Dez Record Guides: David Bowie, Pt. II

First I’ll briefly address David Bowie’s live releases, then continue with the Record Guide. At the end I suggest the best compilations out there.

LIVE BOWIE

Santa Monica ’72 (live) (1972/1994) ***
‘Ziggy Stardust: The Motion Picture’ soundtrack (live) (1973/1983) ***
David Live (live) (1974) **
Stage (live) (1978) ***
Glass Spider Live (live) (1987/2008) NR
VH1 Storytellers (live) (1999/2009) NR
A Reality Tour (live) (2003/2010) ****
Most of Bowie’s live efforts are OK to not very good for some reason. I have heard there are fantastic bootlegs out there, but his officially released live material often leaves much to be desired. David Live was the first to be initially released, and it captures him in the awkward transition from his glam period to the plastic soul of the coming Young Americans. Mick Jagger thought it was so bad that he commented that if he were Bowie, “I would honestly never record again. Never.” Bowie on his gaunt appearance on the cover: “My God, it looks like I’ve just stepped out of the grave…That record should have been called ‘David Bowie is Alive and Well and Living Only in Theory.’” Stage is great in parts, but in trying to recreate some of the sonics of Low and “Heroes,” it just doesn’t translate as well live. The Station to Station material, though, is awesome. The live record from his Reality tour (to date, his last tour) does not break new ground or anything, but it is a very entertaining show from someone still at the top of his performing game with a cool setlist containing both hits and nice deep cuts and surprises.

Now Part II of the Record Guide…

Let’s Dance (1983) ****
I haven’t looked at the numbers, but I would guess that this was Bowie’s biggest hit record, at least in the U.S. And I've got a soft spot for this one because it was where I first got onboard. He consciously moves away from the avant-garde and shoots straight for the mainstream jugular. Teaming this time with producer Nile Rodgers and employing the out of place but interesting guitar playing of a young unknown Stevie Ray Vaughan, Bowie delivered a triple shot on the singles charts: “Modern Love,” “China Girl” and the title track; all three are killer 80’s hits and still stand up today. In addition, a cover of Metro’s “Criminal World” and an edgier remake of his soundtrack song “Cat People” are also top notch. Even if the remainder had been just good, this would be a classic album. But the remaining three tracks are unfortunately forgettable throwaways, dragging the momentum when they come on.

Tonight (1984) **
Never Let Me Down (1987) *
I think for the first time in his career, he was unsure of himself and what he wanted to do or how to follow-up his last record. Yes, during his glam period he did start to repeat himself a little, but it was all still great music. Here it sounds like he is trying to reproduce the Let’s Dance formula to rapidly diminishing returns. Tonight is not as bad as its reputation, but it is still not very good at all. “Loving the Alien” and single “Blue Jean” stand out. Many consider Never Let Me Down to be his worst record.

Tin Machine (with Tin Machine) (1989) *
Tin Machine II (with Tin Machine) (1991) NR
Tin Machine Live: Oy Vey, Baby (with Tin Machine) (live) (1992) NR
Not surprising that after a creative dry spell, Bowie would want to shake things up. He decided to work within the context of a band, joining with experimental guitarist Reeves Gabrels and the rhythm section of the Sayles brothers. He definitely sounds like he’s having fun playing hard rock as part of Tin Machine. Not that fun to listen to, though, it is fairly faceless music.

Black Tie White Noise (1993) ***
‘The Buddha of Suburbia’ soundtrack (1993) ***
A creative rejuvenation of sorts, BTWN suffers from a common ailment of Bowie’s records from here on out (and many other artists) in that it is too long. Artists started making records with CD playing times in mind (vs. LP playing times) in the 90’s. Sometimes less is more. Trimming some of the filler would have created a tighter listen. “You’ve Been Around” and single “Jump They Say” are very good. The ‘Buddha’ soundtrack is for a British television show, but they only used one song in the show, so it is really a regular Bowie album. There are some nice instrumental pieces on it.

Outside (1995) ****
Alright, wait for it: his best work since Scary Monsters! This is where Bowie gets his mojo back. I believe that my friend ANCIANT is a huge fan of this work, and for good reason. First, it is nice that Bowie reunites with Brian Eno. It is a concept album that I don’t really follow, but the music is fantastic and holds together as a work (vs. just a collection of songs, which had been Bowie albums post-Scary Monsters.) Moody, intense and yet still quite melodic, for the first time in awhile he sounds like he is recording with purpose. But I also agree with some of the critical assessments of the time. Some of the segues and spoken interludes slow the momentum considerably. Here is the gift of iTunes, cut out all of the segues, and you have a stronger record of just the songs.

Earthling (1997) ***
Bowie’s electronica album. Here is where he sounds like he is following trends instead of creating them or pushing them further. He’s older and musical innovation, especially in rock music, is usually a young man’s game. Bowie: “The young have to kill the old…That’s how life works…it’s how culture works.” That being said, there are still some good songs here. “Looking For Satellites,” “Battle of Britain (The Letter)” and “I’m Afraid of Americans” are all strong.

“…hours” (1999) **
Listening to this I feel as sleepy as the sleeping Bowie on the cover.

Heathen (2002) ***1/2
Definitely a step up from recent work and return to inspired form. It is a record that is somewhat soothing musically but lyrically has much angst (in an adult way). He seems to be trying to work within modern sounds and textures, but in a more relaxed and comfortable way than, say, the more labored Earthling. Some cool covers too: Neil Young’s fantastic “I’ve Been Waiting For You” (which Bowie had been wanting to cover since the 70’s), “Cactus” by The Pixies and “I Took a Trip on a Gemini Spaceship” by Legendary Stardust Cowboy.

Reality (2003) **
Well received, but this record does very little for me. Even the singles, which even on bad Bowie records at least are usually good, don’t really stand out.

The Next Day (2013) ***
For all intents and purposes, it seemed that Davie Bowie had retired from music after Reality and a health scare that cut the Reality tour short. Fans and critics were ecstatic when out of seemingly nowhere he released a new record. Bowie, longtime producer Tom Visconti and the musicians had been secretly recording sporadically for the prior two years. It was so hush hush that Bowie had all involved sign nondisclosure agreements. The reviews were glowing, but I think that was in part due to the fact that there was new Bowie product at all. After the initial excitement has dissipated, we are left with the actual album. It is not a bold new direction; in fact, from the referential album cover to much of the music, Bowie is both looking back and forward. He has gotten a bit nostalgic in his old age. The standout is “The Stars (Are Out Tonight).”

COMPILATIONS

It is not surprising that an artist as prolific as David Bowie has a bevy of compilations out there. He is one of the rare artists who makes albums that were meant to be heard in their entirety for context and impact, yet also can put together essential compilations out of his many hits and singles. It depends on what you are looking for and how comprehensive you want to get, but Changesbowie (compilation) (1990) ***** does about as good of a job as possible on a single disc. If you are going to go the compilation route, though, go ahead and grab the double The Singles Collection (compilation) (1993) ***** or the more recent three disc or two disc version of Nothing Has Changed (compilation) (2014) *****.

Dez Record Guides: David Bowie, Pt. 1

It's been awhile since the last exciting Record Guide, and honestly there are only a few artists left for whom I feel qualified to write one. My good friend ANCIANT (“A New Career in a New Town”…Bowie song) is the real Bowie expert, and I invited him to write a guest guide for Bowie. But I’ve been listening to a lot of Bowie myself lately, and I was in the mood to discuss his music. (ANCIANT is welcome, of course, to respond at length or even to write a counter-Guide and I will still happily publish it here. That would be cool.)

The cliché about Bowie is that he is the ultimate musical chameleon. And while there is definitely truth to the cliché, it also sells him a bit short. Because not until the late 1980’s and beyond does he begin to merely follow trends. During the 70’s, he either started them or took them forward in new directions. Or, as in the case of his Berlin Trilogy, he brings them to the mainstream.

I think it is probably a toss-up between Bowie and Neil Young as to who was the most consistently great, prolific and most important rock artist during the 1970’s. (I guess Led Zeppelin would also be in that conversation). Album after album during that decade Bowie broke ground, was brilliant and turned in unanticipated, different directions.

It is interesting to note that Bowie also probably could not hit it big nowadays. As with Springsteen, he did not hit his stride commercially until several records into his career. Like with NFL teams and their quarterbacks, the record companies these days are not that patient to allow proper artistic development. Bruce did not have a hit record until his third. These days his label would have dropped him by then (and actually, Columbia was about to drop Bruce in ’75 if Born To Run wasn’t a hit.) With Bowie, it was really his 4th record that was destined to become a classic. So, David Jones...

David Bowie (1967) *
You know, some artists come out of the gate on their debut fully formed with brilliant work (The Doors, Zeppelin come to mind). Not so with Bowie. Only interesting in retrospect considering who Bowie would become. These are music hall style songs that almost sound like novelty songs, and some are really laughable. Not that you can’t do this style in a serious manner (The Kinks did it brilliantly during this same time period), but Bowie doesn’t pull it off. Many people don’t even acknowledge this record as part of the real discography, preferring to pretend that the story starts with the next one.

