Showing posts with label tom waits. Show all posts
Showing posts with label tom waits. Show all posts

Sunday 27 October 2019

Log #161 - Tom's Industrial Years

Eddy Bamyasi

Tom Waits is quite a difficult artist. In retrospect my tastes may have changed as I didn't enjoy this album as much as I remembered (house members overhearing the record likened Waits' strangled vocals to the sound of someone dying!). 

Franks Wild Years (officially no apostrophe although it only makes grammatical sense to have one) followed Swordfishtrombones and Rain Dogs in what seemed a trilogy (indeed some characters reappear through the run although I'm not certain a theme or concept was intentional). Certainly in my mind the 3 albums each developed Wait's new "clanky industrial" style, each containing multiple short 2 minute sketches. 

Contained within this album, the 3rd, are certainly some classics like Hang On St. Christopher, Cold Cold Ground and Telephone Call From Istanbul, although the latter in particular is much more exciting on the live follow up album Big Time which drew heavily on Franks Wild Years.

Mojave was the third of ten albums from Boston "Alt-Country" band Willard Grant Conspiracy. The band were a revolving collective (like the "lesser spotted", at this blog, Lambchop) centred around singer Robert Fisher who sadly passed away in 2017.

The music is typical alt-country fayre; many tracks using the formulaic 3 or 4 chord slow acoustic guitar strum opening joined by portentous drums on the 9th bar. Fisher adds further gravitas with his hefty baritone. 

I'd probably be happy to leave it there, Mojave (1999) being my only WGC excursion, but I understand their best album is Regard The End (2003) and I've stumbled upon parts of Let It Roll (2006) which sound excellent. So, more to investigate.

I like what I've heard of Paolo Nutini. I'd written the name off prematurely as some teeny bopper but I then caught him on Jools Holland. He has a soulful voice (like James Morrison and Scott Matthews) with just that hint of gravel that makes it interesting.

That's all for this week folks. Full listing below:

Laura Marling Alas I Cannot Swim
Curtis Mayfield Love's Sweet Sensation
Paolo Nutini These Streets
Tom Waits Franks Wild Years
Willard Grant Conspiracy Mojave
Terry Riley Shri Camel


Sunday 2 June 2019

Log #140 - Glass Goes Pop

Eddy Bamyasi


In the early 80s Philip Glass attempted to go pop with his Glassworks album - an album deliberately designed for the Sony Walkman (invented in 1979). Two decades later German electronic composer Wolfgang Voight recorded an album of atmospheric drones under the name Gas and called it Pop


Philip Glass Glassworks
Tom Waits Foreign Affairs
Thievery Corporation The Mirror Conspiracy
Tangerine Dream Ricochet
Gas Pop
Richard Hawley Truelove's Gutter


This week sees the first entry for 2 1/2 years from Washington DC electronica duo Thievery Corporation who make the most of their overdue reappearance with a typically classy set of down tempo swing and groove via The Mirror Conspiracy. The album, their second official studio release, came out in 2000, but I first became aware of them the year before through their excellent DJ Kicks compilation which must be one of the best of that series. 

I'm really enjoying the Gas album POP. It almost goes without saying (almost) but this sort of music does require several hours of listening before the subtleties are absorbed. This is slow burning ambience, with some beats too (heartbeat pulses). It's much less dynamic than the Fennesz album I acquired at the same time (Endless Summer), but equally unique and original. The circular drones come at you in waves which have a wonderful lulling effect as you drift across the surface of the peaks and troughs of Wolfgang Voigt's oceanic soundscapes. 

I'm pondering seeing Richard Hawley at a forthcoming concert in my area. I think I should go. I love his records. The thing that's holding me back is he is just about to bring a new album out and current set lists reveal he is playing practically the whole thing (obviously at the expense of much from the earlier albums I so love - in particular this one, Truelove's Guitar, which is an absolute masterpiece).

Have I missed his peak, or will the new album be equally as good (albeit less familiar even if I get it immediately)? I have a similar dilemma with the Felice Brothers who I was very sad to miss 2 years ago when they cancelled their UK tour. They are returning in the new year but with a new album and a new band. Will they be the same? I think I'll go to them too. Both of these artists have been favourites of mine for a while so even if I may have missed their absolute best I'll still regret passing up the opportunity.

In so much as this can be ever possible Philip GLASS attempted something more commercial with his 1982 Glassworks album. Temporarily putting aside his symphonic and operatic works:

Glassworks was intended to introduce my music to a more general audience than had been familiar with it up to then.

Through 6 relatively short pieces Glass takes us on a whistle top tour of the Glass that we feel that we know - we have the solo piano (Opening), the abrasive organ (Floe), the haunting pipes over minor chord string arpeggios (Island), the frenetic abrasive keyboard loops (Rubic), the beautiful clarinet melody over string loops (Facades), and the repeated embellished piano coda (Closing). Like a Russian doll the opening and closing pieces envelope the two alternating pairs - the beauty and the bombastic, or the order and the chaos if you like - bringing the album together as a satisfying whole.

