Blue Oyster Cult returned to sunny California to play two oceanside sets on the Santa Cruz Beach Boardwalk. This event was a milestone for my son, as it was his first concert. The weather was perfect, with a well behaved, engaged crowd ready to receive great sonic vibes from the pride of Long Island, New York. While the Bouchard brothers and Alan Lanier have long since departed, the current lineup supporting Don "Buck Dharma" Roeser and Eric Bloom are Jules Radino (drums, percussion), Richie Castellano (keyboard, rhythm guitar, backing vocals), and Kasim Sulton (bass, backing vocals). All of the new players are native New Yorkers and solidly complemented the main voices of BOC. We stayed for the first show only, which was stellar.
The focus was mainly on selections from their seventies releases, the lone exception being "Burnin' For You" which hit for them in 1981. I had hoped for "Black Blade" or "The Marshall Plan" that graced Cultosaurus Erectus, though they exhumed "ME 262" a deep track on Secret Treaties, which was an underground consolation prize. They nailed the acapella opening lines to "The Golden Age of Leather", the sound out front was pristine, with Eric Bloom giving a shout out to the assembled faithful and the "crazy motherfuckers" on the amusement park rides that loomed above. Highlights included the guys in the crowd that looked like they were on a date in 1979, the clever dude who waved a mini Godzilla at the band during "Godzilla" and the sea of cowbells that were produced by every second person on the sand a nano-second after Buck Dharma peeled off the opening riff of "(Don't Fear) the Reaper".
I would submit that you could never encounter a more cheerful reception to a song about our collective inevitablity than this...
Stretching out the visit from the tour guide to the other side with extended soloing from Roeser (who played brilliantly), they wound up with a big, stinky rock and roll finish and a promise of more excursions into the vaults during the second performance. As expected, the biggest response was reserved for this one, "Burnin' For You" and "Godzilla".
As the last note washed over the cheering throng, we gathered up our beach chairs and headed home. These guys are consummate professionals, still solid and well worth seeing if you are a fan. I was converted in the early 80s when I bought Cultosaurus Erectus on cassette. Last time that I caught them in the act was in November of 2001.
50 years ago today, The Beatles treated UK viewers by appearing on Top of the Pops to promote their latest single, "Paperback Writer" and the underrated flip side of that record, "Rain". Both songs were quite a sonic leap forward for the quartet, who had spent that spring at EMI working on the groundbreaking Revolver LP, which would hit record shops in August 1966 as they wrapped up their final tour.
Half a century on, quality is the main reason that people are still listening to these innovative recordings.
The BBC tape of the TOTP appearance has long vanished, though they sent a video clip to Ed Sullivan that aired on his weekly program at that time which you can watch here
Reaching higher with little regard for how the marketing team would be challenged in their effort to dilute the content and label it for mass consumption, Blonde on Blonde was the third in a string of very compelling LPs that cast Dylan in the role of a rock/blues performer and songwriter. His move away from the persona of "folk singer of topically driven lyrics with acoustic guitar" was a deliberate, smart way of dodging the sign that his followers attempted to hang on him in perpetuity. Bringing it all Back Home was the shot across the bow, delivering a message to his contemporaries/critics that rock, rhythm and blues had its roots in America. The British groups that had taken this music up in earnest were indeed carrying it back to the shores of the US in a slightly modified incarnation. Bob kidnapped this model, taking it home again, with the results filtered through his own howlingly free form, surrealistic lens. The game was raised on Highway 61 Revisited, capturing the man in full, snarling poetic sail.
The table was set for another grand statement, though Dylan had been seriously burning the candle at both ends. Riding a white tornado of stimulants, incessant gigging and destroying those in the press corps who dared ask ridiculous questions or set him up as spokesperson for any movement (real or imagined), he somehow found time to conjure material that would end up filling two records.
Shrink-wrapping the words, musical motifs and undiluted ideas of this fine set of songs as they were envisioned was a masterstroke. Peering out, unsmiling, inscrutable, from a blurred cover photo on the gatefold sleeve was the master of ceremonies himself. Undoubtedly, he would smirk subversively at the thought of all of the weed that would be divided up and rolled by countless listeners who used his visage as a makeshift tabletop.
