TENACIOUS D

The always brilliant duo return from exile with their new disc, Rize of the Fenix. Here's a taster from those dirty descendants of Simon and Garfunkel, dipped in metal. JB and KG each sport a gleam in their eye that could light the way out of the deepest mine shaft

RIP ROBIN GIBB

Another great talent has passed on too soon. Robin Gibb, 62, was an integral part of the international success of the Bee Gees, writing and performing countless hits along with brothers Maurice (who died in 2003) and Barry.

Gibb's health problems began to mount in 2010, with hospitalizations and surgery that seemed eerily reminiscent of Maurice's woes. Early this year, in London's Daily Mail, Robin confirmed he was battling colon cancer that had spread to his liver, but noted that he "mostly felt great." Emergency surgery followed, as did canceled appearances. Most telling, he missed the London premiere of his first classical work, The Titanic Requiem, commemorating the 100th anniversary of the ship disaster.

In April, he slipped into a coma after contracting pneumonia, but rallied, a development his doctor called "remarkable."

In a 2010 Q-and-A with the Guardian, Robin was asked what music he'd like to have played at his funeral.

Some Mozart, he replied, and also How Deep Is Your Love.

RAM REISSUE

May 22nd will see the re-release of RAM, a deluxe package of the second McCartney solo disc.

“Ladies and Gentlemen, this is an album from a long, long time ago, when the world was different. This is an album that is part of my history – it goes back to the wee hills of Scotland where it was formed. It’s an album called RAM. It reminds me of my hippie days and the free attitude with which it was created. I hope you’re going to like it, because I do!”. (Paul McCartney)

You can find my original review
linked here

RAM will be available in a number of different formats: a single CD remastered in stereo, a CD set with an eight-track collection of rarities, a one or two vinyl LP set (digital tracks included) and a box set consisting of a 112-page book, photo prints, full-size facsimiles of Paul’s handwritten lyrics and notes, four CDs and a historical DVD.

RIP DONALD "DUCK" DUNN

Very sad to hear of the passing of Duck Dunn, four string soul brother who anchored the rhythm section of Booker T and the MGs since the early 1960s. His style was very straightforward, always in the pocket. Part of the Stax house wrecking crew, he played on countless records by Otis Redding, Sam and Dave...well, just too many to name-check here.

"Today I lost my best friend," Steve Cropper wrote on his Facebook page. "The World has lost the best guy and bass player to ever live".

CRAZY MARY

DREAMING IN BRILLIANT COLOR

One of the great surprises in listening to contemporary music is finding bands/artists that don't fall prey to the sonic tools that have homogenized the sounds currently dominating radio play lists.

Crazy Mary offer the alternative.

Reaching back to an era where real people played music, that spirit of communal joy is infused in the grooves of their latest offering. Formed in New York back in 1998, Dreaming in Brilliant Color is the band's 10th release. Right out of the gate, "Come On Let's Go" is an exhortation to shake you out of complacency, bring you to your feet and join the party. Infectious and smart, the only choice for the listener is to comply. Highlights here include the dreamy "Song For A New Year", "Fallen Angel" and the experimental, yet very cool closer "Nick's New Groove".

Violinist Walter Steding brings another dimension to the band's sound, while vocalist Em Z graces the songs that guitarist/writer Charles Kibel brought to the sessions with her own unique style. Their blend of psychedelia, post rock sensibilities and soulful playing make for a rewarding listen, though you have to spin it a few times to truly take it all in.

Do yourself a favor and check out this record. Learn more about Crazy Mary here

KING CRIMSON

RED

Straddling a line between beguiling creations ("Fallen Angel", "One More Red Nightmare") and noodling that strays into the ether ("Providence", "Starless"), Red still comes across as an astonishing slab of progressive rock. Inscrutable, impeccable figures are drawn from guitarist Robert Fripp's capable hands, with John Wetton and Bill Bruford contributing very busy and inspired foundation work.

Opening with the powerful instrumental title track, the trio clearly relish the opportunity to play games with time signatures in support of Fripp's ambitious lines. Dark synth sweeps creep in toward the three minute mark, interpolating with the ever inventive guitar work as the rhythm section disappears. Much like an ominous, passing cloud burst, this gives way for the full band to take up the theme all the way to its glorious finish.

