Written by Sombra Blanca
If your rock ‘n’ roll lifestyle, like mine, can only be lived vicariously, the Justice documentary A Cross the Universe packs in a few years’ worth. Despite the fact the documentary’s subjects, Frenchmen Gaspard Augé and Xavier de Rosnay, don’t play rock ‘n’ roll at all, at least not in the traditional sense.
Whether their brand of banging electronic house music is “the new rock ‘n’ roll,” as one fan proclaims, I’ll defer to others. But A Cross the Universe, a summary of their three-week North American tour in early 2008, reveals enough antics to rival the legends of any hesher hero.
At 64 minutes (shorter than the accompanying audio CD in the two-disc set), Filmmakers Romain Gavras and So-Me haven’t the time to delve into the duo’s history, why they make music, or any other biographical sketches. A little airport confusion, a stock shot of a plane in the air, and the film is off, fueled by the frenzied, over-the-top music from Justice’s first and only full album so far, Cross. (Not the word but the symbol, kind of like what Prince did).
Naturally a documentary about touring is going to include some live footage of the shows, and the directors include plenty of it, or at least a generous amount of fan footage. Crowd surfing in every clip, crazy costumes among the concertgoers, hands in the air as if they didn’t care, and an almost painful amount of strobe lights. Seriously. I understand the intent is to match the “thump-thump-thump” of the beat, but how their uninspired lighting tech avoided seizures, I have no idea. The lighting is the main reason it’s a good thing A Cross the Universe isn’t a straight live show.
If I had a gripe about the live footage, it would be that the close-up crowd shots dominated any clips of Augé and de Rosnay actually “playing” their instruments, even if it would horrify purists by showing a couple of CD players among other equipment. And especially because one of the gigs, the 2008 Coachella Festival, was purportedly their first performance with a live PA setup. It would’ve been nice to see trial-and-error (or success) footage from that show alone.
Instead, the directors never let the film linger too long in any one moment, and constantly flip back and forth between on- and off-stage. The duo, their tour manager Bouchon, and other members of the entourage find themselves in a hotel room filled with pantily clad ladies one night, watching a marriage on another night, and peppered along the with way with arrests, celebrities, and bottles both emptied and broken on purpose.
The chaos that follows Augé and de Rosnay is usually sorted out by Bouchon, who throughout the film aligns himself more with the American way of life with an increasing obsession with guns. He keeps one at his hip, takes others to firing ranges, and even argues with locals about gun rights. At the suggestion he carry a shoulder holster, for example, Bouchon without a hint of humor says “This is not a movie, man; this is the real life.”
The filmmakers also lucked out with the selection of Roger (no last name given) as the group’s bus driver. A baritone-voiced Christian who fills his cell phone with pictures and aims to break the Guiness record for the lowest musical note, Roger’s southern drawl brings a bit of calm to the Justice storm, both through interviews and the occasional narration.
If Augé and de Rosnay adhere to similar Christian beliefs or behavior, as the rumor goes, A Cross the Universe leaves the question murky at best. At worst, it would be seen by some god-fearin’ folk as an abomination. Whether the directors — also friends of Justice — intentionally left drug use out of the final cut, or if it just didn’t happen, we don’t know. But there’s plenty of alcohol passed around and consumed most often (in the film, anyway) by Augé. He’s also the one caught on camera the most with the ladies, including a couple of tour bus rendezvous. Yes, they ritually kiss a cross before walking on stage, and yes, their stage design includes a cross tucked between (unplugged) sets of Marshall amps, but even though their music thumps, it doesn’t appear they’re thumping bibles.
While the documentary is frenetic, funny and at times just strange, the audio disc from San Francisco in the set is a bit of a disappointment. At first I wondered if the crowd was just “that loud” to be picked up so well through the soundboard. But it turns out the crowd really is that loud for one of two reasons, depending on who you ask: either the crowd noise was boosted in the final mix of the show, or the show was recorded with several microphones around the stage.
I subscribe to the former theory, because although the music gets muddy at times, it still bumps quite clear through most of the disc. Microphones, it seems, would’ve lowered the audio quality to the level of a cell phone YouTube clip. And the adage about “really being there” fits with the effect of hearing the crowd lose it every time Justice drops the beat and follows the group through every twist and turn, bleep, and blurp.
The nearly three minutes of only crowd noise that starts the disc probably could’ve been trimmed, but from there the duo slams through “Genesis” and “Phantom” before working through an altered four-minute version of their biggest hit so far, “D.A.N.C.E.” Augé and de Rosnay continue to pound out “Waters of Nazareth,” “Stress,” and a goosebump-inducing run through “We Are Your Friends” along with the other cuts from Cross, before finishing the encore with their take on a Metallica classic, “Master of Puppets” (there’s that rock again).
I love this music, and I’m happy to have it, especially until I have the chance to see Justice live myself. But by the end, even I found the need to turn it down just a little. The eardrum-challenging sound of the music itself, along with the crowd, approaches white noise instead of wonderful noise. Rather than bumping up the bass, I felt more like lowering the treble. Still, considering that on its own, Justice’s music has a raw, haphazard sort of feel to it. Maybe the mixing was a conscious decision to avoid a sound too polished. And with a crowd as enthusiastic as this one, they deserve some credit too, I suppose.
All in all, between the crazy antics of the documentary and the balls-out live show, A Cross the Universe is a safe bet if you haven’t thrust your devil horns up in a while.
Thursday, February 5, 2009
Justice: A Cross the Universe
Saturday, January 17, 2009
Foo Fighters: Live at Wembley
Written by Fumo Verde
I liked the Foo Fighters when I first heard them, but didn’t know Dave Grohl, the drummer for Nirvana, was the leader. Grohl formed the Foo Fighters in the wake Nirvana’s tragic end, and since then the Foo Fighters have become one of those bands that have worked hard to silence critics and win over fans. Seeing this DVD will prove it.
