A musical Damascus moment

As I hope this blog makes abundantly clear, music is – to quote Frank Zappa – ‘the best’.

Consequently, I type this surrounded by my guitars, recording equipment, amps and shelves and shelves full of recorded music.

Several years ago – when I had hundreds of cassettes and vinyl LPs (remember those?)  – I once worked out that I could play my collection for several weeks and not hear the same track twice.

Now, it’s several months at least…there’s music on MP3 CDs, MP3 DVDs and hard disc drives.

We’re not talking mere gigabytes here – it’s terabytes of the stuff…

So, there’s a shitload of music here – and of all kinds, from classical to avant-garde jazz.

Indeed, to coin a phrase, from Abba to Zappa.

My current tastes have been steadily with me for a few years now. I find myself listening to a lot of blues, some country and a hell of a lot of jazz.

Heh…I suppose I’m in a bit of a rut – albeit a very, very pleasant one.

However, I’ve just had my musical world totally fucking rocked by what’s probably the most refreshing and involving album I’ve heard in years.

It’s giving me major goosebumps right now listening to it, and I think I could quite happily get marooned on a desert island with nothing but this beautiful music to keep me company.

Basically, it’s an album of Steely Dan songs sung by two Swedish women with minimal accompaniment – mostly piano.

It’s this:

fire-in-the-hole

It’s called ‘Fire in the Hole’ and it’s by Sara Isaksson and Rebecka Törnqvist – although they don’t look like the cover seems to suggest they do.

Here they are:

 

rebecka-sara

 

That’s better, isn’t it?

Here’s the Dan songs they cover:

  • Rose Darling
  • Barrytown
  • Gaucho
  • Green Earrings
  • Your Gold Teeth
  • Brooklyn (Owes The Charmer Under Me)
  • Don’t Take Me Alive
  • Josie
  • Do It Again
  • Fire In The Hole
  • Pearl Of The Quarter
  • Midnite Cruiser

What surprised me was that if someone asked me to list a dozen Dan songs I’d like to hear covers of, very few of the above would have made it to my list.

However, Isaksson and Törnqvist make the songs their own, and, with minimal accompaniment, the songs are stripped down to the essentials – melody, harmonies and chord changes – and then sung in such a way that each one becomes a small jewel of dazzlingly radiant beauty.

They’ve made me aware of subtleties in songs that I very often skip through when listening to the original albums on which the tunes appeared. I just know that I’ll revisit the Dan versions with fresh ears now.

Their voices are simultaneously plaintive, vulnerable and sensuous but with an inner strength that supports a format of basically two female voices and an acoustic piano.

Yes, there are other instruments – occasionally you’ll hear a mandolin, a sax, a clarinet, an acoustic guitar, a synth, an electric piano or a kick drum – but it’s basically kept very simple and these other instruments just used for texture and seasoning.

Even the voices reinforce this simplicity, with solo and unison singing used when appropriate, and so the glorious harmony sections are made to really stand out .

Some of the instrumental lines – such as the guitar figure in ‘Brooklyn (Owes The Charmer Under Me)’ – get sung in a vaguely ‘scat’ way, although what could have been a ‘jazz’ album gets elevated to a sort of a melodic purity by dint of the clarity of the singing and an overriding urge to display the inner lyricism of the tunes.

It’s an absolutely fantastic piece of work.

Fortunately, I can share it (sort of) with you on here.

YouTube has a couple of live versions which are almost as good as on the album.

Here they are:

 

The album’s not a work of genius – it’s something a bit more unique than that.

Just as the planets will occasionally align, the sun will be eclipsed and you get a phone call from someone you were thinking about a minute before the phone rang, it just happened – because it did.

The two voices came together on a few pieces of music and something just happened – something so unique that it became more than just a series of circumstances or a fortunate situation.

Call it serendipity or coincidence, but whatever it was, it all gave rise to some of the most beautiful music I‘ve ever heard…

PS I’ve just read this on a blog regarding this musical gem and I agree 100%:

The fact that it even exists gives me hope for the future of humanity.