Timeless

Wetton's vocals hit the spot on all three tracks that showcase them, while Bruford brings his usual percussive brilliance to the proceedings. His anticipation for playing the spaces in between the notes and tasteful approach remind the listener that he's top class when opportunities to dazzle present themselves.

"One More Red Nightmare" flies in guitar parts from another dimension.

Ghostly mellotron (courtesy of Fripp) announces the multi-layered "Starless", which is quite engaging for its length. Free form, jazzy sections mingle with dreamier interludes in an extremely successful marriage. Nary a note is left unexplored as all players go for improvisational gold.

Violinist David Cross excels.

Armchair rock critic Kurt Cobain thought this disc to be one of the finest of all time. Tough to argue as your brain takes in clever arrangements, packed with an array of sonic surprises around every corner. Strings and wind instruments are deployed in a manner that bring an air of majesty to the table, yet they do not overwhelm what the core instrumentalists are laying down. Check your pulse if you are not properly inspired out of your skull after spinning this esoteric masterpiece.

Red is the soundtrack of the future...even today.

Fripp walked away from King Crimson before the release of Red in the fall of 1974 and no supporting tour was undertaken. Outside of a live disc (USA) that was issued in 1975, there was no further band activity until 1981.

EH! LIST IMAGES SHOOTS VAN HALEN

As a postscript to my review of last week's Van Halen show here in Ottawa, I wanted to share the work of a very talented photographer, Mark H, who has graciously sent along a link to a gallery of fantastic shots that he captured during the concert.

Eh! List Images provides Canadian media outlets and artist publicists, management and PR firms with immediate on-line access to photo coverage of music, concert and entertainment events. You can find out more and check out the Van Halen pics here

VAN HALEN LIVE WITHOUT A NET-MARCH 21st @ SCOTIABANK PLACE

Van Halen

Scotiabank Place March 21, 2012

Prologue

Last time that Van Halen and I were in the same building was the Toronto stop on their 2004 tour. The night before, Chris, Tweed, Red, Jim and Sean sat in a circle around a table with guitars, emptied way too many beer bottles and played tunes far into the wee hours. The next day my head was like a football, I thought that I was going to die. Tell me, me-o-me-o-my, wasn't that a party?

The pre-concert debauchery was far more memorable than the event itself. The sound was dodgy, Eddie was off of his game and Sammy Hagar, while a pro, couldn't save the gig from being merely average.

Flash forward to March 21, 2012. No booze (for myself, Red, Doug or Eddie), Uncle "Diamond" Dave was at the mic and the mighty Van Halen stormed through one of the best live shows that I have seen in quite some time.

Kool and the Gang opened up and they put the assembled crowd in a good mood with a mix of their 70s and 80s hits. Musically, they were tight, acquitting themselves very well in every respect. Showmanship, spot on vocal harmonies, razor sharp horn section...it was clear that this was a group that (for the original members at least) paid their dues with 40 plus years of gigging. No fake vocals/pre-recorded tracks.

Closing with "Celebration", they had a predominantly "rock" crowd on their feet and cheering.

Following the stage turnover, which took some time, Van Halen stepped out in a hail of drum-fire, guitar and bass pyrotechnics, stopped dead and EVH tore into the unmistakable riff that kicks off "Unchained".

David Lee Roth then strutted to his position in the spotlight, wearing a broad smile that only widened as the crowd welcomed him with a roar that could have drowned out a passing 747.

With that began a two hour extravaganza that was louder than God.

My buddies were in the 6th row on the floor and I was seated just a few rows back from them. It was the perfect vantage point to take in all of the action. That being said, footage/pictures were captured. Header photo provided by Red Curtis. Here's "Panama" courtesy of Doug Cameron.



