Overlooked & Under Appreciated: Master Works by Oft-Overlooked Artists – Sam Phillips

In today’s edition of this as-yet-non-existent series – this being the first in the series (ahhhh – now it exists)  – we are looking at 2001’s “Fan Dance” by Sam Phillips.

 

I could easily see myself writing any number of blogs with this title – and it may well transpire that over the coming time, I do just that, because I am listening more, and I am listening more often – and I am going back and listening to records that I loved ten, twenty, thirty years ago – and finding that in some cases, they are so much better than even I thought – hindsight, and the passage of time, reveals them to be absolute works of genius.  Which more often than not, comes as quite a surprise to me – OK, I knew it was good…but I had NO IDEA it was that good….

 

Maybe at the time I knew that it was something very special – or thought that – or maybe not – obviously, when music is new, you form an impression of it – you listen to it – maybe a little, maybe a lot, maybe obsessively – then time passes, you listen to other music – but eventually, you find yourself coming back to certain artists, to certain albums, to certain songs – to certain lyrics – to works of what are now, with the benefit of hindsight – clearly, far beyond other contemporary works by other artists – and these realisations just keep hitting you and hitting you and hitting you – oh my God, you wonder, how on EARTH did I NOT SEE (or more accurately, how on EARTH did I NOT HEAR) that this record is an absolute impossible musical miracle – like nothing before and like nothing since.

You can’t easily or readily see that or hear that when a record is new – and sure, some records instantly reveal themselves as having qualities that we love, that we know in time will just be more and more appreciated – but it’s still difficult – the work is NEW.

But this strange thing that human beings experience – the passage of time – well, for me at least, the passage of time changes my perception of music – and sometimes the changes are slow, gradual, and orderly, but in other instances – the new or changed perception LEAPS out at you and it’s almost a shock – here is a record I’ve heard dozens of times – maybe hundreds of times – that I’ve always loved, respected – but today, today, because of “the passage of time” – today that record is revealed in an entirely new light.

You see and hear it for what it actually is – and you probably unconsciously “knew” all along that it was significant or important or meaningful or all of the above – but it takes that additional trigger – time passing – usually, a LOT OF TIME passing…to bring the sudden realisation – that “oh my God, this is genius” moment – a moment that could be 30, 40 years in the making.

 

This morning, I sat quietly, doing absolutely nothing else, and listened to Sam Phillips’ mostly acoustic offering from 2001, “Fan Dance” – which, at the time, I liked it very much, it is clearly one of her best and most enduring works and it stands up really well now, some 18 years later – really, really well – it sounds like it could have been made yesterday – and in fact,  just after I listened to the entire “Fan Dance” album, I then put on a somewhat later work – 2013’s “Push Any Button” and while the music has changed – the messages – and the feeling of hope I get from the lyrics – remains – these are songs of hope.

 

A SLIGHT DIGRESSION – TRENDS IN THE MUSIC INDUSTRY

Some artists who don’t have really sweet worldwide distribution deals, have no choice but to operate at the periphery of the “music industry” – which actually, I think is the better  place to be – because of the well-documented and really oppressive ways that companies control and manipulate their artists – time and time again we hear the stories of how artists were robbed of their royalties, given the worst deals imaginable, and the view over time of “record companies” and the “recording industry” has naturally, due to these depressing and oppressive facts, developed as a very negative view indeed – my personal view of record companies has undergone a massive transformation over the past 40 years – and my view now is that anyone who can operate OUTSIDE of the confines of the “music industry” – is the better for it.  Myself included.

 

When I was 16 – I wanted a record deal. By the time I was 25, 30 – I never ever wanted a record deal – because I saw how these “deals” negatively affected the musicians I loved and even some that are friends or acquaintances – it was heart-breaking to see what happened to them because of their “record deal” – but it was also a cautionary tale for me and for us all – be careful – be very careful – what you wish for.  An all-expenses paid trip to – being enslaved, being used or abused – and your music denigrated to the point of being a product and a product only – and when your music becomes a “product” – you know that trouble is with you.

 

A very large cross section of extremely talented and capable musicians have been burned, and burned again, by the music industry – and the horror stories go on and on, from the earliest exploitation of artists being given a few pennies for their work, while music industry “executives” and management skim 98 percent “off the top” and put it straight into their own pockets…to the lapses in good judgement and other “business practices” perpetrated by the music industry onto both artists and the record-buying public, too – just too many bad stories that I really am not sure I want to hear too many more of – we know what happened – so now – how do we move beyond that into a better future for musicians and for music lovers?  How does it work, now?

