Music For Lovers

TUSKA-RIFFIC

2012-01-21T16:34:00.000-08:00

There are too many incarnations of Fleetwood Mac that I cannot count them and even if I could count that high, it would bore you to tears and wonder if I was really foaming at the mouth. I will admit to anyone that the music of Fleetwood Mac that I love is their first era. This beginning period of Fleetwood Mac was when they played pure Blues. Some of this music is the stuff of legend. I posted a while back about the time I picked up a greatest hits collection of their first few years. The music on that is quite amazing. It's raw and quite fun to see the differences of the evolution of Fleetwood Mac. I am a person who believes that the music of Fleetwood Mac early years should be played more often. It does not get the credit rightly deserves. Peter Green (the first guitarist) is a wonderful player. His gift and his starting Fleetwood Mac with Mick Fleetwood is something that is quite a treasure. To me the point where he left the band is about the same time is where I stop listening to the band.

I say that and then I regret those same words. I could listen to Rumours and go a bit crazy. There is one song I could listen again and again on that album it's called "Never Going Back Again" that is a wonderful Lindsey Buckingham song. Then I face the truth and mention If I could choose any Fleetwood Mac album from the later years I would chose Tusk. This thought did not materialize till my first year back at college. I would be extremely discriminatory towards anything that Fleetwood Mac did in the 70's and beyond. I did pick up later albums like the somewhat bad Behind the Mask or Tango in the Night and eventually did get Rumors, but I figure another simple Greatest Hits would cover my ignorance or for that matter hatred for a period to me that was too commercial. Having this in the collection would make anybody think that I was just keeping it because of their wide catalog of stuff during this period.

While at school I was approached on my flaw of only having a greatest hits collection and the early albums. I was asked where is the album Tusk. I had a copy at home on record, but really did not listen to it all that much. I mean the two singles were covered on the Greatest Hits that I had, and why on earth did I have to listen to a supposedly long and drawn out album such as Tusk. I made the grave mistake of not bringing it with me. I was told by this person that next time I go home for the weekend from school I should bring up that copy and he will show my what songs are the better album tracks. It was odd thinking of me that Tusk could be much better then Rumours.

When I brought the record up I sat and listened to with this person and more and more the layers of the album appeared. It was more complex then Rumours and most of all it was the more songwriting and much better song writing as well. It was an album that reviled to me as a much more classic in everything that Fleetwood Mac has ever done. This time for Fleetwood Mac it was personal. There are songs that just make you shake your head and wonder what they were thinking. "Save Me A Place" for instance is my favorite song on the album. "Never Make Me Cry" is a song that creeps up on you when you least suspect it. That's just the part of it. Lindsey's songwriting on this album is pretty close to brilliant. In 2004 I picked up the Rumours and Tusk re-issue. Both of these were deluxe 2CD sets.

I picked up these 2CD sets and to my surprise the second Tusk CD could be an album on their own. The experiment of this album worked for all parties involved, but the album was a failure. At present time I am reading a book about Tusk and it reveals to me how much it costs to work on. This album costs over million dollars to work on. That might sound cheap, but back when this album came out, that was more then any album at the time. This album could only come out after Rumours allmusic pointed out. I could not agree more.

So, If you are trying to add to your collection more then a greatest hits of Fleetwood Mac and you know if you hold Rumours up to your friends and go "I've got the classic," Think again. Pick up Tusk and I am sure you will understand that this is the one to own. Many critics and musicians alike think this is the better one. Enjoy and I am sure you will get it like I did. It's an album that bleeds greatness. I know after listening to this you will hear what I hear. Turn it up and hear the brillience of an album first would pass you by, but after one listen you will understand why I can hold this album in my hand and say how wonderful it is to listen.

NEW POST

2012-01-18T17:41:00.000-08:00

coming soon, this weekend will be a post! I hope. If I don't work too hard the rest of the week!

Soon enough!

2011-06-16T18:25:00.000-07:00

Hey all, I have a new job that takes the better part of my day, but fear not! The blog will back to working order soon. Getting some ideas on what to post and other things to talk about. Any comments or suggestions feel free to send them along! Thanks Matt

Bremerhaven's Heaven 1971

2011-05-14T06:55:00.000-07:00

Ever since I started liking music, I would find artists that had live shows. I would tape live performances off the radio or ask friends if they had bootlegs. I would prize these albums because they were never officially released, but it was a good chance that I would have been part of a great group of people who could enjoy an unreleased product. One of those was Led Zeppelin BBC Sessions. Disc one on the commercial release I had in the late 1980's and would play it all the time. I was wishing it would really come out, but that was only hope. It did and I was happy to hear that my crappy tape was cleaned up.

In other instances I wish the music on the bootleg was more. Case in point was the one I am going to talk about today. This show recorded in Bremerhaven in 1971 is a crisp A+ recording. It features two tracks, but the tracks have three songs to them each. The Jan Garbarek music of this era is his most Avant-Garde. It's the music I like a lot and shows that the quartet he had was a band not to be messed with. I mean if you listen closely to Afric Pepperbird or Sart. This band is in fine form. Another turn in back time moment to catch this group could strangle you and take you away from whatever you were listening to at the time. The abrasiveness of Terje Rypdal's guitar to the thunder of Arild Andersen bass and Jan's saxophone playing is crisp to the crash of Jon Christensen drums. This is where the wonderful gift of early ECM records gained their reputation on. I get so happy just talking about it.

If you ever asked me what makes a musical group I would answer you in quartet's. One of these quartets would be this group here. They are so tight and so good at what they do, they know each others movements before we have a chance to catch up. The funny part of this quartet is that the band would never be like this ever again. In the early years of Jan Garbarek his quartet was one of the most blinding and the staple that ECM records had in their catalog. All four of the members to this day still work for ECM and put out some great stuff. I am always eager to hear what each person puts out because some of the music they do put out brings me back to when ECM and themselves are the most daring. Maybe that is why I chose this lone bootleg.

If you hunt and peck around the internet you can find this and see why I sing the praise. The music is way out there, but the fun part is just hearing how different even for 1971 Jazz was. I did a huge paper in college on what Jazz was doing in terms of direction in the 1960's. I should added more about what was doing in the early 70's. This is proof that some of the stuff was just as out there as it was in the 60's and still kept some people like me at interest. Enjoy and remember the music is not your normal Jazz, but it shows what really can happen if you give an artist his own space and let them create the wonderful colours that they can and should! By the way listen closely to the opening first track. It really sounds like a Rock band. Terje Rypdal can really scream. You will see why I love his guitar playing.

Alone and Together With Dave Mason

2011-05-05T05:47:00.000-07:00

I first heard Dave Mason on a Traffic album. His sitar, not his guitar playing was wonderful. It struck a few chords with me because Dave is normally a great guitar player and a very good writer. His stint in Traffic was amazing and his sad, but uneven solo albums make it hard to find a great one. I did though in Alone Together. While re-listening to this album the other day I really found his genius. His songwriting is something that you should pay attention to. Songs like "Feelin Alright" have been covered by a few artist and still to this day I love hearing it to this day. One of my odd favorite Dave Mason songs "Hole In My Shoe" is the ultimate 60's tune.

Dave's time in Traffic made me realize he was one of the best parts of the band. Sure, Steve Winwood was great, but it was Dave also playing a variety of instruments that made it just right. It was also Dave Mason who was friends with Jimi Hendrix played acoustic guitar on Hendrix version of "All Along The Watchtower." Mason played with Eric Clapton, Rolling Stones, Delaney and Bonnie, and George Harrison. He was quite a busy man. Dave Mason was the person I would loved to been in the 60's. He was part of everything that needed to be done. Being a friend of Hendrix was a big plus.

So when I put on Alone Together for the first time in quite a while I really thought I should write about this album. It maybe short by today's standards but at 35 minutes long it sure has a lot to say with eight songs. Each song is full of wonderful and really expressive pieces of music and great song writing. I like each piece because they are like short stories from the past of Dave Mason. I think of Dave as one of those songwriters that had more to say then most because he knew how to say it well. I wish the album was longer, but in the end you realize that these are some of his best writing. Below are the lyrics to one of his best songs;

Shouldn't have took more than you gave
Wouldn't be in this mess today
I know we've all got different ways
But the dues we've got to pay are still the same

Trying to change the script for this old play
Reading and not feeling what you say
You're coming on too strong for me to stay
Interpret what you're seeing anyway

It seems the simple things are hardest to explain
I'm going to come too soon, there's another way
Footprints in the snow will show well things are still the same
Beneath the wall of sound someone helps to live again

Shouldn't have took more than you gave
Wouldn't be in this mess today
I know we've all got different ways
But the dues we've got to pay are still the same

The lyrics still hold true and Dave could not say it any better then most great singer songwriters. If you listen to the song it's got so much to say and the six minute time it takes to say it is the right time. I tell you this because this album is one of the more underrated albums that missed the radar it is an album that makes you really go out there and seriously listen to a classic. I remember when I got first introduced to this album by an old hippie who told me this was the album that we all loved. It was not to mellow, and not to loud. It was just right and made everyone at peace. How true to listen to it today.

If you need to capture the music of a time, this is the album. The guitar playing is amazing just listen to "Look at You, Look at Me." This album really tells you that it is a classic and if you find it like I did on marble vinyl it really is something. It tells you that you are floating above the clouds just like Dave Mason is. Enjoy this wonderful gem from 1970. I think it might be stuck in your Ipod more then you think. Enjoy!

Phaedra Dreams

2011-05-04T05:11:00.000-07:00

The first time I heard Tangerine Dream was when I was in High School. Yes, it might seem odd a High School kid hearing this, but one night I turned on radio to do my homework and I heard this odd music that did not have any drums or any typical rock or jazz beats and rhythms to it. It was when I first started listening to a radio show that I would listen to for a long time. I found out a few years later that this radio show had been going on since the mid 1970's. The same DJ doing the same genre changing, musical exploration for years. He still is on the air once a month too. I heard him the other day, you can always tell when he is on the air because he play's his signature artist or artists that he loves.

The Tangerine Dream music he played was quite different then what I heard music to be like in High School. I liked it because it was soothing and also expressive and different in the same way. My thought at first hearing was that this is what space music is all about. If I was in space this would be my soundtrack. It did not take too long to convince me to look for this at the record store. Sadly, the LP's were expensive and the CD's were cheap. In the early years of Virgin records they pressed these wonderful CD's with better sonic clarity then the later. This resulted in cheap CD's. The early ones were replaced by their owners and the early ones were in the used CD bins for $5.00. I grabbed about four early Tangerine Dream CD's for next to nothing. I still have them too.

The uniqueness of Tangerine Dream is the fact they are truly the fathers of space music. With the space program in full effect in the 1970's they were a band to understand. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise. (AM) Thanks Allmusic for that description I could not say it any better.

There are only four tracks on the record and each has a unique take on space travel. It is definitely a different direction, but this direction is fun. I don't know much about the music of Tangerine Dream. I know that the four CD's that I own of theirs are wonderful and fresh. It does not take long to realize that Tangerine Dream started a lot of musical heads thinking about the music they were making. People like Aphex Twin, Underworld and Orb just to name a few owe Tangerine Dream a debt of gratitude. The music hear is new and fresh and worth every listen.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles.(AM) I am not sure where I put them in my musical influences but they would be up their with the best. Every once in a while I realize their impact by hearing the music as fresh as the day it was created. Enjoy this one and tell me what you think! Rock on!

Miles Davis Alumni

2011-05-03T05:25:00.000-07:00

For a new twist in my blog I am going to talk about all the people that I can think of that played with Miles Davis. Many of these people I enjoy hearing as well. I first heard Miles Davis in 9th grade when I took out an album called Kind Of Blue. Still to this day is one of the most important Jazz albums of it's time. On that album the stage was already set for famous Miles Davis alum. You had Cannonball Adderley, John Coltrane and Bill Evans. All these people would go on to make some of the most important music you would ever hear. I as a 9th grade person did not get that. I thought these musicians were just friends or for that matter did not have the impact that they had. Stupid me, I guess.

Two people from Kind Of Blue after about a year did make an impact on me. These two people were Bill Evans and the other was John Coltrane. Both had great music ahead of them. Sadly, Coltrane did not last another decade, but his music was great and prolific. I stumbled up both Bill Evans and John Coltrane at the library also. I picked up their music and quickly listened to what they had to say. Both have some great stuff and I did feature them in the blog so check out those posts when you have some time. Bill Evans is still one of my favorite piano players. John Coltrane is also one of my favorite saxophone players too. The music is far cry of what they made in that Columbia studio in March and April of 1959.

After hearing Kind of Blue I went to seek out other Miles Davis albums. The next one I went hunting for was Bitches Brew. With hearing nothing except told to listen to it by a friend I bought the two tape set for a whopping $15.00 (a poor high school kid like myself). I put in my tape player and realized it was far different then what I was used to hearing. The simple saxophone and piano was replaced by organ, electric piano, electric bass and a lot of other things. The other thing that was noticed was the the music was longer which intern made the album longer. An hour and half worth of music. I got myself a treat.

The music of Bitches Brew also had a full load of musicians that I would admire and listen to. These included John McLaughlin, Dave Holland, Chick Corea, Keith Jarrett, Wayne Shorter, Lenny White, Jack DeJohnette and others. a few of these people are in some of the posts I have written about. All these people that I mention above have at least one album that I would listen to again and again. Even the musicians I did not name also have been influenced in my musical listening.

After a few years of getting into the last part of Miles Davis career I realized that he then too had musicians that were famous too. He added people like Mike Stern, John Scofield, Kenny Garrett, Mino Cinelu, and Marilyn Mazur just to name a few. These people I also listen to with great interest. These musicans continue to perform to this day and at one point a few of these will get their own blog posts. The period of the 1980's for Miles was tough and you could see his past mistakes had caught up to him. Too bad to, because I wish I saw him like a few of my friends.

I made the mistake that I missed a period of Miles Davis that I should have went back to in the first place. The era of the Mid 1960's. At that the time of listening to the 1980's stuff a friend handed me a tape called E.S.P. He told me that was that this was the most influential of the Miles Davis. He also told me that the alum on this album are the ones I should pay attention to. It was the Herbie Hancock, Ron Carter, Tony Williams and Wayne Shorter that changed the course of Jazz forever. After hearing E.S.P. I soon realized that I needed to listen a lot more closely to his music.

All in all if you really want to study the history of Jazz you should start with Miles Davis's alumni. There are so many different styles and ideas with all these great musicians. I do not even know where to start or point to a direction. Miles had great music because he had great people backing him. They learned from him and from there they too intern made great stuff. Take a listen and tell me what you think. If you need suggestions let me know, but I will tell you the music that you hear from a Herbie Hancock or Wayne Shorter or Dave Holland or even a Keith Jarrett or John McLaughlin does not need any introduction. Their music is the stuff of what makes it all great and unique. Enjoy what Miles Davis liked in their music and enjoy the fact that the music of the legacy will stand the test of time. Enjoy!!

Rings Around the Furry Animals

2011-03-24T08:46:00.000-07:00

Before I went back to school in the fall of 2000 I went to see my friends about what new music I should be listening to so I can be hip on and talk about. Since a few of my friends worked at a record store I got their take on the new music scene. There was a list from one friend and another friend told me that I should listen to a few groups that are unique and might catch the eyes of some people up at school. I knew some bands would carry to the people who do like good music. These bands like Radiohead, R.E.M, and the like. My friend gave me a promo copy of the new Spiritualized at the time and also handed me a copy of The Flaming Lips Soft Bulletin. He told me that will get somebody's attention. He also handed me a band I knew a bit about, but had not heard their music. This band was called Super Furry Animals. I might have heard them in passing, but did not recognize who they were.

During the summer of 2000 I took a bunch of music and put together a 3CD set for me to listen to in the car. I listened to all this stuff that I thought I would listen to and I really was ready for the new world of school and also at the same time. My friend handed me a few Super Furry Animal CD's and told me that I would love them. He was was correct, it did not take much to get into their music. I liked the spacey electronic stuff as well as the hard rocking music they did. The Super Furry Animals were not like anything that I heard from other bands of that era. The music was different because while some of the bands I did listen to were serious in their musical intent; Super Furry Animals just seemed like they were having a great time.

The two CD's that my friend gave me had tongue and cheek lyrics as well as song titles that were filled with humor. But in their own way the music was quite fun and exciting as well. It was a band that I knew I was going to love. It was quite funny listening to all their songs hearing how not serious they were talking about life. It was like this band was just here to have fun and ride the waves of what ever would happen to them. This is a band I could be a follower for a long time. I actually still am too. I buy all their music and listen to their music with the humor they find in making it.

In 2001 I told my friend who introduced me to them they were coming to America to tour. He and I said we would make the effort to go see them. I grabbed a few of my college friends and we went to see them. Not only were they good in the studio, but they were great live and the funny stuff was also transformed on stage. They came out in Furry Animal suits and looked like chewbacca's It was quite funny for the first 15 minutes of the show. They played this spacey type song and after the song was over they took off their outfits and introduced each other to the crowd. The album they were promoting was the one in this blog. Rings Around the World is a fine album. It might be my favorite album of theirs though. The first three or four songs are really a great introduction to what they do so well. When you hear them they mix a Beatles type feel from the late sixties with humor and wit with a dash of electronic music. They even have some fun cameo's on the album. Paul McCartney and John Cale make themselves known that this too is as fun for the Super Furry Animals as well it is for them.

With its kaleidoscopic blend of pop, prog, punk, psych, and electronica. Still, this is nearly Super Furry Cliff Notes, offering a glossy, big-screen variation on all of their themes -- decadently lush pop-psych, chugging rock & roll, bitter leftism, sublimely warped imagery, experimentalism wrapped in luxurious productions.(AM) The CD is a great start for anyone who wants to explore them. This is what I want in my music. It is an album that will beg you to listen to it more and more. Try it on for size and let me know what you think. This is the reason I love music, because when it's a band not to be taken seriously you have a lot of fun. They were so not serious before when they did a an all Welsh album. I bet you cannot say anything about that any other band out there. Get this and I am sure you will love them as much as I do. Enjoy!

Fantasisa's of Sandy Bull

2011-03-22T16:50:00.000-07:00

Once in a while you find music that you would have never thought you would hear in your lifetime. You hear this music and wonder how this either escaped you or when it did come out, what were people thinking. Once in a while you hear something that ten, even twenty years down the line it finally catches up to you. In the age of internet and computers and technology this might be heard or not. It might be somewhere in the middle or even a music fan like myself might catch it that curve. It always baffled me that music like this came out. Where was it's audience or even then what people loved this stuff that anytime this music was around did people go see it or try to tell others about it.

In 1963 when Fantasias for Guitar and Banjo came out, I am sure there were people who had no idea what this was. There might be even people who do and like me I wonder what they would have thought about this stuff. I don't know much of the story behind this, but when I heard it after doing the 21st century thing (downloading) I was struck by the uniqueness of this music. What was the goal of this music. Was it to turn heads? What was Vanguard records thinking? They were a folk label sure, but was there a point that they might have stumbled upon something so different that they had to put it out or did they see some vision that we all missed and now is some kind of talked about classic.

A fusion of the most different musical forms, folk, blues, bluegrass, jazz & more, with a unique use of guitar & banjo. That is what Amazon said about it. It sure is, because I hear all kinds of influences. It is way different then what was coming out at the time. Yes, true, the music of that was just before the Beatles made it and the folk music was popular, but this was not political. At least not in the music. There was no words, so he had really nothing to say. When I first heard this I was in shock that a person can create this. I was even more in awe when his funny little remake of "Carmina Burana Fantasy" was on here with Sandy playing Banjo. No orchestra no voice like the piece we know so well.

So if you are interested in something way different then what is really out there or something that really is beyond description, then you should try this out. As all music points out before Leo Kottke, Richard Thompson, and Ry Cooder Sandy Bull did it better then anybody else. Not "rock" by any stretch of the imagination, it's nevertheless easy to see that it could have had an influence on the rock musicians who began incorporating eclectic and Middle Eastern sensibilities into their music a few years later. Even more impressive asking Ornette Coleman's drummer Billy Higgins to sit and and helping along made for interesting music. Try it if you find a copy let me know! I love to hear what you have to say! Enjoy!

Timeless Abercrombie

2011-03-20T13:56:00.000-07:00

People who know me well, know that I will not settle for any music that is not engaging or simple. I love music that takes a bit of difficulty to really understand what is happening. People who also know me know that I love ECM records. I mean any smart music geek should listen to some of the early ECM albums to hear how forward thinking this music was. The other day I grabbed some of this early ECM gems and really was quite impressed with what this music did for me and for music in general.

I took the more then handful of these records and went through them. I was looking for something that was rare and unique for it's time frame and then with the music that goes with it. In some respect, the music never fit the years that the music belonged with. When ECM started in 1970, not many people were listening to Jazz, or Classical. If they were they were like my science teacher from High School, who told me that he liked music with Organ and the popular music for him was Procol Harum. He loved listening to Bach Organ music and stuff that was not of mainstream music, but of stuff that was just unique. I owe him a lot on the music I listen to now, because the music that I love is jazz keyboard music. The Bill Evans, Keith Jarretts' of this world are amazing every time I hear them. They never get old.

I also love Guitar as well. The music of great guitar chord progressions really astonish me as well. If you notice a theme in some of my ECM blogs I really like the music of John Abercrombie. He is featured in a few of my posts. From Gateway to the Collin Walcott Grazing Dreams to baking Charles Lloyd. His guitar playing is sick and beyond description. I had the pleasure of seeing him play a few times. The first time I saw him play he made me speechless. The second time around I knew what to expect, but he still once again had me shaking my head. I know what your thinking. Is there a few Rock guitar players that do the same thing? Yes, there is but remember they play with bass, keys and drums. With John Abercrombie, he plays with any kind of group. His latest project is a quartet of Violin, Upright Bass and Drums. He has done this ensemble of for the past three albums.

So now were are back in John Abercrombie's early years. The album I chose was his first as a leader. It was called Timeless. This one in a way is also unique with band forming. This has the great Jan Hammer on keyboards and also Jack DeJohnette on drums. There is no need for bass or even a brass section here. They do this with so little effort that it seems like they did this when they were kids. Even the song "Love Song" where it's only piano and acoustic guitar sounds great with so little effort. the other piano and acoustic guitar duet "Remembering" sounded fresh and new. In all this great music the song that still makes my head shake on this album is the staple in Abercrombie's cannon. "Ralph's Piano Waltz" is amazing piece of work. It makes you understand why a group like this comes around once in a blue moon. Even in 1975 this stuff was really ahead of it's time.

If you need to add more soul to your music collection and really want to hear the music tell the story like it should then I suggest this album. To me, it's a wonderful album just to hear how three great musicians really know how to put it all together and do it well. It really is an album worth searching for. After this I am sure any ECM album will be on your mind next time you go CD's buying. Check it out and let me know what you think! Enjoy!

Electric Porn!!

2011-03-19T17:00:00.000-07:00

When you hear the music of the New Pornographers it does not take you long to get hooked. I mean this large ensemble is quite amazing. The sound of their music is sounding like a orchestra. I knew when I first heard them back in 2001 I knew that I more then likely would be a fan for life. Then I saw them live and really did understand that they are very talented and more then likely I will be waiting for their next breath. The stuff they put out is full of more energy then bands half their size put out. The writing, and the music is so great.

What makes the New Pornographers so great is that fact they share everything as far as the musical load and the writing load. Not one person is responsible for these great actions. Even better is the fact that the solo careers of A.C. Newman and Neko Case are even just as great as an album that the New Pornographers would put out. It's hard to realize that they are even from Canada. Not to knock Canada, but there is so much great stuff that we don't really appreciate that should be heard.

I liked what I heard and really enjoyed the music that they did. It was not a band who was going to do one album and ten years from now wonder if they are still making music. It was great to also hear that the females in the band share the vocal duties. Hearing Neko Case makes my heart melt, and in a band like this, it is easy to see how much weight she carries. The whole band at times makes these great songs that get crafted around her. In other songs her voice carries the song as a whole. A great example of both females in the band is the song "All For Swinging You Around." It's music that you wish you could make. The catchy hooks and the best words and music in the world. You hear this stuff and you know that this is not a flash in a pan type thing. This is stuff that has a great makings of a Indie-Rock masterpiece.

A.C. Newman and Neko really know where it counts too. I have not been disappointed by any of their music or writing. They took just under a year to create this album, so naturally a fresh confidence would transpire and "The Laws Have Changed" highlights the band's growth as a whole. This is a band that really knows where there direction is. I like that in a band. With so much music out there, do some of these bands really know which way is the correct way? I think there are a few bands that do and here is proof.

It was crime at the time
But the laws, we changed them
Though the hero for hire's
Forever the same one

Introducing for the first time
Pharaoh on the microphone
Sing all hail
What'll be revealed today
When we peer into the great unknown
From the line to the throne?

Awakened to cheers
After years on the faultline
We are shocked to be here
In the face of the meantime
Pharaoh, all your methods have taught me
Is to separate my blood from bone

It will all fail
Feeling what I feel today
When we peer into the great unknown
From the line to the throne

Form a line through here
Form a line to the throne

Alone in the chain
It remains to be seen how
How well you can play
When the pawn takes a queen now

It was crime at the time
But the laws have changed
Yeah

I chose this album because this is the first one I heard and was in shock how great something like this could be made in today's fast paced times. I do regret not playing a lot of this CD on my radio shows. It would really have a great vibe for a few of my shows. Electric Version has 13 songs and all of them are keepers. They are great and each song will have some kind of connection. It's a must own and should be part of anyone's music collection. Enjoy a band and the music of The New Pornographers. This might be something you might be missing. I like this a lot more then I say in this post. It is an album that keeps you smiling and saying, "This music will save the world." Enjoy!

Working

2011-03-02T17:02:00.000-08:00

Hey everybody, I have not forgotten to write on the blog, just gathering information on a few topics that will be posted soon. I should have a new one up by the end of the week. Sorry for the delay. I do have a question for you guys though. I need ideas again what to work on and write about. Thanks Matt

In The Valley With Ryland Cooder

2011-02-17T11:53:00.000-08:00

How many of my readers know about Ryland Cooder? Don't raise your hands all at once now. The man we all know as Ry Cooder is a mystery to so many people and that once included me. I knew nothing about him for the longest time. The library where I worked at had a few of his records, but I did not know what to think when I heard them. I liked his guitar licks, but I was wondering why he was not placed in the Hendrix's Clapton's, Page's of the world. He was and I did not know it. His musical knowledge of any kind of music that involves a stringed guitar type instrument is quite amazing. He can also cross so many boundaries that you wonder what he doing next.

I have heard his music on music from Cuba (Buena Vista Social Club) to the blues when he played with Son House, to being session man to so many people. This resume includes people like Rolling Stones, Neil Young, Van Morrison, Little Feat, Captain Beefheart and so many more. Even with all that genre crossing he still has time to do music for films or just for himself. He has done a lot of musical scores. I have a few and they are pretty damn good, because of how his music can be put in any mood that is portrayed on screen. From his famous score for one of my favorite films Paris Texas to a movie called Crossroads, which is about the blues Ry pops up everywhere. He has made me listen to his music for a number of years and has got me into music I thought would never possibly listen to.

One day I decided to take a gamble on some of his music. It was an album called Rising Sons. It featured a young Ry Cooder and Taj Mahal. I picked up this cassette at the store one day and I wanted to hear for myself what he had to say. At 18 or 19 Ry Cooder was playing better then anyone his age. His guitar playing on the blues gems were absolutely stellar. His playing did not sound like he was this young pup, but a man with years and years of experience. Little did I know that he would be playing with Captain Beefheart and The Rolling Stones in the very near future.

All the playing he did outside his own work leaves us to wonder what he was not on as far as people he played with. The list of all the people he worked with is out of this world. I mentioned a few people above, but that was only part of the long list of people who asked him to play with on their albums. I was thinking the other day while playing some of his music that most of the people he did play with are still around today. Ry has pretty much cut session work out of his things to do list and now just works on his own stuff and of course got the Buena Vista Social Club to a rise in aware how great Cuban music is. His soundtrack work he still has an effect to amaze us with all he has done. I picked up my score to End of Violence and really could hear how much of an impact that he is.