Space Oddity (aka David Bowie, aka Man of Words, Man of Music) (1969) ***
Here Bowie is folk/psychedelic troubadour. There is one bona fide masterpiece here, and it is the title track. He had the luck/savvy to release the song as a single several weeks before the Apollo 11 landing, and so space-themed things were all the rage. But it has lasted the test of time and remains an arresting, haunting, gorgeous piece of storytelling. There are some other very good songs here as well, even if they don’t match that song. “Wild Eyed Boy From Freecloud” and “Memory of a Free Festival” are memorable, “Unwashed and Somewhat Slightly Dazed” has a great groove and “Letter To Hermione” is pretty.

The Man Who Sold the World (1970) ***
Once again shifting sounds, Bowie leaves the psychedelic folk of SO and creates a harder edged rock record. Some consider this to be the birth of glam, a genre for which Bowie will soon become the patron saint. While good, I do find a sameness about these songs where they kind of all blend together. Bowie is an artist who has benefited greatly from collaboration with musicians on his records, and he has an impressive record of working with innovative guitarists. Crucially he is fairly generous in allowing his musicians to contribute and shine (although he did not use Stevie Ray Vaughan to full effect on Let's Dance, I must say). This is where the crucial Mick Ronson gets onboard. The expansive opener “The Width of a Circle” is impressive and almost proggish. “The Supermen” is also great (although I prefer the version released as a bonus track on Hunky Dory). As with the last record, it is the title track here that stands above the rest, though.

Hunky Dory (1971) ****
It has taken me years to properly appreciate this record, but now I get it. Sonically, he takes the best of his two previous records and melds them together. The acoustic guitars are prominent and many of these are folkish songs, but Ronson is also here to add some grit and glam touches. It is here where he really plays with what will become a key theme on the next few records, ambiguous sexuality (“Queen B**ch,” “Oh! You Pretty Things”). He pays tribute to some contemporary heroes (“Song For Bob Dylan,” the riffy “Andy Warhol”). He also returns to space themes with the beautiful “Life On Mars,” and I guess classic “Changes” could stand as his artistic manifesto.

The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972) ****
There is no questioning the impact of TRAFOZSATSFM. Arguably THE glam record, it is a concept album about an alien rock star of ambiguous sexuality, and through this construct Bowie explores themes such as fleeting fame. He became a superstar as Ziggy, his stage alter ego of the period. But as to the actual music. First of all, guitarist Mick Ronson is as responsible for the great sound here as Bowie is. His guitar work is awesome. While acknowledging the huge impact and influence of this record, I personally find it far from his best. About half of the songs are bona fide Bowie classics: “Ziggy Stardust,” “Suffragette City,” “Moonage Daydream,” “Starman” and the wonderful opener “Five Years.” But the rest of these songs I don’t consider top shelf Bowie. Am I wrong here, ANCIANT?

Alladin Sane (1973) *****
The conventional wisdom is that Ziggy Stardust...is the classic, and this follow-up is still fantastic, but not quite as great. I flip that wisdom. I much prefer AS. It is in much the same style, only grittier and glammier. From the raunchy Ronson crunch of opener “Watch That Man” to the sleazy toss-off cover of the Stones’s “Let’s Spend the Night Together,” AS feels less labored over, looser and a lot more fun than its more celebrated predecessor. And here’s the thing I always like about Bowie’s best music, he lets his great supporting musicians really stretch out and shine. The title track is a pretty conventional Bowie track of the period until pianist Mike Garson cuts loose on a daring, almost free jazz freak-out solo, showing a willingness to stretch the boundaries even here.

Pin-Ups (1973) **
This is the minor place holder that it seems like it would be. Bowie covers some of his favorite British rock/pop songs from the likes of The Who, Them, The Yardbirds, Pink Floyd, The Kinks, etc. He doesn’t improve on any of them. “Sorrow” is nice.

Diamond Dogs (1974) ****
I don’t really get the, err, dogging of this album. It is actually one of my personal favorites. He was entering a period of intense cocaine addiction, and the whole glam thing was getting stagnant and he was clearly needing a new direction, yet the dystopian visions and strung out decadence here really work. He wanted to do an ambitious concept album based on Orwell’s ‘1984,’ but couldn’t get the rights, so he kept some of the ‘1984’ themed songs and put out a post-apocalyptic record (and you know how I love post-apocalyptic entertainment!) “1984” is great, and of course “Rebel Rebel” possesses one of the all-time classic guitar riffs.

Young Americans (1975) ***
Bowie’s glam was clearly coming to a creative dead-end, and he had been listening to a lot of soul music at the time, so he decided to have a go in his own unique way. Bowie is about as white as they come, and he called his new direction “plastic soul.” It is actually fitfully good. The title track is the clear standout, of course, but “Win” is underrated. Interesting to note John Lennon’s involvement in this record, he co-wrote and played on “Fame” and participated in Bowie’s not very good cover of “Across the Universe.”

Station To Station (1976) ****
Bowie is now the Thin White Duke. His intake of cocaine was prodigious by this point, and Bowie claims to have little recollection of recording this record at all (much like Pete Townshend claims to have no memory of making All The Best Cowboys Have Chinese Eyes). No matter, it is still quite good. Brilliant in parts. Usually transition records don’t stand up to the fully formed starting or ending points, but here he manages to transition from his plastic soul and lay some sonic groundwork for the bold work around the corner, while still creating a work of substance in and of itself. The multi-part title track is almost prog, and the wonderful “Golden Years” is funkier than anything on Young Americans. Interesting record in that it really is caught between two phases of his career. I don’t like “Wild Is the Wind,” though.

“The Berlin Trilogy”:
Low (1977) *****
“Heroes” (1977) *****
Lodger (1979) ****
Bowie relocated to West Berlin for awhile for new inspiration and to get a handle on his drug problem, and hooked up musically with Brian Eno. Bowie and Eno ended up making three records commonly referred to as “The Berlin Trilogy.” The first two, at least, are masterpieces. Inspired by a burgeoning interest in visual art and the German music scene (especially Kraftwerk and Neu), Bowie and Eno boldly cast aside structure and created songs that were jarring, jagged, fragmentary and experimental. Rarely has a mainstream artist such as Bowie taken such risks and come out so successfully with product. On the second side of the first two records, the mood shifts dramatically to ambient instrumentals more in keeping with much of Eno’s work. Low is the most risky and brilliant of the trilogy, but “Heroes” does contain some more fully formed songs, including what may be Bowie’s single greatest song in the soaring title track. Lodger is more accessible while still staying somewhat experimental (no instrumentals and more recognizable song structures), but it is also the least interesting of the three.

Scary Monsters (1980) ****
Considered by many to be the last great Bowie record. In fact, many times as Bowie has released a subsequent record and a critic likes it, you will often see the phrase “his best since Scary Monsters,” as if this were the benchmark for his last work of significance. Critics also often claim that it is a grand summation of his disparate styles up to this point. I don’t really hear that, though. To me it sounds like a natural progression from The Berlin Trilogy, as Lodger moved away from the most extreme experimentalism yet maintained some outside the box musical thinking, I hear SM continuing in the same vein. And it is a better record than Lodger, although Eno is now out of the picture. “Ashes To Ashes” is fantastic, and gives us an update of Major Tom’s condition (from “Space Oddity”). “Teenage Wildlife” is near epic, and features some wildly great guitar playing from Robert Fripp, while “Scream Like a Baby” is one of his more underrated songs.

Lest you think that I will just rate every Bowie record highly, he will come back down to earth post-1980 in Part II of the Record Guide. But his 70’s work is practically unassailable, rivaled only by Neil Young and Springsteen in consistent greatness during that decade, and only Neil in how prolific he was. I will also address live Bowie and compilations in Part II.

Dez Record Guides: Fleetwood Mac

When you talk about Fleetwood Mac, you are really talking about at least three different bands, connected only by the constant presence of their namesake rhythm section of John McVie on bass and Mick Fleetwood on drums. The interesting thing is that Fleetwood Mac, through its different incarnations, is really defined by the other members who gave the band guidance through different periods. British blues guitar legend Peter Green, blues acolytes Jeremy Spencer and Danny Kirwin, the unjustly forgotten Bob Welch, pop mistress Christine McVie and the dynamic duo of quirky genius Lindsey Buckingham and gypsy Stevie Nicks. But the constants have always been Mr. McVie and Fleetwood.

I don’t think any major band has had as many major transformations in sound. Most fans of Rumours would scarcely recognize the Mac of Then Play On. Even the reclusive Peter Green felt no connection with the latterday Fleetwood Mac, so much so that when Fleetwood Mac was inducted into the Rock and Roll Hall of Fame in 1998, Green chose to perform his famous “Black Magic Woman” with fellow inductee Santana vs. his own old band, which made some sense since Santana had made the song famous. Still kinda awkward.

For the sake of clarity and because I find it interesting and because with Fleetwood Mac the personnel on each record is so crucial to the sound, I have noted the personnel on each record. The letter in parentheses corresponds to a key at the end of the post with the personnel. If you are counting, the band has gone through 11 distinct line-ups.

