FORGOTTEN MUSIC THURSDAY-ELF

For those who are only familiar with the work of the late Ronald Padavona through his time fronting Rainbow, Sabbath and his own group (Dio), this disc will definitely make for interesting listening.

Wait, does he sing differently??

No, his peerless vocals are powerful and instantly recognizable as Dio.

Let's take a step back...

This multi-talented individual had been in a number of aggregations since the late fifties. By 1967, psychedelia was in vogue, so Ronnie and the Prophets morphed into The Electric Elves, which was shortened to The Elves the following year. A few singles were released, quickly finding their way to obscurity. By the early 70's the band simply became Elf.

During this entire period, RJD sang lead and played bass. Functionally, he could not chuck up the irons to his audience while singing AND holding down the rhythm section.

He would remain in this dual role through the recording of their eponymously titled first album, which made nary a ripple in the waters of the music business upon its release in 1972. Roger Glover acted as both their benefactor and producer. Unconcerned by the lack of impact, he kept the group on his label and gave them a shot at doing a second, full length project. Unleashed in the spring of 1974, the sophomore record was under-appreciated upon arrival, quickly disappearing into the ether of forgotten music.

Is it good?

Certainly, though the music and lyrical subject matter are the components that will come as a surprise to the uninitiated.

Misty mornings that cloak dragons and sorcerers? Powerhouse metal? The Devil? Witches? Evil?

You won't find any of the above on Carolina County Ball.

Not even a tiny bit of evil?

No.

The lyrics are...ordinary! You get the full impact of Dio's leather lunged delivery, though it's hard to imagine him tossing out lines like, "crazy little woman go down, go down, go down, go down, down to where the honey is sweet". Suspend your disbelief, as it all happens right here.

Musically, there are trace elements of Deep Purple circa Who Do We Think We Are? More "Woman From Tokyo" than "Rat Bat Blue", though. On offer is southern tinged, blues rock, jazz, funk and boogie-woogie that occasionally detours into the New Orleans style R&B territory of Allen Toussaint (think in terms of his horn arrangements for The Band that colored Cahoots and Rock of Ages). It is quite a diverse range of approaches that coalesce nicely in the hands of very capable musicians. Craig Gruber came on board to relieve Ronnie of his four string duties along with a new guitar player, Steve Edwards.

Mickey Lee Soule tickles the ivories in all the right places, especially on the title track, "Rocking Chair Rock'n'Roll Blues" and "Rainbow". His performances on keys are sublime throughout and he shines just as brightly as the diminutive front man. Everyone involved worked hard to make this an incredibly rewarding listen.

"Annie New Orleans" is catchy enough to put a healthy person in hospital for a week.

Despite best efforts, the set didn't gain any traction in the marketplace or the public imagination. Why?

There is no quick answer to this. The material was accessable, production values were high and the band was undeniably tight. Dio's prodigious gifts as a singer should have been a key weapon in putting the entire package across to a wide audience. Perhaps it all came down to timing. As commercial failure had to be disappointing for all involved, notice was taken by their peers. The next year would be one of great transition as Ritchie Blackmore drafted RJD to be the voice of Rainbow. It is important to note that Dio dropped mundane subjects cold at this point, expressing himself in a more escoteric fashion. Fantasy and the exploration of other realms would remain a signature of his work through to the end of his career as a performer. Agents of fortune appear at pivotal moments, barring the next step until you are ready to present your true self to the world.

Fate.

Or something like that...

In 1994, the second and third Elf records were combined on CD and issued under the title Ronnie James Dio: The Elf Albums. Worth checking out even for a casual fan as the music is diverse and holds up incredibly well.

RUSH- GRACE UNDER PRESSURE

Rush have the distinction of being one of those bands that draw extreme reactions at the mere mention of their name. Plenty of love has been directed their way by musicians, which is no surprise as all three group members are virtuosos on their respective instruments. Others wince upon hearing Geddy Lee’s vocals and have little time for musical complexity, perfectly content with 4/4 time and love me/love my dog lyrical subject matter.

Even for those who do enjoy the output of this venerated trio, opinions differ over the ambitious creative avenues that they have traveled during a recording career that is (as of 2013) closing in on 40 years. 1984 would be prove to be transitional.

When Geddy, Alex and Neil set to work on what would become Grace Under Pressure, one member of the team would not be joining them: Terry Brown. As it is with many partnerships, each side had vastly different ideas about what they wanted to achieve going forward. Brown openly disliked some of the material on Signals and the group was generally unhappy with the sonic results of that disc.

So they sat down and had "the talk", parting ways after a decade long association.

Enter Steve Lillywhite.

blink

Exit Steve Lilliywhite.

Unceremoniously ditched by the "new guy" that they had chosen to direct these sessions, the band hit Le Studio and took up production duties on their own with assistance from Peter Henderson.

Their rhythmic "bromance" with The Police continues here. First evidence came with the reggae stumble that they dropped into the middle of "The Spirit of the Radio" back in 1980. Sting, Stewart and Andy would show up frequently in the mix from here on in ("Vital Signs", "New World Man") though this admiration comes to full stylistic fruition on Grace Under Pressure. More about that later.

