So, some things that I like are happening.
First off, check this link:
http://www.contactmusic.com/news.nsf/article/cyrus%20records%20imagine_1099984
Not only has Miley apparently recorded "Imagine," John Lennon's classic song from his sixth LP (2nd not counting collabs with Yoko), but it is also supposedly a duet with Emily Osment.
Each of these things would be good enough on their own, but together? Well, my head would have exploded from the excitement (please please please tell me this track will be released), but chunks of head matter had already been strewn all over my computer, because the Beatles are finally, after 22 years of sitting on them, are giving us remastered albums.
Here is the news, compiled from articles from http://thebeatles.com/core/home/
"Each of the CDs is packaged with replicated original UK album art, including expanded booklets containing original and newly written liner notes and rare photos. For a limited period, each CD will also be embedded with a brief documentary film about the album. On the same date, two new Beatles boxed CD collections will also be released. The albums have been re-mastered by a dedicated team of engineers at EMI’s Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the catalogue has seen since its original release. The collection comprises all 12 Beatles albums in stereo, with track listings and artwork as originally released in the UK, and ‘Magical Mystery Tour,’ which became part of The Beatles’ core catalogue when the CDs were first released in 1987. In addition, the collections ‘Past Masters Vol. I and II’ are now combined as one title, for a total of 14 titles over 16 discs. This will mark the first time that the first four Beatles albums will be available in stereo in their entirety on compact disc. These 14 albums, along with a DVD collection of the documentaries, will also be available for purchase together in a stereo boxed set. Within each CD’s new packaging, booklets include detailed historical notes along with informative recording notes. With the exception of the ‘Past Masters’ set, newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. A second boxed set has been created with the collector in mind. ‘The Beatles in Mono’ gathers together, in one place, all of the Beatles recordings that were mixed for a mono release. It will contain 10 of the albums with their original mono mixes, plus two further discs of mono masters (covering similar ground to the stereo tracks on ‘Past Masters’). As an added bonus, the mono “Help!” and “Rubber Soul” discs also include the original 1965 stereo mixes, which have not been previously released on CD. These albums will be packaged in mini-vinyl CD replicas of the original sleeves with all original inserts and label designs retained. For the latest news and information, go to: The Beatles Official Website Additional information: The Stereo Albums (available individually and collected in a stereo boxed set) The stereo albums have been remastered by Guy Massey, Steve Rooke, Sam Okell with Paul Hicks and Sean Magee All CD packages contain original vinyl artwork and liner notes Extensive archival photos Additional historical notes by Kevin Howlett and Mike Heatley Additional recording notes by Allan Rouse and Kevin Howlett * = CD includes QuickTime mini-doc about the album Please Please Me* (CD debut in stereo) With The Beatles* (CD debut in stereo) A Hard Day’s Night* (CD debut in stereo) Beatles For Sale* (CD debut in stereo) Help!* Rubber Soul* Revolver* Sgt. Pepper’s Lonely Hearts Club Band* (also includes 1987 notes, updated, and new intro by Paul McCartney) Magical Mystery Tour* The Beatles* Yellow Submarine* (also includes original US liner notes) Abbey Road* Let It Be* Past Masters (contains new liner notes written by Kevin Howlett) ‘The Beatles in Mono’ (boxed set only) The mono albums have been remastered by Paul Hicks, Sean Magee with Guy Massey and Steve Rooke Presented together in box with an essay written by Kevin Howlett + = mono mix CD debut Please Please Me With The Beatles A Hard Day’s Night Beatles For Sale Help! (CD also includes original 1965 stereo mix)+ Rubber Soul (CD also include original 1965 stereo mix)+ Revolver+ Sgt. Pepper’s Lonely Hearts Club Band+ Magical Mystery Tour+ The Beatles+ Mono Masters Re-mastering the Beatles catalogue The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title. From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs. In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings. When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson. Mastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original master tapes during the equalization process. When an album had been completed, it was auditioned the next day in studio three – a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there – and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction. New Notes/Documentaries Team Kevin Howlett (Historical and Recording Notes) Kevin Howlett’s career as an award-winning radio producer spans three decades. His music programmes for the BBC have included many documentaries about The Beatles, including ‘The Beeb’s Lost Beatles Tapes.’ He received a Grammy nomination for his involvement with The Beatles’ album ‘Live At The BBC’ and, in 2003, produced the ‘Fly On The Wall’ bonus disc for ‘Let It Be… Naked.’ Mike Heatley (Historical Notes) Mike entered the music business via HMV Record Stores in 1970, transferring to EMI Records’ International Division three years later. He eventually headed up that division in the early Eighties before joining the company’s newly created Strategic Marketing Division in 1984. In 1988, he returned to International, where he undertook a number of catalogue marketing roles until he retired in December 2008. During his career he worked with many of EMI’s major artists, including Pink Floyd, Queen, Kate Bush and Iron Maiden. However, during the last 30 years he has formed a particularly strong relationship with Apple, and has been closely involved in the origination and promotion of the Beatles catalogue, besides solo releases from John, Paul, George and Ringo. Bob Smeaton (Director, Mini-Documentaries) Bob Smeaton was series director and writer on the Grammy award winning ‘Beatles Anthology’ TV series which aired in the UK and the USA in 1995. In 1998 he received his second Grammy for his ‘Jimi Hendrix: Band of Gypsys’ documentary. In 2004 he gained his first feature film credit, as director on the feature documentary ‘Festival Express.’ He subsequently went on to direct documentaries on many of the world’s biggest music acts including The Who, Pink Floyd, The Doors, Elton John, Nirvana and the Spice Girls. Julian Caiden (Editor, Mini-Documentaries) Julian has worked with Bob Smeaton on numerous music documentaries including ‘Jimi Hendrix: Band of Gypsys’ and the ‘Classic Albums’ series, featuring The Who, Pink Floyd, The Doors, Elton John and Nirvana among others. He has worked on documentary profiles from Richard Pryor to Dr. John to Sir Ian McKellen, Herbie Hancock and Damien Hirst and on live music shows including the New York Dolls and Club Tropicana. The Abbey Road Team Allan Rouse (Project Coordinator) Allan joined EMI straight from school in 1971 at their Manchester Square head office, working as an assistant engineer in the demo studio. During this time he frequently worked with Norman (Hurricane) Smith, The Beatles’ first recording engineer. In 1991, he had his first involvement with The Beatles, copying all of their master tapes (mono, stereo, 4-track and 8-track) to digital tape as a safety backup. This was followed by four years working with Sir George Martin as assistant and project coordinator on the TV documentary ‘The Making of Sgt. Pepper’s’ and the CDs ‘Live at the BBC’ and ‘The Anthology.’ In 1997, MGM/UA were preparing to reissue the film ‘Yellow Submarine’ and, with the permission of Apple, asked that all of The Beatles’ music be mixed for the film in 5.1 surround and stereo. Allan requested the services of Abbey Road’s senior engineer Peter Cobbin and assistant Guy Massey and, along with them, produced the new mixes. Two years later, he proposed an experimental stereo and surround mix of John Lennon’s song ‘Imagine’ engineered by Peter Cobbin. Following lengthy consultations with Yoko Ono, the album ‘Imagine’ was re-mixed in stereo and the Grammy award-winning film ‘Gimme Some Truth’ in surround and new stereo. This led to a further five of John’s albums being re-mastered with new stereo mixes and the DVD release of ‘Lennon Legend’ being re-mixed in 5.1 surround and new stereo. Further projects followed, including The Beatles ‘Anthology’, ‘The First US Visit’ and ‘Help’ DVD and the albums ‘Let It Be…Naked’ and ‘Love’ along with George Harrison’s ‘Concert for Bangladesh’ DVD and album. For a number of years now, Allan has worked exclusively on Beatles and related projects. Guy Massey (Recording Engineer) Guy joined Abbey Road in 1994, and five years later assisted on the surround remix for The Beatles film ‘Yellow Submarine.’ This led to The Beatles’ ‘Anthology’ DVD and later, along with Paul Hicks and Allan Rouse, they mixed and produced ‘Let It Be… Naked.’ In 2004 he left the studios to become freelance and has engineered The Divine Comedy: ‘Victory for the Comic Muse,’ Air Traffic: ‘Fractured Life,’ James Dean Bradfield: ‘The Great Western’ and Stephen Fretwell’s ‘Magpie,’ co-producing the last two. Since leaving, Guy is still a vital member of the team, and has been the senior engineer for the re-mastering project and was responsible for surround and new stereo mixes for the DVD release of ‘Help!’ Steve Rooke (Mastering Engineer) Steve joined Abbey Road in 1983 and is now the studio’s senior mastering engineer. He has been involved on all The Beatles’ projects since 1999. He has also been responsible for mastering releases by John Lennon, Paul McCartney, George Harrison and Ringo Starr. Paul Hicks (Recording Engineer) Paul started at Abbey Road in 1994, and his first involvement with The Beatles was assisting engineer Geoff Emerick on the Anthology albums. This was followed by ‘Yellow Submarine Songtrack,’ ‘Anthology’ DVD and ‘Let It Be… Naked.’ Like Guy Massey, he has also become a freelance engineer and since leaving the studios he has been responsible for the surround mixing of Paul McCartney’s DVD ‘The McCartney Years’ and The Beatles’ ‘Love.’ Paul has been in charge of the mono re-masters. Sean Magee (Mastering Engineer) Sean began working at Abbey Road in 1995 with a diploma in sound engineering. With a wealth of knowledge in analog and digital mastering, he has worked alongside Paul Hicks on the mono re-masters. Sam Okell (Recording Engineer) Sam’s first job as a member of the team was in 2006, assisting Paul Hicks on Paul McCartney’s DVD ‘The McCartney Years,’ and during that same year he was responsible for the re-mastering of George Harrison’s ‘Living In The Material World’ CD along with Steve Rooke. This led to him restoring the soundtrack to the Beatles film ‘Help!’ in surround and stereo, in addition to assisting Guy Massey with the song remixes. Sam has re-mastered ‘With The Beatles’ and ‘Let It Be.’ Simon Gibson (Audio Restoration Engineer) Simon joined Abbey Road in 1990. He has progressed from mastering mostly classical recordings to include a much wider range of music, including pop and rock, with his specialized role as an audio restoration engineer. Apart from the re-mastering project, his other work includes George Harrison’s ‘Living In The Material World,’ John Lennon’s ‘Lennon Legend,’ The Beatles’ ‘Love’ and the ‘Help!’ DVD soundtrack. "
Well, I could not put it better myself. I was hoping for two rare Beatles' releases, their "Christmas Album" (comprised of seven fan club tracks for each year 1963-1969), and "The Beatles At The Hollywood Bowl" (a live album mixed from two shows of the Beatles at the venue in 1964 and 1965.) Maybe soon.
Also, perhaps the worst packaging era of the old Beatles CDs was that the large book from "Let It Be" was not reproduced. I hope this is fixed.
I imagine the price will be steep. I'll have to save up (maybe I can get them all in one shot with the stereo Box-set.) I shant be going for the mono set. Too excessive, even for me.
Well, I'll push off that promised review of "Hannah Montana The Movie" soundtrack for now, as the idea of Miley and Emily singing from the book of John, and the Beatles being presented in the high fidelity they deserve, is just too much for me to take in at once.
And it is only Tuesday.
Tuesday, April 7, 2009
Monday, April 6, 2009
"Don't Forget" Won't Be Forgotten
With the threat of the "Conficker" virus, my family decided no computer use in the household for the past week. Thankfully, that spell is over, and I'm back.
And so much has happened!
First off, Paul McCartney & Ringo Starr together at Radio City! As part of a charity show for teaching children Trancendental Meditation (an, er, interesting cause), Paul and Ringo appeared in their own sets, plus an encore together! During this encore, they did "With A Little Help From My Friends", "Cosmically Conscious" (a Paul song from 1968, which he recorded solo in 1993), and "I Saw Her Standing There." Paul and Ringo had last appeared on stage in 2003 for the George Harrison tribute concert. Look up this show on youtube.
Miley Cyrus is working hard to promote the "Hannah Montana" movie. She is on the radio, on daytime talk shows, on late shows, singing "The Climb", doing interviews, and making sure you see her movie out this Friday (in America, anyway.) I hope to see it with my friend Chris, and some lady friends of his.
Miley's song "Butterfly Fly Away" will see a re-release tomorrow on Billy Ray's "Back To Tennesee" album, promising an extended version of the beautiful duet (I assume Billy Ray will take on some solo vocals on this version.)
Selena Gomez has returned to the continental US after spending an extended period in Puerto Rico with her castmates working on the "Wizards Of Waverly Place" TV movie. But before we get too excited by that, she will star alongside old pal Demi Lovato in "Princess Protection Program" due on TV soon. Looks interesting, especially to see the two friends on screen together for the first time since Barney.
Speaking of Demi, I purchased her "Don't Forget" album, in the deluxe format. The album was very good. It had a heavy pop-rock feel, with crunchy guitars on "La La Land" (which, by the way, may very well have been called Hollywood Land, 'cept for the fact that it might clash with the fact that her record label is Hollywood.) Demi's voice is in top form, more trained and powerful than on her demos. The production of the album works well too, giving it some glisten, but without sterilzing it. Aside from strings, and the dynamics of the arrangemnts, all of this album could be recreated on stage (well, even the dynamics could, I guess. It would be pretty clever and tricky, though)
The singles are great. "Get Back" is kind of cocky, kind of desperate, and very catchy. Demi wants to "get back" with and old flame, and with the guitars blazing, plus some buried keyboards creating a bed of sound for the quieter moments, it is a kickin' song. "La La Land" is defiant, as Demi claims she won't be changed by her stardom. It is cleverly written and performed, with the lines "Well, some may say I need to be afraid /Of losing everything /Because of where I /Had my start and where I made my name ", a thinly veiled reference to her beginnings on Disney (not more than a few months past.) "Don't Forget" is a very simple song, its' arrangement calling to mind the JoBro's "Lovebug." However, Demi's is even more subtle, after breakining into a full rock peak, it comes back with strings, and then piano, with effects making it sound as though Demi is coming off a crackly vinyl.
Some of the slower songs don't do as much for me as the more rock ones, while "Party" is a bit of confusing one. It calls to mind Led Zeppelin with the riff, but I thought Demi was uncharacteristically tame. "Two Worlds Collide" has a great, sweeping melody. Overall, the album is tops.
The new tracks are "Lo Que Soy" (the acoustic "This Is Me" with spanish lyrics) and "Behind Enemy Lines." This song was probably left off the original album because it is very different. But we should get used to it, as Demi has said on TV that it is the direction she will be going on as she continues her music (despite not having started at the time, the ambitous Demi said back in February that she hoped to have an album out in the summer/fall.) The song is very jazzy, with her vocals up close in front of a bluesy arrangement. She seems to channel her hero, John Mayer, whose influence on her is otherwise non-existant on this album. I'm excited for Demi, and hope for much more in the same vein as "Behind Enemy Lines." It is a very original, artsy, and creative direction.
I also hope for a duet between her and Selena, but I digress.
This edition also has a DVD. The best parts here are her singing "Don't Forget" live, almost crying, channeling the inspiration of the song perhaps too well (although still breathing full life into the song.), as well as scenes of her being driven to a show, shouting out the window, waving at fans who don't at first recognize her. It is the most candid part of the set, and is very pleasant and satisfying. It is hard to believe when Demi first started concerts last year, she was just another up-and-coming talent hoping for recognition. Now she shines brightly.
I also picked up a copy of "Hannah Montana The Movie" soundtrack, but perhaps I will review that tomorrow (spoiler: it is not Miley's best, though certainly not bad.)
