The Dreaded 1980s: Not So Bad After All

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

Episode 2: 1980s

Most of the musicians I know, share with me, a general sense of … horror is really the only word that suits, although it’s not exactly the right word…at the memory of the music of the 1980s – which included but was not limited to – everything bad about the emerging synthesizer, synths badly played and not sounding very good at all – and all of the other early musical crimes of the early and middle 80s.
synthpop

A lot of bad, bad music was made in the name of quickly producing a hit MTV Video – trying to cash in on the video craze – and things were decidedly NOT about the music, as they definitely HAD been in the 1960s and 1970s.

 

I try not to remember some – or even most – of those songs and bands, and when I hear them – they make me uncomfortable at best, and downright unable to listen in others – they are just not the best songs nor are they, for me, the best musical memories – those will always belong to the late 60s / early 70s when Prog ruled the land – and I looked out at the 70s Music Scene – my own “70s Scenario” – and saw that it was good.
poison

Meanwhile, over on the hard rock scene, another disturbing trend was emerging, again, fuelled by MTV videos – albeit part of a different demographic – one populated mainly by teenage boys – within that demographic “MTV Video enthusiasts” –  and with a clear desire to cash in on the video craze – Hair Metal (later known as “Glam Metal” – fair enough) had arrived, and it looked like it was trying to stay (thankfully – it did not) – or at least – it did not stay for long.

Bands that I literally could not understand the appeal of, whose music was made so cheaply and nastily (and that was, unfortunately, reflected in the SOUND of that music, too!), just so another air-brushed group of four hooligans with MASSIVE HAIR could make a few million dollars at our expense – and the punishment for us, was having not only to hear this vapid form of “metal”, but to SEE these ridiculous “hair” bands, who were all clearly about the size and curliness of their perm, and definitely NOT all about their skill as writers or musicians – let’s face it, a lot of those bands – could not write a song to save their life, and their musicianship ranged from barely adequate to definitely sub-par.

With the emergence of a whole new breed of Hair Metal bands on the one hand, and the pop / synth / Revolution Of The Synthesizer that was coming to our TV screens and to our ears mostly from Great Britain – there was a lot to answer for “musically” during the 1980s.   Across the pond (where I live now) in this Synth Revolution – a similar and parallel activity was apparent – pop songs written just so a synth or synths could be used in the video, but which probably had no other good reason for existing.

Back in the 1970s (which suddenly looked pretty darn good to me) synths were used in the arena of Progressive Rock, but they were wielded by men and women of skill and talent, and used on songs that were finely crafted and worked on for often, many weeks or even months – until perfected.  Music created for the sake of music, of pure musicianship made by real artists – craftsmen – people who had studied their instruments and knew how to use them – finely crafted songs, that were challenging and often quite difficult to perform – but rewarding in every sense – there is nothing on earth quite as satisfying as a musical composition that works on every level – including, exciting to perform and hear, in live performance.  I missed that, especially within the recorded music of the 80s, I didn’t at first, feel there was much around of any real quality.

I got the feeling that with the whole Synth Pop Revolution (which, while it did have it’s roots in the late 1970s, to my mind, is mostly, a 1980s phenomenon) coming from Britain and the Hair Band revolution emerging from LA – that they would have spent just a few days on each piece, and no more – clock is ticking, time is money – and meanwhile, again mostly in LA “…and I have to go and get a new perm, so please let’s wrap this up”.  I can just about picture any session by one of these bands – where a lot of time is spent pouting into mirrors, and gazing adoringly at your own magnificent curly blond locks – or whatever it was.

But – as the 1980s wore on – there was a quiet musical revolution going on in the background.  It didn’t belong to any one group or any particular type of group, but rather, was a combination of a number of interesting events and occurrences in the 1980s, that were probably not brought to the fore in the news coverage (or, the MTV News Coverage) of the day.  This was not, however – a revolution of recorded music – but instead – of live performance.

I am thinking in particular of two cases or scenarios – or “types” if you wish – one, where established artists who had worked very hard in the 1970s or even 1960s, to establish themselves and their musical credentials – some of these artists, after being vilified and ridiculed by the punk movement – waited out the last few dismal years of the 1970s (as progressive rock was nearly wiped from the map by first, punk, in Britain, and then New Wave in the U.S) waiting for an opportune moment to put their head above the parapet to find out if they were still as resoundly resented as they had been…

But I think that those established artists, whether ordinary rock artists or progressive rock “musos”, it didn’t matter, they were all realising that they could not only survive in the unfriendly 1980s – but in some cases, in many instances – they could thrive.  In particular – on the live concert circuit.  And live performance is exactly what that first of two groups of musicians I am thinking of has in common with the second group – new emerging bands, who, while their music may have been “born” in a calendar year that indicated that it was in fact, still the 1980s – while that was undeniable, what was also very apparent, was that there was a kind of “backlash” – there was a hankering for the recently-departed 1960s and 1970s.

Some bands were not afraid to boldly embark on brand new careers, in the 1980s, playing music that on paper, did not and would not “work” in the wonderful “look ma I’ve got a synthesizer” world of MTV, or “look ma, I got me a perm and now the Record Company has given us a $500,000.00 advance on our album” heady days of the early Eighties – that was still going on, although perhaps to a lesser degree in the latter half of the 1980s – but at the same time, my two Secret Musical Forces – were also at work, working hard to bring out music of quality in the Decade That Quality Forgot.

And to their credit, they did it.  What tipped me off to it, was a strange but undeniable fact – OK, I had been fortunate enough to have seven years in the 1970s, when I was witness to some of the most amazing live music ever performed anywhere at any time in history – I was lucky enough to be alive and be old enough, to attend shows by now-legendary Progressive Rock and Rock acts – and there will never be a time like the 1970s again.  What I had noticed – was that, the quality and availability of good live music, seemed to be on the rise in the 1980s – NOT declining as you might have thought.

Punk gave us the good shake up we needed (in hindsight, that is undeniable), and as much as I resented the damage that punk and to a lesser degree, New Wave, did to Prog – I needn’t have worried, because not only was Prog alive and well in the 1980s, but there was also an entire parallel music scene, that you could choose to attend, so for every Eurhythmics show that I didn’t attend, there was a show built on the basis of quality music – whether that be Prog Bands from the 1970s, or other 70s act, adapting, surviving and even flourishing, during the musically-depressing 1980s.

 

splitenz

I could, in the space of a few weeks, attend shows by Crowded House (the remnants of New Zealand progressive rock heroes “Split Enz”) – who I also happened to see play live in 1981 – one of the first shows I attended in the 1980s – and in a way, you could not really get more prog than that in 1981…

 

marillion

 

…despite the band making a very poppy record – 1980’s “True Colours” – they had a still-beating prog heart – and their natural successor, Crowded House, who later went on to even more dizzying heights of success – but – as a pop band – not a prog band – or – stalwart live performers like ex-Fairport Convention guitarist Richard Thompson; or new bands like Marillion, whose music sounded like it was straight out of 1974 – and yet – strangely – it was 1985 – now that was a surprise!

A diverse and exciting mix of live performers then – all out touring, all bringing in large audiences, all being quietly successful while MTV continued to trumpet the “news” that the world was now ruled by Synthesizers, and informing us that “Don’t You Want Me (Baby)” (or whatever it’s called) was a really, really good song (it isn’t).

enobrian70s

Brian Eno himself, the once-flamboyant feather-adorned synthesizer-player of the legendary art-rock outfit Roxy Music, stated that punk was “a breath of fresh air” and over time, while at first unsure – I did come to totally agree with that sentiment.  Prog was in need of a shake up – but the media portrayed it more like a death in the family, so for a couple of very depressing years – we were left with an apparent void, which was being filled by the practitioners of punk and new wave from say, 1978-1980.

 

But – once the air had been cleared, there was no reason in the world for the rock or prog bands that had been swept up in the Great Cleansing – to lay down their instruments and quit – and in fact – most of them did not give up – they may have taken time off during a period in which it might have been difficult to fare well, but…

…eventually – sometimes sooner, sometimes, much, much later – they would in fact, return – and, join a growing number of newly emerging 80s artists who were neither Synth-playing robots nor Hair Metallists – but in fact, were just playing different kinds of rock music – from an only slightly-disguised version of progressive rock (Marillion channelling early Genesis) to a band like Crowded House, who took their prog Split-Enz roots (see what I did there!) and mutated into one of the finest pop bands the world has ever known.

For me – I was even fortunate enough to see one example of these two “groups” of mine – the two Secret Warriors Of Quality Music – on the same bill at the same show – as I was fortunate enough one year, during the 80s, to see Crowded House playing – with the great Richard Thompson as “support act” (!!).  On paper – that just seemed all wrong to me – but as a concert – it was actually brilliant – Thompson is a guitarist extraordinaire, a consummate master, and to have someone of his skill and experience opening for the less-experienced but really, no less talented Finn Brothers (of Crowded House and Split Enz fame) was strange but wonderful – and actually, an inspired idea.

thompsonrichard

Even more remarkable was the fact that during Crowded House’s set, Richard Thompson came out with his guitar to play on one of their songs – so here we had a standard-bearer from the long-ago 1960s, an ex-member and founding member of the great Fairport Convention – on stage with a bunch of musical upstarts from New Zealand.

 

 

I got a genuine laugh at the time, from hearing young Neil Finn taunting Thompson verbally, calling him a “guitar hero” and so on – it was hilarious.

crowdedhouseSome combinations of musicians, you think to yourself – “that could never happen” – and there I was, hearing Richard Thompson improvising a solo to “Italian Plastic” by Crowded House.  Very strange times indeed – but, at that moment – and during countless other 1980s concert moments – the quality of this live music – drove all thoughts of big hair and synth robots right out of my head – and I could live in the moment again, and experience quality live music again.

