Steve's Music Monday

A weekly post about music.

[stevesmusicmonday]

Eddie Van Halen

Edward Lodewijk Van Halen was born in the Netherlands in 1955, and moved with his family to California when he was seven years old. His father played clarinet, saxaphone, and piano. With a middle name eponymous of Ludwig van Beethoven and piano playing father, it would he was destined to play the piano! Indeed, he was given into classical piano lessons. He excelled musically, and despite never learning to read music, he won first place in the Long Beach City College piano competition four years running.

Piano, however, did not prove exciting enough for Eddie. Instead, he gravitated towards the drums, while older brother Alex began to learn guitar. One day, Eddie heard Alex playing the drum part to the famous Surfari’s song Wipe Out, and he knew who the real drummer in the family was. So Alex moved to drums and Eddie began to learn the guitar.

Eddie and Alex started what would eventually become Van Halen in 1972, eventually picking up David Lee Roth on lead vocals and Michael Anthony on bass. After paying their dues playing parties and clubs in the Los Angeles area, they cut a demo in 1976. The following year the signed with Warner Brothers Records and recorded their first self-titled full length record in 1977, which was released in 1978.

For some, Van Halen is just the first of many hair bands that would arrive on the scene. But I would argue that Eddie’s guitar prowess and songwriting chops set them apart from the rest. Sure, some (most) of their early lyrics are juvenile. Sure, David Lee Roth could charitably be called an unusual front man, perhaps an acquired taste. But for my money, there’s no better guitarist from the late seventies, early eighties hair band era. He pioneered and popularized (but did not invent) an unusual and innovative style of playing called two-handed tapping. (This Italian dude was doing it way back in 1965, and Steve Hackett of Genesis was tapping in 1971 on the song The Musical Box.) He also had a fantastic rhythmic feel, and uncanny ability to craft memorable hooks and riffs. Not just an instrumentalist, Eddie was also a songwriter -- writing or co-writing over 50 of Van Halen’s songs. So let’s take a listen to some of my favorite songs that showcase Eddie’s guitar work.

There’s no better track to start with than the Eruption. The second track from Van Halen’s debut album began life as a guitar solo Eddie played in their stage shows starting around 1975. Ted Templeman, who produced their first album, heard it and convinced them to record it. The track is pure guitar fireworks, with Eddie showing off all his tricks: tapping, whammy bar dive bombing, pick squeals, harmonics, ultra-fast picking, etc. Take a listen:

Next up, another solo, this one from Van Halen II, Spanish Fly. This time, Eddie plays on the acoustic guitar. He’s using that same tapping technique in places, but because of the lack of sustain on an acoustic guitar, it’s much more difficult to do.

Next up, not a Van Halen song, but one you’ve all heard, I’m sure. Eddie provided the guitar solo (starting around 3:10) in Michael Jackson’s hit Beat It. (Note that Eddie only plays the solo, Steve Lukather of Toto plays guitar for the rest of the song.)

Diver Down is probably not going to top any Favorite Van Halen albums lists. It was hastily thrown together to cash in on their rising popularity. Five of the twelve songs on the album are covers. But tucked in there neatly is one of my favorite Van Halen songs, Little Guitars. The intro is another acoustic solo, which abruptly segues into a fantastic Alex Van Halen groove. Eddie then switches to electric guitar. But not just any guitar. He plays a custom made Les Paul-style mini guitar (a little guitar, get it?), built by Nashville luthier David Petschulat. He tuned the guitar to a non-standard tuning, with the top five strings tuned up one and a half steps, and the bottom string tuned up a half-step. Eddie is doing so many interesting things in this song (including playing some 7/8 time signature), I won’t even attempt to dissect them all, because somebody on the interwebs already did that for us. So instead, let’s just listen and enjoy:

Lastly, a song that shows off Eddie’s chops as a riffmeister. Okay, fine, maybe also because it showcases Alex Van Halen’s fantastic drumming, as well. The song is Outta Love Again from Van Halen II. Heavy, chugging, crunchy, rhythmically interesting riffs abound. And don’t miss Eddie’s solo starting at 1:51-ish. (Listen to this song twice, first with an ear for Eddie, then tuned in to Alex.)

Extra Credit

Here’s a link to the isolated guitar track for Little Guitars.

Take a listen to this extended live version of Eruption.

[stevesmusicmonday]

Jesse Ed Davis

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here’s a link to the first article in the series.)

Oklahoma native, and Native American guitarist, Jesse Ed Davis got his professional start playing on the road with Conway Twitty at age 18. From there he went on to cut 3 records with Taj Mahal. He then moved to LA and became an in-demand session guitarist. Over his prolific career he played with the likes of B.B. King, Eric Clapton, Jackson Browne, three of the four Beatles (Harrison, Lennon and Starr), fellow Okie Leon Russell, Bob Dylan, Rod Stewart, and many more. He also released three solo albums filled with the brightest of guest stars.

Let’s take a listen to some of my favorite Jesse Ed Davis tracks.

First up Taj Majal’s version of the Blind Willie McTell classic Satesboro Blues, from Taj’s debut album. If you’re thinking Davis’ slide work sounds familiar, it’s because Duane Allman borrowed it:

While in Los Angeles in 1967 recording with Hour Glass, Duane Allman went to see Taj Mahal play at a nightclub. After watching Jesse Ed Davis perform his slide version of “Statesboro Blues,” Allman, who’d never played slide before, spent many hours working out Jesse’s slide riff and used it to power the Allman Brothers Band’s signature song. (source)

For the next song, we’ll stick with the slide guitar theme. After years of admiring Jesse Ed Davis’ work, Eric Clapton finally asked him to play on his 1976 album No Reason to Cry. His unmistakable slide work on Hello Old Friend helped give Clapton his first top 40 single in two years.

Next up, a demonstration of Jesse’s country-blues prowess on the Taj Mahal version of the Earl Green/Carl Montgomery composition Six Days On the Road. (Side note: Is there a better song to kick off a road trip playlist? I submit that there is not.) Davis’ languid, sparkling licks throughout the song are the scenery on this road trip, with the bass, drums, and keyboard providing the dashed yellow lines. (Davis also played keyboards on this song. Please take a listen to his killer high speed piano chops at 1:28! An interesting counterpoint to his laid back chicken-pickin’ guitar solo going on simultaneously courtesy of the magic of multi-track recording.) Take a listen. If this doesn’t make you want to drive across America in a truck, nothing will.

