Posts Tagged ‘Guitar’

Dw. Dunphy On… The Easy Way Out

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I was over a friend’s house recently when his son burst into the living room proclaiming he was going to start a rock band with his friends. It was a scene I participated in many times during my youth, the thrill of the larger-than-life expectations undiminished yet by that dreaded “real world.” Being a supportive “uncle” I offered to show him some guitar chords and a few tricks he could probably get by with. Lord knows how some of these golden fakes served me.

The young boy looked at me with the most quizzical eyes, as if I had just recited The Iliad in Esperanto while standing on my head. “What are chords?” he asked.

“He’s talking about forming a ‘Rock Band’ band, not a real band,” his father confided to me. The boy gnashed his teeth and spun out of the room, infuriated by his father’s distinction. Yes, this kid was talking about forming a digital equivalent of a band with his friends through his X-Box, not the actual process of writing and performing songs but, in his mind, the two were one and the same. “Don’t be offended. He gets like that lately.”

I found the whole concept depressing. A few generations ago, the story went that The Velvet Underground weren’t huge but everyone who saw them play formed their own band. Although Nirvana was a lot more successful, they too spawned a legion of guitar slingers with this notion that it could be done. The thought that those days were past us and now the act of creativity was relegated to just as much vector spaceships spinning to blast ‘asteroids’ weighed heavily on me for a good long while. I’m not alone in this either. By doing a little reaseach – well, okay, more like a little web-surfing – I’ve found an undercurrent voicing this same opinion, that creative, artistic expression is slowly being co-opted by facsimile. Some go as far as dubbing it “art porn” though that may be too harsh. (more…)

Caught on Tape: Slash and Burn

slash[1]The interview is set for 2:00 PM. At a quarter ‘til, the black hat, cascading curls, and nose ring saunter through the management office’s front doors. The receptionist raises eyes from a computer monitor and is momentarily stuck to her chair. She fights through the inertia of awe and approaches. Her hand is extended tremulously, but Slash ignores the shake and encloses her in a friendly embrace. He sees me sitting on the couch, walks over, and shakes my hand heartily. He even apologizes for being late when he’s 15 minutes early.

This is who Slash is. He understands the importance of keeping business appointments and hugging the people who work for you. Twenty years ago, back in ’87, when he recorded Guns N’ Roses’ debut, Appetite For Destruction, he set in motion the ritual beheading of the ’80s metal hair bands. With Velvet Revolver, he has synthesized the electric blues and R&B raunchiness of the Stones and Aerosmith and almost single-handedly brought about the Renaissance of the Les Paul.

At that moment in time, he made the transition from guitar player to Guitar Player God. With the metamorphosis came perks – engorged bank accounts and burning hot stripper girlfriends. Through it all, though, one thing stayed constant: His love for the guitar. He loves playing them and talking about them, and when we finally made our way to one of the conference rooms, that’s exactly what we did.  (more…)

Caught on Tape: Jimmy Page and the Plane Truth

jimmy002_silverdome-april1977[1]Chicago, Illinois, April 1977 — I knew what I was in for ten seconds after Guitar Player said to me: “We want you to interview Led Zeppelin.” My head filled with the clarion call of screaming guitars and in a moment of epiphany I saw it all: Jimmy Page would be my touchstone. Every story I’d ever written or ever would write would be measured against this one.

“Screw this up,” I also remembered muttering to myself, “and the closest I’ll ever get to another guitar player is looking at his picture on the cover of an album!”

I silenced the voice and plodded ahead. GP had only made one cursory call to Zeppelin’s record company offices in New York, and had left the rest up to me. I contacted Swan Song immediately. The baton had been passed and I ran with it like Forrest Gump.

“Run, Rosen, Run!”

What I thought would be a sprint turned into a marathon.

The next seven months were devoted to making phone calls and leaving messages. Dealing with Zeppelin’s demands and strange requests became a daily ritual. In many ways, they may have been testing my resolve, some sort of acid test meant to reveal just how truly motivated I was. (more…)

Live Music: Akron/Family @ Union Pool, 3/29/09

Akron/Family @ Union Pool“Everyone is guilty,” Akron/Family sang at their second gig at Union Pool, but if their performance was any indication, that fact isn’t getting to them.

The bi-city band, based in New York as well as Williamsport, Pennsylvania, was full of whimsical energy Sunday night as they surged through an 11-song set without so much as a pause. Song bled into song, the transitions carried by any combination of the nine people on stage. Of those nine, three drive the madness that is Akron/Family – Seth Olinksy (guitar), Miles Seaton (bass) and Dana Janssen (drums). They have their primary roles, but much like a freak-folk version of Broken Social Scene, they’re all multi-instrumentalists, and vocal duties shift, with Olinksy usually taking the lead.