Yes, but I would not feel so all alone...everybody must get stoned
It is easy to suppose that "Rainy Day Women 12 and 35" is simply an exhortation to wreath yourself and a few friends in fog of opaque smoke, occupying a room where conversation gets down to molecules, eventually working its way back to pointless laughter. Surreal sense of humour, joke trombone and a ragged party atmosphere infuse this carefully placed opener.
Was it an original statement for the time?
Not entirely
The Coasters explicitly expressed these sentiments on record in 1965, well before Bob. Ray Charles took the same tune (written by Ashford and Simpson) to number one on the R&B charts around the time that Blonde on Blonde hit the stores.
Dylan wanted the first-time listener to relax and take in a few subliminal messages as they eased into a comfortable spot to enjoy the songs that would follow.
1) Audiences were "stoning" him with a chorus of boos at all gigs after his Newport appearance in 1965 simply because he was playing with a band. Not just any band, but The Band who were then still The Hawks, minus Levon Helm who left for a bit because he couldn't stand the nightly jeering from the crowds.
2) Any free-thinker will eventually be stoned or put down by large, ugly and stupid mobs. Expect these dimwits to assemble and shout down what they don't understand with a fine mixture of ignorance and insecurity. Biblical stoning is also heavily implied.
3) Bob was really telling you much about the changes that he was undergoing. The angry, combative and sarcastic tone of his writing is almost completely missing in action here. He is plainly saying, "Don't take this too seriously, folks." Songs with a love or relationship theme are all over this set.
4)What else is going to come out of staying up all night in a deranged state? Get stoned!
With the mood set, our resident, red-eyed bard takes us on a journey that involves very little sleep, blues based romps, some R & B, pop hit singles, Tex-Mex, country-rock and his usual way with words.
Recently married and soon to become a father, there is a definite softening of the heretofore scathing, scattershot musical and lyrical destruction of faceless victims. In the place of scorched earth policy is a (slightly) muted version of the character assassin. Now using 12 bar blues with interpolations from his wheezy harmonica (or that of Charlie McCoy), he plainly asks if he can get some reciprocation for his commitment ("Pledging My Time") is chastened by the lover who freezes him out ("Temporary Like Achilles") and begs for the return of a partner ("Obviously Five Believers").
Early in the morning, early in the morning, I'm calling you to...please come home
In calling out vacuous, faddish worship of possessions over substance ("Leopard-skin Pill-box Hat") with a truly raging solo courtesy of Robbie Robertson, the author takes this one opportunity to use his caustic voice. Otherwise, Blonde on Blonde straddles the line between enigmatic verse and the aforementioned conundrum of being in love versus a truly loving partnership. There is no concept running through the grooves (Bob, feel free to correct me if you stumble upon this by accident) though the actual sound of the disc is quite uniform. Working outside of the blues motif, the "singles" take a direct approach to lust ("I Want You")and an attempt to unravel the mystery/complexity of the strong, intelligent female ("Just Like a Woman"). Flipping to a barrage of imagery, with some of his most insightful lines on display, we get the long form tracks. "Visions of Johanna", my personal favourite, is unfathomably majestic, sitting comfortably with the clever "Stuck Inside of Mobile With the Memphis Blues Again" and "Absolutely Sweet Marie". The most curious selection of the pack is "4th Time Around". Dylan had been acquainted with John Lennon since 1964, though it is this tune that rattled JL a bit when he first heard it. By admission, Lennon went through a Dylan phase after George Harrison brought "The Freewheelin'" LP into his wheelhouse. John wrote a series of Dylan-esque songs: "I'm a Loser", "You've Got to Hide Your Love Away" and "Norwegian Wood".
Was this the fourth time around?
In typical, shaggy dog tale fashion, Bob stretches out his gentle jibe toward his English contemporary well past two minutes, parodying the melody to "Norwegian Wood", taking the narrative down another road entirely.
