You’d suspect on a site like mine, there would be no shortage of Jimi Hendrix material to peruse through, but alas, this is the first one I’ve got. It’s not for lack of love for the man, as in fact, I possess great quantities of the emotion for the guy. I sit firmly in the camp of considering him the greatest rock and roll guitarist ever, a controversial position I know, (wink) and one that requires a bit of elucidation. When Chuck Berry laid down his signature riff for Johnny B. Goode, he showed the world how electric guitar was all that was really needed for rock and roll. No offense to Jerry Lee Lewis and Little Richard’s patented piano lead attack, but the sound and image of the electric guitar would define the genre of music, truly giving the style its rock more than anything else. Jimi proved this thesis by taking the electric guitar to its logical end point through his experimental rocking. It’s not like Jimi was technically the best guitar player ever, he was simply the most innovative, and the most in tune with its possibilities. His insights transformed him into something the world had never seen before, a sort of improvisational Mozart, creating manic symphonies on the spot, all with just one instrument. Now, with all that said about Jimi changing the world of music with his electric guitar, I present to you quiet acoustic Jimi on 12 string acoustic…Hah! Don’t worry, electric monster Jimi is coming tomorrow, but no proper introduction of the man would be complete without a thorough discussion on his pioneering efforts in the field of electricity. This performance of his original, “Hear My Train A Comin,'” is an awesome stunning and intimate look at the man just playing his guitar in a white room, singing the blues. It’s among the best moments in music history, and luckily its here for all of us to enjoy, so please do.
Here is an exchange between John Lennon and Jann S. Wenner of Rolling Stone Magazine on Bob Dylan’s 1970 release New Morning, ”
WENNER:
What do you think of Dylan’s album? LENNON:
I thought it wasn’t much. Because I expect more–maybe I expect too much from people – but I expect more. I haven’t been a Dylan follower since he stopped rocking. I liked “Rolling Stone” and a few things he did then; I like a few things he did in the early days. The rest of it is just like Lennon-McCartney or something. It’s no different, its a myth. WENNER:
You don’t think then it’s a legitimate New Morning? LENNON:
No, It might be a new morning for him because he stopped singing on the top of his voice. It’s all right, but it’s not him, it doesn’t mean a fucking thing. I’d sooner have “I Hear You Knocking” by Dave Edmonds, it’s the top of England now.
Pretty damning stuff from John Beatle, but I understand. John was in a revolutionary mood at the time, firmly believing that rock records should be altering people’s consciousnesses and toppling governments. It’s ironic because ten years later he’d release a similar record to Bob’s New Morning in the form of Double Fantasy. Like John’s last release, New Morning was a record about escaping into the pleasures of domesticated life, taking it easy, and appreciating the little things. New Morning was mostly written on Bob’s piano, the instrument he would retreat to when he wanted to ruminate on less socially and psychologically intense themes that would come out on his acoustic guitar. I love this record. When you play it, it just hums along with a sweeping peaceful energy. John’s right about one thing, in this record, Bob left his high pitched country singing style behind in favor of his traditional folk rocking croon. There is almost a Jim Morrison lounge like imitation going on here as Bob enthusiastically moans his way through a bunch of gospel tinged bluesy numbers. The clearest example of this is “The Man in Me,” a boozy and rollicking celebration of romantic devotion. This song was famously featured in the Coen Brothers fabulously funny classic film, “The Big Lebowski.” The Coen’s apparently picked it because at the time the song was relatively obscure, and its the sort of song that only middle aged hippies like the Dude, (and my dad for that matter) would have on their mix tapes.
On the more playful side you get a cut like “Went to See the Gypsy,” a song where Bob seems to be mocking the hype surrounding some famous Las Vegas fortune teller. It’s not about meeting Elvis Presley, as some have suggested. The straightforward storytelling on this track is very reminiscent of the minimalistic style Bob mastered on John Wesley Harding. It’s a slow building song that just gets under you skin with repeat playings. It’s a feeling the record gives you spades.
“Day of the Locusts,” my favorite song on the album, is a lot like “Went to See the Gypsy” in its clear cut storytelling style, but way more epic. It’s a song inspired by Bob’s experience in receiving an honorary diploma from Princeton University and how the “singing” cicada’s spooked him. Folk rocker David Crosby, who was with Bob at the time tells the story best, “Sara (Dylan’s wife) was trying to get Bob to go to Princeton University, where he was being presented with an honorary doctorate. Bob did not want to go. I said, ‘C’mon, Bob it’s an honor!’ Sara and I both worked on him for a long time. Finally, he agreed. I had a car outside, a big limousine. That was the first thing he didn’t like. We smoked another joint on the way and I noticed Dylan getting really quite paranoid about it. When we arrived at Princeton, they took us to a little room and Bob was asked to wear a cap and gown. He refused outright. They said, ‘We won’t give you the degree if you don’t wear this.’ Dylan said, ‘Fine. I didn’t ask for it in the first place.’…Finally we convinced him to wear the cap and gown.” Priceless.
The last song I want to highlight is “If Not For You,” a song featured on my youtube countdown. This track continues the steady mature romanticism that defines the record. George Harrison famously covered the song with a lavish arrangement for his All Things Must Pass solo record, but I kinda prefer the low key presentation Dylan came up with. Here is George and Bob taking a stab at it in the more mellow vein.