Dave's comment about his "union contract" was priceless. Seeing him take command of the stage was a bit of all right. He has made adjustments to how he delivers his vocals, due to age and the disappearance of his higher register, but if I could do a goddamn scissor kick at 60 then I would surely tell my critics exactly where they could shove their comments about my voice. Speaking of singing, that's where father and son spent the majority of their time during the show. Wolfie and Ed had a great vocal blend and there were some nice three-part harmonies happening. Michael Anthony's voice was missed, though Wolfgang was pretty damn stellar on the four string. He played some great lines throughout the show and has certainly earned his place alongside Uncle Alex and Papa Ed.

Alex Van Halen is a force of nature. Grinning behind ever-present shades and semi-stripped down Ludwig kit, the man was a virtual atomic clock. His solo was brief (but good) and he solidly flew through the evening, playing with the energy of someone half his age.

Brother Edward was no less impressive. Given the string of adversity that has befallen him since the late 90s, it was great to see him melodically shred through both the classics and the new songs, which held their own in the set. Smiling as he peeled off astounding solos and stunningly precise salvos that bit down hard into the collective ears of the crowd, EVH had new tricks up his sleeve that only served to solidify his genius as a musician.

Have to admit that there was nearly a tear during his solo, especially as he wound through "Cathedral". Jaw-dropping excellence...



Pound for pound, there was not one bit of wasted space in the entire show. While I missed "Mean Street" and "Outta Love Again", it was amazing to experience "Girl Gone Bad" up close and personal. Even the little mistakes were fun as hell to watch (Wolf and Dave harmonizing but singing two completely different lines of "Pretty Woman" at the same time, Alex falling out of time with the synths in "Jump" and steering the band right back in time like a pro).

Here's a tip for all of you fakers out there who mime to backing tapes: QUIT and stop cheating people out of hard-earned ticket money. Conversely, here's a word for those who pay to see such fake shows: Don't support that shit.

By the time of the encores, the entire building was euphoric and confetti rained over the stage as "Jump" brought things to a close. Rip Taylor would have been proud.

Highlights? The whole thing! Their backline wall of amps blew my head off, though I would gladly see them again on this tour if I had the chance. Rockers with walkers? No way. Brilliant band who remain impressive in 2012.

Unchained
Running With the Devil
She’s the Woman
Romeo’s Delight
Tattoo
Everybody Wants Some
Somebody Get Me a Doctor
Chinatown
Hear About it Later
Oh, Pretty Woman
You Really Got Me
The Trouble With Never
Dance the Night Away
I’ll Wait
Hot for Teacher
Women in Love
Girl Gone Bad
Beautiful Girls
Ice Cream Man
Panama
Ain’t Talkin’ About Love
Jump

THE POLICE

Way back in the mists of childhood, I received an LED (light emitting diode) watch as a Christmas gift. Futuristic mid-70's technology, only minutes ahead of its time.



When the watch battery was dying and the magic button on the side was pressed to display the time, this LP cover appeared instead. A full five years before it was utilized by a distinguished, English power trio.

Meanwhile, in 1981...

The fourth release by the law enforcers began the process of unraveling their established sound. Copeland's foundation work is solid, though Andy changed his guitar tone to embark on some interesting tangents. Keyboards now figured more prominently in a denser mix.

Sting picks up the sax.

Critical raves have accompanied the very mention of this record, yet only five truly worthy songs stand out.

"Spirits in the Material World" has a bassline that defies gravity. Randy Jackson, a fine bassist in his own right, raved about Sting's idiosyncratic figures to author Daniel Levitin in "This is Your Brain on Music". Rightly so! Mr. Sumner outdoes himself with both the tune and his top class instrumental performance. Similarly, "Every Little Thing She Does is Magic" is so good that it could not be improved upon. The tension that builds in the verse is swept away by joyous abandon in the infectious chorus. High energy playing from all involved makes this work that any pop writer would happily add to the "wish I had penned that one" file.



Things quickly change from upbeat to turgid as the opening strains of "Invisible Sun" come into focus. The count in carries the suggestion of a slowly swinging watch on a chain, lulling the listener into deep sleep. This somnambulistic state can be maintained until Andy's excellent "Omegaman" jolts you awake with a killer riff and explosive dynamics. It would have been a single too, but Sting vetoed it. "Secret Journey" and Stewart's brooding "Darkness" (with madly panned high hat work) bring things to a close.

