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Posts Tagged ‘King Crimson’

By Joel Francis

Our trawl through my world of vinyl continues.

Various Artists – Stroke It Noel: Big Star’s Third in Concert (2017) To butcher the cliché, probably not everyone who bought a Big Star album back in the ‘70s started a band, but it’s a fair bet that at least one person from most of your favorite bands did (unless you are super into, say, Norwegian death metal, in which case, thank you for branching out and reading this blog).

It’s been ten years to the month since Big Star’s frontman Alex Chilton died on the eve of his celebration at South by Southwest. The impromptu tribute that emerged from that tragedy morphed into a series of concerts around the world celebrating Big Star’s troubling third album. It’s wonderful to hear members of Wilco, R.E.M., Yo La Tengo, the Posies, Semisonic, the dbs and more pass the mic and hike through these songs. But the live reproductions are so faithful they miss the fragile, alluring qualities that made the original studio versions that almost seemed to disintegrate before coalescing into beauty – if they made it that far. So yeah, I dig this, but hearing R.E.M.’s Mike Mills bounce joyfully through “Jesus Christ” or Django Haskins struggle with “Holocaust” doesn’t make me a bigger Big Star fan. It just makes me glad that the people I’m into have such immaculate taste.

Robert Fripp – Exposure (1979) I have a great deal of respect for King Crimson, Robert Fripp’s groundbreaking progressive rock ensemble, but to my heathen ears their music is like listening to calculus. I can get behind Exposure, though. You can almost hear Fripp smirking as he takes the listener from wordless, off-kilter a capella harmonies to an endlessly ringing phone and then a boogie woogie pastiche – all in about a minute. It’s almost like Fripp is daring us to meet us where he is, then abruptly changing course and challenging us to follow him over there. This is also an apt description of his entire career. Listening to Exposure is like playing tag. You never stay in one place and may find yourself out of breath at times with the quarry just out of reach, but it’s always fun to play. Special mention must be made of the definitive version of “Here Comes the Flood” with Peter Gabriel on vocals.

Madisen Ward and the Mama Bear – Skeleton Crew (2015) This mother-son duo was poised to be the next big thing to break out of the Kansas City music scene when this debut album came out. They appeared on one of the last episodes of The Late Show with David Letterman, the Today show, Later with Jools Holland and played Bonnaroo and the Newport Folk Festival. Things have been quiet since then – only one EP in 2018 – but these laid-back, folk blues romps are still a fun spin.

Kendrick Lamar – Damn. (2017) Damn. was my favorite album the year it came out and it remains a compelling listen today. The fact that I can say this despite a concert that nearly left me in tears is a testament to its strength. When the Damn. tour announced a date at the Sprint Center, I quickly jumped on tickets. Not wanting to take out a second mortgage, my friends and I got seats in the upper level, extreme stage right. The sound was fine for the opening acts, but when Lamar took the stage it was like the sound blew out in the speakers directed at our section. You know it sounds you’re just inside the doors, waiting to get in and the show starts without you? All bass with just a hint of vocals? That’s how it sounded inside the arena. Some ushers kindly moved us to another section where the sound was slightly better, but the spell had been broken and the show was a bust. All this and I still can’t wait to hear what Lamar does next.

Rush – Power Windows (1985) I know everyone loves the hard, sci-fi prog of Rush’s late-‘70s peak, but I am strongly partial to their synth-heavy early ‘80s material. This mostly boils down to the fact that during high school I played the band’s 1989 live album A Show of Hands so often I thought the laser would bore right through the CD. So you can have your “Cygnus X-1” and “By-Tor and the Snow Dog” and I’ll stick with “Marathon” and “Manhattan Project,” thank you very much.

Husker Du – Everything Falls Apart (1982) Playing this record (included in the Numero Group’s essential early-days collection Savage Young Du) is like flying down the interstate on a Japanese motorcycle without a helmet. Insects slap your face and the wind stings your eyes as gravity forces you closer to the ground. Danger is imminent, but you twist your wrist and accelerate even more. Stopping is not an option. Oh, and there’s an entire side of bonus tracks.

Johnny Cash – Mean as Hell! (1966) Mean as Hell! is the single platter version of Johnny Cash’s double-record concept album Sings the Ballads of the True West. I think I got this at a garage sale, because who can resist an album with this title (with mandatory exclamation point) where a gaunt, drugged out Cash is dressed like a cowboy, holding a gun? The music isn’t as exceptional as the cover. The spoken-word bits are a little too somber. Cash sounds like a Southern preacher crossed with a National Geographic narrator on the title track and the studio version of “25 Minutes to Go” is nowhere near as fun as the live version at Folsom Prison. Despite these shortcomings, I’ll still put on my spurs for the ballads: “I Ride an Old Paint,” “Sweet Betsy from Pike” and album closer “Bury Me Not on the Lone Prairie.”