 

 

100 Great Guitar Moments – #80 to 71

Yes, it’s that time again when another 10 guitaristic delights get featured here for your listening pleasure.

It’s worth reiterating that this is a very personal choice that will vary over time and the great guitar moments are placed in no particular order of merit – apart from the last one, of course, which will be my current all-time favourite.

Steve Winwood – Night Train: He was great with the Spencer Davis Group, Traffic and Blind Faith, but it’s his solo work which has some obscure but essential gems scattered amongst it. This track from his second solo album showcases him as a guitarist, although he played all the other instruments himself. It’s really just a jam, but it shows that he can play as well as any of his contemporaries – including Clapton.

 

The J.B.s – Doin’ it to Death: Two guitarists for the price of one here – the legendary Jimmy Nolen and the lesser-known Hearlon "Cheese" Martin. This is funk, with an illuminated capital ‘F’. OK, it’s simple stuff, but decidedly tricky to play for so long and keep the groove. Of course, this is really a James Brown song, but dear old James created so many band offshoots that it’s hard to keep track. Without JB’s prescription for funk, no Funkadelic, no RHCP – no funk at all. Dig the key change from F down to D. Take it to the fridge! Er…bridge!

 

Steve Vai – Blue Powder: I could have picked quite a few tracks by Vai to illustrate why he’s one of the few shredders who has something to say and not just wank away at. This version was issued as an exclusive Guitar player flexidisc and I prefer it to the later album version. It’s not exactly soothing music, but it has little lagoons of calmness within it. I love the subtle and Hendrixy guitar at 1:55 and the way the whammy bar opens this section. Vai plays with feeling here, but also a great deal of humour, and – to my mind at least – that’s an important and rather rare quality in rock music.

 

Robert Johnson – Stop Breakin’ Down: OK, Johnson’s been hyped and mythologised way more than anyone deserves. There are plenty of other great singers, writers and guitarists who contributed to the blues in a significant way. However, that doesn’t mean that Johnson isn’t worthy of all the plaudits that have come his way since his untimely death. It’s hard to listen to his guitar playing when the vocals are so plaintive and prominent, but it’s worth the effort. That’s real driving guitar and his thumb keeps a rock steady rhythm throughout. Essential blues guitar.

 

Les Paul and Mary Ford – How High the Moon: It’s Les’s tone which blows me away in particular. No-one before him had such a deep, rich sound and so much tonal variation. I have this hunch that he had his amp turned up almost to the point of distortion – certainly his guitar has an edge to it that no-one else had at the time. Of course, that’s all without actually mentioning the superb playing and the groundbreaking multitracking…

 

Duane Eddy – Peter Gunn: OK, it’s really easy to play, but tone is all here, with Duane playing the riff in unison with a piano, a bass, another guitar (I think) and possibly even another guitar – a six string bass? Whatever’s going on in the mix, it all adds up to a monster riff that just powers along. Sometimes less really is more…

 

XTC – The Mayor of Simpleton: Two for the price of one! Dave Gregory plays electric 12 string against Colin Moulding’s highly complex bass lines to produce a swirling piece of poptastic goodness. Gregory’s an excellent player who’s taken onboard virtually every style of playing but still manages to sound original. The lines he plays at about 1:50 – the end of the bridge section – are just beautiful. Moulding’s bass playing is just as uplifting and original. Throw in Andy Partridge’s clever lyrics and immaculate vocals and you have pop perfection. Andy’s no slouch on guitar, either…

 

 

Deep Purple – Highway Star: The line up with Blackmore that produced this track has to be one of the all time greatest hard rock bands ever. Yes, it’s headbanging music, but it’s intelligent too. The solo section starting at 3:50 with the harmony guitars is Richie Blackmore in a nutshell – no overt pentatonics, a dash of classical influence and melodicism in spades. At 4.43, he starts a rapid picking section which deserves special attention as the double-tracked guitars play catch up with each other and what seems ostensibly straight forward is really quite complex. There’s a multitrack of this knocking about on the net which will enable you to isolate the guitar tracks and study Blackmore’s contribution in depth.

