After a very strange NBA season (I came in 2nd in my Fantasy League, which is the strangest thing of all), the playoffs are finally upon us. With the shortened season, it really is like a second season. My bold predictions for the first round...
The West
San Antonio Spurs (1) vs. Utah Jazz (8)
The Spurs shocked everyone this season. Most people in the know (and in this city) assumed that the window had closed for them, but they boldly grabbed the top seed in the West (for a second year in a row). But unlike last year, Ginobili is healthy, Duncan is playing like he is ten years younger, Parker is playing at an MVP level and they have the deepest team in recent memory, with a potent mix of solid verterans and exciting youngsters. Not only am I predicting they make it out of the first round (unlike last season), but I predict they make it to the Finals and possibly win it all.
Spurs in 5.
Oklahoma City Thunder (2) vs. Dallas Mavericks (7)
The Mavs don't look like repeat champions. OKC are the Spurs's biggest obstacle in the West.
OKC in 6.
L.A. Lakers (3) vs. Denver Nuggets (6)
Never underestimate a team with Kobe on it. Losing Metta World Peace (he looked more like Ron Artest last week when he clocked Harden) to a seven game suspension really hurts the Lakers.
Lakers in 6.
Memphis Grizzlies (4) vs. L.A. Clippers (5)
Never thought I'd say "Clippers" in discussing playoffs, and never thought the bastard step children Clippers would be more entertaining to watch than the Lakers. But they are. But the Grizz are tough.
Clippers in 7.
The East
Chicago Bulls (1) vs. Philadelphia 76ers (8)
I was impressed by The Bulls's play this season with last year's MVP Derrick Rose being injured for over 20 games.
Bulls in 4.
Miami Heat (2) vs. New York Knicks (7)
I hate Lebron and his Heatbitches. I never want him to win a title. But Carmelo Anthony ain't gonna stop them.
Heat in 4.
Indiana Pacers (3) vs. Orlando Magic (6)
Without the Dwightmare (and I don't mean that as a compliment to Howard), the Magic are almost a D-League team. They are the dream draw for any team in the First Round.
Pacers in 6.
Boston Celtics (4) vs. Atlanta Hawks (5)
Boston still has a lot of fight in them, and the Hawks always become wussies in the playoffs.
Boston in 6.
Your predictions?
Addendum: I posted this last night, and now in Game 1 Rose got injured and is out for the playoffs. I still think Chicago advances, but it probably won't be a sweep.
Friday, April 27, 2012
Dez's Five Star Albums: The Rest of the P's(-Q)
This may be the first entry with no 1960’s or 70’s releases (OK, there is one from the tail end of ’79). I doubt that will happen again.
Pearl Jam – Ten (1991): Their monstrous debut announced the arrival of what many people thought would be one of the most important bands of the next couple of decades; they may be one of those bands, but not for the reasons or in the way that was expected.
Pearl Jam – Vs. (1993): I actually like the follow-up to Ten even more; it was more daring, more diverse and more sonically interesting, but they were also still trying to impress, instead of being, shall I say, willfully perverse with their releases.
Pell Mell – Star City (1997): This instrumental group from Portland has recorded sporadically since the early 80’s; they are rarely flashy but quite melodic, many of these tunes have since shown up in films and TV shows.
Tom Petty & the Heartbreakers – Damn the Torpedoes (1979): His third release put him on the musical map, and granted there is some filler here, but the strong songs are so strong that it remains his most potent record; the “& the Heartbreakers” is crucial, what a great, great band.
Tom Petty & the Heartbreakers – Hard Promises (1981): If you married The Byrds to The Stones, you’d get prime-era Petty.
Liz Phair – Exile in Guyville (1993): Self-consciously tries to be a 90’s girl power version of The Stones’s Exile on Main Street, but the surprising thing is how close it comes to succeeding.
Phoenix – Wolfgang Amadeus Phoenix (2009): Great pop rock lives (even if they are French).
The Pixies – Doolittle (1989): This is when the Pixies strike the perfect balance between creating accessible rock and still maintaining their alt credibility.