And so much has happened!
First off, Paul McCartney & Ringo Starr together at Radio City! As part of a charity show for teaching children Trancendental Meditation (an, er, interesting cause), Paul and Ringo appeared in their own sets, plus an encore together! During this encore, they did "With A Little Help From My Friends", "Cosmically Conscious" (a Paul song from 1968, which he recorded solo in 1993), and "I Saw Her Standing There." Paul and Ringo had last appeared on stage in 2003 for the George Harrison tribute concert. Look up this show on youtube.
Miley Cyrus is working hard to promote the "Hannah Montana" movie. She is on the radio, on daytime talk shows, on late shows, singing "The Climb", doing interviews, and making sure you see her movie out this Friday (in America, anyway.) I hope to see it with my friend Chris, and some lady friends of his.
Miley's song "Butterfly Fly Away" will see a re-release tomorrow on Billy Ray's "Back To Tennesee" album, promising an extended version of the beautiful duet (I assume Billy Ray will take on some solo vocals on this version.)
Selena Gomez has returned to the continental US after spending an extended period in Puerto Rico with her castmates working on the "Wizards Of Waverly Place" TV movie. But before we get too excited by that, she will star alongside old pal Demi Lovato in "Princess Protection Program" due on TV soon. Looks interesting, especially to see the two friends on screen together for the first time since Barney.
Speaking of Demi, I purchased her "Don't Forget" album, in the deluxe format. The album was very good. It had a heavy pop-rock feel, with crunchy guitars on "La La Land" (which, by the way, may very well have been called Hollywood Land, 'cept for the fact that it might clash with the fact that her record label is Hollywood.) Demi's voice is in top form, more trained and powerful than on her demos. The production of the album works well too, giving it some glisten, but without sterilzing it. Aside from strings, and the dynamics of the arrangemnts, all of this album could be recreated on stage (well, even the dynamics could, I guess. It would be pretty clever and tricky, though)
The singles are great. "Get Back" is kind of cocky, kind of desperate, and very catchy. Demi wants to "get back" with and old flame, and with the guitars blazing, plus some buried keyboards creating a bed of sound for the quieter moments, it is a kickin' song. "La La Land" is defiant, as Demi claims she won't be changed by her stardom. It is cleverly written and performed, with the lines "Well, some may say I need to be afraid /Of losing everything /Because of where I /Had my start and where I made my name ", a thinly veiled reference to her beginnings on Disney (not more than a few months past.) "Don't Forget" is a very simple song, its' arrangement calling to mind the JoBro's "Lovebug." However, Demi's is even more subtle, after breakining into a full rock peak, it comes back with strings, and then piano, with effects making it sound as though Demi is coming off a crackly vinyl.
Some of the slower songs don't do as much for me as the more rock ones, while "Party" is a bit of confusing one. It calls to mind Led Zeppelin with the riff, but I thought Demi was uncharacteristically tame. "Two Worlds Collide" has a great, sweeping melody. Overall, the album is tops.
The new tracks are "Lo Que Soy" (the acoustic "This Is Me" with spanish lyrics) and "Behind Enemy Lines." This song was probably left off the original album because it is very different. But we should get used to it, as Demi has said on TV that it is the direction she will be going on as she continues her music (despite not having started at the time, the ambitous Demi said back in February that she hoped to have an album out in the summer/fall.) The song is very jazzy, with her vocals up close in front of a bluesy arrangement. She seems to channel her hero, John Mayer, whose influence on her is otherwise non-existant on this album. I'm excited for Demi, and hope for much more in the same vein as "Behind Enemy Lines." It is a very original, artsy, and creative direction.
I also hope for a duet between her and Selena, but I digress.
This edition also has a DVD. The best parts here are her singing "Don't Forget" live, almost crying, channeling the inspiration of the song perhaps too well (although still breathing full life into the song.), as well as scenes of her being driven to a show, shouting out the window, waving at fans who don't at first recognize her. It is the most candid part of the set, and is very pleasant and satisfying. It is hard to believe when Demi first started concerts last year, she was just another up-and-coming talent hoping for recognition. Now she shines brightly.
I also picked up a copy of "Hannah Montana The Movie" soundtrack, but perhaps I will review that tomorrow (spoiler: it is not Miley's best, though certainly not bad.)
Monday, March 30, 2009
The KCAs
Last Saturday was the Kid's Choice Awards. I haven't watch a KCA show in a few years, so it was cool to catch it this year with a renewed interest.
Dwayne "The Rock" Johnson was a funny host. I prefer him in children's fare than as a wrestler. He's pretty funny, and very self-teasing, in good taste.
I voted for some categories out of obligation, but others more seriously (considering that it is a Kid's Choice Award.)
Voting for best show was hard. I had to choose between "iCarly"and "Hannah Montana." Both great shows, but I ultimately chose "iCarly". As of late, it has been more entertaining. And it doesn't get the same press as "Hannah Montana." So I figured it deserved a KCA. And it won! Good call on my part.
Then their was best female singer. I chose Miley hands down, and she of course won. But when she came out (as part of a joke, where her and Johnson wore the same dress), she was given the award unannounced. She was first surprised, and then started crying. It was adorable, and showed how much she really cares about what she does.
Voting for best female actress was hard. Miley, Miranda, and Selena were all nominated. Most of the time, I chose Miranda. But the last time I voted, I gave it to Selena (in part just cause she is a good actress, and also because it was the only nom she got, unlike Miranda who got one for the show, and Miley who had singer, show, and voice in an animated movie.) And Selena won! She wasn't there, still working on the "Wizards" movie, but there is a video on youtube of her getting the news, and thanking her fans.
Lastly, the best part of the show was when the most unlikely trio came out to present an award. Miranda Cosgrove, John Cena, and Chris Rock came up to the podium. Forgive me as I paraphrase a bit, but their banter went something like this:
John Cena - we are going to be in a remake of "Charlie's Angels."
Miranda Cosgrove - I'll be the smart one
John Cena - I'll be the strong one
Chris Rock - and I'll be the black one.
Hysterical!
Dwayne "The Rock" Johnson was a funny host. I prefer him in children's fare than as a wrestler. He's pretty funny, and very self-teasing, in good taste.
I voted for some categories out of obligation, but others more seriously (considering that it is a Kid's Choice Award.)
Voting for best show was hard. I had to choose between "iCarly"and "Hannah Montana." Both great shows, but I ultimately chose "iCarly". As of late, it has been more entertaining. And it doesn't get the same press as "Hannah Montana." So I figured it deserved a KCA. And it won! Good call on my part.
Then their was best female singer. I chose Miley hands down, and she of course won. But when she came out (as part of a joke, where her and Johnson wore the same dress), she was given the award unannounced. She was first surprised, and then started crying. It was adorable, and showed how much she really cares about what she does.
Voting for best female actress was hard. Miley, Miranda, and Selena were all nominated. Most of the time, I chose Miranda. But the last time I voted, I gave it to Selena (in part just cause she is a good actress, and also because it was the only nom she got, unlike Miranda who got one for the show, and Miley who had singer, show, and voice in an animated movie.) And Selena won! She wasn't there, still working on the "Wizards" movie, but there is a video on youtube of her getting the news, and thanking her fans.
Lastly, the best part of the show was when the most unlikely trio came out to present an award. Miranda Cosgrove, John Cena, and Chris Rock came up to the podium. Forgive me as I paraphrase a bit, but their banter went something like this:
John Cena - we are going to be in a remake of "Charlie's Angels."
Miranda Cosgrove - I'll be the smart one
John Cena - I'll be the strong one
Chris Rock - and I'll be the black one.
Hysterical!
Why I Love Layla
A post or two back, I told an abbreviated tale of Derek & The Dominos. As a follow-up, I'd like to review their lone studio disc, "Layla & Other Assorted Love Songs."
