For every person who has been captivated by the look, feel and sound of the guitar, this is an event that musicians and serious collectors alike will need to etch in their calendars. Invaluable is teaming up with Guernsey’s Auctions to present Guitars at Auction. If you don't know Invaluable, they are an online auction marketplace with new collectibleslike the guitars in this auction up for grabs every day!
Where and when?
February 27, 2016, 10am EST (Live Auction)
Bohemian National Hall
321 East 73rd Street
New York, NY, 10021 USA
Featuring 379 live auction lots of an assortment of almost impossible-to-find instruments, there will be several private collections on offer including approximately 20 instruments that come directly from jazz legend George Benson.
There will be live preview showings on February 25th and 26th, each running from noon to 6pm in advance of the big day. Here is a sneak preview of the most noteworthy auction lots:
Lot 439
Eddie Van Halen's 1982 Charvel Guitar
Estimated Price: $55,000 - $75,000
Eddie Van Halen’s 1982 Charvel, made for, owned by, and played by Mr. Van Halen himself, with 1982 video and other full documentation. Eddie Van Halen's iconic original black & white striped "Frankenstein" guitar (which he later modified in the late 1979 with an additional layer of red paint) was built from a body and neck he bought from Wayne Charvel and Lynn Ellsworth in the mid 1970s. Van Halen continued to purchase various parts from Charvel during the late 70s that he used to build guitars, and he even played a guitar built by Charvel based on the single-pickup design of his Frankenstein.
Lot 284
Stevie Ray Vaughan-Owned & Signed c. 1966-67 Fender
Estimated Price: $250,000 - $500,000
Stevie Ray Vaughan-Owned & Signed c. 1966-67 Fender Stratocaster. Serial#: 191460. Stevie Ray Vaughan owned and signed 1966-67 Fender Stratocaster in a three-tone Sunburst finish. The signature is broad and in gold ink, dated " '90," and also present on this guitar are some worn stickers; one group of stickers reads "SRV" and the other, located on the pickguard, is rather worn and faded but the word "Cobras" is visible. Vaughan played with Paul Ray and the Cobras in Austin, Texas from 1975 until 1977. This Fender's silver neck plate is etched in block letters "STEVIE RAY VAUGHAN DALLAS, TX." Paperwork inside the case with more of Vaughan's handwriting.
1966 Gibson LG-1 & Continental Music Company Guitars
Estimated Price: $125,000 - $175,000
1966 Gibson LG-1 & Continental Music Company Guitars, In Cold Blood. 1966 Gibson LG-1 Sunburst finish. This guitar was used in the movie In Cold Blood. They put a substance on the finish to keep it from reflecting on camera. Robert Blake gave the consignor this guitar in 2001. In 2002, the consignor produced a vintage guitar show in Las Vegas at the Hard Rock Hotel and this guitar was featured at this show. The newspaper article from Las Vegas in 2002 is a companying the guitar. Comes with modern case.
Thirty three years after its initial appearance, which was swiftly followed by commercial success (US and UK #1) and critical plaudits, the Tug of War LP has been given an aural update. Those that own an original vinyl copy may want to try an A/B comparison of both formats while simultaneously screening Caddyshack. Curiously, Judge Smails gets clocked in the pills just as "Get It" ends, with Carl Perkins' laughter timed perfectly to mock his agony.
Ted is dead man, miss him, miss him
LATE 1980
Tug of War may have ended up as another Wings record in an alternate universe, though this progressed no further than a few rehearsals. CBS had recently signed Paul to a very rich deal with an advance of 14 million along with a few other perks. Their executive team wanted a retrospective Wings set, stacked with recent hits to offset the poor sales of Back to the Egg. McCartney offered to couple a mix of unreleased tunes with more familiar fare, provisionally titled "Hot Hitz and Kold Kutz".
This plan was given a thumbs down...
Shortly following this series of non-events, recent recruits Laurence Juber and Steve Holley were advised by their boss that their services would not be required in the short term. A legendary producer was now lined up to direct the proceedings, retiring Wings in favor of a solo project. Denny Laine would remain for a while longer.
Enter George Martin
This true gent was definitely the only person on the planet who could give direction to McCartney without causing the earth to split apart. Recording would begin in Martin's AIR facilities in London, later shifting to his Montserrat location with top flight musicians joining Paul to further enhance the songs that he had been working up. Never again would he attempt to create the illusion that he was "just part of the band." While he was closing a chapter on the previous decade, terrible news was delivered from New York in early December of 1980.
Dear Friend, how's the time?
Nothing less than global shock was felt following the murder of John Lennon. It is one thing for fans of his art to be upset, sad and move on. Quite another matter when that person was a mate, writing partner and someone you knew from home. Though never close following their nasty estrangement in the early seventies, relations between the two men did thaw a bit over time. When recording sessions resumed in 1981, Paul had people around him (George Martin and Ringo Starr) with whom he could share stories of times they had spent with their departed friend. You could include Eric Stewart and Denny Laine in that company, as they had all interacted in the sixties, occasionally sharing bills and getting well oiled together in smoky clubs that catered to nocturnal party habits of musicians in London during that era. The return to business carried with it the grim reality that he could never pick up the phone and reach out to his former bandmate ever again.
THE ALBUM
Opening with the sounds of an epic struggle that play through nearly half a minute, the title track announces itself gently with acoustic guitar supporting a lone voice. Setting the table for the eclectic mix of styles that are woven into the fabric of this set, the arrangement is punctuated with orchestral decoration as it builds to a majestic breakout of slightly muted electric guitar and drums.
