What happens when you combine two types of roots music? Something magical as did with the pairing of The Chieftains and Ry Cooder on the instrumental “Dunmore Lassies.” The mixing of Celtic instrumentation with an acoustic blues guitar doesn’t sound like it would mix on the surface, but it does and provides a treat that should tantalize the palate of any musical aficionado. Just think of the possibilities of uilleann pipes, bodhran, and slide guitar.
“Dunmore Lassies” appeared on The Chieftains 1995 album “The Long Black Veil” which features guest appearances by Sting, Mick Jagger, Sinéad O’Connor, Van Morrison, Mark Knopfler, The Rolling Stones, Marianne Faithfull, and Tom Jones. Cooder appears on two cuts: our selection and “Coast of Malabar.”
Tuesday, November 30, 2010
Monday, November 29, 2010
Luke Doucet & The White Falcon: Ophelia
On Mondays, I feature cover songs that give a new perspective on old songs. Originally recorded by The Band, a live version of “Ophelia” is interpreted by Luke Doucet and The White Falcon. The band is named for Doucet’s guitar – a reissue version of the famous Gretsch White Falcon guitar – the same guitar that was notably used by both Neil Young and Stephen Stills.
The White Falcon was Gretsch’s answer to Gibson’s 400 CES – its competitor’s top of the line archtop electric guitar that was improvement to the acoustic Super 400 with a cutaway body and a thicker top to reduce feedback. Gretsch’s White Falcon was an attractive alternative for many rock players and Luke Doucet shows how this monster of an electric guitar purrs and growls on stage.
Here’s an energetic version of “Ophelia” by The Band with Levon Helm on vocals. This recording comes from The Band’s 1976 album and film “The Last Waltz.”
This version of “Ophelia” came from The Band’s 1975 album of all original material named “Northern Lights – Southern Cross.” While a horn section accompanied The Band on the version from “The Last Waltz,” the brass, woodwinds, and saxophones were played by keyboardist Garth Hudson and the trombone was added by bassist Rick Danko.
The White Falcon was Gretsch’s answer to Gibson’s 400 CES – its competitor’s top of the line archtop electric guitar that was improvement to the acoustic Super 400 with a cutaway body and a thicker top to reduce feedback. Gretsch’s White Falcon was an attractive alternative for many rock players and Luke Doucet shows how this monster of an electric guitar purrs and growls on stage.
Live Version from The Band
Here’s an energetic version of “Ophelia” by The Band with Levon Helm on vocals. This recording comes from The Band’s 1976 album and film “The Last Waltz.”
Studio Version from The Band
This version of “Ophelia” came from The Band’s 1975 album of all original material named “Northern Lights – Southern Cross.” While a horn section accompanied The Band on the version from “The Last Waltz,” the brass, woodwinds, and saxophones were played by keyboardist Garth Hudson and the trombone was added by bassist Rick Danko.
Sunday, November 28, 2010
Mark Heard: Heart of Hearts
A few weeks ago I featured a Mark Heard song from his final LP prior to his death. Today’s Spiritual Sunday song comes from his 1982 “Victims of the Age” LP.
The unique sound of the guitar on “Heart of Hearts” is an electric 12-string. I tried finding out what kind of 12-string electric Heard used, but was unfruitful in determining what brand instrument he employed on this recording. It’s a great song and I hope you enjoy it.
Tears in the city
But nobody's really surprised, you know
My heart's taking a beating
Existence is bleeding me dry, you know
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known divine love
The world is in shambles
I'm just a young man but it's been getting
a little bit old to me
I'm already aching
The years have been taking
a little bit of a toll on me
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known Divine love
Two in the morning
The siren is a warning that
everything is not quite alright
The city is sleeping
I'm down on my knees in the night
tonight
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known Divine love
The unique sound of the guitar on “Heart of Hearts” is an electric 12-string. I tried finding out what kind of 12-string electric Heard used, but was unfruitful in determining what brand instrument he employed on this recording. It’s a great song and I hope you enjoy it.
Lyrics
Tears in the city
But nobody's really surprised, you know
My heart's taking a beating
Existence is bleeding me dry, you know
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known divine love
The world is in shambles
I'm just a young man but it's been getting
a little bit old to me
I'm already aching
The years have been taking
a little bit of a toll on me
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known Divine love
Two in the morning
The siren is a warning that
everything is not quite alright
The city is sleeping
I'm down on my knees in the night
tonight
But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known Divine love
Saturday, November 27, 2010
Rolling Stones: Let It Bleed
I was looking over my Facebook page this week and found where I prepared a list of my top 15 albums in 15 minutes. I noticed one of several on the list that I had not featured on my typical Saturday album feature – one of these was the classic Rolling Stones LP: “Let it Bleed.”
It doesn’t get much better than this album that was the last to feature Brian Jones (playing autoharp and percussion) on two cuts and the first to feature Mic Taylor as the Stone’s lead guitarist also on two songs. Keith Richards handled the majority of the guitar chores. Most of the cuts have the Stones as a four piece with the addition of some well known session players.