Next up, another Taj track, Leaving Trunk from his debut album. The combination of Taj playing the blues harp, the bouncy and busy bass line, Davis does an admirable job of fitting in just the right rhythm lines and lead flourishes. He plays fantastically tasteful solo around the three minute mark kicked off by Taj urging “Come on Davis, come on!”

Last up, a live clip of Davis accompanying Taj in the spectacle that was The Rolling Stones Rock and Roll Circus: a Rolling Stones organized concert spectacular that included (besides The Stones themselves) the likes of The Who, Eric Clapton, John Lennon with Yoko Ono, and the seeming odd man out, Taj Mahal. Here’s their performance of Ain’t That A Lot of Love. Jesse making it look easy.

[stevesmusicmonday]

Tommy Emmanuel

(Note, if you missed the introduction to this month’s theme, you can get to it here.)

In the introduction of this month’s theme, guitar, I asserted that the guitar is them most versatile instrument in popular music today. For proof, look no further than this week’s subject: Tommy Emmanuel. An Australian who was inspired to learn the guitar after hearing Chet Atkins on the radio, Tommy developed a unique, virtuosic and entertaining style of play.

Let’s check out some of his performances which are not only entertaining, but clearly demonstrate the bounds to which the guitar can be pushed.

First up, a live performance with another fantastic guitar player, JD Simo in which Tommy is uncharacteristically found to be playing an electric guitar. When they trade solos, watch the fireworks fly.

Not only is Tommy a great guitar player, but he’s a pretty darn good drummer — on his guitar:

Like Chet Atkins, he mastered the art of playing rhythm guitar and lead guitar at the same time. Watch the stunning display of skill in this Beatles cover set:

In the following rendition of Somewhere Over the Rainbow, he demonstrates his mastery of false harmonics in the introduction and throughout the song:

Hope you enjoyed Tommy demonstrating of the amazing versatility of the guitar, but I don’t think we’ve even scratched the surface.

[stevesmusicmonday]

Introduction to July’s Theme: Guitar Man

Who draws the crowd and plays so loud? Baby, it's the guitar man. Who's gonna steal the show? You know, baby it's the guitar man

— Bread, Guitar Man

I've always wanted to smash a guitar over someone's head. You just can't do that with a piano.

— Elton John

Ah, the humble guitar: six strings, twenty-two (or so) wire frets and a couple of hunks of wood. Who could have ever predicted that it would be the most versatile, influential and ubiquitous instrument in popular music? From the woody sound of an acoustic six string to the stringy, ringing twelve string; from the the chiming, pristine tones of a clean-driven electric to the screaming distortion of the overdriven electric. The sound palette is nearly limitless. And that’s not even getting into effects pedals!

David Gilmour perhaps articulated it best:

It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.

So, whether you prefer acoustic or electric, clean or distorted; whether you admire the shredders or the bluesmen; whether you prefer the humility of the rhythm player or the ostentatious showmanship of the lead guitarist: come along with me and let’s examine some of my favorite guitar players and guitar songs.

First up this month, we consider the versatility of the guitar by way of the talents of Tommy Emmanuel.

[stevesmusicmonday]

John Entwistle (The Who)

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here are links to the first and second articles in this month’s theme.)

There are those who would claim that John Entwistle redefined what was possible (or at the very least acceptable) with the bass guitar in the context of Rock and Roll music. I for one would agree with that assessment. He had the knack of putting down a solid foundation for the band, while still pushing the envelope, turning the bass into a lead instrument at times. In the context of the band’s music, however, it rarely seemed gratuitous.

Born in a suburb of London to a trumpet playing father and a piano playing mother, John began his musical studies at age 7 taking piano lessons. He did not enjoy them, however, and switched to trumpet for a time, and eventually french horn. He met future The Who bandmate Pete Townsend in school where they decided to form a rock and roll band. John initially wanted to play guitar, but his large fingers made it difficult, so he made the to switch to bass. He made his first bass guitar himself at home. Eventually they were joined by Roger Daltrey and Keith Moon and would become The Who.

Let’s take a listen to some of my favorite who songs which display Entwistle’s genius.

First up, The Real Me from Quadrophenia:

I don’t think it’s a stretch to say this is my favorite Entwistle bass part. He starts the song off with some great work high up on the fretboard. The introduction is all Entwistle, and it doesn’t ever really let up throughout the song.

Next up: Cut My Hair, also from Quadrophenia

Here again, we have Entwistle playing some lovely high lead lines to begin the song. Notice, however, during the chorus, he moves back down the neck to play a more traditional bass part. It’s a pretty busy part, but not in a way that detracts from the song.

(It’s interesting to note that Entwistle arranged and overdubbed the brass parts that begin at around 2:17.)

Next up: Getting In Tune, from Who’s Next:

John plays a duet with Townsend’s piano part in the introduction. Follow the bass part throughout, and you’ll hear some amazing blending of foundational and lead bass playing. It’s so seamless, it sounds easy, but this is very difficult stuff to execute well. You can almost hear a french horn playing those higher lead lines instead of the bass guitar.

There are so many great tunes we could listen to, but let’s wrap this post up with one of my favorite The Who tunes, Won’t Get Fooled Again. I’m going to link to this great live performance of the song because, first of all, it’s amazing, and secondly, take a listen to the isolated bass track from the very same performance below in the extra credit section. (Skip to 1:15, there’s some setup included on the video.)

Extra Credit

Check out this isolated bass track from the same live performance of Won’t Get Fooled Again above. (Or at least a performance from the same tour.) It really makes you appreciated just how good Entwistle was.

Okay, here’s a link to just one more from Quadrophenia: 5:15. It’s one of my favorite The Who songs, and the bass part on it is just fantastic.

[stevesmusicmonday]

David Hood

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here’s a link to the first article in this month’s theme.)

David Hood was born in Sheffield, Alabama. He did not seem to be destined for a musical career. He took piano lessons as a child, but never practiced. He played trombone in his High School band, but got kicked out for tom-foolery. When he saw his first electric bass guitar at age 14 or 15 at a concert of a local rock and roll band, however, a seed was planted. Later, when he was 18, some of his friends started a band. He bought a Fender Jazz bass and joined them. He was a quick study. In an interview with Bass Player magazine he said:

That was a pretty late start. It came pretty easy to me. I wasn’t a brilliant musician; I’m still not a brilliant musician. I’m not schooled at all. But I don’t remember worrying about fret-buzzing and things like that. I just started playing.

