(Jorgen Angel/Redferns – courtesy of Pitchfork)
Have you ever noticed that the snare drum never quite hits usually in “Sunshine Of Your Love”? Maybe you have; Ginger Baker never would have assumed that you would expect something like that, given the circumstances. Circumstance is everything, and what you don’t notice can alternately end up killing you, or being the very reason you feel love.
Baker, best known as the drummer of Cream, passed away on Sunday at the age of 80. Anger and belligerence are as key to his story as they are to those of his dairy bandmates’, and Baker was perhaps the most prominent person that enabled the expansion of what we thought a rock trio could be. Getting Jack Bruce to run through a fuzz box helped, sure; throwing Ginger Baker as many drums and cymbals as he could handle, though, was the key revelation to tying the British blues rock push together.
(Public domain, hopefully? Let us know if this is a problem)
After the fact, he would simply refer to the performance as “beautiful” in an attempt to deflect accusations of controversy in the face of a divided nation. A few months after that, around the change of the calendar, he would roll out his true protest, the finest electric guitar symphony ever conceived, in what would end up being the only showcase for his talents that were actually on his terms. He would be dead within the year, nobody the wiser.
But in this moment, at 9 am the morning after the damn thing was supposed to end on the saturated grounds that were never as good as they looked on film long after the fact to the millions upon millions who were nostalgic for something that never was, he was free. He hoped only for as much as that for everyone else. Fifty years ago today, at right around the time this post is publishing, Jimi Hendrix played the longest set of his career at Woodstock, a sloppy, convoluted mess which nevertheless gave us an interpretation of “The Star-Spangled Banner” that has confounded and inspired ever since.
A funny thing about growing up with parents ceaselessly devoted to the music they like: after a certain point, the idea of a “soundtrack” to growing up dissipates, and you’re left with a pastiche of sounds that, without warning, can trigger any number of nostalgic thoughts years, even decades, later. You didn’t ask for this, but it’s what you got. You live with it, and eventually, hopefully, you become grateful for it.
Along with a handful of other artists, I don’t remember the first time I ever heard Tom Petty because he was always just there. Not to make an assumption on your behalf, dear reader, but I’ve got a feeling that, unlike most of the rest of them for me, you likely don’t remember the first time you heard Petty either. He’s always been there, for all of us, which made it all the more devastating when word officially came down late Monday night that Petty had passed away at the age of 66.
What is it that riles up the Gallagher brothers? The list of answers to that question are as extensive as the number of fans that fill the grounds at Knebworth in 1996, the framing device for the Oasis documentary Supersonic, which enjoyed a one-night U.S. debut Wednesday evening in cities across the country.
As several reviews noted ahead of time, Supersonic largely avoids anything from Knebworth onward, instead focusing its efforts on the Gallaghers’ childhood in a Manchester suburb, their shared musical ambitions and the eventual rise of Oasis while merely hinting at what falls outside of the film’s timeline. Despite this somewhat revisionist view – who among us in 2016 isn’t out to use filters to enhance away imperfections, real or perceived – the film is a compelling look at the most important, and self-important, British band of the mid-1990s.
Michael Ochs Archives/Getty Images
There’s a moment at the very beginning of “Sloop John B,” the closing track of the first side of the album but the first recorded for it, right after the initial glockenspiel tone, that acts as a sort of timeout, as if to give the listener a chance to breathe before launching into another lament. Critics have sometimes met the song, adapted from a Bahamian folk standard, with confusion, wondering where the tale of a doomed ship and its crew fits in alongside the other tracks on the album.
The album, of course, is the Beach Boys’ Pet Sounds, which was released fifty years ago today, originally to mixed reviews which have since gone almost entirely and overwhelmingly positive. Beyond critical reception, Pet Sounds has enjoyed the luxury of indelible influence, assuring its permanent place in the musical version of the United States’ Great books for its lush instrumentation, unthinkably cohesive vocals and relatively simple, ageless lyrics of hope, heartbreak, loyalty and alienation.
AP Photo/Kevork Djansezian
Unlike His Royal Badness himself, it came suddenly. A text message, then two, a tweet here, a trending Facebook post there, and then it was clear: As TMZ first reported, Prince Rogers Nelson, the ageless king, and queen, of your favorite musical style, had passed away suddenly at the age of 57. As the man himself once sang, everybody wants salvation, but we here at Tuesdays With Horry can’t (knowingly) give you that, so we’ve pieced together a few memories and thoughts on this diminutive genius who was larger than us all. Dig, if you will, our picture.
Photo by Masayoshi Sukita
I started getting misty at the top of the stairs. Somewhere in between dehydration and Mick Ronson’s ending licks on “Rock ‘N’ Roll Suicide,” I decided: this really sucks.
At the same time, my friend Hannah was texting her boyfriend the news: David Bowie has died from cancer. Her boyfriend’s first question: “Is Tommy going to be okay?” Tommy was huddled against 10 million strangers, trudging through the 9/11 Memorial on the walk to work, and weeping over an androgynous guitarist older than his father. Tommy was not okay.
It’s hard to explain such a visceral reaction to someone I have never met yet have grown up with like a family member. So I’ll start with the beginning.