Frank Black – Teenager of the Year (1994) No one liked this album when it came out. It didn’t sound like the Pixies, wasn’t as radio-ready as the Breeders and there was a lot of lingering animosity over how Frank Black ended the beloved Pixies. I didn’t know any of this at the time, however, because I was too busy listening to A Show of Hands. Coming to this album several years later, all I heard were nearly two dozen bright blasts of Black’s songwriting at its most accessible. Nurse a grudge all you want. I’ll be right over hear blasting “Freedom Rock” loud enough to drown out your whining.

Brian Eno – Reflection (2016) I don’t know enough about ambient music to tell you the difference between this album and Lux or the longer-form pieces on the Music for Installations collection. I can tell you that when it gets to the point in the day when I need some Eno, Reflection (and Lux) always comforts me. I also don’t think I have to get up to turn the record over as often with Lux, so there’s one difference.

Bruce Springsteen – The Wild, The Innocent and the E-Street Shuffle (1973) This is one of my absolute favorite Springsteen albums because it’s the sound of him fumbling through different sounds trying to figure out what he wants to be. It all clicked into place with Born to Run, his next album. The guitars at the beginning of “Sandy” sound like the Allman Brothers Band before the accordion whisks in foreshadowing the opening section of Billy Joel’s “Scenes from an Italian Restaurant.” Where else can you hear Springsteen rocking with a clavinet over a Doobie Brothers guitar line but on “The E Street Shuffle”?

The picture of the band is especially priceless. Half the guys have their shirts unbuttoned all the way, only a couple are wearing shoes and Springsteen is rocking a tank top and blue jeans. They look like a group that would get uncomfortably close and overly friendly with a stranger, ask to bum a cigarette and then inquire if he or she liked to par-tay.

Wild and Innocent is also the only time multi-instrumentals David Sancious appeared as Springsteen’s main musical foil. Sancious left to form his own band shortly after this album came out and went on to work with Stanley Clarke, Peter Gabriel, Sting, Eric Clapton and many others.

Lee Hazlewood – The LHI Years: Singles, Nudes and Backsides (compilation) If you’ve heard “These Boots,” then you’ve heard a Lee Hazlewood production. This collection doesn’t contain any of Hazlewood’s work with the Chairman of the Board’s daughter – which is good enough to warrant its own anthology – but it does contain duets with Ann-Margret and Suzi Jane Hokom and solo cuts that sound like cowboy songs in Cinemascope. Drag Phil Spector’s Wall of Sound to the wild west and your getting close.

R.L. Burnside – Too Bad Jim (1994)

T-Model Ford – The Ladies Man (2010) I saw T-Model Ford one time, right around the time The Ladies Man came out, a couple years before his death. The venue, Davey’s Uptown Rambler’s Club, or just Davey’s, was about as close as you could get to a juke joint in Kansas City. Split across two storefronts, the bar was on the left side, where you’d traditionally enter. The area with music was on the right side of the wall. If a performer moved too far stage right he or she was liable to bump into a door leading out to the street. That would be bad. Despite these shortcomings, the sight lines were decent, the drinks were cheap and the sound was usually OK. I mention all this because Davey’s, a century-old Kansas City institution, was gutted by a fire just a couple days ago. Everyone reminiscing online about the great times they had at the venue made me reach for this album.

R.L. Burnside’s blues were cut from the same primitive cloth as Ford’s. I don’t know if Burnside ever played at Davey’s but I’m sure he would have been welcomed and would have liked it. The good news is that the Markowitz family, who have run Davey’s since the 1950s, plan to rebuilt the space.

Loose Fur – self-titled (2003) Recorded before Wilco’s career-defining Yankee Hotel Foxtrot but released afterward, Loose Fur is the sound of Jeff Tweedy shaking off the weight of Wilco and getting acquainted with two new collaborators. Opening track “Laminated Cat” is one of my favorite Tweedy compositions. It’s more than seven minutes here, but Wilco frequently tear it down onstage like a Sonic Youth number and stretch it even longer. Jim O’Rourke’s “Elegant Transaction” provides a more relaxed counterpoint and while the album doesn’t get that relaxed again until the closing number, “Chinese Apple,” the opening pair frame the album as a balancing act between tension, experimental noise and release.

