Two New Releases Re-examine The Enigma Of Bob Dylan

Music Review: Bob Dylan - Dylan (3 CD Set); The Other Side Of The Mirror: Bob Dylan Live At The Newport Folk Festival 1963 - 1965 (DVD)

Although there will be no followup to the brilliant Modern Times album this year, Bob Dylan fans have plenty to be excited about in the month of October. With two new releases from Sony Legacy, the enigma that is Dylan is once again re-examined, and on at least one of these releases, some surprising new insights are revealed.

Dylan is the latest attempt to sum up Bob Dylan's remarkable career within the confines of a single release — an impossible task to be sure, even when said release contains multiple discs as this one does.

Interestingly, this is also the second Bob Dylan album to be released with the title of Dylan. The last album bearing that title consisted of outtakes from the Self Portrait album, and was released by Columbia in the early seventies out of what was believed by many to be spite, when Dylan briefly defected to Asylum Records to make the album Planet Waves. Long since out of print, the album is now considered a throwaway by many.

For this year's Dylan, Sony Legacy offers up a career spanning retrospective being released in three versions. One is a single disc compilation, while the other two are three disc editions — one of these being a deluxe boxed set version with the other being packaged in a more modest fold-out digi-pak sleeve.

Boiling the entire career of someone like Bob Dylan down to a compilation, even spread over three discs, is a ridiculous proposition by any stretch — there are just too many great songs to really fit. But far from being merely another album of Dylan's greatest hits, Dylan comes about as close to succeeding as can be reasonably expected. Dylan is also something of an interactive project, as fans were able to have a say in the song selection by voicing their opinions at the dylan07 website.

On the three disc version, Dylan's career is broken down into three distinct periods. Disc one covers the years 1962-1967 and the albums from his debut through John Wesley Harding. Disc two covers The Basement Tapes through 1985's Empire Burlesque, while the third disc goes from 1986's Knocked Out Loaded up to last year's Modern Times.

While hardcore Dylan fans will probably most appreciate the first two discs, it is the third that offers up the most surprises. Covering Dylan's eighties work on albums like Under A Red Sky and Down In The Groove — a period many dismiss as a low point in Dylan's career — the return visit offered here reveals that Dylan actually did some great, if under-appreciated work during this period. A second listen to "Brownsville Girl" from Knocked Out Loaded for example, reveals a rather gorgeous tune with a great gospel arrangement. Likewise, "Silvio," from Down In The Groove offers a more uptempo read on Dylan's flirtation with the gospel sound. Three songs from the criminally under-appreciated Oh, Mercy are also offered here, including the only outtake on the set, "Dignity." Disc three closes out with selections from Dylan's "comeback" — the three critically lauded albums from this decade, Time Out Of Mind, Love & Theft, and Modern Times.

Dylan's "middle period" on the second disc mainly covers the years after he first went "electric," up through the commercial peak of the seventies on albums like his masterpiece Blood On The Tracks. This is where you get Dylan's later hits from "Lay Lady Lay" to "Knockin' On Heaven's Door" to "Tangled Up In Blue."

The infamous "born-again" years of albums like Slow Train Coming and Shot Of Love get the same treatment, although the most gospel influenced album of the so-called "Jesus trilogy," Saved, is mysteriously absent from this collection. From one of Dylan's most overlooked albums, Street Legal, we also get one of the most underrated songs of his entire career (at least in my opinion), in the form of "Changing Of The Guard."

Dylan's early years as the great new white hope of the folk music tradition is the focus of disc one on the Dylan set. This of course entails that period when Dylan was the darling of the old guard of the lefty folk generation, before he basically blew that all to smithereens with his electric set at the 1965 Newport Folk Festival (a subject explored in greater detail on the other new Dylan release coming out this month). All of Dylan's early folk gems are here, including the likes of "Masters Of War," "A Hard Rains Gonna Fall," "Blowin In The Wind," and of course, "The Times They Are A Changing."

Disc one closes out as Dylan is shifting gears from folk to rock on his early masterpieces Highway 61 Revisited and Blonde On Blonde, and his early breakthrough hits like "Positively 4th Street," "Maggies Farm," and the all-time classic "Like A Rolling Stone."

