Abhijeet Ahluwalia

There are prog rockers, there are producers. And then there’s Todd Rundgren. In any given year of his 40 year career, few artists would have been as active both in front of the microphone and behind the mixing desk as Runt. I could keeping waxing lyrical all night long and still not cover all he’s done, or the impact he’s had. Little wonder then, that British fans are foaming at the mouth at the prospect of seeing Todd perform A Wizard, A True Star in its entirety.

A theatrical show replete with costume changes and props, the extravaganza was initially conceived on tour in England in support of the  2008 Arena record. “Last year’s English promoter came up with the idea,” Todd explains to me over the phone from Hawaii. “Younger acts and electronic artists had been name checking it in interviews and citing it as an influence, and we thought this was a better vehicle to attract a better audience. Word eventually got back to the US and some fans didn’t want to wait until 2010 to see it live, so they got together and did the promotion themselves! We didn’t go to a promoter, it was someone who runs an online station that only plays my music.”

What started with one show in Ohio quickly ballooned into several as crowds took to the idea in the way only a dedicated fan-base can. It is an overused cliché in the music industry to describe an artist’s fans as ‘the most hardcore’ or ‘rabid’, but Todd Rundgren fans are the rare set to whom such definitions can actually be applied. But, even amongst them, there was some unease over the choice of the record to perform.

To understand the significance of A Wizard, A True Star (AWATS), you have to place it in the context of Rundgren’s previous work, the popular Something/Anything? The album remains his best-selling work and got him one of his biggest hits – Hello, It’s Me, which went to No.5 on the Billboard charts. Which is why fans were forgiven for being completely flummoxed by his follow-up, AWATS. It was a complete change of sound and parked very firmly in progressive rock territory. The recording sounded muddled and cacophonic at first, because there was so much going on. Yet, the faithful persevered – slowly picking it apart, layer by layer, to uncover what was arguably the defining prog rock record of the decade.

“A lot of people gave up after Something/Anything? because AWATS was so different from anything I had been doing up till then, and other records at the time,” reflects Todd, then laughs as he says, “The rest of my fans have been with me the whole time and survived the change, and lots of other bizarre excursions and hip-hop experimentations!!”

In fact, the complexity of AWATS became a bit of a stumbling block for Todd himself: “I went back to deconstruct the original master tapes because people couldn’t figure out what to play! I had to do remixes of just certain parts like guitars or bass so we could accurately reproduce the music part of it.”

Did that also force his hand slightly when choosing which musicians would back him up? “Yes,” is the straightforward reply. “It would be tempting to call up people I know who had no direct connection with the project, but I didn’t know if I was on solid ground myself, so I wanted familiar faces. For e.g. I had to fill in the keyboard slots so I first asked Greg Hawkes if he would join, and he was important because he has a lot of the original keyboards that were on the record. He actually has them and remembers how to play the stuff!!” says Todd, laughing heartily like he often does.

“Then I got Roger Powell because he had played some parts before. Unfortunately he is gainfully employed!!! He has a real job he has to go back to, so I went back further and got in touch with Ralph Schukett, so he’ll be pianist in London and Amsterdam.”

Credit: Jean Lannen

Of course, what makes this tour so special is the fact that there is a theatrical element added to the music, giving fans a visual element to the emotive music. This, in itself, presented some unique problems. Not all venues can accommodate this show, so immediately the touring scope was a limited one. And, as Todd points out, people already have a ‘mental movie’ that goes with the record, so he had to create something that, while fresh and interesting, didn’t completely clash with what fans had visualised. Imagine taking the best book in the world and making it into a movie. Then chuck out the script, and replace readers with ridiculously dedicated fans, and you being to get a glimpse of the effort that went into creating this tour.

“We concentrated on reproducing the fashion sense, based it on weird costumes back in the 70s and then that expanded to 12 costume changes. Which means there are music passages where I’m back stage going through a frantic costume change! We have modern day production gimmicks but …a lot of the essence of the song comes from the costume.”

What makes the European shows a fascinating prospect is what the opening act of this opus will be. In the US there were Utopia songs played, amongst others, but Todd remains tight-lipped on what European audiences will get to see. “There will be an opening act but I’m not going to elaborate,” is all he’s willing to divulge.

He’s a lot more forthcoming when confronted with a trickier subject. Cynics would see this entire idea as a way for an old musician to make a quick buck. Certainly, if this was true, Todd wouldn’t be the first musician to try doing it. Is this whole tour just a ruse then, Mr. Rundgren?

“I’m not making any money!!” Todd manages to splutter out after laughing. “I was lucky to break even at the end of the American leg because we have a larger band, crew and production. We’re coming over to Europe and only doing 2 dates with so many people. There is no big payday, at least not yet. As for my age I don’t feel any shame because I’m in my 60s and still have an audience. People did better than me (in the 70s) yet I’m the one who’s still around. My heroes are BB King and Tony Bennett, people who play till they collapse. That’s what a musician is. I could start lying about my age and getting cosmetic surgery but the whole pop-star thing doesn’t last long.”

In fact, Todd has been able to experience the joy that is reserved for very few musicians – seeing fans grow up and bring their children to his shows, thus exposing a whole new generation to his music. “Most tours have been a cross section of age groups. Part of it is the natural evolution of fans becoming parents and forcing their kids along, and some kids come on their own!”

He even credits some of this to the ubiquity of music on the internet, a topic that can and has generated miles of column inches. For Todd though, it’s quite simple: “The internet works!! Yes, it’s having an effect!! It is the domain of a young audience and they’re using it do discover stuff radio isn’t giving them. I’m meeting fans that have discovered me last year and they’re 25. When fans are young they don’t have compartmentalised attitudes towards music. They’re open to different styles and music. With so much stuff I’ve recorded over the years, they’re bound to find something they like!”

All this talk of new generations of fans and 70s prog rock does beg the question – how long can Todd Rundgren go on touring? It is a lifestyle that can take its toll on the youngest of bodies, let alone one that has been slaving out on the road for 3 decades, winning fans the old fashioned way – through the sheer brilliance of a live performance, night after night. Todd himself is realistic about his physical condition and where that leaves him.