Hood began getting some notice for his bass skills, and eventually started cutting sides with Rick Hall of FAME Studios just across the Tennessee river in Muscle Shoals, Alabama. Eventually he became a regular session ace at FAME, along with drummer Roger Hawkins, keyboard player Barry Beckett, and guitar player Jimmy Johnson. Together they became known as The Swampers, one of the most sought after house bands of any of the major studios at the time. (As an aside, if you’ve ever wondered about the lyric in Sweet Home Alabama: “Now, Muscle Shoals has got the swampers / They’ve been known to pick a song or two...” These are the guys they’re referring to.)

Later, they broke with Rick Hall and started their own studio called the Muscle Shoals Sound Studio at 3614 Jackson Highway in Sheffield, Alabama, David’s home town. Between the two studios, Hood and his comrades played on records for Wilson Pickett, Otis Redding, Percy Sledge, Aretha Franklin, Boz Skaggs, Cher, Willie Nelson, The Staples Singers, Etta James, Rod Stuart, Bob Seger, Paul Simon, Art Garfunkel, and a myriad of others.

Let’s take a listen to some of my favorite David Hood bass lines. First up, the video I linked at the front of the article. It’s Wilson Pickett’s cover of the Beatles’ “Hey Jude”:

It takes a lot of guts to record a Beatles song, especially in such a close proximity to the original Beatles release. The Beatles released Hey Jude as a single in August of 1968. Pickett’s version was released less than a year later in June of 1969.

Besides Pickett’s soulful-turned-blistering vocals, I would say that David Hood’s bass line dominates the song. Don’t be fooled by the organ bass pedal at the start of the song, Hood does not come in until the second “Hey Jude” at around :30. When he does, he takes over, bouncing the song along rhythmically using syncopation and interesting ascending runs to great effect. (Check out the run at 1:06.) When things get serious at 2:45, kicked off by Pickett’s screaming vocal, Hood builds the intensity to match. (Duane Allman’s pre-Allman-Brothers guitar work is sensational in this section, as well.)

With the Swampers, and David Hood in particular, Pickett turns this wonderful straight ahead pop song from the Beatles into a soul standard.

Now, let’s listen to arguably Hood’s most recognizable bass line in The Staples Singers number one single “I’ll Take You There”:

From the solo iconic bass note that kicks the song off, to the bass solo in the middle, to the end of the song, Hood’s funky groove drives the bus the whole way. Not a whole lot more to say about this one, just listen to it.

Lastly, let’s get out of the soul realm and squarely into pop territory. Take a listen to Paul Simon’s Kodachrome, recorded at Muscle Shoals Sounds Studio, using The Swampers as his backing band:

From his unison doubling of the guitar hook (or is the guitar doubling the bass hook?) to his subtle runs when you least expect it, Hood puts his prints all over this song. It’s a great song with a perfectly crafted bass part at its foundation.

[stevesmusicmonday]

John Paul Jones

John Paul Jones began his musical study at age six, learning piano under the tutelage of his father, a pianist and arranger in a big band. By the time he was fourteen years old, he became choirmaster and organist at the local church while he was studying music at boarding school. After his schooling, he became an in-demand session musician, known for his a creativity and reliability. He played bass, keyboards, and arranged for several hundred tracks. Mostly known for his bass and keyboard work, he is a true multi-instrumentalist, additionally playing guitar, mandolin, banjo, recorder, violin, sitar, and many others.

In addition to his work with Led Zeppelin, he has collaborated with many other artists: Donovan, The Rolling Stones, R.E.M., King Crimson, Peter Gabriel, Foo Fighters, Brian Eno, and others.

He was touring member of supergroup Mutual Admiration Society — a collaboration of Glen Phillips of Toad the Wet Sprocket, Bluegrass group Nickel Creek, John Paul Jones, and Elvis Costello and the Attractions drummer Pete Thomas.

Jones was also a founding member of supergroup Them Crooked Vultures, joining with Dave Grohl of Foo Fighters, and Josh Homme of Queens of the Stone Age.

If that was not enough, JPJ has also recorded two solo studio albums, and composed or arranged the musical score for seven films.

But we’re not here to marvel at accomplishments, we’re here to hear bass. So let’s take a listen to some tracks where his genius for laying down an inspired bass line shines. First up, Ramble On from Led Zeppelin II:

The verse of the song is completely propelled by the bass, with lilting, melodic bass line giving way to a more hard hitting staccato part during the chorus. Then in the short bridge (around 2:26), if you can tear your ears away from Page’s overdubbed harmony guitar work, listen to the funkiness happening in the bass. Jones listened to a lot of the great funk and soul bass players, and the funkiness in the bass on this song is a testament to his absorption of those influences.

Next up, let’s take a listen to The Song Remains the Same from Houses of the Holy:

The bass line in this song is just so great throughout. A little busy and complicated but in a very tasteful way. Some of the ascending runs he does on the verses display a quick mind and vast musical knowledge. Getting from one chord to another with a certain number of notes in between is not as easy as it might seem. This song also exemplifies what made John Paul Jones such a great collaborator. He sometimes plays in synchronicity with Bonham’s right foot on bass drum, and at other times linking up with Jimmy Page’s rhythm guitar work. His work on this song is a bass part masterpiece.

Lastly, listen to JPJ’s work in Gallows Pole from Led Zeppelin III:

The bass part here doesn’t even come in until the second verse, but as soon as it does, it subtly dominates the song. It starts simply enough, anchoring the song both melodically and rhythmically. (By the way, that’s Jones playing the overdubbed mandolin part. The banjo is played by Jimmy Page, but he had to borrow the instrument from Jones.) Moving forward, the song gets more insistent, faster and more frantic. The drums contribute some to the frenetic feel, but it’s mostly down to the bass. Jones plays more complicated runs while the tempo gradually increases, giving an urgent, insistent feel to the ending of the song.