Wembley is one of the largest stadiums in the Europe holding 90,000 seats, all under one roof. It is a football arena, home to England’s national football team, and it holds the main English domestic football finals. To play to such a crowd the roadies set up the stage at one end of the field with a runway extending from one end of the stadium, through the stage itself, and finishing at the other far end of the stadium. With this added stage area fans have a chance to see Grohl as he runs down the platform playing his guitar. For fans on the stadium’s floor this is a chance to get close to one of their favorite performers. If you haven’t seen the Foo Fighters live, like me, then this DVD will make you want to. I know I do.
The show opens with Grohl strolling down the runway, with house lights on, tuning up; the rest of the band comes on stage. The opening song is “The Pretender” as Grohl and the audience slowly and softly sing together, then with a howling shout from Grohl, the switch goes on and the crowd goes ballistic. “The Pretender” has the fuel to start the fire with guitar licks charging like Speed Racer. To keep the fans in that moment, the band goes into “Times Like These;” its distinct guitar strumming lead-in powering up the crowd even more, and Grohl takes off running down the runway stopping here and there to play a few chords for those in the area. Right here is where you can tell Grohl is having the time of his life and he wants everybody involved as he invites them all to sing along.
The next few tracks hold the super-conducted energy, and it blows my mind how athletic this band has to be, because every song is at mach speed. Every song considered “slow” for this band may bring down the tempo a little bit, but the passion holds the crowd on its feet. There are 18 tracks that play out like an emotional rollercoaster with songs like “My Hero,” “Skin and Bones,” and “Everlong,” another slower tempo song, but not the way they play it for this show. Grohl heads midway down the runway where a microphone is set up. He plays this song alone, almost; he does have some 86,000 backup singers. The crowd is in frenzy but under Grohl’s control. Then comes the hurricane: the drums roll, the band joins in, and we’re are back to mach one in the blink of an eye.
This show is fantastic but what makes it even better for me are the final two songs, both by Led Zeppelin: “Rock and Roll” and “Ramble On.” And here’s the kicker, Jimmy Page and John Paul Jones come out and play with the band. On “Rock and Roll” Grohl jumps on the drums and drummer Taylor Hawkins sings, while Page and Jones play their parts. For a Zeppelin freak like me, it was icing on the cake, and really good fucking icing. I said I like the Foo Fighters when I first heard them, but I never went out of my way to pick up their albums, now I will. Foo Fighters - Live at Wembley must have been an awesome show to be at because the DVD is unreal.
I liked the Foo Fighters when I first heard them, but didn’t know Dave Grohl, the drummer for Nirvana, was the leader. Grohl formed the Foo Fighters in the wake Nirvana’s tragic end, and since then the Foo Fighters have become one of those bands that have worked hard to silence critics and win over fans. Seeing this DVD will prove it.
Wembley is one of the largest stadiums in the Europe holding 90,000 seats, all under one roof. It is a football arena, home to England’s national football team, and it holds the main English domestic football finals. To play to such a crowd the roadies set up the stage at one end of the field with a runway extending from one end of the stadium, through the stage itself, and finishing at the other far end of the stadium. With this added stage area fans have a chance to see Grohl as he runs down the platform playing his guitar. For fans on the stadium’s floor this is a chance to get close to one of their favorite performers. If you haven’t seen the Foo Fighters live, like me, then this DVD will make you want to. I know I do.
The show opens with Grohl strolling down the runway, with house lights on, tuning up; the rest of the band comes on stage. The opening song is “The Pretender” as Grohl and the audience slowly and softly sing together, then with a howling shout from Grohl, the switch goes on and the crowd goes ballistic. “The Pretender” has the fuel to start the fire with guitar licks charging like Speed Racer. To keep the fans in that moment, the band goes into “Times Like These;” its distinct guitar strumming lead-in powering up the crowd even more, and Grohl takes off running down the runway stopping here and there to play a few chords for those in the area. Right here is where you can tell Grohl is having the time of his life and he wants everybody involved as he invites them all to sing along.
The next few tracks hold the super-conducted energy, and it blows my mind how athletic this band has to be, because every song is at mach speed. Every song considered “slow” for this band may bring down the tempo a little bit, but the passion holds the crowd on its feet. There are 18 tracks that play out like an emotional rollercoaster with songs like “My Hero,” “Skin and Bones,” and “Everlong,” another slower tempo song, but not the way they play it for this show. Grohl heads midway down the runway where a microphone is set up. He plays this song alone, almost; he does have some 86,000 backup singers. The crowd is in frenzy but under Grohl’s control. Then comes the hurricane: the drums roll, the band joins in, and we’re are back to mach one in the blink of an eye.
This show is fantastic but what makes it even better for me are the final two songs, both by Led Zeppelin: “Rock and Roll” and “Ramble On.” And here’s the kicker, Jimmy Page and John Paul Jones come out and play with the band. On “Rock and Roll” Grohl jumps on the drums and drummer Taylor Hawkins sings, while Page and Jones play their parts. For a Zeppelin freak like me, it was icing on the cake, and really good fucking icing. I said I like the Foo Fighters when I first heard them, but I never went out of my way to pick up their albums, now I will. Foo Fighters - Live at Wembley must have been an awesome show to be at because the DVD is unreal.
Friday, January 2, 2009
Ween: At the Cat’s Cradle, 1992
Written by Fumo Verde
Ween fans will dig this one. At the Cat’s Cradle, 1992 is a two-disc set, the first a CD recorded live at the Cat’s Cradle in Chapel Hill, North Carolina on December 9, 1992. At this time the band included Gene Ween (vocals & guitar) Dean Ween (vocals & guitar) and at bass and drums Yamaha Digital Audio Tape Deck. That’s right, Ween fans, with Kirk Miller as live sound engineer and Paul Monahan as tour manager, this was one of the first tours after signing with Elektra Records and the band were still just Dean and Gene. The second disc is a DVD, which is one hell of a bonus. It contains shows caught live at Vera in Groningen, Netherlands and Staches in Columbus Ohio. There are also two fun clips of the guys filmed while in a studio at WTSR Radio in Trenton, New Jersey.