On the three-disc version, Dylan also contains a full color booklet with liner notes written by the respected critic Bill Flanagan. As a career overview, the three disc version of Dylan is a rather quick sumnation of a remarkable career. It misses some spots (Saved is a glaring omission in my own opinion), but for the most part succeeds in its given task of boiling the career of an icon down to its three discs. For the diehards, its a nice way of narrowing the essential tracks down to a single set. For new fans, its probably as good an introduction as you could ask for. Dylan will be out in stores this Tuesday October 2.

However, it is the other Dylan release coming out later in October that should get hardcore Dylan fans the most excited. Dylan's legendary 1965 performance at the Newport Folk Festival has of course been covered on film before — most notably as a crucial part of the Martin Scorsese Dylan documentary No Direction Home. But this performance has never before been aired in its entirety within the format of a straight concert film.

The Other Side Of The Mirror captures not only the entire 1965 Newport performance on DVD, but those of 1963 and 1964 as well. This is truly fascinating stuff that tells an equally riveting story. By simply showing the three Dylan Newport performances in their chronological order, filmmaker Murray Lerner (whose credits also include films on subjects ranging from Issac Stern to Jimi Hendrix) spins the sort of tale even a Hollywood script writer couldn't have come up with.

The Newport story has of course already been the subject of endless analysis and re-examination. It has basically been dissected to death by all manner of critics and music historians. But by simply presenting these performances exactly as they unfolded, we are finally able to get a first hand look at how Dylan went from near messiah status within the folk community to their own personal Judas. Nothing is offered up here in the way of an opinion — the events are simply shown as they happened, and the viewer is left to draw their own conclusions.

Dylan first arrives at the 1963 festival as folk music's newly appointed heir to pass the message of love, peace, and political activism on to a newer, younger generation. During an afternoon workshop performance, he sings parts of "All I Really Want To Do" in the sort of youthful, high yodel that is hard to imagine now. Its equally strange to watch an almost naive young Dylan seated on a gazebo style stage (that really looks more like a porch), with people like Clarence Ashley seated behind him holding banjos and such. You almost start to wonder when Grandma will be serving up the lemonade.

What is clear is that everybody loves this guy, and Dylan himself is clearly elated by the acceptance, joking and grinning throughout the performances. Joan Baez even gets into the comedy act by doing a spot-on impersonation of "Bobby Dylan doing Joan Baez" on the song "Mary Hamilton."

At one point when folk icon Pete Seeger introduces Dylan, he is beaming almost like a proud father. He would later notoriously attempt to unplug Dylan during the spectacle just two years later when he went electric.

But the love affair first must continue, which it does at Dylan's 1964 Newport performance. Dylan grins from ear to ear here throughout a particularly intense and riveting performance of the song "Chimes Of Freedom." The crowd is so enraptured that when the song ends and Peter Yarrow is faced with the daunting task of introducing the next act, he is all but drowned out by a crowd screaming for Dylan to come back out — which he finally does in an effort to quiet them down.

At the infamous 1965 Newport festival where he would later shock the world with his electric performance with Mike Bloomfield, Al Kooper, and the rest of the Paul Butterfield Blues Band (sans Butterfield himself), Dylan begins the day with a workshop performance of "Love Minus Zero/No Limit." At this point the crowd is still very much in the mindset of worshipping their idol.

The day later ends with the historic performance that signaled Dylan's clear break with the folkies, and the begining of his status as a true musical maverick and cultural icon. Watching this now all these decades later, it's actually a little hard to understand why this performance so shocked the world.

It's definitely loud. Mike Bloomfield in particular just shreds his way through the guitar parts on "Maggies Farm." But this is hardly the stuff that you'd think would instantly turn the messiah into Judas — at least not today. But turn him it did, as the performance is cut short amid a torrent of boos. In his outro, Peter Yarrow (who seems to get stuck with all the toughest emcee assignments), is near apologetic for the spectacle which has just unfolded.

Still when Dylan returns to the stage with an acoustic guitar for "Mr. Tambourine Man," the crowd just as quickly seems to be willing to forgive him, at least for that moment. But it was all but clear that Dylan had already moved on.