 

Albert Collins – Collins’ Mix: To be frank, Albert was a bit of a one-trick pony, but when the trick’s so good, you don’t really give a fuck. Playing with a capo and a tuning all his very own, Collins cranks out angular lines which sort of spit out at you but sit well over a funky accompaniment with organ and horns. Collins started out as an organ player and it shows in his playing. I wish he’d explored the idea of a small organ/guitar combo rather more than he did. I have this idea that with the right person, he’d have ended up with the blues equivalent of Kenny Burrell and Jimmy Smith…a blues organ combo – now that’s a very tasty prospect indeed!

 

 

Masters of Reality – Kill the King: Stoner rock from its uncrowned king, Chris Goss. I have no idea what he’s singing about but the guitar lines are just beautiful, with acoustic, whammy bar lead and what is absolutely one of the monster riffs of all time. There have been occasions when I’ve played this track upwards of a dozen times in a row, cranked up to the absolute max.

 

9 other things to do with a guitar

It’s all very well being able to play a guitar, but what else can you do with one?

1. You can spin around with it or even just spin it around:

 

2. You can perform acrobatics with it:

 

3. You can twat somebody with it:

 

4. You can take a chainsaw to it:

 

5. You can just smash it up:

 

6. You can blow it up:

 

7. You can use it for background music whilst you juggle:

 

8. You can make a bike ride more entertaining:

 

9. You can attach an outboard motor to a 20 foot long guitar (if you have one handy) and go for a cruise on the river:

 

Another good one gone…Bert Jansch RIP

A person would be a moron not to appreciate McLaughlin’s technique. The guy has certainly found out how to operate a guitar as if it were a machine gun. But I’m not always enthusiastic about the lines I hear or the ways in which they’re used. I don’t think you can fault him, though, for the amount of time and effort it must have taken to play an instrument that fast. I think anybody who can play that fast is just wonderful. And I’m sure 90% of teenage America would agree, since the whole trend in the business has been "faster is better."

So said the late, great Frank Zappa about fellow guitarist John McLaughlin in 1977.

Frank had a point as it seems, since then, that one only has to plug in an electric guitar, strike a few dramatic poses, gurn a lot and play very loud and very fast and you too can immediately become a guitar god.

Remember the worst excesses of shred?

For every talented shredder like Steve Vai…

 

…there were several of these…

 

…and, if you were really very fucking unlucky, one of these sorry-ass motherfuckers…

 

But what if you never went electric in the first place?

Well, that question can be answered by going back some dozen years before Uncle Frank said it like it was.

Never mind guitar gods, I’m talking the Holy Fucking Trinity here…

Davey Graham, Bert Jansch and John Renbourn.

I’ve blogged about Davey here already on the sad occasion of his death, and now he’s been joined by Bert.

Together with Renbourn they represented the flowering of solo steel string acoustic guitar playing that came to prominence in the early to mid 1960s and established the instrument as a worthy antidote to some of the excesses of the electric guitar.

Jansch and Renbourn teamed up as a duo, in fact, and then went on to form an acoustic band called ‘Pentangle’, which gigged alongside the usual suspects, including a certain Jimi Hendrix, and in the same haunts both in the UK and the US.

 

 

But back to Bert – solo.

Less jazz, blues and classically orientated than Graham, and less mannered than Renbourn, Jansch adopted a more melodic and lyrical approach towards the instrument and used it a lot to support his vocals, as he was a prolific songwriter.

My favourite Jansch recordings are mainly his take on traditional tunes. You may have thought that Jimmy Page’s solo showcase with Led Zeppelin was original, but he actually ripped off Bert’s arrangement as on the second clip here…

 

Are you listening, Jimmy?

In my own personal context, I was listening to Bert alongside Clapton with Mayall, Bloomfield with Butterfield, Dylan – newly gone electric – and Simon and Garfunkel.

The electric guitar dominated my formative playing years, so Bert’s influence was minimal – for one thing, I lacked the ability to copy him and the skill to try. That’s still the case, but it’s not stopped me enjoying the man’s music for over 45 years and for those with more proficiency on the acoustic guitar than I have, his influence is destined to last a lot longer.

