Whatta Punk!

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...

 

If I Could Build a Band

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!

Build on a Solid Bass

OK, lots of ugly happening on the planet lately; North Korea is pissed at the world again, Margaret Thatcher passed away, the Country Music Awards were on TV, gay marriage and gun rights are dominating US politics...there has got to be something we can do to escape--and by golly there is!

If you want to have a sound foundation, you have start with a solid bass...pun intended.  For a long time I believed if I was ever going to be in a band I could always play the bass--and then I saw Chris Squire play with Yes in "The Round" in 1978...so much for trying to do that...

Squire is one of a very few elite bass players that have elevated the instrument to a level worthy of royalty.  When I think of great players I think of the aforementioned Chris Squire, Tony Levin, Jaco Pastorius, John Wetton, Jack Bruce, Geddy Lee, Keith Emerson, and Roger Waters.  I am absolutely sure I left some great names off my very short list and for that I apologize...I guess.  I will admit that my guilty pleasure is watching Tina Weymouth of Talking Heads play...and before you "Beatle Freaks" scream blasphemy, I believe that while Paul McCartney is a well known bass player, he is better known as a song writer.  Even when the Beatles broke up and he formed Wings and went solo, he did not do anything that put the bass guitar front and center.

Many bands have  a bass player out of necessity; few bands make it big without one...The Doors being a noted exception.  Still other bands build around the bass.  Chris Squire played in Yes like he was lead guitar and did things I can only dream about...and if anyone elevated the bass to a level of royalty it was Tony Levin.  His work with King Crimson, Liquid Tension Experiment, and Dream Theater alone make him a charter member of rock royalty.  He also has this little gig known as The Stickmen that is to music what Dom Perignon is to champagne.

Certain bass lines always evoke fond memories too...of course everyone probably knows the opening bass line to Deep Purple's "Smoke on the Water" when they hear it, and the opening riff to "Love is the Drug" by Roxy Music always grabs me by the listeners...and you can't forget "One of These Days" by Pink Floyd.

I still have my vinyl copy of "Fish Out of Water" by Chris Squire.  I remember sitting in the third row at the Providence Civic Center back in '78 watching Yes perform and Squire was into one of his famous solos...and then this little trap door in the stage opened and Squire gently passed his bass to a roadie under the stage and retrieved another--and I thought to myself (and possibly out loud) "I  !!@*&?%$!!  want that job!!"  I actually tried to look up Yes and Chris Squire--this was before Al Gore invented the Internet--so alas, I was unsuccessful in my early quest for a future in Rock 'n' Roll.

Good bass players elevate playing to an art worthy of listening to as the focal piece of the band.  Geddy Lee is able to not only play the bass at an amazing level, he also plays keyboard and sings lead for Rush.  His style is unique and he plays like he is on fire at times...

Jaco Pastorius was absolutely amazing.  He was one of the best session musicians of his time, and played with Weather Report among others.  He was never guilty of being shy or introverted--often claiming to be the best in the world.  One of my favorite quotes of Jaco's when stating how good was, "I ain't bragging, I'm just telling the truth!"  Unfortunately fame claimed him much too young...

So dim the lights and enjoy the clip below.  Keep telling yourself it's only a bass--how hard can it be to play?    Then grab the bong and keep dreaming...

The Human Element

While checking the latest in world news recently (my daily dose of hopelessness), I discovered that two giants in the music industry have joined that "Great Gig in the Sky."  Alvin Lee and Peter Banks both passed away; leaving a void in the music world I will surely miss.

Both were unique and took different paths in their careers.  Alvin  Lee seemingly came out of nowhere and made his name at Woodstock in 1969.  Born in England, he played in bands in Germany and England.  His band "Ten Years After" came about in 1968, and Alvin's lightning fast guitar playing on "I'm Going Home" at Woodstock--which was captured on film and made its way into the documentary movie--pretty much made him a household name.

