Tag Archives: On Music

Energy, Space, and Time: RIP Ennio Morricone

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 6, 2020)

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I often use the same harmonies as pop music because the complexity of what I do is elsewhere.

— Ennio Morricone

Well, this is embarrassing. When I heard the news this morning that film composer Ennio Morricone had passed away, my initial thought was “Wait…isn’t he already gone?” I quickly came to my senses and realized I was conflating him with film director Sergio Leone, who passed away in 1989. That gaffe either demonstrates that a). I’m a tad slow on the uptake, or b). The names “Leone” and “Morricone” are forever enmeshed in the film buff zeitgeist.

Of course, if I’d really been paying attention I would have noticed that his score for Quentin Tarantino’s 2015 western The Hateful Eight was an original one; perhaps I could be allowed some leeway of willful ignorance, based on Tarantino’s history of “re-appropriating” some of Morricone’s music that was originally composed for Leone’s films back in the 60s and 70s.

While he was unarguably most recognized for collaborating with fellow countryman Leone on genre classics like A Fistful of Dollars, For a Few Dollars More, The Good, the Bad, & the Ugly, Once Upon a Time in the West, and A Fistful of Dynamite (aka Duck, You Sucker!) that is not to imply that spaghetti westerns were Morricone’s raison d’etre.

Indeed, he worked with a bevy of notable film directors, like Bernardo Bertolucci (1900, Luna), Roman Polanski (Frantic), Terrence Malick (Days of Heaven), Pedro Almodovar (Tie Me Up! Tie Me Down!), Brian De Palma (The Untouchables, Casualties of War), Samuel Fuller (White Dog), even John Carpenter…a director known for also taking on the scoring duties for his films, didn’t pass up a chance to work with the maestro (The Thing).

Morricone’s music was burned into my neurons before I had even seen any of the films he scored. When I was a kid, my parents had one of those massive, wood-finished stereo consoles with built-in AM-FM tuner, turntable and speakers. One of my favorite albums in my parents’ collection was this one, by Hugo Montenegro and his Orchestra:

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I remember strategically planting myself dead center (for that maximum “360 Stereo” effect). “Hut, two, three, fo! Hut, two, three, fo! Ah-ah-ah-ah-aaah, wah-wah-waaah…” I was riveted.

Something about Morricone’s music captured my imagination. I guess it was…cinematic.

That’s the beauty of Morricone’s art; you can appreciate it as a film buff, as a music fan-or both. That was evident from reactions on social media, like Yo-Yo Ma’s lovely tribute:

With an embarrassment of riches to pick from (60 years of score credits to his name), this may be a fool’s errand, but here are 10 of my favorite Morricone soundtrack compositions:

The Jasmine in My Mind: A Summer mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 27, 2020)

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Is it nearly July already?! For those of us who tend to obsess over the inexorable decline of Western civilization, it’s easy to lose track of the “little things” like, you know, the time-space continuum. Take a breather. Grab some beach time. Well, “figurative” beach time; somewhere safe. How about the backyard? Break out the chaise lounge, barbecue something, enjoy a cold drink(s). Don’t forget the tunes. Here are my picks for the 25 best summer songs. You’ve heard some a bazillion times; others, not so much. To be played at maximum volume! Alphabetically…

First Class – “Beach Baby” – UK studio band First Class was the brainchild of singer-songwriter Tony Burrows, who also sang lead on other one-hit wonders, including “Love Grows Where My Rosemary Goes” (The Edison Lighthouse), “My Baby Loves Lovin’” (White Plains), and “United We Stand” (The Brotherhood of Man). This pop confection was a Top 10 song in the U.S. in 1974.

Don Henley– “The Boys of Summer” – Don Henley’s most durable post-Eagles hit also features his finest lyrics.

Jade Warrior– “Bride of Summer” – Here’s a summer tune you’ve never heard on the radio. This hard-to-categorize band has been around since the early 70s; progressive jazz-folk-rock-world beat is the best I can do. Sadly, original guitarist Tony Duhig passed away in 1990. His multi-tracked lead on this song is sublime.

Bananarama– “Cruel Summer” – A more melancholy take on the season from the Ronettes of New Wave. I seem to recall a rather heavy rotation of this video on MTV in the summer of ’84. The video is a great time capsule of 1980s NYC.

Pink Floyd– “Granchester Meadows” – This is from one of Pink Floyd’s more obscure albums, Ummagumma. Anyone who has ever sat under a shady tree on a summer’s day strumming a guitar will “get” this song, which is one of David Gilmour’s most beautiful compositions. I love how he incorporates nature sounds. Aaahh…

Joni Mitchell– “The Hissing of Summer Lawns” – The haunting title cut from Joni’s 1975 album, co-written by drummer John Guernin (who also plays Moog). The song also features Victor Feldman on keyboards and James Taylor on guitar.

Sly & the Family Stone– “Hot Fun in the Summertime” – A quintessential summer song and an oldies radio staple. And don’t forget…I “cloud nine” when I want to.

Walter Egan– “Hot Summer Nights” – A memorable cut from Egan’s 1977 album Fundamental Roll, which was produced by Lindsay Buckingham. Buckingham contributes the tasty guitar licks (and backing vocals, along with Stevie Nicks).

Ray Charles– “In the Heat of the Night” – This sultry, swampy main title theme for the eponymous 1967 Best Picture winner (composed by Quincy Jones, with lyrics by Marlilyn and Alan Bergman) is a perfect marriage of music and film.