Credit: Mark Mawston

“My back is weak. About 2 years ago, I did a tour of Japan and there you play smaller venues where they charge a lot for tickets; these are really tough gigs. In between 2 shows, I wrenched my back really bad, and had to complete the tour on painkillers. I would do the show but the rest of the day was complete fucking misery. Sometimes, the day began by crawling from my bed to the bathroom. Literally crawling. Then I’d somehow get my shoes on and walk around until everything loosened up for me to move, for the 2 hours I’m on stage.

“At 20 you don’t think about it. As you get older and your performance becomes more refined, your day revolves around those 2 hours on stage and the rest is a regime getting ready for that. That’s how it will be for me, the only question is will I crawl or walk!! It’s more and more a mental game; there’s nothing you can do about the atrophy attacking your body but hey, this is way better than a coal mine.”

All through this conversation the one thing strikes me is how amazingly light hearted Todd manages to be at all times. Even a graphic description of the aforementioned day of ‘complete fucking misery’ is said with a chuckle, and I can just imagine him grinning away as he patiently answers my questions over the phone. And that’s what makes Todd Rundgren such a great musician. There are lots of creative geniuses in the music industry. Many have attempted grandiose live shows, some have even succeeded. But it is rare to find a talented, critically lauded musician, who is also popular with the fans, but still manages to keep his sense of humour through the darkest of times. I didn’t ask him if the title was auto-biographical, but I realise I never needed to. Here’s to Todd Rundgren – A wizard, a true star.

Todd Rundgren performs the British Premiere of “A Wizard, A True Star” at the HMV London Hammersmith Apollo on Saturday 6th February 2010.  Box Office: 08700 603 777.  Book Online: www.seetickets.com

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Hola otra vez , pues les dejo otro video de 2 excelentes músicos John Mayer de quien probablemente  ya hallan escuchado y BB king un ícono del blues, sin duda dos virtuosos de las seis cuerdas, en una brillante improvisación ,  de la canción “sweet home chicago” de Robert Johnson espero les agrade …

Seguiremos en offside…

Ada yang berkata bahwa masalah umur hanyalah masalah angka, orang bisa saja umurnya sudah lanjut, tapi semangat, jiwa dan fisiknya masih menunjang untuk dia beraktifitas dan berkreatifitas layaknya orang yang  masih muda, bahkan bisa saja melebihi aktifitas atau kreatifitas orang muda yang (maaf) memble. Ya paling tidak itulah yang bisa kita lihat dari sosok-sosok di bawah ini. Di usia lanjut mereka masih memiliki visi kedepan, tidak hanya bisa mengagung-agungkan masa lalunya…dulu mah saya…dulu mah saya, ungkapan yang menandakan orang sudah udzur, sudah tak memiliki visi ke depan. Mentok.

Inilah beberapa di antara mereka yang usianya sudah lanjut…tapi belum udzur :

1.ERIC CLAPTON  kelahiran 1945. Memulai karir profesionalnya bersama The Yardbirds (1964). Kemudian bergabung dengan John Mayall Blues Breakers (1965) dan membentuk grup fenomenal The Cream (1966), Blind Faith (1968) dan   Derek & The Dominos  serta  dilanjutkan dengan bersolo karir hingga sekarang. Di usianya yang ke 64 belum ada tanda-tanda Eric akan mengurangi aktifitasnya. Ia tetap melakukan tur dengan jadwal yang padat,  dari tanggal 12 -28  Februari, ia tampil sebelas kali di Jepang. Kemudian awal Maret ia tampil 1kali di Selandia Baru dan 3 kali di Australi , tanggal 20 serta 21 Maret gabung dengan The Allman Brothers Band di New York. April Istirahat.  11 Mei main di Dublin,  13 /5  Liverpool Inggris, 14/5 di Manchester dan mulai tanggal 16 Mei main di Royall Albert Hall London s/d tanggal 31 Mei ( 11 kali pertunjukan). Tanggal 10 Juni-30 Juni tur di 14 kota di Amerika bersama Steve Winwood. Bulan Juli s/d Desember,  Eric Clapton hanya tampil pada event tertentu. Tapi bulan Januari 2010 ia sudah dijadwalkan untuk main 2 malam bersama Jeff Beck di O2 Arena, London.

2. BUDDY GUY  (30 Juni 1936). Memulai karirnya di akhir tahun 50 an. Bersama  Magic Sam dan Otish Rush sempat dikenal sebagai trio West Side Sound. Ia kemudian sempat bergabung dengan Muddy Waters Band, sebelum akhirnya ia membangun namanya sendiri. Ketika membentuk The Cream Eric Clapton terkesan oleh format band trio yang diusung Buddy Guy. Sempat dikenal dengan duetnya bersama Junior Wells, pada era Blues Revival 2 di tahun 90 an Buddy Guy menggebrak dengan album Damn Right I Got The Blues.  Termasuk pemusik Blues papan atas. Penampilannya masih dirindukan banyak orang.

3. JOHN MAYALL  (23 November 1933). Usia lebih tua dua tahun dari Buddy Guy, tapi jika Buddy Guy berkiprah mulai tahun 50 an akhir, John Mayall baru menjadi pemusik blues profesional sekitar tahun 1963/1964. Ketika John Mayall mencapai kesuksesan pertamanya melalui album John Mayall and The Blues Breakers With Eric Clapton pada tahun 1966, John Mayall sudah berusia 33 tahun, sementara anggota bandnya, termasuk Eric Clapton masih berusia 20 tahun. Di akhir dekade 70 an, John Mayall sempat frustrasi, karena blues kurang mendapat tempat. Tapi awal tahun 80 an ia bangkit, membangun The Blues Breakers lagi. Ia eksis sampai sekarang. Kedigjayaannya diusia lanjut terekam dalam DVD  70th Birthday Concert.  Tapi yang lebih mengaggetkan, di tahun 2008 ia membubarkan grup Blues Breakers yang sudah mapan. Membangun kembali grupnya dengan personell baru  diawal tahun 2009, melahirkan album THOUGH dan melakukan tur.

