Tag: legends

Rewind Review: Cream – Wheels of Fire (1968)

The third stop on my journey through the Cream (Ginger Baker – drums, Jack Bruce – bass and vocals, Eric Clapton – guitar and vocals) catalogue brings me to their double album Wheels of Fire.

The album opens with perhaps their greatest hit, “White Room,” in which Bruce sings about being trapped in a strange place while Baker’s drums try to break him out and Clapton’s guitar wails like someone in a mental asylum. It’s a great way to start a record. Many bands could (and did) learn from it.

Their cover of the blues classic “Sitting on Top of the World” is another fine entry into their list of blues-rock power tracks, and Clapton’s guitars are downright dirty on it. “Passing the Time” floats from rock to calliope-fronted psychedelia. “As You Said” is more tripped-out psychedelia with Bruce’s vocals layered with reverb, his acoustic guitar licks spiced with Arabic influences, and even playing cello on it.

“Pressed Rat and Warthog” brings in trumpet and recorder as Baker sings about an unlikely pair of pals with a weird store and Bruce and Clapton put down heavy riffs.

Everyone had a political statement to make in the 1960’s, and Cream was no exception. “Politician” is a sharp-witted sting on politicians using their position to get laid and ducking responsibility whenever possible (“I’m support the left though I’m leanin’ to the right, but I’m just not there when it’s comin’ to a fight.”). “Those Were the Days” mentions another subject common in 1960’s music – Atlantis. Bruce sings about ancient times and places and how he craves a return to such enlightened times before Clapton unleashes a quick solo that might raise the lost city from the depths.

Their cover of the blues standard “Born Under a Bad Sign” pretty much set the standard for covering the Booker T classic. You can tell they had a good time recording it, and Baker’s groove is so sick it needs penicillin. “Deserted Cities of the Heart” has an excellent guest violin by Felix Pappalardi (who contributes a lot to the album on several tracks and instruments).

The second part of the double album is a live recording from the Fillmore that opens with another one of Cream’s greatest hits – their cover of Robert Johnson’s “Crossroads.” Eric Clapton, as you well know by now, shreds the tune like a crosscut saw. As good as it is, however, it’s really a warm-up for the epic version of “Spoonful” that clocks in at nearly seventeen minutes. “Traintime” has Bruce having a blast on harmonica while Baker keeps a Johnny Cash-worthy beat behind him. Baker then goes bananas on “Toad” – a drum solo over sixteen minutes long.

The live portion of the album is alone worth the purchase price. The psychedelic rock on the studio album is a great bonus.

Keep your mind open.

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Rewind Review: The MC5 – The Big Bang! Best of the MC5 (2000)

I once read a YouTube comment on a video of the MC5 (Michael Davis – bass and vocals, Wayne Kramer – guitar, piano, bass, vocals, Fred Smith – guitar, organ, harmonica, vocals, Dennis Thompson – drums, percussion, vocals, Rob Tyner – lead vocals, harmonica, percussion) in concert that said going to one of their shows was akin to an act of defiance. The MC5 embraced a punk rock political ethic before anyone knew what punk rock was, and their angry, wall-flattening sound and blatant references to sex, drugs, and sticking it to the Man were shocking at the time. The Big Bang! The Best of the MC5 is a great collection from Rhino Records that documents the band’s growth from garage rockers to Midwest rock giants who wouldn’t get their full due in other parts of the country until well after they called it quits.

Opening with one of their earliest singles, “I Can Only Give You Everything,” you can hear the band creating the raucous sound that would become their trademark. Wayne Kramer’s guitar riffs influenced everyone from the Smithereens to Nirvana. “Looking at You” is so fuzzy and frenetic that I’m sure Ty Segall plays it every night before he goes to bed. Kramer’s guitars on it are like something from a horror movie score. “I Just Don’t Know” is sweaty, dirty blues with thumping bass from Davis and Kramer’s guitars attacking you from all directions.

