You have a choice – of what you listen to…

 

Sometimes in the world of music, strange things happen that don’t make an enormous amount of sense to me.

 

 

One of those things – which happens regularly, and has almost certainly become much worse over time – is the odd and very wrong correlation between truly good, truly inspirational or truly meaningful music – and an artist’s “popularity” – whether that is reflected in record sales, media exposure – it doesn’t really matter – this undeniable fact remains:

The “music industry” rewards and promotes artists that produce a particular “kind” of product, which seems to have but one criteria:

“Can this ‘product’ make us money (and lots of it)?”

 

The industry has always been interested in money, while over time, showing less and less interest in the actual music.

The inevitable upshot of this, unfortunately, is huge media exposure and significant sales for the “right kind” of artist (according to their entirely greed-driven “criteria” of course!) – usually (not always but often) an artist with only a modicum of musical ability or actual talent – the Industry wants as many of these “money-making” artists as possible – and consequently – the rest of the bands and musicians in the world, who do not meet this “Magical Money Making Criteria” – well, they struggle in such an environment (a harsh, cruel demanding environment).

Artists with genuine skill – with real talent – whether that be the mastery of an actual music instrument, or a singer with real vocal skill and dexterity – or artists who have unique and notable skill as songwriters or producers of cutting-edge, modern forward-thinking music – are first of all, always in the minority in the minds of the record companies, and during the last couple of decades, many of them felt so uncomfortable or unhappy with this “business arrangement” – that they sought other ways to move through the marketplace – ways NOT dependent on being signed to a major label, and in fact, NOT dependent on a record company or the music industry in any way shape or form – and that is a good thing.

So rather than having to kowtow to the system, and beg on bended knee for a “record contract” that won’t be favourable or good (unless you happen to be one of the one-in-a-billion who actually meet the Magic Money Making Criteria) – so they either formed their own independent labels (one example of which is Robert Fripp & David Singleton’s remarkable DGM – Discipline Global Mobile – an artist-centric label if there ever was one) or moved to labels that support quality music over sheer money-making prowess.

 

The above merely states a problem that exists, and of course, it’s subjective – there are exceptions, of course, to every “rule” or “theory” – and this theory of mine is no exception to having exceptions.

Of course, there are a number of bands, artists and performers, who sell enormous amounts of records, get massive media exposure – AND they are real musicians of quality – they actually play their own instruments, they have studied music or been working musicians for the majority of their lives and have learned from the sheer experience of being on the road in a working band for 30, 40, 50 years or more – that end up in the same financial space as the “Money Making Artists” who do not necessarily have the actual skills, talents, or abilities that make them admirable to fans of real music and the more discerning listeners.

 

One of the biggest issues here, I think, is the traditional “record company” or “music industry” view of artists as “money-making machines” – but more specifically, their view that CDs, DVDs, and other saleable items that present music – are “products” – and of course they are products – but the record companies, over time, seem to have shifted from viewing an “album” or a “CD” as a record, a recording of music – it it’s simply become a “product” – they have transformed it from an object of joy and wonder into a simple and depressing object of commerce – a product (ugh) in the most negative sense – and then it gets dealt with like a product:

 

  1. How many can we produce as cheaply as possible to maximise profit?
  2. How many can we sell at as high a price as possible to maximise profit / greed / etc.
  3. How can we sell as much of this “product” as possible / in what ways can we “market” this to maximise profit?

You can just about see the common denominator there… hmmmm.

I can remember in the 1970s (and farther back than that, I am afraid) that there was still the “illusion” that music and albums were about….music and artists – and music itself – songs – albums – mattered – and record companies (in some limited cases at least) actually cared about the music that “their” artists produced – as music – and NOT just as a “product”.

 

But – the view of album or CD as “product” – WAS always there – it’s just that over the past several decades – that idea has grown and grown – and the ideas for maximising profit go even farther back – which is why there were so many cases of musicians and bands receiving literally a few pennies for each album sold – while executives and record company board members and owners, skimmed 97 percent off the top – these “recording contracts” or “deals” were just atrocious and utterly unfair to musicians who worked (often all of their life – and sadly, often ending in poverty and dying alone and forgotten) at music – for their entire life time, dedicating every hour to writing, performing, and living and breathing music that they truly believed in.

 

So as the “music industry” and “record companies” have more and more viewed the output of musicians as “product” – the idea that music is anything but a money-making tool has all but disappeared from their minds.

In other words, if artist isn’t selling x million “units” of their “product” then the industry is no longer interested in that artist. Artists were regularly “dropped” from labels for not shifting enough “product” – some who had in fact, sold very well for the first ten years of their career – when that 13th album failed to shift a million – the record company would just terminate the contract because the artist was no longer producing the kind of money (not – the kind of music) they are interested in – large amounts of money.

That artist would have been faithful to that company for decades, making lots and lots of great records that sold well – but as soon as the sales fall away even a little bit – and the cash cow doesn’t look to be able to generate massive income as it had done – it was “out the door” for that artist – who then had to scrabble around and find a new or different record label with the stigma of having “just been dropped by one of the majors” which means their ability to negotiate with their new label is automatically negatively compromised…they are not a “hot property” anymore, because the record company kicked them to the kerb.

The really ironic thing there, is that the example of “that 13th album” I gave – that mythical 13th album would very probably be a musical and artistic triumph – a “critical success” – i.e. the critics loved it, the fans loved it even more – but it did not make enough money to satisfy the greed of the industry.

It might even have been that band’s musical masterpiece and the pinnacle of their career – which might have spanned 20, 30 years – they reach a point of musical maturity and consummate skill – they make an AMAZING, beautiful record that their fans and followers absolutely love – even the critics like the album – and their “reward” is – being dropped from the label and finding themselves out on the street with no label support.

 

As noted above and elsewhere – artists and bands that ended up in this situation, have dealt with this problem in many, many different ways:

  • Some simply moved house to another traditional label and carried on their career on a new label.

 

  • Some could no longer stomach the product-centric, money-centric, and let’s face it – greed-centric attitudes and practices of the music industry, and moved to an ethical company such as DGM.

 

  • Some decided that the best solution was to become their own record company – and would either form an actual company to produce records, market those records, take care of distribution, etc. themselves – and, getting dollars per CD, instead of pennies which I view as a positive thing.

 

  • Others created a sort of “cottage industry” where they form a “record company” of sorts – or a record label – and some aspects are dealt with via external contracts – but control is still central and still belongs to the artist.

 

Others…possibly – lost heart to such an extreme – that they did none of the above, and after having their faith in their 20 or 30 year relationship with a major label so badly shaken by being suddenly, and without warning, “dropped” because their 13th album was the first one that DIDN’T sell one million copies…causing them, sadly – to just give up.

They stopped playing music, and perhaps, changed to another artistic pursuit (a lot of musicians seem to end up as painters – artists still, but using a paintbrush instead of a plectrum to make their art) or even dropped music altogether and got a “normal job” – and left the greed and corruption and disappointment – behind – forever.

 

Kicked to the kerb, surplus to requirements – dropped by your label.

But in these cases, the length of their career as a major label star, that sells millions – is limited to merely month rather than decades as it was previously. So “stars” are made, the money is sucked out – and then they are dropped in a now-very-rapid-turnover-scenario that literally ingests hapless singers or rappers or whatever – pushes them through a pre-defined process producing some of the most lifeless, vapid “music” ever made – said music is marketed in an extreme way – a LOT of money is made (and the musician will see very little of it proportionally) – and then – they are dropped when their next song does not succeed – and more, “fresh talent” is sought, brought in – processed – dropped – repeat ad nauseam forever – a very, very sad and pathetic cycle that is even worse than the record company behaviours of yesteryear.

 

Whereas – in contrast – today’s modern musicians, who have learned to play actual instruments and taught themselves to write and perform their own music – do not depend on the record industry for anything – and simply produce music that means something to them – presented to the world through both YouTube and a plethora of different social media outlets – and we instantly have a new and amazing world where lesser-known musicians can compete with the biggest stars – and often surpass them in musical achievement.

 

The other upshot of this truly unfortunate situation, besides how discouraging it is for these “ordinary” musicians (who generally speaking, are anything but) – is that artists with amazing talents are often ignored, missing in action, cannot sell records easily, or are otherwise downplayed in the marketplace simply because they are not artists with the magic “this artists is gonna make us RICH” formula – instead, they offer honest, heartfelt music that they make because they love music – not because they want to get rich – they want to earn a living as a musician – and hope that some will hear and appreciate their music.

But, sadly, so much of this good music is so far under the radar, or at best, hanging on at the periphery of the normal “music industry” – outside the pale – it’s an unfortunate situation but it’s difficult in this day and age – to get music of quality heard or appreciated because the world is geared towards the shifting of product rather than, the sharing of inspirational and beautiful music.

And – via the gradual but insistent brainwashing of the record-buying public by the music industry – who pretty much “force feed” us the latest records by “popular artists” (their opinion – not mine!) such as but not limited to Juslake Beaver, Tailor Sweeft, Ariande Latte Grande, Ed Sneeran, Lady BlahGah, Smiley Cyprus and on and on – big names maybe – but I have questions

  • How many of these folks can actually write a decent song?

 

  • Which ones can actually play a real musical instrument?

 

  • How many of these can actually sing – and I do not mean sing through a pitch correcting vocoder or other technology that can easily take a poor or even downright bad singing voice and at least, force it into “tune” – whether that has any actual qualities worthy of our admiration – is in doubt in some cases.

 

Sure – some of the people that I have poked gentle fun at by naming them in a slightly disrespectful way – actually – I find it difficult to speak these names aloud or write them out properly – because I actually find a fair percentage of them slightly objectionable – because they are making millions, by “singing” or “playing” – while countless hundreds of thousands if not millions of real musicians, who have real skill on an instrument, real singing ability, real song writing or production skill – are ignored, not heard of, cannot sell records – because they are outside the system – the system that produces these “products” made by these “big name” artists.

Sigh.

 

None of this is very cheering, but there is always hope. I think a lot of artists have handled this transition really gracefully, and seem to be more settled and much, much happier running their own affairs as compared to their previous experience of “record companies” and the “music industry” – they seem far happier, and well-adjusted – making music on their own terms – and having their own destiny in their own hands.

 

I think that is fantastic – more power to them, and I can only send my best wishes and hope that their music will be heard by those who need to hear it – and I also think that his mass-migration of musicians from the major labels to either, ethical labels or to their own self-created labels, companies or cottage industries – is one of the best and most positive outcomes of this entire dark, negative “the product rules” attitude and practice of the music industry – because it has effectively, de-centralised what was a terrible monopoly held by the major record companies, where the amount of control that they held and exerted over their artists was a truly awful, almost evil thing – and by walking away, by closing that door – and opening a new way – these artists have set the stage for a real revolution of self-producing, non-record-company-depended truly “independent” artists – and I think that is absolutely wonderful – and about time, too.

A lot of musicians have suffered a lot – many literally ending up in true poverty because the record company took most of the money that was made – and some of these poor musicians ended up in the worst situations imaginable – especially back in the 1950s and 1960s when most of the greedy machinations of record companies were not as publicly known as they are nowadays – much has come to light during the past few decades – often through the personal stories of the musicians themselves (have a read of Robert Fripp’s Diary at DGM Live for one such tale) – who, after suffering at the hands of the music industry for decades – finally came forward to tell their horror stories – so gradually, the truth of the behaviour of these large record companies has come to light – and it is not a pretty story at all.

 

I don’t generally like to focus as much on negative behaviour as I’ve had to in this blog, but I felt it was important to set the scene for some of my upcoming blogs  – what I am really here to write about – and that is one of my ongoing stories regarding musicians that are NOT as well known.

In writing the above…I hope I have expressed and explained the kind of roadblocks and difficulties that so many great (but possibly not very well known, sadly) musicians have had to endure and then, eventually – thankfully – overcome – and I literally believe this to be a real triumph of the human spirit – and a great example of a great good coming out of a bad evil.

 

Really, the bad behaviour and greed of these companies – when brought to light by the sad facts of their behaviour and the way they treated “their” artists for so, so long – well – there is some vindication now – music is triumphing, and the record industry – has almost nothing to do with that.

In the past – you “had to” have a record deal to make records – or CDs – and you “had to” be signed to a label if you wanted to have the ability to manufacture, market, and distribute your music on any scale small or large – you had no choice.

 

Now – there are choices – and I think, that getting a “record contract” or “signing with a major” is probably the worst of those choices. Sure – they have massive distribution channels, and massive marketing departments that CAN and do promote albums on to sell in massive numbers – and for the “popular artists” of the day, those few that actually meet the criteria of “money making magic” – i.e. they “feel” lucrative to the record companies – because they sense the millions and millions of dollars that will probably soon be lining their pockets the next time they create a “product” for one of these “popular artists” – and that product then sells in the millions thanks to the machinery of the record industry.

 

But – “the times they are a-changing” – and the biggest change of all is certainly the Internet – which has enabled a number of extremely talented musicians – and artists and sculptors and wood-workers and people engaging in crafts of many, many diverse types – musicians can now gain massive popularity – and gain a large audience – if their music is good, if they are a sincere and committed artist – simply by producing and performing their own music and broadcasting it over the Internet – and then letting the people decide – what music do I love?

 

For me – the choice is clear – I am interested in music that is created by skilled, talented, committed musicians who primary interest and goal is CREATION – creating music that is beautiful, inspiring, or very, very unusual, using groundbreaking techniques and technologies that were previously unimaginable – especially in the world of the “traditional” record company – who are set in their ways and methods – and they can carry on doing what they do – but I don’t really care.

 

Because I will just seek out real music, made by real musicians – and I will NOT be seeking out “product” produced by “record companies” – any more – except in those rare cases where real music, made by real musicians – happens to also be extremely popular, and happens to sell in huge numbers – rare, but not impossible (please see my final remarks below regarding the extraordinary musician Billie Eilish for a working example of this rare possibility).

 

I’d prefer that it happens (massive success of music – not products) where the artist is NOT signed to a major label, and that those artists can actually sell millions of CDs or more likely, downloads – without a greedy pocket-invading record company attached at the hip, taking 95-plus percent of the proceeds when it was the artist that actually did 105 percent of the creation of the music.

As time has gone on, I find more and more that most of the music I am interested in – is produced by ethical record companies, artist owned companies or distribution networks or even direct from the artist to consumer sites of which there are more and more and more every day.

That’s how it should be – it needs to be about the music – not about “product” and how much of that product can we shift and how much ridiculous money can we make from that “product” – that is old world thinking and in the brave new world of 2020 and beyond – I am so, so happy and glad to see things changing in this way – so that we can get back to what is important – the music itself.

 

It needs to be about the music.

 

I think that some people just “like music” in a very vague and general way, and they don’t care about what music is playing – they will happily listen to what the radio is playing, and they will learn to like artists not based on their skill, talent, or song writing ability – but because they have been told “this is good music” – when in reality – what that actually means, is “this is the music we want to sell and make a LOT of money from, so we want you to like it – so you will buy it – and make us wealthy”.

I was always amazed by this type of person – and I would say to them “you are content to listen to what the radio tells you is ‘good music’ – wouldn’t you rather explore the actual sound of different bands and artists yourself, and make up your own mind ?? – instead of allowing someone (the record company) who is driven by one non-musical idea – greed – to DICTATE to you “what good music is” and “what you should be listening to”??

