I started this blog back in February of this year mainly as way to post in the black hole of space what I believe and feel about music. Now that the seasons have changed (twice), the nest is emptier by one, Detroit has gone bankrupt, and the government is probably reading this as I type, I feel like it is time to change direction with my "hobby." My wife, who for some reason has stuck by me for almost 25 years and counting, has encouraged me to continue this blog every time I sit in front of my laptop...and my kids have also been an inspiration as I realize the influence (positive I stubbornly believe) I have had on their musical tastes and choices. So today I take my writing in a different direction...
Anyone who has been following this blog can (or should be able to) tell that while I have a fairly wide range of likes in the music world my preference is for the progressive genre. So moving forward I will attempt to review different bands, albums, and shows by progressive artists. King Crimson will always be the gold standard for me; they still put out music that is light years ahead of what others are doing. Robert Fripp seems to have an amazing ability to approach music the way Bobby Fischer used to approach a chess match--six moves ahead of the competition. However; old and new progressive artists other than King Crimson are out there and I believe it is time I broadened my horizons. So if you, kind reader/listener will indulge me, I will begin a new journey that will enlighten, educate, and entertain us both. Here we go...
Progressive music seems to fall into several subcategories; rock, metal, art, jazz, and bluegrass among them. The "progressive" label has also been attached to any band releasing a song that lasts more than seven minutes...and like most things subjective and heavily laden with opinion, there are many bands listed in the annals of music as progressive that I do not necessarily agree with...and others that are not and I cannot understand why.
Talking to some people recently about music in general, I have discovered that what is considered progressive rock, or more specifically progressive metal, was called heavy metal or acid rock when I was a kid. To clarify; I like Tony Iommi and Ritchie Blackmore, but I do not consider them progressive artists. They are what I would consider heavy metal rockers--and there is nothing wrong with that. They are good at their craft but I would never put them in a class with Fripp, Belew, Hackett, Wilson, Satriani, or Petrucci.
There are many new and exciting bands that travel in the progressive lane and many mainstays that have been around awhile...some with large loyal followings and others with a fiercely loyal yet (relatively) small fan base.
This is the circle I want to cross into with this blog; re-visiting older and perhaps less "popular" bands and discovering new ones. I think I have spent too much time in my comfort zone and now is the time to venture into the new world a bit. I am hoping to awaken my senses and broaden my horizons, as well as grow a new appreciation for a style of music that for the most part has been ignored by corporate radio--which may not be a bad thing.
So please keep tuning in...my goal is at least one post per week...more if I get the itch and the time. In the meantime, enjoy the clip below. I found a slew of these "Hitler Gets Angry" parodies on YouTube and they and they are extremely hilarious and well done. But rest assured music is not dead...it just lies dormant waiting for the tranquilizers to run their course. I am hopeful that eventually the beauty that is progressive music will be appreciated by a better educated listener.
Thanks for staying tuned and I hope you enjoy the ride.
Live albums have come a long way...from bass thumping, poor quality bootlegs, to smooth, acoustically perfect pieces of music mastery. There are a few live albums in my catalog that truly stand out. To me there is no point in trying to rank live albums or even to compare one to another--the only way that could possibly be relevant would be if two bands played the exact same set live in the exact same arena within a relatively close time frame. One could then say Band "X" had better acoustics, better sound, more lively audience, blah blah blah...but ultimately what would the point be? The fact (subjective though it may be) is that some bands have put out incredible sounding live albums and some bands--even good bands-- have put out crap that makes your ears bleed. I prefer to listen to and talk about live albums that not only were excellent in their own right, but also moved the bar for what should be expected from a live album.
One such recording that is a must for live album and progressive music fans alike is "USA" by King Crimson, originally released in 1975. King Crimson has released several other live albums; "Earthbound" from 1972 immediately comes to mind. While that LP contains an amazing version of "21st Century Schizoid Man," the overall sound quality is not up to the level of "USA." King Crimson seems to set the bar for something every time they release an album. Despite the fact that the line up has changed a few times over the years there has always been one constant--Robert Fripp. Ever the perfectionist and always the innovator, Fripp has continually been light years ahead of most people on the planet when it comes to music. He seems to be thinking six steps ahead of the crowd when he plays and when he writes. The line-up on "USA" includes John Wetton, Eddie Jobson, David Cross, and Bill Bruford...to me one of their strongest pre-1981...a remastered version of "USA" includes Fractured and Starless...which are well worth the wait.
Jumping ahead just a few years to 1982, and another live album that raised the bar for amazing sound quality and mix is "The Name of This Band is Talking Heads." A two album compilation, this recording completely blew me away when I first played it--and I remember buying it the first day it was on sale. I could not wait to startle my neighbors with a sound so new and incredible even they would be impressed; but alas, I was alone in my contentment. No worries though, and I still enjoy breaking out the vinyl for this listen. The recording was split along calendar and line-up lines; sides one and two on the first album are from live sets recorded in Maynard MA, in 1977, and Passaic, NJ in 1979. The line-up for these shows was the original quartet of David Byrne, Tina Weymouth, Chris Franz, and Jerry Harrison. Sides three and four on the second album are from shows recorded in NYC, NJ, and Tokyo between 1980 and 1981. The line-up for these shows was quite expanded and included Adrian Belew, Bernie Worrell, Busta Jones, Steve Scales, Nona Hendryx, and Dollette MacDonald. The cover of "Take Me To The River" alone is worth the purchase price--and then some.
