“you wake up one morning…w”

strangely, today, I find myself working on audio mixes, not that that in itself is strange, but in this case, it’s audio mixes of live performances of a song that I never, ever dreamed that I would perform in any context, anywhere – but there it is:  my second attempt, too – I’d tried it out originally, during the recording session of 20150222, but couldn’t get a take that I was happy with, so I let it go for a while – until april 19th, to be exact – when I sat down specifically to record a little-known, rare Van Der Graaf Generator b-side entitled “W”.

I had only just re-discovered this track, when I was working on other acoustic Hammill songs, it suddenly struck me during the February sessions, I should see if I can capture one of my strange renderings of this song – so I did try.  And while some of the takes were close, none were good enough to properly do justice to this rather unusual song.

hence – trying again later, which in this case, is a dedicated session to “W” – twelve takes in all, about an hour and ten minutes of session time, doing live take after take, working out the arrangement, working on the vocal – and just trying to get to a version that would indeed, do justice to the song, at least, as well as I can with my strangely gentle, twangy California accent – hardly the accent to tackle the Peter Hammill canon, but – that’s what I do – I spent many years, learning many, many Hammill and Van Der Graaf songs, and now, I find, I’d like to record them – all of them, although the amount of relearning needed my be prohibitive in some cases, while age lowering my voice might make others impossible…who knows??

but for whatever reason – I found myself trying to do this song, live, with one acoustic guitar – or rather, with  an acoustic guitar substitute, which is my roland gr-55 guitar synth.  because my real acoustic guitar is unhappy, I had to use the synth instead, which, admittedly, does look a bit odd, in the video, but it had to be – and it does a reasonable job, I have to say – not bad.  It certainly sounds acoustic on playback, and of course, I can’t resist giving it a bit of “sparkly”, by using the Waves Reel ADT plug in on it – give it some Beatles chorus or flanging – which is about the right era, “W” might have been written in the late 60s, I don’t really know, in fact, I only have two versions of it – one is the live version (from 1971) that I “grew up with”, which, oddly enough, has only just recently been released officially, on the new Van Der Graaf Generator CD “After The Flood” – At The BBC 1968 – 1977 – that live version,which is to me, an absolute Van Der Graaf rarity, coming from a rare 1971 John Peel concert, which had only previously been available on bootleg – which is where I had heard it.

years later, I also acquired the “studio” version, which again, isn’t that easy to find, but it’s out there, and of course, I had to have it – beyond that, I don’t know if there are a lot of other live versions out there, I doubt that they played it much after 1971, I am not sure about the song’s history, but I am sure of one thing:  the effect it had on me, as a young Peter Hammill fan, I just think it is an amazing performance, led initially by Dave Jackson’s amazing horn playing, and it’s odd and wonderful to hear Hammill singing and playing live on acoustic guitar – with the rest of the band, playing in a subtle and wonderful way, Hugh Banton coaxing some of the oddest and most wonderful harmonics from his Hammond drawbars – I love the organ playing on that live version, I love everything about it – it’s just one of those odd tracks that sticks in your head for some reason- I really loved that particular bootleg – it had the first three Van Der Graaf songs I ever heard on it, in this order:

1) Killer

2) W

3) Man-Erg

Which is actually reverse order from the real session, but that’s just bootlegs for you (in this case, “Watched Over By Machines Of Loving Grace” – what a title!).

And while all three tracks were absolutely mind-blowing to this young man, who was just discovering this remarkable band, over time, it’s “W” that has stuck with me the most – although “Man-Erg” is a close second – I just love these performances, it’s a great session, and it’s really great to have it officially released at LAST – thank you.  That is not to downplay “Killer”, but I can’t perform “Killer”, although I can play the main riff – the connection is, over the years, I have learned, practised, and performed both “Man-Erg” and W – while with “Killer”, I can only sit and listen in astonishment – especially when David Jackson takes THAT solo – wow.  Amazing stuff.

So – at a session meant to capture “acoustic guitar songs” by Peter Hammill, where I’d performed both “Shingle Song” and “Again” – it suddenly struck me – hey, you could play “W” !!! Or – could I?

My first attempts were spirited, but flawed, mostly, it’s the guitar playing that got me, although the vocal does present certain challenges….so I abandoned the 20150222 takes (reluctantly) and am now currently embracing the 20150419 takes – which give us a completely different story – more of an embarrassment of riches, than anything else.

By this time, after about three warm-up takes, both the guitar arrangement, and the carefully designed vocal part (where I have to omit at least one high note that I can ALMOST hit, but I don’t want to risk – so I have made a slight change to the melody in one place, so as not to embarrass myself every time) have come together pretty well, they are both reasonably well developed – and starting with take four, and going on through take 12 – the takes are all good!!  With tiny variances, very difficult to note, and making it very, very difficult to “choose” between takes, when they are mostly all, so very good.  Basically, there are 8 good takes out of 12, with five of those being near perfect or with only very slight faults, and the other three, only slightly less perfect.

Every take has something of merit, so I have really had my work cut out for me here:  how do you, when you have eight out of twelve good takes, make any decisions at all – how to know which one is “the” take.  The answer:  listening.  Of course…once you start really listening, all of the tiniest errors find their way to the surface – which, allows you to cast out more and more takes for more and more small reasons – until you are left with what is, truly, “best”.

You have to listen and listen, perhaps focusing in on one aspect of the performance each time – for example, it was important to me that the guitar take contain a clean four bars of introduction, and that the same four bars, when repeated later as an instrumental “solo” of sorts, that those are also as flawless as possible – and also, the ending is important, I’d added on this crazy “Fripp”-chord as the final ending, and the quality of it varied on every track – with a few most excellent, others, just OK, and then, of course, I wanted a take with a really good vocal…luckily for me, there isn’t as much variation between the vocal takes – so in the end, it was really about where the best, most consistent, guitar playing was, and it had to be a whole take, obviously – with one exception – I could, potentially, since there is a silence while I sing the last line of the song – I could potentially “swap out” the ending chord, if for example, I had a great take (like Take 11, for example) but the ending chord was a bit better, a bit cleaner, on Take 12 – then, maybe, I might take a slight liberty and improve the audio, by having a better, cleaner chord – which of course, I would tell my listeners (if I decide not to use an entirely live take, then I would say “live performance of take 11 – except for the final chord – which was borrowed from take 12” – or whatever I had done) – or maybe, I would just decide to keep whatever ending the “best” over all take had – it depended on what sounded best.

I wanted what sounds best, so I really have to trust my ears, and say ” this take, this one is it” – and then stick by that decision – then, do everything in my power as both producer, and as engineer, to make this take sound as humanly good as possible – or as humanly possible.  At this point in time, during my second or third re-assessment of the 12 takes, I believe that Take 11 is the master – I can’t find much fault with it, but, I do tend to like the end chord of Take 12, very much indeed – and, Take 11 itself is not bad – so I need to decide between these two, I think.

I get to this point, and then I think – yes, but, what about those early takes, where I was a bit unprepared, but maybe there is a bit more spontaneity, maybe…so I find myself back again, listening to take four, take five, and so on – trying to rule these “earlier” takes out for one reason or another – but it’s difficult, because they are good.  I begin to wonder if I shouldn’t produce two or three of these – and that is a distinct possibility, it’s definitely do-able, because these takes are so uniformly good – it’s strange, because I had such a struggle playing the song on February 22, 2015, but on April 19th, I had no such issues, and every take from take four onwards, has a life and a feel of it’s own.  Heck – maybe I should produce ALL of them, warts and all…it’s such a temptation, it really is.  But I really want to pick just one, and I really need to narrow it down – so I just keep doing the only thing a good producer can do – listen, listen, and then, listen again.

After a long afternoon of listening, and then listening again, I was forced to exclude the majority of the earliest takes – 4 through 9, basically – because the guitar intros and solo sections were too imperfect.  Even take 11, which is closer to perfect, is still imperfect, but, it’s so much better than takes 4 through 9, that it makes enough of a difference – it’s a good take!  So now, it’s pretty much going to be a race between Take 11 and Take 12…

Finally then, some full on tests, with levels properly set, limiter on, and the final, finishing touch – my beautiful Waves Reel ADT Plug-Ins – a stereo one for the vocal, and another stereo one for the guitar – and just adding those on, makes such a huge difference to the sound – it’s just remarkable.

And what this meant was, that, the imperfections in Take 11, seemed worse, while the relative perfection of Take 12 – seemed apparent, so adding the Reel ADT plug in, made it possible finally, to choose between the two “best” takes – and 12 – the very last take of the session – has it all, at least, to the extent that anyone can “cover” such an unusual song with one guitar synth, set to “acoustic guitar”, and a shure sm-58 vocal mike !!

Not that it’s particularly difficult to play, the chords are easy enough – but the lyrics certainly are not.  “double you” – seeing yourself from another perspective, as other things occur to the other “you” – is a strange point of view for a song; you wake up one morning, and there are two of you, which makes you twice as unhappy (as it would, if you were unhappy) a strange tale told of this man, immobilised, almost, only able to look out the window, and see the smoke “billowing across the lawn” or only able to drag himself downstairs, to specifically find out that “you are gone…!”.

At the end of the song, you wake up (again) – look to your left, but you see no reassuring head – you then stayed in bed all day, when, at six o’clock, you realised – that you’re dead.  A short, unhappy tale, with a strange atmosphere, strange lyrics – definitely one of the oddest of all Peter Hammill-penned songs.  But at the same time – a strangely compelling one.

A very strange perspective, the classic sort of “seeing yourself laid out on the table”, and realising that it’s you, it’s YOU that are dead – that’s very odd, and it’s no wonder the band didn’t perform this often, what with it’s somewhat cheerless lyrics – not the most cheerful tune ever written by the sometimes-unusually-morbid Hammill (as he could be, back then) – who, while known for tackling difficult, or uncomfortable subjects, rarely tackles a subject like this one, in such an inflammatory way, too – practically a primer for how to leave your body, which some might view as the ultimate “suicide” song – I don’t, I view it as a man having the odd experience of seeing his own body, suspended in space, whilst realising that the body is dead – not having realised it earlier in the day.  more metaphysical than death wish, if you know what I mean. but I think each listener has to decide for himself or herself, what the song means – because even though I am singing it here – I absolutely do not know.

So the sort of day-long purgatory of trudging around the house, knowing something is wrong, dragging yourself downstairs – and finding that you are gone…that longest day finally ends in the sudden realisation that there is a very specific reason that there are two of you, that you have woken up and it’s a “double you” situation – “W” – because, you have passed away, of course!

The rate that our hero realises at, well it take a few minutes, which gives the song time enough to get through it’s purgatory phase – and then, it’s all over, in a blinding flash of  – well, in the real live version, it’s a wonderful, sonically crushing organ chord and bass note, accompanied by a crashing horn note from David Jackson – which I have chosen, for unknown reasons only known to the other half of me, to represent in this version with a very long, loud, dissonant “Fripp” chord – that was the only thing I could do, safely, on an acoustic guitar, that might work as a facsimile organ/sax ending – and I suppose, sonically, it could be worse – it’s a decent choice.  originally, back in February, I wasn’t returning on the guitar at the end, after the final two words – I was just letting the last two words, be the last thing you heard in the song – but I think the frantic, crazy guitar chord is just the ticket, and it was an absolute joy to try to play – even though, I only got it “right” about once in every 12 attempts 🙂

I was as happy as I could be with the guitar arrangement, and the vocal arrangement, and then, it was just down to the playing – and luck – and in the end, “practice made perfect” or at least, practice made it bearable…and I finally stayed with Take 12, and started working with the track – until I got a sound I liked, and was happy enough with – I mean, it is live, and it’s only as good as it’s two simple components, so there is not much you can do to improve the performance itself – it is what it is.

I think you can tell that I love this song, that I love to sing it – I hope that comes across in the video, it was an incredible surprise to me, that I could actually play it, and I so much enjoyed singing and playing it, it was a real pleasure – and I am really glad that I did learn this song so many years ago, because at least it came back pretty quickly – which is great.  What a nice surprise, to have an old friend like this turn up out of nowhere – and still be unchanged, as familiar as when I first knew them – a good, good surprise!

In the end, it took me almost two full days of work, and four attempts at getting the right sound, before I could produce an audio track of “W“, completely live (I decided, in the end, that the completely live take 12 was the best bet, no messing about – warts and all – not quite perfect – but, not too bad!) that I am happy enough with, and now, I am assembling not just the video for “W” live, but also, a strange special bonus video – what happened directly AFTER the end of the successful take.

so I’ve produced two audio tracks, and am working on two videos, one for the live version of “W“, using the whole of take 12 as it’s master, and the second, which I am calling “improv on a theme – stone free (james marshall hendrix) – live – post take 12” which is approximately one minute worth of digital recording time directly following the final “Fripp” chord that ends take 12 of “W” – for the first time ever, I’ve decided to release some “non-song” footage, featuring a spontaneous jam on “stone free” by jimi hendrix – notably, a song that I have never played, never learned, and have no idea how it goes!!

it’s only really “on theme” for about the first 17 seconds, and it then wanders off into random imaginary hendrix octave playing – and then dissolves completely into a fatigue-driven crazy, climbing riff of uncertain description – remember, I’d just spent an hour and ten minutes filming, and recording, no less than 12 complete or near complete takes of “W” by peter hammill – so I was pretty tired.  but the hendrix tune just sounds so good with that odd, acoustic guitar tone, and having the whammy available on the “acoustic” sound is so strange, too – so I just thought – why not?

so for the very first time anywhere, about 54 seconds of “what happened after the last take” has been included, which, I should warn you, some pretty lame guitar playing at the end – I plead fatigue, and I wasn’t really trying to play anything – this Hendrix thing appeared – and then just as quickly – disappeared – leaving me with nowhere to go but out.  I just thought it was OK, an interesting glimpse, an epilogue if you will, to the best live take of “W“, and it shows a little bit about how my mind works – or maybe – doesn’t work – I am working on a serious Peter Hammill song, and yet, during the break – I jump into “Stone Free” by Jimi Hendrix.

I begin to think that it’s been far, far too long since I was in a band.

🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

studio diary – november / december 2014

The last several weeks have been more about getting equipment, computers, software and storage sorted out, than having a lot of time to actually play much music.  That is slowly changing, early this morning, I spent almost two hours playing and recording some beautiful sampled sounds in Kontakt, and it’s rare that I sit and play the keyboard for an hour and fifty minutes at one sitting!  I did capture a few interesting things, so I am hopeful that this long period of extended studio set-up, improvements, and testing, will also result in some new music along the way.

I’ve had more than my share of frustration with equipment; particularly, software and storage, but things are slowly sorting themselves out.  Hardware issues, software issues, strange computer behaviours – I’ve got it all.  But it is slowly getting better – all the time.  I solve one issue at a time, eventually, they will all get done.  Over the past two days, with a lot of assistance from my pal Ken Mistove, I have sorted out a number of long-standing issues in SONAR X3, and we have also made a number of improvements to how things work in the world of the music computer, external hard drives, and recording practices – big improvements, and things are running so much smoother, and better, already – which really pleases me, as I really just want to sit down and play music, not, troubleshoot for two hours, and then play for 10 minutes!

My attempts to film the Kaoss Guitar (the remarkable Ibanez RGPK6 electric guitar), well, on Sunday, November 30th, I finally got some takes that were better than my original session from the previous week, November 23rd; so we shall see, I’ve been going through the audio and video from the first session from the 23rd of November, and then I have to go through the miles of footage shot on 30th November as well.

I am hopeful that out of probably 25 takes between the two sessions, that there will be a handful of pieces that are worth making videos of.  It’s difficult to say, but I feel that some of the takes from the second session will yield video, I am less sure about the first session – besides being a bit under-rehearsed, I was still having a fair number of technical issues too, so I was not able to concentrate fully on the music.  So I may be forced to shelve the entire first session, although I believe that at least one of the final three takes from the 23rd may be good.  Time will tell.

Update: there are definitely some good takes from the 20141130 session, beginning with one almost-ambient-but-not-quite quiet track, entitled “just gone”, which is mixed and ready for video build now.

Then tonight, I mixed the next candidate, a remarkable distorted reverse guitar solo entitled “slicer” – so that’s two audio mixes ready for video. There are probably three or four more kaoss guitar trax to come from the second session, audio mixing continues this week, with video builds to begin soon as well. End update 🙂

The Kaoss guitar itself – is an absolute joy to play, I had really hoped to get some videos made and uploaded so you can hear and see it, but I’ve decided that it’s more important to take some time, and get some really interesting examples of what you can do with this innovative instrument.

The recording set up for the Kaoss guitar is very, very simple indeed, I am using my Line 6 DL-4 delay (either bypassed, or, to provide reverse guitar on demand) to provide a stereo out, so it’s the guitar into the DL-4, and then directly into the sound card, thus bypassing all of the outboard effects in the mixer – and for the first time, I am relying solely on Guitar Rig for guitar tone and for reverb / delay effects – since it’s a live performance anyway, I didn’t feel that I needed to use the outboard stuff, so I am keeping it really, really simple.

As part of Komplete, and just in general, I’ve been relying more heavily on Guitar Rig 5 for a lot of my guitar-oriented projects, which allows me to create complex rack mount simulations of many, many excellent effects, which I can play through when I record, but then, if I am not totally happy with the patch I have chosen for the live take, I can then “remove” that patch, and replace it with a different one (re-amping, in essence) until I feel happier – so I’ve also started saving my patches, taking stock patches and changing them radically, and then saving the results, so I can re-use them on other takes later.  I’ve never done a lot of re-amping because I considered it to be a bit too burdensome in the past, but with Guitar Rig – it’s a pleasure.  It’s quick and easy, and there is such a huge range of truly exceptional effects, that you can very quickly build up some really complex and wonderful sounds – the kind of guitar sounds that 30 years ago, I could only ever dream of, or, hear on a Jimi Hendrix album (such as, “Electric Ladyland” – my favourite).

In that first Nov. 23rd session, I had played through one Guitar Rig patch that was a bit too echo-y, too over the top, so later on, I re-mastered it; removed the original Guitar Rig sound I used for the live take, and replaced it with a different Guitar Rig sound (a customised sound created by and saved by myself), a much better sound (if I do say so myself!), and really, that saved the day – it made the performances sound so much better.

So I am currently working on both audio mixes, and video creation and mixes, from the two Kaoss guitar performances; as well as, I captured a large number of new improvs using Komplete and Kontakt last night, which I need to go through next! after the kaoss projects, and see what is there – some of them are surely going to be good – the system is performing so beautifully now, it’s an absolute joy to use – and that is reflected in the music that comes out, too.

I think audio mixing is my favourite of those activities, or in the case of the Kaoss Guitar takes, well for any and all live takes that are simply live to stereo – I should say, “audio mastering”, as you can’t really “mix” a live performance, unless it involves multiple instruments, which these do not.  So you just have to get the best stereo sound, make sure the track is normalised to the right level, be happy with your EQ and effects (re-amped or otherwise) and then – that is that!

I was so pleased with the results of the somewhat tentative and somewhat technically challenging first session, I had very little experience with the new Kaoss guitar, it’s quite a struggle to work out the very best way to play it, without sounding awkward, and slowly, I am gaining experience with it, to the point where on Sunday, November 30th – I could almost make it do what I wanted 🙂 – almost, most of the time.  Sometimes – it’s still outwith my control.

I’ve also been shopping, what with all the sales on line – but not for the ordinary kinds of things that most people shop for at Christmas time – I’ve been buying samples.  During the past two months, I have added so much to my sample library, it’s just out of control, and this past week, I bought three amazing packages from my favourite software instrument maker, Soniccouture (http://www.soniccouture.com/en/products/) – I have a lot of these now, including the amazing Geosonics – sounds of the earth – field recordings adapted into music – astonishing stuff – at a huge savings, 50 percent off in total.  That was a short lived sale, but I am glad I acted – it was great to acquire all of those sounds for such a good price, I could not be more pleased:

1) “the conservatoire collection” – a collection of renaissance and baroque samples – very pricey, but you get things like baroque guitar, psaltery, flemish harpsichords, hurdy-gurdy and so on – fantastic one of a kind classical sounds.  I had an absolute blast using these instruments for the first time earlier today, and I can foresee a lot of interesting pieces forthcoming using this beautiful collection of antique sounds.

 

2) “glass works” – the sounds of various glass instruments, including a famous “cloud chamber bowls” instrument made by eccentric composer and instrument maker Harry Partch, I visited Partch’s studio when I was a teenager, on a school trip actually, and I actually played his original glass bowls instrument, so I am very excited to OWN those sounds! some of the pieces I recorded early this morning were made with the “cloud chamber bowls” instrument, and it sounded JUST as I remembered it – but perhaps even more stunning, is Soniccouture’s emulation of another of Partch’s unique glass instruments – the amazing “armonica”.  This instrument sounds like nothing on earth, like a weird combination of bowed glass, church organ and ethereal spaces – that’s as close as the English language will allow me at a very poor attempt to describe an incredibly beautiful sound!  Lovely beyond compare.

 

3) “ep 73 deconstructed” – this is the most intense, most detailed set of samples available for a 1973 fender rhodes electric piano – the kind my best pal Ted (RIP) used to use in our jam sessions back when I was about 18 years old – a great, classic sound, playing this vintage rhodes is a fantastic experience, it was literally, better than the real thing – and I could have easily sat and played it for hours on end – and, of course, it’s Soniccouture, so you get a lot of “extra” sounds, bowed, plucked, sound effects, and so on – variants on an already perfect set of electric piano samples – incredible attention to detail is Soniccouture’s watchword – the samples they create – are simply, the best.

However, best of all is this next item…

 

The final item in my “black Friday to Monday shopping spree” – based on Ken’s emailed link that simply said “HURRY!” – normally $200.00 I got it for $79.00 – one day only – it’s ADT from Waves Audio – a software “hardware emulation” where they take a classic piece of hardware equipment, and painstakingly re-create it in software.

