Posts Tagged ‘John Paul Jones’

Believe It or Not: Them Crooked Vultures

51F85-jSR3L._SCLZZZZZZZ_[1]Have you ever played that game with your friends where you cherry-pick musicians from various bands to create your own hypothetical supergroup?  Them Crooked Vultures come right out of those rock and roll fantasies to knock you on your ass, teabag you into submission, and leave you begging for more. The combination of Josh Homme, Dave Grohl, and John Paul Jones sounds just like you’d expect, if what you expect is the sound of those blurry moments between last call and first orgasm. It’s dark, dirty, tastes like sweat, and smells like cigarettes.  It’s sex you know you shouldn’t be having, somewhere you shouldn’t be having it.

Them Crooked Vultures is all about the rhythm, which makes the 13 tracks on their debut perfect for those late night after-bar booty calls, cruising with the windows down and the subwoofer cranked, or even just a night at home with bong rips and headphones. Homme has always been at his best working in riffs, and with this dream team rhythm section behind him, the trio locks into a groove and dares you to try to hang on. I wish I was a rapper, because I’d be sampling the shit out of this album, especially the beginning of “Elephants” or the moment in album opener “Nobody Loves Me & Neither Do I” when it seems like they kick everything up to 11 and march the song into a different realm for the second half before turning things over to Grohl to finish it all off with an insane John Bonham-esque finale. The Hammer of the Gods references are inevitable with Jones on board, but T.C.V. isn’t your momma’s Led Zeppelin, unless your momma likes to mix shrooms with her 8 balls and whiskey, take off her top, and dance way too fast to “No Quarter.” (more…)

Rock Court: The People vs. Eric Clapton

Rock Court

For the prosecution: Mojo Flucke, Ph.D.

Ladies and gentlemen of the jury, the prosecution will prove that Eric Clapton has committed numerous crimes against rock, namely:

• Making music way more derivative than legally permissible for a rock god
• Exploiting fans by releasing milquetoast pap
• Squandering monstrous talent

Clapton is not God, contrary to the Islington graffito proclaiming it during his tenure in John Mayall’s Bluesbreakers. He is, however, an excellent blues mimic, taking compositions like Robert Johnson’s “Crossroads,” William Bell and Booker T. Jones’ “Born Under a Bad Sign,” and for Mayall, Freddie King’s “Hideaway.” He can derive like few others on earth, in a musical milieu where creatively covering other compositions is the best way to connect with the audience.

Yet great blues musicians contribute at least one or two original compositions–or the definitive interpretation of someone else’s song–to the canon of blues standards. B.B. King has “The Thrill Is Gone” and “Every Day I Have the Blues.” Junior Wells, “Messin’ With the Kid.” John Lee Hooker, “Boogie Chillen’,” “Boom Boom” and “One Bourbon, One Scotch, and One Beer.”

Clapton’s got nothing. “Layla” is known for its innovative coda written by Domino Jim Gordon and a legendary main riff written and co-performed by Duane Allman. “Sunshine of Your Love” was co-written by all three members of Cream. Its undisputedly legendary guitar solo opens not with an original Clapton-improvised phrase, but the melody from “Blue Moon.”

Left to his own devices, Clapton churns out total dreck. There’s a lot to choose from; I’ll keep it brief by offering the “greatest whiffs” from three different decades: (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…)

The Popdose Interview: Sara Watkins

51rxpqa2bmxl_sclzzzzzzz_1Ever since George Clooney lip-synched his way through Dan Tyminski’s version of “I am a Man of Constant Sorrow” in the Coen Brothers’ O Brother Where Art Thou, Bluegrass and American Roots music has enjoyed a mini-renaissance, with venerable old lions like Bill Monroe, Earl Scruggs and Doc Watson, and current artists like Alison Krauss, Gillian Welch, Norman Blake and the Old Crow Medicine Show being exposed to a far wider audience.

Riding the crest of that wave was Nickel Creek. A young trio which wedded strong instrumental and vocal technique and bluegrass sensibilities to modern pop music (their short career included covers of songs by Pavement and Britney Spears, a tour with Glen Phillips of Toad the Wet Sprocket in a “supergroup” called Mutual Admiration Society, and a tour opening for Fiona Apple and serving as her backup band). Nickel Creek went on indefinite hiatus a few years ago, leaving one of its members, fiddle player Sara Watkins, without a regular gig. Sara has now returned with her eponymous debut solo album, produced by John Paul Jones and featuring a veritable who’s who of the roots/folk/bluegrass scene. All of this is to say, if you enjoy roots music and bluegrass, and have not yet heard Sara Watkins, you should most definitely check her out.

Sara was kind enough to speak with us about her solo record on May 29. In addition to educating me on the existence of something called a Hardanger Fiddle, she spoke about her songwriting process, her other projects, the differences between being a member of Nickel Creek and a solo artist, and showed what I consider to be a remarkable degree of humility with respect to her own talent. (more…)