Showing posts with label van morrison. Show all posts
Showing posts with label van morrison. Show all posts

Sunday 24 February 2019

Log #126 - There's A Party Going On, Griffin Anthony Picks 6

Eddy Bamyasi

This Sunday, in the first of a new series, I'm very pleased to give over the (b)log to special guest curator NY singer songwriter Griffin Anthony who sends greetings from snowy Connecticut and lists 6 of his all time fave albums and current obsessions (with handy Spotify links too!).  Thank you Griff.

Griffin's own most excellent record Refuge is now out on Big Eyes Records.


Van Morrison - Veedon Fleece
Jeff Buckley - Grace
Marvin Gaye - What's Going On
Hiss Golden Messenger - Lateness Of Dancers
D'AngeloVoodoo
Andy Shauf - The Party




Van Morrison Veedon Fleece (1974)

Live, human, and dynamic. Richly atmospheric loose-limbed arrangements that parallel ‘Van the Man’s’ tenderly gentle and wildly explosive deliveries. It's pretty damned inspiring to know that an artist like this exists.

Spotify




Jeff Buckley Grace (1994)

Epic soaring melodies and performances from such a young and talented (gone too soon) artistic force. For a time in digital production when most of the material released by major labels sounds dated and affected, Grace still stands up and feels timeless.

Spotify




Marvin Gaye What’s Going On (1971)

One song more powerful than the next. Haunting yet hopeful. Greasy yet poignant. After The Beatles took me through middle school, What’s Going On blew my mind and carried me through high school.

Spotify




Hiss Golden Messenger Lateness of Dancers (2014)

When asked, “Who are some of your favorite bands?,” HGM usually tops the list. Musically, Lateness of Dancers is everything I love about The Grateful Dead, JJ Cale, and Buffalo Springfield. MC Taylor is one of our generation’s greatest and often under-appreciated songwriters.

Spotify




D’Angelo Voodoo (2000)

Equal parts crunchy and smooth with lush Prince-esque layered harmonies floating atop fuzzy guitars, organs, and the sticky-icky deep pocket grooves. Voodoo celebrates femininity without all the stale R & B cheese of its era.

Spotify




Andy Shauf The Party (2016)

Proof the concept record isn’t dead. The Party is playfully clumsy at times, but with a ton of overall instrumental restraint. What it lacks in live performance, it makes up for with its charm, clever orchestration, and efficient brush strokes. Favorite album of the last few years.

Spotify




Our contributor this week is Griffin Anthony, an American songwriter with three albums and a number of film scores to his credit. As a teen, the 35-year old New York native worked his summers as a stagehand for the Newport Jazz and Folk Festivals absorbing influences from the likes of Aretha Franklin, Ray Charles, Chick Corea, and George Benson before eventually signing with BMI and Orange Music Publishing in 2008. His debut full length Crazy Ways was released in 2010, followed by The Making Of A Man. Last year's Refuge was recorded at Nashville's vintage analog Bomb Shelter studio with producer Jon Estes (Kesha, John Paul White) and Grammy Award-winning engineer Andrija Tokic (Alabama Shakes, Margo Price, Phosphorescent).



Monday 4 February 2019

Greil Marcus Listens To Van Morrison and Astral Weeks In Particular

Eddy Bamyasi

Listening To Van Morrison by Greil Marcus

This is obviously not a comprehensive review of all Van Morrison's output, nor a biography (no need to repeat other books already out there). Rather it is a series of essays on particular aspects that have struck the writer personally, rather like Bob Dylan's Chronicles which only focuses on 3 particular albums as I recall.

Astral Weeks (and Madame George in particular) is most prominent and 15 years and as many albums are dismissed within a few paragraphs. But this is fair enough; Astral Weeks is much quoted as Morrison's greatest work and I expect many listeners would agree that his output had less impact in the 80s and 90s.

Sure it is personal, it is literally how Greil Marcus feels listening to Van Morrison and his personal ramblings sometimes don't make sense to an outsider, but as such it does what it says on the tin. Whatever its shortcomings I thoroughly enjoyed this short book and devoured it in a few sittings.






