Retro Chicken

Before Ron Wood joined the Stones, before Kenny Jones joined the Who, and before Rod Stewart went on to mega-massive-super-stardom – there were the Faces. Rising from the ashes of the Small Faces (when Steve Marriot left to form Humble Pie with Peter Frampton), the Faces were known as the hardest partying band in rock n roll, and pumped out good-time party honk from England. They had a few UK hits, but the song that still gets airplay on the American classic rock stations is “Stay With Me” – not necessarily the theme song for the feminist movement – but a great rocker nonetheless.

Lynyrd Skynyrd was easily the greatest Southern rock band ever. Like I mentioned in an earlier post – Al Kooper discovered them (I don’t know the story), produced their first three albums and played on a few tracks.

You Tube has a 10-minute limit, so I’ll have to search around the web to find a complete version of “Free Bird” (the song that put the word “anthem” in “rock anthem”), for now enjoy “Gimme Three Steps” – classic Skynyrd honky-tonk.

“Subterranean Homesick Blues” was the first Bob Dylan song I really got into. My first introduction was the cover done by the Red Hot Chili Peppers on their (arguably best) album the “Uplift Mofo Party Plan” (with “Special Secret Song Inside” and featuring the classic lineup of Hillel Slovak on guitar and Jack Irons on drums). Based on the Chili Peppers’ “recommendation” I bought the Dylan album – “Highway 61 Revisited” – little did I know that it was not only one of the most famous/important Dylan albums, but that it would completely blow me away – every song on the album is a classic.

Is this the first music video? I don’t know and probably not – but rumor has it that the bald dude off to the side is beat poet Allen Ginsberg.

Musical legend Al Kooper grew up in Queens and was friends with my father. (If I remember correctly, my dad would tag along when Al went on some of his adventures – he was even at the recording session for the classic hit “Barbara Ann” – Dad, forgive me if I am totally butchering the story). Needless to say, as I got older and interested in music, I heard a lot about my father’s boyhood friend.

Al Kooper’s resume is a virtual whose-who of rock n roll. He played with Bob Dylan (and was in the band when they played 1965 Newport Folk Festival – the “infamous” gig when Bob shocked the folkies by going electric), was one of the founding members of Blood, Sweat and Tears, did the “Super Sessions” with Mike Bloomfield and Stephen Stills, and discovered Lynyrd Skynyrd – among a host of other things.

In this video clip, Al discusses an early session with Bob Dylan.

The “Rain Song” is one of my favorite, if least likely, Led Zeppelin songs. Originally released on the A side of “Houses of the Holy,” it has a long (long) middle section – about six minutes of never ending lush – featuring John Paul Jones on Mellotron*. The first time I heard it I couldn’t figure out how it ended up on a Zeppelin album – until the drum entrance. Once the drums enter you realize you have just experienced one of the greatest moments on vinyl.

I don’t know anything about the performance in the video clip – just that they are older and a live string section has replaced John Paul Jones. The song is still magic, you’ll probably cry when the drums enter.

*I am not an expert, but the Mellotron is an analog keyboard that predates modern day synthesizers. It had tape loops of different instruments, each one activated by a corresponding key on a keyboard. The Beatles used it for “Strawberry Fields,” it is the “flute” on “Stairway to Heaven” and was used throughout the seventies by bands like Zeppelin, Yes, and others.

After a week of posting stuff about King Crimson and other music out on the fringes, I decided it was either something classic like Led Zeppelin or hardcore disco. I went for Zeppelin.

I don’t know if people appreciate the depth that Led Zeppelin had as a band. Aside from the classic rockers and blues jams (like this version of “Since I’ve Been Loving You”), Zeppelin did experimental acoustic music, were innovative geniuses in the studio, and played around with odd time signatures, harmonies, technology and ethnic sounds. A testament to their brilliance is the stark difference between the mastery they demonstrated in the studio and how loose and improvisatory they were live.

Aside from his work with King Crimson, Robert Fripp also has a solo career that has spawned some interesting collaborations with an eclectic host of characters, including pop legend David Bowie. Bowie’s ultra-hip single “Fashion,” with accompanying oh-so-eighties video, features wild Fripp interjections (the slick guitar lines are not Fripp, the wild noise and dissonance are).

My buddy Moish is always bugging me about how I need to seriously check out the Boss. I say, “Dude, I am from Jersey, the Boss is in my bones.” But I don’t think he gets it, he wants me cranking Roselita in my car or screaming “Born to Run” or “Nebraska” or any other suitable Bruce classic whenever the spirit moves me.

As shameful as diehard Bruce devotees may find it, I actually think one of Bruce Springsteen’s best performances is his cover of the Edwin Starr classic “War.” I found this clip of Springsteen from the late-80’s – I think he is still with the E Street Band (the drummer sure looks like Max Weinberg) and they pump out this version of “War” with unbridled vigor.

I don’t understand why these guys never got as huge as the classic bands from yesteryear. When they first hit (in the early 90’s) they were from the first wave of bands coming after the long dearth of 80’s-goof-ball synth-pop. First came the hair-bands (Poison, Motley Crew, Ratt, etc) and then the rockers (Guns N’ Roses), followed by Seattle and everything loud and masculine. The Black Crowes were a breath of fresh air – drawing on blues based music ala the Stones, Zeppelin, and the rest – they had great songs and could play well too.

Songs like “Remedy” still get airplay on the classic rock stations – I guess I am not the only Black Crowes’ fan left.

While it is true that the Stones ushered in the era of modern arena rock shows*, it is the Who who should be credited with inventing the modern rock performance – windmills, great moves and of course instrument smashing are all trademark Who innovations – not to mention great music.

This video features the classic Who lineup – with Keith Moon on drums. Drum geeks will notice that Keith doesn’t have a high-hat, he has a ride cymbal next to his snare and he bangs on the gong behind him like it is just another part of his kit – I guess this is just more proof of his greatness (Full Moon is an amazing biography about traveling with Keith Moon written by one of the Who’s roadies). The rest of the band also rocks.

*On the Stones’ tour that resulted in the album “Get Yer Ya Ya’s Out” (as well as the infamous incident at the concert at Altamont Raceway), they introduced an on-stage monitor system, making it possible for the band to play to enormous crowds and still hear themselves playing – this is now standard even in small clubs.