Why should I care/If I have to cut my hair?/I have to move with the fashion or be outcast

Submitting to the double-edged shears of early eighties coiffure, the lads were now sporting fashionable new lids. Hell, Neil's moustache used to take over the drum solo for him in the 70s when he needed a break. That was now part of the past, along with multi-part, long form pieces. Short hair, shorter songs.



And what of the new material?

Peart's lyrics range from being topical ("Distant Early Warning") to touching ("Afterimage"), harrowing ("Red Sector A") funny/paranoid ("Red Lenses") with a dollop of grim futuristic vision thrown in ("The Body Electric"). Arrangements are sharp, though the synthesizer noises are redolent of the time period. Rescue from Roland comes with exquisite playing that underpins every cut. Despite the frosting, this is still fucking Rush. Tight grooves with fine melodies are favored over extended flights of fancy. Muscular ska powers "The Enemy Within", which is where we pick up that conversational marker involving Police influences. Interesting parallels can be drawn between the two. Both trios feature a bassist/lead singer who sang in a distinctive upper range. Each boasted a flashy rhythm section whose skills slightly overshadowed the guitarist. As stage acts, both were unbeatable. Rush paid close attention to the Police model in editing their material, with "Between the Wheels" flying the synth sounds in from "Spirits in the Material World" and the deployment of heavy chorus effect on the guitar in the style of Andy Summers.

They do retain their identity while incorporating these aspects into the writing.

Pure excitement happens in the exploding chorus of "Distant Early Warning" where everyone gets to put their chops on display as they break free from the straight jacketed verses. Lifeson's solo is a model of taste and restraint, which renders endless six string wanking obsolete in one brilliant passage. You could frame those notes! Similar fun happens in the mid-section of "The Body Electric" as those ones and zeros coalesce into pure human passion. Neil and Geddy effortlessly shift gears into a funky time signature, leaving Alex to his own devices. His leads are much more prominent than they were on Signals, stealing back some of the space taken up by the synths. Tightly edited, well written-this disc is quite likeable.

How did you take in this set for the first time?

Thank you for asking, italicized text. You (and the depth of your slightly-leaning-to-the-right questions) never let me down. Spring of 1984: Loaned my cassette copy of Judas Priest's Defenders of the Faith to a buddy in exchange for Grace Under Pressure. That weekend, I was left at home alone with the cutlery, smoked a bit and listened to the new stuff intently. Fell asleep with this album in headphones on consecutive nights. Loved what I heard then and still do.

This is your brain on Rush

Ultimately, the new sounds met with their share of detractors. Some fans simply didn't get it. Without blinking, these guys realized, early on, that survival meant changing the game plan. After their debut, Zeppelinisms were discarded as it could neither sustain them creatively nor provide listeners with anything unique. Instead of going the safe route, Rush reached a bit higher. Would they occasionally trip in doing so? For sure, though they would have been playing "In the Mood" in bars forever had they not taken the opportunity to broaden their horizons. Grace Under Pressure was yet another bold move forward.

THE ROSE PHANTOM

ABANDON

Taking a cue from the New Romantic movement of the early 80s, The Rose Phantom has released an incredibly well produced set of strong, melodic songs. Understanding that synthetic backdrops can only succeed if the listener has a hook to hang their proverbial hats on, each selection is carefully arranged for maximum sonic impact. Mining ground similar to that of early Gary Numan, Tears for Fears and Depeche Mode, technology is nicely bevelled with raw human emotion. It must be stressed that only the positive characteristics of the aforementioned artists are present, with themes and lyrical subject matter belonging solely to the artist.

Epic soundscapes underpin every cut on Abandon. Great care is taken to ensure that individual instruments have a definitive presence in the mix, with every note placed perfectly. The vocals are not buried in pitch correction software, but instead are allowed to breathe, which is a plus for a contemporary recording. It is an expressive voice that is on display here, lending power to every track. Highlights abound: "Here it Is", "New Dreams" and the brilliant opener, "All I Want", which is built on a foundation of ominous, well deployed keys and a haunting chorus. Gripping listening, though don't let that stop you from enjoying the rest. There is an added bonus of subliminal layers of sound throughout the disc. Whispered words and interesting instrumental passages designed to catch your attention on the first pass only to send your brain back to spin the songs again. Guaranteed that you will, as there is quite a bit to take in.

Equating this record with a color or mood, I would point to the shade of a sky at dusk as nocturnal urges slowly lead the senses down a new path, destination to be determined. There are definite rewards in staying the course.

Commitment to uniformity in style and execution is commendable, without detours into a musical version of multiple personality disorder. The Rose Phantom owns their vision, delivering a consistent and satisfying song cycle.

Overall the production is immaculate, perfectly complementing the writing which is bolstered by strong performances on all counts. For those of you out there who still like good melodies, as opposed to "noises" haphazardly dropped on top of "beats", you will really enjoy Abandon. All of the pop sensibilities that drove the best electronic music of a bygone era married to modern technology. Produced and engineered by "Danegerous" Dane Morrow and The Rose Phantom, the disc was mastered by Aidan Foley at Masterlabs (U2, Foo Fighters, Dead Can Dance).