Now, when it comes to an album that I should talk about in his catalog, there are many. His first four are really great. I could pick all of them and really. I chose Into The Purple Valley because it was my first Ry Cooder album I bought. The music on this album is unique and fun and really shows off why people like me love his guitar playing. If anything you take out of this album it's his great guitar playing. Something that is lacking on some music from the 1970's. He stuck to his guns on most of his music. He did not change his idea or focus with any music he put out. If you want to start with any Ry Cooder album, start here. It is really good stuff and it might get you more into his music. So take a chance like I did and I am sure you will enjoy it. Enjoy!!!

No Wave No New York

2011-02-15T06:50:00.000-08:00

(Richard Hell) W/ Glasses and James Chance

The other day I picked up a book at the library about the music that happened around the same time as the Talking Heads, Television, Cramps, Blondie and Ramones started. It was music scene that I did not know about for the longest time, The scene was called No Wave, but when I found a 45 of D.N.A in the book donation bin at my local library I knew I stumbled upon something special. I had a bit of understanding on who and what the scene was and the important people that I should listen to. That single 45 with the two songs encapsulated just about everything that I could figure out from that era. The band was called D.N.A. It was a great history lesson and one thing I took away was to find more of this short four year span that changed the lives of so many people.

This odd era even made Brian Eno stand up and take notice. By the way he produced the album that we are discussing here. He wanted to know what the hell was going on. Thurston Moore stated in his book No Wave Post Punk Underground New York 1976-1980. The book was a great way to understand a scene that very little people know about. The people who do are frankly hipper then me. That 45 that got donated proved that to me the day I picked it up. D.N.A. was one of the four bands that are featured on this compilation. It was one of the oddest things that has ever graced my collection.

Around the same time I found that gem I went to New York and went record shopping with a friend who had the same taste in music that I did. He mentioned on the car ride down that I should find an album called No New York. It documents four bands including D.N.A., Teenage Jesus and the Jerks, Mars and James Chance and the Contortions. All these bands lead the movement and changed the way we look at music and this music eventually lead the the important downtown scene in New York City. This music is something that should not be taken lightly. It's raw and seems not all that great, but if you understand any period of music, this explains a lot of connections to the CBGB's sound and also the Downtown scene that I love so much.

DNA: Ikue Mori, Arto Lindsay and Robin Crutchfield

There is something about a scene that can last four years and still have repercussions on what is happening now. Some of these artists still perform today and make so much great and creative music. Take Ikue Mori. She is an artist for John Zorn's many project and left the drums to play samples and electronic stuff. She is also a visual artist as well many of her artwork is shown on Zorn's Tzadik label covers. They are truly a site to see. Another is Arto Lindsay; his music is extremely important to me. His solo albums are a work of beauty and on one he covers Prince and he makes it sound like his own. Once called "Sex on a stick" his music fusion of my favorite Brazilian Tropicalia movement is really great when you hear what he does. Lynda Lunch still performs to this day and the other day I listened to her do the poetry of Jack Kerouac and it was pretty damn' good. Lastly James Chance is making music here and there and according to Wiki, he is doing a Jazz trio that plays standards.

Lance Loud of the Mumps and Lynda Lunch from Teenage Jesus and the Jerks

So I offer today this compilation of some really interesting music. Yesterday I dug out my CD and did another time machine run. I really wonder with all this great music that was going on in the 70's in New York City that the city did not blow up or start an earthquake. I really do like this stuff, it might be tough in some spots on the nerves, but the reward is there. Take a listen to this and tell me what you think. It's a bit expensive, but worth the effort to buy or find used. I went looking on E-Bay yesterday for a record edition and found it selling for $100.00. Enjoy!

Bill Laswell Remix's

2011-02-13T12:56:00.000-08:00

Back in 1997 I was hanging around some music friends talking about people who in the music world are creative in the way they put music out or promote music or even expose new ideas or new musical ventures. The example I should use is like how John Zorn made a tribute album to Ennio Morricone. When you hear his musical interpration of Ennio's cinema's most important soundtrack stuff you realize that John Zorn and countless others really love music as a whole. They are not afraid to tell their audience who listen to them, who their musical inspiration is. I liked when Zorn did that and it taught me to actually listen to what John Zorn is doing and what he thinks is the music is that we should be digging, reevaluate and listen to.

We got on the subject of Bill Laswell. I think now that Bill Laswell is a genius. Then, I did not know much about him except for his better then average bass playing. I thought his musical skills were out of this world. His playing on albums he was leading or just in the band made it so much more fun. I even had Laswell produced albums like Axiom Funk and other Axiom products. For people who don't know Axiom was a record label headed by Bill Laswell to promote worldly music that would not get exposed. These artist on these albums included Sonny Sharrock, Ginger Baker, Henry Threadgill, Praxis, and countless others. I had about two dozen of these albums and they were so good to listen to. They did not stick to one label, they had all kinds of genre crossing or musical sounding that I was eager to soak up and enjoy.

My friend told me that he thought what Bill Laswell should do is find a way to mix the Fusion Miles Davis or mid 70's James Brown. My friend pointed out that this stuff does not get enough credit for changing the world of popular music. Bill must have been closely listening to our conversation because a year later he made such a great Miles Davis reconstruction. The stuff was music I was still getting into, but it was great to hear stuff that made me more and more go out and seek this stuff out. For the longest time these "Fusion/Funk" albums were long out of print. I remember listening to them at the record store and my friend telling me that his Japanese imports of these albums set him back $300 at one point. That was for three two CD sets. At one point in 1996 I had to buy the import versions myself of Live Evil and Get Up With It and those cost me about $80. In 1997 a great re-issue campaign got Live Evil in print but neglected Get Up With It and Big Fun. Both finally surfaced in 2000.

In 1997 my friend still working at the store came over to me and handed me a promo CD. He wrapped it up in birthday type paper and told me to go home and listen with headphones. I asked him what it was and he told me that I would love it. When I picked up my CD's and grabbed that one too, I wanted to open it right away. I decided to wait till I got home. When I was home my parents laughed and told me that my friend does not know that my birthday is more six months away. When I opened it up it was the Miles Davis Remix album. Panthalassa: The Music of Miles Davis from 1969-1974. I was like in awe. Had no idea what to think. I put it on and quickly grabbed my headphones. It was like I just stepped into a dream. This stuff was so great. I called my friend at work and he told me that it has not left his CD player since he too got a promo of the same CD. He was right though, the music did not leave my CD player for about two weeks.

So, if you can find this I suggest that you pick it up. Even if you don't have any Miles Davis Electric. It will be a great start to open your eyes to an era of Miles that is really great. In one of my early posts I did a review of Big Fun. I would suggest you try that out as well. Bill Laswell has a great way of bringing out some wonderful ideas and having people like us music geeks look over stuff that we remember. Try this and I know you as well, will love it too. Enjoy!

Artwork Roger

2011-02-10T12:49:00.000-08:00

To take a break from writing about an album and artist I decided to write about album artwork. This came to me today when I was looking for an Art book at the library. I thought about the Art of Roger Dean. We all know his artwork for Yes, but did you guys and girls know about his artwork for other artists. I had the pleasure of meeting him a few years back and he was the coolest guy. We just talked for about 15 minutes and his inspiration and stuff that makes him get these wonderful ideas that look like they stepped out of the 25th Century. I was going through this artwork idea the other day when I pulled out my Nucleus and Gun and Keith Tippett CD's who's artwork was also done by Roger Dean. Two of these were written about in the blog. Here is some of the artwork. After the jump I will tell you about what I think he was thinking. I cannot speak for him, but his artwork is great.

Roger Dean

His first album cover work was in 1968 for a group called Gun. In 1971, Dean produced the cover for the first album by the African/Caribbean band Osibisa which attracted widespread attention to his work. Later that year, he began the partnership with the progressive rock band Yes for which he is best known. His first design for the band was for their album Fragile. Dean designed the now-classic Yes "bubble" logo, which first appeared on the album Close to the Edge, and continued to create covers for the band until as recently as 1999 (The Ladder). Yes guitarist Steve Howe said, "There is a pretty tight bond between our sound and Roger's art." In addition to their album covers, Dean also contributed to his brother Martyn Dean's stage set designs for the band.

Known primarily for the dreamy, other-worldly scenes he has created for Yes, Budgie, Uriah Heep, Gentle Giant and other bands, Dean has said, "I don't really think of myself as a fantasy artist but as a landscape painter." Characteristic landscapes show graceful stone arches (as shown in Arches Mist, above) or floating islands, while many paintings show organic appearing habitats (such as shown in the cover for Anderson Bruford Wakeman Howe). Though he primarily works with watercolour paints, many of his paintings make use of multiple media, including gouache, ink, enamel, crayon and collage. In addition to his cover paintings, Dean is respected for his calligraphic work, designing logos and titles to go with his paintings.

The Gun (Gun) I really like this album a lot and the artwork is pretty cool. It's too bad the band did not last that long. "Yellow Cab Man" is a really awesome song.

Osibisa (1971). I own this album and it's a great mix of Funk, Worldbeat and Rock and Roll. Great stuff.

Keith Tippett Dedicated To You, But You Weren't Listening. What a great album of British Free Jazz and wonderful playing by Elton Dean, Robert Wyatt and others.

Ian Carr and Nucleus. Elastic Rock. Like the Keith Tippett I featured both these in my blog. Both albums are a pretty penny in record form if you find them I would like them. Both on the wonderful Vertigo label. The artwork is nothing really new, but it sure is quite interesting to see that when you open the album.

Gentle Giant (Octopus) I own this LP, but with different artwork. The music is great, but it be even better with that artwork surrounding it. Another Classic Non-Yes cover art!

All this stuff is wonderful. I suggest you check it all out. There is a few web sites and a few books. I own one and it truly is wonderful to go through once in a while and try to figure out what he was thinking when he first started the idea. The last artwork will be a Yes one. Enjoy all these and this weekend I will get a few posts out to you.

Yes- (Yesyears) 1991. This was the artwork for the Yes box set that I bought. It truly is amazing (so is the music). I have a signed poster of this and really love staring at it and figuring out where in this world he drew inspiration and also where this could come from.

http://dj-spyder.blogspot.com/2008/11/roger-dean-album-art.html
Check out this site! For more artwork and stuff about Roger Dean.

The Other Grassy Knoll...It Came From Over There...

2011-02-07T16:37:00.000-08:00

The Grassy Knoll paste together a creative assortment of elements and then soak them in barrels of dark atmosphere. Nothing on The Grassy Knoll sounds like anything else before it, save the snatches here and there of a trumpet call right out of Miles Davis, a stab at Hendrix a bit of Duane Eddy guitar, and loads of eerie electronics which whisper into your ear only to explode your head seconds later. Any further description might throw you completely off track, so suffice to say that The Grassy Knoll is made up of great grooves intertwined with creepy quiet parts that you can dance to. (AM)

Basically the concern of just one man, Bob Green, Grassy Knoll has explored a variety of cutting-edge musical styles, including ambient techno, acid jazz and dub, each under-pinned by Green's affinity for jazz fusion. He went to study photography at the San Francisco Art Institute, and had returned home by 1990, when he began recording with a computer and sampler. He returned to the Bay Area to look for musicians with similar interests, They put out three albums and each is as intriguing as the last.

Sorry folks I don't have other photos to show for this blog, but the album above is the one to get. It started for me when I saw them and heard them live in 1995 and I was thinking how great they were. This post is mostly about reflection on some really great music I explored while not listening to too much Rock and Roll. This album has elements of everything that the Allmusic web site described. The music on this album really can do a lot of just by listening to the YouTube video below. Let me know if you want a copy! I am sure I can dig one up for you! Enjoy!!

Broadcast Sound!

2011-02-07T14:13:00.000-08:00

Broadcast's commitment to crafting meticulously, ethereally beautiful atmospheres gave their music a detached quality that made them somewhat difficult to embrace fully. This isn't the case on Haha Sound, the band's second album. While their music still sounds like it could've been crafted by ghosts in the machine,no Broadcast give it flesh and blood through more warmth and texture.(AM)

With that being said, we lost a true original on January 14th of this year in the singer of Broadcast Trish Keenan. It was a shock to me that she did pass away. She had a really great gift of singing and I felt like being in a different state every time I heard her. Her music to me was addicting. Her voice brought shivers to me and really made me take stock of what female vocals were all about. Sure, I loved the Kate Bush, Joni Mitchell, Beth Gibbons and others of the world, but something about Trish was different. When I was back at college I picked up a Wire Magazine that had a feature on her and her band Broadcast. It was very good interview and it discussed all these wonderful influences that I would never have thought of. I went to the radio station where I did DJ'ing and picked up the CD The Noise Made By People. I gave it a good listen. It made quite an impression.

The music was not Portishead style or that kind of music. The music here was quite unique. It was a great to hear something fresh. In my last semester at school we got a copy of the album I am featuring here. Haha Sound was something that really blew me out of the water. Not only did this album really make an impression it also did not leave my CD player or my radio shows most of that semester that I was at school. That year for the college paper I mentioned how this album can send those shivers down my spine. It takes a lot of great sounds to make an impression on me. I might be quick or slow to pick up on it, but this one really struck a chord that no other artist had.

Broadcast mixes many genres and with that they do and they do it comfortably and create some great stuff. The songs that I love are "Colour Me In" and "Pendulum." 'Colour Me In" was even covered just as lush and beautiful by Of Montreal. They turned that electronic mix and sound into a sonic acoustic short landscape. It's what Broadcast does well is the fact they can really make a huge impression on me. The music of Broadcast fits well with me because of the music they search for as inspiration. This same music is the music I really love to explore, listen and really go giddy over.

I do suggest you try this, because Broadcast is a lost band. It's a band that surfaced with music geeks like myself and really caught the fire of all of us realizing there really is new and fresh music to be found. I really think you should start here and you might understand what I like about this music too. Try it and like it and I am sure you can thank me later. The snippet from Pitchfork below really helps describe what I am tell you about. Trish will be missed and I am sure no one will ever be like her. I really wished I saw them live back at the height of 2000 and really soaked it in better. Enjoy and if Trish you are reading this; Thanks! Enjoy!!

Broadcast take the infectious tick of pop and add it to the head-music tock of often non-pop genres (European art house soundtracks, exotica, incidental music, Ohm-style electronic pioneers). The result is an enveloping, mysterious record that marries the idealism of "the future of tomorrow today" to the stark reality of the post-millennial present and finds beauty and fascination in the tussle between melody and rhythm.(pitchfork)

Family In A Doll's House

2011-02-05T17:43:00.000-08:00

The first time I heard Family was a few years back on a radio show in my area. This show was famous for playing Progressive Rock and other spacey music that I have never heard before. I was glad to hear it too. It was not like music I have heard before. Furthermore if this was Progressive Rock then the songs were not that long at all. On the other hand the music was lush and odd like Progressive Rock. It was odd, but I liked it and that was good enough for me.

About a few months after hearing them I was reading a music about lost Progressive Rock music. This magazine devoted in finding the classic gems that we barely remember when we were young and shaped them into a great issue of stuff I was dying to find out more about. The magazine was pretty cool adding a CD that had some of these lost gems on it. It was a good way to find new, old music that I would love to hear. It was a great issue because at the end it gave the best Progressive Rock albums. Before looking at the list I said to myself that I would know all of them because since I am a fan of the genre I should have them all. At the end of the list of forty I had thirty-four of them. Shocking to most of my friends, but true. I knew the artist they picked but had no idea about the album. The funny thing about Family was that what I heard in that brief moment was somewhat groundbreaking, but to this magazine it was much more then that.

In the magazine this what they said that caught my eyes. "Family's fully fledged 1968 debut was progressive in the truest sense of the word. While studio trickery-phasing, backwards masking, musical interludes linking track-placed them in the Psychedelic camp, some creative arrangements, making the best of the unusual combination of reeds and violin opened up whole new visits... and unique vocals agenda holding everything together." Furthermore, it stated that it was critically a hit and paved the way for other Family albums that deserve more reappraisal. Well, that was enough for me.

It took me a while to find some of their stuff, but about two months after reading that I found the album they were talking about in the magazine. This is the same album I am mentioning here. Music In A Doll's House. It is quite unique for music goes, but it is still quite a gem. It includes a famous bass player/ violin player who played in Blind Faith with Steve Winwood, Eric Clapton, and Ginger Baker. This man's name is Ric Grech. Later on the lineup changed a bit and added was another famous bass player by the name of John Wetton. If you know who that is; he played in the band Asia, King Crimson and another cool short lived band called U.K.

At first listen you might not get it, but after a while you can see why I like this album. The music is quite different then all the rest and it really wants you to pay attention. The music does not have stand out tracks, or long songs like other albums. It is just really great music that has a good touch and a really a mark of a band that was truly ahead of their time. When I mentioned at the beginning of this blog about music that was different or beyond. This is what I am talking about. Enjoy and give it a try it might be really unique and for me that is good enough! Enjoy!

1000 Metal Volts

2011-02-03T08:04:00.000-08:00

The first time I heard Shellac it was the summer of 1999. I did not know really what to think. They were loud and brash, but on the other hand it was something that I really liked. I did not know much of them, but of the loud and brash I had a few songs on various mix CD's. When I went back to college in the Fall of 2000 I heard my first full Shellac album. I quickly put it on a tape and listened to going back and forth to class. The music was great and the dis-junked music fit the mood I was in.

I was told about this band from a guy who worked at the record store. He told me about how Steve Albini likes things rough and has a warm spot for analog recording. This guy at the store told me about how Steve Albini produced some real musical classics. "He produced Nirvana's In Utero." I was told. The same person also told me when he produces a record certain magic happens that does not happen anywhere else. He handed me another CD and I listened with such intent that I knew there was magic even made by him and his band.

Over the next couple months I realized that he should be played on my radio show. I liked what him and the rest of the band were doing. It was not quite the way I thought a power trio should be, but I loved it. The crunching guitar parts and the heavy rumble of the bass and of course who could miss those really interesting beats from the drum. I would fit in anyway I could to put a Shellac song on my shows. It was always a given that I would play one song and I would get a phone call from one of my friends to play another Shellac song. I was always up for that.

In the spring of 2002 I stopped to see a friend at the record store I went to and he handed me tickets to see Shellac. For a cheap eight dollars four of us piled into a car and saw Shellac. This was (I know for a fact) going to be one kick ass show. I was more impressed with their live performance then anything in the world. The music loud on the CD was even louder in live performance. It was and still is one of the best shows I have ever seen. On the way back we all tried to figure out how Steve Albini and Bob Weston get that sound out of their instruments. We also tried to figure out the awkwardness of Todd Trainers drumming.

What I thought was great the lyrics of Steve Albini and the tongue and cheek feel of the whole band. It was a great impression on how great music is created. Now comes the hard part, what album to pick. I like them all, but I decided to choose an album that got me on the kick of Shellac. I chose 1000 Hurts because each song on here is so underrated musically. To one of my favorites called "Watch Song" to the song called "Prayer to God." The latter is about is a no plea for forgiveness or well-wishing; he asks his lord to kill an ex-girlfriend and her accomplice.
It is all in all some of the best loud rock you have ever heard. I suggest you take a chance this might be a keeper and if you have a great stereo. Crank up and stand back this might get a bit messy! Enjoy!!

Three Chords And A Few Ramones

2011-02-01T13:12:00.000-08:00

Every once in a while I wish I had a time machine. I would use the time machine and visit parts of the past that I wish I was a part of. One the first journey's would be the early 1960's. I always wanted to be part of the Jazz explosion of Ornette Coleman and John Coltrane. I would stick myself at the Village Vanguard and catch John Coltrane or Bill Evans with his great trio of Scott LaFaro on bass and Paul Motian on drums. It would be interesting watch this scene develop into something that would be part of my musical loves. I am sure that every moment would be quite jaw dropping.

Another time machine run would be to the era of the Fillmore period of music. This would be the era of 1966-1971. If you are like me and love music live the Fillmore shows were a site to behold. I been told by family and friends that some of these shows were some of the best. What I would give to see the Grateful Dead and Allman Brothers on a Febuary night in 1970 play from roughly 10pm at night and play all the way to the wee small hours when the sun was coming up the next day. Another show seeing the triple bill of Steve Miller, Neil Young and Crazy Horse and Miles Davis (Bitches Brew period no less) play for a great crowd. There would be so many shows. I cannot imagine seeing them all, but I would try my best to catch something so magical on a night at the Fillmore.

The third and possible time machine run would be to 1975-1979. I would once again plop myself in the city of New York and to CBGB's and catch people like Blonde, Richard Hell, Patti Smith, Talking Heads, Television and of course the Ramones. I would go to these shows and soak all the culture and scene of what was the birth of so much stuff. I actually been to shows at CBGB's but way after this scene was the place to go for great music. I went to an anniversary concert week back in 1995 where I saw people like Living Colour, The Cramps, Patti Smith, and countless others. It was a great time and where age was not discriminated and I could be talking with someone who was there in 1975 and he told me about the first time he saw the Talking Heads and told me how out of sorts they looked, but they could play and that was good enough for him.

In my time machine I would see these shows. I really was and still is a fan of Television. That same person who mentioned the Talking Heads told me about the 50 plus shows he saw of The Ramones. He was the one who coined my title of this post. He would tell his parents even though he was seventeen, he was going out to see a live show "Hey Ma, I am going to see three chords and a few Ramones." He told me how great this music was with such conviction that every one of the 50 shows that he saw of them it never got old. The music was full of energy and the time was priceless. Every time they played at the CBGB's they would play for about an hour and the place would go crazy. They would try out new songs and if the crowd liked them they would add them to the new album. It was quite an experience like no other.

I have seen the Ramones about a dozen times, but nothing like that person I talked to. He and I still talk about that golden era. He misses it as much as I wish I was there. Once in a while I pull out my Ramones albums and remember that golden era. Today I played the first Ramones album and really gave it a listen. While shoveling snow today it quickly made all the snow go away and the worries were gone, but the time back in 1977 where I wish I was it made it all the more wonderful. All the songs on here are great and I am sure by now are engraved in your memory banks everything from "Beat on the Brat" to "53rd and 3rd" to "Judy Is a Punk" and the famous "Blitzkrieg Bop." All of it classic and all of it wonderful. What would I give to go back and watch and listen to this all unfold before my eyes. Classic all the way and rightfully should be turned up all the way.

Beat on the brat
Beat on the brat
Beat on the brat with a baseball bat
Oh yeah, oh yeah, uh-oh.

Beat on the brat
Beat on the brat
Beat on the brat with a baseball bat
Oh yeah, oh yeah,uh-oh
Oh yeah, oh yeah, uh-oh.

What can you do?
What can you do?
With a brat like that always on your back
What can you lose?

What can you do?
What can you do?
With a brat like that always on your back
What can you lose?

Oh yeah, oh yeah, uh-oh.
Yeah

Beat on the brat
Beat on the brat
Beat on the brat with a baseball bat
Oh yeah, oh yeah, uh-oh.

Bob Marley Live Bootleg

2011-01-31T09:37:00.000-08:00

In my community college years I had a professor who was basically a Grateful Dead head. He always asked me about my dead shows I went to and would tell his stories about his past with the centered moment about meeting at a Grateful Dead show. He mentioned some good ones and I wish I could turn back time to his youth and see the shows he saw in the years circa 1973-1979. He mentioned one thing about his shows is that he loved seeing the people and soaking up the music. He also mentioned that he also had this moment when he saw Bob Marley. The whole class jaw's dropped when he saw him a number of times.

For myself I liked Bob Marley, but really did not know where to start. I bought his best of Legend, but the professor told me that is only the tip of the iceberg on what he has out there to listen to. I was one of like 12 million people who did and that was the only Bob Marley I knew. He handed me a cassette tape full of two albums. There was even a person who befriended me and gave me a better mix then what I heard on Legend. At this point I needed to hear more. That professor heard that and made me a tape of two albums. The two albums Burnin' and Catch A Fire. These were my first two official albums of his. I did not know what to expect. Even more special was a classmate and friend of mine heard us talking Bob Marley and he gave me a 100 minute cassette full of classic and some real gems of Bob Marley. He also handed me a tape called Talkin' Blues. All the music that I got was quite a dose of music, but it was a great place to start.

Over the years I picked up the CD versions of these albums and really listened to him. I did not pay attention to the hits, but the songs that had an impact. These albums were all so good. I did not even know what album to pick or listen to more then most because all of them were playing in my CD player or cassette player. Over the next few years I would put Bob Marley away and listen to other Reggae artists. When I went back to school I made a two CD mix of the cassette mix of what my friend gave me way back a long time ago. It was really great to hear these and soak in the music.

After college I decided to go on a search of other Marley music. During college I had someone who needed money and sold me the Bob Marley Box set. It was great and all but I knew I was missing something. The music I was looking for was something live. Yet the two live albums were good especially Babylon By Bus. I stumbled on a few bootlegs on line. I took advantage of those and decided to listen for myself. It's a good thing I took that chance. I listened to these bootlegs and really liked what I heard. It was something that now after all these years made sense to me. This is the Bob Marley I wanted to really hear. It was all so good and I knew this is what should be blasting in my speakers.

After many re-listens for this blog post I stumbled upon a bootleg that I had in my music files. I grabbed this bootleg and gave it a new listen. This was recorded in December of 1973. It was part of a series that I have yet to find the whole set. In the early 1970's the Record Plant recordings were something special. I have a few namely a AC/DC one and a Herbie Hancock one. Both with it's excellent quality yet great music is a great capsule of the era that was quite unique. The Bob Marley one is no different. This show is about the time Bob Marley would break in the states and also when he opened for Sly and The Family Stone. This is a great start and if you can find it, grab it. Enjoy this one and I hope this is a start of a musical love of Bob Marley.

Morphing Beck

2011-01-27T09:10:00.000-08:00

Everyone has a favorite Beck album and of course everyone has a story too. Like myself I find his music a quite refreshing breath every time I hear him. All his music is so good and he does so many different styles and really knows what he is doing even though some of the music sounds a bit too odd. Beck is a person I admire for his world he lives in. He knows what is great and mentions it to us listeners or through his web site. The Beck Record club is a great way to hear albums that he think are quite important. That is why he copies them from front to back and really gives the people a new listen of a classic. I say this loosely because the last one he did is music that my mother loves. It might be a novelty thing but sure was a bit messed up for my taste.

I am not sure how many readers remember when Beck debuted to mainstream audiences back in late 1993 and 1994. I mean i still in some way cringe when I hear "Loser" mind you it's an okay song, but MTV played it 20 times a day. Way to much for this person to really love it. I even can remember the video. It was good for it's day. I mean we really did not hear anything like it at the time. I remember putting in the tape in my car and pulling in my driveway and my dad asking me what is this Beck. Is he a rapper or is he a real musician. I did not have a defense and I just said dad he is just a musician. If you dived into the album a bit further he was full of great musical eclectic taste. The "Loser" song had a Dr. John sample. Who finds stuff like that. I like the Beastie Boys because of their unique samples too.

Beck did a lot of this musical influence on Odelay. Again MTV did it's best to ruin the album for most of us. It turned out to be an anthem to many people. I did play it a ton, but my moment of the album was "Ramshakle." That song even though it really did not fit with any other Beck song on the album had a guest appearance then none other then Charlie Haden. Charlie Haden was Ornette Coleman's go to bass player. I think the introduction by Charlie's daughters who are great musicians themselves led to this little bit of magic for me. Beck asking Haden really did it for me. He was a musician now that should not be played with. Everyone loved Odelay too and I remember being asked the question what I thought of the Beck and Charlie Haden collaboration and praising it's great idea.

I surely did listen to Odelay a lot, but around the same time I really started dismissing popular music for a while. I mentioned this in previous posts. It got to much and over played made great songs ruined. It's like my Doors experience and that scared me for a long time. I have it a rest. I really wanted to see Beck play stuff that just made people think a bit more then him being a one hit wonder. One day that dream came true. After all the time away from rock I picked up his next album Mutations. The album that proved to me that Beck was someone to talk about. It's my favorite album in his cannon of music.

The album with a full band makes a difference to me. It seems like he did something like what Neil Young did in the early 70's. You get popular or commercial and then you turn your back on it and make something that makes you happy. This album really does it. From the first song "Cold Brains" to the hidden track at the end of the album it really is a marvel. The mix of musical genres he crosses are great too. The performances are natural, relaxed, and laid-back, without ever sounding complacent. It's what makes this album great and fresh. I listened to it the other day and really understand what he was doing. The song about Tropicalia is breathtaking and so much a great tribute to the genre that I love. Not many artists can do this and with Beck he was at the top of his game here.