These gems rank with the best of anything they recorded during their short tenure as a trio.

At risk of being beaten about the head with one of Sting's yoga mats, naive political statements ("Rehumanize Yourself", "One World") mixed with flat out repetitive tunes drag down the rest of the album. Could you honestly spend an hour in a locked room listening only to "Demolition Man"? Six minutes is pushing it. While the grooves are in place, the lack of hooks, coupled with smothering horns add unnecessary weight to the other compositions.

About that album title...

British philosopher Gilbert Ryle used ghost in the machine as a derogatory description for René Descartes' mind-body dualism. Descartes himself had been a ghost for about 300 years at this point (1949), so I really don't think that he cared. Arthur Koestler's 1967 book, which uses Ryle's phrase as its title is cited as Sting's inspiration for the project. The main focus is mankind's movement towards self-destruction.

Speaking of which, you can splice the first two selections with the last three on this disc, remove the filler tracks and take them on a long drive out to the middle of nowhere for disposal. They simply lack the spark that the others have in abundance. The next project would be their last, though it is far more rewarding in all aspects.

RONNIE MONTROSE RIP

Another rock soldier, guitarist Ronnie Montrose, passed away yesterday after a lengthy battle with prostate cancer. He was underrated, though really quite a brilliant, dexterous player. Adept at various styles, Montrose played with many A-list artists and always raised the game of those around him with his chops.

Remember when people could actually play live without all of the fakery?

Here is a great reminder: "Bad Motor Scooter" from 1974.

DAVY JONES

Another reminder of the transitory nature of life comes with the passing of actor/singer Davy Jones. At the height of his fame in the mid-sixties, he sang lead vocals on a number of huge hits while playing his role on TV as part of the pre-fab group, The Monkees. The quartet soon grew tired of having session musicians and outside writers steer their musical ship. It is to the credit of Jones and his band mates that they raised two middle fingers to the machine that created them. The first was to get involved in the writing/playing/production of their records.

Headquarters was an LP that reflected this new approach."Early Morning Blues and Greens" was a track on which Jones took lead vocal.



Their second greatest act of defiance was the psychedelic film "Head". Has to be viewed in a certain state to really be appreciated, though.

Davy Jones was a multi-faceted, talented individual, though my generation was quite far removed from Monkee-mania. I do remember seeing that infamous Brady Bunch episode as a child and wondering why Marcia was so excited about having the diminutive Englishman as a dinner guest.

Lastly, here's a tune which Jones had a hand in writing (from the excellent Pisces, Aquarius, Capricorn & Jones Ltd.), whose title sums up sentiments shared by many upon learning today's sad news.

RANKER.COM

GONE THOUGH NOT FORGOTTEN

Ranker.com ranks influential musicians by the order of how great their music was at the time of their death.

Los Angeles, February 21, 2012: While the pop music world is still reeling from the loss of Whitney Houston, Ranker.com has released a list of artists who have been deemed “gone too soon” by Ranker’s users. These artists are ranked not only by how great their music was at the time of their death, but what their future might have meant to the world of music. Having garnered thousands of votes and views by the site’s devotees, this list is considered to be the definitive word on the greatest rock stars who died prematurely.

According to Ranker.com, the most significant loss to the music industry was Jimi Hendrix, followed by John Lennon and Jim Morrison, rounding out the top five is Janis Joplin and Kurt Cobain. The 46 artists on this list also included such legends as Freddy Mercury, Buddy Holly and Jerry Garcia, and ended with perhaps the less likely inclusion of Harry Nilsson. In addition, 15 other lists have been created by voters to represent a wide variety of opinions. The full list of Rock Stars Whose Deaths Were the Most Untimely may be viewed on Ranker.com here.

Ranker.com publishes lists created and ranked by its visitors that are data driven by popular opinion. Available on Ranker.com are lists on any topic imaginable, including everything from the best films of all time or the best vehicles for teenage drivers, to less serious fare like Simpsons jokes that actually came true. Truly something for everyone.

