A Pertinent Question ...

Once you look past the rather uninspired artistry of this early ’90s’ music video, it’s not too difficult to appreciate the song as a quintessential example of what pop music could (and should) be: upbeat and buoyant, while also meaningful and thought-provoking. In fact, this is “spiritual” music no matter what perspective you hear it from. Besides being an obvious fan of The Beatles, World Party principal Karl Wallinger is one of the under-appreciated stand-out musical forces of my generation – this being just one of his many memorable tunes. (I recently learned that he suffered an aneurysm about a decade ago and has done only limited musical work since.)


Above was one of two official video releases for “Is It Like Today?” – the better of the two, in fact!  But this is a live-in-the-studio rendition from 1993 that, though a bit bare, is still powerful nonetheless:

A Sublime Guitar Hero

I have a new guitar hero. After seeing Bill Frisell at the Narrows Center for the Arts in Fall River last night, I’m totally smitten with the jazzy maestro’s understated, soul-stirring guitar mastery.

I’m not really a jazz guy. As much as I confidently claim rock and blues aficionado cred, I make no such pretense in the jazz realm. My jazz likes are sporadic and idiosyncratic. And, though Frisell is generally considered to be a jazz guitarist, I don’t think that really captures the essence of his playing. Sure there are moments of straight jazz modal playing, bebop-ish jaunts, precise arrangements and remarkably synchronized interplay with his fellow musicians. And, very occasionally, there’s even a lickety-split, jazzy lead guitar run. But, for the most part, what Frisell plays seems to me to be something else – something different, otherworldly. Cosmic, country, folk, surf, rockabilly with jazz tinges.

Suffice to say, an open-minded guitar player in the 21st century can’t help but channel the panoply of musical influences in the air for the last half-century or so. And Frisell is no exception – except that he renders the alchemical amalgamation of styles and influences so extraordinarily and with such exquisite taste. He’s an unpretentious sonic architect who sure knows how to pluck those strings!

Frisell refrains from the guitar histrionics of flashy, semi-spastic, fingers flying, single-note guitar leads and riffs – standard fare for our favorite rock guitar slingers (as well as amateur hackers like me!). He plays mostly understated arpeggios, yet still drives his bandmates and provides compelling listening. And, in his concentrated but unassuming way, he makes it look effortless.

In the past, Frisell’s repertoire has featured emotive, slow-building, cyclical takes on “I Heard It Through the Grapevine,” “A Hard Rain’s A-Gonna Fall” and”Shenandoah,” often laced with wild, swirling sonic effects suggestive of some of Robert Fripp, Adrian Belew or Arto Lindsay’s guitar palettes. The effects were much less in evidence last night.

Perhaps this is because the current lineup of Frisell’s trio affords ample opportunity for melodic interaction and invention. Comprising drummer Rudy Royston and violinist Eyvind Kang (needless to say, both exceptional musicians), the trio delivered controlled combustion and flights of sonic fancy.

At times it was even evocative of jazz greats Django Reinhardt and Stephane Grappelli’s fantastic interplay in France in the 1930s and 1940s – not so much in the specific sound or style, but in the feel of the tandem guitar-violin dialog.

Most of the songs start out quiet, jazzy and/or understated and build momentum and urgency, ultimately to climax as something else. Along the way, a broad smile inevitably traverses the guitarist’s face as he locks in with his fellow musicians.

I have to admit, for me to enjoy a 90-plus minutes of purely instrumental music and only be able to identify one of the tunes by name (the old folk standard “Sunnyside of the Street”), the musicians have to deliver quite a compelling performance … and they certainly did! In fact, it was sublime.

This was the second time I’ve seen Frisell, now 59, perform with his trio. The first time was in 2005 at a small jazz club in Cambridge. We were so close to the stage, that we literally had to worry about him knocking our drinks off the table with headstock of his guitar when he turned to cast a glance at his musical compadres. (Charlie Watts was in the audience that night as the Stones were in the midst of their three-night run at Fenway Park). That night, Frisell had a more traditional jazz trio line-up of upright bass and drums (very loud drums from our vantage point). He also relied heavily on his many effects to add to the sonic swirl and avant garde flavorings.

Yet, despite how much I enjoyed, that evening’s listening five years ago, I wasn’t expecting what I heard last night. If I had known that it was going to be as good as it was, I would’ve twisted every friendly arm within 50 miles join me.

