Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
I like the idea of this film. It's a story about the progression of a relationship (focusing on sexual encounters) interspersed with 9 live rock(ish) performances the way they would look if you were standing in the audience with a video camera. The problem is that the music is very uninteresting to me, and the girl was kind of a bitch.
The reason people are talking about this film is because the sex is not only explicit, but unsimulated - indeed, you see enough that they couldn't possibly be faking it. Some people argue that that fact alone makes it a porno, and other people argue the film's integrity for taking such an approach while still maintaining some sense of a coherent, artistic story.
The bottom line is, I think this film has some good ideas, but it's far (far far far) from the visionary masterpiece that some people are claiming it to be. I like how real it is - not just the sex but the interactions between the two characters and the concert scenes. But it's the content that leaves something to be desired.
Plenty of nudity for those who are looking - including things you'd normally only expect to see in a porno. But then again, there's plenty of sex, and most if not all of the nudity is sex-related. The couple actually get into some kinky stuff, including a little S&M, but it's not always terribly exciting. One thing I did like is how after they had sex one of the times, the girl stayed naked and walked around a bit. It's always bugged me when after a sex scene the girl gets dressed real quick, even while holding the covers over her body... You're naked, enjoy it, stay that way for awhile! Get up, walk around, quit being such a prude! Although, in those cases, I'll bet the only reason they get dressed so fast is because it's a movie and they can't afford to push the censors by having the characters walking around naked after the sex is done...
Sunday, June 15, 2008
The Dreamers (2003)
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
Awesome film that doesn't demean its brilliance just because of the sexual nature of its plot. This is basically a story about the 60's, except it's not California - it's Paris, France, and it occurs during the 1968 riots in Paris. You can look it up if you want more historical context, but I didn't know what the riots were about, and it didn't much matter, because the brunt of the story focuses on three characters who are pretty much oblivious to what's going on out in the streets outside their house, until the point at which they can no longer ignore it.
But the spirit of the sixties is here in full swing. Peace, protest, and free love are all in there. And the absolutely amazing soundtrack centers on some scorching sections from Jimi Hendrix and Big Brother & The Holding Company (with Janis Joplin, of course), with even a Doors tune thrown in. There's even a pivotal scene where one character sings a line from Hey Joe, as the song plays on the record player.
But what's the story about? Well, it's a personal story about three young college-age people. An American student/cinema buff meets up with a pair of French twins (brother/sister) who share a lot of the same interests. They get real close real fast, and when the parents leave on a trip, the three of them live it out in the apartment, loose and free. There's some tension, because the twins are "joined at the hip", as they say (no, not literally), and the American student understands that they need to grow up and mature and the only way to do that is to split them apart, so they can learn to have some individuality or something. It's complicated. But that's where the drama comes in.
Great movie. There's even a scene where the two guys argue about whether Clapton or Hendrix is better. There's also a lot of talk about classic cinema, as the characters are all cinema buffs, and the director himself (Bernardo Bertolucci) is a cinema buff who was there in Paris during the riots depicted in this film, and a part of the real cinema scene that the characters in the film are a part of.
I love it because this film is high quality and sexually liberated. There's a great scene where the guy and girl have sex on the kitchen floor, for the first time, and the other guy (the brother) is making eggs on the stove, casually. It's all very real. The characters spend a good amount of time all or partly naked, too, and sometimes it's sexual, and sometimes it's not - which is what real life should be like.
I recommend this movie highly, if any of what I discussed here interests you.
Awesome film that doesn't demean its brilliance just because of the sexual nature of its plot. This is basically a story about the 60's, except it's not California - it's Paris, France, and it occurs during the 1968 riots in Paris. You can look it up if you want more historical context, but I didn't know what the riots were about, and it didn't much matter, because the brunt of the story focuses on three characters who are pretty much oblivious to what's going on out in the streets outside their house, until the point at which they can no longer ignore it.
But the spirit of the sixties is here in full swing. Peace, protest, and free love are all in there. And the absolutely amazing soundtrack centers on some scorching sections from Jimi Hendrix and Big Brother & The Holding Company (with Janis Joplin, of course), with even a Doors tune thrown in. There's even a pivotal scene where one character sings a line from Hey Joe, as the song plays on the record player.
But what's the story about? Well, it's a personal story about three young college-age people. An American student/cinema buff meets up with a pair of French twins (brother/sister) who share a lot of the same interests. They get real close real fast, and when the parents leave on a trip, the three of them live it out in the apartment, loose and free. There's some tension, because the twins are "joined at the hip", as they say (no, not literally), and the American student understands that they need to grow up and mature and the only way to do that is to split them apart, so they can learn to have some individuality or something. It's complicated. But that's where the drama comes in.
Great movie. There's even a scene where the two guys argue about whether Clapton or Hendrix is better. There's also a lot of talk about classic cinema, as the characters are all cinema buffs, and the director himself (Bernardo Bertolucci) is a cinema buff who was there in Paris during the riots depicted in this film, and a part of the real cinema scene that the characters in the film are a part of.
I love it because this film is high quality and sexually liberated. There's a great scene where the guy and girl have sex on the kitchen floor, for the first time, and the other guy (the brother) is making eggs on the stove, casually. It's all very real. The characters spend a good amount of time all or partly naked, too, and sometimes it's sexual, and sometimes it's not - which is what real life should be like.
I recommend this movie highly, if any of what I discussed here interests you.
Sunday, June 1, 2008
The Strangers (2008)
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
I went to see The Strangers last night at the cinema. To put it quite simply, it's that new horror movie starring Liv Tyler. Since I'm a huge horror fan, and I kind of have a crush on Liv Tyler, I couldn't pass it up. It was opening day, but even so, I was surprised at how many people showed up for the Friday night last showing (11pm - tame). I'm used to seeing movies where not more than a handful of people show up. Then again, the second-run theatre that I liked to go to shut down, unfortunately. But at this show, shortly into the movie, there wasn't an empty seat within my view!
Lots of young types, most likely high school students, out for a weekend thrill. I was impressed to see a group of older guys among the crowd though. Older as in father types, the rebel kind you might see at a rock concert. Anyhow, it was crowded, and I prefer more room to breathe, but it wasn't too bad.
The movie itself was very good. Not one of the best horror movies I've ever seen, but in this day of dime-a-dozen scare flicks, I'd say it was among the better ones. There was a good bit of emotional tension between the two leads even before The Strangers showed up to wreak havoc. In fact, the movie dealt with a situation I haven't really seen a lot, especially not in horror films - a marriage proposal gone sour. Watching the previews, I thought the lead couple was gonna be all lovey-dovey, but there was this depressing air that hung over them instead. Kind of an appropriate lead-in to the horror that followed. Sort of like, "this is the worst night of my life" even before they discover that they're being hunted by homicidal psychopaths - like some kind of pathetic fallacy where god sends angels of death (in a purely symbolic sense) to truly make this night the absolute worst possible it could ever be. I thought it was a refreshing angle.
The movie does a really good job of slowly building up the tension, and a lot of that seems to have to do with the killers' strategy of slowly building up the tension in their victims, starting by sending a girl to knock on the door, pretending like she had the wrong house - but with the added creepiness of the porch light not working; followed by subsequent pounding on the door, and then sneaking into the house unnoticed to do small things like get rid of phones and stuff, a face in the window here or there, breaking open the front door but not coming in, just a gradual increase in intimidation to completely freak out the innocent victims. And they wait until dawn breaks to do their worst in the clear light of day.
