Tag Archives: Music

Jimi’s legacy lives on




Experience Hendrix, the group headed by Janie Hendrix, the adopted daughter of Jimi Hendrix’s father Al, oversees Hendrix’s body of work and recently struck a new agreement with Sony after years of working with MCA.

Jimi Hendrix Valleys Of NeptuneThe first joint venture from the two entities is Valleys Of Neptune, 12 previously unreleased tracks by Hendrix, most recorded in the spring of 1969 with The Jimi Hendrix Experience’s original members, Mitch Mitchell, drums, and Noel Redding, bass. Bassist Billy Cox is also featured on several tracks to good effect, wiping out one of Redding’s efforts, and various percussionists are employed.

But essentially this is the main group starting to work on its followup to the artistically and commercially successful double LP Electric Ladyland from 1968. It would be short-lived. The Experience broke up in June, which basically means Redding announced he was splitting. Although Hendrix had obviously greased the skids by finding and working with Cox almost exclusively after April. Mitchell continued to play with Hendrix until his death in 1970 and Cox, Mitchell and Hendrix played as The Experience in 1970.

Experience Hendrix, and for that matter also Alan Douglas who previously handled the Hendrix catalogue, has been roundly criticized for exploiting the Hendrix goldmine and doing anything but a bang-up job of remixing and remastering the material to the level that it deserves. However, some of those criticisms are overblown and most of the previously unissued material and/or reorganized tracks such as one can find on First Rays Of The New Rising Son and South Saturn Delta, are in the end worthy projects, albeit not without flaws, that have enhanced the Hendrix legacy.

It seems rather remarkable that the amount of material available is still not exhausted. Some would say let it rest, the quality is not up to Hendrix’s lofty standards. But Jimi virtually lived in the studio, his only oasis from the storm of his public/business life, and what he left is not only an indication of where he was going but also in fact where he had arrived and it was miles ahead of many of his comptemporaries. Jimi Hendrix was a true original and most of what continues to be released only reinforces that. Continue reading Jimi’s legacy lives on

Johnette’s sketchbook




After coming out of the L.A. post-punk scene of the early 1980s, the members of Concrete Blonde found their niche in modern rock nearly 10 years later. The band was not a part of the pop-rock or hair rock genres of the ’80s and preceded the popular grunge movement of the early ’90s. Nonetheless, they enjoyed considerable commericial success once they were established on I.R.S., the label REM made famous.

Johnette Napolitano Sketchbook #3What they did bring was a punk attitude over a competent hard rock base, augmented by brilliant melodic structure, dark edgy lyrics and the distinctive and powerful voice of Johnette Napolitano. Let’s not forget Jim Mankey, who wrote much of the material with Napolitano, and displayed a highly proficient and inventive approach in his guitar playing.

Almost always a trio, except for an imaginative collaboration with Los Illegals in 1997, the band featured various drummers, including mainstay Harry Rushakoff. Since their successes of the early-to-mid ’90s, the group had regrouped on occasion before breaking up for good in 2007, with valid, creative efforts that had been largely ignored by the general public.

So what has become of bassist/singer Napolitano in recent years? Well, she has retreated a bit to Joshua Tree, Calif., but is still creating as an artist and as a musician with a solo release in 2007, Scarred, and occasional independent releases in her Sketchbook series. The Sketchbooks are not demos per se, but rather song fragments, ideas, flashes of brilliance caught in the moment, sometimes solo, sometimes in collaboration, often using GarageBand software.

I almost accidentally came upon Sketchbook #3 over at CD Baby when I was looking for a couple of other titles and I couldn’t be more pleased with the find.

Admittedly some tracks, although interesting and creative, can become a little tedious such as Bass Idea or Drum Practice. Perhaps she’s offering those to other musicians to expand upon. But in many of the other tracks, the old magic surfaces. That familiar proficient and explosive voice and that wonderful engaging of melody is still there. Continue reading Johnette’s sketchbook

Track of the week: Bonnie Bramlett




Bonnie Bramlett came back to singing in earnest in the early 2000’s after years of pursuing an acting career.

bonnie-bramlett-roots-blues-jazzShe started as the first white Ikette with Ike and Tina Turner in the mid-1960s, then played a big role in the highly influencial Delaney & Bonnie and Friends with her husband at the time Delaney Bramlett. The group featured some prominent members over the years, including Eric Clapton, Dave Mason and even George Harrison. Members of the band went on to play with many other groups, including The Stones, and three — Bobby Whitlock, Jim Gordon and Carl Radle —wound up with Clapton in Derek and The Dominos.

This track is a cover of the Stephen Stills classic Love The One You’re With from his first solo album. It was also a sizable hit for Stills as a single. Bramlett brings a funky, groove-oriented reading to it with jazz substitution chords in place of the heavily suspended sound of the original.

