Over John Hartford’s career he was a singer, songwriter, TV personality, and river boat captain. From the “Smothers Brothers” to “Oh Brother, Where Art Thou”, John had a unique and laconic stage presence.
His love for traditional Appalachian music was evident in the last stages of his life. He toured with the Down From the Mountain ensemble until non-Hodgkins Lymphoma robbed him of the ability to perform.
His album “Aero-Plain” is credited by many as being the inspiration for Newgrass music and is one of the early super groups in bluegrass with Norman Blake, Tut Taylor, and Vassar Clements providing the supporting cast.
Posthumous recipient of the Presidents Award by the Americana Music Society, John wrote hundreds of songs and recorded more than 30 albums crossing multiple genres. Hartford is probably best known for writing “Gentle On My Mind”, the song that essentially launched Glen Campbell’s career. In addition to the Glen Campbell hit, “Gentle On My Mind” has been recorded by Dean Martin, Aretha Franklin, Patti Page, The Band, Elvis Presley, Frank Sinatra, Benny Hill, Johnny Cash, and even Leonard Nimoy. (Yep, that’s right. You know you have it made when Spock croaks out your song. I guess Shatner didn’t quite have the range. But I digress.)
In any event, here is one of my favorite versions of this song featuring some of the greatest bluegrass musicians touring today. Tim O’Brien has an effortless manner to his playing that always reminds me of John Hartford. Here is to an originator of bluegrass music and one of his best known compositions.
No effects. No overproduction. No drums. No bass. Two guys, one cheap guitar, one harmonica, and one obligatory stompin’ foot to use as a Mississippi beatbox…..and you’ve got a dance party.
The band Quatermass was formed in London, England in 1969. You never heard of them? No surprise, as they were not around for very long. But for a few years, they mixed progressive rock and psychedelia with the traditional brand of hard rock that rose to popularity in the early 70s.
The band consisted of John Gustafson (bass/vocals – primarily known for his tenure in Roxy Music and Ian Gillan Band), Pete Robinson (keyboards/piano – later known for working with Phil Collins, Mike Rutherford, Bryan Ferry and Eric Clapton), and Mick Underwood (drums). Underwood started out playing in The Outlaws with guitar player Ritchie Blackmore (later Deep Purple), moved on to Episode Six containing Ian Gillan and Roger Glover (both later Deep Purple), and later foolishly turned down an early offer from manager Peter Grant to join “a new band based around Jimmy Page from the New Yardbirds” (as we know, that job eventually went to John Bonham). At least he’s always been busy working, and is probably mostly known for playing on Ian Gillan‘s string of best solo albums between 1979-83.
As you’ll note from this overview, one interesting aspect of this band was their decision to not have a guitar player in their line-up. This certainly gave them a unique sound. It no doubt hurt them, though, as the late 60s/early 70s was the start of the era of the guitar hero.
They released their self titled album in 1970.
Apart from a few singles with non-album tracks, that album was their entire recorded work. At least until a follow-up (Quatermass II) appeared out of the blue in 1997. Note that this follow-up is heavily disputed and usually not regarded as a full-fledged Quatermass album, with drummer Underwood being the only member from the early days and – the shock! the horror! – with a guitar player added to the line-up!
The 1970 album has recently been reissued on CD in a great digipack with bonus tracks, which also includes a DVD with documentary material and video clips.
The band never ‘made it’, and struggled to get attention. Competition was certainly stiff, as their album was released at a time when several legendary bands launched classic albums. Perhaps the Quatermass album wasn’t equipped to compete with the Deep Purples, Led Zeppelins and Black Sabbaths of the world. Their mix of keyboards/bass-based progressive psychedelia was certainly at odds with what was going on at the time, and they never had a bona fida rock star frontman/personality on the same level that other bands had. As a result, the band never became more than a footnote in rock history, and they were only active between 1969-71. But the one album released by the classic line-up has long been an underground favourite amongst fans of music from this period.
Their most known song is without question Black Sheep of the Family – thanks to Ritchie Blackmore! The song was actually the catalyst for Blackmore leaving Deep Purple in 1974. Blackmore had become such a big fan of the song that he insisted Deep Purple should record it. When the rest of the band declined, he borrowed musicians from the band Elf (including an as of yet unknown Ronnie James Dio on vocals) to form a solo project to record it as a single. As we now know, this went so well that it grew into a new band called Rainbow, and the rest is history. The song can be found on their debut album Ritchie Blackmore’s Rainbow from 1975.
Quatermass’ original version of Black Sheep of the Family:
While this is a great version of the song, I must confess I think Rainbow’s cover is the best one:
Other Quatermass tunes worth a listen includes Make Up Your Mind, which is melodic and catchy enough that (at least in my mind) it could have been a minor hit for them. Except… it is over eight minutes long!