Going back in time again, Traffic released a fantastic live album in 1971 titled, "Welcome to the Canteen." Every time I play this album I have to remind myself it was recorded in 1971 when I was but an impressionable youth. The sound quality and mixing are extremely high quality. Recorded in London, the line-up included "Reebop" Kwaku Bah on congas, timbales, and bongos. A great live version of "Dear Mr. Fantasy" as well as a nine minute cover of Winwood's "Gimme Some Lovin'" from his old Spencer Davis days...which even in 1971 seemed like a lifetime ago...
Another live gem that was released in 1971 was George Harrison's "The Concert for Bangladesh." Amazing not only for the artists who were there and the incredible performances, but also the fact that it came together so quickly and all the money raised actually went to the cause. Harrison pulled off then what could never happen today--all those egos in one place and not one of them focused on "me, me, me." The line-up included Eric Clapton, Bob Dylan, Leon Russell, Klaus Voormann, Jessie Ed Davis, Badfinger, Billy Preston, Ringo, Jim Keltner, Ravi Shankar, and of course George Harrison. The concert was put together to bring awareness to the extreme poverty and famine that was ravaging Bangladesh at the time. Ravi Shankar and George Harrison put together an incredible line-up to raise money for the UNICEF efforts to help those in the region. Fortunately for those not able to see the show at MSG that August night in 1971, the show was released on vinyl...and later on CD and DVD. Well worth the investment...
Staying in the 1970's, there is one live album that seems to land on everyone's "Five Must-Have Albums If Stranded on a Desert Island" list. This two-piece set of vinyl mastery is (of course) The Allman Brothers "Live at the Fillmore East," released in 1971. From the opening "Statesboro Blues" on side one to the entire side four version of "Whipping Post," Live at the Fillmore has been called everything from mundane and aimless to the finest live rock 'n' roll recording ever put on vinyl. Needless to say, I usually don't give much weight to critics... but the ears don't lie. This is a two album set very much worth owning--the CD just does not do it justice--the sound is too sterile. Duane Allman was truly a master and the band was never as good without him as they were with him.
One more live album, and for me this one sets the standard; I actually have it on vinyl, CD and DVD. I am referring to "The Last Waltz," the farewell concert by The Band. Recorded Thanksgiving night 1976 at the Winterland in San Francisco, this was a show that left you wanting more yet appreciating what you were just served. It wasn't just a concert; it was too intimate for that. Yet it was also more than just a gathering of friends and artists. When you watch the film you can feel the mood, smell the sweat, and all you want to do is hold up a lighter and sway back and forth with the crowd. The opening song, "Don't Do It," is actually the final song The Band played after five hours of food, music, and festivities; you can tell they were emotionally spent but didn't want the night to end any more than the audience did. I remember taking a date to the movie when it first came out. I won't say she wasn't into it, but I will say it was our last date...hey, the heart wants what it wants right now--but music is forever.
So there you have it, a quick review of six live albums. There have been countless others put out for someone's listening pleasure, and if you include bootlegs the number would probably rival the national debt. While I may not have come close to looking at them all or diving too deep into the ones I did look at, you can get a perspective of what these albums are about and hopefully your appetite is whet enough to make you go out and get your own copy. I always recommend vinyl if you can find it, especially for the older albums. CD sound quality may be "cleaner," but I prefer the realistic sounds that only be found with a stylus. The major downside is the inability to sit back and enjoy 1-2 hours worth of live music without having to turn the record over...but that counts as exercise, right?
The live clip below is from King Crimson's "USA." This was actually a tough decision for me as I really like everything I listed here. However, I don't think this album ever got the credit it deserved so I thought I would showcase some of it here for those "less informed" fans...and when the song is over don't forget to listen to the cassette real loud in your car waiting for the parking lot to empty out...
Women have been part of the rock 'n' roll scene since there has been rock 'n' roll. Whether groupies, fans, singers, musicians, producers, or involved behind the scenes, women have been as much a part of the rock 'n' roll world as their male counterparts...they just haven't always gotten their fair share of the credit. So today I pay tribute to but a small cross section of the women who helped shape the world of rock 'n' roll...
I cannot have any sense of credibility if I do not start this list with Aretha Frankin. One of the most powerful voices I have ever heard, Aretha really has no peer. Known the world over as The Queen of Soul, she started out as a kid singing gospel music in her father's church. In 1960, at the age of 18, Aretha started her solo career, but did not gain much notice until 1967 with "Respect." Additional hits "(You Make Me Feel Like) A Natural Woman" and "Think" helped her earn that much deserved title. She has built a long and amazing career, even performing at the inauguration of President Barack Obama in 2009 at the young age of 67. I still love her in the movie "The Blues Brothers" and get a chuckle every time I hear Beyonce, Mariah Carey, or some other wanna be referred to as a "diva." No one--and I mean no one--holds a candle to Aretha.
Darlene Love made a very successful career singing back-up for some of the biggest names in rock after starting her career in the 1960's with the female singing group The Blossoms. She worked with Phil Spector on several hit singles, though song credits at the time were pretty obscure and she never received the recognition or financial compensation she deserved. Love also recorded songs with Sam Cooke, Johnny Rivers, Elvis Presley, The Beach Boys,and Tom Jones. After taking a hiatus to raise a family she returned to the musical circus and worked with Bruce Springsteen and U2 among others.