It’s amazing that Bonnie didn’t sing on the original with Stills because the sound of that chorus with Rita Coolidge, Priscilla Jones, Graham Nash, John Sebastian and David Crosby had Delaney & Bonnie written all over it. This track is from Bramlett’s 2006 album Roots, Blues & Jazz, which shows off Bramlett as a proficient jazz singer as well as a queen of blue-eyed soul and R&B.

Pieces of Stephen Stills




One of the most talented musicians and songwriters of the late 1960s and early ’70s, Stephen Stills is also a confounding one.

manassas-piecesIt’s hard to think of an artist who had a better streak of songwriting from 1966-73 while playing with Buffalo Springfield, Crosby Stills & Nash and CSN & Young, followed by a stunning first solo album, an almost-as-good second and a year-and-a-half with the eclectic rock-country-Latin mix of Manassas.

Then decades of ups and downs, a few hints to rival past triumphs but mostly downs. Unfulfilled promise? Perhaps that’s a little harsh. Stills did give us a wealth of creativity during that roughly seven-year span.

Since 2007, Stills has released three albums from his vault, most recordings about 40 years old. And all three are better than anything he’s produced since. First Just Roll Tape, an extraordinary demo of songs he dashed off following a Judy Collins session in New York, several to appear on the first CS&N album.

Then Demos, in a similar vein, from CS&N, with his contributions undoubtedly the highlights. And now Pieces, early Manassas tapes, with some solo work and early jams with members of The Flying Burrito Brothers mixed in, a collection so good it makes one wonder why it’s taken so long for this material to see the light of day.

The group Manassas grew out of Stills’ frustration with CSN&Y and his contacting ultimate rock ‘n roll sidekick Chris Hillman (Byrds, Burritos) to get together and jam in Miami with members of the Burritos post-Gram Parsons.

The tracks from these sessions are mostly at the tail end of Pieces, Panhandle Rag, which shows off Byron Berline on fiddle and Hillman’s blazing mandolin, Uncle Pen — a Bill Monro tune on which Berline takes the vocals — Do You Remember The Americans and Dim Lights, Thick Smoke (And Loud, Loud Music), a Burritos live staple. Continue reading Pieces of Stephen Stills

Beatles remastered: Revolver & Sgt. Pepper’s




In the summer of 1967, when Sgt. Pepper’s Lonely Hearts Club Band was released, fans of The Beatles didn’t get together with friends and listen to the mono version of this landmark album.

beatles-sgt-peppersI don’t recall anyone buying the mono version. Perhaps  if you couldn’t afford the $1 extra for stereo, because that’s all it was. But that’s not the point. The way to listen to Sgt. Pepper’s back then, as it is now, was in stereo.

I can remember at rehearsals and jams at the Aiardo Brothers house during the summer between the demise of the Bram Rigg Set and before I went off to school in Boston, we would take a break and listen to the entire album’s left channel.

Later the same afternoon we would listen to the whole album but just the right channel. Yeah, it was entertaining, listening to what George Martin and The Beatles were up to, but we were also trying to figure out what the hell they were doing as far as the recording process.

It wasn’t until several weeks later that I found out this album was recorded on a four-track machine. A four-track! Most studios in the States had long before installed eight-track recorders, including Syncron, later Trod Nossel, all the way out in Wallingford, CT, where my bands Bram Rigg Set and later Pulse worked out of.

Yet, The Beatles and Martin had produced an album on a four-track, albeit bouncing to a second four-track for many songs, and the album sounded extraordinary.

In a previous post on the recently released remastered versions of Help! and Rubber Soul, The Beatles albums that preceded these two, I wrote that bottom line the mono versions of those albums, even though I had grown up with the stereo, were my preference. OK, maybe not for Drive My Car and a few other tunes, but mono is the way to go for those: balanced, clear, direct and in-your-face punchy. Continue reading Beatles remastered: Revolver & Sgt. Pepper’s

Concerts Vol. 9: Taj Mahal




Earlier this summer, I saw Taj Mahal in concert with Bonnie Raitt on the impressive Bon Taj Roulet tour, the third time I’ve seen Taj.

Taj Mahal 68474-5The second time was in the spring of 1969 at the improbable club in New Haven, the Stone Balloon, fashioned after Greenwich’s Village’s Cafe Au Go Go.

As mentioned in a post on Jethro Tull, who had played the club in February, ’69, the Balloon wasn’t open long, less than a year, but booked a plethora of rising stars from Tull to Taj to Neil Young. Quite a venue situated under a Pegnataro’s Supermarket with a back entrance from the super’s parking lot.

Taj had released two albums by this time, his self-titled debut and the classic Natch’l Blues, which was released the previous summer. He was touring with his original band that included the incomparable Jesse Ed Davis on lead guitar, Chuck Blackwell on drums and bassist Gary Gilmore.

The Stone Balloon was tiny. We went to see them on a Saturday night, some weeks after the Tull show, and Taj and his band were in fine form playing a mix of tunes from the first two albums. They were not as loud as Tull (not that I didn’t like Ian Anderson & Co.), instead perfectly suited to the room size and Davis was mesmerizing.

