Zappa

Frank Zappa passed away 15 years ago today. I remember it clearly for some reason. I wasn’t a huge fan at the time. I had “Lumpy Gravy” and “ We’re Only In It For The Money,” but I hadn’t really explored his music much more than that. The music was intriguing, comical, and accomplished. I knew Zappa was considered a genius. Yes, the term is overused. Maybe it doesn’t apply to Zappa or maybe it does, but no one can argue his musical talent as a composer, songwriter and guitarist.

The news of Zappa’s passing was enough to direct me to the record store to look at some of his catalogue. With so much to choose from and no guide available to direct me to the best titles, I blindly picked up “Zoot Allures.” “Zoot Allures” was somewhat of a departure from the alternative, psychedelic and wacky material found on the other two titles I had at the time. It was more mature. There was still dark humor associated with many of the songs, but the real difference is that “Zoot Allures” rocked.

I remembered reading somewhere about Zappa’s respected guitar chops and on “Zoot Allures” they were in full force. Zappa shows off his command of the guitar throughout the entire album. The thrilling guitar workout on “Black Napkins” and the album title track is all the evidence one needs. Another example is with the opening song “Wind Up Workin’ At Gas Station” – the title and lyrical content are vintage Zappa, but the track is built around a great riff from Zappa and also showcases a smokin’ guitar solo.

Soon after, Rolling Stone Magazine had a large tribute to Zappa and listed some of his must-have albums, so for a novice it was easier to hunt down a few of Zappa’s most respected works. “Zoot Allures” is held in high regard by fans, but it isn’t necessarily a title that will make a Zappa top-ten list along with some of these staples: “Freak Out!,” “Absolutely Free,” “Lumpy Gravy,” “Uncle Meat,” “Hot Rats,” “Weasels Ripped My Flesh,” “Burnt Weeny Sandwich,” “Over-Nite Sensation,” “Apostrophe,” and “Shut Up N Play Yer Guitar.”

There isn’t any sort of clear theme to the music on “Zoot Allures.” The album simply is a gem with melodic songs influenced by Jazz-Blues-Rock, Zappa humor, and fantastic musicianship from all involved. Fifteen years later, I have had the opportunity to explore Zappa’s work in much greater detail, and I still come back to the captivating qualities of “Zoot Allures” as a personal favorite. Highly recommended.

Headache

I feel like there are two music businesses. The old, big, dying one we all know. And a newer, underground one playing by its own rules – or no rules at all.

The old rules no longer apply, nor do they really work anymore. A&R departments aren’t discovering and nurturing talent. A&R sell-outs looking for the next talent-less teen sensation aren’t delivering many that can sell millions upon millions of units. The diva and the 15 minutes-of-fame-phenomenon is a dying enterprise.

While the labels always screwed the artist financially, at least they were seen as a crucial vehicle for breaking the artist – now that simply is not the case. The label’s power won’t get the act on the radio and if it does, who is listening? MTV is another dead road. The labels are not a power broker for getting an act a legitimate booking agent or a key component in helping land an unknown act a coveted supporting slot on a major tour. Oh, they are trying to bring back vinyl. Glad they still have their publishing empires.

Physical music sales are dead. Downloads clearly aren’t a solution or the next viable format for consumers. There are a lot of rumblings about subscription services taking over sooner rather than later. Renting music? If that is where it goes, a few diehard fans of the physical format won’t be able to stop it. Hopefully one can actually purchase the music they are renting if they actually want to own it!

Most of the established stars can’t sell a new album. Many are lucky to move half a million copies. Luckily they still have lucrative touring revenue to stay afloat. But of course, the touring business is finally starting to feel the pain of a dying business. The public simply cannot continue to support the inflated ticket prices that have been rammed down their throats for the past decade. The promoters and agents are still trying to push the limits, but the warning sirens are sounding and everybody hears them.

There are very few premier managers that are not aligning themselves with Irving Azoff’s empire. That is great if you are a superstar, but there are many middle-of-the-road acts that simply won’t get the attention they need or once received by being just another name under such a large management umbrella. And for acts trying to break? They don’t have a shot. You would think with Azoff’s muscle they would, but it doesn’t appear they are a priority because after all, they don’t make money.

Speaking of Azoff, is it not amazing how one guy controls touring, the last lucrative element of the old music business? His management company has a large body of clients, most of who do solid business on the road. Yes, Live Nation has a few exclusive deals out there with the likes of Madonna and U2, but many of the major concert attractions are associated with Azoff’s Front Line management company. And of course, once Live Nation announced they were going to severe ties with Ticketmaster, Azoff sold a chunk of his company to Ticketmaster, which in turn made Azoff the head of the company. So now, Live Nation’s in-house ticketing operation is in direct competition with Ticketmaster, which is run by the artist manager of many acts that will play Live Nation venues. Ticketmaster has also aligned itself with AEG, Live Nation’s direct competitor for talent buying operations. Very twisted and a very brilliant move by Azoff. He holds all the cards. The touring business may have some real pricing problems in the future, but for now, Azoff and his acts will milk it dry.