John Paul Jones is a fantastic bass player, and a phenomenal musician. Not only that, but he is a genuinely humble and nice person. I saw him in 2004 playing at the Birchmere in Alexandria Virginia during the Mutual Admiration Society tour. He blew me away with his talent, and I was moved to do something extremely out of character: hang around to meet a celebrity. He graciously signed an autograph for me and allowed me to gush about his contribution to Led Zeppelin, giving a heart felt thanks for my appreciation.

Extra Credit and Resources

Here’s a video with the isolated bass of John Paul Jones and drums from John Bonham playing Ramble On. It’s pretty easy to hear why these two are widely regarded as the best rhythm section in rock and roll when their work is displayed in isolation like this.

Here’s a Rolling Stone article about some of John Paul Jone’s accomplishments you might not have known.

Here’s a link to a full recording of the exact Mutual Admiration Society show I saw back in 2004. I highly recommend it if you like John Paul Jones, or Toad the Wet Sprocket, or Nickel Creek, or just good music in general. There’s a instrumental version of Going to California with John Paul Jones on mandolin and Sean Watkins on acoustic guitar that is outstanding.

Here’s a video of some performances and an interview with Mutual Admiration Society.

Links to Songs on Google Play Music:

Ramble On

The Song Remains the Same

Gallows Pole

[stevesmusicmonday]

Introduction to June’s Theme: Two For the Bass

The bass part… is, in fact, the foundation upon which the melody rests and without which there could be no melody

— Robert Challoner, History of the Science and Art of Music: Its Origin, Development, and Progress, 1879

“One for the treble, two for the bass.”

— A Tribe Called Quest featuring Busta Rhymes, Oh My God, 1994

In rock and roll, the bass is the second cylinder standing beside the drums in the engine that is the rhythm section. Along with the drums, the bass is responsible for driving the rhythm of the song forward and keeping its pulse. A good bass player will lock in with the drummer and keep the time of a song steady. Sometimes the bass will do as much or more to set the rhythm of a song than the drums. A great example of a bass part driving the rhythm of the song even more than the drums is Tower of Power’s “What Is Hip”. Here the steady sixteenth notes of the bass line lock in with the drummer’s hi-hat, but because of the power of the bass notes, it ends up being much more important to the rhythmic feel of the song.

The bass also anchors the band melodically, generally playing the most important notes of the chords. The best bass lines also add a bit of variety so that it’s not too boring to listen to. Without the bass, there is no melody.

Low frequency bass sounds are perceived by the body differently than mid range or high frequency sounds. They tend to be felt more than other frequencies, and have been shown to be perceived more rhythmically than melodically. That’s why a good bass line is important for dance music. Studies have also shown that strong bass frequencies effect us on an emotional level, and can make us feel more powerful. For some fascinating articles on this subject, go here and here.

This month we’ll examine bass players and some bass parts that I have particularly enjoyed or which I feel are notable in some way.

First in line, we take a look at the second piece of heavy machinery in the Led Zeppelin engine room: Mr. John Paul Jones.

[stevesmusicmonday]

Al Jackson Junior

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here’s a link to the first, second, and third articles in this month’s theme.)

Al Jackson Jr. was destined to be in the music business. His father, Al Jackson Sr. was the bass player and leader of a popular local 18 piece dance band in Memphis, Tennessee. Junior played with his father on stage as a featured guest at the tender age of 5. He would continue to play with the band, more as a novelty than anything. One day, when the regular drummer failed to show up at a gig, Willie Mitchell — trumpet player and second in command of the band — suggested to Al Senior that Al Junior take over. He reluctantly agreed, and according to Mitchell:

He did make the gig. He set up his kit – a cymbal, a snare drum, and a bass drum – and I kicked the thing off. And, man, that thing went off at 20 tempos!

But that was around 7:00 o'clock. And by the time Al Senior came in an hour later, at 8:00 o'clock, Al Jackson Jr. was swinging that damn band like a pro.

It was through his association with his father’s band that Al Junior met Booker T. Jones. Jones took note of his growing talent and eventually asked him to join the house band for the fledgeling Stax record label. Knowing how much money he could make playing gigs, Al was hesitant to commit. It’s an indicator of just how good he was that when he demanded a steady paycheck instead of a per session fee, he became the first Stax musician to be put on salary. Al along with Booker T. on keyboards, Donald “Duck” Dunn on bass, and Steve Cropper on guitar would become known as Booker T. and the MG’s and they would define the sound of Stax recordings from about 1962 to 1975.

Jackson’s drumming can be described as spare and no-frills but with impeccable time. He was not showy or flashy, but played exactly what the song needed. He had one of the strongest backbeats in the business. Terry Manning, a Stax engineer at the time recalled:

I would rank Al number one among all the drummers I’ve worked with, and that’s saying a lot when I’m bringing Bonham and even a few great studio drummers into the picture. He had better time than anyone; we called him the Human Metronome. He had the groove. He knew when to swing it just right. He knew how loudly to hit each drum; he didn’t hit each one the same. He found a way to let his track breathe. He would drive the session. But beyond those technical things was the man behind it. He was so nice, so learned, a wonderful human being. You just wanted to play with him and keep up with him.

Al played with a huge number of artists on thousands of tracks: Albert King, Sam & Dave, Otis Redding, Wilson Pickett, Rufus Thomas, Don Covay, Isaac Hayes, William Bell, Eric Clapton, and many others. Along with backing Stax artists, Booker T. and the MG’s also recorded several successful instrumental albums under their own name.

If you’re into flashy, showy drummers, then Al is not the drummer for you. But if you like solid drumming that serves the song, Al is the best. Here are a few of my favorite tracks Al plays on.

First up, Otis Redding’s “Let Me Come on Home”:

This is a great example of Jackson’s ability to swing. He doesn’t swing with the hi-hat or cymbal, though, he swings the bass drum. Generally with the MG’s he played pretty straight, laying down a solid, steady foundation where so that the rest of the band could swing. Here he does a little swinging himself, but keeps things tight with that solid backbeat.

Next up, another Otis song, “Try a Little Tenderness”:

Here we have an example of the improvisational genius of the MG’s. Jackson was not supposed to come in on the second verse. Either he heard something rhythmically he didn’t like and felt like the band needed a framework to lock in, or he just accidentally came in early, we will likely never know. But whatever the reason, it was perfect, and it was kept in. Of course, the rest of the band just went with it. You can actually feel the song solidify with the tick-tock of his cross stick. As the instrumentation builds, he just keeps it steady until he finally comes in with a simple snare fill into a four beat where he’s playing strong quarter notes on the snare instead of a backbeat. It’s a perfect example of building suspense and release in a song. It’s no wonder this song has had such a long shelf life!