Now which three songs to feature – that’s going to be the tough part. So much of the charm of this album isn’t just the Stone’s performance – it’s the work of the sidemen, session musicians, and the Stones introducing new instruments into the mix. What I always thought was Nicky Hopkins playing piano on the intro on “Monkey Man” is actually Bill Wyman playing vibraphone. Producer Jimmy Miller guests on tambourine. It’s a great tune all around and you occasionally hear it on TV shows.
One of the two songs featuring Brian Jones is the classic Stones’ blues original “Midnight Rambler.” Jones is playing percussion on this cut. I love Mick Jagger’s amplified harmonica on this number. It goes from simple to complex and the amp gives it that eerie Chicago blues sound. Keith Richards is playing the slide guitar on this one.
Probably the best known tune on “Let It Bleed” is “You Can’t Always Get What You Want.” Rolling Stone, magazine not the group, named this song as the 100th most popular song of all time. Strongly influenced by the production on The Beatles' hit “Hey Jude,” Mick Jagger sought out to create an epic recording for the Stones. “You Can’t Always Get What You Want” has been featured in countless films and TV episodes. It strikes a chord with people – how about a C2 then an F then a C2 then an F.
The Mr. Jimmy in the lyrics is not Jimi Hendrix, but rather producer Jimmy Miller. Blood, Sweat, and Tears founder Al Kooper plays piano, organ, and French horn – which reportedly he learned to play for this session. Frankly, the song would not be the same without it and Jack Nitzsche’s arrangement for the London Bach Choir. Rocky Dijon adds the congas to the track which gives it nice feel during the up tempo portion. Charlie Watts was missing from this session and Jimmy Miller played the drums.
While my above features is limited to side two, the entire album is great and I provide a You Tube playlist that features the album from beginning to end. Enjoy one of my favorites. It kicks off with “Gimme Shelter” – another song that has been of late featured in many films and features the amplified harp of Mick Jagger.
It doesn’t get much better than this album that was the last to feature Brian Jones (playing autoharp and percussion) on two cuts and the first to feature Mic Taylor as the Stone’s lead guitarist also on two songs. Keith Richards handled the majority of the guitar chores. Most of the cuts have the Stones as a four piece with the addition of some well known session players.
Monkey Man
Now which three songs to feature – that’s going to be the tough part. So much of the charm of this album isn’t just the Stone’s performance – it’s the work of the sidemen, session musicians, and the Stones introducing new instruments into the mix. What I always thought was Nicky Hopkins playing piano on the intro on “Monkey Man” is actually Bill Wyman playing vibraphone. Producer Jimmy Miller guests on tambourine. It’s a great tune all around and you occasionally hear it on TV shows.
Midnight Rambler
One of the two songs featuring Brian Jones is the classic Stones’ blues original “Midnight Rambler.” Jones is playing percussion on this cut. I love Mick Jagger’s amplified harmonica on this number. It goes from simple to complex and the amp gives it that eerie Chicago blues sound. Keith Richards is playing the slide guitar on this one.
You Can’t Always Get What You Want
Probably the best known tune on “Let It Bleed” is “You Can’t Always Get What You Want.” Rolling Stone, magazine not the group, named this song as the 100th most popular song of all time. Strongly influenced by the production on The Beatles' hit “Hey Jude,” Mick Jagger sought out to create an epic recording for the Stones. “You Can’t Always Get What You Want” has been featured in countless films and TV episodes. It strikes a chord with people – how about a C2 then an F then a C2 then an F.
The Mr. Jimmy in the lyrics is not Jimi Hendrix, but rather producer Jimmy Miller. Blood, Sweat, and Tears founder Al Kooper plays piano, organ, and French horn – which reportedly he learned to play for this session. Frankly, the song would not be the same without it and Jack Nitzsche’s arrangement for the London Bach Choir. Rocky Dijon adds the congas to the track which gives it nice feel during the up tempo portion. Charlie Watts was missing from this session and Jimmy Miller played the drums.
The Album in its Entirety
While my above features is limited to side two, the entire album is great and I provide a You Tube playlist that features the album from beginning to end. Enjoy one of my favorites. It kicks off with “Gimme Shelter” – another song that has been of late featured in many films and features the amplified harp of Mick Jagger.
Friday, November 26, 2010
Flogging Molly: Black Friday Rule
Well – it’s Black Friday in America – a term that has become a double entendre. Being the busiest shopping day, it can mean that a retailer that has been in the “red” during the fourth quarter can be in the “black.”
Because so many are flooding the stores and clogging the highways, it has taken on ominous connotations as well. Since this is a day that is loved by some for the deals that occur and hated by so many because of the madness, I have suspended my usual Friday feature for a little Celtic angst.