Dusty Springfield was another pioneer in the female pop star arena, having been very successful in a very much "male dominated" world. Born in England, Dusty managed to record six top twenty singles and went on to become a successful producer as well before succumbing to cancer in 1999--just before her induction into the Rock 'n' Roll Hall of Fame. Dusty sang background vocals on Elton John's Caribou album and also recorded with the Pet Shop Boys in the early 90's. In 1968 Dusty performed a duet of "Mockingbird" with Jimi Hendrix...wish I was in that audience...
Bonnie Raitt has had quite a career and is among the most respected musicians in the industry regardless of gender. Bonnie has played with icons such as John Lee Hooker, Roy Orbison, Keb Mo, Warren Zevon, and Norton Buffalo. She was also a founder of MUSE, an anti-nuke organization in the 1970's that spawned an incredible live album, "The Concert for No Nukes." Early in her career Bonnie was well received by critics and peers--but female guitar players were not the norm...thus, record sales of her early works were tepid. Her cover of Del Shannon's "Runaway" in 1977 brought her some commercial success but critical attack...I guess you can't have it both ways. Her career had a major resurgence starting in 1989 with the release of "Nick of Time," which led to much commercial and critical success...so maybe you can have it both ways--if you are willing to endure three decades on a tour bus. Bonnie has the distinction of being on Rolling Stone Magazine's list of "100 Greatest Singers of All Time" at number 50, and the list of "100 Greatest Guitar Players" at number 89. Well played...
Bonnie Bramlett built a career similar to a wild roller coaster...lots of ups and downs. She and Delaney Bramlett led a great band; Delaney and Bonnie and Friends. Just that name oozes the feelings and attitude of the 1960's. Eric Clapton is an alum of the group and they put out some fantastic music--although somewhat under appreciated. Bonnie had one of those voices that was made for singing--not quite the Janis Joplin rasp but a sound that could cut through layers of stone and still melt like butter on an ear of corn...
No discussion of women in rock 'n' roll would be complete without mentioning Janis Joplin. Although her voice sounded like it came from a scotch soaked, cigarette scorched, life-long singer two weeks older than the planet, she was only 27 when she died. I still stop and what wonder "what if" every time I hear her belt out "Piece of My Heart." The song was not written for or by her--it was originally recorded in 1967 by Erma Franklin--but the cover by Joplin's band Big Brother and the Holding Company forever changed the music scene and made Janis a voice to be reckoned with.
Laurie Anderson is a singer who seems to defy definition and refuses to be categorized. Anderson is mainly recognized as an experimental performance artist...but that seems to me to just be a cop out on trying to pigeon hole someone who can do almost anything. From singles like, "O Superman," "Sharky's Day," and "Babydoll'" Laurie has recorded songs that could fit the experimental, progressive, pop, and electronic genres...and she didn't stop there. Laurie has collaborated with William S. Burroughs, Jean Michel Jarre, Philip Glass, Adrian Belew, Brian Eno, Peter Gabriel, and Lou Reed (whom she married in 2008) among others...the list of artists I am aware of--and I am sure I don't know them all--runs far too long to be included here.
Nona Hendryx is probably known to most as one third of LaBelle, the female singing group from the 60's and 70's. What is probably less known is LaBelle opened for The Who on tour in 1971 and The Rolling Stones in 1973. These ladies could definitely belt out a tune. Hendryx went on to a very successful solo career when LaBelle broke up in 1976. A few solo albums, leader of the "progressive art" group Zero Cool, collaboration with Talking Heads, and work on several soundtrack albums have enabled Nona to leave her mark in the music world.
Perhaps a lesser known artist I would like to mention here is Joanna Connor, an incredible guitar player and singer. I was fortunate enough to be starting my culinary career in Worcester MA. when Joanna was beginning to make her mark in the music world. I was not only able to see her perform live many times, but I also knew her personally as we worked together at a restaurant back in Wormtown. She is very well respected by those who know and her guitar playing is on a par with anyone regardless of gender.
I could go on seemingly forever with a grocery list of female artists...this list here consists mainly of women who made their most notable contribution in front of the mic...but many others have been just as successful playing in a group, writing, and/or producing. Carole King, Tina Turner, Ella Fitzgerald, Annie Lennox, Joni Mitchell, Tina Weymouth, Chrissie Hynde, Patti Smith, Rickie Lee Jones, Kate Bush, Mavis Staples...you get the point. Joan Jett formed The Runaways with the late Sandy West when she was 17 (Sandy was 15) and went on to later form Joan Jett and the Blackhearts.
Women have played a significant role in making rock 'n' roll the machine it is today. I salute and respect the women who blazed the early trail and enabled those who came later to be as successful as they are. I just hope that those coming up are exposed to and appreciate the work and efforts of their predecessors. Without the Aretha Franklins, Billie Holidays, Tina Turners, and Ella Fitzgeralds leading the way, the music world would never have known those who followed--and that would truly be a shame. As has been the case through history, the women have had to work twice as hard to gain half the respect.