I thought the killers were portrayed very well. They weren't really explained or over-analyzed, which is something that I think some (especially modern) horror movies make the mistake of doing (Black Christmas remake, I'm looking at you). Michael Myers (the character, not the actor) in Halloween wasn't scary because he had this abusive history or whatever, he was scary because he was the freaking bogeyman, and he killed dispassionately just for the sake of killing. Anyway, I liked how you never got to see the killers' faces. They wore masks throughout the night, but one detail that I really liked was how they took their masks off just before their final act of violence - but we still didn't get to see their faces, though it wasn't done in an overly obvious fashion. It's like, you barely get to see a face here or there, but you never got a straight look. Just something about that added an extra dimension of creepiness. The fact that they wanted to reveal their faces to their victims at the very end, but that we still end up leaving the theatre without seeing them.
And then that near-final scene, with the two bike-boys. Gives just the slightest bit of humanity to the killers, while at the same time, it sort of accentuates how brutally inhumane they are. Excellent.
I went to see The Strangers last night at the cinema. To put it quite simply, it's that new horror movie starring Liv Tyler. Since I'm a huge horror fan, and I kind of have a crush on Liv Tyler, I couldn't pass it up. It was opening day, but even so, I was surprised at how many people showed up for the Friday night last showing (11pm - tame). I'm used to seeing movies where not more than a handful of people show up. Then again, the second-run theatre that I liked to go to shut down, unfortunately. But at this show, shortly into the movie, there wasn't an empty seat within my view!
Lots of young types, most likely high school students, out for a weekend thrill. I was impressed to see a group of older guys among the crowd though. Older as in father types, the rebel kind you might see at a rock concert. Anyhow, it was crowded, and I prefer more room to breathe, but it wasn't too bad.
The movie itself was very good. Not one of the best horror movies I've ever seen, but in this day of dime-a-dozen scare flicks, I'd say it was among the better ones. There was a good bit of emotional tension between the two leads even before The Strangers showed up to wreak havoc. In fact, the movie dealt with a situation I haven't really seen a lot, especially not in horror films - a marriage proposal gone sour. Watching the previews, I thought the lead couple was gonna be all lovey-dovey, but there was this depressing air that hung over them instead. Kind of an appropriate lead-in to the horror that followed. Sort of like, "this is the worst night of my life" even before they discover that they're being hunted by homicidal psychopaths - like some kind of pathetic fallacy where god sends angels of death (in a purely symbolic sense) to truly make this night the absolute worst possible it could ever be. I thought it was a refreshing angle.
The movie does a really good job of slowly building up the tension, and a lot of that seems to have to do with the killers' strategy of slowly building up the tension in their victims, starting by sending a girl to knock on the door, pretending like she had the wrong house - but with the added creepiness of the porch light not working; followed by subsequent pounding on the door, and then sneaking into the house unnoticed to do small things like get rid of phones and stuff, a face in the window here or there, breaking open the front door but not coming in, just a gradual increase in intimidation to completely freak out the innocent victims. And they wait until dawn breaks to do their worst in the clear light of day.
I thought the killers were portrayed very well. They weren't really explained or over-analyzed, which is something that I think some (especially modern) horror movies make the mistake of doing (Black Christmas remake, I'm looking at you). Michael Myers (the character, not the actor) in Halloween wasn't scary because he had this abusive history or whatever, he was scary because he was the freaking bogeyman, and he killed dispassionately just for the sake of killing. Anyway, I liked how you never got to see the killers' faces. They wore masks throughout the night, but one detail that I really liked was how they took their masks off just before their final act of violence - but we still didn't get to see their faces, though it wasn't done in an overly obvious fashion. It's like, you barely get to see a face here or there, but you never got a straight look. Just something about that added an extra dimension of creepiness. The fact that they wanted to reveal their faces to their victims at the very end, but that we still end up leaving the theatre without seeing them.
And then that near-final scene, with the two bike-boys. Gives just the slightest bit of humanity to the killers, while at the same time, it sort of accentuates how brutally inhumane they are. Excellent.
Sunday, January 20, 2008
Musical Discoveries
Note: This feature was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
Following is a discussion of how I discovered some of my favorite musical artists.
Classic Rock (Popular)
Most of the classic rock artists I'm into I discovered from a combination of my parents' listening habits as I was being raised (more of a subconscious inspiration), and the stuff I heard on what was (alas, no longer) the classic rock station in this area when I first consciously started recognizing music and acquiring a taste for it (around the end of my high school years). But here are a few specific stories:
Led Zeppelin
Stairway To Heaven was one of the first songs that I really got into in a big way. During the first semester of my senior year in high school, I spent a lot of time at home after school sitting in the dark and listening to the radio. I was "earning my chops" as a listener, in terms of getting to know all the most popular classic rock tracks (at least on big name radio, anyway). But every time Stairway To Heaven came on - which was relatively frequently - I went into a total trance. It was practically a spiritual experience. The magic of the song, and the power and emotion of the solo. Once, a little later, after acquiring a girlfriend, I pulled the car into the driveway when Stairway came on. She was anxious to get inside, so she shut the radio off - cutting off my reverie. I was pissed. (I got over it :p).
As far as the rest of Zep's catalog, in addition to what the radio played, they did a Top 50 Albums countdown over Thanksgiving weekend that year. I got introduced to a lot of good albums on that countdown (as opposed to just songs), and I actually used it as a guide for writing up my Christmas list, since before then I didn't really know what albums were good. The albums on that countdown that made the biggest impression on me were Zep's.
Another formulating experience was the weekend with the ZoSocar. One weekend that December, my brother 'traded' cars with me for the weekend, because he wanted to take the van up to Canada. So I got to drive his white Firebird. It was a sweet ride. He left Zep's fourth album in the CD player, so naturally, driving the car meant listening to the album. It was an amazing experience, that I am sure only increased the magic of that album.
Pink Floyd
I discovered Pink Floyd pretty much the same way as Led Zeppelin, though there wasn't necessarily one song that stood out for me as much as Stairway To Heaven did. But I do remember one Floyd-related incident from my childhood. I was in some way familiar with Dark Side of the Moon, because I remember I would sometimes beg my mom to put it on so I could listen to my favorite part, which was the ambient portion at the very beginning of the song Time. Floyd was probably the band I was most consciously aware of during the early years. In the discovery period, during the end of my high school years, I attached myself to Pink Floyd because they seemed a bit more sophisticated than the average rock band, and also because their music had a certain emotion to it - something a bit more introspective and atmospheric - which attracted me. I remember driving back from the mall one day, by myself, and Hey You came on the radio, and I thought back on my experiences, since I was approaching graduation, and I just had this feeling that Pink Floyd had some underlying connection to me.
The Doors
Something about The Doors reminds me of our lakeside family vacations from my childhood. It probably has a lot to do with hearing them a lot during those vacations. But it might also have to do with a very important experience that has stuck in my memory all these years. We were just coming off the lake as a storm broke out. While our relatives were tying up the boat, my brothers and I ran ahead to the cottages for cover. The doors were locked and nobody answered. We ran along the road from our parents' cottage to our grandparents' cottage, and the van drove right up to us, coming back from shopping. They opened the door and we climbed in out of the rain, and Riders on the Storm was playing on the CD player. Perfect.
The Who
The Who was actually the first rock concert I ever went to. But it wasn't me, it was my brother, that suggested it to my dad in the first place. I wanted to get a better idea of who The Who was - in essence, which of the songs I knew from the radio was actually The Who. I heard Who Are You one day, and I remember coming to the realization that "this is The Who". So I've kind of always felt a little behind the curve in my appreciation for The Who, but there's something very unique about the band, particularly Pete Townshend's approach to playing the guitar, that I've come to appreciate more and more over the years.