Peter Banks rose through the ranks of rock guitarist on a much different path.  The original guitarist for Yes, Banks played on the band's first two  albums, but was on the outs when the band toured to promote the second album, "Time and a Word."  In 1970 Banks was replaced by Steve Howe, and Banks went on to record with many other musicians and bands.

Two different paths, two successful careers.  Two very different, well respected, hard playing guitarists.  I understand that things change; life has cycles and the clock never stops clicking off those precious seconds/minutes/hours/years/decades...I may not like it...but I get it.  The music world has changed too; neither Alvin nor Peter died of drug overdoses and Mick Jagger will turn 70 this summer (marinate on that last one awhile).

On a more somber note, neither guitarist got much press when they passed...probably their own misfortune for not dying of alcohol poisoning or drug overdoses.  Cirrhosis and high speed car crashes are much more newsworthy than a heart attack or cancer I guess.  I mention these two guitar players here because they played during a time when rock 'n' roll was still growing and learning.  Bill Haley, Elvis Presley, The Beatles, and The Rolling Stones had all either made their mark and were well on their way to building their wings in the R&R Hall of fame.

Bands like Yes and Ten Years After were in their infancy and about to leave an indelible mark  no one could have imagined.  I appreciate and respect guitarists like Alvin Lee because they are artists in the same manner as a Picasso--they stand out and make you notice them.  Banks, on the other hand, was more of a Salvador Dali; the finished product made you think about music in a way you had not before you heard him play.

I remember the first time I saw the Woodstock documentary.  Two performances stood out for me; Santana's "Soul Sacrifice" with a kid named Michael Shrieve and his amazing drum solo, and Alvin Lee tearing it up on "I'm Going Home."

For Banks it would be "Astral Traveler."  Time and a Word is an album that true prog fans appreciate not only for what it was, but also for who was playing.  Listening to Banks play with Squire, Kaye, and Bruford  makes me wonder what could have been if egos did not get in the way and the man who named the band was not asked to leave.

So we fans are left here to enjoy the life work of two great guitar players.  Two different styles, two different methods, two different careers--and many a very appreciative fan.

 "R.I.P."  sounds too passe, even insincere..."Rock On" sounds juvenile...so I will simply say this; I was fortunate enough to have listened to two of the early greats in the world of rock 'n' roll.  I never had the opportunity to see either one perform live but I feel no less fortunate than if I had.  Music lives on, legacies stand on their own, and vinyl does not lie.  So please enjoy one more listen...

Dim the lights and please...and no standing in the aisles....

Screamin' Guitars

"Sex, Drugs, and Rock 'n' Roll."  When I was a kid that was the mantra of most teenage boys...and unless you were there you can't prove otherwise...

OK, so I wax nostalgic for a time when the music was loud, the guitars were screamin', life was nothing but a series of sunrises and sunsets, and time was on endless supply...youth truly is wasted on the young.  But while most of the girls were swooning over the velvet sounds of Chicago and the boys were banging their heads to Black Sabbath, I was somewhere in between.  I like loud, shredding guitar--don't get me wrong.  I just get bored with bands that set the amps on 12 and play loud for the sake of playing loud...at least that was how I justified my position then and I stand by that today.

A lot of guitarists--good guitarists--can play loud and fast with the best of them.  Just find me a player who can not only make the guitar scream but can also make it sing, and that is the amp I will set my beer on.  I will admit there were many times I simply played the stereo loud to piss off my parents; heck that was easy...the challenge in my head was to find something to get under their skin with that was really loud and worth listening to.  As I have grown I have gained a larger appreciation for metal...but metal done more in the progressive style...from King Crimson to Porcupine Tree.  As a youth I listened to a lot of "heavy metal" but was never really a huge fan...what can I say?