I posted two videos here...mainly because I can. The first is Aretha Franklin...I was afraid the music gods would melt my vinyl if I did not include her. I also posted a clip of Joanna Connor for those who appreciate great musicians regardless of dressing room and may not have heard her play previously.
Every once in a while a band comes along that makes you wish time could stand still. Even when you find out the record company had a hand in putting a particular band together in an effort to sell records, the result is so fantastic; the sound, song writing, atmosphere...everything just seems to click. There are also bands that got together simply because the members thought it would be fun to work together, and that has made for some excellent sounds on vinyl as well. Of course, there are some "Super Groups" that were better on paper than in the studio...
I believe in keeping things positive, so I am compiling a list here of super groups that earned the moniker. In no real particular order--except for perhaps number one--here is a list of what I consider some of the best super groups assembled...whether by chance, determination, or a desire to clean up financially.
Super Group is defined as a band made up of members who were successful solo artists and/or members of other successful bands. A very simple definition really and a clean way to sum it up. So on we go...
#1- Cream has been hailed by many as the first super group, and it is certainly one of the best. Eric Clapton had recently left John Mayall's Bluesbreakers, Jack Bruce and Ginger Baker (as famous for their fights as they were for their music) had played with Manfred Mann, Blues Incorporated, and the Graham Bond Organization. Together this trio brought an ever appreciative audience such classics as "White Room," "Sunshine of Your Love," "Strangebrew," and Tales of Brave Ulysses." They were together for less than two years, breaking up permanently in 1968, yet managed to sell over 15 million albums...not a bad career in and of itself. Their blend of traditional and modern blues, hard and psychedelic rock, and that ever popular wah-wah pedal, made Cream truly a band for the ages. However the constant fighting between Baker and Bruce almost doomed the band from the start.
#2- Blind Faith was another group that successfully brought Eric Clapton together with Ginger Baker...and added fellow rock heavyweights Steve Winwood and Rich Grech. I believe Winwood had left Traffic again; the "John Barleycorn Must Die" LP started out as a solo project...and more musical magic was thrust upon the masses. The band's only album (self-titled) was released in 1969 and included such gems as "Can't Find My Way Home," "Had to Cry Today," and a phenomenal cover of Buddy Holly's "Well Alright." The album itself has quite a history--and not only for the music. The original cover was of a topless young girl rumored (falsely) to be Ginger Baker's daughter. Banned in several countries including the US (where an alternate cover was used), Blind Faith managed to sell 500,000 copies in the first month of release...which fueled the appetite of the record labels for more groups like this that could bring in big sales fast. But as fate would have it, another super group was doomed from the start...mix high expectation levels from the public, huge sales expectations coupled with the demand for a steady flow of albums to sell from the suits behind the scenes, four huge egos, and you have a fairly volatile potion just waiting to blow...
#3- Bad Companywas the spawn of Free, where Paul Rodgers was the lead singer and Simon Kirke the drummer. Not often thought of as a super group per se, the band was comprised of musicians who were successful in their own right prior to coming together in Bad Company. Boz Burrell previously played bass with King Crimson and Mick Ralphs was with Mott the Hoople on guitar. The original BC line-up lasted nine years--a long time for a super group--and released several excellent albums. Despite their huge success and popularity, album sales were a roller coaster and in 1982 Paul Rodgers wanted out. The band reformed in 1984 without Rodgers, who by then was busy with The Firm. Bad Company continued on without the success of their original line-up until Rodgers returned in 1998. Different line-ups ensued as Burrell left and Kirke retired from live performing. As good as they were, they never recaptured that original spark...
#4- Emerson, Lake, & Palmerwas known just as famously as ELP, and had originally been put together as a super group for the ages. Built on excess, this trio sold out a 20,000 seat show before ever releasing an album...not an easy thing to do. Coming from the Nice, King Crimson, and Atomic Rooster, the band infused jazz, electronics, keyboards, and classical music into their sound. ELP also helped bring progressive rock to a more mainstream audience. But alas, as the story is so often told, ego trips and in-house fighting led to the dissolution of another gathering of exemplary talent. They released two dismal albums (for all the talent they had) to meet contractual obligations; "Love Beach" and "In Concert." Over-the-top percussion and synthesizers upon synthesizers brought ELP as many detractors as fans. I for one enjoyed their music, and still consider "Tarkus" one of the better progressive albums I have heard. Break-ups and reunions through the 80's and 90's marked the end of what was intended to be a musical dynasty.
#5- Travelling Wilburyswere as much fun as they were good; unfortunately the untimely death of Lefty Wilbury before the second album was recorded led to an early break-up of the band. This was a super group that was able to check egos at the door and just have some fun. George Harrison, Bob Dylan, Roy Orbison, Jeff Lynne, and Tom Petty each had reached superstar status in their own right, so there probably wasn't much left to fight about. Although two studio albums were released, the first was much more commercially successful. Nelson Wilbury has also passed through the veil, so a reunion is highly unlikely. The one super group I can think of that never toured, the Travelling Wilburys had a great sound that was just the right mix of five talented musicians. Their first hit, "Handle With Care" was originally recorded as a B-side for a George Harrison single...but the band decided the song was too good to lay on the wrong side of the turntable and put out their own LP instead.