You can purchase a copy of Abandon and find out more about The Rose Phantom right here

OTTAWA BLUESFEST

Ottawa Bluesfest is ranked by Billboard Magazine as one of the top 10 most successful outdoor music festivals in the world!

From July 4th to 14th, the nation's capital will play host to an array of top acts including Rush, blues legend B.B. King, The Black Keys, Alice in Chains, Weezer and The Tragically Hip.

Cold beverages pair well with great live music from multiple stages.

For full details check out their site

Bluesfest 2013 is guaranteed to be hotter than July...

FORGOTTEN MUSIC THURSDAY-LOU REED

METAL MACHINE MUSIC

James Joyce created the ultimate black hole of English prose with "Finnegan's Wake".

Lou was kind enough to favor us with the aural equivalent. Released in 1975, this double LP of looped guitar feedback clocked in at 64 minutes (2 minutes would have been enough). If you need to clear a room, this is your soundtrack. Pretty bold move from Mr. Reed, though.

Forgotten music/noise...

Here's side 1, for your listening pleasure. Dare you to listen all the way through. Enter at your own risk!

ROY FORBES

ALMOST OVERNIGHT

It has been roughly fifteen years since a good friend of mine said "Listen to this" and proceeded to play "Waitin' For you Mama". In just over three minutes, I was floored. Floating over precise, crisp acoustic guitar (and tapping foot) was one of the most unique, soulful voices that I had ever heard.

We both were well into "a few drinks", so the timing of this surprise track couldn't have been better.

"Who was that?" was all that I managed.

Roy Forbes

Almost Overnight contains a treasure trove of songs from his early career (plus a cover), captured live in the studio. Acoustic guitar fanatics will take note of the impeccable playing. Rich wordplay, excellent melodies and his sure touch with a tune are all an integral part of his distinctive song writing voice.

"Right After My Heart" "Thistles and "Kid Full of Dreams" are standouts, though don't let that stop you from enjoying the rest.

Stunning originality is tough to come by in these times, yet that's exactly what the prospective listener finds in this music. Why he isn't much more well known continues to mystify, though if you play this for friends, they'll repeatedly thank you for it.

Find out more here

Here's Roy playing a tune called "You Can't Catch Me" which he originally recorded on his debut LP (Kid Full of Dreams) in 1975 under his nickname, BIM.

RIP ANDY JOHNS

Producer/engineer Andy Johns, who worked on such classic albums as Led Zeppelin IV and the Stones' Exile On Main Street, has passed away.

Very sad news for his family, friends and music fans across the globe. Johns was an incredibly gifted individual.

Before his nineteenth birthday, he was working as Eddie Kramer's second engineer on recordings by Jimi Hendrix and
was a key figure in the sessions for countless classic records. Here is a sampler of his impressive credits (taken from Wikipedia)

Albums produced

Ahead Rings Out - Blodwyn Pig (1969)
As Safe As Yesterday Is - Humble Pie (1969)
Town and Country - Humble Pie (1969)
Highway - Free (1970)
Free Live! - Free (1971)
Heartbreaker - Free (1972)
Bobby Whitlock - Bobby Whitlock (1972)
Why Dontcha - West, Bruce and Laing (1972)
Marquee Moon - Television (1977)
It's a Circus World - Axis (1978)
1234 - Ron Wood (1981)
Hughes/Thrall - Hughes/Thrall (1982)
Stone Fury - Burns Like a Star (1983)
Idéal - Trust (1983)
Night Songs - Cinderella (1986)
Perfect Timing - McAuley Schenker Group (1987)
Loud and Clear - Autograph (1987)
Long Cold Winter - Cinderella (1988)
Four Winds - Tangier (1989)
Sahara - House of Lords (1990)
Dirty Weapons - Killer Dwarfs (1990)
For Unlawful Carnal Knowledge - Van Halen (1991)
Under the Influenc - Wildside (1992)
The Extremist - Joe Satriani (1992)
Powers of Ten (second release, two tracks) - Shawn Lane (1993)
Time Machine - Joe Satriani (1993)
Good Guys Don't Always Wear White - Bon Jovi (soundtrack for The Cowboy Way) (1994)
Waking the Dead - L.A. Guns (2002)
22nd Century Lifestyle - pre)Thing (2004)
Rips the Covers Off - L.A. Guns (2004)
Stone in the Sand - Euphoraphonic (2005)
Tales from the Strip - L.A. Guns (2005)
The Undercover Sessions - Ill Niño (2006)
Radio Romeo - Radio Romeo (2007)
Chickenfoot - Chickenfoot (2009) [7]
Bingo! - Steve Miller Band (2010)
Up Close - Eric Johnson (2010)
Double Four Time - The Swayback (2012)
The Andy Johns Demo's - Sabyrtooth (2012)
Hollywood Forever - L.A. Guns (2012)

