Tag Archives: brian eno

David Bowie’s Legacy

BowieDavid_Live1_72dpiI can’t imagine what popular music would have been like had there not been a David Bowie. He was a musician, actor, artist and fashionista with such an innate ability to anticipate cultural trends that he remained relevant for over four decades. Somehow Bowie always seemed young and fresh, in large part due to his uncanny way of reinventing himself regularly, collecting personalities, going from crooner to glam-rock star, to the dispassionate “thin white duke,” and the art-rock inventor of the progressive “Berlin trilogy” and beyond. He was, according to one commentator upon his passing, “of the time, at every time.” He remains one of the most recognized personalities in the world, and he is already missed greatly.

While the second stage of his career as Ziggy Stardust, king of glam rock was not my favorite era, I knew other teenagers who lived for this music particularly those on the Hollywood side of the Santa Monica Mountains. Many of these friends never felt they fit in, never believed that anyone understood or spoke for them before Bowie stepped onto the scene with his shocking hair, makeup, dress and confident androgynous manner. If the man never recorded a thing after 1974 he would still be canonized today, yet he continued to change and influence generations. After the Ziggy Stardust tour and movie, Bowie retired that persona, and recorded his last mostly glam album, Diamond Dogs, in 1974. Next up, Young Americans found Bowie delving into American funk and “plastic soul.”

BowieDavid_StationtoStation3CD_72dpiBut for this writer, it’s the next album, the 1976 classic Station to Station that really galvanized my interest. The record found Bowie experimenting with synthesizers and the kind of metronomic beat found in German Krautrock. The balance of ice and passion is clear as the title track begins with the ominous sound of trains and minor tones then building to a resolve that emerges into the jubilant final third, beginning with the exclamation, “It’s not the side-effects of the cocaine, I’m thinking that it must be love!” Funk and soul tracks like the hits “Golden Years” and “TVC 15” are upbeat, while “Stay” is a grittier boogie, driven forward by an irresistibly funky guitar riff. The beautiful romantic ballad “Wild is the Wind,” the sole cover, must be Bowie’s most spectacular, inspirational vocal performance on record. It’s a tremendous album that represents a bridge between the prior work Young Americans, and the colder ambient classic Low to come.

BowieDavid_StationToStationLiveCover_72dpiBowie’s persona for Station to Station was called the “thin white duke” clad in white shirt, black pants and waistcoat, and passionate dispassion. One writer described Bowie’s new alter ego as a “hollow man who sang songs of romance with an agonized intensity… ice masquerading as fire.” The tour supporting Station to Station stopped at the LA Forum for three nights in February that same year, putting the man and his new myth on display. Bowie reportedly took the stage, sang sixteen songs and left the building stoically. It was a rehearsed, perfunctory yet riveting experience according to those I knew who were able to attend, and as documented in a bootleg film of the rehearsals for the concert tour, and a recording captured one month later at the Nassau Coliseum in New Jersey. That complete live set was released in 2010 on two CDs included as part of a special three CD edition of Station to Station that also came with a booklet, some photos and other extras.

BowieDavid_StageCDCover_72dpiBowie’s recorded output became even more interesting during the next phase of his career, the so-called “Berlin Trilogy,” working with progressive artists Brian Eno, Robert Fripp, Adrian Belew, Iggy Pop and producer Tony Visconti among others. The resulting albums Low and “Heroes” (1977), and Lodger (1979) are inventive, varied and always surprising. The world tour for Low and “Heroes” found Bowie is perfect voice and brimming with energy, playing with a supporting band of luminaries that included Adrian Belew and Carlos Alomar on guitars, George Murray on bass, Dennis Davis on drums, Roger Powell and Sean Mayes on keys, and Simon House on violin. Recordings from the tour were assembled for the double live album Stage, released in 1978. That album in its original form garnered some complaints due to tinkering with the song order, and other issues. More recently the album was remastered and rereleased on CD with those complaints addressed, the complete set of songs in their original order presented in a compelling stereo mix.

ON FILM

BowieDavid_ZiggyDVDCover_72dpiThe best official film of David Bowie’s career in the 1970s is the 1973 movie Ziggy Stardust and the Spiders from Mars – The Motion Picture. Directed by D.A. Pennebaker, this is a rare chance to see Bowie during his glam period, taking the stage wrapped in his most influential alter ego. Fifteen songs from the set list are presented, along with a few behind the scenes shots of Bowie back stage. It’s not a polished product; the sound is flawed, sometimes brash, and lots of shots are blurry. But the 1.33:1 framing exposing extra grain and grit seems somehow representative of the early years of the Glam movement. The film played in movie theaters in the early 1970s for a brief time, and was later screened frequently as a cult classic.