Here is the Fleetwood Mac labyrinth unraveled…

Peter Green’s Fleetwood Mac:
Peter Green’s version of Fleetwood Mac is still revered amongst hardcore British blues rock fans. Green is held in the same esteem as a blues guitarist as Clapton, Page, Beck, etc. As far as I go, I feel like you can cherry pick from this era and find incendiary, bold, incredible performances. But there is also a lot of generic blues. They were just getting really interesting with Then Play On when Green went off the deep end, left the band and became an acid casualty for several decades, a la Barrett or Erickson.

What I have done below is try and make some sense of the Peter Green era. Discographically speaking, it is a mess primarily due to several record labels owning the music. There have been countless budget compilations and collections of rarities and live tracks, many of dubious recording quality. I’ve waded through the muck and below is what I believe to be the core Peter Green era discography. You’re welcome.

Peter Green’s Fleetwood Mac (1968) (A) ****
The debut is viewed in many circles as one of the seminal blues based rock records of the 1960’s. There are definitely some burning performances here, but my complaint remains that much of this does sound like generic, if very well played, blues with a rock and roll energy. I know many people would take me to task for not giving this five stars. I just can’t. It is hard to best the “Shake Your Moneymaker,” here, I admit.

Mr. Wonderful (1968) (A) **
Some more well played blues, but even fans of this era acknowledge that there is a lack of inspiration on the follow-up.

English Rose (compilation, U.S. only) (A, B) (1969) ***
The Pious Bird of Good Omen (compilation) (A, B) (1969) ***
Many of Fleetwood Mac’s most famous songs from this era were released as singles only. These compilations collected many of those singles, as well as random album tracks. The gorgeous “Albatross” and signature tune “Black Magic Woman” can be found on these compilations/releases.

ABOVE: The talented but troubled Peter Green

Then Play On (1969) (B) ****
Now here is where things get really interesting. With the three guitar/vocalist/songwriter line-up of Green, Spencer and Kirwin, there is a lot of firepower (although word is that Spencer by this point was contributing little). But what is really great is that they finally seem to be expanding beyond being mere blues acolytes and forging their own sound, incorporating some folk and rock sounds as well for a potent mix. If this line-up had been able to stay together longer and continue to explore these paths…wow. It is a tantalizing “what if.” Kirwin’s “Coming Your Way” features a fantastic groove from the McVie/Fleetwood rhythm section, and Green’s “Showbiz Blues” and “Rattlesnake Shake” show that he was finally moving beyond honoring others and writing his own, quite original, blues. But the centerpiece is Green’s stunning nine minute opus “Oh Well,” with the opening minutes featuring a riff so huge it stands tall next to the best of Led Zeppelin. But then the song suddenly veers into an acoustic folk meditative piece. Utterly brilliant, and if only Green had not soon after gone nuts and become a recluse, we could have had more of this.

Live in Boston (aka Boston Tea Party) (live) (1970/1985/1998) (B) ****
The Peter Green era Mac is famous for its incendiary live performances. There are several poorly recorded releases out there, I chose to represent the live material with the best sounding of the lot. Released in various incarnations over the years, this is worth having, featuring the three guitar Green/Spencer/Kirwin line-up in all its glory. There is a lot of blues here, but the energy crackles through the speakers, and a 25-minute “Rattlesnake Shake” stands as one of the great extended live workouts of the genre.

Transitional Years:
Kiln House (1970) (C) ***
Future Games (1971) (D) **
Bare Trees (1972) (D) **
Penguin (1973) (E) *
Mystery to Me (1973) (F) ***
Heroes Are Hard to Find (G) (1974) **
After visionary leader Peter Green left, the band went through five years of transition. How do you get from Peter Green’s British blues to Rumours? That shift can only be understood through an understanding of this period. It is virtually forgotten these days, and while the records as a whole were quite uneven, there are some fantastic songs scattered about. Bob Welch was crucial during this time, and he was criminally omitted from the list of inductees when the Mac were inducted into the Hall of Fame. Quite simply, without Welch, there would not have been a Mac for Buckingham and Nicks to join by 1975. He and Christine McVie kept it afloat during these transitional, lean years. Christine is a huge presence during this period as well, and does not have to compete with Ms. Nicks.

Classic Mac:
This is the Fleetwood Mac most radio listeners know. With the addition of California folk duo Lindsey Buckingham and Stevie Nicks, the magic formula was finally found. Compare Rumours or Mirage to the Peter Green years, and you’ll see why I said this is the most drastic transformation in rock and roll by any major band. Buckingham and Nicks bring such distinct sensibilities, and neither are rooted in the blues. It is Southern California pop mixed with a healthy dose of Nicks' hippie/gypsy ethos. Buckingham is the one who gives the band its unity in sound. He is an incredible guitar player, fantastic songwriter and singer, and genius producer/arranger. Add to that Christine McVie’s continued evolution as a top notch pop songwriter/singer, and you can understand why for a decade they were a constant presence on the charts.

Fleetwood Mac (1975) (H) ****
Rumours (1977) (H) *****
From the outset, it was clear that this was a new Fleetwood Mac. Appropriately titling their new record simply Fleetwood Mac, this might as well have been the debut record of a brand new band. Look at the hits/well known tunes from these two records: “Rhiannon,” “Say You Love Me,” “Over My Head,” “Landslide,” “Dreams,” “Don’t Stop,” “Go Your Own Way,” “The Chain,” “You Make Loving Fun” and “Gold Dust Woman.” Rumours especially was filled from start to finish with a-list material. Most are familiar with the soap opera drama going on behind the scenes (and played out often in these songs) during the recording of Rumours. Nicks and Buckingham were breaking up, Nicks had a brief affair with Fleetwood, John and Christine McVie were divorcing. Amidst all of this, they managed to produce one of the biggest selling records of all time.

Tusk (1979) (H) ***1/2
Far from attempting to just recreate past glories, the band really tried to do something different on the follow-up to Rumours. Lindsey Buckingham took the production reigns over on this sprawling double, throwing in some very experimental tracks (the title track, for instance, featuring the USC marching band). Like many doubles, this could have been trimmed to make a stronger single, but there is some fantastic material here nonetheless. Stevie Nicks’ “Storms” is gorgeous.

ABOVE: The always beautiful Stevie Nicks also possesses one of the most unique and powerful female rock voices

Fleetwood Mac: Live (live) (1980) (H) ***
Excellent live record from their peak. Not a lot of surprises here, but energetically played.

Mirage (1982) (H) ***
They step back from the experimentation of Tusk and produce a straightforward pop/rock record. Some good songs here (“Hold Me,” “Gypsy”), but the most forgettable record from this era.

Tango in the Night (1987) (H) ****
This record had some big hits, yet I still feel it is often overlooked. It was Lindsey Buckingham’s swansong with the band until he returned a decade later. The production is meticulous and representative of Buckingham’s over-production-as-artform. But mainly, this is a hell of a set of songs from all three songwriters. Christine hits the mark as usual with a couple of killer pop songs with “Little Lies” and “Everywhere.” Nicks’ “Seven Wonders” is one of her best and Buckingham really delivers with “Big Love,” “Caroline” and the title track. It is definitely of its time with heavy 80’s + Buckingham production, but it is also fantastic.

Interlude:
Behind the Mask (1990) (I) NR
Time (1995) (J) NR
Without the visionary production leadership of Buckingham, the Mac were adrift. These are justly forgotten, although Time has a rather intriguing line-up of has beens. Had this group of people joined forces in the 70’s, they could have done something really cool.

Reunion:
The Dance (live) (1997) (H) ****
Say You Will (2003) (K) ***
Fleetwood Mac: Live in Boston (live) (2004) (K) ***
Extended Play (EP) (2013) (K) ***
The reunion of the classic Rumours line-up was surprising considering the apparent animosity within the ranks of the band. You do have two ex-couples, afterall. But the live reunion and subsequent record were a hit, with Lindsey Buckingham and Stevie Nicks both returning to the fold in top form. In fact, with the jawdropping acoustic “Big Love” and a burning workout on “I’m So Afraid,” Lindsey Buckingham emerges as an extraordinary guitar player. After the triumph of The Dance, Christine McVie decide to go into semi-retirement, so they have been a quartet since then, although there are rumours that Christine may be rejoining the fray soon.


ABOVE: Lindsey Buckingham's incredible solo performance of "Big Love" from 1997's The Dance. That guitar playing!

Compilations:
The Best of Peter Green’s Fleetwood Mac (compilation) (2001) (A, B) ****1/2
Greatest Hits (compilation) (H, I) (1988) ****
25 Years – The Chain (compilation box set) (various) (1992) ****
The Very Best of Fleetwood Mac (compilation) (2002) (H) ****
It took awhile, but finally a professional, good sounding, well put together compilation of the Peter Green years is available. Most everything that is essential is here, including some of their best songs that were only released as singles, like “Black Magic Woman,” “Albatross,” “The Green Manalishi,” “Dragonfly.” If you want a one stop for the Peter Green years, here it is. The Mac have so many hits that it is hard to screw up a compilation covering the Rumours line-up. All of these above contain most of the essentials, although the box set (now out of print) was somewhat of a lost opportunity with its haphazard programming.

Solo Work:

Many of the current and former members of FM also released solo work. I am only familiar with Lindsey Buckingham, Stevie Nicks and Christine McVie. McVie's records prove an interesting thing. Her songs work so well within the larger framework of an FM record in part because her tunes offer nice, pop contrast to the more intense, insular work of Buckingham and the gypsy/hippie/mysterious vibe of Nicks. But listening to her three solo records shows that full albums of just McVie pop songs gets old pretty quick.