Final Note: Narrow Name, Broad Appeal

I’ve seen a dozen or more shows at The Narrows Center for the Arts over the last five or six years and it has to be one of eastern Massachusetts’ best-kept secrets. In the forgotten city of Fall River (straddling the R.I./Mass. border), in the shadow of a vintage World War II battleship tourist attraction, sits this old three-story brick warehouse, the top floor of which has been transformed in an art gallery, working artists’ studios and an open, informal and welcoming performance space. Run by volunteers, tickets are reasonably priced and the bring-your-own beverage policy and reclaimed church pews seating make for a welcoming, low-key venue. And, while the feel is coffeehouse-like, I’ve seen some fiery, inspired performances there (Graham Parker, The Mekons, et al).

Further

• The brief Bill Frisell biography on his official website paints a vivid picture of the breadth of his work and the esteem in which he is held in musical circles.

35 Years Gone

This week marks the 35th anniversary of the release of Led Zeppelin’s most comprehensive studio album, the double-disc Physical Graffiti.

For those of us who are serious fans of rock music, and more specifically fans of the music of Led Zeppelin, there is not much debate about which studio album stands above all others in the band's catalog. While Led Zeppelin I provides the template for the group in one succinct, yet impressively varied statement, and Led Zeppelin IV represents an enduring pinnacle of several aspects of the band’s work (straight out rock, Celtic folk, suped-up blues and the amalgamation of all that and more), it is the band’s 1975 release, Physical Graffiti that supercedes all others – if only for that fact that, as their only double studio album, it contains twice the original music of any of the other seven studio releases. And, in so doing, it most fully captures the breadth of the band’s stylistic undertakings. Not only does it contain one of the mighty Zep’s preeminent epics (No. 1 if you ask Robert Plant) in the exotic Arabian tones of “Kashmir,” it also features the whole swath of the band’s oeuvre: hard rock, melodic rock, blues, funk, pop, country, folk and even barrelhouse boogie.

Comprising an album and a half of new tracks (written and recorded in 1974), coupled with a few leftover gems from the previous three albums, Physical Graffiti was the first release on the band’s own label, Swan Song Records. Such was their sway over the record industry – and parent company Atlantic Records, in particular – that they could present their latest collection of songs in an extravagant package featuring the now-familiar St. Mark’s Place, N.Y.C., facade with its remarkable die-cut cover revealing interchangeable sleeve images.

The production of the music itself remains a sonic standard many artists still strive to capture to this day. Its crisp freshness is remarkable. And it’s all the more amazing considering that much of it was recorded organically with mobile recording trucks camped out at various English country locales (Mick Jagger’s Stargroves estate and the former country workhouse Headley Grange).

As a guitar hobbyist myself, I’ve discovered over the years another telling aspect of the quality of the compositions on Physical Graffiti: even many of the multi-layered electric songs translate well to acoustic interpretations (e.g., “Houses of the Holy,” “Custard Pie” and “The Rover”). The songs hold up no matter how they’re rendered.

I could go on and on, but suffice to say that after 30+ years of listening to this record, I appreciate its nuances, craftsmanship, variety and overall “feel” more than ever. Long-time Zeppelin chronicler Dave Lewis waxes far more eloquently about it than I ever could in his lengthy “Tight But Loose” blog post on the topic. He delves deep into the backstory of the recording sessions for the album evidenced by some of the bootlegs that have emerged over the years. (I’ve heard many of these and they are both fascinating and revealing – especially if you’re a musical obsessive like me!) It’s very clear that Zeppelin were ahead of their time in so many ways – in the moment, yet always looking back, sideways and forward. That is part of what has made them a band with a legacy matched only by The Beatles.

In early 1975, Led Zeppelin was at the top of their game. Supremely capable and confident, in full control of their fortunes and facilities. Yet, unbeknownst at the time, they were also mere months away from the beginning of a string of misfortunes, drug-induced debilitation and ensuing decline that would mar their later years, before finally finishing off the band with Bonham’s death some five years later. But, in February 1975 there was joy in the tracks, and it’s still to be found there:

• Custard Pie – This jaunty kickoff to the album features a funky bass line, bubbly clavinet and cutting wah-wahed lead guitar while referencing a number of early blues songs. Quintessential mid-seventies rock decadence. Save me a slice.

• The Rover – One the band’s best and most-underrated songs proves that hard rock can have subtlety, nuance and a beautiful melody. This richly textured masterpiece was developed from an idea conceived during the sessions for the previous album (Houses of the Holy). It features some of Plant’s better lyrics and some of Jimmy Page’s most lyrical lead guitar work.

• In My Time of Dying – A brutal slide guitar-and-drum-driven assault on an old blues standard (Blind Willie Johnson, 1927). Listen to Dylan’s nascent version of this tune on his eponymous 1961 debut L.P. and then listen to this. John Bonham is monstrous and the band plays with the precision of a fine-tuned machine careening around on its own accord!