It was almost as if,  the 1960s and 1970s had just carried on without interruption. almost as if punk and new wave had never happened – and by the mid 1980s, I felt that the old bands were definitely on the way back “in” (I mean, just look at the massive resurgence of interest and huge popularity of both Jethro Tull and of ZZ Top – two bands definitely of the previous decade – yet, in 1987, 1988 – enjoying an immense and very real popularity that required no hype from MTV to propel it) – if anything, these bands began to turn the tables on MTV, and by 1987 – you were far more likely to see an awesome video by ZZ Top or Jethro Tull, than you were to see the dread “Don’t You Want Me (Baby)” video.

jethrotull

But what groups am I talking about here, in my two imagined groups?  Well, the easiest way for me to document that, is to turn first to my setlist.fm entries for the period of time, to get a sense of the shows I was attending – and once I have refreshed my failing memory there, I will be able to jot those down as I hope, valid examples of the two types:

Type Uno

– (Existing) Prog Rock or Rock bands and artists returning to music in the 1980s – at first, possibly more represented by concert appearances than by records, but by the end of the 1980s, they were producing smash hit albums that sold very, very well and were often award-winning and more popular than anything that we now consider to be “Classic 80s Rock” or “Classic 80s Dance” or whatever.  It was Jethro Tull, not Billy Idol or Gary Numan, scooping up awards for best album – and if that isn’t a shock result, I don’t know what is!

But what a brilliant result – I was very, very happy for Ian Anderson and co – to have survived punk, then, to have survived – and then, defeated the 1980s – that is testament to the commitment and vision of Ian Anderson – he managed, somehow, to keep Jethro Tull afloat through all that tribulation – and then, emerge successfully. at the end of their ordeal – with an award-winning hit record – I have to heartily congratulate him on that feat of persistent vision.  Brilliant work!

 

jethrotull2zztop

 

The great ZZ Top carved an equally impressive path through the myriad labyrinth of late 1980s music, and even did so with an only very-slightly updated sound – I remember seeing them in 1975, a raw, powerful blues band with real talent and skill – and here it was now, some 12, 13 years later, near the end of the 1980s – and they were back with…guess what – powerful, bluesy music – with several massive hit records included in their late-1980s successes.  Another brilliant success story almost exactly parallel to the story of Jethro Tull in the late 1980s.

But Jethro Tull and ZZ Top are highly visible, very popular groups – there were a surprising number of other bands in this category – and now I am referring to my setlist.fm listing for the 1980s – one of those bands, is the remarkable Queen.  1980 saw Queen produce an arguably very unique record in their canon, the much-overlooked “Jazz” album – and I was lucky enough to get a ticket to see them, very last-minute – and I am so, so glad that I did – again, it was in live performance where these rock and prog bands of the 1970s excelled, and Queen always put on an impressive performance.

maybrianBrian May to me, is one of the most interesting guitarists that Britain ever produced, with a very, very different and very, very unique guitar sound that no one else has ever really successfully replicated.  Queen built a whole new reputation during the 1980s – moving from the dramatic, prog-inspired heavy rock of their early and mid-70s albums, to much more sonically challenging records such as 1980s “Jazz” – and a host of other brilliant records – so again, very popular band in the 1970s – somehow managed to catapult themselves into massive popularity and success during the 1980s.

A First Time For Everyone

Split Enz – the precursor to the above mentioned Crowded House, Split Enz was New Zealand’s premiere progressive rock band in the 1970s, with a huge underground following and some of the most interesting and quirky music ever created in any country – by 1980, they had gradually been leaving the trappings of prog rock almost entirely behind, and by the time I saw them in in early 1981 – their “True Colours” album was riding high in the charts, a huge pop success thanks mostly to the tune “I Got You” – sung, incidentally, by Neil Finn, the future leader of Crowded House – rather than by Tim Finn – the actual (original) lead singer of Split Enz.  Well – one of two lead singers in the original band is perhaps, more accurate.

finnneilI will never forget being at that show, sitting there in the audience – I could clearly see the muscles in the then-very young Neil’s throat moving, moving as in a panic response – in pure fear, as he opened his mouth to sing this huge hit song – I believe this was the band’s first trip to America, and very possibly, their first show of the first tour of America – and the poor guy was scared half to death.  He needn’t have worried – the song, and the band, were received rapturously by the audience – I was absolutely blown away by the quality of musicianship (and, it was the first time I got to see the amazing Eddie Rayner on keyboards – the man is a genius) and seeing Split Enz – even in their later, “pop” persona – was a wonderful and utterly unforgettable experience – one of my favourite bands of all time.

(Note: Split Enz / Crowded House is the only band to appear in both the Type Uno and the Type Dos categories – because Split Enz was an existing Progressive Rock Band from the early 1970s, while Crowded House was a New, Emerging Band in the early 1980s that just happened to be made up of ex-members of Split Enz – so they get entered once – very early 1980s – as “Existing Prog band” and once again – early 1980s), as “New Emerging Pop band”.  A remarkable feat – being the only band that managed to straddle two very dissimilar groupings!).

zappafrankA man who needs no introduction, the late, great Frank Zappa – I honestly don’t think that any change in musical styles ever affected the forward velocity of this man – one of our greatest modern composers, and a genius at getting bands to play impossible music with impossible chops – there is nothing on earth like a Frank Zappa led and directed live performance.

I place him in the “existing Prog” category although Prog isn’t exactly the right way to describe the sheer genius of Zappa – I really think he remained unaffected by punk, unaffected by MTV – unless there was some aspect of it that he could manipulate to further his own aims – in which case – he would.  I think of all of the “existing artists” out there – that Frank just sailed through the 1960s. 70s and 80s without batting an eye – all just water flowing under a large musical bridge – while Frank was busy composing, arranging, or playing the most amazing lead guitar the planet has ever experienced – only Fripp and Hendrix are in the same league – and he could have taught those two a thing or two I feel certain lol.

So while I include FZ in this category – he was gloriously unaffected by the basic stupidities of (most) 1980s music.  Lucky guy, I would say.

This list of Existing Prog bands that came back in the 1980s (that is, if they were ever really “gone” in the first place) would not be complete without both the redoubtable and resilient Yes, who continued to make music in the 1980s, undergoing a radical musical transformation that I personally, in the main, do not enjoy (I was left cold by the Drama album and tour – a 70s-meets-80s experiment that in my opinion, simply did not work) but I have to acknowledge, it gave them a new lease on life that carried them far into the future, while Genesis, the Hardest Working Band In Prog (maybe) were being led by their undeniably charismatic “new” lead singer, one “Phil Collins” – and the success that Collins and co enjoyed during this decade where Prog was NOT King – is undeniable – and must have been so, so galling to the various departed members of the band who had only been with the band during the years of debt – among those, being original lead singer Peter Gabriel and renowned but long departed original guitarist Ant Phillips.

Gabriel is another one on this list, who fits right into this category very comfortably – an ex-progressive rock lead vocalist, revered for his seminal early and mid-70s progressive output on classic Genesis albums such as “Selling England By The Pound” and “The Lamb Lies Down On Broadway” – leaving Genesis at the height of their then-success in early 1975 to pursue a solo career.  Said career definitely took some interesting musical twists and turns, sometimes veering sharply away from prog (the first “Peter Gabriel” album for example), other times, returning to embrace it once again (the second, Robert Fripp-produced, “Peter Gabriel” album) – but, by the time of the 1980s – Gabriel‘s solo career was in full swing.

gabrielpeter

He became a star in his own right, without  Genesis, and was extremely popular with prog rock fans plus a whole new generation of fans that came to his music first, through his now-famous series of eponymously-titled albums – the first three (or four – see below) albums all being entitled “Peter Gabriel” – the fourth, finally getting an “actual” title – “Security” – although according to Wiki – it’s actually called…”Peter Gabriel”.  So there are four – not three !

Note: the fact that the first four Peter Gabriel albums had no title beyond “Peter Gabriel” (with the exception of the final one, which was ‘sometimes also known as “Security” ‘), was apparently really just too difficult for some people to understand or relate to – so interestingly, to make it easier for those who found this concept (which was Gabriel‘s idea – he wanted it to be like a newspaper – the same paper, with the same headline – but coming out at different times with different stories in them) too difficult – so people invented “names” for the albums based solely on the cover art – so strangely, many people “know” these three classic records as “Car” (Peter Gabriel I”)“Scratches” (Peter Gabriel II) and “Face” or “Melting Face” (Peter Gabriel 3).   For the fourth – well, it somehow acquired the “name” “Security”.

Personally – I like the original titles and the idea of it having the same title every time – that was unique – but – apparently this was too much of a stretch for some possibly less-pliant minds – so they invented these somewhat lame cover-art related “names” – for three albums that already had perfectly good names – or, rather, a perfectly good name.  It’s funny what lengths people will go to, to “force” something unusual or out-of-the-ordinary into terms that they are comfortable with – great lengths, it would seem, sometimes.

So along with Yes, Genesis, and Peter Gabriel, the 1980s was also an amazing time for one of the most underappreciated and hugely talented individuals that early 70s (or in this case, actually, late 1960s) progressive rock ever produced – and of course I am talking about the remarkable Peter Hammill, of the band Van Der Graaf Generator (which, incidentally, is still going strong after re-forming in 2005) – the 1980s saw Hammill evolving his solo performances, which were originally, just himself sat at the piano or sat with an acoustic guitar, singing “solo versions” of Van Der Graaf Generator songs (the bulk of which, were written by Hammill – the main writer and only lyricist in the band) as well as, singing songs from his rapidly-expanded selection of solo albums.

hammillpeterI was lucky enough to see Peter Hammill on several occasions, in differing musical settings, during the 1980s, and while I truly wish I had been able to see Van Der Graaf Generator play live “back in the day” – seeing these solo performances was actually, in a way, a far more powerful and intimate experience.  I have had the good fortune, for example, to witness Hammill, on his own at the piano, playing his remarkable suite of songs which make up the second side of his 1980 solo album “A Black Box” – a song called “Flight” – which is so difficult to play, that I was only able to work out, myself – on the piano – the first part of the song.

By far the simplest part of “Flight”- “Flying Blind” is the first of the several shorter songs that make up “Flight” in it’s entirety – whereas, Hammill reeled off the thousands and thousands of notes and chords of the entire 20 plus minutes long piece – as if it were nothing, all the while singing in that incredibly powerful, moving voice of his – seeing him play and sing “Flight” – live – by himself – as the encore of a remarkable live show – was an absolutely unforgettable experience for me.

hammill-potter-mcintoshA few years later, I was fortunate again, to see Hammill bring one of his small “ensembles” to Los Angeles, back to the Roxy which was where he always seemed to play when he was here in the US – this small group included just two other members, former Van Der Graaf bassist Nic Potter, and “pub musician” Stuart Gordon on violin.

