The Mess That You’re In

 

Most people probably feel that All Things Must Pass is George Harrison’s best solo work, and if it weren’t for Phil Spector’s sludgy production, I would agree with them.

All His Hopes and Dreams

 

I’m old enough and sad enough about the current state of affairs to have written several dozen songs lamenting the way we seem to choose to live.  But when I hear The Pretender by Jackson Browne, I realize I haven’t come close.

There’s No Need For Argument

 

Van Morrison deserves respect as a songwriter, but I wish his songs had been recorded by Springsteen.  Take, for example, Domino.

Just My Tears And The Orchestra Playing

Maybe it’s because I’ve heard them, like 7,000 times, but some songs are like symphonies.  Take, say, Third Stone From The Sun or Dazed And Confused.

As you listen to the ebb and flow, the music continually morphs into an entirely different vibe.  As you pick up on the nuances that drive those translations, you gotta think: this is musical genius of a higher order, like Wagner or something*. 

Or maybe it’s just because I’ve heard them 7,000 times.

* Yeah, I know.  Wagner was an opera guy, and not really known for his only symphony, which, as it turns out, was once conducted by Engelbert Humberdinck, whose namesake performed music which – especially compared to Hendrix or Zeppelin – was not particularly symphonic.

See how I worked that in?

At The Station

I dunno.  Listening to White Room by Cream, I just think that Jack Bruce was the most underrated singer in rock.

Let It Ring For Evermore

One of Jeff Lynne’s signatures – as a songwriter, as a singer, and as a producer – is poignancy, his ability to match the melancholy with the sublime.

Have a listen to ELO’s Telephone Line.   I think it’s one the best examples: heartbreakingly sad but so beautiful it’s sweet.

Thanks, Jeff.

On Time

Gibson’s 10 Classic Rock Bands That Deserve Another Look shows how reductivist corporate radio has denied us some fantastic music.

All of these bands used to be mainstays on the radio – but sadly are now rarely heard at all.

Chicago created a revolution.  Three Dog Night were massive.  Rare Earth were fantastic musicians who cranked out monster hits.  Spirit were regarded as geniuses.  Everyone loved Steppenwolf.  The music has aged well.  So how come no airplay?  It’s a mystery.

What strikes me most about the list is the range of musical styles covered, and the fact that you could hear of of these bands on the same station in the same afternoon - a happy reflection of the time when these bands thrived, and perhaps another sad reflection of today’s radio.

Thanks for the reminder, Gibson.  Luckily, I have most of this music on my iPod.  Time to go have a listen.

Pick Up My Guitar And Play

You could disagree with the albums, but it’s hard to debate the artists who made Guitar World’s 10 Essential Classic Rock Guitar Albums: Van Halen, Aerosmith, Deep Purple, Led Zeppelin, Pink Floyd, Hendrix, The Who, The Stones, The Beatles.

Personally, I would swap Are You Experienced? for Electric Ladyland and Wish You Were Here for Dark Side of the Moon, and I do not count myself among those who believe Exile On Main Street is The Stones’ masterpiece, but let’s not quibble.

Except: The Doors?  Really?  The Doors debut album is absolutely an essential part of the Classic Rock catalogue, but who considers them a guitar band?  And - with all due respect - who puts a ton of effort into learning how to play like Robby Krieger?  I didn’t even remember his name.

Not to take anything away from The Doors well-deserved legendary status, but on a list of essential guitar albums, I think we’d be better served by the likes of AC/DC, Dire Straits, Clapton or Petty.  Little bit more distinguished guitar playing came from those cats.

Forever Young

If he had never made another record after Nashville Skyline, Bob Dylan would still be regarded as one of the most important artists in the history of music.

But has Rolling Stone Readers Poll of Bob Dylan’s 10 Best Post-60’s Songs nicely proves, he had a lot more to say.  And if the list had been expanded to 40 songs, every one of ‘em would be a powerful tune.

Tangled Up In Blue, Hurricane, Knockin’ On Heaven’s Door … every song on the list is a masterpiece.  And, unlike a lot of 60’s stars, he didn’t just drift into the 70’s and then peter out.  Time Out of Mind was one of the best albums of the 90’s and easily rivals Blood on the Tracks or Highway 61 Revisited (or Freewheelin’, if you prefer) for the title of Best Dylan Album Ever.

Five and a half decades into his monstrously large career, the man is still going.  I hope he never stops.