Now, I have known the song "Layla" for years. Long before I knew who Eric Clapton was. Long before I even knew it was called "Layla." But it was when I was in eighth grade, becoming a full-fledged Beatles fan that I heard the story that it was inspired by Beatle George's wife, and I was getting into Q104.3, a great classic rock station in New York. So I soon became very familiar with it, as well as the other famous number, perhaps one I love even more, "Bell Bottom Blues."
When I finally bought the album last June, I was certainly interested, but would not have bought it right away had it not been for a nice sale at the CD store. So, I couldn't take it in fully when I first got it. It is a long album, and I had to force myself to sit through my first play. Needless to say, I didn't get too much out of it. But, thankfully, I played it more since then.
The album opens with "I Looked Away." The song is very catchy and upbeat. For most bands, this would be the perfect single. Of course, Clapton & Co. can do even better, but that does nothing to belittle this song. Bobby Whitlock takes the vocals once or twice, and proves from the get-go that he is as much an important force on the album as Clapton (Whitlock co-wrote most of the material with Clapton.) The solo is also cool. Like the song in general, it is short, but very sweet.
Next is "Bell Bottom Blues." I've loved this song for quite some time, so hearing is always a treat. It is a bit droning, with the organ, and is very desperate. Clapton sings like his heart is about to break in most tragic of fashions, and his guitar gives off the same desperation. The drums change to a very tribal like beat in the short section that prefixes the refrain. The song is such a plea for love, and it does not resolve, making it all the more dramatic.
"Keep On Growing" opens with a very funky rhythm. Yes, funky is the best word for it. It is not the deepest number on the album, but is all the same cool to listen to. Very upbeat too.
"Nobody Knows You (When You're Down & Out)" is a true blues number. Duane Allman plays on it, and his slide carries the number just as much as Clapton's gruff, defeated vocal. The song is not fast nor heavy, but it grabs me in and holds me hard. It is the grittiest blues number the album has to offer.
Perhaps the black sheep of the album is "I Am Yours." It is not at all blues. It is a pretty song, very sweet, telling of devotion. It kind of falls towards MOR, but I'm trying to be careful, because I mean it in the best way. The chords get higher and higher in the most peculiar way. The rhythm is very American, like a CCR song, but the lead guitar gives it a Hawaiian twist. (I assume a bottleneck guitar is used.)
"Anyday" is often give praise as a classic 'deep cut', but for me, it comes off as hard to listen to. The refrain itself is the best part (and the intro), but the song seems to have problems linking the parts together. It just does gel for me.
While all the other songs are well-crafted and arranged, "Key To The Highway" is just the band flexing their music muscles. In another room, a group was recording this number. Clapton and the gang could hear them, and decided to jam on it themselves. The engineer had not intended to make a recording, and only started the tapes after the group had begun (hence the fade-in.) For me, the song just doesn't do enough. It lacks the consistancy the other songs have. When they did this live, they showed how good they could do it. Here, it sounds like they are just competent.
The last two songs don't do it for me, and there is still one more song to go before the album picks up. "Tell The Truth" can be a good song. I love the fast paced single version. I love the long instrumental versions. But the album version is not one I like (besides, it is kind of "fake". The vocals were taken from the fast single, and just slowed down onto one of the aforementioned instrumentals. Doesn't work.) I don't care for the live recordings either.
But now it gets good again. "Why Does Love Got To Be So Sad?" is one of the greatest songs. Live, it was a long number, and showed the virtousity of both Clapton, as well as drummer Jim Gordon, whose drums would carry the intro while Clapton played some very restrained licks before jumping in. The studio version is a bit different. It lacks the same punch that the live versions have, but makes up for it with the guitars, which are magnificent and in your face. They carry the song, conveying the songs emotion better than even the vocals. The guitar reminds me of Harrison's "Art Of Dying." In both songs, the guitar plays lead, but jumps in and out of the rhythm. They go non-stop, and are as insistent as can be.
"Have You Ever Loved A Woman" is a blues number. Their are other versions that are bare, but here the arrangement makes it a little to produced to be pure blues. Still, it is a great number. It may not be an original, but it is so much a part of the theme of Clapton's love for Pattie Boyd. Because Clapton is so connected to the songs story, he gives it a better treatment than other singers I've heard, because their general ability does not compare to Clapton's deep connection.
"Little Wing" is a cover of a Hendrix tune, recorded only days before the composers death. It would be an emotional tribute when done in concert, but here, it is just a nod to a friend. The intro is cool and upbeat, cutting into the lower key composistion of the song.
"It's Too Late" is tinged with some country. It is a light number, but fun to listen too. Clapton does some call and response with Whitlock. While many songs on this album are emotional, this one, though maybe in the subtext is a bit, on the outside is just a tight performance.
The album draws to a close now, and "Layla" is up. What to say. The first have of the song is so desperate, the most outright plea to Layla, to Pattie, this plea of love, this admitting that he would more or less die without her love. And then, finally, the song, with guitar solos approaching some sort of crescendo, turns into a piano instrumental, no more desperate, but calm and beautiful. Pure satisfaction. For a few minutes, we get no longer Clapton bearing his breaking heart on his sleeve, but instead a presentation of his dream, his fantasy.
Bobby Whitlock wrote and sang the album's last track, "Thorn Tree In The Garden." It has none of Clapton's situation.. Instead, Whitlock presents a love that may not be working any longer. It is sad, yet beautiful. On an album lead by Clapton's deep desire for Pattie, blinding him to the rest of the world, Whitlock gives a more sobering take on love, undercutting Clapton's ideal but also presenting a greater picture, underscoring that Clapton is coming from more of a fantasy, by giving a taste of reality.
And that's why I love "Layla."
Now, I have known the song "Layla" for years. Long before I knew who Eric Clapton was. Long before I even knew it was called "Layla." But it was when I was in eighth grade, becoming a full-fledged Beatles fan that I heard the story that it was inspired by Beatle George's wife, and I was getting into Q104.3, a great classic rock station in New York. So I soon became very familiar with it, as well as the other famous number, perhaps one I love even more, "Bell Bottom Blues."
When I finally bought the album last June, I was certainly interested, but would not have bought it right away had it not been for a nice sale at the CD store. So, I couldn't take it in fully when I first got it. It is a long album, and I had to force myself to sit through my first play. Needless to say, I didn't get too much out of it. But, thankfully, I played it more since then.
The album opens with "I Looked Away." The song is very catchy and upbeat. For most bands, this would be the perfect single. Of course, Clapton & Co. can do even better, but that does nothing to belittle this song. Bobby Whitlock takes the vocals once or twice, and proves from the get-go that he is as much an important force on the album as Clapton (Whitlock co-wrote most of the material with Clapton.) The solo is also cool. Like the song in general, it is short, but very sweet.
Next is "Bell Bottom Blues." I've loved this song for quite some time, so hearing is always a treat. It is a bit droning, with the organ, and is very desperate. Clapton sings like his heart is about to break in most tragic of fashions, and his guitar gives off the same desperation. The drums change to a very tribal like beat in the short section that prefixes the refrain. The song is such a plea for love, and it does not resolve, making it all the more dramatic.
"Keep On Growing" opens with a very funky rhythm. Yes, funky is the best word for it. It is not the deepest number on the album, but is all the same cool to listen to. Very upbeat too.
"Nobody Knows You (When You're Down & Out)" is a true blues number. Duane Allman plays on it, and his slide carries the number just as much as Clapton's gruff, defeated vocal. The song is not fast nor heavy, but it grabs me in and holds me hard. It is the grittiest blues number the album has to offer.
Perhaps the black sheep of the album is "I Am Yours." It is not at all blues. It is a pretty song, very sweet, telling of devotion. It kind of falls towards MOR, but I'm trying to be careful, because I mean it in the best way. The chords get higher and higher in the most peculiar way. The rhythm is very American, like a CCR song, but the lead guitar gives it a Hawaiian twist. (I assume a bottleneck guitar is used.)
