.youtube.com/watch?v=xASV50s01s0" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">described those years in interviews</a>, they carried a considerable amount of guilt over Barrett’s ouster. In addition to the heartbreaking tribute “Shine on You Crazy Diamond,” Gilmour has often <a href="https://www.jambase.com/article/happy-birthday-david-gilmour-performing-songs-syd-barrett" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">performed Syd’s solo songs</a> onstage in affecting, often solo acoustic, renditions that became all the more poignant after Barrett’s death in 2006.</div>
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In the videos at the top, you can see Gilmour play two songs from Barrett’s <em>The Madcap Laughs</em>—“Terrapin” and “Dark Globe”—and further up, see him play “Dominoes” from <em>Barrett</em>, with Richard Wright on Keyboards. Gilmour has also revisited onstage Pink Floyd’s earliest, Barrett-fronted, days. Just above, we have the rare treat of seeing him play the band’s first single, “Arnold Layne,” with special guest David Bowie on lead vocals. And below, see Gilmour and Wright play a version of the early Floyd classic “Astronomy Domine,” live at Abbey Road studios.</div>
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It was, sadly, at Abbey Road where the band last saw Barrett, when he entered the studio in 1975 during the final mixes of <em>Wish You Were Here</em>. Overweight and with shaved head and eyebrows, Barrett was at first unrecognizable. After this last public appearance, he felt the need, as Waters put it, to “withdraw completely” from “modern life.” But the tragic final months with Pink Floyd and few sightings afterward should hardly be the way we remember Syd Barrett. He may have lost the ability to communicate with his former friends and bandmates, but for a time he continued to speak in hauntingly strange, thoroughly original songs.</div>
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This collection of videos comes to us via <a href="https://www.jambase.com/article/happy-birthday-david-gilmour-performing-songs-syd-barrett" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">JamBase</a>.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-45042107640477044142017-10-09T20:48:00.001+10:302017-10-09T20:48:08.958+10:30UC Santa Cruz Opens a Deadhead’s Delight: The Grateful Dead Archive is Now Onlineby <a href="http://www.openculture.com/author/cjmarshall">Colin Marshall</a>, Open Culture: <a href="http://www.openculture.com/2012/07/uc_santa_cruz_opens_a_deadheads_delight_the_grateful_dead_archive_is_now_online.html">http://www.openculture.com/2012/07/uc_santa_cruz_opens_a_deadheads_delight_the_grateful_dead_archive_is_now_online.html</a><br />
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"They're not the best at what they do," said respected rock promoter Bill Graham of the <a href="http://www.keno.org/classic_rock/grateful_dead_bio.htm" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Grateful Dead</a>. "They're the only ones that do what they do." The band developed such an idiosyncratic musical style and personal sensibility that their legion of devoted fans, known as "Deadheads," tended to follow them everywhere they toured. The Dead withstood more than their fair share of classic-rock turbulence in the thirty years from their formation in 1965, but didn't dissolve until the 1995 death of founding member and unofficial frontman Jerry Garcia. The bereft Deadheads, still in need of a constant flow of their eclectic, improvisational, psychedelic-traditional, jam-intensive sound of choice, took a few different paths: some began following other, <a href="http://en.wikipedia.org/wiki/Phish" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">comparable</a> groups; some would go on to rely on acts formed by ex-Dead members, like Bob Weir and Phil Lesh's <a href="http://www.furthur.net/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Furthur</a>; some made it their life's mission to collect everything in the band's incomparably vast collection of demos, live recordings, and sonic miscellany.</div>
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Grateful Dead completists now have another source of solace in the <a href="http://www.gdao.org/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Grateful Dead Archive Online</a> from the University of California, Santa Cruz. Lest you assume yourself Dead-savvy enough to have already seen and heard everything this archive could possibly contain, behold the newly added item featured on the front page as I type this: <a href="http://www.gdao.org/items/show/837988" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Jerry Garcia's Egyptian tour laminate</a>. According to the press release, the archive's internet presence features "nearly 25,000 items and over 50,000 scans" from the university's physical archive, including "works by some of the most famous rock photographers and artists of the era, including Herb Greene, Stanley Mouse, Wes Wilson and Susana Millman." Rest assured that it offers plenty of non-obscurantist Dead-related pleasures, including <a href="http://www.gdao.org/solr-search/results/?solrq=&solrfacet=itemtype:%22Video%22" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">television appearances</a>, <a href="http://www.gdao.org/solr-search/results/?solrq=&solrfacet=itemtype:%22Sound%22" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">radio broadcasts</a>, <a href="http://www.gdao.org/exhibits/show/posters" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">posters</a>, and <a href="http://www.gdao.org/solr-search/results/?solrq=&solrfacet=itemtype:%22Fan%20Tape%22" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">fan recordings of concerts</a>. Like any rich subject, the Grateful Dead provides its enthusiasts a lifetime of material to study. UC Santa Cruz, a school often associated in the public imagination with the Dead's greater San Francisco Bay Area origins as well as their penchant for laid-back good times, has just made it that much easier to plunge into.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-71085889589434886442017-10-03T10:23:00.000+10:302017-10-03T10:23:18.932+10:30VIDEOS: The First Episode of The Johnny Cash Show, Featuring Bob Dylan and Joni Mitchell (1969)by <a href="http://www.openculture.com/author/jdavidjones">Josh Jones</a>, Open Culture: <a href="http://www.openculture.com/2014/03/the-johnny-cash-show-with-dylan-and-mitchell.html">http://www.openculture.com/2014/03/the-johnny-cash-show-with-dylan-and-mitchell.html</a><br />
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Whether you hate-watched, love-watched, or ignored last night's Academy Awards, you may be tired today of Oscar talk. Take a break, unplug yourself from Facebook and Twitter, and travel with me back in TV time. It’s June 7th, 1969, and <i>The Johnny Cash</i> <i>Show</i> makes <a href="http://clickamericana.com/eras/1960s/johnny-cashs-country-music-variety-show-premieres-1969" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">its debut</a> on ABC, recorded—where else?—at the Grand Ole Opry (“I wouldn’t do it anywhere but here”). Featuring Cash ensemble regulars June Carter, the Carter family, Carl Perkins, the Statler Brothers, and the Tennessee Three, the musical variety show has a definite showbiz feel. Even the opening credits give this impression, with a decidedly kitschy big band rendition of “Folsom Prison Blues.” This seems a far cry from the defiant Johnny Cash <a href="http://iconicphotos.wordpress.com/2009/08/22/johnny-cashs-finger/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">who gave the world the finger</a> in a photo taken that same year during his San Quentin gig (where inmate <a href="http://www.history.com/this-day-in-history/inmate-merle-haggard-hears-johnny-cash-play-san-quentin-state-prison" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Merle Haggard sat in attendance</a>).</div>
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<span style="line-height: 1.5em;">But showbiz Johnny Cash is still every inch the man in black, with his rough edges and refined musical tastes (in fact, Cash debuted the song “Man in Black” </span><a href="http://www.openculture.com/2012/11/johnny_cash_sings_man_in_black_for_the_first_time_1971.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 1.5em; outline: none; text-decoration-line: none;">on a later episode</a><span style="line-height: 1.5em;">). As daughter Rosanne </span><a href="http://www.npr.org/2011/08/19/113496614/rosanne-cash-runs-down-her-fathers-list" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 1.5em; outline: none; text-decoration-line: none;">showed us</a><span style="line-height: 1.5em;">, Cash was a musicologist of essential Americana. His choice of musical guests for his debut program—Bob Dylan, Joni Mitchell, and Cajun fiddler </span><a href="http://www.allmusic.com/artist/doug-kershaw-mn0000163577/biography" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 1.5em; outline: none; text-decoration-line: none;">Doug Kershaw</a><span style="line-height: 1.5em;">—makes plain Cash’s love for folk songcraft. The appearance on the Cash show was Kershaw’s big break (two months later his <a href="http://www.youtube.com/watch?v=QEYTqS32Y10" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">“Louisiana Man”</a> became the first song broadcast from the moon by the Apollo 12 astronauts). Mitchell, who plays “Both Sides Now” from her celebrated second album </span><i style="line-height: 1.5em;"><a href="http://www.allmusic.com/album/clouds-mw0000192763" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Clouds</a></i><span style="line-height: 1.5em;">, was already a rising star. And Dylan was, well, Dylan. Even if all you know of Johnny Cash comes from the 2005 film </span><i style="line-height: 1.5em;">Walk the Line</i><span style="line-height: 1.5em;">, you’ll know he was a huge Dylan admirer. In the year </span><i style="line-height: 1.5em;">The Johnny Cash Show</i><span style="line-height: 1.5em;"> debuted, the pair </span><a href="http://www.openculture.com/2012/06/the_1969_bob_dylan-johnny_cash_sessions_twelve_rare_recordings.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 1.5em; outline: none; text-decoration-line: none;">recorded over a dozen songs together</a><span style="line-height: 1.5em;">, one of which, “Girl from the North Country,” appeared on Dylan’s country album </span><i style="line-height: 1.5em;">Nashville Skyline</i><span style="line-height: 1.5em;">. They play the song together, and Dylan plays that album’s “I Threw it All Away,” one of my all-time favorites.</span></div>
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Initially billed as “a lively new way to enjoy the summer!” <i>The Johnny Cash Show</i> had a somewhat rocky two-year run, occasionally running afoul of nervous network executives when, for example, Cash refused to censor the word “stoned” from Kris Kristofferson’s “Sunday Morning Coming Down” and brought on Pete Seeger, despite the furor his anti-war views caused elsewhere. Ever the iconoclast, Cash was also ever the consummate entertainer. After watching the first episode of his show, you might agree that Cash and friends could have carried the hour even without his famous guests. Cash opens with a spirited “Ring of Fire” and also plays “Folsom Prison Blues,” “The Wall,” and “Greystone Chapel.” And above, watch Johnny and June sing a sweet duet of Dylan’s “It Ain’t Me Babe.”</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-83188591469418464242017-09-28T12:56:00.000+09:302017-09-28T12:56:36.631+09:30VIDEO: The Night John Lennon & Yoko Ono Jammed with Frank Zappa at the Fillmore East (1971)by <a href="http://www.openculture.com/author/jdavidjones">Josh Jones</a>, Open Culture: <a href="http://www.openculture.com/2015/11/the-night-john-lennon-yoko-ono-jammed-with-frank-zappa-at-the-fillmore-east-1971.html">http://www.openculture.com/2015/11/the-night-john-lennon-yoko-ono-jammed-with-frank-zappa-at-the-fillmore-east-1971.html</a><br />
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It’s unfortunate, I think, that legions of Beatles fans turned on Yoko Ono with such ferocious animosity after the breakup of the band. Most fans still absolutely <em>despise</em> Yoko. (See the legion of often crudely misogynist comments under <em>every</em> Youtube video in which she appears.) Sure, her voice and music is certainly not to everyone’s taste, but without her artistic and conceptual influence on John Lennon post-Beatles, it’s unlikely his amazing solo albums <a href="http://amzn.to/1H6ah6u" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>John Lennon/Plastic Ono Band</em> </a>(1970) and <a href="http://amzn.to/1H6aiHm" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>Imagine</em> </a>(1971) would sound the way they do. Yoko, in fact, more or less <a href="http://www.slate.com/blogs/browbeat/2014/07/04/yoko_ono_s_grapefruit_at_50_the_book_that_inspired_john_lennon_s_imagine.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">gave Lennon the seeds of “Imagine,” the song</a>, in her quirky 1964 self-published book, <em><a href="http://amzn.to/1GKJhtp" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Grapefruit: A Book of Instructions and Drawings</a></em>, though she never took the credit for it.<br />
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Like it or not, if we love solo Lennon, we have no choice but to take the more traditionally great songwriting with the messy, experimental, and sometimes unlistenable. They cannot be completely untangled, to the dismay of a great many people. As <a href="http://www.guitarworld.com/john-lennon-and-eric-clapton-perform-beatles-yer-blues-toronto-video/25455" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none;">Damian Fanelli at <em>Guitar World</em></a> comments on Lennon and the Plastic Ono Band’s impromptu performance/jam with Eric Clapton in Toronto in 1969, “Yoko screams—very loudly—during the entire otherwise-decent performance.” This is not an exaggerated or especially biased characterization. “Someday,” Fanelli then goes on, “I’ll vent about how terrible and depressing this is.” Fine, but whether we think of her singing as challenging performance art or “depressing” caterwauling, we’re stuck with it. But do the dynamics of John and Yoko onstage change when we add another polarizing weirdo—Frank Zappa—to the mix? See for yourself in the videos here, from an onstage jam session the two did with Zappa and the Mothers of Invention at the Fillmore East in 1971.</div>
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See Zappa, Lennon, et al. do Walter Ward’s “Well (Baby Please Don’t Go),” which <a href="http://www.guitarworld.com/john-lennon-and-frank-zappa-jam-new-york-city-1971-video/25616" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Fanelli declares</a> “the highlight of the jam, for sure.” Zappa announces to the band the key and “not standard blues changes,” then Lennon introduces the tune as “a song I used to sing while I was in the Cavern in Liverpool. I haven’t done it since.” Zappa rips out a fantastic solo and the band—though seemingly in the dark at first—lays down a righteous groove. And Yoko? Well, it’s true, as Fanelli notes, “all she did was scream her head off.” In this straight-ahead blues number, I have to say, it’s pretty obnoxious. But her vocal tics play much better in more freeform, oddball, Zappa-lead jams like “Jamrag” and “King Kong,” and the shouty, repetitive “Scumbag,” which sounds almost like a <a href="https://www.youtube.com/watch?v=3buYpfYRlaA" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Can</a> outtake.</div>