But these two musicians – were no ordinary musicians, and I had no idea what an amazing musical experience we were all about to have – with Potter anticipating every phrase, every pause, in Hammill‘s incredibly strange vocal arrangements – and coming in on time, unfailingly – to Stuart Gordon’s “square wave violin” (my mental term for it – his violin run through guitar effects to achieve some unbelievably beautiful and/or dissonant effects) and the renditions that this band did of tracks such as “Cat’s Eye / Yellow Fever” – with it’s throbbing bass line, power chord guitar (provided by Hammill, of course!) and wild super-effected/treated violin gyrations.

I had never heard just three people sounding like a full on prog outfit on a tiny stage like the stage at the Roxy was.  What a show (you can hear a version of that show, on the Hammill album “Room Temperature” – Live – and well worth the investment I would say) it was – absolutely unforgettable – a brilliant experience.

In some ways, then, the 1980s portion of Peter Hammill’s career, moving through the amazing solo records of the early 1980s – starting with “A Black Box” (which, to give you some perspective, in 1980, this was Hammill’s TENTH solo album!) and then moving on to his very popular and quite hard rocking 1981 offering “Sitting Targets” – and then as the decade progressed, I saw tours for albums such as 1986’s “Skin” which was at yet a whole ‘nother level – the man is incredibly prolific, and each time, has a larger and larger back catalogue of songs to draw on – so that towards the end of that time, the range and power of songs that he could pull from that remarkable inventory of sensitive, emotional, moving songs became extraordinary in the extreme.

Each concert became the showcase for such a broad range of emotions and such an incredibly diverse and remarkable selection of songs, that it was just almost too much to take. What an extraordinary range and depth of feeling this man commands from the stage, with this intense and wonderful body of work that is “the Peter Hammill solo catalogue”…and it is still growing today (as of June 6, 2018 the count of his solo albums is 37 in Wikipedia), as he continues to produce albums regularly despite now being in his 70s.  What a remarkable character!

My 1980s was inhabited by all of these kinds of musical heroes – so my interest in, and my time spent listening to, what was supposedly currently popular “music” – began at a wane and pretty much disappeared completely as more and more of these amazing bands and artists from the 1960s and 70s, arrived in town in the 1980s to remind me that they were far from gone – that they were, in fact “alive and well and living in….” to phrase a coin (thanks, Ian!).

utopiaBut the list is far from complete – Todd Rundgren, and, Todd Rundgren’s Utopia – the popular 1970s comedic band “The Tubes” (they of “White Punks On Dope” fame) – so many bands from the 70s, were doing so surprisingly well in the 1980s – and, were out there on the road – proving that their music was truly alive and was far, far more real than what MTV was presenting to us as purportedly, the music of the times – that was not MY experience of the 1980s.

 

KingCrimson-1973It was only starting in 1981 that even more significant groups began to return, still working in Type Uno here – and this was a real surprise entrant – the return of the mighty King Crimson – after a seven year hiatus – Robert Fripp had returned, with only one former member of any former version of the band (Bill Bruford, on drums and electronic percussion) in tow – having created a totally re-imagined version of the band, and the success of their debut album (1981s total return to form, “Discipline”) and tour cannot be underestimated.

 

 

kingcrimson1981I can remember myself and the guys in my band, we were FLABBERGASTED at the idea that King Crimson was on tour, and was going to be playing in San Diego – at the UCSD gymnasium, of all places – but hey – we didn’t care – it was KING CRIMSON – alive and well.  This new version of King Crimson, featured bassist and Chapman stick expert Tony Levin, and the unstoppable Adrian Belew on lead guitar and lead vocals.

 

This “new” band, the utterly revitalised and recharged King Crimson – was nothing short of extraordinary.

To see a concert, in 1981, by what was supposedly at this time, a “dinosaur” band like “King Crimson” – a concert that had more musical quality in it’s worst moment, than some 1980’s “bands” could produce in an entire show – this concert was really, in comparison to most concerts – an experience of almost high art – rock music, progressive, intelligent music – elevated to a new plane of existence, with the interlocking musical gamelan of the Fripp & Belew Lead Guitar Axes Of Power – over one of the most powerful and unique rhythm sections ever envisioned – this was four of the best musicians on the planet, getting together to play a dozen or so of the most amazing songs that you had never heard.

 

The band did also include one or two “old” King Crimson songs, thrown in – probably more for the sake of nostalgia – or, more likely, because the new members of the band wanted to PLAY those songs lol – this concert was a sublime musical experience, that absolutely blew my mind – I could think of nothing else, for weeks, but that amazing, beautiful music I had witnessed – and I listened to the album constantly, trying (and failing, dismally) to unlock it’s musical secrets – what an extraordinary musical document.

GenesisI think for me – that was the turning point – seeing King Crimson play for the first time ever; and seeing Peter Hammill and Bill Nelson and Steve Hackett and Peter Gabriel and Genesis and Yes – all playing music in the early 1980s – when television might have you believing that something called “Billy Idol” was ruling the video-waves – the air-waves having now been superseded by the medium of Music Television.

Or – by someone called “Gary Numan” who apparently, was the next big thing – and I am not in any way disrespectful towards these artists – I very much respect their achievements and enjoy their music, too – and yes, they did make records in the 1980s, and sell records, and become “very popular” and so on.

But behind the scenes, in the background – were truly great (often very under-appreciated) musicians, with far more experience (and skill, I am afraid, too) who were out on the road, proving that their music was very real indeed,  given concerts displaying consummate skill and musical vision – and perhaps – at least slightly more real, than the perceived vision of what music was as presented by “MTV” and “MTV News”.

But sometimes, you have to judge by a different yardstick, and increasingly for me, it was a very, very musical yardstick – i.e. did this concert move me to tears?  Was the guitar playing such remarkable work of impassioned quality, that it will haunt my memories for years to come?  Those were the kinds of questions that I was walking away from concerts asking myself – concerts mainly by the supposedly long-dead “dinosaurs” of music – the progressive rock musicians of the 1960s and 1970s.  It was no longer really about what was supposedly popular – for me, it was becoming just about music, quality music – and nothing much else mattered.

And that is how I have really remained, to this day – I am not interested in what band sells the most records.  I am interested in what band or artists or guitarist or other instrumentalist – can do something never done before, or something unique, or something truly beautiful or skillful or ingenious.  Or – in some rare cases – all of the above.

That is what I was already evolving into in the 1980s, because I was seeing all of these amazing bands, behind the scenes – behind the very false, fabricated MTV Video World of “Music” and the MTV “Video Music Awards” and so on – none of that was what was real – what was real, were the opening notes of the title track of “Discipline” – the first piece played by the new King Crimson at their concert here held at UCSD gymnasium.

kingcrimson-disciplinecoverTo start a concert, with the final piece and the title track of your first album in over seven years – that is very probably the single most difficult to perform out of an entire album of truly difficult to perform songs – coming out and playing that song FIRST, makes a statement – that says “we can do THIS” – and “THIS” – is simply the part you had to hear, you had to be there – to believe – perfectly interlocking guitars over a sinuous and sliterhing bass part with an insistent, cymbal-less beat throbbing behind it – modern music taken to a whole new level, in a time-signature that I still can’t count to this day.

 

What a way to START a concert!

So it was truly musical experiences like this, that really take you out of yourself, and really make you consider the nature of what is beautiful, what is dissonant, how and when dissonance can be in itself, beautiful, and so on – music that MAKES you think – and think, and think.  That is how the music of “Discipline” made me feel at the time.  What a great way to celebrate the return of the much-missed King Crimson – we were SO glad they were back, and this career was to be short lived, but, would lead to ever-evolving versions of the band – this particular version, what has become to be known, curiously enough, as “the 80’s Crimson” did the bulk of it’s work, first as the band “Discipline” in 1980, and then, as “King Crimson” in 1981 – lasting just four years and producing three fine albums.

But there is still more to this story – still more former prog or former rock musicians, coming out of the woodwork now, re-inventing themselves in startling and remarkable ways.  Bill Nelson, former leader, lead singer, and lead guitarist of the 1970s prog/rock band “Be-Bop Deluxe” was out and about in the 1980s, fronting various versions of his 1979 creation “Bill Nelson’s Red Noise” and I saw one of these post-Red Noise concoctions play live at the Whisky in Los Angeles – and because it was the Whisky, and, Bill Nelson was one of my favourite English guitarists at the time – I took the opportunity to situate myself just in front of his pedalboard (which absolutely fascinated me, it was very, very long and thin and had about a dozen pedals on it, most of which, I was utterly unfamiliar with) and once again, I proceeded to have my musical thought processes melted away and re-formed several times during the evening’s proceedings.

nelsonbill74

Nelson is just one of those people that is ridiculously talented, and can make music with anything he turns his hand to.  Tonight though – it was all about the guitar, and actually seeing him play, at such close range, was a rare privilege indeed for me – to be able to watch how he created the chord shapes and guitar parts that made up these songs that I so, so loved – “A Kind Of Loving” or “Do You Dream In Colour” or even the bizarre “Youth Of Nation On Fire”.

 

 

He played an outrageously cool selection of songs from his first couple of solo records – and it was again, an absolutely unique and totally unforgettable musical experience.  What a show!

This show also included a real moment of drama, as Bill‘s beautiful pedalboard FAILED after one song, so, philosophically, he watched the technician hauling away his entire bank of effects – and saying something about how it may be difficult later on, when he gets into some of the more complex changes of sound… he then turned around, with a determined look on his face – plugged his guitar lead directly into his Music Man combo amp – tested a nice, chunky, distorted power chord – and launched into the next song – sans all effects.

Hearing that song played with raw, straight, unaffected guitar – was an absolute revelation for me – an amazing experience – of a true artist’s grace under pressure –  he handled it like a pro – no problem – just got on with the song, sang and played it beautifully, and then happily, took delivery of his now-repaired pedalboard just in time for the next song to begin.

nelsonbill1980sThey never really missed a beat – the whole “incident” only slowed the show by literally, two minutes – and what a unique and unusual thing to witness – that made it particularly unforgettable – getting to hear the absolutely raw – guitar-straight-into-amp Bill Nelson style – and it ROCKED.  He didn’t lean on his pedals for support to hide weak playing, as some players (myself included – I hasten to add) do – he used them to enhance and improve the sound of his guitar.   But – I could have happily watched and listened to the whole show with the guitar-directly-into-amp scenario, too – with – or without a big pedalboard full of exotic gutiar effects – either way is absolutely fine by me.

