Showing posts with label jimi hendrix. Show all posts
Showing posts with label jimi hendrix. Show all posts

Tuesday, 6 December 2011

Song of the Day No.61

Used To Be

by Rory Gallagher (Deuce, 1971)

Originally, the blues was a predominantly black-American past-time, officially emerging in 1912 with the publication of the first blues sheet music but like other genres, traces of early activity have been reported up to ten years before. Recordings continued through the 20s, 30s with the evolution to electrified blues in the 50s but it wasn't really until the post-war baby boom kids starting taking an interest in the late 50s/early 60s that these journeymen musicians started receiving wider attention and commercial benefits. A good example being that upon arriving in the US, The Beatles stated that they really wanted to see Muddy Waters, to which one journalist replied with the question “Where's that?”.

Rory Gallagher was part of this British influence on world blues appreciation forming Taste in 1966 and releasing two blues-rock studios albums before embarking a successful blues-drenched solo career that would start with the self-titled debut and follow-up, Deuce, being released in the same year. Also in 1971, Rory Gallagher beat Eric Clapton to being voted the International Top Musician of the Year by Melody Maker magazine. All through his life, and after his death in 1995, Gallagher received plaudits from luminaries as illustrious Jimi Hendrix, Johnny Marr, Slash and Brian May but never really achieved the stardom he deserved.

'Used To Be' is pure blues-rock. From the opening guitar riff that rips a big dirty hole in the silence between tracks to Gallagher's earthy growl and the song's lovelorn subject matter. The blues and love troubles go hand in hand and 'Used To Be' revolves around a scowling one-line riposte for a chorus “Better get used to bein' my used to be” that dovetails into a typically catchy, meaty Gallagher riff. If you like the blues but haven't listened to Rory yet, you're missing out.


AR

Tuesday, 18 October 2011

Song of the Day No.58

Master of the Universe

by Hawkwind (In Search Of Space, 1971)


Cream, The Clash, Jimi Hendrix, writers and film-makers all have associations with Ladbroke Grove, so too do Hawkwind. Centred around clichéd hippie values such as squatting, free gigs getting stoned and taking acid the band moved on from their proto-Hawkind psychedelic sounds when synthesisers became involved. The electric whirls and live improv sessions helped define the space-rock genre while feeding into/from the worlds of krautrock and prog rock at the same time. Dave Brock is the mainstay of the band seeing out many line-up changes and hosting, amongst other musicians, a pre-Motörhead Lemmy, Ginger Baker and Arthur Brown.

Written by Dave Brock and saxophonist/flautist Nik Turner 'Master of the Universe' became an almost permanent fixture in live performances. The vocals drone out lyrics of omnipotence over crunching, driving guitars, pounding drums and cosmic gleeps, gloops and whirps, all the while swirling distortion feeds in and out orbiting the aural expanse. The charging pulse hits reset a couple of times but only in order to build up an entirely new head of steam before evaporating into the ether.


AR

Wednesday, 12 October 2011

¡VOTE!

All Along The Watchtower.

Besides Jimi Hendrix who else has covered this Bob Dylan classic... the answer is: a whole bunch of people.

Below we have sifted and shifted through to pick four different tracks that deserve some mention or distinction. After sampling each song and carefully analysing it's merits you need to go to the sidebar to vote for whichever incarnation you believe to be best...

Here's what to do:
1) click 'Read More'
2) listen to the tracks
3) vote for your bestest

Sunday, 25 September 2011

!VOTE¡

All Along The Watchtower.

Besides Jimi Hendrix who else has covered this Bob Dylan classic... the answer is: a whole bunch of people.

Below we have sifted and shifted through to pick four different tracks that deserve some mention or distinction. After sampling each song and carefully analysing it's merits you need to go to the sidebar to vote for whichever incarnation you believe to be best...

Here's what to do:
1) click 'Read More'
2) listen to the tracks
3) vote for your bestest

Monday, 22 August 2011

¡VOTE!

All Along The Watchtower.

Besides Jimi Hendrix who else has covered this Bob Dylan classic... the answer is: a whole bunch of people.

Below we have sifted and shifted through to pick four different tracks that deserve some mention or distinction. After sampling each song and carefully analysing it's merits you need to go to the sidebar to vote for whichever incarnation you believe to be best...

Here's what to do:
1) click 'Read More'
2) listen to the tracks
3) vote for your bestest

Tuesday, 9 August 2011

¡VOTE!

All Along The Watchtower.

Besides Jimi Hendrix who else has covered this Bob Dylan classic... the answer is: a whole bunch of people.

Below we have sifted and shifted through to pick four different tracks that deserve some mention or distinction. After sampling each song and carefully analysing it's merits you need to go to the sidebar to vote for whichever incarnation you believe to be best...

Here's what to do:
1) click 'Read More'
2) listen to the tracks
3) vote for your bestest

Monday, 19 April 2010

Song Of The Day No.30

Ooh Yea

by Betty Davis (Betty Davis, 1973)

Well known for her one year marriage to Miles Davis, Betty Mabry (her maiden name) was good friends of both Jimi Hendrix and Sly Stone and personally introduced them to Davis who would go on to take influence from both artists in developing and experimenting with a more electric sound that culminated in the classic Bitches Brew in 1970. Betty had actually started performing and writing musically before she met Davis, writing 'Uptown' for The Chambers Brothers, but it wasn't until much after splitting up with the legendary jazz musician that she recorded her first album.

All the tracks on Betty Davis were written by the women herself and each combines rock and funk to varying degrees. From the opening bass riff, waka waka guitar sounds and tssking cymbals, 'Ooh Yea' brings imagery of the blaxploitation period streaming to mind. The backing singers give a smooth and rich “Ooh yea, ooh yea” every time Davis asks a, usually innuendo charged, question. A male backing vocal comes in for the odd line in a low baritone, velvet voice that provides even more contrast for Davis' wild, smoking and sparking leads. The song fades out on a base of ooh-yeas with Davis crackling on top.

AR