How important is Les Paul to rock and roll music? For starters, he was one of the pioneers of the solid body electric guitar, as well as multi-track recording; and he invented several devices for sound effects. And that is just the technical side. His influence on music is even greater as a stylist. Keith Richards said of him: "It has to be said, we must all own up that without Les Paul, generations of flash little punks like us would be in jail or cleaning toilets. This man, by his genius, made the road that we still travel today..." And if that doesn't impress you, how about this: the Klingon word for guitar is leSpol.
Considering all this, it is no surprise that the man could attract an all star cast to record an album. And it should be no surprise that this album also brought him two grammies at the age of ninety. What may surprise the listener is that some of these great songs actually sound better than the classic versions. Of particular interest are two Sam Cooke songs. The magic of the electronic age, thanks again to Les Paul, features Sam's wonderful vocals on "Somebody Ease My Troublin' Mind," with an assist by Eric Clapton, and "(Ain't That) Good News" with Jeff Beck. The songs sound fresh and new, as if they have just been recorded in their entirety. Hearing Sam Cooke's work in this context is an unexpected gift. "Rock & Roll Hoochie Koo," with Kenny Wayne Shepherd, Edgar Winter, and Noah Hunt, is a little jazzier and slightly less frenetic. It is a very pleasing treatment, an homage to the original with a Les Paul twist. Likewise, Steve Miller's "Fly Like An Eagle," with Miller himself guesting, has a fresh sound.
The record is also intercut with snippets of old recordings, including chatter from Paul's old radio show with his wife Mary Ford. The most irresistible of these segments is Paul giving encouragement to his four or five year old godchild on his singing. That godchild? None other than Stevie "Guitar" Miller.
Additional tracks: "Love Sneakin' Up On You" with Joss Stone and Sting, "So Into You" with Peter Frampton, "How High The Moon" with Alsou, "Bad Case Of Lovin' You" with Billy Gibbons, "I Wanna Know You" with Neal Schon and Beth Hart, "Let Me Roll It" with Richie Sambora, "Caravan," "Good Morning Little Schoolgirl" with Buddy Guy, Keith Richards, and Rick Derringer, "All I Want Is You" with Johnny Rzeznik, "69 Freedom Special," "I Love You More Than You'll Ever Know" with Joe Perry, Mick Hucknall, and Kenny Olsen.
Anyone who might have believed that Jerry Lee Lewis was through, that his career was over or his talent spent, should listen to this record. Last Man Standing is a collection of duets with Jerry Lee and twenty-two of the biggest names in the industry-from across the spectrum of popular music. The fact that any performer could draw this many big name musicians into the studio is a testament to the respect that industry insiders have for his talent and his contributions to popular music in general; and to rock and roll in particular.
Jerry Lee Lewis is unquestionably one of the pioneers of rock and roll, and not just of the music. His outsized talent is matched by an equally outsized ego and an in your face attitude. Largely because of this, he was the first to play rock and roll with the uncontrolled energy and rebellious defiance that eventually came to symbolize this new form of music. He was politically incorrect when others in popular music were still trying to fit in; to create their music within the narrow confines of what was acceptable image-wise. He was politically incorrect before that term had even been coined. One of the Jerry Lee Lewis stories that has become something of a legend is represented by the burning piano on the cover of this new album. As the story is sometimes told, Jerry Lee was angered when he found out that he was going on stage before Chuck Berry at a show he was expecting to headline. He took the stage at the appropriate time, played what was reported to be a scorching set, then poured a coke bottle full of gasoline over his piano. After he set the piano afire, he walked off the stage to where Berry was waiting and told him to "follow that." Probably no one alive today knows the complete truth of that story other than Mr. Lewis. But it is generally accepted that he did torch a piano at least once, to cap a live performance.