"Anyday" is often give praise as a classic 'deep cut', but for me, it comes off as hard to listen to. The refrain itself is the best part (and the intro), but the song seems to have problems linking the parts together. It just does gel for me.
While all the other songs are well-crafted and arranged, "Key To The Highway" is just the band flexing their music muscles. In another room, a group was recording this number. Clapton and the gang could hear them, and decided to jam on it themselves. The engineer had not intended to make a recording, and only started the tapes after the group had begun (hence the fade-in.) For me, the song just doesn't do enough. It lacks the consistancy the other songs have. When they did this live, they showed how good they could do it. Here, it sounds like they are just competent.
The last two songs don't do it for me, and there is still one more song to go before the album picks up. "Tell The Truth" can be a good song. I love the fast paced single version. I love the long instrumental versions. But the album version is not one I like (besides, it is kind of "fake". The vocals were taken from the fast single, and just slowed down onto one of the aforementioned instrumentals. Doesn't work.) I don't care for the live recordings either.
But now it gets good again. "Why Does Love Got To Be So Sad?" is one of the greatest songs. Live, it was a long number, and showed the virtousity of both Clapton, as well as drummer Jim Gordon, whose drums would carry the intro while Clapton played some very restrained licks before jumping in. The studio version is a bit different. It lacks the same punch that the live versions have, but makes up for it with the guitars, which are magnificent and in your face. They carry the song, conveying the songs emotion better than even the vocals. The guitar reminds me of Harrison's "Art Of Dying." In both songs, the guitar plays lead, but jumps in and out of the rhythm. They go non-stop, and are as insistent as can be.
"Have You Ever Loved A Woman" is a blues number. Their are other versions that are bare, but here the arrangement makes it a little to produced to be pure blues. Still, it is a great number. It may not be an original, but it is so much a part of the theme of Clapton's love for Pattie Boyd. Because Clapton is so connected to the songs story, he gives it a better treatment than other singers I've heard, because their general ability does not compare to Clapton's deep connection.
"Little Wing" is a cover of a Hendrix tune, recorded only days before the composers death. It would be an emotional tribute when done in concert, but here, it is just a nod to a friend. The intro is cool and upbeat, cutting into the lower key composistion of the song.
"It's Too Late" is tinged with some country. It is a light number, but fun to listen too. Clapton does some call and response with Whitlock. While many songs on this album are emotional, this one, though maybe in the subtext is a bit, on the outside is just a tight performance.
The album draws to a close now, and "Layla" is up. What to say. The first have of the song is so desperate, the most outright plea to Layla, to Pattie, this plea of love, this admitting that he would more or less die without her love. And then, finally, the song, with guitar solos approaching some sort of crescendo, turns into a piano instrumental, no more desperate, but calm and beautiful. Pure satisfaction. For a few minutes, we get no longer Clapton bearing his breaking heart on his sleeve, but instead a presentation of his dream, his fantasy.
Bobby Whitlock wrote and sang the album's last track, "Thorn Tree In The Garden." It has none of Clapton's situation.. Instead, Whitlock presents a love that may not be working any longer. It is sad, yet beautiful. On an album lead by Clapton's deep desire for Pattie, blinding him to the rest of the world, Whitlock gives a more sobering take on love, undercutting Clapton's ideal but also presenting a greater picture, underscoring that Clapton is coming from more of a fantasy, by giving a taste of reality.
And that's why I love "Layla."
Saturday, March 28, 2009
Jennette McCurdy / A Rant On Music Today
Anybody who watches Nickelodeon knows Jennette McCurdy as Sam from "iCarly." Well, soon her acting may not be the only thing she is known for.
McCurdy is on her way to releasing an album. She had been "laying down some tracks" since last July. McCurdy's album is due this summer, and will be released independently of Nickelodeon on Your Tyme Records.
I first found (or rather rediscovered) McCurdy's blog in October or November (when I first came across it many months before, it was not nearly as cool looking, nor did it have as many blog posts). I was very curious to hear Jennette's singing voice. I checked her youtube page every so often for some hint of it, but although she did show off her skillful ice skating, she had nothing of her singing. One video even had her and co-star Nathan Kress playfully arguing about the game Rock Band. Kress kept saying that Jennette's voice is good and that she should sing, but she said she wouldn't.
However, the wait is over to hear Jennette's voice. Her first single, "So Close," was released ahead of her album, on March 10th. The song is a country/pop tune with a fiddle, but otherwise a more traditional pop - rock arrangement. It is pretty catchy, and McCurdy's singing is quite good. I look forward to hearing more.
In one of her blog posts, McCurdy mentioned she will most likely be following the, as I call it "Taylor Swift Model." That is, she will have three or four singles out prior to the albums release.
On one hand, I could care less on any deep level, and be happy just to hear the songs before buying the album (which I will buy on CD, mind you.)
On the other hand, I feel it promotes an anti-album culture. Still, before I go off on that, I will say that many artists have their work leaked months in advance, and putting out pre-album singles probably helps combat that a bit.
Still, back in the sixties, singles were an art form, like albums. Bands were craft songs specifically for the single. They would channel their most commercial music for this medium. Longer songs, songs more geared towards fans and selective listeners would be on the album. With this model, I feel like "the album" is simply a collection of tracks. A mere playlist. Maybe sequenced cleverly, but not a piece of art. If someone truly only wants to make songs, and has no bigger theme or layout for an album, than fine, roll with it. But I just fear we may find the death of the album. How wierd would it be if in the future, an artist just put out 12 singles every once in a while. CD's for sure would be obsolete. Sitting down and experiencing an album would be gone. It would be a big smorgasboard. I'm all for choosing, and don't mind that you can go onto iTunes and buy any one song without getting the album. But I just prefer if the choice remained in choosing what album you want, not what song you want.
And I named this the "Taylor Swift Model" because Taylor Swift had 4 singles out prior to her "Fearless" album.
And another thing that has irked me since Green Day and "American Idiot." After a single or two, stop promoting an album! Green Day had singles off the album well over a year after it came out. Instead of worrying about sales, try putting some new songs on the radio. The commercialism is too much.
And one last thing. When I say single, I mean a single you buy. I don't mind if artists try to push a song on DJ's to play, but that doesn't mean you need to give it a seperate download, or a CD Single. Just tell the fans to buy the album.
And buy Jennette's album, too ;)
McCurdy is on her way to releasing an album. She had been "laying down some tracks" since last July. McCurdy's album is due this summer, and will be released independently of Nickelodeon on Your Tyme Records.
I first found (or rather rediscovered) McCurdy's blog in October or November (when I first came across it many months before, it was not nearly as cool looking, nor did it have as many blog posts). I was very curious to hear Jennette's singing voice. I checked her youtube page every so often for some hint of it, but although she did show off her skillful ice skating, she had nothing of her singing. One video even had her and co-star Nathan Kress playfully arguing about the game Rock Band. Kress kept saying that Jennette's voice is good and that she should sing, but she said she wouldn't.
However, the wait is over to hear Jennette's voice. Her first single, "So Close," was released ahead of her album, on March 10th. The song is a country/pop tune with a fiddle, but otherwise a more traditional pop - rock arrangement. It is pretty catchy, and McCurdy's singing is quite good. I look forward to hearing more.
In one of her blog posts, McCurdy mentioned she will most likely be following the, as I call it "Taylor Swift Model." That is, she will have three or four singles out prior to the albums release.
On one hand, I could care less on any deep level, and be happy just to hear the songs before buying the album (which I will buy on CD, mind you.)
On the other hand, I feel it promotes an anti-album culture. Still, before I go off on that, I will say that many artists have their work leaked months in advance, and putting out pre-album singles probably helps combat that a bit.