 

They would generally just give me a blank look and profess to not really knowing what the hell I was talking about.  But I have given this a lot of thought, for a long time – and I am finally now finding time to suggest these ideas and I hope they can be received and used in a positive way that brings a lot of new, creative, inspirational, unique and beautiful music to a lot of listeners who may well be missing out on a lot of great listening experiences – because they just haven’t considered this question of “who” is telling them “what” music is good and “what they should be listening to” or liking – and I truly believe that this choice should come from within – and not from the record industry’s rather obviously money-driven “suggestions”.

 

I learned to love music by first, hearing it on the radio – but there is stopped – sure, I went out and bought records that I had heard on the radio – back when I was a kid or a teenager.

But very, very early on – in my early twenties certainly – I began a much more organic process of music discovery – which is basically – word of mouth, discussing the merits of various artists with strangers you meet in your local record store (and some of them becoming life-long friends, as it turns out – such as my good friend Michael P. Dawson – who I met in Off The Record on El Cajon Blvd many, many decades ago now) – reading about artists in music magazines – the method was not important – but what is important, I think, is that I was CHOOSING my own music.

Meaning too – that NO one else – was choosing for me, or choosing on my behalf – it was 100 percent of my own volition, my choice of music, of artists that resonated with me personally, what sounded great to my ears, what sounded beautiful – what sounded unique – and I just ignored – and still ignore to this day – what the record industry or what record companies – “recommend” – no thank you – I can make my own choices here!

 

Additionally, by listening to one group, I might then discover another (or many more in some cases) and then from that artists, another – and the process over time – over the past few decades in fact – has led me to learn to love and spend a lot of time listening to a lot of artists that are really not that well known – but I personally find them infinitely more satisfying to listen to than the “popular music” “products” that the music industry is “recommending” – selling to you regardless of whether you actually really love the music or not – they do not care about that at all – as long as you buy a copy.

 

If you really sit down, and listen – listen with your ears, your brain, your whole body – close your eyes, listen with your heart, if you will – and listen to the qualities of the music you are listening to – you will realise very, very quickly – that a lot of these mass-produced, mass-marketed “musicians” (and I use the term very dubiously there – to my mind, many of these popular, massive-selling musicians are not musicians but almost more like imaginary “singers” who can’t play any instrument, don’t even know what a scale is – and just “got lucky” or “had a lucky break” and got themselves a lucrative money-making contract with a major record label) – and sadly – that has very, very, VERY little to do with music.

That might seem like an extreme position – but I would challenge you to compare side by side, music made by million selling artists who do not play an instrument, who do not write songs, but simply do as they are told and play their part in the creation of “products” (not music, but money making noise a lot of the time) that are quickly and mass-produced with a view to cash in on the short-half-life that some of these artists have – they have one huge “hit song” – MILLIONS are made by the record company – and then they disappear when their follow up song “fails to chart” – and the same old cycle takes over…with the music of lesser known, unfunded, self-sufficient real musicians who play actual instruments, sing beautifully, have real skill at modern production or some kind of actual ability, talent or skill – and I think that the latter group will consistently sound beautiful and inspirational – and for me, anyway – the majority of those “artists” inhabiting the former group – feel “manufactured” and sound thin and lifeless by comparison.  That is how it sounds to me, that is how it feels to me…lifeless.  Uninspired.

 

 

During this “Inner Revolution” of empowered artists making their own media and presenting it on YouTube and via Social Media – I have begun to enjoy and listen to a huge number of artists that previously I was unaware of – had never heard of. A lot of truly beautiful, absolutely amazing music is now available on YouTube and on the Internet – endless, beautiful, real music made by astonishingly talented and creative musicians.

And nary a record company in sight – thank the Gods.

Now back in the day – before the Internet – early on I decided that while there was the occasional song on the radio that I liked or even liked a lot – that radio, and other media controlled by the music industry – did NOT have my best interest at heart. They wanted me to like certain artists so that I could join the millions who blindly, and without thinking AUTOMATICALLY buy every release by popular artist Artist Name Goes Here – because they have been TRAINED and GROOMED to do so – subconsciously perhaps but trained nonetheless – by the music industry.

They wanted me to like, and then BUY – the million selling artists that they wanted to make more of, sell more of – and that was once again – just to satisfy their endless GREED!

I refused this. I did not want ANYONE to tell me:

  1. What kind of music I like to listen to
  2. What kind of music I enjoy
  3. What kind of music I should purchase (with my hard earned money)
  4. Which artists are “good” and that I should like them because – they SAID they were good (whether they actually were or NOT) – and usually – they were NOT good – not talented – not capable of much of anything except – creating product, selling product, and being on a very short roller coaster ride of “fame” that will almost certainly DAMAGE them more than it will ever help them
  5. No company – or individual – has any right to dictate to me what I do, what I listen to, what I like, or what I buy – they can “suggest” but I for one – I refuse this – and I want to MAKE UP MY OWN mind

 

For some strange reason – I decided this very, very early on – when I was a teenager or just shortly thereafter in fact – and I have stuck to this tactic ever since. I don’t generally like what is “popular” (because “popular” is artificial – it’s dishonest – and it’s totally contrived and fed to you by greed-driven record companies – they do NOT care about you – except as a source of MONEY) and I want to form my own opinions.

 

Pre-Internet, this could be accomplished in a number of ways – through conversations with other real listeners to real music, from reading about music and bands and artists where that reading then led to listening – and so on.

As one random example of this – one of the bands I happen to like is Roxy Music, who you have probably heard of – and since I am a guitarist, I really like Roxy’s guitarist Phil Manzanera – he has a unique and beautiful style of playing guitar, and I have always enjoyed his playing.

 

[AN EXAMPLE of the word of mouth – follow the players “method” follows]:

 

I had a few Roxy Music albums early on – starting oddly, with an unofficial one called “Foolproof” (an amazing amalgamation of two great live performances)…

 

That then led, to me purchasing “solo albums” by Phil Manzanera and listening to those.

Reading the album sleeves and notes revealed the other musicians playing on the record.

One of the Phil Manzanera records I bought, noted “Tim and Neil Finn” on vocals on various tracks (this is 1978’s remarkable “K-Scope” – one of Manzanera’s lesser-known absolute master works – a must have for anyone who likes creative guitar playing) – and I had heard of them – they were in a band called “Split Enz”.

So reading the album jacket of Phil Manzanera, led me to Tim and Neil Finn – which led me to Split Enz.

A few months later – I had fallen in love with that band; purchased all of the albums I could find by them – and even got to go see them play live on their first U.S. tour – I absolutely love Split Enz – thanks to Tim and Neil being on a little known Phil Manzanera album from the late 70s !

 

Of course then years later – my interest in Split Enz meant that I would then follow Neil Finn’s later band “Crowded House” – which later included Split Enz alumni older brother Tim Finn and keyboardist extraordinaire Eddie Rayner.

So entirely by osmosis – I got into all of the following bands simply by following the names of certain musicians that kept cropping up until I got curious to hear them – and bought a record.  Which would often then – lead to still more artists. In this one example – you could argue that because I liked Roxy Music , that I then over a very short period of time began to enjoy the music of and collect recordings by

 

 

 

 

 

And on and on and on – a wonderful snowball effect of one great musician leading to another to another to yet another…

 

And at the same time – Phil Manzanera’s album “K-Scope” ALSO was a further pointer to me to further explore a number of OTHER musicians who appeared as guests on K-Scope that I was already aware of – such as

 

 

  • Brian Eno (and therefore, of course – back to Roxy Music, to Eno’s voluminous and amazing solo career, and to Fripp and Eno – which of course leads back to King Crimson AND John Wetton…endless inter-connectivity).

 

So by following just a handful of musicians who I admired – I could then learn and grow and experience the bands and records that those musicians had worked on – all because I read one record sleeve.

 

One thing leads to seventeen others – and what a great, great way THAT was – to discover new music.

[EXAMPLE ENDS]

 

Finding the music of Split Enz was a huge positive experience to me – and that was based on the fact that I really, really like the vocals that Tim Finn did on Phil Manzanera’s “K-Scope” album – so much so, that I had to go and find out about Tim Finn’s own band – Split Enz – who I had heard of but never heard.

Tim Finn has a truly beautiful singing voice, and Phil Manzanera recognised this and asked him to sing on “K-Scope” – and the fact that Manzanera did that – led me directly to one of the most astonishing and rewarding collections of music in the current age – the discography of Split Enz.

 

Of course – now – with the Internet – it’s even EASIER to do all of this “cross-pollination” of artists – you see a video and you like the singer – you find out their name and then, what band they came from – you listen to or watch THAT band and you fall in love with that – and it just carries on, and you learn about – and enjoy – more and more and more amazing music by making your own choices – identifying certain musicians whose playing or singing you really enjoy – and then following out to their branches in the “musical family tree” as it were.

 

Regarding what you listen to – and whether you allow radio or social media or anyone besides yourself  “decide” what you are listening to or are going to listen to…I just think that you just can’t believe what much of what you are told.

Just because the record company wants me to buy the latest record (by anyone in my tongue-in-cheek, quasi-fictionalised list of “big name artists” above) – does not mean that (if I am sensible, and thinking for myself – instead of letting them do my thinking for me) that I should buy them.  And I don’t!

 

I think it makes much more sense – to start with music that you truly love – that you found on your own – you were not TOLD to like it – let’s say you grew up listening to your dad’s collection of Marillion records- and you actually really liked them – because they are real musicians who really play real instruments and they write their own songs – and they are pretty good at what they do – so starting there – instead of following what ANYONE told you – you made a decision for yourself – “I like this band – I really enjoy hearing their music (thanks, DAD!) – so that then, can easily lead you to a huge, huge world of related music, similar music, or even dis-similar music that has some relation to the music of Marillion – or, to early music via the bands and artists that Marillion themselves love – the bands that THEY loved and were inspired by.

So you read about early Marillion, and you find out that they were influenced by a couple of the most important and well known “Progressive Rock” bands that started out in the late 1960s – in this case – early Genesis with Peter Gabriel as their singer – Fish from Marillion makes no denial that he pretty much based his entire style on Gabriel-in-early-Genesis – alongside the additional influence of Van Der Graaf Generator founder and vocalist Peter Hammill.

(Interestingly – I was at the Steve Hackett concert in Edinburgh just last night – November 25, 2019 – and Fish walked past me a couple of times – he was in the audience to see Steve Hackett’s recreation of Genesis’ “Selling England By The Pound” – so that confirms that there really was a very strong influence on Marillion by early Genesis – not that there was ever any doubt about that – but Fish was there – listening.  Still.  That’s a nice affirmation of one’s influences – it was why I was there too – because Hackett was a huge early influence on my own guitar playing back in the early 1970s – he was so different, and seeing him live in 1975 performing “The Lamb Lies Down On Broadway” with Genesis changed me forever in a lot of profound ways – and it set me down a much different course in terms of the music I love, and, the kind of guitar melodies and ideas that I like to play – a massive influence.

 

So from making your own decision that you actually really enjoy the music of Marillion – that could easily lead you to discover the brilliant early music of early Genesis and Van Der Graaf Generator – and if you follow those two trails, you will end up at Robert Fripp, King Crimson, John Wetton, Bill Bruford, Brian Eno and a host of other extremely capable, talented brilliant musicians – but who they are does not matter – what DOES matter – is that the choice needs to be YOUR choice and yours alone – and NOT the choice of radio programmers, or TV, or what the record companies would very much like you to buy so they can get themselves a few more houses in a few more countries and some extra sports cars and swimming pools and so on – and because I am a contrary old son of a gun – I want to THWART that – I don’t want the record companies to get rich – ESPECIALLY if they are taking MY money from me (as well as taking away my choice!) to do so – I want my money to go to the artists that create the beautiful music that I love – NOT to a disassociated, greedy executive that wouldn’t know “good music” if it hit them right between the eyes.

 

I want to make the choices – and I choose MUSIC over PRODUCT – every time.

I choose what I like – not what anyone TELLS ME I like – every time.

 

Listen with your heart – really listen, and if you don’t already hear and see it – you will soon see that the list of big name, top-selling artists – that a lot of their music is of a much lesser quality than the music of real musicians who are not part of the Record Company Contract Machine Process any more.

There is so, so much amazing music available now – and not nearly enough time to listen to it all.

 

You can avoid a lot of the bad music – by deliberately refusing to participate in the brainwashing exercise that the music industry and the record companies is forcing onto you – telling you what to listen to, what to buy, what artists are “good” – it’s all nonsense – YOU should be deciding these things – not some faceless, greed driven company.

 

I say – do not listen to what they say to listen to; do NOT buy what they say – but instead – listen to a LOT of diverse and interesting music – and buy what YOU like – not what they tell you to like.  Buy what speaks to your heart, what makes you happy, what music makes you feel good – the music you have chosen for yourself to enjoy.

 

 

You have a choice – please use it – and support artists and musicians directly whenever possible – and do not support a bad business model that was always unfair to artists and in many cases, was extremely damaging to them – and please do not let a faceless corporation tell you what to listen to and what YOU like – only YOU can truly decide that – but it means some effort – you have to listen to a lot of different music and then make up your mind what you want to spend your precious time actually listening to.

 

Today – I’ve been listening to the remarkable Martin Newell (in particular, the 1995 EP “Let’s Kiosk” and the 2000 album “The Spirit Cage”) – as well as selections from various albums by the remarkable singer / songwriter Sam Phillips – both very independent artists who have carved a path through the minefields of corporate greed and the music industry and come out on top – and boy am I glad, because I love listening to this music – I’m very, very glad it is available – and I do not have to buy from a major label to get it, either.

That’s the best of both worlds – I am making my own choice of who I listen to – AND I am supporting the artists I love directly whenever possible by buying direct from their websites or web stores.

You have the same choice, and I think a lot of times it would be better – that it is better – to try some new artists that you have chosen because YOU like them – not because some faceless money-making entity TELLS YOU that you like them…when really, maybe they are not all that good – and really, probably – there are a large number of hardworking and very talented musicians out there making truly inspirational and beautiful music – and you may be missing it if you allow your choices to be made “for you”.

 

I just think that listening to lesser-known music can be incredibly rewarding – and I don’t want anyone miss out on the beautiful and moving music that I have found and enjoyed since I consciously started making my own choices many years ago.  Don’t miss this stuff – it’s truly worth it.

 

As a final note – sometimes, artists that appear to be in the “money making / record industry” mould that I have discussed here – happen to be as valid, as serious, as moving and as inspirational – as these lesser-known non-power-money funded artists I am talking about – and a perfect example of that would be Billie Eilish – an extraordinarily talented singer and songwriter – who has had an absolutely meteoric rise to huge popularity and “fame” – but mostly done outside the confines of the worst excesses of the industry.

I have huge respect for people like this – who have the vision, the talent, and the songwriting chops to just “be good” wherever they happen to be placed in the “business spectrum” of the music industry – talent is talent, skill is skill – and for me, an artist like Billie Eilish – who has a much, much larger following than most of the artists I follow – is equally as important and vibrant as the many less-known musicians that I also follow, listen to and admire – so it is POSSIBLE (although it does not happen often) that an artist can straddle those two world effectively without compromising their soul or their music – so that needed to be said.

 

Other artists that are products of the “we really want to make a lot of money camp” – can be as untalented or even vacuous as anything – not pleasant, not worth listening to – but propped up and supported by the love of the Almighty Dollar – it’s those that I find difficult to deal with.

 

Choose well – and I hope you enjoy your listening even more now – listening to music is one of the greatest pleasures in life for me – and I’ve thought long and hard about it over time – and things are starting to fall into place – you can see through the cracks – and easily get at what is true, honest, good and also – beautiful.

 

 

 

Have a great day!

