Showing posts with label billy preston. Show all posts
Showing posts with label billy preston. Show all posts

Alone Together Review

Alone Together
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Alone Together ReviewTaped safely in a box is my copy of the original issue of this classic; you know, the one that folds out numerous times to make about four feet of album cover that proudly holds what many of us in 1970 called 'The *Barf* Album'! (Others here called it the 'marble' album.) Blue Thumb, the original label, put a lot into this album and it didn't end with the cover (second only to the cover of the first edition issue of Small Faces 'Ogden Nut Gone Flake.') The music here is one of the true artistic masterpieces from the era. Imagine a line-up that includes some of the top names of the period -- Jim Gordon (Derek & Dominoes, et al) is brilliant on the drums. Carl Radle (Derek, Delaney & Bonnie, et al) is magnificent on the bass. Leon Russell adds piano in much of the album and is at his peak. Hey, when you're playing alongside guys of this calibre, you better be! Then throw in Jim Capaldi and Stevie Winwood (Traffic) on some songs. They play with a disciplined yet fiery style that was better than most anything they ever did in Traffic. Add probably the finest Eric Clapton lead solo of all time (every bit as sweet as his playing on the Beatles 'While My Guitar Gently Weeps') at the end of 'Look at Me, Look at You.' This little-known Clapton masterpiece was recorded during the time when labels didn't like to share their artists with other labels. So, just as Clapton wasn't credited for 'My Guitar...' and George Harrison became 'l'Angelo Mysterioso' for his favor-returning appearance with Cream on 'Badge' -- most never knew that Clapton graced this one with some awesome work. The best way to think about this one is to think of Traffic, Derek and the Dominoes, Joe Cocker Band, Clapton and some of the other brilliant musicians hereon all playing better than they ever did anywhere else. This is Dave's best album by far! It was simply too good for the radio, though it did get a lot of airtime, -- but as was always the case back then -- on the less brilliant cuts. Buy this one for Clapton's end solo alone! It's as good as *anything* he's ever played before or since! You'll find it tucked away at the half-time end-piece of "Look at Me" and all the musicians in attendence know what's happening and play the piece with all the dignity and awe that it deserves. It doesn't come any more brilliant than this, kiddies (and aging kiddies!). Thanks Dave for making this one -- thirty years later and I'm still blown away by this one!Alone Together Overview

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Eric Clapton - One More Car One More Rider (2001) Review

Eric Clapton - One More Car One More Rider (2001)
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Eric Clapton - One More Car One More Rider (2001) ReviewIf it's true that Eric is finished with touring, then he has left us with one masterpiece to view over and over again. It takes us through his career from Cream, Derek & the Dominoes, and his solo works up to Reptile. I saw two of these concerts on this tour and the DVD captures it as wonderfully as I remember it. Clapton's guitar work is fantatic whether on acoustic or electric. he guitar solos are out of this world especially on electric(even though I missed Ol' Blackie). The sound on DTS is superb. And as always his band is top notch. Actually there are twenty songs on the DVD "Will It Go Round In Circles" a Billy Preston hit is performd by him. As you can tell I'm not a writer but I just had to comment on this DVD and if you like this DVD, buy "Live At Hyde Park".Eric Clapton - One More Car One More Rider (2001) Overview

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Concert for Bangladesh Review

Concert for Bangladesh
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Concert for Bangladesh ReviewWhen I purchase a re-master of a classic album, I am always alert to the fact that there might be possible tampering with the original mix: instruments or noises either added or subtracted. Upon listening to the new version of THE CONCERT FOR BANGLADESH, it is very clear that there was a lot of subtraction going on. Although some new clarity is brought into the overall sound of the recording (which originally sounded a bit muddy to some people's ears), there has been an extensive change in many of the sounds I was familiar with on the original LP. For example, several of the stage comments have been deleted, Harrison's introduction of Leon Russell is one. Also, the inspiring hoots and shouts of the background singers during "That's The Way God Planned It" have been erased. Even many of the hilarious audience comments that were audible (someone shouting "Do something Ringo!!" prior to "Awaiting on You All") are now missing. Overall, the new crowd sounds seems to be a lot different from the sounds that were on the original LP. I don't know why the producers of the re-master decided to do this. They should have gone for a more faithful approach. Because of this, the original CD version is still better.
Additionally, the new cover art is not faithful to the original album package. Some of the photos are still there, but I wish that the entire original book would be available for this edition. Not to mention the chronic problem of CD storage: in this package, the bare disc is stuffed in a non-protective sleeve, ready for a barrage of scuffs and scratches.
Despite the drawbacks, the new version of THE CONCERT FOR BANGLADESH not without merits. As mentioned above, there is a new sound clarity which still sounds very good. And then there's the extra Dylan track from the afternoon show "Love Minus Zero/No Limit." Perhaps a few other alternate tracks from the afternoon show could have been added as well as there is plenty of room on the discs for more music.Concert for Bangladesh OverviewThis is a new reissue of the legendary 1971 benefit concert organized by George Harrison. Features performances from George Harrison, Bob Dylan, Ringo Starr, Eric Clapton, Ravi Shankar, Leon Russell, and Billy Preston. Includes a new bonus track 'Love Minus Zero/No Limit' by Bob Dylan. CD has been digitally remastered. Capitol. 2005.