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The next official Bowie film would not be released until the Serious Moonlight tour of 1983 was captured for the home video market. It means that there is no officially released video to document several key concert tours in the intervening years from 1974 to 1982. Possibly the best film that was made captured a jubilant, well-groomed Bowie performing at the NHK Hall in Budokan Japan on December 12, 1978 on the last night of the Low and “Heroes” tour. Bowie himself is a revelation, leading his all-star band surrounded by pulsating fluorescent light tubes through a show that clearly influenced a host of new wave artists who followed. An hour of this fabulous concert was broadcast on Japanese television including a thirteen-minute rendition of the title track from Station to Station, with an intro that, courtesy of Adrian Belew’s wall of guitar distortion and accompanying keyboards, winds down imaginary train tracks for more than five minutes before Bowie appears and the melody kicks in. The film is well preserved and available on YouTube or via an unofficial DVD release from heavymetalweb.net

BowieDavid_Live5_72dpiThere were other televised performances during this time that are also of value. About forty minutes of a live performance at the Beat Club were captured for the German music program Musikladen. Six songs at the Dallas Convention Center and four on Saturday Night Live were broadcast in the U.S. Apparently, performances at Earls Court in London were also filmed, with excerpts shown on the tube there, but this footage has also not been released. It’s a shame that all of this concert footage, particularly the NHK Hall content, has not been expanded, remastered and released officially, rather than on bootlegs and low-res copies on YouTube. Yes, we can enjoy the official audio on the double-album Stage, but we are lacking important video content of this very visual artist. Maybe now with our hero sadly departed, as we gain perspective on the overall arc of his massively successful career, the remaining proof of his mastery will surface.

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Tokyo Film Setlist:

  1. Warszawa
  2. Heroes
  3. Fame
  4. Beauty and the Beast
  5. Five years
  6. Soul Love
  7. Star
  8. Hang on to yourself
  9. Ziggy Stardust
  10. Suffragette city
  11. Station to Station
  12. TVC 15

Station to Station, 1978

https://www.youtube.com/watch?v=fDXBeu3198c

Complete Tokyo concert:

https://www.youtube.com/watch?v=kaKpJl4D8bc

Live at Beat Club Musikladen 1978

https://www.youtube.com/watch?v=ClDO1_dH0DU

 

 

 

Following Protocol

protocol_adDuring a lifetime collecting music by all manner of progressive and classic rock bands, I’ve occasionally delved into the jazz-rock and jazz-fusion genres. Looking back to the 70’s and 80’s, there was just so much music to discover, these forays into jazz tended to be short lived but always added fulfilling instrumental ear candy to my collection. The attraction back then was usually when one of my favorite drummers joined a project of this kind. The first I can remember was Phil Collin’s work with Brand X and their unbelievable debut Unorthodox Behavior followed by Bill Bruford’s exciting first two solo albums. Many of my friends owned the Return to Forever album Romantic Warrior featuring the amazing Lenny White on drums. I also had Jeff Beck’s 1980 masterpiece There and Back (check out opening track Starcycle), and Mike Rutherford’s underappreciated Smallcreep’s Day (favorite cut Romani) from that same year, not realizing these included the incredible musician Simon Phillips on drums.

Simon Phillips
Simon Phillips

Instead, Simon Phillips name first came to my attention for his work on 801’s Listen Now and 801 Live (w/Phil Manzenera and Brian Eno) both recorded in 1976 but first heard by these ears until several years later. His technically brilliant, often polyrhythmic playing distinguished him immediately – it’s emotive, infectious, and smooth despite its complexity. Simon has plied this trade with scores of musicians and bands since the 1970’s, including a twenty-year stint with Toto.

Andy Timmons
Andy Timmons

Recently I’ve been fortunate to see Simon with PSP (Phillips Saisse Palladino) and last week with his “Protocol” band. The Protocol II album in 2013 established this new four-piece instrumental group with chemistry to spare, including Andy Timmons (guitar), Steve Weingart (keys), and Ernest Tibbs (bass) joining Simon. Last week, they staged a concert as Protocol II at Yoshi’s Oakland Feb 17, 2015.