VAN HALEN

A DIFFERENT KIND OF TRUTH

Doorbells...three of them...oddly harmonizing...have been uploaded to my cerebellum...flown in telepathically...as the swarm of notes reaches a crescendo, a snippet of the ringing sound that my parents' old dial-phone made is looped backward, dancing at 150 miles per hour...floating over the din is a familiar voice...the one with a wink between every word...though it's been a long time, I welcome this sound back into my life with a warm embrace...

Van Halen returns, emerging from an extended hiatus reunited with David Lee Roth, yet estranged from bassist Michael Anthony. Eddie Van Halen's son, Wolfgang, now holds down the low end, keeping time with his Uncle Alex. The quartet have gone back to the blueprint that made the six Roth-era discs so engaging then...and now. Wolfie wasn't even a gleam in his old man's eye when the last record with Roth (1984) was issued some 28 years ago.

Back then, this rectangular work of the devil was cutting a destructive swath through the music industry, snatching food from the tables of both the artists and record company CEOs.

Perhaps YOU were one of the dirty thieves who taped 1984 from your buddy's vinyl copy while you were over at his place to score some weed. You may have even mistakenly erased Pyromania while high, thinking that you were recording on the blank side.

I digress

Waking up in 2012 after a long slumber, the lads in VH look upon a musical landscape that has been peppered with a ton of awful, targeted missiles launched from the greasy silos of greedy, inept marketing weasels. Adding to that misery is the new arch-nemesis of the biz in the 21st century: file sharing and illegal downloading. The cassette tape? Long buried in the eternal landfill of obsolescence.

Lord, strike this poor boy down...

Taking up pretty much where they left off, the band welds together a number of old demos (ranging from the mid-70s through to cast offs from the 1984 sessions), polishing/re-recording them, re-writing lyrics and casting them alongside newly penned material.

Gone is the awful guitar tone that EVH adopted in 1986, keyboard noodling, over-serious pop-rock-radio confections and all traces of the Van Hagar period.

Good fucking riddance!

The untouchable Van Halen sound of old is restored to it's former glory (albeit missing the golden harmonies of Michael Anthony) along with the much missed humor that Roth brought to the table so effortlessly.

Result? A Different Kind of Awesome!

Welcome to "China Town". Eddie's scorching intro alone is worth the price of admission, but it gets even better with an opening line stolen from a classic New York Post front page banner

Headless body in a topless bar

Need some double-time, eight-armed Alex Van Halen action? It's all happening downtown. Frets burn, fingers move in a blur as Ed's solo is flight of the bumblebee stuck to the front windscreen of the Concorde.

All of this within three minutes. Quintessential Van Halen.

Highlights? "Blood and Fire" is beautifully catchy, without losing its edge. Eddie straddles the line between virtuosity and melody perfectly. This is one from the archives, given new life and lyrics courtesy of Roth. Same goes for the taster single/lead off track ("Tattoo") and the dirt-under-the fingernails, rotating-riff driven "She's the Woman", both of which pre-date the first album.

"Honeybabysweetiedoll" combines a number of motifs as the trio steers expertly through a minefield of time signatures, jaw-dropping guitar figures and Roth-rap. "You and your Blues" is another standout.

One thing that this set does not do is let up; not for a second. Relentless, the back nine of the proceedings demands your attention, as you have seasoned musicians inviting you to take part in a very thrilling ride. Picking up speed, the handful of songs that close out "A Different Kind of Truth" all contain much to be desired. "Stay Frosty" has an intro which is a huge nod to their past (think Ice Cream Man) and explodes into a buffet of electricity, shaking hands with the 2012 version of the group quite comfortably. It even has a big stinky ending that's evil enough to turn your lawn brown.

Icing on the cake? "Big River" bringing it all home, with a definite swing infused in the playing. As it fades, you will be exhausted and happy to start the wagon wheel rolling all over again.

All of the stylistic tricks in the VH book of magic are employed, though these devices still work better than a Swiss watch. It is refreshing to report that this is a truly energetic record, devoid of any embarrassing attempts to embrace the pathetic, soulless garbage sounds that are currently clogging radio play-lists. Definite cigar for all involved on that front.

