Oct 192009
 


Decades after Beatles fanatics spent their hard-earned cash buying bootleg albums in search of the Great Lost Beatles Track, the band finally allowed for the release of that three-volume Anthology series. The series confirmed that, with the exception of a few well-known alternate takes, The Beatles had nothing more to give. There was not a treasure-trove of cool, unreleased original tracks.

Fans of The Kinks and The Who have been treated to some cool rarities and demos over the years. Some believe Bruce Springsteen‘s unreleased tracks are as good as his released ones.

The Rolling Stones never faced this question. Each new album since Black and Blue contains tracks that were revived from some aborted recording session in Jamaica or the Bahamas, circa 1974. A hundred years from now they will still be able to release a new album of material culled from one of those late-night jam sessions. And don’t think they won’t.

With each new reissue of the back catalogs of Elvis Costello and David Bowie, new previously unreleased tracks emerge, most of which are of better-than-current-day-release quality of either artist. The other night, however, I was thinking about one major band with excellent studio chops that seems to have nothing more to give: Continue reading »

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Jul 062009
 

Townsman Chickenfrank‘s excellent coulda-woulda-shoulda enhancement of the BTO/pizza guy myth has me thinking there are more interesting Rock tales yet to be told — and I’m betting YOU have the creative writing talent to tell them! The general idea is simple: find a noteworthy sound or sight from Rock history and explain it in a sensational fashion that virtually guarantees the Internet will pick it up and run with it. Actual, true stories are discouraged. References to BTO and pizza gain you extra points.

Here are a few sights and sounds that could use more interesting explanations. You may also, of course, furnish your own:

1. Paul McCartney‘s bare feet on the Abbey Road cover
2. The distorted guitar in “You Really Got Me”
3. The false start in The Clash‘s “Wrong ‘Em Boyo”
4. What Led Zeppelin were *really* doing with that fish and that groupie in Seattle
5. Why “Cocksucker Blues” was never released — i.e., the stuff nobody has ever seen

I look forward to your responses.

HVB

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Aug 212008
 

AP: Olympic Rock News

By STEPHANIE ZACHAREK
Published: August 22, 2008

In was announced earlier this morning that the International Olympic Committee will investigate whether the Chinese women’s gymnastics team that won the gold medal had underage athletes. IOC spokeswoman Giselle Davies said “There certainly seems to be a lot of scantily clad pre-teen Chinese girls strutting around the Bird’s Nest these days.”

Within seemingly minutes Led Zeppelin guitarist Jimmy Page announced that he will be playing The Olympic Closing Ceremony in the Bird’s Nest on Sunday. A publicist for Gary Glitter said that Gary is “distressed” that he won’t be able to participate due to a prior booking.

More here.

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Dec 202007
 


First of all, Mad Props to Townsman Kcills for passing along the clip HVB just posted, which all ties into this thread I am posting now.

A little background: last weekend a handful of us were in attendance at the Bar Mitzvah for the son of a Townsman. As some of you know, I’m a big fan of almost any ceremony. I contemplate all the love in the room, the great people, the importance of the day, and our eventual deaths. Then I quickly well up at the first opportunity. Considering my history with this Townsman and his family, I was especially stoked for the day’s events. You can’t be too strong.

To be honest, though, as much as I love weddings, funerals, Bar/Bat Mitzvahs, retirement parties, and even ceremonies much less grand, I do need to brace myself for the religious part of any faith-based ceremony. I’ve got nothing against anyone’s god or religion, just the potentially really long, boring parts of any faith’s service. Entering the synagogue, I took comfort in the fact that my friends are – how shall I phrase it – more earthly sorts, who probably wouldn’t feel the need to amp up the long, less-decipherable passages from the Torah. My family and I arrived a couple of minutes late and entered a small, friendly synagogue, with our friends’ son looking great and a warm cantor and rabbi conducting the ceremony.

The cantor was awesome. His pipes were strong, and he sang in a direct manner, making good eye contact with the audience, even those among us who hadn’t a clue what it was he was singing. I wished my little bit of religious exposure through my family’s religion would have included a good cantor, or in my family’s case, singing priest. Music is to mass as honey is to medicine.

The day’s featured mannish boy also got to sing along with the cantor, and he was on! I got to thinking of long ago, when my good friend – the father – had such a clear, innocent voice. Gosh, those of you who’ve heard him sing in public the last 25 years wouldn’t have recognized him before the Velvet Fog rolled in! Then my friend – our Townsman – sang a passage as well, and you could still make out a trace of his youthful voice. It must be like hearing Marianne Faithfull sing “As Tears Go By” today. I got to thinking that I need to incorporate more minor keys into the songs I write; it’s time I stop trying to whitewash my friend’s voice with all these songs written in G and E. It’s time his people came.

Then the rabbi put aside all ancient texts and spoke from his heart about our friends’ son. Then the jaws of all Townspeople in attendance began dropping. Continue reading »

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Dec 152007
 

UPDATED AGAIN AGAIN!
UPDATED AGAIN!
UPDATED!

mrclean: Thanks for the Dazing and Confusing post on Jimmy Plage-rist. Like loophole I’ve always thought this subject would make an interesting post. I’m a big ZepHed but definitely not an apologist, especially considering that I’m also Sillie for Willie Dixon.