I leave you with Up On the Ground, which shows that Quatermass managed to whirl up a mighty rock groove when they wanted to – even without the aid of a guitar:
The Quatermass album will likely never become the centerpiece of your record collection, but if you’re a fan of rock music from the formative late 60s/early 70s, it may be an interesting and worthwhile addition.
Hello, just a quick note to introduce myself for two reasons – 1. Most people reading this will not know me, 2. To set low expectations for my input to this blog. I’ve never been asked to write anything since I was at school, which is a wee while ago now. I’m honoured to be asked to contribute and I’ll do my very best.
I’m not a writer, never mind a music writer, but I’m a music fan and that’s why I’m here. I’m also not a musician by any stretch of the imagination. So my lack of musical and journalistic talent means you will be reading phrases like ‘great tune’, ‘beautiful lyrics’ and ‘nice voice’. I might occasionally get above myself and use the odd metaphor, for example ‘thundering drums’ or ‘bagpipe guitars’.
I listen to lots of local artists, so expect to read about what’s happening on the Scottish music scene; but I’ll try to keep it international as much as I can.
I hope people will enjoy what I write, but more importantly I hope it makes them appreciate and support new (and old) music and musicians, because it’s a very difficult way of making a living these days and most of them probably need all the support they can get.
My first ‘thing’ will be coming soon – watch this space and prepare to be underwhelmed!
In 1939, Solomon Linda and The Evening Birds recorded the song “Mbube” for Gallo Records in Johannesburg. Simple 4 part a cappella harmony and an improvised introduction, created one of the most influential and famous African songs. Ultimately Mbube became the name of the entire genre of music. In the 1980’s, Ladysmith Black Mambazo received international acclaim for their singing in the traditional Mbube style. Eventually collaborating with Paul Simon on Graceland. It’s hard to remember but that album had far reaching political consequences by breaking the cultural boycott between South Africa and the rest of the world.
But the influence of Mbube doesn’t stop there. In the mid 1940’s, Ralph Peer played a copy of the original Evening Birds recording for Pete Seeger who took it to his band, the Weavers. In 1948, the Weavers recording of “Wimoweh” and the later reworked cover by the Platters in 1961 took the song to international fame. Miriam Makeba recorded “The Lion Sleeps Tonight”, also in the 1960’s. Disney turned it into an ear worm in 1994 and “The Lion King”. I present the buster of all Lion King ear worms and, in it’s own way, one of the most influential pieces of music ever recorded.
Some of you may be aware of a band called Zebra. Yes? No? You can hear a faint bell ring? They were a household name in rock circuits in the US for about five minutes in 1983, but have since faced into obscurity. They were never really well known in Europe or elsewhere, but released a few albums that are well worth investigating.
Hailing from New Orleans and founded in the mid-70s, they quickly rose to local fame with a sound typical for its time – 70s melodic hard rock, musically in the same neighbourhood as Cheap Trick, early REO Speedwagon (forget the blockbuster ballads that came later!), Rush, Blackfoot etc.
It took years before they were signed, and their debut album Zebra was not released until 1983. It was produced by Jack Douglas, known for the albums he made with Cheap Trick and Aerosmith. He later also produced the follow-up.
The debut album is without question Zebra’s magnum opus, and some of the gems on this album includes And I’ve Said Before:
The song most people would remember from back in the day (if any) would certainly be Tell Me What You Want, which was a moderate hit on MTV:
A melodic gem from the first album, in the form of the ballad Take Your Fingers From My Hair:
Perhaps my favourite is the final cut on the album, which ends in grand style with The La La Song. Sporting elaborate vocal arrangements and perhaps a more progressive sound, you can definitely hear shades of the band Yes here:
A third album, 3.V, followed in 1986. This marked a new, more radio-friendly direction in a desperate attempt to ‘make it’. Suffice to say, it failed. It still contains traces of the band’s classic sound, but it’s clearly watered down. With the uncomfortable change in musical style this is the album you should check out last.
Can’t Live Without is probably the track from 3.V closest resembling the earlier sound:
The band went on hiatus until 2004, when they came together to record a final album – Zebra IV. This is a much better end to their recording career, with the classic Zebra sound more or less reinstated.
Arabian Nightsfrom Zebra IV:
If Zebra is a new aquaintance, it’s relatively easy to catch up as they only ever released those four albums (a compilation and live album aside). The band has come back together for sporadic live appearances over the last few years, and their albums were also recently re-released in remastered, extended editions, available on CD, digitally or through streaming services such as Spotify. The two first albums are definitely worth checking out.
It’s amazing how much musical history from the 20th century has been lost to time. Nearly as amazing is how much has been restored via the ‘Net and YouTube in particular.
If you know me, you know how much of a soft spot I have for women who play guitar. They are my weakness. I partially blame Wanda Jackson. Wanda Jackson is one of the most underrated rock-n-roll musicians of all time.