Albums engineered

Disposable - The Deviants (1968)
Spooky Two - Spooky Tooth (1969)
The Clouds Scrapbook - Clouds (1969)
Up Above our Heads - Clouds (1969)
Blind Faith - Blind Faith (1969)
Led Zeppelin II - Led Zeppelin (1969)
Led Zeppelin III - Led Zeppelin (1970)
Highway - Free (1970)
Sky - Sky (1970)
Led Zeppelin IV - Led Zeppelin (1971)
Sticky Fingers - Rolling Stones (1971)
Brain Capers - Mott the Hoople (1971)
Sailor's Delight - Sky (1971)
Exile on Main St. - Rolling Stones (1972)
Goats Head Soup - Rolling Stones (1973)
Houses of the Holy - Led Zeppelin (1973)
It's Only Rock 'n' Roll - The Rolling Stones (1974)
Physical Graffiti - Led Zeppelin (1975)
Shadows and Light - Joni Mitchell (1980)
Coda - Led Zeppelin (1982)
Trouble At Home (Silver Condor) - Joe Cerisano (1983)
Raw - Ra (2006)
IV - Godsmack (2006)
Radio Romeo - Radio Romeo (2007)
Crossroads - Eric Clapton
Eric Clapton - Eric Clapton
Ladies and Gentleman The Rolling Stones Movie - The Rolling Stones
Double Four Time - The Swayback (2012)
Switchblade Glory - Switchblade Glory (2011)

FORGOTTEN MUSIC THURSDAY - JELLYFISH

Jellyfish put together a sophomore disc that was smart, catchy and expertly performed. It is nothing less than a mind-fuck of epic proportions, marrying Brian Wilson's most earnest wet dreams with Queen at the apex of their mid 70s, multi-tracked glory. The work that went into this project could easily generate enough power to light ten major cities for a decade.

Timing is everything...

Aptly titled, the band may have unwittingly foreseen the futility in releasing a record that celebrated the stylistic charms of rock's "psychedelic" past in the era of back to basics grunge. Who's crying over Spilt Milk? Not me! I feel fortunate to have been recently steered toward this remarkable recording. (Thanks Andy!)

Better late to the party than never.

Wait just a moment. You there, casually reading this... Come closer!

C'mon! I don't bite...(hard)...

OK, if you tend to get a little uncomfortable with the Jeff Lynne approach to production that shaped ELO's output in the seventies, then some elements of Spilt Milk may not be to your taste. If you crave an overall sonic experience that equates to a long bomb pass resulting in an incredible 80 yard touchdown, then this was designed for you. Another great bonus: Spilt Milk will forcefully pick you up by the lapels, shaking loose any musical lethargy that you've been experiencing.

Blending mastery in vocal arrangement with lush instrumentation, "Hush" is a seductive opener, boasting enough charm to lure birds from the treetops. Setting the mood perfectly, this beautiful soundscape fades as the ground suddenly drops out from beneath your feet. Four pop-rock gems are lined up, fired off in rapid succession, leaving the listener breathless. Swept away in a tide of fist pumping anthems, you could easily miss the clever wordplay that goes by at lightning speed. Ambitious, yet easy to assimilate, this run of tracks follows a concept and is nothing short of compelling. You hear the influences that shape "Joining a Fan Club" or "The Ghost at Number One" but there is a visceral energy in their execution that brings something entirely fresh to these songs. So much so that it silences the inner voice of the record store snob and simply begs to be heard on its own terms.

Closing out this spectacular set is "Brighter Day" which ties up every loose end in brilliant fashion.

You are left wanting more...

Core band members Andy Sturmer and Roger Joseph Manning, Jr. held the creative cards, deploying many of the weapons that made 60s/70s pop so durable. They also managed to toughen their work with just enough edge to keep things sounding contemporary. Differences of opinion led to the ultimate crime of a group breakup before they could capitalize on the strength of what they had done and start to build a larger following around it.

Spilt Milk ended up consigned to the realm of forgotten music as its very essence was fighting against the tide of what was popular in 1993.

Trends come and go...this one is timeless.

BLADE OF GRASS - LANDSLIDE

The always stellar Blade of Grass have a new video to share.

"Landslide" has a trippy, retro feel that is driven home by the iron-clad, two part harmonies of these fine Californian songsmiths. Enjoy the images as they fly through the air...

Join their growing army of fans on Facebook and be sure to check out their band page

PASSAGES

These words have been uttered/written many times, though two separate, sad events of today beg for them to be pressed into service once again.

Nothing enhances demand for an artist's work more than word of their death

For those who stop by here to read that do not reside in Canada, the name Stompin' Tom Connors may draw a blank. To be fair, even for those Canucks who know his music, he had reached the peak of notoriety in the early seventies. Connors' quirky blend of shaggy-dog-story-telling folk blended humor with straightforward, three-chord country twang. Drawing on maritime roots helped to put an east coast spin on the final product. Fiercely patriotic, his songs name-checked Canadian destinations big and small, along with the provinces that held them.

Connors passed away today at age 77, leaving fans, friends and family to mourn him.

Alvin Lee found an international audience in the late sixties as a guitar virtuoso. His work with Ten Years After was innovative, mixing rock, blues and occasional forays into jazz. Sealing the deal as a major act with an appearance at the inaugural Woodstock festival, Lee followed this by scoring a huge hit with "I'd Love to Change the World" in 1971. Always somewhat underrated in terms of the big brand-name guitar legends, he was well respected by his peers.