In years to come/they may discover/what air we breathe and life we lead are all about/though it won't be soon enough/soon enough for me
Breaking back down to military snare, a brief bridging section yields to a repetition of the first verse and closes with strings that dissolve into the stuttering tom pattern that sets up "Take It Away" in random White Album fashion. Ringo and Steve Gadd share drum duties on this inventive, catchy tune, wisely chosen as the second single. Sonically crisp, with huge background vocals and a razor sharp horn section, this is a dazzling example of what kind of magic resulted when McCartney had a trusted advisor handling production decisions. Too often his solo work had suffered from a lack of dissenting opinion when it came down to what was allowed to pass quality control. Downshifting slightly, "Somebody Who Cares" is framed with exquisite acoustic guitar work (special mention goes to the note perfect solo) and an uplifting chorus. Stevie Wonder makes his first appearance on "What's That You're Doing" and while the groove is decent, Paul sounds like he is guesting on an outtake from Hotter Than July. While not bad, it isn't great either, overstaying its welcome by several minutes.
"Here Today" is sublime, closing the first side with a touch of class. This fulsome tribute to Lennon remains part of his live set. The second side of the disc is stylistically jarring, whimsical on "Ballroom Dancing", close to, though not quite rock on the lyrically clever "The Pound is Sinking" and sweepingly melodic in the grand, piano centric "Wanderlust", which gives Martin much to work with in terms of augmentation. All three tracks lift the proceedings, though none more so than the surprisingly strong "Dress Me Up Like a Robber" which has gained a position in my estimation as one of the most interesting compositions on the record. Back in '82, I was inclined to skip it, though now that viewpoint has mellowed with the passage of time. In contrast, "Get It" is hokey and should have been relegated to a fun B-side. Though "Ebony and Ivory" was a monster hit, impeccably sung by Stevie and Paul and well intentioned in its theme, it has not aged well. Is it a decent piece of pop song craft? Sure, though it doesn't hold up nearly as well as the others. My vinyl copy of Tug of War, purchased within a week of official release in the spring of 1982, holds great memories though it is with very different perspective that I listen in 2016. This is quite a strong collection with a very talented supporting cast, though there is still a sense that he could have put a bit more effort into what he had to say. Tug of War hits some fairly lofty heights from a purely musical standpoint, though that ambition is thwarted by throwaway lyrics that form the basis of "Get It" and "Ballroom Dancing". Weak spots aside, it is definitely the highlight of his eighties output. The follow up (Pipes of Peace) would prove to be a disappointment on many levels and much of it should have remained locked up.
POSTSCRIPT
The 2015 remaster is well worth the investment and sonically brilliant. The Standard Edition has an 11 song companion disc, which consists of demos that preceded formal recording sessions for the project and two B-sides ("I'll Give You a Ring" and "Rainclouds"). There are no huge departures from the arrangements that would grace the final product, though completists will be glad for their inclusion.
Rainfall, thunder and the distant chiming of a bell herald those ominous three notes that kick off the first Black Sabbath album, which was released 46 years ago today. Recorded quickly in a 12 hour session, their pre-production prep was achieved by playing the songs nightly as part of a rigorous gigging schedule. At the time, guitarist Tony Iommi was criticized for pulling too heavily from the playbook of Eric Clapton (listen to his solo segments during "Warning") and the disc received little in the way of positive mention in the music publications of that era.
Ain't it funny how time slips away
Side one of this set is spotless, with signature guitar riffs, Satan, wizards and exceptional ensemble playing all present and accounted for. In truth, none of the group members pledged allegiance to anything more than making loud, energetic rock. The lyrical subject matter came out of group discussions about how people paid good money to be frightened out of their seats by horror films. It was left to Terry Butler (Geezer to his friends) to craft similarly scary scenarios to accompany their ponderous, inventive compositions. The best of these are the time-signature shifting title track and "Behind the Wall of Sleep", both of which retain their power and originality. The key here is that the material is captured live, without 150 takes to rob the end product of energy.
Side two features two covers ("Evil Woman", pulled as a single and "Warning", which tends to drag) and doesn't come close to the electric thrill created during the first stretch. Ozzy has yet to find his helium voice and sounds as if he hasn't completely cleared his throat at times, though he is excused because of the lighting speed in which this recording was executed.
For collectors, the UK vinyl version included "Evil Woman" and an elaborate gatefold sleeve. The North American release removed this tune, opting instead to insert its B-side ("Wicked World").
Excellent in many respects, "Black Sabbath" is the gold standard in what would soon come to be known as heavy metal. You can crank it up and enjoy right now.
Les Claypool and Sean Lennon have formed a mutual admiration society, which began with some acoustic jamming while their bands shared the bill on tour last year. These explorations flowered into something more substantial, with the results being this very interesting collaboration. I took this track, Cricket and the Genie for a couple of spins and it is a decidedly pleasant surprise. Claypool plays bass, Lennon handles everything else including vocals on this tune. Deliberately strange, with shifting sand time signatures, full marks are given for ingenuity and some honestly crafty playing.
Underground sounds of 1973 shaking hands with 2016 and no apologies. If you are roundly bored with the homogenized sludge that is passing for music right now, then dig this. Very excited to hear more.