Mungo Jerry– “In the Summertime” – It wouldn’t have worked without the jug.

The Dream Academy– “Indian Summer” – If there are five stages of summer, here’s acceptance: When August and September just become memories of songs/to be put away with the summer clothes/and packed up in the attic for another year.

Chris Rea– “Looking for the Summer” – This ever-haunting song somehow encapsulates the Summer of COVID.

Marshall Crenshaw– “Starless Summer Sky” – In a just world, this power pop genius would have ruled the airwaves. Here’s one of many perfect examples why.

The Isley Brothers– “Summer Breeze” – Yes, I know Seals & Crofts did the original version, but the Isleys always had a knack for making covers their own.

The James Gang– “Summer Breezes” – Not to be confused with the previous tune, this is an original song written by the late, great Tommy Bolin, who replaced Joe Walsh in 1973. Catchy, melodic rock with great slide work by Bolin.

The Lovin’ Spoonful– “Summer in the City” – All around, people lookin’ half-dead/walkin’ on the sidewalk, hotter than a match head. Written by John Sebastian, Mark Sebastian and Steve Boone, this 1966 hit is a clever portmanteau of music, lyrics and effects that quite literally sounds like…summer in the city.

The Webb Brothers– “Summer People” – Christaan, Justin, and James Webb started out with a pretty good pedigree-they’re the sons of songwriter Jimmy Webb. This catchy, Who-ish number is taken from their 2000 album, Marooned.

Chad & Jeremy– “A Summer Song” – The biggest hit for this British pop duo (it made the Top 10 in 1964). I always thought it had a Simon & Garfunkel vibe to it.

XTC– “Summer’s Cauldron/Grass” – A mini-suite of sorts, all about summer romance, lazy days, and the uh, things we did on grass. Produced by Todd Rundgren.

Ella Fitzgerald  & Louis Armstrong– “Summertime” – This classic George Gershwin song (from his 1935 opera Porgy and Bess) has been covered by many artists (allegedly 25,000 versions), but I feel that Lady Ella and Louis Armstrong’s duet version is definitive.

Blue Cheer– “Summertime Blues” – Eddie Cochran wrote and performed it originally, and the Who did a great cover on Live at Leeds, but for sheer attitude, I’ve got to go with this proto-punk (some have argued, proto-metal) classic from 1968.

The Kinks– “Sunny Afternoon” – This poor guy. Taxman’s taken all his dough, girlfriend’s run off with his car…but he’s not going to let that ruin his summer: Now I’m sittin here/ sippin’ at my ice-cooled beer/ lazin’ on a sunny afternoon…

The Drifters– “Under the Boardwalk” – Kenny Young and Arthur Resnick wrote this iconic 1964 Top 10 hit, and Johnny Moore sings the lead tenor vocal. The group has a very strained and byzantine history (over 60 members since 1953), but its legacy is assured by the likes of this tune, “On Broadway”, “Save the Last Dance for Me”, “This Magic Moment”, “Dance With Me”, “Up on the Roof”, and many others.

Central Line– “Walking into Sunshine” – This jazz-funk outfit hailed from the UK and produced three albums from 1978-1984. This 1981 tune was a U.S. club hit.

The Beach Boys– “The Warmth of the Sun” – This song (featuring one of Brian Wilson’s most gorgeous melodies), appeared on the 1964 album Shut Down Vol 2. Atypically introspective and melancholy for this era of the band, it had an unusual origin story. Wilson and Mike Love allegedly began work on the tune in the wee hours of the morning JFK was assassinated; news of the event changed the tenor of the lyrics, as well as having an effect on the emotion driving the vocal performance.

Now We See the Light: A Mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 13, 2020)

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Hey you know something people
I’m not black
But there’s a whole lots a times
I wish I could say I’m not white

— Frank Zappa, “Trouble Every Day”

It has been an interesting week here in Mayberry (the one with the Space Needle).

As the Seattle Police Department works to broker a deal with protesters occupying an autonomous zone in the heart of Capitol Hill, a Seattle City Council member said the area known as “CHAZ” should remain in community control permanently.

The Capitol Hill Autonomous Zone, known as “CHAZ,” has been in community control since Tuesday when Seattle Police Chief Carmen Best decreased the officers’ presence in the East Precinct to allow for peaceful protests.

Seattle Councilwoman Kshama Sawant called the “CHAZ” movement a major victory. She said the area should be turned over permanently into community control, instead of back in the hands of the Seattle Police Department.

Sawant said she plans to create legislation to turn the East Precinct into a community center for restorative justice. The councilwoman wants to discuss the legislation with people involved in CHAZ, black community organizations, restorative justice, faith, anti-racist, renter organizations, land trusts, groups, labor unions that have a proven record of fighting racism.

Most of my heroes don’t appear on no stamps
Sample a look back you look and find
Nothing but rednecks for four hundred years if you check
Don’t worry be happy
Was a number one jam
Damn if I say it you can slap me right here
(Get it) let’s get this party started right
Right on, c’mon
What we got to say (yeah)
Power to the people no delay
Make everybody see
In order to fight the powers that be

— Public Enemy, “Fight the Power”

Yes, I live in a blue city chock full of Marxists and dirty Hippies. Few cities are “bluer” than Seattle. We have have a weed shop on every corner. We have public statues of Jimi Hendrix and V.I. Lenin. We have a progressive, openly gay female mayor. We have a female African American police chief. We have a high-profile female city council member who is a Socialist Alternative. As Merlin once foretold-a dream for some…a nightmare for others:

Oh, dear. Let’s take a peek at the terrorist-fueled burning and pillaging that has been raging in Seattle’s Capitol Hill Autonomous Zone for the past week (sensitive viewers be warned):

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The humanity. Not quite as harrowing as a Burning Man festival…but in the ballpark.