The Other Side Of The Mirror is absolutely fascinating to watch, both as a concert film and as a character study of both Dylan and the rest of the players involved. By simply showing the events exactly as they happened for the first time, the story almost takes on the character of an opera. Just fascinating stuff, and absolutely essential for any Dylan fan.The Other Side Of The Mirror is available from Sony Legacy in stores on DVD on October 30. The Dylan three disc set hits stores on Tuesday.

Do You Believe In Magic? (But Can't Wait Till Tuesday?)



Here's something to whet your appetite in the meantime. As this advance taste you are about to see and hear proves, the "big noise" of the E-Street Band is back front and center on "Magic," the new Springsteen/E Street Band coming out on Tuesday Oct. 2. While you wait, here's a few advance clips (audio and video) from the album, plus a live version of "Radio Nowhere," from the warm-up shows in Asbury Park this week. These are all full length versions (not snippets) of songs from the forthcoming "Magic" album. This album rocks! Enjoy!

Playlist:

1. Long Walk Home (official video)
2. Radio Nowhere (official video)
3. Livin In The Future (audio/ with home madevideo)
4. Gypsy Biker (audio only/currently my favorite track!)
5. You'll Be Comin Down (audio only)
6. Last To Die (audio only)
7. Magic (audio only)
8. Radio Nowhere (Live at Asbury Park 9/25/07/video with still images from the show)

Music Review: U2 - Popmart Live In Mexico City DVD

At one point during this DVD, filmed in 1997 in Mexico City during U2's world tour behind the album Pop, Bono says to the audience that his band are "restless souls looking for new sounds and new colors." He then leans towards guitarist The Edge almost as if he was seeking approval.

It sounds suspiciously like an apology.

Indeed, the album Pop and its accompanying tour have both been long regarded as one of the few missteps in the otherwise brilliant career of U2. The fact is, that whatever U2 were trying to accomplish on a tour that they will probably will tell you was meant as the band's statement about American styled consumerism, set to their own take on the club music of the late nineties — what they actually did on that tour was set a new standard for every big stadium rock show that has come since.

As seen on this DVD, the spectacular staging and lights are as much the stars of this show as U2 themselves. Everything you may remember about the Popmart tour if you saw the show — or heard about if you didn't — is here.

There's the stage with the giant McDonalds-like arch. There are the huge screens where Bono and company are displayed as gigantic 50-foot high images. There's the big lemon which moves through the audience as the strains of (what else?), the song "Lemon" play, only to see U2 themselves emerge to close out the show on a smaller stage situated in the center of the stadium.

With the Popmart tour, U2 took the art of the big stadium rock extravaganza to an entirely new level. Everyone from The Stones to McCartney has taken their cues from the innovations of Popmart in staging and lighting ever since.

So as you would expect, this DVD is visually stunning. The thing is, U2 back up all of the big effects with the music here. Say whatever you will about the disco-ish experimentalism of the Pop album itself (and plenty already has been). But the songs work amazingly well in the big — no make that, huge — setting captured here.

When U2 emerge through the crowd with the sort of entourage befitting a prize fight — Bono even wears the obligatory boxer's hooded uniform — to the strains of "Pop Muzik," they waste no time launching into a ripping version of "Mofo." On another of the tunes from Pop, "Staring At The Sun," they strip it down to its barest acoustic essentials revealing a gorgeous version of the song that might have actually worked better than the one found on the album.U2 also manage to reinvent a few of the chestnuts from its own catalog of hits here. "Bullet the Blue Sky," for example, takes on an almost funk sort of quality here, before The Edge completely explodes the song with a great guitar solo.
Saying that the band "rediscovered" the song "Sunday Bloody Sunday," after playing it at a concert in Sarajevo, The Edge performs (and sings!) the song solo accompanied only by his own guitar. Here, the normally rock anthem quality of the song from the War album takes on more a hymn like tone. For "Desire," Bono and Edge once again go the acoustic route, in a version which finds Bono humorously trying to work in a few lines of "La Bamba," before laughing the attempt off.