#6The Plastic Ono Band formed in 1969 and produced some very good albums. Basically The Beatles sans Paul McCartney along with Yoko Ono, Klaus Voormann, Alan White, Keith Moon, and Eric Clapton. Quite a line-up and quite a band. The band was widely perceived as a release for Lennon after the break-up of the Beatles, and the live performances were well received.
#7Hindu Love Gods took R.E.M., removed Michael Stipe, and added Warren Zevon. Their cover of "Battleship Chains" on the one album released in 1990 is fantastic.
#8 Liquid Tension ExperimentMike Portnoy, Jordan Rudess, Tony Levin, and John Petrucci put together some amazing progressive metal on the first two albums LTE I and II, and followed that up with a third release in 2007 called "Spontaneous Combustion." Most of the songs on this third album were improvisational jams. They also released a fourth album, "When the Keyboard Breaks: Live in Chicago" under the name Liquid Trio Experiment 2." This was a live recording of improvised music recorded when Rudess' keyboard malfunctioned on stage and he was unable to fix it. Sometimes the best things are not planned...
#9 Chickenfoot led by Sammy Hagar, the original trio (along with Michael Anthony and Chad Smith) added guitar master Joe Satriani when they realized they were on to something big and needed to do things right. Their first album was released in 2009...and despite being an additional project for Smith, who also plays drums for Red Hot Chili Peppers, the band did release a second album and has been touring. Apparently Chickenfoot is just too much fun and too damn good to stop the music...
#10 The Super Super Blues Bandcame together in 1967, made up of Bo Diddley, Muddy Waters, Little Walter, Otis Spann, and Howlin' Wolf. I just wish I was old enough in 1967 to listen to, enjoy, and appreciate what their sound must have been like...if only...
So there you have it; a list of ten Super groups in no particular order...because ranking them would be akin to asking who the better guitar player is--does it matter? Each has a style and their own particular sound. And in the case of the ten groups listed here, each is better than the sum of its parts. Trying to decide which band is better takes away from the reason the bands were formed in the first place--the music.
I know I have listed only ten groups here and there many, many more...if you have a favorite that isn't listed here my apologies...does not mean I do not like them. Quite the contrary; I am not too proud to admit I might not have heard them play yet. In that case, please fill me in as I am always ready for more music lessons. There are also some super groups that in my opinion are really not-so-super...but I will refrain from listing them here. No point in arguing and since it is my blog I get to choose what goes into it.
I chose the track below as much to educate me as to entertain you. I have heard the Super Super Blues Band on the radio a few times, mostly on syndicated shows about the history of the blues. I was pleasantly surprised (but not shocked) to find there were several posts on YouTube for this band. The way they interact live along with the playing is magic...luckily it was captured on tape and laid to vinyl so the masses would be able to appreciate it too. Enjoy...
I know you remember your parents hating the music you listened to as a kid--but do you remember why? I mean the real reason...I think part of it was a fear of drugs and a total lack of understanding just what the heck was going on...let me explain-
My Mom was a huge fan of Tom Jones, Engelbert Humperdinck (I can't believe I just wrote that), The Beach Boys, and The 5th Dimension. My Dad listened to Neil Diamond, Andy Williams, Perry Como...you get the picture. Pretty middle-of-the-road and predictable. Then along came the Beatles in 1962 and my parents already had three kids and were locked into the "Hunt for the American Dream." This left no time to explore the music scene--heck they couldn't explore any scene that did not include diapers and nap time...so I believe the music kept evolving but they got off the carousel.
Anyway, along comes the 1970's and us kids (now five strong) are starting to search for our own identities and things and people we can connect with. Music was an obvious step in the walk through youth, and rock 'n' roll had not only grown--it had changed. Man, had it changed. Rare Earth, Steppenwolf, Iron Butterfly, Jimi Hendrix, Derek and the Dominoes, Pink Floyd, Led Zeppelin, and countless other bands were filling the airwaves of underground radio stations. My parents didn't know what to make of it, and quite frankly were too busy trying to hang on to what they had to really take notice. But as a kid time was all I seemed to have, and I was ready to explore.
I can honestly say now that there is no real rhyme or reason to the music I listen to. I do profess a strong connection to progressive rock and a strong disdain for country, rap, and disco. However I respect people who make their living in those genres. For example; Chet Atkins is a great guitar player, I just don't appreciate that spectrum of the music world. So back on course...most of what I listen to has a connection to some part of my life, which is why there are bands I do like and those I do not...even if it seems the choices are illogical based solely on who the bands/musicians are. Remembering that the title to this blog installment is Glamrock, I will now try to explain my connection to this wing of the industry...
Glamrock was initially something that my parents hated. They thought it was a waste of time, money, and energy, and the musicians were all talent-less and drugged up "punks in girls clothes." But I knew better; The New York Dolls, Lou Reed, T. Rex, Gary Glitter, David Bowie, Roxy Music, and Alice Cooper among others were a slap in the Victorian face to all that was normal. Gender lines were smudged and the male/female roles would never be the same. But from the smoke and glitter arose some very talented musicians. Phil Manzanera, Brian Eno, David Johansen (AKA Buster Poindexter later in life), Andy Mackay, Dave Hill, Marc Bolan, and the aforementioned David Bowie are just a handful of the talent that was alive and well wearing make-up, flashy clothes, and sky high boots.