Dismissively called the female Elvis, Wanda Jackson was the original Riot Grrrl. When Wanda Jackson rolled through your town, the town’s temperature changed. When Wanda Jackson came to town, the oil wells blew, mens’ hats flew off their heads, and mothers covered the eyes of their sons. Wanda Jackson set fire to your town and left only smoldering embers before she left to destroy the next town with her brand of rockabilly/country. Ms. Jackson knows more about life than you have learned in your time on this mortal coil.
Let’s get something straight here at the beginning of all things. I am not a music historian. I am not an archivist. I am a soul who believes that the essence of music comes from the passion of the person performing it. If a guy is standing on a corner smacking two rocks together, as long as he believes in what he is doing and can put his heart and soul into it, then it’s music. If poetry is all about painting with words, then music is all about making art with sound. Am I going to review pieces from different people? Maybe. Am I going to be all Simon Whatshisass from that show where you become a great musician by standing in line all day and singing to a camera for a couple of minutes and then personally attack them? Absolutely not. What I am going to praise is the effort that each person places by exposing their passions and fears and making themselves vulnerable for all to see as they share their soul through sound, and if they try to do it for any or all of the wrong reasons, I will also be the first in line to rip them a new asshole, per se. What really jazzes me about music is someone who takes a chance to be different. To be an innovator. You want to sound or look like someone else using their formula? Fine; don’t expect me to be impressed.
I grew up on the stage in a family of professional musicians, playing my first paid gig at the age of 8. At last count, I can currently play around thirty something musical instruments, and can’t wait to get my hands on new ones. I’ve played the circuits in Kansas, Arizona, Colorado, Austin TX, Madison WI, and NYC, and have gone on the road more times than I’d care to admit, and quite frankly, goddammit I’m tired……. I’ve been signed with labels from small indies all the way up to CBS Epic, and they all played their part. I’ve always had a rule about music. The second it quits being fun and becomes a business, walk away. They saw to it that I walked away from music because it became something I despised, which was that they made it into a product to be sold and merchandised. No art. No passion. Just like a toy for people’s amusement, making cute noises that would make them coo and giggle. Again, it’s all about how you feel.
Over the life of this esteemed and noble blog, I intend to represent and point out what was and is good about music. How it makes you feel. No technical stuff. Just the raw essence of the art.
Let’s kick things off with the Godmother of Rock herself, Sister Rosetta Tharpe, the only woman who could make this heathen shout “Hallelujah!”
AC/DC is an atypical band for me to like – they play big, dumb, goofy, lascivious rock and roll and in their case I mean that as a compliment – they’re brilliant at what they do. In particular, while they play hard rock, their sound is characterized by joy. Angus and Malcolm Young’s guitars always sound like the guitars are happy to be being played.
I’m convinced that Angus Young‘s Gibson SG guitar is a living breathing sentient being, and that actually she (come on, it has to be a she, let’s assume her name is Gibby) plays Angus and not the other way around.
Gibby has such magical powers that she even makes the Bee Gees listenable. My real fear is that Gibby could cure cancer or feed the world but instead she’s just been slacking off being awesome at rawk.
Metallica‘s controversial St. Anger album has been re-recorded in its entirety by two fans who have called the project #STANGER2015.
The fans, going by the names Chris D. and Dave C., issued a statement saying: “Recorded during a turbulent time in the bands career, ‘St. Anger’ has always divided opinion. Some longtime fans were turned off by the drop tuned riffs and raw production, whilst some listeners embraced it, myself included. #STANGER2015 is for the listeners who weren’t so fond on the record back when it was released in 2003.”
The pair added, “Recorded from the ground up, the album has been shortened by 15 minutes, yet every riff and lyric is intact, resulting in a more concise and focused record. The production is also more conventional, and we hope that METALLICA fans appreciate this new version of an album that is always looked at as an anomaly in the incredible career of the world’s biggest metal band, METALLICA.”
The statement concluded, “Absolutely no money has been made from this project, and it has been created out of love for one of our favorite bands of all time. There will be no download links or alternative streaming options aside from this singular YouTube video.”
METALLICA drummer Lars Ulrich admitted to The Pulse Of Radio a while back that the band was surprised by the hostile reaction to St. Anger by many fans. “It threw us a little bit, sure, ’cause the whole thing was to just keep it as raw as possible,” he said. “And I’d like to think that we accomplished that, to the point of obviously a little too raw for some people, and that’s okay. I mean, it is what it is. I have not one regret about it. I’m proud of it, proud that we had the balls to see it through.”
St. Anger was released in June 2003 at the end of a turbulent two-year period in which bassist Jason Newsted left the group, frontman James Hetfield went for a lengthy stay in rehab, and the entire band threatened to break apart. The album’s raw, lo-fi production, lack of guitar solos and unorthodox sound were not well-received by many of the group’s fans, who still often cite it as METALLICA‘s worst record. St. Anger has nevertheless sold more than six million copies worldwide, although fans have generally not warmed up to it in the 12 years since its release.
See The Sun In Wintertime 