For a band which is often regarded as taking themselves far too seriously, humor is actually a pretty common theme during this DVD performance. At one point, Bono is seen wearing a "Bono Man" T-shirt, while bassist Adam Clayton sports one that says "Poptart" throughout the show. Speaking of Clayton, both he and drummer Larry Mullen Jr. are the rock solid foundation which anchors down the mothership here.

Still the coolest thing about this DVD — and what makes it something that warrants repeated viewings — is picking out all of the cool images seen on the big screens. There's all of the images of rock stars — from Elvis to Lennon to Morrison to Bolan and Bowie — seen during "Hold Me, Thrill Me, Kiss Me, Kill Me" for example. I also got a kick out of U2's take on the classic "evolution calendar," where here we evolve from ape to a human pushing a shopping cart.

Even though the Popmart tour was seen by millions in stadiums around the world, for many it has always been sort of U2's own "missing link" in their evolution as a band. This DVD provides more than ample proof that the whole much maligned mid-nineties Pop period more than warrants a revisit.

An Open Letter To Neil Young From The Rockologist

Dear Neil Young,

How's it going buddy?

It's your old pal the Rockologist here. Oh, I know that you and I have never actually met, but I've always kind of viewed you as a dear old friend.

We actually go back a very long way. As early as I can remember — listening to your songs first with the Buffalo Springfield, then CSN&Y, and of course your solo work — your songs have always resonated with me on an emotional level like few artists I can think of.

In fact, I'd say that only Dylan and Springsteen really come close. I kind of like to think of the three of you guys as my own little "holy trinity" of artists whose music really "speaks" to me on a gut level.

For one thing, I've always admired your determination to follow your artistic muse wherever it may lead you. Not many artists would have followed a #1 smash album like Harvest with such artistically challenging releases as Tonights the Night and On The Beach. But in the seventies you did exactly that, Neil. With records like that, you became the very definition of the term "artistic maverick."

Speaking of On The Beach, that record got me through some pretty rough times Neil. To this day, I put that sucker on whenever I'm feeling depressed. It's very therapeutic listening.

So like all good friends should, I've also always stuck by you — which hasn't always been easy.

Remember the eighties? Damn, some of that was awful stuff, Neil. I mean Trans has kinda grown on me over the years, but the Shocking Pinks? I understood though, and I waited. It was that whole maverick artist thing, right? Anyway, I knew you'd eventually find your artistic center again. Which you finally did in the early nineties with albums like Freedom and Ragged Glory. Great stuff there, Neil.

I also stood by you when you courageously released 2006's Living With War, an album which would've gotten you deported back to your native Canada if the pro-Bush righties had anything to say about it. Hell, I even defended your honor right here on Blogcritics for months, when one such right-wing nut responded to my original review of that album by flaming the article with something like 500 angry messages about how releasing a record like that was somehow "anti-American."

Hey, what are friends for?

So, as you can probably imagine, I was really excited to hear about your new record Chrome Dreams II coming out on October 16. I know a lot of this is old stuff that you've had lying around for awhile, and was originally supposed to be part of one of those mysterious "lost albums" that never got released of yours called Chrome Dreams, but how can you not get excited about an album that promises titles like the eighteen minute long "Ordinary People," or the eleven minute "No Hidden Path?"

You know how I love the long ones, Neil.

I was also thrilled to hear that you'd be touring behind the record, and making a stop in my hometown of Seattle at the relatively intimate Wamu Theatre. Which actually brings me to the real purpose of this letter. It's about those damned ticket prices, Neil. They've got me a little concerned.

Don't get me wrong, Neil — I'll still be there. I won't be making the trip to Oakland where I had planned to see Springsteen (whose tickets top out at $85, a fact you might wanna take note of), but I will be there — sitting dead center in the fourteenth row.

But holy freaking crap, Neil — $172 a pop after Ticketmaster gets their cut? That's not for a pair, that's for a single freaking ticket!

Look, I know that some of the other big tours like The Stones, The Police, and McCartney have gotten away with charging upwards of $300 a ticket, but those are bigtime stadium rock and roll extravaganzas, Neil. Somebody's gotta pay for all those explosions and lasers. Somehow, I suspect we won't be seeing any of those at your show. At least I would hope not.