Disc one is a great show, twenty-one tracks starting with warm-up song “Big Jim” followed by one of my favorites, “Never Squeal On Th’Pusher”. Other favorites of mine on here are “Mango Woman” with its funky tropical sound. Also “Pork Roll, Egg and Cheese” which has more of a basic rock ‘n’ roll sound to it. The words are sung in a manner you might have heard in the early fifties. Right after that tune comes “Cover It with Gas and Set It on Fire.” Now here is where vocals add texture. As Dean snarls out “He’s the hobble with the wobble at the gang rape,” Gene screeches his words out wickedly, “cover it with gas and set it on fire” while the Hendrixesque guitar riffs and cowbell give this song an LSD twinge. You know, kind of groovy yet freaky at the same time. You don’t know if you should really be rocking out to this song, but it’s got a great beat and you just can’t help yourself. The guys use their voices to express more than just the words they have written; they can use them as other instruments. Other fan favorites such as “You Fucked Up” and “Nan” are here along with “Captain Fantasy” that sounds like a twisted Queen symphony. This song was also caught live on the DVD.
For Ween being anti-pop culture musicians was about getting their ideas out there and having fun doing it. And having fun on stage for Dean and Gene means a fun show for the now hundreds of thousands of Boognish worshipers around the world that appear at Ween shows. You can hear this in the CD. The audience in the background, small then compared to the crowds they get now, is enjoying not only the music, but also the interaction with the guys. The liner notes by Dean lay out a base of what they faced on stage every night before the band was as known as they are today. The true Ween fans will understand this because this is one of those bands that you either get or you don’t.
Disc two presents many of the same songs from the first. From their performance in Vera, we get: “Captain Fantasy,” “You Fucked Up,” “Tick,” “Boing,” “Cover It with Gas and Set It on Fire,” and “Don’t Laugh (I Love You)” just to name a few, and while from the Staches show: “REGGAEJUNKIEJEW,” “Common Bitch,” and “Marble Tulip Juicy Tree.” There are seventeen live clips of the boys playing music that well documents the talent and power of Ween.
The energy they pour out to their audiences can be heard on the CD, but can be better seen on the DVD. The lighting at Vera drifts between blue and complete darkness at times where the lighting at Staches show how young the guys were when this was recorded. The sound is great and the video especially at Staches comes in clear. The two clips at the radio station are a fun little shot of the guys behind the scenes.
Yet if you really want the full Ween experience then one must bow down to the god Boognish and get a ticket and go to a show. If the economy is too tight right now or if Ween is not headed your way any time soon, then this two-disc set will have to hold you over till Boognish answers you offerings with an appearance by Ween.
Ween fans will dig this one. At the Cat’s Cradle, 1992 is a two-disc set, the first a CD recorded live at the Cat’s Cradle in Chapel Hill, North Carolina on December 9, 1992. At this time the band included Gene Ween (vocals & guitar) Dean Ween (vocals & guitar) and at bass and drums Yamaha Digital Audio Tape Deck. That’s right, Ween fans, with Kirk Miller as live sound engineer and Paul Monahan as tour manager, this was one of the first tours after signing with Elektra Records and the band were still just Dean and Gene. The second disc is a DVD, which is one hell of a bonus. It contains shows caught live at Vera in Groningen, Netherlands and Staches in Columbus Ohio. There are also two fun clips of the guys filmed while in a studio at WTSR Radio in Trenton, New Jersey.
Disc one is a great show, twenty-one tracks starting with warm-up song “Big Jim” followed by one of my favorites, “Never Squeal On Th’Pusher”. Other favorites of mine on here are “Mango Woman” with its funky tropical sound. Also “Pork Roll, Egg and Cheese” which has more of a basic rock ‘n’ roll sound to it. The words are sung in a manner you might have heard in the early fifties. Right after that tune comes “Cover It with Gas and Set It on Fire.” Now here is where vocals add texture. As Dean snarls out “He’s the hobble with the wobble at the gang rape,” Gene screeches his words out wickedly, “cover it with gas and set it on fire” while the Hendrixesque guitar riffs and cowbell give this song an LSD twinge. You know, kind of groovy yet freaky at the same time. You don’t know if you should really be rocking out to this song, but it’s got a great beat and you just can’t help yourself. The guys use their voices to express more than just the words they have written; they can use them as other instruments. Other fan favorites such as “You Fucked Up” and “Nan” are here along with “Captain Fantasy” that sounds like a twisted Queen symphony. This song was also caught live on the DVD.
For Ween being anti-pop culture musicians was about getting their ideas out there and having fun doing it. And having fun on stage for Dean and Gene means a fun show for the now hundreds of thousands of Boognish worshipers around the world that appear at Ween shows. You can hear this in the CD. The audience in the background, small then compared to the crowds they get now, is enjoying not only the music, but also the interaction with the guys. The liner notes by Dean lay out a base of what they faced on stage every night before the band was as known as they are today. The true Ween fans will understand this because this is one of those bands that you either get or you don’t.
Disc two presents many of the same songs from the first. From their performance in Vera, we get: “Captain Fantasy,” “You Fucked Up,” “Tick,” “Boing,” “Cover It with Gas and Set It on Fire,” and “Don’t Laugh (I Love You)” just to name a few, and while from the Staches show: “REGGAEJUNKIEJEW,” “Common Bitch,” and “Marble Tulip Juicy Tree.” There are seventeen live clips of the boys playing music that well documents the talent and power of Ween.
The energy they pour out to their audiences can be heard on the CD, but can be better seen on the DVD. The lighting at Vera drifts between blue and complete darkness at times where the lighting at Staches show how young the guys were when this was recorded. The sound is great and the video especially at Staches comes in clear. The two clips at the radio station are a fun little shot of the guys behind the scenes.
Yet if you really want the full Ween experience then one must bow down to the god Boognish and get a ticket and go to a show. If the economy is too tight right now or if Ween is not headed your way any time soon, then this two-disc set will have to hold you over till Boognish answers you offerings with an appearance by Ween.
Friday, December 19, 2008
Rush: Snakes & Arrows Live
Okay, katz and kittenz, you all know how much I love Rush, and the positive review I gave Snakes & Arrows when it came out last summer. I also saw the supporting tour, so to get to see it again on DVD was great brought back some fun memories. This three-disc set was recorded when the band was performing in Holland. The first two discs contain that show with some extras on disc one, while disc three contains songs performed in the U.S. at Atlanta’s Verizon Wireless Amphitheater. It’s been awhile since I saw the concert and I can’t remember if the songs played on the DVD are in the same order as I saw in Irvine, CA, but I do remember all the antics that happened on the big screen behind the band.
