Tag: Peter Tosh

Social Distancing Spins – Day 39

by thedailyrecord, posted in Album review, review

By Joel Francis

Cabin fever has taken hold, but let’s not replace it with a real fever. Stay in and stay safe, my friends.

Bob Marley and the Wailers – Rastaman Vibration (1976) Bob Marley had a lot to prove with Rastaman Vibration as former Wailers Peter Tosh and Bunny Wailer also released their solo debuts that year. But dissonance in the Wailers camp turned to delight for music fans, because all three albums are reggae classics. (We looked at Tosh’s Legalize It yesterday and will likely examine Wailers’ Blackheart Man tomorrow.) Of course, Marley was the biggest star at the time and as such Rastaman Vibration had the greatest resonance. The eighth Marley album, Rastaman Vibration has some of the reggae legend’s best political songs. “Johnny Was” strikes at the casual violence that allows stray bullets to kill innocent bystanders. “Rat Race” calls out a suspected attempted by the CIA to subvert Jamaican politics. The best of them all, though – and arguably Marley’s greatest political song ever – is “War.” As Marley recites Halie Selassie’s 1963 address to the United Nations general assembly the reggae groove behind him simmers, gradually adding backing vocalists and horns. Selassie’s words remain powerful today: “That until the basic human rights/are equally guaranteed to all/without regard to race/this a war.” The song took on added meaning when Sinead O’Connor performed an a cappella version on Saturday Night Live, then tore up a photo of the pope to priests abusing children.

Rastaman Vibration isn’t without light-hearted moments, but songs like “Cry to Me” and “Positive Vibration” are come up short when matched against Marley triumphs “No Woman No Cry” and “Three Little Birds.” The funniest moment in the album comes from the suggestion printed inside the faux burlap textured gatefold sleeve: “This album jacket is great for cleaning herb.”

Marilyn Maye – A Taste of “Sherry!” (1967) Marilyn Maye is a treasure. She started performing around Kansas in the 1930s as a child and had her own live radio show as a teenager. In 1966, Maye was nominated for the Best New Artist Grammy (Tom Jones won). Across her seven decade recording career, Maye has appeared on The Tonight Show more than any other singer. To be honest, Maye’s style of jazz/cabaret singing usually isn’t my cup of tea, but after watching her perform at a local jazz festival several years ago I was converted. Her magic and mastery onstage doesn’t completely translate to this album, one of her earliest, but it is a great reminder of an incredible talent from a bygone generation.

The Libertines – Up the Bracket (2002) One of the greatest British punk albums exploded into the garage rock revival populated by the Strokes, the Yeah Yeah Yeahs, the White Stripes and a bunch of other decent bands we’ve all forgotten about. The Libertines stood out in this landscape populated by loud guitars and snotty attitudes by being a bit more in-your-face and noisy without being off-putting or obnoxious (well, OK, they could be obnoxious). Blessed with cover artwork that recalled The Clash’s “White Riot,” they did one better and got Clash guitarist Mick Jones to produce the album as well. The result is an aggressive, tuneful romp with catchy songs that manages to live up to its title, British slang for a punch in the throat.

Prince – Dirty Mind (1980) Before “Little Red Corvette” and “Let’s Go Crazy” made him a superstar, Prince was a just hard-working funk prodigy hailing from the Upper Midwest (or nowhere, by the standards of the suits on the coasts). After proving that he could handle all the instruments himself on his debut, For You, Prince was hungry for even more control and commercial success on his second, self-titled release. He achieved both goals. Dirty Mind invested all the victories from the first two albums and emerged as the first album Prince recorded in his native Minneapolis with the local musicians previously in his touring band.

Dirty Mind contains all of Prince’s calling cards: carefree pop – “Uptown,” “When You Were Mind” – sexual controversy – “Sister,” “Head” – and a mélange of genres that roamed from new wave to soul and from rock to funk across little more than half an hour. Dirty Mind was the first classic album of Prince’s career and it remains a must-own record today.

John Legend and The Roots – Wake Up! (2010) When this album came out a decade ago, Barak Obama had been sworn in as the first black president in American history and the Tea Party were still calling themselves tea baggers and had yet to take power in the halls of congress. It is important to establish the political context into which Wake Up! was released, because this collaboration between John Legend and The Roots is a very political anthem. The best band in hip hop and the soul crooner selected 11 largely unknown soul protest songs and recast them for this new (Obama) era. As always, The Roots are impeccable and the carefully selected guests add gravitas with their performances. Legend is a capable singer but I can’t help wish that Raphael Saadiq or D’Angelo were helming the project instead. There are several times – particularly during the lengthy version of Bill Withers’ “I Can’t Write Left Handed” and “Hard Times” (a song Curtis Mayfield wrote for Baby Huey, who we discussed back on Day 31) – where Legend’s voice is too smooth and lacks the depth to bring the anger and desperation of the lyrics fully to life. But perfect should never be the enemy of good and Wake Up! is very good indeed. It is also sadly all too relevant.