The Pretenders – Learning to Crawl (1984): Chrissie Hynde is the coolest chick in rock, and LTC is their strongest set of tunes with a wide dynamic range.
Prince & the Revolution – ‘Purple Rain’ motion picture soundtrack (1984): Epic stuff here from The Purple One, he ads “awesome guitarist” to his long list of musical talents.
The Psychedelic Furs – Forever Now (1982): I could say here what I said above about the Pixies, the Furs maintain their underground credentials but allow some more pop sensibility into their music for a perfect balance.
ABOVE: The Psychedelic Furs’s biggest hit, “Pretty in Pink” (from Talk Talk Talk) was actually a song before the film was made. John Hughes was so inspired by the song that he then wrote the film from the song. Then the song itself became a bigger hit once it was used (and re-released as a single) for the film.
Pearl Jam – Ten (1991): Their monstrous debut announced the arrival of what many people thought would be one of the most important bands of the next couple of decades; they may be one of those bands, but not for the reasons or in the way that was expected.
Pearl Jam – Vs. (1993): I actually like the follow-up to Ten even more; it was more daring, more diverse and more sonically interesting, but they were also still trying to impress, instead of being, shall I say, willfully perverse with their releases.
Pell Mell – Star City (1997): This instrumental group from Portland has recorded sporadically since the early 80’s; they are rarely flashy but quite melodic, many of these tunes have since shown up in films and TV shows.
Tom Petty & the Heartbreakers – Damn the Torpedoes (1979): His third release put him on the musical map, and granted there is some filler here, but the strong songs are so strong that it remains his most potent record; the “& the Heartbreakers” is crucial, what a great, great band.
Tom Petty & the Heartbreakers – Hard Promises (1981): If you married The Byrds to The Stones, you’d get prime-era Petty.
Liz Phair – Exile in Guyville (1993): Self-consciously tries to be a 90’s girl power version of The Stones’s Exile on Main Street, but the surprising thing is how close it comes to succeeding.
Phoenix – Wolfgang Amadeus Phoenix (2009): Great pop rock lives (even if they are French).
The Pixies – Doolittle (1989): This is when the Pixies strike the perfect balance between creating accessible rock and still maintaining their alt credibility.
The Pretenders – Learning to Crawl (1984): Chrissie Hynde is the coolest chick in rock, and LTC is their strongest set of tunes with a wide dynamic range.
Prince & the Revolution – ‘Purple Rain’ motion picture soundtrack (1984): Epic stuff here from The Purple One, he ads “awesome guitarist” to his long list of musical talents.
The Psychedelic Furs – Forever Now (1982): I could say here what I said above about the Pixies, the Furs maintain their underground credentials but allow some more pop sensibility into their music for a perfect balance.
Tuesday, April 24, 2012
RIP Greg Ham, 1953-2012
I guess it depends on where you live. Greg Ham died last week on the same day we lost Levon Helm. Helm’s passing was a pretty substantial news item that day (as it deserved to be), while Ham’s passing was noted on Yahoo or CNN.com, buried in the links at the bottom of the webpage somewhere for about half the day. In Australia, however, it was front page news. So, this was a notable passing if you A. live in Australia, or B. you are a pretty serious Men At Work fan.
Colin Hay was the face and voice of Men At Work, which was one of those “they’re huge!/Whatever happened to…?” bands that seemed to come and go with such frequency in the 1980’s. But Greg Ham was as responsible for Men’s quirky humor and sound as Hay. Perhaps even more than Hay, it was Ham’s contributions that made Men At Work stand out as a different kind of 80’s band. Ham played the saxes, flutes, keyboards, harmonica and some occasional guitar, and anything else that was needed to fill out Men At Work’s sound.
It was Ham’s soaring sax lines and solos that helped make “Who Can It Be Now?” and “Overkill” such great 80’s singles that still sound fresh and interesting today. But if there is one indelible contribution that he made, it was the improvised flute part on Men At Work’s most beloved song, a song that has become the unofficial national anthem in Australia, “Down Under.”