It could be a greatest hits record, but serves more as an introductory compilation to Glass music. To call such music minimalist does it a disservice. There is a lot going on here and rather than being in any way generic, Philip Glass is unique and instantly recognisable.

Glass succeeded in his intention - Glassworks remains his most commercially successful record today.



Sunday 26 May 2019

Log #139 - Gentle Nighthawks

Eddy Bamyasi

This week I take in an early and oft overlooked album from Tom Waits - his 1975 outing Nighthawks At The Diner - an atmospheric whole greater than the sum of its insignificant parts. Eccentric English prog rockers Gentle Giant are given short shrift with their most famous album Octopus

~~~

The Alan Parsons Project Tales Of Mystery And Imagination
Tom Waits Nighthawks At The Diner
Fennesz Endless Summer
Tord Gustavsen Trio The Other Side
Emilie Simon Vegetal
Gentle Giant Octopus

~~~

Oh, what can I say? It’s a shame to write off a whole band’s career in a short paragraph but I’m afraid it’s gonna happen here. 

I was made aware of Gentle Giant through some positive reviews on a Facebook forum I follow. I was also aware that one or two of their album covers were Roger Dean designs - most famously the Octopus one below which is the subject of this brief review - the album, their 4th, indeed entitled Octopus.

The music is incredibly busy, taking in elements of Genesis, Traffic, ELP, Atomic Rooster (lots of piano) and Yes. It's a real prog rock soup with all sorts of vegetables thrown in but they aren't liquidised very well and, despite the obvious instrumental chops of the band, it's all a bit of an unpalatable stew.

In fact the group's stated mission statement was to:

Expand the frontiers of contemporary popular music at the risk of becoming very unpopular.

Perhaps this is why, in their decade of existence (1970-80), they never achieved the fame, fortune and admiration bestowed on many of their contemporaries.

I'm not a massive Tom Waits aficionado but feel that (like a lot of artists) he had a 70s phase, and an everything afterwards phase (not that I'm aware of much that he has done since the 80s). When he started out he sang conventional ballads and love songs - some of the tracks on the early albums like The Heart Of Saturday Night are beautiful. Even the singing was tuneful.

Then something happened around the turn of that decade. Waits went industrial. His music became dominated by clanking rhythms and gravelly barking vocals. The main album I was aware of that demonstrated this new sound was Swordfishtrombones. Actually this makes perfect sense. Waits had changed labels, his initial label Asylum dropping him for "failing to move beyond cult status". Swordfishtrombones was released in 1983 - his first album for the new label Island and his 7th overall.

This album was doing the rounds when I was a Uni student. There was even a track on the jukebox at our main drinking hole, the Red Cow in Exeter. How many jukeboxes have Tom Waits on them? Not many but this was no ordinary jukebox, and the Red Cow was certainly no ordinary pub (sadly no longer there). The track was the drunken sing-a-long In The Neighbourhood and would be aired nightly.

As a fan of hard rock Tom Waits remained a bit of a mystery to me (I was much more acquainted with the AC/DC numbers on said jukebox). But eventually I got the album, and followed it closely with Frank's Wild Years, Raindogs, Small Change, The Heart Of Saturday Night, Foreign Affairs, Big Time, One From The Heart and my favourite, Blue Valentine, which I think perfectly bridged the two types of Tom Waits.

Note not much from the late 80s on. This is an oversight on my part yet to be rectified - as indicated by the ranking below (Waits' output is so consistent it is hard to find a consensus for such a list - maybe one for me to tackle in the future?).

https://www.ranker.com/list/best-tom-waits-albums-list/reference

Also interesting to note that Waits lags behind other celebrated singer-songwriters (Young, Dylan, Morrison etc) in my overall frequency rankings with just the 5 to date.

Tom Waits tops my bucket list of artists I want to see live.

To be fair the gravel vocals came first and were already in place before the industrial clanking which coincided more with the powerful barking delivery which has remained in place ever since those 80s albums. When Waits recorded Nighthawks At The Diner it was only his 3rd album and he was only 26 although his voice sounds like a weary old man of 62 who has seen it all.

The album is set up like a live recording made in a seedy jazz basement. Actually it was set up, literally. The recording was made in a LA studio in front of a small audience of select guests, friends and record executives. Backed by seasoned jazz session musicians Waits slurs his way through a series of down tempo cabaret numbers interspersed with spoken asides, banter and his trademark humour, playing the role of the barfly troubadour to the max.

As the album goes, and the songs within, it's certainly not his best work, and doesn't reach the heights of the similarly jazzily improvised Astral Weeks. But despite its contrived origin, it does have a tremendous smoke filled atmosphere you could cut with a knife, and reminds me why the tour shy Tom Waits tops my bucket list of artists I want to see live. There is very little chance of this happening unfortunately.