That Was Only Yesterday

Every time I hear War Pigs on the radio, I think, why is this happening?  Is that the best they can do?

I mean, I know Paranoid had an impact when it came out, and all that, but in my corner of suburban Canada, Black Sabbath enjoyed only a minor popularity.  There were many more copies around of records by the likes of Humble Pie, Spooky Tooth, Wishbone Ash, Spirit, Rory Gallagher, Savoy Brown and Uriah Heep.

Sure, Ozzy enjoyed an elongated solo career, and that allows for some revisionism.  And, no, I’m not a Sabbath fan, but really, check out some of the aforementioned bands.  There are far too many great bands that have had their entire canons reduced to one or two songs by classic rock radio.  And these bands don’t get any airplay at all! 

It’s a dreammare, brother.  It’s a ride on a hellbound train.  Those radio cats are withholding a lot of great music, and it’s got me feelin’ bad.

As Clear As The Sun In The Summer Sky

I know it’s been played to death, but there’s a case to be made that Boston’s More Than A Feeling might be the best rock song ever written.

OK, maybe not, but – like Beethoven’s Fifth Symphony– it could be held up as the best example of the genre, worthy of study.

Screaming guitars and fancy acoustic pickin’.  Nice.  An unforgettable hook.  Lyrics that grab your emotions without actually going too deep.  Smart.  Another great hook that acts as a bridge to the chorus, showing you that this ain’t no simple 3 chord rock song.  These people were MIT students; they have depth.

So make that two unforgettable hooks.  Wait!  Make it three, since the chorus somehow manages to steal a power chord riff that’s been done to death and make it sound new.

A soulful melody.  Sweet harmonies.  Another genius bridge on the way into the solo.  Oh ya, and you can sing the solo.  You do sing the solo.  No mindless shredding here; this is music.

All of the elements are simple, but the relative complexity of the structure, and the number of elements subtly add to your enjoyment of the song.  “Like this?  Great.  Here’s a little something more.”  It’s like chocolate sauce and sprinkles on your ice cream.

Listen: I like raw three-chord rock and blues, but a lot of masterpieces have the kind of added complexity and intelligence described above.

It’s too bad the lawyers got involved so early in their career.  I always felt Boston could have given us so much more.

For Your Life

I always worry about what I’m going to find in reader’s/listener’s polls because they tend to reflect the conditioning and narrowness of corporate radio.  But Rolling Stone’s Best Led Zeppelin Songs of All Time is a happy exception.

Here’s the list:

 1. Stairway to Heaven

 2.  Kashmir

 3. Achilles Last Stand

 4. Since I’ve Been Loving You

 5. When the Levee Breaks

 6.  Whole Lotta Love

 7.  The Rain Song

 8.  Ramble On

 9.  Ten Years Gone

10. No Quarter

While these songs are common on current radio playlists, most of them are not songs that were big when their respective albums were new.

When Zep IV came out, Black Dog and Rock and Roll were played far more than Stairway to Heaven.  When the Levee Breaks?  Forget it.

When Houses of the Holy was released, Dancing Days and The Song Remains the Same were the popular numbers, not No Quarter and The Rain Song.

On Zep III, Since I’ve Been Loving You was passed over in favour of Celebration Day and The Immigrant Song.

The big exception on the list is Whole Lotta Love, which is a big exception of a song.

The article points out that 78 different songs were nominated, and that’s not surprising.  For most of their existence, Led Zeppelin was just about the biggest thing going.  A ton of great songs didn’t make the list.

But it’s nice to see the fans in charge for a change, you know, not getting trampled under foot by their friends in the boardroom.

Your Mother Should Know

Cool Rolling Stone article called 10 Things You Didn't Know About Beatles Music.

Some little known facts, trivia and insights by Beatles scholar Scott Freiman.

As a lifelong fanatic, I always start such reads with cynicism, expecting to learn nothing.

Wrong, happily.  I did not know that the flamenco guitar intro on Bungalow Bill was actually a mellotron.

I can’t speak to Freiman’s work, but if you like this kinda stuff, the I highly recommend Revolution In The Head by Ian MacDonald, one of the most surprising books ever written about The Beatles.  Part historical reference, part review, part social anthropology, MacDonalds’ book gives you dates, times, lineups, analysis and historical context to every single Beatles recording session.  It’s brilliant, insightful, and masterful.