So – musicians made music in good faith, trusted their “record label” to take care of them, to promote their music – and to pay them fairly and treat them fairly – and in practice – that happened so rarely, that everyone just assumed the worst – and rightfully so – about the behaviour of the “greedy leaders” of the “music industry” – sure, there were always a few exceptions who really cared about music – but not many.

Meanwhile – the good faith of musicians, who trusted their record labels. …was rewarded with exploitation, outright theft – and the bad, bad faith of record company and music industry executives – who, sadly, it turns out, are as uncaring about music as many oil companies are uncaring about the environment – it just demonstrates one of mankind’s ugliest traits – greed, greed, greed – and more greed, and it becomes all about taking and taking and taking – and never about giving anything back or supporting the musician who creates this “income” in the first place.

 

It’s no wonder then, that so many musicians and artists have taken back their music and their art – sometimes at huge personal expense – being forced to pay to recover the rights to their own musical creations – and then re-presenting them to their fans directly, via direct-to-artist purchase websites and online stores.

I applaud this approach – I feel much, MUCH happier, giving £40.00 pounds directly to the artist who created the work – making sure they get PAID for the work they have done – I feel very uncomfortable and very unhappy when I realise how much of the money I spent buying records, cassettes and CDs over this past half a century – I regret how much of that money went straight into the greedy pockets of executives who created nothing, and who exploited, used and harmed the musicians who music they stole.

OK – the above is probably really a separate topic for a separate blog – but much is known about this now, thanks to the stories told by the artists themselves – who basically come directly to the fans and say “look – I am not on a record label anymore.  You used to buy my records from the record company – but now, I am making my own records without a label – or, on my own personal label – and I want to deal DIRECTLY with you.  I produce a CD of music, a DVD of a concert, or other media that you want to hear and see – and instead of giving 90+ percent to a record company, and a few pennies to me (if I am lucky) – you can now pay me directly for the CD or DVD that I created for you to enjoy”.  This makes ME feel very, very happy indeed.

It’s sad the reasons for it – as alluded to above – but in the end, it’s such a good, good thing – because it means I can SUPPORT the artists I love, by putting my money into THEIR pockets (so they can make more records, create more art – share more of their art with us) for the first time – I know where my money is going – NOT into a black hole or the pockets of a greedy executive who cares nothing for music or the artists that I really love, and whose music means very much indeed to me.

So that all being said – nowadays, many artists who used to be wholly captured by and in thrall to  and who were horribly used by the music industry – have freed themselves from that corporate grip, and now are dealing directly with the fans – which is probably, the way it should have been all along!

 

And it’s not any particular type of artist – I like a fairly diverse array of music, from pop to the heaviest prog metal and everything in between – and seeing the creative ways in which these very creative people have walked away from the traditional models and found other ways and better ways to share their art with their fans – it’s an amazing and remarkable phenomena – and it’s odd to think that it came out of oppression, out of being under the thumb of a record company, it’s due to being robbed and used by purveyors of corporate greed – and the artists have totally turned this around – and made it be about the ART again – the music, the songs, the films, the performances – the things that made them start out to become a musician in the first place. We are back to the source, to the root – to the music.

The approaches to rebuilding and reconnecting to their audiences are as varied as the artists who have freed themselves – on the one hand, you have highly organised individuals like Robert Fripp – whose highest level projects such as King Crimson, operated on the world stage, through traditional record company and music industry practices – with all of the infrastructure and the bad deals that came with it – and after being betrayed by his long term business partners – Fripp took the time to think this through, and instead of just going to a “sell direct to the fans platform” – as many, many other excellent artists have done – he decided to create his own label, DGM which might be easily called the “world’s first ethical record company”.  They don’t have written contracts – they work on the honour systems – a handshake is the “contract” and honesty and fairness are the terms.

DGM supports much more than just Robert Fripp and his side projects, so the creation of DGM and the fact that DGM could then become “home” to other artists – that’s a brilliant accidental by-product of the very negative impetus that drove Fripp to create DGM in the first place.  So now – instead of only having “traditional” record companies to deal with – musicians and artists can make an ethical choice, and go to a unique company like DGM and find success – and a direct connection to their fan base – so it is win-win-win in that scenario.