Edward Hopper's famous 1942 depiction


Sunday 19 May 2019

Log #138 - The Other Sides Of Jazz

Eddy Bamyasi

A couple of new jazz albums in the player this week. Quite different.

Firstly Kamasi Washington who seems to be a bit of a poster boy for the "new jazz revival". His latest album Heaven and Earth is of epic proportions, as was his previous release, the appropriately entitled The Epic. In fact it topped many "best of" lists for 2018. For me, I've tried to get into it, but so far I've been left slightly cold by the myriad of different tones which include samba beats, stage show numbers, soul, gospel, vocals and, most disturbingly, 80s style electronica. Kamasi seems a big personality and this is big music. I must try harder.

Much more my tea at the moment is a beautiful album from Norwegian pianist Tord Gustavsen which I discovered by chance after overhearing the track Re-Melt at a Brighton Festival Open House (I stood transfixed by the speaker unable to move until it was over). Fittingly from the ECM label The Other Side is Gustaven's eighth album.


The Alan Parsons Project Tales Of Mystery And Imagination
Tom Waits Nighthawks At The Diner
Fennesz Endless Summer
Tord Gustavsen Trio The Other Side
Emilie Simon Vegetal
Kamasi Washington Heaven And Earth


In contrast to the Washington album this is gentle minimalist jazz all about the subtle ebbs and flows and the space in between. Gustavsen explains:

There is this idea in the title of the way the trio plays as being the other side of virtuosity, a kind of paradoxical virtuosity where you don’t play all the notes you can but merely the notes that are really needed. It’s about subordinating your ego to the flow of the music – and that takes a kind of ‘radical listening’ – listen more than you play. That’s a passion the three of us share.

Indeed the trio display admirable restraint through twelve modestly lengthed tracks of sparse beauty. The piano playing is melodic and recalls the Debussy preludes - the classical influences are confirmed with three arrangements of Bach pieces. The piano leads but is backed by perfect double bass and drum accompaniment. 

Although potentially verging on the Keith Jarrett type easy listening stylings the album's sheer beauty, perfectly encapsulated in the lilting opening track The Tunnel (below), overcomes any accusations of "imperceptibility" as levelled at The Cinematic Orchestra last week.




Easily my album of the week, I've pretty much had this little gem on repeat play all weekend.





Sunday 19 March 2017

Log #25 - Van's Window on Astral Weeks

Eddy Bamyasi


1. Lynyrd Skynryd - Gold and Platinum
2. John Martyn - Solid Air
3. Tom Waits - Blue Valentine
4. John Martyn - Grace and Danger
5. Van Morrison - The 1967 New York Sessions
6. John Martyn - Glorious Fool

The Van Morrison New York Sessions are outtakes from around the Astral Weeks time. Releases of studio outtakes like this are often filler for some artists. But not in the case of Van Morrison whose perfectionism has meant many great songs not making the cut to his albums over the years (see the tremendous Philosopher's Stone for example). On these tracks we hear the genesis of the Astral Weeks album with early takes of some of the songs that would resurface a year later on the album proper. The sound is rawer, his voice is powerful and soulful, and the songs are bluesy with an improvisational quality. Listening to this album reminds me of Bob Dylan's Basement Tapes and the aforementioned Philosopher's Stone.

Cover album Blue Valentine is classic Tom Waits,  providing a bridge between his early soulful ballads and his later industrial rhythms. I love the night hawk neon green tinged seedy imagery which augments the groovy blues tinged music and lyrics within.

Blue Valentine, back shot.

The evocative track titles tell some stories in themselves.




Sunday 12 March 2017

Log #24 - Johnny (Martyn) Be Good

Eddy Bamyasi


1. Lynyrd Skynryd - Gold and Platinum
2. John Martyn - Solid Air
3. Tom Waits - Blue Valentine
4. John Martyn - Grace and Danger
5. Van Morrison - Tupelo Honey
6. John Martyn - Glorious Fool


So there I was on this barge on the river wearing nothing but denims and a smile, and this blue man says to me, 'You know I used to be like you, but I saw sense and I changed myself.' So I looked at his sage expression and black shoes and thought 'Thanks all the same, I'll stay on the river.'

I do feel lucky to have discovered John Martyn relatively early in life. I was introduced to him on a summer holiday in France one year by a friend of a friend who played a bit of acoustic guitar in that percussive slapping manner which was very new to me at the time, and characteristic of Martyn's acoustic playing especially on his earlier folky albums. Then later the same (long) summer (I assume) I was helping another friend refurbish a boat down in Cornwall somewhere and had two albums in rotation on my Walkman: Bob Dylan's Desire and John Martyn's Solid Air.  Not a bad selection if you only had one C90 tape for the whole summer (and two of my favourite albums still today 30 years later)!