Not enough of a fan to get into that level of Beatles minutiae?   That’s OK.  You’re allowed to think for yourself.  Maybe one day you’ll change your mind.  Tomorrow never knows.

Don’t Pass Me By

I know the Beatles had more than their fair share of hits singles, but you know what?  They could have had more.

They wrote so many great songs, and actually seemed to pull back starting in late ’65.  You know, so that they only had one or two songs on the charts at a time, instead of the three or four that was customary during the first couple of years.  They definitely could have maintained that dominance with the following songs:

No Reply  - B side I’m A Loser

You’re Gonna Lose That Girl  - B side It’s Only Love

Hide Your Love Away – B side Another Girl

Drive My Car – B side Norwegian Wood

You Won’t See Me – B side The Word

Got To Get You Into My Life  - B side She Said She Said

Here, There and Everywhere – B side Taxman

Back in the USSR  - B side While My Guitar Gently Weeps

Hey Bulldog – B side It’s All Too Much

Here Comes the Sun  - B side Oh! Darling

Judging by the Classic Rock radio playlists and revisionist history, many of these songs are now actually treated like singles. 

I know, I know: 27 number one hits is enough, plus another dozen or song right up there.  Then another dozen or so post breakup releases in the early days of compilation mania (yes, I know: including Got To Get You Into My Life and Back in the USSR).  But check out the list.  They had even more hits in their arsenal.

They sure were something.

Best of the Spandex and Mullet Era

A while back, Gibson published a Greatest Songs From The 80's list.

Good for them for challenging the Classic Rock radio playlists, which feature almost nothing from the entire decade, except for a handful of tunes they like to call "80's music that doesn't suck."

Double good for Gibson since guitars don't feature too mightily. Here's the Top 10:
1. The Clash, London Calling (1980)
2. Guns N' Roses, Sweet Child o' Mine (1988)
3. Michael Jackson, Billie Jean (1983)
4. Guns N' Roses, Welcome to the Jungle (1987)
5. Public Enemy, Fight the Power (1989)
6. AC/DC, You Shook Me All Night Long (1980)
7. Prince, When Doves Cry (1984)
8. Def Leppard, Pour Some Sugar on Me (1987)
9. Van Halen, Jump (1984)
10. Duran Duran, Hungry Like The Wolf (1982)

Me, I do like guitars, and didn't ever fully embrace the strap on keyboards, silly hair and 18th century costumes, but the dancing wasn't so bad back then.

So I won't criticize the Euro-synth pop inclusions. I'll just say:
- I wish AC/DC was higher
- I would have put Under Pressure (Queen/David Bowie) higher than #11
- I'm pleased to see The Clash @#1
- I'm disappointed not to see Dire Straits, U2, The Stones, The Talking Heads or Springsteen in the top 10

Interesting not to see any Eurythmics on the list (of 50 songs). They did a pretty good job of melding the synth-pop sound with a hint (threat?) of angry guitar. For me, that was better than the bands who seemed to turn their backs on guitars altogether. Sweeter dreams are made of that.

Somebody's Fault, But Whose?

Why is Led Zeppelin's Nobody's Fault But Mine not on classic rock radio's playlist?

It's got it all: a blues base under a hard driving rock tune, vintage Page guitar riffs, an exotic melodic hook that hints at somewhere either south or east of the Mediterranean, pounding syncopation from Bonzo ...

No, the hook isn't as instantly gripping as Whole Lotta Love, the blues isn't as hypnotic as When The Levee Breaks, it isn't as exotic as Kashmir, and the grandeur doesn't sweep as much as Stairway To Heaven. But it's got bits of all that and more.

Another example of how corporate radio narrows our taste and numbs our brains.

Try to save your soul tonight.

Dividing Up The Pie

I was playing around with my music map, figuring out where to locate my favourite artists. Came up with this:

 

Things get a little crowded in the centre, which makes sense. Given my assertion that psychedelic has a dose of Classical, I'd like Cream to be more to the left. And, given Gilmour's guitar playing, I'd like Pink Floyd to be more to the right, touching the Blues.

The Rock circle is definitely the busiest. Those that touch the circle but are partially outside make sense to me (e.g. Eagles being part Rock, part Country - as compared to Buddy Holly who is Rock but you can hear the Country influence.

It was easy to put Petty and Young at the confluence of Folk Rock and Country Rock. On the other hand, I confess that the placement of Springsteen was purely arbitrary.