So while my first attraction to the music was the reaction from mom and dad, I soon I realized there was something to this glamrock stuff. David Bowie's Diamond Dog days were some of his best, and prior to "Love is the Drug" not many people in the US knew much about Roxy Music. T. Rex scored big with "Get it On (Bang a Gong)," Gary Glitter was doing his thing...and does anyone out there remember the band Mud? The novelty of Glam wore off around 1976 but the music lived on...and a new breed of band was emerging as well. The Tubes came out of San Francisco in 1975 with "White Punks on Dope," Sweet came from across the ocean around 1974, while Mott the Hoople and Be Bop Deluxe were busy making their marks. The glamrock "movement" was still alive and well; I just believe there was more emphasis on the music and less on the shock value...even Fee Waybill had toned it down from his early days. Bill Nelson is another guitarist with a stellar resume.
Like all things rock 'n' roll, some of the bands whose roots were sewn in glamrock soil were not so good--and some just plain sucked (IMO). Bay City Rollers, Poison, Hanoi Rocks, David Essex, and Kiss are not bands and/or musicians I would choose to listen to...but many others did. I prefer bands and musicians that have substance; I also understand that is an extremely subjective statement. I believe the old saying is, "One man's fruit is another man's poison."
Glamrock was an important era in the evolution of rock 'n' roll. It refused to follow norms, shocked our parents, and was fun to listen to; it also produced some musical heavyweights. In the late 70's and through the 90's though, it morphed into something that pushed the envelope even further...Marilyn Manson and Bon Jovi for example...not my cup of meat but to each his own.
What separates the haves from the have-nots for me is talent, and again I understand that is a subjective thing. Artists like Brian Eno went on to accomplish more in the music industry than many artists could ever hope to imagine. Phil Manzanera has performed with John Cale, David Gilmour, Steve Winwood, and Godley & Creme among others. David Johansen went on to be the band leader for Saturday Night Live in the 80's under the pseudonym Buster Poindexter.
Yeah it was a fun time, but like all good things it came to an end. Some bands still live on and most of the musicians who still have a pulse are performing somewhere, but it ain't the same. Somehow the thought of a 70 year old Iggy Pop leaping around shirtless makes my retinas bleed...
I found this clip on YouTube...The New York Dolls in their prime...should be self explanatory. This one is for you Dad...
OK; time to switch gears a little...focus on a different "genre." I have been rambling on about classic bands, great guitarists, musicians who played their last gig, the ultimate super-group, and the sheer beauty that is progressive rock. I think maybe it's time to let loose, put on some ripped jeans, crank the amps up to 11, rattle the windows, and just rip it up. That's right; time for a little punk!
From the late 70's through the mid 80's, many a band tried to wear the punk moniker...but true punk was a world unto itself. At some point there came a division in the ranks and the term "New Wave" was born. I know my parents couldn't tell the difference--they hated it all. But for me there is no comparing Squeeze and The Pretenders with The Slits and Black Flag...
Some bands landed somewhere in the middle; Siouxsie and The Banshees, Gang of Four, Lene Lovitch, Romeo Void, (early) Elvis Costello, and the Buzzcocks could arguably fall on either side of the discussion...but I would classify this group as New Wave artists--not that there is anything wrong with that. Some crossed into multiple genres and built careers that are pretty damn impressive. Still others, Joe Jackson, Nick Lowe, The Three O'Clock, XTC, and Ultravox among them, are a little harder to define. Not Punk, not New Wave--and please don't get me started on that "Romantic Era" crap. Every time I hear someone mention that term out loud and there are no history books on the table, I throw up in my mouth just a little bit...
So back to the topic at hand. I believe punk was born out of necessity; disco was emerging around the same time--and starting to get a death grip on the airwaves. I remember flipping the dial in my youth desperately trying to find something that wasn't making my ears bleed. I may be labeling myself here--I like to think that I am open to (almost) all things music--but there are still a few genres I am unable to find pleasure in...and pure unadulterated disco is one of them. One can only listen to so much Donna Summer, Lipps Inc. (get it?), and the Bee Gees before doubting the meaning of life.
Punk brought the establishment to its well dressed knees. No one really knew what to make of it, and most of the bands that really had something to say were not getting much airplay outside college radio stations. Then along came 1977 and the axis of the music world tilted just a bit...The Sex Pistols released "Never Mind the Bullocks Here's the Sex Pistols," Talking Heads released "Talking Heads: 77," and The Clash released their self-titled debut. Radio stations outside New York and L.A. were not too sure what to make of it. I still fondly recall making a request to the local radio station where I lived to play "Psycho Killer" only to be told, "We don't play that shit" by the deejay...my how times have changed... I remember my dad thinking it was therapy session time when I brought two records home one day..."Buddy Holly Lives" and the aforementioned "Never Mind the Bullocks;" I think it put a new spin on "shock and awe."
But punk music was (fortunately) here to stay. Bands like The Ramones, Dead Kennedys, Killing Joke, and The Exploited were making their mark and not going away--quite the contrary. Looking back, one could say these bands were blazing a trail for other punk bands, much the way Dusty Springfield and Nancy Sinatra blazed a trail for women in rock 'n' roll. Many excellent, and not-so-excellent, bands came from the fruit of the 70's punk tree. Spin Magazine at one time rated The Ramones the "seventh best band in the world" and Pete Townsend once referred to The Clash as the only legitimate band with something real to say. Green Day owes a debt of gratitude to Johnny Rotten, Joey Ramone, and Joe Strummer.
