“I’ve had an avalanche of complaints – some of which you can see in our ‘Letters’ page – about Donald Trump using our ‘We Are The Champions’ track as his ‘theme’ song on USA TV,” May wrote on his website. “This is not an official Queen statement, but I can confirm that permission to use the track was neither sought nor given. We are taking advice on what steps we can take to ensure this use does not continue. Regardless of our views on Mr. Trump’s platform, it has always been against our policy to allow Queen music to be used as a political campaigning tool.”
[…]
May isn’t the first musician to deny Trump access to their catalogs. In September, after the politician used R.E.M.’s hit “It’s the End of the World as We Know It (And I Feel Fine)” at a rally, singer Michael Stipe angrily responded, “Go fuck yourselves, the lot of you – you sad, attention-grabbing, power-hungry little men … Do not use our music or my voice for your moronic charade of a campaign.”
Sad! In the interest of mediation, may I suggest the following (and much more apropos) selection for Mr. Trump’s intros going forward?
This year, 400 since the death of Shakespeare and 90 since the birth of Elizabeth II, is also the 50th anniversary of Swinging London, a time and place that produced the British Invasion rock bands, Georgy Girl and Darling, Twiggy and The Shrimp and the miniskirt.
In the 1960s, London — epitome of everything hierarchical, traditional and stodgy — was the site of a revolution in music, fashion and design. Lords partied with bricklayers, rockers with gangsters. Anything seemed possible.
The scene was made famous by an April 1966 Time magazine cover story, titled “The city that swings.’’ It described a place where “ancient elegance and new opulence are all tangled up in a dazzling blur of op and pop.’’
[…]
The 50th anniversary of Swinging London is being marked at a Saatchi Gallery show of Stones memorabilia. Jimi Hendrix’ old flat (once Handel’s attic) has opened to tourists.This summer the Victoria & Albert Museum begins an exhibition, You Say You Want a Revolution?
Yeaahh, baby!
I’m a bit of an Anglophile; I particularly love the British music, films and TV shows of that era. In fact, 1966 was a watershed year for British cinema: Alfie, After the Fox, The Deadly Affair, Fahrenheit 451, Funeral in Berlin, Georgy Girl, A Man For All Seasons, The Wrong Box, and of course, Antonioni’s Blow-Up. Here’s my favorite scene:
As for the most memorable UK TV show of ’66, 2 words: Emma Peel!
And lest we forget the fab UK music of ’66…here are my top picks:
https://youtu.be/TyZrK9meebo
https://youtu.be/2eAxCVTMJ-I
Now if you will excuse me, it’s time for my tea and bickie. Cheers!
I said life is just a game, we’re all just the same
Do you want to play?
2016…the year the music died. Or at least it’s starting to feel that way. It’s all too much.
What can you say about Prince Rogers Nelson? If anyone could be labelled the “American David Bowie”, I’d wager this ever-evolving musical chameleon comes damn close. He was a true iconoclast. He was an amazingly gifted songwriter, vocalist and musician who could effortlessly segue from funk to rock, soul to psychedelia, R&B to jazz, hip-hop to techno…you name it. It’s as if he was created by a mad scientist who wanted to see what happens if you take DNA from Sly Stone, Paul McCartney, James Brown, Todd Rundgren, Jimi Hendrix, Stevie Wonder-and toss it all into a super collider.
His foray into cinema was more of a bumpy ride. Still, I have a soft spot for his semi-autobiographical 1984 vehicle, Purple Rain. While it is uneven from a narrative standpoint, the soundtrack is genius, a truly superlative song cycle in Prince’s canon. His 1986 “vanity project” Under the Cherry Moon, however, kind of put the kibosh on his acting career. It challenges Ishtar for title of Most Critically Drubbed Film of All Time. Still, its critics-to-audience score ratio on Rotten Tomatoes tells an interesting story. Only 25% of the critics “liked” it…but the audience score is 69%. As one critic wrote: “Strictly for Prince fans — but then again I am one.” Ditto. Obviously, he struck a chord.
(*sigh*) It’s getting crowded up there. Now George can thank him for this heartfelt solo:
Now cracks a noble heart. Good night, sweet prince.
And flights of angels sing thee to thy rest.
###
UPDATE: Wow. On CNN tonight, even Stevie Wonder was at a loss for words:
Stevie Wonder Thursday described Prince as “a great musician, a great producer, great song writer” — and was nearly overcome with emotion when asked to perform something that reminded him of the music icon who died at age 57.
“I think I would probably break down if I do a song right now,” Wonder told Anderson Cooper on CNN in during an interview from his Los Angeles home.
Prince, who was pronounced dead after collapsing in his Minnesota home, once described Wonder, 65, as a role model and an inspiration. “He was incredible,” Wonder told Cooper. “I’m just glad I was able to say to him I love you the last time I saw him.”
The performers had appeared together on several occasions, including the BET Awards in 2006 and in Paris four years later.