Still, back in the sixties, singles were an art form, like albums. Bands were craft songs specifically for the single. They would channel their most commercial music for this medium. Longer songs, songs more geared towards fans and selective listeners would be on the album. With this model, I feel like "the album" is simply a collection of tracks. A mere playlist. Maybe sequenced cleverly, but not a piece of art. If someone truly only wants to make songs, and has no bigger theme or layout for an album, than fine, roll with it. But I just fear we may find the death of the album. How wierd would it be if in the future, an artist just put out 12 singles every once in a while. CD's for sure would be obsolete. Sitting down and experiencing an album would be gone. It would be a big smorgasboard. I'm all for choosing, and don't mind that you can go onto iTunes and buy any one song without getting the album. But I just prefer if the choice remained in choosing what album you want, not what song you want.
And I named this the "Taylor Swift Model" because Taylor Swift had 4 singles out prior to her "Fearless" album.
And another thing that has irked me since Green Day and "American Idiot." After a single or two, stop promoting an album! Green Day had singles off the album well over a year after it came out. Instead of worrying about sales, try putting some new songs on the radio. The commercialism is too much.
And one last thing. When I say single, I mean a single you buy. I don't mind if artists try to push a song on DJ's to play, but that doesn't mean you need to give it a seperate download, or a CD Single. Just tell the fans to buy the album.
And buy Jennette's album, too ;)
Derek Claptoe
When disscussing Eric Clapton's first solo album in my last post, I resisted temptation to go off on a long tangent (since it would have little/nothing to do with Delaney Bramlett.) But today, I think the time is right.
While on tour with Delaney & Bonnie, Clapton became good friends with the musicians. They would go on to work with him on his solo disc, and some would play with him as he worked on Harrison's "All Things Must Pass" album. Three musicians in particular became close to Clapton: drummer Jim Gordon, keyboardist Bobby Whitlock, & bassist Carl Radle. During the "All Things Must Pass" sessions, in addition to working on proper songs, their were many jams. 3 of the 4 jams released on the third disc of the record featured all of them playing together. It was through these jams that they became pretty tight, and as Harrison worked on his album, they decided to do a single.
Harrison played on both sides, and Phil Spector took production credit (though one can not be sure he ever heard the record), and the musicians recorded "Tell The Truth," and "Roll It Over." The single was a complete flop. But that made no matter. These musicians had a name now, Derek and The Dominos, Clapton's attempt to shield himself from his fame a bit, to start off fresh. They had first used the name for their first concert (which featured Dave Mason, who was slated to be a member, but never again played with the group.) The audience was briefly fooled into thinking it was an unknown group (Eric Clapton & Friends had been on the bill, so these Dominos sounded like a possible opening act.) It was not long before the crowd realized what was going on, a burst into applause and cheers. More shows would follow, all small scale, perfect oppurtunities to tighten up as a group.
"Tell The Truth" is now a popular Clapton song, but it is not the single arrangment that the Slowhand does in concert. This one had a very fast pace, and a pop vibe. When later working on their album, the band did a slow jam version of "Tell The Truth." This instrumental was sped up (though still not at all fast), while the vocals were taken from the single, and slowed down, making a mix of two takes for the release. The jam version was released as early as 1972 on a Clapton compilation, and later re-released with other session outtakes.
So, with a single completed, much practice garnered from their shows, and obligations to Harrison's album completed, Derek & The Dominos moved on to work on their album.
The album would be called "Layla & Other Assorted Love Songs." The driving theme of the record was Clapton's forbidden love of Harrison's wife, Pattie Boyd. The song "Layla" was the most striking realization of this theme, and Clapton had actually played a rough mix of it for Patti, who knew exactly what it was about. Clapton would wind up marrying Boyd.
Trouble with romance was not Clapton's only problem. He was still trying to shake his image of guitar God, still nervous about singing, and was getting into heavier drugs like heroin. His problems would soon lead him into a period of isolation, but before this happened, Clapton worked with the Dominos.
Aside from Clapton, the band was American, and took to Miami to cut a record. While working on the album, Clapton heard The Allman Brothers were going to play in Miami. Clapton was excited to attend the show, as he was very much enthralled by what he had heard of the young guitarist Duane Allman. He sat front row, and when Duane saw him, he could not help but stop playing, in awe that he was able to attract Eric Clapton in the audience. Afterwards, Clapton jammed with the Allman Brothers Band, and Duane was given the oppurtunity to work on the sessions a bit. However, once he began working on the album, his work proved so fantastic that he was promoted from a session worker to a full member, and laid down tracks for nearly every song.
Clapton & Whitlock were the main writers for the album. The had put together a catalogue of songs before they began working on "All Things Must Pass." Their were also a good number of cover songs. All the songs, however, carried the same sort of vibe, mixing an urgency with a laid-back, struggling sense of carrying the weight of the world. (Clapton would give into the second one, briefly retreating from the world not long after this album.)
The album was a flop. Like the single, nobody knew this was Clapton (his name only appeared on the back of the record.) The album would be a hit only after the album "The History Of Eric Clapton" came out in '72. This album covered Clapton's career from the Yardbirds up to the Dominos. The last side of this double record carried the single and jam takes of "Tell The Truth", and closed with "Layla." Now that Clapton was associated with the song, a demand for a single arose, and with it the success that the song had missed a year and a half earlier.
Anyway, after the album, Derek & The Dominos did a US tour (minus Allman, who went back to the ABB, although did manage to rejoin for two shows.) It was full of drugs and the like, but all the same was well recieved. The tour was first recounted in '73 on "In Concert," a live album taking from two Fillmore shows. Later, in '94, a CD "Live At The Fillmore" was released, copying most of "In Concert" ("Let It Rain," "Tell The Truth," and "Why Does Love Got To Be So Sad" from "In Concert" were replaced with different versions), and adding more songs from the Fillmore shows. The tracklisting is great, pulling together songs from Clapton's eponymous album, the "Layla" album, "Presence of The Lord," the solo Blind Faith number that Clapton wrote, plus Clapton's signature, "Crossroads." Many songs turned into extended instrumentals, great displays of Clapton's virtousity. The singing still showed a nervous Clapton, who rarely sang without Whitlock sharing the vocals, less as a back up singer than simply shielding Clapton.
Critics of the album often site the fact that it was their first big show, and that their was markable improvement over the course of the tour. However, the sound quality of later shows is suspect, and for that reason, have not been released.
The band went downhill after the tour. Clapton was already hurt by the fact that Jimi Hendrix had died (the Dominos had covered his "Little Wing" days before hearing the devestating news.) Coupled with Allman's death from a motorcycle accident, Clapton began fearing his own demise. He was also hurt by reviews of the Dominos' work, since he was hoping to build in this a new image, and seemed to be failing. Finally, he was wrapped up with Pattie Boyd, and felt he was simply using Derek and The Dominos as a rouse, as disguise to wear as he stole Pattie, her disguise being "Layla." It was all very trying on his weakening psyche (no doubt also damaged by the drug use) and finally, the band was dissolved, whilst attempting a second LP.
That second LP remains unfinished, but Clapton has opened the vaults to those sessions, releasing 5 songs from them on his "Crossroads" Box.
Also, in 1990, the sessions for the "Layla" album saw the light of day on the "Layla Sessions" box. In addition to a remixed album, there was a disc of jams, and a disc of unfinished songs and alternate takes. Sadly, this box proved a bit dissapointing, as little material really proved necessary to release, most of it below the standard of quality set by the proper album. Still, it proved a fun look at the band.
To own everything official by the Dominos, one needs their first album, "Layla", which can be bought along with the disc of jams and the disc of outtakes by getting the "Layla Sessions" set, the box set "Crossroads," which has "Evil," "Got To Get Better In A Little While," "Snake Lake Blues," "Mean Old Frisco," & "One More Chance," 5 songs from the unreleased second album, plus the "Tell The Truth/Roll It Over" single, "Live At The Fillmore," and for the three other live songs mentioned earlier, "In Concert." ("In Concert" might be rare now, but is worth tracking down as its' versions of "Let It Rain," and even more so "Why Does Love Got To Be So Sad" are better than the ones on "Live At The Fillmore.")