There is an endless river of ideas, sounds and pictures quietly flowing just a few feet above the heads of humanity. Those that are fortunate enough to be woken from a dead sleep and invited to dip their hand in this wondrous pool can retrieve invaluable gifts. It is how you assemble the information for presentation to others that counts. Imagine having the ability to glide along the surface in perpetuity, fishing out these treasures with ease.
"All the pictures I see are smiling at me, but today I'm somebody new"
True talent always finds a way to tap into this stream, penetrate the public consciousness with what they have found and remain there by consistently working on their craft. David Crosby has built a very successful career by raising his voice in song, harmonic brilliance and opinions that carry great insight, if you care to listen. Dividing his time amongst several very successful musical aggregations over the years (The Byrds, CSN, CSNY, C&N, CPR), has meant that the energies reserved for his own projects were often sublimated in favour of collaborative efforts. When listeners do get a record from him, it has always been quality over quantity.
His most recent solo release, Croz, is one of his very best.
Shamefully late to the table in picking up on this disc, it has quickly worked its way into my regular rotation. He is in quite good voice, per usual, though it is his facility with words here that bears repeated examination. Arrangements are sharp, featuring some spectacular detours from the main melodic theme, supported by a cast of impeccable players. Figuring prominently in this mix is his son, James Raymond. His composition, "What's Broken", leads off the set in style. Rhythmically active with slippery bass lines, a very clever turnaround into the chorus and the decorative guitar work of guest contributor Mark Knopfler, this is an strong opener. Floating over this soundscape is a perfectly executed vocal with those trademark harmonies providing the sweetener.
What's broken? Not a thing...
Keeping the pulse as this stunning track dissolves is the percussive intro to "Time I Have".
Life in the city is so densely packed, fear of each other is an accepted fact
Exploring an esoteric lyric that balances positive self-talk to counter what the writer observes in the often depressing actions of the entities that attempt to us hold back with fear mongering. Peace doesn't always win the day, though the melody is enough to coax even the most cynical individual toward that path. As it goes with the best of art, the true meaning is left open ended. Spend the time that you have wisely.
Highlights are plentiful on Croz, though "Holding on to Nothing" occupies top position in that department. Gentle acoustic guitar in an exotic tuning frames this jazzy piece, which is graced with a beautiful trumpet solo from one of the masters, Wynton Marsalis. There is a downbeat atmosphere created which is only slightly dispersed by the expressive horn, which evokes a similar mood to that with which Chet Baker cast over Elvis Costello's "Shipbuilding". The words convey a subtle sadness, saying much with great economy.
Sunny days can fool you/they can look wet with rain/even words from a friend/can bring back the pain
Another absolute stunner is the second James Raymond offering, "The Clearing". If you were hard pressed to find a musical equivalent of "ethereal". look no further. Personally, listening to this one provided the same familiar chills felt when I first heard Jeff Buckley's Grace. Crosby channels the emotion effortlessly. Lulled into a sense of where this might be going, the surprise comes in the outro as the soundscape shifts to prog in an instant with some deft guitar work underpinned by inventive, bass-heavy synth lines. Given a moment to establish a motif, the scene breaks back to a tapestry of shimmering acoustics. Listen for yourself.
There is strength in every note brought forth here ("Radio" has an uplifting chorus, while "Set That Baggage Down" is a confident reminder to keep looking forward, despite any wreckage that you may have caused or endured), though one more selection has to be called out for special mention, as it features the artist without a net. "If She Called" is delicately rendered, bewitchingly arranged for solo voice and guitar. A distant cousin of "Guinevere" (in feel only and without a harmony vocal line), the inspiration for this song apparently came from a group of prostitutes that he saw near his hotel in Belgium. This should have been placed as the last track, as it floors everything that follows it. Stellar in every sense of the word, as with everything you'll encounter here.
Deserving of every superlative, the overall result is the fruit of intensive and inspired labor. The hard and dirty work that goes into song craft is often dismissed by those who have never turned their own hand to it. In a contemporary musical culture that has produced "artists" who are unable to flip on a light switch in a studio, let alone define what key signature their latest hit falls into, it is very welcome to listen to a cohesive collection that genuinely has something to say. This is an album that anyone would be proud to sign their name to.
Support the artist and grab yourself a copy right here or from his website, where you will also find details on his upcoming west coast solo tour.
As an apple-cheeked, chemically altered 15 year old, it was my duty to buy this cassette in the week it was released because CIRCUS magazine had been talking it up.
Remember CIRCUS? Remember talking?
Long before the iPhone surgically removed the need for personality from humanity, the sixth Van Halen album was released to an unsuspecting public on this date, 32 years ago. Listening to Ed's technically dazzling fretwork is always a sonic treat, though this gift overshadows his fine sense of melody. This element was sadly lacking in most all of VH's imitators, poodles balanced on their heads, filling every space with "oodily-oodily-oodily" solos that were woefully unsupported by any evidence of a tune. David Lee Roth in mid-air, Alex Van Halen with 1000 arms flailing and Michael Anthony's harmonies were all key ingredients in making this band something special, though they remembered to mix hooks with instrumental chops.