I also know that we are at least of couple of decades removed from the days when rock artists like Tom Petty would challenge the record companies over things like raising the list price of a vinyl LP to $8.98 — but that was all a lot of idealistic, hippie bullshit, right?

I mean, weren't you the guy who once went to war with MTV over the video for "This Notes For You?" Weren't you the guy who decried things like corporate sponsorship of rock tours? Whatever happened to that guy, Neil?

Seriously, what happened?

I'm also a little concerned about some of the rumors I've heard about how Chrome Dreams is going to be marketed. What's all this I hear about each copy featuring a different bonus track or something? How many copies of the CD do we need to buy to "collect them all," Neil?

I mean look, it's not like you need the money, right? If I recall correctly, there was an interview you gave around the time Living With War came out, where you said you had made enough money where you didn't really care if the records sold or not, as long as you were able to play the music that you were feeling at the time.

So doesn't that rule also apply here?

Anyway, Neil, like I said before I've always stood by you, and I guess I'll stand by you now too. I'm really looking forward to hearing the new album, and I can't wait for the concert — although at $172 a ticket, there better be one hell of a setlist. How about the entire second side of On The Beach for starters? Sound good to you?

In closing, let me just say that I'd be less than a true friend if I didn't say I'm a bit concerned, and a bit disapointed.

Hoping this letter finds you well.

Your friend,
The Rockologist

John Fogerty Finds "Revival" On A Great New CD

Music Review: John Fogerty - Revival

John Fogerty is a national treasure.

Yet, even though John Fogerty's legacy as one of the greatest songwriters in all of rock history is assured, it seems like it has been far too long since he truly hit one out of the park. In fact, you could probably go as far back as the baseball themed Centerfield to find Fogerty's last truly enduring record. The title track of course lives on in ball parks everywhere as something of an unofficial theme song for America's favorite pasttime.

Fogerty has certainly had his share of decent enough songs in the years since though. The politically on-point song "Deja Vu All Over Again," from his last solo album in 2004 comes immediately to mind — even if it is essentially a rewrite of his old Creedence Clearwater Revival hit "Who'll Stop The Rain." But for the last time Fogerty put together a truly memorable string of great songs, you'd probably have to go back as far as, well Creedence.

With his return to Fantasy Records — the label on which all those great Creedence records were originally released, and the label with which he was embroiled in a bitter legal battle for many years over those same songs — Fogerty appears to be ready for a return to the major leagues.

Perhaps the most refreshing thing about Revival, his new album for Fantasy, is the fact that Fogerty also seems ready to re-embrace his past with Creedence. Even the album title seems to indicate that Fogerty has come to terms with the songs he refused to play onstage for many years. On one of this album's best songs, Fogerty even urges the listener that "you can't go wrong if you play a little bit of that Creedence song," as his instantly recognizable swampy guitar sound brings the point home. The song is aptly named as it rocks exactly the way a Creedence song should.

On this album Fogerty expertly brings together each and every element that has made his best songs such an integral part of the American musical landscape for decades now. On "Broken Down Cowboy," Fogerty gives his subject just enough of that country twang to make it believable. On "River Is Waiting," Fogerty even pulls out a relaxed sounding sort of jazz shuffle, but adds guitar flourishes that at times mine the blues territory of someone like B.B. King. Not exactly the sort of swampy river song you'd most often associate with Fogerty, but effective nonetheless.

But it is when Fogerty cuts loose with rockers like "Long Dark Night," that you remember just how underrated a guitarist he really is. Fogerty has never been of those guys mentioned in the same breath as the Eric Claptons of the world. Rightfully, he is more often recognized as a songwriter. Yet his guitar sound ranks as one of a very small handful that can be instantly recognized — sometimes within a single note.

There is just something about Fogerty's playing that is hard to put into any sort of category. His best guitar solos come in short blasts that rip through the air like gunfire, and always leave you wanting more. The tone is strictly dirty cajun gumbo. Yet the delivery is all clean and economical. Not a single note is played that isn't absolutely necessary. Fogerty's playing here, as with so many of his best songs from "Suzie Q" to Creedence's great cover version of "I Heard It Through The Grapevine," is simply in a category all its own.