The Rolling Stones
The Rolling Stones is my dad's favorite band, so my awareness of them is pretty self-explanatory. They don't really have a searing guitar god - Keith Richards has always been more of the rhythm/song-writing type - so I've always spent less attention on them than other bands. But there's no doubt that they have a solid groove, as well as being just downright cool. And listening to them a lot, and learning about them on the side, from my dad's influence, I've learned to appreciate them more and more.
Neil Young
My first encounter with Neil Young was the song Cinnamon Girl which came on every once in awhile on the radio. I remember having to separate it in my mind from Brown-Eyed Girl, since the title was similar in structure. But between the two, Cinnamon Girl was more interesting because it was electric and had a rock edge. Another time, in a rare occurrence, I heard Down By The River playing on the radio, and I was captivated by the electric jamming and groovy atmosphere. Yet another time, I heard Like A Hurricane, and I wasn't sure it was Neil Young, but I had a pretty good idea that it was, because I could hear the stylistic similarities to Down By The River. I tried to look it up, but kept getting Rock You Like A Hurricane, which obviously wasn't right.
I knew my dad had some Neil Young in his collection, so I looked through it one night, and discovered the album Everybody Knows This Is Nowhere, with the song Down By The River - bingo! Listening to the album, I heard Cowgirl in the Sand for the very first time, and it blew me away. I loved it, but I didn't become totally obsessed with the song until my freshman year in college, sitting in the window, watching the students pass by down below, listening to the song on repeat for hours, waiting for just a glimpse of heaven...
Other Classic Rock/Blues
Robin Trower and Ten Years After
I'm lumping these two together only because I 'discovered' them simultaneously. Ten Years After has more or less been my dad's second favorite band, and my introduction to them during the Woodstock film (Alvin Lee totally smoking on the guitar throughout I'm Going Home) whetted my appetite for more. As for Robin Trower, I heard about him from an online classic rock forum, and decided he was worth checking out. So sometime during my college days, I ordered a TYA album and a Trower album. When they arrived, I took them to the library to listen to while doing some homework (I'm thinking this must have been sophomore year). I was entranced by Trower, and TYA blew me away. One of the TYA songs, You Give Me Loving, actually sounded familiar to me. It was bizarre, because I know I hadn't consciously heard the song before, but the riff must have been burned into my brain subconsciously from listening to TYA a lot during childhood, as I'm sure I did.
Peter Green's Fleetwood Mac
My first introduction to Peter Green was waking up halfway in the middle of the night, with the radio still playing, and hearing the song Oh Well, including the full acoustic portion. It mesmerized me, and I made a point to jot down the name of the song and the band, that the DJ announced after it ended, on a strip of paper so I would remember it the next morning. I woke up and looked at the piece of paper, and told myself that there was no way that song was by Fleetwood Mac, the band that did the Rumours album. So I shrugged it off for the time being.
I don't recall how Peter Green re-entered my consciousness, but I was curious, perhaps still wondering about that Oh Well song, so I went and bought the BBC Sessions featuring not just Fleetwood Mac, but Peter Green's Fleetwood Mac. I was sold instantly, after listening to it. Peter Green, with his heart-rending soulful blues licks, and his melancholic sensibilities, immediately became one of my favorite artists of all time. He's an amazing musician, and the very personal songs he sings, I feel like it could have been me that wrote those songs. There's a deep connection there.
Michael Bloomfield
I came upon Michael Bloomfield in a roundabout way. It's pretty ironic, actually. One day, jumping into (or maybe just before getting out of) the car at Guitar Center, I heard on the radio - a rare occurrence, indeed - the version of Season of the Witch which turned out to be by Al Kooper and Stephen Stills. Not at first, but this gradually led me to the Super Session album, from which the track comes, which features some of Bloomfield's best playing. The session was conceived for just that purpose, and Stills' contribution came only after Bloomfield skipped out halfway through the proceedings. So by chance, I was drawn to Super Session by one of the non-Bloomfield tracks!
And then there was The Monterey Pop Festival DVD. Bloomfield plays on it with a band called Electric Flag. But what caught my attention even more, was the Paul Butterfield Blues Band's performance on Driftin' and Driftin'. Once again, I just barely missed Bloomfield, because shortly before Monterey, he had quit the Butterfield Blues Band to form Electric Flag! Still, I got interested in the Butterfield Blues Band, and bought the anthology, half of which features Bloomfield on guitar. So from both this and Super Session, I came to discover, in a roundabout fashion, the genius of Michael Bloomfield, forgotten blues virtuoso guitar god of the sixties (and to a decidedly lesser extent, the seventies).
Other Genres
Joe Bonamassa (Modern Blues Rock)
I don't recall exactly how I came across Grooveyard Records, but when I did, I realized that here was a potential treasure trove of modern music that could appeal to my guitar-driven blues-influenced rock sensibilities. I downloaded all of the sample tracks from the various albums they were offering, and I listened to them, paring them down to the very best four. Then, I ordered the albums those best tracks were from. This is how I discovered Lance Lopez, also. One of those first tracks was A New Day Yesterday from Joe Bonamassa's live album of that title. I got the album and I've been a dedicated fan ever since. He's my favorite modern guitarist.
Shannon Curfman (Modern Blues Rock)
One day during my senior year in college, I was sitting at my desk in my dorm room, reading from a hometown mag I had just got in the mail. I scanned through it for anything interest-catching. Well, in the live performances section of the magazine, there was an article about an upcoming performance by a young female blues rocker. My interest was piqued. When I read that she had recorded a blues album at age 15, I was fascinated. I couldn't get home to see her perform that time, but I bought her album and got a chance to see her next time 'round.
Silvertide (Modern Classic-style Rock)
When Silvertide were just getting popular over in Philly, there was a Philly-based member on an online Zeppelin forum I frequented at the time. He was advertising the band, but I pretty much ignored them at first. Finally, this member sent me an audio track or two, and I was really impressed. I also visited the band's website and heard a few more songs, and I was hooked. I got a chance to see the band live as an opening act, and I eagerly anticipated their first album release. Afterward, I even hoofed it out across the state line to see them perform for a future live DVD release, which was ultimately canned. Unfortunately, the band faded into the void behind lies of a second album. Nobody knows if they will ever resurface, but at this time, it looks highly doubtful. Ah well, they were good while they lasted.
Godspeed You! Black Emperor (Post-Rock)
My initial foray into the post-rock and, more generally, the ambient and atmospheric music genres, came out of my discovery of the band Godspeed You! Black Emperor. And that occurred while initially watching zombie horror flick 28 Days Later. Despite their anti-publicity stance, Godspeed allowed one of their songs to be used in the movie - and to breathtaking effect. It certainly made an impression on me. Not only did I fashion the main riff of the first "original" song I wrote on guitar after the riff in that song, but I tracked the song down (which doesn't appear on the film soundtrack, by the way), and I've been a fan of the band ever since. Those post-apocalyptic soundscapes that journey from very loud to very quiet sections entrance me.
Following is a discussion of how I discovered some of my favorite musical artists.
Classic Rock (Popular)
Most of the classic rock artists I'm into I discovered from a combination of my parents' listening habits as I was being raised (more of a subconscious inspiration), and the stuff I heard on what was (alas, no longer) the classic rock station in this area when I first consciously started recognizing music and acquiring a taste for it (around the end of my high school years). But here are a few specific stories:
Led Zeppelin
Stairway To Heaven was one of the first songs that I really got into in a big way. During the first semester of my senior year in high school, I spent a lot of time at home after school sitting in the dark and listening to the radio. I was "earning my chops" as a listener, in terms of getting to know all the most popular classic rock tracks (at least on big name radio, anyway). But every time Stairway To Heaven came on - which was relatively frequently - I went into a total trance. It was practically a spiritual experience. The magic of the song, and the power and emotion of the solo. Once, a little later, after acquiring a girlfriend, I pulled the car into the driveway when Stairway came on. She was anxious to get inside, so she shut the radio off - cutting off my reverie. I was pissed. (I got over it :p).
