Got Live If You Want It

As the introduction to Rolling Stone’s 50 Greatest Live Albums of All Time says, it’s impossible to capture the frenzy (and I would add joy) of a great live show on record.  But as the list shows, there have been some awesome live recordings.

Confession:  in general, I have always preferred studio albums, because the sound quality is better, there’s less self-indulgence from the band, and the mistakes land on the cutting room floor.  But I still enjoy a good performance, and I love going to concerts.

The list has something to satisfy just about every musical taste, and it includes some career-establishing performances.  But for me, its main virtue is that it serves as a healthy reminder that music is meant to be enjoyed live.

The Power of Two

Rolling Stone’s Readers’ Poll on The 10 Greatest Duets of All Time definitely reminds us that magic can happen when two great musical forces are combined.  With the exception of Sonny and Cher - and (sort of) Marvin Gaye and Tammi Terrell - most of the recordings listed were one-offs, which only adds to their appeal. 

Personally, I’m kinda partial to Bowie’s duet with Bing Crosby on The Little Drummer Boy, but I get why it’s not on the list.  A lot of Blues greats have done the duet thing too:  Hooker, Buddy Guy, B.B., Clapton.  Lots of magic on those records.

Anyway, you gotta dig it when great artists who respect each other collaborate.  You can almost feel their joy.

Comeback Kids

Guitar World’s 10 Best Comeback Albums of All Time proves that you can’t keep a good band down.

Even the best artists sometimes:

1) Take risks that fans don’t dig

2) Let success get in the way

3) Run out of ideas

4) Lose their way

5) Just get overtaken by something new and exciting

Or, as the list also illustrates, people die and stuff.  So bravo AC/DC!  Well done, Foo Fighters!

But most of the list is about a wake-up call, followed by a determined (and successful) effort to proclaim, “Not down for the count!”

U2, Metallica, Johnny Cash, Aerosmith, John Lennon, Deep Purple, the Stones, The Dixie Chicks …  they’ve all proven they had a lot more to give.

Good for them … and lucky us!

Still Crazy After All These Years

Oh.  So Rolling Stone ran a readers’ poll on the Greatest Rock & Roll Rebels, and it makes a bit more sense.

Including the intro, which says these rebels pushed boundaries and refused to conform.  That’s a little more on point.

Here’s the list: Jim Morrison, Dylan, Zack de la Rocha, Keef, Iggy Pop, Johnny Cash, Lennon, Zappa, Axl Rose, Bowie.

All in all, there’s a lot more cohesion here than in the previous list.  Interesting that Johnny Cash is the only name to appear in both versions.  And also interesting, I guess, is that I’m more qualified to be a reader than an RS editor, since my list was closer to the general public’s.  Of course, the editor guys’ job is to spark discussion and debate.  Like we’re gonna conform!

Anyway.  Play by your own rules.  That’s the message.

Rebel Rebel

So Rolling Stone compiled a list of Rock & Roll Rebels, and introduces it with a smorgasbord of context.  Rebels are: bad boys, sensitive, revolutionaries who don’t understand why things have to be the way they are. 

Not sure that gives me a clear picture of what a rock & roll rebel is, but here’s their list:

Plastic People of the Universe, Fela Kuti, Elvis Costello, MC5, Peter Tosh, Sinead O’Connor, Kurt Cobain, Victor Jara, Jerry Lee Lewis, Public Enemy, Marilyn Manson, Steve Earle, The Clash, Sex Pistols, Johnny Cash

Neither does the list.  Some of these folks aren’t really rockers, although you can’t dispute the rock and roll attitude.

But rebel against what?  The government, parents, the “establishment”, societal norms, expectations, good taste?  Rebel consistently, or once upon a time?

Depending on your definition, there are lots of other candidates: Lennon, Richards, Dylan, Alice Cooper, Bowie, Zappa, Morrison, Hendrix …

Maybe the definition doesn’t matter, ‘cause at bottom rock and roll is about rebellion, isn’t it?  As Brando would say, “what’ve you got?”