ABOVE: Ham (left) and Hay grace the cover of Rolling Stone Magazine in '83 during the peak of Men At Work's fame
Unfortunately for Ham (and the rest of Men At Work), the triumph of “Down Under” has been tarnished a bit. Ham steadfastly claimed that he improvised the iconic flute riff in “Down Under,” but in 2009, music publisher Larrikin Music sued Men At Work for plagiarism. They claimed that the flute riff was nicked from the 1934 nursery rhyme, “Kookaburra,” to which they owned the rights. A court in Australia agreed, awarding Larrikin the modest award of 5% royalties on the song dating back to 2002. Men At Work and label EMI appealed the decision but to no avail. Since it was Ham’s riff, he took the judgment especially hard. In an interview, he felt that his reputation had been damaged and that “I’m terribly disappointed that’s the way I’m going to be remembered – for copying something.” I think that Ham was being a bit tough on himself there.
My guess, and this is pure speculation, is that Ham did not consciously copy the riff, but perhaps it was there in his subconscious somewhere, and so the similarity is nonetheless real. I imagine it is much like the case against George Harrison, when he was similarly sued in the 70’s for copying the Chiffon’s “He’s So Fine” for his own “My Sweet Lord.” The judge in Harrison’s case came to the conclusion that Harrison copied it “subconsciously.” I haven’t seen the reporting on the Men At Work case, but judging by the relatively minor award (only 5% based on earnings starting at a date decades after the song made the most money), I bet it was a similar deal.
Aside from occasionally reuniting with Colin Hay to tour as Men At Work, Ham’s life in Australia settled down a bit after their 80's heyday. He still played in regional bands, taught music, appeared on an Australian TV show in a recurring role…but his globetrotting days in a huge band were far behind him. The circumstances of his death are still somewhat hazy, he was found in his home in Melbourne by some concerned friends. He had fallen on hard times lately, especially after the “Down Under” court decision, and so perhaps drugs were a factor. Regardless, his work will live on in a handful of perfect 80’s hits. RIP Greg Ham.
ABOVE: A fantastic clip and tribute to Greg Ham. This is a New Year's Eve show that a modernday version of Men At Work played in Sidney for the turn of the millenium. It starts with a little interview clip featuring Colin Hay and Greg ("I always know he's there"), then you get the tail end of "Who Can It Be Now?", and finally a fantastic "Down Under" which features some excellent flute playing from Greg in the extended solo break. I love the clip because the New Year's countdown comes right in the middle of the song, and Colin throws it in, and just as the fireworks go off for the turn of the millenium they break back into the chorus of the song. Perfect.
Monday, April 23, 2012
Dez's Five Star Albums: The P's, pt. 1 (Two Bands)
JMW accused the last entry in this series of being “willfully perverse.” This entry should right that ship, as it features selections from two bands that should be no surprise. As I’ve said before, some bands excel with the single. But bands like Pink Floyd think in terms of thematic, cohesive albums, so naturally they will have an advantage on this type of list. Part 2 of the P’s will cover everyone other than Pink Floyd or The Police.
Pink Floyd – Piper at the Gates of Dawn (1967): Pink Floyd’s debut is the greatest psychedelic record ever made, and it completely belongs to rock’s most famous acid casualty, the madcap himself, Syd Barrett.
Pink Floyd – Meddle (1971): After years of fumbling, Floyd finally find their sound in a post-Barrett world, on an album that includes their finest recorded moment (or 24 moments), the side long “Echoes.”
Pink Floyd – Dark Side of the Moon (1973): Can’t say much about this one that hasn’t already been said, it is part of our rock and roll consciousness at this point – on the Billboard charts from 1973 to 1988.
Pink Floyd – Animals (1977): Often gets lost in the shuffle of their incredible 70’s streak, sandwiched in between Wish You Were Here and The Wall, but it has a devoted following, as evidenced by a group of my students with whom I discuss/argue music who all claim this as their favorite Floyd album.
The Police – Regatta de Blanc (1979): After some faux punk posing on their still excellent debut, The Police find their “white reggae” rock/pop sound on their sophomore release.
The Police – Zenyatta Mondatta (1980): The most spare and skeletal Police album, it also distills the essence of the band’s sound to its core, with plenty of space in the songs; while Sting and Stewart Copeland consider it unfinished, it is Andy Summers’s favorite Police record.