As far as the rest of Zep's catalog, in addition to what the radio played, they did a Top 50 Albums countdown over Thanksgiving weekend that year. I got introduced to a lot of good albums on that countdown (as opposed to just songs), and I actually used it as a guide for writing up my Christmas list, since before then I didn't really know what albums were good. The albums on that countdown that made the biggest impression on me were Zep's.
Another formulating experience was the weekend with the ZoSocar. One weekend that December, my brother 'traded' cars with me for the weekend, because he wanted to take the van up to Canada. So I got to drive his white Firebird. It was a sweet ride. He left Zep's fourth album in the CD player, so naturally, driving the car meant listening to the album. It was an amazing experience, that I am sure only increased the magic of that album.
Pink Floyd
I discovered Pink Floyd pretty much the same way as Led Zeppelin, though there wasn't necessarily one song that stood out for me as much as Stairway To Heaven did. But I do remember one Floyd-related incident from my childhood. I was in some way familiar with Dark Side of the Moon, because I remember I would sometimes beg my mom to put it on so I could listen to my favorite part, which was the ambient portion at the very beginning of the song Time. Floyd was probably the band I was most consciously aware of during the early years. In the discovery period, during the end of my high school years, I attached myself to Pink Floyd because they seemed a bit more sophisticated than the average rock band, and also because their music had a certain emotion to it - something a bit more introspective and atmospheric - which attracted me. I remember driving back from the mall one day, by myself, and Hey You came on the radio, and I thought back on my experiences, since I was approaching graduation, and I just had this feeling that Pink Floyd had some underlying connection to me.
The Doors
Something about The Doors reminds me of our lakeside family vacations from my childhood. It probably has a lot to do with hearing them a lot during those vacations. But it might also have to do with a very important experience that has stuck in my memory all these years. We were just coming off the lake as a storm broke out. While our relatives were tying up the boat, my brothers and I ran ahead to the cottages for cover. The doors were locked and nobody answered. We ran along the road from our parents' cottage to our grandparents' cottage, and the van drove right up to us, coming back from shopping. They opened the door and we climbed in out of the rain, and Riders on the Storm was playing on the CD player. Perfect.
The Who
The Who was actually the first rock concert I ever went to. But it wasn't me, it was my brother, that suggested it to my dad in the first place. I wanted to get a better idea of who The Who was - in essence, which of the songs I knew from the radio was actually The Who. I heard Who Are You one day, and I remember coming to the realization that "this is The Who". So I've kind of always felt a little behind the curve in my appreciation for The Who, but there's something very unique about the band, particularly Pete Townshend's approach to playing the guitar, that I've come to appreciate more and more over the years.
The Rolling Stones
The Rolling Stones is my dad's favorite band, so my awareness of them is pretty self-explanatory. They don't really have a searing guitar god - Keith Richards has always been more of the rhythm/song-writing type - so I've always spent less attention on them than other bands. But there's no doubt that they have a solid groove, as well as being just downright cool. And listening to them a lot, and learning about them on the side, from my dad's influence, I've learned to appreciate them more and more.
Neil Young
My first encounter with Neil Young was the song Cinnamon Girl which came on every once in awhile on the radio. I remember having to separate it in my mind from Brown-Eyed Girl, since the title was similar in structure. But between the two, Cinnamon Girl was more interesting because it was electric and had a rock edge. Another time, in a rare occurrence, I heard Down By The River playing on the radio, and I was captivated by the electric jamming and groovy atmosphere. Yet another time, I heard Like A Hurricane, and I wasn't sure it was Neil Young, but I had a pretty good idea that it was, because I could hear the stylistic similarities to Down By The River. I tried to look it up, but kept getting Rock You Like A Hurricane, which obviously wasn't right.
I knew my dad had some Neil Young in his collection, so I looked through it one night, and discovered the album Everybody Knows This Is Nowhere, with the song Down By The River - bingo! Listening to the album, I heard Cowgirl in the Sand for the very first time, and it blew me away. I loved it, but I didn't become totally obsessed with the song until my freshman year in college, sitting in the window, watching the students pass by down below, listening to the song on repeat for hours, waiting for just a glimpse of heaven...
Other Classic Rock/Blues
Robin Trower and Ten Years After
I'm lumping these two together only because I 'discovered' them simultaneously. Ten Years After has more or less been my dad's second favorite band, and my introduction to them during the Woodstock film (Alvin Lee totally smoking on the guitar throughout I'm Going Home) whetted my appetite for more. As for Robin Trower, I heard about him from an online classic rock forum, and decided he was worth checking out. So sometime during my college days, I ordered a TYA album and a Trower album. When they arrived, I took them to the library to listen to while doing some homework (I'm thinking this must have been sophomore year). I was entranced by Trower, and TYA blew me away. One of the TYA songs, You Give Me Loving, actually sounded familiar to me. It was bizarre, because I know I hadn't consciously heard the song before, but the riff must have been burned into my brain subconsciously from listening to TYA a lot during childhood, as I'm sure I did.
Peter Green's Fleetwood Mac
My first introduction to Peter Green was waking up halfway in the middle of the night, with the radio still playing, and hearing the song Oh Well, including the full acoustic portion. It mesmerized me, and I made a point to jot down the name of the song and the band, that the DJ announced after it ended, on a strip of paper so I would remember it the next morning. I woke up and looked at the piece of paper, and told myself that there was no way that song was by Fleetwood Mac, the band that did the Rumours album. So I shrugged it off for the time being.
I don't recall how Peter Green re-entered my consciousness, but I was curious, perhaps still wondering about that Oh Well song, so I went and bought the BBC Sessions featuring not just Fleetwood Mac, but Peter Green's Fleetwood Mac. I was sold instantly, after listening to it. Peter Green, with his heart-rending soulful blues licks, and his melancholic sensibilities, immediately became one of my favorite artists of all time. He's an amazing musician, and the very personal songs he sings, I feel like it could have been me that wrote those songs. There's a deep connection there.
Michael Bloomfield
I came upon Michael Bloomfield in a roundabout way. It's pretty ironic, actually. One day, jumping into (or maybe just before getting out of) the car at Guitar Center, I heard on the radio - a rare occurrence, indeed - the version of Season of the Witch which turned out to be by Al Kooper and Stephen Stills. Not at first, but this gradually led me to the Super Session album, from which the track comes, which features some of Bloomfield's best playing. The session was conceived for just that purpose, and Stills' contribution came only after Bloomfield skipped out halfway through the proceedings. So by chance, I was drawn to Super Session by one of the non-Bloomfield tracks!
And then there was The Monterey Pop Festival DVD. Bloomfield plays on it with a band called Electric Flag. But what caught my attention even more, was the Paul Butterfield Blues Band's performance on Driftin' and Driftin'. Once again, I just barely missed Bloomfield, because shortly before Monterey, he had quit the Butterfield Blues Band to form Electric Flag! Still, I got interested in the Butterfield Blues Band, and bought the anthology, half of which features Bloomfield on guitar. So from both this and Super Session, I came to discover, in a roundabout fashion, the genius of Michael Bloomfield, forgotten blues virtuoso guitar god of the sixties (and to a decidedly lesser extent, the seventies).
Other Genres
Joe Bonamassa (Modern Blues Rock)
I don't recall exactly how I came across Grooveyard Records, but when I did, I realized that here was a potential treasure trove of modern music that could appeal to my guitar-driven blues-influenced rock sensibilities. I downloaded all of the sample tracks from the various albums they were offering, and I listened to them, paring them down to the very best four. Then, I ordered the albums those best tracks were from. This is how I discovered Lance Lopez, also. One of those first tracks was A New Day Yesterday from Joe Bonamassa's live album of that title. I got the album and I've been a dedicated fan ever since. He's my favorite modern guitarist.