4. BB KING ( lahir tahun 1925). Mulai melakukan rekaman pada tahun 1949, di Memphis, dengan dukungan Sam Phillips  pendiri Sun Reccord. Hit pertamanya adalah Three O Clock Blues yang aslinya milik Lowel Fulson. Dalam perjalanannya BB King berhasil memadukan lagu blues dan pop ( dalam rekaman)  hingga melahirkan hit Thrill Is Gone yang lagi-lagi aslinya milik orang lain ditahun 70 an. BB King adalah salah satu diantara sedikit pemusik blues yang tetap bisa bertahan di atas., bahkan pad periode-periode sulit dalam blues. Karena berkat permainannya yang clean, a juga diakui eksintensinya oleh komunitas jazz. Dan sampai sekarang, walaupun harus main sambil duduk, penampilannya masih ditunggu orang. Dan BB King juga nampaknya masih siap untuk memenuhi undangan orang.

5. PINETOP PERKINS  ( lahir 7 Juli 1913).  Pianis dan vokalis Blues ini terbilang ‘terlambat’ dalam bersolo karir. Ia mulai merekam album pertamanya pada usia 75 tahun. Namun bagi Pinetop Perkins ini bukanlah usia yang terlalu tua untuk memulai sesuatu, buktinya 20 tahun kemudian, di saat ia berusia 95 tahun ia telah melahirkan sekitar 15 album solo, termasuk album terakhirnya yang dirilis pada tahun 2008  PINETOP PERKINS and His Friends yang diramaikan oleh BB King, Jimmy Vaughan, Eric Sardinas dll. Pinetop Perkins terlambat bersolo karir karena sebelumnya ia hanya menjadi sideman termasuk di Muddy Waters Band, yang ia jalani selama hampir sepuluh tahun, menjelang akhir hidup Muddy Waters yang meninggal pada tahun 1983. Usia 96 tahun bukan berarti ia berhenti main musik, ia masih tetap aktif sampai sekarang, bahkan pada tahun 2008 ia sempat terbang ke Inggris untuk main di Jazz Cafe, London selama dua malam berturut-turut.  Pinetop Perkins juga sudah dijadwalkan untuk main di acara Jazz Alley di Washington pada tanggal 18/5 dan 19/5  2010.

Penampilan Pinetop Perkins bulan Juni 2009 memainkan dan menyanyikan lagu “How Long”

http://doclounge.se/lund/

Tomorrow im playing at the premiere for the movie Soulpower in Lund Sweden.

If you´re around come by and listen some Funky stuff and enjoy a fantastic movie with great Music!

Live on stage is the faboulous Dolly Dolores & The Mekk Unit…

Luar Biasa ! mungkin itulah ungkapan yang bisa kita utarakan melihat jadwal Tur yang akan dijalani oleh BB King ( 84 tahun)  sampai bulan Februari  2010 yang akan datang, begitu padat untuk ukuran orang seusia dirinya bahkan juga bagi orang yang jauh lebih muda dari dirinya, tapi toh BB King sudah siap menjalani.  Tur yang sekaligus diupayakan sebagai penunjang promo album terakhir  BB King  ONE KIND PAVOR yang dirilis pada bulan Agustus 2008 dan meraih Grammy pada tahun ini juga akan diramaikan oleh kehadiran Buddy Guy, yang tentu saja akan menambah greget dan menjadi suatu event yang bakal di nanti oleh para pecinta blues.

Namun meskipun tur ini dikatakan sebagai penunjang promo album One Kind Favor, hampir dipastikan penampilan BB King tidak menjadi “genit”  dengan melakukan promo “kasar”.  Ia tetap akan tampil standar dengan membawakan lagu-lagu saktinya yang lain seperti “Everyday I have The Blues,”  “Sweet Little Angel,” “Thrill Is Gone” dll.  Dan sekedar informasi album One Kind Pavor adalah album yang dibuat dengan konsep  merekam dengan gaya lama, artinya soundnya dibuat seperti BB King merekam pada tahun 1950 an, dan lagu-lagunya adalah lagu-lagu karya orang lain yang belum pernah disentuh untuk dibawakan oleh BB King, sepanjang hampir 69 tahun karirnya dalam dunia musik, seperti lagu dari idola BB King Lonny Johnson  ( Tomorrow Night,  Backwater Blues,  My Love Is Down), dan pemusik blues legendaris  lainnya seperti BLIND LEMON JEFFERSON ( See that my grave Is Clean), Missippi Sheiks (  Sitting On Top The World) dan beberapa nama lain.

Lalu seberapa ketat jadwal Tur BB KING itu ? Inilah jadwal lengkapnya :

Nov. 13 @ Peppermill Wendover Casino, Wendover NV
Nov. 14 @ Silver Legacy Resort Casino, Reno NV
Nov. 15 @ Heritage Theater, Campbell CA
Nov. 17 @ Cal State Chico, Chico CA
Nov. 19 @ Coussoulis Arena, San Bernardino CA
Nov. 20 @ Centennial Hall, Tucson AZ
Nov. 21 @ Celebrity Theatre, Phoenix AZ
Nov. 22 @ Belly Up Tavern, Solana Beach CA
Dec. 26 @ Star of the Desert Arena, Primm NV
Dec. 28 @ Belly Up Aspen, Aspen CO
Dec. 31 @ Mabee Center Arena, Tulsa OK
Jan. 3, 2010 @ Nokia Theatre, Grand Prairie TX
Feb. 4 @ King Center for the Performing ArtsMelbourne FL *
Feb. 5 @ Ruth Eckerd Hall, Clearwater FL *
Feb. 6 @ Fox Theatre, Atlanta GA *
Feb. 9 @ Ryman Auditorium, Nashville TN *
Feb. 11 @ DAR Constitution Hall, Washington D.C. *
Feb. 12 @ United Palace, New York NY *
Feb. 13 @ Caesars Circus Maximus Theatre, Atlantic City NJ *
Feb. 14 @ MGM Grand at Foxwoods, Mashantucket CT *
Feb. 16 @ Fox Theatre, Detroit MI *
Feb. 18 @ Family Arena, Saint Charles MO *
Feb. 19 @ The Midland by AMC, Kansas City MO *
Feb. 20 @ The Orpheum Theatre, Minneapolis MN *
Feb. 22 @ Mid America Center, Council Bluffs IA *