 

Dave

 

 

davestafford.bandcamp.com

 

 

 

 

 

 

 

 

It was 45 years ago today…

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

EPISODE 1:  The 1970s

 

It actually was – 45 years ago TODAY, literally – today – May 28, 2018 – or for me. in this first of a number of upcoming concert reminiscences – it was actually, May 28, 1973 – and as my first blog of 2018 (finally!) and the first in a series of blogs about live music, concerts, tickets stubs, setlist.fm, and associated items – this one kicks off with a doozy:

The mighty Led Zeppelin – performing live at the San Diego Sports Arena !

Sports Arena

San Diego Sports Arena

The first real ROCK CONCERT I ever went to – I was 15 years old, a sophomore at Grossmont High School, in La Mesa, California – an incredibly gawky, awkward teenage boy with long, straight hair half-way down my back, six foot six of far-too-skinny raging metabolism…and there I was.  Standing up there in the CRUSH at the foot of the stage of the San Diego Sports Arena, waiting for Led Zeppelin, my favourite band – to walk onto the stage.

It was all new to me.  I’d never been in a crowd that large before – never.  I’d never smelled that much…herbal scented smoke before.  I’d never seen the sight that became commonplace for me over the next several years – at the Sports Arena in particular – the sight of dozens of Frisbees flying back and forth, criss-crossing across the length and breadth of the place – and the wonderful haze created by that same scented smoke that cast a mysterious fog over the entire proceedings.   And quite possibly, over my state of mind.

Sports Arena - Seating Chart

San Diego Sports Arena – Seating Chart

People playing, talking excitedly, yelling – cheering – bouncing giant beach balls back and forth, mixed in with the endless frisbees…and all the other fun stuff that people do to pass the time while they wait for their favourite band to come on.  This is one of those experiences that you look back on, and you can quite clearly recall the real sense of excitement that was in that place on that day – this wasn’t just any concert – it was Led Zeppelin – all the way from Britain – to play for San Diego!

 

During the show, I saw a few MORE things I had never seen before – like an attractive girl sat on her boyfriend’s shoulders, proudly displaying both of her bare breasts so that Led Zeppelin, presumably, could have a look at them – along with the other 35,000 people in the audience, of course.  This was a girl – who was NOT shy.  Another first for me.

 

For a 15 year old boy, a boy who was already a guitarist, already trying to be the “NEXT Jimmy Page“, already learning Zeppelin songs and riffs – many of which, I still play to this date – 45 years later – I kept trying to “be” Jimmy Page for a number of years, when I finally decided it might be better to try to be myself on the guitar rather than copy someone else – even someone as talented as Jimmy Page.

 

But as a formative influence – along with Eric Clapton, Robert Fripp, and others – you can’t beat a bit of Mr. Page – a very interesting and very capable guitarist, musician and writer.  If you think too, about the development of Led Zeppelin, just as one example, from the relatively simple chord patterns of  the songs from Led Zeppelin I, say, something like “Communication Breakdown” to the incredibly complex guitar parts that make up the opening track on the band’s fifth album “Houses of the Holy” – the truly remarkable “The Song Remains The Same” – still a personal favourite of mine even after all of those years.

Meanwhile…back in 1973 – there was the long build-up to the show, the endless waiting outside which, eventually and suddenly, became a mad sprint to try to get as close to the stage as possible before everyone else did – once let into the Arena (reserved seating at rock concerts being more a thing of the future, back in 1973) – and then, finally settled in your “spot” inside, the noise and the tension, the sound of the crowd mounting with each passing moment…

 

HousesOfTheHoly-AlbumCoverIt was all incredibly exciting…and finally, when the band did hit the stage – it was another first for me – the first time I had ever heard a real rock band, a PROPER rock band, mind you – the mighty Led Zeppelin no less, in their prime, in the year 1973, touring behind their just-in-the-shops fifth album “Houses Of The Holy” – I’d never heard a proper rock band play rock music AT VOLUME.  And it was…LOUD.  To this day, 45 years later exactly…I am not sure I’ve heard a louder band.

 

Except perhaps – for Led Zeppelin themselves when I saw them again – twice – in 1975!!

Each year, the PA stacks at the Sports Arena seemed to grow ever larger. the number of and the size and power of the speakers increasing each time, the power behind the systems getting to be more and more each year – so it seemed to me, that if anything, that bands got LOUDER as the 70s went on – until the PA systems sort of began to plateau as Super Huge Size – where they all pretty much sound the same – from a distance, anyway.

 

Led Zeppelin IV-Album Cover

But – intense volume aside – I was hooked.  Seeing this show – set me up for a lifetime of concert going – and what a way to start!  Seeing my favourite band, playing amazing live versions of the songs that I loved – was such a positive experience for me – and after seeing Zep, I embarked on a journey that now, when I look back on it over the long, long span of time – 45 years ago today – when it all began – I just feel so, so thankful, fortunate – even lucky – to have had those concert experiences.

 

 

This series of blogs then, of which this is the first – will attempt to document my concert-going experiences decade by decade, until such time as I reach the present day.  Having the analytical and basic set list / concert listing tools available via setlist.fm has been so incredibly useful when it comes to bringing these memories alive, I would encourage you to go and have a look at the list of my attended concerts at setlist.fm to see the full list of concerts attended not only in the 1970s, but from 1973 to the present day – an invaluable resource to me throughout the process of preparing and formulating this series of music blogs.

Earlier this year, I had my 60th birthday, and for some unknown reason, during that week, I started looking into just what concerts I HAD been to, and what they were, when they were and where they were.  I had no idea that this vague thought I had had – “I wonder how many concerts I’ve actually been to over the years…” would lead to the experience that it has – which has been extremely eye-opening for me in so many ways.  This “thought” eventually culminated in the completion of my list of my attended concerts at setlist.fm as well as the completion of cataloguing and photographing my quite substantial collection of concert ticket stubs, which will be presented photographically along with these live concert experience blogs.

So while it started in 1973 – it still hasn’t ended, and later this year (2018), it will be more shows from the incredibly powerful King Crimson live, one of the most remarkable progressive rock groups spawned originally during the 1960s – when Led Zeppelin was also born (1968 was a good year to start a band).   I am very much looking forward to seeing and hearing Crimson again – each year, they come up with more and more “unlikely early repertoire”,  not to mention some pretty credible new repertoire – to absolutely amaze and delight me and the other long time fans of the band.

So – the act of listening has moved forward through time with me, I continue to engage with artists old and new whose music I respect or revere even, and I am all the richer for it – there is nothing on earth, for me, as exhilarating as a quality live performance by musicians who are committed fully to their craft.

I simply love live music, and really, there can never be enough good concerts each year – there is always someone that I missed out seeing “back in the day” or newer artists that I want to check out live – there is always something going on.  I feel very fortunate indeed that I have been able to see so many great concerts.  Moving to Britain was also a hugely fortunate thing in terms of me being able to see bands performing live that did not regularly play in far-off San Diego, California (where I lived for the first half of my life) and so many bands that I never got the chance to see when I lived in California, I have not only seen but in some cases, I have been able to see performing live several times.

This includes bands or artists such as:

…and the like – all bands or artists that I never did see when I lived in the United States – and I spent the majority of my adult live, utterly convinced that I would never, ever get the chance to see some of these remarkable musicians and performers – and yet, somehow – it has happened!  Much to my ever-lasting astonishment and delight.  So I’ve managed to make up for a lot of gaps in my musical education just by merit of living in Central Scotland!

Building Up The List Of Concerts Attended

Thanks to some modern / technological innovations, even the act of “figuring out” what shows I have attended over the years, is supported and made possible – in the main instance, I began, that same week of my 60th birthday, to use a tool with which many of you may be familiar – the website known as “setlist.fm”.

setlist.fm is, simply put, a remarkable web site dedicated to preserving the memory of musical performances, but doing so in such a way that each user – that’s you and me – anyone – everyone – can easily find the concerts they attended, and “add them” to the list of shows that they have personally attended.  It also allows for setlists to be built, too, so that the songs that were played at each gig, if they are known – can be input, stored, and then viewed by subsequent users.

It also gives us the opportunity to rectify errors that have been made historically, or clarify points about a performance or performances or artists or any number of details about an event.  So with this kind of capability, I find that setlist.fm is really the ideal tool for building up your own personal history of concert-going, which is also then of course. possible to share with others, too – since each profile is public.

It also gives you a lot of insight into your own experiences of concert-going, that you would not have been aware of.  For example – this blog, is focusing on the 1970s – when I first began attending live concerts – and in the seven years of the 1970s that I was actively going to concerts (1973 – 1979), I am able to determine from setlist.fm that I attended at least 55 concerts in that first seven year period (I only began going to live concerts in 1973, so of course I have zero concerts for the years 1970, 71, and 72).  You can also view programmed statistics that can tell you a lot about your own experiences – and, the experiences of others, too.

The featured image (see below) for this blog is a photograph of the surviving concert ticket stubs – my own personal collection – of at least some of the ticket stubs that I managed to save out of the approximately 55 shows I attended during the 1970s.   I wish now that I had kept all 55, but if you think about it – it’s a small miracle that even the handful of survivors DID make it across 45 years, a continent, and an ocean – to be then collected and photographed as part of the preparation of this series of blogs.  Each decade brings a different set of bands, and a different set of ticket stubs from my own personal collection to accompany the blog for each specific decade.

As one example of how that can turn out to be interesting – when I was busy working on my own list of attended concerts at setlist.fm I began to notice something – that a certain other user, with an initially unfamiliar username – seemed to always be shown as someone who had attended many, many – an unnaturally large number of – the exact same San Diego and surrounding area concerts that I had attended.  I mean – this person was ALWAYS in the list.

I began to wonder if this was someone I knew, perhaps someone who I had gone to school with or even had been in a band with, perhaps – or any number of possibilities. After about a week or so of continually seeing this person’s username, every single time I entered another concert I had attended in or near San Diego, California – that I sent them a message, explaining who I was and asking them whether I knew them, since they had so obviously been at so very many of the same live shows that I had been to.  Curiously, a day or so after I wrote to them, I found that they had actually written to me a day or two before I contacted them – but I had not noticed the email for some unknown reason.

UK-TrioAs it turned out, I didn’t previously know this person, but as we corresponded, and started talking about some of our shared concert experiences via email – including some truly and memorable events, such as the day we were both at Licorice Pizza records in San Diego, where we met the band U.K. – on one of those “in-store” appearances, on the day of their concert that night – where they were actually opening for the mighty Jethro Tull.

 

For people like my new friend (who still lives in the San Diego area to this day) and myself – it was a rare chance to meet and interact with some of the musicians who we admired.  And it did seem strange to me, to have shared so many extraordinary experiences with someone that I have never “met” – but in fact, I pretty much feel like we’ve been friends for years – possibly because of those vintage, shared memories – who can say?

JohnWetton

For me personally, getting the chance to meet a former member of King Crimson, the late John Wetton – certainly one of the most innovative and remarkable musicians of our time,  an amazing bass player with a unique and very beautiful voice – speaking with John Wetton was a very interesting and enlightening experience for a young, hopeful musician such as myself.

 

 

So one of the stranger “side-effects” of the setlist.fm experience, in my case was the strange but rather interesting fact that I had spent time with my new pal, in the same room, talking to the same people – even, in the same conversations – and yet, we did not know each other!  And to meet someone now, anyone, who attended some of these same unique gigs that I had been to, after a forty-five year period where there was no such person with whom I shared these experiences to speak to about them – it’s truly remarkable.

 

Unique Musical Events In The 1970s – and at no other time

We have gone on to discuss the long-forgotten details of events such as Robert Fripp‘s amazing appearance at a small Tower Records store (on El Cajon Blvd – now long gone – but – another strange memory – it was right next to the North Star Motel – which is not in itself remarkable, but, “North Star” is one of the standout songs from Fripp’s album of that time, “Exposure” – and that amazing live introduction to Frippertronics, is what set me on a long journey to become a looper, and later, a looping ambient guitarist – I fell in love with the process of looping electric guitar that day – a truly memorable event – and now, I have a new friend with whom I can share the detailed memories of these very special events.

So from a list of concerts on a special web page – you can learn and experience a lot more than what you would think a list of concerts might do.  It was an immensely satisfying task, and I probably did the bulk of the list over a three to four week period, after that, I continued to add just the odd show here or there – ones newly remembered, or ones where I had been missing details – until I finally reached my current total – and it has stayed somewhere around that total (currently as of May 28, 2018 – 209 concerts by 129 different artists!).  That in itself was a surprisingly large number – I had really not expected it to be that large.

 

TheBeatlesIn this blog, I want to touch briefly then, on some of the highlights of the 54 or 55 shows that I attended during the 1970s, which were mostly a mix of rock and progressive rock – I was heavily into and heavily influenced by prog, as it is known, and I was so, so fortunate to live in the times that I have lived – I was born at the end of the 50s, and grew up in the 1960s with the music of the Beatles as the soundtrack to both my childhood and my adolescence.  As the 1970s approached, I broadened my previously-held view that the Beatles were the only band worth listening to, and I began to hear other kinds of music being made, by a whole new kind of musicians – many of whom, were extremely was too young to go and see the Beatles live,influenced by the Beatles themselves !!!

 

 

 

HendrixI was too young to go and see the Beatles live,and just a bit too young to go and see Jimi Hendrix, both of whom played San Diego back in the day, those two bands being my very favourite two bands of the 1960s/70s – a real shame, but – I could NOT have been more perfectly placed on the timeline of my life, to experience fully and enjoy thoroughly, the music of the next generation of rock – the Led Zeppelins, the earliest and best of the proggers, Yes and Genesis, Jethro Tull, Gentle Giant and the like.

 

 

That unique gathering of incredibly diverse and powerful progressive rock titans, was a once in a century event, and I was the perfect age (15) to begin enjoying these amazing rock and progressive rock as they made their way around the world, stopping at San Diego often, and therefore entertaining me with often, repeat performances year after year.  Starting out with Yes, then moving rapidly upwards and onwards through Genesis (with and later, without Peter Gabriel), Peter Gabriel, Gentle Giant, Jethro Tull, Strawbs, Roxy Music, E.L.P., U.K. , and Utopia.

What an incredible time to be young and to be able to go and see these amazing progressive rock acts performing – all in the same seven year period – and then, also, onwards through time in the 80s and 90s, too – adding King Crimson to the mix in 1981 – 1984, and again, in the 1990s; and then finally, fast forward to the present day where I was able to see Van Der Graaf Generator multiple times (in both quartet, and in trio format) as well as the absolutely astonishing Thijs Van Leer performing with his band Focus – a band I loved dearly in the 1970s, but did not get to see until much, much later.

I did in fact, manage to almost make up for not seeing the Beatles, by embarking on a side plan of trying to see all four Beatles playing solo concerts – so at least I could hear my biggest musical heroes of all time, singing and playing their instruments live.  I was not disappointed, starting out with my first ever trip to Los Angeles (first time I drove to LA myself) to see the great George Harrison, who put on an absolutely amazing show, that began with the Ravi Shankar Orchestra (my introduction to live Indian music – another great love of mine that I have continued to pursue whenever it was possible) and continued with getting to see and hear George playing a fantastic selection of both his own solo records and songs previously played by the Beatles.

Then, next up, in 1976, I was able to catch Mr. McCartney, on the famed “Wings Over America” tour – which was another totally memorable experience, and the selection of solo numbers and Beatles songs that Paul chose to play, were unique; quite different to George’s choices, and wonderful to experience.