It sounds wonderfully free and romantic, rather like Martyn's quote from the sleeve notes of his debut album above. I had indeed just met a new girlfriend and in my mind's eye the sun shone and I would have been bare footed and long haired too! What emotional memories particular music always brings up.


JM with smoking joint lodged in machine head

Solid Air is the classic John Martyn. A lovely blend of folk and jazz and the beginnings of his more electronic echoplex guitar playing. Perhaps most evocative is the lovely electric piano. It is of course, like most of his records, a very chilled laid back album - there is a track entitled Go Down Easy and the title track is a homage to Island label mate Nick Drake. But perhaps his most famous song in his full catalogue is May You Never, a song he always played live and one the crowd would sing along with especially in later life when the drugs and booze had taken such a toll his concerts had become a little more ramshackle.

However like many artists who suffered poor health in later life his voice never left him (just becoming even more of a bear growl), nor did his unique guitar playing which although relying increasingly on effects still mesmerised. Like his very easy going effortless slurred voice the guitar also looked extremely loose and free but he was obviously channelling some higher source as I could never work out what he was doing despite studying May You Never guitar tabs for years.

We also have two later albums in the list above. I say later but Grace and Danger and Glorious Fool were released in 1980 and 1981 respectively so still very early relatively. The heartbreaking Grace and Danger album I've written more extensively about here. The slightly harder edged Glorious Fool was a bit of a crossover album between classic John Martyn and later 80s smoothness, and slightly disjointed as a consequence but still contains some excellent tracks. One disappointment is the electrified rendition of Couldn't Love You More which loses much of the soul of the acoustic original on the excellent One World album. In fact I'd proffer that One World is Martyn's peak, representing the perfect equilibrium of his earlier folk days and the later electric period. All his 70s albums right up to, and including Grace and Danger which was a departure, are worth getting but start with One World and Solid Air.




Sunday 5 March 2017

Log #23 - The Tragic Life of Allen Collins

Eddy Bamyasi


Some people have such tragic lives don't they? Sometimes it seems people of fame and fortune have their unfair share of infamy and misfortune too (is this a way the universe balances things out, or is this just a perception as we only hear about the famous ones subjected to tragedy?).

A couple of posts ago I talked about the unfortunate Barclay James Harvest band. But their trials and tribulations were nothing in comparison to US southern rockers Lynyrd Skynyrd. As we will learn below the whole extended band suffered awful trauma but take founding guitarist Allen Collins for instance. He was the lanky one dressed all in white, bushy long hair flowing in the wind, shredding his guitar during Freebird in one of the most famous guitar solos ever committed to film. The band were at the height of their powers playing to a stadium crowd at The Oakland Coliseum July 1977.

Allen Collins ripping it up during Freebird, Oakland, July 1977

Just two months later a plane carrying the band and their crew between gigs ran out of fuel over Mississippi swampland. Falling just short of its destination the crash claimed the lives of three band members and left the survivors including Collins never the same again.

Jacksonville, 1964

Allen Collins was at the genesis of Lynyrd Skynyrd when he joined lead singer Ronnie Van Zant and fellow guitarist Gary Rossington as long ago as 1964 to form a high school band in Jacksonville, Florida. Going through several name changes the Lynyrd Skynyrd name was finally taken on in 1969, a mocking tribute to the school's notoriously strict PE coach, one Leonard Skinner.

Collins, Van Zant, Rossington

Crafting a gritty "southern" sound through a creative blend of country, blues and heavy rock, Lynyrd Skynyrd developed a keen live following in their southern homeland before finally being "discovered" by producer Al Cooper with whom they recorded their debut album Pronounced Leh-nerd Skin-nerd (1973) - this was almost ten years after their initial formation so it was not surprising that they had by then a wealth of strong songs and had honed a super tight live act.

Freebird

The album contained several staples and the classic Freebird. With it's ballad piano and slide guitar opening morphing into heavy rock and searing guitar solo, this song, first conceived by Collins and Van Zant in the late 60s, was a forerunner to other epic rock songs of similar structure like Stairway to Heaven and Bohemian Rhapsody.

Lord knows, I can't chay-ay-ay-ay-ay-aaaange! Is there a more exciting moment in rock than the shift of gear midway through Freebird?


Kathy and Allen Collins on their wedding day, 1970

Legend has it that it was Allen Collins's partner, Kathy, who asked him one day: "If I leave here tomorrow, would you still remember me?" This became the famous opening line which was later augmented by a gentle piano introduction which had been written by the band's roadie. So impressed were the band that they formally asked roadie Billy Powell to join as their keyboardist.


Poised for take off - Lynyrd Skynyrd in 1973, Collins far left


20th October 1977

In October 1977 the band riding a euphoric wave of popularity and success set out on a US tour to promote their new Street Survivor album.  Just five days into the tour disaster struck.