Next up, a live performance of one of Booker T. and the MG’s instrumental hits, “Green Onions”:

If you compare this to the studio recording, you might say he shows off a bit in this live version. Even still, you can tell he’s got about 10 more gears he could go through if he needed to.

Lastly, take a listen to the Sam & Dave classic “Hold On I’m Comin’”:

In the intro, jackson rides time with eight on the floor on the bass drum, while keeping the backbeat on the 2 and 4 with snare and open hi-hats. Once the verse commences, he bounces the bass drum again, this time also jazzing up the hi-hat with some swung grace notes. But always on the two and the four, that strong Al Jackson Junior backbeat. Notable: not a single cymbal crash in this song.

There are so many other great tracks that Al Jackson Junior played on, but I will have to leave that to an exercise for the reader. It won’t be an exercise you won’t enjoy.

Resources and Extra Credit

Here’s a link to “Let Me Come On Home” on Google Play Music.

Here’s a link to “Try a Little Tenderness” on Google Play Music.

Here’s a link to the studio recording of “Green Onions” on Google Play Music.

Here’s a link to “Hold On I’m Comin’” on Google Play Music.

Addendum

This theme was difficult, mostly because there are so many drummers that I appreciate and would be enjoyable to share. For those who might be interested, I’m including a list of the other drummers on my short list and the studio or band they played for. I’ll also include a link to a Drummerworld and/or Wikipedia article about the drummer. If any of them strike your interest, by all means, do some digging and listening.

Clyde Stubblefield - James Brown; Notably the most sampled drummer in history - Wikipedia, Drummerworld

Bernard “Pretty” Purdie - First call NYC area session drummer - Wikipedia, Drummerworld

Richard “Pistol” Allen - Motown/The Funk Brothers - Wikipedia

Benny Benjamin - Motown/The Funk Brothers - Wikipedia

Uriel Jones - Motown/The Funk Brothers - Wikipedia

Hal Blaine - First call L.A. area session musician, part of The Wrecking Crew - Wikipedia, Drummerworld

Jim Gordon - First call L.A. area session musician, Hal Blaine protegé, Derek and the Dominos, Traffic, Delaney and Bonnie - Wikipedia, Drummerworld

Earl Palmer - Invented the backbeat, first call session drummer in New Orleans, played on many of Little Richard’s hits, later first call session musician in the L.A. area working as a member of the Wrecking Crew - Wikipedia, Drummeworld

Joseph “Zigaboo” Modeliste - New Orleans session drummer, The Meters - Wikipedia, Drummerworld

Roger Hawkins - Session drummer in Alabama, part of the Muscle Shoals Rhythm Section aka The Swampers - Wikipedia, Drummerworld

Gene Krupa - Big Band drummer, notable for the Benny Goodman Orchestra - Wikipedia, Drummerworld

Buddy Rich - Widely regarded as the greatest jazz drummer of all time, played in the Tommy Dorsey and his Orchestra, among others - Wikipedia, Drummerworld

Levon Helm - The Band - Wikipedia, Drummerworld

James Gadson - Studio drummer, notably with Bill Withers, Marvin Gaye - Wikipedia, Drummerworld

David Garibaldi - Tower of Power - Wikipedia, Drummerworld

Questlove - The Roots - Wikipedia, Drummerworld

Greg Errico - Sly and the Family Stone - Wikipedia, Rolling Stone

Stewart Copeland - The Police - Wikipedia, Drummerworld

Alex Van Halen - Van Halen - Wikipedia, Drummerworld

[stevesmusicmonday]

Steve Gadd

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here’s a link to the first and second articles in this month’s theme.)

Steve Gadd is a real drummer’s drummer. Chops to high heaven, but tastefully and judiciously deployed, always in service to the music. Phil Collins once joked: “How many drummers does it take to change a lightbulb? Ten. And then another ten to talk about how Steve Gadd would have done it.” And it’s true. I don’t think I’ve ever met another drummer who doesn’t have Steve Gadd in their short list of favorite drummer of all time. Get a few drummers together talking, and his name will come up quick.

Gadd’s signature groove can be heard on the Paul Simon track 50 Ways to Leave Your Lover (link above). It’s a great example of his tasteful virtuosity. Clever and quick interplay between the snare and hi hats, interlocking with a simple bass drum pattern and some soft strokes on the toms evoke a marching feel during the verse, almost as if giving the motion to the title of the song.

Another great example of his technical proficiency is his cuban inspired drum groove in the Paul Simon song Late in the Evening:

Yes, that’s just one drummer playing. Steve employs two sticks in each hand to make the groove sound bigger. He hits rims and toms with the sticks, all while keeping the heartbeat of the groove moving forward with the bass drum and marking time with four-on-the floor footwork on the hi-hats. The groove really gives the song its mojo.

And for some straight-up chops, check out the outro solo on the Carly Simon track Memorial Day. It’s a long song that I don’t personally love, so if you just want to hear the solo, skip to 7:23.

Steve has played on over 600 albums for a slew of different artists. Besides Paul Simon and Carly Simon, he has worked with Steely Dan, Eric Clapton, Joe Cocker, Chick Corea, Chuck Mangione, James Taylor, and many more. He is truly one of the best in the business, and one of my personal drumming heroes.

Extra Credit

Here’s a link to a clinic video where he breaks down (and elaborates on) his Late in the Evening Groove. When he plays it up to tempo, it’s mesmerizing to watch!

Here’s a link to a drum instructional video of Steve attempting to break down his 50 ways groove. He does a terrible job of explaining it, but what’s interesting is to see how difficult the groove is, even for him to explain, and yet how easy it is for him to play it.

[stevesmusicmonday]

John Henry Bonham

(Note, if you missed the introduction to this month’s theme, you can get to it here. And here’s a link to the first article in this month’s theme.)