While I have always been a fan of the guitar, I have not always walked in lock-step with the masses.  I respect many players who I don't necessarily want to sit and listen to.  A quick flip through the vinyl (and plastic) in my collection may surprise the average listener as much for what is there as for what is not.  Lots of Stones, Clash, The Band, King Crimson, Dream Theater, Yes, Talking Heads, ELP, and Steely Dan among others...but no Led Zeppelin or Who.  I accept that these bands helped define a generation; it's just that the novelty of  listening to "Stairway to Heaven" 17 times a day wore off fast for me...

So today I turn it up a bit and take a listen to some "intelligent" guitar.  I have been busy digging through my boxes of vinyl looking for something that will take me back to a favorite past time; sitting up on the back of the sofa with the lights off as I traveled to the show.  Of course, I shall refrain from holding up a lit lighter in my own house.  This will not be my only trip to "Planet Guitar;" there are too many great players to try and squeeze into one post and besides, it's my blog...

Joe Satriani is one of those rare guitar players who can play anything, anytime, anywhere.  He mixes smooth riffs with "in-your-face" shredding while allowing the listener to just stop thinking and enjoy the ride.  I consider Satriani to be in a class with John Petrucci, Steve Vai, Yngwie Malmsteen, Eric Johnson, and Adrian Belew.  Perhaps a few others--but very few.  Technically proficient and not afraid to venture into new territory, Satriani has set a standard for rock 'n' roll guitar playing that few will reach. He has been student, player, and teacher; inspired to pick up the axe when he was 14 by the death Jimi Hendrix.

Satriani has played with the well known and the well respected.  He was Mick Jagger's guitar player on Jagger's first solo tour in 1988 and has also worked with Robert Fripp.  Satriani appears in the credits of  many a band's album playing guitar, adding background vocals, and as producer.

I believe Joe is a fan of science fiction based on the names of his albums and songs..."Surfing with the Alien", "Not of this Earth", "Borg Sex", and "Back to Shalla-Bal" all seem like references to something a bit "extra-terrestrial..."  I am just glad he chose Mother Earth as the launching pad for his career.  Joe has also recently been involved with the band Chickenfoot, whose first release came out in 2009.

I chose "Surfing with the Alien" for this post because I like the way Satriani uses the guitar to its fullest.  Joe squeezes everything musically there is out of his instrument and then goes back for just a bit more--he has truly learned from his inspiration.  This particular version is a live cut, which is usually preferred when the sound quality is as superior as this one. Watching Satriani play gives me the definite impression he plays guitar because that is what he was born to do--much like why Rembrandt painted and DeNiro acts.

So sit back, dim the lights, climb the sofa, and take a ride to that concert hall in space...you can even hold up a lighter if you are so inclined...

One Hit Wonders

Ever notice how some bands come out of nowhere, smack you in the face with something new you just can't get enough of, and then it's like they fell off the planet?  So many bands fizzle before they flame and are unable to build a fire with all that smoke.

I remember listening to albums thinking this was the band that was going to be the next big thing--not the next Beatles, Hendrix, or Rolling Stones--that never has and never will happen.  But so many bands take the music world by storm and before you know it their CD boxed set is one disc...

Some of those "one hit wonders" did leave their mark though, and despite that small taste of the big time many spent years toiling in the clubs, bars, and auditoriums of nameless cities and towns the world over. Some artists actually had strong loyal followings and successful careers.  Unfortunately cracking the "Top 40" in the United States is not as easy as it seems, does not always follow a logical pattern, and is no guarantee of a second taste.  It's like the old saying, "Never underestimate the intelligence of the American public."

Every decade has a laundry list of bands that made a quick splash and faded into the background.  For sanity and credibility reasons I will skip past the "hits" that landed on K-Tel records (that is a blog for another day) and talk about bands that seemed to have an edge when they came out but failed to catch on and stay...bands that are now the answer to trivia questions in living rooms and bars across America...

