Tag Archives: Blues

Today: David Bowie released Diamond Dogs in 1974 – 39 years ago

david bowie diamond dogs

Throughout the album, there are hints that he’s tired with the Ziggy formula, particularly in the disco underpinning of “Candidate” and his cut-and-paste lyrics. However, it’s not enough to make Diamond Dogs a step forward, and without Mick Ronson to lead the band, the rockers are too stiff to make an impact. Ironically, the one exception is one of Bowie’s very best songs — the tight, sexy “Rebel Rebel.”
~Stephen Thomas Erlewine (allmusic.com)

When this came out in 1974, it was roundly dismissed as Ziggy Stardust’s last strangled gasp. In hindsight, Diamond Dogs is marginally more worthwhile; its resigned nihilism inspired interesting gloom and doom from later goth and industrial acts such as Bauhaus and Nine Inch Nails.
~Mark Kemp (rollingstone.com in 2004)

#2 – Diamond Dogs:

Well.. most the critics dismissed (and still – in hindsight – dismisses) this album. I’ve always liked it. Best to play it all through in one sitting…

Wikipedia:

Released 24 April 1974
Recorded October 1973 – February 1974 at Olympic Studios and Island Studios, London, and Ludolf Studios, Hilversum, Netherlands
Genre Rock, glam rock
Length 38:25
Label RCA
Producer David Bowie

Diamond Dogs is a concept album by David Bowie, originally released in 1974 on RCA Records, his eighth album. Thematically, it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie’s own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell’s book and began writing material after completing sessions for his 1973 album Pin Ups, but the late author’s estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicated, the Nineteen Eighty-Four theme was prominent.

david bowie diamond dogs 2

#6 – Rebel Rebel:

Although Diamond Dogs was the first Bowie album since 1969 to not feature any of the ‘Spiders from Mars’, the backing band made famous by Ziggy Stardust, many of the arrangements were already worked out and played on tour with Mick Ronson prior to the studio recordings, including “1984” and “Rebel Rebel”.

In the studio, however, Herbie Flowers played bass with drums being shared between Aynsley Dunbar and Tony Newman. In a move that surprised some commentators, Bowie himself took on the lead guitar role previously held by Mick Ronson, producing what NME critics Roy Carr and Charles Shaar Murraydescribed as a “scratchy, raucous, semi-amateurish sound that gave the album much of its characteristic flavour”. Diamond Dogs was also a milestone in Bowie’s career as it reunited him with Tony Visconti, who provided string arrangements and helped mix the album at his own Good Earth Studios in London, on a Trident B-range console, brand new from Trident at the time. Visconti would go on to co-produce much of Bowie’s work for the rest of the decade.

david bowie diamond dogs tour

#7 – Rock’n Roll With Me:

The record was Bowie’s glam swansong; according to author David Buckley, “In the sort of move which would come to define his career, Bowie jumped the glam-rock ship just in time, before it drifted into a blank parody of itself”. At the time of its release Bowie described Diamond Dogsas “a very political album. My protest … more me than anything I’ve done previously”.

Diamond Dogs’ raw guitar style and visions of urban chaos, scavenging children and nihilistic lovers (“We’ll buy some drugs and watch a band / And jump in the river holding hands”) have been credited with anticipating the punk revolution that would take place in the following years.

Track Listing:

All songs written by David Bowie, except where noted.[14]

  1. “Future Legend” – 1:05
  2. “Diamond Dogs” – 5:56
  3. “Sweet Thing” – 3:39
  4. “Candidate” – 2:40
  5. “Sweet Thing (Reprise)” – 2:31
  6. “Rebel Rebel” – 4:30
  7. “Rock ‘n’ Roll with Me” (lyrics: Bowie; music: Bowie, Warren Peace) – 4:00
  8. “We Are the Dead” – 4:58
  9. “1984” – 3:27
  10. “Big Brother” – 3:21
  11. “Chant of the Ever Circling Skeletal Family” – 2:00

david bowie diamond dogs 3

 

Personnel:

  • David Bowie – vocals, guitars, saxes, Moog synthesizer, Mellotron, producer, mixing engineer
  • Earl Slick – guitar on “Rock ‘n’ Roll with Me”
  • Mike Garson – keyboards
  • Herbie Flowers – bass guitar
  • Tony Newman – drums
  • Aynsley Dunbar – drums
  • Alan Parker – guitar on “1984”
  • Tony Visconti – strings, mixing engineer
  • Keith Harwood – engineer, mixing engineer