The aircraft used to transport the band and their entourage from gig to gig was a rather vintage 1948 Convair 240. Rumour has it the same plane had already been rejected by the band Aerosmith, not only because it was felt the plane itself was unsafe but also on grounds of an unreliable flight crew (who had allegedly been witnessed drinking during the inspection).

It would appear it was obvious the plane had problems and was on its last legs. Sound technician Ken Peden had reported seeing flames from one of the engines on what turned out to be the plane's penultimate flight and apparently it had been decided it would be grounded as soon as it reached their next destination, Baton Rouge. It had also been observed by some passengers that the fuel gauges were deemed unreliable and fuel levels prior to flights were checked by literally dipping a stick inside the engines.

The Convair departed Greenville a little after 4pm on October 20th heading for Baton Rogue - a 3 hour flight. Aboard were the two pilots, and 24 passengers. But, at around 6:40pm, just minutes from their destination the pilots reported that fuel was low. One engine cut out. The pilot reportedly attempted to transfer fuel from the remaining engine to the dead engine but accidentally dumped all the fuel from that engine as well leaving the plane without power. All went quiet until impact.

Billy Powell would recall his experiences in an interview with Rolling Stone only a month later: “We had decided the night before that we would definitely get rid of the plane in Baton Rouge. So we started partying to celebrate the last flight on it. The right engine started sputtering, and I went up to the cockpit. The pilot said they were just transferring oil from one wing to another, everything's okay. Later, the engine went dead. [Drummer] Artimus [Pyle] and I ran to the cockpit. The pilot was in shock. He said, 'Oh my God, strap in.' Ronnie had been asleep on the floor and Artimus got him up and he was really pissed. We strapped in and a minute later we crashed. The pilot said he was trying for a field, but I didn't see one. The trees kept getting closer, they kept getting bigger. Then there was a sound like someone hitting the outside of the plane with hundreds of baseball bats. I crashed into a table; people were hit by flying objects all over the plane. Ronnie was killed with a single head injury. The top of the plane was ripped open. Artimus crawled out the top and said there was a swamp, maybe alligators. I kicked my way out and felt for my hands - they were still there. I felt for my nose and it wasn't, it was on the side of my face. There was just silence. Artimus and Ken Peden and I ran to get help Artimus with his ribs sticking out.”

The plane had skipped and skidded across tree tops, then smashed into a swampy area, just short of farmland. It has become confused conjecture what happened next but apparently some of the survivors nursed the injured and some went for help in the fading light. Rumours that the farmer had shot at the bloody survivors appearing out of the trees in the dusk, further injuring one, were exaggerated.



Lynryd Skynrd's flight from Greenville fell just short of its destination in Baton Rouge

Six lives were claimed in the crash including Ronnie Van Zant, new guitarist Steve Gaines, his sister vocalist Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary and co-pilot William Gray.



20th October 1977 - the plane carrying the band crashed in Mississippi swampland


As a mark of respect MCA Records immediately withdrew the original "Street Survivors" album cover showing the band surrounded by flames (which had been released only 3 days earlier), and replaced it with the band striking a similar pose against a plain black background. The album rose rapidly in the charts to become the band's second platinum selling album.


The original fire Street Survivors cover and the black replacement, Collins far left again, Steve Gaines in red


Reunions

Like the rest of his bandmates, Collins struggled to find a way forward after 1977, and further tragedy seemed to dog his path in particular. Collins and fellow survivors did not reform until a one off gig in January 1979 where they performed a poignant instrumental version of Freebird with a lone mic stand positioned centre stage in respect to Ronnie Van Zant.

In 1980 Gary Rossington, Billy Powell and Leon Wilkeson joined Collins to form the Rossington-Collins Band. Female lead singer Dale Krantz was recruited deliberately to avoid comparisons with Van Zant. But just as they were preparing to tour in support of their new album, Collins’ wife died suddenly, the result of a miscarriage-related haemorrhage. Collins, devastated by yet another personal loss, entered a losing battle with addiction that would haunt him for his remaining years.

The Rossington-Collins Band soon split but Collins reemerged with Powell and Wilkeson under the name the Allen Collins Band. Eventually warming up to the idea of reuniting the rest of the Skynyrd survivors once again, Collins set about trying to assemble a band that, for a time, was referred to as Lynyrd Skynyrd II. Van Zant’s younger brother Johnny was recruited to take the mic but as the group was preparing for another reunion tour in 1986 tragedy struck yet again. Collins, who had already had numerous traffic related convictions, crashed his car in Jacksonville killing his then girlfriend and leaving himself paralyzed from the waist down and unable to play again. Literally adding insult to injury Collins was charged with manslaughter and was tasked to appear on stage, throughout the new tour, in his wheelchair, to warn the audience about the dangers of drunk driving.

His weakened condition after this latest accident contributed to further failing health and in 1990 he passed away after a struggle with pneumonia at the age of only 37.