 

I would say that during the first few years of the 1980s, that Bill Nelson re-invented himself and his music, on a par and very much in parallel, with the way Robert Fripp re-invented and re-imagined his own role in the new King Crimson.  Gone were the trappings of “rock star” / Be-Bop Deluxe frontman Nelson – no more costumes or make-up or TV appearances were needed – no more limousines – just – music – music as experiment, and I can remember buying his first solo single, the aforementioned “Do You Dream In Colour?” on 7 inch vinyl which included two B-sides that I liked even better than the A side – and that was the start of a truly remarkable series of records – that moved through areas of music that I can scarcely describe using just words – those words would be “GO now, and listen, ye, to these two albums”:

  1. Quit Dreaming And Get On The Beam by Bill Nelson
  2. The Love That Whirls (Diary Of A Thinking Heart) by Bill Nelson

See – now I don’t need to try and describe how incredibly diverse and musically amazing those two early solo records are – not to mention – some of the most astonishing lead guitar work I had ever heard Nelson play – even on the opening track of “Quit Dreaming…” a song called “Banal”, ironically enough – there is a solo so dramatic, so silken smooth and flowing – so, NOT “banal” in any way – and I think that is the point – you have this hard-edged, almost frightening riff playing throughout this song  – but when it finally bursts into this solo – you get a few moments of the old 1970s Be-Bop Deluxe sweet sweet flowing lead guitar on 1980s steroids – simply amazing guitar work on this record – other pieces of note include one of my personal favourites of Bill’s – another strange one, “U.H.F.” which has a beautifully-flanged lead vocal, and again, absolutely amazing, dissonant / unique lead guitar throughout – this one is another that is just astonishing in terms of the quality and passion of guitar playing – it’s off the scale, it really is.

nelsonbillrecentSo Bill Nelson – in the early 1980s – was in every way, an ever-exploring pioneer of new kinds of musics, and his bands were hand-picked to deliver that music with the greatest impact.  I was so, so fortunate that I was able to drive up to Los Angeles to see that gig – what an absolutely unforgettable night that was!!  Standing there, just a few feet away from someone with such consummate skill with the guitar – it seemed effortless to him – autopilot on, and now – play.  sing.  perform.

 

But – it was a faultless, unbelievably professional, polished performance – Bill took his bands and his music very seriously indeed, and this outfit was more than road-worthy – they played his music – the way it was meant to be played.

 

I have now, I believe, spent more than enough time talking about Type Uno artists – however – believe it or not, I didn’t even make it past about 1983 in assembling the examples above.  If I were to continue on in this vein for the rest of the 1980s, I would add in another dozen or so examples of Type Uno artists – those ex-rock or ex-prog musicians who, for the most part – trod a very different path in the 1980s, from what their previous careers back in the 1970s had been.

And sometimes, as in the case of both King Crimson and Bill Nelson – that led to some absolutely extraordinary music and, live concerts that represented that recorded music.  I felt so, so fortunate to have been there to witness that – especially the re-birth of King Crimson  – that was almost miraculous.

Crimson was one of several bands, that I literally thought I would never, ever get to see – because from my perspective – they had suddenly disbanded in 1974 – never to return as far as we knew.

So that was a welcome return to form – along with, experiencing the new musical directions of Bill Nelson, Peter Hammill or any number of existing, surviving rock and prog people – all of them, doing so incredibly well (who knew???) in the supposedly-musically-“dead” 1980s!  The more I thought about it – the more I realised, that in some ways, the 80s were almost MORE musically rich for me than the 1970s were – for one thing, I got in a FULL 10 years of concert-going, versus the seven I had managed in the 1970s (and that was only due to my age – not through choice) – so I had an “extra” three years in which to have even more incredible 1980s concert experiences.

For another thing – these artists – who were AMAZING during the 1970s – had come back, bringing new ideas; new technologies; new ways of thinking about music; new recordings; and most importantly to me – concert tours where their faithful, loyal fans could still go and see and hear them play – and as often as not, I was totally surprised by how much these artists had grown and evolved – always, in such a positive way – that I now view the 1980s as a really, really positive decade – in terms of my overall, over-time concert experiences.

Who else, then – would I place into the Type Uno category – before I delve into Type Dos – well, a quick further check of setlist.fm’s listing for user “pureambient” (that’s me, by the way) reveals that the illustrious company noted above would also be joined by jazz guitarist Pat Metheny, populists Hall & Oates (who I only became interested in, after hearing Daryl Hall’s remarkable collaboration with Robert Fripp, “Sacred Songs” from 1980 – another overlooked Fripp-produced masterpiece – and Fripp was so insistent that Hall was so good – that I had to go and see for myself.  He was.  He was an amazing singer).

roxymusicThen, there was the early-80s version of Roxy Music which, by 1983 when I saw them for the second time, had mutated so far away from their original Prog roots, that they seemed to be a completely different band – one that very well might have been better named “The Bryan Ferry Orchestra” and be done with it – with Phil Manzanera and Andy MacKay physically present at the concert, but, reduced to the roles of glorified sidemen by the rather large ego of one Bryan Ferry…

 

The only redemption, for me, was that Phil Manzanera was permitted to perform ONE of his songs – and chose to play “Impossible Guitar” which I absolutely love – so I was fortunate to get to see that rarely-performed-live piece of brilliant guitar work – made an otherwise difficult to stomach Roxy concert, much more bearable.  By way of contrast,  when I saw Roxy in 1979, four years earlier – they were then already on their way towards this not-so-good musical place, but – there was still some prog left in them, and they played a few good versions of a few older tunes back in 79.  Not so at the 1983 concert that I saw – which was pretty disappointing to say the least.

belewadrianAdrian Belew – well, he was around in the 70s, although more in the role of very talented sideman to either Frank Zappa or later, David Bowie – and I felt very, very fortunate to get to see him with his original band, “Gaga” – at the wonderfully tiny San Diego State venue of The Back Door (a music venue so small, that even ***I*** have performed there in the past – lol).

Belew and his band were absolutely unbelievably talented, funny and skilled – and it was a truly memorable evening for fans of the eccentric electric guitarist – the only true successor to the performance spaces that Jimi Hendrix used to inhabit – Belew fills that void to some degree.

More gigs for guitarists – now this was another aspect of the remarkable, the impossible things that happened in the 1980s – that you would have thought, would either be impossible, or only could have happened in the 70s – but – not so – I am talking about now, one of the most incredible performances I have ever seen – Paco De Lucia, Al DiMeola, and John McLaughlin – what a line-up.  Three legends of the guitar – each with their own style – and the combination of the three together, performing a variety of impossible pieces – was like nothing I had ever seen before and I am not likely to ever see again – everyone I know who went to this – will know what I am talking about – this was about skill, passion and grace – and these three gentlemen had lots of all of those things.  It was…amazing.

guitartrio1A year later, the trio returned – and this time, joining them on steel string acoustic guitar – was none other than future Deep Purple lead guitarist and Dixie Dregs alumnus Steve Morse – a guitarist I have seen many times – with the Dixie Dregs (another group that is in this category, that I was lucky enough to see during the 1980s)

morsesteveLater, Morse created the “Steve Morse Band” (yet ANOTHER group that is in this category, that I was lucky enough to see during the 1980s), I even got to see Morse performing at a guitar clinic in a local music store – an immensely skilled and talented player. Adding Morse to that trio (DeLucia, DiMeola, and McLaughlin) – created the single most remarkable mini-orchestra of guitarists that the mind could imagine – the Impossible Quartet – and that show was even better than the standard trio show that I saw the previous year.  What an experience!

And then – I went to see Allan Holdsworth.  I was beginning to get into jazz, a little bit – I’ve never really played it, but, I do have huge respect for those that play it well – the “Pat Metheny”s and so on in this world – but – Allan Holdsworth – who, again, was around in the 1970s, so he definitely falls into the Type Uno category – is a guitarist on an entirely different Guitar Planet.  To this day, I have never before or since seen a modern jazz guitarist, or in fact, any guitarist outside of the classical tradition, with the kind of a) encyclopedic knowledge of scales, modes, chords and….everything there is to know about a guitar fretboard and b) incredible, incredible, speed – I’ve never found another like Allan Holdsworth.

holdsworthI can remember sitting on the edge of the stage, just watching his left hand, trying so hard to figure out what on earth chords he was playing – as he played through one of my very favourite of his pieces – “The Things You See (When You Haven’t Got Your Gun)” – and there is this beautiful beautiful chord progression, that he “swells” into a big delay and reverb setting – and it’s just sublimely beautiful,

And as I watched, I realised, that even with my twenty some odd years of guitar playing experience at that time – that I literally, had absolutely NO idea what those shapes indicated – I could not understand WHAT CHORDS the man was playing.  I knew one thing though – they are beautiful.  Still are.

Later, I found out why – when I got ahold of an Allan Holdsworth music book – and the title of the book pretty much explains why a guitarist of 20 years plus experience, had no idea what it was that he was seeing and hearing when watching Allan Holdsworth play – the book is called “Reaching For The Uncommon Chord”.  THAT is why.  Because he uses inversions that most people can’t even FORM with their fingers.  “Uncommon” is exactly the right word – and seeing him play, hearing him do this – live – opened my eyes to whole new UNIVERSE of sounds and ideas that I think, I am still absorbing today – almost thirty years later.

What a remarkable guitarist – and a really nice person too, very approachable. Sadly, Allan passed away very recently – and it was a huge, huge loss to the guitar-playing, and listening, community.  An absolute Hendrix-Order, Zappa-Order, Higher-Order guitarist unique in so very many ways.  Not, however…for the faint of heart – Holdsworth is possible a musician best appreciated by other musicians as his playing style may be too intense for the public to absorb or appreciate.  If there ever was a “guitarist’s guitarist” – it was Allan Holdsworth.

Every time I think I have exhausted the list of possibly Type Unos – I find still more to add to the list – the aforementioned Richard Thompson whose career soared during the 1980s – including a lot of excellent performances both on acoustic guitar and with full “electric” band – I was lucky enough to see both types – and also, the aforementioned band Richard used to be in, Fairport Convention, who also enjoyed a resurgence of their own during the late 1980s, possibly thanks to their close touring association with the unstoppable Jethro Tull.