The Police – Ghost in the Machine (1981): Reversing course, The Police follow up their most spare record with their most sonically dense, augmenting the trio’s sound with horns, synthesizers and even steel drums.
The Police – Synchronicity (1983): At least they went out on top, their final studio effort was also their biggest seller; they hit commercial pay dirt while still remaining musically interesting (a multi-million seller featuring two songs about Carl Jung’s theories, and another song with the lyric: “Caught between the Scylla and Charybdis”).
The Police – Certifiable (live) (2007): I’ve heard a lot of live Police material from each of their eras, and they never sounded better than on their recent reunion tour, they are all better musicians now than they were in the 80’s; this complete live show from Buenos Aires is Exhibit A.
ABOVE: Some bands have a sound that for whatever reason, almost everything they do hits you just right. The Police are one of those bands for me. Sting’s bass playing takes the strong melody while Andy Summers’s guitar work fills in atmosphere with brilliant use of effects and sonic textures (influencing such other sonic architects like U2’s Edge). Stewart Copeland is my favorite drummer, filling in that space that the trio format leaves open. Sting’s writing, at least with The Police, was always interesting, and he has such a distinct voice. The Police have the honor on my five star list of having the highest percentage of their albums appear, with approximately 75% of their discography reaching the five star level. I am sure they are honored.
Pink Floyd – Piper at the Gates of Dawn (1967): Pink Floyd’s debut is the greatest psychedelic record ever made, and it completely belongs to rock’s most famous acid casualty, the madcap himself, Syd Barrett.
Pink Floyd – Meddle (1971): After years of fumbling, Floyd finally find their sound in a post-Barrett world, on an album that includes their finest recorded moment (or 24 moments), the side long “Echoes.”
Pink Floyd – Dark Side of the Moon (1973): Can’t say much about this one that hasn’t already been said, it is part of our rock and roll consciousness at this point – on the Billboard charts from 1973 to 1988.
Pink Floyd – Animals (1977): Often gets lost in the shuffle of their incredible 70’s streak, sandwiched in between Wish You Were Here and The Wall, but it has a devoted following, as evidenced by a group of my students with whom I discuss/argue music who all claim this as their favorite Floyd album.
The Police – Regatta de Blanc (1979): After some faux punk posing on their still excellent debut, The Police find their “white reggae” rock/pop sound on their sophomore release.
The Police – Zenyatta Mondatta (1980): The most spare and skeletal Police album, it also distills the essence of the band’s sound to its core, with plenty of space in the songs; while Sting and Stewart Copeland consider it unfinished, it is Andy Summers’s favorite Police record.
The Police – Ghost in the Machine (1981): Reversing course, The Police follow up their most spare record with their most sonically dense, augmenting the trio’s sound with horns, synthesizers and even steel drums.
The Police – Synchronicity (1983): At least they went out on top, their final studio effort was also their biggest seller; they hit commercial pay dirt while still remaining musically interesting (a multi-million seller featuring two songs about Carl Jung’s theories, and another song with the lyric: “Caught between the Scylla and Charybdis”).
The Police – Certifiable (live) (2007): I’ve heard a lot of live Police material from each of their eras, and they never sounded better than on their recent reunion tour, they are all better musicians now than they were in the 80’s; this complete live show from Buenos Aires is Exhibit A.
Friday, April 20, 2012
Dez's 5 Star Albums: N-O's
In picking my "N" selections, I was confronted by two issues. First was Nirvana. I own their records, I understand the significance of Nevermind. I even like it. But I don't love it. I am constantly reminded that this list comes from two different considerations. One is objective and one is subjective. I start with the subjective by picking records that I love. Then I look at them through an objective lens and ask: beyond me just digging this album, can I make a reasonable argument for its greatness? If both criteria are met, then it makes the list. Then there is the New Order dilemma. I love New Order. But none of the albums hold together at the five star level, but they have brilliant dance and rock songs interspersed throughout their career. So they do not appear, yet I really like them.