Clapton returned from his depressed and isolated state after Pete Townshend got him out, and did the famous "Rainbow Concert." By this point, "Layla" was famous. Things began to turn around for him. The drugs were still there, and his marriage to Pattie proved ultimately unsuccessful (they were married from '79 to '88.) But he would even overcome those issues in time.
While on tour with Delaney & Bonnie, Clapton became good friends with the musicians. They would go on to work with him on his solo disc, and some would play with him as he worked on Harrison's "All Things Must Pass" album. Three musicians in particular became close to Clapton: drummer Jim Gordon, keyboardist Bobby Whitlock, & bassist Carl Radle. During the "All Things Must Pass" sessions, in addition to working on proper songs, their were many jams. 3 of the 4 jams released on the third disc of the record featured all of them playing together. It was through these jams that they became pretty tight, and as Harrison worked on his album, they decided to do a single.
Harrison played on both sides, and Phil Spector took production credit (though one can not be sure he ever heard the record), and the musicians recorded "Tell The Truth," and "Roll It Over." The single was a complete flop. But that made no matter. These musicians had a name now, Derek and The Dominos, Clapton's attempt to shield himself from his fame a bit, to start off fresh. They had first used the name for their first concert (which featured Dave Mason, who was slated to be a member, but never again played with the group.) The audience was briefly fooled into thinking it was an unknown group (Eric Clapton & Friends had been on the bill, so these Dominos sounded like a possible opening act.) It was not long before the crowd realized what was going on, a burst into applause and cheers. More shows would follow, all small scale, perfect oppurtunities to tighten up as a group.
"Tell The Truth" is now a popular Clapton song, but it is not the single arrangment that the Slowhand does in concert. This one had a very fast pace, and a pop vibe. When later working on their album, the band did a slow jam version of "Tell The Truth." This instrumental was sped up (though still not at all fast), while the vocals were taken from the single, and slowed down, making a mix of two takes for the release. The jam version was released as early as 1972 on a Clapton compilation, and later re-released with other session outtakes.
So, with a single completed, much practice garnered from their shows, and obligations to Harrison's album completed, Derek & The Dominos moved on to work on their album.
The album would be called "Layla & Other Assorted Love Songs." The driving theme of the record was Clapton's forbidden love of Harrison's wife, Pattie Boyd. The song "Layla" was the most striking realization of this theme, and Clapton had actually played a rough mix of it for Patti, who knew exactly what it was about. Clapton would wind up marrying Boyd.
Trouble with romance was not Clapton's only problem. He was still trying to shake his image of guitar God, still nervous about singing, and was getting into heavier drugs like heroin. His problems would soon lead him into a period of isolation, but before this happened, Clapton worked with the Dominos.
Aside from Clapton, the band was American, and took to Miami to cut a record. While working on the album, Clapton heard The Allman Brothers were going to play in Miami. Clapton was excited to attend the show, as he was very much enthralled by what he had heard of the young guitarist Duane Allman. He sat front row, and when Duane saw him, he could not help but stop playing, in awe that he was able to attract Eric Clapton in the audience. Afterwards, Clapton jammed with the Allman Brothers Band, and Duane was given the oppurtunity to work on the sessions a bit. However, once he began working on the album, his work proved so fantastic that he was promoted from a session worker to a full member, and laid down tracks for nearly every song.
Clapton & Whitlock were the main writers for the album. The had put together a catalogue of songs before they began working on "All Things Must Pass." Their were also a good number of cover songs. All the songs, however, carried the same sort of vibe, mixing an urgency with a laid-back, struggling sense of carrying the weight of the world. (Clapton would give into the second one, briefly retreating from the world not long after this album.)
The album was a flop. Like the single, nobody knew this was Clapton (his name only appeared on the back of the record.) The album would be a hit only after the album "The History Of Eric Clapton" came out in '72. This album covered Clapton's career from the Yardbirds up to the Dominos. The last side of this double record carried the single and jam takes of "Tell The Truth", and closed with "Layla." Now that Clapton was associated with the song, a demand for a single arose, and with it the success that the song had missed a year and a half earlier.
Anyway, after the album, Derek & The Dominos did a US tour (minus Allman, who went back to the ABB, although did manage to rejoin for two shows.) It was full of drugs and the like, but all the same was well recieved. The tour was first recounted in '73 on "In Concert," a live album taking from two Fillmore shows. Later, in '94, a CD "Live At The Fillmore" was released, copying most of "In Concert" ("Let It Rain," "Tell The Truth," and "Why Does Love Got To Be So Sad" from "In Concert" were replaced with different versions), and adding more songs from the Fillmore shows. The tracklisting is great, pulling together songs from Clapton's eponymous album, the "Layla" album, "Presence of The Lord," the solo Blind Faith number that Clapton wrote, plus Clapton's signature, "Crossroads." Many songs turned into extended instrumentals, great displays of Clapton's virtousity. The singing still showed a nervous Clapton, who rarely sang without Whitlock sharing the vocals, less as a back up singer than simply shielding Clapton.
Critics of the album often site the fact that it was their first big show, and that their was markable improvement over the course of the tour. However, the sound quality of later shows is suspect, and for that reason, have not been released.
The band went downhill after the tour. Clapton was already hurt by the fact that Jimi Hendrix had died (the Dominos had covered his "Little Wing" days before hearing the devestating news.) Coupled with Allman's death from a motorcycle accident, Clapton began fearing his own demise. He was also hurt by reviews of the Dominos' work, since he was hoping to build in this a new image, and seemed to be failing. Finally, he was wrapped up with Pattie Boyd, and felt he was simply using Derek and The Dominos as a rouse, as disguise to wear as he stole Pattie, her disguise being "Layla." It was all very trying on his weakening psyche (no doubt also damaged by the drug use) and finally, the band was dissolved, whilst attempting a second LP.
That second LP remains unfinished, but Clapton has opened the vaults to those sessions, releasing 5 songs from them on his "Crossroads" Box.
Also, in 1990, the sessions for the "Layla" album saw the light of day on the "Layla Sessions" box. In addition to a remixed album, there was a disc of jams, and a disc of unfinished songs and alternate takes. Sadly, this box proved a bit dissapointing, as little material really proved necessary to release, most of it below the standard of quality set by the proper album. Still, it proved a fun look at the band.
To own everything official by the Dominos, one needs their first album, "Layla", which can be bought along with the disc of jams and the disc of outtakes by getting the "Layla Sessions" set, the box set "Crossroads," which has "Evil," "Got To Get Better In A Little While," "Snake Lake Blues," "Mean Old Frisco," & "One More Chance," 5 songs from the unreleased second album, plus the "Tell The Truth/Roll It Over" single, "Live At The Fillmore," and for the three other live songs mentioned earlier, "In Concert." ("In Concert" might be rare now, but is worth tracking down as its' versions of "Let It Rain," and even more so "Why Does Love Got To Be So Sad" are better than the ones on "Live At The Fillmore.")
Clapton returned from his depressed and isolated state after Pete Townshend got him out, and did the famous "Rainbow Concert." By this point, "Layla" was famous. Things began to turn around for him. The drugs were still there, and his marriage to Pattie proved ultimately unsuccessful (they were married from '79 to '88.) But he would even overcome those issues in time.
Wednesday, March 25, 2009
So, for today, I thought I'd just say a thing or two about Delaney Bramlett, who died not too long ago, mainly about how he related to Eric Clapton & George Harrison.
The duo of married performers Delaney & Bonnie were up and coming as the sixties were closing. They had a great live band, featuring Rita Coolidge, Carl Radle, Jim Gordon, Bobby Whitlock, Leon Russell, and others. Delaney's voice mixed a sort of down-home bluesy tone with a gospel-esque vigor. Bonnie had a presence channeling the female blues artists of the generation prior. Together, the two, with such an amazing backing band, would have much influence on popular music.