None of this would have mattered, however, if the talent was not there. And this album proves once again that the talent is there, still in abundance. Jerry Lee's voice is still strong, and his piano playing is as great as ever. While everyone will choose their own favorites from this record, some songs do stand out. The duet with Bruce Springsteen on "Pink Cadillac" is irresistible. Lewis' piano with B.B. King's guitar on "Before The Night Is Over" is another great combination. Some songs just seem to be the perfect material for him. His piano version of "Twilight" with The Band's Robbie Robertson becomes a Jerry Lee song, as if it were written for him. Also, "That Kind Of Fool" with Keith Richards sounds as if Jerry Lee is singing the story of his life. And hearing him sing "Don't Be Ashamed Of Your Age" with George Jones is just plain fun.
The back cover of the album tells the story of how this record took its name. Sam Phillips' Sun Records in Memphis was once home to Elvis Presley, Johnny Cash, Roy Orbison, Carl Perkins, and Jerry Lee Lewis. Jerry Lee Lewis is the last man standing. As he moves with seeming ease from rock to blues to country, with a hint of gospel in everything, he is still standing tall.
other songs with Rock And Roll Jimmy Page Evening Gown Mick Jagger, Ronnie Wood You Don't Have To Go Neil young Travelin' Band John Fogerty Sweet Little Sixteen Ringo Starr Just A Bummin' Around Merle Haggard Honky Tonk Woman Kid Rock What's Made Milwaukee Famous Rod Stewart Couple More Years Willie Nelson Ol' Glory Toby Keith Trouble In Mind Eric Clapton I Saw Her Standing There Little Richard Lost Highway Delaney Bramlett Hadacol Boogie Buddy Guy What Makes The Irish Heart Beat Don Henley The Pilgrim Kris Kristofferson
November 5th, 2006
AARON NEVILLE BRINGING IT ON HOME THE SOUL CLASSICS
In the aftermath of hurricane Katrina's destruction, Aaron Neville has paused long enough to give us an album of brilliantly interpreted r&b classics. These are songs that were superbly done the first time around, and most artists would be reluctant to attempt them. They are, in every sense of the word, classics. With his smooth, beautiful voice and innate understanding of this music, Neville does more than just cover them. He gives each song his own personal stamp, while paying reverent homage to the originals.
Every song here is a time-tested winner. The first, Brooks Benton's "Rainy Night In Georgia," is a perfect opener for the album. It benefits from Chris Botti's trumpet, and Botti is just one of the talented performers contributing to this album. "Georgia" is followed by Bill Wither's "Ain't No Sunshine." This down-tempo version is not rhythm driven like the first one, and takes on a sweeter, more plaintive tone. Neil Larsen contributes a great, jazzy piano to the track. Otis Redding's (what a tough act to follow) "Dock Of The Bay" remains mostly faithful to the original, but Neville does manage to add his own vocal flourishes.
Next up is "Stand By Me," first sung by the Drifter's Ben E. King. As an Aaron Neville song, it becomes less an anthem and more of an intimate love song. The legendary Sam Cooke provides the fifth song. Aaron's version of "You Send Me" maintains the playfulness of the original. On an album of exceptional songs, the next track does manage to stand out. Mavis Staples joins Neville for an inspiring duet of "Respect Yourself." Hearing this Grand Dame of R&B is always a treat, and her voice sounds strong and sensuous as ever. "When A Man Loves A Woman" follows next, and then a duet with Chaka Khan on "Let's Stay Together." Chaka Kahn appropriately gives one of her more restrained performances.
This record only gets better when Neville dives into a couple of Curtis Mayfield tunes. "It's All Right" bounces cheerfully along, and the Mayfield hymn "People Get Ready" gets a bit of gospel treatment. Aaron does refer in the liner notes to visiting Curtis Mayfield at the end of his life, when he was bedridden and near death, and singing his own songs to him. Accordingly, both songs are treated here with a great deal of respect. The Temptations' "My Girl" is practically a new song, due to some very different acoustic guitar work and the absence of the original's familiar harmonies. The album finishes with Marvin Gaye's "Ain't That Peculiar" and another Sam Cooke song: "A Change Is Gonna Come." Aaron Neville and a number of his family members lost their homes in the wake of Katrina's flooding of New Orleans. When Neville sings here that "a change is gonna come," he seems to be singing out from the lingering pain of that catastrophe.