Blakroc – self-titled (2009) The words “Black Keys” only appear once on this album, in small print inside the gatefold. That’s too bad, because fans of the blues-turned-arena band would probably find a lot to like here. True, Dan Auerbach cedes his vocals to a dozen or so MCs, but the musical guts of this record are the undeniable – and unmistakable – guitar and drums grooves that have powered the duo’s rock releases. The pair provide some very Wu Tang-inspired backing for the RZA and Pharoahe Monch on “Dollaz and Sense.” The collaborations with Diplomat Jim Jones are some of few times when the traditional Keys sensibilities cut through. Jones guests with Mos Def on “Ain’t Nothing Like You (Hoochie Coo)” and appears with Nicole Wray and Billy Danze on “What You Do To Me.” Whether you are a hip hop head or rock fan, there is plenty of gold in Blakroc.

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Social Distancing Spins – Day 38

by thedailyrecord, posted in Album review, review

By Joel Francis

Watching the anti-quarantine protests and five o’clock follies, I am trying to take comfort in these words by Walt Whitman:

Meditating among liars, and retreating sternly into
myself, I see that there are really no liars or lies
after all,
And that nothing fails its perfect return—And that
what are called lies are perfect returns.
 
Let’s get into the music.

Talking Heads – Fear of Music (1979) The Talking Heads’ third album is very much a transitional piece. You can hear some glimpses of where they are headed, into the full-blown, Brian Eno-assisted soundscapes that populate their next album, Remain in Light, but for the most part Fear of Music is spare. The song titles are just as lean. Most are one or two words, reading like a cryptic poem on the sticker placed on the pack of the album: “Mind,” Paper,” “Cities.” “Air,” “Heaven,” “Animals.” After the surprise success of “Take Me To The River” on their previous album, the Heads are intentionally running as far away from mainstream success as possible, exploring African rhythms and Ddaist nonsense on “I Zimbra,” feral primitivism on “Animals” and cinematic isolation on “Drugs.” “Cities” races with frantic paranoia and “Air” is laced with sinister synthesizers and processed vocals. Even the songs with strong melodies serve as warnings. “No time for dancing/or lovey dovey,” singer David Byrne proclaims on “Life During Wartime.” Later, “Heaven” is merely a place where nothing ever happens. The Talking Heads were never this stark – or dark – again. Which is why Fear of Music is my favorite Talking Heads album.

Thom Yorke – Tomorrow’s Modern Boxes (2014) The Radiohead frontman’s second solo album is more likely to rattle around in your head after a deep listen than spring from your lips like a Broadway melody. The music is moody and cerebral. And as I found out when I saw Thom Yorke in concert in the fall of 2019, surprisingly danceable and energetic when dialed up to 11. My favorite moments are when Yorke stretches out and lets the tracks hypnotize. “There Is No Ice (For My Drink)” is a glitchy wonderland. “The Mother Lode” manages to combine ambient music with dubstep. I’m not enough of a cryptologist to pretend to know what these songs are about, nor versed enough in EDM to compare this to other, similar pieces. What I can say is that Tomorrow’s Modern Boxes is a solid listen that helps place Radiohead’s The King of Limbs in context.

INXS – Kick (1987) Nearly 25 years after the death of lead singer Michael Hutchence, the music of INXS remains ubiquitous. The Australian band’s pop prowess is undeniable, but they always had trouble crafting great albums around those magnificent singles. Kick, their sixth album, is the one time everything clicked. OK, it helps that five of the dozen tracks here were big hits, but the other seven are no slouches. Opening track “Guns in the Sky” plays like a set of expectations the band will need met before delivering the hits. It sets the table nicely for the great run of “New Sensation,” “Devil Inside” and “Need you Tonight.” The first half concludes with “The Loved One,” the only cover on the album. The second side includes another amazing run of “Never Tear Us Apart,” “Mystify” and the title song. You’ve heard these songs so many times I don’t need to describe them. Kick was so big that even the songs that weren’t singles ended up being recognizable. Knowing the songs’ omnipresence you may question needing to own the album. The answer is yes, of course you do. Because even though you’ve heard them a million times, once you get done playing Kick, you’re going to want to flip it over and play it again.

Berwanger – Exorcism Rock (2016) Singer, songwriter and guitarist Josh Berwanger has been a fixture on the Kansas City music scene since The Anniversary broke through in the late ‘90s. Fans missing that great band might find the next best thing with Exorcism Rock. Former bandmate Adrianne deLanda contributes backing vocals on two tracks and former Anniversary producer Doug Boehm is back behind the boards. But you don’t need to know any of that to enjoy the infectious, hook-heavy songs. It’s impossible not to smile and sing along. The lyrics get catty sometimes – “Heard you on the radio/Song’s bad/I thought I’d just let you know,” goes the chorus on the title track – but the music is always sunny. Stir up Cheap Trick, Tom Petty and the Get Up Kids, another local favorite, and you’re getting close. I saw Berwanger last fall and the songs sound even better in person. I can’t wait to hear them again once all this blows over.