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Today: Nina Simone passed away in 2003 – 10 years ago

nina_simone 2

Jazz is a white term to define black people. My music is black classical music.
~Nina Simone

Once I understood Bach’s music, I wanted to be a concert pianist. Bach made me dedicate my life to music, and it was that teacher who introduced me to his world.
~Nina Simone

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic.
~Mark Deming (allmusic.com)

Ain’t Got No…I’ve Got Life:

Wikipedia:

Birth name Eunice Kathleen Waymon
Born February 21, 1933
Tryon, North Carolina, United States
Died April 21, 2003 (aged 70)
Carry-le-Rouet, Bouches-du-Rhône, France
Genres Jazz, blues, R&B, folk, gospel
Occupations Singer, songwriter, pianist,arranger, activist
Years active 1954–2003
Labels Bethlehem, Colpix, Philips, RCA Victor, CTI, Legacy Recordings
Website http://www.ninasimone.com/

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), better known by her stage name Nina Simone /ˈniːnə sɨˈmoʊn/, was an American singer, songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, folk, R&B, gospel, and pop.

Born the sixth child of a preacher’s family in North Carolina, Simone aspired to be a concert pianist. Her musical path changed direction after she was denied a scholarship to the prestigious Curtis Institute of Music in Philadelphia, despite a well-received audition. Simone was later told by someone working at Curtis that she was rejected because she was black. When she began playing in a small club in Philadelphia to fund her continuing musical education and become a classical pianist she was required to sing as well. She was approached for a recording by Bethlehem Records, and her rendering of “I Loves You, Porgy” was a hit in the United States in 1958. Over the length of her career Simone recorded more than 40 albums, mostly between 1958—when she made her debut with Little Girl Blue—and 1974.

nina_simone

“Feelings” (Montreux Jazz Festival):

Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic contralto. She injected as much of her classical background into her music as possible to give it more depth and quality, as she felt that pop music was inferior to classical. Her intuitive grasp on the audience–performer relationship was gained from a unique background of playing piano accompaniment for church revivals and sermons regularly from the early age of six years old.

In the early 1960s, she became involved in the civil rights movement and the direction of her life shifted once again. Simone’s music was highly influential in the fight for equal rights in the United States. In later years, she lived abroad, finally settling in France in 1992.

nina_simone 3

Love Me Or Leave Me:

15 min clips from 1984 Interview:

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Today: Johnny Shines passed away in 1992 – 11 years ago

johnny shines

That’s what I am, a Delta bluesman. And now I’m considered the king of the Delta blues.
~Johnny Shines (1989 Living Blues Interview)

Best known as a traveling companion of Robert Johnson, Johnny Shines’ own contributions to the blues have often been unfairly shortchanged, simply because Johnson’s own legend casts such a long shadow. In his early days, Shines was one of the top slide guitarists in Delta blues, with his own distinctive, energized style; one that may have echoed Johnson’s spirit and influence, but was never a mere imitation.
~Steve Huey (allmusic.com)

Sweet Home Chicago:

Long before becoming a force in Chicago blues, Johnny Shines hoboed with Robert Johnson through Depression-era America. They hopped freights, played on street corners, shared rooms and whiskey, and made it as far north as Canada. Johnson, the Mississippi Delta’s most celebrated blues performer, perished in 1938, and for the next half-century, his spirit haunted the music of Johnny Shines. It echoed in his turnarounds, mournful bottleneck slides, impassioned lyrics, and falsetto moans. At clubs, house parties, and other gatherings, Johnny Shines was just as likely to launch into Johnson’s “Crossroads Blues,” “Terraplane Blues,” and “Sweet Home Chicago” as he was his own “Evil-Hearted Woman Blues,” “A Little Tenderness,” and “Evening Sun.”
~Jas Obrecht (jasobrecht.com)

johnny shines 2

Ramblin (live ~mid 1970’s):

Wikipedia:

Johnny Shines (April 26, 1915 – April 20, 1992) was an American blues singer and guitarist.