Graham Nash – Songs For Beginners (1971): Ironically, it is the least impressive (but most likeable) member of CSN who delivered the strongest solo record of any of them, with this beautiful singer-songwriter gem from the early 70’s that hits the perfect pitch.
Willie Nelson – Red Headed Stranger (1975): Willie’s often beautiful and melancholy concept album about the mysterious, troubled and dangerous title character is a highlight in a long career full of highlights; this is one of the cornerstones of the 70’s country outlaw movement.
New Pornographers – Twin Cinema (2005): Power pop supergroup’s (well, sorta supergroup) best record is full of great melodies and hooks; if not completely inspired, it is the work of consummate pop craftsmen (and women).
Randy Newman – Good Old Boys (1974): Newman was one of the most exciting and controversial singer-songwriters of the 70’s, and this concept record about the Deep South is by turns brutal and coarse (“Rednecks”), tender (“Marie”), pathetic and funny (“A Wedding in Cherokee County”) and deeply rooted in Southern American history (a fantastic tune about the promise and promises of Huey Long called “Kingfish,” that is preceded by a quick cover of the actual campaign song that was written by Long himself); and I cannot think of a better written song than the devastating “Louisiana 1929.”
Randy Newman – Land of Dreams (1988): Newman’s 70’s records are more critically lauded (like 12 Songs, Sail Away, the one above and even Little Criminals), but I’m a big fan of this one, where he writes his most autobiographical songs (in the wonderful opening trilogy), before returning to more familiar territory of biting character sketches, observations of class and race, and pure pop craft.
Oasis – (What’s the Story) Morning Glory (1995): Who says retro-Brit Invasion worshippers can’t still sound fresh and vital?
Richard O’Brien – ‘Rocky Horror Picture Show’ motion picture soundtrack (1975): This cult classic film has lived on through the decades in large part due to the catchy, tongue-in-cheek, witty and referential music, which has surprising depth and emotion if you can get through the camp and humor.
The Orb – The Orb's New Adventures Beyond the Ultraworld (1991): One of the most important innovators in ambient music, The Orb’s wonderful double album debut takes the listener on a trippy journey.
Ozzy Osbourne – No More Tears (1991): Aside from always working with top-notch musicians, what makes Ozzy’s brand of metal so great is that underneath the volume, bombast and silly imagery lie solid songs with great melody and hooks; musically speaking, Ozzy’s songs are at root great pop songs with volume, distortion and flashy solos.
Shuggie Otis – Inspiration Information (1974): A forgotten gem from a forgotten musical genius, Shuggie’s masterpiece mixes R&B, soul, rock and psychedelia in a unique and entrancing mix; this is one of those records that many people haven’t heard of but is worth searching out (and unfortunately, I think it is the only Shuggie album NOT available on iTunes).
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ABOVE: Shuggie Otis is one of those lost genius/burnouts that music snobs love to talk about. But he really is a huge talent, great guitar player and made some brilliant music when he was active.
Graham Nash – Songs For Beginners (1971): Ironically, it is the least impressive (but most likeable) member of CSN who delivered the strongest solo record of any of them, with this beautiful singer-songwriter gem from the early 70’s that hits the perfect pitch.
Willie Nelson – Red Headed Stranger (1975): Willie’s often beautiful and melancholy concept album about the mysterious, troubled and dangerous title character is a highlight in a long career full of highlights; this is one of the cornerstones of the 70’s country outlaw movement.
New Pornographers – Twin Cinema (2005): Power pop supergroup’s (well, sorta supergroup) best record is full of great melodies and hooks; if not completely inspired, it is the work of consummate pop craftsmen (and women).
Randy Newman – Good Old Boys (1974): Newman was one of the most exciting and controversial singer-songwriters of the 70’s, and this concept record about the Deep South is by turns brutal and coarse (“Rednecks”), tender (“Marie”), pathetic and funny (“A Wedding in Cherokee County”) and deeply rooted in Southern American history (a fantastic tune about the promise and promises of Huey Long called “Kingfish,” that is preceded by a quick cover of the actual campaign song that was written by Long himself); and I cannot think of a better written song than the devastating “Louisiana 1929.”