This means that for you, the fans, you will mercifully NOT hear any of the following:

1) David Lee Roth rapping

2) A-list, hip-hop artists talking over tracks

3) Ugly sounding, auto-tuned vocals

4) Crappy, synthetic noises standing in for the musicians

5) Pretentious, angst ridden lyrics

6) Four guys phoning it in

Eddie Van Halen? Innovative genius, still eons ahead of his imitators. Everyone acquits themselves in admirable fashion here. This is simply great rock and roll and will be a breath of fresh air for those who have waited far too long to hear some.

Told ya I was comin' back...say that ya missed me

EXTREME

III SIDES TO EVERY STORY

Nearly 20 years have passed since the release of the third Extreme disc. Muscular playing, tight arrangements and exceptional harmonies all coalesce beautifully, allowing the material to transcend the funk-metal genre that they were tagged in.

For all that, Extreme III was a spectacular commercial failure.

Critics at the time were effusive in their praise of the record, with some docking a few points here and there for the bombastic nature of certain selections. Generally, you can see great strides being taken toward the style of mid-70s Queen with melody taking precedence over sheer volume. They had proven themselves capable of writing a mother-of-an-ear-worm-for-the-masses when they unleashed "that fucking song" (More Than Words) on an unsuspecting populace in the early nineties. Unless you were dwelling in a cave in the mountains of Tibet, pondering your place in the eternal now, there was no way of escaping it.

Adept at both grinding riffage and softer fare, they were in danger of becoming overshadowed by this enchanting little ballad.

Hard to follow your own act

To their credit, they did so, without succumbing to the temptation of churning out another clone of their biggest hit.

What of these three sides?

YOURS

Forcefully grabbing the listener by the lapels with "Warheads", the "other side of the story" is painted in lurid, aggressive shades of angry red. Nuno Bettencourt showcases his ability to literally melt the fretboard at every turn. Standout track in this section is "Rest In Peace" which shifts smoothly through a series of jaw-dropping, dynamic changes with hooks galore (and a little Jimi). Confidence brimming, they even fire off a clever tribute to their own recent past in the outro. You'll be in on the joke, though.

"Politicalamity" smokes and burns with another tip of the hat to Hendrix thrown into the riff for good measure. This section of the album is devastating, with plenty of vocal and instrumental gymnastics. Simply saying that these guys could really play vastly understates the true depth of their gifts as a group.

MINE

Perhaps sensing that a softer landing pad was required after the blitzkrieg attack that comprised the first set of tunes, we are treated to some well constructed pop to outline how most folks tell their own side of the story. Hands down favorite here is "Tragic Comic", which features Beatlesque harmonies, funny lyrics and a very catchy chorus. "Stop the World" runs a close second. Versatility? They make the transition between/amongst styles look deceptively easy.



THE TRUTH

Bringing this immaculate set to a close is a majestic, three part suite which gives the impression that the quartet were three summers ahead of their nearest competition in terms of vision and sonic ambition. The orchestral overdubs were completed within the hallowed studio walls of Abbey Road. Gary Cherone pushes his voice to its limit, displaying operatic echoes of Queen and this likely served to alienate those fans who wanted straight up metal. Soaring passages abound, this exploration of something more substantial can only be applauded as a very bold move. The use of strings only adds to the powerful climax that is carefully constructed to quicken the pulse as the race to the finish line doubles in its intensity.

It rarely gets better than this, yet those who were expecting a brainless, poodle-balanced-on-the-head, guitar-pyrotechnics-on-steroids romp through hair-metal heaven were turned off by the slightly proggy experimentation taken up here in earnest.

Here's the deal

This is one of the best kept secrets of its time. Out of phase with grunge, too adventurous for casual fans and considered as candy-assed by funk-metal maniacs, III Sides to Every Story failed to find the success of their previous release.

All that can be said is to give this one a second chance. It is truly a rare gem in their discography and deserves to be heard.

JOSEPH BRIDGE

Great cover of the Syd Barrett song "Opel" by Joseph Bridge. He is ably assisted by Keith Scott (Bryan Adams' guitarist) whose tasteful fretwork will also grace Bridge's upcoming full length release, "Marvin's Sanitarium", which is due out later this year.