* Bersama  Buddy Guy

Terlepas dari padatnya jadwal main BB King di Amerika, berita baik bagi para penggemar BB KING di tanah air :  BB KING  kemungkinan akan main awal Maret nanti di Jakarta, tepatnya di ajang Jakarta International Java Jazz Festival http://www.javajazzfestival.com/2010/      , BB King sudah dimasukan ke dalam line-up  pengisi acara ajang Jazz International yang akan diselenggarakan pada tanggal 5/6/7 Maret itu. Mudah-mudahan saja ini menjadi kenyataan.

]]> http://winonamusicman.wordpress.com/2009/11/13/b-b-king-and-buddy-guy-live-at-the-orpheum-theatre-22010/ Fri, 13 Nov 2009 18:28:26 +0000 winonamusicman http://winonamusicman.wordpress.com/2009/11/13/b-b-king-and-buddy-guy-live-at-the-orpheum-theatre-22010/

Bu sefer de epik bir başlık oldu. Fakat durum budur. Kalemleri artık yalnızca bir şeyler karalamak için kullanıyoruz. Neyse ki, beni el yazısına teşvik eden şahane bir yardımcım var!

Yardımcım bir Lamy dolmakalem. Yıllar önce Banu Berlin’deki Bauhaus Müzesi’nden almış ve bana armağan etmişti. İlk günlerde kullanmaya kıyamadım. Sonra her fırsatta kullanır oldum.

Dolmakalemleri eskiden beri severim. Çocukken şu pompalı dolmakalemlere şaşar kalırdım: Ucunu mürekkebe batırır, içindeki hazneyi sıkıp mürekkebi fokurdatmasını, ardından hazneyi bırakıp mürekkebi içine çekmesini izlerdim. Kartuşlu modellerle tanışmam sonra oldu. O günlerde, artık yaşım ilerlemişti ve dolmakalemleri “havalı” bulmaya başlamıştım. Banu bana bu Lamy dolmakalemi armağan ettiğinden beridir şaşkınlığı, havayı bir kenara bıraktım. Dolmakalemlere, özellikle benimkine bayılıyorum. Kapağını açarken tatlı bir “plop!” sesi duyuluyor; sanki Nat King Cole şarkı söylüyor. Kalemin öyle iyi ayarlanmış bir geometrisi var ki, parmaklarınızın arasına oturuveriyor ve her seferinde ucu en doğru açıyı tutturuyor. Yazmaya başladığınızda kalem, kâğıda mürekkebi tam olması gerektiği kadar aktarıyor; ne eksik, ne fazla. Mürekkep hiçbir yere bulaşmıyor, kâğıtta koca lekeler yapmıyor. Bir de, kalemin ucu kâğıda sürtündükçe çıkan o ses var! Eğer o sesi dinlerseniz, ruh halinize uygun bir şarkı mırıldandığını duyabilirsiniz. Çok ciddiyim! Dolmakalemimin ucu bir pikap iğnesi, kâğıt bir plak sanki… Mutlu bir yazı, Louis Armstrong’un sesiyle “What a Wonderful World”; tutkulu bir yazı, Ella Fitzgerald’ın sesiyle “Fever”; iddialı bir yazı, Aretha Franklin’in sesiyle “Think”; hüzünlü bir yazı, BB King’in sesiyle “The Thrill Is Gone”… O kadar lezzetli ki!

Lamy dolmakalemler Türkiye’de yıllardır satılıyor. Kartuşlarını bulmak da hiç sorun değil; bütün büyük kırtasiyelerde renk çeşitleriyle mevcut.

Eğer yazarken sadece klavye kullanıyorsanız, kendinize bir iyilik yapın ve hemen güzel bir dolmakalem edinin.

- Yıldıray

BULUŞMA NOKTASI

It’s true I love the feeling it’s like a nice breeze through your mouth and nose. Now here is a quote that I live my life by. “Burn It Up”, no not the Jonas Brothers they couldn’t help me with their awesome power chords and dreamy voices. Although they do “Burn It Up”. They have awesome pyrotectnics and stuff during their concerts and the little one better not forget his insulin or they might have to hold auditions for another or ask their parents to reproduce. You know he could learn a thing or two from B.B. King. But diabetes is a serious disease effecting millions. Man lately though I have been about as sad as a diabetic during Halloween. I mean they can’t eat candy during the holiday and all they are left with is apples, and everyone knows that half of all fruit given out for Halloween has razorblades in it. Or if they are really unlucky someone might slip them a candied apple or something. Because you know that there are people out there who set out every Halloween for one reason to bag them a diabetic, I got news for you people diabetics are like pets, they are a lot of responsiblity and you have to feed them everyday or they will wither away and not just table scraps you have to give them a sugar free diet. So if you find yourself thinking man I really want a diabetic this year, think twice. Parents if you think your children are ready for this than maybe you should maybe get them a fish during Halloween and if it lasts until Thanksgiving thats when you lure in a diabetic with a “sugar free” pumpkin pie. But if the fish is belly up by the 4th of November better sit them down and have a little talking to and have them wait until Christmas. Santa will be bringing them that coveted diabetic if they are nice. Although judging by the size of Ole’ Saint Nick he could very well be one himself. So if you don’t want to pay for a diabetic (because they cost more than a nice glass of aged scotch) just stay up and try to catch Santa Clause, or steal his insulin and wait for a diabetic shock and sweep in to save the day. If you know your books you could follow up to a tee what Annie did in Misery and hold him captive. For those people that are like geez everyone knows Santa Clause isn’t real. I have one thing to say: Bitch wikipedia him, he is alive and stuffing stockings. Still not convinced well then I guess, take your rationalistic self and prove everybody wrong. Find Santa Clause, go to the North Pole and freeze to death. It’s all the people that have to put labels and find out “the truth” that ruin the whole world. You’re the reason for global warming. you’re the reason for Nuclear Weapons, you’re the reason for H1N1, you’re the reason the world is crappy and it is going to end in 2012. Damn Scientists.