Lots of ink has been spilled about this fine set evoking those deeply quiet spaces that occur when most people are sleeping, with all night writing and recording sessions giving birth to most of the finished product. Mistakes are left in, the bleary eyed musicians brilliantly conveying the vision of the bandleader. None so perfectly than on the closing song, "Sad Eyed Lady of the Lowlands". Nary a word nor a note is wasted in this eleven minute plus gem. Hypnotic, gentle and exploratory all at once, it builds tension with each passing verse, preparing the listener for a cathartic breakout that never happens. It could very well be his magnum opus. With that, the ride eases to a stop as the needle skids toward the runout groove, without any conclusion or neat summary offered. You can frame this work of art and drink it in any time you please. Very much in agreement with the suggestion of the "overnight feel" that Blonde on Blonde so vividly captured. This piece has been my soundtrack on overnight drives, when I needed something substantial to accompany the 100 mile stare into the lines marking the centre lane while allowing my passengers to sleep. I have played this record as a child who didn't understand it and have been fortunate to grow old enough to grasp what this gifted man was really getting at.
Mona Lisa must have had the highway blues, you can tell by the way she smiled...
Following a very successful run of LPs with his partner, Art Garfunkel, Paul Simon entered the 1970s as a solo act. His first effort in this capacity was par excellence.
"No, I would not give you false hope, on this strange and mournful day."
Stylistically, the loping, reggae inflected "Mother and Child Reunion" opens this phenomenal set with a knuckleball. Coming on like an old spiritual, without alluding to any religious theme, there is something deeply familiar in the groove. The atmosphere belongs to Kingston while the author voices the lyric in a very staid manner.
Know where the words came from on that? You never would have guessed. I was eating in a Chinese restaurant downtown. There was a dish called "Mother and Child Reunion." It's chicken and eggs. And I said, 'Oh, I love that title. I gotta use that one.' I fell into Los Incas, I loved it. It's got nothing to do with our music, but I liked it anyway. The Jamaican thing, there's nobody getting into a Jamaican thing. Jamaicans have a lot of good music, an awful lot.
Cissy Houston leads the backup singers with soulful precision.
Los Incas provides the solo breaks in the acoustic-dominated tale of "Duncan", similar to the Andean touches that they had added to "El Condor Pasa (If I Could)." World Music was not in the purview of the majority of pop artists of the period, though it works well here. Brian Jones would have been proud. There are lines that are quintessentially Simon, intoned in a way that almost seems like he's passing on a secret.
Displaying an incredible economy with words, that concision is used to great effect in "Everything Put Together Falls Apart". Clocking in just shy of two minutes, the delicacy of the playing coupled with a lilting melody belies the darker message of the downside to taking pills. This is a tune to play for songwriters that have only a nodding acquaintance with subtlety. Arrangements are uncluttered, with a deliberate attempt to shun the big production job that colored Bridge Over Troubled Water. Very little augmentation is present and the focus is, rightfully, placed on the songs themselves.
"Run That Body Down" is my personal favorite, standing out from the pack. This song builds beautifully, supported by Hal Blaine's brushed groove and airy vibes, virtually lifting off when Jerry Hahn takes his tasteful, wah-wahed solo. Hinting at domestic troubles, he name checks himself and (then) wife Peggy, though any pointed references are gracefully sidestepped, leaving the listener to speculate as to what meaning is intended.
Butchered by countless guitar players during late night sing-a-longs, "Me and Julio Down By the Schoolyard" is one that everyone knows, sounding like it is being delivered with a wink.
What was it that mama saw?
Something sexual is what I imagine, but when I say 'something', I never bothered to figure out what it was. Didn't make any difference to me. First of all, I think it's funny to sing--"Me and Julio." It's very funny to me. And when I started to sing 'Me and Julio,' I started to laugh. I like the line about the radical priest. I think that's funny to have in a song.
Simon was ahead of the curve by employing exotic instrumental flavoring (inspired work by percussionist Airto Moreira) that manages to enhance the scattershot wordplay of this memorable song.
It's carbon and monoxide, the ole Detroit perfume, that hangs on the highways in the morning and it lays you down by noon...