Enjoy this and please take a moment to find out more about the multi-talented Joseph Bridge right here

NEW VAN HALEN TUNE

TATTOO was officially released today and as a big fan of David Lee Roth era VH, I say crack a can of Bud and enjoy the shit out of this. Their first full length disc with Roth since 1984 ("A Different Kind of Truth") will be released on Feb 7th.

LENNY BREAU

THE VELVET TOUCH OF LENNY BREAU LIVE!

Simply one of the most accomplished guitarists of all time, Lenny Breau developed a technique that few have been able to fathom. In his hands, the instrument sounded like four people playing simultaneously with bass, rhythm and lead work executed by each finger on his picking hand.

Musicians speak of Breau in tones reserved for deities, with some of the acknowledged masters stepping back in awe of his abilities.

Yet, he remains criminally underappreciated.

This record is one of the very few that were released during his lifetime. Caught in the act at Shelley's Manne-Hole, 1969, Breau's set is a stunning exercise in live jazz guitar backed by Ron Halldorson on bass and Reg Kellin on drums. Find this album or CD and you'll be giving yourself a gift that will leave your jaw on the floor in amazement with every spin.

Breau was killed in the summer of 1984, the victim of a murder that remains unsolved. Sad end for someone so prodigiously talented.

Don't know Lenny? Here are some helpful maps.

FORGOTTEN MUSIC THURSDAY-THE FLYING BURRITO BROTHERS

THE GUILDED PALACE OF SIN

This record could very well be the undisputed, heavyweight champion of brilliant, yet forgotten music. Though their debut put them in the vanguard of the country rock style, The Flying Burrito Brothers struggled to find an audience. Groups that followed (The Eagles) would steal and smooth the Burritos’ sound into what Gram Parsons described as, “a dry, plastic fuck.”

Parsons and Chris Hillman put the band together, drafting Chris Ethridge, "Sneaky" Pete Kleinow, plus drummer Jon Corneal to fill out the lineup. The Guilded Palace of Sin was recorded and released in 1969 to critical acclaim, though record buyers barely acknowledged it.

Being a step ahead of the music currents of their time, coupled with internal problems and lack of promotion ended the band before they could get started. Parsons jumped ship after the second album. Critics now trip over themselves, writing about Gram Parsons and his vision of "Cosmic American Music", though not many gave him the credit he was due in his lifetime.

Classic records usually deliver an immaculate "Side One", packing the megaton force of an A-bomb, leaving the listener barely able to comprehend what will be served up next.

This is no exception

"Christine's Tune" is the Everly Brothers on acid. Sneaky Pete's unconventional pedal steel work is incredibly inventive, while the Parsons/Hillman axis do their best "Phil and Don" harmonies. "Sin City" is a fantastic soundtrack to a hangover, filled with imagery that is less than impressed with the LA scene in the late 1960's. It's a glorious creation that reinvents the wheel in four minutes. Both tunes were co-written by Hillman and Parsons.



Soulful covers showcase the versatility of everyone involved. "Do Right Woman" fuses country with an R & B feel (Aretha Franklin had a version of this) and "The Dark End of the Street" is more of the same. Parsons' vocals display a degree of vulnerability that makes each stand out. The arrangements are tasteful with extended jamming muted in favor of playing in service of the songs.

"My Uncle" rounds out this killer side. An uptempo look at draft dodging, it has a great hook and provides subtle comment on what was then a hotly debated subject.

A letter came today from the draft board
With trembling hands I read the questionnaire
It asked me lots of things about my mama and papa
Now that ain't what I call exactly fair
So I'm heading for the nearest foreign border
Vancouver may be just my kind of town
Because they don't need the kind of law and order
That tends to keep a good man underground

Parsons and Hillman were motorcycle enthusiasts, writing "Wheels" in tribute to the freedom of gliding along on just two of them. Hot Burritos 1 and 2 really deserved better titles. They are the most passionate vocals that Gram Parsons ever committed to tape, impeccably supported by the assembled musicians.