To the Scientists that make a difference and not loads of money perfecting weapons and chemical combinations for facist armies. Disregard what I said above and a tip of the hat to you, good job. YOU’RE NOT COMPLETE SELLOUTS!!!!!!!

BB King, Lucille.

Because you can listen to the Blues and be in a good mood at the same time.

Certa vez um executivo de gravadora usou o slogan do Faustão para explicar a quantidade de lançamentos “recorded live” de BB King: “quem sabe faz ao vivo”. Realmente, o rei do blues é dono de um grande show, com excelente repertório, muito carisma, energia e balanço. Assistindo ao filme O Poder do Soul (Soul Power), sessões hoje e amanhã à noite na Mostra de SP, lembrei-me do DVD BB King Live in Africa 74, que imagino conter o registro completo do concerto de Blues Boy King no festival Zaire 1974, em Kinshasa.

Com sorte, a edição nacional do DVD ainda pode ser encontrada por aí (a minha é uma lançada pela Versátil). Vejam o set list: 
To Know Is To Love You
I Believe in My Soul
Why I Sing the Blues
Ain´T Noboy Home
Sweet Sixteen
The Thrill is Gone (ponto alto do show, não à toa é a canção que aparece no filme O Poder do Soul)
Guess Who
I Like to Live the Love

A direção do DVD de BB King - no show de 1974 com 49 anos – é creditada a Leon Gast, que também dirigiu o oscarizado documentário “Quando Éramos Reis”, sobre a luta entre Muhammad Ali e George Foreman em Kinshasa – combate que completou 35 anos hoje, escreveu Wilson Baldini Jr no esporte do Estadão.

Kinshasa, capital do Zaire (hoje Congo), setembro de 1974. Os produtores Hugh Masekela e Stewart Levine inventam um festival de música para aproveitar o auê da luta de boxe pelo título mundial entre os peso-pesados Muhammad Ali e George Foreman. Zaire 74 reuniu feras como James Brown, godfather of soul, BB King, o rei do blues, Miriam Makeba, Celia Cruz, Bill Withers (que vozeirão!), The Crusaders, o conjunto vocal The Spinners e outros. 35 anos depois, sai o filme O Poder do Soul (Soul Power), em cartaz na Mostra de Cinema de São Paulo. Um documentário tradicional de concerto, mas se você está atrás de um bom balanço, de música de alta voltagem, como eu, pode ir brincando.

O ditador do Zaire à época, Mobutu (apoiado pelo governo norte-americano em plena era da guerra fria), cedeu estádio, mas não deu mais grana para Zaire 74.Foram três dias que sacudiram o país centro-africano.  E o filme é um belo documento do festival, com direito a várias falas de Muhammad Ali, que aproveita a fama para criticar asperamente o preconceito contra os negros nos EUA.
James Brown, que figura! Estrela maior de Zaire 74, encerra O Poder do Soul. Mas gostaria de destacar também as perfomances de Bill Whiters (acústico),  de Celia Cruz com as Fania All-Stars e a maravilhosa música latina e, para quem gosta de blues como eu, um jovem BB King, solteirão, arrepiando com “The Thrill Is Gone”. Cada um aparece no filme com música apenas (com exceção do soul brother James Brown). Mas o show do rei do blues no Zaire 74 pode ser encontrado por aí, com um pouco de sorte, no DVD BB King Live in Africa 74(leia mais), capinha ao lado.  Longa vida ao blues! Longa vida ao rei!

 Site original do filme de Jeffrey Levy-Hinte. Com trailer, fotos e muitas informações.

(Above: Bruce Springsteen isn’t even close to being the biggest legend onstage in this historic performance of “I Saw Her Standing There” from 1987.)

By Joel Francis

“Rock Hall Live,” an exquisite nine DVD box set of performances and speeches from the past 25 years of Rock and Roll Hall of Fame induction ceremonies is a treasure trove for all music fans, but it should especially attractive to Bruce Springsteen fans. Springsteen appears on all but two of the discs in more than a dozen performances and nearly as many speeches. As the unofficial MC of the collection, Springsteen makes more appearances than anyone else.

The Daily Record previously reviewed “Rock Hall Live.” On Monday and Friday of this week it will examine every Springsteen performance on the collection. Although these performances are scattered throughout the box set, we will look at them in chronological order. On Wednesday, The Daily Record will review Springsteen’s concert at the Sprint Center in Kansas City, Mo. (NOTE: Tuesday’s concert was cancelled because of the death of Springsteen’s cousin and road manager. On Wednesday The Daily Record will discuss Stevie Wonder’s 1968 hit “For Once in My Life.”)

1987 – “(Oh) Pretty Woman” (with Roy Orbison)

The footage from these early inductions – 1987 heralded the Hall’s second class of members – is shaky and the audio is questionable at best. Surrounded by Bo Diddley, Smokey Robinson, B.B. King, Carl Perkins and scores of other music legends, and awestruck Springsteen pays tribute to the man he immortalized in the lyrics to “Thunder Road.” Springsteen is so excited he forgets the song in a couple places, but his joy at being able to celebrate with Roy Orbison is infectious. Two years later, Orbison was gone and Springsteen paid him another tribute by performing “Crying” at that year’s ceremony.