Other artists – I am thinking now about the remarkable cottage industry put together by singer / songwriter Sam Phillips – the actual subject of this blog believe it or not! – who has never been comfortable with the music industry – and once the oppression of regular record labels became too much – she left, and set up her own website and started selling directly to her fans via that website.

Initially, she did this via a subscription service called “The Long Play” which I wrote about in some detail in this blog here.

The positive response to “The Long Play” was so overwhelming, personally I think it is fantastic to be able to deal directly with the artist in these cases, and the way Phillips has developed her media and marketing is honest, straightforward and admirable indeed – and I feel happy, because the money I spend to buy her records – goes back into her industry, into her team – which will only bring more amazing records, DVDs and downloads – it’s now a very positive, good circle of fair commerce – rather than a negative record industry style experience.

 

AND SEVERAL DAYS LATER I AM MAGICALLY BACK ON TOPIC…DIGRESSION ENDS

As is my way, I have initially at least, really diverted away from today’s topic with my little discourse on independence from record companies – but that is the background from which today’s actual topic emerges – at last.

In recent years, with the emergence of artist-run and artists-selling-direct-to-fans sites, often that artist will re-acquire the rights to their entire catalogue (where possible) which means it’s easy enough nowadays, to go to www.samphillips.com and to purchase a CD or a download of a thirty year old record.  I know that Bill Nelson and other artists who previously had very, very complex and scattershot distribution – has made a real effort to bring back all of the earliest parts of his catalogue so his entire life in music can be viewed and heard and acquired in one place – his own website – and I am always very happy when I read that artists have managed to re-acquire lost catalogue items – and can hopefully, built out a full catalogue that represents the entire body of their entire life as a musician.

 

In this particular case, I already had the record I am going to discuss here, which is 2001’s “Fan Dance” by Sam Phillips but it was actually the fact of me going to purchase more recent works by Sam (in particular, 2018’s “World On Sticks” which I had just missed last year due to circumstances beyond my control; and even more spectacular – the audio and video versions of “Live At Largo” – fantastic recent releases from Sam)  – trying to complete my collection, which in fact goes way, WAY back to the very earliest days – in acquiring more recent records – it drew my attention back to some of her earlier works – so I have been  listening to a LOT of Sam Phillips lately, both modern and earlier works – and it’s been an absolutely incredibly enjoyable and joyous experience.

These songs – whether they be from last year or thirty years ago – these songs have something in them that is immensely attractive to me – and I think that just now, in 2019 – in going back and listening to a few key releases, that I have possibly figured out what it is that appeals to me with regards to the music of Sam Phillips – and it can be summed up into one very important word:

 

Hope.

 

Whether I am listening to “Love Is Not Lost” from “Recollection” (in that instance, going really, really far back into the mists of time) or the latest studio and live tracks just downloaded from www.samphillips.com – there is one common theme in this music – and it is hope.

I believe that subconsciously at least – I knew that already – and I have known it for a long time.  But it took that curious thing I alluded to earlier – the passage of time – to suddenly and very, very clearly show me that it’s HOPE that drives this artist forward – hope for something better, something beyond the ordinary – something beyond the hurt and heartbreak of life.

Like many singer / songwriters – Sam does write about pain – emotional pain – the pain of just existing in a baffling and inexplicable world – and that is one thing – but if you really listen, and if you then allow the passage of time to sink in – and then really listen again – you will hear it.

You will feel it and know it – that no matter how sad or depressing those real-life stories can sometimes get – in the uplifting way that Sam writes, and sings, and harmonises (oh my dear God, those harmonies!) and in the uplifting way that Sam presents her lyrics – you can clearly see and hear the hope in her heart – and for me, that helps me to realise that yes – there is hope – when I struggle – and I think that this knowledge is such a powerful thing.

Sam Phillips is a serious musician, who writes serious songs about many, many topics – some, the more expected or ordinary (for lack of a better word – there is nothing ordinary about any of Sam’s songs really!) “singer-songwriter” fare – i.e. love songs, songs of loss, songs of longing, wistful songs, and so on – but she also writes a lot of other types of songs – some of them, very, very dark indeed (I am thinking of “The Black Sky” now, from the remarkable “Martinis And Bikinis” album from 1994 – which, by the way, features a few tracks with Colin Moulding of XTC on bass guitar – don’t miss that one!) – songs about mankind’s ability to destroy and fuck up the world while we sit and watch in horror – so her writing runs a real gamut from being all about love to the most biting social commentary possible – but no matter what the song is about, for me, somewhere  in there, in some turn of phrase or lyrical invention – there is HOPE.  Or possibly, a warning that a lot of bad things are happening, and we NEED some hope.