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Zappa and band, as always, are in top form. Lennon at times looks out of place and uncertain in their improvisatory environment, but he gamely keeps up. Yoko… Yoko does her usual lot of screaming, howling, yodeling, etc. But before you gin up to tear her to pieces in yet another nasty online comment, bear in mind, for what it's worth, no Yoko, no “Imagine."</div>
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As Fanelli notes, “the performance was released as part of Lennon and Ono’s poorly received (and not very good at all) 1972 studio/live album, <em><a href="http://amzn.to/1GKKq47" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Sometime in New York City</a></em>.” See <a href="http://www.allmusic.com/album/some-time-in-new-york-city-mw0000195247" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Allmusic’s review</a> for a much more thorough, fair-minded assessment of that recording, which “found the Lennons in an explicitly political phase.”</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-69213046132846903332017-09-16T16:07:00.000+09:302017-09-16T16:07:13.611+09:30A Symphony of Sound (1966): Velvet Underground Improvises, Warhol Films It, Until the Cops Turn Upby <a href="http://www.openculture.com/author/cjmarshall" rel="author" title="Posts by Colin Marshall">Colin Marshall</a>, Open Culture: <a href="http://www.openculture.com/2012/09/ia_symphony_of_soundi_1966_the_velvet_underground_improvises_warhol_films_it_until_the_cops_turn_up.html">http://www.openculture.com/2012/09/ia_symphony_of_soundi_1966_the_velvet_underground_improvises_warhol_films_it_until_the_cops_turn_up.html</a><br />
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"We’re sponsoring a new band," announced Andy Warhol at the end of <a href="http://youtu.be/cD2DAte0mU8">the 1966 documentary posted here yesterday</a>. "It’s called the <a href="http://www.openculture.com/2011/09/andywarholmanages_the_velvet_underground.html">Velvet Underground</a>.”
Brian Eno would much later call it the band that inspired every single
one of its listeners to start bands of their own, but that same year,
Warhol produced <i><a href="http://amzn.to/1UePrTf">The Velvet Underground: A Symphony of Sound</a></i>.<br />
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The film shows the group, which features young but now much-discussed
rock iconoclasts like John Cale, Lou Reed, and (on tambourine) the
German singer Nico, performing a 67-minute instrumental improvisation.<br />
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Shooting at his New York studio the Factory, Warhol and crew intended
this not as a concert film but as a bit of entertainment to be screened
before actual live Velvet Underground shows. It and other short films
could be screened, so the idea developed, their soundtracks and visuals
intermingling according to the decisions of those at the projectors and
mixer.<br />
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"I thought of recording the Velvets just making up sounds as they
went along to have on film so I could turn both soundtracks up at the
same time along with the other three silent films being projected," said
director of photography and Factory member Paul Morrissey, best known
as the director of <a href="http://amzn.to/1W4XoiE"><i>Flesh</i>, <i>Trash</i>, and <i>Heat</i></a>.<br />
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"The cacophonous noise added a lot of energy to these boring sections
and sounded a lot like the group itself. The show put on for the group
was certainly the first mixed media show of its kind, was extremely
effective and I have never since seen such an interesting one even in
this age of super-colossal rock concerts." Alas, someone's noise
complaint puts an end to the <i>Symphony of Sound</i> experience: one
policeman arrives to turn down the amplifier, and Warhol tries to
explain the situation to the others. But the bustle of the Factory
continues apace.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-57255901604210005822017-08-28T21:39:00.000+09:302017-08-28T21:39:02.686+09:30The 7-Day (Jazz-Rock) Fusion Challenge<div style="background-color: white; border: 0px; box-sizing: border-box; color: #444444; font-family: Lato, sans-serif; font-size: 20px; margin-bottom: 35px; outline: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
by <a href="http://www.culturesonar.com/author/john-montagna/">John Montagna</a>, Culture Sonar: <a href="http://www.culturesonar.com/jazz-fusion-challenge/">http://www.culturesonar.com/jazz-fusion-challenge/</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Weather Report</td></tr>
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In the late 1960s rock and funk surpassed jazz as the dominant force in popular music, and many top jazz musicians knew better than to resist this sea change. They embraced the sounds and high energy of rock and funk, but maintained the musical vocabulary and improvisational spirit of jazz. The resulting sound came to be called “fusion,” and it served artists and audiences alike who were seeking a deeper and richer musical experience. Fusion was immediately controversial, and ultimately morphed into clumsy “formats” attempting to marry jazz and pop. But at its peak, fusion incorporated the best elements of multiple genres into something completely new. It didn’t pander to its audience, but it didn’t alienate them either. As a musician living in the internet age of endless choices, I’ve recently found myself seeking inspiration from something both familiar and adventurous. So I embarked on a “7 Day Fusion Challenge,” listening to a different fusion LP in full every day for a week and writing down my first thoughts.</div>
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I established some ground rules. First: no Miles Davis, which ruled out the too-obvious choices like <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bitches Brew</em> (1970) and <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">In A Silent Way</em> (1969), both considered fusion’s “origin story” LPs. Instead I focused on the “first-generation fusion” cats from the mid-‘70s (although one title from 1981 squeaked onto the list). No “pop” records with “jazz/fusion” players on them (Steely Dan, Joni Mitchell), or “rock” groups with improvisational tendencies (Soft Machine, early Chicago). And I stuck to albums that I already owned, rather than purchasing and/or streaming anything new. This is all music that I’ve heard many times, but to which I hadn’t devoted my full attention for a while. The experience was transformative, and a wonderful exercise in time and energy management that was good for my soul.</div>
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<b style="box-sizing: border-box;">Monday: <a href="https://www.amazon.com/gp/product/B0012GMY8M?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B0012GMY8M" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Stanley Clarke’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Journey to Love</em></a> (1975)</b><br />
Bass legend Stanley Clarke made his bones with jazz luminaries like Horace Silver and Art Blakey, and he co-founded Return to Forever with keyboardist Chick Corea in 1972. His solo albums effortlessly blend a variety of styles and textures, and <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Journey To Love</em> is an exciting ride through Stanley’s expansive musical mind. Of course there’s plenty of stunning bass playing, from the percolating electric funk of “Silly Putty” to the masterful acoustic work on “Song to John.” But the true “fusion” happens on “Concerto for Jazz/Rock Orchestra, Parts I-IV” as a hot studio band of Clarke, keyboardist George Duke, drummer Steve Gadd and guitarist David Sancious commingles with majestic strings and dramatic brass stabs. This was the perfect start to my challenge, one of the best LPs from one of the best musicians of the 20th century.</div>
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<b style="box-sizing: border-box;">Tuesday: <a href="https://www.amazon.com/gp/product/B0012GN1HA?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B0012GN1HA" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">John McLaughlin’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Electric Guitarist</em> </a>(1978)</b><br />
The English guitarist was a key player on Miles Davis’ landmark <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">In A Silent Way</em> LP, and his sharp improvisational instincts made him Miles’ trusted musical comrade for decades after. On <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Electric Guitarist</em>, McLaughlin abandoned the eastern-flavored explorations of both his Mahavishnu Orchestra and the acoustic-based Shakti, and surrounded himself with some of the baddest cats in both NYC and LA for some powerhouse jamming. I bought this album as a Berklee student in the ‘90s for one reason: Jack Bruce is on it, fueling an unpredictable and funky trio jam with drummer Tony Williams called “Are You The One? Are You The One?” I’m glad I kept it in the collection: With the electric guitar back in his hands and luminaries like Stanley Clarke, Chick Corea and drummer Billy Cobham egging him on, McLaughlin burns through <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Electric Guitarist</em> with a fresh intensity. A stunner.</div>
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<b style="box-sizing: border-box;">Wednesday:<a href="https://www.amazon.com/gp/product/B0060ANM3G?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B0060ANM3G" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"> Weather Report’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Black Market</em></a> (1976)</b><br />
Saxophonist Wayne Shorter and keyboardist Joe Zawinul founded Weather Report in 1970. <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Black Market</em>, their sixth album, was made during a transitional period for the band. Both the drum and bass chairs were in flux, and there is great tension and excitement as multiple rhythm sections mark their territory. But Shorter and Zawinul somehow hold it together for a stunningly cohesive LP, with the band’s rich musical and sonic palette “fusing” elements of African music, funk, bebop and electronic sounds. <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Black Market</em> also heralds the seismic arrival of bassist Jaco Pastorius on two standout tracks: “Cannonball,” Zawinul’s emotional tribute to his late jazz mentor Julian “Cannonball” Adderley, and the ridiculously funky “Barbary Coast” that comes near the end of the album as a release to the tension.</div>
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<b style="box-sizing: border-box;">Thursday: <a href="https://www.amazon.com/gp/product/B000002KM3?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B000002KM3" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Jaco Pastorius’ <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Word of Mouth</em></a> (1981)</b>
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This is my favorite Jaco album. He may have reinvented the bass guitar, but bass was the tip of the musical iceberg for John Francis Pastorius III. His muse was a conduit for anything and everything — jazz, funk, R&B, rock, Afro-Cuban, classical — and it all comes out on <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Word of Mouth</em>, his second solo album (and his first for Warner Brothers after a lucrative and high-stakes record deal). I could talk about the stellar performances from cohorts like Michael Brecker, Herbie Hancock and a prominently-featured Toots Thielemans, the daring and expansive orchestral writing, and of course the primo bass work. But it’s been well-documented that <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Word of Mouth</em> was an intensely personal musical statement for Jaco, and he was hurt by the album’s lukewarm reception at Warner Brothers (as well as Joe Zawinul’s tough-guy dismissal of Jaco’s writing as “typical high school big band bullshit”). With all due respect, screw Warner Brothers <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">and</em> Joe Zawinul. If only Jaco had conquered his personal demons and not the other way around, he could have become his generation’s Duke Ellington. As a masterful glimpse of what might have been, <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Word of Mouth</em> is an emotional listen.</div>
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<b style="box-sizing: border-box;">Friday: <a href="https://www.amazon.com/gp/product/B00MK3ANPW?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B00MK3ANPW" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Billy Cobham’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Spectrum</em></a> (1973)</b><br />
Billy Cobham’s “fusion” credentials are rock-solid: top of the NYC jazz and session scene of the late 60s and early 70s, played on <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bitches Brew</em> and in the first incarnation of the Mahavishnu Orchestra. His solo debut <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Spectrum</em> might just be the quintessential fusion LP: the jazz is world-class, the rock is merciless, the funk is 100% stank, and keyboardist Jan Hammer’s synthesizers still sound like visitors from the future 44 years later! Hammer and Deep Purple guitarist Tommy Bolin breathe fire, alternating between blazing solos and simmering support. Cobham’s drumming is an exercise in tension and release with furious fills that always land dead in the pocket, and bass ace Lee Sklar glues it all together. Along with two “jazzier” tracks featuring bassist Ron Carter and saxist Joe Farrell, <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Spectrum</em> radiates with the fierce energy of 1970s NYC.</div>
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<b style="box-sizing: border-box;">Saturday: <a href="https://www.amazon.com/gp/product/B004LTB5DC?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B004LTB5DC" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">The Tony Williams Lifetime’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Turn It Over</em> </a>(1970)</b><br />
Tony Williams was pissed. After jet-propelling Miles Davis’ “second great quintet” with his revolutionary drumming, he formed The Tony Williams Lifetime with John McLaughlin and organist Larry Young in 1969 and doubled down on his former boss’s excursions into rock/funk/avant garde turf. But Williams was frustrated when the “jazz establishment” rejected Lifetime’s “heavy” sound. He lashed out by doubling down again, adding Cream bass guitarist Jack Bruce to the band and recording the brilliant, belligerent, white-hot <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Turn It Over</em>. From the back cover notes printed in a spiral that can only be read by rotating the cover (featuring the instructions “PLAY IT VERY LOUD”) to Tony’s ill-advised attempts to sing on three tracks, everything about this LP is meant to not make it easy for you. But make the effort: This is some of the most explosive, face-melting music ever made by anyone. The four musicians are thinking and playing with one mind, recklessly pushing the music to its limits but maintaining laser-focus and precision. With <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Turn It Over</em>, Lifetime hit the “jazz establishment” like the Barzini Family hit Sonny Corleone on the Long Beach Causeway.</div>