A Rush show just isn’t about the band playing music while the rest of us cheering; it is an interactive, emotional jam session where the band feeds off the energy of the crowd and the crowd feeds off the energy the band is pouring back out. The characters that appear on screen, played by the band and some times other celebrities, help act as a comic release while enabling the band to still tell the story during breaks in the music.
“Limelight” opens the DVD and what a smart song to start off with. Using some of the Bard’s words to craft a story about what it is like to be up on stage and how it relates to the everyday life we all lead. “Digital Man” is another song I don’t hear enough on the radio, so hearing it live is always a Scooby Snack in my opinion. Of course, “Freewill” is my mantra and the band playing this song in the beginning really got me revved up early.
One of my favorites songs off Snakes & Arrows is “The Main Monkey Business.” I remember seeing them play it and I’m stoked they kept it in the rotation for the European Tour. This is the same way I feel about “The Way the Wind Blows,” another good song from the album. Classic Rush hits “Tom Sawyer” and “The Spirit of the Radio” are also here along with “A Passage to Bangkok,” and the concert closer, the instrumental “YYZ;” both songs will bring true fans to their feet for an amazing finish.
The last disc features songs added on the U.S. tour that weren’t played in Holland. They include “Ghost of a Chance,” “2112/ The Temples of Syrinx,” “The Trees” (another favorite of mine), and of course, one of the best Rush songs ever, “Red Barchetta.”
The extras include outtakes from the videos made for the big screen behind the band. In these outtakes it is funny to watch the band laugh at themselves as each tries to act out these characters they have created.
All in all this is a great pack to give to a Rush fan or anyone who enjoys watching live concerts on DVD. As for me, it brings that warm summer night in at Irvine Meadows (now called Verizon Wireless Amphitheatre although not by me) back to the front of my mind where myself, El Bicho, Fantasma el Rey, my buddies Nicky B., and his brothers along with my old buddies Angel Eyes and the Fogg, heard great tunes by an awesome band while puffing on California’s finest. Good times, good music, and good friends; this DVD will always keep these thoughts in my mind.
A Rush show just isn’t about the band playing music while the rest of us cheering; it is an interactive, emotional jam session where the band feeds off the energy of the crowd and the crowd feeds off the energy the band is pouring back out. The characters that appear on screen, played by the band and some times other celebrities, help act as a comic release while enabling the band to still tell the story during breaks in the music.
“Limelight” opens the DVD and what a smart song to start off with. Using some of the Bard’s words to craft a story about what it is like to be up on stage and how it relates to the everyday life we all lead. “Digital Man” is another song I don’t hear enough on the radio, so hearing it live is always a Scooby Snack in my opinion. Of course, “Freewill” is my mantra and the band playing this song in the beginning really got me revved up early.
One of my favorites songs off Snakes & Arrows is “The Main Monkey Business.” I remember seeing them play it and I’m stoked they kept it in the rotation for the European Tour. This is the same way I feel about “The Way the Wind Blows,” another good song from the album. Classic Rush hits “Tom Sawyer” and “The Spirit of the Radio” are also here along with “A Passage to Bangkok,” and the concert closer, the instrumental “YYZ;” both songs will bring true fans to their feet for an amazing finish.
The last disc features songs added on the U.S. tour that weren’t played in Holland. They include “Ghost of a Chance,” “2112/ The Temples of Syrinx,” “The Trees” (another favorite of mine), and of course, one of the best Rush songs ever, “Red Barchetta.”
The extras include outtakes from the videos made for the big screen behind the band. In these outtakes it is funny to watch the band laugh at themselves as each tries to act out these characters they have created.
All in all this is a great pack to give to a Rush fan or anyone who enjoys watching live concerts on DVD. As for me, it brings that warm summer night in at Irvine Meadows (now called Verizon Wireless Amphitheatre although not by me) back to the front of my mind where myself, El Bicho, Fantasma el Rey, my buddies Nicky B., and his brothers along with my old buddies Angel Eyes and the Fogg, heard great tunes by an awesome band while puffing on California’s finest. Good times, good music, and good friends; this DVD will always keep these thoughts in my mind.
Down The Tracks: The Music That Influenced Led Zeppelin
Written by Fantasma el Rey
Down The Tracks: The Music That Influenced Led Zeppelin is an awesome 93-minute look at what drove and inspired Jimmy Page and Robert Plant to make music of their own. American bluesmen, 1950s rock ‘n’ roll, and British skiffle were the base of the heavy-hitting rock icons and this DVD documentary explores these roots. Down The Tracks digs further and follows those roots to the beginnings of American blues and the effects of rock ‘n’ roll on British music. The DVD also makes its way back to the writings of J.R.R. Tolkien and the occult ramblings of an evil Brit whose name emerged again in the 1960s after being buried since the 1930s.
Down The Tracks starts with a quick introduction of how Page and Plant came together. Page was looking for a lead singer for a band he was looking to form; the two got together bringing with them a handful of records, which ranged from blues and rockabilly to local skiffle bands. When they sat down to listen and discuss, they discovered they had much in common, including the direction they hoped to take the new band. And that’s where the DVD pretty much leaves the journey of Led Zeppelin only mentioning that they went straight to large venues and on to bigger things. Not much history on the band, just how the following musicians, writers, and occult figures would affect their lives and drive them to deliver “blues on steroids” to arenas full of people.
The first hour of the DVD is about the blues. Many knowledgeable blues and rock historians lend their voice to tell the tale of how the blues rose from the Mississippi Delta jumped to Memphis then amped-up in Chicago. We get the stories of Charley Patton, Son House, Robert Johnson, and how they learned from and rivaled one another. Patton the loud growling-voiced showmen, who spun, flipped, rode, and played his guitar behind his back years before T-Bone Walker and way before a kid named Hendrix was born. Johnson was the mystery man who became so good so quick that folks began to believe he sold his soul to the devil. Son House, the living link between the two, who played with both, was the only one left alive by the 1940s to pass the torch to a new breed of bluesmen and be able to reap the rewards and witness the ‘60s blues revival; a revival spearheaded by young Brits.