Clapton first met Delaney & Bonnie when they were the opening act for the American leg of the less than stellar Blind Faith tour. Clapton was enthralled with their earthiness and honest delivery (Clapton had already abandoned Cream because he felt it lacked that sort of presence, and for him, Blind Faith was only extending Cream's faults.) Clapton became fast friends with the Bramletts, and would travel with them while on the tour. On at least one occasion, Delaney even joined Blind Faith on stage for an encore of "Sunshine Of Your Love."
Late in '69, Delaney & Bonnie went on tour. Clapton joined their band, along with Dave Mason, who had again split from Traffic, and eventually George Harrison, who had finished "Abbey Road" and had no commitments with the Beatles (they would only once more reunite a month or so later to do some overdubbing as well as record "I Me Mine." ) George was presented with a slide guitar, which became his signature instrument. It was also while jamming with Delaney and the group that "My Sweet Lord" first came into being. Harrison would go on to use many of the musicians he played with on the Delaney & Bonnie tour to record his triple album "All Things Must Pass." He would also later record a song called "Woman Don't You Cry For Me," the first song he wrote on his bottleneck.
It was Clapton, however, who Delaney had a huge impact on. Clapton had only sung a few numbers in his career until this point, and was more or less known exclusivly for his guitar work. Delaney encouraged Clapton to sing, and this led to Clapton's self titled first album, which Delaney was a major part of. Delaney's band was the backing for the album, and Delaney provided all the original material (including a song or two he recorded his own versions of). Clapton took on the singing parts with some reluctance, which is still audible on some of the songs. But it was a point of no return. Clapton no longer had to be a silent guitar hero. Instead, he was a virtouso playing on these lighter pop-oriented numbers. The record nary featured any sort of extended soloing (save for the closing number, "Let It Rain.") Instead, Bramlett had Clapton take his place singing songs with a bluesy, country leaning. It was a big shift for Clapton, one he welcomed greatly, but one some fans were shocked to hear.
Songwriting was a big part of Delaney & Bonnie's talent. While they did not achieve massive success with their version, "Superstar" was a big hit for the Carpenters. (On the original, it was called "Groupie (Superstar)" and was a tad more suggestive, with the line "can't wait to sleep with you again," which was subsequently change to "be with you again" on cover versions.) Clapton played on "Superstar," as well as the A-side, "Comin' Home," which he co-wrote with Delaney. It is interesting to note that the chorus for "Superstar" bears resemblance to Harrison's "Awaiting On You All." Both probably featured the same musicians, so the similarity may stem from there.
Delaney & Bonnie never saw better reception than when their "On Tour With Eric Clapton" disc was released in 1970 (capturing their December 7, 1969 show in Croyden.) Despite a somewhat muddy sound (and curious mix, which shifts at random points), the album is a great document of their music. (One could only wish for an updated CD version, with cleaner mixes and perhaps a bonus cut or too from other shows.) Delaney & Bonnie share the mic on numbers like "Poor Elijah - Tribute To Robert Johnson," while Delaney commands on "Comin' Home," and Bonnie takes the spotlight on the slow and saucy "That's What My Man Is For." The band is incredible. The horns are a-blazing. The backing vocals are top notch, especially when Bonnie is a part of them. The guitars are great, and there are four! Clapton, Mason, Bramlett, and Harrison (credited as "L'Angelo Misterioso", the same psuedonym he used on Cream's "Badge.") Leon Russell even adds a fifth occasionally, switching from piano. Radle and Gordon keep the rhythm strong on bass & drums, respectively. All the numbers have rousing send-offs, and take as much time as they need to allow the band to strectch (each songs goes for 4-5 minutes), sometimes speeding up for the end, or giving a big blast for a finale.
Delaney's passing had come after his recent return to music, which had given us "A New Kind Of Blues," his last album.
RIP Delaney Bramlett (July 1, 1939 – December 27, 2008)
The duo of married performers Delaney & Bonnie were up and coming as the sixties were closing. They had a great live band, featuring Rita Coolidge, Carl Radle, Jim Gordon, Bobby Whitlock, Leon Russell, and others. Delaney's voice mixed a sort of down-home bluesy tone with a gospel-esque vigor. Bonnie had a presence channeling the female blues artists of the generation prior. Together, the two, with such an amazing backing band, would have much influence on popular music.
Clapton first met Delaney & Bonnie when they were the opening act for the American leg of the less than stellar Blind Faith tour. Clapton was enthralled with their earthiness and honest delivery (Clapton had already abandoned Cream because he felt it lacked that sort of presence, and for him, Blind Faith was only extending Cream's faults.) Clapton became fast friends with the Bramletts, and would travel with them while on the tour. On at least one occasion, Delaney even joined Blind Faith on stage for an encore of "Sunshine Of Your Love."
Late in '69, Delaney & Bonnie went on tour. Clapton joined their band, along with Dave Mason, who had again split from Traffic, and eventually George Harrison, who had finished "Abbey Road" and had no commitments with the Beatles (they would only once more reunite a month or so later to do some overdubbing as well as record "I Me Mine." ) George was presented with a slide guitar, which became his signature instrument. It was also while jamming with Delaney and the group that "My Sweet Lord" first came into being. Harrison would go on to use many of the musicians he played with on the Delaney & Bonnie tour to record his triple album "All Things Must Pass." He would also later record a song called "Woman Don't You Cry For Me," the first song he wrote on his bottleneck.
It was Clapton, however, who Delaney had a huge impact on. Clapton had only sung a few numbers in his career until this point, and was more or less known exclusivly for his guitar work. Delaney encouraged Clapton to sing, and this led to Clapton's self titled first album, which Delaney was a major part of. Delaney's band was the backing for the album, and Delaney provided all the original material (including a song or two he recorded his own versions of). Clapton took on the singing parts with some reluctance, which is still audible on some of the songs. But it was a point of no return. Clapton no longer had to be a silent guitar hero. Instead, he was a virtouso playing on these lighter pop-oriented numbers. The record nary featured any sort of extended soloing (save for the closing number, "Let It Rain.") Instead, Bramlett had Clapton take his place singing songs with a bluesy, country leaning. It was a big shift for Clapton, one he welcomed greatly, but one some fans were shocked to hear.
Songwriting was a big part of Delaney & Bonnie's talent. While they did not achieve massive success with their version, "Superstar" was a big hit for the Carpenters. (On the original, it was called "Groupie (Superstar)" and was a tad more suggestive, with the line "can't wait to sleep with you again," which was subsequently change to "be with you again" on cover versions.) Clapton played on "Superstar," as well as the A-side, "Comin' Home," which he co-wrote with Delaney. It is interesting to note that the chorus for "Superstar" bears resemblance to Harrison's "Awaiting On You All." Both probably featured the same musicians, so the similarity may stem from there.
Delaney & Bonnie never saw better reception than when their "On Tour With Eric Clapton" disc was released in 1970 (capturing their December 7, 1969 show in Croyden.) Despite a somewhat muddy sound (and curious mix, which shifts at random points), the album is a great document of their music. (One could only wish for an updated CD version, with cleaner mixes and perhaps a bonus cut or too from other shows.) Delaney & Bonnie share the mic on numbers like "Poor Elijah - Tribute To Robert Johnson," while Delaney commands on "Comin' Home," and Bonnie takes the spotlight on the slow and saucy "That's What My Man Is For." The band is incredible. The horns are a-blazing. The backing vocals are top notch, especially when Bonnie is a part of them. The guitars are great, and there are four! Clapton, Mason, Bramlett, and Harrison (credited as "L'Angelo Misterioso", the same psuedonym he used on Cream's "Badge.") Leon Russell even adds a fifth occasionally, switching from piano. Radle and Gordon keep the rhythm strong on bass & drums, respectively. All the numbers have rousing send-offs, and take as much time as they need to allow the band to strectch (each songs goes for 4-5 minutes), sometimes speeding up for the end, or giving a big blast for a finale.
Delaney's passing had come after his recent return to music, which had given us "A New Kind Of Blues," his last album.
RIP Delaney Bramlett (July 1, 1939 – December 27, 2008)
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