As for Buckingham, I've got all eight of his solo records. With him, it depends on how you feel about what some consider his strengths as a producer and others view as self-indulgence. The meticulous and quirky production on FM's Tusk and Tango in the Night...that is basically what his solo work sounds like. Then add that he has even less restraints, as he is not really worried about keeping a brand going. I think Live at the Bass Performance Hall (live) (2008) **** may be where to start, as it features some choice solo tunes, great renditions of some Mac cuts and several showcases for his jawdropping acoustic guitar playing. Everything else is hit and miss, but almost all of his records feature some stellar tracks.

Not surprisingly, Stevie Nicks had the most solo success. I don't have any of her studio records, although I understand several are quite good. Crystal Visions - The Very Best of Stevie Nicks (compilation) (2007) **** is a fantastic sampling of her solo hits. Interesting story behind her killer song "Stand Back." If you listen closely, notice the chords are the same as Prince's "Little Red Corvette." That is no accident, as Prince co-wrote "Stand Back" with Nicks. She told a funny story in an interview that has always stuck with me about Prince's strange genius. He came to the studio to lay down that pounding synth part. As Nicks told it, he hardly said a word, not even "hello," walked in and nailed that rhythmically complex and awesome synth line, and then walked out. Again not saying a thing.

(A) Peter Green, Jeremy Spencer, John McVie, Mick Fleetwood
(B) Peter Green, Jeremy Spencer, Danny Kirwin, John McVie, Mick Fleetwood
(C) Jeremy Spencer, Danny Kirwin, John McVie, Mick Fleetwood
(D) Bob Welch, Christine McVie, Danny Kirwin, John McVie, Mick Fleetwood
(E) Bob Welch, Christine McVie, Bob Weston, Dave Walker, John McVie, Mick Fleetwood
(F) Bob Welch, Christine McVie, Bob Weston, John McVie, Mick Fleetwood
(G) Bob Welch, Christine McVie, John McVie, Mick Fleetwood
(H) Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie, Mick Fleetwood
(I) Stevie Nicks, Christine McVie, Billy Burnette, Rick Vito, John McVie, Mick Fleetwood
(J) Christine McVie, Dave Mason, Bekka Bramlett, Billy Burnette, John McVie, Mick Fleetwood
(K) Lindsey Buckingham, Stevie Nicks, John McVie, Mick Fleetwood

A Special Dez Record Guides Presentation: The Steve Winwood Musical Odyssey

We recently had some friends over to the house, and had one of those cable music channels playing for the background music. It was the 80’s channel, and Steve Winwood’s “The Finer Things” came on. I commented that Winwood was awesome. My friend looked at me like I was nuts and said “he’s terrible.” I said that Winwood is one of the most talented overall musicians ever to appear on the rock/pop scene. “What?” After exploring my friend’s ignorance further, I discovered that to him, Steve Winwood meant 80’s AOR synth pop.

Another good friend of mine who likes baseball a lot more than I do used to talk of the ‘Nolan Ryan Syndrome,’ referring to someone who does great things, but the expectations are so high that even what would normally be a successful stretch in a career still looks like a disappointment due to impossibly high expectations from things done earlier in the career. If I remember correctly, this referred to after Ryan’s Astros career when he went to the Rangers, where he was good but not the legend people thought he should continue to be. This person reads GNABB fairly regularly, so do I have that right?

Anyway, that is a long way of trying to capture the musical career of Steve Winwood. Amongst musicians who know music, Winwood is hugely admired. One of the most soulful white vocalists of the rock era, he is also a multi-instrumentalist who can play jazz piano or stand toe to toe on guitar with Eric Clapton. He burst onto the scene in the mid-1960’s at the age of 14 as the wunderkind singer/keyboardist for Spencer Davis Group, immediately gaining critical accolades, with his voice often being compared to Ray Charles. Again, that is a scrawny white British teenager being compared to Ray Charles. He soon left to form and lead the more adventurous Traffic, made one record in one of the first true supergroups, Blind Faith, and finally embarked on a fitfully successful solo career. But for a guy many pegged early on as one of the greats, a guy who Jimi Hendrix supposedly wanted to form a group with after the demise of the Experience but was too nervous to ask…as successful as he has been his career in its entirety still seems like wasted potential. As many talents as he has, I think his Achilles Heel is consistent songwriting, which has kept him from becoming the truly great artist that he should be.

SPENCER DAVIS GROUP:

But for the talents of Winwood, the Spencer Davis Group would be just one of many merely competent British invasion groups who mainly feasted on R&B covers. I would not recommend any of their studio records, but one of many decent budget compilations is fine. There are really only two essential songs from this group, and they still to this day are a rush of soulful energy. “Gimme Some Lovin’” (wherein the 17 year old Winwood really does stand next to the great soul singers) and “I’m a Man” (not to be confused with the more famous Muddy Waters tune “Mannish Boy.” Different song entirely.)

TRAFFIC:

Wanting to explore more adventurous musical territory, Winwood left the Spencer Davis Group and joined up with likeminded musicians Jim Capaldi (drums), Chris Wood (sax, flute, other woodwinds) and Dave Mason (guitar) to form Traffic. Retreating to a country estate, they holed up and got their sound together. I think that Traffic features Winwood’s finest work, deftly combining folk, psychedelic, jazz, rock and R&B influences for a potent, adventurous blend. There are really two phases of Traffic. One is the tug-of-war between Dave Mason’s more straightforward rock/pop sensibilities vs. the team of Winwood/Capaldi’s jazzier, experimental work. Once Mason left for good (he left and returned three times), Traffic disbanded long enough for Winwood to be a part of the mostly disasterous supergroup Blind Faith. Traffic then reformed sans Mason and it was firmly Winwood’s vision of jazzy jams.

Mr. Fantasy (UK only) (1967) ***
Heaven Is In Your Mind (US only) (1967) ****
As was the common practice at the time, the UK vs. U.S. release of their debut differed in both tracks and running order. The U.S. version is superior, as it includes important singles that in the UK were not included on the record. You only lose some minor Mason tunes from the UK release in exchange for some great folk/psych singles of the era. Many of these songs sound a bit dated (the pastoral, folk/psychedelic vibe is definitely of its time), but it is still quite enjoyable and adventurous. The standout, of course, is “Dear Mr. Fantasy,” one of the greatest songs of the 1960’s. Listeners who mainly associate Steve Winwood with his smooth 80’s synthesizers need to listen to this song to hear an incredible guitarist at work.

ABOVE: Many casual music fans do not realize that Steve Winwood is an excellent guitar player

Traffic (1968) ****
A great and varied listen, primarily due to the Mason vs. Winwood/Capaldi power struggle. Divided about evenly between both styles, it combines for a fantastic record. Winwood’s “(Roamin’ Thru the Gloamin’ With) 40,000 Headmen” is creepy, groovy and mysterious all at once, while “Who Knows What Tomorrow Will Bring” is a funky joy. But the highlight does belong to Mason with his signature tune, “Feelin’ Alright.”

Last Exit (1969) **
Mason left/was booted after the debut record. He returned for the sophomore effort and then was booted again. The band decided to disband after that, but still owed The Man one more record, so this hodgepodge was hastily assembled. The studio side is quite good, featuring three recent Traffic singles and two Dave Mason solo singles that conveniently featured the rest of Traffic backing him. The live side is terrible, though. The recording sounds like a bad bootleg, and the tunes/jams are uninspired.

NOTE: Traffic disbanded and Winwood formed Blind Faith with Eric Clapton. After the brief Blind Faith detour, Traffic reformed.

BLIND FAITH:

Blind Faith (1969) ***1/2
After the first phase of Traffic disbanded, Winwood went in search of a new band. He formed one of the first and still most legendary supergroups in rock history. Joining forces with Eric Clapton and Ginger Baker from the recently disbanded Cream and bassist Ric Grech, Blind Faith alas is more about the potential than what they actually did. Given more time and if Clapton had remained interested, this could have been one of the great rock bands. What is great, though, is truly great on their one record. “Had To Cry Today” is a solid heavy rocker with a killer riff and spirited guitar duels between Clapton and Winwood, and “Presence of the Lord” features inspired soloing as well. “Can’t Find My Way Home” is one of my Top 10 favorite songs, a stunning acoustic tune written by Winwood (see, he can write great material if he wants to). Unfortunately, the rest of this record is not that great, and they were clearly filling space by allowing Baker to drum solo over the 15 minute snoozer “Do What You Like.”

TRAFFIC MACH 2: Blind Faith disbanded under the crushing expectations and Clapton went to play with the looser Delaney and Bonnie.

John Barleycorn Must Die (1970) ****
Winwood started work on a solo record in 1970 after Blind Faith imploded and Traffic was a thing of the past. But once he called in Capaldi and Wood to help, it quickly became the rebirth of Traffic. Without competition from Mason, they could fully explore their jazz/rock improvisations, like on the eight minute instrumental opener “Glad.” The title track is an arresting folk tune, while “Empty Pages” features the funkiest keyboard solo of Winwood’s career.