A fairly unrecognisable version of Lynyrd Skynyrd have remained together since that 1987 reunion, but their road has remained a bumpy one, with a number of band members in dispute and facing legal issues over the band's legacy and the use of the band name, and even persistent accusations on the cause of the fateful plane crash and the actions of various individuals in the immediate aftermath.


LS today

The Real Leonard Skinner

Leonard Skinner is the man who inspired the Lynyrd Skynyrd band name. The gym teacher and high-school coach famously came down on Ronnie Van Zant and his school friends for wearing their hair too long, although he later said that his strictness was exaggerated: “They were good, talented, hard-working boys... worked hard, lived hard and boozed hard.”

He wasn't a fan of their music though— his son recalled him asking, “What the hell kind of noise are you listening to?”


The real Leonard Skinner, strict PE teacher at the boy's high school


Who Needs Neil Young Around Anyhow?

By all accounts, the famous lyrical war of words between Neil Young and Lynyrd Skynyrd was more like a spirited debate between respectful friends than an actual feud.

Well I heard Mr. Young sing about her, well I heard old Neil put her down, well I hope Neil Young will remember, a southern man don't need him around anyhow.

Ronnie Van Zant sporting his Neil Young T-shirt

Young’s songs Alabama and Southern Man took aim at the South’s checkered race relations past, with references to slave ownership and cross burning. Ronnie seemingly felt Young was painting too many good people with the same old, bad brush, and responded with the Sweet Home Alabama lyricHowever, both repeatedly declared their respect for each other.

RIP

Ronnie Van Zant - died in the 1977 plane crash
Steve Gaines - died in the 1977 plane crash
Billy Powell - died from a heart attack in 2009
Bob Burns - died in a car crash 2015
Allen Collins - died from pneumonia in 1990
Leon Wilkeson - died from liver disease 2001
Ean Evans - died from cancer 2009
Hughie Thomasson - died from a heart attack 2007
Cassie Gaines - died in the 1977 plane crash
JoJo Billingsley - died from cancer 2010
Ed King - died from cancer 2018


This week's magazine:

1. Lynyrd Skynyrd - Gold and Platinum
2. Tom Waits - Blue Valentine
3. Van Morrison - Philosopher's Stone CD2
4. Bob Dylan - New Morning
5. Van Morrison - Philosopher's Stone CD1
6. Grateful Dead - From the Mars Hotel


Sunday 26 February 2017

Log #22 - Grumpy Old Men - Tom Waits and Van Morrison

Eddy Bamyasi


There is really nothing better than a Van Morrison album on a lazy Saturday morning. Smoothie done, coffee on, Brighton Festival brochure open across a sunny kitchen table, blooming orchids left by a dear friend. Almost any album that is, but the vibe is particularly enhanced by these easy going bluesy mid Van period outtakes compiled on the brilliant The Philosopher's Stone double album. Outtakes I say! These previously unreleased tracks demonstrate the quality of Morrison's general output, being of a standard most artists could only dream of! The album contains new tracks, rarities and alternative versions, spanning his whole career to date - 1968 to 1988. Infamous for the strict demands he placed on his bands it is no surprise that the music is perfectly played and recorded as demonstrated on Naked in the Jungle.

Stenness standing stones, Orkney - a suitably Celtic location

I've seen Van a few times live and his difficult reputation precedes him and can lead to some fairly bad tempered appearances. Often a musician in his band will feel the force of his displeasure where a cue for a solo is missed. At a gig at Brighton Dome a few years ago he turned to cue his choir of backing singers who had actually exited the stage -

Where's the f*****' choir?!

Sitting to the side of the stage I also had view of his countdown timer displayed in huge red LED lights. Van was not going to play a minute longer than agreed, and never does encores. Having said all that his voice remains as strong as ever and there was a period from the late 60s through to the mid 70s where he produced six or seven of the greatest albums ever made. The first of these Astral Weeks is my favourite album of all time. He can also still turn it on live when he wants to; headlining the Love Supreme Festival in 2015 he turned in a storming set of 70s classics finishing with an extended Gloria.


1. Crosby Stills and Nash - CSN
2. Tom Waits - Swordfishtrombones
3. Tom Waits - Rain Dogs
4. Bob Dylan - New Morning
5. Van Morrison - The Philospher's Stone CD 1
6. Grateful Dead - From the Mars Hotel


Tom Waits was the subject of a BBC retrospective last weekend. This naturally drew me to select a couple of his CDs. Swordfishtrombones and Rain Dogs were consecutive albums recorded in the early 80s. Although he always had his famous gravel and whiskey voice these albums represented quite a departure from the sound of his 70s output which was more conventionally song based. Here he employed a much more aggressive "industrial" sound of clanky rhythms, marimbas, brass and double bass, with cabaret like narratives recalling the songwriting of Kurt Weill.