In this case, “ADT” is, of course, “automatic double tracking” which was developed by one of the Beatles’ engineers, and it was used on classic Beatles albums from the late 1960s such as “Sgt. Pepper’s Lonely Hearts Club Band” and “The White Album” – this device used tape machines, that were slowed up and down to create a second, “doubled” track, it was basically built for John Lennon, who complained about having to double track his voice – he wanted a machine to do it for him.  So this guy, Ken Townshend, figured out a way to do this, using the existing technology of 1967 – which in itself is remarkable.

 

Even more remarkable is the fact that from ADT, a massive industry sprang, of doublers that are choruses or flangers; “Ken’s flanger” is what Lennon called the device, and the name has stuck – millions of “Flangers” have been sold since then, emulating this same “ancient” technique. While I have owned and do own a number of flangers and choruses, both hardware and software, this is the ORIGINAL, the one that started it all – and, I couldn’t own the original hardware, it only exists at Abbey Road Studios where it was designed, it’s not for sale, so having it as software, gives me the classic Beatles chorus and flanger sounds, WITHOUT tape machines and an impossible-to-buy-hardware item.  If that isn’t technological magic, I am not sure what is 🙂

 

So 2015 is going to be a very interesting year indeed, I have a plug in version of the “original” chorus/flanger plug in now, so I can apply “Beatles” flanging or chorus sounds to my guitar parts (think of the lead guitar break in “Fixing A Hole” from “Sgt. Pepper’s Lonely Hearts Club Band” – or Clapton’s solo on “While My Guitar Gently Weeps” – what a sound!)  I will also be able to choose from a huge, huge range of samples, something I’ve never really had available in my first 40 years of music-making 🙂

 

I wish I had a time machine back when I was 16, if I could have travelled 40 years into the future, and been shown what my tiny, modest studio would look like, in that far distant future of the year 2015, from the vantage point of 1975 – I would a) not have believed you, that such a thing could be possible, and b) it would have seemed like witchcraft, magic – the samples, a kaoss pad guitar (or, a kaoss pad itself, for that matter!!), synthesizers that can reproduce real sounds, sampled sounds, (or, a synthesizer itself), ipads, app technology, all of it is strictly magical stuff if you go back forty years.  40 years ago, I was 16, and I was working with my good friend and fellow musician Ted Holding, who had some recording and mixing gear, but neither of us had any access to the kinds of tools and software instruments available now to me, and to all musicians, in the year 2015 – we would have been dumbstruck with amazement, we really would have!

At 15 or 16, my “technology” was a knock off or off brand electric guitar, played thru a hand me down Fuzz Face, a Cry Baby Wah pedal, and later on, a borrowed echoplex – the kind with tape loops in them, not the new echoplex pro – played thru a Carvin bass head and a home made speaker cabinet. The guitar and the wah pedal were mine, the rest, mostly stuff left lying around Ted’s studio (aka garage) or built or repaired by Ted. I played through that bass amp for like, three years, until I could afford to buy an amp of my own!! Of course, when we hit 18, 19 and 20 we did achieve some manner of technology, but it was still a far cry from what is available now.

Ted expanded his selection of instruments, adding Fender Rhodes, Hammond Organ, and an ARP Omni string machine. I had better guitars, and I brought over a reel to reel tape deck to use as the worlds cheapest tape delay unit, which I would reach over and switch on during a guitar solo, and it was the best and most authentic tape delay I’d ever used…because it was real, real tape, on a reel, running past tape heads with a delay introduced…it sounded amazing to us then.

40 years on, a modestly priced delay pedal such as a Line 6 DL-4, can emulate tape echo very similar to what I was doing back then, plus a myriad of amazing delay effects, all in a small green box…no need to lug around a massive Sony reel to reel tape recorder, but I didn’t own any kind of delay or reverb unit, and couldn’t afford the expensive delays of the day…so using the tape deck as a delay pedal, was a no brainier. We were all delighted, it really made my guitar sound good!

Sometimes even now, even though I’ve now been doing “digital music” for quite some time – since 2005 at least – I’m still just stunned when I walk into my studio and I open up the computer, and I see the tools arrayed there, at my fingertips, for music production.  It’s difficult to imagine how my young self would have reacted to the idea of having real instrument samples playable on demand, on a MIDI keyboard – disbelief, shock, astonishment – at the very least.  But – I am glad I’ve stuck with music, because now, the toolsets are very nearly unlimited, and this gives you choice – choice to create sound worlds that previously, you could only dream of…

I plan on doing a lot of musical dreaming in 2015, and right now, I am making a start – I can’t wait to master the pieces from this morning, and start sharing some of the magic of glass works or the ep 73 deconstructed electric piano or to my very first attempts at playing the hurdy-gurdy – remarkable.

 

A good “problem” to have, I suppose – spoiled for choice, where to begin?  At the beginning, of course!!!

 

 

D.

 

 

 

 

 

“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…”

in search of…a few good sounds

today’s modern electric guitarists have the opposite problem to that faced by the pioneering rock guitarists of the 1960s.

in the 1960s, guitarists had a very, very limited palette of guitar effects.  I was just reading a list of the equipment that jimi hendrix used at the very famous 1969 woodstock performance – and when you look at it:

fender stratocaster guitar

wah-wah pedal

arbiter fuzz face

uni-vibe  (simulated rotating “leslie” organ speaker)

marshall amplifier

4 speaker cabinets

that was literally ALL that hendrix had, with which to create songs from across his catalogue…from purple haze to the star-spangled banner – not much in the way of sonic choices, although in that case, hendrix made the most of the pickup selectors and whammy bar on his beautiful white stratocaster, too (and his manual dexterity, and the amazing things that he did with his hands, on guitar body, strings, bridge, neck, and head stock – remain unrivalled as the most unique technique ever invented – often copied, never equalled) – coupled with his skill on the wah-wah pedal, that whammy/feedback/wah combination was the screaming metal fire music of it’s day.

hendrix and other guitarists performed miracles with just a wah-wah and a fuzz, one of my other favourite live records from 1969 is the recently-released “the move live at the fillmore 1969” which features roy wood playing both six string and twelve string electric guitars through wah or distortion, and coaxing a lot of great guitar tone out of his set up (whatever that was!) – this article suggests that it might be a fender guitar through a vox amp with a binson echo

while much amazing music WAS made with these simple tools, over time, even 60s guitar legends like frank zappa, todd rundgren, robert fripp and so on, began to use and become used to using, and having available, an ever-growing, ever more bewildering selection of effects pedals – at first, better distortion pedals, then, chorus pedals, then flangers,  phase shiftersreverbs, delays, and starting in the early 70s, an absolutely astonishing array of truly bizarre sounding effects – envelope filters and followers, micro synthesizers, loopers, as well as devices such as the gizmo and the ebow

today’s guitarists – have too many options.  too many effects.  too many choices…

I started playing guitar in the 60s, too, but not seriously until I was a little older, and it was not until the 1970s that I got really serious about being a lead guitarist, and like all my 1960s guitar heros, I had the same kit: fuzz face fuzz box (because that’s what jimi hendrix used) wah-wah pedal (because that’s what hendrix used) and later, for a while, I had an echoplex – the tape kind – an amazing piece of kit.

for  a long time, that was really all I had, although when boss started making good sounding chorus, flanger, reverb, delay, etc pedals I collected a lot of those – sold some of them, re-bought them a few generations later, and so on – nice little stomp boxes, small, and reasonably good sounding.

then came the era of the rack mount.  stomp boxes fell by the wayside, in their place, shiny new rack-mountable devices, in my case, I favoured digitech so I had a nice 24 bit reverb, the tsr-24s; I had a digitech 8 second delay (the longest delay/looper I could afford at the time); and later, I bought robert fripp’s old roland GP-16 to use as my first rack multi-effects unit, and later still, I got the oberheim echoplex pro (the digital version, this time).

fast forward another 20 years, and the list of pedals and rack devices and miracle hybrid stomp boxes, and multi-effects devices just grows and grows, until you have so much choice that it’s nearly impossible to figure out what combinations of what devices, coupled with what input device – guitar, or guitar synth, or keyboard, or kaossilator, or ipad…to use to achieve what sound.  and then – for recording – record with effects, or add them later…or some of both?

the choices…the sheer number of choices, is staggering.  let’s say I have 17 devices in my arsenal of effects.  that means…they can be set up in a nearly infinite number of ways, pre- or -post, used as you play, or “re-amped” through them later – we are truly spoiled for choice.

the natural tendency, if you come from the wah/fuzz/echo background that I do, was at first, to try and get as many sounds as possible, by having every pedal that made a different sound added to your pedal board. I spent years and years designing and building ever more grand pedal boards, sometimes I used two pedal boards – whatever it took –  but then, technology progressed yet again – we started to have “multi-effects” devices, and modelled guitar amps (like the sans amp), and so on – which made the choices even more confusing…

and then – do you just set up each song free-form, by reaching down and making changes, or do you control everything – or just PART of your system -with a MIDI controller?  all of these questions, have to be worked out…answered, solved, tested, tried…

I’ve been playing electric guitar for 41 years now, and in that time, while I do now have a lot of really beautiful sounds and instrument sources to choose from, and it’s still very tempting to set up these multiple-choice, multiple-path set-ups that allow you to change effortlessly between a number of different instruments, chains of effects, or rack devices…and yes, that’s fantastic technology;  and with it, you can do so, so much…

but lately, I’ve decided that I am going to attempt to apply what I call “the eno principle” to this massive array of rack, stomp and other effects devices (including, soft synths, ipad synths, software effects, and everything else in my current set up)…”the eno principle” being simply: find a few REALLY GOOD SOUNDS and use those, and…ignore the rest.  in other words, life is too short to use a crappy sounding patch!

eno originally gave this advice about synthesizers…when the first truly beautiful synths, like the yamaha dx7, came along, eno commented on the fact that they all had a very few REALLY BEAUTIFUL or really interesting sounds…and most of the rest of the sounds, were not all that good – and the secret was just to use those  good sounds, and ignore the rest.

well, here it is, 2013, and I am now applying this same principle to my current guitar system.  I have lots of sound generating devices: guitar, guitar synth, keyboard, kaossilator, and ipad (which in itself, contains many, many unique synths, as well as guitar processing gear) – and lots of fabulous effects devices that 41 years ago, if you had told me I would have in the future, I would have just laughed at you – but, now I do have them, and they are incredible…but my thought now is, I need to examine each device; figure out what it’s best 10 or 15 sounds are (as eno did with his yamaha dx7), and stick with those, and not waste time with any sound that is less than incredibly beautiful, or incredibly interesting, or incredibly powerful.  this seems to me now, after 41 years, like a sensible approach.  a more sensible approach, than having more possible sounds than I can possibly remember, much less actually use…

so I am thinking in “patches” again, but patches that are not complete patches – they are patches of “post” effects only…so – harmony, delay, reverb.  the input, instrument, and basic sound – clean, distorted, etc. I will still select manually each time – with the processing, or treatments, handled by patches.  via a MIDI controller of some sort – an as yet undetermined controller.

the input can still be anything – and with the roland gr-55 guitar synth, that is so true – it might be a flute, or a clarinet, or a xylophone, or a strange hybrid synth voice of some odd description – or just an ordinary electric guitar sound.  but that input – will be processed, in the near future, with very, very carefully chosen “presets” of harmoniser, delay, and reverb.

so I am hopeful that with a few months work, I can document and “work out” what the best sounds are on each device, then (and this is the tricky part) try to marry up the perfect harmony with the perfect reverb, and know what delay works with that perfect harmony / reverb combination…

for me – music is just as much about the treatments, about what you do to the sound, as it is generating the sound.  they are of equal importance.

but now, I want to concentrate on what the very best of those “treatments” are, selecting and blending only the very best sounds, so that my oboe sounds unlike any one else’s oboe: partially, because of the way I play it, but also, because of the way I process, or treat, the sound as I perform.  that is the goal – to sound unique, unusual, but beautiful 🙂

over the next several months, I will be working on these high quality, hybrid, “best of”, “eno principle” sounds, and once I have a decent selection of them completed, I can begin to use them on recordings and live video performances.

so I am hoping to have a smaller selection, fewer sonic choices, using fewer sounds, but – sounding better than having too, too many choices, which perhaps dilutes things too much – too many wildly varying effects, instead of going for what is the most interesting, the most beautiful, the best – and, with ambient music, and even in rock music – sometimes – less is more.

since this will be an ongoing process, I will return to the topic in future blogs over the next couple of years, to see what progress I am making – it will take time, but I feel that it’s well worth the effort – even if I only come up with 20 or 30 basic sounds or “patches”…if they are superior, and they bring new sonic qualities to my playing – then I will consider that a success…hell, I’d be happy with 17 really fantastic sounds 🙂

I don’t really “need” a lot more, if they sound truly amazing.

so, it follows then, that they need to sound truly amazing 🙂

what we’re listening to – the innocence mission (a guilty pleasure)

in the 1990s, since joni mitchell was already in semi if not full retirement, there was only one female singer that filled that gap (for my money, anyway) – big shoes to fill – and that was the innocence mission’s karen peris.

I discovered this band in a really strange way, I used to videotape mtv’s 120 minutes, which ran from midnight to two am, I would go off to bed and watch the tape the next day, on the off chance that an interesting or good video would be shown (and usually, I was disappointed) but on one of the tapes one night, there was this strange video for an even stranger song called “black sheep wall”, by a group I had never heard of – the innocence mission.

the singer was a shy looking girl with long brown hair, with a lovely soprano voice, but what got to me was the song itself – it was strangely compelling, and I liked the arrangement, which has some sort of reverse reverb backing vocals, and I really liked the instrumentation and the guitarist.

I did something completely uncharacteristic – the next day, I went out, and bought the album on the strength of that one song.  and this was an accident, I never did that – but for some reason, I did.  and I loved the album – it’s an absolute classic, and “black sheep wall” is just one of many great songs on that debut record.

I didn’t know it then, but this was the start of a long love affair with this band, this singer…these SONGS – delicate, fragile, beautiful, sensitive (all the things that most music of the 90s was not) and I was lucky enough to see the band live a couple of times as well, usually in a very small club in san diego. on one of those occasions, I even got to speak to don and karen, and they were just absolutely welcoming and wonderful people – I had a really nice chat with don, told him I liked the way he would go out on a limb with his guitar playing – which he did all the time, his riffs, bordering on the strange, his use of the whammy bar, very peculiar indeed…but wonderful, refreshing – unusual.

a huge component of my admiration for this band IS the guitar playing of don peris – he pretty much never uses distortion, always plays it clean, plays it straight, uses a lot of bright, chorus-y sounds…but can also play so, so powerfully when the need arises.

of course, it wasn’t just don’s guitar, karen’s ability as a vocalist, pianist and synthesist cannot be overstated, of course, really, this is in some ways, “her” band – mainly because it’s her songs – her piano. again, this always impresses me – I am not normally fond of singers who cannot play an instrument – but karen sings lead, sings harmony, play piano, plays synthesizer, plays acoustic guitar – whatever is needed, and she is a musician first and a singer first, as well – now, for a lot of people, it might be difficult to deal with her voice, because it’s one of those really powerful sopranos that some people don’t like, but if you listen to the words, the stories she tells – and then her vocal arrangements – for example, the arrangement on “black sheep wall” is absolutely stunning – as if joni mitchell and kate bush had a magic love child, and her name was karen peris.

as one of the few husband and wife teams out there in the world of popular music, the peris’ had a long and fruitful, albeit low-key, career – and it’s interesting, if you look at the series of recordings they made at the time, starting with their debut “the innocence mission”, moving on through “umbrella” and onto the phenomenal “glow”…but what was interesting was that at first, it was a real band, with bass, drums, guitar and piano – with karen at the centre of it all, those amazing songs, and don supporting her with his world class super clean, melodic, chiming guitars – those guitars!

but, as time went on, first the drums disappeared, and then eventually even the bass, leaving karen and don right back where they started – full circle, so that the last couple of “innocence mission” albums were really just karen and don – and therefore, a lot more acoustic than the earlier records – but the songs never suffered, and in fact the more minimal approach on the later albums actually works very, very well indeed.

early songs such as “clear to you” and “black sheep wall” – are just so, so beautiful, and even now, so many years later, the distinctive sound of karen’s voice, and those beautiful band arrangements, just resonate so beautifully – nothing has changed, even though…everything’s different now.

 

“when it’s…when it’s clear to you, I’ll be near to you – I will be around…

“when it’s…when it’s clear to you, I’ll be near to you – I won’t let you down…”

 

I really admire the amazing talent of these four people, of course, it’s all about karen’s songs, karen’s amazing voice, those kate bush/threatening background vocals, and don’s amazing, concise, careful, clean and sometimes daring guitar playing – and the songs are good, they are solid, the writing is good, the lyrics are intense and meaningful and joyful, the melodies are beautiful – and the band supports karen in an amazing, yet delicate way.

when I spoke to karen and don, I was struck by just what…almost withdrawn, quiet people they were, totally introspective, and when karen spoke, it was in an absolute, barely discernable whisper, almost as if she were afraid to speak aloud (she was probably just saving her voice for the next gig) – and some of her songs are like that too, fragile, you can’t believe something that fragile can exist, something that beautiful – but they do!

so these are definitely not your normal “rock stars” – there was no posturing, no nonsense, just come out, sing and play the songs (and don has a great harmony voice, you could tell that he and karen have been singing together for many, many years) and I was amazed that they then came out to speak to us after the show instead of “off to the hotel” – that was a really nice thing to do, and I haven’t forgotten that conversation even after all these years – I was wanting don to let me overdub one of their songs with layers of ebows – but that idea never came to anything (at least, not yet!) – there is something fairly hypnotic about a lot of the songs, and I had done some experiments where I looped live as the album played – so I could hear it in my head anyway…

 

I really think it’s such a shame that this band was not well known, here, we have real talent, real song writing ability, a great pianist and singer, a fantastic, accurate, clean, quality guitarist – and of course, they were largely ignored in favour of musical atrocities such as…shudder…tori amos.  tori amos was compared to kate bush, but the real talent, the woman who really should have been compared to the vaunted kate b., is our own karen peris – if you ask me, there is a holy trinity of female singers: mitchell, bush, peris – NOT amos, never amos.

 

even new female artists like joanna newsome…OK, I get it, but for me, no one has yet to touch the beautiful, fragile, yet strangely powerful songs of karen peris – they are tops, and it will take someone really, really amazing to replace her place in my heart – I love this music, I’m forever going over black sheep wall and karen peris is taking me there…

sometimes, the band builds up to an amazing frenzy of layered, chiming, beautiful guitars, with multiple karen peris overdubbed vocals lending themselves to this musical frenzy – there is a part in “that was another country” from the “glow” album that never, ever fails to give me goose bumps, as karen’s voices vie with don’s guitars for “most beautiful” or “most chilling” – a really musical, really creative build up of layers, and “that was another country” is a masterpiece, albeit an unknown one – if I had to take just one innocence mission song to my desert island, that might be it…

as I mentioned before, they start out very much “band” and end up very much “acoustic duo” which is a strange career, almost like a career in reverse, the most number of fully arranged, upbeat songs being on the debut, and then, fewer and fewer tracks with band as time goes on.  I love both, and there are also a few tracks that are mostly about karen’s piano and voice, and it’s then that comparisons to both mitchell and bush are totally unavoidable…obviously, she is influenced by both (in fact, mitchell was an actual mentor on the first album, which was produced by mitchell’s then husband, larry klein – as was the second album, “umbrella”, as well) but totally has her own identity, and I love that she is such a strong songwriter, and that the boys in the band – originally, mike bitts on bass and steve brown on drums, along with don and karen peris – they all contributed to the material, but peris is, and always will be, the principal songwriter and is the quiet, gentle, shy driving force behind this band and it’s incredible music.

there is no other like it. an early single, “wonder of birds” has a driving drum beat and a glorious orchestral arrangement that support karen’s massed vocals – and then don starts to layer in his “chorus guitars” – and the whole thing is away, flying, literally flying away – and what kind of band writes about how wonderful birds are – in fact, one of their later albums is actually called “birds of my neighbourhood” – so twitchers (birdwatchers/ornithologists) everywhere, including myself, can rejoice, karen peris and co. are still singing the praises of our avian friends…and that was even a minor hit, with a successful MTV video – can you imagine, a song about birdwatching, an MTV hit??? it doesn’t get more unlikely…

their second album, 1991’s umbrella, starts with an incredibly beautiful, upbeat song called “and hiding away” – with the most glorious guitars, picked chords flying, trying to keep up with karen’s voice, which is soaring so high, so far – and then it’s all don, amazing guitar break, I really cannot express in words what a good guitarist don peris is, you just have to listen – none of it is gratuitous, there is nothing excessive, nothing unnecessary; there is just what the song needs, no more, no less – pop masterpiece minimalism, and “and hiding away” is a perfect example of a great, great pop song – I love it!

I prize the cloudy, tearing sky
for the thoughts that flap and fly.
for staying in and reading by.
for sitting under.

I read a book of madeline
and her friends in two straight lines,
in paris, in a house with vines
over its old face.
far, far is paris…
and the sky is dark with mystery.

try, catch the thoughts that flap and fly
in the cloudy, tearing sky,
that touch and stir and won’t be tied-
and try to speak them.

I think of my old flower sky.
of us, when we thought we were spies.
of bobbing eggs in easter dyes.
of walks in london.
try, try to hold my love for you,
it knows no measure.

this is a day for hearing bagpipes
somewhere playing.
this is a day for hearing sarabands
and hiding away.

sky, I hold my tears if you do.
starling thoughts, go over me

 

and then, from pure, unadulterated joy, the album moves to unspeakable sorrow, with the dirgelike, slowly evolving “ sorry and glad together” with it’s perfect four-note george harrison style slide guitar break – the world’s shortest, best slide solo – so beautiful, a very moody song, that moves from sorrow to joy and back again, and even if this album only had these two songs on it, it would be a masterpiece, “umbrella” is a really, really lovely record.