Welcome To the Canteen (live) (1971) ****
Dave Mason returned once again for about a week for a short tour, and this live recording is from those shows. I love this. It is loose, energetic and inspired. There is a rhythmic “40,000 Headmen” that outdoes the studio version, and Mason’s “Sad and Deep As You” and “Shouldn’t Have Taken More Than You Gave” are amongst his finest tunes. But the two extended jams are where it’s at, an incendiary “Dear Mr. Fantasy” and a raucous, almost going off the rails (Winwood and Mason are never quite in sync, symbolic of Mason’s entire Traffic tenure) “Gimme Some Lovin’” closes things out. I used to not really like this record, but in recent months it has hit me hard. Love it.

The Low Spark of High-Heeled Boys (1971) *****
Shoot Out at the Fantasy Factory (1973) ***1/2
On the Road (live) (1973) **
Low Spark represents the pinnacle of Traffic’s output. The stunning 11 minute title track is, in my view, the most successful rock/jazz fusion anywhere. “Rainmaker” also features some fantastic, expansive playing. The Capaldi sung rockers “Rock and Roll Stew” and “Light Up Or Leave Me Alone” provide perfect contrast to the otherwise dreamy, midtempo feel of the rest of the record. Shoot Out could really be titled ‘Low Spark, pt. 2,’ as it is a continuation of the same sound. Just not as great a batch of songs. The rocking title track and “(Sometimes I Feel So) Uninspired” are the highlights. On the Road should have been great, a double live album from the Shoot Out tour, but the expanded jams go on too long without ever really catching fire.

ABOVE: Latterday Traffic

When the Eagle Flies (1974) ***
Far From Home (1994) ***
Last Great Traffic Jam (live) (2005) ***
Traffic Gold (compilation) (2005) *****
Winwood closed the book on Traffic in ’74 with a record that both looks back (the extended tune “Dream Gerrard” is fantastic) and looking ahead to his poppier, more concise solo work. In 1994 Winwood reunited with Capaldi for a record that really sounds like a good Winwood solo album. But they called it Traffic (Wood had died, and Mason was not invited). There are several Traffic compilations out there, but Traffic Gold is perfect. Honestly, it is all most fans need, and if I were to compile a two disc Traffic compilation, it would look almost exactly like Gold.

GO:

Go (1976) NR
Go Live from Paris (live) (1976) NR
Winwood worked briefly with Japanese composer Stomu Yamashta on the Go project. I probably should hunt these down. I’ve heard a couple of songs that are on Winwood’s box set, and they are interesting.

SOLO:

Steve Winwood (1977) **
Ah, the weight of expectations. Long admired as one of rock’s most talented musicians, expectations were huge for Winwood’s first proper solo record. And it was a huge letdown. Uninspired songwriting, cheesy keyboards and for a man renowned for his bold sonic explorations, it was way too safe, smooth and pop.

Arc of a Diver (1980) *****
One of the great DIY records. Winwood retreated to his home studio and recorded his sophomore effort completely alone, playing every instrument, recording, producing and engineering. While featuring heavy synthesizers that today do sound dated, Winwood’s soulful singing keeps the songs grounded. “While You See a Chance” may be a cheesy self-help tune, but its sweeping melody justifies its status as his first solo hit. The title track, dance track “Night Train” and the soulful “Spanish Dancer” are also highlights. I admire the hell out of him for recording this completely on his own, and as a record created solely by one man, it sounds cohesive and has a solid sound all the way through. Get past some of the dated keyboard sounds and some of the dance/disco grooves of the day, and this still really does hold up.

Talking Back to the Night (1982) **
A similar approach as AOAD, but much less inspired songs. And I do think he does enlist some limited outside help on this. Synth pop tune “Valerie” and the title track are the best songs.

Back in the High Life (1986) ****
If I told you that this record was slick, overly produced, AOR pop music, I doubt you’d get too excited. But when it is done this damn well, this professionally, you’ve got to admire it. This record was huge in the mid-80’s, and for a year or so it propelled Winwood near to the top of the pop/rock mountain. Again, his soulful singing saves many of these songs from being too slick. “Higher Love,” “Freedom Overspill,” “Back In the High Life Again” and “The Finer Things” were all big hits and are all great pop songs of the era. Not to mention that Winwood was sporting a fantastic 80's mullet.

ABOVE: The 80's mullet period

Roll With It (1988) **
Refugees of the Heart (1990) **
Junction Seven (1997) *
The pressure and expectations for following up BITHL were huge, and he choked. Over and over again. RWI tries to recapture the BITHL formula and it sold a lot of copies, but the songs, on the whole, suck. The other two are not even worth discussing.

ABOVE: Steve Winwood and Eric Clapton go way back together. As bandmates in the doomed Blind Faith and as frequent collaborators. Two artists who should have accomplished more than they did, both together and apart.

About Time (2003) ***1/2
Nine Lives (2008) ***
Live From Madison Square Garden (with Eric Clapton) (live) (2009) ****
Winwood has rebounded nicely in the past decade. While not prolific, he has at least regained some respect and artistic integrity. AT is fantastic, where Winwood eschews the synths entirely and jams out on his Hammond B-3. He finally reminds us that he is a great musician again. Winwood unexpectedly joined forces with Blind Faith mate Eric Clapton for a series of very well received shows. Two of our most talented but underachieving artists. This is a great live set, where they dip into Blind Faith, Traffic and solo songs from both artists. (Yeah for dusting off “Forever Man,” one of the most underrated Clapton solo songs. And it is a cool version, with Winwood, the far better singer, taking some of the verses). Winwood, by the way, stands toe to toe with Clapton on the guitar duels.

Chronicles (compilation) (1987) ***
The Finer Things (compilation box set) (1995) ****1/2
Revolutions (compilation box set) (2010) ****
Revolutions (compilation) (2010) ****
No compilation captures all of Winwood’s great moments, but some come close. Chronicles is confounding and should have been the perfect solo compilation, but some of the choices and omissions are real head scratchers. The Finer Things is unfortunately out of print, but it is worth the search. With Winwood’s varied career, it serves the same purpose as Clapton’s Crossroads box set, collecting tunes from every phase of his career, grabbing highlights from Spencer Davis Group, Traffic, Blind Faith, Go and solo, as well as sprinkling in some rarities for the collector. The more recent Revolutions box set takes the place of The Finer Things, and generally does a decent job, even if it does have a couple of crucial omissions. The single disc version of Revolutions is a decent introduction/sampler, picking some tunes from every phase of his career for the neophyte.

Dez Record Guides: Devo

Novelty act, one of the most innovative musical pioneers of the last 40 years, or barely listenable synth act? It depends on at what period you are looking at their work. Because they have been all of these things. Sometimes the strangest of artists come from the most bland of places. Devo was formed by several students at Kent State University in Ohio in the early 70’s (co-founder Jerry Casale witnessed the Kent State shootings on campus). The core of Devo was a set of brothers, Jerry and Bob Casale and Mark and Bob Mothersbaugh. Mark and Jerry have been the leading creative forces of the band.

Devo was an unusual group from the beginning in that they started with a philosophy and built their group from that. The name comes from their theory of De-Evolution, which is that “instead of continuing to evolve, mankind has actually begun to regress, as evidenced by the general dysfunction and herd mentality of American society.” At times used as a satire, but often the theory seems to be taken seriously by the group. It informed not only their early music, but also their visuals, which often evoked fascist conformity (and clearly borrowed heavily from Kraftwerk). The music was purposefully mechanical and soulless. Some didn’t get the joke or the irony, typically clueless Rolling Stone magazine disliked them from the beginning, calling them “fascist clowns.” Others were impressed. Early backers included Neil Young (who had them score one of his films before they released their debut and borrowed heavily from them on his own controversial Trans album), David Bowie (who helped secure them a record deal), Iggy Pop and Brian Eno (who produced their debut).

If you want to take the generous view, you could say the arc of their music has been an elaborate exposition of their de-evolution theories, because it has been a steady decline in quality and creativity. I’m not sure that is what they meant to do, though. Perhaps they just lost inspiration and ran out of ideas. Their early work is amongst the most important and creative of the New Wave era. The first four records are the only ones you need to hear, you can dismiss the rest of their discography altogether, although their most recent release was a nice return to, I would say, 1980-81 era form.

Hardcore Devo: Vol. 1 (compilation of demos) (1974-77/1990) ***
Hardcore Devo: Vol. 2 (compilation of demos) (1974-77/1991) ***
If we are going chronologically, we start here. Before their remarkable debut, Devo already had developed their unique musical philosophy. There are a handful of early versions of tunes that would appear on their first two records or as early singles, but the vast majority of this material is released here for the first time. It is primitive (all recorded on four track) but wonderfully weird. So weird at times it is a little spooky. Essential for fans who are curious as to the origins of the band, and quite a few of these songs, like “Mechanical Man,” “Auto Modown,” “I Been Refused” and the creepy misogynistic “Bamboo Bimbo” really do stand out.