Delicate chord progression, harmonium pad and jaunty bass harmonica (reminicient of "The Boxer") move "Papa Hobo" along. Nice vocal texture. Close-up to the mic, with no reverb. Stomping bass drum pushing violent acoustic slide work announces the arrival of "Paranoia Blues". "Whose side are you on?" asks the author as he moves from people talking behind his back to getting the shakedown by the customs man "in that little room" to someone stealing his chow fong.
Paranoia is just a heightened state of awareness.
Isn't it?
Closing this flawless record is another sketch of a troubled relationship.
"Congratulations, seems like you done it again. I ain't had such misery, since I don't know when."
Ouch!
Ending with the question, "Can't a man and a woman live together in peace?" some beautiful electric piano by Larry Knechtel provides the soft landing. Meticulous in every way, I don't think that he has ever made a better record. Bigger commercial splashes would follow, though artistically, it was all done best here.
I viewed Simon and Garfunkel as basically a three-way partnership. Each person had a relatively equal say. So in other words, if Roy (engineer Roy Halee) and Artie said, Let's do a long ending on "The Boxer'", I said, two out of three, and did it their way. I didn't say, Hey that's my song, It wasn't until my own album that I ever started to think to myself, What do I really like?" On my own album, I learned every aspect of it has to be your own judgment. You have to say, wait a minute, is that the right tempo? Is that the right take? It's your decision. Nobody else can do it.
With so many great musicians leaving the planet of late, it is great to see one ready to make another trip around the sun. Donovan Leitch celebrates his 70th today. He is caught in the act here in his late twenties.
When Prince started to grab the mass libido in the eighties, I didn't pay proper attention to what he was doing. Caught up a couple of years later, only to find the fingerprints of multi-faceted genius all over the music. "Alphabet Street" and "Hot Thing" are my two favourite individual tunes, though there is so much to explore. (The Black Album and Sign of the Times are great audio spaces to get lost in for awhile.)
If you pay attention to the message being sent, you gain greater insight into the person and their perspective.
This type of artistry is not commonplace and that voice will truly be missed.
Can't think of a better way to celebrate record store day than paying a visit to Amoeba Records on Haight Street in San Francisco. Flipping through the bins, hunting for albums has been one of the great pleasures/obsessions in my life since childhood. It was truly fantastic to see multi-generational representation on display, especially with respect to those snapping up vinyl.
For a paltry $2.99, I replaced my long lost copy of Pete Townshend's 1982 solo LP, All the Best Cowboys Have Chinese Eyes, a review of which you will find here
Also scored this 1959 classic.
Sincere thanks to those who actually take time to drop by and read these posts. Thousands of hours of listening time have inspired every word.
Representing a massive creative step forward, Zep's fifth saw the "blues" subtly muted in favor of experimentation. There are one or two missteps into genre-hopping, though the other tracks make you forget about that.
Carrying the torch passed from power-trios-with-a-singer (their template being The Jeff Beck Group), Zeppelin upped the ante considerably. Having multi-instrumentalists who play everything equally well is especially fortunate.
Despite this, astringent sarcasm generally crept into any critical evaluation of this band while they were active. "A limp blimp" was one of many dismissals of "Houses of the Holy", however difficult that is to imagine.
Hindsight isn't just for breakfast anymore.
Key to the strength of these tunes are the impeccable arranging talents of Page and Jones, Bonham's rock solid foundations and the instrumental prowess of all three. Plant's singing shows greater maturity and style.
"The Song Remains the Same" stands as one of Jimmy Page's finest creations. Multi-part 12 and 6 string overlays do battle with the bass over an almost prog like series of time changes. Exquisite textures color "The Rain Song" which strongly echoes Tony Iommi's employment of mellotron string parts in "Laguna Sunrise". Hard rock detours into "Moody Blues" territory here, though it has an extremely warm vocal track with Page using a Gsus4 (D-G-C-G-C-D) tuning.
Dynamic performances lift "The Ocean" and "Over the Hills and Far Away", which gave guitarists iconic riffs to chew on in garages for years (that samplers could rip in 30 seconds.) "Dancing Days" remains my personal favorite with four on the floor Bonham kicking the ass of an odd chord sequence. Page's mid-eastern flavored refrain is the icing on the cake. While "The Crunge" is a fun James Brown tribute, neither it nor the lead-footed butchery that passes for reggae in "D'yer Maker" should have been included. These musical practical jokes would have been much funnier on "Coda".