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Exile on Main Street Review

Exile on Main Street
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Exile on Main Street ReviewI came to terms with Exile when asked by a friend what I thought the five all-time greatest Stones songs were - songs that will still be alive 50 years from now. My response was fairly quick - Satisfaction, Gimme Shelter, You Can't Always Get What You Want, Wild Horses, and Sympathy for the Devil. Just my opinion. But I realized immediately none were from Exile, which I think is the Stones' all-time best album. Yes, Tumbling Dice and Happy are up there, and some cuts on Exile are, IMHO, absolutely awesome (viz their cover of Robert Johnson's Stop Breaking Down) - but clearly Exile is not not rich in standout hits. The whole is greater than the sum of the parts. Like few other albums, Exile is a world, a place I immerse myself in - a distillation of American blues and gospel and country and rock - a funky smokefilled bar or afternoon fishfry or steamy bordello, with beer and bourbon, pianos and slide guitars and hard-partying working people letting it loose, shining a light, shaking their hips, boogieing, scraping the sh*t off their shoes, rocking the joint all down the line. Exile critics cite no outstanding hit songs and too much "fill" and murky production/garage band sound. But that's the point, the genius of the album. The album IS the song - I love that murky sound - I listen more to my scratchy old vinyl than to the new cleaned up CD I just bought from Amazon - Exile is where the Stones perhaps peaked, where, catalyzed by Taylor's sinuous guitar playing off Richard's rythmn funk and Hopkin's/Stewart's honky tonk piano, they finally came home to the country blues where they began, when Brian Jones, God rest his soul, alias Elmo Lewis, played slide guitar in a London bar and 18 year-old Keith actually thought he was seeing Elmore James - smokey, funky, rockin, wailing, torn and frayed poor white trash and juke joint black, the soundtrack of Saturday night, til my late night friends leave me in the cold grey dawn. Hang out in Exile. Accept it on its own terms. It will be, I firmly believe, the Stones ALBUM (not song) that will stand the test of time. Pass me the bourbon - quick- the band's coming on for another set and the night's still young.Exile on Main Street OverviewLimited expanded two CD edition features a bonus CD that contains 10 tracks originally recorded during the Exile era including 'Plundered My Soul', 'Dancing in the Light', 'Following the River' and 'Pass The Wine' plus alternate versions of 'Soul Survivor' and 'Loving Cup'. 2010 reissue of the classic Stones album housed in a super-jewel case (to complete 'remasters' box set). Regarded as one of the greatest albums in Rock 'n' Roll history and one of the most defining of the Stones' catalogue. Upon its release more than three decades ago, Exile On Main Street innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. The original 18-track double-album was recorded in various stages at multiple locations, including Olympic Studios in London, Keith Richard's mansion Nellcote in France, and in Los Angeles where the literal Main Street influenced the album title. These atypical circumstances surrounding the recording process greatly affected the album's outcome which was highly reflective and influenced by the sociopolitical turbulence that marked the late `60s and early `70s.