I love the first three records perhaps a bit inordinately much, and for some reason, I am also very fond of the third album, “glow” – I don’t know why, there are so many good songs, great songs even, across the now-substantial canon of this great, unknown band – and whenever I hear them, I am taken back to the time when these songs were brand new, and I had a secret, I was into one of the best kept secrets ever, the beautiful experience that was being a fan of, and seeing play, a totally real, totally honest songwriter, who would sit down to an absolutely hushed audience, sit at the piano, and pour her heart out without opening her eyes, as don and the band quietly supported her – I will never forget that as long as I live – the venue was a tiny club, and you could hear a pin drop as karen sang…

I feel very, very fortunate that I stumbled across this band by total, total accident; that I took a chance and bought their first CD, that I kept buying their albums (and was rewarded time and time and time again with an even better record than the last one), that I went to see them play and supported them – so many bands are just hype and nonsense, all bluster and no talent, but this incredibly honest couple, with their beautiful, truthful songs, really touched me in a strange way, the songs get into your head and your heart, and you find yourself singing them days and days after hearing them…

“I can see you
I can feel you

I can see…see

you”

normally, I would never buy a CD based on the strength of hearing just one song that I liked – but in this case, I am so, so glad I did, because there after followed 23 years of enjoyment, and I class this band in a very unique category, a rare category, where the quality of the songs and the delivery of the music is such a pure, undamaged thing – even the record companies, the record industry, could not spoil this, and this band always did work on their own terms – they had it their way, even when that way was probably commercial suicide, and for that determination, they have my undying admiration and love.

 

“(I’ve got) clouds in the upstairs, clouds in the memory…

clouds in the upstairs…I still remember…I remember me…”

“clouds in the memory…”

 

 

karen and don – keep making that beautiful music !

 

 

addendum:

 

early period innocence mission playlist – killer tracks

if I had to just take 14 tracks with me…

 

 

black sheep wall

clear to me

you chase the light

wonder of birds

and hiding away

sorry and glad together

now in this hush

someday coming

keeping awake

bright as yellow

that was another country

happy, the end

go

everything’s different now

where does the time go?

snow

moon river

 

 

 

beautiful pop heaven playlist…

 

bliss.

what we’re listening to – the ravi shankar collection – 10 CD – 2012

I have always had a soft spot for indian classical music; for me, it started, as it did for so many young musicians, when beatle george introduced us to a remarkable young musician named ravi shankar around 1966 .  I am so, so fortunate in that I actually got to see ravi play on three occasions, once, in 1974, when a massive indian orchestra was the opening act on the george harrison tour – and that was absolutely brilliant, I had never seen indian music performed live, and to see and Indian orchestra led by ravi shankar as my first experience – that was truly remarkable, and again later, at a special concert held at ravi’s home…and finally, again, a few years after that in a more formal setting, I was very fortunate to have seen ravi in concert with his daughter anoushka – and that was truly something to behold, father and daughter, master and student – but I will tell you what, anoushka’s ability on sitar has skyrocketed so incredibly much, that her playing sometimes challenges those positions of “master” and “student” – I believe that in the fullness of time, that anoushka may be an even greater player than ravi – and that is saying something.  time will tell.

so it began with ravi shankar, his influence on the beatles at first, hearing those strange, strange indian instruments in the george harrison song  “love you to” from revolver – of course, everyone cites “norwegian wood” as the watershed moment, but actually, for me, I always felt that was just a bit gimmicky, it’s not serious – but, as with all things george harrison, it became really serious, really quickly – and “love you to” is the first – the drones on “tomorrow never knows” are the second – and then the masterpiece, “within you without you” – which is absolutely brilliant.

then for me, when it really hit me just how good this music really, really is – was hearing, and seeing the film of, the concert for bangladesh. the main piece from that opening act of the film and the concert, “bangla dhun” is an amazing piece of music, and it’s melody haunts my brain to this day, I love the incredible musical interplay between shankar on sitar, and the master of the sarod, ali akbar khan – “bangla dhun” is a duet of the two then-masters of indian classical music.

but we are not here to talk about george, we are talking today about indian classical music, that 3000 year old oral tradition – that to me, makes the entirety of western music seem like a tiny blip on the screen when compared to the rich tradition of the “rag” or “raga” – which have been handed down, from teacher to student, for over 3000 years.  western music has nothing to even compare to that…

it wasn’t until I was an adult that I started collecting the music of ravi shankar, and it was slow going – there wasn’t much readily available, but I did start to build my collection.  and because I’d seen ali akbar khan play at the concert for bangladesh, I also became very interested in the music of the sarod, which is the sitar’s lesser known cousin, and I began to collect both shankar and khan CDs in earnest.

other styles of indian classical music also came into the mix, including some of the master players and performers:  pandit hariprasad chaurasia, an amazing flute player, probably the master of the bansuri, the Indian bamboo flute, is a favourite of mine, and I also have a love for both Indian vocal music, or the very hauntingly beautiful music of the indian violin as played by master musicians such as dr. l. subramaniam.

but for me, it was the holy trinity of ravi shankar, the master of the sitar, the undisputed master; ali akbar khan, the undisbuted master of the sarod; and alla rakha, the undisbuted master of the tabla.  hearing them play together at an early age (I was a young teenager when the concert for Bangladesh took place) left an indelible impression on my young brain, and I’ve been enjoying their music ever since.

few have arisen to challenge these three; for ravi, his only competition, in my opinion, is his own student and daughter, anoushka, otherwise, no other sitarist has come along to challenge his superiority, I don’t know of any challenger to ali akbar khan who simply reigns supreme on the sarod, and maybe, at a stretch, you could say that young bikram ghosh is at least holding a candle to alla rakha’s ability on the tabla – I’ve seen ghosh play (in ravi shankar’s living room, but that is definitely a story for another blog…) and I can tell you he is an extraordinary player – whether he is alla rakah’s equal or possibly better, I don’t know, I doubt it…but it’s a close raise, both men are insanely skilled with the very complex and intricate rhythms – which are often delivered at a breakneck pace!

so the other day, when I got one of those “pre-order this brand new collection by ravi shankar” emails – it was a bit of a no-brainer, especially when I realised that for a mere twenty quid, I would be adding no less than ten full CDs worth of shankar music to my collection – how could I not order it?

it arrived a few days ago now, and I was able to get the first five discs ripped and named and onto my ipod so I could listen to them earlier today, and what a pleasant day it was, too, because of this music.  a few days later, discs 6 – 10 joined them, and it was then that I could really immerse myself in this massive body of work – I can’t get enough of it at this point.

some of the music is familiar to me already, because I already own the very, very beautiful “in celebration” box set, so there is some overlap, but that is hardly an issue – I’m actually pleased that this collection is ten CDs, because at that quantity, you can actually begin, just about, to get an idea of the amazing career, and the amazing talent, of the man named ravi shankar.

it’s all here – solo ragas, duets with other Indian musicians, and the obligatory east-meets-west (probably my least favourite I would have to say) – including shankar’s first two concertos for sitar and orchestra in their entirety – and they are fantastic, it’s a star-studded disc too, zubin mehta, andre previn, yehudi menuhin as guest violinist, rampal as guest flautist, and so on…the usual suspects – but, all at their best under the challenge of trying to play along with a master like shankar – and the result of that challenge is some truly amazing collaborations, with some pretty terrifyingly fast and remarkable playing.

 

now, I really feel like these collaborations do need to be here, and some of them are absolutely essential, and absolutely musically stunning – shankar instinctively knows how to use the orchestra as a gigantic music foil for his sitar, and both of the “concertos” are well worth your serious consideration – I think they are brilliant.

but for me – no offence to anyone – for me, my personal preference is when the musicians are all traditional indian classical musicians.  I think the “east-meets-west” experiments are necessary, and, they would have been an essential tool in introducing this strange instrument, the sitar, to uncertain western concert goers and classical music enthusiasts – and I am sure that by working with the great western conductors, composers, and players (and shankar has worked with so many great names, including people like phillip glass) that shankar advanced the cause of indian classical music from totally unknown to a high degree of recognition – and it’s stayed that way – you hear indian music everywhere, in films, on television, and I believe that all-pervasive presence can be directly traced to the work that shankar did in the 50s and 60s promoting indian music to the great western masses – it worked – he succeeded.

so while I really enjoy the orchestral works, and in fact, some of them are nothing short of amazing – for me, it’s just the “ordinary” ragas that I crave, where you have ravi on sitar and (usually) one tanpura player providing the drone – and then just let this young man play!

and what can I say about his playing that hasn’t already been said a million times, I feel singularly unqualified to even comment – all I can say, as a guitarist, brought up in the western tradition, my admiration for the unending skill that ravi possess, the knowledge in his head – the knowledge in his fingers – he is truly the master of the instrument.

if you watch the opening section of the concert for bangladesh, you can see it, you can hear it – the best player in the room, of the whole night, despite the presence of all of the great western players there – is undoubtedly ravi shankar.  he is a good three or four times faster on his instrument for starters – leaving harrison, clapton, preston, russell and crew in the dust – and harrison himself later remarked that after ravi’s set, that the western music seemed dull, lifeless – and as excited as I was and am about the first post-beatles performance by george – he is right, it really does seem quite lifeless after “bangla dhun” – and it’s in the players’ attitudes too – you watch ravi shankar and ali akbar khan as they play, and they are transcendent, smiling, joy flying from mind and fingers – it’s a celebration of a beautiful folk melody of bangladesh, it’s playing that raga with everything they had, with so much love and so much obvious joy – and then, when the western section of the concert starts – everyone has their head down, no one is smiling, the band is not really in tune, not really in time, and not exuding anything except perhaps weariness.

of course, there were problems for some of the western players, clapton was in the middle of his heroin years, and was hastily cleaned up for the show (where he does not play spectacularly well, if I am honest), george himself was having anxiety and panic from having to go onstage again after NOT having had to since 1966 – he was vomiting before the show – so it’s quite a down, dour affair – which is such a shame!

don’t get me wrong, I love seeing george playing tracks like “wah-wah” live, seeing and hearing him play his best beatles songs and especially, seeing him play songs from the amazing “all things must pass” album – that’s awesome in itself, but I am afraid that ravi really stole the show before the harrison section of the night ever began.  and I am sure that for george and the others, listening to ravi and ali play, and then having to go out there and recreate the “hits” – that must have been disheartening. for me, after the performance that shankar and co. give on that night – well, no one should have to follow something so bloody good – it’s just not fair.

I guess I am saying, if you have not heard/seen the amazing duet between ravi shankar and ali akbar khan that is “bangla dhun” from the concert for bangladesh, hasten ye to do so now – it’s fracking remarkable.

normally when we do a “what we’re listening to” blog, I try to single out certain pieces and talk about them, in this case, that is nearly a futile idea, because I don’t have the requisite language to even describe this music – it’s ravi shankar!  the only pieces I can even talk about with any sense of understanding are the east-meets-west pieces, and to my mind, they are not the highlight here – the highlight is whenever ravi puts his fingers to the strings of his sitar – any time he does this.  when he begins to play, my attention immediately focuses sharply on what he is doing, the scales, I try to think about the uncanny fact that for each rag, there is a specific basic scale – which is one series of notes when ascending, and another when descending!

that idea in itself – well, OK, the western equivalent is “modes” – so it would be as if you played in D dorian mode in the ascending and in D phrygian in the descending – but, there would be hundreds of combinations – and of course, within each rag, there will be standard deviations – and non-standard ones taken by more experienced players – that idea, to me, is just mind-blowing, it’s so, so clever – because that means that the mood of the raga can be controlled – if one scale, say the ascending one, has a “positive” mood, then the piece can be positively influenced by doing a lot of work with ascending scales.  conversely, if the descending scale has a “negative” mood, that might then allow for wistfulness or sadness or even downright heartbreak, simply by accentuating the descending scales.

in practice, since everything sitarists learn is passed down orally from teacher to student, what happens is that the student…”just knows”, just as the master “just knows” a) what notes to play in the ascending b) what notes to play in the descending and c) when to deviate from this and how much deviation is allowable.

for me, it’s all I can do to play a C major scale with a sense of quality, and having to deal with the almost microtonal intervals that occur in some of the bending in sitar music – I would be utterly lost – I can’t readily “imagine” how they “know” what to do – I really can’t.  it is an art form, a pure and absolutely amazing art form – and it’s unlike any other music I know.

but – somehow – this oral tradition, where the “rules” for each type of raga are known and are passed down from teacher to student over the centuries…it just works!  it works well.  because, the emotion, the joy, the sorrow – well, for a player at the level of ravi shankar – all of these are available, and he expresses all of them with consummate skill.  I also have always loved the idea, which would be odd in western music, that each raga has one scale for ascending patterns, and a DIFFERENT scale for the descending pattern – I think that’s wonderful.  and, each raga has a “time of day” – morning, afternoon, evening, night – and while that might seem whimsical and a bit overly simplistic, the weird thing is – if you listen – you can HEAR this mood, you can “tell” when it’s an afternoon raga.  I don’t know why, although I am sure there are certain rags, certain scales, meant for different times of the day, so by selecting the correct raga, you set the piece in the correct time of day. it’s a brilliant system!

now well into his 90s, ravi has over the past several years, tutored his daughter anoushka in sitar, and has in a very short time comparatively speaking, turned anoushka into a stunningly powerful musical force.  I’ve seen her play a couple of times, and the confidence that she exudes when she plays, well, she knows her stuff, and you know she knows it – is really something to witness. but then she did have the best possible teacher!

she is very much her father’s daughter – she reminds me so much of ravi when she plays (and how could she not!) but she also brings two things to the table that ravi does not: her youth, and her femininity.  the energy that she puts out when she plays is phenomenal, and since I don’t believe that ravi really performs much more these days himself, I very much recommend that you go and see anoushka is you possibly can – she’s at least her father’s equal when it comes to skill and command of that most difficult of instruments, the sitar.

listening to this new collection, I realise, even with the space in time that ten compact discs gives us, that it’s still only a drop in the ocean, it’s only a tiny part of what ravi shankar has accomplished over the past several decades, what he did to publicise and popularise indian classical music, but mostly, for me, the music that he played – the music that he plays with such obvious joy and brilliance.

I would heartily recommend this collection to anyone interested in the music of ravi shankar, I cannot speak highly enough of him, except to say that his music changed my life, his music inspires me, his playing is transcendent, and I would give anything to be 1/100th of the guitarist that he is a sitarist – 1/1000th.

the speed – it’s devastating, burst of notes so quick that you might not be able to say what they are – guitarists rarely achieve speeds close to this when playing, and I think that the best guitarists in the world would all step back, respectfully, when faced with ravi at his fiercest, most flying solos – when ravi is on fire, the whole building starts to burn – and in the case of the aforementioned “bangla dhun”, I firmly believe that the way ravi played that night, the speed, the strength, the clarity – I believe that pushed ali akbar khan to play a blinder himself.  so the two greatest stringed instrument players that India ever produced, made each other play faster and better than they ever had before – and it’s also because of the joy, the flying joy, in the room – that’s also a huge factor in this – but that’s something you have to feel, you can’t see it, you can only sense it – but for me, I sensed it, and I followed, and I listened – and I’ve been nothing but rewarded for my trouble.

I am so, so glad that I started seriously listening to indian classical music so many years ago, it’s also had an influence on my own music, and I hope it has helped me to not be so rigid in my playing.  I wish now that I’d started playing an Indian instrument when I was young, but since I never did, all I can do now is listen – but the joy of that alone is enough to light up a room.

ravi shankar lights up every room that he walks into – every time.  you will not be disappointed…hearing ravi “trade riffs” with yehudi menuhin – wow, that is just unbelievable, something I never dreamed I would hear, and again, ravi’s presence spurs menuhin onto the performance of a lifetime – and hearing these two masters, sitar and violin entwined in an ever-growing musical intertwining – playing against each other, playing in unison, playing is sequence – the precision, the speed – it’s just dizzying, and the tabla player is hard put to keep up with these two!  what a performance (“swara-kakali” – based on raga tilang) – this piece is new to me, and it is a mind-blowing demonstration of musical proficiency and skill – it really is.

due to my schedule, I split the listening of the set into two, first, I listened to discs 1 – 5, which contain some of the more obvious feats of musicianship, and include a lot of east-west fusion, which is normally a curse word, but here, in this context, bringing ravi’s sitar into a western orchestra setting, or pairing him against the best western violinists or flautists – is an inspired idea.

discs 1 – 5 blew me away completely; a massive number of tracks; huge variety, and collaborations that are out of this world.  but then…I started listening to discs 6 – 10.   while there are still some collaborations, you also start to get what I always crave: pure ragas, the longer the better.  and there are some amazing ones in the second half of this set; ragas you can sit back and really get stuck into, where the players play for 56 minutes (!!) if they feel like it, developing the themes, just creating such an extraordinary atmosphere – the tanpuras, those random drones, just put me in such an amazing mood, those gently caressed notes that drone endlessly in the background as ravi and co. take centre stage…

I even made a playlist of the longest ragas, so I could hear ravi, ahem, without western accompaniment, and just by tossing in the longest of the “regular ragas” – I ended up with a playlist over six hours in length!  I can’t wait to hear it…

one piece in particular from the second half struck me, and I am sure ravi included it because he remembered and realised what an amazing performance it is, is a piece that features ravi’s regular tabla player, alla rakha – and drummers, sit up, pay attention, you can learn more about rhythm from one alla rakha tabla solo than any number of drum solos by ginger baker or carl palmer – and the man plays with his hands, not with sticks!  to say this is a great drum solo – that doesn’t even begin to describe it, it FLIES, and you just have to hear it to believe it, you really do! I am so pleased that this piece has been included – because it’s absolutely brilliant “tabla solo in ektal”.

back in the mid-nineties, I had the good fortune to attend a concert by ravi and anoushka at ravi’s home in encinitas, california (near where I lived at the time) and it was there that I got to see the modern day holder of the crown of the “hottest young tabla player around” – the amazing bikram ghosh, and his performance that evening, along with ravi and anoushka, was unforgettable – simply the best drummer I have ever seen in my entire life – full stop.  faster, by far, than any western drummer, more rhythmically advanced, just amazing to see and hear – and you could not see, because his fingers flew so incredibly fast.

the down side to this set?  if you ask me – too many orchestral pieces, not enough traditional ragas – but that is quibbling, that’s my personal greed for straight ragas – I cannot get enough of them – because the orchestral pieces are uniformly astonishing, and I would miss them if they were gone – so really, no, no down side – it’s all up sides – ten of them!

wait – I HAVE thought of a down side – it’s not long enough – it should really be 20 discs.  there – I knew if I thought long enough, I would come up with some kind of negative…

another one? not enough collaborations with Indian classical players, not enough appearances by ali akbar khan on the sarod, the aforementioned alla rakah on tabla, but these are minor, minor quibbles indeed – there are so many positives that they absolutely outweigh these almost negligible “negatives” – please ignore me. 🙂

for two pounds a disk, you are getting some of the best indian classical music ever recorded, and, you are getting a great introduction to the music of the man who started it all for indian classical music.  a note of appreciation too for ravi’s great, great friend george harrison, who helped to bring attention to ravi shankar and the music of india, this excellent classical tradition that predates the entirety of “western music” – now, when I hear the phrase “classical music” – THIS is the music I think of this is the “real” classical music – western classical music is something that came along much, much later….

not that sound quality is really an issue in these performances, but most of the tracks on the ten discs are digital remasters, albeit done at different times and compiled here from many, many sources – but the end result, is a set of discs containing some of the most amazing music I have ever, ever heard – all from the skilled hands of mr. ravi shankar, the undisputed master of the sitar.

I love it!

what we’re listening to – neil young – archives vol. I

I hadn’t heard this for a long time, and I suddenly thought, oh, I really, really need to hear that right the way through.  my wife had surprised me with it, brought it home with her from glasgow, this extraordinary box full of the mysterious earliest history of someone who was, and still is, a huge influence on me – neil young.  like every kid, I had harvest, but then I started buying more of neil’s records, and over time, I ended up with quite a few – but I was never prepared for the mass of material presented in this exquisite first archive box.

so I started at disc 0 track 1, and I’ve been slowly moving through neil’s earliest years, and it’s such an amazing trip – right now, he’s playing lead guitar in an instrumental surf number “kahuna sunset” from buffalo springfield,  but at any given moment, you might find neil young almost anywhere – with an orchestra, behind a piano singing, with his acoustic guitar, singing early versions of “nowadays clancy can’t even sing” or rocking the lead guitar on the electric version of “mr. soul” from the underrated, under appreciated buffalo springfield.

the double lead guitar attack of stephen stills and neil young was unstoppable, and on “mr. soul” they trade solos just to prove it – with neil taking a strange, almost indian raga kind of solo at the end of the middle section – beautiful!

or you get something grand and orchestral like “expecting to fly” – so uncharacteristic, I think neil is channelling brian wilson on this number, the orchestration is very, very reminiscent of wilson’s “let’s go away for a while” – a tune that we know young favours, since it’s the closer on his “journey through the past” album. this piece is on such an epic scale, with it’s mournful mood and even more mournful vocal – but, this is and was miles beyond a boy from canada strumming his guitar, it’s neil using the studio and orchestra like a giant song dream machine, taking an ordinary song and re-imagining it in an incredible way, I love the strings in “expecting to fly” and if neil is channelling brian wilson, I don’t care – that’s a GOOD thing in this case.

another very interesting piece from this time is the very oddly constructed “broken arrow” – a great song, broken up with circus organs and other silly things – but a really nice tune, with a little waltz bit in it – it’s genius. “did you see him….? ….did you see him in the river, he was there to wave to you, could you tell that the empty quiver, brown-skinned indian on the banks that were crowded and narrow – held a broken arrow?”

it’s a weird, weird pastiche of sound effects, strange interludes, it’s very weird, but it does keep returning to the beautiful waltz time section with neil’s plaintive vocal just cutting across all the strangeness – determined to tell the story in between the madness – next strange section – some clarinet jazz with piano…making no sense with the rest of the song – but, great piano solo…and then it just fades away – the end – but not, then, it’s an amplified heartbeat – and that is the end!  what a weird song!  but I love it.

of course, there are lots of “normal” songs like the lovely, naïve, “I am a child” – a really, really beautiful piece of music, gentle, beautiful vocal, wonderful lyrics, nice shuffling beat – classic neil young, and when I think of neil, it’s often “I am a child” that comes to mind – anything from his first album, like “I’ve been waiting for you” – things like that.

then you also get wonderful things like “previously burning” – more instrumental guitar music, but with a full orchestra – probably the same orchestra that’s on “expecting to fly” – but this lovely piece is really just a guitar backing for an unfinished song I’d say.  really nice mood, doesn’t sound unfinished – just sitting there waiting for a lyric that never arrived.

it’s quite a wild ride, but what it is constant, is that voice – and the songs – and that amazing lead guitar style.  I used to say that north America only really produced two truly great guitarists: frank zappa and neil young!  each has an idiosyncratic, instantly recognisable sound, and both are really amazing players – who both grew enormously as musicians during the late 60s and early 70s – to the point where no one could touch them.

my two favourite american (I know, neil is canadian – it’s in north america already!) guitarists then, zappa and neil young – and I listened to them both a lot, and learned a lot from both as well…probably more from neil, since when I was a young guitarist, learning zappa was a bit beyond what I was capable of.  later, I did learn a few zappa tunes, but neil young – he was easy to imitate.