Over the past 20, 30 years or more, there has been a LOT of music produced, by a lot of artists – that holds little or no hope whatsoever.  It’s all the darkest, most real, most terrifyingly true stuff – it’s real, it is happening:  and musicians and artists are looking at events and reporting them through their art – and it’s just terrifying because it’s TRUE.

And – in that massive outpouring of musical truth – there is a lot of great music, OK – it is true that lyrically some artists and some bands almost seem  to espouse or prefer a “THERE IS NO HOPE” kind of ethos within their music – and because that is also usually the absolute truth – it does appeal , it is of interest and I love a lot of that music – probably because it DOES tell the unvarnished truth – and I will always prefer hard, honest music over something less real…

However – within the lyrics that Sam Phillips writes – and it’s not often overt at all – I just get an intense feeling of hope from what she is saying.  A sense of hope…and this is the really important point here – that I do NOT get from many, even from most, artists no matter how good or how much I might really love their music – other artists rarely make me feel the way listening to the music of Sam Phillips makes me feel.

It took me a long time to realise that, and even longer to articulate it (until just now, in actual fact).

I think that the human being’s enjoyment of music is an incredibly complex, multi-faceted thing that it is not easy to understand, describe or understand easily.  For me, every piece of music has components that I listen to in different ways, for different reasons – there is no single standard “way” of listening because often, a certain element or elements leap out at me and attract me where for another listener – those same elements hold nothing for them, they do not move them or affect them as they affect me.  And there is nothing wrong with this – just as each human being is a unique individual, I think that each listener has his or her own “way” of listening to any particular song, album or artist – and the perception of each song is going to be different each time, for each listener – that’s what makes listening to music such a unique and such a very “personal” thing – because the same song – can have a huge array of very different effects on each different listener.

Some listeners will love a song because of the vocal.  Or the words.  Or the bass guitar.  Or the drum sound.  Or the way that one splash cymbal hits just before the vocal chorus begins…

Other listeners will find other components that stand out or appeal to them – and you end up with thousands and thousands of different yet all valid “reasons” why we like a song.

 

But beyond that personal interpretation – sometimes, there are globally available energies that we could ALL tap into if we were aware they are present.

I think that the quality of “HOPE” which is not tied directly to just one song or one lyric or one bass note or one piano chord – but in fact, this quality seems to exist ALMOST independently of the song itself (unlikely as that seems and as counter-intuitive as that seems) I think that the feeling of hope that I get comes from some underlying mechanism – something about the lyrics, the way she has written each lyric – and if you just judged them on the surface – you might not “get” the feeling of hope.

So while I am sure it (the hope) is mostly contained in the lyrics – I am also quite sure that (the hope) is NOT in the lyrics or rather, not in the lyrics alone.

 

 

Somehow – and this is the feeling I’m getting these past couple of days in revisiting the “Fan Dance” album of 2001 so closely – somehow it’s not just in the lyrics, but the hope I am now seeing, now hearing now FEELING properly and completely for the first time since 2001 when this record appeared – that hope is tied to the ENTIRETY of the performance.  I will try to say what I mean here:

It is in the warmth of the tone of Sam’s voice as she sings the melody

It is in the amazing blending of voices that occurs when Sam harmonises with herself

It’s also in the unique and lovely background vocals and harmonies which seem straightforward on the surface, but can be often quite sophisticated and complex – as one example, the song “Love Is Everywhere I Go” contains a lead vocal, a second, overlapping vocal “response” (“looking through you…”) and background vocals – and somehow – this is all woven into an incredible single vocal “tapestry” if you will – along with, an astonishing transition from the “bridge” back to the chorus – which I don’t really even understand how she DID that – but it’s amazing.

The vocal layering and complexity – with an ultimately very simple sounding and straightforward output as “the vocal” – of a track like this – it also contains a lot of this hope I am now detecting – somehow – woven into this elaborate and beautiful tapestry of interwoven voices.