It would be difficult for me to choose a favorite drummer, but if I were forced, I’d have to say it’s John Bonham of Led Zeppelin. It took me a while to come around to that opinion, though. In High School, I didn’t really listen to drummers in songs. Oh, if there was an interesting beat here or fill there, I might try to replicate it on the drum set, but I didn’t really learn who played the drums in what band, and which ones I liked and which I didn’t and who was better than who. That really didn’t happen until I started playing percussion in college.

In 1991 as a freshman at Utah State University, I sort of lucked into joining the marching band when one of the drummers on the snare line got arrested and they needed someone to fill a spot quick. My buddy told me about the opening, and suggested I try out for it. So I auditioned for the head of the percussion department and to my own surprise, he told me I was in. I was really intimidated by the rest of the drummers in the band, these were guys and girls who had chops ten times better than me. I was just good enough to hold my own, and I had a blast playing with them, but I always felt like I was racing to play catch up.

So how does this relate to John Bonham? Fast forward a few months, and as a percussion section, we all travelled along with our professor to Anaheim, California for the Percussion Arts Society’s International Convention (PASIC). PASIC is the largest drum convention in the world, and it’s held in a different location every year. So it was pretty lucky that it was within driving distance for us. On the way there, our professor allowed us to play whatever music we wanted, and someone put in some Led Zeppelin. Immediately, everyone began air-drumming along and even Dr. Griffin, probably the most conservative guy I have ever met, was waxing eloquent on the excellent drumming of a Mr. John Bonham. I had always liked Led Zeppelin’s music, but I had not listened to much more than their radio hits, and I hadn’t listened really that carefully to what was going on in the drums. Since then, I have listened to every album they’ve made, some bootleg material, their live albums, watched The Song Remains the Same, and How the West Was Won, and pretty much tried to dissect everything Bonham did. He has become one of my favorite drummers, and yes -- if you pushed me, my favorite drummer of all time.

Here are some of my favorite Zeppelin tracks that showcase Bonham’s amazing skill.

First up is Fool in the Rain:

This is my favorite John Bonham beat. There are those who would argue that Bonham stole this beat from Bernard Purdie, but I think it’s more of an adaptation. Under Bonham’s powerful hands and feet, it becomes a different animal. Instead of dissecting the groove, if you’re interested in what makes it so special, watch the video in the Extra Credit section below. The video explains it much better than I could.

Second is the opening track of Zeppelin’s debut album: Good Times, Bad Times.

This song showcases Bonham’s creativity with the bass drum. Listen to the triplets he plays with his bass foot, for example at :24 and :29. (He also does it repeatedly around 2:14 and onward.) These quick patterns are not only hard to do, but showed his tremendous rhythmic creativity. Nobody in rock was doing these kinds of patterns at the time.

Last, is the marathon epic Achilles Last Stand:

Besides his superhuman bass drum work here, there are some absolutely killer fills in this song (see 1:18 and 2:31 for some examples). The fact that he keeps pace for the entire 10 plus minutes of the song is a testament to his incredible endurance. This is absolutely monstrous drumming at its finest.

Extra Credit and Resources

Here’s a link to a video that gives one of the best explanations of what made John Bonham such a great drummer that I have seen.

This is a great in-depth article about John Bonham as he was seen by his peers.

[stevesmusicmonday]

John “Jabo” Starks

(Note, if you missed the introduction to this month’s theme, you can get to it here.)

One of my drumming heroes, John “Jabo” Starks passed away last Tuesday, May 1, 2018. He was 79 years old, and still played the drums almost right up to the end. His last gig was in March. I thought it would be fitting to write a post about him.

Jabo was a self-taught, and he cut his teeth playing for Blues artists like Howlin’ Wolf and Big Mama Thornton on the chitlin’ circuit -- a chain of venues that in the era of segregation were suitable for African American artists to play in.

In 1959, he joined Bobby Bland’s band, where he stayed until he joined James’ outfit, the J.B.’s in 1965 where he stayed until the mid 1970′s when he left to play with B.B. King.

Most of the time while he played with James Brown, he did so in a two drummer setup, sharing drumming duties with Clyde Stubblefield. Together, they would create drum beats that would go on to be sampled and used in tens of thousands of hip hop records.

As an example, take Think (About It). Sung by Lyn Collins, but written and produced by James Brown and backed by the J.B.s with Starks on drums, it has been sampled and used in over 2,000 songs. (Most transparently by Rob Base and DJ E-Z Rock in It Takes Two.)

Jabo had a tight, clean drumming style. He was a master of ghost-notes, those light hits on the snare drum between the main snare beats. Here are a couple of my favorite James Brown tracks with Starks behind the kit. First up is Super Bad:

On the verse, Instead of playing the snare on the traditional backbeat of two and four, Starks plays a syncopated pattern on one, the and of two, and four. Then, during the bridge (and you know it’s the bridge because Brown helpfully yells out “bridge!”), he punctuates the horn hits by crashing his ride cymbal, followed by a rhythmic, syncopated tickling of its bell.

Next up: Soul Power

During the verse, this is probably one of the easiest songs to hear Jabo’s fantastic ghost note work.

James Brown was a notoriously hard band leader to work with. He used to fine his musicians when they would make mistakes. Jabo Starks famously never received a fine, and in fact, pointed out a few mistakes that Brown himself made. I don’t imagine he ever charged Brown for his mistakes.

I like to think that there’s a drummer’s heaven up there, and if there is, I think Stubblefield probably greeted his old friend, and they are now playing funky beats together for an angelic audience. That’s a gig I wouldn’t want to miss.

Extra Credit and Resources

Here’s a great interview with Jabo and Clyde on NPR.

Starks’ obituary in the New York Times.

Link to Super Bad on Google Play Music.

Link to Soul Power on Google Play Music.

Link to Think (About It) on Google Play Music

[stevesmusicmonday]

Introduction to May’s Theme: Give the Drummer Some

“Seemed to me that drumming was the best way to get closer to god.” —Lionel Hampton

“Praise him upon the loud cymbals: praise him upon the high sounding cymbals.” —Psalm 150:5

Drums have been around for thousands of years, playing roles in religious ceremonies, as communications devices in both civilian and military settings, and, of course, as musical instruments.