Benny Carter – Further Definitions (1961) Impulse Records are frequently viewed as the playhouse for avant-garde jazz workouts by saxophonists John Coltrane, Archie Shepp, Yusef Lateef and Sonny Rollins. Further Definitions is proof that Impulse wasn’t so one-dimensional (at least in the early years). Pre-war legends Benny Carter and Coleman Hawkins push each other to new heights in the confines of this small group anchored by Coltrane’s rhythm section. The result is an album that jazz fans can appreciate for its sophistication and intricacy but your mom can hum along with. A win for everyone.

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(Above: The Flaming Lips get an assist from Deerhoof to cover King Crimson at the second show of their two-night stand at Liberty Hall in Lawrence, Kan. on June 22, 2012.)

By Joel Francis
The Kansas City Star

Standing in Liberty Hall during a sold-out Flaming Lips concert was like being inside a kaleidoscope. In fact, the overwhelming number of balloons, confetti and streamers made things a little claustrophobic.

The Oklahoma City rock band brought so much firepower to its two-night stand in Lawrence that the show opened with a disclaimer from frontman Wayne Coyne: Don’t stare at the strobe lights, and be cool when the space bubble rolls out.

The famous inflated see-through orb that Coyne inhabits and then rolls over the outstretched hands of the crowd came out during a cover of Pink Floyd’s “On the Run.” As Coyne rolled over the masses, it looked like he could have easily hopped into the balcony.

With a capacity of 1,200 people, the building seemed like a bandbox compared to the acres of festival grounds the Lips usually have to play in during summer festival seasons. A massive mirror ball hung so low over the stage it seemed like Coyne might be able to touch it. Late in the set he donned giant hands that shot lasers and pointed them at the ball, spraying light across the room.A giant LED screen filled the back of the stage and troupes of dancers dressed like Dorothy Gales buttressed the wings.

Fans got their chance to sing early. Favorites “Race for the Prize,” “The Yeah Yeah Yeah Song,” “She Don’t Use Jelly” and the slow campfire arrangement of “Yoshimi Battles the Pink Robots (Part One)” all came out in the first half of the set. The second half displayed newer, more experimental material. It wasn’t as bubbly, but fans ate it up just the same.

Deerhoof: The four-piece experimental band’s carefully planned cacophony was balanced by singer Satomi Matsuzaki’s manic pixie singing and dancing. Lips drummer and Lawrence resident Kliph Scurlock joined the openers for two numbers, and the two bands joined forces for two songs during the Lips’ encore. Their first collaboration was a curveball –- a cover of Canned Heat’s “Going Up the Country.” For the second number they went full-prog with a thunderous cover of King Crimson’s “21st Century Schizoid Man.”

The show was part of the 100th annniversary party for Liberty Hall. Seventh Street was blocked off south of the venue, between Massachusetts and New Hampshire streets. Vendors sold everything from beer and BBQ to T-shirts and cake. Families lined up around the bounce castle while groups performed on the stage at the other end of the block. A screen at the back of the stage broadcast a live feed of Lips show.

Setlist: Race for the Prize, She Don’t Use Jelly, The Yeah Yeah Yeah Song (With All Your Power), On the Run (Pink Floyd cover), Worm Mountain, Yoshimi Battles the Pink Robots (Part One), Sea of Leaves, Drug Chant, The Ego’s Last Stand, What Is the Light?, The Observer. Encores: Going Up the Country, 21st Century Schizoid Man, Do You Realize?

Keep reading:

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Review: Flaming Lips New Year’s Freakout

Review: The Flaming Lips – “Christmas On Mars”

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(Above: Mouth gets “Gnarly” at the Jackpot Saloon.)

By Joel Francis
The Daily Record

Fans wanting to pigeonhole Mouth’s music, do so at their own risk.

The three-piece Kansas City band combines elements of funk, jazz, pop, hip hop, electronica and progressive rock in their unique, dance-friendly instrumental songs.

“People have tried to make us either a jam band or a jazz/fusion band,” drummer Stephen “Gunar” Gunn says as guitarist Jeremy Anderson finishes the sentence. “Whatever genre people pigeonhole us as, they always complain.”

Talking with the band, which also includes bass player Zach Rizer, is like trying to catch a ping pong ball in a shower stall. The three are just as in synch in conversation as they are when playing. Words zip around as the three finish each other’s sentences and try to complete their own thoughts.