I would think my loyal readers already have this album. If you do then take it out and really listen to it all the way through and say to yourself; This album is twelve years old. No way could have this been that long ago. He put it out today I am sure he would have been praised for a great album. Damn' right it is and this one to keep for a long, long time. I love it every time my shuffle on my Ipod plays one of the songs. Enjoy and renew your listen to this one and tell me what you think. It's a great new journey in the story of Beck! All the songs here have more character then anything out now! Classic!!! and enjoy!!

Pixies Doolittle!!

2011-01-26T08:33:00.000-08:00

I came a bit late to the Pixies, but not late enough to embarrass myself. It was 1990 and I was given a cassette tape of the Pixies by my co-worker. He pointed out that this tape changed his life. The album was Surfer Rosa. At first listen I did not know what to think. It definitely had some kind of impact, but I could not place it. It did not follow a formula of what I was listening to. I really thought for a second I stepped into some kind of future where music did not sound like I knew. Well in some respect I did, and I liked it. I gave back the tape to my co-worker and told him how much that quick half hour cassette was quite amazing. I asked him if he had any more and he told me that he would let me borrow Doolittle. I was happy to get it and now I could fill the second side of my cassette.

For a while I listened and listened for what was going to the point of that ever changing, life altering event. The thing was it was not a song, but it was the whole album that made that decision. The forty minutes of this cassette made it all the more interesting. This was something I needed to understand and to understand it required many listens. This was much better then the music I was hearing from the little group I was hanging with. As I mentioned in previous blog post the music of REM, Cure, was some of their loves, but this was in your face and the words of Frank Black assaulted you like no other and I really liked that. I mean take the words to "Debaser." By the way what is a "Debaser?"

got me a movie
i want you to know
slicing up eyeballs
i want you to know
girlie so groovy
i want you to know
don't know about you
but i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
wanna grow
up to be
be a debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)

got me a movie
ha ha ha ho
slicing up eyeballs
ha ha ha ho
girlie so groovie
ha ha ha ho
don't know about you
but i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
i am un chien andalusia

(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser

It only last three minutes in length, but it quickly get's into your brain and stays there and the words come out of Franks mouth and quickly come to yours. The second time you hear them they are now on your mouth and now you too are singing these great words. I was converted for life. Sadly, my friend around my age had no concept of what this music was. Around the time the Pixies put out Trompe Le Monde I became a huge fan and really would not go without a week without listening to them. They supported U2 and of course my friends choice to ignore the opener. They do regret it now, because they come up to me asking for the Pixies. I won't give them the music because of there stupidity. It may sound callas, but they missed the boat once and now they have to deal.

Every song rolls off the pallet and is so well done, you wonder why this was created by such a short lived band. I saw the reunion tour and I really wish I could say I saw them in their prime because there is so much they said. It was like falling in love with your biggest crush. Then you wake up and she is right there for that quick five minutes. The Pixies never disappointed me their music was fresh and so well done that you really don;t get their music until after the fact. The popularity got a bit overwhelming because of Fight Club, but that was just a good way to expose a great band. I remember getting requests for the song that was used in Fight Club and of course I would tell my listeners that the better songs are the ones you will hear now.

The Pixies are a must listen. I don't think they are one of the first artist I would point out, but I am sure I would tell anyone who loves music to give them a try. The words and the music is fun and energetic. I wish I really could see them when they were a band of the late 80's and early 90's. I am sure I would have better stories to tell. Seeing them three times they really no fail to disappoint and furthermore have gotten bigger with the reunion they do once in a while. It is a great pleasure to tell you about them and take Doolittle and crank it up. You will be glad that you did. The music is wonderful and fresh and great. Enjoy!!

Mr. Gould Meet Mr. Goldberg

2011-01-22T16:36:00.000-08:00

When I started listening to classical I did what I could of what I had. It was next to nothing in my collection, but it still was a good start. I did not shy away from my classical or for that matter the classical that was out there I honestly wanted to hear more. The first classical tape I ever owned was a copy of Beethoven's Symphony #9. It is one of the most recognized pieces of music and I used to play it over and over. I would pretend I was a conductor and think I was conducting the symphony over some challenging, rough waters and led them to safety. I liked it so much in my first year of middle school I brought it to my show and tell music class. They asked me to bring something to class that I liked to listen to. God only knows what I would have picked now if I had that same choice to make. I could only think about scaring the teacher or the classmates with Eric Dolphy or some really odd piece of music.

I held that honor of liking Beethoven as an badge of being cool. I had other classical pieces of music, but they were not as cool as that Beethoven. No one in my house had an interest in classical so to me I wanted to be the first. Over the course of my middle school time I got more and more interested in classical. I would buy a tape here or there when I went with my mother. The tapes were dirt cheap too. I could get a full cassette of classical for about $4.99. I did not know much about what I was listening to, but it was good. I think over the course of a few years I had about twenty cassette tapes that had all kinds of classical on it. I still have a few, but looking back on it some of this music is stuff I really don't listen to anymore.

In High School I got a bit more educated on what to listen to, but then again I did not listen to it much. I got advice on certain composers and what pieces of their music is a must listen. These include Beethoven String Quartets, Bartok String Quartets, Holst Planets, Vivaldi Four Seasons and Bach's Goldberg Variations. These pieces were all new to me. I mean I am still listening to stuff and I continued to grow on what knowledge of classical I had. I used my job as a resource to find the classical I wanted to listen to. One of the regular patrons at my job came to me one day and told me that Glenn Gould is the person I should listen to. He pointed out that his version of these Goldberg Variations was the greatest thing in music. He pointed out that the 1955 recording was the best of the many people who tried to copy or do.

It's true when I heard this because when I picked up the 1955 version to buy the friend who worked at the record store told me that was the one that all others try to copy. I now know that there are some others out there that need attention but this is the one that holds the candle to all others. I have about seven different versions of the Goldberg's and to me this is the one I go to the most. The way Gould performs these are quite fun and full of so much young energy. I have not heard anyone sound like his quite youthful approach to a piece of music. The more I hear it now it really makes me smile. His version is the most recognized version that people talk about. I am glad I got to hear it.

To me Gould is the one who not only got me into piano music, but classical too. I picked up a 2CD sampler of his interpretations of Bach and others and all of them had a life all their own. Eventually I branched out on other classical, but it was Glenn Gould who taught me that there was a world of so much. His piano playing was always the first person I went to. It was full of heart and also education. The learning from Gould is quite something that I will never understand, but his playing made me want to find more.

I have four copies of this album and it never gets old. I put it in the car the other day and It was like I heard it for the first time. The fresh sound and the way he played this piece is like magic. It might get anyone who does not listen to Classical and I think the Goldberg Variations is a wonderful place to go. Enjoy and I am sure you will start your classical collection here. It's a good guidepost for classical. Enjoy!!

Sepultura Will Rip Your Face Off

2011-01-20T09:20:00.000-08:00

When I went back to college at 27 I was ready to learn and soak in all there was about living on campus and away from home. It was not the first time away from home, but it was interesting to interact with people younger then me who are having the same experience. I met all kinds of different people and my education was with these different people and also in the classroom. I had fun, but I also grew up a bit at the same time. I learned everything from tolerance to compassion to just figuring stuff on my own. I took a lot of this education home with me and it now has made me grow as a person. I did enjoy my moment in a somewhat foreign land. The meeting of different kinds of people really intrigued me and I found new people to hang out with as well as become friends with.

During this time I got exposed to new types of music that these roommates would listen to. I would everything to Techno, Classic Rock, Electronica, World Music Heavy Metal, and last but not least Hardcore. It was like being a DJ at the radio station on campus. I heard all these there and I did not mind them. I even told my roommates that the music is cool, but I could not take some of it large doses. The Hardcore was interesting, because this roommate would explain to me what they were saying and also what their philosophy was. He even mentioned that some of these bands preached about not eating meat or to believe in a higher being. It was quite impressive. This roommates favorite music was Hardcore, but he told me he was open to everything else. He really liked a band called Sepultura. A band I was a bit familiar with when I went to college, but never actually followed up on.

I heard from my roommate the whole history of Sepultura from beginning to present day (at that time). He showed me his massive collection of their recordings and his die hard hoodie and shirt. He told me how great some of this music really was and it was good to listen to when your working out a the gym and need to get out your frustrations of the day or what have you.

Sepultura did not take long for me to like there were some great guitar and drums to it that hooked me right away. I wish I saw this live for the first time when this album came out. I was told by my roommate in college that the original guy in the band was the man who really got this band going. I did not know much about him, but what he did on Roots I can see why he is what made this sound so great. It was my first adventure into this music and genre and I thank him for introducing me to a band that had a lot of power.

Roots bloody roots
Roots bloody roots
Roots bloody roots
Roots bloody

I believe in our fate
We don't need to fake
It's all we wanna be
Watch me freak

I say we're growing every day
Getting stronger in every way
I'll take you to a place where we shall find our
Roots bloody roots
Roots bloody roots
Roots bloody roots
Roots bloody roots
Rain bring me the strength to get to another day
And all I want to see
Set us free
Why can't you see?
Can't you feel this is real?

I pray we don't need to change our ways to be saved
That all we wanna be
Watch us freak

I wish I could tell you more, but I cannot. The music of Sepultura is great and to me very fresh. It's music for you to get your frustrations out on. Enjoy it and I am sure you will feel the same way I do. I don't talk about Metal or Hardcore much, but I really think this one of the ones to listen to. Enjoy!

Giant Friends

2011-01-18T16:14:00.000-08:00

The first time I heard Gentle Giant was about fifteen years ago. I heard it at the book store I always go to. The music was definitely Progressive Rock, but it was not like the Progressive Rock I listened to. It was great stuff and it gave me new ideas on what to listen to. I listened to this Gentle Giant all the way through and it was very good. It was extremely technical and seemed liked what they were doing. I also liked the way the songs had a lot to say in how technical the music was. It is after all Progressive Rock, but it is really well done. The only complaint I had about them was the shortness of their albums. Nowadays, these albums would be only an EP in length but the music here is full of stuff to digest.

Over the years I listened to them every know and then, but when I went to a small Jazz show with a friend the musician I saw mentioned how Gentle Giant was the music that got him through his youth. He mentioned the long songs and the technical side of things, he also mentioned how they just made him want to be a musician. He was right, the music is great and the way they play is very good. Of all people who plays Jazz this guy was mentioned Gentle Giant. I asked him after the show which in particular did he liked and he told me all of them, but if he had to chose one of the he would take Three Friends. I took this in consideration. When I went to see my friend at the record store he told me to give him a tape and he could put some of their music on it. Glad I did, because this stuff was wonderful.

Over the years I really did like listening this stuff. It grew on me how wonderful they were. I will admit that I kinda got off track by taking a break from them, but looking back I realized I made a mistake. I really should have really listened to them more and more. I realized this issue when I saw a group called Three Friends at Nearfest last year. They were the headliner. Three friends is a project that plays old Gentle Giant songs and really does it with accuracy. It includes two members from the old Gentle Giant and reinvents the songs to make them sound nostalgic and fun at the same time. It was a mind blowing event for me.

All this time I missed so much but on the other hand I really liked what I heard and wondered if this was something that would make me like them more. Well it did a great job of that. Three Friends the album and Three Friends the band really turned my ears on to something I would never think I would listen to. Take a listen and I am sure you will agree. The album is only got six songs, but it's enough for a full meal. Enjoy! Below is the words to "School Days" and a video of Three Friends singing the song.

The bell rings
And all things
Are calling
The days past
The play's cast
Remember
September
When we were
Together
Together
Together

Schooldays the happy days when we were going nowhere
Schooldays the happy time when we were feeling no care
Schooldays when three said that we'd better be friends forever
How long is ever isn't it strange
Schooldays together why do they change.
How long is ever isn't it strange

Did kites fly
And I spy
And you cry
To run fast
Or come last
You know how
We made vows
They're gone now
We made friends
We broke friends
No more friends

Schooldays the happy days when we were going nowhere
Schooldays the happy time when we were feeling no care
Schooldays when three said that we'd better be friends forever
How long is ever isn't it strange
Schooldays together why do they change.

Remember,
Remember when we
Together
Went to the sea
Was it real or did we dream. The days of children gone.
Seagull's scream and pink ice cream and the deep blue sky
And the waves seem high and golden sand and the town
brass band play on.

Wait for me
Wait for us always
Wait for me
Wait for us to come
Homework's dull. It's worth the pain to go out when I want
Mister Watson wants to see you in the master's room. It's
about the work you should have done and I think you
must go now.

Schooldays are gone.

Emercing Jackson

2011-01-16T06:15:00.000-08:00

The first time I heard Jackson Browne was when I was a teenager. I bought one of his later albums called Lives in the Balance. I thought it was okay, but nothing to write home about. I really wanted to hear what I heard on the radio stations. This was not it and if this was my first impression of Jackson Browne then I more then likely would have never listened to him again. I would go around finding his albums at tag sales and it took me a bit to find them but when I did I was richly rewarded. The music from his early efforts are so much better then the stuff I heard and I am glad I gave it time.

Jackson Browne was a mystery to me after hearing that album I bought, but with these early albums they had more of a feel that I really liked. The music was far superior then what I was expecting. I was happy to hear that this stuff was so much better then I thought. I listened to the music and the words and it was all very very good. It had a Seventies feel, but it was still timeless and wonderful. I' am glad that I decided to start from the beginning because these songs were so good. Even the vocal harmonies where just classic.

One thing with Jackson Browne is that he can paint a really great picture of his songs. The lyrics are great and the music is so crisp and fresh. What else can you say. I know there are people out there who really are apprehensive about listening to him. Don't be because he will just be a new door for you to open. "Jackson Browne's sensibility is romantic in the best sense of the term: his songs are capable of generating a highly charged, compelling atmosphere throughout, and - just as important - of sustaining that pitch in the listener's mind long after they've ended."(RS) Jackson Browne's greater triumph is that, having perfectly expressed its times, it transcended them as well.

I am glad I took the chance on his early albums. His song writing was still a stuff of history because he wrote with the Eagles and also Nico. Both have some of their most memorable songs written by Jackson Browne. I do wish I could go back in time when these were created, because I heard his tours for this were quite amazing. I even heard he did a double bill with Warren Zevon. I bet those shows must have been great. He also had a really great guitar player named David Lindley on his early stuff and also the guests of people playing with him were quite amazing. I mean Bonnie Raitt, Elton John, Terry Reid, Joni Mitchell and the Eagles as I said before and the whole world actually. He was the singer songwriter that everyone wanted to play with.

Get this and you too will love his music. I really do enjoy a good rock album with great musicians and with great songwriting. I suggest you try him and if you don't have his stuff try the first one and I am sure you will enjoy what you here. The music is fresh and really great and really fun. Jackson can really say it better then anybody else. Enjoy! Have a blast from the past and I am sure you will understand why Jackson Browne is one of my favorites.

The Doors of Perception Redux

2011-01-13T07:58:00.000-08:00

In my youth I picked and chose my music of what I heard on the radio. I would always record songs that were cool or listened to albums that my uncle or other family had. I would even go over my best friends house and go through his tapes or records and listen to them. I would take a mental note what I liked and when I was at the record store I would get the same cassette or record. I remember I went shopping one day for a band called The Doors. I knew very little at 13 years old, but I knew some of the hits and I also knew what I heard coming from my best friends room. He did not idolize Jim Morrison and The Doors he just liked the music because he could zone out to it. I really thought the music was so cool. This is where I started my obsession on organ sounds.

The music of The Doors was wonderful and the lyrics and poetry of Jim Morrison was sure something that really knocked me on my ass. I actually became Doors obsessed at one moment. I only had a simple mix tape full of Doors. At 14 years old I went to the store and picked up the most widely bought The Best of The Doors. I am sure you will remember this collection it was the one that was on one tape with a red cover and Jim Morrison with his arms stretched in like a Jesus type figure. I was excited because it was an hour and half worth of music. It was expensive at the time too. I payed $15 for it. Well worth the money then and still in my personal collection.

Then I somehow out grew The Doors. The tape was over played and I heard them more then ten times in one day. I stopped listening to them for quite a while. I would cringe when I heard them on the radio and quickly change the station. When I went back to college I only carried one Doors album with me and I barely played it on any of my radio shows. The music was something that never entered my mind. I had a friend who was a huge Doors fan. He told me that they were the best band ever. I told him that I heard so much of them I really did not care if they were or not. I would get a request for The Doors and I would quickly find a quick song of theirs to play.

This all changed about two years ago. I decided to give them another chance. This chance was because I heard someone playing some non hit Doors songs at a party. I asked the person manning the Ipod what he as doing and he told me he made a non greatest hits Doors mix. It was about twenty songs and all of these songs were the ones I liked. These songs included "Not To Touch The Earth," "Spanish Caravan," "Strange Days," "Runnin' Blue," and one of my favorites "The Changeling." I had new found respect for The Doors that night and I too made a Doors mix that was similar to his. I felt better that I could actually listen to The Doors and actually like them. My faith in some way was restored. This was better for me to feel better that I could listen to The Doors and actually like them.

Over this time of listening to The Doors till now I was not sure how to write about them in this blog as well. For a long time this love-hate relationship was making me try figure out what to say. How to say without feeling elite that I think The Doors are dull or boring. Then that change happened by accident. When I write for this blog I re-listen to some of these albums to figure out what you would like to hear if you never heard the album before. I went on another few blogs and found a Mono edition of The Doors first album and also I found a remixed version. You may say "remixed" who the hell would want something remixed. Well not so fast readers, The Doors first album remixed has many great meanings (as I found out).

The first thing about the remix is the music is so much clearer and the speed of the record is back to normal The meandering of Jim Morrison is so aware then in previous released versions of the album. Things that were buried and thought lost forever are now found. A few examples of this are "she get high" in the song "Break On Through" and the smattering of "fucks" that Jim Morrison speaks in the song "The End." I bet you did not know that, did you? To me this was a revelation that opened up new worlds for me. It was like when I was twenty-four years old hearing the mono mix of Piper at the Gates of Dawn. The light from the curtains made me feel new again. By the way that will be explained in a future post.

So I know what your thinking, I bet I am not going to tell you anymore about the album; I am not, but I will tell you to seek this edition out. I am still in the search of a physical copy of it. I know it's part of The Doors box set Perception, but that might be the only way to get it in my hands. I did find it on two other blog sites that had MP3 versions of it. So I am happy now for it, but being the completest I would love a physical copy. Well that is all I am going to say about The Doors. I would suggest that you listen for yourself and enjoy! This The Doors on my terms and I am happy with what I found. Enjoy and if you want a digital copy let me know, maybe I will get you a link. Enjoy! Just remember you never heard this version of the album till you heard this. Like me you will scratch your head wondering why was not out sooner. Jim was right..."break on through to the other side..."

Tim's First! Masterpiece.

2011-01-10T16:45:00.000-08:00

Tim Hardin's debut album was something of a happy accident, a killer record at least a third of which was comprised of tracks intended as demos, while another half utilized a string orchestra that the artist knew nothing about.(AM) Tim Hardin (1) is one of the most powerful and compelling records of its era, encompassing deeply personal and compelling poetry, blues, rock, and folk in settings ranging from stripped-down Sun Records-style rock & roll to lightly orchestrated folk-rock.

Tim Hardin's music was covered by everyone from Bobby Darin, Rod Stewart, Nico, Fred Neil and Scott Walker. To me he was the one that I heard Rod Stewart cover on Every Picture Tell's A Story. The music was wonderful and fresh and really new. I loved the words that Tim spoke to me and how he spoke them. I heard this stuff and was really so impressed I needed to hear the originator of these words.

It seems the songs we're singing
Are all about tomorrow
Tunes of promises you can't keep
Every moment bringing a love I can only borrow
You're telling me lies in your sleep

Do you think I'm not aware of what you're saying
Or why you're saying it
Is it hard to keep me where you want me staying
Don't go on betraying it
Don't make promises you can't keep

We had a chance to find it
Our time was now or never
You promised me things that I need
But then the things behind it took away the chance forever
You're telling me lies in your sleep

Do you think I'm not aware of what you're saying
Or why you're saying it
Is it hard to keep me where you want me staying
Don't go on betraying it
Don't make promises you can't keep

Those lyrics are from the first song that opens the first Tim Hardin album is quite addicting. It may be simple but for me it' a masterpiece. It's a song that tells Tim's views of many things and maybe the world at large back in 1966. This debut album was something of a happy accident, a killer record at least a third of which was comprised of tracks intended as demos, while another half utilized a string orchestra that the artist knew nothing about. Tim Hardin 1 is one of the most powerful and compelling records of its era, encompassing deeply personal and compelling poetry, blues, rock, and folk in settings ranging from stripped-down Sun Records-style rock & roll to lightly orchestrated folk-rock.

This album maybe as long as a sitcom on television, but it still put's quite an impression on me. His music was never really heard in our household or my families but I wanted to seek him out because so many people talked about his music and also covered his tunes. The music here is fresh and so cool to listen to. Listen to this and tell me what you think. It might be an album, like myself sticks with you for a while. Enjoy this and tell me what you think. Sometimes you find the diamond and this sure is a nice looking one. Enjoy!!

Mick Karn RIP

2011-01-08T13:54:00.000-08:00

(Terry Bozzio)

(David Torn)

(Mick Karn)

The first time I heard Mick Karn was on this CD Polytown. I did not know what to think, but each musician on it was so great. Mick's bass playing was from another planet and something that would never be brought up in conversation. I am sure he is mentioned somewhere, but not in the top Electric Bass players. If you heard his sound in Polytown your jaw would drop to the floor and for sure you would ask yourself after the 54 minute CD is there more to listen to. Sadly, there is not. The CD that also included my favorites David Torn and Terry Bozzio screams awesome Power Trio.

I have always been a fan of Power Trio. Weather the music is Rush, Primus, Cream, Robin Trower, Oysterhead or the famous one I really like (and they should do more) Danny Carey, Les Claypool and Adrian Belew. Even Bill Frisell's Power Tools album with Melvin Gibbs and Ronald Shannon Jackson is a must listen. Hearing Torn, Karn and Bozzio screams and chokes you just where you want it to. If your a musician then you should hear this, it will maybe make you cry because of how the talent is. It might turn you off because of it's technical sound, but it provokes (to me) a awe like no other.

It really sounds like they are in the studio and they decide to just roll the tape and see what happens. I would love to be a fly on the wall and just see what they were working on. My favorite track (one of many) is a song called "Res Majuko" Mick's bass playing is out of the realm of what you normally hear. Bozzio just keeps great time hits you hard with these punishing drum fills and assaults you and grabs your wallet and by the middle of the song Torn just blinds you and plays some nifty guitar stuff. It is a true Power Trio album.

These ten tracks present a tribal jazz ambiance and near-constant guitar and bass noodling that fans of Torn, Bozzio and Karn will really go gaga over. "Rivers of warm sand like snakes coil around Polytown often flooding into larger reptiles." That explains it all in the CD case and tells you up front we are pulling no punches. While your jaw is on the floor make sure you realize that is only a one project idea. Too bad too would love to hear more.

Enjoy, this wonderful CD full of great jams, great musicianship and also the best of the best from Mick Karn. He will be sadly missed and I am sure after listening to this you too will be a believer. The man can play and so can everyone else for that matter. Good stuff from my listening when I was still learning what good music was all about in 1994. Enjoy and crank this one up to 11. Enjoy!

Crank It Up to 11

2011-01-06T14:03:00.001-08:00

http://www.mixpod.com/playlist/74983916

I am trying to get this hear on my blog! Let me know if you know how to do it. This is 30 songs from early blog posts. I will more then likely do another in about a month so you can hear previous blog stuff!! Thanks Matt

Create a playlist at MixPod.com

Metheny's Bright Life

2011-01-05T11:44:00.000-08:00

There is a reason I like Pat Metheny. He is one of my favorite guitar players of all time. He can do just about anything well. Weather he is leading his group or a trio or even solo. His music is quite amazing. I posted about one his later works in this blog and mentioned my experience in seeing him live. It was quite a site. His music done live just makes you shake your head and realize how great he really is. If there is any doubts about Pat Metheny then the live performance will make sure you will understand where I am coming from and where the rest of the world gives him praise.

When you look back on his career you see most of his albums have some great about them. There are a few that some people question why he did that, but you know that is what makes an artist unique and different. I like Pat Metheny for that daring approach and not settling in for anything that is the same formula every day. I probability would not like him if he stuck to that formula. Pat over the years has put some interesting groups together. His real "Group" at one point was around for over two decades. They basically are psychic and they know what to do and how to control what goes on. He really does not need to tell them what to do because they are great musicians themselves.

The music of the group is some of the most exciting to listen to. I like hearing the rest of his band just go crazy sometimes and really showcase there talents with Pat because you know they can keep up with him. It seems like they do it with little effort. When I saw him with his trio I realized that the people he picks are good in their way too. These two people with him know how to play so well that they put you in another world. When I decided to write about early Pat Metheny the album I go to is Bright Size Life. Yes, it might be a simple thing to go to, but if you actually listen to his first album you hear some of the best people he played with. The two people backing him are Jaco Pastorius and also Bob Moses. These people actually know how to play. Jaco coming from Weather Report and Bob Moses coming from playing with Pat when Pat was with Gary Burton.

Each member does something a bit more then a normal trio would do. They play so well that you think that this band is the best jazz trio that you never heard. You (at least I do) remember how well bands like this play. You forget that this is not a simple and the music is quite addicting. I hear the music of Pat and Jaco and Bob and wonder what it really was like when they recorded this back in 1975. While the arena rock was in full force, the music of Pat Metheny just nicely comes over and taps you on the shoulder and tells you there is something more out there then the simple stuff.

One of the best debut albums by any artist. I suggest that you do listen to this. It will change any mind that you have about Jazz, or for that matter music. I love listening this album again and again. I won't get tired of it and I surely would tell other people to listen to it. Enjoy this album and if this is the start of your Pat Metheny collection then you are going the right way. Enjoy and remember to crank it up!

The Hope Of Sex And It's Many Meanings!

2011-01-01T14:40:00.000-08:00

What do you call a band that can cover James Bond music, Prince, The Cardigans and still have room for an odd version of the "Macarena?" Yes, by the way I did say "Macarena," that silly song that I was asked all the time when I worked at a music store back in 1995. Thank god this version is got a better feel to it then that piece of crap. Anyway, the band was called Sex Mob and when they burst onto the Jazz scene I was quite impressed on what they did. I had not heard a single note on the CD when I went to see Sex Mob play at my favorite place in New York. The Knitting Factory was the place to be in those years and I still remember fondly that I looked at my friend asking more about them. He only knew about Steve Bernstein playing a slide trumpet.

We did not know what to think, but with anything that the Knitting Factory did. We were excited to see what would happen. How odd can a Jazz quartet be? Well At first listen we had no idea that each member was going to take a solo to start the show. Totally though most of the audience including myself off guard. This went on for about fifteen minutes. It was definitely different and something that I would remember for a while. When they finished that Steve got on the microphone and told all of us that they were going to play some unusual selections that were not your typical songs. We, I guess were in for a wild ride.

After his spoken introduction of the band they decided to start with a James Bond song. It was funny because when you heard Steve start them off you really thought that they were the ones who wrote it for the film. The song was Goldfinger from the same movie. One of my favorite Bond pieces. the audience of about 200 laughed and so did the rest of the band. After the song Steve told us that he is such a Bond fan that he wants to work on more of those Bond ideas. He actually made a Bond tribute album and also did another Knitting Factory show that did Bond music with Bond video. It was also another unique experience. He weaved into more odd territory with a few pop songs that were Jazz versions. I was not so sure what to think but they were done well. The chemistry and the choice was great.

After the show he was selling his first CD. I picked it up and had him and the rest of the band sign it. It was truly a unique show. They also told us that they will be doing a weekly show here at the Knitting Factory on Saturday nights to try out ideas and adding special guests to see what works and what does not. These guests (because I went to a lot of these) were people like John Medeski (from Medeski, Martin and Wood) to Adam Levy (great underrated guitar player). I went to see Sex Mob about eight times and each time was a great twist of what they had up their sleeve. Listening to the CD of their debut Din of Iniquity you have that feel that you as well were there with me.

Din of Iniquity is such a great fun album. Even after seeing them so many times I realized that this was only the tip of the iceberg. Even their next album had some unique music to them this time covering the Rolling Stones, Nirvana, James Brown Buffalo Springfield and Grateful Dead and even Abba. They played the songs that everyone knew and because they could recognize the song, then that invited them into their style. That is how all the Jazz greats did it as well. "Jazz used to be popular music. People would go out to clubs, listen to the music, go home, and get laid. Simple as that. We're bringing that spirit back." Steve Bernstein is right! That's why I love this album and you should listen to it as well. What a great album to listen and kick back and enjoy! Try it out! Have fun and Enjoy!!!