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<b style="box-sizing: border-box;">Sunday:<a href="https://www.amazon.com/gp/product/B00701QU38?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B00701QU38" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"> Herbie Hancock’s <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Thrust</em></a> (1974)</b><br />
If Herbie Hancock’s multi-platinum <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Headhunters</em> LP is the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Thriller</em> of fusion, then <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Thrust</em> is its <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bad</em>: The under-appreciated follow-up that’s leaner and tougher. Funky from the first note, <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Thrust</em> boils over with thick syncopation from the rhythm section, rich harmonic motion and juicy riffs that hit you from every direction. Herbie’s patented layered synths are otherworldly, but on tracks like “Actual Proof” there’s also death-defying group improvisation that recalls Herbie’s daring work with Miles on <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Filles De Kilimanjaro</em>(1968). Busier isn’t always better, but getting busy with <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Thrust</em> (especially with headphones, as I did) is a good idea. The perfect closer to a week of fusion.</div>
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So what did I learn? In a recent interview, bassist and producer Marcus Miller pointed out that the best fusion originated from musicians who were already considered the top players in their respective fields, whether jazz (Miles Davis) or rock (Jeff Beck), and were absorbing other influences to create something new. Having immersed myself in “classic” fusion with fresh ears for a week, I agree 100 percent. I’ll even take it a step further. These seven albums contained musicians of every color and ethnicity, incorporating instruments and sounds from around the globe, and evoke the full range of human emotions. Nothing sounded out of place. If we accept Marcus’ definition of this music as the greatest players striving to achieve their fullest potential, it’s not unreasonable to suggest that fusion also demonstrates humanity’s potential for unity and harmony.</div>
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– <a href="http://www.culturesonar.com/team/" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">John Montagna</a></div>
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PS. Jaco Pastorius features in our post <a href="http://www.culturesonar.com/best-archival-albums-2017-halfway/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">The Best Archival Albums of 2017 (So Far). </a>Plus, you may also enjoy our post <a href="http://www.culturesonar.com/prince-personalities/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">In Celebration of Prince’s Multiple Personalities.</a></div>
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Photo: Weather Report, live at Shinjuku Kosei-nenkin Hall, June 11, 1981 (by Jun Tendo courtesy Wikimedia)</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-7453502925568213602017-08-22T16:24:00.000+09:302017-08-22T16:24:49.517+09:30Proof That Michael Bloomfield Is A Guitar God<div class="HideComments" id="commentsSectionContainer" style="-webkit-text-stroke-width: 0px; background-color: white; clear: both; color: black; display: block; font-family: SlateStd-Bk, HelveticaNeueW01-55Roma, "Helvetica Neue", HelveticaNeue, HelveticaNeue-Light, Helvetica, Arial; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; margin-left: auto; margin-right: auto; max-width: 700px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
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<span style="font-size: large;">by <a href="https://web.musicaficionado.com/main.html">Gene Santoro</a>, Music Aficionado: <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/article/michael_bloomfields_14_best_tracks_by_genesantoro">https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/article/michael_bloomfields_14_best_tracks_by_genesantoro</a></span><br />
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Mike Bloomfield, The Paul Butterfield Blues Band and 2 others</div>
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Hear This Playlist</div>
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When <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Bob%20Dylan" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Bob Dylan</a> went electric at the 1965 Newport Folk Festival, he made sure he had blues guitar god <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Mike%20Bloomfield" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Mike Bloomfield</a> at his side.<br />
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Of course! Bloomfield's fluid, dynamic virtuosity shaped pivotal moments during classic rock's creative surge.</div>
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His ear-opening forays with the swashbuckling <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/The%20Paul%20Butterfield%20Blues%20Band" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Paul Butterfield Blues Band</a> forged the template for future superstars like <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Eric%20Clapton" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Eric Clapton</a> and <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Jeff%20Beck" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Jeff Beck</a>. Lyrical, acerbic, exuberant, and aching, Bloomfield's guitar stings with vibrato and channels chromatic flourishes, which have shaped pickers from <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Duane%20Allman" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Duane Allman</a> to <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Joe%20Bonamassa" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Joe Bonamassa</a>.</div>
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Bloomfield turned down Dylan's offer to join his road band - take a sec to ponder how that might've changed rock history - to stay with Butterfield. Then, burned out by nonstop touring, he bailed on that outfit, and in 1967, went - where else? - to San Francisco.</div>
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The Paul Butterfield Blues Band</div>
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He had a dream: a horn-augmented band roving across America's far-reaching musical realms. The redoubtable <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/The%20Electric%20Flag" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Electric Flag</a> was born … and almost as quickly, disintegrated, after wowing the 1967 Monterey Pop Festival.</div>
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Then the restless insomniac signed on with ex-Blues Project member <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Al%20Kooper" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Al Kooper</a> for the jazzy jams called Super Session.</div>
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But in 1970, he simply stopped playing. You could say the blues' demons had infested his soul, as they did Clapton's: he'd become a hardcore junkie. Over the next decade, he'd come back to perform and record in spurts - until an overdose killed him in 1981.</div>
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His vibrant music remains, however - an essential sound in a tumultuous, expansive era. Below are fourteen of the best tracks that make Michael Bloomfield immortal.</div>
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<span style="color: #222222; font-family: , , "helvetica neue" , "helveticaneue" , , "helvetica" , "arial"; font-size: 28px; letter-spacing: 0px;">"Blues With A Feeling" (1965)</span></div>
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The Paul Butterfield Blues Band</div>
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The Paul Butterfield Blues Band, the first serious white electric blues outfit (anchored by <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Howlin'%20Wolf" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Howlin' Wolf</a>'s ex-rhythm section), coalesced in 1965. Thanks to the legendary John Hammond, Bloomfield had recorded a few sides for Columbia (only released much later). But Elektra's Paul Rothschild produced this band's debut, after recording their minor hit, <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/298089616/298089634" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Born In Chicago<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/298089616/298089634" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>. This cut, originally a hit for Butter's harp idol Little Walter, <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Muddy%20Waters" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Muddy Waters</a>' reedman, lets Bloomfield fire off his already formidable chops arsenal. Listen to how his supple riffs respond to Butter's vocals, how he replicates Muddy's stinging Telecaster bottleneck, how his agile timing finesses <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/BB%20King" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">B.B. King</a> and keeps you on the edge. He was barely 22, but he'd played with Muddy and Wolf, and they'd embraced him. "This was not just another white boy," Al Kooper later explained. "Michael used to say, It's a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mental fulcrum for the blues." Until it killed him, it made him burn brightly.<br />
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"Thank You Mr. Poobah" (1965)</h2>
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The Paul Butterfield Blues Band</div>
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Listen Now</div>
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Here the guitar solo pays homage to <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Buddy%20Guy" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Buddy Guy</a>, Muddy's "adopted son," whose spiky, stuttering variants of B.B. King's style had developed into a unique voice. Guy was one of the black Chicago bluesmen who treated the rich white boy from Chicago's North Side not as just another thrill-seeking slummer sidling over to the South Side, but as a serious student of the blues. Bloomfield may have lived off his grandfather's trust fund, but his dogged persistence, wide-ranging curiosity, and prodigious natural talent drove him deeper inside the music than nearly all the blues-rockers who followed in his wake—as this cut's riffs and solos demonstrate, lunging, bobbing, and weaving with unexpected accents.<br />
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"Tombstone Blues" (1965)</h2>
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Bob Dylan</div>
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Dylan's band for his electric breakthrough album included Bloomfield and multi-instrumentalist Al Kooper. The galloping track sports Bloomfield's edgy Telecaster runs; and the stinging treble with quivering vibrato ferociously echoes the violent lyrics by stabbing and slashing in response. (You can hear how <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Robbie%20Robertson" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Robbie Robertson</a> would pick up on all this.) Though almost all other pickers then were going gaga over the new and multiplying effects coming out, Bloomfield rarely used anything beyond his volume and tone controls, some echo, and his surgical touch, which combined to give him the enviably wide sonic range you hear on this track.<br />
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"Highway 61 Revisited" (1965)</h2>
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Bob Dylan</div>
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One of the funniest, most sardonic songs Dylan ever wrote gets the musical backing it demands here: somewhere between vaudeville and corrosive blues. Bloomfield's slide work punctuates Dylan's surreal vocals with that sweeping <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Elmore%20James" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Elmore James</a> chord that underlines the zaniness; note how he diddles the turnarounds, using the spaces for filigrees to comment on what's preceded. One of the key lessons Bloomfield learned from Muddy and B.B. and Buddy et al. is encoded here: his fills always play off the vocals and lyrics. Too few of the white blues guitarists absorbed that lesson as deeply and meaningfully. Here, dealing with Dylan, he finesses his schooling and combines flash with emotional resonance.<br />
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"I've Got A Mind To Give Up Living" (1966)</h2>
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The Paul Butterfield Blues Band</div>
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Listen Now</div>
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From the Butterfield band's sophomore outing, this minor-key blues tips its hat to <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Otis%20Rush" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Otis Rush</a>, the great Chicago blues singer/guitarist who penned oft-covered classics like <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/193677889/193677917" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">I Can't Quit You Baby<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/193677889/193677917" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>and <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/193677889/193678116" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Double Trouble<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/193677889/193678116" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>. The southpaw axman made a specialty of burning long, slow notes in minor keys. (Bloomfield later co-produced his 1969 album <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/album/121051922" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Mourning in the Morning<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/album/121051922" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a> in Memphis' FAME studio, stirring soul in Rush's blues.) There's only about a year between the group's first album and this follow-up, but comparing this cut to, say, "Blues With A Feeling," it's evident how much Bloomfield has grown in concept and control. Now using a Les Paul and tapping into its different sonic possibilities, he's extended both his tonal and musical range. Those smooth chromatic runs will be a staple of his playing from now on and offset the staccato bursts, slinky note bends, and nonstop riffs that rarely repeat an idea. His inventiveness is as staggering as his technique; at the time, only a handful of black blues guitarists, like B.B., <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Albert%20King" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Albert</a>, and <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Freddie%20King" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Freddie King</a> and Buddy Guy, could outduel Bloomfield's endless bag of tricks onstage—and they'd be the first to admit they had to work for it.<br />