The next four tracks are from the band’s debut album, Kick Out the Jams, which was a live recording no less. “Ramblin’ Rose” begins with a testimonial call to arms by a friend of the band, Brother J.C. Crawford (“I wanna hear some revolution out there! Brothers and sisters, the time has come for each and every one of you to decide if you are going to be the problem or you are going to be the solution!”), before the MC5 make you feel like that guy in the chair from the Memorex ad and Kramer (who takes a turn at lead vocals) sings to the rafters. Their biggest hit, “Kick Out the Jams,” follows. It is so powerful that it feels like it might open a rift in space-time and pull you back to Halloween 1968 in Detroit when they recorded it. “Come Together” is a cheeky song about sex in which Tyner pretty much details getting off with his lady. “Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)” is almost relentless as it hits with heavy grooves and chanting vocals.

The next eight tracks are from their second album, Back in the U.S.A. “Tonight” calls for kids to “get together and have a ball” and reveals the band’s love of blues (especially in Davis’ bass). “Teenage Lust” calls to every one of their fans; as does “High School” (“Kids want a little action, kids want a little fun.”), which most likely inspired a good chunk of the Ramones’ catalogue. “Call Me Animal” has some of Thompson’s best drumming. The whole song has a beat you can’t shake. “The American Ruse” is a great example of the MC5’s political leanings (“They told you in school about freedom, but when you try to be free they don’t let ya.”). Tyner’s lyrics are scathing and still hold weight today. “Shakin’ Street” is another salute to American youth, this time with Smith on lead vocals. The title of “The Human Being Lawnmower” made it too risqué for much radio play, which is a shame because it’s a crazy, near-psychedelic freak-out of a tune. The title track to the album is a cover of the Chuck Berry classic. The MC5 worshipped at Berry’s altar, and they do him great homage.

The next five tracks are from High Time, starting with the powerful “Sister Anne” – a song about a tough, foxy nun (and listen to that harmonica solo!). “Baby Won’t Ya” brings a bit of soul to the MC5’s heavy rock as Tyner sings about a familiar subject – wanting sex – and Kramer sizzles on guitar. “Miss X” starts with simple piano chords, but then the guitars stroll into the room like professional hitmen and the song takes on a sinister edge for the next five minutes as Tyner sings a ballad, believe it or not. “Over and Over” is another biting rant not only at politicians, but also at people who only give lip service to revolutionary action. Tyner goes for broke on it, his voice nearly cracking multiple times throughout the track. “Skunk (Sonically Speaking)” brings in a full horn section, adding a wild funk the band was exploring just before they split up for good.

The compilation ends, wisely, with another live track – “Thunder Express.” It’s a great jam with Kramer making it sound easy on guitar and Thompson sounds like he’s having a ball behind his kit.

The MC5 were up for induction into the Rock and Roll Hall of Fame last year, and they will (and damn well should) get in one of these years. They still influence bands to this day, their live performances couldn’t be touched, and finding bands that match their fury today is difficult. They made a big bang in the 1970’s, and it still resonates.

Keep your mind open.

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Depeche Mode announces Global Spirit world tour.

Electro legends Depeche Mode have announced a world tour in support of their first album in four years – Spirit (which comes out March 17th).

The tour starts May 5th in Stockholm, Sweden and ends October 27th in Edmonton, Alberta, Canada.  It includes many dates in the U.S. that will surely sell out quick, so get your tickets as soon as possible.

Keep your mind open.

Rewind Review: Cream – Disraeli Gears (1967)

Continuing with my journey through the Cream (Ginger Baker – drums and vocals, Jack Bruce – bass, harmonica, and vocals, Eric Clapton – guitar and vocals) catalogue, I’ve arrived at their second album, Disraeli Gears.

The album starts off with two of their biggest hits – “Strange Brew” and “Sunshine of Your Love.” Both are stoner rock classics. “Strange Brew” has Clapton unleashing blues licks right away and is pretty much about a witch giving him a love potion. It might also be about getting drunk on something you can’t identify. “Sunshine of Your Love” has epic shredding by Clapton and heavy rhythms by Baker and Bruce that influenced hundreds of bands after them.

“World of Pain” layers on the reverb as Clapton and Bruce sing about a gray tree and Baker puts down beats that range from simple time keeping to wild jazz. “Dance the Night Away” is shimmering psych-rock with Clapton’s guitar sounding like it’s a transmission from another dimension. “Blue Condition” is a slow, trippy bit of psych-rock, and “Tales of Brave Ulysses” is one of those great Cream tracks that you tend to forget they wrote. You instantly remember how great it is when you hear it. The band lays down tracks as heavy as the mythological hero’s exploits.