Steve Weingart
Steve Weingart

It was a wonderful evening as these crack musicians highlighted some of the new work from the upcoming Protocol III album, along with prior tracks, and encore “Gemini” from Protocol II. The music would be considered as fantastic by anyone interested in smooth yet complex instrumental jazz-fusion, characterized by energetic playing, quick changes in meter and key, and abundant solos. With some jazz bands, lengthy solos and pyrotechnic displays can leave me bored and bewildered. Not so with this outfit as none of these elements are overcooked – instead the melodies are set upon solid compositions – with jams fitting tightly into the framework of every piece. Each of the four members are entertaining to witness live – Adam’s smoking guitar leads and sense of humor shine – Steve’s keyboard flights are fluid and organic – and Ernest while not coming up front for leads, consistently fills out the low end of the spectrum with fantastic fretwork. Simon is in a league of his own, sounding perfectly at ease with this band, he amazed us with his intense, precise and yet loose playing, coming to the fore a couple of times for short solos that demonstrated his immense skills. Catch this how if you can – it comes highly recommended!

The Band
The Band

Daniel Lanois – in the Flesh, with Machines

lanois_sample2Daniel Lanois is the famous producer, engineer, composer, and multi-instrumentalist from Canada, whose work with U2, Peter Gabriel, Brian Eno and others are often award winning milestones for those artists. Peter Gabriel’s So and U2’s The Joshua Tree come immediately to mind. What would be less familiar to many listeners are his solo albums, each a unique and beautiful work of art – some song-driven with vocals, and others instrumental.

lanois_acadieLanois had plenty of time as producer and engineer from 1976 through the 80’s before he released his first and arguably greatest record, Acadie (1989). Flavored with bayou blues, Cajun folk, and ambient, flowing soundscapes, Acadie also includes Daniel’s beautiful lead vocals, some in English, others in French. The opening pair of rock hymnals, “Still Water” and “The Maker” still make their way into his set lists. “The Maker” is a spiritual song that sets the tone for the rest of the album, beginning with some choice lyrics:

Oh, oh, deep water
Black and cold like the night
I stand with arms wide open
I’ve run a twisted line
I’m a stranger in the eyes of the Maker

lanois_jimMy favorite is the haunting, bewitching track “St Ann’s Gold” that’s just Daniel and his guitar with a bit of synth backing – a serene masterpiece. Guest collaborators include Brian Eno, the Neville brothers, and U2’s backing band. Musically the record is a combination of many influences, expressed with heavy guitar atmospherics, backed by Eno’s ambient keyboard soundscapes. It’s an instant classic that belongs in every music lover’s collection. Other releases by Lanois that I would highlight include the follow up For the Beauty of Wynona (1993) that’s much like Acadie, Belladonna (2005), an instrumental album featuring his astonishing steel pedal guitar, and Black Dub (2010) on which he partnered with Trixie Whitley for her soulful vocals.

lanois_sample1Lanois’ most recent release, Flesh and Machine, is another fascinating album that focuses on his instrumental, ambient side. It’s the closest he’s come to the work he did with Brian Eno in the early 80’s, but with a darker, brooding palette. Of this record, Daniel states, “I decided to be as inventive as I can be and try and take people on a journey, the way I remember records did when I was a kid — you know, you’d put on an album and trip out to it and feel like a different person after listening.” I took the opportunity to go on that trip, and see him perform live at the Great American Music Hall, San Francisco, on November 17, 2014.

The shlanois_slideow was also itself on the dark and brooding side, as is the new work that made up most of the set list. Daniel spent much of the time hunched over a set of keys triggered gadgets that used samples of guitar, steel guitar, piano and voice to create the sound palette from which he dubbed and processed live on the stage. For several tracks, he came up front to play that steel pedal guitar, and for the encores took center stage to perform a few earlier tracks on guitar and vocals including “The Maker”.

lanois_brianA highlight of the show was Daniel’s long time drummer, Brian Blade, who I first saw on his 1993 tour playing a finely tuned kit with both his hands and sticks. Brian is a first rate musician who played superbly as usual, slipping in between the seams on quieter works, or driving the sonically aggressive parts with his jazz-influenced leads. Bassist Jim Wilson deftly alternated between electric bass and upright bass pedals to color the lanois_videolower end and harmonize with Daniel on the few vocal tracks. The visuals significantly added to the show as the lighting tech used a video toaster type of process to manipulate short films and images in union with the beat, and to great psychedelic effect. Catch this tour in your town should it make the journey, and witness this artist in the flesh, and with his machines.

lanois_band