Lee also left the planet today, age 68.

These two figures were worlds apart in every respect but one: Both had reached career heights decades earlier and, for the most part, had long faded from public view. Inevitably, their work will be reevaluated by those who genuinely appreciated what they had done. Conversely, the uninitiated will discover some of the charms that brought each to prominence in the first place. Sadly, it often takes mortality to bring (or refocus) attention to the artistry of the recently departed.

Both will be missed...

TECHNICAL ECSTASY

Deemed by many as the first real misstep in the Sabbath discography, Technical Ecstasy was only tepidly received upon initial release in 1976. There was much made of the fact that Birmingham's purveyors of doom had moved well away from the the sonic blueprint that had captured the imaginations of listeners in the early seventies.

They're using synthesizers?!?

Did I really hear strings plastered all over that intro?

And who's that bloke singing the other slow number??

Perhaps some of the die-hards had quit listening after Master of Reality. As early as Vol.4 there had been a piano based ballad ("Changes") which featured string parts reproduced on a Mellotron. Similarly, strings, synths and keys figured prominently on several tracks on both Sabbath Bloody Sabbath and Sabotage.

Another point of discussion was the change in Iommi's guitar tone. Criticism came from those who felt that he had abandoned the sludgy, monumental riffs that had effortlessly flowed from his detuned Gibson in favor of a lighter approach. More of a "light and punchy" sound that the entire family could enjoy.

Yet again, this transition had begun four years earlier with Vol.4. Feeding his signal through a Rotosound effects box on Sabbath Bloody Sabbath gave his sound a swirling, organ-like texture. These changes had a gestation period of several years.

OK, if this is such a great album, why haven't more people heard it?

Simply a case of a band not playing to type.

As evidenced by the expansion of the band's musical horizons over the course of their (then) most recent three studio projects, Technical Ecstasy merely added another layer of experimentation. Fans that wanted Sabbath to continue on their former, heavier path were turned off by the move closer to the middle of the road. For the casual admirer, there just weren't enough hooks on which they could hang their hats. Worse still, soft rock was becoming the prevailing noise heard on radio with the rumblings of disco poised to grab a larger share of the market.

Given these circumstances, Technical Ecstasy didn't have much of a chance. Metal supporters just didn't hear a lot that they could relate to and the leisure suit crowd were likely unaware that it was issued in the first place.

Thus, the LP became somewhat of a curio.

Personally, I have been listening to Sabbath since the early eighties. At that time, this one was hard to find. A good friend, who had obtained a vinyl copy on import from the UK, was kind enough to tape it for me. The songs very quickly entered my listening rotation. This is actually a very solid effort, with much to be commended. Not their finest hour but if you focus on the merits of the best cuts, the rest are certainly inoffensive. The lyrics don't hold up to heavy scrutiny, though that's a minor point.

BEST

"Back Street Kids" literally kicks down your door, grabs you by neck and commands attention. Metallic, hard and fast with a refrain that his Ozzness would return to during his solo career, the visceral nature of "nobody I know will ever take my rock and roll away from me" is interpolated by a bridge with a choppy, tango-esque time signature change. The full stop that precedes it has a neat Iommi riff, which competes with flourishes on synth as Ward expertly steers the group with ride cymbal and toms. Highlight reel material.

"You Won't Change Me" is a close runner up. The intro harks back to the doomy figures that once powered the Sabbath engine, though an abrupt halt is brought to this. Dark and spooky organ takes over and the entire performance, paced at mid-tempo, is quite mature in terms of subject matter. Ozzy's vocal is committed, even soulful, while the tune balances melody with a blistering solo from Tony to ice the cake. Cigars for all involved here.

"Dirty Women" takes a bit of build up to get to the point. Worth sticking out the journey to get to those monster salvos that Iommi wrings from his axe. The bonus face melters over the top are welcome. Again, we get a glimpse into how Ozzy would construct future efforts (with plenty of help from his hired guns) in the "walking the streets" breakdown. Very similar to the middle section of "I Don't Know" from Blizzard of Oz. Check it out...

"All Moving Parts (Stand Still)" has a fairly strightforward theme, though it squeaks into this short list by virtue of how expertly the musicians shift gears midway through the presentation. Keeping time to what begins as a slightly plodding construction, Bill Ward unleashes a scattershot drum pattern and the game is raised as the trio brilliantly execute a number of tricky transitions. As quickly as it begins, the listener is unceremonially dropped back into the opening progression which is carried to the fade. Iommi demonstrates a wealth of ideas that he casually drops into the mix of an otherwise nondescript template.

THE REST

What remains is a mixed bag. You get to hear Ward take lead vocal on the Beatley "It's Alright", where he channels the lighter side of John Lennon. He acquits himself quite well, matter of fact. Melody is highly emphasized, though the selection is quite out of place here. Similarly, "She's Gone" is heralded by a string arrangement that is both economical and avoids overt sentimentality in feel. Acoustic guitar is the only other support to Osbourne's voice, which conveys enough emotion/pathos to allow for the audience to commiserate with him. "Rock and Roll Doctor" and "Gypsy" fill their spots in workmanlike manner, with the former coming close to sounding as if Ozzy was fronting KISS for a session. The latter is a decent idea that is a bit overstretched.