Of course, Taj wasn’t too shabby either. He had a beautiful take on modern country blues with his unique and refreshing originals mixed with classics like Good Morning Little Schoolgirl, Corrina and You Don’t Miss Your Water (‘Til Your Well Runs Dry). Continue reading Concerts Vol. 9: Taj Mahal

Beatles remastered: Help! & Rubber Soul




The Beatles remastered catalogue on CD has arrived. I decided to start listening with two albums that were originally released back-to-back in 1965, Help! and Rubber Soul.

beatles-helpThese two also are the only ones with three versions released over the various formats of the series. Both are available in stereo and can be purchased individually or as part of The Beatles Stereo box set. Those versions are the 1987 re-mixes by producer George Martin, the same mix as the original CD releases from the late ’80s but of course remastered.

The albums are also included in The Beatles in Mono box, each disc of which includes a mono mix, only available if you purchase this mono set, and the original 1965 stereo mixes remastered, the first time those mixes have been available on CD.

I also have the 1987 CDs of these titles. So, I was able to compare all four versions.

Why were these two albums remixed in 1987 by George Martin? Good question. He said back in 1987, after being completely overlooked by EMI on The Beatles first four albums of that remastering campaign, that these two albums along with Revolver sounded “woolly” and he wound up not changing anything but “hardening” the sound up.

He applied digital echo in the mixing process as opposed to the original echo chamber at Abbey Road from the ’60s and cut down a little of the background noise. But that really simplifies it. Check this link  for an interview with Martin in 1987 in which he gives a more detailed reasoning of the process. It can be quite illuminating.

In fact, the differences in the stereo mixes are quite subtle, but the differences in the new remastering applied are significant. But let’s start with the mono versions. Continue reading Beatles remastered: Help! & Rubber Soul

A Jackie DeShannon quartet




More than a decade before the singer-songwriter era of the early 1970s, Jackie DeShannon was interpreting other writers’ songs and writing hit records of her own.

jackie-deshannon-first-albumShe came clearly into the public conscience after her recording of Jack Nitzsche and Sonny Bono’s Needles and Pins in 1963 and followed it with her own When You Walk In The Room. In 1964, both songs became hits for the English band The Searchers.

But DeShannon had been recording since the late 1950s and she would continue with a string of eclectic albums on Imperial, a subsidiary of Liberty Records, throughout the ’60s, which would include a couple of world-wide hits.

Running through all her changes in style was a pure, proficient and pleasing voice that held a tinge of country and gospel from her background and was perfectly suited for pop and rock music.

Collectors’ Choice Music has just released remastered versions of four of DeShannon’s albums spanning a period from her self-titled folk album of 1963, seeing its debut on CD, to 1968’s Me About You coupled with Set Me Free (1970) on a two-fer and on to 1975’s New Arrangement, which yielded the Grammy Hall of Fame song Bette Davis Eyes, a major hit for Kim Carnes six years later. Continue reading A Jackie DeShannon quartet

White’s Weather experiment




Jack White’s latest group The Dead Weather reaches highs that equal the best of two of his other projects, The White Stripes and The Raconteurs. Still, despite excellent musicianship, effective vocals and intriguing lyrics, the group falls a little short overall of sustaining those highs throughout its debut, Horehound, particularly in comparison with The Raconteurs’ two records.

horehound-albumAn interesting hard-edged, lyrically dark album, Horehound combines elements of Zeppelin-inspired hard rock with modern takes on alternative and blues themes. The group is at its best when Alison Mosshart, of The Kills, takes lead vocal duties as she does on nine of the 11 tracks.

Her voice is perfectly suited for the band’s style, sometimes evoking a female Robert Plant at others sounding reminiscent of Concrete Blonde’s Johnette Napolitano or for moments even a trace of P.J. Harvey. Comparisons aside, she retains a singular quality that only reminds one of those artists. Her performance here shows her off as one of modern rock’s best singers and front-women.

Things work best on the first two tracks, 60 Feet Tall and Hang You From The Heavens, both written by Mosshart and guitarist Dean Fertita of Queens Of The Stone Age. For this assemblage White plays drums on all but one track and The Raconteurs Jack Lawrence joins in on bass. Continue reading White’s Weather experiment

So long Les




Les Paul was not only a virtuoso guitar player, he was also an innovator and inventor who brought electronics experimentation to the music scene that enabled many of the sound devices we now have in rock ‘n roll. Yet he wasn’t a rock player. He primarily played jazz.

Paul, who died from complications of pneumonia at 94 Thursday, developed some of the early amplifiers for guitar, overdubbing — in its early stages called sound-on-sound — various delay and phasing effects and tape looping copied by such companies as MXR and Line 6, among many others. And, of course, let’s not forget he created the original design for what became the Gibson Les Paul guitar, synonomous with rock ‘n roll and originally rejected by Gibson.

In the video below Paul duets with country legend Chet Atkins on Avalon, both showing off their considerable skill and technique.

 

In the next clip, Paul demonstrates the Les Pulverizer, his tape loop machine. Continue reading So long Les