Transformer Man

Interesting list from Gibson on Shocking Detours by Major Artists.  You know, like, where did that come from?  That’s not what I expect or want to hear.  How dare he/she/they?  That kind of thing.

Here’s the list:

Neil Young – Trans

Stones – Their Satanic Majesties Request

Todd Rundgren – With a Twist

Lou Reed – Metal Machine Music

David Bowie – Young Americans

Sly Tone – There’s a Riot Goin’ On

Kiss – Music from “The Elder”

Springsteen – Nebraska

Yes – 90125

Johnny Cash – American Recordings

Well, some of these records certainly did shock.  Some were dramatic departures from what you’d expect.  Maybe some were even bad ideas.

Not all of ‘em, though.  I mean, disco was in full swing and Bowie morphed from Ziggy Stardust to white R&B.  I don’t remember anyone being too surprised, especially since he did it with such credibility.

And Trans?  By 1982, could anyone seriously be shocked by anything Neil Young did?  The same could be said about Rundgren and Springsteen – or Cash for that matter.  The word fearless comes to mind, and it could be applied at any point in their careers.

As for Satanic Majesties, well, it was just a bad idea.  The Stones were obsessed with The Beatles.  Everyone was.  They did their best Pepper , and just didn’t have it in ‘em.  It’s not who they were.  Shocking?  Ya, shockingly bad.  But a departure?  Nope, we all could see it coming.

It's Gibson's 10 Greatest Supergroups!

Gee, were there that many? Here's the list:
 Blind Faith
 Asia
 Traveling Wilburys
 The Firm
 The Highwaymen
 Them Crooked Vultures
 Chickenfoot
 CSNY
 Bad Company
 Cream

No order on their list, so no complaints allowed.

Lotta ground covered, but one common thread. Big egos and short life spans. OK that's two threads.

Not sure about the Wilburys and Highwaymen though. Were they groups, projects, or larks?

Also wondering just a little about revisionist history ... Blind Faith and CSNY were definitely hyped at their inceptions as supergroups. So were Emerson Lake and Palmer, who are happily omitted from Gibson's list. I remember similar hype about Asia (way too much actually), but I honestly don't remember hearing the term since.

Bad Company were big, and yes you knew there was some connection to Free, but did people really think it was a big deal that the bass player had come from King Crimson, and that they were a super group? Not so much.

And yes the whole concept started by revising history. Cream was referred to as a supergroup - and they were superb - even though, like really, only Clapton was known beforehand. Alexis Korner? The Graham Bond Organization? These hardly made Jack Bruce and Ginger Baker household names.

Anyway, the whole concept is a downer. "Oh boy! Just imagine how great it's gonna be when these guys get together! It's gonna be amazing!" Sets us up for disappointment, doesn't it. Best case is the band can't keep it together for long. Worse case is the music just doesn't live up to the hype.

We do like to set ourselves up, don't we?

Take It Easy

So many of the great songs follow the KISS principle.  They're simple, predictable.  Comfortable even.  Not boring, just simple.

I, IV, V and maybe VI minor.  Maybe only two chords.  Maybe a 7th here or there.  That's all you need.  Wonderful Tonight, Bad Moon Rising, Love Me Do, Stand By Me, Folsom Prison Blues  ...  the list goes on and one and on.

Sure, there are lots of complicated songs that are also great.  Many's the time when I've been playing along with a recording trying pick up a song, and I've struggled to figure out what is that chord?  But just as often my brain has told me to add a chord when a new one wasn't required.  Or to make the chord more complex than it in fact was.

My reaction is always, "oh!  It's such a cool sounding song and you're just a good songwriter John (or Eric or Tom or Bob or Pete or John or whoever), so I thought you were doing something clever."  Then it hits me:  "oh!  You were doing something clever.  You were keeping it simple."

Lots of very interesting and enjoyable songs have complicated chord progressions and cool key changes, but most of the classics, most of the songs that move us and get into our DNA don't go much beyond 3 or 4 chords.

It's a strange magic, but it works.