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"Work Song" (1966)</h2>
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The Paul Butterfield Blues Band</div>
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Hear This Track</div>
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You could call this the first jazz-rock fusion track; it certainly threw open musical doors countless others would later stream through. Jazzman Nat Adderley had a nice hit with this funky blues. These electric blues pioneers plugged it in and whipped and wailed it into a completely different zone that presaged the variegated jazz-rock mixings and minglings soon to start. Maybe what's most astounding is how brilliantly tight they are, how at ease they seem navigating all the twists from section to section, as one soloist succeeds another. Bloomfield shifts how he rides the smooth-flowing rhythms, refusing to stick to a single groove, using triplets and syncopations and bitten-off phrases and running over bar lines with a mastery any jazzer would salute. The finale, where everyone trades fours, a jazz convention, is a marvel itself, but leads to a finale that's as unexpected as it is powerful: that last crying harp riff seals this brand-new musical deal with the blues.<br />
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"East-West" (1966)</h2>
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The Paul Butterfield Blues Band</div>
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Listen Now</div>
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Where to start?! If this was the only thing Bloomfield—or for that matter, this whole outfit—ever recorded, they'd deserve their spot in the Rock and Roll Hall of Fame. Here is the moment when <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/John%20Coltrane" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">John Coltrane</a> first seriously impacted the rock world. <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Roger%20McGuinn" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Roger McGuinn</a> was recording his Trane-flavored solo for <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/275689785/275689910" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Eight Miles High<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/275689785/275689910" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>. <a href="https://web.musicaficionado.com/The%20Grateful%20Dead" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;" target="_blank">The Grateful Dead</a> were barely starting to mess around with <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/945504099/945504112" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Dark Star<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/945504099/945504112" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>. But on this 13-minute cut, Trane's modal excursions found their first true crossover reimaginings, becoming the inspiration for a multipart instrumental portrait of American music that still hits like a piledriver. The arrangement is astounding for that (or really any) time: ranging over half a dozen musical styles or more, the band subtly repaints backdrop colors while soloists fire away, all over a simple bass line whose varied accents give it all the flexibility it needs to accommodate the blasts of change roaring over it. Bloomfield's sheer virtuosity here is, uh, mind-blowing. Sure, others did the fake sitar drone thang, but how many managed the velocity and melodic turns as well? It's impossible to mention everything, so I'll pull this up: the Dixieland concluding section, keying off Bloomfield's lead as other voices gradually emerge from the background, until finally they're all blazing away on the front line in counterpoint or harmony or simply in tandem. Much of <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/The%20Allman%20Brothers" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">the Allman Brothers</a>' concept and catalog—and a lot of <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Dickey%20Betts" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Dickey Betts</a>' guitar approach—has its embryonic beginnings right here.<br />
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"Stop" (1968)</h2>
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<a class="RelatedItemAnchor" href="https://web.musicaficionado.com/main.html#!/track/288102551/288102606" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Stop</a></div>
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Mike Bloomfield & Al Kooper</div>
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Listen Now</div>
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Al Kooper played with Bloomfield on <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/album/201281514" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Highway 61 Revisited<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/album/201281514" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>, and thought, "Why not do an entire jam album together?" The result: <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/album/288102551" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Super Session<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/album/288102551" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>. "Why not try and legitimize rock by adhering to [jazz] standards?" Kooper later wrote. He argued that Bloomfield seemed "inhibited and reined in" in the studio—a difficult point to make stick, you'd think, in light of <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/album/298090209" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">East-West<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/album/298090209" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>, but hey—it was the germ of this meeting. Ironically, Kooper's manifesto outshone some of the music it yielded. But this genial, soulful tune lets Bloomfield's guitar breathe differently and showcase some other angles. Bits of <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Curtis%20Mayfield" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Curtis Mayfield</a> surface; vocalic cries float, echoing those <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Jimi%20Hendrix" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Jimi Hendrix</a> subsumed into his style, then bend into heartache. If you wanna A/B Bloomfield and Hendrix, check out <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Buddy%20Miles" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Buddy Miles</a> (see Electric Flag below) <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/track/344435908/344436266" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">singing this same R&B hit with Band of Gypsys<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/track/344435908/344436266" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a>.<br />
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"His Holy Modal Majesty" (1968)</h2>
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Al Kooper & Mike Bloomfield</div>
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Hear This Track</div>
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His guitar voice and vocabulary, by now fully developed and utterly distinctive, is also so subtle you have to be as careful when listening to Bloomfield as to Trane: most of what you think are repetitions of phrases you've heard aren't. So hearing this 'Super Session' cut after, say, "Work Song" could make it seem a bit of a letdown. Maybe one reason is that Kooper's keys meander for too long. But the guitar work doesn't.<br />
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"Killing Floor" (1968)</h2>
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<a class="RelatedItemAnchor" href="https://web.musicaficionado.com/main.html#!/track/217001876/217001897" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Killing Floor</a></div>
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The Electric Flag</div>
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When this intriguing, suggestive <a class="PlayableAnchor" href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/album/217001876" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Electric Flag album<span class="PlayableAnchorBox" style="white-space: nowrap;"><img class="PlayButton InlinePlayButton" data-route="#!/album/217001876" src="https://web.musicaficionado.com/images/Play_Gold_Circle_Outline.png" style="cursor: pointer; display: inline-block; margin: -2px 0px 0px 5px; max-width: 100%; padding: 0px; vertical-align: middle; width: 22px;" /></span></a> was cut, President Lyndon Johnson had escalated the Vietnam War to levels few had expected, the country was torn about by riots and demonstrations, Congress was fiercely divided, and the culture wars that still bedevil us were crescendoing into violence in the streets. In that explosive context, Howlin' Wolf's classic blues took on a whole nother meaning. Look, Bloomfield & Co. seem to be saying, THIS is the blues today. Of course, they unveiled this at the legendary 1967 Monterey Pop Festival, which was supposed to launch the next stage of California hippie dreaming. For a while, it almost looked like that might happen against all odds: Woodstock managed to become an instant myth just weeks before the Chicago police riots brutalized or jailed thousands of anti-Johnson protesters at the Democratic presidential convention—including universally beloved newsman Walter Cronkite. A year later, Altamont nailed that dream shut. But the music endures. Listen to Bloomfield's guitar twist and float and cajole and cry over the insistent rhythms, paying homage to Wolf's eccentric guitar monster <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Hubert%20Sumlin" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Hubert Sumlin</a>. And the horns—punching, swaggering, uplifting with all the soul they can muster from the redoubtable head charts dreamt up at Memphis soul studios like Stax. The Flag was meant to be an American music band, tackling the growing possibilities that classic rock's creative surge was unearthing, reshaping, offering. And for an all-too-brief moment, it was one of the best.<br />
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"Texas" (1968)</h2>
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<a class="RelatedItemAnchor" href="https://web.musicaficionado.com/main.html#!/track/217001876/217001933" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Texas</a></div>
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The Electric Flag</div>
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Drummer Buddy Miles backed <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Wilson%20Pickett" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Wilson Pickett</a>before his crossover break with Band of Gypsys; this was his vocal spot with the Flag. Listen to how Bloomfield can coax unexpected gradations of tone, or just suddenly swerve into a different sound and approach, as he flicks responses at Miles that end up having even greater nuance and vocalic subtlety than the drummer's singing.<br />
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"Another Country" (1968)</h2>
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<a class="RelatedItemAnchor" href="https://web.musicaficionado.com/main.html#!/track/217001876/217001946" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Another Country</a></div>
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The Electric Flag</div>
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Hear This Track</div>
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Singer-songwriter Nick Gravenites, the Flag's co-founder, was Bloomfield's pal for most of their lives. Together, they created the band's visionary aspect, here dramatically expanding and reshaping a <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Phil%20Ochs" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Phil Ochs</a> song. Like "Killing Floor," it's both a specific response to the historical maelstrom of that time and a dazzling, transcendent piece of musical reinterpretation that makes vivid the apocalyptic feel hovering everywhere then. And it comes complete with wonderfully shapeshifting guitar sections.<br />
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"Hey Foreman" (1976)</h2>
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<a class="RelatedItemAnchor" href="https://web.musicaficionado.com/main.html#!/track/169716995/169717004" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Hey, Foreman</a></div>
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Mike Bloomfield</div>
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Listen Now</div>
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In 1976, Guitar Player magazine recorded 'If You Love These Blues', a disc with Bloomfield that combined performances with mini-lectures about history, techniques, and the like. And so we have this <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Jimmie%20Rodgers" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Jimmie Rodgers</a>-style piece, right down to Bloomfield roughly replicating the Singing Brakeman's famed yodeling. A change of guitar pace too: he's playing slide on an acoustic Hilo Hawaiian guitar. Tasty stuff that proves he could still deliver surprises and open ears even during his drug-infested post-glory years.<br />
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"Blake's Rag" (ca. 1976-79)</h2>
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Mike Bloomfield</div>
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Listen Now</div>
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Another dazzling, unexpected side of the divinely gifted, if humanly flawed, guitar hero: ragtime fingerpicking. This one, from the late 1970s, is a homage to <a href="https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/artist/Blind%20Blake" style="border: 0px none; color: #a47f2d; cursor: pointer; text-decoration: none;">Blind Blake</a>, arguably one of the very few fingerpickers who truly managed to make his guitar the piano's equal. Here Bloomfield shows he too can maneuver this style's pyrotechnics with idiomatic aplomb.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-3655494564848485562017-07-25T19:30:00.000+09:302017-07-25T19:30:47.145+09:3010 Best Guest Performances on Beatles Records<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">by <a href="http://www.culturesonar.com/author/jim-beviglia/">Jim Beviglia</a>, Culture Sonar: <a href="http://www.culturesonar.com/beatles-records-guest-performances/">http://www.culturesonar.com/beatles-records-guest-performances/</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">They were known as the Fab Four, and it usually took only John, Paul, George and Ringo to create musical magic. But, every once in a while, The Beatles looked outside the core four for others to help them out. Occasionally they didn’t know how to play whatever instrument the song required. Other times it was a matter of improving band dynamics by bringing in an outside artist as a kind of special guest. Many of the names on this list may be obscure to all but the most hardcore Beatle fans, but all of their contributions were essential to some of the most memorable songs in the band’s esteemed catalog.