Down The Tracks heads north to the automobile plants and the driving sound that McKinley Morganfield and Chester Burnett, better known as Muddy Waters and Howlin’ Wolf brought with them from the south and forged into electric thunder. That thunder would send shockwaves across the ocean and turn teenage guitar players into blues axe-men. Youngsters all over England would send away for these vinyl gems and spend hours trying to figure out the chords and beats. From here the world gets Zeppelin tunes like “How Many More Years,” “The Lemon Song,” “When The Levee Breaks,” and so many others.
Rock ‘n’ roll also hit the kingdom hard, especially the sound of Elvis (Presley), Scotty (Moore) and Bill (Black) from Sun Records. Not that Zeppelin played much rockabilly but it was from that hybrid sound that Page wanted to pick guitar chords and Plant wanted to wail (Think “Rock And Roll” and “Out On The Tiles”). 1950s rock ‘n’ roll was huge in England but with electric instruments hard to come by the poor Brits made due with acoustic guitars and tea-chest bass fiddles, launching a skiffle revival. Skiffle is pretty much jug-band music with jazz, folk, and country leanings; it’s rock ‘n’ roll without the power. When these kats discovered American blues in the early ‘60s, it all came together for them and their brand of rock ‘n’ roll was born and hit our shores; we called it the British Invasion when it was really American music returning in a slightly modified form.
Zeppelin added to the mix Plant’s awe of Tolkien’s Lord Of The Rings books and Page’s fascination with Aleister Crowley and his teachings of sexual magic and drug use, along with their combined interest in Celtic lore. These particular inspirations become apparent not only on album art but in longer tunes that are more smoked-filled and “enhanced” by other substances. These themes blended well with the influence of British folkies, like Davey Graham, who came out of the skiffle scene and explored other native folk sounds from around the world. It’s here with the different guitar tuning and instrumentation where Zeppelin starts to expanded their sound, showing that their creativity and influences rang far and wide, from which we get “Stairway To Heaven,” “The Battle Of Evermore,” and “Kashmir.” The links between Zeppelin and the British folk sound is made clear on this DVD.
And that is what makes this disc interesting, not only for the fact that we get to look at the roots of Zeppelin but that the DVD shows and interviews as many of these people and influences as possible. Down The Tracks is more than men talking while the camera zooms in on still photos. The DVD takes you to the places, fields and plantations where these blues men spent their formative southern years, and uses as much footage as they can of the artists mentioned. We get to see Muddy, The Wolf, Son House, Bob Brozman who recreates the sound of Charley Patton, Davey Graham, and many, many more. The DVD slows at times but the overall knowledge within it is worth the price not only for Zeppelin and blues fans but music lovers in general. Even if you only watch the first half on the blues, you’ll be moved to go out and find music by those men or go back through your own collection, as I have done, to further trace the roots of Led Zeppelin and refresh the knowledge passed to me by my father, a true blues fan.
Down The Tracks: The Music That Influenced Led Zeppelin is an awesome 93-minute look at what drove and inspired Jimmy Page and Robert Plant to make music of their own. American bluesmen, 1950s rock ‘n’ roll, and British skiffle were the base of the heavy-hitting rock icons and this DVD documentary explores these roots. Down The Tracks digs further and follows those roots to the beginnings of American blues and the effects of rock ‘n’ roll on British music. The DVD also makes its way back to the writings of J.R.R. Tolkien and the occult ramblings of an evil Brit whose name emerged again in the 1960s after being buried since the 1930s.
Down The Tracks starts with a quick introduction of how Page and Plant came together. Page was looking for a lead singer for a band he was looking to form; the two got together bringing with them a handful of records, which ranged from blues and rockabilly to local skiffle bands. When they sat down to listen and discuss, they discovered they had much in common, including the direction they hoped to take the new band. And that’s where the DVD pretty much leaves the journey of Led Zeppelin only mentioning that they went straight to large venues and on to bigger things. Not much history on the band, just how the following musicians, writers, and occult figures would affect their lives and drive them to deliver “blues on steroids” to arenas full of people.
The first hour of the DVD is about the blues. Many knowledgeable blues and rock historians lend their voice to tell the tale of how the blues rose from the Mississippi Delta jumped to Memphis then amped-up in Chicago. We get the stories of Charley Patton, Son House, Robert Johnson, and how they learned from and rivaled one another. Patton the loud growling-voiced showmen, who spun, flipped, rode, and played his guitar behind his back years before T-Bone Walker and way before a kid named Hendrix was born. Johnson was the mystery man who became so good so quick that folks began to believe he sold his soul to the devil. Son House, the living link between the two, who played with both, was the only one left alive by the 1940s to pass the torch to a new breed of bluesmen and be able to reap the rewards and witness the ‘60s blues revival; a revival spearheaded by young Brits.
Down The Tracks heads north to the automobile plants and the driving sound that McKinley Morganfield and Chester Burnett, better known as Muddy Waters and Howlin’ Wolf brought with them from the south and forged into electric thunder. That thunder would send shockwaves across the ocean and turn teenage guitar players into blues axe-men. Youngsters all over England would send away for these vinyl gems and spend hours trying to figure out the chords and beats. From here the world gets Zeppelin tunes like “How Many More Years,” “The Lemon Song,” “When The Levee Breaks,” and so many others.
Rock ‘n’ roll also hit the kingdom hard, especially the sound of Elvis (Presley), Scotty (Moore) and Bill (Black) from Sun Records. Not that Zeppelin played much rockabilly but it was from that hybrid sound that Page wanted to pick guitar chords and Plant wanted to wail (Think “Rock And Roll” and “Out On The Tiles”). 1950s rock ‘n’ roll was huge in England but with electric instruments hard to come by the poor Brits made due with acoustic guitars and tea-chest bass fiddles, launching a skiffle revival. Skiffle is pretty much jug-band music with jazz, folk, and country leanings; it’s rock ‘n’ roll without the power. When these kats discovered American blues in the early ‘60s, it all came together for them and their brand of rock ‘n’ roll was born and hit our shores; we called it the British Invasion when it was really American music returning in a slightly modified form.