Chasing The Spirit of The Dead

2010-12-30T13:49:00.000-08:00

Dead Can Dance combine elements of European folk music -- particularly music from the Middle Ages and the Renaissance -- with ambient pop and worldbeat flourishes. Their songs are of lost beauty, regret and sorrow, inspiration and nobility, and of the everlasting human goal of attaining a meaningful existence. It is some of the most unique music to come out of the 80's and 90's. It is some of the most interesting music I have in my collection. I never thought I would like it, but once in a while it's world fusion and explorations are something that is quite interesting to listen to.

It all started when I was working at the local library. I had this regular patron who came in who loved music like I did. He had a bit more music maturity on me, but he was a big fan of female vocalist. He was a fan of people like Sandy Denny, Kate Bush, Tori Amos, and so many others. He was the same person who introduced me to Kate Bush and as they say the rest is history. What my friend did which was clever was introduce me to music I would never thought I would listen to. The introductions to female vocalist were just the wide range of music he turned me on to. He had friends who also loved great music. They too listen to music that was not even mainstream. People like Michael Hedges, David Lindley, Steeleye Span among others were some music his friends explained to me how important some of these artist were just what I should be hearing and appreciate.

One day my friend met me after work. I saw his car when I was going to the parking lot. I came over to him and he was playing this world type fusion music. I had no idea what to think. It was a bit different of what I had previously exposed to, but the female vocals were present. I did not know what to think, I liked it, but it was not full of what I would call Rock N' Roll. It was different and something if I closed my eyes I would be taken to some far away land that was peaceful and beyond words beautiful. I listened to the music coming out of his car for at least twenty minutes. It put me in a trance and I could not listen to normal music for the rest of the day. It was really hypnotic.

This music from Dead Can Dance was a great sound to me. I needed something beside the Jazz I was listening to at the time. As you read in early blog posts I listened to a lot of different music other then popular music at this time. I fell in love with King Crimson again and I was sick of the MTV overplay and overkill of just about everything. When I was handed a copy of Dead Can Dance I knew that there was something good out of this. I mean twenty minutes of greatness that has you hooked right away takes some great push. What they did was pure magic in more ways and words then I could ever describe.

What Brendan Perry and Lisa Gerrard made was unique and wonderful. Dead Can Dance's Spiritchaser has a feel like no other and the music they do is very good. I am not sure how to tell you more about this music, but I just suggest that you listen to it and decide for yourself. With another combination and arrangement of multiple influences coming to bear, this music is great at first listen and many listens afterwords. It was also the end of Dead Can Dance's career. It is is a fitting bookend to a great career. The music is new and great and something that I suggest you try out for yourself. Listen and enjoy, it's a great break from hearing guitar, bass, drums and vocals. It is quite unique and something that might just give you an idea why I am drawn to world music. Enjoy!

"Nusrat, He's My Elvis"

2010-12-28T11:25:00.000-08:00

The quote on the title of this post is from Jeff Buckley. He mentions this on the re-issue of his first EP, Live at Sin-e. He mentions to the small crowd that Nusrat is one of his inspirations. It is still a long list of influences that Jeff Buckley credits for being a musician. It is one reason you can hear some of this all over the music he put's out. It was not the first time I heard someone mention Nusrat as a person who should be heard. There are other people who also feel the same way. I heard Nusrat again back when I was not listening to Rock. I found his music soothing and really in some ways inspirational.

The music is called Qawwali or Sufi religious music. It is credited with leading Pakistani youth to discover and getting these youths to listen. The genre features dreamy, atmospheric keyboards and guitars, simple, mid-tempo rhythms, and a kind of low-key understatement that, depending on your point of view, sounds either profoundly mystical or else tedious and bland. I really don't find it bland, but I do find it a great eye opener as far as new musical worlds to explore. Nusrat is very hypnotic to the ears and I know it might take a bit to listen to him, but believe me it will be worth it in the end.

I did not listen to much international music when I was younger and the experimental year of 1996 changed my perspective. Working with a variety of music projects personally I got exposed to many of these world influences. Even the soundtrack to Dead Man Walking which featured a song with Nusrat and Eddie Vedder gave me more reason to listen to his music. I had a few world music albums in my collection, but I really did not look to them as something that was a needed listen. I wish I heard this music sooner then later, because I am sure I would have been better prepared.

I do regret that I never saw him when I was alive, but if I did I think I would feel the same way Jeff Buckley felt about him. Somewhere above I bet they are sitting together thinking on making the best album in the world. They would get a little help from Nina Simone and the rest would be history. I know I would be going wherever they would be up there and sitting in begging them to work together. The genre features dreamy, atmospheric keyboards and guitars, simple, mid-tempo rhythms, and a kind of low-key understatement that, depending on your point of view, sounds either profoundly mystical or else tedious and bland. With West African kora and electronic backing. It is really great music. Good music to zone out to, that is for sure.

"Sweet Pain" might be the strongest track, beginning deep in dream space with a wandering bassline and a simple backbeat, and then heating up to powerful close with Nusrat delivering spitfire scat. My still favorite is "My Comfort Remains" the wonderful skill of Michael Brook on guitar with the odd electronic loop and Nusrat's singing is pretty much magic for me. This stuff is great and the album Night Song is one of the best. Nusrat has a few out there. That too is just the tip of the iceberg. Check out Night Song. It's a good leap into the unknown and I am sure you will listen like I do and go "wow." Enjoy and don't forget to share with your friends.

Smokin' With Wes

2010-12-26T13:41:00.000-08:00

The first time I heard Wes Montgomery was on a CD sampler my uncle owned. It was not anything flashy, but the guitar playing was a bit more out of this world. Hearing that one song got me to think I should check him out. I guess the sampler served it's purpose and it did a good job of letting a naive kid who knew nothing about Jazz or Jazz guitar into a fan for life. The song was simple, but it was the solo that kinda caught me off guard. I loved guitar as a kid and now hearing this I wanted to learn how to play. I knew I was not going to be good as that, but hey I had to dream right??

What was great about Wes Montgomery was the fact he was smooth as silk and even better was the fact that my uncle told me that everything he does is great. There is nothing bad in his repertoire. I understood that and thought about how a man like this is not talked about with my friends. We all liked music, we even liked guitar type music weather it was Rock or Jazz. This is something I needed to hear more of. My uncle was kind enough to let me borrow a simple greatest hits retrospective of Wes's work. It was a good introduction and also a good launching pad on what to listen to and what to look for in future buys if I was going to find some of his work. Little did I know that his music would stick with me for a long time.

Everything on the compilation was a masterpiece of music. I could not believe that Wes's music escaped me for a while. When I was reading the liner notes to the tape it kept on referring to him in past tense. You mean he was no longer living. I could not hear a fresh new music by him? When I gave back the tape to my uncle he told me about his untimely death in the late 60's. My uncle did tell me that some of his best music was from the 60's, so all the stuff I needed to hear was in his collection. The notes in the tape even told me what albums to get. One of these was Smokin' At The Half Note. Two of the tracks were featured on the tape I borrowed. Those two were also the ones with the lasting impressions on me. The solos of Wes were crisp and most of all amazing. I never heard such great playing. Everyone including Wes were in fine form.

I was able to borrow Smokin' At The Half Note from my uncle and after just one listen I was convinced that Wes was the best guitar player in the world. Well, he in my opinion is one of my top fifteen. His solo's are great and the rest of the band was really on fire. They too were great musicians. Each person in the band was playing out of their mind. It was wonderful stuff to hear as a first time Jazz guitar listener. It must have been awful for people who are learning Jazz guitar because of the so little effort and so much ease Wes was playing these tunes. The one that was my favorite called "Unit 7" just blows my mind on how great it is. The solo by Wes has my jaw drop every time I hear it. It really is something. Pat Metheny even say's it's one of his favorites and I could see why. Classic all the way.

The album is great and really shows what a live performance can do to a musician. Wes, plays better then anyone here and I suggest that you pick it up as well. The guitar is wonderful and the he knows were to put those wonderful notes. I will tell you this, it's a great Jazz album that should not be missed and should be listened to closely and I am sure it will great to your ears as well. Check this out and I know you will be telling me "how come I missed this great album." Enjoy! Classic among classic's here. Enjoy!

This What??

2010-12-24T05:16:00.000-08:00

The first time I heard This Heat, I did not know what to make of them. I really thought that this was a joke. This band, was one of the biggest influences of the seventies Post-Punk movement. I did not see any of that at first listen. It took a lot of convincing of that. I always give something a listen, but this at one point was a stretch for me. I decided one more time to give it a listen. My friend made me a tape copy of the album simply called This Heat. What did it for me is the draw of ideas that started with Can and Faust and from there they added more then that. Their genius was the fact they were ahead of their time. They did things on this album that did not show up in some music circles till the 1990's post rock ideas. Talk about the future, here it was and I did not get it. It took me about three years to understand just one album.

Their angular juxtapositions of abrasive guitar, driving rhythms, and noise loops on the opening cut, "Horizontal Hold," preempt much later activity in the electronica and drum'n'bass scenes. The outstanding "24 Track Loop" is based around a circular drum pattern that could have been a late-'90s jungle cut were it not recorded in late-'70s London, long before such strategies were even dreamed of in breakbeat music.(AM) It was more then what is described in allmusic.com, it is something that takes the mind a while to dissect and really truly understand. Its abrasive, warped rhythm, sounding like King Crimson's Larks Tongue in Aspic. The music of the bands I mentioned above and also Neu! make this music in someway essential.

Their self-titled debut is a radical conglomeration of progressive rock, musique concrète, free improvisation, and even -- in a bizarre distillation -- aspects of British folk can be heard in Charles Hayward's singing.(AM) Every genre that I listen to with better intent is on this album. The music here was not yet created yet, but somehow This Heat did create it and the people that I listen too, like me finally figured out what was all the great fuss. For me it was a tougher sell not being a true musician. It was the music geek's pot of gold. The music even sounds like a machine. It might be not so good at first, but in due time it finally hit you on the back of the head like it should. Not much music can do that to me. Modest Mouse did it with lyrics, This Heat does it with it's shear unique and odd ways that really are hard to talk about or describe.

My hearing This Heat for first time happened in a Wire magazine sampler. They gave this wonderful description of how important they were and that they are near as an essential listen as some of the other stuff they talked about. I took a listen to the song in this sampler and I really at first thought it was Wire trying to be funny. When I dived into the article about them I realized where they were coming from. Some of the music I did listen to is really the because of the result of This Heat. The music may be odd and really not the simple, but it maybe the complex that makes the difference. I was so involved in the music or the genre the band I was listening to; I did not know what was the origin of it's beginnings. This Heat was the beginning of all the stuff I needed to hear.

There are very few records that can be considered truly important, landmark works of art that produce blueprints for an entire genre. In the case of this album, it's clear that this seminal work was integral in shaping the genres of post-punk, avant rock, and post-rock and like all great influential albums it seemed it had to wait two decades before its contents could truly be fathomed. (AM)

Don't take Allmusic's word for it. This Heat is very essential. It may take some time to figure out, but the reward will be there for you. I like This Heat and when I first got my own copy, it was liking going down a whole new area of music I never discovered. Take a listen and enjoy! I am sure you will thank me later. Rock on!!

Hot Zappa Rats

2010-12-21T06:33:00.000-08:00

Today on December 21st would have been Frank Vincent Zappa's 70th birthday. Kinda sad to see him gone. His music has always been a favorite of mine. I grew up listening to his music with my best friend and had the chance to even see him play once. He was a life changer. The music was so complex I still trying to figure out what he was doing. I really thought his early stuff was the best. I would listen to most of that early stuff and just try to understand what he was trying to do. It was just awesome the power he could do. What was more amazing was how he put it together all so well. What was hard for me was to pick an album not only for this blog as my favorite, which I did, but to find another one to write about that is just as good because truth be known, they are all great pieces of work.

I wanted to post an album that was part of his solo work. I did Freak Out and really liked talked about in a previous blog. I wanted to do a early solo album. I chose Hot Rats because that is the album once I first bought, I would not get it out of either my stereo or my CD player in the car. I loved it so much I think I overplayed the cassette. Every time I look at the cassette it looks a little worse for wear. It only had six songs, but those six songs had more music in them then anyone could do. Not only that, his backup musicians on this album were a who's who of people who intern would go on to other great things. These people include; Lowell George, Jean-Luc Ponty, Don "Sugarcane" Harris, and non other the Shuggie Otis.

From the drum opening on "Peaches En Regalia" to the cameo by Captain Beefheart this album truly shines. It really does have a working for a classic. Well, it actually is one. Someone asked me one day about my top five Zappa albums and this one and the other one I talked about in my blog are in my top five. Zappa's music from the late sixties was something that I have appreciated after more and more listens. The songs are full of so much that is going on. No one in there right mind could create this other then Zappa. Even better still is the music on this album is mostly instrumental. The only song that is not features the cameo of Captain Beefheart called "Willie The Pimp." It is to me one of the mot unique of all the Zappa albums.

While Zappa's music is mostly scene at something as humor, this album with it's instrumentals shows that Zappa can actually create really great music. The band is truly on and everyone put's in a very good performance. It's an album if I had friends who were talented enough to play, ( I actually do have some really great friends who are musicians) I would create such an album. The music is timeless and does not feel dated at all. I love every song on the album.

Zappa composed, arranged and produced the album himself. His primary instrument on the album is lead guitar. "Willie the Pimp", "Son of Mr. Green Genes", and "The Gumbo Variations" are showcases for his powerful and unconventional solo guitar performances. Four of the tracks have intricately arranged charts featuring multiple overdubs by Ian Underwood. Underwood plays the parts of approximately eight to ten musicians, often simultaneously. His work includes complicated sections of piano and organ, as well as multiple flutes, clarinets and saxophones.

Few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy. With that being said, I do really think this is a no brainer. I would pick this up as soon as you can. Check out what happens when you have wonderful talent matched with the great Frank Zappa. There is enough to digest with the six songs and I know I will be thanked afterwords. Enjoy!

4th Faust!

2010-12-19T06:45:00.000-08:00

Faust made (er, makes) pretty, catchy, slightly disturbing noise. In their early 1970s heyday, they recorded versions of pop, psychedelia, tape, and electronic music-- but really, they just played Faust music, alienating their record labels, each other, and generally being impossible to either classify or market. By 1974, categorization threatened to ruin the reception of their fourth LP-- long considered their "sell out" record by die-hard fans due to an alleged concession to more palatable songs and mixes-- but as the concept of pretty/catchy noise isn't necessarily as wtf now as it would have been then, the record's rep has mostly recouped. And I guess that's the lesson of Faust: Make the music you want to make, take the drugs you want to take, escape from the outside world when you can, and for god's sake, BE PRETTY/CATCHY/DISTURBING.

IV was Faust's second release for Richard Branson's fledgling Virgin Records. The band had recently been dropped by Polydor, and though Branson wasn't willing to pay them the huge advance sum manager/svengali/credit-taker Uwe Nettelbeck had nabbed from their previous label, he would let the band use Virgin's state-of-74 recording studios at the Manor in Oxfordshire to cut a new album. Faust left Germany for England, played a few shows, and even managed to compile the super-classic The Faust Tapes for Virgin-- with which they promptly guerilla attacked the UK charts by selling it for half a pound-- all before starting work on what would become IV. They even shared studio space with a young Mike Oldfield, whose Tubular Bells would soon help bankroll Virgin into Really Important Label status.

Of course, before the album was done, things got messy: Nettelbeck stepped in to compile the record from Faust's sessions at the Manor (and previous ones in Wümme, Germany) without consulting the band, in turn prompting founding members Hans-Joachim Irmler and Rudolf Sosna to quit. This then forced those who remained-- Jean-Herve Peron, Zappi Diermaier, and Gunter Wüstoff-- to recruit members of Slapp Happy and Guru Guru to fill out their touring band in order to promote IV. By 1975, the band cut (or were relieved of) its ties with Branson and Virgin, reconvened to record a few tracks at Giorgio Moroder's Munich studios for an album that was never completed, and eventually, unceremoniously dissolved. Not much was heard from the Faust camp before the band reunited (sans a couple of members) in 1990, and released Rien in 1994.

So, do you know Faust yet? As an album, IV matches the band's trajectory: Jumbled, fragmented, with random data integrity issues, but seeming more the brainchild of inspired pop anarchists than calculating avant-gardists. Yes, the record sounds more "professional" than any of their others, but somehow that doesn't actually equate to slick sounds: Opener "Krautrock" (which Irmler says was inspired by the band's perception of the British still fearing the "krauts") is on the noisiest end of Faust's spectrum, using distortion and feedback as springboards for tripping into galactic clouds. For better than seven minutes, minute gradients of angelic, overdriven major-chord-sheets are exploited by who knows what devices before the drums come in and the track moves from milky, third-ear noise into MINDFUCKING KRAUTROCK. And before you can explode from the sonic congestion, "The Sad Skinhead" starts, replete with ridiculous 60s go-go beat and skank guitar. They sing, "Apart from all the bad times you gave me, I always felt good with you," "Going places, smashing faces-- what else could have happened to us?" I say needlessly: it's a jam. And then they keep going.

The gorgeous psych-ballad "Jennifer" provides a suitably jarring transition from the previous song, and is further proof that the band (Sosna in this case) were capable of writing actual "songs," with melodies and chords that in some other, non-acid-baked circumstance, might already have been attached to a Volkswagen ad by now. The pulsating bass drone, backed by eerily distant organ and guitar arpeggios, provides the perfect, glowing backdrop for lines like "Jennifer, your red hair is burning," but this song is a good example of how dissecting individual Faustian innards often yields much less than the whole-- it's the sum shine that matters.

"Just a Second (Starts Like That!)" begins as a relatively conventional guitar jam, but soon devolves into electro-noise that reminds me of some of the space-tropical music on Hosono & Yokoo's Cochin Moon-- but the fractured nature of the piece is pure Faust. They go one better on the next track. Right down to the fucked-up tracklisting (which double-confusingly appends names of forthcoming tracks to the previous one), the medley of "Giggy Smile" and "Picnic on a Frozen River" may be the ultimate Faust moment, crossing strains of rock otherwise totally, transitionally opposed-- in this case, fake blues-rock and synthy surf-pop-- in the name of "why the fuck not?" And to no fan's surprise, it is also a magic song.

So is "Läuft...Heißt Das Es Läuft Oder Es Kommt Bald...Läuft". Appearing later on the 71 Minutes compilation as "Psalter", it fits in perfectly on IV: the first half of the song is based on a finger-picked acoustic guitar figure (playing what sounds like 6/4 + 7/4, or hey, maybe 13/4), but adds layers of drums, handclaps, flutes and what sounds like a bowed string (?) of some kind. In any case, what sounds complicated actually comes out pretty lovely, and certainly the most hummable song in 13 that I know. The song ends on a solemn, almost distractingly plain-faced organ postlude. Even with distortion cranked up in the final minute, this is the kind of thing they should be playing in church to fool me into going.

IV ends perfectly with Peron's "It's A Bit of a Pain". This is essentially a strange take on pleasantly psychedelic, 70s So Cal country-rock, but its true awesomeness can only be appreciated by following the lyrical narrative:

It's a bit of a pain
To be where I am.
It's a bit of a pain
To be where I am.
But it's all ri-- BBBBBBZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

courtesy of Pitchfork Media, god knows how I would have written about an album that is really hard to understand. It's a classic, and well worth the effort to listen. Track it down and pick it up. Might be one of the oddest things in your collection. Enjoy!!

"Once you've heard Beefheart," he said, "it's hard to wash him out of your clothes."

2010-12-17T17:22:00.000-08:00

Dear Don Van Vliet,

I first heard you back when I was in High School. I heard you on some radio station that I loved hearing odd musical selections. It was a radio program that introduced me to people like CAN, Love, Blue Cheer, early Frank Zappa, The Fall, This Heat, The Feelies, and of course you and your wonderful poetry and music. I did not know what to think of your music at first, but after a few listens I realized that I liked what you were doing. The music was complete different in what I was listening to at the time. I learned that your music had deeper meaning then at first listen. The music and the musicians you had playing this stuff was pure genius. I learned that you really did see everything a bit differently then most. I had deep respect for that because you see I was different too. My world of being a geek and getting laughed at withdrew me from normal things. Yea, I know it's part of a High School thing, but I really thought your uniqueness made me feel better that I was also different.

I wish I had the chance to see you play. I bet you and the band kicked ass and took no names. After high school I listened to more and more of your stuff and each album grew me more and more interested in your stuff. Your poetry was a gift that I never have seen since. I kept on loving what you did and as a young adult I tried my best to tell people about you, but most people wanted to hear the latest crap that was out. They were not interested in your way of seeing the world. If you continued with music I am sure you would have had some great stuff to say. I wonder what you would have thought! God, only knows!

Over the years your music has so much meaning to me and it really expresses so much to this really messed up world. I want to thank you from the bottom of my heart and thanks for the great memories that you brought to me. You will be one of my true favorites and thanks for everything.

Peace and Love,
Matthew

ECM Records

2010-12-17T08:19:00.000-08:00

Hey everybody!

Just to let everybody know I will be doing a radio show this Sunday coming December 19th 2010 on radio station WRSI. This show is going to feature the music of the man in the below photo. That man is Manfred Eicher. He is the man responsible for founding the record label ECM records. ECM (Editions of Contemporary Music) is one of the really most important labels that featured music in a new light. The music that is on ECM is Jazz, Classical, and some of the most interesting music you will hear. The music might be challenging, but it is fun to hear the sounds of the early years which I am doing part one of. The music on this show will feature the acts that defined ECM as a label. These artist included here are people who I have featured on my blog like; Terje Rypdal, John Abercrombie Keith Jarrett, Jan Garbarek, Gateway, Pat Metheny, Egberto Gismonti and Collin Walcott. There are songs on this show that don't really fall in the Jazz or Classical spectrum. They are worldly and quite interesting. I really cannot explain the sound, but listen to the show and I am sure you will love it.

The reason I did this show is because of my love of ECM records. Back in the early years of my listening I came across these "budget tapes" of ECM albums. They were not that expensive, but they were different. The artwork or the people playing it was new to me and I wanted to try something new. I first started getting the cassettes. These were easy to find every store I went to. Not that they were cut out for a reason, but ECM changed hands in distribution from major labels four times. First, was Warner Brothers, then Polygram and then BMG or RCA. Now they are part of Universal music group. I got these tapes and after a while I started buying the LP's. In my collection I have about 300 released LP's and about 100 cassettes and CD's about 300. I also have a bunch of ECM stuff I have downloaded. I have a bunch of albums that way too. The music is something you don't think at first would make an impact, but to me the label is more forward thinking then most. While some labels want money and profit, ECM is different. They want the artist to be themselves and make the music they want. Early years you could get an ECM of music that had cello and guitar or music that was just solo piano. Whatever it was it was something that Manfred Eicher understood.

Well, enough about the mini education. I just want you to listen and enjoy! Any questions?? let me know. The web address is www.wrsi.com. Click the listen live feature and I will be on from 9pm-11pm EST. Sunday night. Enjoy and be prepared to get a little cerebral with your music. It's one of my passions is to explain to people why ECM is so important. Enjoy!!

My Bloody Love

2010-12-15T11:45:00.000-08:00

Okay there are moments in my musical listening that I completely missed, even though I had the tape in my hand growing up I really did not want to know about a band called My Bloody Valentine. I remember taking off the plastic that covered it and just putting it away. Why did I buy then to let it collect dust you ask, well because I guess. I sure wanted to know what it was, but at my age I did not want to know, this tape I had in my had was being listened to and I am not sure liked by some people that I hung around with. These are the same people who got me into what was called back in my day college rock. Yes that was the term for Green R.E.M, Cure, Smiths, Lush, Pixies, and other stuff that I kinda got into at the time. The My Bloody Valentine more then likely was above the college rock friends that I had. I just got the tape because the artwork of the guitar was cool. I did not listen to that tape until 1995 when my friend handed me a mix tape with one of the songs on it.

On this wonderful was my first listens of Blur, Pixies, Yo La Tengo, Flaming Lips, some other Radiohead beside "Creep," and others. It was a full 100 minute cassette with all kinds of cool things. The song by MBV was called "Loomer" it was a piece of music that sounded out of tune, but it had a interesting quality to it that I somehow missed all together. The music on this tape was a good tactic for my friend who had all these used at his CD store. I came in one day telling him how much I loved this or that and he have a CD stack with most of the music just waiting for me to grab something. Looking back, I think I would bought them all. This pile had some interesting stuff that I know now that I listen pretty religiously. Some of these bands I still see in concert. Examples, would include Radiohead, Primal Scream, Spiritualized and others. It was an interesting era for me to listen to a group of bands and really love and play them all the time in my car.

For about maybe three years I listened to this music because it was something that was a bit better then classic rock. It was about in 1996 (late) early 1997 that I rejected all this music for Downtown scene in New York City. I had about two years where I listened to the Downtown NYC Jazz scene. The music of the the early 1990's for me was so much better then hearing "Stairway to Heaven" for the 200th time. It was for me the time I really faithfully watched MTV 120 Minutes. I would see videos of this show or acts who played on stage and I would come to see my friend armed with music to listen to. I remember hearing Jesus and Mary Chain and loved the songs. It was different time where once in a while a alternative song would seep into the music that 120 minutes played into the mainstream. That is how Weezer got started. Really!!!

I really did enjoy that music that was part of my daily listen. It kind of took over what I was doing. I got into so much it became a blur. I grabbed that tape of MBV and put it on for the first time. The music engulfed me like the ocean current would take away the tide. I think I finally got that music. I understood it for the first time and at this point I really loved what I was listening to. The music was awesome and the lush guitar work was wonderful. The music even created a new genre of music called Shoegaze and with that a new world opened up for other artists to try and attempt to replicate.

Now that Kevin Shields is in better health and is slowly returning to the scene, he's explained that Loveless was something of an albatross for him, that he never could find a proper way to follow it. He should be comforted by the fact that no one else has been able to follow it, either. I've long dreamt of an album that was "Like Loveless , but more ," but I haven't found it. And so many hundreds of albums have tried. Perhaps this is the sound of a single idea perfected. We should move on and continue to explore the vast spectrum of sound and feeling music provides, but we'll always return to Loveless for what it alone can deliver. (pitchfork)

The album is considered a classic; it it worth it? Yea, I would say so, It's an album I don't play enough of it now, but once in a while I love to put it on and just really go and put myself in another place. The music is surely different then what was out there and what is out there now. I am not sure the magic could be created again. The album is unique and for me I love that. It might be the reason I like Jeff Buckley. If you ever hear or research his album Grace and the time it came out; who in their right mind would list Nina Simone as an inspiration. Same goes for MBV Loveless listen to this and really scratch your head and go "wow." Take a listen for yourself and maybe you can understand what it is to be unique. Enjoy!!

Who Are The Move???

2010-12-13T07:17:00.000-08:00

Remember that box set of Sixties music I got one day at the record store I have told you about a few times where I found music on their that I should listen to? Well that box set introduced me to another great lost treasure, The Move. Yes, this band is maybe on of the most underrated bands of it's era. The Move were distinctly British, but they were one of the best bands to come out of the 60's. It's too band that they never made it here. Like the band Pretty Things these two bands are some of the reason I love British Psychedelia. The music of The Move has me scratching my head every time I listen to them. The music sounds like a opus of three bands playing on a mix of everything from late 60's music to well crafted pop songs to whatever they could do and they did it very well.

Such ever-changing leads can lend excitement but it can also lend confusion, especially when the group enthusiastically mixes up Who-inspired art pop with three-chord rock & roll oldies and more than a hint of British eccentricity. Add to that, the album had a long, convoluted birth of 14 months, a long span of time in pop music, but it was an eternity in the mid-'60s, when styles and sounds were changing monthly. The Move were releasing singles during this time so they weren't absent from the scene, but they did happen to be set upon a course of cutting singles when their peers were crafting album-length epics, something that separated them from the pack, making them seem eccentric...and The Move needed no help in seeming eccentric. (AM)

The Move sounded so new that their 1968 debut still sounds unusual, ping-ponging between restless, kaleidoscopic pop and almost campy salutes to early rock & roll, punctuated by the occasional foray into the English countryside and, with the closing "Cherry Blossom Clinic," psychic nightmare. When I heard them on my box set I asked my friend about them and he handed me a 100 minute cassette tape full of curios and wonderful songs that I never knew about. Their music to me was and still is very fresh. They even covered the Moby Grape song "Hey Grandma" and even that sounded very like their own. Each song on the first Move have a unique quality about them that I have never heard in other bands. The music has a sound that would be like if you took all the bands of the Psych era and put them in a blender and you got The Move.