Shannon Curfman (Modern Blues Rock)
One day during my senior year in college, I was sitting at my desk in my dorm room, reading from a hometown mag I had just got in the mail. I scanned through it for anything interest-catching. Well, in the live performances section of the magazine, there was an article about an upcoming performance by a young female blues rocker. My interest was piqued. When I read that she had recorded a blues album at age 15, I was fascinated. I couldn't get home to see her perform that time, but I bought her album and got a chance to see her next time 'round.
Silvertide (Modern Classic-style Rock)
When Silvertide were just getting popular over in Philly, there was a Philly-based member on an online Zeppelin forum I frequented at the time. He was advertising the band, but I pretty much ignored them at first. Finally, this member sent me an audio track or two, and I was really impressed. I also visited the band's website and heard a few more songs, and I was hooked. I got a chance to see the band live as an opening act, and I eagerly anticipated their first album release. Afterward, I even hoofed it out across the state line to see them perform for a future live DVD release, which was ultimately canned. Unfortunately, the band faded into the void behind lies of a second album. Nobody knows if they will ever resurface, but at this time, it looks highly doubtful. Ah well, they were good while they lasted.
Godspeed You! Black Emperor (Post-Rock)
My initial foray into the post-rock and, more generally, the ambient and atmospheric music genres, came out of my discovery of the band Godspeed You! Black Emperor. And that occurred while initially watching zombie horror flick 28 Days Later. Despite their anti-publicity stance, Godspeed allowed one of their songs to be used in the movie - and to breathtaking effect. It certainly made an impression on me. Not only did I fashion the main riff of the first "original" song I wrote on guitar after the riff in that song, but I tracked the song down (which doesn't appear on the film soundtrack, by the way), and I've been a fan of the band ever since. Those post-apocalyptic soundscapes that journey from very loud to very quiet sections entrance me.
Saturday, January 19, 2008
Legend (1985) and the Lure of Fantasy
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
I got the Ultimate Edition of Legend on DVD for Christmas, which includes the original US theatrical release version as well as a Director's Cut version with the original score. If you're unaware, there were two scores cut for this film. Originally, Jerry Goldsmith composed a classical score for the film, which, from what I've seen, is widely considered the better score (certainly the director thinks so). But director Ridley Scott, from what I can tell from the Making Of featurette, got paranoid and decided to create a more "rock", or perhaps "pop", score for the American release, because he thought it would be more accepted than the classical score. So he hired Tangerine Dream to totally re-score the American version of the film, which also featured a few cuts and other variations. So there was the American version with the Tangerine Dream score, and the UK/International version with the Jerry Goldsmith score. And now that I have the DVD, I get the chance to watch the film with the original classical score for the first time (in a Director's Cut which features even more material not originally shown in either version, I believe).
Well, here's the rub. The version with the Tangerine Dream score consistently put me in tears, while I can hardly get myself to continue watching the version with the classical score.
I was thinking to myself, watching it yesterday (with the TD score), wondering what it was about this movie that makes it so unique among other fantasy films. Something about it that makes it so much more magical and ethereal than any other fantasy film I've seen. Well, now I know what the primary factor contributing to that atmosphere is - it's the score. Tangerine Dream's score is so unlike the music you hear in most movies, particularly in fantasy movies, and it fits the theme of the movie so well. In contrast, the classical score is so dull and contrived. You can hear the different themes and the way it switches from good to evil when the screen focuses on the heroes and villains, and how it gets louder and jumps at you during action sequences and all of that. How incredibly boring. It's like every other film I've ever seen with a classical score. Classical music does not make the film more fantasy-like, by giving it some old-world atmosphere or whatever. It might seem like a contradiction, but an electronic band in the 80's has managed to create a soundtrack infinitely more magical and fantastic than any classical music that could ever be composed. Fantasy is about imagination, isn't it? I want to hear music that's different and unique, and Tangerine Dream has provided that.
The bottom line is this: with the Tangerine Dream score, Legend is one of the most imaginative and unique fantasy films ever created; with the classical score, it's just another fantasy tale in a long line of more or less interesting titles. To think, the TD score was merely an afterthought that might never have come to be...
On a related note, I came to a realization about the lure of fantasy. What I realized, was that the true magic of fantasy comes from the way that everything is so polarized - particularly between good and evil. By creating a pure good and a pure evil, and pitting them against each other, you eliminate the troubling circumstantial judgements of the real world. You can get behind one side, and not feel any guilt when the hero defeats the villain once and for all. You can also feed your desires for a world where purity exists - pure good, pure innocence, pure joy. Even though it is at the expense of conceding the existence of pure evil, that evil can always be fought off, and the pure good can be enjoyed without the taint of doubt that exists in real life.
Another thing that's so alluring about fantasy is the way that a normal person - a simple commoner - can become a hero and save the world. Sometimes the hero has a special gift, but he often becomes aware of it by surprise - fueling the notion that any normal person could suddenly discover that they have the blood of kings running through their veins, or something like that. So however lame and disappointing your real life is, for a moment, while indulging in this fantasy world, you can imagine that even you could be a hero. And not only that, but the world of fantasy is filled with a magic that makes it far more interesting, and potentially a lot more fun, than the real world.
Fantasy is the realm of dreams.
I got the Ultimate Edition of Legend on DVD for Christmas, which includes the original US theatrical release version as well as a Director's Cut version with the original score. If you're unaware, there were two scores cut for this film. Originally, Jerry Goldsmith composed a classical score for the film, which, from what I've seen, is widely considered the better score (certainly the director thinks so). But director Ridley Scott, from what I can tell from the Making Of featurette, got paranoid and decided to create a more "rock", or perhaps "pop", score for the American release, because he thought it would be more accepted than the classical score. So he hired Tangerine Dream to totally re-score the American version of the film, which also featured a few cuts and other variations. So there was the American version with the Tangerine Dream score, and the UK/International version with the Jerry Goldsmith score. And now that I have the DVD, I get the chance to watch the film with the original classical score for the first time (in a Director's Cut which features even more material not originally shown in either version, I believe).
Well, here's the rub. The version with the Tangerine Dream score consistently put me in tears, while I can hardly get myself to continue watching the version with the classical score.
I was thinking to myself, watching it yesterday (with the TD score), wondering what it was about this movie that makes it so unique among other fantasy films. Something about it that makes it so much more magical and ethereal than any other fantasy film I've seen. Well, now I know what the primary factor contributing to that atmosphere is - it's the score. Tangerine Dream's score is so unlike the music you hear in most movies, particularly in fantasy movies, and it fits the theme of the movie so well. In contrast, the classical score is so dull and contrived. You can hear the different themes and the way it switches from good to evil when the screen focuses on the heroes and villains, and how it gets louder and jumps at you during action sequences and all of that. How incredibly boring. It's like every other film I've ever seen with a classical score. Classical music does not make the film more fantasy-like, by giving it some old-world atmosphere or whatever. It might seem like a contradiction, but an electronic band in the 80's has managed to create a soundtrack infinitely more magical and fantastic than any classical music that could ever be composed. Fantasy is about imagination, isn't it? I want to hear music that's different and unique, and Tangerine Dream has provided that.
The bottom line is this: with the Tangerine Dream score, Legend is one of the most imaginative and unique fantasy films ever created; with the classical score, it's just another fantasy tale in a long line of more or less interesting titles. To think, the TD score was merely an afterthought that might never have come to be...
