Love or Confusion

The recent anniversary of the death of Jimi Hendrix got me thinking about our relationships with our cultural idols.  I mean, they might not know us (ya ya ya, especially the dead ones), but we feel we know them and emotions are involved, so it is a relationship, right?

Anyway the annual barrage of “remembering Jimi” stuff that floated across the net (you know: Jimi didn’t die, God just wanted guitar lessons) reminded me that I have a very uneasy relationship to this particular hero of mine.

Idolize him?  Sure.  But the awe is mixed with healthy doses of resentment and guilt.  Guilt because I don’t accept as an article of faith that Hendrix was the best ever guitarist.  Resentment, because I always felt he could have been if he had, had, had … well not tried harder exactly, and, well not really been more disciplined, but maybe been more judicious. 

More guilt because I understand if he’d been less of a free spirit then the brilliance would not have manifested itself.  Resentment because it wasn’t all brilliant, sometimes it was kinda sloppy.  More guilt because you’re not supposed to feel that way about cultural icons of his stature.  Mustn’t criticize.

And a little more resentment because he offed himself too soon and should have given us so much more.  And a little more guilt because that’s kinda a selfish.

But in the end, I always try to push all that bunk aside and just remember that he was someone to love.

Complex enough for a real relationship, isn’t it?

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?”

We Will Rock You

So, there are all these lists out there, but I can’t find a list of best rock anthems.  Curious or what?  Radio DJ’s, critics and the like use the term casually, but no one’s bothered to assemble a list.  Interesting.

Wikipedia says an anthem is a song of celebration, usually acting as a symbol for a distinct group of people.  With that as a reference, we could easily come up with a few rock anthems, right?

Like: Won’t Get Fooled Again, Stairway to Heaven, We Will Rock You,

Another Brick in the Wall, Part 2, Born in the U.S.A., Imagine, Sunday Bloody Sunday

Or, if you soften the definition to say people easily identify with the song, you could add: Won’t Back Down, Hotel California, Smoke on the Water, Woodstock,

Bohemian Raphsody, Hey Jude, All You Need Is Love

Or maybe the song just gets your juices flowing, like: Armageddon It, Layla, Southern Man, Smells Like Teen Spirit, Solsbury Hill, Born to Be Wild, American Woman

Or  …  it just feels like an anthem, say: My Sweet Lord, Free Falling, Let It Be, or pretty much anything by Rush

Hmmm  …  that wasn’t easy.  Maybe the ‘identify’ bit makes such a list too personal; you could build your own list but couldn’t expect anyone else to agree.

Anyway, for my money, the song that should top the list is Won’t Get Fooled Again.  It kicks you in the butt, fills you with a “ya, dammit!” attitude, and entertains you with some of the most powerful rock ever recorded.  If that isn’t an anthem, I don’t know what is.

Building On Fire

What do you get when you cross Motown with James Brown with The Beatles and The Rolling Stones?  The Talking Heads.

Not sure quite how James Brown holds his own against an entire genre plus the two biggest bands of all time, but there you have it.

Play With Fire

Now here’s a difficult list to assemble: Gibson’s Keith Richards' 10 Coolest Guitar Riffs.  Difficult to narrow down to only 10, that is.

Here’s the list:

Satisfaction, Get Off My Cloud, 19^th Nervous Breakdown, Mother’s Little Helper, Paint It Black, Jumpin’ Jack Flash, Gimme Shelter, Honky Tonk Women, Brown Sugar, Start Me Up.

Easy, right?  Sure, but what about: Street Fighting Man, Beast of Burden, Bitch, The Last Time, even Tumbling Dice?  Keef is rivaled only by John Lennon and Jimmy Page in terms of volume, impact and unforgettability of killer riffs.  As the article points out, these riffs are now part of the culture.

You may or may not think Keith Richards is respectable, but time appears to be on his side.

This Ain’t No Disco

Are we sure David Byrne wasn’t born in Detroit?  Just asking.

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.

Far Out, Man

According to Wikipedia, psychedelic music covers a range of styles and genres, is inspired by psychedelic (drug) culture, and emerged in the mid-60’s among folk rock and blues rock bands.  Wikipedia also notes that these bands went to on to create prog rock, heavy metal and a bunch of other new genres.  But you knew all that.

The article mentions a bunch of bands you’d expect – The Beatles, Floyd, Hendrix, The Byrds – but no Led Zeppelin.

Ya?  So go listen to How Many More Times.  Seems to me that, exotic instrumentation excepted, this song has most of the characteristics listed: complex song structure, strange lyrics, extended solos, distorted guitar, wah wah, elaborate studio effects …  this song is a trip.

It’s always bugged me that Zeppelin was jammed into the heavy metal pigeon hole.  I get the name and their influence and all that, but they had too much depth and range.  And for my money, Zeppelin I is every bit as trippy as Pepper, Are You Experienced?, or Disraeli Gears.

Just goes to show that labels don’t mean nothin’. 

Hey!  Wait a minute!  Cream doesn’t get a mention in the article either.  Guess it needs some updating.

Speechless

The main thing that jumps out at me as I scan Gibson’s 10 Great Rock Guitar Instrumentals is that it would be hard to build on.  The list apparently features pieces known for their “pioneering impact” as opposed to virtuosity or popularity.

But, like, what else would you add?  Is there much else out there to debate?  We’ve got Beck, Page, Edgar Winter, Van Halen, Duane Eddy and The Ventures – like you’d expect.  And we have to dip into The Who’s Tommy to get to 10.

The genre has a major handicap: no lyrics.  Kinda hampers the singing along, which makes it more difficult on the memory, which reduces the odds of a tune being popular.  Not to mention the emotional impact that lyrics can add to a great song.

Make that two handicaps, the second being that instrumentals tend to be vehicles for showing off.  With all due respect to Mssrs. Beck, Satriani, Malmsteen, Johnson and McGlaughlin et al, chicks don’t dig it.  You can’t dance to this stuff.

These guys have an audience limited to mostly other guitarists, which is why the list is brought to you by Gibson as opposed to a popular culture magazine.  The guitar has dominated popular music for over half a century, but it works best in a supporting role.