Q: Are We Not Men? A: We Are Devo! (1978) *****
This is why they are important, this is why they are great. Devo’s debut stands as one of the best and most innovative New Wave releases and from its own geeky perspective, it out-punks punk music because it really is subversive vs. being just empty attitude. “Uncontrollable Urge” and “Gut Feeling / (Slap Your Mammy)” rock really hard, something usually not associated with Devo. Their de-evolution theories are on full display – “Mongoloid,” “Too Much Paranoias” and manifesto “Jocko Homo.” But the greatest example of what they stand for is their transformative, shocking (at the time) cover of The Rolling Stones’ “(I Can’t Get No) Satisfaction.” It is just remarkable. All soul and flesh is sheered off to make a tense, robotic song that somehow exhibits even more frustration than the original. The key to the song and to this whole record, really, is that with the off putting robotic rhythms and jerky singing (from primarily Mark Mothersbaugh) the tension is wound up to unbearable levels but, crucially, is never released. There is no resolution to the tension. I cannot recommend this record enough. Also, Devo are primarily a traditional rock band on this record, the electronics and synths are in the background. That will change soon and they will become almost completely mechanized, again a realization of their theories of societal de-evolution into a mechanized, small minds/big technology black hole.

Duty Now for the Future (1979) ****
I’ve got a soft spot for the sophomore effort. I spent many an hour in the early 80’s listening to DNFTF whilst playing my Atari 2600. It goes well with Atari games. Absolutely it is a letdown from the phenomenal debut, has some filler and starts to tread a little on novelty territory (“Pink Pussycat”), but it still manages to be disturbing in some ways, like with “Triumph of the Will,” which, as Allmusic states, “embraces fascism as a satirical target without bothering to make it sound as if they disapprove.” When it was released it was panned by critics, but its reputation has improved dramatically over the years. In fact, DNFTF is now regarded as a pioneering record it its own right as it is one of the earliest new wave records to feature heavy use of synthesizers, paving the way for the synth pop of much of the 80’s. Like it or not. The highlights are really strong, like the Devolved cover of “Secret Agent Man,” the great, creepy “The Day My Baby Gave Me a Surprize,” “Clockout,” the unnerving “SIB (Swelling Itching Brain),” and concert staple “Smart Patrol/Mr. DNA.”

Freedom of Choice (1980) ***
DEV-O Live (live) (EP/Full Show) (1980/1981/1999) ***/****
The switch to synth pop band was completed with FOC, which was their biggest commercial success (thanks in large part to the popularity of “Whip It”). From here on out they are a much less interesting band. “Whip It” and “Girl U Want” stand as two of their most lasting songs, and a handful of others here are good. But there is a sameness that creeps in with the reliance on synths. The live EP was expanded to a full show in 1999, and it is fantastic. Surprisingly (due to their reliance on synthesizers and programming), Devo were a great live band. The sound is fuller than in the studio and they play with a lot of energy, and the FOC material is uniformly stronger live than in the studio.


ABOVE: The video for "Whip It" was a staple on MTV in the early 80's

New Traditionalists (1981) ***
New Traditionalists – Live in Seattle 1981 (live) (1981/2013) ****
The last remotely important or good Devo record (well, their latest is good), NT was a reaction to their popular success. Their reaction was not real positive. Disdainful of casual fans of “Whip It” who didn’t bother to understand their whole de-evolution message, the fantastically snide “Through Being Cool” serves as a new manifesto. Synthesizers are even more prominent, and while there is a sameness that falls over the entire record, it is a pretty cool sound. “Jerkin’ Back and Forth,” “Beautiful World” and “Super Thing” are also highlights. As with the previous record, NT now has a tour document available that is excellent.

ABOVE: For each of their records, they developed a unique visual concept. For the New Traditionalists era, they each wore a JFK-like plastic pompadour

ABOVE: Another look from the time

Oh No! It’s Devo! (1982) *1/2
Shout (1984) *
Total Devo (1988) *
Now It Can Be Told: DEVO live at the Palace (live) (1989) NR
Smooth Noodle Maps (1990) *
If they wanted to prove their de-evolution theory musically, they have done a superlative job. These are terrible and unlistenable. Lacking in inspiration, memorable songwriting or good playing. ON!ID! is of interest due to their controversial decision to turn one of John Hinckley, Jr.’s poems into a song (the would-be-assassin of Ronald Reagan), and Hinckley is given co-writing credit. The only track worth hearing from Shout is actually a fantastically Devolved version of Hendrix’s “Are You Experienced?” But that is it. Mark once said that he wanted Shout to prove that guitars were obsolete and everything in music could now be mechanized. Maybe so, but does that also have to mean good songwriting is also obsolete?

E-Z Listening Disc (1981/1984/1987) ***
In 1981 and 1984, Devo offered cassettes to members of their fan club of them doing some of their better known songs as Muzak. In ’87, they released a disc of these efforts. A gimmick, sure. But listening to the disc, much of it is quite creative and fits right in with later self-aware synth cool lounge acts. Obviously I don’t listen to this regularly, but when I do pop it in it always brings a smile. They were successful in what they were trying to do, and the instrumental, tongue-in-cheek smooth versions of their songs often do reveal a surprisingly strong sense of melody underlying their tunes that can be covered up by the synthetic, jarring, jerky sound of the originals. And there is more variety and interesting things going on here than in real elevator music. It would be a strange, quirky dentist indeed who would have this playing in his office.

Something For Everybody (2010) ***
Something Else For Everybody (2013) **1/2
Devo justly disbanded after 1990’s SNM, but their comeback record is good and has a lot of life in it. The guitars make a welcome return to help balance the still heavily used synths. There are some memorable pop songs here, and “No Place Like Home” is as beautiful as it is unexpected. They had a trove of songs, and so allowed their fans to pick the tracklist online. SEFE contained the leftovers. They also released some singles during this period that were good, especially the humorous “Don’t Roof Rack Me, Bro (Seamus Unleashed)” (a song from the perspective of Mitt Romney’s dog who was notoriously put in his kennel and tied to the roof of the car for a long family road trip).

Devo’s Greatest Hits (compilation) (1990) ***
Devo’s Greatest Misses (compilation) (1990) ***
Hot Potatoes: The Best of Devo (compilation) (1994) ****
Pioneers Who Got Scalped: The Anthology (compilation) (2000) ****
Testifying from personal experience, it is exceedingly hard to put together a good Devo compilation that hits the high points, gives an accurate view of the band at their best, and yet avoids the massive amount of bad material. Hot Potatoes is probably the best single disc collection if you can still find it. Hits and Misses should be both owned or neither. They are companion pieces. PWGS is a good double disc collection that is generous with rarities, but comparing the brilliant first disc with the crap on disc 2 does tell the story of their decline better than any words could.

ABOVE: In recent years, Mark Mothersbaugh has scored numerous films and appeared on the children's show 'Yo Gabba Gabba' showing kids how to draw. Whould you leave your kid alone with this guy?

In sum, Devo started out with the potential to be one of the most significant bands of the New Wave era and beyond. They were smart, subversive and just catchy enough. But the debut is the only truly brilliant record they made, and after the fourth record they were simply horrible. But having the debut and then cherry picking songs from the rest does provide a potent set of songs.

Dez Record Guides: Jimi Hendrix

Jimi Hendrix’s discography is one of the most confusing of any major rock artist. During his lifetime, things were pretty simple. He released only three studio records with the Jimi Hendrix Experience, a compilation and a live album (of new material) with the shortlived Band of Gypsys. That’s it. The confusion enters the picture with the multitude of posthumous releases containing massive amounts of previously unreleased material. Hendrix was a prolific studio hound, and between 1967-70 he recorded many records worth of material that was not released during his lifetime, much of it intended for his next planned record, an ambitious double or triple album that he was going to call (according to most sources) "First Rays of the New Rising Sun." You have a lot of unreleased material in various stages of development and completion, and you have a legal labyrinth of different parties who claim possession of this unreleased material. A series of controversial heavily edited and posthumously dubbed records were released in the 70’s and 80’s, until Hendrix’s father, Al Hendrix, finally gained legal control of Jimi’s material during the 1990’s. Those controversial releases have been taken off the market, to be replaced by releases under the Experience Hendrix, LLC banner. These releases have been largely well done with little doctoring, and Al Hendrix wisely hired Eddie Kramer, Jimi’s producer during much of his lifetime, to oversee the compilation, remastering and re-release of all of this material. Since the 90’s, Hendrix’s legacy has been in good hands.

This Guide will first address the core discography that was released while Jimi was alive and is therefore the only material with Hendrix’s actual stamp of approval, and then the posthumous Experience Hendrix releases only, plus I will discuss the myriad live recordings available and give some suggestions there as well. I will also discuss compilations.

Why is Jimi Hendrix almost universally acknowledged as the greatest rock electric guitarist? Even if you (as I do) prefer some other players, it is ignorance to try and argue anyone else was “better” or more significant or more influential. Few things in music are absolute fact, but this is one of them. There is pre-Hendrix and post-Hendrix electric guitar. It is as significant for rock music as the dividing line of B.C. and A.D. to religious history. Sometimes lost in the guitar worship are the facts that he was also a great songwriter (with no formal training), an expressive singer, visionary arranger and a master (and perfectionist) in the studio. But I guess it does always come back to the guitar. He was technically dazzling, mastered the use of volume and distortion, the use of effects and studio magic (he got sounds that are still a mystery to people who try to recreate them.) As Guitar Magazine said in 2012, Hendrix “changed everything…monumental rebooting of guitar culture ‘standards of tone,’ technique, gear, signal processing, rhythm playing, soloing, stage presence, chord voicings, charisma, fashion and composition...He is guitar hero number one.”