Birth name John Ned Shines
Born April 26, 1915
Frayser, Memphis, United States
Died April 20, 1992 (aged 76)
Genres Blues
Instruments guitar
Years active 1932–1992
Labels Chess Records
J.O.B. Records
Vanguard Records
Various

“Shines was that rare being, a blues artist who overcame age and rustiness to make music that stood up beside the work of his youth. When Shines came back to the blues in 1965 he was 50, yet his voice had the leonine power of a dozen years before, when he made records his reputation was based on”.
~Tony Russell

He was born John Ned Shines in Frayser, Memphis, United States. He spent most of his childhood in Memphis, Tennessee playing slide guitar at an early age in local “jukes” and for tips on the streets. He was “inspired by the likes of Charley Patton, Blind Lemon Jefferson, Lonnie Johnson, and the young Howlin’ Wolf”, but he was taught to play the guitar by his mother. Shines moved to Hughes, Arkansas in 1932 and worked on farms for three years putting his musical career on hold. It was a chance meeting with Robert Johnson, his greatest influence, that gave him the inspiration to return to music. In 1935, Shines began traveling with Johnson, touring the south and heading as far north as Ontario where they appeared on a local radio program. The two went their separate ways in 1937, one year before Johnson’s death.

robert johnson johnny shinesRobert Johnson & Johnny Shines

Shines played throughout the southern United States until 1941 when he settled in Chicago. There Shines found work in the construction industry but continued to play in local bars.

Sittin’ on top of the world:

Check out –> Illustrated Johnny Shines discography

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Today: The Pixies released Doolittle in 1989 – 24 years ago

the pixies doolittle-cover

..the songs on Doolittle have the power to make you literally jump out of your skin with excitement.
~NME

Doolittle is a mix of the band’s earlier hardcore storms, Black Francis’ self­described “stream of unconsciousness” rants, and the strange melodicism and surf-metal guitar that defined its creepy magic.
~rollingstone.com

Debaser:

Wikipedia:

Released April 18, 1989
Recorded October 31 – November 23, 1988 atDowntown Recorders in Boston, Massachusetts and Carriage House Studios in Stamford, Connecticut
Genre Alternative rock
Length 38:38
Label 4AD, Elektra (initial U.S. distribution)
Producer Gil Norton

Doolittle is the second studio album from the American alternative rock band Pixies, released in April 1989 on 4AD. The album’s offbeat and dark subject material, featuring references to surrealism, Biblical violence, torture and death, contrasts with the clean production sound achieved by the newly hired producer Gil Norton. Doolittle was the Pixies’ first international release, with Elektra Records acting as the album’s distributor in the United States and PolyGram in Canada.

Pixies released two singles from Doolittle, “Here Comes Your Man” and “Monkey Gone to Heaven”, both of which were chart successes on the US chart for Modern Rock Tracks. The album itself reached number eight on the UK Albums Chart, an unexpected success for the band. In retrospect, album tracks such as “Debaser”, “Wave of Mutilation”, “Monkey Gone to Heaven”, “Gouge Away”, and “Hey” are highly acclaimed by critics, while the album, along with debut LP Surfer Rosa, is often seen as the band’s strongest work.

pixies doolittle inlay

Doolittle has continued to sell consistently well in the years since its release, and in 1995 was certified gold by the Recording Industry Association of America. The album has been cited as inspirational by many alternative artists, while numerous music publications have ranked it as one of the most influential albums ever. A 2003 poll of NME writers ranked Doolittle as the second-greatest album of all time, and Rolling Stone placed the album at 226 on its list of “The 500 Greatest Albums of All Time”.

Tame:

Music:

Doolittle features an eclectic mix of musical styles. While tracks such as “Tame” and “Crackity Jones” are fast and aggressive, and incorporate the band’s trademark loud–quiet dynamic, other songs such as “Silver”, “I Bleed”, and “Here Comes Your Man” reveal a quieter, slower and more melodic temperament. With Doolittle, the band began to incorporate further instruments into their sound; for instance, “Monkey Gone to Heaven” features two violins and two cellos. Several tracks on Doolittle are constructed around simple repeating chord progressions.

