The Lure of the Super Group

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 Company was 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, & Palmer was 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 Wilburys were 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.

#6 The 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.

#7 Hindu 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 Experiment Mike 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 Band came 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...

Glamrock

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...

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...