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<b style="box-sizing: border-box;">1. Andy White on “Love Me Do” (1962)</b><br />
Even though Ringo Starr was already a band member, session drummer White handled the skins on the recording of the band’s first-ever single release as The Beatles. It’s not the most complicated song for drummers — and Starr played it just fine on the album version — but White, at the very least, didn’t get in the way of it becoming a Top 20 hit in Britain, assuring the band would get another shot in the studio. They would turn that shot into the smash hit “Please Please Me,” starting Beatlemania in earnest.</div>
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<b style="box-sizing: border-box;">2. Johnnie Scott on “You’ve Got To Hide Your Love Away” (1965)</b><br />
John Lennon’s beautiful, bereft ballad from the <a href="https://www.amazon.com/gp/product/B00GJ7RORU?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B00GJ7RORU" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Help!</em> soundtrack</a> received an integral instrumental assist from an unlikely source when Scott added a flute part at the song’s end. That little bit of the exotic took the song from being just a typical acoustic waltz with Dylanesque tendencies and transformed it into something a bit more mysterious and unique.</div>
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<b style="box-sizing: border-box;">3. George Martin on “In My Life” (1965)</b><br />
This classic ballad caused a stir in later years when both Lennon and McCartney claimed to have done the bulk of the writing. What can’t be denied is that the baroque piano solo played midway was a bit more involved than any of the group members could handle. Martin couldn’t quite do it either, but his idea to play the solo half-speed and then speed up the tape was just what the song ordered.</div>
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<b style="box-sizing: border-box;">4. Alan Civil on “For No One” (1966)</b><br />
One of McCartney’s most heartbreaking slow ones on <a href="https://www.amazon.com/gp/product/B0041KVYIW?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B0041KVYIW" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Revolver</em></a> gets a big boost from the French horn played by Civil in the instrumental break. Civil reportedly chafed at McCartney’s insistence on extra takes, but it paid off; his part captured the wounded dignity of the song’s hapless protagonist, who seems to be the last one to know that his love is imploding and there’s nothing he can do about it.</div>
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<b style="box-sizing: border-box;">5. David Mason on “Penny Lane” (1967)</b><br />
During the early sessions for <a href="https://www.amazon.com/Sgt-Peppers-Lonely-Hearts-Deluxe/dp/B06X6MJGB7/ref=as_sl_pc_ss_til?tag=cultur04-20&linkCode=w00&linkId=DGJQFSEETVP4VISP&creativeASIN=B06X6MJGB7" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sgt. Pepper’s Lonely Hearts Club Band</em></a>, McCartney was mesmerized by a high-pitched trumpet one night while watching a television performance of a Bach piece. He decided then and there that it would be just the thing to embellish this song detailing childhood memories of Liverpool, so Mason added the majestic flourish of the piccolo trumpet.</div>
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<b style="box-sizing: border-box;">6. Anna Joshi, Amrit Gajjar, Buddhadev Kansara, Natwar Soni on “Within You Without You” (1967)</b><br />
Harrison’s lone composition on <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sgt. Pepper’s Lonely Hearts Club Band</em> brilliantly melded his fascination with Eastern music with his grasp of Western song structure. The Indian musicians listed above managed to create a hypnotic rhythmic foundation from which Harrison’s wending melody springs, creating an aural experience unlike anything most Beatle fans had encountered up to that point.</div>
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<b style="box-sizing: border-box;">7. Eric Clapton on “While My Guitar Gently Weeps” (1968)</b><br />
Harrison was apparently fed up by bickering between band members and brought in Clapton, already a legend on electric guitar, to do the weeping guitar bit in this brooding standout off <a href="https://www.amazon.com/White-Album-Beatles/dp/B0025KVLU6/ref=as_sl_pc_ss_til?tag=cultur04-20&linkCode=w00&linkId=DGJQFSEETVP4VISP&creativeASIN=B0025KVLU6" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The White Album</em></a>. Clapton managed to deliver an anguished bit of guitar commentary on Harrison’s enigmatic lyrics and did so without pulling the song out of The Beatles’ comfort zone.</div>
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<b style="box-sizing: border-box;">8. Chris Thomas on “Piggies” (1968)</b><br />
Thomas was deputized as temporary band producer while George Martin took a brief vacation during the sessions for <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The White Album</em>. He also stepped in to play the harpsichord on Harrison’s satire of greed and excess. The Victorian feel of the instrument is the perfect counterpoint to Harrison’s story of swine that turn on their own and need a “damn good whacking.”</div>
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<b style="box-sizing: border-box;">9. Billy Preston on “Get Back” (1970)</b><br />
Here was another situation where Harrison tried to make the other Beatles play nice by bringing in a respected musician from outside the group to defuse some of the tension. The group loved Preston’s work so much that he ended up playing keyboards all over the songs from the <a href="https://www.amazon.com/gp/product/B01929IA56?ie=UTF8&linkCode=as2&camp=1634&creative=6738&tag=cultur04-20&creativeASIN=B01929IA56" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Be</em></a> sessions. Perhaps his most memorable and soulful turn comes on McCartney’s boogeying hit single.</div>
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<b style="box-sizing: border-box;">10. Brian Jones on “You Know My Name (Look Up The Number)” (1970)</b><br />
Jones had already passed away by the time this long-in-gestation, comic B-side was released in 1970. But his squawking saxophone solo is a fitting way to end this list. After all, his ability to play a variety of unusual instruments, including marimba, sitar and flute, meant that The Rolling Stones, The Beatles’ chief rivals for British Invasion supremacy, rarely needed guest musicians for the special flourishes in their songs.</div>
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– This is <a href="http://www.culturesonar.com/team/" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Jim Beviglia</a>‘s first post for CultureSonar. Welcome!</div>
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PS. Some of the above names are in the mix in our post <a href="http://www.culturesonar.com/fifth-beatle/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">In Search of The Real Fifth Beatle. </a>What do you think? Plus, you may also enjoy our posts <a href="http://www.culturesonar.com/sgt-pepper-box-set/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">The New “Sgt. Pepper” Box Set Is Truly Super-Deluxe </a>and <a href="http://www.culturesonar.com/beatles-jimmie-nicol/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Ringo’s Replacement Gets a Big Screen Treatment.</a></div>
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Photo credit: Keystone/Stringer (courtesy Getty Images)</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-16715466695921804692017-07-17T12:34:00.001+09:302017-07-17T12:34:40.478+09:30VIDEOS: Psychedelic Scenes of Pink Floyd’s Early Days with Syd Barrett, 1967by <a href="http://www.openculture.com/author/zmspringer">Mike Springer</a>, Open Culture: <a href="http://www.openculture.com/2013/09/psychedelic-scenes-of-pink-floyds-early-days-with-syd-barrett-1967.html">http://www.openculture.com/2013/09/psychedelic-scenes-of-pink-floyds-early-days-with-syd-barrett-1967.html</a><br />
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<a href="http://www.rogerwaters.com/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Roger Waters</a> of <a href="https://www.rockhall.com/inductees/pink-floyd/bio/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Pink Floyd</a> turns 70 years old today. Waters was the principal songwriter and dominant creative force during the band's famous 1970s period, when it released a string of popular and influential concept albums such as <em>Dark Side of the Moon</em>, <em>Wish You Were Here</em> and <em>The Wall</em>. But today we thought it would be interesting to take you all the way back to 1967, when Waters was 23 years old and the band was led by his childhood friend <a href="http://www.rollingstone.com/music/artists/syd-barrett/biography" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Syd Barrett</a>.</div>
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The video above is from a May 14, 1967 broadcast of the BBC program <em>The Look of the Week</em>. Pink Floyd hadn't released an album yet. Only two nights earlier the band had staged its attention-getting <a href="http://en.wikipedia.org/wiki/Games_for_May" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">"Games for May" concert</a> at the Queen Elizabeth Hall. In the TV broadcast, Pink Floyd plays its early favorite "Astronomy Domine" before Waters and Barrett sit down for a rather tense interview with the classically trained musician and critic <a href="http://en.wikipedia.org/wiki/Hans_Keller" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Hans Keller</a>. It's amusing to watch Keller's face as he expresses his extreme irritation at the band's loud, strange music. "My verdict is that its a little bit of a regression to childhood," he says with a grimace. "But after all, why not?"</div>
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Waters and Barrett manage to hold their own during the interview. Barrett comes across as lucid and well-spoken, despite the fact that his heavy LSD use and mental instability would soon make him unable to function within the band. By December of 1967, Pink Floyd would add guitarist David Gilmour to the lineup to compensate for Barrett's erratic behavior. By March of 1968 -- only 10 months after the BBC broadcast -- Barrett would quit the group.</div>
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We'll close with an even earlier video of Pink Floyd onstage. Filmed on January 27, 1967 at the legendary UFO club in London, the clip is from the February 7, 1967 Granada TV documentary <em>So Far Out It's Straight Down</em>. It shows the band playing another major song from its psychedelic era, "Interstellar Overdrive."</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-20474294014132229942017-07-14T16:16:00.000+09:302017-07-14T16:16:10.975+09:30VIDEOS: Miles Davis Opens for Neil Young and “That Sorry-Ass Cat” Steve Miller at The Fillmore East (1970)<span style="background-color: white; color: #414141; font-family: Lora, Lora, Times, serif; font-size: 16px;">by </span><a href="http://www.openculture.com/author/jdavidjones" rel="author" sl-processed="1" style="background-color: white; color: #0183b2; font-family: Lora, Lora, Times, serif; font-size: 16px; line-height: 24px; outline: none; text-decoration-line: none;" title="Posts by Josh Jones">Josh Jones</a><span style="background-color: white; color: #414141; font-family: Lora, Lora, Times, serif; font-size: 16px;"> , Open Culture: </span><span style="color: #414141; font-family: Lora, Lora, Times, serif;"><a href="http://www.openculture.com/2015/05/miles-davis-opens-for-neil-young-and-the-steve-miller-band-1970.html">http://www.openculture.com/2015/05/miles-davis-opens-for-neil-young-and-the-steve-miller-band-1970.html</a></span><br />
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The story, the many stories, of Miles Davis as an opening act for several rock bands in the 1970s make for fascinating reading. Before he blew the Grateful Dead’s minds as their opening act at the Fillmore West in April 1970 (<a href="http://www.openculture.com/2014/07/when-miles-davis-opened-for-the-grateful-dead.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">hear both bands’ sets here</a>), Davis and his all-star Quintet---billed as an "Extra Added Attraction"---did a couple nights at the Fillmore East, opening for Neil Young and Crazy Horse and The Steve Miller Band in March of 1970. The combination of Young and Davis actually seems to have been rather unremarkable, but there is a lot to say about where the two artists were individually.