Randy Newman – Land of Dreams (1988): Newman’s 70’s records are more critically lauded (like 12 Songs, Sail Away, the one above and even Little Criminals), but I’m a big fan of this one, where he writes his most autobiographical songs (in the wonderful opening trilogy), before returning to more familiar territory of biting character sketches, observations of class and race, and pure pop craft.
Oasis – (What’s the Story) Morning Glory (1995): Who says retro-Brit Invasion worshippers can’t still sound fresh and vital?
Richard O’Brien – ‘Rocky Horror Picture Show’ motion picture soundtrack (1975): This cult classic film has lived on through the decades in large part due to the catchy, tongue-in-cheek, witty and referential music, which has surprising depth and emotion if you can get through the camp and humor.
The Orb – The Orb's New Adventures Beyond the Ultraworld (1991): One of the most important innovators in ambient music, The Orb’s wonderful double album debut takes the listener on a trippy journey.
Ozzy Osbourne – No More Tears (1991): Aside from always working with top-notch musicians, what makes Ozzy’s brand of metal so great is that underneath the volume, bombast and silly imagery lie solid songs with great melody and hooks; musically speaking, Ozzy’s songs are at root great pop songs with volume, distortion and flashy solos.
Shuggie Otis – Inspiration Information (1974): A forgotten gem from a forgotten musical genius, Shuggie’s masterpiece mixes R&B, soul, rock and psychedelia in a unique and entrancing mix; this is one of those records that many people haven’t heard of but is worth searching out (and unfortunately, I think it is the only Shuggie album NOT available on iTunes).
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Thursday, April 19, 2012
RIP Levon Helm, 1940-2012
The last voice of The Band has been silenced. Richard Manuel, Rick Danko, and now Levon Helm are gone. I've got friends, good friends whose musical tastes I otherwise respect, who just never got The Band. I've tried to explain, but as with many things of this nature, you either hear and feel it or you don't.
Let's start with the voice. Levon Helm's voice was like deep, gritty, Southern soil. Within that soulful twang you can hear all of the birthing elements of rock and roll: country, gospel, blues, R&B. The only American-born member of the most American of bands (the other four were Canadians), Helm's Arkansas roots somehow grounded The Band, made them legitimately Americana. It was Robbie Robertson's songwriting, but it was the voices of Manuel, Danko and Helm that brought the songs to life. While Manuel was vulnerability and pain, Danko was a soaring and mournful tenor, it was Helm who brought the grit and Southern fried funkiness.
Then the drumming. The rhythm section of Helm on drums and Danko on bass was the grooviest, loosest white rhythm section in rock. Helm's drumming sounded so natural and casual, often laying just behind the beat for an extra funky feel. There are drummers who are more impressive technically or more bombastic and powerful, but there are few drummers that I'd rather listen to just for pure feel. He brought soul to an instrument that is hard to make sound soulful.
I don't need to give you the history of The Band here. I've discussed them before and you can read it in the many obituaries that were out today. But briefly, The Band (starting out as The Hawks, then moving to The Crackers, a great name they should have kept) were there near the beginning of rock and roll, backing rockabilly wildman Ronnie Hawkins on the Canadian circuit in the early 60's. They eventually hooked up with Bob Dylan, and were on tour with him during his earth shattering first electric tour where he and his Band were frequently booed by irate folk fans who felt he was a Judas (although Helm left for a substantial part of this period, tired of the hostile audiences).
The Band recorded two stone cold classics in the late 60's (Music From Big Pink and The Band, both of which have appeared on my five star list). While most rock stars of the late 60's were experimental, psychedelic or otherwise caught up with the times, The Band steadfastly took a different course and were outside of the times, digging deep into American roots music. They sounded more 1860's than 1960's. After their acrimonious split (just watch 'The Last Waltz' and you can feel the tension between Helm and Robertson), Helm played with a reconstituted Band (sans Robertson). More recently, while battling throat cancer, he put on legendary shows in his barn/studio in Woodstock, attracting many famous musicians who wanted to participate in his "Midnight Rambles" (he did these in part to pay his medical bills). By many accounts these were incredible shows, loose jam sessions steeped in American music idioms.