The newer, underground business is more in tune with the idea that it is all about the music. Locking in gigs anywhere and developing a fan-base. Giving away music, selling it online, embracing P2P, making it cheap, establishing strong fan communities. The hype is being generated through word of mouth and through affordable live shows. Not pinning the hopes of success on a traditional record label getting an overproduced single some rotation on the radio. There isn’t necessarily a structured model in place in terms of hierarchy and monetary rewards. How can there be? The old, powerful business that is fading away is the only one that had any structure or rules. Now, the hungry, independent act has to bypass the old world and just play – do whatever is necessary to stay afloat and to spread the music.

Who knows where it will lead? Perhaps a new full-service entertainment entity will surface that embraces the new world and even subscription services. It is hard to tell. But, the current landscape is a mess: watching the old powers struggle, watching to see if new innovative leaders emerge, fans desperately holding onto physical product while others use CDs as coasters, watching music sales plummet, wondering what the next music format will be, Azoff pulling off one more power-play in a fragile concert industry, etc. This whole thing gives me a headache.

Axis: Bold As Love

“Axis: Bold As Love” is somewhat of a forgotten gem in the Jimi Hendrix catalogue. Hendrix’s recording reputation has clearly been secured over time with his groundbreaking work on epic albums like his 1967 debut “Are You Experienced?” and his 1968 magnum opus “Electric Ladyland.” And while “Axis: Bold As Love” housed the well-known classic “Little Wing” and blistering stage number “Spanish Castle Magic,” when conversations allude to Hendrix’s finest studio work, rarely is “Axis: Bold As Love” mentioned as a defining moment.

After Hendrix released “Are You Experienced?” along with the dynamic singles “Purple Haze,” “Hey Joe” and “The Wind Cries Mary” in early 1967, his record label directed him to quickly issue a follow up album to capitalize on his quickly growing popularity. Hendrix delivered the brilliant “Axis: Bold As Love” album by the end of the year, but ultimately it would not be released until early 1968.

“Axis: Bold As Love” comes off as an extension of the “Are You Experienced?” project. Both albums share a similar feel in terms of innovative production and colorful musical landscapes. Chas Chandler was listed as producer, but really, Hendrix was co-producer in terms of the overall musical vision. The collaboration between Chandler, Hendrix and engineer Eddie Kramer created a magical sound on both albums. This was the era when the studio became an instrument. The Beach Boys and The Beatles are often mentioned as being pioneers in the recording studio, but Jimi Hendrix’s name should most definitely be associated with this creative movement as well.

Much is always made of his unparalleled guitar skills, but with “Axis: Bold As Love,” Hendrix continued to evolve as one of the finest songwriters in contemporary music. A great deal of the material is an exceptional intertwining of musical styles and production techniques creating a spacey, psychedelic, rock symphony. For example, dreamy, romantic ballads such as “Castles Made of Sand” and “One Rainy Wish” or sensual, psychedelic grooves of tracks like “Up From The Skies” are coupled with full-out rock numbers like “Spanish Castle Magic.” The album also showcases one of his finest studio epics, “If 6 Was 9.” The lyrics and imagery are pure poetry throughout the proceedings.

“Axis: Bold As Love” stands alongside Hendrix’s other studio masterpieces with ease. It is one of the finest rock albums ever recorded. While his studio work would continue to grow in complexity, the results would not necessarily ever tower over the thrilling recordings he created with Chas Chandler and Eddie Kramer during 1967. When exploring the brilliant works of Jimi Hendrix, make sure never to pass this one up.

Chinese Democracy

Many thought the day would never come, but this past Sunday November 23, 2008, Axl Rose unleashed the notorious Guns N’ Roses album “Chinese Democracy” to the masses. For the past decade, “Chinese Democracy” was one of those album titles that always made the lists of the most famous albums never released.

The last Guns N’ Roses studio album, “The Spaghetti Incident?,” was released in 1993. This also marked the last Guns N’ Roses project that any original members other than Axl would participate in. During the tour for the “Use Your Illusion” albums, Axl essentially took full control of the band and ownership of the band’s name. Once early sessions began for what would become portions of “Chinese Democracy,” Axl was on his own.

Axl wanted to move into new territories with his music. It no longer was a band effort. Axl had visions and sounds in his mind that he needed to put down on tape. He knew the direction he needed his music to go. He was captivated with mid-90’s musical forces such as Nine Inch Nails. It was clear that Guns N’ Roses’ sound was going to evolve.