Paul McCartney – Tug of War (1982) Yes, this is the album with “Ebony and Ivory,” and yes that song is awful. But despite that transgression, Tug of War is a great album. First of all, there’s another, even better Stevie Wonder collaboration, the funky “What’s That You’re Doing.” Rockabilly legend Carl Perkins pops up for another duet on “Get It.” Jazz bassist Stanley Clarke also appears on two tracks. The most notable collaborator is producer George Martin, who wrote a great orchestral accompaniment for the title song and a very Beatle-esque horn line to “Take It Away.” Martin also added sublime strings to the affecting “Here Today,” McCartney’s tribute to John Lennon. Despite all this star power, McCartney is always in the driver’s seat. Side two kicks off with the upbeat “Ballroom Dancing.” Later, “Wanderlust” adds another composition to McCartney’s awesome ballad songbook. By the time you get to “Ebony and Ivory,” almost hidden away as the last song on the album, it starts to make a little more sense in the context of the album. Tug of War is easily found in the sale racks at a cheap price and should be an easy purchase next time you see it.

Peter Tosh – Legalize It (1976) Reggae guitarist Peter Tosh had a lot to prove on Legalize It, his solo debut. After coming up in the Wailers, Tosh was eager to establish himself as more than Bob Marley’s sidekick. Although the title song is a strident political statement (with supporting cover art), the rest of the album is surprisingly playful. “Ketchy Shuby” is a light-hearted look at love and “Whatcha Gonna Do” manages to stay perky despite a narrative about running afoul of the law. Think of it as the reggae equivalent of “Here Comes the Judge.” The most heartfelt moments arrive in the middle of the album. “Why Must I Cry” is an emotional breakup song written with Bob Marley. The next song is an excellent Rastafarian hymn, “Igziabeher (Let Jah Be Praised).” Legalize It successfully established Tosh as a star in his own right and ranks among his best work.

Review: Sly and Robbie

by thedailyrecord, posted in Concert review, Kansas City Star

(Above: Sly and Robbie drop heavy riddim at Red Rocks in 2008.)

By Joel Francis
The Kansas City Star

If Robbie Shakespeare’s job as a musician fizzles, he could probably make a living bringing down buildings. Alongside rhythm partner Sly Dunbar, Shakespeare’s bass rattled the foundations of the Folly Theater for nearly two hours Saturday night.

Backed by the four-piece Taxi Gang, Sly and Robbie delivered their signature reggae sound, which has appeared on literally tens of thousands of records, encompassing everyone from Bob Dylan to Peter Tosh.

The night started with an instrumental that exceeded 20 minutes in which the musicians passed solos like a jazz combo. As the trombone and saxophone bridged the gap between Afro-beat and ska, the keyboards and guitar subliminally sparkled underneath. When the guitarist popped to the forefront he delivered solos that recalled Carlos Santana, displayed Eddie Van Halen’s two-finger tapping and went Jacques Cousteau on his wah peddle for a solo that sounded like it was played underwater.

Though they politely shared the spotlight, Sly and Robbie were never far from the forefront. Robbie’s bass was so loud it drowned out most of the vocals and probably registered on the Richter scale. Sly’s drums sat neatly on top, crisp, precise and articulate. Their playing wasn’t flashy, but their grooves spoke volumes.

The Folly was half-full at best, but the band worked the room like it was packed. Putting down his horn, the trombone player paced the stage leading the crowd in call and response. He delivered a great cover of LeRoy Smart’s “Ballistic Affair,” which featured Sly and Robbie on the original 1976 recording, and drew the biggest applause of the night with a reading of Bob Marley’s “Rastaman Chant.” The sextet slowed that number ever so slightly, accentuating the song’s gospel elements.

Though their playing was engaging, the music did get a little samey after about an hour. The echo-laden drums and behind-the-beat accompaniment typical of deep dub only hold so much room for exploration. Fortunately, a surprise appearance from singer Peter Gayle rescued the set.

Acting as if there were a secret ordinance against standing still, Gayle was constantly kicking his feet along with the beat, twirling his long dreadlocks or suggestively swinging his hips. His G-rated cover of Webbie’s “I Miss You” excited the crowd and the energy stayed high after he was gone.

The concert was part of the “Cyprus Avenue Live at the Folly” series, and came just one night after the ensemble’s performance at the Wakarusa Music Festival in its new home at Ozark, Ark.

The band opened their encore set with a cover of Tex Ritter’s Oscar winning ““High Noon (Do Not Forsake Me).” Robbie said this was their first time performing the number and the arrangement was little more than his vocals and Sly pounding out the Bo Diddley beat on his bass drum. They closed with “Welcome to Jamrock,” which after several minutes somehow morphed into a gentle jazz saxophone solo. After saying good night, half the ensemble left the stage. Seemingly oblivious, the saxophone and keyboard players and guitarist played on, lost in the rhythm.