I always enjoyed neil’s playing more than his greatly lauded partner/companion/friend/competitor? stephen stills.  stills is a great guitarist – I know, because I’ve seen him live – but for my money, neil is the more interesting guitarist, and, the most consistently good lead player in the buffalo springfield and in CSNY – for me, it was always neil young. you always knew when neil took a solo!

disc 1 starts with a very odd, acoustic guitar filled version of “everybody knows this is nowhere” – which is just so, so cool.  a very different arrangement to the version we know and love on the album, but I love it when artists do this – they have two or more completely different versions, and somehow, they pick one to put one there album.  this on has something like a flugelhorn solo in the middle of it, and synthesizers where the background vocals should be – it’s totally bizarre, but really wonderful.

and then we get to the songs from the first solo neil young album, starting with a song that hits me so, so hard, “the loner” – the attack of the guitars, the beautiful, whammied lead guitars – the perfect Hammond organs and then those guitars that I believe have been run through the organ’s leslie speaker – creating an amazing sound.

but the song itself “know when you see him, nothing can free him – step aside, open wide…it’s the loner…” and then you get the gentle little acoustic guitar melody with beautiful strings accompaniment – then back to the very, very hard verses with all their beautiful guitars, guitars upon guitars, with the strings in the left channel only, acoustic guitar in the right – that lovely 60s complete separation – fantastic.  I could listen to “the loner” all day long..

archives is so full of surprises, such amazing alternative versions of songs that are very familiar – for example, there is a very different version of the song “birds” – which ended up on the “after the goldrush” album many years later, but this early version is charming, simple and very, very beautiful.

another odd thing is neil’s voice – it’s not that wonky! It’s pretty normal on a lot of the songs, serious, no dramatics, he just sings the songs in a really beautiful way – no effects, just neil.

even that strangest of neil young songs, “last trip to tulsa” is enjoyable, it’s a stoner’s dream – a long, long story about chopping down a palm tree – what’s not to like?

then we return to electric music, and the sublime, beautiful, flanged, slow-panning slow motion thick as molasses guitar solo in the centre of “I’ve been waiting for you” – which is such a beautiful song anyway – my one complaint about the song – it’s not nearly long enough – fantastic leslie guitars along with buzzing lead guitars start us out, a chorused electric guitar accompanies neil’s beautiful vocal, bass and piano support perfectly – drums build tension to that beautiful chorus…”I’ve been waiting for you…and you’ve been coming to me….for such a long time now…” and then that SOLO, that amazing solo that wanders slowly from left to right and back several times as it flies through your brain…I love this song!!!

the stereo lead guitars during the fade out are just so urgent, full of life, warped and crying out “such a long time now” just as much as his voice is…beautiful.

maybe his best early work.

then the very serious songs, that are almost awkward in their seriousness – “the old laughing lady” being a case in point – nothing funny about this song; you need to be in a serious listening mood if you are to “get” this number – it’s serious!  another lovely orchestration though, lovely, lovely strings.

a song like “here we are in the years” is so pastoral, so normal, just wonderful in it’s innocence…the slow beauty of the country, how the stupid city slickers can’t relate to the slower pace of life in the country – a fantastic little piece of music…a synthesizer appears to play a few notes, then back to neil’s story, complete with beautiful strings, harmonies and chiming guitars…I love this song, it’s just so full of hope and sorrow and acceptance…here we are, in the years…and then it just fades away as if it isn’t done, but it needs to go…

“I’ve loved her for so long” – an amazing, high pitch vocal, and an orchestra from heaven, then a strange gospel choir appears, but neil’s vocal is so good that it doesn’t really bother me – when he sings in this register, it’s just unbelievable – really lovely.  A really weird arrangement, bass, drums, electric piano – and then the screaming choir in one speaker, the massed strings in the other…it’s just strange – but cool.

archives vol. 1 contains so much amazing material that I would have to write a novel to even describe it approximately, so I am literally picking a few highlights to try and describe – and the one I am listening to now is just astonishing, a previously unreleased live version of “broken arrow” – just neil and his guitar, and it’s an absolute revelation – this is the song, stripped of it’s odd orchestrations and overdubs, and in this simple, unadorned form, with a beautiful, melodic vocal, you get the true essence of “broken arrow” – it’s just astonishing, I’ve always loved this song, but this version, to my mind, is actually superior to the released buffalo springfield version, because the vocal is better, and despite the fact that I love all the weird overdubs on the studio version, it’s this one that I cherish – the surreal, acid-like lyrics, but it’s just the simplicity of the arrangement, straight chords, pure vocal – it’s really a thing of beauty.

the same set of live tracks, “live at the riverboat 1969”, from disc 2, contains other “solo” versions of songs that we know well from the Springfield catalogue, including a similar revelatory version of “expecting to fly” – another one that works far better with the orchestras and overdubs removed – I guess this means I like my neil young without overdubs, just the songs – and it’s the songs that really are so, so powerful “if I ever lived without you, now you know I died – if I ever say I loved you, now you know I tried – babe…now you know I tried…babe…now you know I tried”.

disc 3 propels us into a stark and amazing future, the carefully harmonised, beautifully arranged studio version of “cinnamon girl” is a far cry from neil and his guitar at the riverboat – a man, and a band, transformed, in just a year’s time – a mutation as startling as the beatles evolving from the dylanesque bits of “rubber soul” straight into the full-tilt psychedelic aspects of “revolver” – neil was undergoing a very, very similar transformation – picking up crazy horse as his band, an incredibly shrewd move, and then there is that heavy, heavy guitar solo at the end of cinnamon girl – which I can remember at the time really surprised us, the song was over – but the song wasn’t over, until neil had a little fling with his guitar…

so this third disc is more about crazy horse, and neil as band leader, and it includes songs from “everybody knows this is nowhere” and “after the goldrush” – so some of the most familiar of neil young material, but when I compare this in my mind to the material on the first two discs – the distance that neil young travelled musically, from say, 1968 to 1970 – is indeed comparable only to something like the transformation the beatles underwent.

a brilliant short version of “birds” by crazy horse is followed by “everybody’s alone” with a great vocal, and here comes that neil young guitar tone, the whammied, distorted guitar that we would come to know and love – sweet chord progressions, a totally earnest vocal, but when he takes one of those solos, you just stop, it’s so, so pure, so raw, a great guitar sound, and a sound that I never tire of…

disc 3 also includes one of my favourite neil young songs, performed by crosby, stills, nash & young – featuring Stephen stills on lead guitar, with neil on organ – and singing harmony with graham nash, close harmony – brilliant harmony – I love everything about this tune – “all I need is your sweet, sweet lovin…fill my life with happiness, all I want is your heart – everytime I think of you – mine falls apart” – this track was originally on the woodstock sound track, but I feel it never got it’s due – it’s a cracking little number.

another forgotten masterpiece, “country girl” by crosby, stills, nash & young is included here, and it’s a very formal arrangement, with the four-part vocal harmony to the fore – but despite being slightly over-produced, it’s still a very, very beautiful song – a very powerful song I think – I’ve always loved it “no time to stay the same…too young to leave…” – more neil young lyrical magic “find out that now was the answer to answers that you, gave later – she did the things that we both did before now, but who – forgave her?”.

a surprisingly heavy guitar ominously appears in the last section, playing single low notes on top of the chords…and then suddenly that positive, beautiful chorus “country girl, I think you’re pretty…” with neil’s voice now suddenly to the fore – a great revolving coda with, bizarrely, a reverb-drenched harmonica solo! of all things playing the chorus out…perfection.

the end section of disc 3 features the somewhat rough but very wonderful live at the fillmore east – crazy horse live – including the title track of “everybody knows this is nowhere” – which is a huge highlight for me, love the song, love the fantastic whitten & young lead guitars – they both rock “gotta get away from this day-to-day runnin’ around – everybody knows this is nowhere” – crazy horse are just perfection here, they just play the song – the spark comes from young’s lead vocal and lead guitar – as always, he’s chosen the perfect foil the perfect instrument – to play his songs.  crazy horse never overplay, they never get in the way – they just PLAY.  It’s rock and roll perfection if you ask me, the bass and drums support the rhythm and lead guitars – that’s how a four piece rock band SHOULD work – and despite being top-heavy with the very talented neil young on lead vocals and lead guitar, that formula still operates beautifully – I love this band, live or studio – either way.

this also includes “winterlong” – a tune from this time that never ended up on a studio album, so having it here is nice – it was part of the live show, and the vocal harmonies are fabulous for live and for the time – it’s pretty cool! but for my money – of course – it’s the renditions of the songs we know – including not only “everybody knows…” but also, “down by the river” and “cowgirl in the sand” – with their lovely guitar workouts, when we first heard that “I’ll just play one note over and over again” neil young lead guitar style – and it’s fantastic, in a way, neil young is really an incredibly innovative guitarist – he plays like no one else, he has an utterly distinctive, instantly recognisable sound – as much the “neil young sound” as frank zappa is “the frank zappa guitar sound” – you just know it, and it was during this period that young really started to push his own boundaries, and only he could make playing one note, over and over and over, sound really, really good!  it works…and it’s refreshingly different to the way most guitarists play lead guitar.

I am the first to admit that overall, I prefer british and european guitarists to american guitarists – but there are three american guitarists that I really, really admire (yes, I know he’s Canadian, I mean north American guitarists, of course!): neil young, frank zappa, and todd rundgren.
zappa was utterly unique, and outside almost any conversation involving normal music and normal songs, and of course, both rundgren and young were huge anglophiles, with a well known love of british music – so maybe that’s why I like them, because they were trying to BE british!

disc 3 continues with the lovely songs from “after the goldrush” notable for the strange concept of a young guitarist named nils lofgren being drafted into the band – and then being told to play the piano – an instrument he barely knew – but neil young knew, he knew that this would work – and my god, does it ever work.  the title track, with it’s prominent, blocky piano chords – is so instantly recognisable, so “just right” for the song – and what a song, that sci-fi, dream lyric, the incredibly high pitched lead vocal – I will always love that song.

another huge favourite song of mine is here, “only love can break your heart”, with it’s heart-stopping vocal harmonies on the chorus – I always felt this should have been a huge, huge hit for neil young, kinda like his version of todd rundgren – pop perfection, like “hello it’s me” or “I saw the light” – but it was destined to remain just another brilliant album track from the very, very popular and successful “goldrush” album.

a tour of the songs of this time has to end up with the amazing, immutable “southern man” – another work of guitar genius, this is so intense, and really fun to play – I used to jam on this for ages, I remember one gig where I was a stand-in lead guitarist, and we didn’t know any songs – so I taught the band “southern man”, and we then played it for 25 minutes – that amazing progression from D minor to Bb to G – great to solo over, and on the record neil plays an incredibly fast and spastic solo that is pure genius – of course, live, csny used to jam out on this one too, but whatever the version – “southern man” is a song of genius, with a great lyric, a beautiful, incredibly beautiful vocal harmony – and then – THOSE GUITARS!  This rocks.

“lillie belle your hair is golden brown, I’ve seen your black man, coming round – swear by god I’m gonna, cut him down – I heard screaming, and bullwhips cracking, how long – how long?” – that is just intense, the imagery, and the fierceness of young’s lead vocal takes you by surprise – he is singing with a passion heretofore unheard of – and it’s amazing to behold.

“when will you pay them back?” – probably never, I am afraid.

and then – another pop masterpiece, another should have been a rundgren-style number one: “when you dance, I can really love” – my god, I just love this, harmonies on the verses are brilliant, distorted guitars throughout – but that lovely, harmonised vocal is such a shining, beautiful thing – then, some great chiming lead guitars, and then back to more of the most beautiful vocals on the planet – “I can love, I can really love, I can really love…”.  an insistent piano, an ominous bass and guitar chordal pattern near the end – and then it fades away as quickly as it first appeared.

“when you dance…I can really love” – a simple message, with awesome guitar breaks between each verse – what a cracking tune.  another totally under-appreciated pop masterpiece – at this point in his career, neil could really do no wrong.

now – things turn political, things get very serious – but to neil young, watching soldiers gun down innocent students at kent state was just too fecking much – so we have the really frightening “ohio” – “soldiers are cutting us down…” a shivering testament to a horrific incident – peaceful protesters, shot down for no reason “what if you knew her, and found her dead on the ground”.

apparently, this was written very, very quickly – and was released just days after the incident, young was so incensed, so angry that such a thing could happen, that he really wanted to point the finger – and he does – at richard nixon, at the senseless death of innocents – heavy, heavy stuff – but you know what, I am not normally a fan of mixing politics and music, but in this case, it actually works in an incredible, shivering way – “why? why? how many more?”… an impassioned david crosby can be heard, seriously lamenting, meaning every word…during the outro of this incredibly powerful song.

a live version of “only love can break your heart” with crosby and nash comes out just beautiful, acoustic guitar, bass and three-part harmony – shivers – this is just so, so beautiful, and a great reading of a great song – I absolutely melt when I hear this incredibly beautiful vocal arrangement – these three voices just work – and the song…”what if your world should fall apart?”…it doesn’t get better than this, this is real music – it’s just the song, with neil’s heartbreaking lead vocal prominent, but the exquisite harmonies of crosby and nash make this into a sublime, remarkable musical happening – they really get it, and the whole effect is just stunning – what a thing to witness or to be a part of…sigh.

similarly, a live version of “tell me why” again with crosby and nash – just works so, so well, these two tracks almost put the “official” album versions to shame – especially in the vocal department, where, amazingly, the live vocals are better and more inspiring than the studio ones…excellent!  this song never knocked me out on the album, but hearing this live version totally changes my opinion of the song – it’s brilliant – but, it has to be THIS live version…no other!

speaking of david crosby – you also get the strange live rave-up/mess that is “music is love” – a song from one of crosby’s solo album, that heavily features neil young – and despite the stoned hippie approach to the performance, it’s still kinda cool – although ultimately, this song is more about crosby than young – I quite like it, it’s like a messy, stoned raga – “everybody’s saying that music is love” – a bit obvious.  a strange but essential addition to this disc…

then we move back to something of such delicate, transcendent beauty – a very underrated but very beautiful song – one of my all time favourites of neil’s – done solo at the piano, live – “see the sky about to rain” – this is one that you just have to hear to believe, such a lovely melody, just an incredibly pleasant, wistful, almost mournful song.

as disc 3 comes to a close, we get “on the way home – live” – and from the applause at the beginning of the track, it really hits you what a huge, huge star neil young had become – and here he is, just a few years on from the buffalo Springfield years – playing one of their songs on acoustic in front of a huge audience.

I am sure that part of him could not believe it was really happening, the huge success of csny took all four of it’s members by surprise, and they didn’t deal well with it.  I think of the four of them, neil weathered the strange storm of adulation and nonsense that is being a part of the record industry programme – they had become huge stars at this point, the audiences were huge, and with it, came all the responsibilities and problems of anything that grows far too big far too fast – I think that really, neil kept his head pretty well, all things considered – he just kept doing what he did best, playing that acoustic guitar and singing.

this section is live from massey hall, so neil’s on home territory here, playing in Canada – and as well as “on the way home” he plays “new” songs, and in this case, one of those, “old man”  is presented, and neil’s awe of the song’s subject, the ranch foreman of his ranch, is clear – he respects the man’s knowledge – and how odd is that – writing a song about a guy that works for you, a 70 year old man – and comparing your 24 year old self to him.

the whole thing must have been quite, quite surreal – 24 years old “live alone in a paradise, that makes me think of two…” – having so much money that he could just buy a huge ranch in california “old man take a look at my life, I’m a lot like you…” – I think writing about something real, helped to keep neil grounded – and “old man” is a brilliant piece of music, very deserving of praise – one of many great, great tunes from the very popular harvest album – which was brand new at this point in time.

to be so hugely successful at age 24, but to still be able to write clear, concise, meaningful songs about very real things – the level-headed neil young sticks to the programme – keep it real.

beautiful – and this live version just sparkles – and gets such a respectful, wonderful hand of applause – sensational.

a live version of “helpless” gets a great reception, because of course, it mentions canada, which, of course, makes the canadian audience at massey hall respond like mad – but it’s a lovely song, even without the trademark csny harmonies – it’s a beautiful song.  somewhere, I have an amazing cover of this song done by yukihiro takahashi and bill nelson – it’s absolutely fantastic – they trade vocals, each taking a verse – wow! a great cover of a great, great song.

a long rambling story about an imaginary neil young movie prefaces a rare live showing of one of the most heartbreaking of all of neil young’s songs, the beautiful, exquisite “a man needs a maid” – a tale of loneliness, sadness, and real heartbreak – on the harvest album, with a fantastic orchestral score – but here – just neil and his piano…and the lyrics are not all there yet, because he sings “a man feels afraid” – instead of the final version “a man needs a maid” on the album.

“when will I see you again” he asks plaintively, as this very, very sad tale unfolds – “a maid…a man needs a maid” – [crashing imaginary orchestra] – but on the piano, stark, naked – it’s even better for all the vulnerability that’s on show – then, it segues effortless into a piano version of “heart of gold” – that’s one odd medley!

“cowgirl in the sand” on solo acoustic is just as beautiful as “cowgirl in the sand” live with the raucous but wonderful crazy horse – I love it either way, and here, he pulls these amazing guitar notes on the acoustic – this one note, he keeps playing, in the middle of strumming – this note keeps appearing – it’s just fantastic, a hint of what the electric version holds.

one great thing about archives, is that you do get to hear truly alternative versions of songs, sometimes, you get the same song in three or four completely different guises – and that is fantastic in the case of neil young, the different versions are rarely similar, in fact, usually they are totally different, and often, surprisingly so – I love hearing the “what ifs…” and neil is a master of this, reinventing song with completely different instrumentation and arrangements – and that is brilliant in itself, but it also shows just how good the songs are – because in most cases, they easily can withstand the varying treatments – they are, quite simply, really, really good songs – and they sound great in solo acoustic settings, band settings, pump organ versions – you name it – it all works.

two of the sets in archives vol. one were also released separately – the live crazy horse set, and the live at massey hall concert, but they are essential to this set, and coupled with the rest of the amazing material on offer here – this is one of the best introductions to the genius of neil young, early period, that you could ever want.

“don’t let it bring you down – it’s only castles burning…”

what we’re listening to – the quiet zone / the pleasure zone – van der graaf

1977 was such a pivotal year in music, sure, in ’76, we had the beginnings of punk, the uncertain rumblings that said “this is gonna change…” and, soon enough, it did all change.

but the established artists of the day just kept working on music, and let the punk tide wash over them and around them – but, critically, importantly – just kept going.

that’s exactly what young peter hammill did – he kept going.  the classic four-man organ-based van der graaf generator had broken up for good after a series of disasters, including a disastrous yet successful “tour” of north america and canada, but hammill, as standard-bearer, decided to reinvent the band – completely.

with guy evans still present on drums, [always present thank god], hammill proceeded to and managed to completely change van der graaf’s sound; he even removed the “generator” to give the band a more stripped down identity in this year of great change: they would henceforth be known as “van der graaf” – no longer  “van der graaf generator”.

with the organ, bass and horns slots all empty, hammill started from scratch: bass player – he retrieved van der graaf’s original bassist, nic potter, so that was sorted; he brought in graham smith on violin, from string driven thing – and immediately, that became the core of the new van der graaf.

so suddenly, those beautiful church organs were gone, and hammill’s stark piano and acoustic guitar songs were now framed by violin solos, strings, real bass – fuzz bass! and these changes completely altered the fabric of van der graaf’s sound.  in a very, very good way…

a new year; a new band; a new album “the quiet zone/the pleasure dome” by the new, string-driven, stripped-down van der graaf.  this one…rocks!

the album’s opener, “lizard play”, an acoustic guitar-driven vocal and violin extravaganza, sets the scene for the entire album – a supremely well organised sound, fantastic and very complete vocal overdubs – a great bass’n’drums rhythm section with snapping hi-hats, slithering bass, tight drum rolls, fabulous drum fills…and peter’s voice begging, begging “will you dance with me…?” – and then the secret weapon appears – david Jackson, the on-again off-again member, makes an appearance in the very last moments of this song on sax – so really, you have three of the original “classic lineup” – but the presence of potter and smith manage to change the sound of the band so completely, you would almost never know – so, a very similar band, a very different band – but – a really completely unusual, unique album in the hammill canon, unlike ANY other – I am adamant about that.

we move on to “the habit of the broken heart” – a listless, sad violin accompanies a lonely acoustic guitar, but then guy comes in with a steady drumbeat, and nic joins in with a very accurately repeated sequence – the perfect background for hammill’s vocal, and, on this tune in particular, I think it is lyrically really cool “I’m so sorry that he hurt you, but don’t throw yourself away”…and “you’re so special, such sadness seems a shame” – a straight ahead little rocker, with a central solo section of banshee-wail-smith-violin, just to make sure you are still with us…the violins are used then after the solo, as a sort of drone to build and build tension, the drums go mad at the end, guy is breathtaking on this piece – it’s worth it just to hear the drum part!