Led Zeppelin pursued their craft while flying well below the radar, shunning the glare of the media spotlight. Letting the music take precedence over personality, they didn't even appear on the album jacket. Below is a photo of Giant's Causeway in Northern Ireland where the cover was originally shot.
What the band had left on the cutting room floor from these sessions represents a huge missed opportunity. Had "Houses of the Holy" (song) and "The Rover" been substituted for the weaker cuts, it would have been a perfect disc.
This mighty slab of mid-70s Aerosmith turns 41 today. Young, high and on a creative roll with their third (and best) album, no less than three tunes from this set remain on classic rock radio playlists. These sessions caught the band in an incredibly inspired mood. Opening with the scorching title track, there is an excellent balance struck between aggression and space in the most exciting three minutes that they ever laid down. Tom Hamilton's bass figures almost serve as a lead passage in the break, the drums are given a chance to breathe in the verses and the guitars cut like a dentist's drill. Steven Tyler nails every syllable.
Steering the proceedings toward an auditory version of a breather with "Uncle Salty", there is a definite, trippy late sixties feel achieved with great care taken to accentuate the chiming rhythm guitars. Topped with a jazzy drum pattern and oddly Beatle-like arrangement, it is one of their most underrated tunes. Back in high school, I swapped Def Leppard's High 'n' Dry cassette for this one and listened to it incessantly. Hands down, it's still my favourite Aerosmith track.
It's always a sunny day outside my window...
Boasting riffs that would make their authors cartoonishly rich, "Walk This Way" and "Sweet Emotion" ensured the immortality of this release, though the rest more than hold their own. Lots of tasty guitar interplay from Perry and Whitford makes "Adam's Apple" stand out (great lyrics, too) and "No More No More" is straight up rock and roll. There is even an unsolicited, two minute dick joke for collectors of 78s. What more can you ask for?
Enough stylistic variation is present to keep things interesting, yet it doesn't fly out of control. Definite cigar for Jack Douglas as the production is first rate. There is an adventurous aspect here that they wouldn't ever come close to approaching again.
Cruelly reduced to a punch line by an SNL skit, here is a band that has received very little recognition despite a solid body of work. Striking gold in the summer of '76 with "(Don't Fear) the Reaper", Blue Oyster Cult gained extra momentum as a first rate touring act, though this good fortune would not survive the early 80's.
"Cultosaurus Erectus" catches them in a tricky period which saw their original style morphing into something much heavier. Producer Martin Birch, who had just finished Sabbath's "Heaven and Hell", helped guide them in this direction and brought a fresh approach to their quirky sound.
Sonically, this is an incredibly pristine record, with particular emphasis on the rhythm section in the mix.
The biggest payoff was bringing out guitarist Don "Buck Dharma" Roeser's inner gunslinger in the studio. One of the most underrated players in rock, he has plenty of room to shred throughout. "Black Blade" opens strong and hits hard with a twisted lyric by science fiction writer Michael Moorcock. (Tell me that you wouldn't dream up a demon-possessed, blood thirsty sword to take out everyone that made fun of your last name)
Massive walls of guitars blast out a huge riff in the bizarre, multi part "Monsters", which features seriously weird excursions into acid jazz. This track crystallizes all of the elements that made these guys great, yet doomed them in the accessibility sweepstakes. Stand out tune that must be heard to be believed.
Eccentricities in arrangement and lyrical themes are part of BOC's charm.
Songs involving strange phenomena ("Unknown Tongue") mix with shaggy dog tales ("The Marshall Plan") about a kid whose girl ditches him at a concert to chase the band. He exacts revenge by becoming a rock 'n' roll guitar god, whose blistering lead work supports inside jokes flying like beer bottles at a dive bar near closing time. Definite highlight.
Has anyone ever seen Eric Bloom and Jeff Lynne together in public?