On a related note, I came to a realization about the lure of fantasy. What I realized, was that the true magic of fantasy comes from the way that everything is so polarized - particularly between good and evil. By creating a pure good and a pure evil, and pitting them against each other, you eliminate the troubling circumstantial judgements of the real world. You can get behind one side, and not feel any guilt when the hero defeats the villain once and for all. You can also feed your desires for a world where purity exists - pure good, pure innocence, pure joy. Even though it is at the expense of conceding the existence of pure evil, that evil can always be fought off, and the pure good can be enjoyed without the taint of doubt that exists in real life.
Another thing that's so alluring about fantasy is the way that a normal person - a simple commoner - can become a hero and save the world. Sometimes the hero has a special gift, but he often becomes aware of it by surprise - fueling the notion that any normal person could suddenly discover that they have the blood of kings running through their veins, or something like that. So however lame and disappointing your real life is, for a moment, while indulging in this fantasy world, you can imagine that even you could be a hero. And not only that, but the world of fantasy is filled with a magic that makes it far more interesting, and potentially a lot more fun, than the real world.
Fantasy is the realm of dreams.
Thursday, January 17, 2008
The Fountain (2006)
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
The Fountain was among the DVDs I got for Christmas. I remember noticing it when it originally came out. It looked interesting, but I didn't get around to seeing it. Well, now I have. I have to admit, it was a fascinating movie, although it went in a bit of a different direction than I was hoping. I guess you could say I was expecting more fantasy and less drama. But it was still a great tale. With lots to interpret.
I guess the core of the story is what takes place in present time. A doctor on the verge of discovering a medicinal elixir of life, extracted from a tree in Central America, is racing against time while the love of his life is dying of cancer. She in turn is writing a story about the Tree of Life, related to Spanish/Mayan history. Part of that mythology involves the Mayan underworld, named after a dying star observed in the heavens. A star that the main character is traveling toward, in a bubble-like spaceship with a dying tree, presumably far into the future. These three timelines tradeoff as the story unfolds, leaving you to guess just exactly how they fit together.
I guess one interpretation would be that the past scenes are merely an embodiment of the story, and the future scenes part of the doctor's madness - leaving us with just the present. But, if we want to be a little more adventurous, we could conjecture that the doctor does in reality discover the secret to immortality and that the future scenes actually happen as is. But is there an interpretation where the past scenes could be real as well? Because that's what I was hoping for - a tale about two lovers who exist through many ages, from the past through the present and on to the future. But considering what happens when the conquistador in the past finds the Tree of Life, it doesn't seem too reasonable.
Still, the beauty of the story is the sheer imagination of it and the way it was filmed, and how the different timelines interact with one another to create a rich tapestry of storytelling. That, and the question of immortality that is inevitably brought up. Is death just a disease, that needs to be cured? Or is death the road to awe? It's a tough question that's been asked as long as man has been around, I imagine. And I don't think the answer is as easy as some people pretend. Life and death both serve a purpose, and neither one is purely good, or bad. I don't think there is an ultimate answer as to whether or not death should have a place in life. But it does have that place, and there is very little we can do about it - and this fact, I believe, will continue to inspire people to fight against it. You have to be careful, though - there is a balance to be found between vying for eternal life and accepting the simple fact of death. If we get too caught up on living forever, we make death all the harder to bear. And I think that's one of the messages that The Fountain carries - the need to accept death.
The Fountain was among the DVDs I got for Christmas. I remember noticing it when it originally came out. It looked interesting, but I didn't get around to seeing it. Well, now I have. I have to admit, it was a fascinating movie, although it went in a bit of a different direction than I was hoping. I guess you could say I was expecting more fantasy and less drama. But it was still a great tale. With lots to interpret.
I guess the core of the story is what takes place in present time. A doctor on the verge of discovering a medicinal elixir of life, extracted from a tree in Central America, is racing against time while the love of his life is dying of cancer. She in turn is writing a story about the Tree of Life, related to Spanish/Mayan history. Part of that mythology involves the Mayan underworld, named after a dying star observed in the heavens. A star that the main character is traveling toward, in a bubble-like spaceship with a dying tree, presumably far into the future. These three timelines tradeoff as the story unfolds, leaving you to guess just exactly how they fit together.
I guess one interpretation would be that the past scenes are merely an embodiment of the story, and the future scenes part of the doctor's madness - leaving us with just the present. But, if we want to be a little more adventurous, we could conjecture that the doctor does in reality discover the secret to immortality and that the future scenes actually happen as is. But is there an interpretation where the past scenes could be real as well? Because that's what I was hoping for - a tale about two lovers who exist through many ages, from the past through the present and on to the future. But considering what happens when the conquistador in the past finds the Tree of Life, it doesn't seem too reasonable.
Still, the beauty of the story is the sheer imagination of it and the way it was filmed, and how the different timelines interact with one another to create a rich tapestry of storytelling. That, and the question of immortality that is inevitably brought up. Is death just a disease, that needs to be cured? Or is death the road to awe? It's a tough question that's been asked as long as man has been around, I imagine. And I don't think the answer is as easy as some people pretend. Life and death both serve a purpose, and neither one is purely good, or bad. I don't think there is an ultimate answer as to whether or not death should have a place in life. But it does have that place, and there is very little we can do about it - and this fact, I believe, will continue to inspire people to fight against it. You have to be careful, though - there is a balance to be found between vying for eternal life and accepting the simple fact of death. If we get too caught up on living forever, we make death all the harder to bear. And I think that's one of the messages that The Fountain carries - the need to accept death.
Sunday, January 6, 2008
My Favorite Bands
Note: This feature was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
My brother goes through phases in terms of his music fandom. He'll be totally obsessed with something for awhile, then he'll reach some kind of breakthrough and find something new. I've known a lot of people that are like this, that seem to drift from one scene to another. In contrast, I've always had a certain respect for a person who stuck fast to the things he enjoys. My taste evolves and my moods change just like anyone else, but I like to think that I'm a little more stable than the average person.
Granted, I'm much more into blues these days than I ever have been, and I tend to focus more concentration on it than my beloved classic rock. But if you look behind the outer layer, I think you'll see that my focus really hasn't changed at all these past 6 years or so, since I've really gotten into music. My favorite band in high school was Pink Floyd, and my favorite band in college was Led Zeppelin. I don't listen to Pink Floyd and Led Zeppelin as much as I used to, because frankly, I've kind of worn them out (not to say that I don't still enjoy listening to them when I get the chance, though).
But in their place, I'm listening to bands a lot like Pink Floyd and Led Zeppelin. It's not really new, it's kind of just more of the same. I haven't switched genres, I've just gone deeper. Instead of Pink Floyd, I listen to Tangerine Dream, post-rock bands like Godspeed You! Black Emperor, and various ambient/atmospheric stuff. And instead of Led Zeppelin, I listen to other blues rock bands like the original Fleetwood Mac, and Robin Trower, etc. So I feel like, where other people might like to journey laterally, I like to spend my time going deeper into the environment in which I'm already ensconced.
So my brother's favorite bands seem to change every year or two, and he comes up to me and asks me what my favorite bands are. And I sit there, and I have to think, "why are you asking me this question? You already know what my favorite bands are. I told you a year ago, and a year before that." But anyway, in case my list has changed slightly over the years, and for those who have never asked me, here are my favorite bands, and an example of an album or two from each which represents well what I like about them.