A quick short list would include Ides of March, Shocking Blue, Mountain, Sugarloaf, Missing Persons (despite having Terry Bozzio on drums), Argent (post Zombies), Quicksilver Messenger Service, and It's a Beautiful Day...remember them? Another band, one that strikes an ironic chord thanks to its name, is Flash in the Pan.  In 1979 the Knack were billed as the next big thing from Liverpool...huh?

Reminiscing over songs and bands that came and went, I always seem to come back to one group in particular...Golden Earring.  A band from Amsterdam, Golden Earring first started playing together in 1961 and are still touring and recording today.  As if that wasn't crazy enough...the original line-up is still together.  I do not believe I can find five people in the United States who can name the members of Golden Earring...and I do not believe I can find five people who have not heard the song "Radar Love."

If there is a band the defines the term "garage band" it is Golden Earring.  Half a century on a tour bus is not exactly the best way to go through life--and it sure as hell ain't the worst.  I remember getting mad when radio stations played the dreaded "edited" version  of the song and cut out most of the instrumental section.  In 1973 this was the song to rock-out to...my eyes burn just thinking about it.

The beauty of the song was it appealed to both sides of a teen romance.  Guys could rock it loud while the girls could rest assured that no matter how long it took, no matter how far away, Romeo was coming back to rescue her...he just had a really cool car instead of a horse.

Golden Earring did manage to release another hit in the US, "Twilight Zone," which was released in 1982.  Nothing however, will ever come close to the success they had with "Radar Love."  I chose the version here because it is the original studio version and the photo is from the original "Moontan" album cover...which of course was not allowed in the United States at the time.  Good thing nobody told Blind Faith the USA was "prudish" when it came to album covers...

Love Is In The Air

Ahhhh Valentine's Day...that heartwarming  day of romance planted right in the middle of the deadest part of winter...I have come to believe that Valentine's Day is in February because people need to be reminded of the good things in life--especially when it's cold and crappy outside.  Coming off the recent blizzard that hammered this section of the country, Valentine's Day and romance is a welcome respite from all that is cold and dreary....

Many an artist made a career of being a "romeo;" singing love songs and romantic ditties that melted a girl's hearty but did little to establish any music credibility.  Rick Springfield, Rick Astley, Nick Gilder, Eric Carmen...the list goes on.  However, few artists have been able to re-invent themselves as many times as Van Morrison.  Blues, jazz, R&B, pop, soul, even dabbling in the Christian genre, "Van the Man" has challenged the music industry to slap a label on him.

Walking away from and returning to an industry he felt betrayed him, Van has defied logic, the "experts," and even Father Time.  For my money Van has recorded some of the best love songs ever etched in vinyl.  "Brown Eyed Girl," "Crazy Love," "Moondance," "Gloria,"  and "Ball and Chain" are but a small sample of an amazing career spanning almost six decades.

Van has recorded with some of the greatest in the industry; John Lee Hooker, Ray Charles, The Band, Roger Waters, Bob Dylan, Jeff Beck, Bobby Womack, Georgie Fame...again the list goes on...Van has even been blessed to be able to record with his daughter Shana.

Few songs, in this blogger's humble opinion, come as close to touching the actual pulse of the human heart as "Tupelo Honey."  Van was a recluse by nature, never known for being the life of the party, and often times was hard if not down right impossible to figure out.  To see him as a romantic almost seems impossible--until you hear him sing.  His wife at the time, Janet Planet, provided backing vocals on the song.

The beauty in the song lies in its simplicity...yet Van can drag vocals through rough sand and make 'em sound like angels singing better than any mere mortal could hope to.  His ability to bring a realness and vulnerability to every song he sings puts Van in a class alone...there is no peer that comes to mind.  He can meld horns, strings, and vocals into one sound so harmonious you are left wondering what the hell just happened to your ears....

I chose this version of "Tupelo Honey" for no other reason than I liked the video...the sound is awesome no matter what you pair it with.  Powerful vocals and a simple statement; "you are my world, and nothing matters without you."  I couldn't have said it better myself...