“The times we did jam together were amazing,” Wonder said.
He described Prince as “someone who allowed himself to be himself and encouraged others to be themselves.
“He was very free — and to do what he did without fear was a wonderful thing because it’s always great. It is always great when we don’t allow fear to put our dreams to sleep — and he didn’t.”
Wonder cited 1984’s “Purple Rain” as his favorite — “the whole album was incredible” — adding that Prince “was able to mix the blessing of life of God and, yet, the marriage of sex and passion.
He had fun doing it,” Wonder said. “It is rare for me that I can feel with every single breath how he just passionately loved music.”
Joe Walsh will not be performing at a July 18th concert he was initially scheduled to perform in Cleveland, OH. In a statement he released on Wednesday, Walsh said the event was billed to him as a benefit for the families of veterans, but after he discovered it was part of the Republican National Convention, he made the announcement that he is withdrawing from the show.
“It was my understanding that I was playing a concert which was a nonpartisan event to benefit the families of American veterans on Monday, July 18 in Cleveland. The admat I approved said this specifically,” the singer said in the statement. “Today it was announced that this event is, in fact, a launch for the Republican National Convention.”
[…]
“I am very concerned about the rampant vitriol, fear-mongering and bullying coming from the current Republican campaigns,” he continued. “It is both isolationist and spiteful. I cannot in good conscience endorse the Republican party in any way. I will look at doing a veteran related benefit concert later this year.”
As some guy who somehow ended up in the White House once said, “Fool me once, shame on…shame on you. Fool me…you can’t get fooled again.” Or something to that effect. Anyway…way to go, Joe!
A jury trial is now set for a lawsuit that says members of Led Zeppelin plagiarized a key element of the best-selling song “Stairway to Heaven.” The estate of Randy Wolfe, the late guitarist of the band Spirit, initially filed the federal lawsuit two years ago.
On Friday, U.S District Judge R. Gary Klausner ruled that there’s enough evidence to move ahead with a trial to decide whether Led Zeppelin and guitarist Jimmy Page unfairly appropriated the guitar line from the Spirit song “Taurus,” which Wolfe — performing as Randy California — wrote years before “Stairway to Heaven” was released in 1971.
The lawsuit was filed with a Philadelphia court back in 2014, the same year Led Zeppelin released a newly remastered version of “Stairway to Heaven.” A year later, the venue was changed to California, to the same court that recently ruled in favor of the estate of Marvin Gaye in its copyright infringement lawsuit over the 2013 hit “Blurred Lines,” by Pharrell Williams and Robin Thicke.
Among the claims in the lawsuit against Led Zeppelin: that the band perpetrated a “falsification of Rock n’ Roll History.” In his order, Klausner finds that claim “inventive—yet legally baseless,” saying that he diligently sought out anything that might support the theory.
Klausner also removed Led Zeppelin bassist John Paul Jones from the suit, along with music publishers Super Hype and Warmer Music. That leaves Robert Plant and Jimmy Page as the leading defendants in the case.
Pagey and Percy, rockin’ the docket? Talk about a witch hunt…
Live from Jimmy’s house
That’s the story of rock ‘n’ roll, man…stealing riffs! After all, there’s only 7 major chords. Look at how many classic songs Buddy Holly was able to write using just three of them (A, E, & D). And even Buddy did a little creative “borrowing”, way back in the 1950s:
https://youtu.be/AyTtFNGzFsE
…sounds awfully close to an earlier Bo Diddley song:
…which was hijacked again over 30 years later, by George Michael:
Another classic example…starting with Neil Diamond in 1967:
…which obviously influenced:
…and re-emerged later as:
Perhaps this is all best summed up by one of my favorite 70s bands:
It doesn’t take much more than an internet connection and an idea to start a movement these days, and for our latest example, look no further than the recently launched petition urging Speaker of the House Paul Ryan to change the national anthem of the United States to Black Sabbath’s “War Pigs”.
“The current national anthem has served America proudly for many a year now. However … it’s time that we retire that old standard and choose a song that better reflects America and its policies and practices,” writes organizer Shannon Madden. “I nominate ‘War Pigs’ by Black Sabbath. I’m open to suggestions, but I’m hard pressed to think of a more honest assessment of where we are in 2016 America.”
I’m with Shannon in spirit, but my marketing instincts would have had me caution her to go with a more nuanced choice of artist and song; a “wolf in sheep’s clothing”, if you will…something Mr. Ryan and his fine Republican colleagues would be less likely to dismiss out of hand (y’know, like a politically nebulous Supreme Court nominee).
How about an American band, with a patriotic name, with a rousing, historically accurate song about how “we” got to where we are now?
A wizard, a true star: R.I.P. Keith Emerson 1944-2016
Goddammit. What is the deal with 2016? We’re just over two months in, and I’m feeling like Dave Lister coming out of stasis in Episode 1:
I know its (still) reflexive in some snooty muso quarters to use Emerson, Lake, & Palmer as the whipping boys for 70s excess, but I don’t care…I was an ELP fan then, I am an ELP fan now, and I will be an ELP fan forever. There, I said it. Out, loud and proud. Prog rock rules!