My insufferable facetiousness aside, there is in fact a “revolution” happening in Seattle right now; and on streets all over America. “Revolution” doesn’t always equate “burning and pillaging”. Granted, some of that did occur when the protests started two weeks ago.

There’s something happening here
What it is ain’t exactly clear
There’s a man with a gun over there
Telling me I got to beware
I think it’s time we stop, children, what’s that sound
Everybody look what’s going down

— The Buffalo Springfield, “For What It’s Worth”

But there is something happening here; something percolating worldwide that goes deeper than that initial visceral expression of outrage over the injustice of George Floyd’s senseless death; it feels like change may be in the offing. It will still take some…nudging. And I fear some feathers may get ruffled.

It isn’t nice to block the doorway,
It isn’t nice to go to jail,
There are nicer ways to do it
But the nice ways always fail.

— Malvina Reynolds, “It Isn’t Nice”

So it is in that spirit that I say come gather ’round, people-wherever you roam, and give a listen to my mixtape of 15 protest songs…some old, some newer, but all as timely as ever.

Alphabetically…

Green Day – “American Idiot”

The Temptations – “Ball of Confusion”

Public Enemy – “Fight the Power”

The Buffalo Springfield  – “For What It’s Worth”

The Wailers – “Get Up, Stand Up”

The Specials – “Ghost Town”

Malvina Reynolds – “It Isn’t Nice”

Stevie Wonder – “Living For the City”

Crosby, Stills, Nash & Young – “Ohio”

The Beatles – “Revolution”

Gil Scott-Heron – “The Revolution Will Not Be Televised”

Bob Dylan – “The Times They Are A-Changin’”

Frank Zappa & the Mothers of Invention – “Trouble Every Day”

Marvin Gaye – “What’s Goin’ On”

The Clash – “(White Man) In Hammersmith Palais

Book of Saturday: A chillaxing mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 4, 2020)

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You’ve heard the old chestnut about cockroaches and Cher surviving the Apocalypse? Here’s one you can add to the list: Maxell UD XL-II 90 cassettes. I was going through some musty boxes the other day and found a stash of mixtapes that I’ve had since the 70s and 80s. I’ll be damned if they didn’t sound just as good as the day I recorded them (My theory is that they are manufactured from the same material they use for “black boxes”).

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I was into putting together “theme sets” long before I got into the radio biz. My mixtapes were popular with my friends; I’d make copies on demand. I would name my mixtapes. One of my favorites was “The Oh My God I am So Stoned Tape”. I don’t believe that requires explanation; I mean, it was the 70s and I was a long-haired stoner music geek.

(Photo restoration by Kenneth Tiven)

45 years later, I’m still putting together theme sets. It is my métier. It’s kind of sad, actually (grown man and all). Anyway …turn off the news, turn down the lights, do some deep breathing, and let “The Oh My God I am So Stoned Tape 2020 Redux” wash your pandemic anxiety away. I’ve sequenced the songs in a manner designed to evoke and sustain a particular mood-so for maximum effect, may I suggest that you listen to it in order. Enjoy!*

*Herbal enhancement optional

King Crimson – “Book Of Saturday”

Weekend – “A View From Her Room”

Mark-Almond Band – “The City”

Budgie – “Slip Away”

Robin Trower – “Bluebird”

Robert Fripp (f/Daryl Hall) – North Star

Jimi Hendrix – “May This Be Love”

Be-Bop Deluxe – “Crying To The Sky”

Ambrosia – “Nice, Nice, Very Nice”

Heartsfield – “Magic Mood”

kd Lang – “Outside Myself”

Glen Campbell – “Wichita Lineman”

Terry & the Lovemen (aka XTC) – “The Good Things”

Buggles – “Astro Boy (And The Proles On Parade)”

Japan – “Taking Islands In Africa”

Aswad – “Back To Africa”

Laura Nyro – “Smile” / “Mars”

Todd Rundgren – “Boat On The Charles”

The Beach Boys – “Surf’s Up”

Kate Bush – “The Morning Fog”

Jade Warrior – “English Morning”

The Who – “Sunrise”

It’s a Beautiful Day – “White Bird”

Circus Maximus – “Wind” 

King Crimson – “Peace: An End”

Rave on, rave on..St. Patrick’s Awesome Mixtape

By Dennis Hartley

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So this St. Patrick’s day is going to be a little weird, right? On this commemoration of the day that Saint Patrick drove the snakes into the sea, the snakes have *possibly* returned (in a roundabout way) to bite us all on the ass. Bars and restaurants are closed, public health authorities are (wisely) advising “social distancing” to help thwart spread of the Covid-19 virus (so parades are right out), the kids are home from school…and you’re considering taking up day drinking. Be strong. Don’t go there yet. Wait until dusk.

Meantime, take a breather. Turn off the news for 30 minutes, kick back, brew a nice cup of chamomile tea (OK…with just a splash of Dead Rabbit, as long as the kids aren’t looking) put in the earbuds and enjoy some fine music imported from the Emerald Isle.