The modern drum kit started to take shape around the turn of the century, when in 1909 Ludwig & Ludwig Company invented the bass drum pedal. This allowed the drummer to play the bass drum with his foot, freeing up a hand and making it possible to play more complex rhythms. Early versions of the drum kit had various drums, cymbals and percussion pieces like wood blocks, cowbells, triangles and the like arranged according to the whims of the individual drummer. But soon the standardized setup that we are familiar with today would emerge: a snare drum as the centerpiece and the principle time keeper, a bass drum played with the foot pedal, a suspended tom-tom, and a floor tom-tom. Cymbal setup usually consists of a hi-hat, which can be opened and closed by means of a foot pedal, a crash cymbal, and a heavier cymbal called a ride cymbal. Other auxiliary percussion instruments are sometimes added, a cowbell and a wood block being the most commonly found.

This month we’ll explore some of my favorite drummers and drum tracks.

First up is James Brown’s drummer, John “Jabo” Starks.

Next in the series, the bombastic John Henry Bonham.

Following Mr. Bonham, please enjoy this article about Mr. Steve Gadd.

Last, but certainly not least, we discuss Mr. Al Jackson Junior.

[stevesmusicmonday]

Jimmy Page & The Black Crowes - Ten Years Gone, From Live at the Greek

(Note, if you missed the intro to this month’s theme, you can read it right here. And here are links to the first, second, third, and fourth articles in this month’s theme.)

This week is a bit of an extra. A freebie, if you will (and I hope you will). A bonus fifth #musicmonday. Allow me, then, a bit of leeway as I stretch the theme a bit. This week we’ll be looking at a live recording of one of my favorite Led Zeppelin songs: Ten Years Gone. We won’t be looking at a live Led Zeppelin version, however (even though there are several out there to listen to). We’ll be focusing on the live version by Jimmy Page & The Black Crowes from the album Live at the Greek.

In 1999, Jimmy Page found himself in need of a backing band for a charity gig he was doing at the Café de Paris in London. A mutual friend suggested The Black Crowes, knowing they were in town playing Wembley Stadium with Aerosmith. They were extremely flattered and jumped at the chance. They quickly put together a ten song set and played to a crowd of around 400, who enthusiastically received their offering.

A couple of months later, they decided it would be mutually beneficial to expand their collaboration, adding several more songs to the repertoire, and take it on the road in America. They played two dates in New York, one in Boston, and two in L.A. at the Greek Theater, an outdoor venue modeled after a Greek Temple. It was here that they would record what would become Live At The Greek.

Among the songs recorded is an incredible live version of the Led Zeppelin track Ten Years Gone from their 1975 album Physical Graffiti. Ten Years Gone is a quintessential Jimmy Page product, a song he says has 14 tracks of overdubbed guitar parts in it. To play such a song live would be no mean feat for a four piece band, even with the caliber of talent that Led Zeppelin possessed. In fact, when Led Zeppelin played the song live, their multi-instrumentalist bass player John Paul Jones to play some of the guitar parts  while playing bass pedals with his feet. They even had a special three necked guitar made for him to do play the song with. It had (from bottom to top) a six string acoustic, twelve string acoustic, and mandolin. As the keyboard player in the group, he was unable to fulfill those duties live on this song, having his hands full (pun intended). Meanwhile, Page used a B-bender telecaster (see below) and a lot of effects pedals to do his best to pick up the other electric parts. Even then, their live versions of the song sound thin and lacking. (See resources below for a sampling.)

Contrast this with the version played by Page and the Black Crowes. Along with Jimmy Page we get two extremely capable guitarists in Audley Freed and Rich Robinson, a keyboard player in Ed Harsch for those missing keyboard parts, a bass player in Sven Pipien who had no other duties to fulfill. Also, Steve Gorman on drums, who does an admirable job of imitating John Bonham’s bombast and finesse. Then, of course, we get Chris Robinson who thankfully does not try to imitate Robert Plant, but has a vocal quality and range almost suitable to the material. He is reminiscent more of Steve Marriott of Small Faces. If rumors are to be believed, Marriott was asked to be the front man for Led Zeppelin back in the day, so it’s almost like we get to hear what might have been. And even though he would go on to deny it later, I believe he actually had a good time singing these songs!

Call it heresy, but this live version of Ten Years Gone bests any of Zeppelin’s live takes, and in my mind, maybe even eclipses the studio recording. Take a listen yourself, and see if you agree.

Here’s the original studio recording:

And here’s the Jimmy Page & Black Crowes live version:

Resources and Extra Credit

Here is a link to the entire Physical Graffiti studio album.

Unfortunately, Live at the Greek is not available on Google Play Music, but here’s a link to a youtube playlist of the entire album, if you’re curious to hear the whole thing, which I recommend.

Here’s a link to a live version of Ten Years Gone by Led Zeppelin. Take a look at John Paul Jones’ crazy triple neck guitar.

If you’re curious as to what a B-bender guitar is, here’s a link to one of its masters, Albert Lee, explaining what it is and demonstrating its use. If you watch the Led Zeppelin clip above, you can see Page pushing and pulling the neck of the guitar to work the mechanism.

Here’s a cool video of John Paul Jones playing that crazy three necked guitar and using a loop pedal to become a one man band. The picture quality is not amazing, but Jones’ talent is.

[stevesmusicmonday]

Talking Heads - Heaven, From Stop Making Sense

(Note, if you missed the intro to this month’s theme, you can read it right here. And here are links to the first, second, and third articles in this month’s theme.)

To tell you the truth, it took me many years to appreciate Talking Heads. When they were popular, I was too young to really get them, or I was too into heavier music. In general, I eschewed new wave and modern music for throwback rock and roll.

Then, a few years ago, inspired by an acquaintance, I embarked on a journey that would change that: I listened to every single album on the Rolling Stones 500 Greatest Albums list. I listened to a lot of stuff I would never have given the time of day before. Sometimes what I heard served to solidify my sometimes ignorant prejudicial opinion of a band (or maybe entire genre of music), but other times I gained a new appreciation for a band or style of music. Such was the case with Talking Heads.

Talking Heads had four albums on the 500 Greatest Albums list. That fact alone was hard to ignore, and when I got to their live album Stop Making Sense -- the second Talking Heads album on the list -- my opinion of them really changed. This was a band that had serious musical chops. It helped that they augmented their usual lineup with some bonafide funk heavies: Steve Scales on percussion, Alex Weir on guitar, Bernie Worrell on keyboards, and Lynn Mabry and Ednah Holt on backup vocals.