Fueled by a shipment of Newcastle Brown Ale and whatever recreational drugs were around to be consumed by the lads and their crew, the creation of their seventh record saw the quartet at the crossroads. Their immediate future as a functioning unit was tenuous, mostly due to bad habits. Despite these issues, full marks are awarded to them for stretching out a bit further, creatively.

Passage of time has also helped to soften the initial, harsher estimations of Technical Ecstacy. With little trace of quintessential Sabbath to be found, however, it was destined to become a forgotten item.

Now that you do know about it, please give it a little love. You may be pleasantly surprised.

IT WAS 50 YEARS AGO TODAY...

February 11, 1963

George Martin booked The Beatles into EMI Studios on Abbey Road to record the bulk of their first album, Please Please Me.

The sessions began that morning at 10am. The group logged nine hours and 45 minutes of recording time, banging out ten songs live off the floor and adding a few (but not many) overdubs. Further stress came with two members of the band suffering through mid winter colds. You can hear it in the vocals. Medicating their throats with a steady stream of tea, cigs and lozenges, they made it through. It is a remarkable achievement, all in a day's work. Their previously issued singles (with B-sides) were added to bring the total number of LP tracks to fourteen.

These days, simple mic placement can swallow up precious hours...

Exactly one year later, they would be playing their first US concert at the Washington Coliseum. Their reception in the States exceeded all expectations.



This date proved to be quite auspicious for the Beatles. The rest is history...

HUNKY DORY

All the nightmares came today and it looks as though they're here to stay

Brimming with invention, Hunky Dory is actually a beautiful dream realized.

Still relatively unknown at this point, Bowie crafted a very intelligent set of songs that would later be held in quite high regard. Better still, the actor within the musician brought a voice to the sessions that conveyed a maturity well beyond his 24 years. At times, his vocals sound cracked as though they were being delivered by a man in the twilight phase of life. There is also a confidence that emanates from every note, beginning with the brilliant "Changes" and following through on each subsequent track until "The Bewlay Brothers" gracefully fades into the run-out grooves.

Now that you've found another key, what are you going to play?

All of the pieces in the puzzle came together for these sessions. We have the "Spiders from Mars" (Mick Ronson, Trevor Bolder and Mick Woodmansey) great tunes and a major label deal. Adopting the trappings of the burgeoning "glam" movement would be the final step toward attaining the fame that would come during 1972 with The Rise and Fall of Ziggy Stardust.

Bowie also enlisted the services of Rick Wakeman, whose virtuosic piano figures prominently throughout. (I wonder if he wore a cape while he was tracking?)

Orchestral and horn arrangements are deployed effectively, augmenting, but never burying, the great melodies on offer. "Oh You Pretty Things" and "Queen Bitch" foreshadow the sound of "Ziggy". Ronson pulls distinctive, crying notes from his Les Paul adding further depth to the powerful, "Life On Mars". These selections, along with "Changes", provide the highlights on a very strong disc. "Kooks" is a charming runner up, taking a stylistic page from Neil Young's "Til the Morning Comes" with well placed horn solos.

Name checking Andy Warhol and Dylan with fulsome tributes, the lyrics are incredibly well developed. Smart without sliding into pretense, he keeps you interested by carefully pruning each line. Verses contain only what is completely necessary. The extra sweat sacrificed to make this happen was well worth it. Music hall quirks, otherworldly noises and an entirely English sensibility all find their place in the mix with a healthy dose of camp. The recipe works well enough to earn Hunky Dory a place in the top five LPs that Bowie would ever produce. Given his distinguished career output, that speaks volumes.

IT WAS 44 YEARS AGO TODAY...

January 30th, 1969

The Beatles were at the tail end of the "Get Back" project, which was originally envisioned as a return to the format that produced their first LP. The difference here would be that the group would be filmed bringing in new material, shaping the songs through rehearsal and then playing the new album live.

There are entire books devoted to this episode, which ultimately helped to decide their fate as a functioning unit.

It wasn't all bad

Setting up on the rooftop of 3 Savile Row (Apple headquarters in London) the four most famous faces in the world at that time gave a little lunchtime concert for the business district.

Just how loud did the Beatles play?

Ken Mansfield, who was there amongst the chimney pots, provides his recollection of the set.

"It was loud. I’ve heard recordings of what it sounded like down on the street and I was surprised. Somebody ... that worked at Apple and got there late that day and got locked out ... said they came down the street and they turned onto Savile Row and they said it was like a wall of sound. It was really loud on the street. ... probably about as loud as they could get."

It was the last public performance that the quartet would ever give. When the Let It Be movie was finally released nearly a year and a half after the fact, this segment would close the film.

Rumor has it that we might finally see an official DVD release of Let It Be in 2013. I have been hearing this since 2003, so I'm not holding my breath...

The full monty (audio)



Video for you perverts who like to watch...