At the end of the 1980s, re-emerged one of the first of the many, many, many different re-configurations of the band Yes – which featured the classic five man lineup of Yes without bassist Chris Squire.  I went to see this strange band in 1989, whose first and only album was pretty underwhelming, largely because of the possibility of seeing these four ex-members of Yes, playing older Yes material live in concert.

It was – interesting.  Originally, they had Tony Levin as their stand-in replacement for the very difficult to replace Chris Squire – and that was what I had been looking forward to – only to find out, that Levin had dropped out early on, and had been hastily replaced by Jeff Berlin.  Now – Jeff Berlin is one of the most amazing bass guitarists on the planet.  I’ve seen Berlin play in a tiny club with Allan Holdsworth and Chad Wackerman, and Berlin was actually, clearly, the bass-playing equivalent of Allan Holdsworth – they were a match.  How Wackerman ever kept up with those too, will always be a mystery – stunning musicianship.

But Jeff Berlin is more of an improviser’s improviser, so the idea of him playing Chris Squire’s very inventive but, very structured bass parts – well, to my mind, it just seemed like a WEIRD idea.  And in concert – well, Jeff was fine.  Jeff played all the right notes – but the feel, was all wrong – he played with a jazz, loose feel, which did not suit Squire’s intended style – so it just sounded so odd to my ears.  Not entirely successful – four experienced prog guys – with a super jazzy improvising loose bass player – no.  I wished I’d seen the Levin version…but alas.  ABWH were short-lived, and I think that is possibly a good thing.  Yes is just not Yes without Chris Squire – let’s face it.  It’s just not quite right without him.

Finally, again near the end of the 1980s, we had some glimpses of the future – Adrian Belew’s pop project, “The Bears” started making records and went out on tour, and I for one was very much enamoured of their approach – I loved the idea of two lead guitars, bass and drums, where often, both of the guitarists were playing “backwards guitar” as they sang and played live – I loved that.  I have always been a huge fan of reverse guitar, and seeing the huge grins on the faces of Rob Fetters and Adrian Belew while they were both playing backwards – it’s as much fun to do, as it is to hear!  I saw The Bears a number of times, and they are an extremely quality pop group as you would expect – excellent music.

And then – Robert Fripp and the League of Crafty Guitarists – not a “band” in the traditional sense, this latest Fripp invention – was simply Fripp performing in public on acoustic guitar, with a group of the then-best Guitar Craft students.  The repertoire was written in part by Fripp, and in part by members of “the League” and it’s a most interesting presentation – playing in Fripp’s “new standard tuning” for guitar – this was a most inspirational group to witness playing live – but in one sense, it’s also one of the most radical of re-imagining’s possible – to get from King Crimson in the 1960s and 1970s, to the League of Gentlemen in 1980, to the League of Crafty Guitarists in the late 80s and also, on into the future – that was Robert Fripp – always moving forward on so many different musical planes.

Type Uno groups that I did NOT see – the list is just staggeringly long, I am sure, but while I am on the subject – Robert Fripp’s “dance combo” the aforementioned League of Gentlemen” were one of the hottest musical properties of the year 1980.  A four piece led by Fripp and ex-XTC keyboard wizard Barry Andrews – that is one band I really, really wish I had the opportunity to see play live.  Ach well as they say…

 

Type Dos

– New, emerging bands, or, complete rebuilds of older bands that mutated into new bands – so in this category the most obvious is the one I have already mentioned, Marillion, and, the other one I have already mentioned, Crowded House.

This category does include a few bands that may well have existed in the very last part of the 1970s, but I would still class them as new not so much in that they are brand new in the 1980s, but they were not necessarily full-established or very experienced when compared to most of the Type Uno bands – many of whose roots went all the way back to the beginning of the 1970s or even into the 1960s.

There is a huge difference in an artist who formed a band in 1968, coming back to perform live and make records in the 1980s, and a band formed in 1979 that then continues on into the 1980s as part of their natural evolution – those to my mind, are “new emerging bands” – I have just taken slight poet license on when they emerged – and if I were to just adjust the time period, this silly concept of two types would work a bit better – but for now, it’s what I am working with.

The first half of the 1980s, for me – according again to my setlist.fm list of concerts attended – was a pretty sparse time for new bands with new music.

I did see a few of the most important bands of the 1980s, most notably, the great XTC, but there were far far more bands that I never did see – because mainly, to be totally honest – I was spending my time and my money, attending concerts by Type Uno artists – artists I knew and loved, and, who I knew would not let me down by giving a poor concert.

So I continued to attend concerts with a definite 1970s mindset – and that worked for me – and if you look at the list above compared to this listing of Type Dos shows attended – it’s absolutely pathetic in comparison.  I was only making an almost-token effort to include Type Dos bands in my concert-going – but if truth be told – that was mainly because – there were not that many Type Dos bands that I really enjoyed the sound of.

In some cases, I wonder exactly why I went – for example, I attended an outdoor summer extravaganza, three bands playing live, beginning with Madness, then, Oingo Boingo, then, headliners The Police.  Now this was a competently-performed set, all three bands had something to offer – but, in hindsight – I believe I enjoyed Madness far more than I enjoyed The Police.  I was never that huge of a fan of The Police, and I think it was more about peer pressure – everyone at the place I was working was going to the show – so would I go?  Sure – why not?

I have never, ever been a fan of the music of Danny Elfman, leader and creator of Oingo Boingo, and I just think it’s absolutely silly music – not for me, at all – meant to be “funny” – but – it isn’t.  Madness were terrific – great energy, good chops – a lot of fun, and a lot of musical credibility.  Then I suffered through Oingo Boingo.  Then, I did enjoy the set by The Police but it was more about wow look at that drum kit or, wow, Sting really can play the bass AND sing at the same time – look – he’s doing it.

Or rather – doing part of it – they did have three background singers, which makes the whole idea of being “just a trio” a bit silly – and I felt it was really unnecessary.  It seemed to me, that it would have been much, much better if we could have heard what JUST the three of them could do, live – now that might have been interesting. They played a competent set, with songs from every album including the then-new “Synchronicity” which for them, was ultra-complex.  They did a credible job – but that’s what it seemed like, more of a chore, a task, a job to be done – they didn’t seem like they were having any fun at all – and their lack of enjoyment was contagious.

I hope that others will remember that concert more happily than I do, but my overall impression was of being underwhelmed by The Police, and not liking Oingo Boingo one bit (I still don’t).  But – every cloud has a silver lining – at least I got to see Madness – they were great – awesome performance.

Still sticking with the mainstream, again, not really sure WHY I went – outdoor show in summer time?  nice weather?  for some inexplicable reason, I went to see Men At Work.  It was not particularly memorable.  I still do not know why I went.  In this same category, I would place The Motels, a group I barely remember – and I don’t remember a particular song I like or anything – no idea.  Those two shows – which I did attend – just flew past almost unnoticed.

I did also, however, see some very real and very powerful live performances – the aforementioned XTC among them – but I would say one other of those, was Gang Of Four.  Now – this was a band I knew absolutely nothing about, I had not heard them play – and the other guitarist in my then-band, Slipstream absolutely INSISTED that I should go to this concert – so, we went – it was a long, long drive up to LA I remember – and I was absolutely transfixed and shocked by the band once they started playing.  I have never before or since seen a band quite like this one – dark, powerful, with a lot on their minds – and deadly serious about what they were playing, and what they were saying.

With tunes like “(Love Like) Anthrax” or “Armalite Rifle” and heavily politically inspired lyrics, I found it to be a very powerful and musical experience.  The music was  – jarring.  But – this “post punk” outfit – really stuck in my memory, and I am grateful to my pal in the band for being so insistent that I attend – because I am glad that I did.  I hadn’t seen much or many bands that had a political agenda (unless you count U2 – which come on, you can’t seriously count U2???) so it was a breath of fresh air in that sense – not you ordinary love songs here – but songs that meant something.  It was a really different musical experience too, and one that was thought-provoking at the very least.

xtcliveMost important to me, was seeing XTC play live in what turned out to be, their last ever live performance – they played in San Diego where I saw them – and then, in LA the next night – they did not show up, because Andy Partridge was on his way home to escape a world of nightmares from touring and over use of prescription medications.

They never did really return to the stage – but – it also ushered in their “XTC’s Golden Age of Studio Recordings” – where, much like the Beatles – their music really, really changed once they left the stage behind for good.

XTC’s performance itself ,was absolutely amazing:  Andy was filled with so much incredible energy, and the band were animated and lively – Dave Gregory was especially amazing – bouncing back and forth between lead guitar and lead synthesizer – and the band’s vocals were also great – Colin and Andy sounded so, so good together.  I am so, so glad I went to this – I had been getting more and more into their music, and I thought why not – that should be a good show.  I never dreamed for a moment, that I would witness the last live concert by the band – wow.  What a shock to find out after the fact, that Andy had fallen very ill and returned to the UK – swearing that he would never perform live again.  Sadly – he kept that promise – mostly.

After seeing Gang Of Four first, and then, XTC, in the first part of the 1980s – was unfortunately, for me, the highlight – the rest of my Type Dos experience wasn’t quite so memorable – but I will have a go anyway:

Starting with Asia – now, in one sense, you could almost class Asia as a Type Uno band – except – what band would that have been back in the 1970s?  King Crimson?  Yes?  ELP?  Because they were not a direct descendant of one particular band – I have to class them as Type Dos – but the music they brought to the mid-80s, definitely had more of the feel of a Type Uno band.

JohnWettonAsia then – as a new “prog” band – with ex-Family, ex-King Crimson bassist and vocalist John Wetton on bass and lead vocals, with Steve Howe. ex-Yes on lead guitar, and with Carl Palmer, ex-Emerson, Lake & Palmer on drums – and, some guy called Geoff Downes on keyboards – this was a “new” band, playing “new” music.  Oh – I so, so wanted this band to be good…

 

Their debut album was a bit confusing – slightly proggy, but overlaid with a sort of sickly sheen of popiness that felt forced at best.  It was just – weird.  But I went to the show, to see the PLAYERS – not so much for the band, and certainly not for the album.  And – the players were good – again, Wetton is more than competent he played and sang well – it was fine.  Steve Howe did his usual high quality lead guitar work, nothing disappointing there – and Carl was a fine drummer for the outfit.

