soundstreamsunday #101: “Those Shoes” by the Eagles

eagles3The dark end of late 70s rock culture makes for strange bedfellows on the weekly infinite linear mixtape.  One week after Judas Priest released Unleashed in the East in September 1979, a career milestone kickstarting broad commercial success, the Eagles issued The Long Run, a (mostly) career-ending album that took too long to make, wore on too many nerves in a group of too many egos, and while feeling generally sapped of energy was still a giant hit.  Go figure.  They were a beloved band at the end of their (Seven Bridges) road.  But while the album may not have been as strong as its predecessor, 1976’s Hotel California, pieces of it shared qualities with those other California-centric, dark star rock albums of the era, Fleetwood Mac’s Rumours (1977) and Steely Dan’s Gaucho (1980).  The party goes unexpectedly wrong, and as night sets in the sparks that fly leave an even darker fringe.

The Long Run’s spark is “Those Shoes.”  As an airtight funk backs a story parallel to Judas Priest’s “Victim of Changes” — delivered with icy remove by Don Henley — Joe Walsh and Don Felder twine their talk-boxed guitars together in a dual attack as hard-hitting, in its way, as anything delivered by K.K. Downing and Glenn Tipton.  It’s the swing of it, still in the late 70s a rock’n’roll staple embraced by blues to punk, country to metal, and too soon largely abandoned by the harder end of rock, that moves both songs forward.  Just as Priest’s rhythm section, with Les Binks drumming, made you pump your fist and shake your butt, when the Eagles got down to business they were masters of the hard groove.  But this is no good times, party-on disco boogie.  The song’s power is multiplied by its downer lyric, a troubling view of the predator-prey club hookup scene, ringing at once with compassion, cynical chauvinism, and studious intention.  If it’s revealing of the seamier side of the west coast lifestyle as the 70s limped to an end, in it also is the last flash of a band who commanded the era.

soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section.

An enlightened musical journey: John Holden

2CD Wallet with Spine (slot cut).pdf

 

Now here’s an interesting thought to ponder. Out there in the home studios – namely the studies, spare rooms and sheds of the Western world and beyond, a legion of creatively inclined souls are currently working hard, writing, playing and developing compositions and songs, which, they hope, will be subsequently released to a wider audience.

Because of the miracles of modern technology and the close camaraderie that exists in the greater prog community, this initial concept can be taken a step further so that as well as making your own music, you can invite other artistes to provide their own contributions. I have seen countless examples of this taking place where the global village concept of music is now a reality rather than prophetic line from Marshall McLuhan in the early 60s.

This ease of connection has been key to John Holden, a multi-instrumentalist and composer from the north of England, following his star and capturing light for a musical project, which, in terms of dramatis personae, is right up there with any line-up Alan Parsons ever assembled.

Continue reading “An enlightened musical journey: John Holden”

Sarah McLachlan’s FUMBLING at 25

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1993’s FUMBLING.  One of the all-time great albums of the rock era.

Let me throw down the mother of gauntlets as I start this piece.

Of all the bands and artists I’ve seen perform live over my fifty years of life, no one has ever exceeded Sarah McLachlan in intensity and performance.  And, yes, I’m comparing her to Rush, to Yes, to Tears for Fears, to Neal Morse, to Kansas, and to a whole host of others.  I’ve seen McLachlan numerous times, and I’ve yet to see anyone give as much as she does.

She gives every single thing she has, and she always has.

There.  The gauntlet has been thrown down.

Sadly, too many readers—and, undoubtedly, progarchy readers—know her for her somewhat sappy and quasi-ideological songs from the late 1990s and after.

Yet, to look at her first three studio albums is to see an artist as artist, an artist before the fame, an artist who knew and loved the art, an artist who simply wanted to become one with her art.  No angels, no building mysteries, and nothing fallen.  Just pure intensity–an artist, her heart, her soul, her words, her bandmates, her engineer, and her producer.

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McLachlan’s first, TOUCH (1989).

McLachlan’s first album, 1989’s TOUCH, remains a delicate masterpiece, fragile yet held together invincibly by sheer force of honesty.  Just in her 20s, she already offered the Canadian equivalent of Mark Hollis on this album, full of proggy pop worthy of XTC and Tears for Fears.  Indeed, TOUCH—with its piano and 12-string guitars—might very well have been the perfect mix of Hackett-era Genesis and later Talk Talk.  Though each song on TOUCH is a pop song, the album as a whole is a prog album, having created the most coherent and unique of atmospheres.

Continue reading “Sarah McLachlan’s FUMBLING at 25”

SPOCK’S BEARD announce new album ‘Noise Floor’

SPOCK’S BEARD announce new album ‘Noise Floor’

SPOCK’S BEARD announce new album ‘Noise Floor’


— Read on therockinchairblog.wordpress.com/2018/03/01/spocks-beard-announce-new-album-noise-floor/

Stay Classy, Prog Community

Stay Classy, Prog Community

Stay Classy, Prog Community


— Read on theprogmind.com/2018/03/02/stay-classy-prog-community/

I don’t know the band or the controversy, but, as usual, Prog Mind seems to nail a problem-our ridiculous sense of entitlement.