“the siren song” is next, and is, perhaps, the most beautiful song here, an epic poem, with fantastic nautical allusions, “lashed to the mast” – done only as hammill can do, but, utterly sincere, utterly heartfelt, and very, very beautiful indeed – I spent many, many hours teaching myself to play this song, and I will tell you, as an amateur pianist of no mean skill – this song is really, really difficult to play and sing – it’s very, very well written.  I love every word, every chord, every sound in this song – I could play “the siren song” over and over and over again, because it has an absolutely unique “feeling” unlike any other song I know – and that’s the genius of peter hammill at work.  the vocal – half-whispered at first, then, stronger and stronger and more and more full of agonised passion – “laughter – in the backbone – laughter – impossibly wise – that same laughter that always comes, every time I flash, on that look in your eyes…” that is brilliant!

“and time, will smash every theory I devise” – “nothing really matters, NO, nothing really matters very much….” – shivers.

then, oddly, a fast section, a lovely little piano bit with a nice, clean violin solo on top, this shouldn’t really work but it works really well, it doesn’t seem likely, but there it is, a nice length, a full run-through of a nice long chord sequence, ending up in a great little electric guitar riff (those AMAZING flangers again) and then … somehow, back to the original song’s theme, back to an almost dead stop, and a final, heartbreaking verse, with tinkling electric piano and more passionate violin helping it along until the very, very end.

it helps that these songs are good, really good, some of ph’s best – like “the siren song” – sure, that helps, but the band – they just sound fantastic.  guy is totally on form, underpinning the songs with his powerful, yet musically rich and complex drum parts, there is no other drummer that could have done these songs justice – it had to be guy.

and it’s on the rocking numbers that guy comes to the fore, propelling the songs forward – “last frame” is the first track that’s wholly electric in nature, featuring some beautiful distorted, thick-sounding lead guitars from hammill – but it’s guy’s drumming that draws me back to this song over and over again – nic’s contribution on distorted bass is awesome, and then hammill and smith handle all of the totally insane soloing necessary (the extended solo section, with it’s multiple overdubbed violins and multiple lead guitar melodies, is a true masterpiece of prog heaviosity – it’s a must-hear solo section).

“last frame” is a real sleeper, you don’t really notice it’s power, but then weeks and months later, you find it’s in your head – a really, really powerful song, using the idea of photography as an analog to a relationship, with hammill in various stages of alienation and grief, “hanging back from that last frame…in case it doesn’t show you, the way I used to know you…” – in hindsight, one of the best tunes on this record, but as I say, you tend to take it for granted.  “there you are – your eyes laced with secret pleasure – saying that you’re on the way – to change – devouring, in inordinate measure, every diversion that’s arranged….”.

The final allusion to photography “but then, I only have a negative of you…” gives way to a great descending coda, that quickly fades away into the distance…

smith is quite a furious player, and on this record, he mostly demonstrates a very powerful, very loud, very electric style of violin playing – which is fabulous – except when suddenly, he reaches deep and produces clean string parts of startling beauty – such as the violins within “the siren song” (perhaps my personal favourite track from the album) or the string parts for “the wave” – so not a one-trick pony, sure, the manic, mad, crazy, insane high speed distorted violin solos on this record are brilliant, but I tend to like the quiet songs even more, and smith does a brilliant job of switching between these two totally opposite styles – impressive.

if we hark back to the vinyl version, “last frame”, track four on our CD, would have been the end of “side one” of our vinyl, meaning that track five of our CD is track one on “side two” of our vinyl, and that is the very, very beautiful “the wave” – which never used to knock me out for the longest time, it seemed perhaps too obvious, but now – I consider this to be a hugely important track, with amazing violin overdubs filling out all the spaces of this piano ballad – and a heartbreaking, truly beautiful vocal from hammill – the drama of his lyrics brought into technicolour presence by smith’s amazing, shuddering overdubbed violins – sudden burst of acoustic piano filter through, and in the background, as always, nic and guy pinning this remarkable little piece of music down into a final form.

on both the “loud” songs and the “quiet” songs, the tension built up by the use of the violin (as opposed to the beautiful, melodic organ playing of the now-departed hugh banton) is stunning, and hammill uses the instrument to make these hard-hitting songs pack even more weight than they do as “just songs” – the arrangements on this album, to me, are just top notch, he’s taken everything he learned in the previous incarnations of the band – and distilled them into this remarkable album.

the other standout rocker on this song, is the absolutely amazing “cat’s eye/yellow fever” – a fantastic piece of distorted guitar/fuzz bass/string section that has to be heard to be believed.  hammill’s super flanged electric guitar is balanced by nics crazed fuzz bass octave parts, while guy is flying across the skins at an absolutely impossible speed…then hammill layers on the background vocals creating an incredibly lush and complex vocal arrangement that stems from his angry, powerful lead vocal – it bounces between the power and the glory, all the while, graham smith is sawing away, soloing, building and releasing the musical tension – then, a quiet, minor key section appears, multiple, heartbreaking gypsy solo violins appear as the chord progression is carried forward mostly by nic (guy stops completely to allow this serious piece of music play out) which slowly winds down to the end…this song, out of all the songs on this record, is such a powerful piece of music, and I think it’s one of hammill’s best songs of all time – bar none.

“the sphinx in the face” has long been one of my very favourite hammill/van der graaf songs, in part because of this fantastic lyric “I’m gonna head to the island when the summer’s out, I’m gonna do all the stuff that I can – drink like a fish in a waterspout…” – that’s genius! beginning with an awkward but cool guitar riff, when the rhythm section enters, with nic potter’s fuzz bass full of confidence, ploughing on through – I love that sound! this is one of those songs that just gets stuck in your head for days.  it has a heavily overdubbed vocal chorus, which hammill uses later in the reprise version “the sphinx returns” – as “the sphinx in the face” fades out, the instruments gradually disappear, leaving the multilayered falsetto led vocal harmonies – a great effect.  and they then begin the reprise version, giving us really good sense of continuity, despite being separated by “the chemical world”, it’s as if this song were playing the whole time in the background.

“the chemical world” – this is one of the strangest songs hammill has ever done, and it takes a while to warm to.  it’s quite…odd, and it also contains a fast section with some very, very heavily warped vocal effects, which makes it end up sounding like a lost transmission from the planet klingon during that section.  But over time, I’ve realised that it’s a really, really well done piece of music, with a great acoustic guitar/gypsy violin part that recurs – and then there are those strange, strange vocals! Weird as green milk, but really, nothing else would suit – and then when the “normal “ vocal returns it sounds awesome – a great back and forth between the totally alien and the relatively normal J  it’s a chemical world … after all.  and it’s gonna blow up in your face…  graham smith is extremely excellent on this with some otherworldly violin playing and effects, this song is so effects laden that it’s not funny, but they are done in a tasteful and wonderfully experimental way – there is no other song on earth like this one!  none.  it’s just the drug … it doesn’t last.

the aforementioned “the sphinx returns” as noted, begins where “the sphinx in the face” left off – in reverse, beginning with the naked vocal harmonies, the band comes back in, but this time, at a furious pace with an insanely beautiful, screaming david jackson sax solo – it is phenomenal! Jaxon is only on this record in a few places, but I think even hammill realised the importance of keeping just a little bit of the “signature” van der graaf generator “sound” in his new generator-less “van der graaf” – and including jaxon here, particularly on this song – is an inspired act of genius, because he takes this piece to another level – it already rocks, just because when you have multiple overdubbed peter hammills, vocals and guitars, on top of that very powerful rhythm section, nic and guy; when you add jaxon to that equation – it really just ROCKS – that’s the only way I can explain it – this is just a very brief reprise, with sax, of one of the very best tunes on the record – no wonder hammill decided to put it on twice!

the remastered CD then brings us an absolutely delightful rarity: the studio version of “door”, a song we’d only ever previously heard on 1978’s live album “vital” – and one of the few studio tracks featuring what was to have been the next incarnation of van der graaf – “vital”, and this track, and the studio version of “ship of fools” – that’s most of what is available from the expanded band, which included synthesizer wizard charles dickie (and his work on both “vital” and on the two aforementioned singles has to be heard to be believed – it’s brilliant) as well as an expanded string section.  it’s such a shame that they didn’t go on, and in 1978, van der graaf ceased to exist after only a two-year run, producing exactly one studio album and one live album.

“door” in the studio is absolutely fantastic, it has a very similar heavy feel to it as does the “ship of fools” single – which sounds like proto-metal to my ears – I love the direction this band was going in when it suddenly disappeared.  stay away from the door…

the penultimate track on the re-master is an alternate version of “the wave” – with no vocal, and stripping away the layers of vocal reveals a remarkable sensitive and beautiful basic track, with a great, great peter hammill piano part, and then there are those strings…another graham smith masterpiece if you ask me. “the wave” has always been a dark horse, the song that I never thought that much of – until you hear it like this – it’s truly, truly one of the most beautiful songs on the album, in either incarnation.

finally then, we come to the holy of holies, the studio version of “ship of fools” – this song very nearly leaves me speechless, you just have to hear it to believe it, an impossible, convoluted but incredibly powerful guitar riff is central, that goes without saying, but you have never, ever heard hammill play – or sing – like this…he is on fire! – it’s just out there,  the vocal and lyric is incredibly powerful – a bizarre slapback echo on the drums, the best bass part nic potter ever played – and hammill, hammill, hammill finally coming into his own as a shockingly powerful rock rhythm guitarist and a surprisingly good lead guitarist too – sure, we’d heard the live version of this on “vital”, which is really, really good – it opens that record – but this, this is a song that I can’t get enough of – “dispensing platitudes and junk”…”there’s no rules”.

no rules.

this then, in 1978, out rocks, out punks, most of what punk itself was putting forward.  we all know the story about how john lydon idolises peter hammill – well, this song is one reason why he probably does – “ship of fools”, live or studio, is the perfect blueprint to start a punk revolution from – just copy this, or any of the similarly punk-like songs on hammill’s fifth solo album, “nadir’s big chance” – and you got yourselves a musical movement.

this song is a powerful argument for the concept that it was really peter hammill, not john lydon, who started the punk revolution – although it was via lydon – who loved the music of van der graaf and peter hammill – he just channelled hammill in his own way – and a genre was born!  when you hear “ship of fools” – you will know exactly what I mean J

it’s rare that a bonus track becomes my favourite song on an album, but in this case, it’s probably a draw between the remarkable “cat’s eye/yellow fever” and this stunning, last-gasp-of-this-van-der-graaf single, “ship of fools” – these songs rock hard, have brilliant lyrics and vocals, heavy, heavy guitars – everything a boy or girl needs to have fun.

1978 was a bad, bad year for prog rock – but by 1977, with the release of “the quiet zone/the pleasure dome” hammill showed us, over two years, two albums, and these amazing singles – that not only had he already moved on, but he was creating a startling, new, heavy kind of music that possibly was key as an influence on none other than johnny rotten – that’s quite an accomplishment for someone who would have been classed by those self-same punks as a “prog rock dinosaur” – hammill shed that skin, and grew a brand new one – and walked away unscathed from the punk revolution – one of the very, very few proggers to survive it.

it’s a ship of fools.  (there’s no rules!!)

“I was looking for something good, clean, straight – but instead I found – the bunker wall – and gate”.

what we’re listening to – anthology (40th) – the move – movements (30th) – the move

it’s no secret that I am a fan of roy wood and his first very successful band, the move, and over the years, I’ve collected first move records, then move CDs, but I must say, that the two large anthologies released more recently get a lot of airplay with me.

“movements” (30th anniversary compilation) was the first – three CDs including quite a few most excellent rarities – and for me, some of them are just precious beyond belief, such as an early version of “curly” that is just fantastic, the Italian version of “something” and so on – a really, really great set.  I was and am extremely happy with “movements”, because it’s a really good overview of the band, but they also included enough rarities, alternate takes, and so on, for fans as well – another first is the full length ending/fade-out of “omnibus”, which has always been truncated on every other release, and finally saw the light of day on “movements” – and just to hear roy’s actual guitar playing during this full outro is fantastic – any recovered roy wood guitar is so, so worthwhile if you ask me.

I feel that roy is one of the most underrated guitarists of all time, and if you have doubts about that, I would refer again to the new “live at the fillmore west 1969” cd which proves to me that roy was the george harrison of the move, but he was also the john lennon – he did it all, rhythm guitar, lead guitar, lead vocals – and his lead playing I feel is fantastic.

he’s also the only other british guitarist besides george harrison (well, that I know about any way – only “famous pop guitarist” I should probably say) to seriously learn indian music, and the banjar solo in the middle of “fields of people” on the new live album is a fantastic demonstration of his skill in this area.

ten years after “movements” was released, came the four-disc “anthology” (40th anniversary compilation) – and if I thought “movements” was good – this record is unbelievable.  in some ways, if you have these two releases, these seven discs, then you have what you need to understand the move completely and utterly.  “anthology” has even more amazing rarities than “movements” did.

an early version of “fire brigade” that features piano over guitar, an alternate version of “I can hear the grass grow”, various un-dubbed and partially dubbed songs that you know but in different guises – and perhaps best of all, a fully restored and repaired version of the live marquee show which is just fantastic – this show was always damaged, but they found a way to repair it properly, and it now also features all of it’s tracks instead of just some, and they have also thrown in a couple of the original live mixes as well for a couple of the tracks – ALL of disc 2 is live tracks, from the marquee in 1968.

add those to the tracks from the new live album, and you have a lot of great live move performances!

of course, if you are a completist like me, then you need to pick up the 40th anniversary re-masters of the original albums as well, because on those – you guessed it – you get STILL MORE bonus tracks and rarities.  My favourite of these remasters is probably “shazam” – an amazing record in it’s original incarnation, but this one has some real beauties hidden away in the bonus tracks – including an amazing, amazing alternate version of my favourite move b-side “this time tomorrow” – with a vocal from carl wayne (instead of david morgan, who sings the original version) – a beautiful, beautiful song – arranged in a completely different way from the “official” version – and I love hearing things like this, it’s kind of like roy thinking “well, what if it went like…this”.  Or…this.  Or….this?

so after 40 years has passed, that single I bought way back in 1969, of “curly” on the a side, and “this time tomorrow” on the b-side, is now on CD, and I get an alternate version of both songs to contemplate and enjoy – I would have never dreamed of this amazing set of extra, rare, behind-the-scenes material back then!!!!

of course, I didn’t really get a good sense of the move just from having that single, that’s just how I started, and when I returned to the US after four years in africa, all I could find were compilations – and the vinyl version of “something else” – which was the truncated, bad sound quality live album from the marquee. for years, that was all I had for years…you just couldn’t get “real” move albums.

so I felt like I was missing out for a long, long time, eventually, I tracked down things like “message from the country” and so on, and then finally, over the past few years, I collected the 40th anniversary stuff – and I probably play “anthology” much, much more often than many, many records I have – and it’s fantastically arranged, too – do I want early move? disc 1.  do I want rough and ready live move? disc 2.  do I want psychedelic mid-period move? disc 3. do I want late period/jeff lynne move? disc 4.

I really seriously feel that the move got such a bad deal in the press, and their releases were in a shambles for years, and while those have been sorted, the damage to their reputation hasn’t been, which to me is a huge, huge shame.  I absolutely feel that the move SHOULD have been as big as the beatles, the stones and the kinks were – because musically, they were equals.  roy wood was like lennon, harrison, mccartney, brian jones and ray davies all rolled into one. a quintuple threat, he could write, he could sing, he can play lead guitar, rhythm guitar, piano, organ, drums, sitar, sax, oboe, banjar, banjo, bagpipes – ANYTHING.  the beatles, the stones and the kinks – none of those bands had a single person capable of all that.

if you listen to roy wood’s solo albums, where in the main, he plays every single instrument (doing a “todd rundgren” before todd rundgren did a “todd rundgren”) you can’t fail to note what an incredibly capable and talented man roy really is – I recommend both “mustard” and “boulders”, I love those records, and I really think that todd took a leaf out of roy’s book – I think that the move was a huge influence on todd and the nazz, it obviously was, because todd did indeed cover “do ya” on his live 1975 utopia album, “another live” – and roy also liked todd, because the move had not one but two nazz songs in their live 1969 set list – so it’s difficult to say who influenced who – but both todd and roy are the master of walking into a studio, and playing every part themselves, and creating amazing pop and rock music out of thin air.

on the “boulders” album, there is an amazing song called “all the way over the hill (an irish loafer and his hen)” which is a perfect example of…pop perfection, with amazing background vocals, drums, bass, guitars – including harrison-like lead guitar – but then in the middle of the song, out of nowhere, a brief but astonishing sitar solo that mutates into a reverse guitar and then…back to the song – I would give anything to come up with songs half as clever as this one…and then at the end, roy plays live strings, cello, viola, violin – and does this whole irish jig /outro thing – again, where does this stuff come from – like five little songs all rolled into one four minute song.

from the “mustard” album – well it’s just strange, surreal, the title track is some kind of 20s track with female voices (or sped up roys?) featuring a great horn solo from roy, I love this little song, it’s so bizarre…but it’s the second track that I truly love “any old time will do” – piano based, great drums – another one that would have fit right onto any early todd album – a song of unrequited love, roy singing from the heart, perfect background vocals, a beautiful melody – and every note, every sound made by roy.  the guitars, the slide guitars…are bliss, this song just bursts with pop joy, it’s such a shame that these albums never made much impact on the charts – because if you like the move at all, then roy wood solo is like getting to the man behind the scenes – I really wish roy had made more solo albums, I wish he would make an old-style pop album right now.

I felt so, so fortunate, a couple years ago now, I had the chance to see the roy wood band live, and it was sublime, it was really, really good – the band was great, straightforward, crack players – and of course, even though I didn’t expect him to, he did six or seven move songs – so I was able to see and hear him play those amazing riffs, like that really strange one from “I can hear the grass grow”, and for me, that was just as special, and just as utterly surreal and unbelievable – as seeing george harrison (one of the BEATLES ffs!) play in 1974 – to me, those are my top two live british guitarist sightings, more enjoyable than things like…eric clapton in 1975, who just underwhelmed me – but george and roy – both did fantastically live.  george had lost his voice – but his guitar playing was astonishingly good – as was roy’s.  I can’t believe that I actually got to see roy wood play – I waited a long, long time for that one!

but, if you don’t have any of the move’s albums, and you want to hear the most under-appreciated pop band that SHOULD have been the “other beatles”…hear them properly – then you cannot, cannot go wrong with the 40th anniversary package – and it’s a beautiful, beautiful disc – I love the packaging, it’s totally deluxe, but more importantly, it really gives a very complete overview of the band and it’s music, and I could listen to just those four discs over and over and over again – I never tire of the music of roy wood and the move – and I should say too, what an amazing singer the move had in the late carl wayne, his performances in the studio, and on stage (as proved beyond a doubt on the new live album) are just remarkable, so that gave the band a great live vocal sound – because they had not one but two very, very strong lead vocalists (kinda like that other pop group, what was their name again?) and the live harmony vocals were a move trademark, they took their vocals very, very seriously indeed – and sounded great for the extra effort they made.  so carl’s contribution to the band should absolutely not be overlooked – roy wrote the songs – and sang some of them, but carl drove the band forward, and sang most of the time, so roy could concentrate more on guitar – so that’s a win/win situation if there ever was one.

I am not quite sure why the music of the move resonates so strongly with me, possibly because I associate it with my childhood in africa, a happy time, I don’t know, but they always were, and probably always will be, my favourite pop/rock combo just below the beatles – or maybe, just beside them 🙂

what we’re listening to: roger powell

when we think about the great synthesizer pioneers of progressive rock, it’s really a list of very, very obvious suspects, from wakeman to emerson and right back to wakeman again.  a few others – maybe…  but there is one synthesist that is just as skilled, just as talented, and was really at the forefront of the revolution, I am talking about of course, roger powell, who is perhaps best known for his work with todd rundgren’s utopia.

but what is less recognised is the fact that powell actually was first, a protege of bob moog, and then later,  worked for moog’s competitor arp, who produced the arp odyssey (and by sheer coincidence, I used to own one of those myself) and was really interested in synthesis from a purely technical standpoint as well as from a musical / performance standpoint.  I still have a 7 inch 45 rpm flexi disc of roger powell demonstrating the “amazing new arp odyssey”, which is a strange curiosity now.

I am not saying, by the way, that wakeman or emerson or any of the great prog players were or are ignorant of the building blocks of synthesis; I know that all the players of the time absorbed a certain amount of knowledge just in the process of learning to use these monstrously large and cumbersome machines (they had no choice!).  but to me, powell always seemed in a class utterly by himself, sort of a “mad scientist” of synthesis – and, if you listen to his very, very small recorded “solo” catalogue – just three records spanning some 40 years, you can hear that he really takes the sound-making capability of synthesizers very seriously indeed.

[note: I am only talking here, in this post, about three of roger’s four records because I haven’t yet heard his fourth album, which is an album of solo piano work].

it’s almost as if he decided that within the organisation of utopia, that he would use a certain synth vocabulary, and he coaxed some amazing sounds out of his instruments, and in 1977, went on to help develop the powell probe and brought it to the stage with utopia – and soon, everyone had an original or copycat “portable synth” strapped around their neck.  jan hammer used a modified powell probe so that he could also be free to roam the stage.