Sunday 12 August 2018

Log #98 - The Spirit of '68 (1) and My Favourite Record of All Time

Eddy Bamyasi


The stories about the recording of Astral Weeks are well known and I don't need to add a lengthy analysis to the numerous reviews and articles already out there about Van Morrison's seminal album suffice to say it is, and has been for many years, my favourite record of all time and one that has truly enriched my life.

The gentle jazz tinged music ebbs and flows and meanders like a mountain stream, the lyrics are simultaneously fantastic and down to earth recalling places and feelings many of us have experienced.

I can't listen to this album as background music, it demands my full attention and it makes me feel things very few other records do... think green, earthy, organic, wet, lush, celtic, spring, sunshine, dewdrops, rain, rainbows, walks in the woods, trees, stone circles, nature, rivers, childhood, family, the past, the future, in the beginning and afterwards... and ultimately life and death



And I will stroll the merry way
And jump the hedges first
And I will drink the clear
Clean water for to quench my thirst
And I shall watch the ferry-boats
And they'll get high
On a bluer ocean
Against tomorrow's sky
And I will never grow so old again
And I will walk and talk
In gardens all wet with rain

Is there a more evocative lyric than the oft quoted "gardens wet with rain" from Sweet Thing. Look at the cover too, it's all perfect.

Van produced a lot of great music in the late 60s and early 70s and several albums do approach this greatness. For many Moondance is it's equal although it has quite a different flavour being more brass based than string backed. Personally I think Saint Dominic's Review and Veedon Fleece come closest to Astral Weeks but just don't quite capture it's atmosphere.

Greil Marcus's Listening to Van Morrison is a personal account about how he feels when err... listening to Van Morrison. As such it does exactly as it says on the tin and in leaning heavily on Astral Weeks does not pretend to offer another autobiography or comprehensive review of the whole of Morrison's output. I thoroughly enjoyed this short book and find such accounts enhance my enjoyment of the music.



1. Midlake - The Courage of Others
2. Midlake - The Trials of Van Occupanther
3. Rokia Traore - Beautiful Africa
4. Badly Drawn Boy - Have You Fed The Fish
5. Pink Floyd - Wish You Were Here
6. Van Morrison - Astral Weeks


And this week Astral Weeks is in good company with 5 excellent albums including the gorgeous americana folk rock of Midlake, the bluesy afro rock of Rokia Traore, the perfect pop of Badly Drawn Boy at his peak, and a classic Floyd which was also once my favourite album before I moved on. What a great week!



Sunday 30 April 2017

Log #31 - David Sylvian - From Pop Star to Serious Musician

Eddy Bamyasi

David Sylvian found fame as the flamboyant front man of pop group Japan who were actually active a lot earlier than I'd assumed. They were formed as far back as 1974 ie. in the hey day of prog and glam. This surprised me as I'd always thought of them as an 80s pop band of the Duran Duran, Flock of Seagulls, Spandau Ballet type, rather than contemporaries of Roxy Music and David Bowie. To be fair they didn't really emerge proper until the early 80s having adopted a new romantic style.

David Sylvian did not like to be associated with the new romantic movement which may explain the break up of the band at the peak of their success at the end of 1982, and his subsequent about turn in his solo recordings which began with Brilliant Trees in 1984. But the real eye opener for me was Secrets of The Beehive which I heard at a friend's house shortly after it's release in 1987. Frankly, it blew my mind. I thought it was superb and could not believe it was David Sylvian. I don't play it that often now but for a time it was one of my favourite albums and one of those nice surprises to share with others (I remember Talk Talk's Spirit of Eden was a similarly revered "surprise" album).

Continuing his bee obsession Dead Bees on a Cake came 12 years later. It's a lengthy album with 14 mostly substantial tracks touching on jazz, rock, blues and world music - beautifully produced and performed by Sylvian's usual plethora of top notch session musicians who included Talvin Singh, Marc Ribot, Bill Frisell and Ryuichi Sakamoto on this one.