In conclusion, it’s probably a very good idea to listen to this whole record if you haven’t gotten into it ever, despite what John Lennon says. Part of me suspects John was just projecting a hyper competitive spirit at the time. As a newly emerging solo artist, Lennon was trying to grab some credibility real estate in the field of solo stars, and if that meant knocking Dylan a bit to make room, that was probably all the rationalization he needed. In that same interview, he also did manage to knock the Stones, McCartney, Harrison, and all other rock artists in general outside of Jerry Lee Lewis and Fats Domino, leaving very little room for anyone but himself to revel in glory. Leaving John’s caustic criticisms aside, this is just the perfect Bob Dylan album to have on your playlist this summer. It’s a hiking record, a beach record, a meadow strolling record, a real peaceful outdoorsy sonic adventure if I ever heard one. You’d do yourself a big favor to download it, or buy it used somewhere. Until tomorrow, cheers everybody.
Posted in Youtube Favs on June 29th, 2011 by Willie
We knocked off 100-50, now its time to begin rounding off the list of my 100 favorite youtube videos with part 3. In this list you’re gonna find a lot of amazing super groups, all-star pair ups, and ultra rare collaborations! Let’s begin the magical mystery tour right now!
#49. John Lennon, Jealous Guy – I dig this video because of John’s ruminations on the philosophy of love right before he launches into the song.
It’s a star studded part 97 on my youtube countdown, and the stakes are getting higher, and the stars are getting hotter as we close in on 100! This time I have the undeniably fantastic performance of Carl Perkins and his super friends from the 1985 concert Blue Suede Shoes: A Rockabilly Session. Get this. It’s iconic 50s guitar master Carl Perkins leading Beatles George Harrison and Ringo Starr, psychedelic Cream guitarist Eric Clapton, Johnny Cash’s daughter Rosanne, Dave Edmunds, and a SLEW of other slick stars of rock and rockabilly through a medley of joyous numbers. Carl calls it his rock school, and boy, he is the greatest headmaster ever. The greatest thing about this jam is that everybody, especially George Harrison, is just beaming with enthusiasm and excitement as they rock and bash their way through “It’s Alright Mama,” “Blue Moon of Kentucky,” “Night Train to Memphis,” and “Whole Lotta Shakin Going On.” It’s just about the greatest fun in rockabilly ever caught on film, and you’ll want to replay it over and over. So don’t let me stop you now. Go cat go!
In part 47 of my youtube countdown I present to you two titans of classic rock and roll. Jerry Lee Lewis, the Killer, and Carl Perkins, the king of rockabilly, united, as they often were, having a ball playing a medley of “Mean Woman Blues,” and “Blue Suede Shoes.” This video is a blast of fun. Jerry is playing the piano with his shoes, with his usual fire, while Carl steps up to Jerry’s near unmatchable energy and provides a FANTASTIC guitar solo. There are so many things to like about this video. First, I love Carl’s gorgeous powder blue electric guitar. I love how when Jerry misses a line, he makes this hilarious Looney Tunes like face, but rolls on smoothly. Of all the classic rock and rollers, Jerry was the closest to an abstraction, a larger then life hellcat sent from the moon to turn your High School Hop into a scene of pure raging anarchy. Because of Jerry’s scandal where he married his 13 year old cousin, the world was really robbed of appreciating Jerry’s star at its highest levels of ridiculousness. But whatever, he still rolls on. Sadly, Carl doesn’t, but no one need worry there, he burned such a legacy of genius, and I’ll be exploring that more tomorrow. Enjoy.
Woohoo! Welcome to the 40th entry in my now glorious youtube favorites countdown. In it, I bring you a breathtaking clip of pure rock and roll power, Jerry Lee Lewis singing “I’m On Fire.” “I’m On Fire” was a 1964 single Jerry released at the height of his anti-fame, meaning the time when the public had rejected him for his torrid marriage to his 13 year old cousin Myra. Commercially dead in America, Jerry was still quite popular in Europe, and toured it quite extensively in the 60s. The sad and ironic fact of Jerry’s life in the 60s was, his skills as a performer and artist were BOILING with passion and perfection. He just absolutely blew the lid off nearly every live show he did in this era, determined to prove to any witness that he was best rock and roll artist breathing. If you don’t believe me, check out this review of a record you all must own, Live at the Star Club from 1964. It’s perhaps the greatest live record of strait rock and roll ever recorded. The clip of “I’m On Fire,” gives you a taste of what it was like to see Jerry in 1964. He absolutely explodes his audience, all gathered around his piano, with sensational rock and roll, driving them NUTS. His vocal delivery and facial expressions are priceless beyond words as well. Also, I just love this song, its a lost gem that is just a perfect rock and roll song, and I think its the Killer’s best, better than “Great Balls of Fire.” Dig this, and start to roast, like toast!
First of all, welcome to post #1 of my new website. An historic happening indeed, right up there with the invention of the color green. How to begin…Well, I think it’ll be fun to start with a new series where I post EVERY video in my favorite list from youtube. For the most part, these videos are really cool, and favorited for a reason, but some are just random stuff I clicked on when I was drunk or extremely depressed. So, it’ll be interesting to see what crazy stuff pops up.
Part 1 is Little Richard on some 60s TV show in Britain singing the Jerry Lee Lewis classic, Whole Lotta Shakin’ Going On. Now, I love Jerry Lee, but I think this is the best live version of this song I’ve ever seen. Little Richard is giving an absolutely throat shredding performance for the ages, showcasing his stunning, one in a billion voice. He starts off on piano, but leaves it to go into full blown manic preacher mode as all the British kids get down, and Little Richard’s shirt gets covered in sweat. 5 minutes and 41 seconds of rock and roll at its most raw, visceral, and, well, fun. Enjoy.