 

It’s also in the CARE that is shown in the playing – in the deliberate, slow, precise strokes of the acoustic rhythm guitar – which is then mirrored in perfection by the deliberate, slow drum beats and then  to the details of that following percussion – when that crash or splash cymbals DOES hit just before the chorus begins again – the band is so tight, so together as to be performing as if one body – those drum parts mirror those Sam Phillips rhythm guitars which mirror the bass and atop which sits the Magic Vocal Tapestry Full Of Hope – it’s in THERE.

The HOPE I am hearing and feeling and experiencing now, that I did perhaps feel in a lesser, more clouded way back in the day – it’s so much a part of each and every song on each and every Sam Phillips record – it’s definitely there – but as you can see, articulating “where” it is within a particular song is very, very difficult, if not impossible!

 

So I know the hope is very real, I can feel it absolutely – but I don’t exactly (or even inexactly) know where it is “coming from” in any given song, or on any given album – but – one thing I do know –  it that it is definitely there – and it’s my hope – that if you like the music of Sam Phillips – it would be my hope that you have heard this feeling of hope coming through her music,  too.

 

For me, this quality sets Sam apart from many other musicians – where I don’t feel that hope in others’ music – I just don’t feel anything even akin to hope in a lot of modern music.  And maybe it’s there too, in the music of those other artists – but it’s harder to see.  Or will take longer to see.  The “passage of time” – that’s a variable that is not in my control – or anyone’s control – and in this case, a certain amount of “a passage of time” has allowed me to see, hear and experience something within this music that I already loved – that I had never really seen, heard or experienced until I listened again to the “Fan Dance” album yesterday and again, today.

I am very glad that this happened, because we can all always use a little more hope – and, I’m also happy to report, that it doesn’t feel like just a little hope – often with Sam’s songs and Sam’s records –  it feels like a great big, joyous, hopeful hope – and that has made me feel very happy indeed.  Now when I hear these songs – I am given an extra gift, I am uplifted – and you don’t get that every day.

 

What a remarkable experience this has been – and it’s all down to perception, the passage of time, and suddenly recognising something important – something very important – that was actually there all along but I just did not realise it.

It’s all about the hope.

 

Note:  for the purposes of this blog I listened to the “Fan Dance” CD a few times, but in terms of direct inspiration and for me, having the most readable, easiest to see, hear and feel – in terms of the hope theme I am talking about – I relied upon these particular tunes, with their particular lyrics – and it is upon these particular tracks that I formed the opinions expressed in this blog – and that is not to discount any of the songs NOT named – the entire album is a brilliant expression of not just hope, but of a visionary singer songwriter who writes with a rare, rare honest and forthrightness that frankly, I think – the world could use a lot more of.

 

My specific, particular song by song inspirations then – from the “Fan Dance” record – for this article – were:

 

Edge Of The World

Five Colors

Wasting My Time

Taking Pictures

Love Is Everywhere I Go

 

Also useful is this discography of Sam’s work

I could cite any number of Sam’s lyrics (or songs or albums) to try and demonstrate that underlying hope – which perhaps, on the surface – when you just read it – flat, on a page – (as below)  – maybe the sense of hope doesn’t come through as strongly – but if you put on the record, and listen – I think that then – I believe then you will hear it, you will feel it – and the lyrics themselves will take on a new meaning  that comes from your deeper understanding of the song as a whole.

The lyrics alone then, are not responsible for the perceived sense of hope – it’s actually the entire construct of the song – the music,  the instruments, the rhythm, the harmonies – the singing, the phrasing – the feel – many intangible properties making up a whole musical experience that in these cases – also house the secret weapon of Hope – real perceptible hope – it’s there for all to experience – and I am so, so glad that I took the time to go back and really listen to these songs… because that allowed me to have this extra experience that I am not sure all listeners of “Fan Dance” have yet had.

 

It would then be my hope that what I have written, might help unlock that same hope for any or all of you wanting to experience more than just “listening to a few songs” – for me, this new hope has huge value – underlying or not, visible or not – I am so glad it’s there – and I am so glad I happened across it in my music listening experience.

 

“There is no end to the good”.  Just think about that one crucial line – which appears right at the start of the song – bringing so much positivity, so much real hope – there is NO END to the good.  It is forever – it is always there – it is always available – I think that is part of what Sam is telling us.  A big part of it – have hope, there is hope, I know there is hope – so – you my patient audience – please have hope too.