Helm also had a pretty successful film career. Most notably, he was perfect as the narrator and sidekick during the Chuck Yeager scenes of 'The Right Stuff,' and he also gave a critically acclaimed performance as Loretta Lynn's father in 'Coal Miner's Daughter.'
I was interested to read that earlier this week Robbie Robertson visited Helm in the hospital, and they evidently talked for hours and finally buried the hatchet. I would have loved to have been a fly on the wall in that room. The Robertson/Helm feud has been fierce for decades. One of the great rock and roll feuds, involving everything from accusations of betrayal, fights over royalties and songwriting credit, and even including Helm ridiculously assigning to Robertson part responsibility for Manuel's suicide in the 80's and Danko's death in 1999. Helm refused to show up for The Band's induction into the Rock and Roll Hall of Fame simply because he could not stand to be in the same room as Robertson. He skipped his dear friend Danko's funeral because Robertson was speaking at it. I was genuinely surprised and happy to read that Robbie and Levon finally reconciled in the end.
Levon Helm was an original. He was a connection to a musical past that is fading further into the haze of history. He was an original American. RIP Levon Helm.
ABOVE: One of Helm's all time great performances with The Band, singing "The Night They Drove Old Dixie Down" in 'The Last Waltz.' Even though Helm is on record as despising the film and album, he sure as hell gave it his all at the show.
Sunday, April 15, 2012
Dez's 5 Star Albums: the M's, pt. 2
It is not surprising that the majority of selections on my list are rock/pop albums. That was my music growing up, and we are more influenced by music in our youth than at any other time in our lives. But I have developed an appreciation for jazz music over the years (I actually got into it during high school, and I have off and on pursued a decent jazz library). Jazz was our pop music before rock and roll existed. This entry in particular has quite a few jazz choices.
Moby – Play (1999): Moby’s overexposure at the turn of the decade gave us some Moby fatigue, but go back to the album that made his music so ubiquitous in the first place and you will find a bold, lovely record full of electronica moods and textures.
Modern Jazz Quartet – The European Concert (live) (1960): John Lewis’s European/third stream influences plus Milt Jackson’s unparalleled lyrical jazz improvisations make MJQ one of the most sophisticated and subtle groups in jazz which rewards close and attentive listening; this live set captures them at a peak and features a set list full of their most beloved tunes, making it a good introduction.
Modern Jazz Quartet – The Complete Last Concert (live) (1974): While the selection above is more the crowd pleaser with its generous fan favorites-heavy setlist, this show offers a deeper and richer experience in the long run. NOTE: This turned out not to be their last show, they reunited later and continued to perform and record for some years afterward.
Thelonious Monk – The Thelonious Monk Orchestra at Town Hall (live) (1959): Idiosyncratic jazz genius Thelonious Monk is not the easiest artist to warm to, but his always fascinating, off kilter compositions and playing reward the patient listener, and this live recording is a particularly adventurous and lively show featuring Monk backed by a big, swinging band.
Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery (1960): Indeed. This was before he watered down his sound with strings and tried to gain an audience beyond jazz, it is one of the great jazz guitar albums.
Enio Morricone – ‘The Good, the Bad & the Ugly’ motion picture soundtrack (1966): Morricone’s unique compositional style is as much a part of Sergio Leone’s epic western films as Clint Eastwood’s squint or Leone’s signature cinematography.
Van Morrison – Astral Weeks (1968): Guaranteed to start an argument amongst music fans (as it did recently with some friends in Vegas), this is either a brilliant jazz influenced (Connie Kay from Modern Jazz Quartet is the drummer for these sessions) stream of consciousness exploration unlike any in rock or it is an excessive bore (I obviously put it in the former category).
Van Morrison – Moondance (1970): After the impenetrable Astral Weeks, Van shifted course and delivered the most crowd pleasing, joyful (and successful) pop record of his career.
Van Morrison – It’s Too Late To Stop Now (live) (1974): Van is notoriously hit and miss live, but this live set catches him on several of those nights where he is fully invested and captures the muse.