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Concert for George Review

Concert for George
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Concert for George ReviewFrom the opening track, Sarve Shaam with its wonderful intonation of bells, sarod and hypnotic voices and Eric Clapton's introduction until its conclusion on the second disc with Joe Brown's wonderful "I'll See You In My Dreams," this set is as wonderful a remembrance any man could hope for from his friends and loved ones.
Olivia makes it clear in the notes that George, the quiet one, was in fact full of life, pursuing his marriage and family with the same intensity and respect that he treated his career, all the while retaining the playfulness that set he and his Liverpool colleagues off from everyone else ever in rock. When you consider that this man is one of the 4 reasons anybody ever wanted to be a rock musician, you might think you were approaching the sacred. In fact, as is clear from his friends, he is someone they went to to play ukeleles with as well as to worship or garden with.
He was a whole man. His music in his Beatles, solo, Travelling Wilbury and final days was always about life led on the ground, in the material world, yet not bound by it. It was Harrison who first saw the difference between Haight Ashbury and enlightnement. It was Harrison who realized his tremendous good fortune could be harnessed to work remarkably good things for less fortunate people. He respected what his craft could accomplish and was a selfless, ego-free spirit who could race cars, produce silly movies and prove loyal to family and friends. He was Everyman who had come into good fortune and knew not to take it for granted.
As to the music herein: it is just GREAT! His mates came to this project with great love and respect for their fallen comrade. Ravi and Anoushka Shankar get the project off and running with a couple of sitar pieces and a terrific rendition of "The Inner Light". One is reminded of the start of THE CONCERT FOR BANGLADESH, and its tremendous setting of a tone of consideration. Much the same effect is produced here. It anchors you in the spiritual world that Harrison embraced.
The second side essays his pop work. Wilbury buddy Lynne kicks things off with "I Want To Tell You," and the CD rocks from that point on. The emotional centerpiece is Ringo's "Photograph." Tough to listen to that without getting misty. It is absolutely the best Ringo's ever done that. Paul kicks in with a very bright and emotionally uplifting "Something" that comes from the heart, as well as the uke. He returns with Clapton to blisteringly deliver "While My Guitar," nearly as transcendent as "Bangla Desh's" version. Tom Petty is just the right touch, especially on "Handle With Care," handled with Dhani Harrison, as sure a chip off the old bloke as you might get. Dad must have been beaming! Billy Preston ecstatically revels in "My Sweet Lord," then Clapton burns it up again on "Wah Wah," which was a reference to him anyway, before Joe Brown sends it all off lovingly.
The son of a Catholic busdriver and Nurse in Liverpool who often said he was sure he would never have amounted to anything had it not been for The Beatles, obviously took from his parents a sense of finding a spirituality to guide his life. That he touched so many of his colleagues as all of us as always and forever being the genuine article says all there needs to be said about the importance of living in the material world with a sense of faith.Concert for George Overview

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Let It Roll: Songs by George Harrison Review