In the end, this is an album of uniquely American songs interpreted by one of our great voices. It works because the songs are proven, time-tested winners, because Aaron Neville and his fellow musicians understand the intricacies of rhythm and blues, and because their love for these pieces comes through in every note.
ROD STEWART STILL THE SAME GREAT ROCK CLASSICS OF OUR TIME
Rod Stewart has put aside his successful foray into popular music from the first half of the twentieth century. The Great American Songbook series produced four hit albums for him, and now he has moved into the 1960's and '70's. How you feel about this album will probably depend on how you feel about Stewart in general. Those fans who long for him to make music with more of an edge to it, as he did with Jeff Beck and with the Faces may want to skip it. On the other hand, if you have enjoyed the music he has made in the intervening years, there is no reason not to like this record. While most of the songs here may not be the first ones that come to mind when you think of great rock songs, they are all excellent songs that were very successful. And for the most part, they were practically begging to be redone.
Many classic rock fans will be hooked from the opening guitar notes on "Have You Ever Seen The Rain." While the song is not changed much, there is an overall smoother, less frenetic feel than on the original. "Fooled Around And Fell In Love" is up next, and followed by "I'll Stand By You." Bob Seger's great song, "Still The Same," is one of the album's nicest surprises, a song that really seems to benefit from Stewart's distinctive voice.
The next song, Bonnie Tyler's "It's A Heartache," is something of a questionable choice. The similar qualities of their voices mean their is little difference from the original. However, Badfinger's "Day After Day" is a better vehicle, and works well. It is followed by "Missing You," which reenergizes the album with its rhythm changes. "Father And Son," by Cat Stevens (now known as Yusuf Islam) slows things back down with its thoughtful lyrics.
The Eagles "Best Of My Love" may be the one song that would have better been left off the record. While Stewart's version is just fine, it does not seem to offer anything over the original. Next up, Dylan's "If Not For You," is just a great song. Why not cover it? Nazareth's "Love Hurts" again begs the comparison of voice similarities, but without a doubt Stewart has the better voice. The song come off well. Bread's "Everything I Own" is something of an inspired choice. Stewart's whisky and smoke voice, in place of David Gates' honey smooth tenor, makes for a fascinating comparison.
Stewart saves the best for last. Van Morrison's "Crazy Love" is a top-notch song, and a perfect vehicle for Stewart.
In the end, this is an easy record to summarize. The songs are not really reinterpreted. It is more a case of substituting Stewart's voice for the original. If you are a Rod Stewart fan, buy it. It is a very good album. If you are not a fan, this one won't change your mind.
LEONARD COHEN I'M YOUR MAN MOTION PICTURE SOUNDTRACK
Leonard Cohen has always labored under the label of "cult hero." His voice, both physical and poetic, are not suited for everyone. He is something of an acquired taste. But once you "get" him, you get him. Cohen fans are vehemently loyal for one abiding reason: the quality of his songs. Leonard Cohen: I'm Your Man began as a single concert, a chance to have his songs interpreted by other artists. It evolved into multiple concerts and a movie documentary. Leonard Cohen: I'mYour Man succeeds for two reasons: the incredible songs, and the uniquely talented and eclectic cast assembled to render the songs.
The concerts were so successful that the decision was made to film them. When Cohen agreed to be interviewed, the film became a documentary. This is rare treat for his fans, a chance to see Leonard Cohen talk about his life and his songs. The movie is not in wide release, and may be difficult to find in the theaters. It is worth the effort to find. Afterwards, most fans will want the soundtrack.
There are some wonderful performances here. Martha Wainwright opens the album with her version of "Tower Of Song." Martha is the daughter of Loudon Wainwright III and Kate McGarrigle. Her aunt, Anna McGarrigle also appears here, and Martha, Kate, and Anna join together for a beautifully harmonious version of "Winter Lady." Martha's brother Rufus also appears on the album, performing an exceptional version of "Chelsea Hotel #2" and a likewise excellent redo of "Everybody Knows." The latter song will be known to many who are not Cohen fans, since Don Henley recorded a successful version of it a few years back.