THE RETURN OF THE THIN WHITE DUKE

Never one to shy away from surprises, David Bowie is marking his 66th birthday by releasing his first new music since 2003. "Where Are We Now?", produced by Tony Visconti, harks back to the time that he had spent in Berlin in the 1970s with an accompanying video featuring black-and-white footage of the city when it was still divided.

His new album, “The Next Day”, will be released in March.

Bowie has been out of the spotlight for the last decade, save for one live appearance in 2006. His musical incarnations during the seventies were always challenging, sometimes confounding but rarely disappointing. When he is on, there are few that rank with him, though his output from the mid 80s onward has been hit and miss. You must hand the man a cigar for continuing to evolve as a musician and writer, rather than sliding comfortably into “greatest hits” territory in the twilight of his career.

Happy Birthday, Mr. Jones! Your return to business is welcome, considering the appalling state of mainstream music.

LIVING COLOR 2013 TOUR

Living Color plan to mark the 25th anniversary of their hit debut album Vivid with a new reissue and a tour centered around the 1988 album, with initial European dates in the Netherlands, France, Switzerland, Austria and Germany slated for mid=March.

March 10: ECI Cultuurfabriek, Roermond, NL
March 11: Melkweg, Amsterdam, NL
March 13: New Morning, Paris, France
March 15: Z7, Pratteln, Switzerland
March 17: Komma, Innsbruck, Austria
March 20: Huxleys Neue Welt, Berlin, Germany

I'm hoping for announcements concerning North American dates very soon!

Of the original quartet, Corey Glover, Vernon Reid and Will Calhoun are all onboaard with Doug Wimbish taking up bass duties. Their set plan is to play Vivid in its entirety.

Could be that a new record will be forthcoming, as well. All real, new music is quite welcome from where I sit.

THE BEATLES LIVE IN ATLANTA AUG 18 1965

Just a few days into their second US tour, The Beatles rolled into Atlanta to play to 34,000 people. Opening the trip with their famous Shea Stadium performance to an estimated 56,000 screamers, not a note could be heard over the din.

Atlanta Stadium would be different because of one key factor: Baker Audio, and its Georgia Tech-educated boss, F.B. “Duke” Mewborn. Mewborn handled sound for the show, and his set-up included something that every band utilizes today but was unheard of in the mid sixties.

Monitors

“There were no monitors anywhere else on earth at that time,” said Red Wheeler, a legendary Atlanta rock and roll sound man, now living in Vidalia.

Aiming speakers back toward microphones just wasn't done because of the shrieking feedback loop that would ensue. Mewborn got around this by employing cardioid mics which had a restricted pattern that rejected ambient sound coming from the sides or below. For special events at the stadium Baker had included four Altec 1570 field-level amplifiers, each cranking out about 175 watts of vaccuum tube-powered juice, or about 500 watts in all. These he used to power two stacks of Altec A7 speakers, each with 15-inch woofers.

Never before had the group been able to properly hear what they were playing onstage. The show includes a couple of between-song remarks from both Paul and John concerning the sound. They were probably pleasantly surprised at having a frame of reference in terms of what was being projected out front. Despite this luxury, the age of modern sound technology in large venues was still a few years away. The degree of shoddiness with which the group had to cope with for these big gigs would never be tolerated today. It certainly influenced their decision to quit touring the following year.

The Atlanta show is a step down in fidelity from the Hollywood Bowl tapes but it is an interesting listen. As with all of their shows from this period, the crowd noise is on par with a 747.

PRESENCE

According to Greek mythology, Achilles was dipped in the river Styx to make him immortal. His mother held him by the heel, however, leaving it vulnerable. Paris would pierce that weak spot with a swift, deadly release of a poison arrow from his bow (guided by Apollo), mortally wounding him. In another version, he was killed by a knife to the back (or heel) by Paris. A great battle raged around the dead Achilles. Ajax held back the Trojans, while Odysseus carried the body away.

Claustrophobic, foreboding shifts between Em9th and F#m(add b6)slowly creep into the stereo image under a fog courtesy of Page, fading into proper sonic focus before the haze is pierced by Bonham's single, authoritative crack on the snare.

This is not a polite tap of the conductor's baton on the rostrum. It is an urgent call to attention. What follows is a brilliant, uneasy 10 minute journey that could very well be their finest moment on record. "Achilles Last Stand" is the centerpiece of a most under-appreciated disc.

Something is wrong, though.

Hitherto, Zeppelin long-players were extremely diverse in terms of style, mood and arrangement. Each member deeply understood dynamics and their telekinetic musical interplay was a key factor in how they successfully put across ideas to a wide audience. Keyboards, acoustic guitars and synths were always welcome. For every "Communication Breakdown" or "Heartbreaker" there was a soft landing pad to be found, with tracks like "That's the Way" or "Going to California".

Presence would do away with this. Prospective listeners applying the stylus to vinyl, encircled by a cloud of opaque smoke would find no soothing "Bron Y Aur" to counterbalance heavier motifs. John Paul Jones stretching out on keyboards? Nowhere to be found.