One last one from Bert…

 

Climb up on my knee…

CCF06302006_00001

It’s a sad fact that with the recent death of Dave ‘Honeyboy’ Edwards, the genre of music called ‘the Blues’ lost someone who was probably our last link with the people who have made the music what it is today and enriched its legacy out of all proportion to its humble beginnings.

Honeyboy was the last of the Delta bluesmen – as far as we know – and he actually knew and played with people like Robert Johnson. In fact, he stated that he was actually with Johnson when he drank the poisoned whiskey that allegedly killed him.

RobertJohson

Having said all that, the world of the itinerant black blues musician in the 1930s and 1940s was so badly recorded (indeed, why would anyone grasp the significance of musical events at this time and preserve it for posterity?) that rumour, speculation and even lies have often obscured the real version of events.

What we’re left with is a mish-mash of anecdotal histories and biographies that both fascinates and frustrates.

Take a blues great like Elmore James, for example.

ElmoreJames(in color)

James was a seminal figure in the Blues, with his trademark slide riffs, his poetic lyrics and his frail but commanding voice. He cut dozens upon dozens of sides for a multitude of record labels – often recording the same songs or slightly adapted versions – and learned his craft in the company of Johnson and other Delta notables of the 1930s and 40s.

However, dig just a little deeper and an interview with his elder cousin ‘Homesick’ James casts some doubt on how much kudos Elmore should really have. Homesick claims that he taught his younger cousin how to play slide, that he either co-wrote or wrote classic Elmore James songs like ‘Dust my Broom’ and played as much, if not more slide as Elmore on record and at gigs.

Quite how much Homesick is to be believed is hard to say. There are obvious financial incentives to be economical with the truth, and no-one ever wrote down what actually went on at the time.

Thus, we’re left with stories that may or may not be true but can never be verified.

And that’s part of the pleasure I get from early blues music and the study of its proponents.

It’s a sort of mythology and as long as you’re content to accept that much of it has little basis in truth then it’s as fascinating, in its way, as any Greek or Roman tale of heroism and divine machination.

One of the most interesting characters in blues history – and one who epitomises everything I find engrossing about it – is Sonny Boy Williamson.

To be exact, Sonny Boy Williamson II.

Actually, to be even more exact, Aleck or Alex or Willie Rice Miller or Ford.

(When I say exact, I mean as exact as Sonny Boy II wanted to be about himself…)

He was also known variously as Sonny Boy Williams, Willie Williamson, Willie Miller, Little Boy Blue, The Goat and Footsie, but that’s another whole shitload of stories that’ll have to keep for another time…

However, I hear you ask, if Aleck was known as Sonny Boy Williamson II, was there a Sonny Boy Williamson I?

To which I can truthfully reply, yes there certainly fucking was.

Sonny Boy the First was actually born John Lee Curtis Williamson in 1914, dying in 1948.

Sonny Boy Williamson sonnyboy_3

Like Sonny Boy II, Sonny Boy I was a harmonica player and singer who pioneered the instrument as a solo player, had a great deal of success with his many recordings and kept such illustrious company as Muddy Waters throughout his relatively short professional life.

So, Sonny Boy I and II were both significant harp players and singers, but they weren’t even remotely related.

Why then did Sonny Boy II ‘borrow’ Sonny Boy I’s stage name?

Well, if you thought “money”, then you’ve guessed the reason.

As this very informative article puts it:

By the early ’40s, he was the star of KFFA`s King Biscuit Time, the first live blues radio show to hit the American airwaves. As one of the major ruses to occur in blues history, his sponsor-the Interstate Grocery Company-felt they could push more sacks of their King Biscuit Flour with Miller posing as Chicago harmonica star John Lee “Sonny Boy” Williamson.

It was a rather clumsy deception, but it obviously worked as the name stuck with Miller and there don’t seem to have been any lawsuits. Although the Insterstate Grocery Company didn’t actually pay him much, they allowed him to plug his gigs on air and this helped push up his earnings by getting bigger crowds to see him.