Punk was a necessary step in the evolution of Rock 'n' Roll...much the way onion soup gratinee was a necessary step in the evolution of cuisine...something great that led to something better. Mainstream music started to get pretty stale during the 70's; top 40 was dominated by shallow pop tunes and record labels were aiming for the middle of the road--what I call the "Vanilla Section" of musical taste. I know there was still still some good music out there--Pink Floyd, Yes, The Allman Brothers, and a host of others were still cutting great albums--but the airwaves were clogged with shallow 3-minute songs about nothing...and then along came punk, and just in time...
The Clash were a breath of fresh air on the music scene, and Talking Heads went off in a direction previously unexplored. Their version of "Take Me to the River" still rates as one of the best covers of all time. While The Clash sang about defying authority and standing up for what you believe in, Talking Heads were exploring new musical ground with every LP released. As is the case with most things in life, some bands lasted long enough to put one LP together and others outlasted the celebration entirely...still others stayed the course of the local bar scene, building a loyal local fan base but little else. Some bands made a quiet noise; leaving their mark and moving onto better things while never being quite able to get that smash hit that would have propelled them to stardom.
If anything important came from the punk movement--and certainly something did--I believe it was a determination to never give in to what we are told to think, say, and do. Punk gave us our nerve back; music had been numbed-down to meaningless bubblegum ditties that were synthesized and so smooth you slid right off. There was no depth, no soul, no guts. Even some of the stars that cut their teeth in the early 70's were jumping on the disco bandwagon...and then a movie came out in 1978 that almost made me throw out my turntable...Sergeant Pepper's Lonely Hearts Club Band. It wasn't so much the movie itself--I knew enough to stay away based solely on the movie trailers--it was who was in it that crushed my spirit. Elvin Bishop, Johnny Winter, Alan White, Bonnie Raitt, John Mayall, Wilson Pickett, Nils Lofgren, and Nona Hendryx were among a myriad of stars that performed the title song at the end of the show. Billy Preston actually had a role in the movie. George Martin even worked with Robert Stigwood to put this celluloid cancer together...this to me was the proverbial straw that broke the camel's back.
The world needed a music transfusion and punk was in the right place at the right time. While The Ramones were busy kicking the shit out amplifiers and each other, The Clash was attacking everybody and everything held in any regard...and The Sex Pistols just shot a load of heroin into the whole thing. Punk was the kid brother who kicked the cat when Aunt Alice wasn't looking, laughing the whole time and flipping everybody off while you took the blame for it.
Punk was the next step in the evolution of Rock 'n' Roll. New genres and hundreds of bands made their mark post-punk; some good and some not-so-much...but all owe their existence to the thumb in the eye that is Punk Rock. I chose the post below mainly because I believe that while it is impossible to capture the entire punk movement in one song, this comes about as close as one can.
I'd flip you off, but it almost seems redundant...
Been away too long...sorting through life and the debris that clutters the halls of my head...but I am back and looking to get this gig into high(er) gear. Staying on that theme, I have often thought about who I would choose if I were able to build a band...and the more I think about it the more I realize it ain't as easy as it sounds.
My first decision is to make this an expanded band...too much talent around to make this a five-man gig and besides; it is my dream...vocalist seems like a logical starting point so I will obviously skip past the microphone and move to the back of the stage...right to the drums and percussion. There are so many options here that I almost don't know where to begin...so I thumb through my vinyl collection for a little inspiration. Of course, I stumble across many albums that list Bill Bruford in the credits--and I have made my first draft pick.
Bill Bruford is to drumming what foie gras is to pate; the standard-bearer. I played "Close to the Edge" so many times as a kid I think my mother had it memorized...and Bill quickly moved from that drum stool to record "Red" with King Crimson...an impressive resume on its own; but he didn't stop there. Mr. Bruford has released extensive solo work, played all the drums on Chris Squire's "Fish Out of Water," served a brief stint with Genesis, and formed his own band, simply called "Bruford." Moving into the jazz arena, Bill played with Earthworks, owns two record labels, still plays with Yes and KC (no, not the sunshine band smart-ass) in an on-again/off-again way, and released his autobiography in 2009.
To fill this section of the stage, I bring on board Steve Scales first. I always admired his ability to bring albums to life. His addition to Talking Heads was a tour I still play over in my head, having been fortunate enough to catch a few stops. What he was able to do with the "Remain in Light" album live was nothing short of astounding. Steve also played on solo projects by Heads members Jerry Harrison and David Byrne as well as the side band Tom Tom Club. Steve also added his playing style to the Psychedelic Furs, Violent Femmes, and performed with Yoko Ono and Bryan Ferry among others.
Every band (at least the ones I design) need more than one drummer. To help Bruford round out the drumming I add Levon Helm. In reality (if this was reality), I would be adding everything here to Levon Helm's band. To do this in reverse is almost sacrilegious...Levon Helm is a rock 'n' roll drummer in the truest sense of the word. He left everything he had on the stage at the end of the gig. The Band put together classic album after classic album and Levon was at the forefront of the group with Robbie Robertson--not many drummers carried the clout in their band that Levon did in his. He was not only the drummer, he was multi-talented; playing keyboards, harmonica, even singing lead vocals. Levon also tried his hand at acting, but that is a story for another blog...