That angst is represented by the clash [note: this is a pun] of two diverse musical cultures – traditional Celtic music and punk rock. The result is Celtic Punk and has been firmly established by groups such as the Pogues, the Dropkick Murphys, and today’s feature Flogging Molly. From Los Angeles, Flogging Molly was co-founded by Fastway guitarist Dave King in 1993.
Fitting with the spirit of the day, our feature tune is “Black Friday Rule.” It is not a style that everyone will like and with most punk influenced bands, I find the vocals a little less to my liking, but it is music that is full of energy.
Because so many are flooding the stores and clogging the highways, it has taken on ominous connotations as well. Since this is a day that is loved by some for the deals that occur and hated by so many because of the madness, I have suspended my usual Friday feature for a little Celtic angst.
That angst is represented by the clash [note: this is a pun] of two diverse musical cultures – traditional Celtic music and punk rock. The result is Celtic Punk and has been firmly established by groups such as the Pogues, the Dropkick Murphys, and today’s feature Flogging Molly. From Los Angeles, Flogging Molly was co-founded by Fastway guitarist Dave King in 1993.
Fitting with the spirit of the day, our feature tune is “Black Friday Rule.” It is not a style that everyone will like and with most punk influenced bands, I find the vocals a little less to my liking, but it is music that is full of energy.
Thursday, November 25, 2010
Andrew Gold: Thank You For Being A Friend
In keeping our Thanksgiving theme this week, our TV Thursday song is the theme from the popular TV show of the 80s and 90s – the Golden Girls. Although version of “Thank you for being a Friend” used in the show was sung by Cynthia Fee, the original was written, recorded, and performed by Andrew Gold.
Andrew Gold has music in his genes, as his mother is singer Marni Nixon and his father was Ernest Gold who was an Oscar winning film scorer. “Thank you for being a Friend” charted at #25 in 1978 as a single from Gold’s LP “All this and Heaven Too.” Thank you for being a friend and have a Happy Thanksgiving.
Andrew Gold has music in his genes, as his mother is singer Marni Nixon and his father was Ernest Gold who was an Oscar winning film scorer. “Thank you for being a Friend” charted at #25 in 1978 as a single from Gold’s LP “All this and Heaven Too.” Thank you for being a friend and have a Happy Thanksgiving.
Cynthia Fee’s TV version
Wednesday, November 24, 2010
John Hiatt: Thank You Girl
Day three of our Thanksgiving week features another thankful song – John Hiatt’s “Thank You Girl,” which is not to be confused with The Beatles' song of the same name. Released in 1987, Hiatt’s first single from his “Bring the Family” charted at #27. While Hiatt plays acoustic guitar, the slide guitar is by the legendary Ry Cooder. Other well known musicians on this piece include Nick Lowe on bass and Jim Keltner on drums.
I don’t know about you, but when I hear a song I hear influences – some intentional and some coincidental. Parts of Hiatt’s song reminds me of two other tunes. The rhythm reminds me of Don Henley’s “All she wants to do is Dance.” Jim Keltner plays drums on Henley’s LP “Building the Perfect Beast,” but I am unsure if he plays on this cut – perhaps there is a reason the rhythm is similar.
While the style of Ry Cooder’s slide guitar on “Thank You Girl” is unique, the tonality reminds me of another song: Richard Marx’s “Don’t Mean Nothin.’” The cut is from Marx’s 1987 debut LP. The slide on Marx’s recording is courtesy of Joe Walsh, one of Henley’s band mates in the Eagles. In addition, two other Eagles members provide backup vocals bassist Randy Meisner and his replacement in both Poco and the Eagles – Timothy B. Schmidt.
I hadn’t seen this video since the 80s and I find it amusing that the manager/agent in the video is G.W. Bailey who was known as Captain Harris in the “Police Academy” movies in the 80s and in recent times he is seen on TNT’s “The Closer” as the comedic Detective Lieutenant Louie Provenza.
I don’t know about you, but when I hear a song I hear influences – some intentional and some coincidental. Parts of Hiatt’s song reminds me of two other tunes. The rhythm reminds me of Don Henley’s “All she wants to do is Dance.” Jim Keltner plays drums on Henley’s LP “Building the Perfect Beast,” but I am unsure if he plays on this cut – perhaps there is a reason the rhythm is similar.
While the style of Ry Cooder’s slide guitar on “Thank You Girl” is unique, the tonality reminds me of another song: Richard Marx’s “Don’t Mean Nothin.’” The cut is from Marx’s 1987 debut LP. The slide on Marx’s recording is courtesy of Joe Walsh, one of Henley’s band mates in the Eagles. In addition, two other Eagles members provide backup vocals bassist Randy Meisner and his replacement in both Poco and the Eagles – Timothy B. Schmidt.
I hadn’t seen this video since the 80s and I find it amusing that the manager/agent in the video is G.W. Bailey who was known as Captain Harris in the “Police Academy” movies in the 80s and in recent times he is seen on TNT’s “The Closer” as the comedic Detective Lieutenant Louie Provenza.
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