 

________________________________________________________

 

Love Is Everywhere I Go

Sam Phillips – 2001

 

 

Going down this road again
I finally know
There is no end to the good

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

Burning light inside my dreams
I wake up in the dark
The light is outside my door

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

Chasing every fragment I see
Looking through you
Love is looking for me
Breaking open the clouds
I’m not stranded in time

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

 

________________________________________________________

 

 

“There is no end to the good”.

 

 

Dave Stafford

September 1, 2019

“Wing Beat Fantastic” by Mike Keneally + a new approach to music creation…

Hello,

I am beginning today as I often do recently – by listening to Mike Keneally’s musical masterpiece, “Wing Beat Fantastic” while I go about my business – since I recently finally got to see and hear Mike play guitar and keyboards (on the recent “Bizarre World of Frank Zappa “ tour when it stopped here in Glasgow) – since seeing Mike play – I’ve been going back to the items I have from his recorded catalogue – and I had almost forgotten just how much I love this incredible music – in my opinion, “Wing Beat Fantastic” is one of the most important records we have, and  for me it cemented the inescapable fact of Keneally’s genius as musician, writer, arranger, guitarist, vocalist (oh my God, those vocals!), keyboardist, engineer, producer and yes, I agree – guiding light – this album “kills me” – in the best possible way – because it is in itself, a perfect piece of rock music with some of the best arrangements of some of the best songs ever written in the pop idiom.

I think something happened to Mike when he made this record, the retired spirit of the Beatles visited him in the night, and sat on his left shoulder during the sessions – the sounds, the playing – the sheer joy of “Wing Beat Fantastic” rings so incredibly true – so much so that I can’t stop playing it at the moment – it is an experience like nothing else on earth.

I think that on top of that, that when the opportunity arose for Mike to work with these orphaned Andy Partridge tunes – that he took that with a seriousness bordering on the edges of “oh my God, I have to do these tunes justice – I have to make them into what should have been” – and “I also need to create my own tunes that are equal or better to make the whole thing sit together in as perfect a way as possible…”

It must have felt like an overwhelming responsibility – while at the same time, having the potential, the excitement – the idea of finishing up some half-completed masterworks by the Lennon & McCartney of XTC – songwriter / guitarist Andy Partridge of XTC –  I would imagine that just the idea of doing “Wing Beat Fantastic” had to be one of the most exciting things that can happen to a musician – to receive those tapes, to have someone say to you, “here – here is something so rare and so precious and so utterly unique – now – it’s down to YOU, Mike Keneally, to make something of it”.

 

 

And make something of it – he did.  Something fantastic…the ineffable oomph of everything that is “Wing Beat Fantastic”.

 

 

While the Zappa virtual show was the first time I had the pleasure of hearing and seeing Mike playing guitar and keyboards, and singing – it was not actually quite the first time I had “seen” him, though…

Many, many years ago, I had attended a special screening of an amazing batch of live music videos by various progressive rock bands.  This was a few years before the Internet, and certainly far in advance of YouTube – and Mike Keneally was the host – he gathered us in a small theatre, and then proceeded to blow our minds by showing us live performances by early Genesis with Peter Gabriel in full regalia – and to a bunch of Californian music fans – sure, we loved Genesis and Peter  Gabriel but WHO KNEW there was actual FILM of them actually playing – not maybe the best quality film – but for us, it totally brought these progressive bands to life for the first time ever.

We wouldn’t have had opportunity to see them in their heyday or in Europe and the UK – where they often mainly played in the earliest days of prog – Genesis didn’t start coming to California until the early 70s – so to see something like “Supper’s Ready” played live by the classic five piece line up of Genesis – what a treat.

I can’t really recall much else of what was on the programme – but it did also include a “more recent at the time” clip of Frank Zappa’s band playing live, and featured our video curator / host Mike Keneally himself, playing the picked-note pattern that is “Watermelon In Easter Hay” – so he included himself in the program, and why not? – but it was mostly his extreme enthusiasm for prog that took me by surprise – he knew his prog – and his appreciation for bands like Genesis, Gentle Giant, Yes and so on was inspiring – it made you feel less alone – hey, here’s a young guy, a great player in his own right, from Frank Zappa’s band – that ACTUALLY LIKES all the same prog bands that I like….hmmmm.