With a running time of just thirty-three minutes, the material on this disc claims your attention by virtue of its brevity and variance in approach. Ponder that for a moment. Heralded by futuristic strains squeezed from an Oberheim OB-X, run through a Marshall stack, the icy instrumental "1984" showcased the most recognized guitar slinger on the planet at that time...on keyboards! This theme ends before it begins, setting up the intro to the monster-number one hit single, "Jump". Curiously, this would be their only trip to the top of the pops. Emerging with a grin from behind the synths, Eddie treats the faithful to the first of many perfectly executed solos midway through exhortations to attempt an escape from gravity. His salvos are a keen reminder that this is still VH. "Panama" steers the record back into more familiar territory, with a highly caffinated Roth tearing up his vocal alongside very innovative riffing. Just as the party is taken down a few notches to allow Dave to ease the seat back. there is a full climb up the scale as the players build to a crescendo and go out blazing on the chorus. The two tracks that close out the first half of 1984 veer in yet another direction. "Top Jimmy" arrives in water-droplet harmonics, with trademark squeals in the background, only to morph into Dire Straits territory, kicking in on steroids. The whole affair is capped by Mike and Dave in harmony throughout. It is radically different from everything else on this stunning set. "Drop Dead Legs" features an embarrassment of riches in terms of guitar figures with Alex keeping everything in the pocket. Saving the best licks for last, EVH wanders into frenetic free form jazz as he peels off a sequence of devastating runs, creeping well away from all boundaries, hypnotically into the fade.
"Hot For Teacher" begins the back nine with a wall of drums and could very well be classed as quintessential Van Halen. Humor, hammer-on hysterics and nerve all dressed up in a gut-bucket blues shuffle taken at an insane tempo. This remains a staple on rock radio, with an energy that is still felt three decades on. The synth returns from the closet for "I'll Wait", which also provides a much softer landing pad after the roller coaster ride that precedes it. Sporting a chorus made for heavy rotation, it leans more toward pop than the others, keeping things fresh from a stylistic perspective.
My personal favourite is "Girl Gone Bad" which takes you on a jaw-dropping slalom course of bass runs, if you're able to listen past the full fledged assault created by Alex and Ed. Hold one of your tinnitus-damaged ears close to the speakers and you'll hear sheer finesse alongside the urgency, with a minor key hint of sadness in the breakdown. Atypical of Roth, this only lasts a moment, though the atmosphere is perfectly framed by a dynamic arrangement. There is a remarkable amount of control on display from everyone in the room, reading the mood of the piece perfectly. One of their best compositions. "House of Pain" dated back to the demos that they did in advance of their first album, though it was retooled for inclusion here. Shifting gears and time signatures, it keeps the pulse of the proceedings high right to the end.
All this in a half hour? All you can do is play it again. I wore out my copy doing just that back in the winter of '84.
"1984" was Roth's last full length album with his cohorts until A Different Kind of Truth in 2012, bringing the Diamond Dave with Van Hef-lin in the 80s era to a close.
Van Halen fans missed him, too, because he brought a truckload of personality and humour to the table.
Does it hold up in 2015?
You bet! All killer, zero filler.
This is a creative and commercial watermark for the group. Exuding confidence on all levels, it is consistent and remains very listenable well outside of the time in which it was conceived.
It is with much sadness that I write a few sentences in tribute to a true ambassador of rock and roll. As these words take shape, I am drinking cheap beer while listening to the Bomber album. Proud to be a former teenage metalhead, Motorhead kicked down the door and stormed into my life in the early 80s. While those precious cassettes from that time are long gone, likely buried in a landfill, the memories are razor sharp. First cigarettes (left-handed and otherwise), the spine-tingling, adrenalin rush that ensued while blasting their anthems, pissing off parents, small dogs and children within a one mile radius. This culminated in the happiness of being swept along by that wonderful tsunami of noise, without pretension, containing the energy of a thousand suns. All other poser bands could suck it!
Whatever happened to your life? Stone dead, forever
My favorite recollection from that misty period was trading Anvil's "Forged In Fire" for "Another Perfect Day" back in 1983. The guy who did the deal didn't care because "Fast" Eddie Clarke had left Motorhead. Who cares? It was Lemmy's band. He continued to make uncompromising slabs of rock as my listening tastes shifted to other vistas.
Still came back to No Sleep 'Til Hammersmith from time to time, while visiting the ever popular, scenic altered states. The bass solo in "Stay Clean" is worth your left arm.
We are the road crew!
All of us rent a corner of the planet for a second, only to be cut down into biodegradable matter for recycling. With that knowledge, you should feel free to do anything. If you take up an instrument, sing and spread music to anyone who is willing to hear, then you will be the recipient of much love in return.
Lemmy has collected a lifetime of it, slashing away at his Rickenbacker while craning his moustachioed mug upward toward the mic.
Play his music loud for the next week, Your neighbour's lawn will turn brown and the prophecy will be fulfilled.
Nocturnal musings from a basement window of introspection could very well be the overarching theme this week. This precious space when most other humans are comatose allows for the anarchistic laundering of thoughts in seemingly fresher air. Inane chatter coupled with the incessant pinging of devices are thankfully muted. The perfect compliment to this gently unfolding quiet?
Tony Bennett's warm baritone wrapped around the dextrous playing of jazz pianist Bill Evans.
Two very gifted individuals in every respect, their collaboration is filled with many rewarding moments for the listener. Opting to record solo voice and piano is pretty daunting from the perspective of any singer as every note is under scrutiny. Poor phrasing or awkward pitch are easily exposed, without the coverage of other instruments. Working without a net, Bennett steps up to every song with confidence and cool, delving deeper into his artistry in the process. When this record first appeared in 1975, unheralded, its contents were very much out of step with contemporary noises, likely puzzling anyone who had not spent time in the confines of a smoky jazz club. Song selection along with arrangements were reportedly worked out during the sessions, with no prior preparation. Impressively, the duo ran through each tune a few times before deciding that they had a final take.
