Somewhere back in the archives I talked about stand up comedy. Some comically-inclined fellows and I did a tribute show a couple years back showcasing our favorite comedians whose work inspired our developments. The sketches included Johnny Carson and Jack Webb's "Copper Clappers", Slovin and Allen's "Time Machine", Ron White's "Coup-ins", Louis CK on deer and wealth, and Newhart and Mo Collins "Stop It".
When it comes to consistently entertaining comedy I fine my favorites are Bob Newhart, Eddie Izzard, Chris Rock, Bill Hicks, Tim Minchin. I enjoy the stylings of the Smothers brothers, George Carlin, Bill Cosby and Robin Williams.
I don't care for Richard Pryor, Eddie Murphy, Mort Sahl, Rodney Dangerfield, and others I'm sure.
Why I prefer one over the other I can't quite say. Part of it has to do with the freshness of the material. Lenny Bruce was, I know, revolutionary. But his jokes are so tied to his times and cultural references of his world that they don't age well.
Timing and delivery is part of it, and is a bit determined by personal tastes. I think John Cleese is masterful in Fawlty Towers, but I can't watch Ricky Gervais in The Office.
Lucille Ball makes me yawn, but Groucho Marx makes me laugh. Jon Carroll said that everything is funny. This, he elaborated, does not mean everything is funny for everyone, but that anything you can think of is funny to someone. My preference for Newhart over Phil Silvers or Buster Keaton over the three stooges is personal, not objective.
("Niagara Falls" is pretty damned brilliant, though.)
Training students to be comedians, as I do, makes this immediately apparent. Some jokes make my students laugh, sometimes only I'm laughing. Some bits make everyone laugh, though. I have begun to study which bits get everyone to laugh.
Often it is what John Wiswell describes when he gives the example of two scenarios involving a driving test. In one version the driving test doesn't go well, and an argument erupts between the instructor and student. The other version has the instructor kidnap the student and hold him for ransom for bizarre and paranoid reasons. Both may be fertile comic soil, yet the latter is possibly better for universal appeal due to its being unexpected and outrageous (which are oft conflated but not synonymous).
"What is it?"
What a wonderfully ripe comedic question. 'It' can be anything: a tiger, a dildo, one million dollars cash, a creme pie. In constructing a comedic scene you need to pick which of these things would be unexpected and amusing without entering the realm of the absurd. Absurd humor is fine, and funny if done right, but is one of the more difficult genres to recreate on the stage. The wildest offerings of absurdist theatre still must preserve some internal cohesion to preserve their audience. If a man asks 'what is it?' and gets the reply 'a leopard' you have the basis for an entire movie script.
The humor can come from silence, action, sounds, and reactions. What else is there for the actor to manipulate? Humor is societal. If a man burps after a meal on stage in America there may be comic appeal. In other countries it's merely a compliment to the chef. If what you do on stage is unexpected in society, and benign, you are likely creating comedy.
Then again, it need not be benign. Many find 'dark' humor in scenarios which, if recreated off-stage, would horrify us. Dr. Strangelove, if a reflection of reality, would be as monstrous as fluoridation. Infanticide is both tragic in reality, and the source of an entire category of jokes.
Recently I've been interested in the trend in American comedy to make the mundane humorous. I'm not sure what is driving this movement, but cannot help notice many others understand the appeal. I don't. But why I don't, I'm not quite sure.
Friday, January 22, 2010
Wednesday, January 13, 2010
Woo!
Albums I obsessed over in 2009:
The College Dropout by Kanye West
It really did change hiphop. The beats were nothing new, but you couldn't get around them. The lyrics were witty an interesting. The instrumentation and sampling was well-done. As concept albums go hiphop has tried a few times, but this proves to be my favorite.
Illinois by Sufjan Stevens and Fox Confessor Brings the Flood by Neko Case
Reviewed these back in August. Both are sonic treats.
Loveless by My Bloody Valentine
This is my first foray into 'shoe gaze'. So far it has been incredibly rewarding. It reminds me of the sheets of sound from artists like Coltrane. I had to look up the lyrics, but the catchy hook of 'Only Shallow' pulled me into this album and the rest drove me along a catchy and occasionally profound-ish journey.