1988 – “I Saw Her Standing There” (with Mick Jagger and the Rock Hall Jam Band)

It takes the cameraman a few moments to find the vocalist amongst the throng of performers onstage, but the camera finally lands on Billy Joel, belting out the first verse from the peanut gallery. Mick Jagger takes the second verse with an assist from George Harrison. Somewhere onstage, Ringo Starr is one of several happy drummers, making the occasion the closest thing to a Beatles reunion to happen until the Anthology project. (Paul McCartney was feuding with Harrison and Starr at the time and opted not to attend.) After a guitar solo from Jeff Beck, Springsteen finally gets the mic for the third verse. Despite forgetting a few of the words, he exuberantly finishes the number with Jagger.

1988 – “(I Can’t Get No) Satisfaction” (with Mick Jagger and the Rock Hall Jam Band)

In his 2004 speech inducting Jackson Browne to the Rock Hall, Springsteen says he wishes he’d written “Satisfaction.” Sixteen years earlier, Springsteen realized part of his dream by performing the number with half of its authors. Surrounded by John Fogerty, Bob Dylan, Harrison, Beach Boy Mike Love, Jeff Lynne, Tina Turner, Ben E. King and keytar-rocking band leader Paul Schaffer, Springsteen trades lines with Jagger on the chorus. Sporting a gray suit and bolo tie and backed by E Street drummer Max Weinberg somewhere in the swarm, Springsteen is little more than a vocal prop in this chaotic number.

1993 – “Green River,” “Born on the Bayou,” “Who’ll Stop the Rain” (all with John Fogerty and Robbie Robertson)

Springsteen plays rhythm guitar and adds backing vocals to this trio of Creedence Clearwater Revival classics. Still upset at his former CCR band mates, John Fogerty refuses to perform with Doug Clifford and Stu Cook. The tension between the three is evident during the acceptance speech, but it completely dissolves once Fogerty straps on his guitar and steps behind the mic. The songs don’t really need three guitarists, but Springsteen is elated to be performing with yet another idol and happy to let Robbie Robertson and Fogerty do all the heavy lifting. There is also rehearsal footage of Springsteen, Fogerty, Robertson and bass player Don Was playing around with different arrangements. Robertson is clearly in charge of the ensemble and again Springsteen seems content to observe. Springsteen does jump into action, however, to work out the harmony vocal line with Fogerty and to successfully lobby for the inclusion of “Green River.”

1994 – “Come Together” (with Axl Rose)

This is a bad idea on paper and it’s even worse onstage. Springsteen looks stiff, sharply strumming a black Stratocaster that matches his tuxedo. A few paces away, Axl Rose more relaxed wearing jeans and flannel as he bobs and weaves like a snake hearing some inaudible flute. This isn’t a duet so much as two performers doing the same song in a shared space. Rose’s voice is fine in its own context, but it’s rarely complementary. His performance here is so grating it makes one long for Aerosmith’s version (shudder). Springsteen seems relieved when the song finally ends.

Keep reading:

Springsteen Rocks the Hall (part 2)

Review: Boss is Bigger than Big 12 Tourney (2008)

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

New DVD Set Celebrates Rock Hall Performances

More Bruce Springsteen in The Daily Record

I’m always searching for new ways to motivate my students, and last week I thought I finally found something. I told my 4th graders that if they were able to follow our behavior expectations (i.e keep class volume to the decibel level of a chainsaw, and limit classroom violence to the Altamont level), I would play music for them. If they were really good, I would raffle off the priviledge to pick what we play.

I haven’t let them pick their own music very often, because I doubt my assistant principal would be thrilled if she popped in to Lil’ Wayne providing the soundtrack to writing class, so I’ve been digging into my own collection. A few days ago, I thought I finally found something my kids enjoyed…until one of them loudly stopped her work, turned towards me, and yelled:

“Mister Brown! What is this boring, stupid, White People music? We’re Black! Put on some Black People music, like Michael Jackson!”

I was playing BB King.

White People music?

Now, the musician in me wanted to stop the class, and turn this into a teachable moment, but we didn’t have time. I think I made some sort of remark about how talking like that to a teacher is disrespectful, and besides…Michael Jackson is clearly a white guy anyway. This, I’ve learned, is one of the only truly effective comebacks when my students are jokingly insulting me.

“Mister Brown! You ugly! You boring! Nobody likes you! You s-s-s-tutter! You got a bald head!” (I don’t, but this is apparently the insult here)

“Oh yeah, Michael Jackson is white!”

“AWW YOU TAKE THAT BAAAAACK!!”

Look at him!

Now, on the surface, this seems like a funny story (or at least it did to me). The more I thought about it though, the more distressed I got. I wasn’t distressed about the attitude towards blues music or anything (can’t argue personal taste)…but it did bring to surface some racial antangonism…even at 10. My students have told me a couple of times that I can’t possibly understand them or really care about them because I’m not Black. Students who do not meet a certain standard of “Blackness” are often ridiculed…we have a Brazilian student, and two others with one white parent, and students sometimes call them “half-breed” as an insult.

I want to be careful here and say that I  don’t want to get on any high horse here. If my family lived in NOLA for a few generations, and had the things happen to them that my kid’s families have experienced, some baggage would certainly be understandable. I’m simply reporting what I’ve seen, and calling it sad.

When you look at the above story in that context, it isn’t quite as funny anymore.

This is actually a problem. I think that the most effective coping strategy that I learned was humor. I’ve joked or laughed my way through most of the tragic and exceptionally difficult things in my life.  The few times I’ve been unable to find that shred of humor and humanity have been when I’ve been in the most trouble. I’m struggling to find the punchline with this job.

One of the reasons TFA wanted me (and all of their recruits really) was because we’re smart. I look great on paper. High test scores, long record of achievement, heartwarming letter on intent, blah blah blah. Those attributes are great in other professions, but I’m hardly outsmarting anybody or anything right now. My kids don’t care that I could ace the LSAT, or even the Praxis…and neither does anybody else in the building. Force of will, determination and stamina seem to be more desirable (at the moment), than intelligence.

But that intelligence does allow me to overthink what may appear to be a superficially funny story, or to do research about the greater policy implications of my involvement in this area (and then of course, question my role and throw myself into a spiral of self-doubt). Hopefully, it will eventually yield superior lesson plans and engaging activities, but for now, I’m just another outsider with some misplaced idealism…fresh meat.