Here is a down and dirty collection of songs that some might say strike a resemblance to some Zeppelin compositions. Since Willie Dixon sued, he now shows up as author or co-author on all his tracks here. I leave it to a better man than I to dig out his vinyl and tell us which one(s) were not credited until after the lawsuit. I believe Howlin’ Wolf, post-lawsuit, is now credited on The Lemon Song. Gallows Pole is listed as a “Traditional” yet Huddie Ledbetter/Alan Lomax are credited on Leadbelly’s version.

Continue reading »

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Dec 142007
 

So the other day my wife comes home from work and says “My boss says her brother wrote the Zeppelin song ‘Dazed and Confused’ and never got any royalties from it.” She and her boss must have been discussing the recent Zeppelin reunion show (I also know we got our nephew the new Mothership best-of Led Zeppelin collection for Christmas this year), and out of the blue the boss dropped this interesting bombshell.

My wife didn’t have many details and I was skeptical. Later that night I looked up the song on Wikipedia and sure enough there seems to be some controversy regarding the composer of this tune.

Jake Holmes was a folk singer type in the ’60s and wrote and recorded the song on his debut album in 1967. Later that same year he opened for The Yardbirds, who liked the tune and decided to work up their own version of the song. From the Wikipedia entry:

“It was never officially recorded by the band, although an unauthorized live version was included on the semi-legitimate Live Yardbirds: Featuring Jimmy Page album under the alternate title ‘I’m Confused’.”

Later, Jimmy Page worked up an arrangement for Led Zeppelin, and it was recorded and released on their self-titled debut in 1969.

Holmes eventually sent a letter to Page essentially asking him to do the right thing and acknowledge “co-authorship” of the song, but he never heard back. Apparently Holmes has decided not to pursue legal action. Since the ’70s Holmes has been a successful jingle writer, penning such gems as “Be A Pepper” for Dr. Pepper, “Be All That You Can Be” for the U.S. Army, and my favorite, “Raise your hand if you’re sure!” for Sure Deodorant! Here is an interesting interview with Holmes from 2001 on the Perfect Sound Forever online music magazine.

So my fellow Townspeople, what do you think? Should Mr. Page acknowledge that Mr. Holmes did in fact contribute a fair portion to the writing of a tune that has now become clearly associated with the Led Zeppelin songbook?

[For more on Jimmy Page’s songwriting abilities, check out the two part article “THE THIEVING MAGPIES: Jimmy Page’s Dubious Recording Legacy” written by Will Shade on the Perfect Sound Forever online music magazine website. Part One | Part Two]

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Nov 172007
 


Today I set out to listen to and share my thoughts on the Robert Plant/Alison Krauss album, Raising Sand. This collaboration, which the artists have taken great pains to say is not an album of “duets,” was produced by T-Bone Burnett. I’ve been looking forward to hearing it in its entirety. I must note that unlike most of my Insta-Reviews, I couldn’t help but hear snippets of some of these songs on the artists’ recent radio interviews, but I’ll try to keep my thoughts as fresh as possible. You have counted on me to fire from my gut, and with 2 eggs over light and a few strips of bacon still rattling around in my innards, I’m in tune with that ample part of my anatomy.

“Fortune Teller”: Right from the start, producer T-Bone Burnett’s deliberate, futuristic-retro hands are all over the production of this chestnut. It sounds like it’s more of a set-up piece than all that this collaboration promises. Is Krauss anywhere to be found other than on the backing vocal tracks? Cool guitar solo.

“Gone, Gone, Gone”: I love this Everly Brothers song! Just seeing the title scroll across the Phawker Radio player gets me excited. Plant and Krauss sound good, but what happened to the groovy beat of the Everlys’ orginal? Burnette’s insistence on seeing through his musical designs can be his strength as well as his weakness as a producer (think the ups and downs of Sam Phillips’ Martinis and Bikinis). Watch it, T-Bone! When this version needs to cut loose and hit a new dynamic, the same beat and grinding rhythm guitar carry on, as if programmed in long before any of the players got cooking in real time. Not bad, though, not bad.

“Killing the Blues”: Here’s a tender ballad featuring sweet harmony; pedal steel guitar; and a low, twangy guitar solo. Folk Scientist Burnette lets the musicians play on this one without the need to adhere to any grand concept. AAA radio was built on such dignified takes on earlier works. Maybe getting old’s not so bad!

“Let Your Loss Be Your Lesson”: Krauss takes the lead on this track, and this woman’s got pipes! The guitar work is really nice, which I’m finding is a consistent theme throughout this album. I guess Plant is sitting this one out.

“Sister Rosetta Goes Before Us”: This track’s got that straw hat/overalls rolled up/bare feet in the pond feel. I’m afraid of it. Mischievous boys should be whitewashing a picket fence. T-Bone probably wore suspenders while producing this one. Plant looks stupid with a waxed handlebar mustache. Don’t get me wrong – this is a beautiful little song, but I have no business listening to it.
Continue reading »

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