"Tonight Will Be Fine," one of Cohen's simpler songs, comes across beautifully when sung by Teddy Thompson. Thompson's pleasing voice is perfect for the song, and he reappears on "The Future." "Sisters Of Mercy," Cohen's near-mystical song of salvation, receives a marvelously understated treatment from Beth Orton. Orton's voice is inherently packed with as much emotion as a Mexican soap opera, and she wisely chooses to sing the pithy lyrics without theatrics. Longtime Cohen collaborators Perla Batalla and Julie Christensen provide all the embellishment needed on "Sisters Of Mercy" with their outstanding background vocals. These two also provide backing vocals on other songs on the album, and take their own star turns. Batalla's gorgeous voice soars on the song "Bird On A Wire," and she and Christensen join Nick Cave to perform "Suzanne," one of Cohen's better known songs. "Suzanne" has been recorded by several artists, with Judy Collins having perhaps the most notable version. Nick Cave (of Bad Seeds fame) also provides a menacing version of the title track.
Other songs on the record include The Handsome Family on "Famous Blue Raincoat," Jarvis Cocker on "I Can't Forget," Antony on "If It Be Your Will," and a uniquely plaintive and authentic rendering of "The Traitor" by Martha Wainwright. "Anthem," with its intelligent and philosophical lyrics, is sung by Batalla and Christensen. There could not have been a better choice; their harmonies are unforgettable. The album is then brought full circle by Cohen and U2 performing "I'm Your Man."
Much credit has to be given to producer Hal Willner and music director Steven Bernstein- Willner for his vision and Bernstein for his unerring sense of how these songs should be treated. They assembled the perfect cast and brought out the best in them, giving this abundantly rich material a new life. Bravo.
On their new album, FEEDBACK, Rush celebrates their thirty years as a band bypaying tribute to some of the groups that inspired them in their youth. Remaking a classic song is always a slippery slope; doing an entire album of those songs is akin to skiing on banana peels. You have to please your fans whom are used to your unique sound while indulging their nostalgic sense of what these old songs should sound like. This record succeeds on both levels.
The album starts by giving a new incarnation to “Summertime Blues.” Previously recorded by Eddie Cochran, The Who, and Blue Cheer, it does seem to be a good choice. There are also covers of the Yardbirds tune “Heart Full of Soul,” as well as Buffalo Springfield's “Mr.Soul” and “For What It's Worth.” The latter is especially pleasing, even though it might not seem to be the first choice for a Rush remake. Fittingly, the record is closed by Robert Johnson's (the Cream version)“Crossroads,” as the dominant power trio of the eighties honors the original power trio.
Rush fans should not miss the opportunity to hear the group returning to their roots. It is a treat, and the album's only fault is that it is too short.
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Statue of Stevie Ray Vaughan on Town Lake in Austin. Photo courtesy of Harry Kalthoff
July 15,2005
A TRIBUTE TO STEVIE RAY VAUGHAN
August 26th 1990 would likely have started as a joyous day for Stevie Ray Vaughan. He was preparing to share a stage with his brother Jimmie, along with several legends of blues music who had once been his idols and were now his friends. The drug problems which had accompanied his rise to stardom were reported to be conquered, and by most accounts he was stronger and happier everyday. To his loyal fans (and Stevie Ray fans are furiously loyal,) there was a near debilitating irony in the tragic helicopter crash that took his life later that night.
It would be five years later when this same group of musicians, along with other famous friends, came together to honor the talented Texan. A TRIBUTE TO STEVIE RAY VAUGHAN was fittingly recorded at Austin City Limits studio, in the city that had meant so much to him. Five years may have been the minimum time required for the participants to put the tragedy behind them and to make this a celebration of Stevie Ray's life and music. From the opening lines of the recording, the emotion is evident. Bonnie Raitt begins the show with these lines: “Stevie, this ones for you darlin'. Stevie was my pride and joy, he's all of our pride and joy.” As she launches into a raucous, slide guitar version of the Stevie Ray classic by the same name, the live audience seems to know that this will be a special day. The time has come to commemorate the life, and to set it apart from the untimely death.