Perhaps it’s better if I just leave it at that – rather than try to analyse it any further – this SHOULD have been a great band, but I remember being so disappointed by everything – the album, the show – that I never bought (or heard) their second album, or anything they ever did after that.  I just lost interest immediately.  A missed opportunity.  A failed attempt at commercial success?  Something funny going on there – I don’t really know what.  But somehow – it just did not work.

On a couple of occasions during the 1980s, I went to see Elvis Costello play, usually with the Attractions in tow – and this was one of those weirdly unsatisfying things – it should have been excellent – but it was just OK.  They played well – very well.  The songs are good – but something about it – it just did not have the excitement, nothing urgent, in a lot of ways, it did not seem like “live” music – but more, an accurate re-creation of studio music.  I know that must sound weird – but I hope you can get what I am meaning.

On the surface – Elvis Costello and the Attractions put on a really good concert. But below the surface, there was something dissatisfying about the whole experience, that one could not put one’s finger on – I don’t know WHAT it was – but I felt let down, I felt disappointed – I think I thought that he would be amazing – and when he turned out to be just some guy with a guitar – well, I ended up feeling a sense of disappointment.

Then, things took a slightly upward turn, and the quality of the Type Dos bands I was going to see play, started to improve again – and that began with a gig by the revitalised Pretenders.  I am so, so glad that I got to see this band play in 1984, and I think that Chrissie Hynde is absolutely a musical genius – to write these songs, to go to Britain and put this band together – and then to succeed so well – I am so so happy that she did this.

pretenders

It didn’t last long – my personal favourite record of theirs being the astonishing Pretenders II – I think after those first two remarkable records – that things began to go downhill a bit – but when I saw them – they were at the height of their powers – and those were not insignificant.  Chrissie herself, is a powerful performer, and her approach to her vocals and her guitar playing – stick in the brain, and she definitely left a good impression on me.  I am very glad that I  chose to go see this band play live – an awesome experience.

 

The Pretenders’ opening / support act, however, the much hyped The Alarm – left me pretty cold.  I felt like they were competing for musical space with U2 – and to be honest – no one was, or is, competing for that space (!) – it’s not really a desirable musical space to inhabit !!!  But they seemed to me, like a third-rate impersonation of U2 – and while that may be overly-cruel on my part – I cannot think of a kinder way to express what for me, is a true assessment of how The Alarm sounded – “68 Guns” – maybe – but none of them were loaded.  Or they only brought 49 of those guns with them on this night – I am not sure.

Another double bill of new, emerging bands was Big Country with support from the forgettable Wire Train – and I think that my interest in Big Country was probably almost entirely derived from the fact that Stuart Adamson had been a huge fan of Bill Nelson = something he held in common with me.  The band were fine, nothing wrong with them – but nothing hugely memorable, either.  I can’t really remember Wire Train at all – much as I would like to say something about them – I cannot – I have absolutely no idea.  So this was another one that just flew past me, almost unnoticed…

I have to mention (by contract I am afraid) that I did see the band Berlin, or at least, I saw part of their set – but I hasten to add this disclaimer – going to see Berlin was never my intention – I was going for one reason, and one reason alone – not to see Terri Nunn or hear her telling us about all the roles she could play – but to hear the opening act – Bill Nelson – with a full band, on the very short “Mountains Of The Heart” tour.  And Nelson was amazing – he was not happy that night, as Berlin had used up all of the sound check time, leaving Nelson NO time to sound check his own band.

So, as retaliation (which, while juvenile in the extreme. was actually, appropriate under the circumstances) Bill decided to extend his set by an extra six or seven minutes – making Berlin wait, making Berlin late to get on stage – and he did this, much to MY good fortune, by taking a super-extended, in the spotlight, energy bow guitar solo – which was extraordinary – I’ve never heard of Bill Nelson doing this before or since – the last song had ended – but he continued playing his beautiful, powerful sustained e-bow sound – and he played and played and played – I was absolutely overjoyed.  Eventually, he relented, thanking the audience and apologising for the short set – MADE short by the thoughtlessness of the people in the band Berlin.

So while I went to a Berlin concert – it was not to see Berlin, and I actually left during one of the first few songs of their unremarkable set.  Going home was preferable to seeing Berlin play live.  Seeing and hearing Bill Nelson play an amazing short set of fantastic songs, followed by a really long “spite” guitar solo – was absolutely astonishing.  A fantastic experience!

marillionPerhaps the single most significant of all of the Type Dos bands – would be Marillion.  Bursting onto the scene in the early 1980s, but apparently believing that it was actually, still 1974 – this remarkable band of Englishmen led by one slightly mad Scotsman – became quite successful despite the fact that their music was a direct throwback to the 1970s – people didn’t seem to mind, because Fish and Marillion were brilliant on stage, Fish was incredibly friendly and personal both on and off stage, and the time that they flourished – up until 1987, when singer Fish left the band after the classic album “Clutching At Straws”.  This was a great time in music.

Fish, having his remarkable, very, very prog-sounding outfit out on tour, making retro-prog albums, playing retro-prog live and everyone loving it – what a fantastic and probably impossible thing to happen.

I really enjoyed the music of Fish and Marillion during the 1980s, and even though they SOUNDED like a Type Uno band – they are definitely the archetype of a Type Dos band – a new emerging band with a unique presence and quality music, too.

On a short trip to Britain, by complete accident, I happened to go to see a Japanese heavy metal band, Vow Wow, playing at the Marquee in London.  I wasn’t really meant to be there, I went almost by accident, but it was an enjoyable-enough experience – the band were OK, not great, but not bad – but for me, just being in the room where all of my Type Uno heroes had played – from the Move to King Crimson – was enough – at least I can say I’ve seen a show at the Marquee – OK, I wish it had been by a band that I knew, or that I liked – but – it was better than nothing lol.

Meanwhile, back in the U.S. was another attempt at a sort of Asia-style supergroup, the ill-fated GTR.  Now – I never did get the first GTR album – because after I saw them play – I would not have, and did not, want to have it.  Again – this was touted as an amazing new group, led by two of the best guitarists in progressive rock – Steve Howe and Steve Hackett.  To me – that was an irresistible combination of talent and skill – it HAD to be good !!  It wasn’t.

There was nothing good about it – singer Max Bacon was so unremarkable, that all I remember is his name.  I also do not know who else, apart from the two famous guitarists – was in the band.  None of that mattered – because they just were not very good.  I don’t remember or know a single song by them.  It’s almost as if history, ashamed of itself, has erased most of the memories of this band – to hide it’s shame.  And I am part of that – eager to believe in these two superhero guitarists – in practice – it was nothing but a huge let down – a real disappointment.  Not recommended – at all.

Towards the end of the 1980s, I ended up seeing a truly mixed bag of new, emerging artists – Type Dos artists – which included the then-very-popular Suzanne Vega, a lesser-known but far more talented singer called Maria McKee, as well as, on the complete opposite end of the spectrum of female singers – the band X from LA.  I won free tickets to see X – which I enjoyed far more than I thought I might – I particularly enjoy John Doe’s singing.

Then came what I might term as the Unavoidable Event – part of you, really did not want to go – but – you felt like you were obliged to – everyone you knew – was going – so I held out for a long time – and then ended up getting really, really horrible seats for – at the back of the Sports Arena, in literally, the VERY top row – so far up, I am surprised I did not get nosebleed – and that didn’t help my enjoyment of the show.

Having a point of view from behind the stage did have advantages, I could see what The Edge was doing really well, and his confidence and obvious skill, along with his basic humility – well, his was an impressive performance.  But sadly, U2 is not really about The Edge – it’s about one man, who I shall call, for the sake of humour – Knucklehead Smith.  That guy – the leader of said band – was just as over the top, as loud, as not funny – as we all expected him to be.  For me – he was the low point of the show.  The band could play.  But could he sing?  Sort of.

It was OK.  I wasn’t bad.  Some of the songs were pretty exciting, and the guitar work could not be faulted.  I suppose I am glad in a way, to give me a more well-rounded view of what the 1980s were all about – that I saw U2 live.  But I could have done without Knucklehead Smith – he is one crazy dude.

The last concert I remember from the 1980s, was held in a tiny club, a concert given by a new guitarist on the scene, who was just releasing his very first album, which he called “Surfing With The Alien” .  Once again, not quite sure why I was there – but I am very glad that I was – because I got to see the original, the most humble, the most basic Joe Satriani – before he became a “big star” – and it was a good, good concert – very modern, the guitar sounds were great, it was clear he was a really good player – and I left quite impressed with this young man and his guitar.  The fact that he went on to such incredible heights of fame – and that it all began with that one album – and I was lucky enough to have been there, to see the birth – to see the very beginning of Joe’s very successful career as a guitarist – more power to him.

That – my friends – was my 1980s concert experience!

 

Never Thought I Would See The Day When…

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

This includes bands or artists – and mind you, these are bands or artists that I firmly believed I would never, ever get to see play live –  such as:

  • Caravan Caravan
  • Gong       gong
  • Muse  muse
  • Neil Young     neil

 

 

To my ever-lasting astonishment, I did eventually get to see these four bands – and it was difficult to believe it was happening until the actual moment – came – and for example, with Neil Young, whose music I had loved since I was a teenager – at age 13, two of his songs were among the songs that the very first band I was ever in’s repertoire, so I basically grew up with Neil Young as the soundtrack to my life – but everytime he played in San Diego, I couldn’t go, or I didn’t find out until too late, or it sold out or any number of things – and I ended up never seeing him play.

Little did I imagine that I would see him years and years and years later, in Glasgow, Scotland, playing one of the most amazing sets of original music I have ever seen, with his new band “Promise of the Real”.  It was an extraordinary night, and a long-held dream come true – and, he played so many of the songs that I truly, truly loved, including “Alabama” and “Words (Between The Lines Of Age)” from the 1972 classic album “Harvest”.  I just could not believe it was happening…I was seeing Neil play in this surreal situation, thousands of miles away from California where I would have thought and expected that I would see him play.  It’s funny how things work out.

I can’t remember feeling so happy, so very satisfied with a concert – the songs were all good, the band was extremely good and Neil was just Neil – a remarkable man full of the most remarkable songs but also, a world-class lead guitarist with a style that is as unique in it’s own way, as a Zappa or a Hendrix might be – there is only one Neil Young, unmistakable, as he takes “old black” through it’s paces – and I was lucky enough to hear and see him soloing quite a bit that night.  Really fortunate.