As the 90’s came to an end, “Chinese Democracy” was nowhere in sight. All anyone knew was that Axl had spent the second half of the decade holed up in studios throughout the L.A. area recording and obsessing over his music. His studio bills were well into the millions (ultimately reaching up to $15 million by some accounts). Some believe over 30 tracks were recorded. The project developed legendary status each passing year.

During the past couple of years, there had been strong rumors and teases of a release date, yet nothing appeared. Once Axl aligned himself with Irving Azoff’s company in early 2008, it became clear that “Chinese Democracy” or some form of it, would finally appear.

And here we are. After 14 years in the making, this fabled album has finally arrived. I have been playing “Chinese Democracy” on and off for the past 24 hours. I wasn’t expecting much. Based on what had been described over the past decade, I thought there was a good chance the material would mostly be a sonic mess of industrial metal garbage. The unimpressive opening title track pretty much stayed true to that theory. However, the third track “Better” sets the tone for what ultimately becomes a very strong album.

“Chinese Democracy” is somewhat of a revelation. There is a lot to take in. And that shouldn’t be a surprise since Axl spent almost 15 years tweaking it over and over in the studio. The music is diverse and saturated with layers of dense, melodic instrumentation (such as searing guitars, lush orchestration, atmospheres of electronica, beautiful piano fills) and dynamic vocals. Axl is still a tormented guy - his lyrics and vocals say it all.

One wonders, is this 14 track album what Axl Rose intended “Chinese Democracy” to be a decade ago? Is this the finished product he envisioned or is it a compromise that he finally let go? It is hard to tell, but this release is a pleasant surprise to say the least. After spinning this a couple of times, it makes me grateful that a talent like Axl Rose is still out there and still making music. I hope this isn’t the last project he releases, because the music world is a better place with him in it.

What Should This Be Called?

Is Led Zeppelin going to take flight again? Robert Plant has said he doesn’t intend to pilot it this time around. Jimmy Page and John Paul Jones, however, are itching for some action and are looking to tour regardless.

This is an interesting development. After Led Zeppelin’s triumphant reunion gig at London’s O2 Arena last year, all parties involved were enthusiastic about the experience and results and discussed the possibility of future engagements. Meanwhile, Plant was gearing up for extensive touring plans with Alison Krauss in 2008. So, while rumors swelled that Led Zeppelin was going to reunite for the biggest tour in Rock N Roll history, it was clear those plans would have to wait until at least the fall of 2008 after Plant’s work with Krauss came to a close.

While Robert Plant has been touring with Alison Krauss in support of their highly regarded album Raising Sand; Jimmy Page, John Paul Jones and Jason Bonham have continued to rehearse and jam. In fact, they have been working with stand-in vocalists as well.

Recently, the rumor mill began churning out more stories of a major 2009 Led Zeppelin tour – this time, with or without Robert Plant. A few weeks ago, Plant came out with a statement that he had no intention of touring with anyone for the next two years and that he had no plans to work with Led Zeppelin. He also wished his former band-mates the best. With that news, Jimmy Page and John Paul Jones have continued their rehearsals and apparently are now actively searching for a replacement vocalist.

This story has divided not only Led Zeppelin fans, but also music fans in general. There are those that feel Led Zeppelin is one of the last truly great bands that has not destroyed its legacy with cash-grabbing tours and that by reuniting with a vocalist other than Robert Plant, it will be destroying the band’s musical legacy that has stayed intact for 40 years.

Others are thrilled about the idea of Page and Jones going out and playing Zeppelin standards with a stand-in vocalist. They figure, many bands move on and evolve. I have seen people comparing this to Fleetwood Mac evolving from a British blues band to one of the biggest pop bands in the world through band member changes.

Well, sorry, but this has more of the potential to follow in the sad footsteps of Journey, Styx and The Doors of The 21st Century than it does of Fleetwood Mac or even Van Halen. This will not end well. Other than diehard fans hoping for any band activity, the concept of Page and Jones working as Led Zeppelin without Plant is not being looked at fondly by the initial press reports.

Now, to be fair, neither Page nor Jones has confirmed whether or not they will tour and record under the Led Zeppelin name. If they choose to regroup and collaborate much like Page and Plant did in the mid-90’s and not use the Led Zeppelin name, they will most likely be embraced. But, if they go out and drag a Led Zeppelin road show across the world, the will lose credibility. And you can be sure promoters and managers will want them to use the Led Zeppelin name.

I can’t blame them for wanting to work. The O2 show was a tremendous success and it was probably the first real musical high both Page and Jones had experienced in many years. They can still play, particularly Jones who happens to be a musical genius. In fact, over the years, I always thought the two of them should collaborate on a full-scale project.