Then followed a long, long gap until I did eventually manage to see my third and final Beatle – the remarkable Ringo Starr.  Again – a performance of solo songs and selected Beatles songs – but truly enjoyable, and the concept of the “All-Starr Band” worked brilliantly – Zak Starkey was the main drummer, with Ringo sometimes joining him on double-drums when the singing duties allowed him to – and with a guitarist of the calibre of Todd Rundgren on hand, no less – well, it was a great night of fun, exciting Ringo and Beatle music.  I will cover these events more specifically when I reach their performing decades (which turns out to be from 1989 thru 2018 – as the “All Starr band”) – but with the sad, sad exception of John Lennon – when in 1980, events took away everyone’s chance of seeing John play live – forever – I did, in time, get to experience first hand, the music of three fourths of the greatest rock band of all time – the boys from Liverpool – the amazing Beatles!

 

The Journey Continues…

However – returning to my journey through the featured decade of the 1970s – I truly feel now that I was indeed, very, very fortunate, the whole decade was so perfectly timed for me – in hindsight, I would not change a thing about it – and although I have always regretted not seeing the Beatles and Jimi Hendrix on the live stage – in another sense, I don’t regret it – because by being too young to go and see those bands – that made me land at the perfect age for that absolutely unique and wonderful decade of true Progressive Rock – from 1967 to 1976.  That was the golden era, the sweet spot, where the impossible-to-exist thing that Prog was, existed in spite of that truth – and I landed nicely near the tail end of that era – beginning my own “concert journey” in May 1973 – exactly 45 years ago today.

Now – at the beginning of this episode, I spoke a bit about my experience at my very first concert, the Led Zeppelin show at the San Diego Sports Arena held on May 28, 1973.  That was however, only the first in a long, long string of shows that I went to – all of them in San Diego I think with one exception which was the George Harrison concert I mentioned earlier – held at the Forum in Los Angeles.

But it was not just limited to Rock bands like Led Zeppelin or Prog bands like Yes and Genesis – there were other experiences, and right off the mark, I went to see one of the finest “southern rock” bands that ever existed – the absolutely brilliant “Allman Brothers“.  Little did I realise, that just a few years later, I would be performing one of their best songs, the lovely “In Memory Of Elizabeth Reed” with my own band, Slipstream – and that was one of the songs that the Allmans played that night at the Sports Arena.

 

Diversity In 70s Rock:

Actually, when I look at the full list of concerts attended, I actually started out with an incredibly diverse set of bands – they were NOT all of the same genre at all – and I think that is a contributing factor to me liking so many different kinds of music over time.  Those first few shows looked like this:

May 73 – Led Zeppelin (what can I say – it ROCKED!)

September 73 – Boz Scaggs / The Allman Brothers (white soul followed by the precision jamming of the remarkable Allmans – sadly, sans Duane – but they were still incredibly powerful live at this point in time)

March 74 – Yes (Tales From Topographic Oceans tour – quadraphonic sound – classic line up Rick Wakeman still in the band)

June 74 – Steely Dan (with, weirdly, Kiki Dee opening – what a strange combination) – this remains, to date, one of the most astonishing musical performances I have ever seen or am ever likely to see – the sheer musicality of this gig was absolutely mind boggling – including two amazing guitarists in Denny Dias and Jeff Skunk Baxter – not to mention the insanely talented Donald Fagen on grand piano and – gasp – a synthesizer!

November 74 – Ravi Shankar / George Harrison – please see my comments above.  A mind blowing introduction to live Indian music, followed by my favourite Beatle on lead guitar, slide guitar, and beautifully hoarse vocals – which did not bother me a bit – because I was hearing my favourite Beatle playing slide guitar – and I feel that in some ways – George was the master of the slide – in his own style and in his own way – not in the “Duane Allman” super technical slide playing way – but in a beautiful, careful, lovely way that set George apart from all other slide players.  I loved seeing George and I loved seeing Ravi – a brilliant day!)

January 75 – Genesis (The Lamb Lies Down On Broadway Tour with Peter Gabriel) – Part of me still can hardly believe that I got to witness this unique musical event – a full four album sides performed without a break – and this then-brand new work was stunning both musically and visually – I had thought that Yes were amazing live, but Genesis were very diverse in their approach to songwriting and quite different – Yes does not have any tunes quite like “Broadway Melody of 1974” or “The Waiting Room” or “Anyway” or “The Light Dies Down On Broadway” – and it was an eye-opening experience for me – realising that there was more to Prog than just the music of the mighty Yes – much, much more, I found out later on…

So from this half-dozen standout shows that I saw in the first couple years of concert going, when I was 15, 16, maybe 17 years old – absorbing musical ideas like a giant sponge – I learned an awful lot from watching rock and prog guitarists play – and solo extensively sometimes – and it was the best possible “music school” I could have gone to – of these half dozen first shows, the diversity of type of music is nothing short of remarkable:

Heavy Rock (Zeppelin)

White Soul (Scaggs) / Southern Rock (Allmans)

Progressive Rock (Yes)

Intelligent Pop (Steely Dan)

Classic Rock (George Harrison)

Progressive Rock / Unusual (Genesis with Peter Gabriel)

Then, if you continue on looking at how my 1970s concert experiences progressed, the musical diversity just goes off scale – taking in many different and unique artists; witnessing live concerts by the amazing Frank Zappa (with Captain Beefheart opening)  or the amazing German electronic music pioneers Kraftwerk (with British folk-rock legends Strawbs opening – and that was actually, who I was there to see!) or progressive rock giant Todd Rundgren‘s Utopia (the RA tour) or from Britain, Be-Bop Deluxe (featuring guitarist Bill Nelson) or 10cc (featuring guitarist Eric Stewart) or Peter Gabriel (formerly of Genesis) or 60s classic rock greats The Kinks or new wave artists Blondie or the art-rock genius of Roxy Music (featuring guitarist Phil Manzanera) and onto the truly unique musical events such as the aforementioned Robert Fripp at Tower Records “Frippertronics” demonstration – Robert Fripp of King Crimson, playing his guitar through a pedalboard, into two Revox reel-to-reel tape decks, and demonstrating the tape-loop technique introduced to him by Brian Eno back in the UK.

You want diversity – musical diversity – genre diversity – then the experience of those seven years, from 1973 through 1979 – included enough eye-opening musical, technical and performance diversity that for me, well, I do not believe that I could have HAD a better musical education, and as you may notice, the single recurring theme in the artists mentioned in this blog, in particular, in the set of bullet points just above, and in the previous paragraph – and that is – bands with amazing, technically and musically proficient guitarists.

 

Awesome Guitarists – one motivator for attending so many concerts

I was a guitarist then, and I am still a guitarist now;  so it’s only natural that I would follow and enjoy music by the world’s most talented and capable guitarists – and the list of guitarists, contained just in the bullets above and that paragraph of diverse artists – is staggering in itself:

It’s interesting to consider what an effect seeing that many astonishingly talented and brilliant musicians, witnessing the different musical approaches and technical prowess of these amazing players – had on me, as a guitarist – I think that I absorbed a lot, and it was only years later that the eventual effect of this was felt – I became an amalgam of my own influences, when I listen to myself play guitar now, I can hear the influence of many of the guitarists in the list above – and those influences will stay with me forever, because I absorbed them, mostly, during my teenage years (I turned 20 in 1978 – near the end of my 7-year 1970s concert experiences) when my brain was still pliable enough to do so.

But even years later, I will recall things that I witnessed certain guitarists doing back in the 70s or really, at any time I’ve seen a great guitarist – and I will bring back whatever I can from that memory, into my current performance.  It’s extremely beneficial to have these particular experiences – because seeing these guitarists, in these intensely creative bands – has had a profound effect on both me personally (in terms of the awe and respect in which I hold many of these artists) as well as on my guitar playing – I aspired for many years, to learn and adapt and modify these incredibly diverse guitar influences, into my own playing – and eventually – my own style began to emerge – but, it’s still based on those early experiences.

If I had not spent many, many hours wearing out the vinyl of my copy of Led Zeppelin III, or any other classic 70s album that I loved, studied and tried to learn to play – including songs from “Larks’ Tongues In Aspic” by King Crimson – and over on the piano, too, I was learning and absorbing music by Van Der Graaf Generator, Peter Hammill, Todd Rundgren, Peter Gabriel – so there was an entire second side of influence, through piano-based songs – I even learned Tony Banks songs (such as “Anyway” for example) – with the help of my best friend Ted Holding, may he rest in peace – songs and bits of Keith Emerson and so on – anything to enrich the pool of musical ideas that I could then draw from for the rest of my life.  Mostly on the guitar, but – a significant amount of time was invested in learning piano and keyboard based songs – which I think helps to round me out as a musician – I am not “just” a guitarist (thankfully!!).

I had an absolute blast in the 70s, and if there is anything to regret, it would simply be that I did not go to MORE concerts during the 70s (and 80s and 90s for that matter) – my experiences would then just be all the richer for it.   I am not complaining by any means – I could not ask for a richer experience than this one – I am just greedy, I loved seeing these bands and artists playing their music, and I simply want more – there can never be enough good music in one’s life.  Never!

 

Forward…into the future!

So in conclusion – for me, the 70s were an absolutely unique and utterly amazing time, when I got to see some of my very, very favourite players and bands – from the mighty Led Zeppelin to the amazing Steve Howe of Yes (the man who could jump from guitar-to-guitar-to-pedal-steel-guitar-and-back-to-guitar-again mid-song, mind you – mid-song!) to having my mind permanently opened by the power and mystery of Steve Hackett‘s amazing guitar parts for Genesis“The Lamb Lies Down On Broadway” to seeing Frank Zappa play in his unique, groundbreaking guitar style – there is nothing on earth like Frank Zappa, there was only one, they absolutely broke the mould that time.

Moving from the classic rock of Led Zeppelin, on up eventually, to the end of the 70s with Blondie and the emergence of New Wave, it was an amazing musical journey – I learned a lot, but I also had an enormous amount of fun – and I realise now that for me, that my idea of “fun” is quite different from that of most people – I have a lot more fun when I am watching and listening to an incredibly talented lead guitarist, playing as part of an incredibly talented band that has worked out an amazing repertoire of impossibly beautiful, and possibly technically demanding songs – now – that’s MY idea of fun!

Until next time then –

 

 

Dave Stafford

May 28, 2018 – 45 years to the day from the day of my very first concert experience of seeing Led Zeppelin live at the San Diego Sports Arena – it now seems, that in some ways, that it all just happened yesterday…

 

 

Next time on Decade By Decade – The Live Concert Experience / Overview:

The Dreaded 80s – Not as bad as we remember

 

1970s Concert Ticket Stub Collection (courtesy Dave Stafford)
Dave Stafford - Concert Ticket Stubs - 1970s

Concert Ticket Stubs – 1970s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“under the influence” (beatlesque)

I wanted to take a little time to try to give some indication of the vast scope and reach of the influence of the Beatles, and in particular, their influence on other musicians.  This has inspired everything from direct Beatle parodies such as “The Rutles” (featuring Neil Innes and Eric Idle) to tracks that sound very Beatle-like (such as any number of Raspberries, Badfinger, Todd Rundgren, The Move, Roy Wood, Knickerbockers, songs – and many, many others – see lists below) to whole albums of Beatles tribute (such as Utopia’s brilliant and very musical Beatles spoof album, “Deface The Music”, from 1980).

Even the world of jazz was invaded by the music of the Beatles, from Wes Montgomery and other guitarists of the day, inventing their own jazz versions of Beatles tracks, or someone of the stature of Ramsey Lewis, making, in 1968, an entire album of Beatles covers, all taken, amazingly, from the Beatles then-current 1968 “White Album” – in a completely unique and extremely jazz way.

Awesome inspiration, across all genres of music – the music of the Beatles actually can be called “universal” in its appeal, given the strange and disparate characters who breathe new life into a huge, huge range of covers and tributes and sound-alikes, from the very ordinary covers, to the truly bizarre spoofs, jokes and odd variations that abound the world over – everybody under the sun has had a crack at covering a Beatles song – and some go much, much further, either creating amazing near-carbon copies of Beatles songs (such as 1976’s “Faithful” album by Todd Rundgren – his “faithful” version of “Strawberry Fields Forever” is exquisite) or creating music that sounds so much like the Beatles, that it is actually thought to be by the Beatles (for some unknown reason, “Klaatu” was one such band, where folk thought that it was actually the Beatles, performing anonymously six or seven years after they had broken up…but, it was not).

For my money, there are other artists who create original music that is much, much closer in content and feel than the music of “Klaatu” (but, don’t get me wrong, “Klaatu” are a remarkable, very capable, and very interesting band to listen to – and, little-known fact, they are the actual authors and creators of the original version of the Carpenters’ hit single, “Calling Occupants (Of Interplanetary Craft)” – not too many people know that in that case, the Carpenters were doing a cover of…“Klaatu” !

I think, though, that in many ways, that the Beatles, and to a somewhat lesser extent, The Beach Boys, had a huge influence on musicians all over the world.  From Apples In Stereo to XTC, there are so many musicians, including some pretty unlikely characters, that have either covered Beatles songs faithfully (or unfaithfully in some cases), or have created either songs and/or albums of songs that mirror, mimic or even mock, the sound of the Fab Four.

I think that it’s very true what they say, that imitation is the sincerest form of flattery, if that is true, then the Beatles have been flattered until they are completely flat, because so, so many musicians have cited them as a major influence, and have unashamedly copied their songs, their sound, their harmonies, their guitar playing, their bass playing, their song structures and so on – and the list of people who do cite the Beatles as a musical influence is just simply too long to print in this forum.

What always surprises me is the number of extremely progressive musicians who claim a serious Beatle influence, when you listen to the music of a band like Yes, or King Crimson – you wouldn’t necessarily immediately think “Beatles” – but Yes were obviously fans of the band, in the early days, they covered the Beatles “Yes It Is”, and I believe that both Steve Howe and Chris Squire have said they are fans of the Beatles music.  Robert Fripp has also acknowledged the influence of “Sgt. Pepper’s Lonely Hearts Club” band on him upon hearing the whole album on his car radio one fateful evening, and Beatles references are embedded, sometimes deeply, into the music of King Crimson – “Happy Family” from the third Crimson album, “Lizard” is an unconcealed tale of the Beatles breakup, penned by then-Crimson lyricist Peter Sinfield.

So sometimes, there are Beatle-influenced bands and musicians, where the music made by those musicians, music sounds nothing like the Beatles to our ears – but for them, the Beatles still loom larger than life, buried deep in their internal, musical DNA – just waiting to get out, in the form of new songs that are about the Beatles, influenced by the Beatles, or simply sound like the Beatles, intentionally (usually) or not (occasionally).  Perhaps yet another splinter-list should be “Songs That Sound Like The Beatles But Their Composers / Performers Did Not Intentionally Try To Sound Like The Beatles – It’s By Complete Accident” but I feel that my already non-legendary non-skills as a list producer have already fallen flat, and that’s too complicated for me to work out who did or did not “intend” to sound like the Beatles!  I don’t think I can write that list – but if you can – please do, and please send it in, and if it’s complete enough, I will post it here.

Speaking now as a guitarist, I don’t think I’ve ever met a guitarist who did not care for the guitar playing of  John Lennon or George Harrison, nor have I ever met a bassist who did not respect the massive skills of Paul McCartney on the bass guitar – the absolute, indisputable master of melodic bass playing – and when I listen to Chris Squire play, I do hear echoes of Paul McCartney’s style in his playing – especially the “high register” bass work.  This famed skill at playing beautifully in the higher and highest pitch ranges of the bass guitar has been imitated by many, but for me, well, it’s Todd Rundgren’s “Determination” that showcases this technique in an incredible way (see below for more on “Determination” ).