Haunted by Camille Saint-Saëns’ “Organ Symphony” — The Imaginative Conservative

Camille Saint-Saëns’ Symphony No. 3 has so many distinct and wonderful flavors, it just amazes me. And the first movement is so vibrant, unexpected, cinematic. The second movement utterly transports me… 1,136 more words

via Haunted by Camille Saint-Saëns’ “Organ Symphony” — The Imaginative Conservative

Lake Street Dive – Good Kisser [Live Performance] @lakestreetdive

Great news… Lake Street Dive has a new album coming out May 4th!

Not only that, but now I will get a chance to see them live again, this time at the famous Commodore Ballroom in downtown Vancouver!

Come and join me, y’all…

Not only are they brilliant songwriters, they also do the greatest covers you have ever heard. Check out their “Bohemian Rhapsody,” and their “Walking on Broken Glass,” and also this gem:

Chris Cornell/Johnny Cash song released: “You Never Knew My Mind”

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This May will mark a year since Cornell took his life after a Soundgarden show in Detroit; now there is a new song from the late, legendary singer. Titled “You Never Knew My Mind,” it is the first single from a tribute album—Forever Words—to Johnny Cash. Each of the songs (other artists include Elvis Costello, Jewel, Rosanne Cash, Brad Paisley) features words from poems and lyrics by Cash set to new music. Here is Cornell’s song:

And here is video of Cornell recording the song and talking about his deep admiration for Cash.

The admiration was mutual, as Cash, in 1996, recorded a fabulous cover of Soundgarden’s powerful 1991 song “Rusty Cage”:

When I saw Cornell in concert here in Eugene, Oregon, in the summer of 2016, Cornell sang “Rusty Cage” in the same galloping, country-fied style as Cash, in homage.

Bill Bruford Tours Again! (Academia, That Is.)

From Bill Bruford’s website:

Further dates have been added to Bill’s series of talks on creativity in music performance … The trip ends appropriately enough in Cleveland, OH, at the Rock and Roll Hall of Fame for this recent inductee. Just to clarify: excepting the R&R HoF, these talks are gently academic in nature and not about Bill or his career per se. He will not be performing, but he is happy to autograph a book and one other item only, should that be requested.

Dates are as follows:

  • March 5th: 5.00-6.30 pm. Rhythmic Music Conservatory, Copenhagen, Denmark.
  • March 8th. 7.00-9.00 pm. Rockheim National Museum of Popular Music, Trondheim, Norway.
  • April 10th: 2.45 pm. University at Albany, NY (uptown campus), Performing Arts Center (PAC) B-78. Visitors should park at one of the two visitor lots. Free admission.
  • April 11th: 3.00 pm. SUNY Oneonta, Oneonta, NY. Fine Arts Center M201, Ravine Parkway, Oneonta. Free admission.
  • April 13th: 4.00 pm. Onondaga Community College, 4585, W Seneca Turnpike, Syracuse NY. Classroom (P110) in the Academic II building. Free admission.
  • April 16th: 4.00 pm. University at Buffalo, Buffalo, NY. Baird Recital Hall. Free admission.
  • April 17th: 7.00 pm. University of Michigan, Ann Arbor, MI. Watkins Hall, School of Music, Theater & Dance. Free admission.
  • April 18th: 11.30 am. Kelvin & Eleanor Smith Foundation Ballroom C, Tinkham Veale University Center, Case Western Reserve University, Cleveland OH. Free admission.
  • April 18th: 7.00 pm. Rock and Roll Hall of Fame, Cleveland OH. Admission $10.

Continue reading “Bill Bruford Tours Again! (Academia, That Is.)”

Odd Fellows Rest

At New Orleans moderate temperatures, 70s Black Sabbath and hardcore punk riffs are known to fuse, forming what we now know as sludge. Crowbar simply crystallized it into a grinding atmospheric doom. It’s downtuned to the abyss and propelled by stocky hardcore punk riffs, usually dragged out to its limits. Rare bluesy strumming and more than adequate raspy vocals – “Slave to no one but your misery. Broken man lies where you used to be” – adds to the essential low. But even at this bleak pace, anyone can easily sense the grinding force that Crowbar inflicts.

These thoroughly grayed out hues may not be everyone’s delight. Crowbar’s creations are essentially tailored – to just fit into the two percentile of the brooding end of the emotional spectrum. But, if gloom is what you seek, ‘Odd Fellows Rest’ is splendid company.

Image Attribution:
Nonexyst [CC BY-SA 4.0], via Wikimedia Commons