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.