The same can absolutely be said for drummers admiring Ringo Starr, everyone knows that Ringo is not a “flashy” drummer, he doesn’t often “show off” but what Ringo has that many, many drummers do not have, is the steadiest tempo imaginable, and, a sense of when to play, and when not to – he always provides just the right amount of percussion to any given song, never overplays – just what is required.  This is borne out when you hear live sessions by the Beatles, while John, Paul and George make error after error in the earliest takes of any given song, it’s rare indeed to hear the almost metronome-like Starr make an error.

Even guitarists who also play bass get the whole “Paul McCartney high-register bass playing” concept, as can be evidenced by the multi-talented Todd Rundgren, from his 1978 solo album “Hermit Of Mink Hollow”, there is a brilliant track called “Determination” , which not only features pitched up, trebled up, “jangly guitars” but a beautiful, beautiful, McCartney-esque bass line, that just pulls the heartstrings as it flies beneath the open chords, beginning in the high register, and then sweeping down to become a bass again – McCartney’s early adoption of unusual styles such as playing bass melodically, playing bass in the very high registers, or playing bass in any number of innovative ways, not always melodic – playing with his low E string slightly detuned (as in the song “Baby, You’re A Rich Man”) or, playing the low E string so hard that it detunes as he plays (as can be heard in parts of the song “Helter Skelter”)  – has not gone unnoticed by Todd, and any number of other McCartney imitators.  Speaking of McCartney imitators, Eric Carmen and the Raspberries also recognise the genius of the Beatles front line which is evidenced by songs that closely resemble Beatles songs in form and content, lyric and guitar styles.

I wish more drummers were like Ringo, well, there is one that immediately comes to mind – Zak Starkey, Ringo’s eldest son.  Zak is a remarkably talented drummer in his own right (I was fortunate to see him perform with an early incarnation of “Ringo Starr’s All Stars” (a show which also happened to feature the above-mentioned Todd Rundgren) and, hearing Zak and Ringo Starkey nail the complex drum part of Todd’s “Black Maria” live was absolutely fantastic – Zak made it his own, but carried the band of mostly older musicians, through the set with his unshakeable rhythm, and he has certainly inherited Ringo’s steady hand – but Zak is also a thoroughly modern drummer, and in some ways, he goes far beyond his famous dad – which is what you might expect – I mean look at Jason Bonham, it’s the same thing, drummer with a famous drummer dad, and with that burden of being the son of a legend, they try that much harder to sound unique, and go beyond the “oh, he’s the son of Ringo…” or “oh, he’s the son of Jason” – and I am justifiably proud of both of them, for carving their own musical paths, and not relying on “dad” for their fame or ability, but making it on their own laurels.

witnessing one of the variations of “Ringo Starr‘s All-Starr Band”, on the 1989 tour featuring Todd Rundgren, it was remarkable to see Zak take sole control of the drums when Ringo went front and centre to sing, so for some of the classic Beatles songs that the band played, it was Zak on the drums rather than Ringo himself, but it absolutely mattered not, Zak did an amazing job on tracks like “With A Little Help From My Friends” and “It Don’t Come Easy” – and at other times, father and son played together, and that was truly a joy to see – amazing !

Two generations of Starkey’s, doing what they do best – playing the drums, and playing the music of the Beatles too – among other items from the various band members such as the aforementioned Todd cover – and “Black Maria” live  with Zak AND Ritchie Starkey is not something I shall forget any time soon – fantastic”!

And, because it was Todd’s big moment, Ringo was free to join Zak on drums, so it was the pair of them behind Todd – and you could see in Ringo’s face how much he enjoyed playing the song (I believe it was included in the set list, because Ringo always had liked the song, so much so that he insisted that it be the “Rundgren” moment in the concert – it being his favourite track off of Todd Rundgren’s seminal 1972 album, “Something / Anything”) and Zak was just head down getting on with the drum part – and that is the only time I’ve ever seen the song performed with two drummers – and if those drummers are Ringo and Zak Starkey, you know it’s going to go well – and it was an excellent cover, absolutely spot-on, and a real highlight of the show.

I don’t think anyone can argue that the Beatles had a very, very significant influence on musicians of many generations, and new generations of players are discovering the Beatles anew even now, in 2014, and are translating their experience of hearing Beatles material into their own new “musics” – so the process continues, of hearing songs influenced by the Beatles, even in new music created by young musicians – because, in 2014, maybe they just heard “Revolver” for the first time, and it absolutely blew their minds – just like it blew our minds back in 1966 when we (now, unbelievably, now we’re the “older generation”!) first heard it.

And – it’s undeniable – this is unforgettable music, genius music from the writing to the playing to the singing and even to the packaging – Beatle imagery is also something that has been oft-copied, and some of their most famous album cover designs have been copied again and again by so many bands.

Some of those copies are more on the side of parody, for example, Frank Zappa & The Mothers of Invention classic Beatles parody, made not that long after the original came out, “We’re Only In It For The Money” is directly made to look like a bizarre “version” of “Sgt. Pepper’s Lonely Hearts Club Band” and in some ways, the cover is the biggest part of the joke – the music on the album (which is brilliant, by the way – one of my favourite early Zappa / Mothers records) is not nearly as important to the parody as the album design was.  But the whole effect is…kind of hilarious 🙂

In particular, some of the most famous Beatles album covers, such as the “bendy” photographs of the band that graces the cover of their innovative “Rubber Soul” album have been imitated by many other bands, time and time again.  Even in the earliest days, the unusual photographs of photographer Robert Freeman (as in, the classic shot of the Beatles silhouetted against a dark background) as on “With The Beatles” (UK) or it’s US counterpart, “Meet The Beatles” has been copied many times over the last few decades.  But revolutionary cover art is difficult to come up with, so bands just borrow from the best…The Beatles.

No article about Beatles’ influence would be complete without mentioning two gentlemen from different eras of pop music, firstly, the ridiculously talented eric stewart of 10cc, who has performed Beatles songs live in concert with 10cc, and also has an undeniable streak of “beatlesque” harmony and sound on various tracks throughout the long career of 10cc – the best example is probably part 1 and part 3 of 10cc’s pop opus, “feel the benefit” – very “dear prudence” if I don’t mind saying so myself :-).  the other gentleman in question is from a couple of decades later, from the 1990s and beyond, and that is Jason Falkner; unwilling conscript into pop genius band “jellyfish”, after he escaped their clutches, went off on a very successful if low-key solo career – and again, the sound of his vocal harmonies, the beautiful chord progressions in his music tell me one thing: he, like Eric Stewart before him, is under the influence of the Beatles.  Personally – I cannot get enough of the music of 10cc or Jason Falkner, two generations apart, perhaps, but, united in their love for Beatle harmonies, jangly Beatle guitars, beautiful Beatle chord progressions, and even Beatle-like lyrics.

I started out writing this edition of the Beatles’ story by trying to create various lists of bands that sound like the Beatles, and then, albums inspired by the Beatles, and I was really only able to touch upon a very few – I know that I have missed out so, so many – and everyone has a different “take” on what bands sound like the Beatles, what albums are directly or indirectly inspired by the Beatles and so on.

Regarding my attempts at filling in these lists – I am ultimately not satisfied by my primitive attempts at “list-making”, and in searching the Internet for valid lists of bands that sound like the Beatles, I kept finding lists that made no sense to me, personally – that would always include every big rock band of the day, so it would always be “Pink Floyd”, “The Who”, “Jimi Hendrix” – and I don’t think any of those bands sound like the Beatles at all !  Yet, site after site would cite (ha ha, get it – site – cite) Hendrix or Pink Floyd as a Beatle sound-alike – but I cannot bring myself to agree with this, yes, Hendrix loved the Beatles, he played bit of Beatle melody in the middle of his own songs, he covered many Beatles songs – but, he doesn’t really SOUND like the Beatles, does he?  Maybe very vaguely, on a song like “Crosstown Traffic” perhaps – but, I’d say, if anything, that Hendrix influenced the Beatles, as much or more than the Beatles influenced Hendrix.

Jimi Hendrix sounds like…Jimi Hendrix, and no other, really – he is utterly unique.  Hendrix did absolutely love the Beatles, and would indeed, often insert a perfect bar of George Harrison lead guitar, into one of his own original songs, in live performance – and then give a little laugh, like it’s an “in-joke”  – “here’s a cool melody that I nicked off of the new Beatles disc, it’s called “Revolver…”.

As for Pink Floyd, it would take some real convincing for me to add them into the list –  I love a bit of early Floyd as much as anyone, but I do not hear echoes of the Fab Four in their music (you saw what I did there….”Echoes”…Pink Floyd – and, it was completely unintentional!) I am afraid I just don’t get it, these constant references to Pink Floyd sounding like the Beatles – maybe they are talking about the odd Syd Barrett track, I don’t know, but it just doesn’t seem right to me….so I did not add them in :-).  Yes, the Beatles and Pink Floyd did both play psychedelic music, but it was very different in nature – so, no, I don’t see the connection, musically.

So – please send in your additions and corrections to any of the lists, and I will update them periodically to reflect world opinion – I am not a Beatle expert (although I have read extensively about them, in particular, I started out years ago with Hunter Davies’ remarkable biography of the Beatles;  in later years,  I’ve studied the remarkable works of Mark Lewissohn, whose “The Beatles Recording Sessions” is like the Bible, to me, one of my most cherished and most often re-read Beatles information sources).

I will read anything and everything written about the Beatles, even now – and I cannot possibly compile complete lists of the type I am presenting here, so any and all input from readers would be much appreciated – please comment, and in your comments, submit corrections or additions to any of the lists, and every few months, I will compile all of the comments and update the lists – so over time, maybe, these lists will become relatively complete – which would be great, because we would be creating a useful, accurate, and complete Beatle resource – or rather, a resource of bands and albums that SOUND like the Beatles, anyway – why not?

Meanwhile, on the subject of the Beatles music, I’ve been very happily really enjoying my two latest Beatle purchases: from 2013, the two-double-CD “Live At The BBC” – volume 1 (from 1994) completely remastered, and a new volume 2 entitled “On Air” which is a fantastic addition to this wonderful series – four CDs chock full of radio performances, studio out-takes, and the Beatles chattering – a fantastic Beatles music resource, of early live tracks and one demo, and at this point I say, thank God for the BBC !  Luckily, they kept all of these Beatle recordings, so now they have been compiled for future generations to enjoy.

My other purchase, “The U.S. Albums” is a 13 disc monstrosity, but hearing the albums in the U.S. running orders for the first time since I was a child, is just remarkable – even though John Lennon condemned Capitol for messing with the Beatles’ carefully considered running orders, the odd, arbitrary, Capitol-created running orders are unfortunately for we Americans, what we grew up hearing, so even now, I am still startled by the UK releases – because the songs don’t arrive in the order my brain expects they will.  So now I have complete choice – if I want the real thing, I consult the Stereo and Mono boxes from 2009.  If I want the Capitol versions – I consult the US Albums from 2014 – very exciting stuff for Beatle-maniacs such as myself 🙂

The last time I bought this many Beatles CDs all at one go, was in 2009, when the long-awaited stereo and mono re-masters appeared – and of course, that was an essential purchase. Following that, though, I am truly amazed, and at the same time, very grateful indeed, that in 2014, I can almost casually pick up 17 “new” Beatles albums – four from the BBC, and 13 from Capitol – and that just makes my Beatles catalogue so much more complete and containing even more variations on their remarkable catalogue of music – beautiful, rockin’ Beatle music.

So we’ve gone down an alternative path this time, a path taken by the many, many musicians who revere the Beatles, and admire their music enough to copy it exactly, partially, or, some aspect of Beatle music has entered into their own songs, anything from a guitar riff to some high register bass work of a melodic nature, or a steady Ringo Starr back beat – so sometimes, you may have a completely unique song, but there is a section of it that REALLY recalls the Beatles very strongly – so, five percent of the song is 98 percent Beatle-like – but, the REST of the song is not !

As a musician and a guitarist, I do hear a lot of these “stand-alone” Beatle moments, it might be a few bars of music in a Jason Falkner or Michael Penn pop song that strongly remind one of the Beatles, or just a 10 second passage in a song on the radio – you hear “Beatlesque” bits of music almost every day, and I am often fascinated by them, sometimes, you work in your mind to try and figure out which Beatles song or songs is being referenced – sometimes it’s obvious, sometimes, it’s impossible to determine – but you do know, just by hearing, when something has the quality of being “Beatlesque”.

 

Lists Of Bands That Sound Suspiciously Like The Beatles

 

Bands Or Artists That Always Sound Like The Beatles:

The Rutles

Bands Or Artists That Often Sound Like The Beatles:

Badfinger – an Apple band

The Knickerbockers

James McCartney – son of Paul McCartney

The Move – featuring Roy Wood

Raspberries – featuring Eric Carmen

The Swinging Blue Jeans

 

Bands Or Artists That Occasionally Sound Like The Beatle

10cc

Apples In Stereo

The Bears – featuring Adrian Belew

Adrian Belew (ex-King Crimson) – solo artist

Electric Light Orchestra – featuring Jeff Lynne

Jason Falkner (ex-Jellyfish) – solo artist

Dhani Harrison – son of George Harrison

Jellyfish – featuring Jason Falkner

The Kinks

Klaatu

Julian Lennon – son of John Lennon

Jeff Lynne – Electric Light Orchestra – Harrison’s producer /  member of Traveling Wilburys

Aimee Mann – solo artist

Bob Mould (ex-Husker Du) – solo artist

Nazz – featuring Todd Rundgren

The New Number 2 – featuring Dhani Harrison – son of George Harrison

Andy Partridge (ex-XTC)

Michael Penn – solo artist

Michael Penn & Aimee Mann – couple (they did an incredibly lovely cover of “two of us” – gorgeous track)

Todd Rundgren – solo artist

Teenage Fanclub –  Scottish pop band

Utopia – featuring Todd Rundgren

Roy Wood (ex-Move) – solo artist

XTC – featuring Andy Partridge

 

Bands That Sound Suspiciously Sort Of Like The Beatles

Oasis – (in their dreams, anyway!)

Tame Impala

 

Albums That Are Directly Inspired By The Beatles

Fresh – Raspberries – 1974

Faithful – Todd Rundgren – 1976 (all covers album, including Beatles covers)

The Rutles – The Rutles – 1978

Archaeology – The Rutles – 1996

Deface The Music – Utopia – featuring Todd Rundgren – 1980

We’re Only In It For The Money – Frank Zappa & The Mothers of Invention – 1968

– visual parody of Sgt. Pepper’s Lonely Hearts Club Band

 

Well-Known Known Admirers Of The Beatles – Musicians

Jon Anderson (ex-Yes)

Adrian Belew (ex-King Crimson)

Eric Carmen (ex-Raspberries)

Robert Fripp (King Crimson)

Liam Gallagher (ex-Oasis)

Noel Gallagher (ex-Oasis)

Steve Howe (Yes)

Eric Idle (ex-Rutles)

Graham Gouldman (10cc)

Jimi Hendrix (may he rest in peace)

Neil Innes (Rutles)

Aimee Mann (solo artist)

Andy Partridge (ex-XTC)

Michael Penn (solo artist) – brother of Sean Penn

Todd Rundgren (solo artist) – w/Nazz, Utopia

Chris Squire (Yes)

Eric Stewart (10cc)

Alan White (Yes)

 

Please – agree or disagree with my choices; send in additions, recommend deletions, recommend changes – and if there is enough input, I will periodically re-published updated versions of any Beatles lists that have appear in this blog series based on your input.