“Swlabr” is even heavier stoner-psych. Clapton chugs out chords that also shred, Bruce sings for the back row, and Baker beats his kit half to death. “We’re Going Wrong” has more trippy blues-psych guitar from Clapton (who, as you can guess by now, is stretching out and trying whatever he wants on the record). Clapton takes over lead vocals on “Outside Woman Blues,” which could be a classic blues track but Cream makes it a heavy stoner rock tune instead, and Clapton has a scorching solo on it while Bruce lays a bass line heavier than a steam engine. “Take It Back” is another track with heavy blues influences, and I won’t say anything about “Mother’s Lament.” I don’t want to spoil it if you haven’t heard it.

Disraeli Gears showed Cream was firing on all cylinders. Their next album included a second record of live tracks, one of which is now legendary (but aren’t they all, really?).

Keep your mind open.

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Rewind Review: David Bowie – Live Santa Monica ’72 (2009)

Recorded live at the Santa Monica auditorium by local station KMET, Live Santa Monica ’72 captures David Bowie at the height of his Ziggy Stardust phase. His band was one of his classic line-ups – Mick Ronson on lead guitar, Trevor Bolder on bass, Mick “Woody” Woodmansey on drums, and Mike Garson on keyboards, and the set list is excellent.

Opening with “Hang On to Yourself,” Bowie and his pals come out rocking. Ronson and Bolder immediately put down riffs to show the audience they mean business. They tear into “Ziggy Stardust” and “Changes” right after, throwing down two tracks you’d figure they’d have in the encore but put on early instead. They’re great reminders of Ronson’s guitar skills. He was at the top of his funky game.

Bowie gets a little obscure, but still wows the crowd, with “The Supermen,” and then delivers a great performance of “Life on Mars?” (while Garson’s piano accompanies him quite well). Woodmansey puts down a slick beat on “Five Years,” and the crowd cheers in appreciation for it and Bowie’s assured vocals.

“Space Oddity” is another crowd favorite, of course, and Bowie uses his voice instead of his guitar to make the sound of Major Tom’s rocket rising from the surface of the Earth into orbit. “Andy Warhol” is a nice inclusion on this recording, as you don’t hear live versions of it much, let alone “My Death” (just Bowie and his guitar), “The Width of a Circle” (Ronson at his rocking best), and “Queen Bitch.”

Bowie introduces “Moonage Daydream” as “a song written by Ziggy,” and the whole band cooks on it. They’re fast and loose with “John, I’m Only Dancing,” and the inclusion of a cover of the Velvet Underground’s “Waiting for the Man” is a nice treat. “Jean Genie” is wonderfully distorted cock rock. Bowie and his pals are so cheeky by now that Bowie momentarily screws up the lyrics of the closer “Suffragette City,” but he makes up for it during the encore of “Rock ‘n’ Roll Suicide.”

It’s a great piece of Bowie history and worth the price if you’re a fan of the Thin White Duke, especially if you like his Ziggy Stardust / “classic” period.

Keep your mind open.

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Rewind Review: Cream – Fresh Cream (1966)

I decided to explore the four classic albums by Cream (Ginger Baker – drums and vocals, Jack Bruce – bass, harmonica, and vocals, Eric Clapton – guitar and vocals) after hearing one of their many great blues covers not long ago. I found them all in a nice box set at a recent record collector show and decided to dive into some late 60’s stoner-psych blues.

It’s easy to forget that Fresh Cream was a sensation when it was released because Cream was practically a supergroup by the time it hit the stores. All three members had already played in prominent London bands (i.e., The Yardbirds, John Mayall’s bands) and were highly regarded for their skills.

The opener, “I Feel Free,” was an instant classic. It starts with a simple “bum-bum-bum” vocal and handclap rhythm before Baker’s crazy cymbal work, Bruce’s sharp vocals, and Clapton’s wailing guitar take over the song. “N.S.U.” has sizzling guitar work from Clapton, which might relate to the possible sizzling he was feeling in his groin at the time, as one of the rumored meanings of “N.S.U.” is that it stands for “Non-Specific Urethritis” – a venereal disease Clapton may have had back then (or perhaps a motorcycle since one is mentioned in the lyrics).