On the song "Summer Of Love," Fogerty rips another one of those trademark solos, but adds an appropriately fuzzed out twist of psychedelia to it.

The other thing about Revival that makes it Fogerty's best album in years, is the voice. We've covered the guitar and the songwriting here — and there's not a bad song on this album. But Fogerty's voice sounds as strong here as it has in years. On the rockers like "Summer Of Love" and "Long Shot," you are reminded once again that Fogerty's is one of the great rock voices ever — it's right up there with somebody like John Lennon.

What is easy to forget however, is that the same guy who sang screaming rockers like "Sweet Hitch Hiker" with Creedence, or "Summer Of Love" on this album, also has a sense of twang that could put more than a few country singers to shame. Here on "Don't You Wish It Was True," Fogerty seems to be summoning the ghosts of both Hank Williams and Buddy Holly. If there is any justice, this song should be on every country station in America, and more than a few rock stations as well.

Although he never really went away, with Revival John Fogerty seems ready to reassert himself into the mainstream of American popular music with his best overall collection of new songs in at least a couple of decades. Like the song "Centerfield" says, put him in coach! He really is ready to play. And with an album that should make more than a few year-end top ten lists, Fogerty may have just hit that home run here.

John Fogerty's Revival will be available in record stores October 2.

It's Star Time! Marvin Gaye Shines In a Rare 1976 Concert

Music DVD Review: Marvin Gaye - Greatest Hits: Live In '76

I've never seen Marvin Gaye in concert.

In fact, in all of the years that I can recall seeing literally hundreds of concerts — mostly here in my hometown of Seattle — I can't even recall Marvin Gaye ever playing here. Not even on one of those "Motown Night Of A 1000 Stars" type extravaganzas (although in fairness, if one of those tours ever did stop here, I probably would've been too young to remember it).

But let's get one thing straight. I do think Marvin Gaye was/is one of the best, ever.

In fact, if you catch me on the right day, I will tell you to your face that I think Gaye's classic album, What's Goin' On may just be my favorite recording of all time. I will also tell you with an equally straight face, that songs from that album like "Inner City Blues (Make Me Wanna Holler)," and "Mercy Mercy Me" capture the political and cultural mythos of their unique time (basically late sixties/early seventies), better in their own way than even some of Bob Dylan's best songs do.

The truth is, I've always preferred Marvin Gaye as social commentator, over Marvin Gaye as the original sexy R&B "love man," — the same guy who paved the way for later versions of that model like Barry White. Although Gaye played both roles with equal brilliance — look no further than the album Let's Get It On for proof of that.

Now, on the flip side of that coin you have Marvin Gaye the live performer. Gaye's concert performances were rare events, and perhaps as evidence of that same lack of frequency, he had a reputation for being somewhat erratic on the stage. On one night, you might witness something truly magical, while on another you might see something considerably more lackadaisical.

Fortunately, on this rare one hour DVD concert — which will be re-released by Eagle Rock on Tuesday, September 18 — there is little evidence of the lackluster in this performance. Recorded in Holland during Gaye's first ever European tour in 1976, Gaye runs through a 23 song set spanning his entire career up to that point. The songs here range from early hits like "I Heard It Through The Grapevine" and "How Sweet It Is (To Be Loved By You)," right on up through the more politically charged songs of What's Goin' On.

Throughout, Gaye seems both relaxed and engaged. Early in the set, Gaye even thanks the crowd for coming, urging them to relax and have a good time.

The only downside here comes in the form of the sound mix, which clearly could have benefited from the Digital 5.1 treatment so many other recently unearthed live performances from this period have received in their DVD releases. Gaye is backed in this performance by a full orchestra, and as a result the many instruments tend to clash against each other, resulting in an occasionally muddy sort of sound quality. Basically it's a case of too many instruments, without enough clarity.

Still, the performance is without question a keeper.

During "Let's Get It On," the female members of the audience swoon in all of the right places, as Gaye teases them by saying "it's kind of warm in here," while urging them to "get comfortable." When Marvin Gaye was at the top of his game — as he clearly is here — he had a way of connecting with his audiences like few performers have before or since.