Meanwhile, maybe there are some artists noted here that you were not aware of, that have obviously studied the music of the Beatles and learned from it, and I am always happy to listen to any musician or band that sounds like the Beatles – so, if I have missed any truly obvious ones – please let me know, and again, I will update the list, too.

Happy listening – the influence of the Fab Four runs deep, traverses the entire globe, and only seems to be on the increase over time, as successive generations re-discover their music (often prompted by their parents, but still…) and then integrate parts of it into their own new kinds of music – a process that I hope goes on forever.

Nothing would make me happier, “in the year 2025” (another 60s pop joke for the older folk in the audience!!), let’s say, to hear a brand new song on the radio that sounds very original, but, completely Beatlesque at the same time – that would please me no end, because we then will know – young people are still listening to the greatest rock band that ever was – the fabulous Beatles – and they rock!!

I don’t know about you, but I am definitely under the influence of the Beatles – always have been, always will be – my favourite band from childhood, the first band I truly appreciated, and in actual fact, I literally “grew up” with them and their music, it’s a joy to still be listening to them now, in the year 2014, and feeling just as happy about it as I first did back in 1963, when I must have heard them on the TV, on the Ed Sullivan show – being only five then, I don’t directly recall it, but as it was repeated on TV every year or more often every year thereafter, I feel like I do remember it – and I do remember their later TV appearances directly.

What a remarkable group, and what a remarkable influence they’ve had on a remarkably talented group of very respectful and creative musicians – my peers I am proud to say, who also “grew up” with the Beatles.  There’s no better way to end up “under the influence…”

I bought a flat guitar tutor

one of the oft-overlooked songs from the first godley and creme-less 10cc album, 1977’s stewart and gouldman-led “deceptive bends”, is a short little song, penned by eric stewart and graham gouldman, that in 1977, struck me as being every bit as good, or better, as anything from the first four 10cc albums featuring the classic line-up of godley, creme, stewart, and gouldman – the song with the unlikely title of “I bought a flat guitar tutor”.

ok, “deceptive bends” does contain “the things we do for love”, and even more embarrassingly, “modern man blues” but I can forgive the latter, and actually admire the former – as a pop song, it’s a cracker, and as a guitarist, I admire it’s concise and very  lever guitar solo.  the story about kevin godley, throwing his complimentary copy of “the things we do for love” against a tenement wall may or may not be true, but in hindsight, it’s actually a pretty damn good pop song despite kevin’s alleged “reaction” to it.

so while many might criticise “deceptive bends” because it is more poppy, it is more straight ahead, and it does not contain arty, clever songs like the ones godley & creme used to pen for the band – there are hidden gems on the album, and this song is the brightest one.

it took a few listens, but I quickly realised that eric’ and graham’s clever little 1920s jazz number is really an in-joke for guitarists, being nothing more than a lyrical listing of the guitar chords that eric was playing as he sings the song!  an elaborate joke, a word play, puns, call them what you will – set to seriously beautiful and clever music.

strangely, and remarkably, the song’s lyrics very nearly contains enough information for a savvy guitarist to play the song without seeing the chords – just follow along with what eric sings !

and that would be cool enough, if he just listed A major, or A flat, or A minor…but no, eric goes for the gold, and includes as many odd chord types as possible: suspended, diminished, augmented – and as he sings the chord name – his fingers move to that chord.  all of this crammed into a 1:47 masterpiece that should go down in history as the coolest guitar tutorial ever conceived, if nothing else – you can just about see how this works from this crude representation of the song’s lyrics, with the actual chord names above the lyrics in question:

|A|        |Ab|

I bought a flat

|Abdim|        |Bdim|    |E|

diminished responsibility

|D9|                              |C|

you’re de ninth person to see

|Bsus4-B-Bsus2|      |A7|

to be suspended in a seventh

|Amaj7|           |E|

major catastrophe

|Am|                     |G|

It’s a minor point but gee

|Gaug|                 |G#aug|

augmented by the sharpness of your

|C#|

see what I’m going through

|A|   |B|     |E|

ay to be with you

|Ab|            |C| |C/B|

In a flat by the sea

|C/Bb| |Bm| |Bm/A|

_________________________________________

…and it may not be obvious to non-guitarists, but some of the words that match the chords aren’t words at all, but, letter sounds at the end of a word, that still equate to a chord, so for example:

|Abdim|        |Bdim|    |E|

diminished responsibility

“E” major chord corresponding to the “e” sound at the end of the word “responsibility”…

|Amaj7|        |E|

major catastrophe

“E” major chord corresponding to the “e” sound at the end of the word “catastrophe”…

and OK, “a flat by the sea” is great because of “a flat” equating to an Ab (A flat) chord, but I love even more that the word “sea” falls on the chord C – C major – that’s just brilliant, really clever I think.

and farther on, again, “see what I’m going though” where “see” equates to C major

and then “Ay to be with you” where it moves from A major to B major – that is just so, so clever!

I am also very fond of this bit:

|D9|                     |C|

you’re de ninth person to see

because by changing the article “the” to “de”, you then get the “D ninth” chord – pronounced “de ninth” of course.

this section is really tricky, too:

|Bsus4-B-Bsus2|      |A7|

to be suspended in a seventh

|Amaj7|           |E|

major catastrophe

because the chords just follow perfectly – the suspended chord on the word “suspended”, the seventh chord on the word “seventh”, and the major seventh chord on the word “major” – that’s two of the cleverest two lines of lyric ever written – I really wish I’d thought of this!!

I can remember playing this for my friend jim whitaker, who really loves a good jazz chord, and he was really knocked out by it – we both found it to be extraordinary.   but for me, it wasn’t just the clever word-play – although that is really appealing, it’s also the amazing, 1920s django reinhardt-style solo that runs the song out – that’s what blew my mind, that this mild-mannered pop star could knock off a solo that would not have sounded out of place on the second steely dan album – world class guitaring – this elevated eric stewart in my eyes, to an extraordinary degree.

I already knew he was a great guitarist, and an even greater slide guitarist, from his work on the first four 10cc albums (10cc, sheet music, the original soundtrack, and how dare you!) but this song – this was something new, beautiful vocal, beautiful jazz chords (with built in instructions!!!!), jazz SOLO – and what a solo it is.

the solo is partially double tracked, comp-ed with piano and with vocals – but I truly think if it had sat next to “through with buzz” or “charlie freak” on a steely dan record, I would never have noticed that it was out of place. the difference being that eric has a beautiful, melodic voice that donald fagen does not.  don’t get me wrong, I love donald fagen as a vocalist, but for a song like this – you want eric stewart singing, you really do.

the song begins with a short whistled section, followed by a perfect, beautiful vocal from eric, ending in a beautiful, high “whoo-oo” as he then moves into that incredible solo – which I just can’t get out of my head, it’s just gorgeous – and the solo runs through the entire chord sequence again, in place of a second verse – and as it follows all those chords, the suspended, the diminished, the augmented – it goes some amazing places – I absolutely love it.

the last part of the solo is not double tracked, I reckon, because it’s too fast, and it needed to be solo – so it’s very cool, as the solo goes on, first the double tracking drops away, then, the piano and vocals take a back seat – and eric just flies, really difficult and incomprehensible figures – a solo I don’t think I can learn (although at some point, I do plan on giving it a try!).

I do find it difficult, because it’s clearly a cut above the songs that surround it – preceded by the acceptable, quite clever (and with a monster guitar riff, too)  “honeymoon with b troop” and followed by the forgettable “you’ve got a cold”, you could almost miss it, at less than two minutes – but, I believe it to be the absolute high point of the album with only one possible exception – the last song on the record, the incomparable pop masterpiece “feel the benefit (parts 1, 2 & 3)” – which is a significant point on the record, and indeed, a notable highlight of 10cc’s late 1970s output in general.

so do not blink, or you might miss it; but on this otherwise very straightforward pop album, “deceptive bends”, there’s a beautiful piece of jazz guitar, at a steely dan level of quality, hidden away between the usual 10cc pop.  It immediately became my favourite track on the album, the beautiful “feel the benefit” notwithstanding, “I bought a flat guitar tutor” will always be my favourite post-godley and creme 10cc song (well, OK, there are a few on “bloody tourists” that might compete for that spot – “tokyo”, “old mister time” and “everything you always wanted to know about !!!”); my favourite song from “deceptive bends”;  and it’s also the main reason, along with “feel the benefit” that I didn’t give up on 10cc, and I tried to follow them all the way into the 1980s (unsuccessfully, I might add).

certainly, I also love their 1978 studio release, “bloody tourists”, and remain very happy that I saw the “bloody tourists” tour – that was a high point of the late 70s for me.  and I recently dissected the 1977 live documentation of “deceptive bends”, “live and let LIVE” in a previous blog, and I would still say to this day, that there is very nearly as much musical value in those three albums, from 1977-1978, as there is in the holy “first four” with the original lineup.

I think that “I bought a flat guitar tutor” is a unique piece of music, that stands above and outside of the main work of 10cc – and it showed me that eric stewart is no flash in the pan pop star, he’s a serious musician with real chops (and when you hear this solo, I think you will agree) and the guitar/piano/vocal solo at the end of the piece is totally surprising and quite, quite amazing – you would never think for a moment that this is the same band that made “the things we do for love” – but it is.

the things we do for music.

in researching my last piece on the live 10cc album, I ran across a quote from eric stewart, where he spoke of wanting to go for the more grandiose, complex pieces of music, but that the demands of “you need a hit single” always outweighed that, and he always, unfortunately, at least to some degree, bowed to that pressure.

[warning – author now goes on a short but necessary diversion describing the other very important song on “”deceptive bends”, “feel the benefit” – and never really returns to the blog’s original subject]:

I wonder what would have happened if he had ignored that pressure, and had spent his time designing massive, complex and beautiful pieces of music – like “feel the benefit”.

speaking of “feel the benefit”, that’s the other reason – along with “I bought a flat guitar tutor”, that I held out hope for this “new” version of 10cc – the guitars, oh my god those guitars, and the incredibly beautiful orchestration, and the bass part, too! – and the vocals!… – of “feel the benefit” take 10cc to a new level of beauty and complexity, that the original band never really quite got to (although they got close, in pieces like “une nuit a paris”) – they never came up with a beatlesque anthem of the order of “feel the benefit”; which still gives me goose bumps as eric sings “ what would we feel…………..” just before that amazing double guitar solo begins…

and then, that solo just floors me – studio or live, it rocks the house.

another moment from “feel the benefit” that is absolutely earth-shatteringly beautiful, is the “bridge”” which occurs at 2:30 beginning with “you’re like a cloud behind the sun…” and ends with the incredibly beautifully sung “the wanderer soon returns and finds the colour of the grass is just the same…on the other side of the tracks” (eric spanning at least two octaves across this short lyric) and then all hell breaks loose – a final “oh – oh” as the orchestra swells and stirs magnificently, recalling if anything, “a day in the life” – I can think of no other song to even compare this to – leading to an almost godley and creme like orchestral section that climbs up to the first guitar solo…

but the way eric sings that one line, oh my god, the passion, the beatlesque glory, the fire in his belly – and the orchestra, the string parts following “…on the other side of the tracks” just give me the worst goose bumps imaginable, it’s so incredibly beautiful.

so these two songs, are for me, what makes “deceptive bends” so valuable and important, and it definitely began when I noticed what a clever little tune “I bought a flat guitar tutor” was.

the appreciation for “feel the benefit” came almost simultaneously; but it’s beauty is perhaps more obvious (it’s quite popular out there in you tube land, for example), whereas I feel that “guitar tutor” has definitely been overlooked over time – perhaps because of course, it was never performed live – more’s the pity.

part of me hopes that eric has been secretly working on a triple album of unfinished masterpieces, which he will eventually release, sort of like george harrison did when he finally released “all things must pass” – an album full of genius (and songs that never got made until lennon and mccartney got out of george’s way…) – three albums full of 10, 15, 20 minute masterpieces that make both “une nuit a paris” AND “feel the benefit” pale by comparison.

eric?   over to you now mate…

🙂

uh, while I am dreaming, eric, could we also please have:

a master edition of the FULL 11/11/1975 10cc live in Santa Monica / King Biscuit concert

10cc live at the civic theatre, san diego, california, 1978 – full concert

10cc live any other full “original soundtrack” tour shows

10cc live any live performances of anything from “how dare you!” – even rehearsals, alternate takes – anything

10cc live, any full “sheet music” tour shows

10cc live, more 1974, 1975, 1976, 1977 and 1978 live shows – especially material from “how dare you!”

if you need more ideas, please just ask 🙂

the worst band in the world

a few months ago, I tidied up a portion of my music collection that had lain dormant for a long time; I completed the partially complete task of loading the entire 10cc catalogue onto my mobile device.

thus prepared to re-engage with one of the most interesting bands of the 1970s (were they art rock? were they pop? were they prog?), yesterday, I put on a record that I haven’t listened to a lot since 1977, when it came out, but I am stunned just now, hearing it in headphones for a start, but just hearing how good it is…”live and let LIVE” by 10cc.  this album…is an absolute corker.

despite the absence of the uh, stoned geniuses, kevin godley & lol creme, this newly-reinforced and revitalised version of 10cc, led by the very straight eric stewart and graham gouldman, the two remaining original members…is astonishingly capable, the set list is amazing, considering that godley & creme aren’t there…and what a performance !! stunning musicianship, and the vocals are so, so perfect it’s difficult to believe it’s live.