I even think their singles were something of a work of art. Songs like "Flowers in the Rain" and "I Can Hear The Grass Grow" are works of art. "Flowers in the Rain" was the first song I heard and that is what got me hooked. Even songs like "(Here We Go Around) The Lemon Tree" is totally a work of pop magic. Look at this brief lyrics for "I Can Hear The Grass Grow"

My heads attracted to
Magnetic wave of sound
With streams of coloured circles
Makin' their way around

I can hear the grass grow
I can hear the grass grow
I see rainbows in the evening

The music that goes with this is quite addicting to listen to. This is vivid, imaginative music -- almost too vivid. It to me works really well.

Unique? Yes! This music is fun and one of my favorites. I suggest you try this music too. It might be a band to tell your friends. While your friends point out The Kinks, Spencer Davis, The Animals and maybe The Who, you should say with authority The Move. Give them a listen and you will be glad you did. The Move is one band that is one of the great unsung bands of it's era. Try them and I know you will love them. Enjoy!

John Mayall in Laurel Canyon

2010-12-11T10:45:00.000-08:00

When I was in High School I really wanted to hear a lot of music. I had this book, which I have told you about before where it discussed most of the music that was out during the 60's. It talked about certain periods of music to certain styles as well. It even devoted it's chapter to some genres of music. In the 60's the British Blues scene was something that I wish was around to watch. I wish I was seeing the Yardbirds in 1963, or John Mayall with Eric Clapton or even seeing Savoy Brown or even early Fleetwood Mac tear up Blues scene. The book explained how vibrant this scene was. It gave me the reason to find that time machine.

In the book they talked about the famous album John Mayall and The Bluesbreakers Featuring Eric Clapton. They talked about how great that album was. Yea, it was great I bought it under that recommendation. I liked the Eric Clapton and John Mayall collaboration, but I wanted to hear more. According to the book I was reading it told me that some of his other albums were just as good. I needed to look for more of his material. I was also told that beside Clapton playing guitar he had other worthy greats over the years. Some of these people include Peter Green and Mick Taylor.

I was excited to find more of his material. For the longest time it took me a while to find some of these albums. If I did find them they were expensive. I really did want to hear more of his music. About the time I was a senior in High School I had a friend who's father was a John Mayall fan. He told me that he could make me copies of the two he had. I was excited to hear these. He had the album Hard Road and he had one called Blues From Laurel Canyon. When he made me tape copies he told me that they both are two completely different listening. He too said he wanted hear more John Mayall after Bluesbreakers and these to him where the best. I got home and quickly put these in my tape player. I could now understand his reason.

The music on both were amazing. I really wanted to find these for myself. I knew if I played these tapes too many times the tape would break. It did not take me long to find one of them. Blues From Laurel Canyon was a cheap find at a Tag Sale. The record was in great shape. Hard Road album is one I am actually still looking for. I have digital copy but I am still looking for a great physical vinyl copy. The music here is not overplayed, but it's better then that. It keeps on wanting you more. The music is really well done. As a young adult I really enjoyed learning about new guitar heroes and who to listen for. It was the reason Peter Green was in Hard Road that I got into early Fleetwood Mac. When I bought that greatest hits of Fleetwood Mac and seeing his name on inside of the album. Blues From Laurel Canyon was different. They had some young guitar player (merely a teenager) named Mick Taylor. It did not take me long to get into where he went after his quick stint with John Mayall.

Well, in the world of recommendations. I suggest Blues From Laurel Canyon. I know everyone has Bluesbreakers With Eric Clapton. Blues... has a feeling of one continuous song and it is really great. Each person in Mayall's band is awesome and plays like it's there last moment on earth. It is also one of Mayall's best. Try this album and I am sure you will like it as much as I do. If you have a great stereo, the remastered edition is amazing. So go out and get this great album and afterwords you will understand why the Rolling Stones grabbed Mick Taylor to join the Rolling Stones. Enjoy!

Further Out Dave

2010-12-08T15:28:00.000-08:00

When Bill Bruford was asked the question about his favorite Jazz albums on some show he was quick to point out two important albums that changed his life. The first one was My Song by Keith Jarrett, Jan Garbarek, Palle Danielsson and Jon Christensen and the other was Time Further Out by the Dave Brubeck Quartet. He mentioned to the interviewer that this was the Jazz he wanted to play. He was already in a variety of Progressive Rock groups when My Song came out and Bill mentioned that He wish he got the call from Keith Jarrett to play with him. He mentioned how these albums struck a perpendicular chord like no other albums.

On Monday Dave Brubeck turned 90 years young. The man who more then likely has scene it all in his lifetime. The music of Jazz has taken some unique and some really interesting turns and a man who not only can play a great piano had some young Anthony Braxton play Saxophones on an album. The music of Dave Brubeck is discussed in all those Jazz classes we take in High School or College. There is one exception to this rule. Who talks about the album called Time Further Out? It's a classic example of using different time signatures to keep you guessing that music does not have to be always in 4/4 time. I am guilty of listening to some great music that is not in the normal 4/4. I mean listen to Eric Dolphy Out To Lunch. There some crazy ones in that masterpiece.

When my History of Jazz professor mentioned how popular Dave Brubeck was in the each household of the late 50's early 60's I had to test this theory. I know my dad loved him so I turned around and asked him the question. How popular was he dad? My father responded by telling me how hip at one point was to own Time Out. He told me how great the music was and how cool it was to own at least one Dave Brubeck album in the collection. My father showed me seven in his. It will be something I always remember that my father's Jazz collection was not eclectic but it had some substance to it.

I asked him about Further Time Out and he told me he never had a chance to get that when he was younger. He told me he moved on to listening to the music of Chuck Berry and Ray Charles by then. I do give my father credit for introducing me some great music, but his choices were a bit odd. The oddness of Dave Brubeck was just the start. The music alone did not follow conventional form like other music of the day. I think that is what appealed to so many fans. He was hip and not square like the musicians of the time. I mean hearing Time Out or even Further Time Out was different is some way. I liked it and it was catchy.

The music of Dave Brubeck is timeless and what he has done for Jazz is some of the best music out there. His "Take Five" from Time Out is one classic. If you really want to hear some of his greatest music then listen Further Time Out. Even the song "Unsquare Dance" will have trying to bop along to his music. Take a different path in Jazz and try this album out. I am sure it will be a welcome addition the Miles Davis and the John Coltrane. Enjoy! Have a blast from the past with this one. Then when done with this album explore more Dave Brubeck and even at 90 he still amazes us with his music. Seeing him live is another story. Check him out and you know why he is on the high mountain of Jazz people.

BLOODCOUNT Tim Berne Style

2010-12-06T06:00:00.000-08:00

When I graduated High School I told myself that I would set out by getting my degree and meeting new people and also listening to something new once a month. I was getting sick of the music I was listening to and I really wanted to explore new stuff. I started getting into some really unusual stuff. As I mentioned in some of my early blogs I was a frequent visitor of the Borders in the next town over from me. In their infancy they had very creative control of what was out there for the wondering eye like myself. The music department was filled with smart people who I became friends with and they would lead me in all kinds of musical genres and spectrum of what to listen to. From the 60's unknown Psychedelic music that I listen to more then ever now to 20th Century Classical. I had all types of music in my hand. There was a person who told me about Fela Kuti, to a person who explained the importance of Tori Takemitsu.

With this knowledge my music collection grew with it as well. There was a unwritten rule when I was there that I would get a discount on something that one of the music staff recommended to me. This discount always came in handy. When I came to the store (which was three times a week) There was always something on hold for me to listen to. If it was a promotional CD It was for me to keep. Once in a blue moon I would get that. I would come in and one of my friend would hand me a CD and tell me to listen to this. I would look down and scratch my head. I would agree to and really take the time to explore what they were telling me to hear.

One day I saw someone in their who had the same music that I had in my hand go up to the register and buy it. They would know his name and they would mention how both were familiar with that person's work and were excited to hear the new release. This happened way to much for me. One day I approached that person while looking at CD's. He told me that he worked at the record store across town and I should come visit. I asked the stupid question about all the stuff they were recommending was actually worth listening to. He laughed and told me that I had a lot to learn and that this is more than an education.

Over the course of the years we became friends. Beside Borders, I would go to his store. He mostly had common stuff, but once in a while he would have something different. He also had a used section and a cheap bin. This is where I got all my King Crimson and ECM tapes. I also found some great used CD's. 1996 he and I went to New York City for a Jazz Festival. This was the Jazz Festival sponsored by my new favorite venue at the time, The Knitting Factory. Over the course of the week were there we could see all the live music we wanted. The price was cheap, the hotel was not. We made a list of music we wanted to see. One that struck my eye was a free show at a place called Biblo's Tim Berne Bloodcount it said on the booklet of the festival My friend told me about how they are great and he never saw them live. We did a late night 10pm performance of them. It was one of the best shows I have ever seen. It was the Jazz I have never heard before.

The lineup was not to unique, but what they did with it was more then what I expected. Even the songs were very long by jazz standards. Some songs were twenty minutes others were twelve or more. The show was about two hours, but it was wonderful stuff. At the end of the show he told the crowd that he was a poor Jazz musician and wanted people to buy his stuff. I went to the table and picked up a shirt (which I still own) and a CD. That whole week was an education on what to listen to and what I should pick up next time I do my music shopping.

When I got back home my friend I went with handed me three CD's of Bloodcount. He told me he asked the record label to send him some stuff and they handed him two copies of Tim Berne's Bloodcount: The Paris Concert. These were all three volumes of of this Paris Concert from May of 1994. He told me what I will hear is almost the same stuff that I heard that night. It was really great stuff too. When I looked at the tracks I noticed that the songs were even longer then I heard. I mean there is one song that lasts over fifty minutes. The Jazz is not your typical Jazz, its a bit Avant-Garde., but trust me it's great stuff.

The music of Tim Berne is quite unique, but it is really worth some listen. You can get these as separate discs but who would want that. All three of these parts are great and really show what a wonderful Jazz ensemble can do. Don't take my word for it try these and I am sure you will understand why my passion of music is so strong. Enjoy and I am sure you will be thanking me later. Rock on!!!

No Other But Gene Clark

2010-12-04T17:39:00.000-08:00

I was a fan of Classic Rock all through High School. I would listen to the radio stations all the time hear what new stuff I could listen to and eventually buy to add to my music collection. I would hear things that sounded great and then I would go to the store and go find them and buy them. I would then pick and choose certain artists to listen to more closely and buy more of their material from what they had out. I sometimes would have mental or physical lists of what I should listen too. Over the years I would revisit some of these artist to hear maybe a solo album if their was one to listen to. I would listen even to some bands other projects or just other bands that would from.

One of the bands I listened to religiously was the Byrds. The Byrds had a bit more history then a lot of the bands I was listening to at the time. The Byrds had Roger McGuinn who himself was a great musician and wonderful songwriter. They also had David Crosby who would (after he left) form Crosby, Stills and Nash. Both of them had some pretty good stuff after while in the Byrds or after they left the Byrds (Like David Crosby did). I liked a lot of the Byrds material enough even to buy the Box Set. When I got the box set I noticed that some of the songs were written by another member of the band. I kept on seeing Gene Clark. Three songs I liked by the Byrds were written by Gene Clark. I did not think much of it until I asked a teacher about this. This teacher was a man who loved the Byrds more then I did. He did not know much about what some of them did when they were not in the Byrds, but he followed them enough to give me some ideas. I asked him about Gene Clark. He told me how much he knew. It was enough to go inquire at the record store.

When I went to the record store I asked about solo Gene Clark albums. Even back when I first started collecting they were hard to come by. I was told that his music and song writing were some of the best they ever saw. Then he faded into obscurity and died. He did die a year before I finished High School, but I did not know much about him then. I did not get what I wanted by Gene Clark so I put it in the back of my head for another day. These albums he put out were expensive and I did not want to dive into something that I was not sure I was going to like.

Over the course of a few years I kept his music in my head, just in case I found it at some used record store. I did not see much until I was back in college. I found this compilation of his music. It was called American Dreamer 1964-1974. This retrospective did a great job of covering is wonderful music. The music on here helped me understand how much of a talent he was. I played a lot of that CD in my car and also while doing my homework. The music to me was way better then some of the stuff I was listening to at the time. When I got home I showed a friend this CD and he quickly showed me a CD that was one I should own. His copy was only a burned one, but he said this one was really great. This album was called No Other. He quickly pointed out that he would make me a copy of his burned edition, but told me to hold off till the remastered copy came out.

The time I waited for the remastered copy, I was on Limewire. I found a Gene Clark album called Echoes. With Echoes and American Dreamer I thought I heard everything. It was when I placed No Other in my CD player I realized what a talent Gene Clark was. It took me a few years to get a copy of the No Other re-issue, but it was worth the wait. In the meantime I read his biography that is called Mr. Tambourine Man: The Life and Legacy of The Byrds' Gene Clark. The book has a great story of a lost soul that should have been recognized for his wonderful talent.

The music on No Other is great. It should be one of the top 50 albums of all time. The music I am sure influenced people like Ryan Adams, The Jayhawks, Wilco among others. Even the bonus tracks of each song were keepers. The music is wonderful, the words are extraordinary and the life of and pain of Gene Clark is reveled. If you think the Byrds are a band that was a bit to much, and I am sorry if you think they are, maybe No Other is your speed. The music is not Byrds like at all, it is wonderful music from a truly gifted man. Enjoy!!

Sky of Kate Bush

2010-12-02T09:40:00.000-08:00

The first time I heard Kate Bush was on a Peter Gabriel album called So. The album gave Peter Gabriel his megastar status. I liked the album. I also liked his female guest vocalist. I thought in the brief time he used her, he used her effectively. I wish I knew more about her then as I do now. The voice is utterly amazing. She has been copied many times before being talked about in woman's music since 1975. My love of female artists would have not been quite to my liking if it was not for Kate Bush. I remember my friend who always introduced me to all types of cool music and of really nice and peaceful type music would always show me something new. He one day handed me Kate Bush's Hounds of Love. He told me to take my time and listening to the tape and really soak in the vocals and the great sounds of what she has to offer.

I drove to meet up with him for dinner and in the five minute drive to where we had to go, I was already in love with her voice and music. I could not figure out how the hell I missed this in the first place. I sat in my car and my friend came over to me and asked what I thought in that five minute drive. I was speechless. I like what I heard. Her music was not punkish or in your face from the time that she put this stuff out. It was light and atmospheric and her voice was beautiful. It was not at all what expected. When I got to sit down with him I told him how much of a quick impression Kate Bush made on me. I really liked what I heard. It was very good.

After I gave back my friend the tape I graduated to Kate Bush's other stuff. I listened to early albums but I wanted new stuff. I had heard only one thing from her in 1993, but that was all she put out. I was eager to hear new fresh stuff. I am sure she had something to say. It seemed like forever that I would hear her voice again. I picked up most of her early work and re-listened to what she was singing. The album from 1993 did not make much of an impression. Even when I went back to school in 2000 I still was waiting and heard nothing. The friend who introduced me to her music

After a long break she came back in 2005 she put out a new CD. I did not buy it at first, but I waited for my friend to tell me how great it was. He told me he did not even know about a new CD until I told him. I finally did pick it up and it's full of lush vocals and wonderful great sounds. It has great guests like Eberhard Weber and Peter Erskine and Gary Brooker. The music is a welcome sound to the ears. This is a two-CD set of a finely constructed set of songs that engage without regard for anything else happening in the world of pop music. There's no pushing of the envelope because there doesn't need to be. The music is fun to the ears.

Listen to this and you too will be just as impressed as I am. Take some time and listen closely to what she has to say. Her music is wonderful and full of little treats along the way. What gets created for the listener is an ordinary world, full of magic; it lies inside one's dwelling in overlooked and inhabited spaces, and outside, from the backyard and out through the gate into wonder. Enjoy this music and I am sure you will be a lover her music forever. This is what makes good musicians even better. Have fun on your 80 minute Kate Bush journey. Enjoy!!

Three Friends Names ZZ

2010-11-30T14:45:00.000-08:00

My father was a huge ZZ Top fan in the 1980's and I remember him playing all their hits of the 80's all the time on our record player. The ZZ Top album Eliminator would be played so much those songs are stamped on my brain. Every time I hear one of those songs I cringe. It is what made ZZ Top. Well to me that is not what I think of when I hear ZZ Top. I go all the way to almost the beginning of their career. Their early years mixed Texas Boogie with Roots and Blues music. Add those and add a bit of music you hear on a Friday or Saturday night at a local bar and you have the best of ZZ Top. The first time I heard this stuff I knew I was going to enjoy what they had to offer from their early years.

ZZ Top started back in 1970 from the best part of Texas. They grew a great reputation with the bar scene and quicky got signed to of all record labels London. London is famous for Classical and for the American distribution of the Rolling Stones before 1971. The first three album on London must have sound foreign to our ears because very little of it was heard on radio. I am sure that they had a huge following in Texas, but around the rest of the United States they were not heard. Well not until Tres Hombres came out. That album made them the stars they are today.

I was tag sailing one day and that album came across my hands. I saw that it was the London records version and I quickly picked it up. The person selling the records told me that he had the other two London editions in his house and was willing to sell those as well. I was so unfamiliar with these records I had to listen to them. When I got home I showed these to my father. I had to tell him that these ZZ Top albums were from when I was born and before. He took off the one he was playing and put on Tres Hombres. The first two songs he heard he started laughing. I had no idea why, but he then explained that the Classic Rock stations play this song all the time and now we finally know where they got the song from.

He studied all three albums. He told me how much more he liked these albums compared to the ones he had. He told me he like the raw Blues and feel like they belonged playing at the local bar. He liked the vocals and the guitar playing was out of this world. He never thought that a band he liked in the 80's sounded so much better in the early 70's. They sounded more like a bar band then and even now. Tres Hombres had three Classic Rock hits on it. It is still considered one of their classics. The whole album may be short by today's standards but in 34 minutes it packs quite a punch.

Looking for a ZZ Top album to share with your friends. This is the one. The music is raw, Bluesy and addicting fun. When you hear a lot of the old songs on the radio remember it all came from the era that we don't expect ZZ Top to come from. When I heard the stuff my father was playing I really thought they just started out but with further investigation I really think the 70's treated them well. Enjoy a classic from 1973. Rock out and Enjoy!!

Arcade's Life after Death

2010-11-27T19:32:00.000-08:00

The first time I heard Arcade Fire I was driving home from work and I happened to tune into a radio show that I listen to once a month in the Hartford area. The show is widely known to me as the show that plays a lot of unusual music and they throw in people like Faust, Can, and odd others. This is the same program that got me into Can as a teenager and somehow it still surfaces once in a great while with the same DJ who according to my friend, this DJ has was still spinning music when my friend was a teenager. He played an Arcade Fire song that had such an impression on me that I wanted to hear it again and again. The DJ pointed out that the CD will be out in the next month or so. I really could not wait. The song was called "Neighborhood #1 (Tunnels)." I liked it because of it's originality and the vocal and lyrics were quite strong.

Watching them on SNL Saturday confirmed that they are a great band with a lot of growth already in their blood. The song I liked was not played on the show, but their music had a feel like no other. According to all music "Neighborhood #1 (Tunnels)" the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. It had a power like no other song that I was listening to at that time. It made a tattoo like impression that to this day still makes me cringe.

What I liked about the song and then eventually the album was the fact that each member of the band does not stick to one idea. They don't even stick with the same instrument. Sometimes the guitar player plays percussion. Even Win's wife Regine plays keyboards, violin and accordion. Very good for a band to make a impression on me. Arcade Fire's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that "the power's out in the heart of man, take it from your heart and put it in your hand."(AM) They kick ass and take no names.

The original sound of Arcade Fire is what makes the band. I like the music because even though the band is small by it's standards, but the music is huge. Each song is like a mini Symphony. The words are even better. Win may get political, but that is his charm. He tells the truth and not many people do that and still get you to listen. The anticipation of hearing each song is fun with me because each is not the same as the previous. Even after the album came out I really wanted to get the next CD they put out. They have put out three and two others after their debut and each is great and wonderful as but hearing the music for the first time is quite good.

Funeral is a great album from start to finish. Arcade Fire are not bereft of whimsy. Each one of their songs that pump blood back into the heart as fast and furiously as it's draining from the sleeve on which it beats, each little piece of music is a wonderful novella and I really wish bands could write like this. If you need something beyond the typical Rock and Roll this is the album. Arcade Fire came at us like and knocked us down. The music in new and original and so fun that you really have to re listen. Have a great time with this and the last paragraph explains their music better then I can. It's from the great Pitchfork review of the album where it got a 9.7 out of 10.0. Enjoy!!!

So long as we're unable or unwilling to fully recognize the healing aspect of embracing honest emotion in popular music, we will always approach the sincerity of an album like Funeral from a clinical distance. Still, that it's so easy to embrace this album's operatic proclamation of love and redemption speaks to the scope of The Arcade Fire's vision. It's taken perhaps too long for us to reach this point where an album is at last capable of completely and successfully restoring the tainted phrase "emotional" to its true origin. Dissecting how we got here now seems unimportant. It's simply comforting to know that we finally have arrived.

Classic Duo

2010-11-25T09:47:00.000-08:00

When my friend told me that Robert Plant and Alison Krauss are doing an album together I thought he was full of shit. I mean two interesting and dynamic musicians and vocalists. Both come from different worlds. Alison from Folk, and Bluegrass and Roots music. Robert from the biggest Rock acts in the world. I thought after talking to my friend that it might work. My first thought it was a Robert Plant solo album and she was going to do backup singing. The same vain as when she sang back up on two Phish tunes on Hoist. She did not do a lot, but you can hear her wonderful voice. I been a fan of great collaboration between two wonderful musicians. This is no exception and something if true would be a great thing to hear.

When I got this news it was early in 2007. I gave it some thought about what they would do together. I even thought it would be interesting if they both decided to do an album of Led Zeppelin songs with a new twist. A stripped down roots versions of the album. It got me excited to think of some great ideas they could do together. My curiously started when I realized that Alison Krauss was a fan of Led Zeppelin through her brothers. Her brothers were older and used to bring home the albums and crank them up. It made quite an impression on her and what she knew about Rock and Roll.

I have seen both artists in many occasions and none of them had a hint of each others musical genres. The music of Robert Plant was still Rock and Roll. The music of Alison Krauss was still Bluegrass and some Country and Folk mixed in. The only question how would they do it together. Would this be an album of all those genres together with a "Roots" type album. I really did not know what to expect or what would be done. The excitement was about to come to realization with more stories being told what they were doing. The internet flooded with information on who was on the project and who was putting the project together. When I got the phone call from my friend who told me about the project that our friend Marc Ribot was going to play guitar on it. I got really excited. I had this idea that it was a dirty Tom Waits record. Marc has played on many Tom Waits records and each album he is on makes the album perfectly rough around the edges. Other people involved were T. Bone Burnett and Buddy Miller. Once again these people do some really great things to artist that they work with. It's like a magic spell that they cast over them and bring out some great stuff that we are not used to.

During the summer of 2007 I was flipping through the radio stations when I heard Robert Plant's voice on something that was not easy to recognize. When the disc jokey mentioned it was from the forthcoming duo project of Robert Plant and Alison Krauss I was ready to get the album that day. The song was a cover of the Everly Brothers. The song was full of roots and soul and and had that Marc Ribot punch to it. This indeed was something that I know by hearing just one song I needed to pick up. The music was better then I heard in recent years. The music was stuff that just made sense for me. It was music that just was a better then what I heard on the radio at that time. I was ready for the CD to come out.

When the CD came out I quickly picked it up. I wanted to know what others songs they decided to remake. The music of Tom Waits was on it as well as Townes Van Zandt and Gene Clark and even a song Jimmy Page wrote for the album. What was even cooler was a song that The Who used to play in their early career. The album was full of surprises everywhere I listened. The guitar is nasty and distorted, and the brush touches with their metallic sheen are a nice complement to the bass drums. It doesn't rock; it struts and staggers on its way.

This is the album that you need. The music and the two great voices are just thing you need. I like this album a bit more then I really thought I would. These two voices meld together seamlessly; they will not be swallowed even when the production is bigger than the song. They don't soar, they don't roar, they simply sing songs that offer different shades of meaning as a result of this welcome collaboration. (AM) Enjoy!!

East West, Chicago & Butterfield

2010-11-22T10:32:00.000-08:00

My first listening of Blues music came by accident when I was in High School. I was in a class one day and my friend handed me a tape of some John Mayall and the Bluesbreakers and it was a copy of the album with Eric Clapton on it. I had the Eric Clapton Box set and I wanted to hear more. Again, that 60's book recommended it, but I did not have a copy. A friend of mine went to that same record store that I normally go to and procured a copy for me. He told me with a whisper "Is that the one you wanted?" I agreed and we walked passed each other. The only problem was a teacher noticed this transaction of the tape. The teacher thought there was something in the tape case. Likely idea because in the past I am sure that is how he got his pot or something. An empty tape case is a great place to put that kind of stuff.

When I got into class I opened the tape case to see the tape and read the track listing. There were many songs I was looking forward to listen to and at that moment the teacher who saw me take the tape from my friend quickly took the tape away. "I will give you this tape at the end of class okay!" The teacher said. I thought it was unfair, but I understand where the teacher was coming from. It would have been a distraction for me to look at the tape while he was lecturing on some boring topic I more then likely will never need to learn again. I think I was just excited to have the tape in my hand and listen to it on the way home from school.

After class I went up to my teacher and asked for the cassette back. He told me he wanted to borrow it. I told him I could make him a copy, but since I just got it I wanted to hear it. He had a deal for me. He would borrow it for the night and the next day he would hand me two cassettes of more blues for me in return for the overnight borrow. I quickly agreed with his proposition. He told me he had some Chicago Blues that I should listen to. I did not know what to expect. I went home and dived through my 60's book of music and figured what he was going to give me. I looked around at work for some ideas on what I was getting and landing no clues to what he was going to give me.

The next day I was handed the John Mayall back and he handed me the best of Buddy Guy and a tape called East West by Paul Butterfield and the Blues Band. He told me that he really liked Buddy Guy and some of his best stuff was on that tape and the other tape he told me I should listen to the two guitar players in the band. Elvin Bishop and Mike Bloomfield are amazing guitar players. I took the teachers word for it. Little did I know that Mike Bloomfield was going to turn up on some of Bob Dylan albums I had. He told me that tragic story of Mike Bloomfield and he almost started crying. He told me that Mike Bloomfield was his guitar hero for a while. He explained how great East West was. It was great stuff that had a great stamp on his life. The harp playing by Paul Butterfield was classic playing and I could not get that any where else. Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s.(AM)

East West had an even greater effect on music history, paving the way for experimentation that is still being explored today. This came in the form of an extended blues-rock solo (some 13 minutes) -- a real fusion of jazz and blues inspired by the Indian raga. This groundbreaking instrumental was the first of its kind and marks the root from which the acid rock tradition emerged. (AM) The music on East West is so great I strongly recommend this album in your collection. If you don't have blues in your collection then you should. This album explains a lot in the life of 60's musical history. Have fun with this and remember that the guitar playing of Elvin Bishop and Mike Bloomfield are the big, big highlights. Mike Bloomfield is one of my favorite guitar players and you can see why after this listen. Enjoy!!

The Mind Of Ben Harper

2010-11-20T12:56:00.000-08:00

When I was asked why I get into certain music or bands I tell them I started early in their career and followed them. Some artist I liked from the early on. I always have followed the odd and unusual path of any artist. I don't dislike their odd moments or their career shift because sometimes they are for the good and sometimes they just took the wrong choice. Once in a great while I ask for help. I ask for help on what is good out there or an artist I should listen to. Contrary to popular belief I ask for ideas and one day I asked about Ben Harper. I saw this CD in the store where my friend works and asked him about it.

My friend told me that he just got a promotional copy of Fight For Your Mind. He told me that he loved it. It was new and fresh and very original. He explained to me that he played a mean slide guitar type thing and was very political in his lyrics. He also mentioned that the band backing him was tight and had a great groove as well. In 1995 I did not know much about his music or what his message was. With only now two album under him I was hoping that he would not be too popular. The mix of Dylan, Marley and Hendrix was a great mix that some people could see. I liked his way of playing the guitar. I even loved his singing. It was too good to stay in one little corner.