“Sleepy Time Time” is, most likely, about being high and / or sex afterglow. Baker’s jazz drumming on it is great. He’s known for his grooves and this song is a prime example of them. “Dreaming” could’ve been a 1950’s jukebox love song in another life. “Sweet Wine” has some of Clapton coolest playing on the record. Their cover of Willie Dixon’s blues classic “Spoonful” is a masterpiece and the longest song on the record.

I don’t know what a “Cat’s Squirrel” is, but it’s another bluesy rocker with great harmonica work by Bruce and wicked grooves by Clapton. “Four Until Late” is a Robert Johnson classic, so it’s only right that Clapton does lead vocals on it. Their cover of “Rollin’ and Tumblin’” will make you a Cream fan if you’re not by the time you reach the ninth track because they absolutely shred it. This was the song I heard that made me think, “I need to buy some Cream records.”

Cream was also the only band back in 1966 would could get away with covering Skip James’ “I’m So Glad” and have it be such a groovy psych-rocker. “Toad” is pretty much a five-minute and eight-second Ginger Baker drum solo, and that alone is worth a listen on this album.

They call stuff like this “classic rock” for a reason. Fresh Cream blew people’s minds in 1966, and it’s still mind-blowing, heavy, and fresh.

Keep your mind open.

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Midnight Oil announce first world tour in over 20 years.

How’s this for a bombshell?  Australian rock legends Midnight Oil announced not long ago that they had some big news coming soon.  Most of us figured it would be a new album, but they’ve announced a globe-spanning world tour instead.

The Great Circle tour is going to be a celebration of the band’s work and will start and end in their home country.  The band will play everywhere from Brazil to the Czech Republic in-between those dates, so catch them if you can.  I plan to catch them in Chicago.

Keep your mind open.

Rewind Review: Gaby Novak – Pjeva Gaby Novak (2003 reissue)

 

I first discovered the sultry jazz voice of Croatian singer Gaby Novak while watching the excellent Croatian film H-8… from 1958. Her song “Sretan Put” is used to stunning emotional effect in the final act of the film. I was hooked and had to track down more of her music.

Pjeva Gaby Novak (“Gaby Novak Sings”) from 1959 is a great place to get on board if you want to experience her lovely vocals. “To Je Blues” (“Learning the Blues”), with a big band behind her, immediately puts her in the ranks of Nancy Sinatra. You can’t help dancing during this; or during “Karavan,” which has sharp, almost Latin percussion throughout it.

Her cover of “Netko Bdije Nada Mnom” (“Someone to Watch Over Me”) has the soft jazz piano and saxophones you’d expect, but her Croatian vocals are the sound of underground jazz clubs fueled by vodka and clove cigarettes. It’s over too soon. “Prodavacica Uspomena” (“Souvenirs”) is as peppy as fun as the previous track is bittersweet. You’ll want this on every late night cocktail party mix tape you make from now on until the end of time.

“Ponesi” (“Oh Venus”) is a little bit trippy and sounds like a lost cut from a Matt Helm movie soundtrack. I’m sure “Ljubav I Poljupci” (“Love and Kisses”) is still played on jukeboxes across Eastern Europe, as its infectious melody and goofy fun saxophones are a great mix with Novak’s vocals. “U Proljetno Vece” (“In the Spring Evening”) has Novak’s sexy voice keeping the band rooted, as they seem to want to burst into swing jazz any second.

“Mjesec Kao Igracka” (“Month as Toy” – roughly) is another sexy tune that sounds like it was fun for the band to record and Novak to sing. It reminds me a bit of Japanese jazz-pop from the same time period, really. “Sretan Put” (“Have a Safe Trip”) is the haunting, beautiful song that hooked me on Novak’s work, and it’s perfect for rainy late night drives and dropping off your lover at the airport. “Malaguena” is big, bold, and could’ve been a Bond theme in another life.

I’m sure “Ljubav Ili Sala” (“Love or a Joke”), with its exquisite horn section floating like a cork on the moonlit stream of Novak’s voice, was the soundtrack to many romances in Croatia in the mid-1960’s. The album smartly ends with a real swinger – “Draga Djevojka” (“Dear Girl”). Big horns, groovy drums, and Novak’s playful call and respond vocals with her band all add up to a song that will settle in your hips.

Gaby Novak had a magnificent career in Croatia and Europe, but she’s little known here. She deserves to be up there with your favorite jazz singers from the west, so do yourself a favor and give her a listen. You won’t regret it.

Keep your mind open.

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Rewind Review: The Beatles – Rubber Soul (1965)

I know what you’re thinking: “You’ve never heard Rubber Soul before?” I have, but I’ve never owned a copy. Now you’re thinking: “You’ve never owned Rubber Soul before?” It’s true. I haven’t because I have some of the songs on mix tapes and multiple tracks from it can be heard on local FM classic rock radio eight days a week. I finally found a decent price copy at a local wrecka stow and snagged it.

I don’t know what I can write about Rubber Soul that hasn’t already been written, but it’s one of their best and my favorites. I like how it bridges the gap between their bubble gum stuff and their complete psychedelic freak-outs.

Opening with a track like “Drive My Car” is genius because it gives the listener (and DJ back then) a surefire hit right out of the gate. Those same DJs and fans must’ve been flattened by “Norwegian Wood (This Bird Has Flown)” when it followed with Harrison’s sitar riffs. “You Won’t See Me” harkens back a bit to their earlier pop days and hints at Paul McCartney’s future material with Wings.

Speaking of hints, “Nowhere Man” is a precursor to the political statements the band would eventually make when they had even more freedom to do whatever they wanted in the studio. “Think for Yourself” is almost a dirty blues dis on a woman, and “The Word” is early hippie rock mixed with funk. “Michelle,” with its English and French lyrics, was another surefire winner in the UK and Europe.

The country groove of “What Goes On,” with Ringo Starr on lead vocals, was probably another surprise to Beatles fans back in 1965, but I’m sure the casual fans breathed a sigh of relief when “Girl” followed, as it sounds like a throwback to their early records and love songs with John Lennon and Paul McCartney sharing lead vocals. “I’m Looking through You” is almost a flipside of “Girl,” in that the girl in question is no longer an object of love but one of confusion and frustration.

Lennon and McCartney could very well have retired after “In My Life,” because it’s one of the most beautiful songs ever given to the human race. We’re all glad they didn’t, but it’s a song that would’ve probably made me hang it up if I were a songwriter in 1965. I would’ve thought, “Well, I can’t top that.”

“Wait” is a fun rock ballad, and “If I Needed Someone” gave George Harrison a crack at lead vocals for a change. I love how the album ends with “Run for Your Life,” in which Lennon tells his girl that he’ll kill her if she cheats on him. It’s a shocking song from the guys who used to sing “I Want to Hold Your Hand” and “Please Please Me.”

The Beatles wanted to shake things up in 1965, and they did. Rubber Soul changed everything (a feat the Beatles did multiple times) for them and us.

Keep your mind open.

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Radiohead announce U.S., UK, and European tour dates for spring and summer.

Living legends Radiohead have announced a spring and summer tour that starts in the U.S. and ends in England.  It takes them to Poland, Ireland, Italy, and even two dates at the Coachella Music Festival.  Their U.S. dates are in the west and south, so catch them if you can.

03-30 Miami, FL – American Airlines Arena

04-01 Atlanta, GA – Philips Arena
04-03 New Orleans, LA – Smoothie King Center
04-05 Kansas City, MO – Sprint Center
04-08 Seattle, WA – Key Arena
04-09 Portland, OR – Moda Center
04-11 Santa Barbara, CA – Santa Barbara Bowl
o4-14 Indio, CA – Coachella
04-17-18 Berkely, CA – Greek Theatre
04-21 Indio, CA – Coachella
06-06-07 Oslo, Norway – Spektrum
06-09 Stockholm, Sweden – Ericsson Globe
06-11 Aarhus, Denmark – Northside Festival
06-14 Florence, Italy – Visarno Arena @ Parco Delle Cascine
06-16 Milan, Italy – I-Days @ Parco di Monza
06-18 Hilvarenbeek, Netherlands – Best Kept Secret Festival
06-20 Dublin, Ireland – 3Arena
06-23 Pilton, England – Glastonbury Festival
06-28 Gdynia, Poland – Open’er Festival
06-30 Werchter, Belgium – Rock Werchter
07-02 Arras, France – Main Square Festival
07-04-05 Manchester, England – Manchester Arena

Keep your mind open.