Recovering from an identity crisis on "Mirrors" that had them veering onto the same path (at times) as The Cars, this album was a return to form, worthy of repeated spins to catch what might have slipped by the first few times.
Years before rock singers began to churn out their renditions of "standards" came this gem. This disc has long been a personal favourite. Recorded with minimal separation between himself and the orchestra, it is impossible to find words that pay proper tribute to a voice that defied gravity in its prime. Harry Nilsson ignored the advice of those around him when he undertook this endeavour. He knew that his effortless vocal delivery had an expiry date due to his commitment to cosmopolitan raving. His three and a half octave range is preserved for eternity here in technicolor. Never again would Nilsson sound quite like this.
The Wings Over America tour in the summer of '76 was much more of a highlight than this uneven LP would prove to be, yet there are a few very strong melodies etched into the grooves here. Today it turns 40. Release the balloons!
THE BEST
"Let Em In" sees a parade of McCartney relatives, the Everly Brothers and even Martin Luther show up on the doorstep. Lyrically silly, the tune is quite strong. Do me a favour, open your brain and let it in.
"The Note You Never Wrote" is perfectly delivered by Denny Laine, though penned by Macca. It is the best cut found on here by a country mile. "Beware My Love" and "Time to Hide" receive honourable mention as they also are easily likeable once lodged in the brain. "Silly Love Songs" has a killer bass line, though suffers from a lack of editing. McCartney gives a nod to Gamble and Huff in the arrangement. Philly soul afficionados will concur.
THE REST
While not necessarily awful, nothing to write home about. Jimmy McCulloch gets another tribute to stimulants on record ("Wino Junko").
Joe English sings.
Linda does too.
If you find it on vinyl for a few bucks, it is worth the investment.
Beware the Ides of March, for it was on this date in 1976 that KISS, grease-painted purveyors of loud rock'n'roll and anonymity, released their fourth studio disc to very receptive record buyers. Breaking through to a wider audience in the previous year with Alive!, the band was now poised to become even bigger. This required producing an album that was the sonic equivalent of the grandiose spectacle which they consistently brought to the stage.
Enter Bob Ezrin
Known at the time for his work with Alice Cooper, Ezrin is a world class producer who also brought skills as a writer, arranger and musician to the table. He has a writing credit on all but two of the tracks on Destroyer, pushed all group members to the limit during the sessions and helped to shape a tightly edited program of songs. In addition to the usual two guitar, bass and drum attack, orchestration, a full choir and sound effects now took their place in the mix. Opening with mundane clatter around the breakfast table, morning news patter in the background and the subsequent shift of the action to the car (with their own "Rock and Roll All Night" providing the radio soundtrack) a lone guitar hammers the now iconic two notes of "Detroit Rock City". With a shotgun snare roll, we're off to the races.
Unfortunately, there's a truck ahead, lights staring at my eyes...
That never ends well.
One of their most exciting slabs of rock, with twin lead, unforgettable guitar figure and Paul Stanley executing his most over the top (yet controlled) vocal, they now had a killer opener for their set. It remains part of their act to this day. Ending with a horrific accident, the screeching tires and twisted wreckage give way to the wailing sustained note that announces "King of the Night Time World". Ratcheting up the energy, this one showcases Peter Criss, who hits just about every thing in sight as he pushes the tempo. "God of Thunder" completes the trifecta of flame-thrower riffs, adding another live staple to the KISS experience. Gene Simmons plays up the demon persona to the hilt, though side one blows a tire with the closer. Combining egocentric lyrics, an orchestra and outright melodic theft (from Beethoven), the composition aspires to be something more than it actually delivers.
"You've...got...great...expectations!"
In the contemporary world of classic rock radio format, flipping your vinyl copy of this platter to the underbelly reveals three selections ("Shout It Out Loud", "Do You Love Me" and "Beth") that still see regular airing outside of their era, one of which created an unlikely pop hit single. From the moment Peter Criss crushed out a Pall Mall to step up to the mic and complete his vocal take on "Beth", the concept of KISS changed. Could you imagine John Bonham pushing Robert Plant aside in the middle of a Led Zeppelin gig to sing "Feelings"?