Morrissey – Your Arsenal (1992): Morrissey’s third solo outing is his best, his wit is sharp as ever, but what makes this record pop is the gritty glammy production by Mick Ronson and the killer band Morrissey assembled for these sessions; a record that can stand side by side with The Smiths’ glory days.
Motorhead – No Sleep ‘Til Hammersmith (live) (1981): It’s Lemmy and it is relentless. ‘Nuff said.
Charlie Musselwhite – The Harmonica According To Charlie Musselwhite (1978): As advertised, Musselwhite gives a clinic in blues harp, traversing multiple styles, grooves and moods to wonderful effect.
ABOVE: Thelonious Monk was considered one of the greatest jazz composers, along with Duke Ellington. Whereas Ellington was responsible for over 1000 compositions, Monk's tally is less than 100. But he made them count, as many are now jazz standards. In his later years, his erratic behavior suggested to many mental illness, perhaps some form of schizophrenia.
Moby – Play (1999): Moby’s overexposure at the turn of the decade gave us some Moby fatigue, but go back to the album that made his music so ubiquitous in the first place and you will find a bold, lovely record full of electronica moods and textures.
Modern Jazz Quartet – The European Concert (live) (1960): John Lewis’s European/third stream influences plus Milt Jackson’s unparalleled lyrical jazz improvisations make MJQ one of the most sophisticated and subtle groups in jazz which rewards close and attentive listening; this live set captures them at a peak and features a set list full of their most beloved tunes, making it a good introduction.
Modern Jazz Quartet – The Complete Last Concert (live) (1974): While the selection above is more the crowd pleaser with its generous fan favorites-heavy setlist, this show offers a deeper and richer experience in the long run. NOTE: This turned out not to be their last show, they reunited later and continued to perform and record for some years afterward.
Thelonious Monk – The Thelonious Monk Orchestra at Town Hall (live) (1959): Idiosyncratic jazz genius Thelonious Monk is not the easiest artist to warm to, but his always fascinating, off kilter compositions and playing reward the patient listener, and this live recording is a particularly adventurous and lively show featuring Monk backed by a big, swinging band.
Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery (1960): Indeed. This was before he watered down his sound with strings and tried to gain an audience beyond jazz, it is one of the great jazz guitar albums.
Enio Morricone – ‘The Good, the Bad & the Ugly’ motion picture soundtrack (1966): Morricone’s unique compositional style is as much a part of Sergio Leone’s epic western films as Clint Eastwood’s squint or Leone’s signature cinematography.
Van Morrison – Astral Weeks (1968): Guaranteed to start an argument amongst music fans (as it did recently with some friends in Vegas), this is either a brilliant jazz influenced (Connie Kay from Modern Jazz Quartet is the drummer for these sessions) stream of consciousness exploration unlike any in rock or it is an excessive bore (I obviously put it in the former category).
Van Morrison – Moondance (1970): After the impenetrable Astral Weeks, Van shifted course and delivered the most crowd pleasing, joyful (and successful) pop record of his career.
Van Morrison – It’s Too Late To Stop Now (live) (1974): Van is notoriously hit and miss live, but this live set catches him on several of those nights where he is fully invested and captures the muse.
Morrissey – Your Arsenal (1992): Morrissey’s third solo outing is his best, his wit is sharp as ever, but what makes this record pop is the gritty glammy production by Mick Ronson and the killer band Morrissey assembled for these sessions; a record that can stand side by side with The Smiths’ glory days.
Motorhead – No Sleep ‘Til Hammersmith (live) (1981): It’s Lemmy and it is relentless. ‘Nuff said.
Charlie Musselwhite – The Harmonica According To Charlie Musselwhite (1978): As advertised, Musselwhite gives a clinic in blues harp, traversing multiple styles, grooves and moods to wonderful effect.
ABOVE: Thelonious Monk was considered one of the greatest jazz composers, along with Duke Ellington. Whereas Ellington was responsible for over 1000 compositions, Monk's tally is less than 100. But he made them count, as many are now jazz standards. In his later years, his erratic behavior suggested to many mental illness, perhaps some form of schizophrenia.
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