David Sylvian through the ages


1. Prem Joshua - Yatri
2. Iron and Wine - Kiss Each Other Clean
3. David Sylvian - Dead Bees on a Cake
4. Van Morrison - Enlightenment
5. Luke Vibert - YosepH
6. Luke Vibert - Stop The Panic

Sunday 9 April 2017

Log #28 - Lost and Found, the Unusual Career Trajectory of The Sugarman

Eddy Bamyasi


Like many I discovered Rodriguez through the superb Searching for Sugarman film. My partner wanted to go to the cinema and I'd read rave reviews about the film Argo which was also showing (also a brilliant film incidentally). I wasn't fussed about seeing the Sugarman film but I was wrong and it was fascinating. I knew nothing about him apart from through the track Sugarman which appeared on a David Holmes DJ mix album in 2002 entitled Come Get It I Got It.  And as I knew nothing and indeed had no idea if he was still alive the suspense in the film during "the search" was tangible. I'm sure the story of a poor manual labourer from Detroit achieving overdue fame and fortune in South Africa unbeknownst to himself was somewhat romanticised but still a great one.

*spoiler alert* I don't think there are many music fans left with an interest in his music who would not know the outcome of the film so it is ok for me to say that a still living Rodriguez was tracked down and by coincidence he appeared at Brighton Dome just two weeks after I saw the film in November 2012.

It was a superb concert where a fragile but strong voiced Rodriguez played most of the tracks from his only two albums Cold Fact and Coming From Reality plus a storming encore of Blowin' in the Wind (Rodriguez was yet another artist originally hailed as the new Dylan or could have been as good as...). The former album is the more famous and includes the Sugarman track but I actually think the Coming From Reality album is stronger. This edition includes a couple of new outtakes and B sides.

As a tragic aside the Oscar winning director of the Searching for Sugarman film shockingly took his own life in 2014: http://www.hollywoodreporter.com/news/searching-sugarman-director-dead-thr-710882

1. Rodriguez - Coming From Reality
2. Bob Dylan - Desire
3. Iron and Wine - Around the Well CD 1
4. Neil Young - After the Goldrush
5. Calexico - Garden Ruin
6. Van Morrison - Moondance/St. Dominic's Preview*

A bit of a cheat on the whole selection this week as I was on holiday and away from the CD magazine. These are the CDs I had with me and was able to play in a hire car. Amazingly I really was on the way to some Aztec ruins in Mexico when I heard Bob Dylan sing: "Past the Aztec ruins and the ghosts of our people" from Romance in Durango off of my favourite Dylan album Desire. #evocative

Durango is a real place in Northern Mexico


*The last CD in the list is a home made compilation of two of Van Morrison's greatest albums (sometimes fun to do this when you can fit two on the same CD) - a combination not officially available.




Sunday 2 April 2017

Log #27 - Four Tet Doing The Rounds

Eddy Bamyasi


1. Rodriguez - Coming From Reality
2. Money Mark - Mark's Keyboard Repair
3. Fairport Convention - The History Of
4. Four Tet - Rounds
5. Wagon Christ - Sorry I Make You Lush
6. Van Morrison - The 1967 New York Sessions

Cover album is from Four Tet. I really like this DJ Artist, real name Keiran Hebden, who composes his own material. Seeing him live too was a good experience (not normally the case I find with DJ sets as a spectacle). This is the only album I have of his and by many accounts is the best one to start with. There are some great hooks and loops and lugubrious jazzy down beats similar to DJ Shadow's best stuff. Centrepiece is the piano piece Unbroken. And They All Look Broken Hearted is fascinating with it's phased Japanese koto.