With that said, a shout out now to the memory of one of the gods of the Moog. Keith, wherever you are, know this: Still…you turn me on.
UPDATE: I’m sad to learn that Keith apparently battled depression for several decades, according to friend and band mate Greg Lake:
“I have to be honest and say that his [apparent suicide] didn’t come as a shock to me,” [Lake] said.
“The situation with Keith didn’t happen suddenly, it had been developing from as far back as the Works Vol 1 album (1977).
At that point, I began to see things happening with Keith which didn’t look or feel right.”
Lake did his best to help his friend – “when you’re close you always hope tomorrow will be better” – but eventually he became “impossible” to work with.
“I think its a very difficult thing to actually describe what depression is,” [Lake] said.
[…]
“Part of Keith’s problem was that, especially in later years, he’d begun to develop a degenerative disease that affected his hands.
He lost control of some of his fingers.” Lake is reluctant to link this illness too firmly to his death.
[…]
“All I would say is that if anyone does have feelings like that, of being so desperate that they think it’s better off not to wake up tomorrow, then please, go and talk to somebody – the doctor, your friend, anybody.”
Wise counsel. Chronic depression is nothing to be taken lightly; whether it’s yourself or a loved one. Here are some resources:
Well, the Heavenly Choir just got themselves one hell of an arranger.
In my 2012 review of the film Produced by George Martin, I wrote:
While no one can deny the inherent musical genius of the Beatles, it’s worth speculating whether it would have reached the same dizzying heights of creativity and artistic growth (and over the same 7-year period) had the lads never crossed paths with Sir George Martin. It’s a testament to the unique symbiosis between the Fabs and their gifted producer that one can’t think of one without also thinking of the other. Yet there is still much more to Martin than his celebrated association with John, Paul, George and Ringo.
Much more. Now, he’s gone. Not such a shock at 90, but still I’m sad.
From his early days working for EMI, where he earned his bones producing and arranging everything from comedy records to symphonic sessions, through his legendary partnership with the Beatles, to composing movie soundtracks, and as recently as the 2006 Beatles remixes for the Cirque du Soleil show Love, Martin remained the embodiment of creativity, craftsmanship and class.
The anointment of “Fifth Beatle” has been liberally bestowed over the decades (Klaus Voorman, Eric Clapton, Billy Preston, etc.) but no one deserves it more than Sir George. He not only contributed defining orchestral touches to cuts like “Yesterday”, “Eleanor Rigby”, “All You Need Is Love”, “I Am The Walrus”, and “A Day in the Life”, but occasionally sat in, playing subtle flourishes like the harmonium solo on “The Word”, the lovely baroque piano on “In My Life” (both from Rubber Soul), and the harpsichord on “Fixing a Hole” (Sgt. Pepper).
Here are my picks for some of Sir George’s best post-Beatles work:
It’s days like this that remind me why I moved to rainy grey Seattle:
[Seattle Times] It’s official (wink, wink): King County Executive Dow Constantine has declared Friday, Feb. 5 as “International Clash Day,” and to honor it KEXP will be programming 12 hours of music dedicated to the UK punk legends starting at 6 a.m.
KEXP’s DJ John Richards started the idea back in 2013 when he determined that one Clash song was not enough.
“International Clash Day was created because of our love of great music, the rebellious nature of the band, the insane catalog to play from and because there really was nothing else going on that day,” Richards said.
Is that cool, or what? BTW, John Richards has my old job (seriously).
Lemmy started it. Then Bowie, Frey…what, they come in fours, now?!
“If you can remember the 60’s…you weren’t there.” The man who may have coined the phrase (a tired old debate still rages as to who actually did) is no longer earthbound. Singer/songwriter/guitarist Paul Kantner, founder of the Jefferson Airplane/Starship (to paraphrase Dennis Hopper) is outthere, man…he’s really out there.
When you think about the 1960s “San Francisco sound”, it’s nearly impossible to not think about the Airplane. Yeah, they were a bunch of dirty fuckin’ hippies, but there’s no denying that they have a pretty deep catalog, and a lot of those songs have held up pretty damn well.
They’re typically lumped in with Bay Area contemporaries like the Dead, Moby Grape, Quicksilver, Big Brother, It’s a Beautiful Day, the New Riders, etc., but I always thought they had a slightly bolder sound. Consider this 1969 appearance on Dick Cavett , tearing it up with an uncensored rendition of Kantner’s “We Can Be Together”:
A bit X before X, n’est-ce pas? And Jorma’s man-bun seems…prescient.
But Kantner wasn’t strictly all about revolution and proto punk. I’ll sign off my tribute with his most beautiful song (co-written with David Crosby), from the Starship’s Blows Against the Empire album:
And lest we forget the fab UK music of ’66…here are my top picks:
