Category: Legends

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.

Slowdive release first single in more than two decades.

SLOWDIVE RETURN WITH FIRST NEW SONG IN 22 YEARS

LISTEN TO “STAR ROVING” HERE
https://youtu.be/ogCih4OavoY

(above image by Ingrid Pop)

After 22 years, Slowdive return with “Star Roving,” their first new material since 1995’s Pygmalion. Featuring Neil Halstead (vocals, guitar, keyboards), Christian Savill (guitar), Nick Chaplin (bass), Rachel Goswell (vocals) and Simon Scott (drums, electronics), “Star Roving” embodies the effortlessness for which Slowdive is known — as the song progresses, it expands and contracts in ways that feel infinite.
Slowdive released their debut album, Just For A Day, in 1991 via Creation Records. The highly revered Souvlaki followed in 1993 and Pygmalion in 1995, and then the band disbanded. In the 22 years of their virtual disappearance, compilation albums have been released and the core members of the group have gone on to join other musical endeavors. In 2014, Slowdive announced that they had reunited and more new music would follow. Upon today’s release of new single, “Star Roving,” the band has also announced signing to Dead Oceans.

Halstead says, “When the band decided to get back together in 2014, we really wanted to make new music. It’s taken us a whole load of shows and a few false starts to get to that point, but it’s with pride and a certain trepidation we unleash ‘Star Roving.’ It’s part of a bunch of new tracks we’ve been working on and it feels as fun, and as relevant playing together now as it did when we first started. We hope folks enjoy it.”

Dead Oceans’s Phil Waldorf comments on the signing, “We are elated to work with Slowdive on their new album. I saw Slowdive for the first time, as a teenager, in 1991 at the 9:30 Club in Washington DC. I remember it being a revelation – the way the band used texture and tone was something I’d never heard before, and it stuck with me for a long time. It was one of those gigs that was a gateway drug of sorts — not only was it amazing to see Slowdive, but it was the first taste of a whole sound that made me go exploring into all kinds of music. More than two decades later, their music sounds just as relevant and vital, and we cannot wait for old fans and new listeners to hear the band’s new recordings.”
Listen to Slowdive’s “Star Roving” –
https://youtu.be/ogCih4OavoY

Purchase “Star Roving” –
https://slowdive.lnk.to/star-roving

U2 announces 30th anniversary tour of “The Joshua Tree.”

I guess it was thirty years ago when I saw U2 on their Joshua Tree tour in Indianapolis at Market Square Arena (which no longer exists).  The band recently announced they will be playing the album in full during an upcoming anniversary tour that will stretch from Vancouver to Brussels.  There are plenty of U.S. dates, but you’ll have to get your tickets from the resale market if you missed the sale.  The tour sold out in minutes.

Keep your mind open.

 

Sleater-Kinney to release “Live in Paris” January 27th.

Alt-rock riot grrl legends Sleater-Kinney will release “Live in Paris” on January 27, 2016.  This recording comes from their “No Cities to Love” reunion tour and they’re offering the album on vinyl, CD, and cassette (along with some T-shirt combo packages, too).

Don’t miss what’s sure to be a fine record.  I hope they get back in the studio and on the road again soon.

Keep your mind open.

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