Maybe some of us music fans take this stuff too seriously. Maybe it is okay for Page and Jones to trash one of the remaining band legacies still in good standing. After all, it is their band and their talent. Who are we to say why it is okay and why it isn’t okay for them to work? Either way, plan on seeing Jimmy Page and John Paul Jones touring next year celebrating the music of Led Zeppelin. What they will call themselves, who knows? Whether they use the name or not, they truly won’t be Led Zeppelin – even Page and Jones know this.

The Beatles In The Arcade

The Beatles’ song catalogue and master recordings are some of the most admired and discussed songs in contemporary music. Anytime a song is used for a commercial purpose, it makes the headlines. The announcement that the band’s catalogue is now going to be part of an exclusive interactive videogame through MTV Networks and Harmonix (the developer behind the “Rock Band” franchise) is clearly making headlines.

This is an interesting development on many levels. For the past few years, there have been constant discussions, articles and hints by the band that remastered and digital versions of The Beatles’ recordings are forthcoming. Yet, to this day, nothing has appeared.

The Beatles have a large fan-base that spans many generations, but clearly this development is aimed at a younger demographic. This is a great move in the sense that it creates a unique and exclusive vehicle for the band to showcase its work and legacy in a very contemporary and popular format.

Music producer Giles Martin has stated that the music associated with this videogame will not be remixed or remastered. What is the band waiting for? One would think that optimum sound quality would be criteria for maximizing the potential of this new endeavor.

The Beatles’ core fan-base has been waiting for years for access to upgraded sound quality. The band has a very important and influential body of work and it is strange that the catalogue is solely available to the masses on CD pressings from the 1980’s. Even ABKCO finally remastered and reissued The Rolling Stones’ early catalogue in 2002. In an era of upgraded CDs and an increase in downloads as a viable option for consumers, one has to wonder why The Beatles continue to only offer their music in sub-par sound quality.

Time is ticking away. Instead of offering The Beatles’ fan-base and the holiday consumer a chance at acquiring this famous catalogue in remastered deluxe form, the world gets an announcement of a future videogame. It is big news, but really not that interesting for the fan concerned with the actual music. Rumors again persist that the remasters are coming. Will it be in 2009?

Ronnie & Steve

October 20th marked the anniversary of the untimely passing of Ronnie Van Zant and Steve Gaines of Lynyrd Skynyrd. Over thirty years ago, both musicians perished in a plane crash near Gillsburg Mississippi that also took the lives of other members of the band’s entourage as well as both pilots of the Convair 240 tour plane the band was leasing.

Today, Lynyrd Skynyrd is one of the most celebrated rock bands in history and Ronnie Van Zant is a legend. But in 1977, Lynyrd Skynyrd was still a hardworking band, a band that had not reached its iconic status. From 1973 to 1977, the band released six albums and toured relentlessly. On October 17, just three days before the accident, the band released the final studio album from the Ronnie Van Zant-era, Street Survivors. When the accident occurred, the band had just embarked on a major supporting tour for what was arguably their finest album to date. Their first headlining gig at Madison Square Garden was on the itinerary – a symbol that the band had indeed hit the big-time.

Ronnie Van Zant was a rock star. But it wasn’t because of Greek God looks or an angelic voice. Ronnie was rocker. For a time, he lived hard with bouts of intoxication and brushes with the law. His behavior contributed to his legend, but he was best know for his love of the South and more importantly, his incredible skill as a songwriter and arranger. Bandleaders, front-men and songwriters like Ronnie Van Zant don’t come around very often. He was a tremendous talent.

Steven Gaines had only been in the band for a year when he passed away, however, Gaines’ creative stamp on the band was instant. Gaines was a gifted songwriter, dazzling guitarist and impassioned vocalist. His influence and drive gave Lynyrd Skynyrd a jolt of creative energy it had been lacking at the time of his arrival. Ronnie publicly marveled at the diverse talents of Gaines, even claiming that he and the rest of the band would one day be in Gaines’ shadow.

Who knows what kind of heights Lynyrd Skynyrd could have reached had the accident not occurred.* If there was ever a need for documentation of a creative rebirth within the band, look no further than the triumphant Street Survivors album. This is one bad-ass rock album. It has it all: great hooks, strong melodies, fantastic vocals by both Van Zant and Gaines, inspired guitar work, introspective lyrics and a whole lot of groove. Street Survivors is testament to the greatness of Lynyrd Skynyrd – and the monster talent of Ronnie Van Zant and Steve Gaines.

The music still lives and breathes. That is what great rock and roll does. Ronnie Van Zant and Steve Gaines are not forgotten.

*Lynyrd Skynyrd reformed a decade after the accident with Ronnie’s younger brother Johnny Van Zant handling the lead vocal duties. A revolving line-up of musicians including some original members have been parading around the world performing the Lynyrd Skynyrd catalogue for twenty years now, but the true creative greatness of the band ended in 1977.