Without augmentation of any sort, the musicians conveyed the unspoken intensity of the delicate, difficult circumstances that clouded the sessions. Robert Plant and his wife were in a car crash while on holiday in Greece which shattered his leg and ankle. Instead of touring the US, Plant and Jimmy Page wrote the material for Presence, recording in Munich, Germany with Plant confined to a wheelchair.

Page outdid himself, overdubbing a dozen guitar tracks. Jones was a one man, low end orchestra on 8-string bass, while Bonham contributed a relentless foundation with fills that defied gravity.

"There were basically two sections to the song when we rehearsed it. I know John Paul Jones didn't think I could succeed in what I was attempting to do. He said I couldn't do a scale over a certain section, that it just wouldn't work. But it did. What I planned to try and get that epic quality into it so it wouldn't just sound like two sections repeated, was to give the piece a totally new identity by orchestrating the guitars, which is something I've been into for quite some time. I knew it had to be jolly good, because the number was so long it just couldn't afford to be half-baked. It was all down to me how to do this. I had a lot of it mapped out in my mind, anyway, but to make a long story short, I did all the overdubs in one night ... I thought as far as I can value tying up that kind of emotion as a package and trying to convey it through two speakers, it was fairly successful. To be honest with you, the other guys didn't know: 'Has he gone mad? Does he know what he's doing?' But at the end of it, the picture became clear. It was like a little vignette, every time something comes around."

Plant's clever references to the mythical Atlas were doubly interesting as the the Atlas mountains had loomed large in his recent travels and also could be perceived to hold the heavens in place. Relating his own injury to the plight of the mythical Achilles showed that his sense of humor was still intact. The overall effect of this piece of music is stunning. Setting the bar quite high as an opener, the remaining cuts are somewhat overshadowed.

One thing that sets Presence apart from the rest of the Zep's output is that its contents have not saturated the playlists of classic rock radio, which is a definite plus.

For the uninitiated, there is certainly nothing bad etched into these grooves. Elements of past LP formulas are present in that you have a slow, minor key blues ("Tea For One") a muscular, rock arrangement of 1920s blues("Nobody's Fault But Mine") and an epic (the aforementioned "Achilles Last Stand"). Sprinkled in between, there is a detour into quasi-funk syncopation ("Royal Orleans") and Page's fixation with the music that so inspired him as a teen in the "Sun"-drenched "Candy Store Rock". Plant musters his best Elvis vocal mannerisms, though despite his "all-rights" there is a certain vibe in the music that contradicts this.

Then there's the matter of The Object...

Whether you're having a family dinner at the yacht club or simply trying to communicate telepathically with one of your kids, this decorative piece is sure to compliment all occasions.

Lots to dig here if you are a guitarist. Whammy dive bombing on "For Your Life", the "Tea For One" solo and the tasty breaks in "Hots on For Nowhere" all shine brightly. Cynicism creeps into the lyrics in spots, which certainly hadn't been a factor before. There is a slight feeling of having been there and done that groupie. Do what thou wilt transitions into the law of diminishing returns without warning and the sun comes up, yet again, on an all too familiar scene.

Whiskers!

Speed is the operative word in the case of Presence. Takes were captured quickly and left alone. Recording and mixing purportedly took a mere three weeks. It is an interesting snapshot, hastily glued into the Led Zep scrapbook. One worth taking in, nonetheless.

RIP RAVI SHANKAR

Another great musician moves on to the next incarnation.

Sitar virtuoso Pandit Ravi Shankar was the Eddie Van Halen of his genre and his hands moved at blinding speed over the instrument. He was a product of the Maihar gharana (school) of Northern Indian classical music which was founded principally by the sarod maestro Ustad Allaudin Khan in the Madhya Pradesh state of India. A sitar can have 21, 22, or 23 strings, among them six or seven played strings which run over the frets. Ravi used the Kharaj-pancham sitar (which has seven played strings).

Through his association with George Harrison, he became world famous in the mid sixties. His was not a shallow pursuit of the limelight by any means. While he was prodigiously talented, musical expression was tied to deep spiritual beliefs.

This was his life.

Practicing for hours each day, it would have been unthinkable for him or his fellow students to go before an audience without having first put in the 10,000 hours required to be great.

Great is an understatement when it comes to his genius.

Shankar was one of a kind. Thanks to him, a large part of the western world has been turned on to the shimmering beauty of classical Indian music.

Here he is with Ali Akbar Khan, August 1971 at the Concert for Bangladesh, performing "Bangla Dhun". Again, it was at his urging that George Harrison took up the task of putting together a benefit to provide relief for refugees from East Pakistan (now Bangladesh), following the 1970 Bhola cyclone and the civil war-related Bangladesh atrocities.

LENNON

32 years have passed since John Lennon left the planet for parts unknown. Like so many before and after who actively encouraged people to live peacefully, he would probably be frustrated by the continuing state of aggression that still clouds so many areas of the world. Perhaps he would look back and laugh at the wilder aspects of his public life, forgetting the rougher bits. Time may have also allowed him to mend fences with those he had fallen out with. Music? Good or bad, he would have made some more. The Anthology series would have also had a wild card in the pack to weigh in on all things Fab.

Per my own ritual at this time of the year, there will be a few adult beverages and some quality time spent with selections from his rich discography.