Zeppelin added to the mix Plant’s awe of Tolkien’s Lord Of The Rings books and Page’s fascination with Aleister Crowley and his teachings of sexual magic and drug use, along with their combined interest in Celtic lore. These particular inspirations become apparent not only on album art but in longer tunes that are more smoked-filled and “enhanced” by other substances. These themes blended well with the influence of British folkies, like Davey Graham, who came out of the skiffle scene and explored other native folk sounds from around the world. It’s here with the different guitar tuning and instrumentation where Zeppelin starts to expanded their sound, showing that their creativity and influences rang far and wide, from which we get “Stairway To Heaven,” “The Battle Of Evermore,” and “Kashmir.” The links between Zeppelin and the British folk sound is made clear on this DVD.
And that is what makes this disc interesting, not only for the fact that we get to look at the roots of Zeppelin but that the DVD shows and interviews as many of these people and influences as possible. Down The Tracks is more than men talking while the camera zooms in on still photos. The DVD takes you to the places, fields and plantations where these blues men spent their formative southern years, and uses as much footage as they can of the artists mentioned. We get to see Muddy, The Wolf, Son House, Bob Brozman who recreates the sound of Charley Patton, Davey Graham, and many, many more. The DVD slows at times but the overall knowledge within it is worth the price not only for Zeppelin and blues fans but music lovers in general. Even if you only watch the first half on the blues, you’ll be moved to go out and find music by those men or go back through your own collection, as I have done, to further trace the roots of Led Zeppelin and refresh the knowledge passed to me by my father, a true blues fan.
Tuesday, December 16, 2008
The Definitive Rod Stewart
Written by Tío Esqueleto
Rod Stewart has been making records in one form or another since 1968. His latest effort, The Definitive Rod Stewart plays like a field trip through American pop music over the last 40 years. From the late ‘60s British blues-pop invasion, to the pop ballads of the 1970s, as well as an inevitable turn at disco and ‘80s synth pop, before finally settling comfortably into adult contemporary in the ‘90s and recent years, it is all covered in this collection including 31 of “The Bod’s” biggest hits, as well as a bonus DVD of 14 music videos.
The tracks run chronologically, starting, fittingly, with “Maggie May,” with the first ten tracks or so covering Stewart’s work up through the mid 1970s. Classics such as “You Wear It Well,” “The Killing of Georgie (Part 1 and 2),” and “You’re In My Heart (The Final Acclaim),” as well as “Stay With Me” from his early work with The Faces, showcase Stewart’s undeniable, folk-inspired storytelling and songwriting abilities, as well as that trademark rasp that along with the hair, the pants and the schnoz helped solidify him as a ‘70s pop icon.
Next, Stewart took the next logical step and did what any and every pop star with a record on the horizon did in the late ‘70s: he went disco and he did it quite well. Same strong songwriting, same signature rasp, just a different sound to back it all up. “Da Ya Think I’m Sexy?” was a huge hit and paved the way for Stewart’s foray into 1980s pop. With the eerie and often forgotten “Passion” from 1980 and 1981’s synth-driven anthem “Young Turks” we are treated to the start of an era of Stewart’s career that is vastly underrated and equally unappreciated. Songs such as the latter two, as well as hits like “Baby Jane,” and mid ‘80s super hits, “Infatuation” and “Some Guys Have All The Luck,” are often tossed aside, or worse, laughed off as ‘80s/bad Stewart, which is simply not true. Hopefully, their inclusion in this collection will help to finally clear that up. Let me just say that this era, “Young Turks” in particular, was the sole reason I took this assignment.
The collection rounds out with Stewart settling comfortably into the adult contemporary realm, starting with 1988’s “Forever Young” and rounding it all out with a healthy dose of critically received cover tunes, thanks in part to a hugely successful appearance on MTV Unplugged in 1993. Included here is an assortment of Stewart’s various covers, including two cuts from the aforementioned special.
The Definitive Rod Stewart also comes with a DVD of music videos. While “Da Ya Think I’m Sexy?” is probably the most memorable inclusion (I know it is the first video [promo] that I ever saw of his), what’s most notable, here, is the decision to go with some lesser-known hits (some of which aren’t even included on the CDs) for the video portion of this collection. They forwent obvious choices like “Maggie May” and “Tonight’s The Night (Gonna Be Alright),” both of which can be easily spotted on VH-1 Classics, and instead opted for the likes of “The Killing of Georgie (Part 1 & 2),” “Hot Legs,” and “Ain’t Love a Bitch.” All in all, the 14 tracks included on the DVD represent a nice cross-section of the man’s work in music video.
Overall, The Definitive Rod Stewart serves as the perfect snippet of a career that has lasted for 40-plus years. It covers all the bases and goes just deep enough in what it has to offer, without the hefty price tag of an overwhelming, all-encompassing box set. It is an ideal collection for both die-hard and fair-weather Rod Stewart fans.
Rod Stewart has been making records in one form or another since 1968. His latest effort, The Definitive Rod Stewart plays like a field trip through American pop music over the last 40 years. From the late ‘60s British blues-pop invasion, to the pop ballads of the 1970s, as well as an inevitable turn at disco and ‘80s synth pop, before finally settling comfortably into adult contemporary in the ‘90s and recent years, it is all covered in this collection including 31 of “The Bod’s” biggest hits, as well as a bonus DVD of 14 music videos.
The tracks run chronologically, starting, fittingly, with “Maggie May,” with the first ten tracks or so covering Stewart’s work up through the mid 1970s. Classics such as “You Wear It Well,” “The Killing of Georgie (Part 1 and 2),” and “You’re In My Heart (The Final Acclaim),” as well as “Stay With Me” from his early work with The Faces, showcase Stewart’s undeniable, folk-inspired storytelling and songwriting abilities, as well as that trademark rasp that along with the hair, the pants and the schnoz helped solidify him as a ‘70s pop icon.