Neil Young & Crazy Horse
Studio: Everybody Knows This Is Nowhere (1969)
Live: Live At The Fillmore East (1970)
I have great respect for Neil Young as a musician, and the things he stands for, but when he combines his style with the engine of Crazy Horse, that's where it all comes together in the perfect package. People are hesitant to praise Neil Young's rough and idiosyncratic approach to lead guitar, but to me, the rawness of his licks touch the base frustration of my soul like nothing else can. The lead lines in Cowgirl in the Sand - the definitive version presented on Everybody Knows This Is Nowhere, and a powerful live version on the newly released Fillmore concert - express perfectly the frustration within me at the mental struggles I endure. Wanting so badly to be more than I am, but being held back by unreasonable fears and insecurities, and the anger that stirs within me. Neil's stinging leads are the vocalization of that, in Cowgirl, as well as the other songs where he plays in that style.
Peter Green's Fleetwood Mac
Studio: Then Play On (1969)
Live: Live At The Boston Tea Party (1970)
The beauty of the original Fleetwood Mac, as I see it, is three-fold - and each fold covers the leader, Peter Green. On the one hand, you have Green's intensely personal rendition of the blues, stimulated by his tasteful and deeply emotional guitar style. Tracks like Jumping At Shadows, A Fool No More, and Love That Burns, are legitimate proof that white boys can play the blues just as sincerely as anyone. On the other hand, you have Fleetwood Mac's amazing rockers, epitomized by Rattlesnake Shake, which itself expanded into a beautifully intense exploratory musical jam inspired by bands like The Grateful Dead, but with a much harder edge. On the third hand, you have Peter Green's depressing personal songs, like Man of the World, Oh Well, Closing My Eyes, and The Green Manalishi, which convey a sense of sadness, paranoia, and even anger at the pattern of the world, as well as his confusion about the path his life was taking him in, from being nobody to a superstar, leading him to question the value and worth of it all. These feelings of being lost in a lost world I can relate to, and sympathize with, and they are a beautiful expression of the same kind of feelings I've been trying to communicate in my own music.
Led Zeppelin
Studio: Led Zeppelin (1969)
Live: The Song Remains The Same (1973)
Led Zeppelin was one of the first bands I got into. Not only do they have a certain cool factor that crosses all kinds of social and cultural barriers, but they actually have the talent and the style to back it up. Although the untitled fourth album was as influential in my development as a rock fan as any of Zep's albums were, their debut is probably their most bluesiest album, and while I'd be hard-pressed to pick one album as my definite favorite, this one would have to be considered. Among other things, the relaxed tightness of the band, their confidence in their own abilities, and the communication between Plant's voice and Page's guitar totally enthralled me. The band's live performance in The Song Remains The Same awed me to the point that I actually went out and bought a guitar, with the intent to learn to play like Jimmy. And I'm still working on that.
Pink Floyd
Studio: ?
Live: Live At Pompeii (1972)
As you can see, it's just about impossible for me to pick out one of Pink Floyd's albums as my favorite. I could easily choose Dark Side of the Moon, and it would be deserving of the position, but doing so would leave out so much other greatness the band accomplished, including the lesser known stuff that gets overlooked by pop culture - which is represented in the mind-blowing live show at Pompeii. Pompeii to me represents the height of what Pink Floyd was about, even more so than Dark Side of the Moon. Rather than a perfectly polished meditation on life's mysteries, Pink Floyd was originally about experimentation, and journeying unprepared into the unknown, which they would later spend so much time relating to the world, after they had returned from the intellectual voyage.
Robin Trower
Studio: Twice Removed From Yesterday (1973)
Live: Live (1976)
I got into Trower from a tip on a classic rock forum, but it was love at first listen. Trower's guitar style is gorgeously emotive. And his aesthetic carries a kind of spacey mystery. It's like Pink Floyd mixed with Led Zeppelin, in a way. Additionally, Dewar's vocals are the perfect match for Trower's licks, and that combination makes a powerful impression. Most people who know of Trower would cite Bridge of Sighs, but I'm more impressed by the original Robin Trower Band's debut album, Twice Removed From Yesterday. Besides featuring a lot of Trower's awesome guitar work (such as in the sublime Daydream and the torching Rock Me Baby), some of my favorite, and most heartbreaking, songs are on that album - specifically, I Can't Wait Much Longer and Hannah. For the live side of things, the Live album from 1976 is amazing in that it's not quite as self-conscious as a lot of live rock albums are. The band is truly in top form, and while the setlist regrettably does not include the hit title track from Bridge of Sighs, Trower's outstanding - and unmatched - playing on Daydream more than makes up for it. Nowhere else does that track sound quite as good.
Ten Years After
Studio: Cricklewood Green (1970) or Rock & Roll Music To The World (1972)
Live: Recorded Live (1973) or Live At The Fillmore East (1970)
Like most, my first conscious exposure to Ten Years After was the stage-stealing performance of I'm Going Home featured in the Woodstock film. However, after the Stones, my dad's favorite band is Ten Years After, so it partly runs in my blood. Alvin Lee never fails to impress with the fluidity of his lightning-fast licks. I'm the kind of guy who takes substance over speed, but Alvin Lee's got both. As if that weren't enough, his vocals, while maybe not musically on par with the legendary rock vocalists, capture his songs perfectly, and add a unique touch that really make the songs his own. The band as a whole is very tight, and has a strong foundation in the blues, which naturally appeals to me. At their heart, Ten Years After were a monster live band, and you can check out either of the live albums I've picked to witness not only their impressive improvisational expansion of the track I Can't Keep From Crying, Sometimes, but also the heavy emotional power, and the never-ending guitar drama, of the blues Help Me - my personal favorite from the band.
Derek And The Dominos
Studio: Layla & Other Assorted Love Songs (1970)
Despite only releasing one album, I still consider Derek and the Dominos to be one of my favorite bands. Part of that is because it's that good an album. And part of it is because it represents to me the pinnacle of Eric Clapton's career. Better than his solo career; even better than Cream. Part of the magic is the addition to the album of Duane Allman's prowess on the slide guitar, but the bulk of it comes from Clapton's inspiration - his unrequited love for the wife of his best friend. The result is the most beautiful, sincere, and moving collection of love songs ever recorded. My personal favorite track is the unconventional Hendrix cover of Little Wing. Clapton's version is decidedly unique, but it plods on with a power that speaks to me more than the delicate phrasing of Hendrix's original, and even Stevie Ray Vaughan's fantastic version. But to single out that track alone would be a disservice to the rest of this amazing album. Eric Clapton's never performed better.
And of course, there are other names not listed here, that I greatly respect. For example, guitarists like Michael Bloomfield and Roy Buchanan, whom I consider primarily as musicians and less as members of a great band. Then there are bands like The Doors, The Rolling Stones, The Who, and others whom I've always loved, that I would place only slightly lower on the list than the ones I've detailed above. And there are others, but these are primarily the best, in my mind.
My brother goes through phases in terms of his music fandom. He'll be totally obsessed with something for awhile, then he'll reach some kind of breakthrough and find something new. I've known a lot of people that are like this, that seem to drift from one scene to another. In contrast, I've always had a certain respect for a person who stuck fast to the things he enjoys. My taste evolves and my moods change just like anyone else, but I like to think that I'm a little more stable than the average person.
Granted, I'm much more into blues these days than I ever have been, and I tend to focus more concentration on it than my beloved classic rock. But if you look behind the outer layer, I think you'll see that my focus really hasn't changed at all these past 6 years or so, since I've really gotten into music. My favorite band in high school was Pink Floyd, and my favorite band in college was Led Zeppelin. I don't listen to Pink Floyd and Led Zeppelin as much as I used to, because frankly, I've kind of worn them out (not to say that I don't still enjoy listening to them when I get the chance, though).