Indeed, such ruses involving aliases and stage names weren’t uncommon, with such luminaries as the late, great John Lee Hooker recording for different record companies under a variety of names early on in his career.

As well as his own name, he recorded under the names of Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, The Boogie Man, Johnny Lee (getting slightly less imaginative now), John Lee, and even John Lee Booker and John Lee Cooker.

The latter two names must have taken fucking ages to think up…

Anyway, to his grave, Sonny Boy II dubbed himself the ‘real Sonny Boy Williamson’, in spite of appropriating Sonny Boy I’s stage name whilst #1 was at the height of his career.

It probably helped both men that Sonny Boy #2 didn’t start recording until long after #1 was dead and buried, although his recording career didn’t exactly set the world alight. In fact, somewhat ironically, it wasn’t until his contract was sold on to Checker Records – a subsidiary of the famous Chess Records Company – because he was so difficult to work with that he started to get blues chart success.

Recording with the likes of Willie Dixon and Robert Lockwood Jr, Sonny Boy II wrote and released many songs which have become blues standards – all marked by witty, sometimes desolate lyrics, a quavering baritone and sharp piercing harp lines. Notable successes include ‘Eyesight to the Blind’, ‘Help Me’, ‘Checkin’ up on my Baby’, Nine Below Zero’, ‘Don’t Start me to Talkin’’ and ‘Bring it on Home’, the latter covered by Led Zeppelin on their second album, but attributed to Page and Plant…

Sonny Boy II was a real showman. He’d play with the harp inside his mouth and up his nose.

Here he is from the early 1960s:

He spent a lot of time in Europe towards the end of his career and acquired a rather eccentric image for which he sported a chequerboard suit, a bowler hat, a furled umbrella and a briefcase which held his harps and a bottle of whiskey.

Sonny Boy Williamson  4

sonny boy

And yes, Sonny Boy #2 liked a drink…in fact, as well as being a drinker he was a gambler, conman, brawler (wiry, but 6 feet tall and often armed with a blade) and ladies man, with a wicked sense of humour,

He was backed by some of the early UK beat groups when he toured the country and dubbed the Animals the ‘Mammimals’ and, with reference to the Yardbirds, he had this to say:

“These British want to play the blues so bad…and they play the blues so bad!”

He died in 1965 soon after he returned to the US, but even his gravestone is somewhat ambivalent – not about his name, but about the year of his birth. Although it states 1908, Sonny Boy #2 claimed it was 1899, although census evidence suggests it was 1912.

If it was 1912, then 53 years of hard living had certainly taken their toll!

However, amongst all the hard living, subterfuge and other roguish antics, Sonny Boy II was generous when it came to helping his fellow players. He mentored a young Howlin’ Wolf – who seems to have been his brother-in-law – and also helped spread the word about a guitarist and singer who went on to be known as BB King.

So, Sonny Boy II was many things throughout his life, but his constant was his music.

As usual, to conclude this post by letting the music do the talking, here’s Aleck, Rice, Sonny Boy II, whoever he was, with one of his classic compositions.

Just him and his harp…

Firebirds and hair

Whilst ferreting about on YouTube trying to find videos to illustrate yesterday’s post about Glen Campbell, I stumbled across a video clip I’d never seen before and that I’d only heard.

It features Cream guesting on the Glen Campbell Show in 1968 performing ‘Sunshine of your Love’ live and was something I’d only ever heard on the Cream box set retrospective ‘Those Were the Days’.

It’s an interesting piece of footage for several reasons.

Clapton is the hairiest he’s ever been and looks somewhat like this:

Eric Clapton eric_clapton_cream

The guy’s a bit like a human chameleon – he’s gone through what seem like dozens of ‘images’ and never seems to look the same for very long.

He’s also toting a Gibson Firebird – as in the photo above.

Here’s a better picture:

eric18ps

There are lots more photos of a Cream-era Clapton with his Firebird here.

Associated with Les Pauls and SG Les Pauls up until then, Clapton seemed to like his Firebird a lot. He used it extensively in Cream’s last two tours right up until the RAH gigs in London when he used it for the early show, switching to the red ES335 for the late show – which is the one I saw.