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<a href="http://atlengthmag.com/prose/direction-nowhere/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Nate Chinen in <em>at Length</em> describes</a> their meeting as a “minimum orbit intersection distance”—the “closest point of contact between the paths of two orbiting systems.” Both artists were “in the thrall of reinvention,” Young moving away from the smoothness of <a href="http://en.wikipedia.org/wiki/Crosby,_Stills,_Nash_%26_Young" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">CSNY</a> and into free-form anti-virtuosity with Crazy Horse; Davis toward virtuosity turned back into the blues. Miles, suggested jazz writer <a href="http://burntsugarindex.com/artist/greg-tate/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Greg Tate</a>, was “bored fiddling with quantum mechanics and just wanted to play the blues again.” The story of Davis and Young at the Fillmore East is best told by listening to the music both were making at the time. Hear "Cinnamon Girl" below and the <a href="https://www.youtube.com/watch?v=55cF5JADEAM" rel="nofollow" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">rest of Neil Young and Crazy Horse’s incredible set here</a>. The band had just released their beautifully ragged <em><a href="http://amzn.to/1JdJkdr" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Everybody Knows this is Nowhere</a></em>.</div>
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When it comes to the meeting of Davis and Steve Miller, the story gets juicier, and much more Miles: the difficult performer, not the impossibly cool musician. (It sometimes seems like the word “difficult” was invented to describe Miles Davis.) The trumpeter's well-earned egotism lends his legacy a kind of rakish charm, but I don’t relish the positions of those record company executives and promoters who had to wrangle him, though many of them were less than charming individuals themselves. Columbia Records’ Clive Davis, who does not have a reputation as a pushover, sounds alarmed in his recollection of Miles’ reaction after he forced the trumpeter to play the Fillmore dates to market psychedelic jazz-funk masterpiece <em><a href="http://amzn.to/1DGv47U" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Bitches Brew</a></em> to white audiences.</div>
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According to John Glatt, Davis remembers that Miles “went nuts. He told me he had no interest in playing for ‘those fu*king long-haired kids.’” Particularly offended by The Steve Miller Band, Davis refused to arrive on time to open for an artist he deemed “a sorry-ass cat,” forcing Miller to go on before him. “Steve Miller didn’t have his shit going for him,” <a href="https://books.google.com/books?id=xgAVXHhuNYgC&lpg=RA1-PA301&ots=BU4r-Ijva1&dq=have%20to%20go%20on%20first%20and%20then%20we%20got%20there%20we%20smoked%20the%20motherfucking%20place%2C%20everybody%20dug%20it&pg=RA1-PA301#v=snippet&q=%22%20just%20because%20he%20had%20one%20or%20two%22&f=false" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">remembers Davis</a> in his expletive-filled <a href="http://amzn.to/1EVcQa9" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">autobiography</a>, “so I’m pissed because I got to open for this non-playing motherfu*ker just because he had one or two sorry-ass records out. So I would come late and he would have to go on first and then when we got there, we smoked the motherfu*king place, and everybody dug it.” There is no doubt Davis and Quintet smoked. Hear them do “Directions” above from an Early Show on March 6, 1970.</div>
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“Directions,” from unreleased tapes, is as raw as they come, “the intensity,” writes music blog <a href="https://books.google.com/books?id=GvitBQAAQBAJ&pg=PA271&dq=miles+davis+steve+miller&hl=en&sa=X&ei=18dCVYDFH5TpoATI6oCYCw&ved=0CCsQ6AEwAg#v=onepage&q=miles%20davis%20steve%20miller&f=false" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Willard’s Wormholes</a>, “of a band that sounds like they were playing at the The Fillmore to prove something to somebody… and did.” The next night’s performances were released in 2001 as <em><a href="http://amzn.to/1EVcRLe" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">It’s About That Time</a></em>. Hear the title track above from March 7th. As for The Steve Miller Blues Band? We have audio of their performance from that night as well. Hear it below. It's inherently an unfair comparison between the two bands, not least because of the vast difference in audio quality. But as for whether or not they sound like “sorry-ass cats"... well, you decide.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-71462688023688072282017-07-03T11:21:00.000+09:302017-07-03T11:21:13.520+09:30ALBUM REVIEW: "Freewheelin' by Bob Dylan<div style="background-color: white; border: 0px; box-sizing: border-box; color: #444444; font-family: Lato, sans-serif; font-size: 20px; margin-bottom: 35px; outline: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
by <a href="http://www.culturesonar.com/author/stan-denski/">Stan Denski</a>, Culture Sonar: <a href="http://www.culturesonar.com/bob-dylan-freewheelin/">http://www.culturesonar.com/bob-dylan-freewheelin/</a></div>
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If there is one principle true for all great art, it is that repeat visits reward with new insights. This is as true for great pop records as it is for great paintings, great books and great films. Case in point: <a href="https://www.amazon.com/Freewheelin-Bob-Dylan/dp/B00026WU64/ref=as_sl_pc_ss_til?tag=cultur04-20&linkCode=w00&linkId=DGJQFSEETVP4VISP&creativeASIN=B00026WU64" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Bob Dylan’s sophomore album</a> <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Freewheelin’</em>. I just re-listened to this LP for the umpteenth time (which means that I’ve heard this recording I don’t know how many times over the past four decades) and it never fails to offer something new. In Dylan’s expansive catalog, I’m hard-pressed to name another record better than this one. And I’ve tried them all.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Freewheelin’</em> was the follow-up to Dylan’s eponymous 1962 debut — an album that sold so poorly that <a href="https://en.wikipedia.org/wiki/Bob_Dylan_(album)#Critical_reception" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Dylan was nicknamed “Hammond’s Folly”</a> by execs at Columbia Records. But whereas his debut showcased Dylan in full Woody Guthrie mode (and still making wild claims about a mythical childhood in the Southwest or raised by wolves in the Black Hills of the Dakotas), <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Freewheelin’</em> is where Bob Dylan actually finds his voice. It’s here that he puts the finishing touches on his persona by adding touches of James Dean and Marlon Brando to Guthrie 2.0 and Ramblin’ Jack.</div>
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And regarding the LP’s most famous song… Just as some “true” Beatles fans identify themselves by denigrating <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sgt. Pepper’s Lonely Hearts Club Band</em>, Dylan elitists tend to dismiss “Blowin’ in the Wind.” In truth, “Blowin’ in the Wind” rates among the greatest American songs of the 20th Century. I imagine it gets the short shrift now because it’s joined the ranks of anthems like “Amazing Grace” and “We Shall Overcome,” yet on an album of major and minor masterpieces, “Blowin’ in the Wind” really does remain the jewel in the crown.</div>
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But the rest of the album has many high points: “Girl of the North Country” has near-perfect lyrics; “Down the Highway” is classic country blues; and “Bob Dylan’s Blues” plays the essential role of releasing some air from the profundity balloon. As for “A Hard Rain…,” yes, it’s based on an old Scottish ballad, but it stands there, with one foot in the 17th Century and the other in the 20th. It encompasses Kerouac, Ginsberg, and the Beats and who knows how many other references and when it first was released people were absolutely dumbfounded by it, just like they must have reacted to hearing Charlie Parker for the first time, or Bill Monroe.</div>
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“A Hard Rain” is actually the big bang of the singer-songwriter movement; a tune that set the standard for folk authenticity and made writing and singing original material a requirement for artistic legitimacy. Not that<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Freewheelin’</em> ends there but you’ll have to sort out for yourself the rankings of unforgettable “Don’t Think Twice,” the satiric “Talkin’ WWIII,” and the revelatory “Corrina, Corrina.”</div>
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And then there’s the album’s amazing cover: a simple photo of Bob and his girlfriend walking down a winter street in the Village, which somehow manages to encompass the vague and uncertain concept of “freewheelin'” that gave the LP its name. To be freewheelin’ seems to have something to do with your relationship to the future. If the defining characteristic of what is now called “THE SIXTIES” was an ability to imagine a future as something other than the simple extension of the present then the sixties start here, in those boots, those jeans, that jacket and this amazing album.</div>
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– Stan Denski</div>
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PS. While we’re talking Dylan, check out our posts <a href="http://www.culturesonar.com/bob-dylan-lucky-wilbury/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Bob Dylan’s Rebirth: An Ode to His Days with The Traveling Wilburys</a>, <a href="http://www.culturesonar.com/bob-dylan-triplicate/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">“Triplicate” Is Dylan’s Take on The Great American Songbook</a>, and <a href="http://www.culturesonar.com/dylans-voice/" rel="bookmark" style="border: 0px; box-sizing: border-box; color: #dd3333; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: color 0.15s ease-in-out; vertical-align: baseline;">Can We Talk About Dylan’s Voice?</a></div>
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Photo credit: Keystone Features (courtesy Getty Images)</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-31391749698004083752017-06-28T12:49:00.000+09:302017-06-28T12:49:14.225+09:30VIDEO: What Miles Davis Taught Herbie Hancock: In Music, as in Life, There Are No Mistakes, Just Chances to Improviseby <a href="http://www.openculture.com/author/ted-mills">Ted Mills</a>, Open Culture: <a href="http://www.openculture.com/2016/04/what-miles-davis-taught-herbie-hancock-about-mistakes-and-improvising.html">http://www.openculture.com/2016/04/what-miles-davis-taught-herbie-hancock-about-mistakes-and-improvising.html</a><br />
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One of my favorite Brian Eno quotes, or rather one that became an <a href="http://www.openculture.com/2013/07/jump_start_your_creative_process_with_brian_eno_oblique_strategies.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Oblique Strategy</a>, is “Honor Your Mistake as a Hidden Intention.” (Or to be pedantic, the original version was “Honor Thy Error...”).</div>
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As a teenager growing up and trying to make art (at that time music and comics) there was no advice more freeing. It was the opposite of what I thought I knew: mistakes were shameful, the sign of an amateur or of the lack of practice. But the more art I made, the more I referenced Eno’s idea, and the more I read and listened, the more I realized it wasn’t just Eno. The Beatles left in an alarm clock meant for the musicians on “<a href="https://youtu.be/usNsCeOV4GM?t=2m15s" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">A Day in the Life</a>” and the sound of empty booze bottles vibrating on a speaker was left in at the end of “<a href="https://youtu.be/qkmrjrfitBo?t=2m31s" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Long Long Long</a>” (<a href="http://wgo.signal11.org.uk/wgo.htm" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">along with tons more</a>). The Beastie Boys left in a jumping needle intended for a smooth scratch on “<a href="https://youtu.be/polJGa028mk?t=2m18s" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">The Sounds of Science</a>.” Radiohead left in Jonny Greenwood’s warm-up chord that became essential to “<a href="https://youtu.be/XFkzRNyygfk?t=57s" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Creep</a>.” (<a href="https://www.reddit.com/r/Music/comments/2sxwn0/what_famous_songs_have_mistakesstudio_glitches_in/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">There’s a whole Reddit thread devoted to these mistakes if you choose to go down the rabbit hole.</a>)</div>
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But those examples relate to the recording process of rock music. What about jazz? Surely there’s “wrong” notes when it comes to playing, especially if you’re not the soloist.</div>
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In this very short video <a href="https://youtu.be/FL4LxrN-iyw?t=2m" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">based around an interview with pianist Herbie Hancock</a>, the master improvisor Miles Davis honored Hancock’s mistake as a hidden intention by playing along with it. It’s both a surprising look into the arcane world of jazz improvisation and a revealing anecdote of Davis, usually known as a difficult collaborator.</div>
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“It taught me a very big lesson not only about music,” says Hancock, “but about life.”</div>
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h/t Jason W-R</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-50204695826727631792017-06-19T13:58:00.000+09:302017-06-19T13:58:31.076+09:30Classic Album Series #19: The Rolling Stones – "Let It Bleed"<div style="background-color: white; border: 0px; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px; margin-bottom: 1.5em; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKT6DxQCH_QE9M3gsJJzrgOF4-2bEzIJVJruT4ng-UaHoRizsMzNroROZVYoxdB2HHs4aNWEA7qW_gm-bNiRErMuekCdGTDoWnAjq6p3RTA3L-cMfnu1wHwg00zhOM_ZWo-_p3IKALpRs/s1600/let-it-bleed-53f4b0f4ad525.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="150" data-original-width="150" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKT6DxQCH_QE9M3gsJJzrgOF4-2bEzIJVJruT4ng-UaHoRizsMzNroROZVYoxdB2HHs4aNWEA7qW_gm-bNiRErMuekCdGTDoWnAjq6p3RTA3L-cMfnu1wHwg00zhOM_ZWo-_p3IKALpRs/s200/let-it-bleed-53f4b0f4ad525.jpg" width="200" /></a>by Tom Caswell: <a href="https://tomcaswell.net/2017/06/06/classic-album-series-19-the-rolling-stones-let-it-bleed/">https://tomcaswell.net/2017/06/06/classic-album-series-19-the-rolling-stones-let-it-bleed/</a></div>
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Released six months after the death of founding member Brian Jones, <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</em> saw The Rolling Stones evolve musically and set the foundation for their next four albums with replacement guitarist Mick Taylor. <span style="text-align: justify;">He only features on two of the songs on</span><span style="text-align: justify;"> </span><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</em> but their sound over the next six years would change drastically compared to what came before and it all started with this legendary album.</div>