I was lucky enough to see todd rundgren’s utopia in 1977 (and twice in 1978!) and powell’s command of the powell probe was beyond impressive – controlling a bank of six (I believe) synthesizers and sequencers that were offstage, he was able to both roam the stage with impunity but still command hundreds of sounds from a vast array of synths – it was absolutely blindingly brilliant…and it was really something to see, bleeding edge technology in 1977 – that worked beautifully.

roger’s work with utopia speaks for itself, it’s a fantastic catalogue of at first, progressive rock, but as time goes on, on both utopia and solo todd rundgren albums, the demands on roger to play not just prog, but ballads, pop – pretty much anything that the chameleon-like rundgren came up with – well, it was all water off a duck’s back to powell, since his skill on piano is certainly equal to his skill with synthesizers.

and he was there in the thick of it, first, working for arp, helping with the design of their products, before rundgren found him and dragged him out in front of an audience.

he didn’t just bring his voice and his skill on the keyboard to the band, he also brought the first fibreglass prototype powell probe, he brought his trumpet, he brought his youthful enthusiasm – and, I was lucky enough to see this tour, the 1977 “ra” tour…and roger was on fire the night I saw the band – hell, they were all four of them on fire.   it was strange seeing the keyboard player stalking the stage with the same freedom as the guitarist – and, it put roger on an equal footing with todd and new bassist/singer kasim sulton.  it was…fantastic – portable, light, fully capable, driving the off stage synths and sounding totally amazing – awesome.

if you listen to something like “communion with the sun” from the “ra” album (1977) by utopia, you really hear roger working so well with todd, they play in unison; they play in harmony; they trade solos in an amazing, concise, intelligent way; this piece was basically set up so it really could be played live, yet, it sounds like it can’t be – it sounds like a very complex studio track.

but – that was the genius of utopia 1976/77/78, at least, that you had four players who could really play, and, all four sang well too, so with very, very tight four-part vocal harmonies (and on “communion”, some yes- or even gentle giant-like “staggered/round” vocal arrangements) on top of a very concise arrangement played by four extremely good musicians – well, utopia live, for those three years, was a musical force to be reckoned with.

sure, the technology would and did let them down – guitars would not stay in tune – things fall apart, so if you listen to a live show from 1978, you will hear disasters, but then they just pick themselves back up, dust themselves off, and dive back in – and suddenly, you are hearing something akin to a prog / beatles, with amazing, perfect, four-part harmonies, and the ability to solo as well as yes or gentle giant – in fact, the guitar/synth trade-offs that todd rundgren and roger powell do sometimes defy belief – they are that technically and musically amazing.

that was the strange inconsistency about utopia – in the same concert, they might play three songs in a row that are just horrible, really out of tune, with bad mistakes, bad vocals – then, suddenly – it all falls into place and they play three absolute blinders, with perfect vocals, amazing solos, and precision chops – brilliant!  talk about erratic though…I actually think that speaks more about todd himself, because he is a bit of an erratic genius, he’s either great, or he is messing up in grand style – gotta love the todd.

a fairly unremarkable pop song might, for example, on the show I am listening to right now, “oops! wrong planet tour” might suddenly come alive because, for this one moment, everything is working: todd’s guitar is in tune, his voice is in perfect condition and he hits all the high notes, the whole band is in tune and in time, everyone is singing at their very best – and then you hear it, the best-ever live version of “love of the common man” you ever heard or dreamed of – far exceeding the original studio version from “faithful” – pop beatlesque perfection.  I’ve heard this song live a million times, but this version – it’s the way it should be.  the vocal harmonies are astonishing for live!  and yet on other tracks from this same show – everything goes wrong!

before I forget to mention, another talent that the remarkable roger powell has, is he is really quite a good trumpeter – this was first apparent on “another live” (1975) – the first utopia album roger appeared on – where his trumpet parts are integral to the success of the lead-off track “another life” – a really brilliant addition to the synthesizers, including an actual trumpet into the very synth-heavy utopia line up (at the time, they had either two or three keyboard players at once!) was a really good idea, and roger excelled at it (whereas todd on sax didn’t quite convince me!) – roger nails it.

later on, on tracks like “abandon city” (another one on the live show I am listening to right now), roger was given a really significant trumpet part, and again, really, really adds a lot to what might have been just another ordinary track from “oops! wrong planet”; roger’s jazzy, tasteful trumpet chops are most excellent.

I can’t say I’ve ever seen rick wakeman or keith emerson or really…any of the more famous prog keyboardist whipping out a trumpet and taking an awesome solo during a live concert!  one keyboard player who does, does spring to mind – edgar winter, who played sax live I believe as well as synth – but he is another unknown great.  there may be a few, but I really respect a guy who can be so good on keys, who can then effortlessly switch to trumpet and play with just as much quality and dedication.

sometimes I feel as if certain players overly dominate the field, while some that are equal or even, dare I say it, better – unfortunately, comparatively – they languish on the side lines or are (criminally) less-recognised:

edgar winter (an amazing talent)

kerry minnear of gentle giant (give me minnear over wakeman any day – sorry rick!) – plays every keyboard imaginable, plays cello, sings beautifully, writes…this man is a genius (another one who plays a non-keyboard instrument)

moogy klingman (of earlier utopia – 1974 version) – brilliant pianist – a prog pianist

larry fast (nektar, synergy, peter gabriel band)

eddie rayner (split enz, crowded house) – especially early split enz (1975-1980)

thiis van leer (focus) – also an amazing flautist, so there is another beside winter and powell

hugh banton (van der graaf generator) – originally a church organist, hugh plays with both hands and both feet

(an amazing thing to see in live performance, and for my money, a far better player than emerson or wakeman – but, because van der graaf didn’t have the high profile that yes and elp did, many don’t realise just how amazing banton is – if peter hammill is the soul of van der graaf, and guy evans is it’s beating heart, then hugh banton is the band’s brain – a mind of musical mayhem and intense, great beauty…)

and of course, our roger “the pal” powell.

don’t get me wrong, I am not saying that yes and elp are not good, sure, I love the music of rick wakeman or keith emerson as much as any true blue progger (but, less so over time), but I think they get all of the attention, while some of the lesser-known players are actually – more interesting, more skilful, more unique – more musically…interesting – but no one gives them a chance, because they have put emerson and wakeman on endless repeat in their brain – please give some of these other very, very talented players a chance – if you love synthesizer or keyboards – I mean, just listen to octopus by gentle giant and then tell me how good rick wakeman really is. (good, but not as creative/interesting/capable as the genius mind of kerry minnear).

just to be clear, I get it, I know how brilliant rick wakeman is on something like “south side of the sky” – I love that, especially the live versions up on youtube – but I just think that the focus needs to shift, and if you really love the music of rick wakeman, then you owe it to yourself to check out the music of winter, minnear, klingman, fast, rayner, van leer and banton !  seven amazing players – I promise you!

roger must have had one hell of a busy life, because during his entire career, he only found time to make three solo records – but what records they are – if you are a serious student of synthesis, or a lover of progressive music – or both – these records might be something you would want to check out.

powell’s first solo record is a period masterpiece: “cosmic furnace”, from 1973, is absolutely spot-on, it has serious titles, serious musical themes, and is using the available technology to it’s utmost.  when I listen to this record, I recognise that it cannot have been easy to make, synths being very unruly beasts back then, but there is no hint of struggle, and powell effortlessly layers his synths to great effect on this record.

the playing – well, it’s sort of techno-proto-utopian, it seems somewhat familiar, but I consider it to be more akin to the mothers of invention at their creative best, than related to the work powell was doing at the time with utopia.  it’s too complex, too serious – for utopia, and I’m glad that powell chose to sit down and make his first serious keyboard solo record at this point in his career, it’s confident, assured, and will sit well with your gentle giant, mothers, zappa, elp and yes – and of course, utopia cds.

we had to wait a long, long time – seven years – for the next roger powell record, made in 1980, “air pocket” is a giant leap forward, a snapshot of the state of the art of synthesis as the seventies came to a close – just before the advent of cheap synthesizers brought us into the musical debacle that was the 1980s – ugh.  When synthesizers passed from the hands of musicians, into the hands of bands.  I’ve written elsewhere about this subject, but powell’s farewell to the seventies stands up really, really well even today, and of his three albums, “air pocket” might be my personal favourite.  it does contain the original studio versions of a couple of tracks that utopia used to play on stage, namely the remarkable and powerful “emergency splashdown” as well as the less known “landmark”.

this record is far more accessible and slightly less musically serious than “cosmic furnace” was, but it’s still an amazing demonstration of skill and sensitivity.  a lot of synthesists struggle to make synthesizers seem human, but powell is better than most at humanising the instrument – I don’t know how he does it, or why I feel that way, but his sounds, his timbres, his tones – even his melodies – connect better with me than someone like emerson – who is more about skill than emotion, while powell, I feel has a better balance of skill and emotion.

the amazing, powerful synth solos that echo powell’s impassioned vocal performance on the studio version of “emergency splashdown” are just amazing, I would rate this album a ten for this track alone – nasty, snarling, visceral lead synthesizer as you want it to be – dirty, wild, spinning, with pitch bend and modulation going mad throughout – and such a brilliant variety of synth voices used in harmony, along with the main melodic synth themes – the solos, arpeggiators, and harmonies all work together as a monstrous orchestra of synthesizers, proving in this track, that you really, really don’t need guitars – it can all be done from the keyboard – if your name is roger powell.  this track is really so, so powerful – and it was equally remarkable in concert, where roger reproduced most of what is on the studio track in the live setting with ease – and doing it all from the portable “powell probe” controller whilst roaming the stage as if it were his own.

“air pocket” also features the original version of another utopia stage staple, the remarkable pop masterpiece “windows” – and you really need to hear this in both it’s studio incarnation and performed live with utopia – beautiful sweeping arpeggiators shimmy about in stereo over the main chordal theme, a really, really catchy pop song that is really all about synthesizers, the central solo is full of reverse and other ethereal, beautiful sounds – a brief glimpse of heaven before we return to that ridiculously catchy chorus – and it’s one of those songs that once you hear it, you just can’t get it out of your head – “you feel yourself, becoming someone else…” – a great pop song, and it proves that powell could have been very popular indeed if he had pursued this line of more pop-oriented material.

it’s actually damnably difficult to make a synthesizer “sing”, to make it sound warm and human, but through some curious bending and oddly-chosen moments of modulation; through his selection of voices, somehow, roger manages this nearly impossible feat.

the title track from the “air pocket” record is a case in point, it’s actually quite reminiscent of a bill nelson synth-driven piece from this same period, with a really emotive, almost oriental sounding lead synthesizer sound, used as the main repeating, melodic theme of the piece – which really creates the most extraordinary mood against an almost funky bill nelsonesque synth bass and snare drum riff – and then, when it gets to the first solo, roger uses a subtly different sound, to differentiate the central section of the piece – and eventually returns to the emotive oriental melody to round the piece out – it’s simple, it’s clean – it’s brilliant!

an even better surprise on this record is the inclusion of a “studio version” of the utopia live classic “mr. triscuits” (which utopia recorded live, but never performed in the studio) so powell makes up for that omission with “dragons’n’griffins/mr. triscuits” – and the glorious melodic themes of this prog masterpiece are reinvented in a most amazing way in this studio tribute.

to round out an all around remarkable record, “air pocket” concludes with powell’s amazing synth version of the all guitars classic “pipeline”, entitled “pipeline 76” so I assume recorded in that year – almost as if to prove a point – these new-fangled synth-o-sizers can do anything a gee-tar can do – and in powell’s capable hands, that actually becomes a truth.  the sounds might not be guitar sounds, but they work – they tell the story of “pipeline” just as well as the guitarists do, including some fabulous distorted “guitar solos” that are just brutal in their intensity – great stuff!

give me these three records over a dozen wakeman solo records anyway – there is nothing here that isn’t visceral, real and honest – I really like these three records a lot!

if we thought we waited a long time for “air pocket”, roger’s other commitments over time meant that his third and most current solo record, “fossil poets” was really a long, long, long time coming – it was originally released in 2006 – and perhaps, that 26 year gap between records was a time to consolidate everything roger had learned and experienced, and then, he finally sat down to make another record.

and it’s a lovely disc, once again, completely different from the other two, and with twenty-six years of progress in the field of synthesis, the voices and sounds that are now available to powell to express himself on this record are mind-boggling; he chooses wisely, and it’s another successful, rounded record – I think in this case, less is definitely more – OK, if I really want to hear roger soloing his heart out, I will find some vintage live utopia from 1976 or 1977, or I will put on one of the official utopia records – but when I want serious, intricate, thoughtful synthesizer music – it would be to these three records that I will always turn.

“fossil poets” is a grower, it’s much more about subtlety, texture – this is a such a different sounding record from either of his two previous solo albums or the utopia catalogue – it sits almost in a unique and unusual sonic world of it’s very own.  I love it, there are some bizarre and wonderful synth tones that you do not hear every day, and they are used in challenging and interesting ways – the weird intro to “fallout shelter” being one example, a nervous, shifting rhythm with a wonderful, tactile solo raging over the top of it, bending and stretching through impossible frequencies…as bill nelson says “the frequencies…shift”.

it’s absolutely fascinating too, to compare the aural experience of these three albums, each, as it were, representing an “era” of synthesizer development: 1973, the tones are more basic, the classic sine, saw, square, triangle waves all have their part to play lfos other modulation are definitely from a more limited palette than on the later records – although, given the primitive state of synthesizers in 1973 (compared to 2006 or even 1980) powell really does coax a lot of fairly subtle and advanced tones from his 1973 machines – it’s brilliant.

come 1980, and the entire vocabulary has shifted, arpeggiators are to the fore, we have some early beginnings in terms of more subtle sonic textures, even ambience, although not to the extent that ambience plays a part in the 2006 offering.  “air pocket” is like a mid-term exam, technology had come a long, long way since 1973, and roger takes full advantage of the new tools available to him in 1980 – he has the answers to the exam, and he passes with flying colours – every track on air pocket oozes confidence and quality.

finally though, we reach “fossil poets”, a modern-day record made with the latest hardware and software synthesizers.  tasteful use of real basses and guitars flesh out what is still, mostly, a keyboard extravaganza, and in the background, there appear everything from synth basses to fender rhodes (or similar) to clavinets (or similar) – or, a sudden hammond organ style solo will appear from nowhere – and curiously, quite often, the voices seem to have been run through a wah pedal or filter – which just goes to show you, technology does not have to be new and fancy to work – the wah-wah was the world’s first portable filter – and synth filters work in a very similar way indeed.

synthetic percussion is present too, and in this percussion, we can hear the progress – similar percussive sounds on “cosmic furnace” sound cheap and simplistic, here, they are fully evolved, they sound like drums, but, synthesized drums – they way they should sound, tasteful sounds that accurately emulate real drums.

the biggest difference though, for “fossil poets” are pads, sounds that “wash” over you, beautiful, ambient chords and drones – all of the ambient sounds and moods, that are completely absent from “cosmic furnace” and only partially in place by the time of “air pocket” – are fully realised here, so from a standpoint of mood, emotion, texture, and beauty – “fossil poets” probably “wins” hands down.

I love the fact that powell uses rhodes-like and hammond-like sounds on this record – why mess with what works? – he could invent or develop really weird synth or piano sounds, but he has the wisdom to not mess with perfection – so the rhodes, hammond, string and even percussion voices, sound good – because he hasn’t messed with the formula that says “use a rhodes sound, and your track will sound good”.

another favourite track of mine on this particular record is “underwater city” – which somehow, sounds exactly like it’s title – it starts out with subtle, ambient keyboards stalking you in stereo, then, ominous guitars layer on top of really ominous synth bass as the song develops – a muffled, strangled bassy drum beat accompanies the lead guitar, while roger plays odd sound effects and wonderfully textured synth accompaniment in the background.  then the song takes some odd turns, some beautiful short chord progressions, and it enters a wonderful, dreamlike state that would simply have not have been possible on “cosmic furnace”.  it’s like bluesy delayed guitar on top of space age ambience – a lovely combination. the use of stereo in this track is phenomenal, and the synth effects and one-off sounds are absolutely fantastic – I love it.

“tribe by fire” really throws in a complete kitchen sink of synthetic sound, there is so much going on, so much texture, so many melodies, so much wonderful ambience – sudden ethnic synth squeals – then peaceful, beautiful electric piano – slithering, snake-like synth leads – then, suddenly, the sound goes dry, and odd flute-like events and percussion take over – it’s as if the track is mutating from one song into another – but, every 17 seconds or so.  I really like this one, too…

“peaceful uprising” is a real centrepiece of this record, with it’s insistent beat, and wonderful layering of synths over a very beautiful ascending, positive sounding chord progression – synth leads harmonise with lead guitars over a vaguely arabic-feel backing – I really, really love this piece, it’s so intricate, so carefully arranged, and it’s all about harmony and texture; texture and harmony – the rhythm stops occasionally and the piece goes very ethnic, little islands of quiet before that insistent rhythm picks up again, driving the song onwards and upwards, it’s absolutely fantastic!

it’s strange too, how your own tastes change – originally, my favourite synthesizer record was undoubtedly “the six wives of henry viii” by rick wakeman; and I still do love that record, but I don’t tend to actually listen to it – whereas, I still find myself putting on the three powell albums quite frequently – often, I just select “play all” and listen to the whole suite – and when you do that, it really hits you what this man can do, what he has accomplished – the brilliant, atmospheric opening to “lunar plexus”, the lead-off track of air pocket, just sounds to me like science fiction/future synth music, I just love it (“air pocket” was the first powell record I owned, cosmic furnace was very difficult to find for a long, long time) but if you play the three back to back – the range, the diversity, the amazing sounds, sequences, arpeggiations – the amazing solos – the quiet piano breaks…the quiet, determined intelligence behind these records speaks volumes – this is how synthesizer music should be!

“cosmic furnace” is entirely instrumental; while “air pocket” sports a few very excellent roger powell vocals, with a return to the instrumental approach for “fossil poets” – and I actually really like roger’s voice, it’s underrated, I’ve seen and heard him sing at a number of utopia concerts, and he turned in some amazing live performances – especially on his own tracks, such as the live versions of “emergency splashdown” or one of his showcase pieces, “caravan” where he trades synth leads with rundgren’s guitar leads to great effect, all the while singing the lead vocal of the piece, to his remarkable “solo section” in the lengthy and complex “singring and the glass guitar” taken from 1977’s “ra” album by utopia – roger on stage was a revelation; even better than in the studio, and the range of expression he wrenches from his keyboards is one of the most significant – sure, wakeman gets a lot of great sounds, but somehow, with powell, it seems more personal, more indicative of his personality and style – wakeman is saying “I can make all these sounds” while powell is saying “these sounds represent how I feel” – and therein lay the difference.

the main difference in the 2006 offering though is probably the presence of real texture and real ambience – those things were harder to achieve earlier on in the development of synthesizers, but none of it is a problem for roger powell – the great unknown contender to the possibly unwanted throne of “prog synth wizard” – I think, if people listened to “another live”, “ra”, “oops, wrong planet” and “adventures in utopia” – along with these three records – they would be blown away by this quiet scientist of synthesis, the amazing roger powell.

I cannot recommend his music more highly to you if you enjoy the sounds made with synthesizers.

what we’re listening to

todd rundgren & the metropole orchestra – live in amsterdam

 

a good friend and fellow todd/utopia fan sent me this show, and I have to say, I went in with medium to low expectations, and came out very, very pleasantly surprised.  todd’s live performance history is plagued with problems – under-rehearsed bands, a tired broken voice that he hasn’t taken good care of – except sometimes – a lot of missed notes, forgotten guitar solos, you name it, todd has suffered it – yet, he still persists.  he’s got that – he keeps on playing and singing, and for a man approaching retirement age, shall we say, he really sounds very, very good on this fine recording.

 

ok, there are a couple moments where his voice cracks, but that’s just his age, and maybe not taking as good a care as he should have of his voice.  but that almost makes it better, because if it was perfect, it would be boring – so having his voice break a little during a very rare and precious take of an early classic todd ballad, “wailing wall” – well, it’s purely beautiful.

 

the first part of the show actually really rocks, and he plays a fair bit of very good and very accurate guitar in there.  I do find myself enjoying the songs that I am not as familiar with, in particular I quite like ”property” (from “no world order” – an album I am not wild about) and “mammon” (from “liars” another album I am not wild about!), and even songs that I don’t like as much, like “fascist christ” or “the smell of money” hold up quite well, because – well, the orchestra is frickin’ brilliant. arrangements, performance, sense of humour – they have it all.

 

the arrangements really are pure class, they ooze class, but at the same time, the band rocks.  it actually makes sense to orchestrate these songs now, todd is not a kid anymore, his songs are nearly as old as he is, so it is time to start taking them a little more seriously.  even the concert-worn minor hit “can we still be friends” benefits hugely from the orchestration (including the strange, beautiful ambient horn arrangement at the end – wow) – it’s awesome, and I really don’t care that much for that song – but hearing all these songs with “grown up” arrangements – it makes you realise overall, just how good a songwriter todd is.

 

the show is also a really great overview of a long, brilliant and erratic career – and a career I’ve enjoyed greatly.  sure, todd has his share of failures – particularly on stage – but when todd is good, he is good. and this show is one of those cases, where everything goes right (for a change) – well, not quite everything, he’s laughing so hard at the orchestra during “onomatopoeia” that he fluffs the words completely, in both takes – but it’s such an amazing performance by the metropole, that you don’t really notice – because they are on fire.  they play the song once, then, they play it again – but faster, the second time – and it’s mind-bendingly fast – a stunning performance, and like “wailing wall”, I think this might be the first time “onomatopoeia” has ever been performed live – so right there, that puts this show into a special class.

 

for me, in particular, having the deadly serious and incredibly beautiful arrangement of “wailing wall” –hearing this song live, at long last – well, it’s the high point of the show in my opinion, but only because I have a long relationship with this song – it’s one I learned and played on the piano at the time, and always loved to sing, so to finally hear todd himself have a go at it, it’s just fantastic.

of course, the obligatory “big hits” are all present, “hello it’s me”, “i saw the light”, but, a bit more unusually, also “we gotta get you a woman” arguably one of todd’s best early pop songs – and again, all three of these, which at a normal todd concert, for the first two, you would sort of go “oh no, not this again…” – you don’t feel that way at all, in fact, having the orchestra present on these songs turns them from ordinary to extraordinary.

 

I don’t know who arranged the orchestra parts, but whoever it was, it’s pure genius…lots of unexpected solos, odd instrument choices, but at the same time, string arrangements that bring instant goose bumps, because they are so perfect, and so, so beautiful.  when the strings enter in “wailing wall”…you can hear exactly what I am talking about.  shivers.

 

i think that todd must have been really awed and touched by the level of detail (for example, the sound effects in “onomatopoeia”) within the orchestrations, and the way the arrangements really highlight the quality of the song writing.  sometimes unexpected things happen, you get horns where you’d think “strings” but that just keeps me engaged, surprised…you never know what is coming next!  unfortunately, he enjoyed the orchestra’s onomatopoeic sounds so much that he ends up laughing at them throughout the entire take (and it really is funny!) as he tries to sing, and during the extra fast tempo version as well, but it’s enormous fun anyway.