Guest review: The Who Live at Hull 1970

By Bob Bennett

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Note: Bob Bennett is a long-time friend and fellow Who fanatic who shared a few thoughts with me in an email regarding his first spin of The Who Live at Hull 1970, a 2-CD set that was released in 2012 (one that I’d missed too, for some reason). Never one to let a damn fine review go to waste, I asked him if he’d mind terribly if I passed it along.  -D.H.

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Summary: A muscular performance featuring The Who at the peak of their talent recorded on the night after the stellar Live at Leeds album.

Airplane pilots sometimes describe minimizing the possibility of a chain of events happening as avoiding the holes lining up in overlapping slices of Swiss cheese – the more layers, the more unlikely it is that the holes in the cheese line up.

If you take all of the variables of a live rock performance (tempo, acoustics, song selection, miking, individual band member performance, recording production etc. ) and layer them as holey slices of cheese they will occasionally line up – maybe just for a few bars or even one perfect song.

It is these moments that rock fans cherish, and usually they are lost to the universe as they emanate from sweaty taverns or crowded theaters packed with fans.   The Who Live At Leeds is one of those rare moments where an entire performance was perfect and the captured result is almost a  religious experience.

Live At Hull was recorded 80 km to the East of Leeds; apparently as a backup to the performance the night before.  It is not a true bootleg.  It features The Who at the top of their game, with very few effects and no keyboards.  And while brilliant in many spots, it does not match the unattainable heights of Live At Leeds.

The opening song is a thunderous performance of Entwhistle’s “Heaven and Hell” that features Keith Moon playing furiously with a fusillade of almost incomprehensible fills.  It is an astonishing wall of sound that initially echoes the staggering gig of the previous night but then lapses into lower quality jamming.  The song is all the more poignant for the now prescient lyrics that foretold John’s death many years later.   If you are a Keith Moon fan, this opening song is worth buying the album for.

There are many other flashes to of brilliance to be enjoyed, particularly in unexpected variations of Pete Townshend’s guitar work.  But alas, the generous 2-CD recording (which includes all of Tommy on the 2nd disc) is brought to earth by a strange mix that at times buries the right side vocals and short shrifts the bassline unless you crank the volume.

The drums are mixed up front as are Roger’s vocals.  So clear is Roger’s voice that I understood the lyrics in several spots for the 1st time. It sounds as if Pete had 2 mics and would travel from one to another (one with distinctly higher volume).   Keith’s and John’s vocals sound distant — as does the crowd.

Pete’s upbeat banter from Live at Leeds (“Assemble the musicians!”  “Rock otter” “Thomas”) is gone though we do get some thoughtful song intros by Roger before they play covers from other artists.  Keith’s playing on disc 2 is at times a bit uninspired — as if he was tiring or perhaps a bit bored with Tommy (“Amazing Journey” and “Sparks” did have great drumming).

The backup vocals (rarely a strong point of The Who) are often wobbly.  One song at the end of Disc 1, “My Generation”, is a near disaster, turning into a self-indulgent jam by Pete with many false endings as the rest of the band gamely follows along for 15 minutes.

Overall, it is a muscular, workman-like performance, very physical, that makes me marvel at the sheer effort that The Who put pleasing their audiences such as this one; likely composed of factory workers and dock workers in the hard scrabble port city of Kingston upon Hull.

The experience of listening to Live at Hull is a bit disconcerting.  It is like meeting the twin brother of a friend that you did not know had a twin at all.  The tone of the guitars, the tuning of the drums, the sound of the gong and the tenor of the voices are identical to that on Live at Leeds.  Some of the songs are near note perfect copies on both nights (causing me to toss my assumption that all of Keith’s drumming was pure spontaneity).  Gradually one realizes that the albums are fraternal, not identical twins.  And in this case, one of the “twin brothers” gave a once-in-a-lifetime performance …in Leeds.

This ain’t the Summer of Love: 10 essential rock albums of 1970

by Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 22, 2020)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2020/02/KFAR-2.jpg?w=438&ssl=1Clearly, I was diggin’ the super sounds of the 70s. (ca. 1978)

I’m livin’ in the 70’s
Eatin’ fake food under plastic trees
My face gets dirty just walkin’ around
I need another pill to calm me down

-from “Living in the 70s” by Skyhooks

If you’ve grown weary of your hippie grandparents getting misty-eyed over “the 50th anniversary of the Beatles on Sullivan”, “the 50th anniversary of the Summer of Love” or “the 50th anniversary of Woodstock”, I have good news for you. The 60s are finally over.

The bad news is …welcome to the 1970s!

When it comes to music, the 1970s were pretty, pretty, good. In fact, I have to say that some of the finest music known to humanity was produced during that decade. Now there are some who subscribe to the theory that one’s “musical taste” is formed during high school and thenceforth set in stone. Full disclosure: I graduated from high school in 1974.

I still say some of the finest music known to humanity was produced during that decade.

In the several years following the release of the Beatles’ game-changing Sgt. Pepper’s Lonely Hearts Club Band album in 1967, the genre broadly referred to as “rock ‘n’ roll” progressed by leaps and bounds. You could say it was “splintering”. Sub-genres began to propagate; folk-rock, blues-rock, progressive rock, country rock, hard rock. By the time the new decade rolled around, you could add more variations: Latin rock, jazz-rock, funk-rock, and polar extremes that would come to be dubbed as “soft rock” and “heavy metal”.