• Houses of the Holy – The title track from the previous release that didn’t make the album! Pure joyous pop rock in Zeppelin’s oft-imitated but never matched style.

• Trampled Under Foot – The band’s first serious foray into funk (some more of that to be heard on their next studio LP, Presence). This must’ve given the Red Hot Chili Peppers something to think about. In addition to Page’s searing wah-wah guitar, John Paul Jones absolutely rules in providing the funk on clavinet. With none-too-shrouded lyrical analogies between automotive engines and carnal endeavors (a la Robert Johnson’s 1936 chestnut “Terraplane Blues”), it’s easy to see why this became a concert favorite for the band.

• Kashmir – The sands of the Sahara seep out of the speakers on this epic. Inspired by Page and Plant’s Moroccan adventures (even though Kashmir is in Southeast Asia). Features Page’s self-proclaimed C.I.A. (Celtic, Indian, Arabic) tuned guitars provide the Moorish flavoring complemented by Bonzo’s steady percussive power. As majestic a rock track as there ever was.

• In the Light – Another epic, building track, this time highlighting Jones’ spacey synthesizer drones. Despite being pigeon-holed as the forbearers of heavy metal (or in another couple of years “dinosaur rock”), here’s evidence of their modernity – not prog, but future-looking and sounding. It still sounds modern.

• Bron-Yr-Aur – This beautiful, short acoustic guitar interlude harkens back to the feel and geographic inspirations of Led Zeppelin III.

• Down By the Seaside – Originally written during the LZ III composing period in the Welsh mountains, this countryfied tune starts out with languid pedal steel guitar and a hippie-ish pro-environmental message, and then cranks up to a full-tilt boogie bridge before relaxing back into a country lilt for the conclusion.

• Ten Years Gone – A musically and lyrically sophisticated and slow-building composition featuring layer upon layer of cascading guitars. This is one of the prime examples of Page’s mastery of orchestrating guitar parts.

• Night Flight – The closest thing to a throwaway song on this impeccable L.P., this track was leftover from the LZ IV sessions. Nevertheless, this tale of Vietnam-era draft-dodging trips across the border to Canada is still a highly listenable pop workout.

• The Wanton Song – A very modernistic (sonically well ahead of its time) funky, riff-heavy, hard rocker that leaps out of the speakers and belts you in the chest ... and you love it! Deceptively sophisticated drum work by Bonzo, while Jones shines on both bass and organ and Page’s guitar zooms in like a meteorite.

• Boogie with Stu – This light-hearted jam leftover from the LZ IV sessions features the late, much-beloved, Rolling Stones’ keyboardist Ian Stewart joining the band for a barrelhouse piano-driven romp that references Richie Valens’ 1950s’ era pop rock. A great slapping snare drum sound from Bonham and Plant shines on this one, too.

• Black Country Woman – Straight British country-folk fun. With bluesy harmonica, acoustic guitars and mandolins front and center, it’s reminiscent of the band’s third album but actually hales from the Houses of the Holy sessions.

• Sick Again – The band wraps it up with a return to pure rock decadence in a debaucherous tale of groupiedom and life on the road. The guitars appropriately drip with sex on this one.

And that’s it: 83 minutes of musical journey and the starting point looks a thousand miles behind.

The famed facade: 96 St. Marks Place, Greenwich Village, N.Y.

Interestingly, this same locale was also later used by The Rolling Stones for their “Waiting on a Friend” video.

A Magical History Tour

I was recently turned on to these delightful, interpretative animations of some Beatles’ songs courtesy of Mike Scott’s Twitter posts (he of Waterboys’ renown). You have to love the psychedelia of the first one. In just a few seconds, the second one says a lot about the band dynamic in the later years. Another one humorously highlights the many guises the band took over their relatively short run. And one featuring the Beatles’ famous rooftop performance of “Get Back” cleverly casts John as “the funny one.” Finally, since I like tennis as well as the Beatles, I got a kick out of this last one, too.

The Who?

I wonder if The Who have a Rock Band video game coming out, because their performance tonight at the Super Bowl in Miami looked like an advertisement for one ... or some old product-testers running demos of one!

Despite Townshend’s earlier proclamations, I don’t begrudge the guys for getting old, but both Roger’s and Pete’s voices were woefully ragged and the medley of songs they played was very forced and unsatisfying. They would’ve been better off doing just two or three songs in their entirety (a killer version of an obscure track and a well-loved hit or two, perhaps). The staging and light show were impressive, but overall the performance didn’t do justice to their legacy (unlike their post-9/11 NYC concert appearance, which was stunning).

In the end, I guess it was all about promoting their new greatest hits CD. Apparently their previous dozen or so greatest hits collections just don’t fill the coffers anymore.