Maybe thats the joke.

BLOG BIRTHDAY!

Today is the anniversary of this blog being located publicly at wordpress for one year (birthed out of my “verse of the day” on my AIM profile back in the day, and then for a few years it was privately somewhere else and if I am being honest not as consistently kept).  165 posts & 923 views later the numbers don’t matter much to me (which is a good thing, cuz they suck),  so what does?

A little over a year ago I picked up everything I had–which was surprisingly more than I thought. Left the place my heart is home– glorious, spectacular, stunning Colorado.  Left a lot of people I love, chose to leap in to the unknown and took a job in a random city (Kansas City to be exact).  This year plus some has been hard as hell!  Harder than leaving the same home and people when I went off to college alone in Michigan.  Scarier than when I took my first “real job” and realized I was an adult. Lonelier than those awkward times in middle school.
BUT…
It has also been more exciting than winning the State Championship when I had a flash of a moment and I realize I-yes little insignificant me, was created–rather DESIGNED to do something significant in this big world.  It was more beautiful than fall over Grand River when it became even more clear for me that the term “friend” is NOT determined by age, stage in life, or experiences. It was more exhilarating than flying down powdered slopes, when I  put the finishing touches on decorating MY VERY OWN home which included framed pictures, real art, & wall pieces.

This is where the blog comes in-

With all of the change happening in my life, having a place to put the things –verses, lyrics or quotes, videos or pictures, art or songs–that met me where I was, has been critical.  Sharing what challenges me.  Makes me laugh and makes me cry. Inspires me.   Put words or pictures to what I feel.  A place to share what is going on my head.  And even if no one checked it that day, putting it out there made me feel like my voice was available to be heard.

Having a place to put these items also forced me to look outside of my self, when it would have been too easy to bury my head in the ground (or in my case the covers) some days and get caught up in my crap. It encouraged me to continue to press closer into my Savior–realizing how desperately I need Him.  It forced me to read the Word and make it a daily part of my life again,  fall back in love with music (hello: owl city,  grace potter and the nocturnals, anthony hamilton, lady a, cold war kids) be engaged with what is going on in the world, learn more from history, read poetry, empathize with orphans, appreciate art, and risk rejection by shareing mine (http://www.flickr.com/photos/hdub996/).

So…I will continue to post my “… of the day” and be reminded with each post, that this day is part of the GIFT I get to call my life. I will choose to see the beauty, recognize the hurt, cherish the gift of laughter, and be inspired by those around me (near & far)……. and I will choose to share it with anyone who wants to listen.

Verse of the Day:
“But I am like an olive tree
flourishing in the house of God;
I trust in God’s unfailing love
for ever and ever.”
~Ps 52:8

Quote of the Day:
“Never be afraid to trust an unknown future to a known God.”
~Corrie Ten Boom

Lyrics of the Day:
“For every door you walk on to, seems like they get slammed in your face
Thats when you need someone, someone that you can call.
And when all your faith is gone
Feels like you cant go on
Let it be me
Let it be me
If its a friend that you need
Let it be me
Let it be me ”
~ “Let it be Me” by Ray LaMontagne

currently listening to “One Kind Favor” by B.B. King

A 33ª Mostra Internacional de Cinema de São Paulo começou com uma sessão só para convidados do filme “À Procura de Eric”, de Ken Loach, que tem o controverso ex-jogador francês Eric Cantona (fez fama com a camisa 7 vermelha do Manchester United) como ator, no papel dele mesmo. Mas não é documentário, não é um filme só sobre futebol, que entra como pano de fundo no drama do carteiro Eric, separado da mulher, que cria 2 adolescentes. Foi aplaudido na sessão de abertura. A Mostra traz, entre centenas de filmes, algumas películas que já mencionei aqui no Fut Pop Clube. A obra de Emir Kusturica sobre Maradona e os documentários O Poder do Soul/Soul Power e  A Todo Volume (It Might Get Loud) – com os heróis da guitarra Jimmy Page, The Edge e Jack White.

À PROCURA DE ERIC (Looking for Eric):

Sexta, dia 23, às 16h40, no Unibanco Arteplex 2; sábado, 24, às 23h50, no Cinema da Vila;

domingo, 25, às 15h50, no Cine Bombril 1;

terça, 27, às 19h  no Cinemark Cidade Jardim;

e 1º de novembro, um domingo, às 21h30, no Espaço Unibanco Pompeia 2.

MARADONA de Emir Kusturica (Estreia em circuito 20/11). Classificação: 14 anos.

Sexta, dia 23, 21h30, no Cine Bombril 1;

sábado, 24, às 12h, Reserva Cultural 1;

domingo, 25, às 22h, no Cinemark do Eldorado;

na outra sexta, 30, às 19h, no Cinemark Cidade Jardim;

e 4 de novembro, uma quarta, às 16h10, no Unibanco Arteplex 1.

“O PODER DO SOUL (Soul Power)”, de Jeffrey Levy-Hinte. Classificação: 14 anos.

Sexta, 23, 21h30, Cinemark do shopping Cidade Jardim;

domingo, 25, 16h10, Unibanco Arteplex 1;

terça, 27, às 18h, Unibanco Arteplex 3;

quarta, 28, 13h30, no CineSesc;

sexta,dia 30, 22h, Unibanco Arteplex 4;

e  sábado, dia 31, às 21h50, no Espaço Unibanco Pompeia 2.

“A TODO VOLUME (It Might Get Loud)”. De Davis Guggenheim. Classificação: 12 anos. A Sony Pictures anuncia o lançamento para 6 de novembro. Antes, passa na Mostra:

na sexta, dia 23, às 23h30, no Unibanco Arteplex 5;

sábado, 24, 18h10, Reserva Cultural 1;
domingo, 25, às 20h30, Cinemateca/Sala Petrobras;

terça, 27, 0h00, no cine Bombril 1;

quarta, 28, às 21h30, no HSBC Belas Artes 2

quinta, 29, 21h, HSBC Belas Artes 2

e sexta, 30, às 18h40, no Unibanco Arteplex 1

Massachusettes native Albert Cummings builds custom houses.  He also plays the blues.  He is an amazing guitarist and a great songwriter.  You can see Albert Cummings and his band perform live in Cleveland at The Winchester on November 11th, 2009.  Showtime is  9:00 pm.  Admission is $12.00.  Visit www.thewinchester.net for more information and directions.