So in cases like these four, and others I mentioned in my previous blog – it seems that dreams really, really can come true.

 

Awesome Guitarists – one motivator for attending so many concerts

I was a guitarist then, and I am still a guitarist now;  so it’s only natural that I would follow and enjoy music by the world’s most talented and capable guitarists – and the list of guitarists that I was lucky enough to see in the 1980s is a pretty staggering list of remarkable, talented musicians:

 

 

Forward…into the future!

So in conclusion – for me, the 80s were a far, far more exciting time musically, for me, than I actually had expected it to be – because I largely ignored what the media would have had me believe was “my experience of music” in the 1980s – and instead, I spent my time and money on going to live music concerts put on by both Type Uno and Type Dos artists – which gave me a great mixture of very, very experienced musicians from the 1960s and 1970s, updating and renewing their sound for the tech of the 1980s, while the Type Dos shows gave me an idea of what new bands were around, what they sounded like, and how they compared to the more familiar Type Unos that I knew so very well.

Starting my decade with the musics of Frank Zappa, Todd Rundgren’s Utopia, Queen, Genesis, and Yes – and that was just in the FIRST 10 months of 1980 – on up to and including Peter Hammill, King Crimson, XTC, Bill Nelson, Allan Holdsworth, and Peter Gabriel – and finally, up towards the end of the decade, the Dixie Dreg’s, Adrian Belew’s “The Bears”,  Richard Thompson (electric band this time!) and Robert Fripp with his League of Crafty Guitarists  – and many, many more – once again, I had an enormous amount of fun – and I realise now that for me, that my idea of “fun” is quite different from that of most people – I have a lot more fun when I am watching and listening to an incredibly talented lead guitarist (or in some cases, a pair of amazing guitarists – like Robert Fripp & Adrian Belew of King Crimson – or Adrian Belew & Rob Fetters of The Bears), playing as part of an incredibly talented band that has worked out an amazing repertoire of impossibly beautiful, and possibly technically demanding songs – now – that’s MY idea of fun!

Until next time then again–

 

Dave Stafford
June 6, 2018

 

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

The Sinuous 1990s – The many-headed stylistic beast

 

1980s Concert Ticket Stub Collection (courtesy Dave Stafford)

1980sConcert Ticket Stubs – 1980s

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It was 45 years ago today…

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

EPISODE 1:  The 1970s

 

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

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

Sports Arena

San Diego Sports Arena

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

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

Sports Arena - Seating Chart

San Diego Sports Arena – Seating Chart

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

 

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

 

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

 

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

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

 

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

 

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

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

 

Led Zeppelin IV-Album Cover

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

 

 

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

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

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

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

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

This includes bands or artists such as:

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

Building Up The List Of Concerts Attended

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

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

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

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

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

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

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

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

 

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

JohnWetton

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

 

 

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

 

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

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

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

 

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

 

 

 

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

 

 

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

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

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

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

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

 

The Journey Continues…

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

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

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

 

Diversity In 70s Rock:

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

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

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

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

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

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

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

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

Heavy Rock (Zeppelin)

White Soul (Scaggs) / Southern Rock (Allmans)

Progressive Rock (Yes)

Intelligent Pop (Steely Dan)

Classic Rock (George Harrison)

Progressive Rock / Unusual (Genesis with Peter Gabriel)

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

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

 

Awesome Guitarists – one motivator for attending so many concerts

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

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

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

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

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

 

Forward…into the future!

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

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

Until next time then –

 

 

Dave Stafford

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

 

 

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

The Dreaded 80s – Not as bad as we remember

 

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

Concert Ticket Stubs – 1970s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

scorched !!

or – “Dave Gregory – home at last…”

I suddenly realised, after many months of hearing the name “Tin Spirits” (but never, sadly, hearing their music – until now, that is…) the penny finally dropped: this is DAVE GREGORY’S band. Yes – that Dave Gregory, the one who used to play stunt guitar in that little ole’ band from Swindon, the redoubtable XTC. For 19 years, across 12 studio albums, from “Making Plans For Nigel” in 1979 (from the remarkable ‘Drums And Wires (1979)‘), to “Senses Working Overtime” (from the remarkable ‘English Settlement (1982)‘) on up to the celebrated “Apple Venus (1999)” (the last XTC album that Dave appears on).

Dave Gregory established himself as a stellar lead guitarist capable of precision-engineered, well-crafted and very creative guitar solos, including some truly unforgettable ones all the way from “No Language In Our Lungs” (from the remarkable “Black Sea (1980)“) to “The Ugly Underneath” (from the remarkable “Nonsuch (1992)“) and all points in between.

If Dave was the “quiet Beatle” of XTC, he wasn’t so quiet when it came to his solos, and if Andy Partridge wrote the songs and had that crazy, boundless energy, then Dave was the thoughtful musical foil to Andy’s uh, “Extrovert” personality. Dave also has an amazing collection of legendary electric guitars, vintage guitars and amps, and always had a few amazing vintage guitars to hand at every session, always the right guitar for the right solo – always well prepared, and always sounding just right for the song in question – whichever it may be. Yes, that’s a lot of “always”, but you count on Dave to come up with a great guitar solo for almost any song, no matter how strange, or how beautiful…

Don’t forget, too, that Dave was also in “The Dukes Of Stratosphear”, along with Andy Partridge, Colin Moulding of XTC, and his brother, Ian Gregory, on drums, the amazing 60s psychedelic rock parody band, and later on, worked with Steve Hogarth (and was a regular member of his touring band, too) and Dave has also appeared on albums by the Bournemouth prog band “Big Big Train”, and of course, pre-, during and post-XTC, he has always been in demand as a session guitarist, too.

As the old reliable wikipedia put it: “Since leaving XTC, Gregory has been much in demand as a session musician with a number of artists, including Peter Gabriel, Aimee Mann, Cud, Marc Almond, Bingo Durango, Johnny Hates Jazz, Jason DonovanMartin Newell, Louis Philippe, Lulu, Mark Owen, R. Stevie Moore and others. Gregory, who has been regularly involved in Steve Hogarth‘s h-Band, has also contributed to works by Porcupine Tree, including string arrangements on their sixth album, Lightbulb Sun, and for Dublin group Pugwash.

On 16 August 2009, English progressive rock band Big Big Train announced on their official blog that Gregory would be appearing as a guest musician on their sixth studio album, The Underfall Yard.[1] Gregory subsequently appeared on Big Big Train’s Far Skies Deep Time EP and is listed as a full band member on English Electric Part One (2012)”

That demonstrates just how in-demand Dave’s services as guitarist, arranger and musician are – one of Britain’s “most desirable” guitar note-slingers.

Dave’s newest band, Tin Spirits, first got together in Swindon, UK in the summer of 2008, when Aussie import, guitarist / vocalist Daniel Steinhardt from TheGigRig invited former XTC guitarist (and musical hero) Dave Gregory to a local studio to video record an ‘amp shoot-out’ with Dan’s band The Hi-Fidels, comprising bassist Mark Kilminster and drummer Doug Mussard. The rest, as they say, is history…

Me saying “Stunt guitar” is absolutely short-changing him, Dave played a huge, huge part in helping Andy Partridge and Colin Moulding to create the “XTC sound”, and if anything, not nearly enough credit goes to Dave, for his outstanding contributions to both their albums, and to their live shows – for two decades.

I remember when I saw XTC live, show 9 of the “English Settlement” tour, and I recall watching Dave playing, off to the side of the stage; he was multitasking in a really cool way, and when he reached over to play the squiggly synth line that follows Andy’s lyric “just a spineless wobbly jelly fish…” from “When You’re Near Me I Have Difficulty” (from “Drums And Wires (1979)”) – Dave makes the “jellyfish” sound on his little synth – and then, right back to lead guitar…my jaw hit the floor, and I spent most of the night, trying to see around the incredibly energetic Partridge, to see and hear what Dave was doing back there – it all just sounded amazing! All good.

That show, XTC live at the California Theater in San Diego, California, (my then-hometown) on April 3, 1982 turned out to be the 9th and final show of the US leg of the tour, the rest of which was completely cancelled due to “illness”; but the well-publicised breakdown of Andy Partridge (just hours after young 1982 Dave Stafford saw them play live!!) was the real reason the tour was halted. The band never toured again, occasionally, some years later, doing a small number of acoustic shows on radio or television, or the odd TV appearance here and there…

Dave had joined XTC at just the right moment, just as they were breaking away from their frenetic “dance band” persona, and with the departure of the sometimes alcohol-fuelled organist Barry Andrews, they were, much to their own surprise, already becoming “serious musicians” – recording and touring behind “Drums And Wires” – an album that I still listen to often, well, for me, that’s where it all started.

I have been a fan of XTC since the late 70s or early 1980s, indeed, I was fortunate to be at that very last live show they ever did, in San Diego back in ’82. That’s the only time I ever saw XTC or Dave Gregory play live, but the experience stuck with me, and based on seeing them that year (they were AMAZING!) I continued to collect their albums, and to follow their progress, as they moved into their own version of the Beatles’ “Studio Years” – when touring becomes a burden, and the decision is, let’s (still) make records, but, not play live.

This was mostly down to bandleader Andy Partridge, it was Andy who ended up so stressed out that he called time on live performance just HOURS after I saw him play a blinder of a show, and everyone was disappointed, because XTC live was one of the most energetic and interesting bands you could see live, in the early 1980s – they didn’t really have a lot of competition, especially once they had delivered both the most excellent “Drums And Wires (1979)” and it’s excellent follow-up, “Black Sea (1980)” – followed by the very excellent “English Settlement (1982)” – by the next excellent album, ‘Mummer 1983‘, it was time for Terry Chambers the drummer to go – and go he did, to Australia to marry his girlfriend, and, after playing with the Australian band “Dragon” for a couple of years, after that, he never really returned to the music business.