“I used to be afraid of being pigeonholed by the jam-band crowd,” Anderson says. “Honestly, they’re a lot more open-minded than anybody.”

They also provide a nice business model. Mouth tape all of their shows and try to saturate the market with recordings in hopes that the music will find its way out ahead of the band.

“These shows in Topeka and Wichita are the first time we’ve done two shows out of town in a row,” Gunn says of a recently completed road trip. “Right now we’re just trying to figure out how to play and get out on the road where we’ll at least earn near our gas money.”

Mouth – the name is a play on the fact that there’s no vocalist – perform in Springfield, Mo. on Saturday and will celebrate their first birthday on Jan. 29 at the Jazzhaus in Lawerence, Kan. One year ago the trio was playing a First Friday art exhibit and dipping their toe into the scene at the Jackpot Saloon.

Download the Mouth album "Escape from the North Pole" for free at http://www.abandcalledmouth.com/music/.

“I don’t know if I’ll be able to get a cake in, but I want to make party favors, maybe put songs on a CD and give them out,” Anderson said. Several friends of the band, including guitarist Matt DeViney, who co-founded Gunn’s previous band Groovelight, and local MCs Reach and Phantom will also help celebrate with the band.

Although hip hop is now a staple of the band’s catalog and all three members were longtime fans, embracing the genre was purely a business decision.  After six months of drawing meager crowds, Rizer looked at what was getting covered in the music press and where people were going and decided hip hop was the way to go. As soon as they made the switch, they attracted some attention in The Pitch. They also started growing unexpectedly as musicians.

“When you take anything from samples, you not only have to learn the parts, but you have to learn how to put them together,” Rizer says. “There are a lot of subtle things at work, like tambour and tone. The funny thing about hip hop is that DJs will play samples against each other you wouldn’t think to combine.”

For Anderson it was a chance to add his favorite elements of progressive rock – long, intricate parts – and incorporate them in a hip hop setting.

“Our songs are structured like progressive rock, but feel like hip hop,” he says. “We’re not playing prog hop, though. We’re playing hip hop.”

The members of Mouth grew up in musical families. Anderson’s little brother got a guitar, but never played it, so the 10-year-old started noodling on Steely Dan and King Crimson licks. Gunn grew up immersed in music. His dad was a drummer in the band Heat Index and moved out to California in his ‘20s to pursue a career in music. The white bass drum in Gunn’s kit was originally part of his dad’s rig.

“When I was 13, my dad didn’t want me to play because he thought it was bad for my ears,” Gunn says. “He put the kit away in the attic, but I kept getting it out and playing.”

Rizer’s father was also a musician. His dad and grandpa, both named David Rizer, were jazz musicians. Grandpa Rizer played guitar with Oscar Peterson and Charlie Parker. David Jr. plays trumpet, bass and sings and plays regularly with Everette DeVan at the Blue Room.

“My dad never pushed, but I was always surrounded by music,” says Rizer, who counts Bootsy Collins, Jaco Pastorius and Motown bassman James Jamerson among his influences. “I didn’t listen to anything rock-ish until I was older.”

At Shawnee Mission Northwest High School, Anderson introduced Rizer to rock and roll, while Rizer shared his love of funk, soul and jazz. Gunn, meanwhile, forged his own path, eventually performing at Wakarusa Music Festival with Groovelight in 2005.

“That show was kind of a turning point for me,” Gunn says. “At the time, I was into the whole progressive side, with odd time signatures. I was into Mahavishnu Orchestra and Return to Forever. At Wakarusa I realized people want to dance, not just listen. I used to play for the one guy who would appreciate us and tell us about that one measure 13/8. Now it’s come full circle to just wanting people to dance.”

One number the trio play is “Bad Wolf,” a new song that takes its name from Doctor Who. Anderson is seated, bent over his guitar, his nimble fingers dancing across the frets. When told his playing is reminiscent of Adrian Belew, he humbly replies “It should. I have his guitar and amp.” As Rizer’s groove takes over the melody, Gunn applies a hip hop/reggae rhythm on the drums. There’s very little eye contact; each musician lost in his own world.

“When we’re onstage, we definitely look at each other more,” Anderson said. “We’re constantly trying to push the boundaries of the song and include different elements.”

After a year together, Mouth has no future goals beyond continuing to push each other and trying to find a balance between the written and improvised.

“I’m looking forward to seeing where the music goes,” Gunn said. “We just pour ourselves into different scenes and see what happens.”

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