It seems pretty obvious that the producer of the Glen Campbell Show told the band to play quietly – or at least turn it down – as Clapton’s tone lacks the distortion which was part of his signature sound at that time. In fact, it’s downright wimpy and takes all the OOOMPH out of the performance which was by the band at its height – after they’d been gigging extensively in the US and before their badly-rehearsed farewell tour when they seemed to be going through the motions.

Anyway, here’s the video in question – a fascinating document that I didn’t know existed, but fascinating for the wrong reasons!

To make up for the rather lacklustre performance, here’s a bit of video someone has cobbled together, featuring some interesting photos and a performance of ‘Sunshine’ that’s very early and very energetic! In fact, the band’s on absolutely blinding form – on fucking fire – with Bruce playing some great bass and Clapton freewheeling all over the top of it.

Stunning!

Glen Campbell – more than just a rhinestone cowboy

Mention the name ‘Glen Campbell’ to most people and they’ll probably say ‘Rhinestone Cowboy’ or ‘Wichita Linesman’.

However, there’s much, much more to the guy than a few hit records.

I’m prompted to write about Glen because of the sad news that he’s just released what will be his final album and is just about to embark on his last tour because he has Alzheimer’s and won’t be able to do much of anything eventually.

But what is it about him that raises his significance above a few hit records?

Well, you’ve probably heard him more often than you realise because he started off as a session guitarist.  Here what his Wikipedia entry has to say about him:

In 1958, Campbell moved to Los Angeles to become a session musician. He was part of the 1959 line-up of the group the Champs, famous for their instrumental "Tequila". Campbell was in great demand as a session musician in the 1960s. He was part of the studio musicians clique known as "the Wrecking Crew", many of whom went from session to session together as the same group. In addition to Campbell, Hal Blaine on drums, Tommy Tedesco on guitar, Leon Russell on piano, Carol Kaye on bass guitar, Al Casey on guitar were part of this group of session musicians that defined many pop and rock recordings of the era. They were also heard on Phil Spector’s "Wall of Sound" recordings in the early 1960s.

You had to be a consummate musician to be part of the Crew – not just technically brilliant, but able to record track after track as quickly as possible.

He also played on various Beach Boys sessions, including those which produced the sublime Brian Wilson masterpiece ‘Pet Sounds’.

So deeply did Campbell impress Wilson and the rest of the band, that when Brian decided to give up touring and just work in the studio, Campbell joined the band on bass and falsetto harmonies.

 

Beachboys

From L to R – Carl Wilson, Mike Love, Glen Campbell, Dennis Wilson, Al Jardine

During this period, he also contributed to a whole slew of cheapo instrumental albums which spotlighted the guitar – this being a very guitar-orientated time in music. This is actually when I first became aware of him as a friend had an LP (remember those?) with Campbell featured on 12-string guitar, which was all the rage then due to its use in folk as well as by the Beatles and the Byrds.

After his stint with the Beach Boys, Campbell embarked on a very successful solo career. Fortunately, he had good taste in material and covered songs by people like John Hartford, Allen Toussaint and, most notably, Jimmy Webb.

It’s fair to say that Campbell has had his fair share of demons with a recurrent drink problem which came to a head when he was arrested for leaving the scene of a road traffic accident when drunk and assault on a police officer – the latter charge was dropped.

His career had a bit of a renaissance in 2008, after several years going through the motions on the usual circuit of venues demanding the ‘golden oldies’, with the release of a new album that once again showed his great taste in covers:

It was announced in April 2008 that Campbell was returning to his signature label, Capitol, to release his new album, Meet Glen Campbell. The album was released on August 19. With this album he branched off in a different musical direction, covering tracks from artists such as Travis, U2, Tom Petty and the Heartbreakers, Jackson Browne and Foo Fighters. It was Campbell’s first release on Capitol in over 15 years. Musicians from Cheap Trick and Jellyfish contributed to the album as well. The first single, a cover of Green Day’s "Good Riddance (Time of Your Life)", was released to radio in July 2008.