Core Discography

Are You Experienced? (Jimi Hendrix Experience) (1967) *****
The greatest, most stunning, life changing debut record ever? I think so, at least if you are talking about the American version of AYE (SEE note below photo). Peoples’ reactions to this record when it came out were a mix of disbelief, excitement and fear. Pete Townshend supposedly got so depressed that he claims he contemplated giving up the instrument entirely. One of the keys for me, though, is that beneath all of the revolutionary sonic experimentation lie a set of just great songs. Hendrix never forgot that you still needed the song. Hendrix spurred everyone to up their game after AYE, they had no choice if they were going to stay relevant. One other thing I found impressive was that Hendrix was learning to write songs on the fly. The originals here are his first songs he ever tried to write. Not bad to have “Purple Haze” be the second or third tune you ever pen. Two other things make AYE what it is. Manager Chas Chandler (formerly of The Animals) reigns Hendrix in a bit here. Chandler still believed in the three minute single, so that tug of war between Hendrix’s more expansive and experimental tendencies and Chandler’s commercial savvy of forcing Hendrix to stay within pop forms is the perfect balance. And finally, the Experience was also bassist Noel Redding (who never got along with Hendrix, as Redding was a fine guitarist in his own right and always chaffed at being “just” Hendrix’s bass player) and drummer Mitch Mitchell. Mitchell and Hendrix especially had a special chemistry. Hendrix would not have been what he was without those two guys, who were essentially forced on Hendrix by Chandler.

ABOVE: The cover for the American version of Are You Experienced? The practice at the time was still to release different versions of a record in the UK and the U.S. The UK version left off singles “The Wind Cries Mary,” “Purple Haze” and “Hey Joe,” as they were released as standalone singles in the UK with no accompanying record. Instead, the UK AYE included “Red House,” “Can You See Me” and “Remember” in their place, songs which are not on the original American release. But no matter, the CD version that is now available has all tracks from both versions, plus single “Stone Free” and b-sides “51st Anniversary” and “Highway Chile,” making the record now a 17 track tour de force. I find this 17 track version acceptable and legitimate, because if you compared these sessions to how long people take nowadays to make records, all 17 tracks would by today’s standards be considered part of the sessions for a single record recorded over several months.

Axis: Bold As Love (Jimi Hendrix Experience) (1967) ****
The follow-up may not be quite as jawdropping, but it is every bit as influential and important. He also expanded his sound a bit, showing a delicate lyrical side with “Little Wing” and “Castles Made of Sand.” He continued to break new ground in use of feedback and phasing.

ABOVE: Axis: Bold As Love. Interesting story: With a looming release deadline, Hendrix supposedly left the tapes for the mixed version of Side One in the back seat of a taxi and they were never recovered (imagine how much those would be worth now! The cabbie probably tossed them in the trash after cleaning out the cab for the night). Hendrix, Chandler and Eddie Kramer had to remix the entire side in one overnight session. Not satisfied with the sound of “If 6 Was 9,” they resorted to a cassette version that Noel Redding had, smoothing the tape out with an iron as it had gotten wrinkled in Noel’s possession.

Electric Ladyland (Jimi Hendrix Experience) (1968) *****
A sprawling double record that, to me, is the pinnacle of what Hendrix accomplished. Kind of like with The Beatles’ White Album, what is usually the weakness of double albums (lack of focus, sprawl, rabbit holes) is a strength here. Chas Chandler got so frustrated with the sprawl, excess and constant stream of groupies and hangers-on that were in the studio that it was here where he and Hendrix parted ways. But as chaotic as it seemed on the surface, Hendrix knew what he wanted to accomplish and he did. You’ve got tight pop/rock with hooks galore (“Crosstown Traffic,” “Long Hot Summer Night,” Redding’s “Little Miss Strange”), smoldering blues workouts (the 15 minute slowburn “Voodoo Chile” or the more concise “Come On”), psychedelic soul (title track, “Burning of the Midnight Lamp”), sidelong proggish experimentation (“1983…(A Merman I Should Turn To Be)”) and soul/funk jams (“Rainy Day, Dream Away”). And I haven’t even addressed the absolute perfection that is Side 4. It opens with the burning jam “Still Raining, Still Dreaming,” then moves into the intense commentary on the increasing violence of the civil rights movement in “House Burning Down,” followed by the greatest and most transformative cover in all of rock, Hendrix’s radical reinterpretation of Bob Dylan’s “All Along the Watchtower.” What was an acoustic folk number for Dylan, Hendrix turns into an electric maelstrom with cascading guitar lines. Even Dylan started to perform Hendrix’s version of his own song after that. Side 4 wraps up with the wah extravaganza “Voodoo Child (Slight Return)”, with Hendrix at his hardest rocking and most intense.

Smash Hits (Jimi Hendrix Experience) (compilation) (1968) ****
The only compilation released during Hendrix’s lifetime, it served the purpose of collecting his more concise radio hits, focusing most heavily on the debut record (in fact, there are only two tunes from Electric Ladyland here and none from the sophomore effort). Obviously the collection of songs is amazing, but judging it as a compilation trying to give an accurate picture of the artist up to this point, the picture is incomplete.

Band of Gypsys (Band of Gypsys) (live) (1970) ***
Due to the complex mess Hendrix got himself into due to his habit of signing any contract put in front of him, he found that he owed Capitol Records an album of new original material. But he had just disbanded The Experience, so he had no band. He put together a new trio to play a few gigs and record the shows to fulfill the contract obligation. It was an intriguing group that given more time, could have gelled into something special. Recruiting drummer/singer Buddy Miles and army buddy Billy Cox on bass, Hendrix formed an all-black power trio. Cox didn’t have the technical skills of Noel Redding, but his grooves were deeper and funkier. At these shows, Hendrix really gets down into some intense playing. Honestly, most of this material is still half baked and rough. But the one absolutely essential track is “Machine Gun,” a slowburn 10 minute raging rumination on Vietnam that is one of Hendrix’s finest moments. In hindsight, this record would have been a transitional record into a new and exciting phase of his career had he lived, but it stands as his final officially released statement.

Posthumous Experience Hendrix Studio Releases:

First Rays of the New Rising Sun (1968-70/1997) ****
South Saturn Delta (1967-70/1997) ***
Valleys of Neptune (1967-70/2010) ***
People, Hell & Angels (1968-70/2013) ***
As stated in the intro, Hendrix had been prolifically recording new material in the studio for several years, and he was planning on releasing either a double or even triple record announcing his new direction. What was that direction going to be? As best as we can tell from this material, it was a more soulful, funkier direction. One must be cautious with this music, because he was still working on it and perfecting it when he died, and noting that he was a perfectionist in the studio, I am sure that he would have further refined it before releasing it. But I think Hendrix would have continued to blaze new trails, and this hybrid of soul/funk/rock/blues/psychedelia would have been fascinating to hear in its final form. Producer Eddie Kramer was hired by Al Hendrix to sort through this stuff (after taking all of the inferior, doctored releases off the market) and release it with some sense while trying to stay as true as possible to Jimi’s vision. FROTNRS is Kramer’s attempt to assemble what we are most certain that Hendrix had slated for the new record (the most completed tracks and from what we know from Hendrix’s own notes). The others contain material that could have ended up on it as well, but they also have some looser jams and tunes that Hendrix most likely would have intended to remain in the vaults had he lived. (Being the music geek that I am, I have constructed my own “perfect” next Hendrix album from the material on all four of these albums that would fill the space of a double. You’ve got another ***** record here with the right choices.)

ABOVE: Hendrix and Miles Davis? One of the many “what if’s” had Hendrix lived longer was what would have come of some alleged discussions between Jimi and Miles to work together in the 70’s on some jazz/rock fusion projects. Wow.

Live Recordings

As of this writing, there have been at least 17 posthumous live collections released. More are on the way. I don’t own all of them (or even most of them), but I can give some recommendations and insight into the ones that I am familiar with. They can generally be divided into two categories, Experience recordings and post-Experience. After the transitional Band of Gypsys, it seems that Hendrix was about to settle on a new permanent Jimi Hendrix Experience line-up of Mitch Mitchell on drums and bassist Billy Cox. A lot of the latterday recordings feature that line-up. What I generally have found is that his live recordings are much less disciplined, as he was such a perfectionist in the studio. At the same time, the best of his live material has an intensity that the studio never captured.
Live at Monterrey (Jimi Hendrix Experience) (1967/2007) **** contains his entire legendary set at the Monterrey Pop Festival (including when he burned his guitar onstage), which broke him through in America. I think that the best live recording of the original Experience line-up is on the unfortunately out of print Live at Winterland (Jimi Hendrix Experience) (1968/1987) ****, although the entire sets from this series of shows are now available on the four disc box set Winterland, which I do not have. Four discs of this might be a bit much, but the original single disc sampler was amazing. The best example of latterday live Hendrix would be Hendrix in the West (1968-70/1972/2011) ****. Live at the Fillmore East (1970/1999) *** is a much more expansive look at the shows that produced Band of Gypsys. It is better than that record because while contractually Band of Gypsys could contain only new material, the group actually caught fire more on some of Jimi’s earlier tunes that they tackled those two nights. Hendrix could be off some nights, and they have put those out too. Blue Wild Angel: Live at the Isle of Wright (1970/2002) ** captures his last UK performance, only three weeks before his death. As legendary as his appearance at Woodstock was, it occurred during a transitional period in his career, and he is tentative and distracted on Live at Woodstock (1969/1999) **, not really clicking or comfortable with the ramshackle one off band that he assembled for the gig.