But in their place, I'm listening to bands a lot like Pink Floyd and Led Zeppelin. It's not really new, it's kind of just more of the same. I haven't switched genres, I've just gone deeper. Instead of Pink Floyd, I listen to Tangerine Dream, post-rock bands like Godspeed You! Black Emperor, and various ambient/atmospheric stuff. And instead of Led Zeppelin, I listen to other blues rock bands like the original Fleetwood Mac, and Robin Trower, etc. So I feel like, where other people might like to journey laterally, I like to spend my time going deeper into the environment in which I'm already ensconced.
So my brother's favorite bands seem to change every year or two, and he comes up to me and asks me what my favorite bands are. And I sit there, and I have to think, "why are you asking me this question? You already know what my favorite bands are. I told you a year ago, and a year before that." But anyway, in case my list has changed slightly over the years, and for those who have never asked me, here are my favorite bands, and an example of an album or two from each which represents well what I like about them.
Neil Young & Crazy Horse
Studio: Everybody Knows This Is Nowhere (1969)
Live: Live At The Fillmore East (1970)
I have great respect for Neil Young as a musician, and the things he stands for, but when he combines his style with the engine of Crazy Horse, that's where it all comes together in the perfect package. People are hesitant to praise Neil Young's rough and idiosyncratic approach to lead guitar, but to me, the rawness of his licks touch the base frustration of my soul like nothing else can. The lead lines in Cowgirl in the Sand - the definitive version presented on Everybody Knows This Is Nowhere, and a powerful live version on the newly released Fillmore concert - express perfectly the frustration within me at the mental struggles I endure. Wanting so badly to be more than I am, but being held back by unreasonable fears and insecurities, and the anger that stirs within me. Neil's stinging leads are the vocalization of that, in Cowgirl, as well as the other songs where he plays in that style.
Peter Green's Fleetwood Mac
Studio: Then Play On (1969)
Live: Live At The Boston Tea Party (1970)
The beauty of the original Fleetwood Mac, as I see it, is three-fold - and each fold covers the leader, Peter Green. On the one hand, you have Green's intensely personal rendition of the blues, stimulated by his tasteful and deeply emotional guitar style. Tracks like Jumping At Shadows, A Fool No More, and Love That Burns, are legitimate proof that white boys can play the blues just as sincerely as anyone. On the other hand, you have Fleetwood Mac's amazing rockers, epitomized by Rattlesnake Shake, which itself expanded into a beautifully intense exploratory musical jam inspired by bands like The Grateful Dead, but with a much harder edge. On the third hand, you have Peter Green's depressing personal songs, like Man of the World, Oh Well, Closing My Eyes, and The Green Manalishi, which convey a sense of sadness, paranoia, and even anger at the pattern of the world, as well as his confusion about the path his life was taking him in, from being nobody to a superstar, leading him to question the value and worth of it all. These feelings of being lost in a lost world I can relate to, and sympathize with, and they are a beautiful expression of the same kind of feelings I've been trying to communicate in my own music.
Led Zeppelin
Studio: Led Zeppelin (1969)
Live: The Song Remains The Same (1973)
Led Zeppelin was one of the first bands I got into. Not only do they have a certain cool factor that crosses all kinds of social and cultural barriers, but they actually have the talent and the style to back it up. Although the untitled fourth album was as influential in my development as a rock fan as any of Zep's albums were, their debut is probably their most bluesiest album, and while I'd be hard-pressed to pick one album as my definite favorite, this one would have to be considered. Among other things, the relaxed tightness of the band, their confidence in their own abilities, and the communication between Plant's voice and Page's guitar totally enthralled me. The band's live performance in The Song Remains The Same awed me to the point that I actually went out and bought a guitar, with the intent to learn to play like Jimmy. And I'm still working on that.
Pink Floyd
Studio: ?
Live: Live At Pompeii (1972)
As you can see, it's just about impossible for me to pick out one of Pink Floyd's albums as my favorite. I could easily choose Dark Side of the Moon, and it would be deserving of the position, but doing so would leave out so much other greatness the band accomplished, including the lesser known stuff that gets overlooked by pop culture - which is represented in the mind-blowing live show at Pompeii. Pompeii to me represents the height of what Pink Floyd was about, even more so than Dark Side of the Moon. Rather than a perfectly polished meditation on life's mysteries, Pink Floyd was originally about experimentation, and journeying unprepared into the unknown, which they would later spend so much time relating to the world, after they had returned from the intellectual voyage.
Robin Trower
Studio: Twice Removed From Yesterday (1973)
Live: Live (1976)
I got into Trower from a tip on a classic rock forum, but it was love at first listen. Trower's guitar style is gorgeously emotive. And his aesthetic carries a kind of spacey mystery. It's like Pink Floyd mixed with Led Zeppelin, in a way. Additionally, Dewar's vocals are the perfect match for Trower's licks, and that combination makes a powerful impression. Most people who know of Trower would cite Bridge of Sighs, but I'm more impressed by the original Robin Trower Band's debut album, Twice Removed From Yesterday. Besides featuring a lot of Trower's awesome guitar work (such as in the sublime Daydream and the torching Rock Me Baby), some of my favorite, and most heartbreaking, songs are on that album - specifically, I Can't Wait Much Longer and Hannah. For the live side of things, the Live album from 1976 is amazing in that it's not quite as self-conscious as a lot of live rock albums are. The band is truly in top form, and while the setlist regrettably does not include the hit title track from Bridge of Sighs, Trower's outstanding - and unmatched - playing on Daydream more than makes up for it. Nowhere else does that track sound quite as good.
Ten Years After
Studio: Cricklewood Green (1970) or Rock & Roll Music To The World (1972)
Live: Recorded Live (1973) or Live At The Fillmore East (1970)
Like most, my first conscious exposure to Ten Years After was the stage-stealing performance of I'm Going Home featured in the Woodstock film. However, after the Stones, my dad's favorite band is Ten Years After, so it partly runs in my blood. Alvin Lee never fails to impress with the fluidity of his lightning-fast licks. I'm the kind of guy who takes substance over speed, but Alvin Lee's got both. As if that weren't enough, his vocals, while maybe not musically on par with the legendary rock vocalists, capture his songs perfectly, and add a unique touch that really make the songs his own. The band as a whole is very tight, and has a strong foundation in the blues, which naturally appeals to me. At their heart, Ten Years After were a monster live band, and you can check out either of the live albums I've picked to witness not only their impressive improvisational expansion of the track I Can't Keep From Crying, Sometimes, but also the heavy emotional power, and the never-ending guitar drama, of the blues Help Me - my personal favorite from the band.
Derek And The Dominos
Studio: Layla & Other Assorted Love Songs (1970)
Despite only releasing one album, I still consider Derek and the Dominos to be one of my favorite bands. Part of that is because it's that good an album. And part of it is because it represents to me the pinnacle of Eric Clapton's career. Better than his solo career; even better than Cream. Part of the magic is the addition to the album of Duane Allman's prowess on the slide guitar, but the bulk of it comes from Clapton's inspiration - his unrequited love for the wife of his best friend. The result is the most beautiful, sincere, and moving collection of love songs ever recorded. My personal favorite track is the unconventional Hendrix cover of Little Wing. Clapton's version is decidedly unique, but it plods on with a power that speaks to me more than the delicate phrasing of Hendrix's original, and even Stevie Ray Vaughan's fantastic version. But to single out that track alone would be a disservice to the rest of this amazing album. Eric Clapton's never performed better.
And of course, there are other names not listed here, that I greatly respect. For example, guitarists like Michael Bloomfield and Roy Buchanan, whom I consider primarily as musicians and less as members of a great band. Then there are bands like The Doors, The Rolling Stones, The Who, and others whom I've always loved, that I would place only slightly lower on the list than the ones I've detailed above. And there are others, but these are primarily the best, in my mind.
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