The captain is a one-armed dwarf
He's throwing dice along the wharf
In the land of the blind, the one-eyed man is King
So take this ring
We sail tonight for Singapore
We're all as mad as hatters here
I've fallen for a tawny moor
took off to the Land of Nod
Drank with all the Chinamen
Walked the sewers of Paris
I danced along a colored wind
Dangled from a rope of sand
You must say goodbye to me

Tom Waits from Singapore


I really like Dylan's New Morning album. It's very understated with gentle piano based songs. I enjoy hearing the less celebrated songs of such an artist like Father of Night.

Dapper Dylan from the New Morning shoot

Grateful Dead were famous for their extended live performances captured on many bootlegs which the band, unlike most, actually encouraged and sanctioned. Their studio albums don't always capture the full atmosphere of the live experience although I think From the Mars Hotel is the best I have heard and contains my favourite Dead track Unbroken Chain which showcases Jerry Garcia's fluid jazz twinged soloing pretty well.

Liquid gold - the acid fretwork of Dead legend Jerry Garcia 1942 - 1995



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Leading Artists (by appearance)

neil young (26) van morrison (22) john martyn (18) tangerine dream (18) felice brothers (16) pink floyd (14) led zeppelin (13) black sabbath (12) brian eno (12) whitest boy alive (12) bonnie prince billy (11) can (11) david sylvian (11) radiohead (11) talk talk (11) beatles (10) cluster (10) cocteau twins (10) laura marling (10) nick cave (10) afro celts (9) beck (9) bob dylan (9) fennesz (9) genesis (9) iron and wine (8) loscil (8) midlake (8) paolo nutini (8) tom waits (8) autechre (7) foals (7) nucleus (7) richard hawley (7) stars of the lid (7) camel (6) david bowie (6) dj vadim (6) efterklang (6) elo (6) fairport convention (6) harmonia (6) holger czukay (6) kings of convenience (6) low (6) luke vibert (6) matthew e white (6) miles davis (6) sahb (6) the doobie brothers (6) tord gustavsen (6) war on drugs (6) william basinski (6) arovane (5) bear's den (5) black keys (5) boards of canada (5) bob marley (5) calexico (5) edgar froese (5) father john misty (5) hawkwind (5) jan jelinek (5) king crimson (5) mouse on mars (5) nils frahm (5) public service broadcasting (5) robert plant (5) sigur ros (5) takemitsu (5) arbouretum (4) badly drawn boy (4) budgie (4) carly simon (4) carole king (4) decemberists (4) emeralds (4) four tet (4) handsome family (4) hidden orchestra (4) jethro tull (4) jj cale (4) john legend (4) klaus schulze (4) kruder and dorfmeister (4) manuel gottsching (4) opeth (4) penguin cafe orchestra (4) ravi shankar (4) soft hair (4) steely dan (4) the unthanks (4) tim hecker (4) trees (4) ulrich schnauss (4) KLF (3) alan parsons project (3) alex harvey (3) alison krauss (3) alva noto (3) barclay james harvest (3) bon iver (3) bonobo (3) caitlin canty (3) caribou (3) chicago (3) coldplay (3) curtis mayfield (3) david crosby (3) deep purple (3) depeche mode (3) eilen jewell (3) enid (3) fleetwood mac (3) floating points (3) free (3) gorillaz (3) gram parsons (3) grateful dead (3) grobschnitt (3) incredible string band (3) james morrison (3) jill scott (3) john grant (3) john surman (3) keith jarrett (3) kraftwerk (3) lal waterson (3) last shadow puppets (3) lift to experience (3) lynyrd skynyrd (3) mahavishnu orchestra (3) manitoba (3) mike oldfield (3) mike waterson (3) monolake (3) neu! (3) palace brothers (3) philip glass (3) popol vuh (3) quantic (3) rodriguez (3) rokia traore (3) rolling stones (3) rory gallagher (3) roxy music (3) rush (3) simon and garfunkel (3) sly and the family stone (3) steve hillage (3) suede (3) sufjan stevens (3) the comet is coming (3) tim buckley (3) wagon christ (3) wilco (3) 4hero (2) abc (2) ac/dc (2) al stewart (2) amon duul II (2) aphex twin (2) arctic monkeys (2) baka beyond (2) band of horses (2) belle and sebastian (2) blue oyster cult (2) blue states (2) bonzo dog band (2) boris salchow (2) burial (2) cardigans (2) carlos barbosa-lima (2) charles mingus (2) chemical brothers (2) chris rea (2) cinematic orchestra (2) compilations (2) crosby stills nash (2) david darling (2) death in vegas (2) debussy (2) dj shadow (2) doors (2) earl sweatshirt (2) eloy (2) emilie simon (2) erik satie (2) farben (2) festivals (2) fleet foxes (2) francois and the atlas mountains (2) fripp and eno (2) gas (2) gong (2) granados (2) green on red (2) griffin anthony (2) jazzland (2) jean sibelius (2) jeff buckley (2) john coltrane (2) johnny flynn (2) josh t pearson (2) julian cope (2) kamasi washington (2) kanye west (2) kate bush (2) ketil bjornstad (2) la dusseldorf (2) lambchop (2) larkin poe (2) little feat (2) ludovico einaudi (2) magma (2) marianne faithfull (2) marvin gaye (2) mike lazarev (2) money mark (2) morton feldman (2) nektar (2) nightmares on wax (2) ninja (2) nirvana (2) nitin sawhney (2) peace (2) porya hatami (2) prefuse 73 (2) prem joshua (2) randy newman (2) robert fripp (2) ryan adams (2) scorpions (2) scott and maria (2) scott matthews (2) servants of science (2) soft machine (2) steve miller (2) susumu yokota (2) talvin singh (2) the who (2) thievery corporation (2) traffic (2) truckstop honeymoon (2) ufo (2) up bustle and out (2) weather report (2) wiley (2) willard grant conspiracy (2) wishbone ash (2) wyclef jean (2) yes (2) abba (1) acid mothers temple and the cosmic inferno (1) aimee mann (1) air (1) alabama 3 (1) alice coltrane (1) amadou and mariam (1) andy shauf (1) anthony hamilton (1) april wine (1) arcade fire (1) ashra (1) asia (1) badger (1) barber (1) beach boys (1) bee gees (1) beirut (1) bert jansch (1) beuno vista social club (1) bill laswell (1) biosphere (1) bjork (1) blow monkeys (1) bob geldof (1) bob holroyd (1) bob seger (1) bombay bicycle club (1) boubacar traore (1) broken social scene (1) bruce springsteen (1) bruch (1) byline (1) captain beefheart (1) cardi b (1) cast (1) cat stevens (1) catfish and the bottlemen (1) charles and eddie (1) chopin (1) chris child (1) christine and the queens (1) chuck prophet (1) climax blues band (1) cosmic jokers (1) crowded house (1) d'angelo (1) daft punk (1) david goodrich (1) davy graham (1) dexy's midnight runners (1) dolly collins (1) donald fagen (1) dreadzone (1) dub pistols (1) eagles (1) echo and the bunnymen (1) eden espinosa (1) eels (1) elbow (1) electric ape (1) emerson lake and palmer (1) erlend oye (1) erukah badu (1) essays (1) euphony in electronics (1) faust (1) feist (1) flaming lips (1) future days (1) gamma (1) gang of four (1) gentle giant (1) goat roper rodeo band (1) godspeed you black emperor (1) gorecki (1) groove armada (1) grover washington jr. (1) gun (1) guru guru (1) hatfield and the north (1) hats off gentlemen it's adequate (1) heron (1) hiss golden messenger (1) hozier (1) human league (1) idles (1) india arie (1) iron and wire (1) isaac hayes (1) james brown (1) james joys (1) jamie t (1) janelle monae (1) jayhawks (1) jean-michel jarre (1) jerry paper (1) jim croce (1) jimi hendrix (1) jjcale (1) john cale (1) john mclaughlin (1) jon hassell (1) jurassic 5 (1) kacey musgraves (1) keith berry (1) kid loco (1) king tubby (1) king's consort (1) kings of leon (1) kirk degiorgio (1) kodomo (1) lenny kravitz (1) lighthouse (1) love supreme (1) luc vanlaere (1) lumineers (1) mark pritchard (1) mark ronson (1) me'shell ndegeocello (1) messiaen (1) metallica (1) micah frank (1) michael hedges (1) michael jackson (1) mike west (1) mitski (1) modest mouse (1) moody blues (1) morte macabre (1) motorhead (1) national health (1) nick drake (1) nusrat fateh ali khan (1) oasis (1) omd (1) orb (1) orquesta reve (1) other lives (1) oval (1) paco pena (1) paladin (1) panda bear (1) pat metheny (1) paulo nutini (1) pentangle (1) pierre bensusan (1) portishead (1) proprio (1) protoje (1) purcell (1) pussy riot (1) queen (1) rainbow (1) ramsay midwood (1) rautavaara (1) rem (1) rhythm kings (1) richard strauss (1) robyn (1) roni size (1) ryuichi sakamoto (1) sada sat kaur (1) saga (1) sam jordan (1) sammy hagar (1) santana (1) scaramanga silk (1) shakti (1) shirley collins (1) shostakovich (1) snafu (1) snatam kaur (1) sparks (1) st germain (1) stanford (1) steeleye span (1) stereolab (1) steve reich (1) styx (1) supertramp (1) susumo yokota (1) t bone walker (1) terry riley (1) the band (1) the clash (1) the jayhawks (1) the streets (1) the wreks (1) tricky (1) tycho (1) uriah heep (1) velvet underground (1) venetian snares (1) vladislav delay (1) whiskeytown (1) whitesnake (1) william ackerman (1) yngwie j malmsteen (1) zhou yu (1) μ-Ziq (1)