Let It Roll: Songs by George Harrison
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Let It Roll: Songs by George Harrison ReviewGeorge's widow Olivia had a lot of input into the selection of songs on this album, and it's a good set of songs. Many hard core fans believe this collection should have been a 2 cd set, and should have included songs like "Crackerbox Palace", "Bangla Desh" and "This Song". But, be that as it may, "Let It Roll" is a solid collection of Harrisongs, remastered by Giles Martin, and that's good enough for me.
It may have been helped by the remastering, because the lead song of this new collection (from his "Cloud 9" album) "Got My Mind Set On You" sounds better than ever to me, here. One of the three Harrison #1 singles represented here, this one went to #1 in the U.S. in January of 1988. This was, by the way, the last song by any solo Beatle (up to now, anyway) to go to #1 in the U.S..
"Give Me Love (Give Me Peace On Earth)" was the 2nd Harrison single to go to #1 in the U.S. (June 1973) and features an amazing backup band of Ringo, Klaus Voorman, Gary Wright, Jim Keltner and Nicky Hopkin. One of George's best songs, simple and direct.
"Ballad of Sir Frankie Crisp (Let It Roll)" was one many great songs from George's "All Things Must Pass" 3-lp set which went to #1 in at least half a dozen countries in 1970. Sir Frank Crisp was the former owner of George's home in the U.K. and Mr. Crisp was somewhat of an eccentric and carved sayings into statues and stones around the estate, which apparently gave George great delight. This song is one of the most memorable from "All Things Must Pass" and is a good lead-in to another of George's #1 Hits, "My Sweet Lord".
"My Sweet Lord" is probably George's signature song for various reasons. For one thing, it was his first #1 single, topping the charts all over the world. But more importantly, I think, to George was that this song represented a spiritual philosophy and spiritual journey that began in 1965 when he met his friend and guru Ravi Shankar who introduced him to Hindu philosophy. The song celebrates God in His many forms, as George chants "Hallelujah!" and "Hare Krishna!" This represents an eclectic approach to spirituality that lasted throughout his life. George believed that by chanting the names of the Lord one could eventually come to know God directly, and this song was an attempt to share that with his fans.
"While My Guitar Gently Weeps" is represented here by a live version recorded at the famous Concert For Bangladesh. This was a benefit concert that George organized to help provide necessities for refugees from East Pakistan, after Ravi Shankar asked George's advice on what might be done for these suffering people. George quickly pitched in by organizing the first concert of its kind ever in the world, a rock concert organized specifically for the purpose of raising money to help an important cause. This song features Eric Clapton, Billy Preston, Leon Russell and Ringo Starr playing live at that concert. While this is not the best version of the song (you'll find that where it was originally performed by George with his band mates, on The Beatles' "white album".) this is a soulful version that features some great guitar playing by George and Eric Clapton.
"All Things Must Pass" is of course the title track of that album, and represents George at his most philosophical. Reassuring us that "sunset doesn't last all evening / a mind could blow those clouds away" the song isn't just about sadness or pain, it indeed points out that ALL THINGS pass away. George sings, "none of life's strings can last", so the implication is that God, Love, or Enlightenment (depending on how you care to see it) is the only thing that can really endure.
"Any Road" is from George's posthumously released album, "Brainwashed" from 2002, but this song was originally written at the time of his "Cloud 9" album. It's a bouncy little ditty about life.
"This Is Love" was co-penned by George's friend, band mate, and sometimes producer, Jeff Lynne, and has a happy pop feel to it, just a nice little song about Love with a capital L.
"All Those Years Ago" is from George's lesser known "Somewhere In England" album, and is his tribute to former band mate and life-long friend, John Lennon. It features Ringo on drums and Paul and Linda McCartney on backing vocals, and it reached #2 on the charts in the U.S.. A beautiful lyric, he speaks glowingly of his recently murdered friend: "You were the one who Imagined it all / All those years ago." It has a bouncy and very nice production.
"Marwa Blues" is an instrumental from "Brainwashed" and features probably the best slide guitar playing of George's career. His guitar beautifully and gently weeps here, and the song needs no words. You can hear the influence of Ravi Shankar here, though it is in no way overtly an "Indian" tune. This song was awarded a Grammy for Best Pop Instrumental.
"What is Life", the 2nd single released from the "All Things Must Pass" album, reached #10 on the U.S. charts. With a catchy guitar riff and a can't-get-it-out-of-my-head, upbeat melody, this was one of the more popular tracks from George's first solo release.
"Rising Sun" is another song from "Brainwashed" and is a perfect example of his writing about his life-long spiritual quest. Featuring George's son Dhani's perfect performance on the Wurlitzer, this represents one of the best songs from the album he was just finishing up when he made what he hoped would be his final journey, the journey to return to All That Is, God, Light, Love, Krishna, Enlightenment or whatever you choose to call It/Him/Her.
"When We Was Fab" is George's remembrance of the crazy days of being one of the world's most famous pop stars. He grew weary of Beatlemania very early on, back in 1965 or so, and this song is about that period. From "Cloud 9" the song was released as a single and reached the Top 30 but it is a favorite among fans, for its Beatles-related content and humorous and inventive music-video (not included here, but available on "The Dark Horse Years" box set).
"Something" is another track from the Bangladesh benefit and though not as eloquently produced and polished as the original Beatles recording from "Abbey Road", it does feature some excellent live guitar work and vocals with a nice arrangement for "big band rock and roll".
"Blow Away" is from the "George Harrison" album and it was a Top 20 hit in the U.S. and Canada in 1979. In an era when disco and punk music were the most popular genres, it was a breath of fresh air with it's simplicity and sweet lyrics: "All I got to do is to love you / All I got to be is, be happy / All it's got to take is some warmth to make it / Blow Away, Blow Away, Blow Away."
"Cheer Down" was written for the movie "Lethal Weapon 2" and allegedly the phrase came from something George's wife Olivia used to say to him when he'd get a little over-enthusiastic about something or other. Co-written by Tom Petty it was originally produced in 1989 and was formerly available on the now out of print "Best of Dark Horse 1976-1989".
"Here Comes The Sun" is the live version from the "Concert For Bangladesh" and features members of Badfinger on backup guitar, with George playing acoustic guitar and singing a clearly heartfelt rendition. Of the 3 live songs on this collection this one fares the best, as it is a rare pleasure to hear George sing with just a guitar (or 2 or 3), without bass, drums and keyboard. Without doubt one of his most beautiful songs.
"I Don't Want To Do It" was previously only on the "Porky's Revenge" soundtrack. It was written by his friend Bob Dylan who he later went on to record with as part of The Traveling Wilburys.
"Isn't It A Pity" is the 5th song on this collection from "All Things Must Pass" and that is fitting because many Beatles fans agree that George's 3-LP set was perhaps the finest album by any former Beatle. It certainly is in the Top 5 of Beatles solo albums, by anyone's count, and the unique "wall of sound" production by Phil Spector gave it a different sound than all of George's other albums, something he sometimes bemoaned, but frankly I can't imagine it any other way. In any case, this lyric speaks from George's heart and soul, so I'll end this with these words from George himself:
"Isn't it a pity
Now, isn't it a shame
How we break each other's hearts
And cause each other pain
How we take each other's love
Without thinking anymore
Forgetting to give back
Isn't it a pity."
Oh, okay, sorry George, but I gotta get the last word in:
Buy this album! Not only because it's good, but because buying it will help insure the "powers that be" at Capitol/Dark Horse that we want MORE George Harrison albums! How about a "Part 2" featuring all the rare stuff and other great hits left off of this one?
p.s. And thank you George, for all this great music!Let It Roll: Songs by George Harrison Overview

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