 

Taking the long. long view back to that odd night of grainy, questionable quality video curated by a young Mike Keneally – and then being catapulted by time to 2019 and seeing the man himself playing lead guitar, synth and singing so amazingly well, live – supporting his virtual band leader the late Frank Zappa, from beyond the grave – and there it was again – footage of musicians – but this time with a live band backing the pre-recorded vocals and lead guitars of the late, great Frank Zappa.

So video was a big part of both events – but – the mature Keneally, leading and inspiring this amazing band of musicians in their shared support of their old bandleader, the amazing Zappa – hearing and seeing Mike play in 2019 – well, I am so glad I finally got the chance to see him play – because in the last 30 or 40 years – he has become one of the most remarkably fluid, creative and interesting musicians on the planet.

I mean, I have the albums, I remember being absolutely blown away by “hat” at the time it came out – which is a remarkable record – but seeing him now, as a more mature musician – he is absolutely at the height of his powers right now – what a powerhouse performance he put on that night – and I was fortunate enough to be there to hear his lead guitar added to and blended with  Zappa’s and taking centre stage on compositions where there was no video of FZ – and his renderings of tracks like “Farther O’Blivion” was absolutely astonishing – this is a man who understands something about Zappa the player, Zappa the guitarist – the sheer genius of Zappa the serious composer and writer– and the reverence and joy in the performances was more than apparent – this band was almost like an extension of Frank – and I think Frank would have been flabbergasted and also amused to hear and see Keneally and friends playing live “backing” to videos of Frank that had been turned into holograms…Frank would have LOVED it!!

Why not?

So it’s been Keneally week around here, and that’s a good kind of week, I reckon.

 

As you might have noticed, I’ve not been writing a lot lately, but I believe that this year, that is going to change – and I am here to tell you why.  When I first started working on the blog (a few years ago now) – I had all these “ideas” about what it should be, what it shouldn’t bewhat I should write about – and so on.  And that’s fine for what it is – but I think it needs to change now, and become much more stream-of-consciousness – and hopefully, much more interactive – I want to challenge, I want to talk about some of the more introspective and personal aspects of music – and I want to hear your thoughts on my thoughts…if you know what I mean.

 

So – planning blogs and choosing topics – that was then – this is now.  I want the blog to become to my writing, like an “improv” for writing – without the formal ideas and planning –  I want it to be the “writing” equivalent to what a good, unplanned and unique “improv” is to my guitar playing or piano playing – it’s a whole new decade about to start and the end of a most interesting one – and I hope that maybe, just maybe – I’ve learned something this time around.  I can do this without the safety nets – no net for the blog, no net for the guitar and keyboard playing.

 

Out of the ashes of the old, comes the new.  Fewer rules means more freedom, but by adding back in unique intangibles, hopefully I can avoid too much repetition of what has gone before – and move forward with new writings and new music for a new decade.

 

And today’s blog is a new thing – a thing I’ve not really experienced before – it’s done without any plan whatsoever – and that is in line with my new approach to music – I am going to stop “planning” – and start allowing music to appear based on – whatever the heck I feel like playing (or, for the blog – whatever the heck I feel like writing about), and without trying to compose, but to allow a kind of “improv” that can lead to compositions – I am going to try to (serious cliché alert – but it is the ONLY way I can describe this – wince) to let go as much as possible

To that end – I’ve done a bit of work over the past three or four months (yet another reason you haven’t heard from me much recently) – I’ve been very busy revamping my recording rig, rebuilding the studio, and preparing for a new scenario where I set up my equipment – plug in an instrument – and play.

Just –play – and see what comes out of it.  At the same time – there is a lot on my mind that I want to explore in the writing, here in the blog, with you – and I hope we can discuss a number of musical aspects that we haven’t looked at previously.

 

I think that for the mature musician, artist, player, or writer – that you have to go through a lot of stages during your development as a musician – first you have to learn your instrument, then, you need to acquire enough technique to navigate through that instrument – and over time, you build up infrastructure – obviously, physical infrastructure – so guitars and amps and effects and devices with which to record and perform – and the physical is undeniably a big part of your experience as a musician.  It’s what makes you sound like you sound…

 

But I think it’s the mental infrastructure that undergoes the longest and most lasting and most important transitions – and maybe, this just takes time – you have to have played your instrument, performed, recorded, composed with it – for x number of years – when quite suddenly, the mental infrastructure or if you like, your own set of “rules” – changes, or you suddenly perceive things in a new way that you never imagined or saw before.