Next, Stewart took the next logical step and did what any and every pop star with a record on the horizon did in the late ‘70s: he went disco and he did it quite well. Same strong songwriting, same signature rasp, just a different sound to back it all up. “Da Ya Think I’m Sexy?” was a huge hit and paved the way for Stewart’s foray into 1980s pop. With the eerie and often forgotten “Passion” from 1980 and 1981’s synth-driven anthem “Young Turks” we are treated to the start of an era of Stewart’s career that is vastly underrated and equally unappreciated. Songs such as the latter two, as well as hits like “Baby Jane,” and mid ‘80s super hits, “Infatuation” and “Some Guys Have All The Luck,” are often tossed aside, or worse, laughed off as ‘80s/bad Stewart, which is simply not true. Hopefully, their inclusion in this collection will help to finally clear that up. Let me just say that this era, “Young Turks” in particular, was the sole reason I took this assignment.
The collection rounds out with Stewart settling comfortably into the adult contemporary realm, starting with 1988’s “Forever Young” and rounding it all out with a healthy dose of critically received cover tunes, thanks in part to a hugely successful appearance on MTV Unplugged in 1993. Included here is an assortment of Stewart’s various covers, including two cuts from the aforementioned special.
The Definitive Rod Stewart also comes with a DVD of music videos. While “Da Ya Think I’m Sexy?” is probably the most memorable inclusion (I know it is the first video [promo] that I ever saw of his), what’s most notable, here, is the decision to go with some lesser-known hits (some of which aren’t even included on the CDs) for the video portion of this collection. They forwent obvious choices like “Maggie May” and “Tonight’s The Night (Gonna Be Alright),” both of which can be easily spotted on VH-1 Classics, and instead opted for the likes of “The Killing of Georgie (Part 1 & 2),” “Hot Legs,” and “Ain’t Love a Bitch.” All in all, the 14 tracks included on the DVD represent a nice cross-section of the man’s work in music video.
Overall, The Definitive Rod Stewart serves as the perfect snippet of a career that has lasted for 40-plus years. It covers all the bases and goes just deep enough in what it has to offer, without the hefty price tag of an overwhelming, all-encompassing box set. It is an ideal collection for both die-hard and fair-weather Rod Stewart fans.
Monday, December 15, 2008
Legendary Performances: Merle Haggard
Written by Fantasma el Rey
Merle Haggard is a true country outlaw and with the Legendary Performances DVD we get fifteen classic tunes spanning 1968-83. In just under an hour we get a good look at what drove his popularity and made this former inmate a country music star. The Hag, as he’s known to many, has a straightforward style and simplicity to his music that everyday working folk can relate to. Hag sang about his first-hand experiences in life, love and troubling hard times. The outsider and outlaw posses a calm charm that helps convey his message through his voice and distinct sound, a sound that he would become known for and would be labeled the Bakersfield sound.
Merle Haggard was born in Bakersfield, California in 1937 and spent his early years in and out of detention centers, finally ending with a spell in San Quentin’s solitary confinement. While in prison he cherished visits by performers such as Johnny Cash and clung to his guitar and the music he loved. Bob Wills and Hank Williams were who he admired most and though young Merle’s music had nothing to with the rockin’ styling of other youths of the mid to late 1950s (though he had no problems with the young southern gents that birthed a hybrid sound of their own). Determined to change his life, Merle worked hard to gain his parole and never return, only looking back in song.
Mixing Wills’ western swing with Hank’s straight country, Merle began to write his life and thoughts in lyrics and began to sing at night around town while digging ditches during the day. By 1963 he was on a local record label and two years later his records appeared on the Capitol label. With The Strangers, a new recording and touring band that added more drive to Merle’s sound and along with label mate Buck Owens, they forged a new sound, one that would be named after the town whose streets they both had survived: Bakersfield. The rest as they say is history and plays out in Merle and The Strangers’ music.
The DVD gives a good look at Merle at the height of his fame. Beginning in ’68 with appearances on local music showcases such as Country Music Holiday, Country Carnival and The Porter Wagner Show, we have a Merle that looks a bit uncomfortable in front of the camera and corny sets. Leaving off in 1983 singing at the Country Music Association (CMA nowadays = Country My Ass) and a Johnny Cash Christmas special. The song selection is a perfect display of the themes that put Merle on the map, being the outsider, boozing over a lost love, and fierce pride in what he believes and who he is. Featuring hits like “Branded Man,” “Mama Tried,” “I Take A Lot Of Pride In What I Am,” “The Bottle Let Me Down,” “Swinging Doors,” “I Started Loving You Again,” “The Fighting Side Of Me,” “Okie From Muskogee” and “Workin’ Man Blues.”
“Mama Tried” is the story of a hell raising “one and only rebel child from a family meek and mild” that “turns 21 in prison” even though Mama tried to steer him straight. “Branded Man” is easily the tale of what happened after the rebel child was granted parole and wants to set things right and get his life back on track. “A branded man out in the cold” is the perfect example an outsider’s looking in; further reflected upon in “Pride In What I Am.” “Pride” follows the life of a homeless man as he wanders the hobo jungles and streets of Chicago while looking back on life. More classic Merle and the outlook of the loner.
“Swinging Doors,” “The Bottle Let Me Down” and “Loving You Again” are Merle’s thinking, drinking, and dreaming songs. Sad tunes that reveal a softer side of the outlaw filled with pain in his heart over the girl who left or that he left behind. He gets close to forgetting her but his friend the bottle lets him down, lets her memory creep back in, and he starts loving her again. The missing side of the outlaw heart is the loving song about hard times, struggle, and the love for family that drives a man to do his best to provide for them, “If We Make It Through December.”
“Working Man Blues” stands on its own and is here worked out in a rocking jam complete with yakety sax and pumping piano, yet Merle manages to keep the pace jazzy and rather than rock ‘n’ roll. Ever since I was a teenage “pin monkey” working for peanuts at the local bowling alley, the song has had a place in my mind. The song took stronger hold and meaning as the years passed and I learned what it is to give up much for the good of family. You drink a little beer on the weekends, think about bumming around, but go back to doing what’s right and providing for your loved ones.