Now drummer-less, it did not in any way phase the remaining three members of XTC, who were all long-time friends from Swindon, and Andy Partridge, Colin Moulding and Dave Gregory, carried on through the rest of the 1980s, and into the 90s, until eventually, Dave could stand no more, and he left – and, then, XTC was a duo – and Andy and Colin went on to make more albums, although for me, once Dave left – they were lacking that spark – sure, Andy is damn near as good a player as Dave is (they are both amazing guitarists, let’s face it) when he makes the effort, and, he did make more of a real effort with the lead guitar parts on the ‘post-Dave’ albums, because I am sure he was conscious of the shadow and the memory of Dave sitting there in the studio, quietly ripping through some more amazing lead guitars for the latest XTC disk. The amount of lead guitar on records post-Dave, is noticeably less – Andy plays a few good solos, here or there, but it’s just not quite the same….

But the eventual fate of XTC is a story for another time, for now, suffice to say, that Andy and Colin went on to create a very respectable canon of work after the departure of Dave, who suddenly found himself at loose ends – playing on sessions, playing wherever he could, for a quite a few years after he left XTC. Things were almost beginning to plane out, Dave was almost forgotten, and could easily have faded from the ever-quick-to-forget music fans, but luckily, a chance encounter with a trio of Genesis / XTC fans ended up in more invitations to jam, and over time, Tin Spirits, was formed as a four piece, two-guitars-bass-and-drums band – with Dave Gregory on lead guitar.

So – once I realised that I had been missing the boat completely for a few years, that this amazing band, Tin Spirits, had toured the UK (and I could have SEEN THEM live – extreme dismay!) and indeed, they had been, and, much to my eternal frustration, on their earlier tours, they did a lot of covers of prog and other music that they had a shared love for, including Genesis “Back In NYC” from “The Lamb Lies Down On Broadway” and other songs by Rush, Yes “Roundabout”) and even Frank Zappa.  You can view some videos of some of these amazing prog covers on the Media page of the Tin Spirits official website.

Of course, it will not bother me one bit, if instead of these covers, that if we do get to see them (and I really, really hope we can…) that we might have to “endure” listening to them play most of the tracks from their new disc “Scorch” – and I will tell you, much as I would have loved to see and hear Dave Gregory play “Back In NYC” with his new band, it would be NO hardship whatsoever to sit and listen to Tin Spirits play some or all of the “Scorch” album – no hardship at all. 🙂

I have heard Scorch about four times now, and each time I hear it, I just end up feeling so uplifted, and it really, really makes me want to play the guitar (and only the very best guitar albums have that effect on me); it also really makes me want to write on guitar again (not something I’ve done a lot of since ‘gone native‘) and one thing that Tin Spirits have been extremely effective at, is creating a very full, very prog sound, without the use of keyboards – none whatsoever were used on “Scorch”, it’s all guitars, bass and drums – as it should be, really.  Dave himself is an accomplished keyboard player, but I applaud their determination, and “Scorch” is proof positive that you can make a big, big prog sound just with two guitars, bass and drums.  Of course, guitar technology has come a long, long way, and the lines between guitars and synths, continue to blur.

But the main difference between Dave Gregory, amazing lead guitarist of XTC, and Dave Gregory, amazing lead guitarist of Tin Spirits – is that in the former, he didn’t really get to play much at all – a solo here, a solo there, a keyboard solo, the odd guitar bit here or there – but nothing that he could really get stuck into – whereas in the latter, he doesn’t just get stuck in – he excels, explores and explodes – you can hear that Telecaster cutting through the air during the epic “Garden State”, and the extended solos that Dave is now not only allowed to take, but should be legally REQUIRED to take, will knock your guitar-playing socks off.

This is really a master class for lead guitarists, and we could all learn more than one thing from listening to ”Scorch” – and the rest of the musicians in the band are not slouching, in any way – guitarist / vocalist Daniel Steinhardt (also a pedal board/guitar controller inventor – the inventor of the amazing TheGigRig) is damn near as experienced and as capable as Dave is, so it’s a remarkable pairing, almost, but not quite, like having two Dave Gregorys in your band – and that, my friends, is a VERY good thing.

Bassist / lead vocalist Mark Kilminster and Doug Mussard (drums and vocals) are one of the most experienced and adaptable rhythm sections I have ever heard, and the way they slot in their backing, providing rhythmic support for the two interlocking guitar wizards – this would be, a “sort of” analog / mirror of the prog / pop “version” of Levin and Bruford supporting Fripp and Belew – I cannot think of any other truly analogous pairing of “amazing rhythm section” with “two remarkable and innovative guitarists” – I can happily and honestly say that about both King Crimson, and, about Tin Spirits.

And, another thing – the “no keyboards” rule has been faithfully followed, so somehow, Tin Spirits have created truly Progressive Rock, without the use of the dread synthesizer, and to me, to use just the guitar technology available, to be able to write for two guitars, bass and drums, and create the complex, intricate and beautiful music that is contained on “Scorch” – that is quite an accomplishment.

I am absolutely gobsmacked by just how goodScorch” is, to the point where I plan to sit down this weekend, and order their first album, so I can have their entire recorded catalogue :-). I know that the first album is not rated as highly as “Scorch” is – but I am prepared and ready anyway, open ears and mind, and I am sure I will enjoy it.  If this video is anything to go by (link below), it’s going to be excellent – a 13 minute plus epic from that first album, “Wired To Earth”; here is “Broken” – this bodes well, sounds good to me!

I bought “Scorch” without having heard one note by Tin Spirits – and, as sometimes happens, it was an incredibly GOOD ‘blind’ decision. This album is currently rocking my world, and finally, after 19 years of tantalising glimpses of Dave Gregory’s genius, from the guitar solos on “That Wave” from the remarkable “Nonsuch” to his brilliant work on “Drums And Wires”, “Black Sea”, “English Settlement”, and so many other brilliant XTC albums; “The Big Express” is a huge favourite of mine, really, I love all of XTCs catalogue, one of the most enduring in this genre (start out punky, and then gradually mutate into the new Beatles – you know, THAT kind of band!) not to mention the 1986 smash hit “Skylarking” album, produced by Todd Rundgren – an amazing body of work, but now, Dave has started another one – and this one is the guitar band for guitarists who REALLY LOVE GUITAR – “Tin Spirits”. Album Two, “Scorch”, is fantastic. I haven’t heard Album One yet (“Wired To Earth”), but, I will be ordering it this weekend.

From those tantalising glimpses of brilliance provided by a great solo from Dave on a really good XTC song, to this: where Dave is utterly set free, where he can solo for as long as he likes, and, this record is full of extended, and super-extended, and ridiculously super-extended guitar solos, many of them by Dave – and the range of playing, from Hendrix ballad style drenched in prog beauty to scathing Telecaster lead lines, I could just listen to the guitar solos, and duos, on this record over and over and over – and, don’t get me wrong, the band has EXCELLENT vocals, but right now, I am bathing in the glory of a finally-unleashed, finally-unchained, doing it the way HE wants to, nearly endless guitar solos from Dave Gregory – FINALLY !!!!!!!!! If only Andy had let Dave play like THIS in XTC, we might have seen them become a brilliant Prog band too…

This boy can PLAY. He can PLAY good. He knocks my socks off on this particular disc, if you haven’t picked up “Scorch”, I recommend it highly – it’s the guitarist’s guitarist guitar album of the future, and I love what I am hearing – finally, freed from the 30 second XTC mini-solo, when Dave stretches out on album closer “Garden State”, it’s like getting to hear Hendrix practicing beautiful guitar for “Angel” or “Drifting” or “Little Wing” that’s all I can think about, when I hear the fluid, sinuous, sounds of Dave’s guitar, and his tones are pure liquid fire, they are musically SCORCHING, there is absolute purpose, and serious musical intelligence there, and never has there been a more aptly named album.

I will let others do the song by song analysis of “Scorch”; I am really more interested in conveying what an extremely excellent album “Scorch” is, and, also, trying to give it the back story it deserves, and how it fits into the chronology of both XTC, as well as Dave Gregory‘s long and very distinguished career as a great guitarist, arranger, and all-round musician, vintage guitar enthusiast, and now, playing in the band of his dreams – Tin Spirits.  And for me, even though I’ve started at the wrong end of their short and sweet catalog, “Scorch” is an amazing musical document, and it is absolutely worth checking out.

I will say, the album opener, “Carnivore” sets the mood brilliantly, it’s a proggy instrumental with lots of great guitar, but it’s when we move into the next few songs, and you start to get to where there are well-defined guitar solos…and you suddenly “hear” Dave, you KNOW it’s Dave just by the sound – and to my mind, the only guitarist that I think is similar to Dave, is the late, great Jimi Hendrix (but probably, the gentler, more melodic “side” of Jimi) – who is clearly, clearly a huge influence on Dave.  So when that first “Gregory” solo hits your ears – you are suddenly really paying attention, and it does not disappoint – instead, it reels you in, you want more – and you don’t just get more – you get a LOT more – more Dave Gregory guitar on this album than you will find on any three XTC albums ! And that is saying something…

The gentle, pastoral guitars of “Little Eyes” from “Scorch”, take you everywhere from an almost King Crimson “Discipline”-style “interlocking” or what I call “gamelan guitars” to fluid, beautiful, liquid Hendrix guitar solos – the whole effect is so uplifting, positive sounding – a brilliant track, “Little Eyes” gives you a very good idea of the basic quality of the album – it’s just a perfect little song – lovely.  It’s long instrumental outro, is a great showcase for Dave’s amazing guitar style, and in this solo, you hear him reaching for the stars – and finding them, sparks flying – just one of those so-perfect solos, that then merges perfectly right back into the rhythm of the song…seamless, timeless – beautiful.

Take someone like Dave Gregory, with his massive collection of amazing vintage guitars, his knowledge of how sounds were created in the past, and his ability to recreate very specific guitar tones by using particular combinations of guitars, amps and effects, add in his many, many years of guitar playing, almost always, as a lead guitarists in one form or another – and you have a mature, powerful, guitar-force-to-be-reckoned with: Dave Gregory; in 2014 – suddenly, I can hear the culmination of that career, a player at the top of his game, the craft of guitar is relaxed, confident, powerful – you can hear it – in the beautiful guitar solos that are featured in almost every track on “Scorch“.  Remarkable!  And really, really beautiful, too.

Get “Scorch” now, if you love prog, if you love pop, if you love guitar music, if you loved XTC, if you love the guitar work of Dave Gregory – heck, just get it – I bet you will like it! In Europe, you can get it from Burning Shed, in America, probably Amazon. This be rocking! I’m going back to listen to it again right now…ah…sonic bliss 🙂

“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!