Evans approached the material with delicate brilliance, supporting Bennett tastefully as he sang, generous in leaving space for his vocals to soar. When he did stretch out to take solos, he became an orchestra, lifting the compositions to greater heights. Their choices all tend toward softer, downbeat jazz standards ("Waltz for Debby" being the lone piece composed by Evans), though this is quite a strong set. Very easy on the ear, it is highly recommended to be enjoyed under a purple sky, in close proximity to ocean currents with your favourite libation. Recognizing an undeniable chemistry, they teamed up to produce a second LP in 1977 (Together Again), though Evans passed away in 1980, sadly precluding the revival of this inspired pairing. Simply a masterclass in sheer technique all around.
Gently influencing all of the liquid on our planet, the first Christmas full moon since 1977 is also cutting a grand figure in the evening sky, shedding some of its reflected light on a corner of my music collection that has been ignored for quite some time.
Skip James' Blues from the Delta came back into listening rotation after a long hiatus, much like the musical path taken by the man himself.
He cut some remarkable material in a single session early in 1931 for Paramount records and was paid the miserly sum of forty dollars for 26 songs. Eighteen tunes from this recording spree saw release on cheap, 78rpm discs, though they did not sell. Nehemiah James then turned to the church, was ordained as a baptist minister in 1932 and concentrated on gospel music, forming the Dallas Texas Jubilee Singers and backing his father, who was a preacher. Some years after that, he stopped playing altogether and drifted back to Mississippi, where he worked driving a tractor and cutting timber.
Now here's one to ponder. Imagine if Robert Johnson hadn't died so young and was living in relative obscurity, only to be located by young blues enthusiasts and encouraged to return to live performance as he approached retirement age.
That's exactly what happened to Skip James in 1964.
Fortunately, he was also able to re-record his phenomenal music with far more sophisticated technology than what he had originally been afforded. His work was rescued from barely audible, scratchy discs and allowed to breathe. Cream also did a vastly different version of his tune "I'm So Glad" on Fresh Cream that put some long overdue money in his pocket. History came to life as one of the best Delta bluesmen had his music resurrected, with scores of very lucky people able to see him play live. His pure falsetto voice was unique as was his use of modal guitar tunings. That effortlessly light vocal approach is what separates him from so many others who mined this genre, most choosing to wring each phrase from their "troubled and worried minds" in a far lower register.
Poor health plagued him during this brief renaissance though and he passed away in the fall of 1969.
Listening again now to these cuts is quite stirring, with each note containing vast amounts of what draws people back to timeless art:
Soul
Skip will still be astonishing in late December of 2034.
Suspension of disbelief is the attitude that will take you far when you wade into the exceptional catalog of Mr. Frank Zappa. Commanding every stage upon which he walked, peeling off impeccable solos dressed in a guitar tone finer than silk, the man did not suffer fools gladly. Fueled by coffee, cigs and satire, he revolutionized recording techniques, while only the greatest musicians lined up to play/record with him.
"Apostrophe" is by far the best record with which to introduce a casual listener to Zappa, being one of his most accessible works. That doesn't excuse you from checking out the rest of his output, which is rich in exquisite playing, ingenuity of arrangement and eclecticism. Humour was the essential element in his lyrical subject matter, though he was serious as a heart attack about the fine details of every note produced under his watch. The title track on this immaculate disc features a solo taken in the Lydian mode, sitting straight-faced next to an opus about a fur trapper who is temporarily blinded by the "deadly yellow snow".
You just have to listen.
Satirical pieces that target hypocrisy in organized religion ("St. Alphonzo's Pancake Breakfast", "Father O'Blivion"), New Age charlatans ("Cosmic Debris") and the misguided zeal of some social activists ("Uncle Remus") blend wit with effortless, musical gymnastics. Understanding sound from an orchestral perspective, his stock in trade was deploying a superb, rotating cast of sympathetic players to bring his sonic vision to life.
Now ladies and gentlemen, destined to take the place of the mud shark in your mythology, here it is, the killer guitar tone...
Sublimation of original thought in favor of following trends was a constant theme that he railed against and with "Apostrophe", no subject is safe from his razor-sharp, verbal barbs. He would continue to publicly defend freedom of expression throughout his life. While Zappa would continue to astound, amuse, confound and sometimes piss off listeners, this album represented a commercial breakthrough. For an artist who was not bound by the restrictions of the two minute pop single, it really didn't matter.
Genius is a label that is tossed around far too liberally in the world of recording arts, though it deservedly applies to the multi-talented, late Francesco Zappa. Better still, he would reject that tag and simply allow his art to do the talking.
Few groups have had such a radical influence on their peers as The Band. The first two releases ("Music from Big Pink" and "The Band") sent psychedelic taste makers reeling, leaving them face down on the canvas in the late sixties. Eric Clapton listened to "Big Pink" incessantly and wanted to join the quintet. After hanging out with them late in 1968, George Harrison's playing during the "Get Back" sessions echoed what Robbie Robertson was doing, who, in turn, was inspired by Curtis Mayfield. (That opening guitar figure in "Don't Let Me Down" is a very close cousin of the one which heralds "The Weight") Triumphant in invoking the true spirit of roots music, their gift for reading each other as ensemble players made it all seem effortless. Those songs have retained their power over time, still fresh and pure as the three voices that shaped them. Having set the bar quite high, it was inevitable that the third LP would come under heavy scrutiny. Pressure to produce another masterpiece, along with escalating indulgences on the part of key members of the team, would see a tapering off of the creative momentum that pushed them into the realm of recognition that they now inhabited in 1970. "Stage Fright" and "Cahoots" had the goods, though the reception for each was somewhat chilly compared to what had come before. Robertson was the main composer, though it seemed that his muse had temporarily checked out. The stop-gap measure would involve issuing a double live set (Rock of Ages), taking a brief group hiatus and recording a brilliant album of material by artists that had inspired them (Moondog Matinee).