Every moment of Ben Harper's music was so addicting it required more then one listen to hear the great grooves and the great lyrics of what he was saying. Take the song "Ground on Down." The song did not leave my cd player or tape deck in the car for quite a long time. It's bass heavy groove and is quite addicting still to listen to. When I saw him live he played this song for about ten minutes with the band hooked in a great feel that left you speechless.

I believe in a few things :
God, the Devil and Love,
Cause I've looked up from the bottom and I've stared down from above.
And I have faith in a few things :
Divinity,
Divinity and Grace,
But even when I'm on my knees, I know the devil prays.

And you're working your way,
From the ground on down.

I hate to say I love you,
Because it means that I will be with you forever or will sadly..., say goodbye.
And I love to say I hate you,
Because it means that I will live my life happily without you or will sadly..., live a lie.

And you're working your way,
From the ground on down,
On down.
Your way,
From the ground on down.

Life is short and if you're looking for extension,
With your time, you had best do well,
Cause there's good deeds and there is good intention,
They're as far apart as heaven and hell.

And you're steady working your way,
From the ground on down,
On down.
Your way,
From the ground.

It was all I wanted to hear at one point. The music had a great sound that very few artists were doing at that time. Ben Harper allows his trademark Weissenborn guitar to scream out to his audience. It does more then that, It adds a new person in the fight of great artists and begs you to listen again and again. I am not sure how Ben Harper got popular after this album, but he did. His music was not over played on the radio, but his shows became a hard ticket to get. I guess people liked him as much as I did.

What you got here is a great Ben Harper album. It is full of wonderful music and great guitar playing and stuff for 1995 that really new and different. Ben Harper maybe popular in some worlds, but with his early stuff it is really great to hear some awesome music from a great man. If you listen to this album like I do, it will never get old. I suggest you start you Ben Harper listening here. What better way to treat yourself to something new and just remember where it all started from. Enjoy a lost classic from my musical years.

Dismemberment Emergency!!!!

2010-11-18T11:13:00.000-08:00

From 1993 to 2003 Dismemberment Plan ruled in some respects. Travis Morrison and the Plan didn't hold a thing back. On this, their third and penultimate album, they recklessly careened through an all-encompassing sonic landscape and nailed every possible, terrifying angle along the way: "What Do You Want Me to Say" seethes with rabid frustration. The band's album is a firecracker, showing their at once passionate and sly approach to music -- take in everything, put it back out, and give it its own particular sheen and spin -- is in no danger of letting up. Knowing fans of the quartet have spoken on how it's clear that the band members listen to everything from old soul to hip-hop and techno and back again, and there's no argument here based on the evidence of this disc.

The band turn the indie rock stereotype on its head, avoiding aimless shambling jangle or emo's straitjacketing stereotype in favor of an unsettled mix that embraces sampling's jump-cut techniques and shifting rhythms where prominence is equally given to guitar, keyboards, and beat. It can be late-night jazzy mood-out or sudden thrash, but the quartet handles all approaches with aplomb and creative arrangements to boot. Travis Morrison's unusual vocals make a brilliant calling card for the band, high, a touch quavery, but never out of control, slipping into the mix like another instrument.

Each song has a unique character to it and that is what makes the album so great. The lyrics of Travis Morrison too are quirky and odd and most of make you think. He does this so you can try to figure out his brain. His oddness is his strong suit. The music is fresh and wonderfully new to a point of what he does makes it all the odder. His voice is a good fit to the music that he is writing and singing. The words are not poetry, but a kind of conscience thought. The music sound better with every listen. The band groove so well on what he is telling us. It's hard to explain but you should check it out for yourself. The album's lyric book reads better than half the modern volumes on my bookshelf. Modern R&B should have as much rhythm. Modern rock should have as much balls.

I lost my membership card to the human race
So don't forget the face
Because I know that I do belong here
Go down the checklist let's see:
Feelings are good
Dishonesty is bad
And keeping it inside is worse still
You want a problem well I guess we got one now
I really don't know how
There's injuns over every goddamn hill
What do you want me to say?
What do you want me to do?
To let you know that I do mean it
What do you want me to say?
What do you want me to do?
To let you know that I do mean it
What do you want me to say, yeah?
I see it coming from a million miles away
What else can I say?
The only way you know I love you
And there's no eye-to-eye just Moses on the mount

The music is fun the words are for not us to figure out, they are just a stream of great ideas of Travis Morrison. Check out Emergency and I and I am sure you will find something to like. It can be late-night jazzy mood-out or sudden thrash, but the quartet handles all approaches with aplomb and creative arrangements to boot. Drummer Joe Easley may be the band's secret weapon, able to keep the pace and swing just enough, though bassist Eric Axelson is by no means a slouch himself -- the dub-touched "Spider in the Snow" is a great showcase for both. The fact that "You Are Invited" is conceivably the world's greatest synth-pop/electro/guitar chime/post-punk song about trying to get to the right party -- and is emotional without being overwrought -- gives a sense as to this album's considerable strengths.(AM) On that note, Enjoy!!

Point To Andrew Hill

2010-11-16T12:59:00.000-08:00

You know what's so great about classic Jazz albums? You can never get tired of them no matter how many listens you give it. You always find ways of hearing a different approach or idea. Take the album Point of Departure from Andrew Hill. At first listen I once thought it was just a Jazz album from the 1960's. I had no idea it's classic status for quite a long time. I was handed this CD when I went back to school. A friend told me that it is a must listen and a great study if your going to talk Jazz to those professors. I mean I had a few classic albums up my sleeve but this was the one to sneak in there and really let them know you understand great music.

I knew from the first listen I was going to like this album. It had three people I really do take anything they put out musically. I think Eric Dolphy and Tony Williams are geniuses and Joe Henderson has a great sound and tone that very few sax players can do. I knew I was up for this wonderful musical journey. While in College I took this album with me for great listening. I decided to study it and try to how to understand what makes an album a classic. I know how the others in Jazz make one, but for Andrew Hill it took me a bit longer to figure out. I love every part of Dolphy's playing and Williams's drumming but still coumd not figure out what it is that so damn' good.

After my first semester back in the college setting I went to see my friend who gave me the album. He asked me what I thought. I fudged it and told him how much I loved it. I did like it, but could not place the finger on what made it great. I could never figure out what it was. The interplay between everybody was wonderful and really new. I knew I had this notion with the idea that it was not Ornette, or Coltrane, but it was still great. I mean the help of Eric Dolphy made the music wonderful. After I left my friend I think I got the reason of greatness of Andrew Hill. It was Andrew Hill himself. My friend is a piano player and when he told me about the playing of Andrew Hill I realized he was right.

Every part of the Point of Departure is classic. From the extended solos by Hill to the great playing by just about everybody. It's too bad, like I said in a previous post that Eric Dolphy did not live longer because his playing is wonderful. Andrew Hill plays a great piano, but sadly gets lost in the greats of Hancock, Bill Evans, McCoy Tyner and Keith Jarrett. It's his playing all over the map that makes him a true treasure. Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation.

This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. After listening to this you as well will like this album as much as I do. Andrew Hill is a great piano player and hearing this proves that he should be talked about in that same breath as the others. Listen to this and you will tell your friends you found a great album that tops your list. Enjoy! People who already love Jazz will go back to this album again and again. Have fun and remember where it all came from!

The Bridge to Robin Trower

2010-11-14T07:36:00.000-08:00

The first time I heard Robin Trower was when I was high school. I was on my way to study hall and I had my Walkman on a popular classic radio station and they were playing great stuff all through the time I was in that study hall. I did not get much homework done, but I did have a neat list of music I should be looking for next time I went to the record store. The list was pretty long and I needed to find most of it because it was all good stuff. A friend of mine told me that some of this he could make a copy for me because his father had it on record. The other stuff I had to find on my own.

One of the big things that caught my interest in listening was Robin Trower. I knew a bit about him because he was in Procol Harum. The music I heard was actually less like Procol Harum and more like Jimi Hendrix and good old blues. The stuff was really good, but I did not have any of that stuff in my collection. I really did not know where to start with his extensive solo collection. Around the same time I was part of one of the record clubs and I saw a deal in the little flier I used to get. "Buy three cassettes and half price and get one free." I went through the flier and picked out things I did not have anything of that artist. In the searching I found a Essential Robin Trower. Hey for little more then $5.00 I picked it up. If I did not like it and I knew I would I would just put it with my cassettes and leave it alone. The album did have the song I liked, so it could not be all bad.

I picked a few other cassettes and I waited for the music to come to my house. In the time it took to get here I went to a few tag sales in the coming weeks. I went to one where this guy had a very good collection of 70's rock. There was the Bob Seger's and the Peter Frampton and the Fleetwood Mac albums. I picked a few of those up, but in his collection there was two Robin Trower albums. One had the song on it that I liked and the other had stuff that was on that cassette tape I was going to get in the mail. I was excited to pay the person for these and go home. He told me that I will really enjoy the music that Robin Trower plays. I was excited to get his music on my turntable.

When I got home I showed my father what I found and at the same time he was cleaning his car the same song I heard on the radio at school was on. I pointed to my dad that this guy is responsible for that song. He told me to wait till he was done washing the car so we can listen to some of his music. It was a great chance to hear what else he did. When he got in the house he told me to put the album on the turntable. Bridge of Sighs was the album. From start to finish this album rocked more then most of my collection of the time. My father told me that it sounded like a white Jimi Hendrix. He really liked it as much as I did. Every song was a winner. The trio sounded great, loud and kicked a lot of ass.

After it was all said and done, I really liked this album. I know it might be the go to album by Trower, but it is very good and full of great guitar licks that anyone could enjoy. The music is classic 70's, but it is also unique because some the music from that time was not exactly great. This is and more. Robin Trower made a lot of albums in the 70's, but this is the one that got him to his guitar status. Add this to your collection, and you will be glad you did. Enjoy a great gem from 1974 and you will love it every time you play it. He is even better live. Classic!! Enjoy!

Giuffre's Fusion and Thesis

2010-11-12T09:37:00.000-08:00

The first time I heard Jimmy Giuffre was in a Jazz History class in my community college years. We were talking about small group Jazz and we were going to watch a film about Jazz at Newport. This film talks about the 1958 Newport Jazz Festival. It changed my life on what music was and taught me about some really great classic artist such as Duke Ellington, Sarah Vaughan, Louis Armstrong and countless others. The opening music was one that stuck with me for quite a while. The music was different, sure it was Jazz, but it was not what I thought Jazz was. Before watching this segment (which is at the end of this post) I thought Jazz needed Bass and drums to keep the music going. I did not realize that it trombone and guitar could drive music in a direction like no other. It was "swinging without the use of what I thought it needed to swing with.

The music was quite extraordinary and just added a new kind of perspective for me. Each person was making a complex piece into a larger piece of a really great puzzle. In retrospect it showed how hip things were at that time. Rock and Roll was about to get launched and the world of hip and cool Beatnik time was around at the same time and of course just to be hip was part of the world view. It seemed carefree and fun and all "the hip cats" were into it. It was cool to be cool as it were. The music of Jimmy Giuffre was just unique.

I really did not know much about him but I really thought I could ask my teacher. I was surprised by his response and attitude about him and his music. He told me one day after class that he did not care for his music because it was not cool or popular. I did not understand that coming from a teachers mouth. It was in a way narrow minded and not rational thought. Why would the teacher dismiss the musical (of what I thought) genius of Jimmy Giuffre. Since I did not like the answer that he gave I decided to go ask someone who was actually around at that time. The person I asked was a teacher who I had in High School. He went to college in Boston and he told me he was part of a lot unique Jazz experiences.

When I came up to him and asked him about Jimmy Giuffre he gave this wide gaze. He asked me how I stumbled upon his musical genius. Finally someone who really understood this greatness. When I asked this teacher he told me he loved the way Jimmy Giuffre played in many drummerless groups. Not only was there a group of guitar and trombone, but there was a group of piano and upright bass. He told me that was the ones that were really unique. Both groups had a interesting world to them. He also told me that the bass and piano ones were the ones to seek out. The two people that I should listen to were Paul Bley and Steve Swallow. They are the ones that put out some of the best Jimmy Giuffre's trios.

They put out three well know albums that made everything sound perfect according to my old teachers words. My teacher told me that Jimmy Giuffre is quoted as saying that the inspiration for his late 50s drummerless trio was Claude Debussy's diaphanous SONATA FOR FLUTE, VIOLA & HARP. This is the music that really has it's place for understanding what he wanted to in the Jazz world. The albums I should pick up were two classic in Jimmy Giuffre's cannon. They were called Fusion and Thesis. Both albums are not your typical albums, but they were sure going to turn your head.

It took me a few years to find them on one two CD set that ECM put out in 1992. My teacher was right. The music is great. It's not like Jazz you ever heard, but it's a study on smart and creative music that does not force or keep your toe tapping. It is the ultimate brain music for Jazz fans. It is really well done and if you can find a copy, get it and really see what is so great about music without a drummer or a beat for that matter. Enjoy and get your notes out on this one, there might be a quiz. Enjoy!!!!

Stuck With GBV

2010-11-10T17:33:00.000-08:00

In April of 2004 I went to see Guided By Voices for the third time. The other two times I went I don't remember much because besides the band being a mess, I was as well. I was young and stupid and more them likely a bit drunk to remember or appreciate how good they were. This time I went with a friend who actually never went to a concert in his life. I also went with a few friends who were bigger Guided By Voices fans then myself. They breathed GBV air all the time. I am glad I went to this gig. As I tell friends about shows I do exaggerate on how many songs I heard, but I will tell you that they actually played 44 songs. These songs were great from start to end. These songs kicked ass, and these songs are really well done. GBV is a band that I wish I started following more closely when I was younger. I will tell you this, after the show I was converted into a huge fan.

GBV is a band that has more then likely over a 1000 songs to their credit. The music maybe short, but they make a great point on each and every one of them. They are great rockers and they are the songs that hit you really hard. They tell a story weather simple or complex, but they will make you sing along as well. I know about two dozen by heart and they are songs that transform you into a better place. The music is rockin' and takes no prisoners. It is a band that has more energy then any band I have seen. Those 44 songs lasted about three and half to four hours that night and I loved every moment of it. They are like a great local bar band that is on steroids.

GBV is a band that I would want to be in. Every night must be a new adventure. Even better is to hear the wit and wisdom of Robert Pollard. He writes so much. His albums are not simple twelve songs and that is it. He has albums with fifteen or sometimes twenty songs. That is a good writer. His songs are about everything. When I saw them in 2004 I realized this was a show for the ages. This was a show that you tell your kids about when they are going to their first show. I have been to some memorable shows in my life. I was at the five hour Dylan show at Toad's Place in New Haven. I was at a memorable show in New York City that included three great bands; Rollins Band, Helmet and Primus. I went to a Roger Waters show where it was the smallest played date on his 1996 tour. I went to see Richard Thompson and Henry Kaiser in San Francisco (they never played together before or since) I was even at the Rush show that was the first for their return after a lengthy absence because of the personal issues with Neil Peart. The GBV show was that kind of show.

The music of GBV is not complex, but it's fun. The music is good enough to keep you smiling. Each song has some kind of riff that keeps you in the spirit of good old fashion Rock and Roll. From the funky bass riff and drums at the beginning of "Best of Jill Hives" to the odd use of harmonica on "Dirty Water." Each of their songs has something for everybody. Robert Pollard's singing is not top notch, but it's known for some of the best out there. Everything is fun about this band, how can you not like them.

Paid up weathered and type-o,
Clad in gladstone watch him go,
Swimming beneath the microscope.
Hello lonely bless the nation.
Mr. skip to all or none,
Wooden soldiers fall upon,
Try to find what makes her tick,
While their finding out what makes them sick.

I don't know where you find your nerve,
I don't know how you choose your words,
Speak the ones that suit you worse,
Keep you grounded, sad and cursed,
Circle the ones that come alive,
Save them for the best of Jill Hives.

Been around and left you flat,
Tragically decided that,
Every child of god's a brat,
And she's dying to escape them.
But do we really need to see,
All her punchdrunk history,
And which of it might hold the key
For the exit to her destiny.

I don't know where you find your nerve,
I don't know how you choose your words,
Speak the ones that suit you worse,
Keep you grounded, sad and cursed,
Circle the ones that come alive,
Save them for the best of Jill Hives.
Number one in all our souls,
Trifle in the crystal bowl,
Fill it up with 9 to 5,
Save them for the best of Jill Hives.

I get friends who ask me about them. I tell them in one word, "Awesome." They are that and I also tell them what a show they put on. The music is fresh and fun and top notch. If I suggest a starting point then I would tell you that Earthquake Glue is one of their best. The fifteen songs have something for everyone. They keep you on your toes, they run circles around bands that are at their prime and they are a band that you talk about at parties on how awesome they are. The people you talk to might not know what your talking about, but if you put the music on they will afterwords. I am proud to be a GBV fan and really enjoy every moment. If you don't get this album then I suggest their retrospective album called Human Amusements at Hourly Rates. It has thirty one songs, imagine a single CD having that many great songs. Not a bad one in the bunch. Try Earthquake Glue and I am sure you too will enjoy GBV like me. Enjoy!!

Day One With Fripp and Sylvian

2010-11-08T11:13:00.000-08:00

The first time I heard David Sylvian was actually this album. Since I was a King Crimson fan I really wanted to hear this artist that Robert Fripp had with him. I knew very little, but I wished to hear more. With only seven songs this album is damn good for anyone who likes great guitar work and also wonderful vocals. I remember bringing it home wondering what this would sound like. I read the notes when I got home and realized that in some way I got excited to think there might be a King Crimson reunion soon. All these musicians I almost never heard of so maybe to me it was a new version of King Crimson. It turned out that two members of this project would be in the new King Crimson.

When I put the music on I realized the great voice of David Sylvian. He has a crisp and really beautiful tone to his voice. Something you don't get with many vocalist. His wonderful sound and the music the band was playing was a perfect match. There were great Fripp moments as well. His guitar stood in front with David's vocals and each worked off each other very well. The fun part was that the songs had great length to them and you did not have to worry about losing focus with them. They kept your attention all the way through.

Each track practically groove and breathe on his own. Fripp keeps our attention with an album full of funk, and electronica. The album is not boring or repetitive. And each song has a great unique spin on what their intent is. The musician's excitement and energy easily being felt from each song to the other. There is not a bad song in the bunch. Their is only seven songs, but that is all it needs. It's not overpowering with filler that tries to keep your attention. Fripp and Sylvian work well together. It was not the only time they did, but this is the first that they both took center stage. I never had the pleasure to see this tour, but I bet it would have been a great show. They really could have formed a super group on what they do together and with the great band backing them.

Want an album that works well then most? This is the album you have to listen to. So there is seven songs, but at a little over an hour, it works. It makes you play it a few times and you realize how great they are together. The signature Fripp licks are there and the music feels like a King Crimson album. It just does not have Adrian Belew singing and acting in his crazy way. The music is fresh, new and a must own. Try it today. I am sure you will like it. Enjoy!

Blue Tribute

2010-11-06T12:47:00.000-07:00

In 1993 I saw Henry Kaiser at a rare record store show in New York City. A friend of mine who owns this store told me that It was something I strongly encouraged to go see. I had a friend who was older then I was who jumped at the chance to go to this show and went with me. I had no idea what to expect, he did not know either. He had a ton of his albums and he could play any number of them. As of this post he has over 100 albums out their where he either plays on or put out himself. He only has one career retrospective called Playola where it was sent to radio stations and to other places. I happened to get it on Ebay for a cheap price of $10.00. It now sells for way over that and is still hard to find. I have been offered a ton of money for by people who love his music like I do.

Henry's a musician with great taste in whatever he does. I never saw a musician with great skill on guitar. He appreciated his musical background and where the music needed to go. When I heard other albums that he put out I could see that his direction was unique. The music was wonderful and great and made me get more and more interested in his music. What I did not know was that his guitar playing started later then most. He started when he was about twenty. He picked up the instrument pretty easy.

My friend who went to the show was a huge fan of Henry Kaiser and on the way down he explained that Henry could change the dynamic of any album he was on. He could learn a style or genre and put a fun and unique idea to the artist he was working with. His great gift of understanding the music of world or even people like Capt. Beefheart or Derek Bailey. He could pick up on any sort of musical flavor. He even picked up on musical sounds from different parts of the world and added them to his guitar playing. Henry Kaiser's restless creativity unearthed many new and unconventional electric guitar techniques during these years, and he combined these innovations with a strong sense of logic and concise development, often aided by sophisticated sound-processing devices.

In the 80's he was fascinated with the music of the Grateful Dead. The music there was always something he wanted to explore. The free improving style became his trademark. There is even two albums he works with some impressive musicians as Fred Frith(Henry Cow), John French (Capt. Beefheart) and Richard Thompson (Fairport Convention). They made two albums together and those are wonderful and unique to listen to because they mix all types of styles and genres.

In the 90's he decided to explore the electric side of Miles Davis and more Grateful Dead. With the death of Jerry Garcia he realized that a major important figure was gone. He, as he mentioned in an interview did not want to capitalize on a tribute, but more as an appreciation of Jerry's legacy. Henry pointed out even more was the fact that Jerry sometimes gets lost as a great song writer. The Grateful Dead image tarnished that idea.

In the album I selected Eternity Blue the music of the Grateful Dead takes a new and wonderful spin. The music is fresh and fun and has some really cool guest people such as Tom Constanten and Bob Bralove and also a wonderful piano player in Marilyn Crispell. The music of the Dead and Jerry Garcia are here in great force. The even 30 minute "Blues For Allah" is unique and wonderful. There is even wonderful Bob Bralove and Kaiser tribute to Jerry. The music here is great and fun and you too should check it out. Enjoy!!

Van Der Graaf's Pawn Heart

2010-11-04T06:54:00.000-07:00

When I first heard Van Der Graaf Generator I was about twenty years old. I was listening to this new radio show I found on the other side of the dial. It was better then the two Classic Rock Stations I been listening to. I was just getting into Jazz, which this station had, and it had a really neat Progressive Rock type show on Sunday nights. Each Sunday night was great because I could hear music that I never heard before. I mentioned this show in previous blog posts, but in case you forgot here is a quick recap. This show one night opened it's show with Jeff Beck's Beck's Bolero. The song is quite interesting and really ahead of it's time. Other nights it opened up with maybe a King Crimson song or even a really odd song by Yes. Once in a while he would throw the Progressive Rock out and open with Neil Young's "Last Trip To Tulsa." Neil's nine minute piece was quite interesting to say the least. A person young as myself was at a loss for words.

One night he opened up with a song called "Darkness 11/11." I had no idea who or what they were but the music was quite interesting. The song was seven minutes long, but the vocals were wonderful and the music that just sounded way out there. The organ, drums and Saxophones were an interesting mix. The bass was supplied by the organs pedals and once in a while you would hear a guitar. The music was really intense. He did not play just one of this stuff but he played a song that was about twenty-three minutes long. He got on the microphone and told us about one his favorite bands Van Der Graaf Generator. I wrote this down and went to see my friend the next day. I think my friend knew because he looked at me and told me he thought the opening of the radio show was great. He handed me a few tapes of Van Der Graaf. He made me a two 90 minute cassette of their music. He told me to listen carefully. The music is quite intense.

I agreed and put them in my car. The music was quite interesting and was full of audio theatrics and with different tempo and changes. It was really not any other Progressive I heard. I think what stood out was the music was long and had very few short songs to each piece that he gave me. I think the shortest was like seven minutes. Each part of the music was wonderful and full of emotion that I never heard before. The signature Van der Graaf Generator sound in the 1970s was a combination of Peter Hammill's distinctive and dynamic voice and David Jackson's electronically-treated saxophones, generally playing over thick chordal keyboard parts. The band explored the complete range of phonaesthetics from euphony to cacophony, often within the same song. Van der Graaf Generator albums tended to be darker in atmosphere than many of their prog-rock peers.

My friend told me that one album along had just three songs on it. To me that was quite amazing. I never heard music being played for for that long. I mean I heard it in a Jazz setting with Ornette Coleman or Tim Berne, but not in a rock setting. The music of Van Der Graaf Generator was great for it's time. There was moments of greatness that would have made other Progressive Rock bands get a little nervous. I liked the vocals a lot because Peter Hammill he was quite distinct in his approach.

The one album with three songs on it was the one I chose for this post. The music is innovative and fun. The music makes you really pay attention to what the hell is going on. I always thought they were interesting. Pawn Hearts is an album at least to get you in the right direction. The magic that was created was like no other and should be really listened with great interest. I got a wish granted and saw them live in 2009 and they were great, only wish I saw them in the height of their popularity. I was once told they did open for King Crimson in 1970 and 1971. I think it was at Fripp's request because he played on Pawn Hearts. The Music here is new and for most people fresh. Try it out and listen for yourself and enjoy! Have fun with this and tell me what you think. Let me know what you think of it. Rock On!!!!!

Attention Baby!!!

2010-11-02T10:14:00.000-07:00

I will be the first to admit I am not the biggest u2 fan in the world. I have seen them six times looking for that moment that the fans around me go crazy for. It might be something simple or it might be just because they are crazy anyway. My first U2 show was in 1985. I thought they were good, but at that age of twelve I thought they were very good. Then again I saw them during the Joshua Tree tour and Achtung Baby Tour and I saw them two more times after that. It was a good show don't get me wrong, but the I really cannot place what makes people go crazy over them. The musicianship is pretty good. Edge's guitar playing is pretty good, but not enough to right home about. Bono's vocals are pretty good. I am really not sure if I missed something.

I have most of their music waiting for that thing to click. It might because their hits are pretty good and catchy. The hooks are great and I think what is even better is the fact that they use Daniel Lanois and Brian Eno as producers to change their sound. Both Daniel and Brian are very good at what they do. Daniel makes music sound really interesting and Brian is an icon who knows what is good. He does it well and if you don't believe me you should listen to either his music or the music he produced with the Talking Heads. What they do to U2 is quite amazing and fun. They put both their heads together and really make a band do something. My like for u2 is just that a like. I am sure the use of Brian and Daniel make me like u2 a bit more.

When trying to figure out what u2 album to choose it became a bit difficult. To choose a u2 album and only one is hard because being a casual fan and yes, I do like some singles from other albums. My choice was difficult. I could go with the album that got them the popularity in the first place or I could chose an album that changed their direction. I am not sure how much it left fans out in the cold, but the music is something I actually can listen to again and again. I don't jump for joy like other people do when they hear a song, but I do like the way each of these songs are crafted. Achtung Baby is actually pretty good. It's an album that has some very good qualities to it. The music sounds futuristic and that is why Wim Wenders used the title of a U2 song for a title of a movie. Wim Wenders loves that kind of stuff.

I think what I also like about this album is the fact that three songs on the album are some of the u2 songs I could listen to again and again. "Until The End Of The World" is a very good song. Also in that group of songs "Mysterious Ways" and "Zoo Station" are wonderful crafted songs. They were really ahead of their times for music. Full of percussion and great guitar playing without getting that early 90's guitar solos in music. When I did research for this album I heard they recorded most of it in Berlin. I really could see that, there is a mix of European music and stuff that we never heard of on this album.

As always I do put albums on this blog to tell you what to listen to. This album is a great starter of people that just casually listen to U2. Give it a listen and I am sure that it give u some ideas of what U2 were like in the early 90's. This I think is their most creative period in music. There is stuff on this album that I am still wondering where they got the ideas from. The music is wonderful and the fresh and most of all you will like it. Enjoy!!

Phish Breathes

2010-10-31T11:56:00.000-07:00

You can laugh all you want only because people don't expect me to be a Phish fan. I actually think they are pretty damn good. For a four piece band they actually can play pretty good. Trey's guitar playing is spot on at times and Page's keyboard playing is better then most keyboard players out there. Same goes for the rhythm section. Mike Gordon and Jon Fishman are pretty good section on their own. Every once in a while I like their music. I have seen them a total of twenty times and each time was a bit different and was exciting to hear what new world they were going to go into. Their quirky covers were another fun adventures. Some nights they would do Led Zeppelin or the music for 2001. It was music that was exhausting, but fun.