During a medley of his early sixties hits including such songs as "Aint That Peculiar," Gaye does seem to rush it a bit though, as he heads towards the homestretch. He rushes through "I Heard It Through The Grapevine" for example. It would've been nice to hear just a bit more of that particular classic, than the minute or so he samples here.

From there, Gaye heads into a short mini-set of his more political songs. On "Inner City Blues," and especially "What's Goin' On," Gaye simply sounds incredible. I'd even swear this is the same clip I've often seen of Gaye performing "What's Goin' On" numerous times during newsreels and the like — I always wondered where that clip came from. Gaye gets even more serious and passionate as he brings it down further for "What's Happening?" and "Save The Children." Here, Marvin Gaye sings the words with such passion he even seems to get a little teary-eyed.

All in all, this is a very satisfying — and all too rare — performance from one of the all-time greats of R&B and pop music. The only thing that would make this DVD better, would be a digital sound remix more worthy of its subject.

A Classic From Syd Barrett's Pink Floyd Turns 40

Music Review: Pink Floyd - The Piper At The Gates Of Dawn (40th Anniversary Edition/2 Disc Version)

Back in the days before Pink Floyd became known primarily for such pristinely recorded marvels of studio craft as Dark Side Of The Moon, they were more like this rag-tag psychedelic band.

Actually, let me correct myself on that. Pink Floyd were actually more like THE psychedelic band — as in the preeminent band on the planet whose music was tailor-made for listening to, while tripping on your favorite hallucinogen of choice.

During the brief period that Syd Barrett fronted Pink Floyd, there was simply no band that did psychedelic, mind-expanding music quite like the Floyd did.

Not the Airplane. Not the Dead. Nobody.

Back in those days, Pink Floyd concerts were more like happenings — where people would gather in London clubs to tune in, and well quite frankly, turn on and drop acid. And it was here that Pink Floyd first earned their reputation as pioneers of the interchangeable genres of psychedelic, and what was then called "space-rock."
As much as Pink Floyd would later be celebrated for the studio sheen of masterpieces like Dark Side and The Wall, in those days their music — with Barrett at the creative helm — was as raw, unpredictable, and experimental as it got. There was no telling just where a Pink Floyd concert would take you back then.

As to where it took rock music in general, well you can trace everything from the prog-rock of bands like Yes and early Genesis directly back to Floyd. At the other end of the spectrum, you have the cultish space rockers like Hawkwind, who eventually spawned the likes of Lemmy and Motorhead.

As to where it took Syd himself? Unfortunately, Barrett's contribution landed him a place in history as the poster child for the term "acid casualty."Like I said, most unfortunate. Especially given Syd Barrett's place in history as a largely unrecognized innovator.

This week, EMI issued the 40th anniversary edition of Pink Floyd's landmark album The Piper At The Gates Of Dawn in two deluxe versions. So let me get the one I didn't get out of the way first. The 3 CD edition — in addition to including the stereo and mono versions of the album I actually did get — includes a bonus disc with rarities, and all of Pink Floyd's original singles from 1967.

For purists and hardcore fans, this is probably the one you are going to want.

The two-disc version on the other hand, simply has the original album in the stereo and mono mixes. Listening to this album again — so many years later — is quite frankly a little weird. While Floyd purists may prefer the original mono mix, I actually quite prefer the enhanced stereo version. For one thing, I've grown very used to the live, post Barrett version of "Astronomy Domine" from Ummagumma.

Which despite what hardcore Floyd fans will tell you, I've always felt was a great live album. What's cool about the studio version here, is hearing the piped in radio broadcasts at the beginning of the track. The stereo effect here is in fact quite mesmerizing.

Listening to this disc earlier today driving back home from a trip to Oregon, I also quite enjoyed hearing "Interstellar Overdrive." This track took me back to the very first time I ever heard Pink Floyd, as a thirteen year old wannabe hippie without a care in the world other than lying back on my bed, and expanding my consciousness to what was then the previously unchartered musical vistas these psychedelic warlords were taking us to.

But here is the other thing. Syd Barrett had this truly amazing pop sensibility,that balanced out his otherwise weird excursions into both outer and inner space. Listen to a track like Bike for example.