Diminishing commercial fortunes now greeted the group as the seventies ticked on. In the dying months of 1975, The Band gently sent this quiet beauty out on the stormy seas of a consumer culture that had changed quite dramatically. "Northern Lights- Southern Cross" would be their first LP to feature all original compositions since "Cahoots".
Boards on the window, mail by the door,
Why would anybody leave so quickly for
Ophelia, where have you gone?
Curiously, this would be considered as a "comeback", though they really hadn't gone away.
Yet.
"Acadian Driftwood" is the strongest track, with Manuel, Helm and Danko all taking lead parts in this epic tale that loosely describes the plight of Acadians displaced by the French and English conflicts that arose in the 1800's. Robertson chalked up two instant classics with "Ophelia" and "It Makes No Difference." Rick Danko's performance of the latter lifts the song with an aching soulfulness that few singers ever achieve, regardless of experience or technique.
Filling the spaces with tasteful keys and horns is the always brilliant Garth Hudson, employing synth textures that give the sound a contemporary feel. The professor was one of the early pioneers in exploring this technology, sometimes designing models to his own specifications. Genius is an underestimation of his capabilities. Manuel and Helm turned in their usual spot-on vocal and instrumental contributions, with the shuffling rhythms of the dance floor showing up in a couple of places. There are no serious concessions to the robotic disco beat that was steadily hijacking the popular music scene at that time, though "Jupiter Hollow" and "Ring Your Bell" are pretty "four on the floor" for these guys. Levon and Rick were masters of creating space as the rhythmic quarterbacks of the band, though their secret was to never overplay.
Despite all moves toward working together productively as they once had, the tight knit unit of old was coming apart. Interpersonal issues around writing credits and aforementioned substance abuse ("Forbidden Fruit" doesn't even come close to the real story) were now taking a serious toll on the group dynamic, though they managed to rally in Malibu to deliver this last truly great effort. An upbeat energy pervades this project, which is quite remarkable in light of their circumstance at that point. This return to form is an enjoyable listen in all respects while remaining criminally overlooked in their catalog.
Within a year, the five original members would take their final bows together with "The Last Waltz".
This is a call to anyone who is still interested in the nuances of song craft, melody and very intelligently assembled pop rock. XTC leader Andy Partridge had to rescue the source tapes for this gem and bake them in order to prepare this immaculate disc for reissue. No agenda here, just a reminder to look past the cool, Carnaby Street throwback cover (designed by Heinz Edelmann) to feast your ears on a fantastic album that still resonates 26 years on from its 1989 release.
Highlights?
"Mayor of Simpleton" (just absorb those bass lines as they fly through the air)
"Here Comes President Kill Again" Still relevant in so many respects.
Enjoy it here and buy the refurbished version when it is available...
Phil "Philthy Animal" Taylor played the drums loud, hard and fast. He was part of the stone heavy power trio, Motorhead, along with "Fast" Eddie Clarke and Ian Kilmister (Lemmy to his friends and neighbours). For teenage metal heads like myself, these guys provided the best soundtrack for disturbing the peace in the early 80s. No pitch correction software was required nor would it have been welcomed as Mr. Taylor and his mates drove VU meters into the red, recording many classic slabs of straight ahead rock.
The sad news of his passing at age 61, along with a short career retrospective was issued today by the BBC
If you remember the band fondly, check out Phil in his natural habitat causing ear bleeding destruction circa 1980.
The mid 70s version of Wings lights up the southern hemisphere. Paul and his cohorts had been written off in the early part of this decade as a lost cause, though he raises a giant middle finger to the doubters here.
Rightly so
As a percursor to the "Wings Over America" tour, this was part of the warm up to a concert event that lit up North American venues in 1976.
Perfectly capturing the claustrophobic atmosphere that slowly envelops all and sundry as winter stakes its claim, this is yet another powerful song from the pen of Joseph Bridge. The icy grip of this season impacts people in different ways, though endurance sometimes masks a suffering that is not readily apparent to all. This is the mark of fine art, evoking emotional responses that are completely different, depending upon your perspective. Feed your soul as you would a blazing fire on a cold night. Listeners will find a light in the midst of the coming storm when they confront the winter blues.
Great tune, with an amazing turnaround, available to you now, right here
For those that are familiar with Three Dog Night, Cory Wells was one of their three lead vocalists (along with Danny Hutton and Chuck Negron). Delivering the goods in this role, he and his mates took Randy Newman's "Mama Told Me Not To Come" to the top of the charts in 1970. The band enjoyed much chart success before parting ways in 1977. Wells revived the group as a touring entity in the early 80s and they continued to work through to the present. He passed away on October 20th, age 74. A friend of mine reached out to me to remind me of this sad and significant loss of a great talent.
Charlie Ricci wrote a very fitting tribute to Wells on his blog, which I encourage you to read at Bloggerhythms
His entries are always insightful and very well written, this post being no exception.