The fun part of Phish is their fans. They are die hard. I have friends who have seen them more then I have, and will tell you each night was a new experience. I would take them over a lot of bands out there and if they went back to smaller shows I would go to see them in a heartbeat. Each adventure they would mix everything in their bag of tricks and make it sound fresh and new to me and countless others. I really think they play each night to someone who just started to be a Phish fan and that is okay by me.

My first Phish concerts started in 1992. I went along with a friend to see them in New York City. The night was magical at Madison Square Garden. They played for about three hours and it was draw dropping on what they would do each night. I went to back to back nights and no song was repeated nor was there a moment of no excitement. Each night that I saw them I noticed they really knew what they had planned out for us. My friend would turn to me excited telling me that it was great to hear this song live or that song live. It was at that moment that I loved what they did. I did not follow them, but I would get a ticket when they played close. I joined their mailing list. I would get a good crack at tickets and send in my money order and hope for the best. I got some good seats at every show. Then another friend would call me and tell me that I should go in with him. This included at one point twelve of us going to a Phish show. It was fun to enjoy the culture of Phish as well as the show. The friends I knew and still know are still into Phish. I still go every once in a while.

What I like about Phish is they make sure their fans are their for them. They do these festivals or even better they do Halloween shows where they play an album in it's entirety. In 1994 I was honored to see them do the Beatles White Album. They studied it very well. It was great to hear a wonderfully gifted set of musicians play the Beatles. Two years later I saw them do the Talking Heads. Each time I saw them I knew they had something there. It was fun to hear them go through song after song. Each moment was great.

When it cam to figure out what album by Phish I liked this is when it became tough. All their albums have something to exciting. They have a great song that is the hook or they have these really great instrumental breaks that are just well done. I decided to pick a Phish album that was part of my early life. I remember when the album came out. I was excited because it was new and because I was going to see them many times during this tour. I was seeing a lot of King Crimson at the time and I needed another band to see too. I was doing a lot of shows then and needed something less Progressive Rock and more like Phish.

The music on the album is not jammy like other Phish albums, The music is got well crafted Phish songs that really show to an average fan that they can make good music. Each song has a great little slice of their great musicianship. If you know Phish and just think another Grateful Dead then you don't have a full picture. Grateful Dead mixed a lot of Blues, Jazz, Folk, Bluegrass and anything they could think of. Phish is fusion and fun. It's wonderful to hear some great music. Enjoy!! I am sure this will convert you!

Beach Pet's

2010-10-29T09:34:00.000-07:00

I know I been a little slow on certain artists on this blog. It's not that I don't like them, but It's hard to talk about them with people. They either love them or hate them and if they love them they know so much about them and can actually write a biography about them if you give them time. Their knowledge is great and wish I could retrieve facts such as that about these artists. I also like these artist they like, but I still feel a little apprehensive about talking about them because I know I will get a fact wrong or a story from their past wrong.

The band that always is has a long and interesting history is the Beach Boys. They were my fathers favorite band growing up. He was out of High School by the time they got popular, but he told me he religiously would buy their singles and their albums. He lived in the east all his life, but he loved the fact that the Beach Boys talked about carefree things and loved talking about what the life of a young adult was in California. He liked that the songs had a mini story to each of them and most of he liked that they had a song about his car he drove. "409" is about a a 1962 Impala 409. The car is a marvel. My dad bought this car new and added a few touches and the car would fly down the major and minor roads where he was brought up. This car had the quickness like no other. My father even told me he beat a 57 Chevy with a Corvette motor in it. Those are the stories of legend.

The music of the Beach Boys told those kind of stories too. They talked about the Beach, Surfin, girls and cars. These stories were fun and quite unique but they were wonderful little three minute ditties. I could talk about the friendly little war between Brian Wilson and the Beatles, but that is what the internet and good history is for. I want to talk about my experience with the Beach Boys. My experience was going through my fathers albums. I had no prior knowledge about them for a while. I wanted to hear them, but my dad would only play the hits. I was not sure if I liked it or not. I liked what I heard, but I wanted to hear and know more. I asked my father and he only knew about the albums that were full of the surf sound. He had one from 1967 called Wild Honey and he did not like it at all. It had no focus he said and it was just odd.

I took my chances with that and decided to explore some more. I went after most of that music from that era and really liked it. It was not about their early stuff it was more about the time that they were in. It gave some moments of greatness, but it also showed their maturity as a band. One day I went to my local record store and saw a Beach Boys album neither my father or I had in our collections. It was called Pet Sounds. The story of Pet Sounds was clear and the lore about it was great. The guy at the record store did a great job educating a young and naive kid such as myself about the history of the album. I decided to pick it up. It was a near mint mono mix and I grabbed it without really know much about it. Yea, that my sound odd to you, but I was a 17 year old kid who knew nothing except what his father had in his collection. When I got home I put it on the turntable and was so involved with this album. The music was fresh and wonderful. I loved every song from start to finish. Why was this not talked about before? Why was this album not even in my father's collection?

The music was more then a welcome addition to the growing collection of mine. It showed a few things in my collection. One thing it showed I can listen to just more then King Crimson and the Beatles. It showed that there is great music out there still to be heard. The music was wonderful and really fresh to my ears. After a few listens I put the album away and bought the CD. The CD had great notes on the history of it and helped with great understanding to the learned person such as myself why this album I was holding is one of the best ever.

Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaunted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. (AM) That describes it well. To me it was an album that opened my eyes to so much more. I am glad that I actually got a chance to hear this for myself without someone going totally nuts over it and hounding me how great this album is in the history of Rock and Roll. I know it's great and when I first heard it I can see why. The album is wonderfully fresh and to new ears it will be something they will remember for a long time. The music is timeless and for that it should be in everyone's collection. If you own it, play it again. If you don't, get it and hear why this album is the one. Classic in every sense. Enjoy!!

Wouldn't it be nice if we were older
Then we wouldn't have to wait so long
And wouldn't it be nice to live together
In the kind of world where we belong

You know its gonna make it that much better
When we can say goodnight and stay together

Wouldn't it be nice if we could wake up
In the morning when the day is new
And after having spent the day together
Hold each other close the whole night through

The happy times together we've been spending
I wish that every kiss was never ending
Oh Wouldn't it be nice

Songs For Jack

2010-10-27T06:45:00.000-07:00

The first time I heard a Jack Bruce solo album was when I was in college my second time around and I was looking for ideas when a friend of mine handed me a Jack Bruce box set of his music. I knew about his solo albums, but did not actually pay attention to them. I really though honestly the star of Cream was Eric Clapton. It was always Clapton this and Clapton that. I liked Ginger Baker because of his work with Bill Frisell and Fela Kuti. I really did not give Jack Bruce the recognition that he deserved. When I looked at my Cream Box set I realized that Eric was great, but the greater was Jack Bruce. He wrote most of the songs on the Cream albums. He co-wrote their two famous hits "White Room" and "Sunshine of Your Love." Jack's writing was on most of the Cream albums. His music was wonderfully done and he really is the brains behind one of the best super groups.

The music is really not bluesy like Cream albums but a sound like Jazzy and with Chris Spedding and John Marshall on guitar and drums the album has keeps that Jazzy tone. Both Spedding and Marshall made careers out of not doing the money maker and playing on all kinds of session work in these kinds of settings. Jon Hiseman also provides drums too and his different twist adds also to a well balanced different album. It really shows how great they are on most of the songs. I saw this box set and really regret not getting it then when I really like what I hear now. The horns make the album and it is really so much different from those Cream albums because it shows that Jack Bruce could be different then the rest of the Cream. His lyrics are quite good and you can tell right away that he wants to be heard more then most. Songs like "Never Tell Your Mother She's Out of Tune" and "Theme For An Imaginary Western" are really great. "Theme..." was a minor hit for Mountain.

The history is important because this album is one of the most unique fusions of jazz with pop and contains less emphasis on the blues, a genre so essential to Bruce's career. The music is fresh and different then what you expect from a man who was in Cream. The elements of cello, guitar, bass, horns and drums is uniquely different. Jack Bruce proves too all of us that he was unique to this world. If you hear this now compared to back in 1969 you can tell that it is a bit dated, but it still sounds very fresh and interesting. I did not quite get what he was aiming for, but now I get it. I like it and to me Jack Bruce is wonderfully different to all the heavy Psychedelic that was out then.

Even an old out-take from Cream's Disraeli Gears shows up on this album and it's a quite different interpretation. "Weird of Hermiston" could have been added, but more then likely got outvoted by Clapton and Baker. You can tell his ideas were there even back in 1967. He was brought up well working with Alex Korner and his Bluesy/Jazzy sound. He would continue this trend with a lot of his solo albums. His next one in 1971 was Things We Like was really like jazz with full of Post Bop and Free Jazz and guest John McLaughlin that is where things start to take shape.

Jack Bruce is a unique individual and his music is more then enough to digest. His stuff for the longest time stayed out of my sight, but I am glad that I got acquainted with his music. He should be listened to and show have a voice. People should not remember his for his Cream contributions but other great things as well. A lyric sheet is enclosed and displays the serious nature of this project. It is picture perfect in construction, performance, and presentation. Enjoy this album and I am sure you too will be telling your friends about how great he is with high praise. Enjoy!!!

Roger Keith Syd Barrett Laughing

2010-10-25T10:16:00.000-07:00

I really love you and I mean you
the star above you, crystal blue
Well, oh baby, my hairs on end about you...
I wouldn't see you and I love to
I fly above you, yes I do
well, oh baby, my hairs on end about you...

Floating, bumping, noses dodge a tooth
the fins a luminous
fangs all 'round the clown
is dark below the boulders hiding all
the sunlight's good for us
'Cause we're the fishes and all we do
the move about is all we do
well, oh baby, my hairs on end about you...

Floating, bumping, noses dodge a tooth
the fins a luminous
fangs all 'round the clown
is dark below the boulders hiding all
the sunlight's good for us
'Cause we're the fishes and all we do
the move about is all we do
well, oh baby, my hairs on end about you...

I really love you and I mean you
the star above you, crystal blue
Well, oh baby, my hairs on end about you...

Those lyrics above are from the opening song from Syd's first album Madcap Laughs. The album is quite amazing. My first Pink Floyd listen was from when Syd was in the band. It might be three short years, but those years are the most important years of the band. I would listen to Dark Side of the Moon and tell myself that I need to start from the beginning. When I asked the uneducated question the record store guy what should I start with, I got a person who handed me two CD's the first was Piper At The Gates Of Dawn and Madcap Laughs. He told me the first was Pink Floyd's first album and the other is the former leader of Pink Floyd's first solo album. Each have a great place in the musical lexicon and should be studied and listened to with great study. He sounded like a History professor who told me that If I study this then I will know all I need to understand about the history of the world. I am glad I listened.

The mystic of Syd Barrett was the fact that his lyrics and his voice carried the world of Pink Floyd. These wonderful understandings taught me that there was a side of music that was not happy, even though the music from this period was something that was full of Psychedelic roots and even the culture was the same way. The back story of Syd Barrett was a man who escaped any way he could, but his music and words was genius. When we lost him a few years back in 2006 we lost a person who was a man not easy to understand, but a man who if you knew him well enough through his music was someone who was much smarter then the average musician of the time.

I picked up these two recommendations and listened with quite intent. It was a far different sound then the first Pink Floyd album I got introduced to. I knew that I had to really listen hard to this music to understand what was going on. My time with this was great because I realized that the music that was being presented was a bit more on the side of classic. This classic sound was not talked about in great detail in music books I read. They only gave a brief explanation of his music and kind of lumped it into the rest of the Psychedelic genre. It was sad looking back on it, because his music was a bit of that but it was very personal. Syd Barrett was using music and acid to run away from something. It just happened that his music was part of a very interesting time period in pop culture.

In a way his music reached far beyond the simple and got more and more complex. His music was a very close observation of the world. The music I loved his first person thoughts and observations. He was important to me because of his highly creative nature. Syd would be a person who (if I was around then) would be an artist I would follow. There are artist today that think Syd is quite important as well. People like Robyn Hitchcock really praise his music. It's wonderful that we had this genius on this planet. The sad thing is there is so much unreleased material from working with Pink Floyd and his solo work that needs to be put out.

The album featured a rather unorthodox recording process, in which Syd would provide a backing track of his own singing accompanied by acoustic guitar, over which the session musicians would overdub the rest of the arrangement. However, Syd's playing and singing were highly erratic and unpredictable—he skipped or added beats and bars seemingly at random, or otherwise he would strum on a single chord for a long time before unexpectedly reverting back to the main portion of the song. Syd would not allow the musicians to rehearse or re-record their overdubs, insisting that they sounded fine. After several months of intermittent recording, the album was finally deemed complete. (AM)

If anyone who loves the early Pink Floyd like I do, then this is the place to start. His genius is written in every song. The music itself is very good. It has a few guests on it including two Pink Floyd people; Roger Waters and David Gilmour. Three Soft Machine people too, including Hugh Hopper, Mike Ratledge and Robert Wyatt. If you want to have fun with great music then start here. The music of Syd Barrett should be looked a bit closely and this is the best place to start. Enjoy! I hope that this listen will give you more of understanding what early Floyd was all about. Enjoy!

Funny As Shit!!!!

2010-10-23T12:20:00.000-07:00

There is an art of being funny. You can be funny, but can you be funny whatever you say or do. Can you look at the news and things around you and make people laugh. My best friend was funny, he was pretty good at making people laugh and he did it for a short while. It's a tough racket trying to be a comedian you have to figure out the energy of the crowd that your trying to entertain and you also have to be lively in discussion and also on what is going on around you. There were nights that he was right on and had the crowd in the palm of his hands and on other nights they would laugh, but would not "kill them with laughter" as he put it.

When I would go with him to shows he would kind of tell me what his routine for the night was, and at the end of the night if the show went well, then we kept the same formula. If the night was good, but not great we would change or add things. He wanted me to be honest and tell the truth about his comic stand up. We would listen to the tapes of his shows and I would get an idea where he went different from the night before where he was good. We also listened to other comedians and figure out how their formula was successful. People like Richard Pryor and George Carlin were the heavy ones we would listen to. One day My best friend and I went to see a stand up show by a friend of his. My best friend was handed a tape by a guy named Bill Hicks. His friend told us that he was "Funny as Shit."

On the way home instead of talking about how the show went and how we can learn from what his friend did, we decided to put the tape in of Bill Hicks. We did not know what to expect and honestly we never heard of him before and did not know what to expect. After the first part of the tape we were in tears we were laughing so hard. The ideas that he told the audience and the stuff he would come up with was really great. We noticed that he took things in his own personal reflection and really make it sound comical. Some of his one-liners were always worth repeating.

Stand up was always tough to do. The stand up today is not as exciting as it was long time ago. A lot of stand up tries to be politically correct or just less sensitive then in years past. Bill just went and attacked. He attacked the first George Bush and he attacked the war on drugs and he attacked non smokers. He had fun at every bodies expense. His quotes on the tape were always worth repeating. We thought really anything he said was funny. Both my best friend and I always looked out for any stand up he put out. Few years after loving his stand up he died. There was an article in GQ that really hit both my best friend and I. We loved the appreciation and looked forward to archival stuff to come out.

Bill Hicks was a genius. His comedy was the stuff that will be talked about for years to come. They recently put out a retrospective that I have not gotten yet and I will soon. It really goes over a comic who was really ahead of his time and who could make me laugh like no other person could. Bill was a man who spoke the truth and will always resonate with me and no matter how dated it might sound, it will always be ahead of it's time. His CD's are always great. I chose his second album because that is where I started, but any of his stuff is fun and tearfully funny. Enjoy!!

Marion Brown And A Georgia Faun

2010-10-21T12:28:00.000-07:00

There are reasons why I love music. Some of it is pure emotion and some of it is just the great talent that is out there. To me the music of some artist is just a love for whatever they create is just priceless and magical. The first time I hear some of these artist I know for a fact that I will be a fan for life. I listen to Jazz people like Ornette Coleman, John Coltrane, Miles Davis and I know that these people are quite gifted and are above the par of anyone else. Sometimes I hear them and realize that what they do is very creative and always wonder when is a good time to reflect on how their genius works.

Last week we lost a genius. His name is Marion Brown. Marion was part of a lot of circles. His saxophone reached many different Jazz worlds. Some of it was Post Bop, other times it was Avant-Garde and other times it was Free Jazz. He may not be up there with the people I mentioned above but he was quite revolutionary. To me Marion was a genius just like those Jazz musicians. His music had the heart and soul of anyone out there. He will be missed and his music should and will be talked about forever.

Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous improvised music. Back near its inception in the early '70s, the label issued a wide variety and decent number of challenging avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. Marion was one of those forward thinkers and this album includes other who thought the same way he did. The group of people on this album are wonderful musicians in there own right and do contribute music that is fresh and the reason ECM gets the recognition that they deserve. ECM was famous for this wonderful and fresh music just like Impulse, ESP or Atlantic. There are reasons why my obsession with ECM is so deep. They made some great stuff.

Marion's album is a benchmark of why ECM is so damn great. There are only two tracks on the CD, but each has it's own identity and meaning. While the first and title track is more percussive, the second is traditional and ahead of it's time. The second does more exploring then the first, but that's where Marion shows his maturity as a musician and that in turn has the people backing him act the same way. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier.

Marion will be missed, but not his music. The man's genius is in most of the music that is out there. Listen for yourself and you will understand the passion and the gift that Marion had for his music. This music was a gift for us, not only to listen to, but for people to understand how great some of this music really is. The other day I put two of his CD's in my car and really understood how great this music should be talked about and listened with new ears. Take a chance yourself and I am sure you will feel the same. Enjoy!! Marion RIP, thanks!!

Sheryl Crow's Self

2010-10-19T12:24:00.000-07:00

Don't laugh, but I think that Sheryl Crow's second album is pretty damn good. The music is so much better then the first and it' a bit experimental too. What she did is keep her root music in the forefront and then added loops, noises, and weird sounds to make it a very interesting album. This mix of all these things created an album that is not mentioned as a popular Sheryl Crow album. I remember it came out and people thought it was a pretty good album, but at the end of that year in 1996 on a best of the year music list NPR called it one the best of the year. I liked the music. At this point I really ignored a lot of popular music by then and to hear something like this really made me want to hear what she had to say and also to see all this oddness work on an album.

By this time I saw her three times and each time was actually pretty good. You could sense improvement from her and from her band. The music was very cool and her vocals very strong. Her lyrics were very smart and well versed. I remember going to see her in 1997 and with the new CD in my hand I could see these songs transform into actually really something great. My female vocal music was lacking, but she got me into more female music at that time then I have ever explored. Songs like "Everyday Is A Winding Road" and "The Book" are wonderful songs and quite addicting. The album is one of the most creative albums to come out of 1996.

The music of Sheryl Crow is simple, but you know sometimes that is great. Throughout the record, Crow spins out wild, nearly incomprehensible stream-of-consciousness lyrics, dropping celebrity names and products every chance she gets ("drinking Falstaff beer/Mercedes Ruehl and a rented Leer"). Often, these litanies don't necessarily add up to anything specific, but they're a perfect match for the mess of rock, blues, alt-rock, country, folk, and lite hip-hop loops that dominate the record.(AM) The fun thing about Sheryl Crow is when you see her live, she takes some of these songs and rearranged them to make them sound very fresh and new. I saw her three times and only one setting was a music for the masses type show. She stuck to her formula and did what she had to do, but the club shows were completely different.

Once I do a rare thing and go for some pop thing and really express that some stuff is actually pretty good. When she was the peak of her popular her music was all over the place. Even stations I did not even listen to were playing her music. I caught on to her by seeing her and hearing the overplayed first album. What was interesting back when she first started she did club dates. Now if you were playing everywhere you be in a big state like an open venue. Her club dates were wonderful and not crowded. She got to be herself and make these sound unique in a rare time. I wish that this kind of idea still worked with the music company where original music is not over hyped.

If you need to fix your "Pop Music" collection then you should start here. Listen to this album, it's got I think three hit songs. It's okay though these songs are not played much. You can still play this album and reflect how much she was a talent. Listen and enjoy. This music still is fresh as when it was put out in 1996. Enjoy!!

Tomato Ketchup and Stereolab!

2010-10-17T07:01:00.000-07:00

Who is the band that mixes Neu!, Faust and Classic Krautrock with classic good 60's Pop music? Give up! It's a band called Stereolab. Stereolab either legitimized forms of music that were on the fringe of rock, or brought attention to strands of pop music -- Bossa-Nova, lounge-pop, movie soundtracks -- that were traditionally banished from the rock lineage. The group's trademark sound -- a droning, hypnotic rhythm track overlaid with melodic, mesmerizing singsong vocals, often sung in French and often promoting revolutionary, Marxist politics -- was deceptively simple, providing the basis for a wide array of stylistic experiments over the course of their prolific career. Throughout it all, Stereolab relied heavily on forgotten methods of recording, whether it was analog synthesizers and electronics or a fondness for hi-fi test records, without ever sinking to the level of kitsch.(AM)

I first heard Stereolab on my way home from my community college. You may laugh, but NPR did a feature on them. It was something I did not expect. They talked about them as a band who's mix of so many different styles that anyone should listen to them. It was music that intrigued me because they did not mix one or two different genres, but like a dozen. It was music that sounded fun and quite new to my ears back in 1993. I knew very little, but I wanted to hear more. I wrote them down and put them on my list of things to find at the record stores.

The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. It lacks the raw, amateurish textures of their early singles, but the music is far more ambitious, melding electronic drones and singsong melodies with string sections, slight hip-hop and dub influences, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible.

To me the music was totally new and fresh. I never heard this type of music before in my life. I decided to buy some of their back catalog. It was quite an effort to find their music. It was easy to find their regular albums, but it was hard to find their singles and EP's. They put so much out between four albums at the time that it was next to impossible to catch up. There music was full of heavy synths and wonderful odd electronic sounds. It made me think that this could be done a whole new way. The stuff I heard on NPR was what made me think they were really ahead of their time. If you asked me to take stock of listening to this any earlier in my life I would have quickly dismissed it as crap. This music is better then anything I heard at the time.

I chose Emperor Tomato Ketchup because this was the one that made me finally realize how great they really were. The music on this album is full of great sounds and hooks, and wonderful and lush female vocals by Mary Hansen and Laetitia Sadier. Even better was the use of French in some of the songs. It made it a whole new sound to me. This was becoming a musical obsession to me and every chance I got I really wanted to hear the new music. Like some artists, I would go to the store the day the music was released. Stereolab was one of those bands. Each album made a different leap into the unknown and that unknown was very good stuff. If you like your pop music keyboard heavy and full of these lush vocals you should check out Stereolab. This is a great place to start and a really fine album. Listen and enjoy!!

Look-Ka Meters

2010-10-14T09:48:00.000-07:00

I will admit I was a bit naive when I was a kid. I heard a Meters by Primus and really thought that it was their own. The song "Tippi Toes" was a great songs. I was quite impressed with what Primus did with that song. When my friend informed me that it was a cover song I went on to look for something by The Meters. Some of the music was hard to find at first, but after a search I found a used cassette with about twelve songs on it. This cassette was homemade and it gave a good overview on what they did. I kept that tape for a while and when the friend who told me about them came over with a two CD set of their music I quickly made a copy.

I really did not know what I was in for. I thought the music was going to be R&B and sounding like Booker T. and The MG's. From the first song on the tape I knew I was in for something quite different then that. The music was funky and not funky like James Brown, but much more then that. It had me moving and grooving in the car. There was something about the Meters I could not explain, but whatever it was it was great. I asked my friend who bought the two CD set if he had anything else by them. I liked what I heard, but I am sure there was more to be had. It took me forever to find the albums. Even at that time I was introduced to them I heard from other people that the albums were full of even more classic funky stuff.

By the time I realized who they were, I was told that they had four albums that were a must own. I went to my usual record stores and they did not have them. It was not till I went back to college I found their music on CD. These albums were out of print for so long it was hard just to go with that two CD set. I decided to buy the albums. Each one was better then the last and what made it more exciting the songs on the albums that were not on the set were better then the others. I am glad I picked up these CD's because each album had a more impressive set of songs then the previous album. What makes these albums great is the fact that the groove of the bass, drums and organ are setting such a great groove. They know what each is doing. The music speaks for itself.

Every album has a moment that is like no other. I really honestly did not get it the first listen, but after each repeated listen it had more and more character to it. The music is fresh and fun. It explains a lot on how this band got such a huge following. I never saw them live, but if I was around in the mid-70's I sure would see them every chance I got. It's the fact that The Meters are mostly instrumental that baffle me. I love instrumental type music and hearing these great grooves come from four guys who don't need words to tell you, but there musicianship makes it all the more great. The music is even better when your in a great mood. It forces you to have fun grooving.

My problem was picking an album to let you know where to go. I chose Look-Ka Py Py because it was the first one I really loved. The album is full of great bass grooves and heavy on organ as well. It wants you to dance and let yourself go. The music does not sound dated either, it sounds like it was just recorded yesterday and wants you to tell all your friends how cool some of this stuff really is. Song's like "Funky Miracle" are just classic and really make you shake your head and wonder where the hell this came from. It's music that does not come around often so I suggest that you listen closely. The music is the funk you need and for me it just reminds me that there is music out there that just kicks a bit more ass then anything else out there. Enjoy! It might even get you to dance, who knew that music can be so much fun.

Massive Mezzanie!!

2010-10-12T06:02:00.000-07:00

If you asked me when this album came out that I actually would listen to them I would more then anything tell you that I don't really listen to that much Trip-Hop and Electronica. I listen to Portishead and some Orb and that's about it. I realized my mistake a year later that I should be listening to more of this genre. I picked up this album from a friend and it was a CD that would not leave my CD player in the car or at home. It's distortion and strong guitars and effects sounded nothing like I ever heard before. When It came out, my friend told me if I never heard them, I should listen to some of their early work to get familiar with the music of Massive Attack.

He handed me Protection and Blue Lines and I was very impressed. The music was not the normal Electronica that I was hearing from other people. This music was smart and edgy and well presented. The dark quality of Massive Attack is shown here with greatness and wonderful non typical music. It was all so fresh to me that I loved it without having notions of what other Electronica was. I grew on this quickly and really wanted to hear the barriers torn down of what I expected to hear. What I heard was music that was fun and for a first time fan of this stuff, this was a wonderful introduction. It was a band that I would like more and more as I got to hear their music.

That same year I got invited by my friend to see them live in New York City. They were playing MSG (Madison Square Garden). I thought on how great music like this would feel at home. I was so right. The flash of the lights, the edge Electronica and heavy dissident guitars and the stark and somewhat scary vocals. It music that if you close your eyes the music is in your face without be to upfront about. I walked out of the show awestruck about how well this music was put in a live context. It gave me the impression that they do things very well. They really put the music you think is Electronica and make sure that they are the ones all the others copied. The blend of earthy with ethereal shouldn't work at all, but Massive Attack pull it off in fine fashion. "Inertia Creeps" could well be the highlight, another feature for just the core threesome. With eerie atmospherics, fuzz-tone guitars, and a wealth of effects, the song could well be the best production from the best team of producers the electronic world had ever seen. Obviously, the rest of the album can't compete.

Thing with Mezzanine is, there are so many levels of sound that every time you listen to it, you hear something new. That in itself is a wonder, but the vocals are simply gorgeous, the beats are hypnotic...bone conductive...and the lyrics are completely incomprehensible. With this album, it's all in the sound, which just wraps you up and takes you away. Massive Attack is a an eclectic mix of genres: jazz, pop, folk, rap, blues, even classical. They take what they need from each and create their own, unique sound. One of the best things about this album is the unique style of each cut: different vocalists, different styles, totally different sounds, but all absolutely Massive. (amazon)

When I went back to school in the fall of 2000. I wanted to do a radio program that showcased the best of the new music that was out there. Not the stuff that was mediocre, but the stuff that had a good look in the critical eye. I really did not have a chance to something like that till my last half of a year left. By then I actually could weed out the stuff that came in the station that was crap and the stuff that really could mean something in the contribution of modern music. Band like Stereolab, Built To Spill, Radiohead, Sigur Ros, and Massive Attack and many others fit that smart new Rock and Roll. This is the music you should listen to. The music is great, fresh and part of modern music. Take a listen and enjoy a band that is very far ahead of their time. Enjoy!!

Spirit!!!!!