I myself was fortunate enough, to see 10cc live in 1978, so, the tour after this one; at the san diego civic theatre, this was the “bloody tourists” tour, and while it was a slightly different band (I got to see them with the amazing duncan mackay on keyboards, whilst “live and let LIVE” features tony o’malley on keys) it was essentially the same group as you hear on this official live album…

there is a live album made by the original 10cc; the quartet version, featuring eric stewart, graham gouldmanlol creme and kevin godley – which is available under different titles, but it’s basically “king biscuit live 1975” and it was in support of “the original sound track”, so quite “early”, recorded at the stage where they have just three records out – and while it’s a great album, because it’s the original band…it does not have the production values that 10cc – ”live and let LIVE” does.

of course, ”live and let LIVE” was recorded a full two years later, with a revitalised eric stewart in charge – and the difference is noticeable.  two great live albums, but the difference was something like, well, we’ll record this 1975 santa monica gig for fm radio – and maybe release it some day; whereas with ”live and let LIVE” was intentional, more “let’s go out and play these songs really well, really professionally, and record the whole tour until we get a perfect version of every song, or one perfect show” kind of thing;  the planning and execution is something akin to the invasion at normandy – planned to musical perfection by eric stewart, executed to near perfection, live on stage, by the “new 10cc“.

and yes, if you go onto you tube (or if you buy the “tenology” box set) you can see fantastic live videos of the original four piece, playing deep album tracks such as “oh effendi” or “old wild men” – and, it is a bit sad, that those kinds of ultra creative / proggy tracks are long gone from the repertoire by 1977.  the original quartet was unbeatable, studio or live, their four studio albums are all top-notch, so when eric stewart sat down to build “deceptive bends” without godley & creme, he knew he was facing a challenge.  but, he stuck with what he knew best: songs.  and, he penned the undeniably catchy “the things we do for love”, which meant that “deceptive bends” was going to be a big success.

so what does this “brave new 10cc” play, then?  first of all, you need to remember that this is the stewart-gouldman 10cc, therefore, the “poppier” 10cc, not the darker, stranger 10cc featuring godley & creme, so it does tend towards pop, and towards the “hits” – but there are a lot of surprises, and a lot of great tracks from all different phases of the band’s long career.  and, a few performances of classic original 10cc tracks – in particular, the show opener, a hard rocking version of a stand-out track from the band’s third album, “the original soundtrack” – an absolutely kick-ass version of “the second sitting for the last supper” that is shocking in it’s musical prowess.

also from that original series of four albums (10cc, sheet music, the original sound track, “how dare you!” – that was all they did before godley & creme split – well, five if you count “king biscuit 1975” I suppose) a very cool version of “art for art’s sake” plus eric stewart’s best contribution to “how dare you!”, the overlooked pop classic “I’m mandy, fly me”.  an unavoidable choice, also from “the original soundtrack” album, is the fm radio classic “I’m not in love” – also a stewart track.

but, here’s the full set list for this double live album:

the second sitting for the last supper                  [dave – (!! – a storming way to begin the show !!)]

you’ve got a cold

honeymoon with b troop

art for art’s sake

people in love

wall street shuffle

ships don’t disappear in the night (do they?)                    [dave – (listen to eric stewart on slide – harrison and allman, look out)]

I’m mandy, fly me

marriage bureau rendezvous

good morning judge

feel the benefit                        [dave – beatlesque perfection, stonking dual lead guitar outro…)]

the things we do for love

waterfall

I’m not in love

modern man blues

before I look at the show itself, I should explain the difference between the bands:  the original 10cc line-up of stewart / gouldman / godley / creme was nominally a quartet, but often, because drummer godley had so many lead vocal duties, they had a second drummer in paul burgess – so the “original” live quartet was actually a quintet:

eric stewart – lead guitar, acoustic and electric piano, lead vocals

graham gouldman – bass guitar, electric guitar, lead vocals

kevin godley – drums, lead vocals

lol creme – electric guitar, gizmo, piano, lead vocals

paul burgess – drums & percussion

with the departure of godley & creme in 1977, who went of to concoct their triple album, progressive rock masterpiece “consequences”, which utilised their invention, the “gizmo”, throughout – a “gizmo” orchestral work, if you will (which includes performances from the late sarah vaughan and the late peter cook) – stewart and gouldman had to then rethink the band – and enable it to play both the very complex (and often quite strange) back catalogue, as well as the current material (at this point, the new 10cc only had one “new album” – the very respectable “deceptive bends”) – and I think that eric stewart now, ironically, faced the same problem that kevin godley did back in the original band – he played so many different parts on the album, multiple lead and rhythm guitars notably, as well as now being the main keyboardist in the studio band, so he needed to have a band with enough capability to free him from trying to play all those complex parts himself – and let him concentrate on either lead vocals, lead guitar, or occasionally electric piano or real piano as required.

so – faced with this problem, the solution seemed obvious – hire an extra guitarist who can also play bass (in the person of rick fenn); hire a second keyboard player so that they can replicate tracks where there are more than one keyboard (in the person of tony o’malley); and for some reason, hire an extra drummer (in the person of stuart tosh) (maybe because they were accustomed to having two drummers on stage?) – not really sure why – but that is what they did.  the new, expanded 10cc looked like this, then:

eric stewart– lead guitar, acoustic and electric piano, lead vocals

graham gouldman – bass guitar, electric guitar, lead vocals

rick fenn – lead guitar, bass guitar, vocals

tony o’malley – keyboards, acoustic and electric piano, vocals

paul burgess – drums & percussion

stuart tosh – drums & percussion                 [dave – formerly of the pop band “pilot” – oh they of the one hit “magic”…]

(It is interesting to note, and perhaps a comment on how difficult they were to replace, that basically, it took four people – fenn, o’malley, burgess and tosh – to replace two departed original members – so four people to replace two very talented, capable people – that’s kind of “telling”, isn’t it??).

this band, with duncan mackay replacing tony o’malley, was the 10cc that I was fortunate enough to see in 1978 playing the live version of “bloody tourists” – and I would say, it was one of the most incredible concerts I’ve ever seen, they played all the really excellent deep tracks from the new album (including some real beauties, “tokyo”, “old mister time” and others), and also including a very proggy number called “everything you’ve always wanted to know about !!! (exclamation marks)” (my personal favourite track from the album) which features an amazing end section of duncan mackay and eric stewart playing more like members of yes or gentle giant, than a “pop” band – serious chops – I kid you not – it was musically stupendous.

and…clearly, without a doubt, this was the band with the best live vocal sound I’ve ever, ever heard, incredible six part harmonies (when needed) and the most perfectly arranged, and in tune, and in time, background vocals imaginable.  just…stunning.  only the beach boys or the beatles in the studio are better.  hearing them sing like this, live, in 1978, was something that left a strong impression on me – and made me realise just how important having properly arranged vocal harmonies is to the live sound of every band.  if you are going to do harmonies – do them right.  hit the notes.  be in tune… !!

it’s fortunate for 10cc that the technology of 1977 and 1978 allowed them to re-create six part harmonies and complex background vocals on stage in a way that in 1966, the beatles, then the world champions of rock vocal harmony, could not (not due to any shortcomings on their part as vocalists, but totally because the technology just wasn’t there in ’66).  I think that eric stewart secretly wanted his band to be like the band that the beatles could have been live, had 1966 technology allowed them to hear what they were singing.

I watch the film of the beatles playing “nowhere man” in munich, germany in 1966, and it’s the closest thing we get to them singing their perfect LP harmonies, live; whereas on ”live and let LIVE” – stewart manages to recreate the studio vocals on every single track, beautifully and damn near perfectly – on stage.  If only the beatles had arrived ten years later…but then, that wouldn’t have worked out for other reasons, so I shouldn’t wish such things really…

and on ”live and let LIVE” – it’s pretty much the same as what I saw a year later with the 1978 version of the band – the vocals are unbelievably perfect.  just like the record – only – live.  this perfectionism is obviously the work of eric stewart, who was always the guy who arranged, recorded, and mixed all of the original 10cc albums; with godley & creme gone, stewart took over as de facto leader with gouldman as his willing lieutenant…and together, they forged a new, better, more in tune, less unpredictable live version of the band.

one of the stand-out tracks on the record is the 13 minute rendition of  “feel the benefit”, the long suite in three parts from the then-new “deceptive bends” album – this is a very beatlesque song to begin with, having a “dear prudence” like guitar intro (and coda) that evolves into a very string-laden ballad, which features the incredibly beautiful lead voice of eric stewart, clearly the “heir apparent” to paul mccartney (and strangely, later on, he joined mccartney’s band for a while, appeared in mccartney videos, and on a few mcartney tracks here and there – appearing on a few different mccartney albums over time) – what an incredible lead vocal on this track!

and then, when the background voices join in, it’s literally goose-bump inducing; it’s so perfectly like the album, but with the added excitement of being live – and stewart is the star throughout (thirteen minutes on his very best game) – sitting at the piano, singing the lead vocals, and then at the end, jumping up to play his half of the dual lead guitars, a beautifully distorted guitar duo – complete with graham gouldman doing his very best bright, chris squire imitation behind them – that chime their way out through the end of the song – a totally beatlesque and very very beautiful song, rendered with incredibly precision – even the silly centre section, the second of three parts, entitled “a latin break” meaning – “latin break in A major”, very punny indeed, is perfectly performed, including a live fade out of part two with simultaneous fade in of part three (something I have NEVER heard on anyone’s live album, EVER – amazing performance!!!), which is a return to the coda version of the “dear prudence” guitars…fantastic.

the album is worth it just to hear this one 13 minute pop masterpiece – the vocals are astonishingly in tune and in time, almost to the point where it seems impossible that any band could sing that well live. but – my experience in 1978 proves it, this live album, ”live and let LIVE” proves it – one band could – 10cc.

“feel the benefit” also reveals something that few people know – well, people who have seen 10cc play live probably know it – that graham gouldman is a world-class bassist.  he takes an extended and incredibly virtuoso bass solo during “feel the benefit” that sounds more like chris squire than something you’d expect from a “lightweight pop band” like 10cc.  gouldman wields his rickenbacker bass with an almost careless charm, a sort of, “oh, yeah, I’m actually pretty damn good with this thing” attitude – and I believe that he shares the perfectionism that stewart is known for.

I think that stewart felt a little frustrated with the godley & creme “version” – or “vision”, perhaps, of 10cc, he could see the potential – on the records, he could make the vocals sound perfect – but on stage, he could not control godley and creme, and it’s well known that while godley & creme were / are more than a little fond of a little ganja…while we also know stewart is not, stewart wanted to play straight, it was all about the music for him, and nothing else – so with them out of the picture, we could now have the “vocal perfect” version of 10cc live – and this album shows that not only did he succeed in this desire, he excelled – the band excelled.

I think too, that the public’s perception of what kind of band 10cc was flawed – the “hits” made them seem very, very poppy – “I’m not in love” being a very atypical track, the rest of “the original soundtrack” sounds NOTHING LIKE “I’m not in love” – which of course was then swiftly followed with the REALLY poppy “the things we do for love” (not to mention, also, the even smarmier, but wonderful, ballad “people in love”….) – and this gave a somewhat skewed impression of what the band really were.

I thought of them as progressive, but more along the lines of a very poppy / prog / beatlesque / strange kind of band, I thought they were maybe competing a bit with queen (“un nuit a paris”  – from “the original soundtrack”– a godley & creme track, of course – pretty much out-queens queen themselves – in a good way, I promise you!) while if you listen to “sheet music”, “the original soundtrack”, and “how dare you!” – these are deep records, with songs embracing many, many styles, pop, rock, prog, r&b, blues even, indescribable genres…) that cannot really be pigeon-holed even as prog, definitely not as pop (despite the obvious pop “hits”) – you really have to just listen to those three albums to understand what 10cc were – and a huge part of that legacy still spills over into 1977, and into this new band, especially on stage – stewart and gouldman carrying on the 10cc name and tradition by adding “deceptive bends” as the poppier follow-up to “how dare you!” – and it still flows, sure, the magic of godley and crème is gone, but stewart and gouldman are no slouches as musicians, writers or performers – and I think “deceptive bends” proudly belongs right where it is – the next album after “how dare you! despite the serious and life-changing personnel changes.

sure, as with almost all live albums, there are the very, very occasional gaffes, which stewart has wilfully left in the mix – a missed chord in the outro of the otherwise impeccable rendition of one of the very best songs from the final “original 10cc” album, “how dare you!” – stewart’s wonderful ode to an air hostess, “I’m mandy, fly me” – another extremely difficult, extremely beatlesque track, once again, rendered to perfection vocally and musically – leaving that one slipped chord in to perhaps say “look, we are human after all…”- it’s hard to say.

but it isn’t easy to find mistakes on this record, you have to look really hard – because really, it’s a flawless live snapshot of their current record, “deceptive bends”, peppered with a range of hits (from “wall street shuffle” to “I’m not in love” to “the things we do for love”) and the occasional surprise track from the distant past (“waterfall” and “ships don’t disappear in the night (do they)” – from the first album era) – as well as tracks from all four of the original 10cc albums.

still – it seems quite odd to hear the words coming from the stage… ‘here’s one from “how dare you!”’ when the band that made “how dare you! never played a note from that album live that I know of.  however – I am still appreciative that at least, we get to hear a track from “how dare you! done live – even if it is by this strange new sextet version of 10cc.

for me, even though I understand the necessity, I found it a bit frustrating that in a number of instances, because eric was very busy playing electric piano or real piano, and singing lead vocal, that signature guitar solos that are very, very much “eric stewart guitar solos” – were of course, played live by the very capable and enigmatic rick fenn  I had to console myself with the tracks where eric did play lead guitar – and those were smokin’ hot.  note to all guitarists out there:  if you think eric stewart is that wimpy guy who wrote and sang “the things we do for love” – sure, you are right, but if you heard and saw him play slide guitar on “ships don’t disappear in the night”, or if you saw him switch from piano and vocal to lead guitar at the end of the impossibly cool “feel the benefit” – this guy can play lead guitar, and he’s also an amazingly good slide player – trust me.

so it would be “the wall street shuffle” – one of my all-time favourite 10cc tracks, and in fact, the track that got me into the band – and eric would be singing and playing the piano – so when it came time for the lead solo, that beautiful, concise, perfect eric stewart-channelling-george-harrison guitar solo…there came rick fenn to play it.   and, to his credit – he played that solo, and almost every other eric stewart guitar solo that he was called upon to play – with care, with precision, with beauty – but – it wasn’t eric playing it!  that, I found a little difficult to get used to…but, technically, I suppose it just had to be that way – no one can swap instruments that often on stage (except steve howe perhaps, but he takes it to a ridiculous extreme – and, he doesn’t have lead vocalist duties while he’s swapping guitars repeatedly…), so I applaud this decision – play the song well, play the electric piano part perfectly, sing the hell out of it – and trust your new guitar stand-in to play that amazing little solo just right.

but then I would forget all about that, when I saw and heard eric himself, during the thunderous ending of “feel the benefit” or witness the precision slide guitar-fest that is “ships don’t disappear in the night (do they?)” – eric stewart letting go and showing us how being in the best pop band in the world doesn’t hold you back from having prog-rock like chops – I swear, stewart and gouldman are both far better players than their recorded catalogue would indicate – which is why this live album is so important – for example, a rare early b-side, called “waterfall” is an opportunity for the band to stretch out on a three chord jam, and play the song in a million different ways, as vocal blues, as total reggae, but more importantly, as total three chord jam with fantastic guitar solo interplay between fenn and stewart – including an amazing extended “burn out” where o’malley leads the two guitarists into the final chords of the song – just brilliant.  this track just rocks – and I think we often forget that 10cc really could, and can, rock when they wanted to.

and you should hear the audience response to “waterfall” – they are louder than the band.

sure, there are so many songs from the back catalogue that I wish were on this live record, and of course, there are a few slight missteps (like the somewhat uninspired gouldman tune “marriage bureau rendezvous” or the somewhat plodding and predictable “modern man blues” which is the encore – both from “deceptive bends”) – other than that, the choices are solid, and the pieces are really well performed…and it’s a very even mix of hits, oldies, and a decent chunk of the “new” album – “deceptive bends”.

every single fan of every band has their own wish list of songs that they wish their favourite band would play when they do a live show or album, and with 10cc it’s very difficult, because with half of the band gone, and, the half that was considered to be the very creative, “arty” half – that immediately makes it very, very difficult to recreate the repertoire from those original albums, without the unique voices of godley & creme, and their unique musical contributions, too…there are not too many “gizmo” players out there from which you could find a replacement for “gizmo” inventor lol creme – who is also an accomplished pianist.

I think given the cataclysmic personnel change that the band had just endured, that this new stewart / gouldman led sextet did really well.  first of all, the recovered in the studio, with “deceptive bends” (personnel: eric stewart, graham gouldman, and the redoubtable paul burgess) – and finally, expanding that studio trio to a sextet for a wildly successful tour for that album.

note: additional players on “deceptive bends” – little known fact, a very young “terry bozzio” is on “drums” – it doesn’t say on which track or tracks unfortunately – source – wikipedia (what else?).