Go ahead, I'll wait right here
At any rate, this ballad helped carve a path that led from being "the hottest band in the land" to "the hottest band in the world". The anthemic punch of "Shout It Out Loud" and the closer, "Do You Love Me" keep electricity present in the project preventing it from sliding into easy listening territory. KISS would never record anything like Destroyer again, stripping back to basics for "Rock and Roll Over" and "Love Gun". Life would soon imitate art for the quartet as they expanded the ranks of the Kiss Army overseas, selling as many copies of this release as their first three combined. The group never claimed to be striving for high art, though they did benefit from the lessons learned in working with one of the masters in the studio. Definitely their most ambitious production.
With so much fanfare around the 40th anniversary of Frampton Comes Alive, it is easy for the casual listener to overlook the artistic path that led up to that incredibly successful double set. Peter Frampton is a gifted musician, solid singer and writer, though it took some time for a wider audience to catch up and fully appreciate these attributes. Released in 1975, Frampton (the album) combined great melodies with some very tasteful playing, moving all of the final pieces into place before his career was launched into the stratosphere.
I can't believe this is happening to me...
ALMOST OVERNIGHT
Plying his trade from a tender age (playing in his first band at age 12), he went from leader of The Herd (which had chart success in England) to joining up with Steve Marriott as a founding member of Humble Pie in 1969, all while still in his teens. Four albums into this project, he left that band to go solo in 1971. Frampton carried on to craft three under appreciated LPs (Wind of Change, Frampton's Camel,Somethin's Happening) building a following by touring extensively to get his message out to the masses. His diligence would start to pay commercial dividends with the creation of his fourth disc.
Joined by the rhythm section of Andy Brown and John Siomos, Frampton wore virtually every hat, composing all of the material while handling lead vocals, lead/rhythm guitar, acoustic guitar, piano, organ, talk box and kitchen sink. Most impressive is the fact that he wrote this stellar set in its entirety over a three week period.
I'm yawning, I've been up too long
Appropriately, a chorus of birdsong precedes the drum pickup that kicks off "Day's Dawning", with verses anchored by tastefully arranged piano and a bridge that really adds value to the overall tune. The avian choir remains just under the surface in the mix, returning at the end with a single volley from a rooster which is quickly shouted down by a non morning person. There is great confidence on display here, which pours from the grooves on "Show Me the Way". How was this not a massive hit upon first airing? Worth your time for the intro alone, the walk from D through Dmaj7th, Bm, Bb6 and C9 is then topped with that signature riff by way of the talk box. The chorus is quite impossible to dislodge from the brain, which is helped along by great harmonies. Definitely one of the highlights, though he runs up another near-single with the atmospheric "One More Time". Featuring an absolutely jaw dropping detour into a delicate solo that passes in an instant, the masterful blend of acoustic and electric guitar is to be commended. This goes for all tracks, as Frampton feels no need to assault the listener with a one-dimensional heavy guitar attack. When he does let loose a little on cuts like "Nowhwere's Too Far (for my Baby)", the six string fireworks are nicely bevelled with melody. This one actually calls to mind Big Star in feel, with his incredible guitar tone icing the sonic cake.
Arguably, there is no better showcase of his versatility than what you will encounter on this LP. The songs are tightly edited, production values are high and George Marino's final mix plays to the strengths of the artist. As it is with the best of work, side two gains momentum as it progresses, with the ubiquitous rock ballad, "Baby I Love Your Way"(the live version of which remains a radio staple to this day) giving way to the uptempo "Apple of Your Eye", pausing momentarily for a brief acoustic interlude ("Penny for Your Thoughts") that sets up the finale, "(I'll Give You) Money" which is my personal favourite of the set along with the aforementioned "One More Time". "Frampton" went gold, making a respectable showing in the charts at the time, though it has transcended the sounds of the decade in which it first appeared. The next part of the story is well documented, however, for those who are not acquainted with this record, it comes highly recommended as required listening.
Frampton is currently touring, presenting his songs in a stripped-down, acoustic format. Catch up here with the artist and his upcoming tour dates.
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.