2010-10-10T06:15:00.000-07:00

The first time I heard Spirit was on Classic Rock Radio. I did not know what to think, but I loved it and wanted to hear it again. It's mix of Psychedelic Rock and Jazz was a completely different way of what music was supposed to be in the late 1960's. The guitar playing was out of this world and the keyboard playing was really great as well. I had to get my hands on some. I looked everywhere for this stuff. I got lucky rather quickly. My co-worker was cleaning out her house and had a bunch of records she did not want. In the collection was the first Deep Purple, a Moody Blues record, and a Spirit record. I had no idea what this was. I looked at and saw the song I heard was not on it, but for the hell of it I would give it a listen. I grabbed the headsets and went to the turntable and gave it a listen. The cover art was interesting with all the band members creating one face. I put it on and was immediately blow away but what I heard. This too was something I could go find at a record store and buy.

I grabbed my 1960's music book and looked them up. They too agreed on what I heard. They said that this music was coming out of no where and should be listened with the greatest of attention. They talked about how it was Randy California that got Hendrix to play guitar. A bold statement, but true. The book gave two must listens. The one I had in my possession at the time and an album called Twelve Dreams of Dr. Sardonicus. Both albums are really top notch stuff. Even finding more information about them later on proved how great they really were. In the book The Ambient Century by Mark Perendergast the mention of Spirit is clear; "The music of Spirit stood the test of time to be reappraised in the 1990's as 'Classic'." "They even blueprinted the chord sequence for one the most successful songs of all time 'Stairway to Heaven'." It continues to tell the same feeling I get when I listen to them. The great sonic sounds, the twists and turns and sound explosions are great.

Spirit's debut unveiled a band that seemed determine to out-eclecticize everybody else on the California psychedelic scene, with its melange of rock, jazz, blues, folk-rock, and even a bit of classical and Indian music.(AM) If you listen closely to their music their hooks are amazing every album has a great song that will just get you to realize that you might have missed something in picking up your classic rock of The Who, Hendrix, Jefferson Airplane and others. I used to listen to think that the music such as this was not my thing, but looking back it really was. It made me broaden my musical spectrum.

Now the problem was took tell what album to get. The first four is a great place to start. Actually, its the only place to go. If you are going to start somewhere, then start where I started. I think the first album is a wonderful masterpiece. Each song has it's only feel and more then likely only Spirit could probably do it too. They made with every song they did. Even when they had Led Zeppelin open for the here in the states, you could see the effects that they had. Led Zeppelin took the musical openings of a simple song like "Taurus" and integrated it into "Stairway to Heaven." I mean if that is not giving some kind of credit then I really don't know what is. A song like "Uncle Jack" is even more classic and gets close to genius.

Well this is another must own for the collection. I used to ruin peoples lives with this stuff, because this is the stuff that should have been talked about in the world of classic rock. Spirit is something that might take a while to grow on you, but it's music is something that is still talked about today. I have friends who tell me all the time that if they could relive the sixties they would make sure they saw Spirit. Have loads of fun with this one and make sure to pass it on to your friends. Enjoy!

Tweedy Rocks!! Live Mandel Hall, Chicago 2006

2010-10-08T15:17:00.000-07:00

I have seen Jeff Tweedy or Wilco about a dozen times. Each performance has gotten better then the next. The problem is, after the show you wish there was more or that he did a different or a really obscure tune. Another problem is that there really is no solo Jeff Tweedy albums out there. The only one that is official is the Jeff Tweedy Sunken Treasure: Live in the Northwest. That official is a DVD, but if you put it in the computer you can get the audio files. It's actually really good, but it leaves you wanting more and you don't get his in between song chatter or his after song jokes and quirky Jeff Tweedy like chatter with the crowd. The DVD shows some of it, but not his whole night performance.

One day I went on line to look for some of these heavily circulated bootlegs. I found one that did not fit the normal of Jeff Tweedy shows. These were not the Lounge Ax shows. Those Ax shows there are so many and I have about three that are just interesting. They sound like they were recorded at a small club with lots of restless Wilco fans. They are good because they do get Tweedy in a rare moment just goofing and having fun. I wanted a show that had a very wide range of Wilco and his covers. Then I stumbled upon a show recorded in his home city of Chicago. Upon looking this album up on the internet I found out that this was a solo show for Illinois Public Radio. The quality was so much better then all the others I had. What was even better was the stuff with Nels Cline. The added bonus was the Neil Young Cover. I decided to download it.

After finishing downloading the show I grabbed my headsets to see what I uncovered. I thought I get an incomplete show and get the sound quality that resembles a show I would hear on the car stereo. The opening of the first song proved me wrong. Sunken Treasure is still one of my favorite Wilco songs and Jeff doing it acoustic made it sound totally fresh and so much different and fun. He has a different spin when he plays these songs solo. The arrangements are different and the songs that he chooses are really great. That's what make his solo shows a must to see and hear. I have seen Tweedy solo about four times and each time his banter with the crowd and his musical set list is really impressive.

The show I chose to mentioned was recorded by NPR for some web-cast. As I mentioned above it was a great show to get new people involved in his music or people like myself who love Wilco. The music here is wonderful and fresh. His voice is so stronger then ever. The set list is pretty good. He gets Nels Cline involved which always makes it fun. What is great about these Tweedy shows is his picks of covers. From the Neil Young cover on this one to a cover of Bill Fay on another live show I have. Once in a while Wilco will do one as well, but not as exciting as the what Tweedy picks for his solo shows. The link below gives a place where you can download the show I am talking about. Enjoy! This more then ever and is likely one of the best of his solo recordings. Rock out!!!

http://wpnob.blogspot.com/2006/04/jeff-tweedy-live-in-mandel-hall.html

Nothing But Jane's Addiction

2010-10-06T05:56:00.000-07:00

The early 90's for music was one of the most interesting in my life. I listened to a ton of Classic Rock. I also listened to my fair share of bad Heavy Metal and bad Pop music. I tried my hand at other music, but it just was not fun. Then I started hanging around a different crowd. This music listened to modern music. It was music as we call it now College Rock. These bands included The Cure, The Smiths, R.E.M., and Jane's Addiction. I liked most of the music that I heard from this crowd, but I did not know what to get and what to listen to. I started listening to a lot of it and trying to figure it out for myself. I had loads of fun picking the great stuff to the really bad. This music was also featured on MTV in form of a late show called 120 Minutes. It was all the cool cutting edge music. Every Sunday at midnight to 2am they have a show. I was in bed, but I set the VCR to record and the next day when I got home from school I would listen to and see what I liked.

I would come to my new group of friends at ask them about bands I saw on this show. They kinda guided me into the right direction. Most of my musical listening of this stuff was me blindly picking something. Even before the internet you went by descriptions of what the record store guy said. He of course was trying to sell the product. I also went by the little descriptions in the Columbia House catalog. They of course wanted you to buy everything, but they have been accurate before so why not now. I even went to see my friends at the record store. They were pretty good at telling me what to get and what not to. One of them even told me if I follow this list of artist and albums I will not go wrong. I decided to use that approach because it was cut and dry and these are the must listens.

One day with list in hand I was trying to figure out what to get what artist should I focus on I was approached by a friend. I did not talk to this person a lot, but we talked music here and there. She asked me if I would go with her to Jane's Addiction. I did not know much about them, but I figured seeing them live might work. I did not know what to say to her, but I told her if one of her friends could go then give them first dibs. She insisted that I go, because as she told me that I was gutsy enough to check them out compared to her friends. I took the chance and went. I figured I had nothing to lose and hey the ticket was not that expensive compared to high prices today. I went to the show with no expectations nor a cassette or anything by them in my collection. When I got out of the show I was completely blown away with their talent. From Dave Navarro's great guitar playing to Stephen Perkins drumming this band had talent. When Perry Farrall announced to the audience that Jane Addiction are part of a music festival this summer I told the person I was with that I would go. I walked away completely impressed with this band and the show.

When I bought the two albums of Jane's Addiction I was completely impressed with the albums. Even the songs they did not play live were killer. I could not believe how great the music was. Each song was better then the next. I could not believe that this band was so good, yet the people who knew about them kept it a secret how good they were. Both albums were hard to get into the first time around. Hearing these songs live took on a sound that could not be reproduced in the studio. Then after a while I realized how great these songs were live or studio. The music of Jane's Addiction is quite good. Dave Navarro's playing really shines on both albums. My problem was to choose what album to do in the blog.

I chose Nothing's Shocking because it was the first album I listened to when I got them through the record club I chose that one to listen to. It's mix of Progressive Rock, Funk and Punk is wonderful. It's songs like "Summertime Rolls" that makes use of the up and down mood and dynamics that some bands of that time never did. Songs like "Jane Says" and "Mountain Song" are wonderful pieces of Alternative Rock. The influence of Jane's Addiction is pretty damn important. They only really put out two great albums, but this is the one that you should go with first. The music is great and most of this is timeless Hard Rock at it's finest. Vote this for another one to crank up to eleven. Enjoy!!!

My Quartet

2010-10-04T14:29:00.000-07:00

When I was going through some old copies of Down Beat in my collection I stumbled upon a great interview with Bill Bruford. It was great because it reflected his musical career and also his upcoming tour with his band Earthworks. It was this same tour that I went to see him four times and each night was better then the next. It was also an interview to talk about the future of music that he was in and the past that he was a part of. He mentioned his tenure with King Crimson, Yes, Genesis and other bands that he was a part of. He was all over the drumming circles in the 70's. At the end of the interview he was asked some serious Jazz questions on what albums he liked to listen to. It was very cool because he did not mention much about the music he was on, but the music that gave him a drummers voice as far as other drummers he liked in the music world.

He talked about growing up hearing the music of Dave Brubeck and other jazz people. He mentioned when he performed he would never get tired of some albums that were so well put together that he put those on the highest plateau. These albums as he put it were classics. He mentioned Keith Jarrett a number of times. He put him in the highest regard because not only was Keith Jarrett a great piano player, but on some albums he played other instruments. I was very familiar with those because I have a few albums where does do double or even triple duty on a lot of stuff.

On his famous European quartet albums he only plays piano. In the 70's he was leading two quartets. The European quartet consisted of Jan Garbarek, Palle Daniellson and Jon Christensen. These four musicians are great in their own right. Each of them really put on a great show on this album. I really wish I could travel back in the 70's to watch this band work with razor sharp accuracy. I am sure there are bands that wish they could play this good. I have seen Keith Jarrett with his trio and solo and each time there is something hypnotic about what he and (with the group) he does. This is a classic case of that. They put themselves at the outer limits of greatness. This album is a straight ahead Jazz album with all the pistons firing. The music does not have that European feel like some albums that ECM put out, but more like an album that was just put out this year.

I know I recommend a lot of things. Most of these post are great starts in whatever genre of music I am grabbing from, but this album is an album that can be held up high and discussed with the best Jazz albums in the world. I chose this Keith Jarrett because most of his piano playing is off the charts great. He makes you want to get on that piano and learn his parts. He really gets the mind thinking on how he can pull it off with such ease. Go for it and enjoy a classic that will have you getting more Keith Jarrett albums. I will admit that I got this album while I already had others of his music so hearing this was still fresh and wonderful. It is a different sound from his trio album I recommended, but that's the fun. Each time you hear a Jarrett album you are curious why his name does not come up more and more. This album is the one that starts the conversation about his band playing. Enjoy!

Petty's Flowers!

2010-10-02T22:03:00.000-07:00

I must admit I was never a huge Tom Petty fan, but then again I heard the repetition of his songs on the classic rock radio. They were always the same song from his golden era. Yea, they might have a feel of Byrds and Dylan, but to me Tom Petty's music is the songs that you don't hear on the Classic Rock Radio. One day I took all those albums that they do play and I decided to make a mix of those songs. I did not do a chronological but a random catalog mix. I realized after all the songs I got to about 20 songs. I picked songs like "Strangered In The Night," "Even The Losers," and others like "Insider" and "Yer So Bad." All these songs just had so much better feel and showcase of his songwriting talents.

I wanted to pick a popular record, but then again I wanted also pick an album that was even fresh when it came out. Petty's music is so recognizable that sometimes you have to find the few gems to get the bigger one. When I looked at his albums I wanted something that had a classic feel and at sometimes a real rocker. I could always go to his first album, still considered his best. But that is the one those Classic Rock stations play way to much. I could even go with his tow late 80's and early 90's albums. Both again were commercially great but way overplayed. I decided to go with an album that really saw one song of many overplayed. It was on heavy rotation on the radio and on MTV, but that was not the representation of the album. The rest of the fourteen songs are pretty damn' good. I decided on Wildflowers.

It was his debut for Warner Bros. and an album my guess he wanted to make. He hired an icon Rick Rubin. The rest is history right? Yes, because it's his most laid-back, natural and really fun album. It's stripped down and subtle and has some of the best songs he has ever done. It's an album that really appreciates and the respect of Tom Petty. His songwriting skills are top notch. I only wish I could write like him. When you hear this album you don't get his signature sound, but something that is fresh and great.

Tom Petty has always played great music. It's Classic Rock radio that has overplayed his hits, but if you go beyond the hits and see the real songs you see an artist with a great talent. There are about four great albums that he has put out and those are worth a listen. Even better is the live box set showcase how great his music is. Even better, the box set is a great way to hear the music that he loved as a child. There is covers by Booker T. and the MG's, early Fleetwood Mac, and even the Blues greats. I saw him once and he played for three plus hours. His sprinkling of covers was great and a good change up from hearing his hits.

So for a change of pace I recommend a Tom Petty album. It's something different for my blog. I think that Wildflowers is something different and very mellow. It's not a way to start into his collection, that is great. Enjoy! An album that is wonderful and got some classic sounds and rockers too. The best thing about Tom Petty is that this album is the one that changed his image and Classic Rock percepetion. Enjoy!

Vital Pearl Jam

2010-09-30T09:43:00.000-07:00

The first time I saw Pearl Jam was in 1992 in NYC with my best friend. We had no idea what to think. They shared the bill with Red Hot Chili Peppers and Smashing Pumpkins. Each band had a personal impact to me. This was the second time I saw the Chili Peppers and they were great. The Smashing Pumpkins were good too and I would see them two more times in the future. Pearl Jam though was a band that came out of nowhere. When they took the stage and played about an hour and half I was struck on how much energy that had. I heard their first CD and was in awe on how well these songs came off live. They had a lot to show off and I was hooked. I wanted to see them again. Well, during that tour I got my wish. I saw them one other time and it took four years to see them again.

Pearl Jam has many things going for them. There music is raw and full of energy. Even better is the fact that they mixed it up with really great fast songs and then some slow songs. They even did one cover of Neil Young. The way they played that made people think they wrote that one too. In the four years I did not see them they became the hottest ticket item. I had friends who went to later shows telling me how great they were. I kept on telling them that I already saw them and hope (with luck) to see them again. Even my father thought they were good. What he liked was Eddie Vedder's voice. He thought it was fresh and original. Something you don't hear is a good voice he told me. All these singers, you can barely make out what they are saying or screaming. He had a maturity about him my father said later on.

In the time that I did not see them for four years I picked up the albums and would closely listen to them. Each had expanded on the album before it. The song writing got better and the band really gelled. It was excitement every time they put something out. I would hear it on the radio and just love what they were doing. My friend told me one day that he liked the band because of Jeff Ament. Since my friend was a bass player he thought Jeff's playing was very good and above average for a rock bass player. I could not agree more. I liked the two guitar sounds and as a whole they were great.

I saw them a few more times and I have to say they were getting better every time I saw them. The music was getting better and more mature like a seasoned piece of meat. I liked the progress of of even the older songs. When they debuted a song from their early catalog they played it well, but later on that same song took a new life. It sounded like they re-arranged or even added a fuller sound to it. Songs that sounded simple, now sounded a bit more complex. Eddie's voice got stronger and the rest of the band got better and better. I was in awe with how they pulled it all off and made some new people Pearl Jam fans.

Now the hard part of all this was to pick a Pearl Jam album. The first three are very well done. They have a top notch quality of them. They keep Rock and Roll alive. I always have been a fan of personal growth in any band. My music love is a band that actually can show personal progress in anything they do. Pearl Jam is good at that. The music from Ten sounds wonderful and fresh, but they build on that fresh sound. The words of Eddie Vedder are clear and wonderful he makes it direct and to the point. My favorite part of him.

Restless soul, enjoy your youth
Like muhammad hits the truth
Can't escape from the common rule
If you hate something, don't you do it too...too...
Small my table, a sits just two
Got so crowded, i can't make room
Oh, where did they come from? stormed my room!
And you dare say it belongs to you...to you...
This is not for you
This is not for you
This is not for you
Oh, not for you...ah, you...
...scream...my friends...don't call me...
...friends, no they don't scream...
...my friends don't call...my friends don't...
All that's sacred comes from youth
Dedication, naive and true
With no power, nothing to do
I still remember, why don't you...don't you...
This is not for you
This is not for you
This is not for you
Oh, never was for you...fuck you...
This is not for you...
Oh, this is not for you...yeah, you...
This is not for you...
Oh, not for you...
Oh, you...

My choice was Vitalogy because of those great qualities. There is growth, and personal reflection and most of all a classic Pearl Jam. The music one minute could be great at rocking out or there could be moments of just wonderful controlled chaos. There darkness works great and should be listed to with great intent. I like that they show this kind of vulnerability and the fact they can now with this album not be put in a specific area. Thanks to its stripped-down, lean production, Vitalogy stands as Pearl Jam's most original and uncompromising album. Pearl Jam are at their best when they're fighting, whether it's Ticketmaster, fame, or their own personal demons.

I would recommend this album for the music and words. Every song has some kind of wonderful yarn that not many great bands can pull of. Sure songs like "Hey Foxymophandlemama, That's Me." and "Pry To" could be throwaways, but the rest of the album is just so great and fun. Take a listen to an artist who is beyond words a great band and when you have time even listen to the lyrics. Eddie tells the best stories. Enjoy!

American As Apple Pie CASH

2010-09-28T05:57:00.000-07:00

My Johnny Cash listening started at an early age. The classic rock that my best friends mother loved was lightly salted with some rebellious Johnny Cash. She would yell out his lyrics at every chance she could. She told me once that Johnny Cash was an institution and should be taught in all the schools. I stupidly asked what subject matter and she quickly told me history. His story alone is the stuff of legend. She gave me a tape of some of his best music and I would put it in my tape player and listen with such intent. My mind did not what to think, but it sure made good conversation with her when I asked her about him.

I remember those ideas and thoughts about Johnny Cash when she died. I remember a lot of great things about the advice about music, people, things, life and anything she could tell me. She knew that I would listen without question. She knew I would carry that wisdom to my adulthood and if she was alive today she would love my eagerness to learn and fight back for the wrongs in the world. Johnny Cash did the same thing. He did this all his life. He wanted to know why and why not. His greatness was his voice and choice of words. That's what make Johnny Cash one of the best. American Recordings include five songs he wrote. Those songs have a great Cash feel to them. His stamp is pretty clear. Here is an example with a song called "Drive On"

I got a friend named Whiskey Sam
He was my boonierat buddy for a year in Nam
He said is my country just a little off track
Took 'em twenty-five years to welcome me back
But, it's better than not coming back at all
Many a good man
I saw fall And even now,
every time I dream I hear the men
and the monkeys in the jungle scream

Drive on, don't mean nothin'
My children love me , but they don't understand
And I got a woman who knows her man
Drive on, don't mean nothin', drive on

I remember one night,
Tex and me Rappelled in on a hot L.Z.
We had our 16's on rock and roll
But, with all that fire,
was scared and cold
We were crazy, we were wild
And I have seen the tiger smile
I spit in a bamboo viper's face
And I'd be dead , but by God's grace

Drive on, don't mean nothin'
My children love me, but they don't understand
And I got a woman who knows her man
Drive on, don't mean nothin', drive on

It was a real slow walk in a real sad rain
And nobody tried to be John Wayne
I came home, but Tex did not
And I can't talk about the hit he got
I got a little limp now when
I walk Got a little tremolo when
I talk But my letter read from Whiskey Sam
You're a walkin' talkin' miracle from Vietnam

Drive on, don't mean nothin'
My children love me, but they don't understand
And I got a woman who knows her man
Drive on, don't mean nothin', drive on

Rick Rubin simply set up some recording equipment in Cash's Tennessee cabin and recorded him singing a set of songs accompanied only by his acoustic guitar. The result is an album that captured the glorious details of Johnny Cash's voice and allowed him to demonstrate just how emotionally powerful an instrument he possessed.(AM) Even his covers, which are there are eight show that powerful statement that Rick Rubin set up. His version of Nick Lowe's "The Beast In Me" or Leonard Cohen's "Bird On A Wire" make a mark like no other. They really do make some great image that I could never get out of my head.

It's tough to pick just one album of Johnny Cash. I picked American Recordings for the reason that was the first Johnny Cash I bought new. I had the classics on album that I found at tag sales and record stores. I remember when I got the cassette and played it in the car all the time. It never left the car for about six months and every time I heard it i realized how powerful the guitar and voice really are. Take the time and hear a man who's one of the most important people in American music. His story is amazing and his music is more amazing.

American Recordings became a critical sensation and a commercial success, though it was overrated in some quarters simply because it reminded audiences that one of America's greatest musical talents was still capable of making compelling music, something he had never stopped doing even if no one bothered to listen. (AM) Still, American Recordings did something very important -- it gave Cash a chance to show how much he could do with a set of great songs and no creative interference, and it afforded him the respect he'd been denied for so long, and the result is a powerful and intimate album that brought the Man in Black back to the spotlight, where he belonged. (AM)

There is Bad Sign When Albert King Plays Guitar

2010-09-26T06:46:00.000-07:00

I have an old book that does a great job of recommending albums from the 1960's. I used to read it all the time and figure what I needed to save my money for next time I went to the record store. This was good for everything from a Moody Blues album to a Jefferson Airplane album to a Beatles album. I would check off the album when I bought it and then rate the album compared to the book. I wanted to see how accurate their overview of the album compared to mine. I was looking in this book for some sixties blues albums. They devoted a chapter to this era and mentioned all the important finds. They mentioned the British Blues of John Mayall and Cream. They mentioned the Paul Butterfield, Johnny Winter and Electric Flag. Then they mentioned the true blues of the 60's. They mentioned the Son House and B.B. King's Live at the Regal and Mississippi John Hurt and then they got to Albert King. I did not know much about his music. I actually heard only his cover of "Born Under A Bad Sign." Further research even he did not right it.

I read the review in the book and really thought that I must own it. I wanted to hear it from a true blues person. What got me on this blues collection was the Robert Johnson box set. It made me realize that there is more music out there that I have not really listened to. Blues was something I needed to hear. It would be a a shame that I did not explore that genre fuller. I mean Eric Clapton talked about it as one his favorite musical genres. Even artists like Jimi Hendrix, Jeff Beck, Jimmy Page, Rolling Stones and countless others admitted their love of the Blues. I needed to seek out some of that stuff. I wanted to see what was so damn good.

I only had a few blues albums growing up. I had the Robert Johnson Complete Recordings Box Set and also had the B.B. King Live at the Regal. I knew I needed more to round out the collection. After a few record store visits I added Paul Butterfield's East West and The Best of John Lee Hooker. It did not look like I was going to add any more. I wanted to find the essentials. The book did a good job, but I wanted to see what else was out there. I decided to watch the PBS Special on the blues. After watching the special I bought the book that went along with it. The book did a good job of helping me fine other music to listen to. I went back to my old standby and looked in there. There were two albums I wanted to hear. The Son House Father of the Delta Blues and Albert King's Born Under A Bad Sign. Sure there were many others, but the book mentioned these two as must listens for now.

It became pretty tough to find both. I was about to give up when a friend at the record store made me a tape copy of both. He had the Son House on record and a copy of the Albert King on tape. He told me to judge for myself. I loved both because they were honest and very good. Each listen brought out a better appreciation for what I needed to listen to and what to expect from the Blues genre. The Albert King had a who great band backing him and later on I found out it was none other then Booker T. and the MG's. It was fun and exciting. The Son House had a very young Ry Cooder and was very Delta Blues sounding. I was happy that I got to hear both of these classic Blues albums.

A few years ago I picked up the re-issue of Born Under A Bad Sign and it was as fresh as I remember hearing the cassette. It brought back a lot of memories. This album brought a ton of respect to the modern rock world. It is still considered the album that got many people like Eric Clapton, SRV, and others into the world of Blues or even Blues Rock. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time. An album that should be part of your collection too. Enjoy this wonderful gem!

The Quest of Michael Brecker!

2010-09-24T05:39:00.000-07:00

The first time I heard Michael Brecker was when I first started at my community college. I became friends with a classmate in class who loved Jazz. He did not really listen to a lot of popular music. He loved Jazz because he had a saxophone and he said there really was no reason to listen to pop music. We both became friends and we still are to this day. His music world was not much different then mine. He stayed away from pop music for a number of reasons. It was crap was one response I got from him. Another was that he really did not see any artist out there that really was worthy of his attention. I on the other hand got rid of all my notions what to listen to after High School. I took the stuff I listened to and decided to leave them on the side of the road. I still listened to some Classic Rock, but I started listening to Jazz, Classical, Avante-Garde and Experimental music. All the ideas what I should be listened to was not in my range of hearing. I was in a new part of my life and rightly so I should turn the chapter on what I should hear. This friend got me into a bunch of Jazz and for that I thanked him.

Later on in our friendship I asked him why he dug Michael Brecker? He told me that he had this Electronic thing called a Ewi and to him that was a marvel. It was like a saxophone synth sound that when blown has a signature sound. He gave me a few of his albums that had this sound to them. I was amazed how it did sound and the fact that he used it in good taste with the music. It did not sound like it did not belong. It was done with class. He took me to see Michael Brecker perform twice and each time I was shaking my head on how great he was.

I returned the favor one cold and snowy January day in 1997. I called him up and told him that I am going to a concert about an hour away and I want him to come. I told him I got tickets for Brecker and I want someone else to come along. My friend remembered the album that he was promoting. It had a great cast of musicians. These people included Pat Metheny, Dave Holland, Jack DeJohnette, McCoy Tyner and the great percussionist Don Alias. On the way up on this day we ran into a snow storm. At that time I was not good in snow nor was I about to take a chance, but a promise was just that a promise. We got into town and I went to the box office to see if this concert was still going on. They told me that the band was still in town. They told me that they could not give away who was playing with him, but the guy at the ticket office told me that he was doing a private solo thing at the record store in town. He handed me a few passes to that. We decided to go. We braved the weather. We got there and Michael came to the front of the store and made an announcement. He told us that the band is here, and we will be taking requests for tunes and he also announced the band for the evening. That night in a small 150 seat club was the same lineup on the album. We looked at each other and were in shock that the high caliber of musicians we heard on the CD were going to the stuff live.

The funny part of the solo show was that Michael told all of us that he found out that the 10pm band canceled so he was informed that he could play a longer set. The three hour show was one of the best shows I heard in my life. The ride home felt like it would have been our last show ever, but we still went, and it was worth every penny for a small price of $25.00. My friend thanked me for the best show he saw. Little did he know that in the future we saw other artist like Ornette Coleman, Charles Lloyd, Bill Bruford Earthwork's, Pat Metheny, and so many other Jazz greats. The Brecker show proved an all star band does not need to get in the way of egos.

On the way to work one day in 2006 I was listening to the radio and they mentioned that Michael Brecker had Leukemia. I was a bit heart broken. A man of such great importance has this disease. This cannot be true. When I got home from work I called my friend who I went to the show with and told him the bad news. He took it pretty hard. Brecker meant a lot to us. He played on some great albums. He was on a great Pat Metheny album called 80/81. He had his own albums that really defined a Jazz world that needed his music. The DJ told us the listeners that Michael is working on a new album with another all star cast. This included Herbie Hancock, Pat Metheny, Brad Mehldau, John Patitucci, and Jack DeJohnette. It was sad to see him go through this.

In January 2007 Michael Brecker passed away at the age of 57. He has been heard on over 700 albums and guests on artists like Steely Dan, Paul Simon, James Taylor, Aerosmith, Frank Zappa, Frank Sinatra and so many others. His album Pilgrimage is his last and one of his best. With the all stars in place they made an album that to this day sound so fresh that it could be put out ten years from now and still sound so great. With only nine songs on the album the album is just about 80 minutes long. My only wish is to hear what they threw away. The song "Tumbleweed." Most of the rest of the program consists of uptempo and medium-tempo burners that swing with a powerful sense of urgency and life, and precious little foreshadowing of the tragedy that all involved knew was soon to come. This is a brilliant and inspiring album -- and would be whether or not it had anything to do with the death of one of the great figures in American jazz. is still the highlight of the album. Enjoy!