<em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gimme Shelter</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">is the opening song and it can be considered one of the greatest songs of all time without question. Everything about this song is perfect from the delicate opening riff to the roaring backing vocals from Merry Clayton who absolutely nails it. The way the song builds and builds is absolutely exquisite and the song remains to this day their greatest ever album opener. </span><br />
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<span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">A cover of the Robert Johnson song </span><em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Love In Vain</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">comes next which has echoes of their previous album </span><em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Beggars Banquet</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">due to the acoustic nature. A lot of artists were covering Robert Johnson songs during this particular period in music history, especially blues/rock bands. It doesn’t quite beat the excellence of Cream’s </span><em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Crossroads</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">cover but it’s certainly one of the best from this period.</span><br />
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<span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">Jagger on lead vocals is excellent as always and Richards delivers a gorgeous slide guitar solo. Mick Taylor makes his first appearance on a Rolling Stones album on the next song</span><em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, Country Honk,</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">where he plays slide guitar. The band released an electric rock version of the song earlier in 1969 called </span><em style="border: 0px; color: #404040; font-family: inherit; font-size: 16px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Honky Tonk Women</em><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;"> </span><span style="background-color: white; color: #404040; font-family: "Source Sans Pro", Arial, sans-serif; font-size: 16px;">which is an incredible song, but this country version is how the song was originally written according to Keith Richards.</span><br />
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<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gimme Shelter</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Love In Vain</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Country Honk</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Live With Me</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Midnight Rambler</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">You Got The Silver</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Monkey Man</strong></em></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">You Can’t Always Get What You Want</strong></em></li>
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The fourth song is <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Live With Me</em>, the second and final song on the album to feature Mick Taylor who plays rhythm guitar. This song is definitely more in the <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gimme Shelter</em> template that the two previous acoustic tracks, and that’s extremely welcome. Richards lays down some catchy riffs and Wyman on bass shows why he was and is one of the most respected bassists of all time. It’s a great track with Bobby Keys supplying a gorgeous sax solo. </div>
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The title track, <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</em>, follows which takes the same acoustic route as two of the previous four songs. It’s a nice song but it’s probably my least favourite on the whole album. </div>
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<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Midnight Rambler</em> injects the album with another dose of electric blues. This song is my second favorite on the album after <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gimme Shelter</em>, but it’s a close one. The song really gives another good indication of where the band would go musically on the next few albums, with thick guitar sounds, wailing harp, driving bass alongside Jagger’s flourishing front man performances all front and centre. It’s superb, especially when you bare in mind that Taylor doesn’t even feature on this song. It does feature Brian Jones on congas though, although his influence on their songs at this point was minimal to none.</div>
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Keith Richards sings <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">I Got The Silver</em>, the first time he’d take lead vocals on a Rolling Stones song without help from Jagger. The slide guitar playing on this song is very good, one of the highlights from the whole album without a doubt. And Richards taking lead vocals adds another dimension to the album, something that would continue on future albums the band would release. </div>
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<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Monkey Man</em> is the second to last song which has a chord progression to die for. The bass and piano intro adds to the overall flavour, before guitar and then drums come in to complete the mixture. This probably isn’t one of the songs that immediately stands out when you think of <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</em> but in my opinion it’s definitely one of the best. </div>
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The final song is <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">You Can’t Always Get What You Want </em>which at times you almost forget is on the album, as it’s definitely more well known as a standalone single. But it’s a great song nevertheless and acts as a fantastic album closer. <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed</em> would be the last album the Rolling Stones released in the 1960’s, and their songs wouldn’t sound this innocent ever again. The addition of a choir adds that innocent feel to the song. The 60’s were ending and the 70’s were about to begin. It’s a great song to listen to when you have that in mind. A perfect ending not only to the album, but to the decade.</div>
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<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Let It Bleed </em>is an excellent album. Even though Mick Taylor only features on two of the nine songs, the new direction the band takes is obvious to hear. Brian Jones was such a huge presence in the band during his tenure so his absence was obviously going to cause the band to go in another direction. That direction included stinging riffs, electric blues solo guitar, wailing harmonica and Jagger stepping up and demanding the attention of everyone in the audiences. It all started with this album.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-64814429217099991732017-06-12T22:15:00.000+09:302017-06-12T22:15:34.386+09:30VIDEOS: Muddy Waters and Friends on the Blues and Gospel Train, 1964<div class="oc-video-wrapper">
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One of the most unique and intimate concerts from the British blues revival of the 1960s was the "Blues and Gospel Train," filmed in a suburb of Manchester, England. In 2011 we posted an excerpt featuring <a href="http://www.openculture.com/2011/06/muddy_waters_on_the_blues_and_gospel_train.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Muddy Waters singing "You Can't Lose What You Ain't Never Had."</a> Today we're pleased to bring the whole show--or at least most of it.</div>
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The "Blues and Gospel Train" was staged on May 7, 1964 by Granada TV. Fans who were lucky enough to get tickets--some 200 of them--were instructed to meet at Manchester's Central Station at 7:30 that evening for a short train ride to the abandoned Wilbraham Road Station in Whalley Range.<br />
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<span style="text-align: center;">When the train pulled in at Wilbraham Road, the audience poured out and found seats on the platform, making their way past </span><a href="http://www.muddywaters.com/home.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Muddy Waters</a><span style="text-align: center;">, who was singing "Blow Wind Blow." The opposite platform, decorated to look like an old railway station in the American South, served as a stage for a lineup of now-legendary blues artists including Waters, </span><a href="http://www.npr.org/templates/story/story.php?storyId=102167126" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Sister Rosetta Sharpe</a><span style="text-align: center;">, </span><a href="http://www.allmusic.com/artist/sonny-terry-brownie-mcghee-mn0000755501" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Sonny Terry & Brownie McGhee</a><span style="text-align: center;">, </span><a href="http://www.satchmo.com/cousinjoe/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Cousin Joe</a><span style="text-align: center;">, </span><a href="http://www.allmusic.com/artist/otis-spann-mn0000486775" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Otis Spann</a><span style="text-align: center;"> and </span><a href="http://www.reverendgarydavis.com/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-align: center;">Reverend Gary Davis</a><span style="text-align: center;">.</span></div>
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The complete concert is available on DVD as part of <em><a href="http://amzn.to/VGjQi9" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">American Folk -Blues Festival: The British Tours 1963-1966</a></em>. The version above is not of the greatest quality, but it's still interesting to watch. Rev. Gary Davis's contribution appears to have been cut, but much of the show is intact. The taping was interrupted by a heavy downpour. Fittingly, Sister Rosetta Tharpe begins her set with a performance of "Didn't It Rain." Here's the full list of performances, in order of appearance:</div>
<ol style="font-size: inherit;">
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Muddy Waters:</span> "Blow Wind Blow"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Cousin Joe:</span> "Chicken a la Blues"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Cousin Joe:</span> "Railroad Porter Blues"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sister Rosetta Tharpe:</span> "Didn't It Rain"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sister Rosetta Tharpe:</span> "Trouble in Mind"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Muddy Waters:</span> "You Can't Lose What You Ain't Never Had"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sonny Terry & Brownie McGhee:</span> "Talking Harmonica Blues"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sonny Terry & Brownie McGhee:</span> "Rambler's Blues" medley</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sonny Terry & Brownie McGhee:</span> "Walk On"</li>
<li style="background: none 0px 10px no-repeat; font-size: inherit; line-height: 1.9rem; list-style-type: decimal; margin-bottom: 0.8rem; margin-left: 0.8em; padding-left: 0.2rem; zoom: 1;"><span style="font-weight: 700;">Sister Rosetta Tharpe:</span> "He's Got the Whole World in His Hands"</li>
</ol>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-40540494169401710272017-06-05T10:06:00.000+09:302017-06-05T10:06:39.734+09:30VIDEO: Jerry Garcia Talks About the Birth of the Grateful Dead and Playing Kesey’s Acid Tests in New Animated Videoby Josh Jones, Open Culture: <a href="http://www.openculture.com/2013/11/jerry-garcia-talks-about-the-birth-of-the-grateful-dead.html">http://www.openculture.com/2013/11/jerry-garcia-talks-about-the-birth-of-the-grateful-dead.html</a><br />
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Before the Grateful Dead recorded their classic eponymous country psych album, before they were the Grateful Dead, they were the Warlocks, “playing the divorcees bars up and down the peninsula,” Jerry Garcia tells us above. Their booking agent “used to book strippers and dog acts and magicians and everybody else.” Their first few gigs “sounded like hell,” says Garcia, “very awful.” In this <a href="http://blankonblank.org/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Blank-on-Blank-animated</a> 1988 interview with former Capital-EMI record executive <a href="http://articles.latimes.com/1993-03-31/entertainment/ca-17259_1_joe-smith" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Joe Smith</a>, Garcia gets into the origin of their name (a story involving the East Coast Warlocks, who might have sued. What he doesn’t mention is that the Velvet Underground—inventors of East Coast psych—also played at that time as the Warlocks.)</div>
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Smith was with Warner Bros. when the Dead were signed in 1967. His relationship with the band then was frustrated, and he <a href="http://www.lettersofnote.com/2011/02/grateful-dead-has-many-problems.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">went so far as to call</a> the recording of their second album “the most unreasonable project with which we have ever involved ourselves.” But this conversation is a funny, cordial exchange between two very affable people with surprisingly good memories of the time (Smith also once said the Dead “could have put me in the hospital for the rest of my life”). Jerry tells the story of their invitation to Merry Prankster and psychedelic genius Ken Kesey’s acid test parties in La Honda, California. It’s more or less the history of the West Coast acid rock scene and its apotheosis at Haight-Ashbury, so kind of essential watching, I’d say, but at less than six minutes, you can afford to be the judge.</div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4652993327243709277.post-3647438084147230652017-06-01T19:37:00.000+09:302017-06-01T19:37:15.766+09:30The Road Goes on Forever: RIP Gregg Allman<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8myjmXOfYO-Npua9mkSw5MJP1nw6SWx-U3ezrAWjfk-CwoonbmNVULyeutqpzqR3DcHpej6i_LbDfjn_-ILL9p3k8vZw9buBPIposnuzArw7Ah8_sH9S02zvqmPYyNU54jZi18j_Xma0/s1600/images.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="168" data-original-width="300" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8myjmXOfYO-Npua9mkSw5MJP1nw6SWx-U3ezrAWjfk-CwoonbmNVULyeutqpzqR3DcHpej6i_LbDfjn_-ILL9p3k8vZw9buBPIposnuzArw7Ah8_sH9S02zvqmPYyNU54jZi18j_Xma0/s400/images.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">billboard.com</td></tr>
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<span style="font-family: inherit; font-size: large;">by Tom Caswell: </span></div>