I’ve lost my curly locks (ditto aviator glasses) and there are a few more lines on my face, but I’d guess around 70% of the music that I still listen to was created in the 1970s. (Oh god here he goes now with the anniversary mention) It’s hard to believe that 1970 was (ahem) 50 years ago …but there you have it. With that in mind, here are my picks for the 10 best rock albums of 1970, a year that offers an embarrassing wealth of damn fine LPs.

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All Things Must Pass – George Harrison

1970 was an interesting year for the four artists formerly known as “The Beatles”. The belated release of the less-than-stellar Let it Be (actually recorded prior to 1969’s Abbey Road) was overshadowed by solo album debuts from all four ex-band mates. While John Lennon’s Plastic Ono Band, Paul McCartney’s McCartney, and Ringo Starr’s Sentimental Journey certainly contained fine material, I don’t think anybody saw this one coming (always watch out for the “quiet ones”). George Harrison had been “quietly” stowing away some very strong material for some time-at least judging by this massive 3-record set (although one could argue that the 3rd LP, comprised of 4 meandering jam sessions, was excess baggage). Produced by Phil Spector and featuring a stellar list of backing musicians (Eric Clapton, Ringo Starr, Badfinger, Billy Preston, Gary Wright, Bobby Keys, Peter Frampton, Gary Brooker, Alan White, Ginger Baker, Dave Mason, et.al.) Harrison delivers an astonishing set of songs, many of which have become classics.

Choice cuts: “I’d Have You Anytime”, “My Sweet Lord”, “Isn’t it a Pity (Version One)”, “Let it Down”, “What is Life”, “Beware of Darkness”, “All Things Must Pass”, “Art of Dying”.

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Bitches Brew – Miles Davis

Miles Davis is considered a “jazz” artist, but first and foremost he was an artist; one who defied categorization throughout his career. The influence of this 2-LP set on what came to be called “fusion” cannot be overstated. But be warned: this is not an album you put on as background; it is challenging music that demands your full attention (depending on your mood that day, it will sound either bold and exhilarating, or discordant and unnerving). Miles always had heavyweight players on board, but the Bitches Brew roster is legend: including future members of Weather Report (Wayne Shorter, Joe Zawinul), Return to Forever (Chick Corea, Lenny White) and The Mahavishnu Orchestra (John McLaughlin, Billy Cobham) – who are all now acknowledged as key pioneers of fusion.

Choice cuts: “Pharoah’s Dance”, “Bitches Brew”, “John McLaughlin”.

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Black Sabbath – Black Sabbath

Album 1, side 1, cut 1: Howling wind, driving rain, the mournful peal of a bell, and the heaviest, scariest tri-tone power chord intro you’ve ever heard. “Please God help meee!!” Talk about a mission statement. Alleged to have been recorded in a single 12-hour session, Black Sabbath’s eponymous debut album blew teenage minds, scared the bejesus out of the clergy and ushered in a genre of rock that showed no fear of the dark.

Choice cuts: “Black Sabbath”, “The Wizard”, “N.I.B.”, “Evil Woman”, “Sleeping Village”.

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Bridge Over Troubled Water – Simon and Garfunkel

Simon and Garfunkel went out on a high note with their swan song album (figuratively and literally…if you factor in Art Garfunkel’s soaring vocal performance on the title cut). The album not only features one of Paul Simon’s finest and most enduring song cycles, but outstanding production as well by engineer and co-producer Roy Halee. Halee picked up a Grammy for Best Engineered Recording; the album was festooned with an additional 5 Grammys (including Album of the Year and 4 wins for the title track alone). Simon went on to enjoy a highly successful solo career, and while Garfunkel continued to record and perform (including a reunion or two with Simon), his focus shifted to acting.

Choice cuts: “Bridge Over Troubled Water”, “El Condor Pasa”, “Cecilia”, “So Long, Frank Lloyd Wright”, “The Boxer”, “The Only Living Boy in New York”.

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Emerson, Lake, & Palmer – Emerson, Lake, & Palmer

In my 2016 tribute to Greg Lake, I wrote:

Greg Lake was not only one of the gods of prog-rock, but for my money, owned the greatest set of pipes in any musical genre.

That voice has captivated me from the first time I heard “In the Court of the Crimson King” wafting from my radio back in 1969. Even through a tinny 4″ speaker, that beautiful, cathedral voice shot directly through my medulla oblongata and took my breath away.    

Prog-rock’s first super-group not only had “that voice”, but the keyboard wizardry of Keith Emerson (The Nice) and the precise drumming of Carl Palmer (The Crazy World of Arthur Brown and Atomic Rooster). ELP’s eponymous debut showcases the trio’s virtuosic musicianship and seamless blending of folk, rock, jazz and classical influences.

Choice cuts: “The Barbarian”, “Take a Pebble”, “Knife-Edge”, “Lucky Man”.

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Fire and Water – Free

On an episode of his AXS-TV interview series, former AC/DC lead singer Brian Johnson described the voice of his guest Paul Rodgers thusly: “Velvet chocolate, with a splash of whiskey if required.” Perfect. Speaking of “perfect”, Free’s third studio album is damn-near. Fire and Water is an apt title for this strong set of elemental R&B-flavored blues-rock; propelled by Simon Kirke’s powerful drumming, Andy Fraser’s fluid bass lines, and Paul Kossoff’s spare yet dynamic guitar playing, topped off by Rodgers’ distinctive vocals (possessing a voice like that by 21 can only be attributed to “a gift from beyond”).

Choice cuts: “Fire and Water”, “Oh I Wept”, “Mr. Big”, “Don’t Say You Love Me”, “All Right Now”.