  • del newman — string arrangement
  • jean roussel — organ, keyboards, electric piano
  • tony spath — piano, oboe
  • terry bozzio — drums

the wiki page goes on to explain that this album was actually begun while godley & creme were still in the band; at one of their last UK concerts, at knebworth on 21 august 1976, they debuted an early live version of “good morning judge” and there was also an “awful” studio version of “people in love” (strangely, known as “voodoo boogie” – which was included on the recently released – and apparently, already out of print !! – “tenology” box set) – so at least two of the songs actually date back to the original band – something I did not know until I researched this blog!

apparently, the rough mix of “voodoo boogie” was so awful, that godley & creme left shortly thereafter, leaving it to stewart to pick up the pieces and try to build an album that did justice to the name 10cc.  I for one, think he not only succeeded, but he took the band into a new era, a short-lived era, but a very successful and high profile era – and the three late 70s albums – “deceptive bends” and ”live and let LIVE”, both from 1977, and “bloody tourists” from 1978 (which features the massive worldwide hit “dreadlock holiday” – plus a bunch of great album tracks that were the last great batch of stewart / gouldman compositions) – all three of these records are outstanding, excellent examples of quality musicianship.

for me, 1980’s “look hear”, and it’s follow-up, “ten out of 10 – as we moved further into the 1980s…it just wasn’t the same – it became formulaic, and it was also the beginning of the end for one of the best bands that the 1970s produced – everything changed in 1980, and it was hard for 1970s bands to thrive in the synth / robotic era of the 1980s.  gouldman as much as admitted that the last time they had been “hot” was 1978, and he has expressed his displeasure with the 1980s output – and the fans seem to agree, since the 1980s albums did not chart…whereas 1978’s “bloody tourists”, did – the last 10cc album to do so, I believe (I could be wrong about that!).

but for one shining moment, 1977 / 1978, the band re-grouped and went out there and showed them how to do it right…with brilliant tours supporting both studio albums, and luckily, the first one was recorded intentionally for a live album – the oft-overlooked but absolutely brilliant ”live and let LIVE”…pronounce the title however you like, but listen carefully to what is perhaps one of the most meticulously performed and produced live albums of all time – created by the master: mr. eric stewart – long may he sing, play that slide guitar, lead guitar, acoustic guitar, acoustic piano, electric piano, record, arrange, engineer, produce and mix… 🙂

what we’re listening to – wing beat fantastic – mike keneally (featuring the songs of andy partridge)

one of the most-anticipated albums of the year among fans of both keneally and xtc (and their ace songwriter, andy partridge), “wing beat fantastic” does not, in any way, disappoint.

 

this is the first batch of “new” andy partridge songs we’ve heard in a long, long time, even if they are delivered by collaborator and mega fan mike keneally, rather than partridge himself – who declined to perform on the record (even though some of his samples did survive the process), wanting instead to ensure that it is viewed as a keneally solo album.

the story of how this record came to be is well documented elsewhere, how whilst keneally was in frank zappa’s band, their bassist, scott thunes, had the audacity to invite partridge to a zappa concert in the uk – and much to their surprise, he actually turned up – and both a friendship and a writing partnership was born.  there were two discrete sessions where the two actually sat down and worked on these songs, but it was left to keneally alone to create “wing beat fantastic”.

it seems to me that this must have seemed like the most amazing opportunity in the world, similar to a scenario where lennon and mccartney said “here, take these songs, we can’t be bothered to record them – YOU DO IT” – and keneally not only rises to the challenge…he hits the ball out of the park.

first of all, it’s clear to me that keneally is not just familiar with xtc’s style, but that he must have studied it in minute detail, or else this record would not sound the way it does – as if it were the next XTC album.  and that is exactly what it sounds like, and at some moments, when the vocal harmonies are particularly sweet, you can close your eyes and EASILY forget that this is mike keneally, because what your ears hear, especially on a tune like “you kill me” – is pure andy partridge.

as with all zappa band alumni (such as steve vai, adrian belew, etc.) keneally has more than excellent chops on guitar, meaning that he has the skill to sound like a dead ringer for the very capable partridge OR xtc’s other (former) guitarist, dave gregory. But the real surprise here are the absolutely amazing vocal arrangements, and sheer beauty that keneally manages – that study paid off – and ALL of the trademark xtc vocal tricks are here, revolving vocals, beach-boys-like harmonies, delicate, beautiful solo vocals – we knew that keneally could sing, but we never knew he could sing like THIS.

so – partridge picked the right person, the exactly perfect person, to work up these demos into proper songs.  and what a batch of songs they are!

keneally has wisely interspersed the partridge songs with some tunes of his own, and I have to say, some of those are so beautiful that they easily rival the songs co-written with partridge, and they fit in perfectly.  the opening track, “the ineffable oomph of everything, part one” clocks in at exactly one minute, a keneally tune rather than a keneally/partridge, but it’s one minute of incredibly melodic, beautiful guitar music – including amazing slide guitar reminiscent of the master – george harrison.  so my first feeling for the first song, was that it was very harrison-like – a great way to start, and certainly a good indication of what was to come…

I’ve been a fan of mike keneally’s music for a long time, beginning way back when with his groundbreaking “hat” cd (“thank you for buying hat”…) which is utterly unlike “wing beat fantastic” – it’s more like a zappa album, lots of impossible guitar, funny vocals – but, with the occasional moment of sheer beauty.  those occasional moments have now, in this new album, been transformed into an ENTIRE ALBUM of sheer beauty.  I kid you not, this album is a completely atypical album for keneally, but oh my god, I wish he’d done this before, and I hope he does it again – perhaps with an entire album of his OWN pop masterpieces.

and when that first guitar solo comes in on the second track on the album, the gorgeous “I’m raining here, inside” – well, that’s it, it’s absolutely perfect, it’s beautiful, it’s seamless, flawless – and so very like the very best andy partridge or dave gregory guitar solo imaginable – it’s cut from the same cloth – just as the vocals are, even the bass and drum parts remind me of xtc – every song on this record sounds like an xtc song, or occasionally, a george harrison song or a beach boys song – hey, wait a minute, that’s just like you would get on an xtc album.

I do imagine though, that mike and his crew would have studied existing xtc album’s, because the production values, the use of phasers and flangers, the song arrangements, the guitar solos, the vocal harmonies – it just SCREAMS “xtc” – the title track, the third track, is a perfect example of this, it’s so much like xtc it’s not funny, acoustic guitars chiming, passionate, layered vocals, harmonies to die for, great chord changes…it’s perfect, an imitation maybe, but actually, a beautiful creation in it’s own right – as if keneally were some sort of musical genetics engineer, taking the xtc “dna” and re-arranging it into new, cloned musical lifeforms – xtc through the mind of keneally.

and then another amazing guitar solo, this one jagged, clean, lovely – comes flying through the song, as the flanged vocals build and build, a lovely descending figure that you can’t get out of you brain, amazing “oohs” – then, a serene, heavenly bridge ending in a beautiful high note – and it’s over.

next comes track four, a 30 second reprise of the opener, “the ineffable oomph of everything, part two” – which is even more enigmatic and beautiful than the first version – just beautiful, mike.

I can’t imagine how it must have felt, to have these songs in hand, in demo form only, and then sit down in your leucadia studio and say “right, how are we going to do this then?” – and the answer is the result – the album “wing beat fantastic” – IS fantastic, totally fantastic…and the next song “you kill me”, track five, is just staggeringly beautiful – even just the introduction is so beautiful I can’t believe it, a great guitar riff, followed by chord changes that you don’t expect, that give you the shivers before the song proper has even begun.  a clean pair of lead guitars leads us into the vocal – and those vocals – I would ask AGAIN – who knew that mike keneally could sing THIS beautifully?

the harmonies are straight from every xtc album from “skylarking” onwards – really, really complex, really, really beautiful vocal arrangements – and from a distance, if you don’t dissect it too closely, you would NEVER KNOW it wasn’t andy partridge singing.  an almost zappa-like “linking riff” repeats irresistibly in between the choruses, a tiny reminder that this is a zappa band alumni – but the sound overall, is not zappa at all – it’s PURE xtc.

in fact, I played the record for my partner, who doesn’t really know the music of xtc that well, and she said “that guy sounds EXACTLY like the guy in xtc” – and I could not agree more.

this album is an unqualified success for keneally, and I think that this album will do well for him, even if it didn’t have the songs of andy partridge, it would do well, but having that extra kick – not to mention many, many xtc fans ravenous for “new” andy partridge fans (myself included – and just about everyone I know pre-ordered the CD).

track six, “friend of a friend” is a very short little linking piece, 0:49 of acoustic guitars that works beautifully as a lead in to the next track…in fact, it almost sounds like the introduction of track seven, rather than a piece in it’s own right – the two fit together so well.

the album now moves into some really wonderful uncharted musical territory, as exemplified by a song such as track seven, “that’s why I have no name” – a song that is so very strange, with a lot of unusual reverse sounds burbling in the background, and a lot of wonderful clean jazz and reverse guitar (that is probably forwards guitar played through a reverse guitar patch, using something like a line 6 dl-4 delay modeller set to “reverse guitar”) as well, a very strange chord progression, very odd, almost dirge-like vocal, the whole piece is very…minor key, almost jazzy – but again, even though UTTERLY different from the preceding pop masterpieces – even this very odd songs screams “I sound like xtc!” at the top of it’s musical lungs.

I was not surprised to realise that this is a keneally song, not one of the tracks co-written with partridge, and I think all of the “solo” keneally pieces fit in beautifully with the co-written ones – a beautiful job of integration.

a remarkable, ascending clean jazz guitar solo is as startling in it’s appearance as it is in it’s intelligence, and then, it suddenly mutates into a reverse guitar solo of extraordinary beauty – keneally uses every bit of skill he has, but any very strange or very dissonant elements that we might have got on a zappa-influenced record like “hat”, have been replaced with a melodic sensibility of almost uncanny proportions – this solo just TAKES FLIGHT, and it’s the perfect vehicle for the song, drifting waves of reverse guitars float over the top of a steadily building background, the clean guitar returns for a moment – and then we are back to the verse once again.

the end section features all of it: the jazzy guitar, volume pedal guitars, reverse guitars – and it’s just perfect – and it then STOPS on a dime. perfection, but – strange perfection.

then it gets weirder still, with the very odd vocal melody of “your house”, track eight, and it’s incredibly melancholic mood – but very quickly, you realise, this is sort of like the “chalkhills and children” of this album, an odd, unusual vocal melody, which then moves into really beautiful moments “drawn by some strange magnetic pull…” it’s so weird, that you can’t get it out of your head “I know this is crazy, cause after all, it’s only…your house”.

this song sounds resigned, final, triumphant, sad, uncertain “I walked slowly at first, tried not to break into a run…I knew that was your house at the end of the road…”.

I feel like I already knew all these songs, because in a way, I have heard them all before – in those last ten or twelve xtc albums – because keneally heard those records too (in fact, he was in the studio during the making of “oranges and lemons” which xtc recorded in los angeles – which is where the partridge-keneally partnership really began to blossom), and he knew EXACTLY how to inject the magic xtc dna into these songs – and he’s done it!

then we have track nine, “miracle man and woman”, which has the most remarkable vocals, a very, very unusual vocal arrangement – and this is the weird thing, it features a lot of really, really good acoustic guitars – which remind me of gentle giant, the vocals too, are almost gentle giant-like in places – until you get to the godley & creme “deep”/”creepy” backing vocal – beautiful synths (which might well be guitar synths) accompany a strangely equalised vocal section…what a wonderful musical construction!

the middle section of the song is some sort of synthesizer duet, with tinkling piano in the background – and then, here it comes, the kevin godley vocal “ahhhh” from heaven (remember the backing vocals on “I’m not in love” by 10cc?? – like that) – a wordless vocal accompaniment to the middle section – which resolves into a synth-backed acoustic guitar solo, that is SO gentle giant it isn’t funny – like an odd outtake from an early giant album like “acquiring the taste” or maybe “octopus” – and then that crazy, ominous godley & creme creepy vocal returns to end the song on a note of pure creepiness – brilliant!

next is “inglow”, track ten, and it’s very serious indeed, a slinky rhythm overlaid with carefully bendy guitar notes, then, a cheerful, clean, simple melodic solo – a beautiful introduction, resolving on a really wonderful chord – and then starting again, this time with multiple lead guitars, the acoustics gently swaying behind them – a magical instrumental, that makes me think of tropical islands and sunsets and evening closing in – a slowly fading in, mysterious, wordless vocal appears and disappears – the clean melodic lead guitars continue their beautiful journey – what a fantastically beautiful composition, I just find the mood and feeling in this piece to be remarkable – a lovely interlude indeed, and one of keneally’s most mature and respectable guitar compositions ever.

eventually, the vocals begin, and if the first half of the song can be attributed to the genius of mike keneally – then the second half, the vocal section – well, that’s pure andy partridge, but realised by keneally – so they are both brilliant.

track 11 is one of my favourites, “bobeau” – which is a snappy little number with a funky horn arrangement, and a very complex layered vocal arrangement – not to mention great guitars and basses from keneally – then, a fantastic, sing along chorus, with great piano and horn backing – sort of this album’s equivalent to something like “extrovert” from the xtc canon, that’s the only thing I can even imagine I can compare it to – then, a very, very weird vocal melody, backed by ocean sounds and wonderful ghostly background vocals – leads us, via a very odd bridge, towards the song’s remarkable conclusion – which is all about the guitar.

after the final verse, we get another chance to experience the incredibly mature skill of keneally as a lead guitarist, or actually, in this case, as a slide guitarist – for me, the last section of “bobeau” is a huge highlight, during the second chorus, you start to get some lead guitar bits – but then, it starts, a sinister bass and drums, with creeping horns, backs an amazing, slapback slide solo, which is either double tracked or remarkably delayed – but it’s a scorcher, and then keneally really starts to mix things up, with a heavily syncopated guitar riff that is sinister, killer and fucking brilliant.  I love it!

then suddenly, it stops, the ocean sounds and seagulls return for a moment…

“land”, track 12, the final track on this amazing album, is another keneally-only piece, which makes a great end piece for the record, and it contains one of my favourite lyrics on the entire record “you understand, finally that, you don’t understand…” which I think is…fantastic.  wing beat fantastic, maybe…

it seems to be cut from the same genome that the keneally-partridge co-writes are, almost as if it were inspired by the other songs, it has a bit of everything, including some really beautiful acoustic guitar – short and sweet, just over two minutes, but a perfectly constructed finale for one of the most important pop records – ever.

“wing beat fantastic” is a remarkable achievement, I’ve never heard anything quite like it, where a well known ex-zappa lead guitarist takes away a handful of andy partridge songs, and creates an album that is so xtc-like as to be almost indistinguishable from the real thing – and that is clear praise, mike, you did an amazing job with this, you transformed these demos into a thing of real beauty, a succinct and very musical album that successfully captures the spirit of xtc beautifully, in a very respectful, and perfectionistic, way – every detail has been considered and reconsidered, the vocal arrangements, the vocal harmonies, are absolutely among some of the most beautiful I have ever heard on any album – and if keneally were now to switch hats permanently (no pun intended) and just make beautiful pop records, I would love every one of them.

I know that when andy partridge first heard the completed keneally project, he was absolutely overwhelmed by the result, in fact, literally moved to tears, and I understand why that is.  this is a gorgeous record, it would have fit seamlessly into the xtc catalogue anywhere between “skylarking” and “apple venus” (either part) and no one would have been the wiser – OK, you can tell it’s mike keneally singing, not andy partridge, but beyond that – the guitar work is top notch, the guitar solos are simply amazing, and the songs – wow, the writing, the lyrics, the tunes, the arrangements – it’s all good!

there is not a bad or even lesser tune on this record, keneally has done the impossible, he has almost “out-xtc’d” xtc themselves.  but it’s done so respectfully, so tastefully, it’s imitation as sheer flattery – but perfect imitation, glorious, beautiful, joyful music – music like the music that xtc themselves produce.

 

a pop masterpiece, not to be missed – genius.  “wing beat fantastic” truly is, fantastic.

I cannot recommend this album highly enough.