“Fighting Side” and “Okie” might just be Merle’s biggest hits that came at a time when the nation was colliding into each other and sides were being chosen across the nation. Merle hits hard with these tunes, which are really just extensions of his pride songs. He gives his point of view strong and solid but manages not to go over the edge, seeming to say “I get what you’re saying but don’t cotton to it. So you stay on that side and we’ll get along fine;” Seems simply enough, “I’ll stand my ground; you stand yours.” “Okie” on the other hand is a tune that I could just never take seriously seeing as how Merle never did too much either. It was kind of a joke and came about as the band passed said town one day while touring. Merle thought about the troubles on college campuses and wondered about life, hippies, and dope use in small-town Muskogee, Oklahoma and it all rolled from there.
Legendary Performances - Merle Haggard is truly that and in bonus features we get to see an older Merle, comfortable with the camera and joking with the crowd at his Hall of Fame induction ceremony. We even get firsthand knowledge of the man’s life in an interview filmed with his life Leona in their big ol’ touring bus. Entertaining and well done, I find this disc easily added to the list of “best things to come across my desk this year.” So go get it, fan or not, it’s a good look at a living country legend and true outlaw.
Merle Haggard is a true country outlaw and with the Legendary Performances DVD we get fifteen classic tunes spanning 1968-83. In just under an hour we get a good look at what drove his popularity and made this former inmate a country music star. The Hag, as he’s known to many, has a straightforward style and simplicity to his music that everyday working folk can relate to. Hag sang about his first-hand experiences in life, love and troubling hard times. The outsider and outlaw posses a calm charm that helps convey his message through his voice and distinct sound, a sound that he would become known for and would be labeled the Bakersfield sound.
Merle Haggard was born in Bakersfield, California in 1937 and spent his early years in and out of detention centers, finally ending with a spell in San Quentin’s solitary confinement. While in prison he cherished visits by performers such as Johnny Cash and clung to his guitar and the music he loved. Bob Wills and Hank Williams were who he admired most and though young Merle’s music had nothing to with the rockin’ styling of other youths of the mid to late 1950s (though he had no problems with the young southern gents that birthed a hybrid sound of their own). Determined to change his life, Merle worked hard to gain his parole and never return, only looking back in song.
Mixing Wills’ western swing with Hank’s straight country, Merle began to write his life and thoughts in lyrics and began to sing at night around town while digging ditches during the day. By 1963 he was on a local record label and two years later his records appeared on the Capitol label. With The Strangers, a new recording and touring band that added more drive to Merle’s sound and along with label mate Buck Owens, they forged a new sound, one that would be named after the town whose streets they both had survived: Bakersfield. The rest as they say is history and plays out in Merle and The Strangers’ music.
The DVD gives a good look at Merle at the height of his fame. Beginning in ’68 with appearances on local music showcases such as Country Music Holiday, Country Carnival and The Porter Wagner Show, we have a Merle that looks a bit uncomfortable in front of the camera and corny sets. Leaving off in 1983 singing at the Country Music Association (CMA nowadays = Country My Ass) and a Johnny Cash Christmas special. The song selection is a perfect display of the themes that put Merle on the map, being the outsider, boozing over a lost love, and fierce pride in what he believes and who he is. Featuring hits like “Branded Man,” “Mama Tried,” “I Take A Lot Of Pride In What I Am,” “The Bottle Let Me Down,” “Swinging Doors,” “I Started Loving You Again,” “The Fighting Side Of Me,” “Okie From Muskogee” and “Workin’ Man Blues.”
“Mama Tried” is the story of a hell raising “one and only rebel child from a family meek and mild” that “turns 21 in prison” even though Mama tried to steer him straight. “Branded Man” is easily the tale of what happened after the rebel child was granted parole and wants to set things right and get his life back on track. “A branded man out in the cold” is the perfect example an outsider’s looking in; further reflected upon in “Pride In What I Am.” “Pride” follows the life of a homeless man as he wanders the hobo jungles and streets of Chicago while looking back on life. More classic Merle and the outlook of the loner.
“Swinging Doors,” “The Bottle Let Me Down” and “Loving You Again” are Merle’s thinking, drinking, and dreaming songs. Sad tunes that reveal a softer side of the outlaw filled with pain in his heart over the girl who left or that he left behind. He gets close to forgetting her but his friend the bottle lets him down, lets her memory creep back in, and he starts loving her again. The missing side of the outlaw heart is the loving song about hard times, struggle, and the love for family that drives a man to do his best to provide for them, “If We Make It Through December.”
“Working Man Blues” stands on its own and is here worked out in a rocking jam complete with yakety sax and pumping piano, yet Merle manages to keep the pace jazzy and rather than rock ‘n’ roll. Ever since I was a teenage “pin monkey” working for peanuts at the local bowling alley, the song has had a place in my mind. The song took stronger hold and meaning as the years passed and I learned what it is to give up much for the good of family. You drink a little beer on the weekends, think about bumming around, but go back to doing what’s right and providing for your loved ones.
“Fighting Side” and “Okie” might just be Merle’s biggest hits that came at a time when the nation was colliding into each other and sides were being chosen across the nation. Merle hits hard with these tunes, which are really just extensions of his pride songs. He gives his point of view strong and solid but manages not to go over the edge, seeming to say “I get what you’re saying but don’t cotton to it. So you stay on that side and we’ll get along fine;” Seems simply enough, “I’ll stand my ground; you stand yours.” “Okie” on the other hand is a tune that I could just never take seriously seeing as how Merle never did too much either. It was kind of a joke and came about as the band passed said town one day while touring. Merle thought about the troubles on college campuses and wondered about life, hippies, and dope use in small-town Muskogee, Oklahoma and it all rolled from there.
Legendary Performances - Merle Haggard is truly that and in bonus features we get to see an older Merle, comfortable with the camera and joking with the crowd at his Hall of Fame induction ceremony. We even get firsthand knowledge of the man’s life in an interview filmed with his life Leona in their big ol’ touring bus. Entertaining and well done, I find this disc easily added to the list of “best things to come across my desk this year.” So go get it, fan or not, it’s a good look at a living country legend and true outlaw.
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