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Led Zeppelin III – Led Zeppelin

For their third album (my favorite), Led Zeppelin continued to draw from the well of Delta blues, English folk and heavy metal riffing that had informed the “sound” of Led Zeppelin and II the previous year, but indicated they were opening themselves to a bit of new exploration as well. Robert Plant and Jimmy Page were taking an interest in Eastern music, most evident in the song “Friends” which features an exotic string arrangement that hints at future forays into world music like “Four Sticks” (on IV) and “Kashmir” (on Physical Graffiti). While not bereft of straight-up rockers, this album is also their most “acoustic”, with folk and country-blues influences sprinkled throughout (Page even throws in some banjo for their arrangement of the traditional folk ballad “Gallows Pole”).

Choice cuts: “Immigrant Song”, “Friends”, “Since I’ve Been Loving You”, “Gallows Pole”, “Tangerine”, “That’s the Way”, “Bron-y-aur Stomp”.

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The Man Who Sold the World – David Bowie

You could say that David Bowie invented the idea of “re-invention”. It’s also possible he invented a working time machine, as he was always ahead of the curve (or leading the herd). He was the poster boy for “postmodern”. If pressed, I’d have to say my favorite Bowie “period” would be the Mick Ronson years (1969-1973). When he released his third album in 1970, Bowie was on the precipice of outer space and transitioning to a harder rock sound. Mick Ronson’s crunchy power chords and fiery solos feel like a warmup for Ziggy Stardust and the Spiders from Mars, which was just around the corner.

Choice cuts: “Width of a Circle”, “All the Madmen”, “Black Country Rock”, “After All”, “Running Gun Blues”, “The Man Who Sold the World”.

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Rides Again – The James Gang

One of the most majestic and melodic hard rock albums of the 70s, in a realm with Who’s Next. It was the second of three studio albums with Joe Walsh on lead vocals, guitar, and keyboards (Walsh departed the band in 1972, and bass player Dale Peters and drummer Jim Fox would go on to recruit several more guitarists and lead vocalists throughout the decade, including the late great Tommy Bolin). This is one of Walsh’s finest moments; especially in the Abbey Road-style suite on side 2 (Walsh continued a partnership with producer Bill Szymczyk; working with him on 7 of his solo albums between 1972-1992).

Choice cuts: “Funk #49”, “The Bomber: Closet Queen”, “Tend My Garden”, “Garden Gate”, “There I Go Again”,  “Thanks”, “Ashes, the Rain and I”.

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Tea for the Tillerman – Cat Stevens

To paraphrase from one of the tunes on this album, Cat Stevens had “come a long way” from his first charted hit “I Love My Dog” in 1966 to this beautifully crafted song cycle in 1970. After a life-threatening bout with TB in 1969 that left him hospitalized for months, Stevens went through a spiritual and creative transformation that ultimately inspired him to produce an amazing catalog of compositions within a short period of time (his 1971 follow-up Teaser and the Firecat is equally outstanding). Several songs from this album ended up on the soundtrack for Hal Ashby’s 1971 film Harold and Maude.

Choice cuts: “Where Do the Children Play?”, “Wild World”, “Miles From Nowhere”, “On the Road to Find Out”, “Father and Son”, “Tea for the Tillerman”.

Bonus Tracks!

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Here are 10 more 1970 releases worth a spin:

  • After the Gold Rush – Neil Young
  • Alone Together – Dave Mason
  • Benefit – Jethro Tull
  • Ladies of the Canyon – Joni Mitchell
  • Layla and Other Assorted Love Songs – Derek and the Dominos
  • Lola vs. Powerman and the Moneygoround – The Kinks
  • Moondance – Van Morrison
  • Morrison Hotel – The Doors
  • Sweet Baby James – James Taylor
  • Tumbleweed Connection – Elton John

Burning with optimism’s flames: A New Year’s mix tape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 31, 2019)

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Charles Pierce wrote a great Esquire piece today about the difficulty of holding on to optimism as we head into a new year during trying times. He says: “Optimism is not exactly something that’s just lying around on the floor, waiting to be picked up. It’s something we have to work for again. It’s a heavy lift, but a necessary one. All we have as we enter 2020 is, well, us.” He’s right…it’s up to us to keep the fire burning. Chin-chin.

Tired of Guy Lombardo? Here are 10 more alternate tunes to ring in the new year…

  1. “Time”David Bowie – A song as timeless as Bowie himself. Time, he’s waiting in the wings/He speaks of senseless things

2. “1999″ – Prince – Sadly, it’s a perennial question: “Mommy…why does everybody have a bomb?”

3. “1921” – The Who – I always listen to this first thing when I wake up New Year’s Day. Somehow when you smile I can brave bad weather

4.  “Time” – Oscar Brown, Jr. – A wise and soulful gem…tick, tock.

5.  “New Year’s Day” – U2 – I know… “Great pick, Captain Obvious!” Fabulous live version, with The Edge pulling double duty on keys.

6.  “Celtic New Year” – Van Morrison – Speaking of Ireland: Van the Man! If I don’t see you through the week, see you through the window…

7. “Year of the Cat” – Al Stewart – Great Old Grey Whistle Test TV clip. Strolling through the crowd like Peter Lorre, contemplating a crime

8. “Reeling in the Years” – Steely Dan – A pop-rock classic with a killer guitar solo by Elliot Randall.

