Wednesday, May 8, 2013

Windshield or Bug?

art by Crystal

Sometimes you're the windshield...

I was playing a gig with Elena, at a local venue we're well established in. We love playing there - the acoustics are great, management is nice, and we have a lot of friends and fans that come out when we play there. But this particular gig was near Christmas and we weren't seeing our usual crowd. The place was packed with company parties and lots of college age people. Both of those kinds of groups are not usually there for the music, and indeed there was a din of noisy chatter but very little attention being paid to us. Eventually the crowd started thinning out and we figured the last set would be slow.

A group of young people emerged from the back of the bar and grabbed a table right in front of us. Then, a miracle occurred. They did not ignore us, did not talk loudly to each other or obsessively tap on their phones. They did not get up every five minutes to make a call or go out and smoke. They did not take pictures of each other making gangsta faces. No, these college kids actually listened to us. Even more amazing, they knew every song we played and were ecstatic about our mostly classic rock songlist. They sang. They cheered for every darned song. They raised their lighters.  And - bonus - they tipped. And when it was over, they demanded an encore.

Wow, what can I say. My faith in the younger generation was renewed!

art by Crystal

Sometimes you're the bug...

Whenever I have a great gig and feel a little excessive self-esteem creeping in, I know it must be about time for an ego smackdown in the form of a gig I regularly do at another Baltimore area venue. I can be fairly sure of what will happen when I do this gig, and the very next night after the previously described miracle, I was not disappointed. I was presented with a young college and professional crowd, all quite dedicated to ignoring me, talking loudly, texting on their phones, taking pictures of each other and constantly hopping up to go out and talk on the phone and smoke.

But then, someone did notice I was there, and came up to make a request. "Hmm," I thought, "I wonder what it will be?" but I could already feel it coming, and yes, there it was: "can you play Sweet Caroline?"

It's not that they wanted to enjoy my superb rendition of the song. They just wanted to join in on the chorus and go "dut, dut, dah!" and "so good, so good," at the top of their lungs, carrying out a bar ritual that they have surely participated in dozens if not hundreds of times already. I know I have. And even then, they were only good for two choruses. By the third chorus, the moment was gone and before the song is over they had already resumed their talking/drinking/picture-taking/texting/smoking routine. There was no applause. There was no tip. There were no more requests. In less than three minutes I have faded from their awareness, for the rest of the night.

The whole episode is like a pre-ordained moment of musical involvement, imprinted in the minds of young bar-goers after the song was revived in a scene from a movie in which - surprise - a bunch of drunk young people at a bar are singing the song. My audience seems programmed to re-live the scene and then go back to what they were doing.



I have written about this sort of thing before; it is part of the game if you want to be a working musician. Sometimes you love what you do; sometimes you are just earning the money. It's nice if you are enjoying yourself and getting paid, but it doesn't always happen. Would I rather be driving a truck, or working at a bank? Not in a million years. I feel lucky that I do love my work more often than I don't, and blessed that I get to play guitar and sing for a living. So I take the not-so-much fun ones as learning experiences, and try not to take it too seriously. It's counter-productive to have an over-inflated sense of self-importance on a gig, especially the less than ideal ones. You have to be able to laugh at the situation, and at yourself.  Besides, if only three people are there to see me, I have learned that it's always a good idea to play my best for those three people.

And I try to keep smiling.




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Friday, April 12, 2013

Influences and Inspirations: Pat Travers



April 12: Happy birthday Pat Travers.

Wow, what a big influence in my early guitar playing years, the late 1970's-early 80's. This was quintessential hard rock of the day but with a healthy dose of of funk; unique and ballsy guitar tones; great songs; a powerful voice; and top notch musicianship. But beyond that, Pat put forth a remarkable combination of musical qualities that was rare for that "hard rock" genre. He could do gorgeous multi-tracked guitar harmonies like few others (outside of Brian May) would dare attempt. He was one of the only guys besides Rush who could write songs in odd time signatures that still kicked ass. And I didn't mind one bit that his songs would have extensive instrumental sections. All the above are in evidence in this great tune, "Heat in the Street," from the superb album of the same name:



Pat always fills his band with incredible musicians and generously gives them plenty of room to stretch out and flex their musical muscles. The classic live album Go For What You Know is a powerful example of that.



And of course I have a soft spot for instrumental rock; Pat produced a great one on his classic Puttin' It Straight album, called "Off Beat Ride."



Puttin' It Straight is a personal favorite. This whole album has a great vibe, with a magical combination of great songs, musicians and production. I first heard of Pat through this album, shortly after it came out in 1977. Once I discovered it, I just couldn't stop listening to it, and I still do.

Pat is still around, playing shows and kicking ass; check him out on Facebook at https://www.facebook.com/pattraversband. He keeps his schedule updated there, and regularly posts about his influences and inspirations!


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Wednesday, April 10, 2013

Influences and Inspirations: Brian Setzer

April 10: Happy birthday Brian Setzer.



I always liked the Stray Cats vibe. And I truly admired Brian Setzer, after the Cats broke up, for committing to a huge big band that enables him to go deep into the all the branches that intertwine with the rockabilly that he started out on: country, swing jazz, rock and roll. A great bandleader and entertainer, he has never stopped becoming an even better guitar player, as this rendition of Sleepwalk surely shows.



I never get tired of his ability to seamlessly blend all his influences into a hugely entertaining package that is raucous fun and high energy, while never skimping on musicianship and marvelous sophisticated band arrangements.

http://www.briansetzer.com/


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Tuesday, April 9, 2013

Influences and Inspirations: Steve Gadd

April 9 - Happy birthday Steve Gadd.