“Tame” is based on a three chord formula; including Joey Santiago’s playing a “Hendrix chord” over the main bass progression. “I Bleed” is melodically simple, and is formed around a single rhythmical repetition. Some songs are influenced by other genres of music; while “Crackity Jones” has a distinctly Spanish sound, and incorporates G♯ and A triads over a C♯ pedal, the song’s rhythm guitar, played by Francis, starts with an eighth-note downstroke typical of punk rock music.

the pixies

the pixies here-comes-your-man

Here Comes Your Man:

Accolades:

Publication Country Accolade Year Rank
Hot Press Ireland Top 100 Albums
2006 #34
Juice Australia The 50 Best Albums of All Time
1997 #2
NME UK 100 Best Albums
2003 #2
Panorama Norway The 30 Best Albums of the Year 1970–98 1999 #1
Pitchfork Media US Top 100 Albums of the 1980s
2002 #4
Q UK Ultimate Music Collection
2005 *
Rolling Stone US The 500 Greatest Albums of All Time 2005 #226
Spin US 100 Greatest Albums, 1985–2005
2005 #36
Slant Magazine US Best Albums of the 1980s
2012 #34

Tracks:

All tracks were written by Black Francis, except where noted.

  1. “Debaser” – 2:52
  2. “Tame” – 1:55
  3. “Wave of Mutilation” – 2:04
  4. “I Bleed” – 2:34
  5. “Here Comes Your Man” – 3:21
  6. “Dead” – 2:21
  7. “Monkey Gone to Heaven” – 2:56
  8. “Mr. Grieves” – 2:05
  9. “Crackity Jones” – 1:24
  10. “La La Love You” – 2:43
  11. “No. 13 Baby” – 3:51
  12. “There Goes My Gun” – 1:49
  13. “Hey” – 3:31
  14. “Silver” (Francis/Deal) – 2:25
  15. “Gouge Away” – 2:45

Monkey Gone To Heaven:

Personnel:

Pixies
  • Black Francis – vocals, rhythm guitar
  • Kim Deal – bass guitar, vocals, slide guitar on “Silver”
  • Joey Santiago – lead guitar
  • David Lovering – drums, lead vocal on “La La Love You”, bass guitar on “Silver”
Additional musicians
  • Arthur Fiacco – cello on “Monkey Gone to Heaven”
  • Karen Karlsrud – violin on “Monkey Gone to Heaven”
  • Corine Metter – violin on “Monkey Gone to Heaven”
  • Ann Rorich – cello on “Monkey Gone to Heaven”
Production
  • Steve Haigler – mixing engineer
  • Matt Lane – assistant engineer
  • Simon Larbalestier – cover image, album booklet imagery
  • Gil Norton – production, engineering
  • Vaughan Oliver – album booklet imagery
  • Dave Snider – assistant engineer
  • Published by Rice ‘n’ Beans Music BMI

the pixies 2

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Video of the day: St. Louis Blues by Bessie Smith

stlouis_blues_1929

I hate to see that evening sun go down
I hate to see that evening sun go down
‘Cause, my baby, he’s gone left this town

Released in 1929, St. Louis Blues is a short film featuring blues legend Bessie Smith and an all-African-American cast.  Songwriter W.C. Handy was the musical director of the film.  To my knowledge it is Bessie Smith’s only known film appearance.

Bessie Smith – St. Louis Blues (Smith’s performance):

The power and pure feeling  in her singing voice as she belts out the title track  of the movie St. Louis Blues is incredible.

Wikipedia:

Saint Louis Blues” is a popular American song composed by W. C. Handy in the blues style. It remains a fundamental part of jazz musicians’ repertoire. It was also one of the first blues songs to succeed as a pop song. It has been performed by numerous musicians of all styles from Louis Armstrong and Bessie Smith to Count Basie, Glenn Miller, Guy Lombardo, and the Boston Pops Orchestra. It has been called “the jazzman’s Hamlet“.  Published in September 1914 by Handy’s own company, it later gained such popularity that it inspired the dance step the “Foxtrot”.

The version with Bessie Smith and Louis Armstrong on cornet was inducted in the Grammy Hall of Fame in 1993.

The Movie, St. Louis Blues  (it’s a two-reel short).

Bessie Smith finds her gambler lover Jimmy messin’ with a pretty, younger woman.  He leaves and this makes Bessie to pour herself a drink and sing the title song.  It is a small but entertaining movie. Well worth your time.
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