Next up, Jimmie Vaughn (backed by Double Trouble) stirred the crowd with an impassioned version of Texas Flood. B.B. King was then able to lighten the mood a bit by bringing his distinctive style to Stevie Ray's Telephone Song. The all-star line up, not nearly exhausted, also featured Buddy Guy, Eric Clapton, Robert Cray, and Dr John giving us their takes on Vaughan classics such as Cold Shot and Ain't Gone'n Give Up On Your Love. Movingly, Clapton tells the audience that when he was around Stevie, he always knew that he was “in the presence of greatness.”
The last three songs on this disc are super-session jams featuring all the previously mentioned participants along with Art Neville and the Tilt-a-Whirl Band. Especially meaningful is the Neville penned Six Strings Down, with it's chorus of “Heaven done called another blues singer back home.” The back and forth of guitar and vocals from these blues greats is an astounding thing to hear, and it is both moving and uplifting. Likewise, Stevie's song Tick Tock has a special poignancy here. Finally, the long jam know as the SRV shuffle ends the disc with the tacit acknowledgement that Vaughan's music was always about joy as well as pain. One or the other of these emotions will bring a tear to the eyes of Stevie Ray Vaughan fans the first time they hear this tribute.
Few artists have made successful careers largely by doing covers of songs other performers have already made into hits. Joe Cocker is a notable exception. His new CD continues the tradition of bringing his unique vocals and talent for rearranging to bear on some great old songs. The disc begins with Mr. Cocker's version of the U2 song "One," and ends with a live version of the same. He must be one of only a few singers who would attempt (with great success in our opinion) to remake Marvin Gaye's classic "What's Going On." The song "I (Who Have Nothing)" features a very fine guitar solo by Jeff Beck. Likewise, Eric Clapton lends his talents to the Screamin' Jay Hawkins classic, "I Put a Spell on You." Familiar and talented session musicians Jeff "Skunk" Baxter and Lee Sklar make more than worthwhile contributions. Other notable songs here include: "Chain of Fools," "Maybe I'm Amazed," "Every Kind of People,""Jealous Guy," and a memorable version of REM's "Everybody Hurts." There is a diversity here that would probably be out of range for most performers. As usual, this one pulls it off marvelously.
By far the most unusual disc we have found in this category in recent times is a remake of songs from the Beatle's eponymous "White Album." While the original album had a couple of blues based numbers, this CD features 10 songs performed by various blues artists. There is a talented supporting cast including G.E. Smith and T-Bone Wolk. Our favorites include Anders Osborne's take on "Happiness is a Warm Gun," along with Joe Louis Walker's blistering "While My Guitar Gently Weeps." Maria Muldaur adds a nice version of "Ob-la-di, Ob-la-da." TITLE: THE BLUES WHITE ALBUM. Released on the TELARC label, we found this only through BMG'S mail order catalogue and their on-line order service.
The best spot for those hard to find independent releases.
June 10th, 2005
HYMNS OF THE 49TH PARALLEL
The new CD by k.d.lang is a tribute to Canadian singer/songwriters. "hymns of the 49th parallel" has some real gems, including songs by Neil Young, Joni Mitchell, and the much under-appreciated Leonard Cohen. The Neil Young songs "After the Gold Rush" and "Helpless" are both tunes that we found to have something of a haunting quality when handled by Young. With Ms. lang (remember the lower case letters are her doing) these songs are just as ethereal but prettier. Her vocals, along with the string section she uses, certainly do the songs justice. She also does a great job with the Joni Mitchell penned songs "A Case of You" and "Jericho." Cohen, while a great songwriter, can always benefit from a gifted vocalist such as this. TITLE: hymns of the 49th parallel. Released on the NONESUCH label, this CD is readily available through BMG, COLUMBIA HOUSE, and major retailers.