As good as this album is, I don’t think it’s up to the standard of his latest and last offering, ‘Ghost on the Canvas’. This is available from iTunes at a good price and is well worth the download, especially with 2 bonus tracks.

The material is great, with ex-Jellyfish Roger Joseph Manning, Jr. contributing a lot of songs and the session players include all manner of people – listed here.

But back to what originally started off what is a long and successful career – his guitar playing.

Here he is – in 2008 – playing some very nice country style licks:

Great octave work and a very fluent left hand.

How about this – jamming with Steve Lukather on acoustic?

 

.

OK, a bit corny I know, but here’s Glen with the late, great Jerry Reed, who Steve Lukather mentioned in the preceding video:

 

To end with, Glen on electric 12-string doing what is very difficult on one of them. No, not fretting it (although for anyone with normal-sized fingers that’s tricky enough!) but bending the strings. Audio only, I’m afraid…

 

Thanks, Glen, and good luck where you’re going.

4 dusty gems from the 1970s

I don’t know about you, but one of the most rewarding ways of spending a few idle moments is a good old fussock around YouTube looking for musical gems.

Here’s a few that I’ve bookmarked recently…

10cc…they were always a bit too clever-clever for me, but I seem to have become a real fan of late. ‘Rubber Bullets’ is a great song – witty lyrics, an interesting chord structure and great ensemble playing. This is a live version with a nice jam at the end…note the changed lyrics…

 

Another fantastic 1970s band were Be Bop Deluxe, with the sublime guitar playing of Bill Nelson.  I used to play this tune in a band called ‘Spud and the Fabs’ – and sing it too…

 

The early to mid 1970s were great musically – it was still OK to be able to play your instrument well, as the Edgar Winter Group show in this 10 minute version of ‘Frankenstein’. It was OK to look as if you were actually enjoying yourself, too…

 

I’ve always had a soft spot for Mott, with Ian Hunter’s flawed yet consummate ability to live and breathe rock and the way that the band were so shambolic yet never quite fell apart.  Incidentally, Mrs Shark went to school with two of the band – Buffin and Overend Watts…and yes, he really does sing ‘cock in hole queen’, the rude little monkey…

 

Free – the best band ever?

Having found the lead that connects my laptop to the TV, I’ve been able to watch YouTube videos in large-screen luxury.

In the course of viewing last night, I found some superb video showing the band Free in their magnificent heyday.

Arriving on the scene a little too late for the mid 1960s ‘British Blues Boom’, Free had a lot in common with the movement and were named by the late, great Alexis Korner – sort of. He suggested ‘Free at Last’, which was shortened to ‘Free’. Or did he suggest they shorten the name? Fuck knows…

What a lot of people don’t know is how young Free were when they started playing together.

Free

Lead singer Paul Rodgers and drummer Simon Kirke were both 18, guitarist Paul Kossoff was 16 and bassist and keyboard player Andy Fraser only 15.

Within 6 months they’d recorded their first album ‘Tons of Sobs’ which was very blues based, but showed their funky side, which was what made the band stand out from the rather leaden groove that most hard blues/rock bands seemed to fall into.

There must have been real chemistry at work when they got together .

Rodgers on lead vocals had – still has – an amazing voice. With Free he took centre stage and used the mic stand to great effect as he strutted about and indulged in some proper groin-thrusting.

Kossoff on guitar had a great Les Paul/Marshall sound and he played using a very distinctive vibrato. Whilst he didn’t stray too much from the pentatonics, he used them melodically and his rhythm playing was sparse, with some interesting chords using the open strings together with fretted ones. No power chord thrashing for Kossoff!

Fraser on bass was amazing. Using a short scale Gibson bass, he played a heady combination of melodic lines on the upper frets and heavy root notes on the bottom ones. Above all, he left spaces in his bass lines which remind me of reggae bass styles and really let the music breathe.