Now I gotta ask you. Is there anything more perfectly sixties British pop sounding than that?

With this release, I have embraced my inner Floyd.

Mrs. Springsteen Has An Album Coming Out Too

Music Review: Patti Scialfa - Play It As It Lays
As the music world anxiously awaits the return of Bruce Springsteen and the big rock and roll noise of the E Street Band this fall, a certain other member of the Springsteen family has her own album coming out this Tuesday. Play It As It Lays is the third solo release from Patti Scialfa — that would be Mrs. Springsteen for those who didn't already know — following 1993's Rumble Doll and 2004's 23rd Street Lullaby.

Given the length between Scialfa's solo recordings, and the relatively marginal sales they have generated (at least compared to her husband), it might be easy to think that Patti's continuing career as an artist in her own right gives new meaning to the old saying "you don't mess with the wife of the Boss." That assumption would be dead wrong, and this album proves it in spades.

The most striking thing about Play It As It Lays is how it sounds so much more like a southern blues or gospel sort of record than the Jersey sort of vibe you'd expect from anyone associated with Springsteen or the E Street Band.

Throughout this album, bluesy slide and acoustic guitars complement stark, simple arrangements that suggest something far closer in spirit to Memphis or Atlanta than to Asbury Park. The music here could best be described as dominated by southern rural blues - only as seen through the prism of a certain Jersey Girl. Beneath it all, Scialfa's voice — which often comes through like a slightly huskier, smokier sounding version of Bonnie Raitt — buttresses lyrics that are both tough, yet tender.

Play It As It Lays opens with a blast of bluesy harmonica, and a husky sounding vocal to match from Scialfa on the track "Looking For Elvis."

Like much of this album, there is a sort of "deep south" vibe to this song. But the more universal theme seems to be one of the lost soul in search of redemption anywhere it can be found - be it a juke joint in Jersey, or a jukebox in Missisippi.

That same theme of longing heard on "Elvis" crops up again and again throughout. On "Bad For You," Scialfa sings in an understated moan of how "I could have had it bad for you, and that's not good." On the song "Run, Run," Scialfa channels the delta blues spirit of Bonnie Bramlett, in an arrangement that recalls Delaney & Bonnie during their Muscle Shoals period — when people like Duane Allman and Eric Clapton would regularly show up to play on the records.

But there is also a dark undercurrent running through much of this record, in both the lyrics and the musical tone.

On "Town Called Heartbreak," Scialfa crosses deep bayou swamp, with the witchy sounding sort of L.A. pop of Stevie Nicks of all people. Scialfa's vocal here is equal parts Nicks and Raitt. Musically speaking, think of something like "Stop Draggin' My Heart Around" put in a blender with John Fogerty's "Run Through The Jungle," and you start to get the general idea. The seeming clash of styles works remarkably well on this song, and Scialfa's vocal delivery is just flawless.

Turning to a more common theme, Scialfa sings "you can play around, but don't ya play around me," to an apparently unfaithful lover on the song "Play Around." On this track, the understated choral arrangement at times recalls the haunting howls of her more famous husband's Born in The USA hit "I'm On Fire."

Although the advance CD I got did not come with liner notes of any kind, there is little mistaking the crying guitar intro of the E Street Band's Nils Lofgren on "Rainy Day Man." From that intro, the song moves to a funkier arrangement, augmented at times by churchy organ and gospel-sounding female background vocals. Here the gals coyly coo lyrics like "sugar, sugar, sugar, baby, bang, bang" in a suggestive sort of come-on that sharply contrasts the more, shall we say, "sanctified" musical foundation here.

As for the title track, it is simply gorgeous. Patti's vocal here is particularly understated, as it glides in and out of Dylanesque carnival organ runs, and a fluid guitar that brings to mind Steve Cropper of Booker T & The MG's, and later, Blues Brothers fame.

On Play It As It Lays, Patti Scialfa more than holds her own as she steps outside of the shadow of her famous husband, and of her own role in Springsteen's E Street Band. Here she is still every bit the Rumble Doll of her first solo record. But there is also a vulnerabilty in the lyrics here. Call it Patti's way of playing the "Cruel To Be Kind" card.

You just don't mess with the wife of the Boss.