Whether you're sailing through the air on a fly's back or just having a few, this is really fun to listen to. Steve Marriot and Ronnie Lane's creations were Britpop. Understanding the good time that went into making this is the key to absorbing the album.
Doesn't hurt that Marriott was one of the greatest rock singers of all time, bar none.
Starting with the instrumental title track, it's evident where all of the "inspiration" is coming from. Weak psychedelia doesn't apply here though, as they played heavier than most bands in that category.
Exaggerated Cockney delivery, huge hooks and an imaginative story about searching for the other half of the moon (the "Happiness Stan" suite on side two) are just some of the draws of this remarkably layered set. Stanley Unwin provided the narration in a style so unique that it was dubbed as 'Unwinese'.
"Lazy Sunday" was extracted as the single. Exuberance? There is enough here to power a large city for months. It is an absolutely perfect 3 minutes of pop.
Given their youth at the time these songs were created, it is astounding how insightful some of the lyrics were. Without doubt, my favorite bit of wordplay comes from the closer, "HappyDaysToyTown".
"Life is just a bowl of All-Bran/ You wake up every morning and it's there"
Whether intentional or not, the line is as funny as it is grim. All-Bran tastes sweet but it gives you the shits.
Life...
Produced by Glyn Johns, Ogdens featured some lavish overdubs that made it impossible to reproduce on stage, though they presented it (miming to backing tracks) on BBC TV shortly after release. It was the only time that this treasure of an LP was performed "live".
Here then, are the Small Faces on "Color Me Pop", June 21, 1968
Nice to report that this set was number one in Britain for six weeks in the summer of 1968. Steve Marriott left the Small Faces at the end of that year to form Humble Pie.
Through the course of a discussion that I had with a good friend recently, the subject of Paul McCartney and his eighties output came up. Sparked by the recent reissue of Tug of War and Pipes of Peace in deluxe format (remastered versions of the original discs with lots of B-sides, demos, some video, etc.), he had mentioned purchasing the updated Pipes of Peace. The conversation turned to the merits and flaws of that record, though he summed things up perfectly in one shot: Listening to Pipes of Peace brought him back to a time in his early teens when he first bought the cassette, took in the music and those memories remain warmly positive.
I recall McCartney II in the exact same way.
In a nod to Proust, my sonic equivalent of tasting a madeleine cake dipped in tea is listening to "Coming Up". Whenever I hear it, a wave of involuntary memories from the summer of 1980 are brought into focus, conjuring up images of weekend dances down at the lakefront campground close to our home, swimming with friends for hours, bike rides, sweet aromas wafting from charcoal BBQs and formless fun that we had during our two month breaks from school. From a child's perspective, these simple pleasures were magic. The sun appeared every morning in a sky that seemed to be a sharper blue with the musical soundtrack providing another portal to further flights of imagination. During this period, my sister and I collected "45s" that we played endlessly on the family stereo, which was a piece of furniture with a turntable, an 8-track player and a tuner built into the cabinet. My LP collection was beginning to grow a bit, though "singles" were easier to obtain as they were much cheaper. "Coming Up" made a stuck landing on countless radio playlists, entering our household as it climbed to the top of the charts in July of that seemingly endless summer. Aside from boasting a great hook, it was born out of series of experimental sketches that saw McCartney revert to the one man band approach that shaped his first proper solo album nearly a decade earlier. The B-side of the single featured a live version of the song, performed by the last incarnation of Wings from a gig in Glasgow. There was an added bonus "on the flip" with the inclusion of a third, instrumental track called "Lunch Box/Odd Sox". I had no idea then, though this was a very cool confection that he had recorded during the Venus And Mars sessions a few years earlier, remaining in the vaults until that point. All three tunes received maximum rotation and are inexorably tied to all aforementioned events during that hazy, fun summer. Those times were experienced but once, though they always bring a wistful smile.
Did I dream this or simply choose to view it all through revisionist, rose-colored lenses?
Holding that copy of "Coming Up" today, weathered but still with me after 35 years, is a gentle reminder of a simpler existence that was very happy and quite real.
MCCARTNEY II
When Paul started to come to terms with the emotional and legal wreckage that ensued with the dissolution of the Beatles' partnership, family structure became more of a priority. Making music had long been his passion, salvation and had earned him a fortune (not to mention had also made him famous). With his first solo album (McCartney) he truly took up every aspect of the project. Save for a few harmonies from Linda, he performed and overdubbed every note on his own. In the decade that followed, there was a fresh start with the formation of Wings, world tours and commercial triumph as he managed to outsell his old band during the seventies. After countless hits, lineup changes and success, Wings would soon be in his rearview mirror as the decade wound down. During the summer of 1979, he decided to rent some recording equipment, plug in to some of the technological advances that had been made in the intervening years since his first, post Beatles statement and experiment with sounds.
One can imagine him blazing up, setting a pattern on a synth and getting some ideas down that he could further bend with wild effects or non traditional instrumental approaches. This was not just any stoned dude in his bedroom with great gear and time on his hands, though the results of this exercise were not initially intended for public consumption.
CHECK MY MACHINE
Patience is required when you begin the task of creating music, then endeavour to reproduce all of the sounds you hear in your head on your own. At the outset, McCartney needed to test drive the equipment so he took snippets of audio from cartoons, laid down the basic rhythm tracks and used a ridiculously over the top falsetto voice to "check his machine". Though it would not feature on the album, this loping, repetitive vehicle did establish the brief for the rest of the material.