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<a href="https://tomcaswell.net/2017/05/27/the-road-goes-on-forever-rip-gregg-allman/"><span style="font-family: inherit; font-size: large;">https://tomcaswell.net/2017/05/27/the-road-goes-on-forever-rip-gregg-allman/</span></a></div>
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<span style="font-family: inherit; font-size: large;">I’m filled with great sadness as I write this knowing that one of my musical heroes, Gregg Allman, has passed away. The Allman Brothers Band<em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </em>are one of my favourite bands of all time and the world has certainly lost a visionary.</span></div>
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<span style="font-family: inherit; font-size: large;"><span id="more-8795" style="border: 0px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span></span></div>
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<span style="font-family: inherit; font-size: large;">Gregg’s work with The Allman Brothers Band<em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, </em>a band formed by his older brother Duane in 1969, is exceptional on every level. And it certainly wouldn’t be out of the question to call him one of the greatest singers of all time. When you listen back to live recordings of the Allman Brothers from 1970/1971 it’s hard to imagine that experienced, raw and steady voice is coming from a 24 year old. But it is, it was. His talent put him ahead of the pack as a singer and as a songwriter he was excellent as well.</span></div>
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<span style="font-family: inherit; font-size: large;">Gregg leaves behind a wealth of material that includes twelve studio albums with The Allman Brothers, six studio albums as a solo artist, and numerous live albums. Some of his most well known songs include<em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Dreams, Melissa, Don’t Keep Me Wonderin’, Queen Of Hearts, Wasted Words, Come And Go Blues </em>and <em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Ain’t Wastin’ Time No More</em> to name just a few. Even though The Allman Brothers Band would go through numerous lineup changes over the years, starting in 1971 after Duane’s death, Gregg’s influence remained and lasted throughout every incarnation of the band right up until their last show in 2014.</span></div>
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<span style="font-family: inherit; font-size: large;">One of Gregg’s finest songs is <em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Midnight Rider</em> which was released on the second Allman Brothers studio album <em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Idlewild South </em>in 1970. I don’t think there any any words to describe how great this song, it’s best just to listen to it.</span></div>
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<span class="embed-youtube" style="border: 0px; display: block; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><iframe allowfullscreen="true" class="youtube-player" data-height="379" data-ratio="0.6112903225806452" data-width="620" src="https://www.youtube.com/embed/TCRS4DRmf_w?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent" style="border-style: initial; border-width: 0px; display: block; font-style: inherit; font-weight: inherit; height: 378.389px; margin: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 619px;" type="text/html"></iframe></span></div>
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<span style="font-family: inherit; font-size: large;">When you look back at certain decades there are always a number of musicians or bands that stand out over the rest, the poster bands for the decade. The 60’s include The Beatles, Cream and The Jimi Hendrix Experience. The 70’s include Eric Clapton, The Rolling Stones and The Allman Brothers Band. Gregg Allman was at the forefront of the success the band acquired with his songwriting, singing and hammond organ playing being a major part of some of the best music ever recorded and played.</span></div>
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<span style="font-family: inherit; font-size: large;">I end my post with one of my all time favourite performances by anyone, ever. An acoustic version of <em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Come And Go Blues</em> which Gregg performed on the TV show Flo & Eddie. The first time I heard this I was blown away and every time I listen to it I get goosebumps. The world has lost a music legend.</span></div>
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<span class="embed-youtube" style="border: 0px; display: block; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><iframe allowfullscreen="true" class="youtube-player" data-height="379" data-ratio="0.6112903225806452" data-width="620" src="https://www.youtube.com/embed/3kQ8o0QC7Bw?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent" style="border-style: initial; border-width: 0px; display: block; font-style: inherit; font-weight: inherit; height: 378.389px; margin: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 619px;" type="text/html"></iframe></span></div>
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<strong style="border: 0px; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit; font-size: large;">RIP Gregg Allman. 8th December 1947 – 27th May 2017.</span></strong></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-30023325531705719692017-05-24T22:06:00.000+09:302017-05-24T22:06:27.663+09:30Jimi Hendrix Plays “Sgt. Pepper’s Lonely Hearts Club Band” for The Beatles, Just Three Days After the Album’s Release (1967)<div style="clear: both;">
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There are many ways to celebrate a new album from a band you admire. You can have a listening party alone. You can have a listening party with friends. You can learn the title track in a couple days and play it onstage while the band you admire sits in the audience. That last one might be overkill. Unless you’re Jimi Hendrix. Hendrix was so excited after the UK release of <a href="http://amzn.to/2eTMo9p" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>Sgt. Pepper’s Lonely Hearts Club Band</em> </a>in 1967 that he opened a set at London’s Saville Theater with his own, Hendrix-ified rendition of the album’s McCartney-penned title song. In the audience: McCartney and George Harrison.</div>
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It’s a loose, good-natured tribute that, as you might imagine, made quite an impression on the Beatles in attendance. “It’s still obviously a shining memory for me,” <a href="https://www.beatlesbible.com/1967/06/04/mccartney-harrison-watch-jimi-hendrix-london/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">McCartney recalled</a> many years later, “because I admired him so much anyway, he was so accomplished.”</div>
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<em>To think that that album had meant so much to him as to actually do it by the Sunday night, three days after the release. He must have been so into it, because normally it might take a day for rehearsal and then you might wonder whether you’d put it in, but he just opened with it. It’s a pretty major compliment in anyone’s book. I put that down as one of the great honours of my career.</em></div>
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McCartney frequently <a href="https://www.youtube.com/watch?v=afmVjaX3Akk" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">reminisces</a> about that night. See him do so in the clip above from an August, 2010 concert. Macca gushes over Hendrix’s solo, then tells the audience how Jimi—having thrown his guitar out of tune during the solo with his whammy bar dive-bombing—asked Eric Clapton to come onstage and retune for him. Clapton, who McCartney says was actually in the audience, demurred. It’s a story he continues to tell–in fact, as recently as this weekend <a href="https://www.youtube.com/watch?v=i9S0ZRPsX6Y" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">at Oldchella</a>.</div>
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One lingering question is whether or not Hendrix knew there were Beatles present that night. <em><a href="http://www.nme.com/news/music/jimi-hendrix-33-1340149" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">NME</a></em> and the <a href="http://www.bbc.co.uk/music/sevenages/events/blues-based-rock/hendrix-covers-sgt-pepper-two-days-after-its-release/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">BBC</a> both say he did not. In a recreation of the moment, above, from the 2013 fictionalized biopic <a href="http://www.rollingstone.com/movies/reviews/jimi-all-is-by-my-side-20140925" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;"><em>Jimi: All is by My Side</em></a>, Hendrix (played by André Benjamin) knows. Not only that, but he decides to open with “Sgt. Pepper’s” right before the gig, with no rehearsal, over the strenuous objections of Noel Redding, who thinks the Beatles might be insulted. It’s highly doubtful things went down that way at all. (The scene takes other licenses—note the Flying V instead of the white Stratocaster Hendrix actually played). But it makes for some interesting backstage drama in the film.</div>
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In any case, I’d guess that Hendrix—“the coolest guy in the world,” as <a href="http://www.essence.com/2014/10/03/andr%C3%A9-3000-reveals-why-he-momentarily-regretted-portraying-jimi-hendrix-new-biopic" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Benjamin called him</a>—would have pulled off the cover with panache, whether he knew McCartney was watching or not. There may be little left to say about Hendrix’s brilliant guitar theatrics, completely innovative playing style, onstage swagger, and powerful songwriting. But his “Sgt. Pepper’s” cover is an example of one of his less-discussed, but highly admirable qualities: his genuinely awesome rock and roll collegiality.</div>
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<em><a href="http://about.me/jonesjoshua" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Josh Jones</a> is a writer and musician based in Durham, NC. Follow him at <a href="https://twitter.com/jdmagness" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">@jdmagness</a></em></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-3593667580694316922017-05-20T14:20:00.001+09:302017-05-20T14:20:15.338+09:30<a href="https://www.bloglovin.com/blog/1915923/?claim=dpfz6scx3dt">Follow my blog with Bloglovin</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4652993327243709277.post-64036536424524369042017-05-19T12:55:00.000+09:302017-05-19T12:55:25.959+09:30Hunter S. Thompson Gets Confronted by The Hell’s Angels: Where’s Our Two Kegs of Beer? (1967)<div class="entry" style="background-color: white; clear: left; color: #414141; font-family: Lora, Lora, Times, serif; font-size: 16px; width: 789.469px;">
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In 1965, the editor of <em>The Nation</em> asked Hunter S. Thompson to write <a href="http://www.thenation.com/article/motorcycle-gangs" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">a story about the Hell’s Angels Motorcycle Club</a>, as they’re officially known. The assignment eventually yielded the article, <a href="https://www.thenation.com/article/motorcycle-gangs/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">“The Motorcycle Gangs”</a> (<a href="https://www.thenation.com/article/motorcycle-gangs/" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">read it online</a>), which became the basis for the 1966 book, <em><a href="http://amzn.to/2a0Lp25" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">Hell’s Angels: A Strange and Terrible Saga</a>. </em>It was Thompson’s first book, and America’s first real introduction to Thompson’s Gonzo-style journalism. Reviewing the book for <em>The New York Times</em>, Leo Litwak <a href="http://www.nytimes.com/books/98/11/29/specials/thompson-angels.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">wrote</a>:</div>
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Hunter Thompson entered this terra incognita [the world of the Hell’s Angels] to become its cartographer. For almost a year, he accompanied the Hell’s Angels on their rallies. He drank at their bars, exchanged home visits, recorded their brutalities, viewed their sexual caprices, became converted to their motorcycle mystique, and was so intrigued, as he puts it, that “I was no longer sure whether I was doing research on the Hell’s Angels or being slowly absorbed by them.” At the conclusion of his year’s tenure the ambiguity of his position was ended when a group of Angels knocked him to the ground and stomped him…</div>
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Hunter Thompson has presented us with a close view of a world most of us would never dare encounter, yet one with which we should be familiar. He has brought on stage men who have lost all options and are not reconciled to the loss. They have great resources for violence which doesn’t as yet have any effective focus. Thompson suggests that these few Angels are but the vanguard of a growing army of disappropriated, disaffiliated and desperate men. There’s always the risk that somehow they may force the wrong options into being.</div>
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This clip above, which aired on Canadian television in 1967, describes the circumstances that led to the Angels giving HST a beat down. The misogyny that’s on display as the biker tells the story will make you shudder. Even worse are the laughs from the 1960s, buttoned-down crowd.</div>
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As for whether the Angels ever got their two kegs of beer, I don’t know.</div>
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<b>Note</b>: You can download Thompson’s <em>Hell’s Angels: A Strange and Terrible Saga</em> as a free audiobook if you sign up for a <a href="http://openculture.com/audible" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">30-Day Free Trial with Audible</a>. Find <a href="http://openculture.com/audible" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;">more information on that program here.</a></div>
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<a href="http://www.openculture.com/2014/04/free-the-original-text-of-hunter-s-thompsons-fear-and-loathing-in-las-vegas.html" rel="bookmark" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 24px; outline: none; text-decoration-line: none;" title="Permanent Link to Free Online: Hunter S. Thompson’s <i>Fear and Loathing in Las Vegas</i>">Free Online: Hunter S. Thompson’s Fear and Loathing in Las Vegas</a></div>
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by <a href="http://www.openculture.com/author/dancolman" rel="author" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 22.4px; outline: none; text-decoration-line: none;" title="Posts by Dan Colman">Dan Colman</a> | <a href="http://www.openculture.com/2016/07/hunter-s-thompson-gets-confronted-by-the-hells-angels.html" sl-processed="1" style="color: #0183b2; font-size: inherit; line-height: 22.4px; outline: none; text-decoration-line: none;" title="Permalink">Permalink</a> | Comments (1) |</div>
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