That is sort of my lame and not terrifically articulate way of trying to explain the mental transformation I am going through right now (over the past several months – as I’ve rebuilt the physical infrastructure of my music – at the same time, I have been rebuilding the mental infrastructure too) – I think I had reached a point where I realised that most of the work in the physical – is just routine, it’s necessary, it’s good, it’s positive – but it’s more in your mindset, it’s in the mental infrastructure, it’s the road map – the way to get from silence to music and back again unscathed…that is what is important.

 

Another way to express this might be to say “it doesn’t matter what guitar you play or what amp you use or what modifiers you use to change the sounds your instrument makes – what really matters is – the notes you play”.  And those notes and chords – come from the set of possible notes and chords that form PART of this “mental infrastructure” – and choosing those well, is what makes the difference between a performance – and an inspired, beautiful performance or recording.

Which notes, which chords – yes, that is incredibly important – and choosing well might result in a rare, one of a kind performance where you actually exceed what you are normally capable or – or, if you are recording, it might result in the creation of a truly unique and remarkable composition – that you might never have come up with if you had just chosen ordinary or predictable notes and chords – so yes, that choice is important…very important…however:

On top of the very desirable goal of picking enchanted and beautiful and unique notes and chords – there are also what I will call “The Intangibles” – and that is perhaps, a more flexible set of mental infrastructure rules that overlay the “play this chord now, now play those three notes” kinds of instructions – so part of your brain is getting you to play notes and chords…but at the same time, there is another force at work – The Intangibles – and they can be the source of real magic – they can take an extraordinary set of notes and chords, and turn them into a once-in-a-lifetime tour-de-force performance or recording – or even just an enhanced, more meaningful experience of playing your instrument.

 

It’s those Intangibles I want to now take a good look at – because there are so many of them, some obvious, some subtle, some so subtle as to be done almost unconsciously – what are they?, and how can I harness their power?

I think now, that my goal has shifted to combining the “Magic Of The Intangibles” with “The Well Chosen Notes And Chords” – so that when I strap on that guitar, and I turn on the Physical Infrastructure that takes my thought and turns it into a chord or note – what Intangibles can I apply, to take that particular performance to the highest level possible – to make it the very best that it can be?

That is what I want to explore going forward from here.

I want to work out how to do that – so that I am no longer just “improvising” – but instead, I am applying creative ideas in real time – overlaying the notes and chords (which I hope, are being produced almost on “autopilot” by this time) with a new excitement and in particular, with something (The Intangibles – whatever they become) that elevates the music I am playing beyond the ordinary, beyond the “same old thing” beyond being predictable and repetitious  – even if it only happens once in a blue moon – it’s an amazing goal to work towards attaining – and that is what I am aiming to do right now – here as we approach the end of 2019, the end of a decade – I want to step up, and use The Intangibles to drive forward a heightened, impassioned, kind of new music that will take even me by surprise.  Universe – surprise me!

 

To bring us full circle, I want to say that I can definitely sense an absolutely amazing and unique set of “Intangibles” in the recording of “Wing Beat Fantastic” by the remarkable Mike Keneally – a musician who is defined by his brilliant set of internal, mental intangible rules for making records and for performing – it’s one of those records that has that special something about it – that most other albums just do not – and I might never be able to articulate what “that special something” is – and maybe that is the whole point – it’s built off of some kind of “intangible” or set of rules that Mike was holding in his mind as he created it – something inspired him in a way I doubt he’d been inspired before – to take the seeds planted by Andy Partridge – and in nurturing them and growing them into this incredible record – which to my way of thinking, is simply one of the best pop records ever made – and if you’ve heard Mike Keneally’s other albums – this record sounds unlike any of his other releases – so give it a try – it’s atypical, and well worth the journey – it truly is “fantastic”.

Moving forward, I want to try and articulate some of the new intangibles that I’ve been conceiving in my head and that I hope will inform upcoming recording and performance projects in an incredibly positive way – and hopefully, I will learn a few things along the way.

 

More as it happens – fellow music lovers and fellow travellers.

 

 

Thank you for listening.

 

 

 

Dave

 

August 17, 2019

 

 

N.B.  Honourable mention:  “Wing Beat Elastic” by Mike Keneally – a record of amazing remixes and a remarkable breakdown of the musical DNA from “Wing Beat Fantastic” if you like “Wing Beat Fantastic” – you will almost certainly enjoy this record, too.