I'm going to produce music that doesn't sound like me.
When you really take in the music on McCartney II, the first element that leaps out of your speakers is the distortion of that familiar voice. Tape delay, mountains of reverb, vari-speed and other variants of electronic manipulation are deployed to disguise the actual vocal persona behind the aural madness. "Coming Up" is a tight groove, with a lot of great instrumental parts that serve the whole. The vox is otherworldly, squeezed way into the upper register. "Temporary Secretary" has a looped synth pattern worthy of Brian Eno or Gary Numan, an almost grating chorus and a very calm, creeped out lead vocal. "On the Way" channels Macca's inner blues guitarist, though his singing is filtered through an insanely timed delay.
That's the way I like it, just so nobody knows...
The first side bounces around stylistically and yielded three singles. "Waterfalls" has a beautiful melody, though it would have been much better if he had dropped two verses and edited it down to two minutes.
Side two offers a clue as to where the LP really began. Harking back to "McCartney", "Front Parlour" is an instrumental with a lot of personality. Plenty of subliminal parts hide in the mix underneath the main, keyboard-driven theme. He didn't invent electronic dance music, though this is a distant cousin of similar contemporary fare. The ending is unresolved, sounding as if he was looking to add another bridging piece but decided to trail off and have a listen. "Summers Day Song" features sweeping, mock string arrangements with a touch of mellotron-sounding patches (similar to the Strawberry Fields flute sounds). This is a hidden gem where the music evokes a substantive emotional reaction, despite having a very austere lyric.
If you programmed "Bogey Music" and "Darkroom" into your party mix, your guests would know that there was a stash of electric lettuce hiding somewhere in your home. Raymond Briggs produced a children's book called Fungus the Bogeyman, upon which the former tune is inspired by. The groove is the key, with a boogie foundation and a sticky, eight note guitar figure with the vocal delivery virtually unrecognizable as being that of James Paul McCartney. "Darkroom" is completely bizarre, yet totally in keeping with his main intention here. Unless you are already acquainted with this disc, there is no frame of reference for it as being even remotely associated with his composing style. Stretching his artistic boundaries? Mission accomplished.
Only the acoustic closer, "One of These Days", returns to the familiar territory that he had occupied with ease since the sixties. Gently rendered, there is still so much reverb on the cut that it's difficult not to envision him performing this tender tune from the summit of Mount Everest.
Is this one of his best?
No, though a critical reassessment of sorts has taken place over time. The rock press received it with bewilderment and mixed reviews when first issued. There was an opinion that this record would not have found much of an audience had it been produced by someone else.
Commercially, it was a massive hit.
In light of the Fireman CDs, the direction now makes a bit more sense. By far, "Coming Up" is the best and most accessible of the pack. Don't spend top dollar to bring it home, though if you do obtain a copy, it is definitely one to play in headphones. McCartney II carries fond memories for me, though the objective part of my brain realizes that this is truly a demo; uneven in parts with a "rough sketch" feel. When it clicks, the material does benefit from the lack of overthinking and it's still lots of fun to listen to after all these years.
Aptly named, as many ingredients are stirred into this amazing set of songs. Shannon Hoon floats his distinctive, keening vocals above soulful and tight playing. Refusing to be crammed into the grunge category, the five musicians created their own soundscapes and dared to experiment. They embraced the process of making music as opposed to following marketing strategies, resulting in the phony MTV autocracy losing interest in the band because they didn't do "No Rain Part II".
Critics were confounded because they couldn't easily slap a label on it, many giving poor marks overall.
Picking trendiness over creativity will buy you a music collection that you'll never listen to more than once
"Soup" is a daring album that reaches into many places, employing instrumentation and styles that are not typical of the generic sludge that was beginning to clog the airwaves in the mid 90s. Following their own instincts, the members of Blind Melon were armed with excellent tunes and prodigious skills as instrumentalists. Styles madly slingshot in different directions, though the strength of the ensemble playing makes it all work.
Opening with a horn arrangement worthy of Allen Toussaint, "Galaxie" explodes into a hard rock groove and sets the pace for the surprises to come. Andy Wallace's production is spotless.
Dark clouds hovered over some of the material, with subject matter that took in suicide ("St. Andrew's Fall") , the bizarre predilections of convicted killer, Ed Gein ("Skinned") and musical structures that were brilliant but seemed to convey a certain sadness ('Toes Across the Floor")
Highlights abound as each track throws a curveball at the listener, daring you to follow passages that are executed perfectly at lightning speed ("Lemomade") or shifting gears to curl up with a mandolin and acoustic guitars. The mood varies, though a sense of humor is at work here as well. Artistic ambition doesn't always translate into commercial success. Public reaction to the disc was marked by indifference, which is a crime because of its excellence.
Pressure was applied to stimulate sales by embarking on a tour in the fall of 1995, though Shannon Hoon was in the middle of a drug rehab program that wasn't going to plan. Reluctant to release him, his handlers did so on the provision that he would be accompanied on the road by a counsellor. Sadly, this did not work out and left to his own devices, nightly overindulgence became the rule. On October 21st, Hoon crashed into a sleep from which he could not be roused.
With that, the great promise glimpsed with this album was not to be fulfilled. What always surprised me was how quickly people quietly distanced themselves from the group. Twice as imaginative as anything released during this era, "Soup" has transcended the time period that produced it. One of my favorites.