The model breaks down for some artists. Dylan has a heavy Blues influence, and Zeppelin was pretty good at Folk, but I don't have Blues and Folk overlapping. CCR and The Beatles both need to touch the R&B circle but I couldn't do that without giving up something else.

Of course the best bands defy categorization, and cover more territory than I was able to allocate.

One nice bit of foresight (if foresight can be accidental) was the little blank space just north of Rock centre where you could say the influences where everything and nothing. Good place to put the most versatile - and unique - bands, isn't it? And those would be The Beatles and The Stones.

A Decade In The Life

Here's an interesting list: the Rolling Stone Top Ten Songs Of The Sixties

Good list, and I guess all pretty much predictable. You quickly see that we have the usual, expected suspects, and they each get one tune (except The Beatles and Stones, who get two, and that's fair).

Here's the list:
1. Like A Rolling Stone - Dylan
2. A Day In The Life - The Beatles
3. Satisfaction - Stones
4. Gimme Shelter - Stones
5. My Generation -The Who
6. Light My Fire - The Doors
7. Hey Jude - The Beatles
8. Whole Lotta Love - Zeppelin
9. All Along The Watchtower - Hendrix
10. God Only Knows - Beach Boys

No point in debating relative placement. They are all wonderful songs (except God Only Knows, and, and, well only He does).

You could have pretty much guaranteed which groups would have been represented. What's interesting is which songs got selected. Satisfaction? Watchtower? Whole Lotta Love? Zero surprise factor.

Gimme Shelter? Nice, especially since it came so late. But it certainly captured the downer mood that undid the Woodstock high and kicked us into the 70's.

My Generation? Classic Rock radio revisionism. No one listened to this song when it first came out. OK, they did, and it was respected, but it wasn't as big or influential at the time as I Can See For Miles or Pinball Wizard.

Hey Jude? Sure. #1 for a zillion weeks. A Day In The Life? Nice. Trippy. Best representation of The Fab at their psychedelic best. But She Loves You started everything. And tunes like Day Tripper summed up what set them apart from everyone, why everything else was second best.

Like A Rolling Stone? If you asked me to pick one song that best represented the 60's I might just pick this one. But it feels like more revisionism to me. Ya, there's the legendary booing at Newport and all that, but it didn't get played much (at least initially). Sure, it marked Dylan's transition from folk to rock, but in the end it feels arbitrary. Blowing In The Wind or The Times They Are A Changing are better representations of what was happening at the time.

So, the thing is this was a reader's poll. And it's the voice of the people and the people are never wrong. The real thing is, how much have we all been manipulated by what we constantly hear, by what we're told to remember?

If you had done a poll on January 1, 1970, you probably would have got the same artists. Not sure you would have got the same songs.

Where The Shadows Run From Themselves

Back, as they say, in the day, the great who's-the-best-guitarist debate centred around Clapton, Hendrix, Page and Beck.  Similarly, the who's-the-best-band debate centred around Cream, Hendrix, and Led Zeppelin (no one seriously considered Beck in the band category, now did they?).

The Beatles, by the way, where not part of the discussion.  You either set them above such trivial discussion (as I did), or you discounted them as has-been pop artists - which is hilarious.

By the way #2, many people included Ritchie Blackmore and Deep Purple in the debates, but not enough, sadly.

Anyway, I chose Clapton and Cream.  I've already covered that in my mind Clapton was more versatile and way more musical than his rivals.

With Cream, though, it's a different story.  To be sure, the guitar work was a big part of it, as was the fact that Hendrix's bizarreness sometimes neutralized his flashes of astonishing genius.  And Page's questionable taste sometimes took away from his unparalleled talent for both riffs / hooks and production.  While Clapton was #1 primarily because of his work, he was also the last man standing.

But it was more than the guitars.  Plant was arguably a better singer than Jack Bruce, and Hendrix was probably a better songwriter, but there was something about Cream's sound, it's feel, it's impact that was more appealing to me.

The balanced talent was part of it, the constant jousting, the co-operative competition, yes.

Maybe it was the heavier blues influence.  In these heady days before we were overtaken by labels, all three bands could be trippy in a psychedelic way.  All three could do hard driving rock.  All three contributed to the births of heavy metal and classic rock.  And all did the blues just fine, thank you very much.

But Cream was darker, more soulful, maybe more vulnerable.  They touched a deeper nerve, a raw spot, a menacing feeling that could not be named  ...

Oh, I don't know.  I just liked them better.  Too bad they lasted the shortest length of time.