 

todd has embarked on a huge number of projects in the last few years, from reliving his past as a blues guitarist to projects like this one, and as always, he’s had varying success depending on how well rehearsed the band his, how well he has re-learned his guitar parts, or how well he’s currently taking care of his voice.

 

I sometimes get very frustrated with todd, because he is capable of so, so much, and yet, he’s had a lot of trouble on stage, with potentially brilliant  shows (such as the recent performances of “todd” and “healing” in their entirety, or the utopia mark ii reunion shows) marred by so much going wrong…which is such a shame, it really is.  but none of that nonsense this time, they get it right, and besides a few problems with the words on one or two tracks, it’s a pretty flawless and frankly remarkably good performance from the erratic but brilliant rundgren.

 

I should note, that if you are not familiar with todd’s work, that during the late 60s and early 70s, he produced some absolutely amazing records which if you haven’t heard, you owe it to yourself to give it a chance – to hear some of the best prog around – 1974’s “todd rundgren’s utopia”, 1975’s “another live”, or 1977’s “ra” for three – as well as a lot of very interesting pop/prog/bizarre records like 1974’s “todd” or 1973’s “a wizard, a true star”.  don’t let “hello it’s me”, “I saw the light” and ” can we still be friends” fool you – this man rocks, and his guitar playing, well, there are very few american guitarists that I feel are actually better.  only frank zappa springs to mind – todd at his best can scorch anything from nasty blues to 30 minutes of complex prog – no problem!

if you like pop – well, to me, todd makes the best pop records around – from his early nazz recordings (although the nazz also ranged from very, very pop to really, really heavy – a strange dichotomy), onto amazing, ground-breaking pop solo masterpieces like 1972’s “something/anything” (where todd plays all the instruments, as he often does on records – where do you think I get the idea that I can play everything on dave stafford records?) or even the more relatively-unknown records from the later versions of his band utopia – who could switch between prog and pop and rock without batting an eye – todd’s recorded career is full of a lot of really, really amazing music.

 

 

four out of five stars then, for this most satisfying live recording 🙂

 

thanks mr. p !!

 

 

what we’re listening to – roxy rule, ok?

well, it finally happened, because I’ve been going through many, many cassettes of early works for the dave stafford / pureambient blog audio companion page, my curiosity got the better of me, and I had a quick look into the “other” box of tapes – the one with the live concerts in it – and lots of other music as well – in it.

in particular, I was looking for (and found) a live recording called “foolproof” by roxy music – which is the first roxy music I ever heard, and it made a huge impression on me – at first, I didn’t even know or realise why I liked it so much (because a man with amazing chops had just joined the band, straight from his stint with king crimson, adding john wetton to roxy was an absolutely inspired move – incredible) but later I realised, it’s because wetton is the bass player, and that makes the whole band try harder. the presence of eddie jobson certainly helped, too, and the whole band really rose to the occasion – and the music, for that brief period, was truly remarkable.

roxy live was always a mixed bag, but this concert stood out in my mind as being more together, more like what the band was truly capable of, than other live performances I’ve heard.  and for me, there are some great moments too, for wetton – quietly singing harmony to bryan ferry’s a cappella end piece of “mother of pearl” – but best of all, in “re-make/re-model” – when it comes to wetton’s turn to take a brief solo – the monstrous, distorted, sliding, slamming piece of fuzz bass he chooses to play, is so extraordinary it puts all the other solos to shame – it’s fantastic – it rocks!

so I took the time last sunday to digitise the concert – and, at the same time, sadly, I learned that it’s not one concert – it’s two, and, it is (of course!) cut into pieces – so two tracks from a 1975 new york show, then three from newcastle, uk, the previous year, then back to two more from the 75 new york, then the balance from newcastle.

so even though the “concert” is contrived, it’s still a great representative showing of just how good roxy could be when they tried hard. in particular, the four tracks from new york 1975 really shine (now that I understand what and where they are) but all of it is fantastic – the other concert that was used, the newcastle show, is the source show for their official live album “viva” – so you can extrapolate from that that the band thought that shows from this era were good, too.  🙂

there are also some rarer live tracks here, that you don’t hear in every roxy live show, such as “she sells” – and one of my personal favourites, from the “siren” album – “whirlwind”, where phil manzanera pulls off a tour de force performance, in fact, phil is on fire through out this tape, and occasionally, the precision and power of some of his riffs makes you really sit up and take notice – “wow, I didn’t realise he was that good”.  but he is, and I think having wetton there was a kick in the pants for phil in particular (they seemed to strike up a great and lasting friendship after that in any case) and for the  other existing band members.

the bass player “seat” in roxy had been a revolving-door gig from the very beginning, but now, the current occupant of the hot seat, by sheer chance, happened to be a world-class bassist at the height of his performing powers (don’t forget, he’d just left the most successful and amazing king crimson lineup of its time – where playing with fripp for two years had honed his bass playing skills to incredible heights of capability) so suddenly, the bass parts in roxy music songs – began to matter!  you could hear them, and they made a difference to the songs.

this concert then to me, is sort of like roxy music’s version of “the move live at the fillmore east 1969” – a concert that vindicates them, that dispels any feeling that sometimes, live, they maybe weren’t all that together – and it shows us a sort of “dream” live roxy that really did exist for a few months anyway.  I love it, and hearing this again – well, I had it on vinyl originally, so this cassette was a master cassette recorded from the vinyl – but amazingly, given that it’s not the original vinyl, but a copy of it – the digital version came out very, very well – all it needed was a little bit of a level boost, and one very carefully done bass boost – and that was it, I didn’t want to change it’s sound too much.  remarkably, there is no evidence to my ears anyway, of the vinyl lineage – no snap, crackle or pop – but that may be because there are really no quiet moments – the audiences are loud and enthusiastic, the band, loud and on fire!

starting out with “love is the drug”, it moves through a strange selection and mixture of “new” songs from “siren”, including unlikely deep album tracks such as “whirlwind”, as well as a few big hits – “editions of you”, “do the strand”, and “re-make/re-model” among them – so really, something for everyone. 🙂

hearing this again, after so, so many years of not hearing it – it was like having an old friend back that you hadn’t seen for 30 years – a really wonderful experience, and, even live – roxy do rule – ok?

the way we listen

over on the pureambient music group on facebook, we’ve been talking about the different ways that different people perceive a piece of music.  (by the way, please feel free to drop by and join in the conversation – everyone is welcome!). obviously, every single human being “hears” a particular song in a “different way” – but to me, it’s fascinating to try and understand what those “different ways” are, and if I am hearing a song in a particular way, can I break that pattern and “hear” it in a completely different “way”?

I don’t know, I think I can.  when I actually think about it, the way I listen to most music is strangely analytical.  instead of hearing it as a “whole composition”, I usually break it down mentally into it’s component parts.  so if I were listening to king crimson, circa 1974, I would think, when I hear the electric piano playing a distorted power chord during a live performance, “oh, that’s david cross” and I would be, momentarily, focussed on what david is doing in the piece in question.

invariably, a moment later, john wetton would pull off some amazing, sinuous, powerful bass run – and then, I am just hearing john, really – sure, I can still hear bill’s snare drum popping on the 3, or whatever it is he’s up to, but during this section of the song – it’s all about what john is doing.  and probably, I am at least mentally, if not physically, playing air bass along, trying to figure out what notes are in that incredible bass run – and probably failing 🙂

so I might listen to that song, and be in “wetton” mode, and pretty much pay attention to the bass, the bass, and … the bass.  on another day though, it might be all about what fripp is doing on the song – maybe he’s done something unusual, played a part in an odd way (compared to the studio version) or he might do some tapping (he does this more often than you would think) or some kind of impossible slide/hammer/whip round that I cannot get my head around…so that same song, is now heard in a totally fripp-centric way.

or – on yet another day, I might be in “bruford” mode, and while I can hear the rest of the band, I am listening to that tightly tuned snare pop, I am waiting to guess where the downbeat will fall in this particular measure (hint: not where you think it will!) and I am hearing the track “drum-centric”.

and – a normal person (i.e., not a musician!) would listen to this same song, and hear…a band playing, a song, not the individual parts, just the entire composition, as a holistic and organic whole.  after years of analysing songs, of focussing sharply on one player’s part, it’s become very, very difficult for me to just “hear a song” or “hear a band” as a whole entity, I have to really work at it to not focus on one element, and, it gets more difficult every year.

so for example, if I want to hear king crimson live from1974, let’s say I decide to put on “usa” – I know what will happen, I will be irresistibly drawn to “asbury park” immediately, because the drums in asbury park – well, if you like crimson, you already know about this drum part – it’s all about bill, and i’d say that when I listen to that song, it’s initially to hear what bill does.  that is…until wetton and fripp enter the fray.  then – my attention shifts – bill is still there – but now, john and robert are there too, and it’s hard to say which one of the three is the most amazing – not to downplay david’s role in the song, I actually love what david does on the piano here, but the problem is – john and robert are so fracking amazing on this song.  so I am torn – who do I listen to? who do I focus on?  that razor sharp guitar, that is suddenly blazing out 128th notes that are so brittle and sharp and they just fly atop that thunderous, murderously powerful bass line – to me, asbury park may be the single most powerful live performance by these four men that there is – although i’d have to think about that – I can’t immediately think of any other that blows me away quite like this one – especially in the first two or three minutes of the song – the power and the glory, wetton and fripp – and, underpinned by a snare drum that is snapping so hard it sounds like the drum head is in imminent danger of being split into a thousand fragments with each driving, smacking sound…

so some songs defeat my ability to focus on one element, and asbury park is one of those – maybe then, I am listening to that song in an almost normal way – almost as a whole – but not quite, because while I may not be focussing on a single element throughout the piece, I am probably shifting back and forth between the main players, maybe even every few seconds! maybe that says that I have a problem with my attention, I don’t know – either I am great at dividing my attention between various elements, or, I am unable to focus and keep attention on one attribute – fantastic !! 🙂

seriously though, I do find it interesting, the way people “hear” music, and as we were saying over on the pureambient music group on facebook, different people hear different influences in your own music, and that can be very revealing – when I get input from people, and they say “this reminds me of…bill nelson’s ambient work, “crimsworth”” or “this song reminds me of eno” then that interests me, I want to understand what it is about that song that brings that reaction – so I then go back and listen again as “see”, or “hear” rather, if I can “hear” what they are talking about.  it’s very strange that other people can hear the influence of artists that you admire in your work that you were not conscious of.  that always gets me, because when I listen again, I have that eureka moment, “oh…i see – yes, that bit does sound like eno, it really does” – which I might never have been aware of had someone not pointed it out.

that’s actually very valuable to me, for one thing, I don’t ever really want to plagiarise or create works that are too derivative, that sound “too much” like artist a or b.  that’s a tall order, because there are only so many chord progressions, so many melodies, so many harmonies, available – they’ve almost all been tried, performed or recorded over the centuries – so it’s really more down to other factors – performance, tones, ambience – that help make even an ordinary chord progression work well and sound unique to you.

tone and atmosphere are extremely important to me in the writing process – a piano, with no effects on it, is one thing, but a piano in a subtle, beautiful reverberant room – suddenly, the sound of the instrument starts to influence the song, and the notes, the chord progressions, the music itself become less important, and the atmosphere, which alters the standard tone of the instrument, and the timbre / atmosphere combination, create a mood that is somehow beyond the actual tune itself. the problem that this creates though is that I tend to want to hear that atmosphere or tone or timbre while I am recording – which is at odds to the accepted practice of recording “dry” and adding all effects post-production – oh well – sometimes, to get a particular result, you have to ignore what is “right” and go with what sounds right…

there are ways around this, and I am able now to record dry and play back with atmosphere added so it’s not so much of an issue now, but it used to be that I would just put the effect on while I was recording – because I couldn’t really play the piece “dry” – particularly, let’s say, if it was a loop recording of energy bow guitars – because the reverb or echo or phase shifting or chorus or flanger or delay was integral to the composition – and there are still times when I record guitar that is heavily effected – because I simply can’t play the piece live and then “add the effect later” – I just can’t play it without hearing the effect already there!

I am learning to, but sometimes…I might just do it “wrong” to make it “right” 🙂

what we’re listening to – special edition – the move live at the fillmore 1969

you’ve probably already heard my initial reaction to the release of this record, which to me, as a long-time fan of the move, and as a fan of late 60s pop and rock music, is a huge event…

I knew that the move had played the fillmore on their one and only us tour in 1969, because there were two tracks from the show on the 40th anniversary box set – two amazing tracks, that made me wonder “where is the rest of this concert?”.

well, the answer to that question arrived in the post yesterday, and I am now sitting listening to the album for the second time, I heard the whole thing last night through the “good speakers”, and now, I’m hearing it in headphones…and the excitement, the quality of the music…it’s just purely exuberant !!! an absolutely stunning, remarkable performance.

the story behind this album is one of heartbreak for one of the members of the band, their charismatic and incredibly talented lead singer, carl wayne – carl had always felt that the public really did not know or understand just how good the move were.  he believed, however, that the concerts taped at the fillmore west in 1969, in particular, proved beyond doubt his theory – but for various reasons, they sat, in his possession, for many, many years – unreleased, until in the 2000s, he began work on restoring them.

technical problems with the tapes frustrated these attempts, and really in the end, it was a question of having to wait until the technology had developed enough to deal with the problems that the tapes had – so while the tapes were being worked on, sadly, carl passed away, and he never got to hear the final product or see his beloved live tapes released.

however, his widow, sue wayne, and his son, continued the work, and with the co-operation of the rest of the move, the cleanup and production work on the tapes was done, the album was assembled and released last month, in february, 2012 – some 43 years after these historic concerts took place. so I found out, yesterday, “what happened” to the rest of the tracks from the concerts – they are here, to finally vindicate carl and his theory that these tapes “proved” just how good the move were in live performance.

don’t get me wrong, they are not perfect by any stretch of the imagination – the pa system at the fillmore, in 1969, sounds a little underpowered, and sometimes the lead vocals, and all the vocals, are a bit clippy, but given that it’s a 43-year old recording, it’s not bad at all !

you can hear everything, including the absolutely stunning vocal arrangements, the exquisite harmonies which faithfully reproduce the vocal approach used in the studio – which to me is a real rarity – because as a band, they were moving away from their earlier, more pop-oriented persona, to a much heavier, power-trio-with-vocalist approach – but not just lead vocals and a power trio – a power trio that can play hard, loud and fast – but sing like angels when required.

there are several a cappella segments, during “cherry blossom clinic (revisited)” for example, where the music stops, and you hear the move’s voices only – and then, the harmonies, are just exquisite, in tune and wonderful.

sometimes, during the songs, the harmonies do stray a bit, and interestingly, it’s often roy himself that seems to be a little bit out of tune – but I’d say it’s completely understandable – given the fact that it’s a 1969 pa system; the monitors were almost certainly insufficient – and, he’s having to play rhythm guitar, lead guitar, sing some lead vocals and sing harmony vocals the entire time while he tries to play those incredibly diverse and difficult guitar parts.

and since we are on the subject, let’s talk about roy’s guitar playing – right now, they are whipping through the “classical section” of “cherry blossom clinic (revisited)” and it’s just roy on 12-string electric, rick on bass, and bev on drums – but it sounds like a lot more than 3 players, it’s incredibly full – and then, they launch into the madcap “vocal version” of the classical theme, a bizarre and very difficult to execute vocal exercise that just amazes me – they are so faithful to the album arrangement, but – it’s live, and in many, many instances, the guitar playing far exceeds the original…

last night when I was listening to this on speakers, and roy got to the middle section of “fields of people”, and played his “banjar” (half banjo/half sitar) duet with bev – and I listened to the speed and clarity and amazing lead guitar ability of roy – and it struck me, ok, it’s 1969 – the beatles are currently making first, let it be, and then, abbey road – which are of course, brilliant, classic albums – but at that same moment, far, far from home, miles from the familiar, a 23-year old roy wood is standing onstage at the bloody fillmore west, proving beyond the shadow of a doubt, that as a live performance unit – that (and this is just my opinion, please don’t throw things at me now!!!) that they wiped the floor with the big three – the beatles (who had stopped performing in 1966 – because they couldn’t faithfully reproduce their more complex material “live” – which is slightly proved by the japan concerts where the harmonies are a bit lacklustre…) the stones (if you’ve heard them live at hyde park, 1969 – you will understand what I am talking about) – and the kinks – the kinks being the one unknown, I would say that they were probably actually the biggest competition that the move had as live bands go – the beatles were actually out of the picture, and the stones were struggling with the changeover from brian jones to mick taylor – so only the kinks were out there playing their hearts out – which you can hear on record – but joining them now, is the other “great sixties band” – at least, 43 years late, but I think that carl has now got his “proof”, and even ray and dave davies would have to admit, roy wood and the move were a dynamite live act!

and I personally think that this concert really does prove how good the move were, and it’s absolutely amazing that they were so unknown in the us (especially since they were huge in the uk and europe) – it’s just inexplicable, of course, some americans loved the move, and followed their music, but their records never really sold well in america – I think they arrived there too late, and the sixties were almost over anyway – so one us tour – and that’s it.

according to bev bevan, they had tried to go over to america a couple of times, years earlier, but something always stopped them, and it wasn’t until 1969 that they finally did make it over there – and then they played only a handful of shows.  and consider this:  they had one crew – one man, and the four guys in the group, to drive across america to california – so five guys, in a rented car pulling a large u-haul trailer with all their gear in it – this is the move we are talking about !  but – no limousines, no planes – they drove across america, carl and their roadie sharing the driving duties.

I find that astonishing when you think about rock and roll tours by famous bands now – what the move did was unheard of !  they flew to new york, went to manny’s music, and bought guitars and drums, rented a trailer, and started driving…what an experience for five young guys from birmingham!  it sounds like they had a blast, a week’s residency on the sunset strip, then up north to play a few nights at bill graham’s fillmore west – third on the bill behind little richard and joe cocker – can you imagine?

they don’t play like they are third on the bill anywhere, they play with such confidence, obviously, they know these songs inside out, they have done work on the arrangements – some of the songs are actually seriously expanded and improved over the originals – the ten minute plus “I can hear the grass grow” being one case in point, you have to hear it to believe it – it’s so far beyond the original single, it’s basically mutated into a mini-prog-rock-masterpiece – and roy and bev in particular are just extraordinary on it – it’s a monster.

and that brings me now to bev, I always thought bev was a good drummer, but now I believe that I was wrong about that, he’s a fucking brilliant drummer 🙂

his playing on this album, the snap of those brand new slingerland drums – his rolls and tom tom work is so powerful, he literally propels these songs into life.  some of the rolls in “fields of people” seemed impossibly fast even on the studio version, but here, they move at light speed – and I would spend a moment talking about this song, “fields of people” – first of all, it clocks in at an astonishing seventeen minutes (because of the banjar/drum duet in the middle mostly) but it’s an incredible arrangement, the vocals are just like the record – not easy to perform, but they do a very credible job of it – meanwhile, roy’s twelve string rings out so beautifully throughout – and then, suddenly, it’s all about rick price – he turns up that bass, and with a beautifully distorted sound, launches into the quick section that begins around the three minute mark.  every note is so well rehearsed, and it’s such an unusual and strange song, it features one of the best and most unusual lead vocals I’ve ever heard – carl is improvising, speaking lines, and generally showing us that he can do far, far better than the record – and then there’s rick with that almost chris squire-like bass riff…

and then it starts happening – the whip-quick-lightning-fast snare rolls – starting at about the five and a half minute mark, bev starts whipping his drums into an absolute frenzy, rolling across the toms so fast you think he will miss one – but he doesn’t, he’s precise, he’s fast – and his drumming brings real excitement to all of the pieces.

then – carl takes all the attention – by singing one beautiful, powerful long, extended note – on his own, a spellbinding, pure, amazing, unexpected, perfect note – that leads into an amazing, new, extended section – a bass and drum solo, that is just smoking hot – which is really just a bridge to allow roy enough time to switch from 12 string to the “banjar” (half-banjo, half-sitar) for what may be the most amazing moment of this whole show.

and now…it’s raga time, it’s very much like the album – only, much better.  and bev plays an amazing, ethnic sounding accompaniment on the tom toms, with mallets I believe, which does a great job of emulating tabla – it’s amazing! but what is truly astonishing is the powerful, melodic, prowess that roy displays on this strange instrument, he “gets” indian music, he really does, and this raga shows his skill as a multi-instrumentalist in no uncertain terms – he is in command, utterly confident – bev adds a bell tree for a moment – the drums become more and more fierce, as roy winds up towards the end of the song – the audience must have been glued to their seats, transfixed (i would have been) – as if george harrison himself had got out on stage and played the sitar solo in “within you without you” – that is what this is like – but the difference was, the beatles had become a studio only band, deciding not to take their more complex music on the road – but roy and the move did take their complex music on the road, and actually played it better than they had in the studio!

finally, rick joins back in on the bass, as the song comes to it’s dramatic conclusion, last night, hearing this for the first time – I thought, hmmm, I hate to think this, but, let’s be brutally honest – when did john lennon or george harrison (don’t get me wrong, two of my biggest guitar heroes) ever play something as amazing as this?  answer: never, and, especially, not live !!  shocking, but true.