Compilations
Many compilations have been released over the years. Out of print companion pieces The Essential Jimi Hendrix (1978) **** and The Essential Jimi Hendrix vol. 2 (1980) *** were crucial in exposing me to the artist. Experience Hendrix: The Best of Jimi Hendrix (1997) **** and Voodoo Child: The Jimi Hendrix Collection (2001) *** are both decent introductions to the artist, although both are missing some essentials.

Dez Record Guides: The Cure

I think that The Cure is one of the most significant bands to emerge since the late 70's. Never critical darlings, in part because they helped pioneer a generally lambasted genre, they nonetheless gathered a fiercely loyal core following, and at times have gained massive commercial success on the strength of their more pop-oriented hits. There really are two Cures. One are the mopey goth kings and the other is a jubilant pop band. As one of their album titles suggests, Wild Mood Swings. More than just mood swings, their music is bipolar.

When speaking of The Cure, of course, you are speaking primarily of Robert Smith, frontman, singer, lyric writer, guitarist, avatar. Others have spent substantial time as band members and made crucial contributions (Simon Gallup, Porl Thompson, Lol Tolhurst, Roger O'Donnell, etc.) and the music composition for their songs is usually credited to the whole band while lyrics are credited to Smith. But Robert Smith is the only member who has been there from the beginning and he is the face of The Cure. Not only that, he is really the face, the representative, the caricature of an entire subspecies of teenager. The goth teen, often morose-looking but usually not really, sitting in the back of class, wearing black, pale because they only come out at night, heavy black eyeliner (whether male or female), also often very intelligent. Smith is good natured about his status as goth icon, going so far as to voice himself on 'South Park.'

ABOVE: Robert Smith on 'South Park'

Funny personal story. I attended a Cure show in 1992 on the Wish tour. One of my friends, who shall remain nameless, convinced the other three of us going to the show that we will not fit in to the goth convention that would be a Cure concert unless we dressed the part. So we donned the black eyeliner, wore all black and frizzed our hair. Of course when we show up to the non-goth Woodlands Pavilion outside of Houston, 95% of the crowd looks completely normal. And naturally we run into people we know.

Caricatures aside, the music stands on its own merits. Depending on which record you are talking about, it can be waves dark yet comforting, sweet depression, or sharp pop music of the highest order. Sometimes both are on the same record.

Boys Don’t Cry (1980) ****
Note: I am reviewing the American version of the debut, which some technically categorize as a compilation. In Britain it was released as Three Imaginary Boys with a different tracklist. As usual, the American version includes singles that in Britain were released as singles only. The debut doesn’t really sound like anything else in their discography, I think in part because Robert Smith probably did not have as much production/creative control as he would subsequently have. Smith has said that he is not a fan of the record. All of that aside, BDC is a fantastic piece of minimalist, post-punk rock. The thin production that Smith complains about is a strength, actually. The thin guitar and simple rhythms give space to these quite catchy, short songs. They are equally pop (Smith, despite even when he does not want to, cannot help but write catchy melodies) and experimental. A sprightly beginning before Smith and co. would head down the darker paths of the next three records (and help invent goth along the way).

Seventeen Seconds (1980) ****
Faith (1981) ****
Pornography (1982) ****
The gloom and doom trilogy are landmark goth rock records. I guess it depends on how much you enjoy goth. Even though The Cure's overall discography is quite diverse and full of joyous pop music, their reputation with their core audience rests here, and everything that follows either continues in this vein or blatantly rejects it. I find SS to be the most enjoyable, it still has some remnants of the spryness of the debut ("A Forest" and "Play For a Day"), but also moves into the darker territory as well. It has a nice balance. Faith and Pornography are unrelenting in their despair, some may say to the point of caricature. The gray cover of Faith perfectly captures the music within, an overcast melancholy as one song flows into the next. The songs themselves are often hard to distinguish from each other, but I think that is part of the point. It is a mood piece intended to be taken as a whole. It is indeed a gray record, but also beautiful in some ways, like how an overcast gray day is not altogether unpleasant. Pornography, though, has very little beauty to it. It is more aggressive and the bleakest of all, and it splits opinions. For many Cure faithful it is their greatest achievement. The first line you hear on the record is "It doesn't matter if we all die..." and it goes downhill from there. Honestly, I more admire Pornography than love it, but its influence is undeniable.

Japanese Whispters (compilation) (1983) **
The Top (1984) **
Concert: The Cure Live (live) (1984) ***
After the landmark gloom and doom trilogy helped to pioneer goth (both as a sound and teenage subculture) Smith was (surprise) depressed and wanting to shift directions. Where to go after Pornography? The group fell apart around him, so these two records are transitional in every respect. As with many of the latterday Cure releases, there are some fantastic singles surrounded by filler. The filler here is weaker than usual, but the singles are phenomenal. "Let's Go To Bed", "The Walk", "The Love Cats" and especially "The Caterpillar" are 80's pop at its most catchy and innovative. NOTE: Technically JW was a compilation because it collected 1983's singles and b-sides, but it works as a full, new record. Concert is an energetic live show that while nothing here is revelatory, features a tougher Cure than in the studio. "Killing an Arab" is taken at punk speed and energy, a far cry from the BDC version.

The Head on the Door (1985) ****
One of the more consistently great Cure records, it sets the blueprint for most of the records to follow. A handful of truly great singles (in this case, "In Between Days, " with classic depressing Smith lyrics joined with buoyant pop music, and "Close to Me") and moodier album tracks. THOTD marks a dividing line between the goth kings and a more pop, radio friendly direction. And is "Push" their greatest non-hit? Often lost in the mix, but it is one of their best records.

Kiss Me, Kiss Me, Kiss Me (1987) ***1/2
In a certain respect, KMKMKM suffers from the malady of most double albums. With smart editing, you could have a more cohesive, stronger single. But the space does allow for an interesting schizophrenic effect, where on one hand you have a handful of fantastic pop singles ("Catch", "How Beautiful You Are", "Why Can't I Be You", "Hot Hot Hot" and what is definitely one of the great 80's songs, "Just Like Heaven"). But then you have more expansive, languid, experimental tracks that predict the masterpiece to come. Songs that vamp instrumentally for 2 or 3 minutes before Smith even decides to sing. And I really dig "Like Cockatoos" for some reason.

Disintegration (1989) *****
Entreat (live) (1991) ****
Their undisputed masterpiece and most enduring work, Disintegration combines the best of what they had done before and takes it to a new level. Filled with slow to midtempo numbers, it creates a melancholy yet seductive mood like few records do. The singles are amongst their most affecting (“Lovesong,” “Pictures of You” and the none-more-Cure “Lullaby”: "don't struggle like that, I will only want you more...the spiderman is having you for dinner tonight"...oddly romantic or sung from the perspective of a serial killer?), while the more expansive numbers create a gorgeous soundscape. "Prayers For Rain," "Same Deep Water As You" and the title track are epic, expansive, beautiful, depressing, essential stuff. Entreat is a live version of Disintegration that stays fairly close to the original arrangements, but has enough variation to where fans will find it interesting.

ABOVE: Gotta give him credit for staying true to his roots. Even today as a much older and more bloated man, Smith still goes out there in full goth garb and make-up.

Wish (1992) ***1/2
Paris (live) (1993) **
Show (live) (1993) ****
Wild Mood Swings (1996) ***
Bloodflowers (2000) ***
The Cure (2004) ***
4:13 Dream (2008) ***
Bestival Live 2011 (live) (2011) NR
From here on, their records feature some fantastic singles surrounded by decent to good filler. I give a slight edge to Wish (their biggest seller) and Bloodflowers as they have a more cohesive feel to them. Show is a great latterday live recording from the Wish tour.

Compilations:
The Cure are an interesting case, since they definitely view themselves as an album band and present many of their records as a cohesive piece of work, yet they are also one of the greatest singles bands in rock history. Listening to a good collection of Cure singles is like getting into the ring with a heavyweight champ, and he just hits you with one knockout punch after another. Standing On a Beach: The Singles (1986) ***** is essential, collecting The Cure’s singles from their first decade. If I were to make a list of ten essential 80’s records, this Cure collection would be there. It makes sense to then follow it up with Galore: The Singles (1997) *****, continuing on with the next decade of their career. Greatest Hits (2001) **** is a single disc that attempts to cover everything, and there is simply too much to make one disc anything close to definitive. Stick with Standing on a Beach and Galore. Mixed Up (remixes) (1990) ** is a pretty bad collection of remixes for the dance floor. Smith and co. always had an overflow of material, and the four disc box set Join the Dots: B-sides and Rarities 1978-2001 The Fiction Years (2004) **** proves that they had several records worth of A-level material sitting in the wings or stuffed onto b-sides.