The set list focused on material from the band’s upcoming album, Set ‘Em Wild, Set ‘Em Free, due in May. But while music nerds often get stereotyped as creating highly conceptual and not always accessible music, Akron/Family found a place for it all. Shifting from lilting folk tunes like “The Alps & Their Orange Evergreen” and unexpected dance tune, “Ed Is A Portal,” Akron/Family interjected short, stylized jams in transitions, proving themselves adept at funk, prog, hardcore, whatever rock offshoot you can name. Olinksy would get an almost painful look on his face, as if he couldn’t stand it any longer, as though he had to play that next note or he might die.

Akron/Family, “Ed is a Portal” (download)

But as unafraid to fly their freak flag as they are, Akron/Family do so without alienating – quite the opposite, in fact, as they envelop the audience as often as possible, encouraging participation in a variety of ways. Olinsky ran into the audience to hand someone a drum. Seaton would rile up the crowd with exclamations like, “Move your ass!” Hand claps and sing-alongs were encouraged at every opportune moment. (more…)

Mojo’s Cold Shot: John Cephas, 1930-2009

Last summer, I gave y’alls a Cephas & Wiggins Cold Shot that had no news peg, no current-events hook that made it relevant to that time, just a nice little cut to get you through the day and toss some props to one of my favorite traditional blues acts.

I am saddened to report that now, I’ve got that news peg: Guitarist John Cephas passed away this week. He was 78 years old.

John Cephas, in 1989

Cephas & Wiggins weren’t electric guitar heroes, they weren’t rock slaves. John Cephas played acoustic guitar in the Piedmont style, with the touch of an extraordinary folk talent and the love of a most devoted fan. Who were his biggest influences? Let him tell you in the spirited, autobiographical—at least he told me it was autobiographical in an interview I did with him once—song “I Was Determined,” from C&W’s Alligator album, Homemade. (more…)

Mojo’s Cold Shot: Los Lobos, “That Train Don’t Stop Here”

Los Lobos‘ 1992 album Kiko is nothing short of fabulous. A tour de force of primitive rhythms, Latino percussion, gorgeous acoustic and muddy electric guitars, and melodic variance of epic Sgt. Pepper scale. Oh, and the album’s punctuated with baritone saxophone, not a common rock flourish, at least since about 1962.

In other words, it’s pure genius. I might argue its a top-five, all-time album, next to the likes of Exile on Main Street and the aforementioned Pepper, if one caught me  in a mood to argue such things (or held a gun to my head). It’s that good.

Part of what makes the album tick is the Lobos’ willingness to dip into whatever musical style that suits each particular song and bust out of whatever typecast that came before in their recorded repertoire. That’s not easy, especially when it comes at the expense of defying audience expectations.

Drunken mariachi (”Rio De Tenampa”),  dusty acoustic folk (”Two Janes”), countrified rock (”Reva’s House”), and a half-dozen other styles find their way on to Kiko—including rockin’ blues of the pre-Cream style.

That brings us to today’s Cold Shot, “That Train Don’t Stop Here,” proving that blues can pop up in the same old places—or where it’s completely unexpected. Songs like this say to me that the blues is a living, organic form, and not just marooned on old 78s in the Smithsonian’s humidor.

In the title of its greatest-hits compilation, Los Lobos called itself “just another band from East. L.A.” I beg to differ—regardless of the humble beginnings, this band—and record—is one for the ages.

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Mix Six: “Oh So Middle School”

DOWNLOAD THE FULL MIX HERE

Do you remember you middle school years?  For old codgers like me, middle school was called “junior high” and yes, it was also den of conflicting emotions, big changes in bodies, self-awareness,  crushes, and for some, the beginning of a love affair with music that shaped one’s tastes for years to come.

My daughter is in the thick of it right now. Middle school friends, cliques, status symbols (Thank the cellphone gods I signed up for unlimited texting), fretting over hair, clothes, makeup, and gossiping about boys.  But music is very important to her as well.  I know she likes some of the music I enjoy, but that’s starting to change as she charts her own course and develops her own tastes that reflect her generation.

I gave her a texting assignment a few weeks ago, and it was pretty simple:  Have her friends text in three of their favorite songs, bands, or singers. She sent out a mass text to 20 of her closest friends, and most couldn’t peg a particular song they liked, but they sure had opinions on favorite band or singers.  There was a lot of overlap, and some editing by yours truly, but what follows is a pretty good unscientific sample of the middle school soundtrack in a San Francisco/Bay Area suburb.


“Fences,” Paramore (download)

Granted, this band has been around for a few years, but having a song featured on the Twilight soundtrack has propelled Paramore from “Yeah, they’re kind of cool” to the cusp of superstardom.  While many of their songs have an unremarkable pop/rock sound (to me, anyway), “Fences” stands out in part because of the infectious Cure/”Love Cats”-inspired bass line. (more…)