9. “New Year’s Resolution” – Otis Redding & Carla Thomas – Great Stax B-side from 1968, with that unmistakable “Memphis sound”. Check out my review of the Stax music doc, Take Me to the River.

10. “Same Old Lang Syne” – Dan Fogelberg – OK, a nod to those who insist on waxing sentimental. A beautiful tune from the late singer-songwriter.

Happy New Year!

Bloody hell…not another holiday mixtape?!

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 7, 2019)

Don’t panic. Christmas comes but once a year; this too shall soon pass. I’m guessing you’ve already had it up to “here” with holly jolly Burl Ives and Rudolph with his frigging red nose so bright wafting out of every elevator in sight. I promise I am not about to torture you with the obvious and overplayed. Rather, I have assembled 12 fine selections that aren’t flogged to death every year; some deeper cuts for your Xmas creel:

All I Want For Christmas – The Bobs

The Bobs have been stalking me. They formed in the early 80s, in San Francisco. I was living in San Francisco in the early 80s; I recall catching them as an opening act for The Plimsouls (I think…or maybe Greg Kihn) at The Keystone in Berkeley. I remember having my mind blown by their a cappella renditions of “Psycho Killer” and “Helter Skelter”. Later, I resettled in Seattle. Later, they resettled in Seattle. I wish they’d quit following me! Anyway, this is a lovely number from their 1996 album Too Many Santas.

Ave Maria – Stevie Wonder

There are songs that you do not tackle if you don’t have the pipes (unless you want to be jeered offstage, or out of the ball park). “The Star Spangled Banner” comes to mind; as does “Nessun dorma”. “Ave Maria” is right up there too. Not only does Stevie nail the vocal, but he whips out the most sublime harmonica solo this side of Toots Thielemans.

Christmas at the Airport – Nick Lowe

As wry and tuneful as ever at age 70, veteran pub-rocker/power-popper/balladeer Nick Lowe continues to compose, produce, record and tour. This is from his 2013 Christmas album, Quality Street. I think a Rock and Roll Hall of Fame nomination is way overdue.

Christmas in Suburbia – The Cleaners From Venus

Despite the fact that he has an ability to write hooky, jangly Beatle-esque pop gems in his sleep, and has been doing so for five decades, endearingly eccentric singer-musician-songwriter-poet Martin Newell remains a selfishly-guarded secret by many cultish admirers (of which I am one). But since it is the holidays, I’m feeling magnanimous-so I will share him with you now (you’re welcome).

Christmas Wish – NRBQ

NRBQ has been toiling in relative obscurity since 1966, despite nearly 50 albums and a rep for high-energy, crowd-pleasing live shows. I think they’ve fallen through the cracks because they are tough to pigeonhole; they’re equally at home with power-pop, blues, rock, jazz, R&B, country or goofy covers. This one is from their eponymous 2007 album.

Jesu, Joy of Man’s Desiring – Leo Kottke

In 1969, an LP entitled 6- and 12-String Guitar quietly slid into record stores. The cover had a painting of an armadillo, with “Leo Kottke” emblazoned above (no photo). In the 50 years since, “the armadillo album” has become a touchstone for aspiring guitarists everywhere, introducing the world to a gifted player with a uniquely syncopated, expressive finger picking technique. Kottke’s lovely take on a Bach classic is a highlight.

River – Joni Mitchell

Not exactly a jolly “laughing all the way” singalong; but this is my list, and I’m sticking to it. Besides, Joni opens with a “Jingle Bells” piano quote, and her lyrics are stuffed with Christmas references. An oft-covered song, but it doesn’t make a lot of holiday playlists.

Santa – Lightnin’ Hopkins

Best Christmas blues ever, by the poet laureate of the Delta.

Now, I happened to see these old people learning the young ones,
Yeah just learning them exactly what to do.
So sweet, it’s so sweet to see these old people,
Learning they old children just what to do.
Mother said a million-year-ago Santa Claus come to me,
Now this year he gone come to you.

My little sister said take your stocking now,
Hang it up on the head of the bed.
Talkin’ to her friend she said take your stocking,
And please hang it up on head of the bed.
And she said know we all God’s saint children,
In the morning Ol’ Santa Claus gone see that we all is fed.

Santa Claus – The Sonics

“I wanna brand new car / a twangy guitar”. These proto-punkers are local legends in my neck of the woods. Hailing from Tacoma in the early 60s, The Sonics are now generally acknowledged as major forefathers for the Seattle grunge scene of the late 80s-early 90s.

Stoned Soul Christmas – Binky Griptite

“Man, what’s the matter with you…don’t you know it’s Christmas?!” A funky sleigh ride down to the stoned soul Christmas with guitarist/former DJ Binky Griptite (ex-member of The Dap Kings). A clever reworking of Laura Nyro’s classic “Stoned Soul Picnic.” Nice.

A Winter’s Tale – Jade Warrior

Not a Christmas song per se, but it suggests a cozy holiday scenario right from Verse 1:

Ivy tapping on my window, wine and candle glow,
Skies that promise snow have gathered overhead.
Buttered toast and creamy coffee, table laid for two,
Lovely having you to share a smile with me.

A beautiful and evocative track from a woefully underappreciated UK prog-rock outfit.

‘Zat You, Santa Claus? – Louis Armstrong

The great jazz growler queries a night prowler who may or may not be the jolly old elf.