The following is from Albert Cummings’ website bio (www.albertcummings.com):

Albert Cummings

“An intense period of wood shedding resulted Albert sharing a bill with Double Trouble, the late Stevie Ray Vaughan’s rhythm section. So taken with Albert’s fire and passion were bassist Tommy Shannon and drummer Chris Layton that they volunteered to play on and produce his debut recording.

No less a giant of the blues than B.B. King…dubbed Cummings ‘a great guitarist.‘”

“A year later Double Trouble joined Cummings again as he signed with Blind Pig Records to create (his release) True to Yourself.  This time they brought in legendary producer Jim Gaines to control the sessions.  Tours and shows with blues legends B.B. King, Johnny Winter, Buddy Guy and others brought his music to an audience grateful for the opportunity to be rocked hard by a man possessed to play every song like his life depended on it.”

An Informative Albert Cummings Interview can be found here: http://www.modernguitars.com/archives/000796.html

A Video Of Albert Cummings performing “Working Man Blues“:

Although Peter Tork may be best known as the multi-instrumentalist member of The Monkees, he has had a rich and full career as a solo artist as well.  Peter brings his band Shoe Suede Blues to Cleveland for one night at The Winchester on November 7th, 2009.  Showtime is 9:00pm.  Admission is $15.00.  Visit http://www.thewinchester.net for more information and directions.

Peter Tork

From Peter Tork’s Myspace Bio (http://www.myspace.com/petertorkandshoesuedeblues):

“The fateful call, which would change Peter (Tork’s) life forever, came in June of 1965.  Friend and confidante, Steven Stills, not quite hitting the mark with his own audition, rung his buddy, urging him to give it a go.  Twice.  Stills’ remarks to the producers that he knew ‘just the man to fill the bill’ were spot on.  Peter aced the audition for a what was to become a ground breaking multimedia project centered on a zany, young, rock/pop band – styled as THE American answer to the Beatles.  The results were stellar and changed the popular music and television biz forever.”

“Peter, never totally satisfied with prefab fame though at the height of

Shoe Suede Blues

his pop icon status, stuck to his roots as a starving artist.  He could forever be found jamming with bands, learning and honing his chops.  Music legend Jimi Hendrix jammed with Peter on several occasions, calling Peter “The most talented Monkee.”  Peter has continued his solo career through the years, performing with his own bands, writing and recording and also making numerous guest appearances on a variety of TV programs.”

“Describing Peter’s band (Shoe Suede Blues)…Richard Mikuls and Arnold Jacks have played with some of the most influential recording artists of the last 50 years, such as: Ray Charles, BB King, Hank Ballard, Rufus and Chaka Kahn, The Pointer Sisters… you get the idea.  Shoe Suede Blues delivers a heart-felt soulful, unforgettable mixture of their vision of what music and songwriting is all about…remind us all that the soul of  music lives on.”

The Monkees

An interview with Peter Tork about music and The Monkees can be read here: http://www.steveescobar.com/rock/petert.htm

An interview with Peter Tork about his diagnosis and recovery from cancer can be read here: http://50s-60s-pop-music.suite101.com/article.cfm/an_interview_with_peter_tork

Video of The Monkees performing their HUGE hit “I’m A Believer“:

B.B. KIng - Live in London, Audiophile Vinyl

B.B. King – Live in London, LP, Half Speed Mastered

Track Listing

Side One:
1. Introduction
2. Everyday I Have the Blues
3. Night Life
4. Love the life I’m Living
Side Two:
1. When it all comes down (I’ll still be around)
2. I’ve got a right to give up livin’
3. Encore

Album: Produced by Steve Goldman.
Sound engineer: Galen Senogles.
Cover design: Jonathan Wright, Georgopoulos, Imada, Sid Seidenberg
Record Label: Crusaders CRP 16013
Record Format: 12″ LP
Year & Country: 1982 Record in England, Manufactured in the USA

Half Speed Mastered Edition, Very Rare

Vinyl: Mint, Cover: VG

Rare Vinyl Sale from my Collection

Ti chiedi quanto B.B. King, la leggenda vivente del Blues, possa resistere. Poi assisti ad uno spettacolo come quello che ”The King” ha messo in scena sabato 22 Agosto al South Shore Music Circle a Cohasset, MA, e ti chiedi chi, in tutto il mondo, sia in grado di fermarlo!

Ha detto più volte di avere compiuto 83 anni e di essere da più di 60 nel mondo del Blues, ma la sua età si manifesta solo nella sua incapacità di stare in piedi durante la performance.

Sofferente per il suo diabete, ha deliziato il pubblico con un favoloso concerto di 90 minuti, suonando 11 canzoni, pur restando seduto per tuuto lo show.

La musica, ah si… la musica!!! La sua voce  forte, come amplificata da un megafono, e le dita sempre agili che trovano sempre l’anima e che si muovono lungo tutte le strade per porre fine ai suoi assolo.

B.B. King, guidando la sua band di supporto di otto elementi,  ha aperto il concerto  con una serie di sei canzoni di  blues elettrico, iniziando con il vecchio standby “I need you so“, trasformando magistralmente la parola “I” in un’allungata “aaarrrggghhhh” e chiudendo con “The trill is gone“.  Alcuni pezzi, ad onor del vero però, non sono stati meravigliosi.

E’ comunque il grande mix di musicalità suprema e il grande impegno nel dedicarsi al suo pubblico che rende B.B. King sempre magico e ogni suo concerto un  evento unico e straordinario.

Sintesi di un articolo pubblicato su Boston.com, versione online del Boston Globe, il 24 agosto 2009.