Sunday 26 March 2017

Log #26 - How to Tell the Temperature from a Cricket

Eddy Bamyasi


1. Rodriguez - Coming From Reality
2. Money Mark - Mark's Keyboard Repair
3. Sly and the Family Stone - The Collection
4. Four Tet - Rounds
5. Wagon Christ - Sorry I Make You Lush
6. Van Morrison - The 1967 New York Sessions

Wagon Christ is one of the pseudonyms of Luke Vibert - a prolific DJ and mixer, like Aphex Twin, from Cornwall. What I admire about Vibert's output is that although he covers different styles (electronica, acid, disco, dance, trance) he always stamps his own personality on his music - a characteristic not all that common in the rather anonymous world of DJ mixing. I found my way into Luke Vibert via his Stop the Panic album with slide guitarist BJ Cole - an unusual marriage, but one that works brilliantly.
That cricket was chirping at 76 degrees fahrenheit.
Also on the playlist this week is an intriguing album from Money Mark. Money Mark is actually Mark Nishita who has played keyboards with The Beastie Boys. Hear this frankly bonkers but brilliant track Insects Are All Around Us and ponder if you have ever heard anything like it before.




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



Saturday 28 January 2017

Album Cover Friday Fun Challenge! (Difficult) - ANSWERS REVEALED

Eddy Bamyasi
Here again are the pictures for my earlier Album Cover location challenge. The initial collage below shows the locations as they are today where the original famous (or not so famous in some cases) album photos were shot.

A hover over will reveal the actual album covers.

Admittedly some of these pictures were obscure or just plain difficult unless you happened to have had the particular albums. Some of the albums are not even that famous and may not even be recognisable from the hover over! For example how many people had the Blue Oyster Cult live double album On Your Feet or On Your Knees with it's very spooky gothic church cover (2,2) actually located in up town New York? I was a great fan of their brand of sci-fi rock and in particular Buck Dharma's excellent guitar evident in extended glory on this album, but I don't think many of my contemporaries, even my rock fan friends, ever shared my enthusiasm, which is a shame as some of their early albums in particular are quite unique.

Speaking of gothic churches the San Franciscan turquoise church door was the backdrop for Van Morrison's split trouser shot for his St. Dominic's Preview album (1,3), an album that I personally think is right up there with his magnificent Astral Weeks.

The location for Black Sabbath's debut album cover shoot was not a gothic church but actually a water mill on the Thames in Oxfordshire (4,3). Of course the mysterious black figure adds some sabbath menace to this otherwise idealic country setting. Urban myths abound that the figure was an apparition that only appeared when the film was developed! Bassist Geezer Butler said such a dressed figure attended a gig many years later claiming to be the girl on the cover.

Who but the most avid and observant Mike Oldfield fans would get the aerial shot of the Welsh/English border especially without the glider (1,2)? Oldfield had retreated to the Hertfordshire region, known as Hergest Ridge, to live and record an album of the same name following the success of Tubular Bells.


album cover locations
Famous music locations, hover over to reveal the albums


Some of the remaining pictures are more famous and I was surprised no one got Pink Floyd's Hollywood studios Wish You Were Here shot (4,2), or Led Zeppelin's New York apartment block featured on Physical Graffitti (with actual cut out windows in the sleeve)(1,4).The other Led Zeppelin shot at (3,2) is a bit of a cheat as it is actually the back portion of the Led Zep IV cover which was shot across a park in Birmingham - quite a drab location relative to the Lord of the Rings flavoured delights inside.

The Who's obelisk from Who's Next (2,3) was taken at Easington Colliery, a former mine in County Durham in the North of England, and both the Oasis cover for What’s The Story (Morning Glory)? (1,4) and David Bowie's Ziggy Stardust cover (1,3) come from London's Soho. The famous K.West sign in the latter belonged to a long gone fur clothing company and is absolutely nothing to do with a premonition Bowie had about Kanye West. Another London shop long gone is Axfords Clothing in Vauxhall, South East London, as pictured on the Ian Dury album New Boots and Panties!! (3,4). If you look closely at the album cover you can also see the reflection of the Woolworths shop front across the street, another British institution no longer with us. Moving north of the river again you can find the less than exotic tower block in Islington which provided the night shot for The Streets' Original Pirate Material album.

Across the pond we have three New York street scenes used respectively for Bob Dylan's Freewheelin' (1,1), Neil Young's After the Goldrush (2,4) and the Doors' Strange Days (4,4), and finally Eric Clapton's 461 Ocean Boulevard (3,3) which is literally a shot of his home of that very address, Miami, in 1974.

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