Moving to the right of the drummer, I see a few bass guitar players...Jaco Pastorius and Chris Squire come to mind immediately, but I need to expand in my blogging...these artists and masters of their trade were mentioned in an earlier post. So lining up along side these two I would like to see Alan Spenner, but as is the case in this business, Mr. Spenner has moved to that great gig in the sky. Playing with everyone from Joe Cocker at Woodstock (he was a member of Joe's original backing band The Grease Band), Roxy Music, and Kokomo, Alan brought a bluesy soul to the bass that made focusing on the bass guitar a necessary part of the music listening ritual. Another bass player I have always enjoyed listening to is Roger Waters...both during and after his Pink Floyd days. I always try to steer clear of why bands go through the messy break-ups they do--too many fragile egos involved and all I want to do is enjoy the sound. I would also have to include Boz Burrell...another member of the rock 'n' roll died-of-a-heart-attack too young club. Boz played with King Crimson and Bad Company and had a great blues voice. He performed in the late 60's with Ritchie Blackmore, Ian Paice, and Jon Lord...remember deep Purple?
OK...so the drum kits are manned and the bass line is keeping the discipline. Let's move to the keyboards and save the lead/rhythm guitar debate for later. I don't believe any band is complete without Sly Stone and Billy Preston pushing each other to the most extreme limits on keys...I can still see Preston leaping up and dancing at George Harrison's Benefit Concert for Bangladesh...the producers had to be wondering where the hell he went when the keyboards were unmanned and the crowd was going nuts...this being decades before technology placed a camera every 15 feet along the stage so social media can get instant feeds. I would be selling the band short, however, if I stopped there. At the risk of requiring 300 feet of stage triple-tiered to accommodate all the equipment, I would also give Keith Emerson, Jordan Rudess, and Garth Hudson stage space. Emerson, I am sure, is well known from his Atomic Rooster and ELP days, and Jordan has been building quite a resume for himself with Dream Theater and Liquid Tension Experiment...of course gaining entry into Julliard at the ripe old age of nine is an impressive stat as well. Garth is a master of all things piano and can play almost any instrument put before him. He was classically trained in his youth and was a pillar of The Band. Of course Brian Eno must get stage presence as well...I could ramble on for days as to why...but if you don't know his music spend a few days on YouTube catching up....
To avoid having this particular blog entry ramble on forever--it has been in the making now for about two weeks--I will take a few liberties and combine all horns, brass, and accompanying instruments into one category. Starting with harmonica, I would have Norton Buffalo front and center. Norton played for almost everyone it seems and was a member of the Steve Miller band for over 30 years. He toured and recorded with Bonnie Raitt, Elvin Bishop, The Doobie Brother, and Commander Cody among others. Buffalo also released a few solo albums during his time...No horn section could be complete without Chris Wood, co-founder (along with Steve Winwood) of Traffic. Chris played flute and saxophone in his day, and performed with Hendrix, Christine McVie, Carl Palmer, and Ginger Baker among others. Andy Mackay is another horn player I would enlist just for the pleasure of having an oboe in the band. A founding member of Roxy Music, Mackay also played with a who's who in the 70's and is one of the few people on the planet that wore a mullet in any respectable fashion. And for more fun on the edges of the stage, I need Eddie Jobson playing violin--although he could very aptly sit at the keyboard as well.
So now we are in need of guitar players and vocalists, and the stage is already pretty crowded. Just because I don't want to argue and this post is getting a lot longer than I intended (maybe I should have split it into Part I and Part II?), I will list in no particular order the axes I would choose along with their masters...so here goes: Les Paul (who made this entire post possible), Brian May, Paul Weller, Steve Cropper, Robert Fripp, Adrian Belew, Bill Nelson, Bonnie Raitt, Robbie Robertson, David Byrne, David Gilmour, Ry Cooder, John Hiatt, John Lee Hooker, Eric Clapton, Muddy Waters, and B.B. King. But why stop there?! Since the stage is already crowded, let's add Jon Anderson, Laurie Anderson, Andy Summers, Jeff Beck, Joe Satriani, Steve Vai, Phil Manzanera, and Paul Rodgers...who was born to sing in a rock 'n' roll band...
So there you have it, the band I would build if I could build a band...it is big, flashy, proficient, loud, precise, crazy, bluesy, rockin', obscure, and most importantly of all--mine. I know I will never see all this talent on one stage--at least not in this universe--but it sure is fun to imagine the nine-day concert it would take to get all the music in.
No doubt I missed several, dozens, even several dozen of other very talented musicians...but to truly build a band like this is a thing of subjectivity...and subjectivity by definition leaves itself open to bashing, disagreement, and arguing...which is (of course) the other reason for posting this.
So break out your vinyl if you have any (I have a strange, obsessive, sentimental attachment to mine), cassette tapes, CD's, or reel-to-reels and get a black light, a Bic lighter, and a frisbee. Sit up on the back of an old sofa that is light years past comfortable with the cold beverage of your choice, and spend a weekend reminiscing...and don't be afraid to holler a little and demand an encore. The video I added here is the only one I could find with any kind of "entourage" that seemed fitting. Enjoy!