Making up the quartet was drummer Kirke who always kept it simple, powerful and exciting. Using an extremely small kit – snare, kick, two toms, ride and crash cymbals and hi-hat – he could be almost jazzy at times, which tied in well with Fraser’s syncopated and spare bass lines to create a rhythm section that floated and skipped but never plodded.

The old adage ‘the whole is greater than the sum of its parts’ applies to Free very, very well. The combination of the instruments and Rodger’s charismatic and souful demeanour combined to produce a drive that was intense, but never bludgeoning and their use of dynamics was second to none, with the band dropping back when necessary and then cranking it up in complete contrast.

Not only was the band a musician’s delight, but in their glory days, they were a pop phenomenon, too. Live recordings at the time of ‘Alright Now’ (their biggest hit) reveal teenage girls screaming in the same way that the Beatles experienced and the band became pin ups.

But what of the band today?

Rodgers went on to form Bad Company with drummer Kirk, ex-King Crimson bassist Boz Burrell and ex-Mott guitarist Mick Ralphs. He then went solo, joined Queen (a disaster in my opinion; as fine a singer as he is, he’s no Freddie Mercury) and then reformed Bad Co last year. He’s still a force to be reckoned with, solo, but has never regained the success he once had.

Kossoff left Free in a heroin haze. His playing was so erratic that he was sacked. He went on to form Back Street Crawler, which was OK, but then died of a drug realted heart attack at the age of 25. A total waste of a great talent.

After Bad Co Kirke didn’t do too much until their reunion, although today he’s on the Grammy awards committee and still plays in bands.

Frazer has possibly the most interesting post-Free career. When Free broke up, he went on to form the underrated ‘Sharks’, ‘The Andy Fraser Band’ and then …very little else. He contracted HIV, came out as gay and then embarked on a bizarre but pioneering series of projects that culminated in the formation of the McTrax group of companies.

Nothing that they went on to do, however, comes anywhere near approaching the magnificence that was Free, and that magnificence stands out best in a live situation.

Fortunately, a fair amount of footage still exists to illustrate this and there’s one show in particular that captures the band perfectly. Iit was produced by Granada TV and shows the band in a TV studio with a fair-sized and appreciative audience. It’s well-shot, with good sound and the cameramen made sure that they gave equal attention to all four players.

It’s astoundingly good.

Actually, it’s better than that.

It’s totally fucking amazing!

Rodgers struts about like some randy cockerel, Kirke plays his tiny kit with his typical high arm movements, and Kossoff gurns a lot (although I think he means it) and plays some beautiful guitar.

However, it’s Fraser who really shines, as far as I’m concerned.

His body movements and playing just scream exuberance as he rocks back on one foot and just soars over and rumbles under the rest of the band. There’s such deep joy in his playing and I’m certain that he’s not putting on a show. He’s just happy playing what he’s playing, who he’s with and tyhe zone that he’s in.

Enough words.

Here’s some of that footage. Unfortunately, embedding has been disabled on the ‘All Right Now’ video, so you’ll have to go straight to YouTube to watch it. It’s worth the detour though!

Over 40 years old and still as fresh and vital as it was back then.

It really doesn’t come any better than this!

Clarence Clemons RIP

I’ve never been a Bruce Springsteen fan.

Whatever it is – or was – about him that tuned a fairly standard singer-songwriter into a major league stadium and festival star just seems to have eluded me.

In fact, I might go so far as to say that ‘The Boss’ is a bit of a turn-off for me, as I’m not too happy with his ‘I’m just an ordinary working Joe’ image. That’s terribly easy to do if you’re a millionaire many times over.

However, there is one Springsteen song that I absolutely love and that’s ‘Born to Run’.

With its Phil Spectorish production – it sounds like it was recorded in the biggest bathroom in the world – its uber- American lyrics, its ensemble playing, its complex structure with many sections and its sheer energy and drive, it’s pure rock anthem and one of the all-time classics.

It’s actually the only Brooce track I have in my vast collection of music…

One of the stand out features of BTR for me is the sax solo, played by Clarence Clemons, who died yesterday following a stroke at the age of 65.

Here he is, when Bruce and the E Street Band sounded as though they meant it.

Thanks, Clarence…