The album starts with David Byrne alone playing guitar and singing Psycho Killer. Then, with each successive song, another band member joins him. By the sixth song, the whole band is on stage to perform Burning Down the House. Each performance is fantastic, and recommended listening. For this post, I am highlighting Heaven.

Listen to the original studio version here from Fear of Music:

It’s a beautiful, reverberating, muddy mess. Maybe that was a sonic choice they made to underscore the nihilistic viewpoint of the lyrics. Whatever the reason, it doesn’t work that well for me.

Now listen to the live recording:

This is the second song from the concert, which means there are only two band members on stage: David Byrne singing and playing acoustic guitar and bassist Tina Weymouth. The simplicity of this version works in its favor, but what really takes it over the top for me is the two-part harmony in the chorus. Until I watched the actual concert footage, I assumed it was Weymouth singing the harmony part, but she clearly does not sing in the concert. (See extra credit below.) Instead, Lynn Mabry sings the harmony part off stage. Ethereal, and heavenly, it adds just what the song needed from start.

Extra Credit and Resources

Here’s a link to actual concert footage of the song. The audio quality is not as good, but it’s interesting to see.

Here’s a link to the live version of Life During Wartime, which is just fantastic, and was almost the song I chose from the album to write about. Come for Byrne’s ridiculously hilarious dance moves, stay for the incredible performance.

Here’s a link to the entire Stop Making Sense album on Google Play Music.

Here’s a link to the entire Fear of Music Album on Google Play Music.

Here’s a link to the original Rolling Stones 500 Greatest Albums list.

A friend who I convinced to go on the 500 album journey created playlists on Google Play Music of all the albums in the list in 10 album chunks. If you’re interested in tackling this herculean musical task yourself and you don’t want to do all the album finding legwork, send me a personal message and I’ll share the playlists with you.

[stevesmusicmonday]

Bob Marley - No Woman, No Cry, From Live!

(Note, if you missed the intro to this month’s theme, you can read it right here. And here are links to the first and second articles in this month’s theme.)

When I was in college, one of my buddies had the 1984 Bob Marley posthumous retrospective album Legend, and I went through a phase where I would listen to it over and over again. At the time, it did not strike me as odd or interesting that the version of No Woman, No Cry on that album was a live version. It’s only recently that I decided to dig up the original studio version to hear what it sounded like.

Maybe you’ve never wondered, maybe you have. Either way, take a listen to it here:

The live version is from the 1975 album Live! and was released as a single. Contributing to its familiarity, however, is its inclusion in Legend, which is the best-selling reggae album of all time, and which spent 500 (non-consecutive) weeks on the Billboard 200 album chart, the second longest run in history. The song was recorded on the Natty Dread tour in the Lyceum Theater, London.

The live version is more laid back and, while slower, never drags. Instead, the pace allows the band to stretch out, and Marley’s wistful voice to entreat more effectively. Instead of the drum machine of the studio recording, here have legendary reggae drummer Carly Barrett imparting some humanity back into the track with a simple but effective reggae beat. Al Anderson, who joined The Wailers during the recording of Natty Dread, tastefully solos on guitar: never ostentatious, fitting neatly in with the feel of the song. Tyrone Downie sets an almost sacred feel on Hammond organ, and at times adds a biting edge by switching seamlessly to an overdriven Rhodes electric piano, sounding almost like a second lead guitar player. 

And when the crowd joins in with Marley and the “I Threes” backup singers singing “everything’s gonna be alright, everything’s gonna be alright,” I believe it, do you?

Resources

Here’s a link to the full Live! album on Google Play Music.

Here’s a link to the full Natty Dread album on Google Play Music.

Here’s a link to the full Legend album on Google Play Music.

[stevesmusicmonday]

Peter Frampton - Do You Feel Like We Do, from Frampton Comes Alive!

(Note, if you missed the intro to this month’s theme, you can read it right here. And if you missed the first article, you can read it right here.)

Peter Frampton would have probably been better off if he’d been ugly, I think he might have been taken more seriously as a musician. But a serious musician he was (and is)! Besides being a talented songwriter, a great singer, and a fantastic guitar player — self taught on a banjolele, of all things! — he’s also a multi-instrumentalist, with credits on his albums including keyboards, drums, and percussion. Despite his talent, however, it took him some time to see success.

After three years with Humble Pie, he struck out on his own in 1971. He released four solo albums, but none of them saw much commercial success. Then in 1975, he embarked on a tour which was intended to result in the recording and release of a live album. At the end of the tour, they had so much good material, the album expanded to a double LP. The resulting 1976 release was titled Frampton Comes Alive! It spent 10 weeks at number one on the Billboard charts, was the best selling album of 1976, and went on to become one of the best selling live albums of all time.

One of my favorite tracks on the album is Do You Feel Like We Do. The single released from the album was edited down from the original 14:15 to 7:19, still a very long single to get much airplay. Despite its length, it reached number 10 on the Billboard Hot 100, and has been a reliable staple of classic rock stations for as long as I can remember.

Now, we have to have a small aside about the talk box, which Frampton uses on his solo in this song and a few others on the album. It’s a polarizing effect, for sure. You either love it or hate it. I definitely fall on the love side of the equation, but if you hate it, or it seems gimmicky to you, I totally get it. Personally, though, I think it’s amazing how it works, and I love how expressive it can make a sound. Listen to how he uses it from about 11:08 to 11:24 where he comes down in volume and then roars back into the main riff.

Here’s the whole thing in all its glory:

After hearing the live version for so many years, I re-listened to the studio version, and in comparison, it is plodding, boring, and lacks the vitality of the live version. The guitar solo in the studio version is not nearly as good, which is rare, since in the studio, you get just about as many takes as you want. Live, you get one shot. You can listen to the studio version from the album Frampton’s Camel here:

Resources, Extra Credit

Here’s a link to the entire album on youtube.

Here’s a link to the entire album on google play music.

I can’t, in good faith, recommend the entire album. It’s all decent, but there’s definitely some filler in there. Notable good tracks are the funky Doobie Wah (which sounds like they stole from the Doobie Brothers’ song Listen to the Music), Show Me the Way, and Shine On. Please, though, for the love of all that is holy, skip past their terrible cover of Jumpin’ Jack Flash.