"Do You Know How it Feels" is a real shit kicker, prefiguring Dwight Yokam by about 20 years. Short and sweet. The LP closes with the sombre, churchy organ and piano based Hippie Boy, a spoken word commentary on the 1968 Democratic Convention riots. It is well done, though redolent of its time.

Topical reference is generally avoided ("My Uncle" excepted) so this set has aged quite well. The absence of late sixties, day-glo paint poured over the proceedings also extends the shelf-life of these songs.



Vinyl copies are tough to find and are expensive when you do.

Recent repackaging on CD has given this music that fused country, rock, soul, R & B and gospel a profile in the digital age. Despite the magic that happened to create this disc, it remains woefully under appreciated due mostly to lack of distribution.

Now that you're aware of it, look for a copy. Well worth the price of admission.

THE ROLLING STONES

BETWEEN THE BUTTONS

Wreathed in smoke, ingenuity and a touch of insanity, the sessions for this album produced hard rocking pop. Rootsy blues was shelved, with piano driven, Ray Davies-inspired English music hall styles taking hold.

Be careful, lads. It is here that the drugs will start doing YOU!

One of two sets unleashed by the band in 1967, this was unlike anything they did before or since. The US version of this LP cut "Backstreet Girl" and "Please Go Home", replacing them with "Let's Spend the Night Together" and "Ruby Tuesday". Whether this tampering with the running order improved the package or not is subjective. The latter two selections were big hits, duly promoted on radio as well as the small screen. Check out this "live vocals with a backing track" performance, taped for the Ed Sullivan show.



Dividing their time between LA and London while recording, the results run from the barrelhouse fun of "Cool, Calm & Collected" (kazoos? why not?) to the excellent "Connection", which shares honors with "Miss Amanda Jones" as the most driving piece etched into this disc.

"Guess which drug I just discovered?" colors "Something Happened to me Yesterday". Keith sings lead (his debut on record) along with Mick backed up by a prominent tuba. The cover photo reinforces the "trippy" nature of the work, with three of the five Stones immersed in the burgeoning drug culture that enveloped their peers during that era.

Brian Jones turns in his last focused efforts before he was completely dragged down by substance intake and gradually elbowed from the group. In addition to guitar and some vocals, he also handled accordion, vibraphone, harmonica, recorder, percussion, kazoo, saxophone, dulcimer and organ. Four different piano players (Jones included) bang on the 88s throughout.

"She Smiled Sweetly" is the only track that should be buried in a landfill.

Overall, the impression left here is mighty fine, with the Jagger/Richards song writing engine in top form. Underrated and overlooked, this slice of Swinging London is worth checking out.

Now for some trivia from cosmopolitan raver/drummer Charlie Watts:

"Andrew (Oldham) told me to do the drawings for the LP and said the title would be between the buttons. I thought he meant the title was "Between The Buttons", so it stayed."



WARNING: Look for a vinyl copy of this, if you truly want a fair evaluation of how it was originally presented.

The original issue of this collection on CD was handled poorly which is really a shame. Extreme liberties were taken with the stereo mix. Some tracks sound as if they have been presented in duophonic format (transferring the mono master to two separate channels, boosting the low end frequencies in one channel and emphasizing the high treble frequencies in the other) which further kills the listening experience.

The 2002 ABKCO reissues are an improvement, though audiophiles are advised to hunt down the London Records CD version (available in Europe and Japan prior to 1997) as it has the best sound of all digital releases.

Naturally, Mick has long since disavowed this material, calling it "rubbish".

Not so!

Definitely in the top five of all Stones LPs.

JL

I hope that it isn't too cold in Central Park tonight, so that those gathered have a chance to play, sing, scream and enjoy the timeless music of a guy who crossed into the next dimension 31 years ago today.

It would be interesting to hear what 71 year old John Lennon would have to say about contemporary events. He likely wouldn't mince words. War and poverty still wreak havoc in many areas of the world. Greed drags down our attempts to put a better face on society.

He didn't have all of the answers, though he did question the madness in the methods of authority figures in his time. Remember the jokester, wordsmith and genius by listening to some of his music tonight. Messages of peace, love and hope speak volumes.