I’ve never compared any guitarist to lennon or harrison, but I seriously think that in terms of playing ability, compositional ability, arranging ability (don’t forget, the move had no “george martin” – roy had to fill those shoes for the move) that roy, at the height of his powers, let’s say from 1967 through 1970, was unstoppable, and actually, the better guitarist of the three (now I am really gonna get it, but – it had to be said) – I am not being sacrilegious here, I have nothing but respect for lennon and harrison (especially harrison!!!) but you have to hear this – the banjar solo that makes up the last, I don’t know, seven minutes of “fields of people” live…it’s the perfect juxtaposition of indian and pop music, played by four men who were confident, committed, and clearly having the time of their live bashing through this amazing electric raga – astonishing!

when I first saw the set list for this album, I nearly fell out of my chair – reading eagerly through the set list, my eyes immediately fell onto three pieces in particular – one, and most important of all – “fields of people”.  I mean – I had just assumed that this song was a studio-only production, it had the sitar solo at the end, very complex vocals – how could they possibly reproduce all that in a live setting?  answer: listen to this album.

secondly, “don’t make my baby blue” – another “wow”, they play this live? moment…and not only do they play it, you actually get a second version on disc 2, so you get to hear this amazing, powerful song twice – I have always loved this track especially, it’s a real highlight on the “shazam” album, and again, I never thought they would play it live – but they do, and again, you get two versions – so it’s a double, double miracle if you ask me!!!

third and finally in the “knock me over with a feather” department, is the beautiful ballad “the last thing on my mind” – yes, once again, two versions! – and a really wonderful arrangement, with chiming 12-string electric, and roy faithfully – somehow – mimicking the reverse guitar solo that is a huge feature on the studio version – this track is a massive highlight for carl too, his vocals on it cannot be underestimated, in many ways, his performance alone “makes” the track, it’s heartfelt, melodic, classic carl wayne.  he clearly loves this song, and he really makes you believe that he didn’t want to let you down – it was the last thing on his mind.  roy plays it so faithfully, I just couldn’t believe they even played it live (i know, I keep saying that and saying it…i can’t believe it, I can’t believe it…) but not only do they play it live, once again, it’s really better than the original (if such a thing could be) – these performances, in really, every case, make significant or even massive (as in the case of the astonishingly re-arranged “fields of people”) improvements – making already great songs absolutely sublime – the roy wood arrangement wizard (pun intended) !

and for me, during this song, which is mostly sung by carl, there is a really beautiful moment, when roy takes over briefly to sing lead on one small section, and carl and rick switch over to harmony/backing vocals – just stunning.  roy does sing lead vocals in several places, and his voice, when singing lead, is really very good and I feel he’s quite underrated as a singer.

the 12-string lead guitar solo/reverse guitar emulation solo on this track, in both versions, is an absolute highlight of the entire concert, and the fact that you get two of those solos, from two different nights – shudders with delight.  beautiful high speed wah-wah 12 string freestyle raga lead guitar – that’s ok with me J

then, next, there’s an absolutely mind blowing a cappella introduction to “goin’ back” – another cover, like so many of these actually are (there are only three roy wood songs performed at these concerts – just three) a really complex and beautiful a cappella intro and then very sophisticated vocal arrangement throughout the song, which just flows by beautifully – another completely different musical experience…

I know this is already a long post, and I’ve waxed profound about how brilliant the move are before this, all day yesterday in fact! but believe it or not, I am really only hitting the super obvious highlights, there is so much to explore and enjoy in this 2 disc concert – for example, “hello susie” just rocks like a normal rock song, propelled by bev into proto-metal territory – “rock and roll the day away – come on everybody!!!….”

but it sounds fantastic, hugely fun, and again, i’ve never heard or dreamed of a live version of “hello susie” – and it’s really good!

the show starts and ends with a nazz (todd rundgren) song, which shows that the band were obviously big fans of the nazz (as I am) – so they start with a heavy, beautiful version of “open my eyes” – heavier than the way todd used to play it live I’d say – but the real gem is the final number of the night – a cover of the less-well-known nazz song “under the ice” – which, they take and expand and re-arrange to an amazing degree, until todd wouldn’t recognise it, but, it’s genius, and roy plays amazing rock lead guitar, with the wah-wah flying throughout, really beautiful, playing, as if he’d held back all his best chops to use in this song – it may have the single “best” lead solo on the entire record, it’s just classic rock, three piece, rick and bev holding down the rhythm while roy plays and plays and plays some more – it’s an absolute stunner.

then, strange things begin to happen.  bev changes up the rhythm, starts soloing a bit himself with some very snappy rolls, meanwhile, roy’s wah-wah guitar style is starting to threaten even jimi himself – or rather, it sounds to me, like roy had been listening to hendrix records the night before, and is having a go at some hendrix like wah work – the footwork is fantastic…then, it mellows out, and roy starts using the wah as more of a filter, almost fripp like – then, he starts playing octaves, with gentle feedback at the end of each, as bev and rick vamp along behind him, suddenly, it’s nearly jazz, but not really, it’s just amazing lead guitar – a beautiful, tricky section of octaves (never easy to play) and roy is revealed to be a remarkably complex guitarist, capable of subtleties that I never expected – this long, long solo really reveals so much about his thought processes – ok, it’s not perfect, it has a couple of tricky notes here and there, but it’s so good that it’s not even fair to really mention those minor imperfections…

and as the solo evolves, through this long, “quiet” section, then suddenly there are some sharp rhythmic punctuations, where all three of the players hit some coordinated “smacks” together – and then, it’s more freestyle, lots of cymbals, back to the super-quick-foot-wah sound that roy seems to be a major pioneer of, i’ve never heard a wah move so fast, but it’s not a one-trick pony, he uses the device in a really, really clever way – utilising every tonal trick a wah pedal is capable of – and now, the track veers into a sort of “quasi-take-five” sound – now the band is stopping and starting – the amount of work on this arrangement is staggering.

roy starts playing a descending riff that seems familiar, but doesn’t quite gel – except, you know it’s “norwegian wood!!!”…then, suddenly, we are in full on “rock” mode again, mad lead solo over insanely fast drumming, we are in the solo of “under the ice” again, after a five minute musical detour that covered so much ground I’m still in shock from it, the interplay of wah guitar of the most creative kind, and an incredibly able and sympathetic rhythm section that is utterly supportive of what roy is playing…

and what roy is playing on this final piece is almost indescribable – you just have to hear it to believe it!  suddenly – bev demands your attention with some drum smacks, and we are back, somehow…at the coda of under the ice – which draws the show to a shuddering close.

then – continuing on through the second disc now, you get the “extra” versions of songs from the other night’s performances – just three songs, three the same as in the main set – “don’t make my baby blue”, “cherry blossom clinic (revisited)” and “the last thing on my mind” – and to my mind, ok sure, I’d rather have the whole show – but I am nothing if not grateful for these three extra tracks, and the versions have some very interesting variations from the ones in the main show presented – particularly in carl’s vocals – which seem quite different somehow on the extra tracks – I can’t pinpoint why, but it sounds great – and all three are welcome additions to the pitifully small live legacy of the move.

the album concludes with a ten and a half minute track featuring bev bevan recounting details of the tour, which is certainly historically interesting if nothing else, a glimpse back to a remarkable time for a remarkable group of young players.

the move do, of course, have another live album, an album recorded early in their career at the marquee club in london, and that, along with the occasional very rare bootleg, is pretty much all we have had, except of course for bbc sessions – so one live album, and a set of bbc recordings – and that was it.  the early live album was fraught with technical problems, and it was originally truncated and released as an ep (i remember buying it on vinyl – “something else” by the move – with a shiny picture sleeve) but was later recovered and painstakingly remade (and improved and expanded in the process) for the 40th anniversary box set – but still, even though it’s a great album – it wasn’t really the detailed live legacy that the move deserved.

now that we have the addition of this “only” full-length move concert to add to the legacy of “something else” and the bbc sessions, we finally have some justice, a cohesive body of live music that truly demonstrates the musical prowess and confidence that the move had on stage.  roy wood, who notoriously suffers from terrible stage fright, sounds as if he is ultra confident throughout the proceedings – you would never know he was terrified from the quality of his playing.

but this body of work – if you were to sit down, and play the full length restored version of what was released as “something else” in the states, followed by the bbc concert, followed by live at the fillmore 1969 – you would really hear the full story, from the earliest days represented by the marquee concert to the glory of the fillmore performances – the entire, true and exceedingly beautiful live legacy of the move, live in concert.

now – if only I had a live version of “curly”…oh well.

…or “this time tomorrow”.

I came to the music of the move a bit late, I started with “curly” and “this time tomorrow” and worked backwards.  and then forwards, into the jeff lynne years.  but by then, the original bright spark, that was the move in it’s original line up, and in middle period lineups featuring both roy and carl, was gone, the addition of lynne did see a great partnership in wood and lynne, but the music they made was darker, weirder, and in my opinion, not quite as good at the move 1967 – 1969.

but when I heard about this album, quite recently, I knew that carl’s concerns would finally be dealt with, the record that proves how good the move were, now exists, for generations of new fans to explore and enjoy – and to my mind – marvel at – because this kind of music only existed for a very brief moment in time – the late 60s are utterly unique in the history of music – and the move can now hold their heads high and know that they have a part of that, that their powerful, sincere performances of a great set of songs that they knew and loved, are now available for the whole world to enjoy – and it would be my hope, that when people play “abbey road”, which of course is one album that is forever associated with 1969 – they will also play “live at the fillmore 1969” so that the other great pop/rock band, the move, will get credit where credit is due – for doing what the beatles wouldn’t do – going out there and playing their most complex, most difficult, most musically and technically challenging music – and doing it very, very well indeed.

the move have meant a lot to me over the years, they really have, I don’t know why, I think in some ways, they were a bit of an underdog, always falling slightly behind the more visible beatles, kinks and stones – yet, making music so unique, so creative, and if you listen to roy wood for any length of time, music of undeniable genius.

i was fortunate enough to see roy perform with the roy wood band a couple of years ago here in glasgow, and I thought, well, maybe he will play one or two move songs.  to my everlasting astonishment, they did about six or seven during the set – it was fantastic!  and his guitar playing – wow, it was so effortless, and to actually see him play the riff from “i can hear the grass grow” – that was an absolute joy, his voice was great and his playing even better – and I never dreamed in a million years I would ever see roy wood play live – it just never crossed my mind – but since I moved to britain almost seven years ago now, i’ve been so lucky as to see and witness music I would never have seen had I remained in distant san diego, california…

besides roy wood then, I’ve also managed to see van der graaf generator three times and peter hammill once (although I had seen hammill in los angeles in the early 80s a few times) being here enabled me to see the re-formed van der graaf at the height of their musical power, and for that, I feel eternally grateful that I decided to become british!

I also recently realised, that almost by accident, I have managed to see a huge percentage of the sixties musicians who influenced me so profoundly as a young musician – three of the beatles (all except john), the kinks, roy wood – and I didn’t used to be a big stones fan, so i’ve never seen the stones – although curiously, I have really started to like their music a lot over the past ten years or so – I guess it took me a while 🙂

3 beatles, 2 kinks, and 1 move member – not bad since I wasn’t really trying to see “all of the beatles” or anything like that – I nearly managed it anyway.  seeing george harrison was a profound and most amazing experience, especially when he sang and played a john lennon song – in my life – that was really something else!!! to coin a phrase J

for those of you who are not move fans, I apologise for this strange detour from our normal programming – the next instalment of the blog will indeed be one of our regular features…I do not normally ever “review” cds or other releases, but since I have a long, long history with this band, and I always felt that their reputation was sold short because of the way their album catalogue was a bit…mismanaged shall we say…and the lack of a cohesive and complete presentation of their live skill was mostly absent, it was important to me to say “a great wrong has been made right here” and I am especially glad that carl finally got his wish, even though he didn’t live to see it – thankfully, the musical legacy, the power and the glory of the move in live performance mode, is now preserved in digital format for generations to come, for them to enjoy.

bless carl too, for keeping those tapes all those years, for working to get them restored, and for believing in the project enough to at least plant the seeds that later got the project done – or else we would have been left with little indeed to remember this very talented group of guys by.  and that would have been a real shame.

I like it when the little guy wins – and carl really wanted the world to have a better opinion of his band than they did – he knew they had been sold short – and he set out to rectify that.  I believe this album proves his theory, and rectifies that shortselling in an absolutely complete and devastating fashion.

last night, hearing the whole concert, played loud, I was just enthralled, each new moment of music (music played on a stage, 43 years ago, in california) a huge surprise, the twists and turns of the “new” arrangements, the expanded and altered arrangements, the amazing quality of roy and bev’s playing – even rick on the bass is a revelation at times – and carl, the glue that holds the whole thing together – the focal point, a determined, serious, individualistic singer who had a dream about proving just how good his band was to the whole world.

sometimes, dreams do come true!

🙂

thank you for indulging me here…next time, it’s back to our regularly scheduled programming 🙂

what we’re listening to

frank zappa, who I started listening to when I was 15, so that would have put it around early 1974, is absolutely in my top five guitarists of all time (not that I could say who those are at any given moment…). the first album I ever heard by frank was “apostrophe” which blew me away then and it blows me away now – the guitar work alone is astonishing, and yes, OK, this is maybe not the best version of the mothers (the late 60s / early 70s versions of the band were probably better than the apostrophe band, but to me, the music was no less remarkable) but when it’s your first album by an artist, it occupies a special place in your heart.

only it wasn’t actually on an album – it was actually an 8 track tape belonging to one of the guys in the guitar house…and I always found it really frustrating to listen to “st. alphonso’s pancake breakfast” because right at the most exciting moment of the solo, when the synth and the marimba are playing at lightning speed in unison…the eight track’s volume faded down to zero briefly while it “turned over” so you missed the best part of the solo!  it wasn’t until many, many years later, when I finally bought the album on CD for the first time, that I heard that solo properly, although I half-expected the volume to go down at that point.

apostrophe absolutely does have a huge place in my heart, from the beautiful melodies and piano of uncle remus, to the rocking jack bruce fuzz bass and zappa guitar on the title track to the aforementioned remarkable synth-and-marimba “schizoid man style” precision solo during “st. alphonso’s pancake breakfast” there is not a dull moment on this record, and for me, zappa was the odd man out of guitarists, there was no one like him, and maybe never, ever will be again – with one possible exception: his son dweezil, who has become a force to be reckoned with playing his father’s music in his own band, “zappa plays zappa”.

the old saying “like father, like son” was never more appropriate, and watching and listening to dweezil grow as a player has been an amazing experience – frank would be so, so proud.

frank was utterly unique, and had a playing style that developed at an absolutely mind-boggling pace, even as a very young man, he already had very respectable chops, but as you listen to his lead guitar style through the mid-sixties, it is almost as if he had been given some kind of mysterious guitar/dna growth hormone – until by the late 60s, he was rivalled, in america at least, only by jimi hendrix.  in britain and europe, there was some strong competition, mostly from people like robert fripp or steve howe, but in america – zappa reigned supreme.

then probably the most amazing few years of his development occurred, from 1970 – 1974, for my money, in 1974, all there really was in the world of truly intelligent, truly remarkable young lead guitarists was zappa and fripp – since jimi was by that time gone.  zappa was innovating on top of the innovations of those who went before him, those amazing guitar tones, the use of the pignose amps on apostrophe…and his amazing ability as a composer and arranger and bandleader – he was unsurpassed.  and then…there was the way he played lead guitar.

sure, we still had todd rundgren, and steve howe, and steve hackett emerged as a contender in the world of prog rock, and steve morse, the third steve, and so many other brilliant guitarists in the early 70s…but when frank started playing the guitar, you stopped what you were doing, and you listened.

and frank shone equally well in the studio and in live performance, one particular favourite show of mine is the live swedish television broadcast from august 21, 1973, where the band is astonishing…but frank is even better – you can catch most of this performance on youtube – and I could watch it over and over again, even just to listen to zappa and violinist jean-luc ponty trading solos – sublime!

words aren’t really the right thing to use to describe the guitar prowess of frank zappa, the only way you can really experience is to listen to the albums, watch the videos – and try to learn something in the process.  listen, and prepare to realise that you know nothing about the guitar – nothing.

we’ll absolutely delve further into the music of frank zappa and talk a lot more about his guitar playing in future editions of “what we’re listening to” – but if you haven’t listened to frank properly – do yourself a favour and try a few albums for yourself – you may be surprised.

what we’re listening to

aka favourite musicians and albums

another topic that I feel is worthy of it’s own mini-series within the larger context of the blog, is the work of other musicians, and their influence on the music and my own playing style.

I spend a significant amount of time listening to music, over the years I have built up a modestly large collection of music now, on cd and also in portable mp3 format, and during times when I cannot actually work on my own music, I listen, for many hours a day sometimes, to the recorded works of other musicians.

as a musician, I have a sort-of multi-tiered listening experience, which ranges from pure enjoyment, mindless enjoyment, music to just put on and enjoy with no other agenda or purpose – to deep analysis of individual player’s parts within a piece within an album – the detailed nuances of certain preferred players, which I listen to perhaps with a keener ear (always wanting to learn something new about my chosen instrument) than if I am just listening to something for pleasure.

there can be a profound difference in the experience of music too, some music just seeps into your consciousness (such as ambient, I am thinking now of the classic ambient albums by brian eno, such as “thursday afternoon” or “music for airports”) while other music uses almost a beat-down-the-door/sledgehammer approach to get it’s message to your brain (for example, mahavishnu orchestra, right now, I happen to be listening to a blistering live version of “birds of fire” which is absolutely demanding my complete attention – no seeping into consciousness there – it’s more like “listen to this!!!”)…so different music places different demands on the brain.

I sometimes do find it very, very hard to just “listen” to music – although if I am very relaxed, I certainly can – so sometimes these two listening styles merge, and I am both listening for sheer pleasure, while at the same time, I am analysing like mad with another part of my mind – how did that person do that? what scale was that? can I learn that riff and integrate it into my vocabulary? can I make that sound using the devices I currently have to modify the sound of my guitar? how was that effect created? what device was used to create that sound? and so on – it is sometimes difficult to actually turn all those questions off 🙂

I also have a somewhat strange view of music where I might enjoy the music of a certain band, not so much because I really like that band, but because of one particular player that is in the band that I do like very much, so possibly, when I put an album on by certain bands, it’s not that band or that album I really want to hear – it’s that particular musician playing a particular instrument that I admire or am interested in, and I want to hear them play – so I might even dislike the rest of the band! but I persevere, because I want to listen to and learn from a particular individual that I “follow”. it might even not be a guitarist, I might listen to one band because I love the bass player, or I think they have a unique or particularly interesting keyboardist – it could be anything or anyone.

that specific quirk of mine, picking out individual musicians and “following them” on to other albums and bands, and even guest appearances on totally unrelated releases, actually led me to discover a lot of great music that I might not have otherwise listened to.  most people learn about bands they like through certain well-established “methods”:  they hear it on the radio, they hear it in their local record store, they hear it online, or – from peers, a friend told them, they read a review, it could be a number of things.

but for me, this “follow one individual method” is yet another way to find new music and new bands, here is an example of a real chain of events that got me, eventually, from brian eno to split enz…with phil manzanera really being the key:

brian eno, I first heard him on the album “801 live” – but I had all the early solo albums from “warm jets” onwards…

same for phil, first heard him either on a Roxy bootleg or on 801 live, had all his solo albums…

so, working backwards:

  • 801 leads to eno and manzanera
  • eno and manzanera leads to roxy music
  • roxy music leads back to phil manzanera solo albums
  • phil manzanera has tim finn (and neil finn and eddie rayner) as guests on the “k-scope” album
  • tim finn leads to … split enz – starting with the first album, “mental notes” – and then I just kept buying their records, because they were all superb!

so thanks to hearing 801, I also subsequently worked my way to roxy music, phil manzanera, eno, and split enz – not to mention godley & crème who also guested on phil manzanera albums – but whom I had to got to through early 10cc – so all roads lead to phil it would seem…

I would find a musician I enjoyed, and I would just buy any and every record they performed on, and that would lead to other interesting sounding musicians – I loved tim finn’s vocals on the “k-scope” album, so I found out what band he was from…tracked those records down (and found an even more rewarding batch of records by a phenomenally talented group, early split enz), and so on…a fantastic, and very, very rewarding, process of musical discovery…all down to following single musicians from album to album, band to band!

once you start doing this, you kinda don’t need radio play or even word of mouth (although word of mouth can be a very rewarding and valuable method of learning about great artists, musicians or bands) – you just keep getting more and more spin-off artists that you can then follow down their own paths to discover still more – it never ends.

right now, lately, I seem to be in a heavy “lead guitarists” phase of listening: I’ve been listening to a lot of frank zappa; a lot of jimi hendrix; and a smattering of john mclaughlin (mahavishnu orchestra – this morning’s listening) – I don’t really ever get tired of this kind of music, and I could listen to jimi or frank play for days on end and not get tired of their very individual styles.

I think what we’ll do then is, in a similar vein to the historical aspect of the “journey through the past” series, we will use the “what we’re listening to” moniker whenever we want to chat about what’s currently on the stereo, or on our ipod playlist, at any particular moment…

…which this past week or so, has happened to be mass quantities of live jimi hendrix:  first, the complete winterland concerts which is a fantastic “three-shows two-shows-a-night” of the experience live in 1968, and it’s fascinating to hear the band play six shows in a row, and the variations between the six shows…including some real oddities, like a guest flautist on “are you experienced?”.

as well as the winterland shows, we’ve also been listening to a collection of hendrix shows from scandinavia, basically, every show hendrix played in sweden or denmark during 1967 – 1970, and within those tapes was a real surprise; though marred by poor sound quality, I was absolutely blown away by the amazing fact that in one of the early shows, around the time of the release of the “axis: bold as love” album, that the band actually performed the first three tracks from “axis” – including the spoken dialogue and feedback strangeness of track 1 “exp”, in the exact, correct sequence of what was side one of the original vinyl album – and I did a double take when I saw the track listing:

1)      exp

2)      up from the skies

3)      spanish castle magic

because I had always assumed that both “exp” and “up from the skies” were studio creations – and that turns out to be an incorrect assumption, because the band played through all three tracks, in order, before breaking off the sequence and moving to an older track from the first album.

even with the poor sound quality, hearing jimi play the part of the arriving space alien in the live spoken word dialogue of “exp” was a remarkable experience, and then, once the dialogue part was over, jumping in with his guitar and doing a credible imitation of the feedback sequence – very similar to the record – on this amazing piece of history. the version of  “up from the skies” was also a real treat, with jimi continuing in his role of the space traveller returning to “find the stars misplaced…” – and playing awesome, clean wah-wah guitars as well.

obviously, as with many guitarists from my generation, jimi hendrix had a huge, huge influence on me as a young guitarist and even up until the present day, because even now I am hearing recordings I wasn’t previously privy too, and sort of re-discovering the amazing guitar work of jimi hendrix – and enjoying every moment – certainly jimi is one of the most influential and remarkable musicians of our time.

next time on “what we’re listening to”: a completely different but contemporary guitarist to hendrix, with a unique and remarkable talent: frank zappa.