 

My 2020 Rock and Roll Hall of Fame Inductee picks

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 19, 2019)

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The Rock and Roll Hall of Fame has announced their 16 nominees for 2020, which must be weeded down to 5 for the next induction.  Once again, I will dutifully fulfill my mission as an alleged pop culture critic and argue for my 5 picks (while hopefully not enraging fans of the remaining 11). Just remember kids…it’s only rock ‘n’ roll. So relax.

The nominees: Notorious B.I.G., Whitney Houston, Pat Benatar, Dave Matthews Band, Depeche Mode, the Doobie Brothers, Judas Priest, Kraftwerk, MC5, Motörhead, Nine Inch Nails, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden, T. Rex, and Thin Lizzy.

As usual, the Hall plays fast and loose with the definition of “rock and roll”, but there you have it. This year is a tough one; I’ve already lobbied previously for 4 of this year’s returning nominees (Judas Priest, Kraftwerk, MC5, and Todd Rundgren) and I am pushing for 2 of them again because they are way overdue. However, I am limited to 5 selections, so 3 of my picks are from among the 9 first-time nominees (just for the record, Soundgarden and Motörhead were my runner-ups from that “first-time nominee” pool).

The Doobie Brothers – Yes, I was just as surprised as you that this band wasn’t already in the Hall of Fame; one would think this is a shoo-in. They’ve been around 50 years, sold 40 million albums, and have been a staple artist on classic rock stations for decades.

There were two distinct iterations of the band’s “sound” in the course of their most productive years; the Tom Johnston era (1970-1975), and the Michael McDonald era (1975-1982). Johnston steered the band into rock-country-blues-R&B territory, and McDonald added his patented “blue-eyed soul” and jazz-pop leanings to the mix when he replaced Johnston as front man. Regardless of who was at the helm, their brand has consistently stood for well-crafted songs, tight live shows and outstanding musicianship.

Best 3 albums: Toulouse Street (1972), The Captain and Me (1973), and Takin’ It to the Streets (1976).

Kraftwerk (6th nomination…yes, SIXTH…c’mon already!) – In terms of innovation and lasting influence, this German “krautrock” outfit (founded 1970) holds the most import of my 5 selections. While not necessarily the first band to embrace electronica, they were among the first who were able to seamlessly forge the technology with pop sensibilities.

Eschewing traditional guitar-bass-drum backup for synths, vocoders, and drum machines, Kraftwerk upped the ante with self-consciously detached, metronomic vocals that caused many to snicker and dismiss the band as a novelty act in their early days.  They’re not laughing now, as Kraftwerk’s influence still flourishes in rock, hip-hop and club music.

Best 3 albums:  Autobahn (1974), Trans-Europe Express (1977), and Computer World (1981).

Todd Rundgren (2nd nomination) – It’s shocking to me that the Hall waited until last year to nominate Todd; he had my vote (it didn’t take…they never listen to me). After all, he’s been in the biz for over 50 years, and is still going strong.  He is a true rock and roll polymath; a ridiculously gifted singer-songwriter, multi-instrumentalist, and record producer extraordinaire. He is also a music video and multimedia pioneer.

Granted, his mouth gets him into trouble on occasion (he is from Philly you know), and he does have a rep for insufferable perfectionism in the studio-but the end product is consistently top shelf (including acclaimed albums by Badfinger, The New York Dolls, Meatloaf, The Tubes, Psychedelic Furs, and XTC). Whether he’s performing pop, psych, metal, prog, R&B, power-pop, electronica or lounge, he does it with flair. A wizard and a true star.

Best 3 albums: Something/Anything? (1972), Todd (1974) and Faithful (1976).

Thin Lizzy – If the Hall wishes to uphold the integrity of the “rock” in their namesake, they’ll do the right thing and induct this first-time nominee into its ranks, pronto. Founded in Dublin, Ireland in 1969, this hard-rocking outfit was led by charismatic vocalist/bassist Phil Lynott until his untimely death in 1986.

They had a revolving door of guitarists…but what players: including Eric Bell, the late great Gary Moore, and the classic dual-guitar lineup of Scotsman Brian Robertson and American import Scott Gorham.

“Thin Lizzy Classic” pretty much died with Lynott’s passing, but the band has continued to tour in various iterations, bolstered by a strong song catalog and high-energy performances. I saw them with Deep Purple in Seattle back in 2004, and they still have it!

Best 3 albums: Vagabonds of the Western World (1973), Jailbreak (1976) and Johnny the Fox (1976)

T. Rex – Another first-time nominee that seems like a no-brainer. Originally formed as the duo Tyrannosaurus Rex  in 1967, songwriter-lead vocalist-guitarist Marc Bolan and percussionist/obvious Tolkien fan Steve Peregrin Took (aka Steve Porter) put out several albums of acoustic Donovan-style psychedelia before going electric, adding personnel and shortening the band name to T. Rex in 1970 (and never looking back).

Bolan’s unique coupling of hard-driving power chord boogie with pan-sexual stage attire turned a lot of heads in 1970, eventually making him the (literal) poster boy for what came to be labelled as “glam-rock” (although, to my ears Bolan’s songs remained strongly rooted in traditional Chuck Berry riffs and straight-ahead blues-rock…albeit chockablock with playfully enigmatic and absurdist lyrics). With his prolific songwriting, charismatic stage presence and guitar chops, Bolan was like David Bowie and Mick Ronson rolled into one. T. Rex had a marked influence on punk-rock, New Romantic and Goth. Induct now!

Best 3 albums: Electric Warrior (1971), The Slider (1972) and Tanx (1973).