What, I'm reviewing a drummer? Yes, well, the fact is, great drummers have always excited and inspired me. And all of them respect and admire Steve Gadd. He is, of course, most often heard doing the famous drum riff on Paul Simon's "50 Ways To Leave Your Lover, " and the brilliant drum solo on Steely Dan's "Aja."

I heard and absorbed Steve's utterly unique style back in the late 70's from a number of albums by Chick Corea and Al Dimeola that Steve was on.

The song "Nite Sprite," from Chick Corea's Leprechaun album shows that Chick knew what kind of mega-talent he was working with, and gave him some very demanding music to play. Listen to the clip below to hear how Steve rose to the challenge. Awesome, musical and beautiful drumming. http://www.drstevegadd.com/




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Influences and Inspirations: Carl Perkins

April 9 - Happy birthday Carl Perkins.



Perkins was one of the earliest, best and most successful in the style known as rockabilly. That makes him one of rock's founding fathers, people. He hung with dudes like Elvis Presley, Johnny Cash and Jerry Lee Lewis. He scored a massive hit with his song "Blue Suede Shoes," selling more and charting higher than Elvis's later version. I know it might sound quaint and tame today, but you have to listen and imagine, in the bland pop culture of the 1950's, how electrifying it was to hear something like this for the first time. Elvis may have been the superstar celebrity, but Perkins was a genuine musician who influenced and inspired the likes of The Beatles, Eric Clapton and need I say, Brian Setzer. So give some props to an essential early rock icon.

Here's a cool 3-minute mini-documentary on Carl Perkins, with some discussion of his classic song, "Honey Don't."



Blue Suede Shoes, Rock Around The Clock, Roll Over Beethoven - these and other early rock and roll classics had a huge influence on those who followed, and opened the floodgates for generations to express their creativity, their rebellion, the sheer power of youth. Musicians I love, like Clapton, Hendrix and the Beatles, were not shy about paying tribute to their early rock and roll heroes, while at the same time boldly pushing the music forward in new and unexpected directions. For example:

Jeff Beck Group with Rod Stewart, "Jailhouse Rock," 1969:



and Jimi Hendrix's incendiary live version of "Johnny B. Goode," 1970:



Rock and roll, everybody.

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Monday, April 8, 2013

Influences and Inspirations: Steve Howe

April 8 - Happy birthday Steve Howe.


It's hard to know where to start when discussing a guitarist whose influence on me has been as huge, and whose best work still inspires me as much as Steve Howe.

Steve Howe was the first guitarist who firmly implanted the idea in my mind that being stuck in one genre was neither interesting or even necessary, but also, that whatever you decide to play, you must do it the best you can and with as much feeling and commitment as you can. Steve played in a rock band with symphonic inclinations, but his big influences were jazz guitarists like Barney Kessel, and country legend Chet Atkins. And he allowed those influences, and others, to show as much as he wanted. Add in some classical, flamenco and ragtime, a penchant for unusual instruments, and a flair for pedal steel guitar, and you have a guitarist with amazing creative energy that was always turning in unexpected directions. This led to him being voted Best Overall Guitarist in the Guitar Player magazine's reader's poll, five years in a row. The only others to accomplish that happened to be two other genre-defying guitar giants, who I also rank among my biggest influences: Steve Morse and Eric Johnson.

For me, as a classical guitar student all the way back to high school, "Mood For A Day" and "Roundabout" were ingrained in my fingers very early on. But I have equally admired his genre-busting creative energy always flowing in so many directions; and his early performances, with their high intensity just-go-for-it vibe, are still riveting.

The song below, "Sound Chaser," from the Relayer album, captures all that for me in one stunning song.

UltimateClassicRock.com has a pretty good "top 10 solos" list for Steve Howe, with some very well written commentary. Click here to read and listen. I concur with most of their choices but would have to add a few others. How about you?

I have happily labored over a great number of Steve's guitar parts for many years, and been blessed with the chance to play a number of Yes songs with my band Hectic Red over the years; most recently we unveiled a Yes medley. I definitely play them in tribute to Steve. http://www.stevehowe.com/




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Saturday, March 30, 2013

Influences and Inspirations: Eric Clapton




March 30: Happy birthday Eric Clapton!

It was this live version of Cream playing "Crossroads" that really drew my attention to EC.  Being a teenager into hard rock, I was blown away by that performance, and consequently mystified as to why he would ever choose to leave that sound and that hard driving style behind.  But really, when you are Eric Clapton, and by 1970 your résumé already includes the Yardbirds, John Mayall's Bluesbreakers, Cream, a guest shot with the Beatles on "While My Guitar Gently Weeps," Blind Faith, Delaney and Bonnie, and Derek and the Dominos, well...how can you top that? And with your reputation already firmly in place as a guitar legend, what have you got to prove?

Perhaps that's what he was thinking, and perhaps he concluded he no longer needed to prove anything, at least not to guitar players. So he became, as Rolling Stone put it, "a dependable hit maker" with an "easy-going commercial style," and achieved massive mainstream success. No arguing with that. But as years go by I have come to appreciate his diversity, and accepted his right to be radio-friendly when he chooses to; and I have come to treasure the blues roots that are always audible.

We should all be grateful to EC for starting up what has become one of the greatest music festivals around, the Crossroads Guitar Festival, in which he generously gives the limelight to other guitar players. I look forward every time a new one is announced, to another amazing lineup of some of the greatest guitarists in the world, some known and some unknown, delivering some of the most exciting yet relaxed performances, spontaneous musical collaborations, and obviously having enormous amounts of fun.

Here's one of my favorites from Clapton's more recent output. Wonderful song, superb production. EC's voice in fine form, and busting out some choice blues licks on his acoustic. Life is good.  http://www.ericclapton.com/




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