MTV Unplugged in New York by Nirvana
Like many Nirvana was, to me, a one-album band. I knew there was more than Nevermind but since Nevermind was never one of my great favorites I'd not bothered with the rest. This raw and moving concert showed me that Nirvana was more than amplifier and snarl.
Jagged Little Pill by Alanis Morissette
Roughly fifteen years later I finally got into the album my sister was listening to as I grew up. Part of the draw was the familiarity: I'd heard all of these songs so many times, they had already carved out solid neuron connections of familiarity and likableness. Anything I could add was said long ago.
Stop Making Sense by The Talking Heads
These guys always bugged me before. I didn't care for their sound, and as such didn't expect anything from this live album. But the infectious incredible energy and humour brought to this performance got me to like them. Maybe they just put too much sheen on their studio stuff. This I could dig.
Movies I obsessed over in 2009:
Cinema Paradiso
I'm a bit behind the times here, too.
This Italian movie tells the story of a projectionist and a director, and is enhanced, in my opinion, if you know a little something about Italian cinema in the first place. Nice love story, nice cinematography, nice plot. Frankly, one of the more twee movies I'll ever recommend.
Paprika
As anime goes, this is the peak. From Akira and Ninja Scroll through Miyazaki, Satoshi Kon and Ottomo's Steam Boy, I think this hits the nail on the head. This is what Eternal Sunshine of the Spotless Mind should have been.
Deals with: reality, dreaming, avatars, science and technological development, movies, ethics and change, love, etc. I've been humming it's theme for what feels like a lifetime. Expect great animation paired with a rarity in anime: character development!
La Dolce Vita
...And we're back to Italy. What can I say? It's not 8 1/2 but everything is superb: the director this time is looking on bemused by the antics of the rich and famous. Sort of a 1960's Rules of the Game. To be expected is top quality cinematography, acting, and wayward plot.
Soalris
The 1972 Russian three-hour sci-fi epic. Sound like fun? Kubrick would late make a similar movie in 2001 but this treats very different themes on humanity and consciousness. Again, warnings about the future and incomprehensible worlds out there, but unsurprisingly perhaps, the real monsters/terror/caution is ourselves. Oh sci-fi.
Grand Illusion
Musings on the French and German side about war lead to deeper musings regarding roles in history, roles of class, and the dying aristocracy after WWI. Really they're all just human. No, really. The war is actually depriving us of our humanity that we share. Where are you going...?
Books I obsessed over in 2009:
On The Road by Kerouac
Kerouac has always been a bit iffy for me. I knew more about his ideas in philosophy than the story of his ramblings and rovings. What could this travelogue teach that others don't? Yet the language style, the characters (thinly disguised) and Paradise's demeanor throughout are intoxicating and real. I think he captured something and created a new archetype in Dean.
Ulysses by Joyce
I had tried reading this a few times without success. Eventually I was just in the right mood, the right frame of mind, and devoured it in a couple of weeks. Once I acclimated to his language the narrative was so wonky and engrossing that it couldn't be escaped. Laying the Odyssey over it all was tremendous. I didn't get all the references, and maybe never will. But those I did were so well-included that my jaw was often literally open.
Answer to Job by Jung
Jung debates the most important book int he bible from a psycho-theological perspective. A must read for those interested in theology or religious psychology or history.
Swann's Way: First Part by Proust
The middle section of this bothered me. Yet the opening, regarding the narrator's childhood and memory, was a delight. Swann was less so.
Also: Huckleberry Finn and Jane Eyre by Twain and C. Bronte. Neither quite lived up to what I was hoping for, but both were an admittedly great read. So too Mendel's Experiments in Plant Hybridization which I'd wanted to read for quite some time. If you like science and genetics it comes highly recommended. For those who are really really into genetics and medicine I also had fun this year with Virchow's Cellular Pathology and Boveri's Origin of Tumours. But you kind of have to be into that sort of thing.
The College Dropout by Kanye West
It really did change hiphop. The beats were nothing new, but you couldn't get around them. The lyrics were witty an interesting. The instrumentation and sampling was well-done. As concept albums go hiphop has tried a few times, but this proves to be my favorite.
Illinois by Sufjan Stevens and Fox Confessor Brings the Flood by Neko Case
Reviewed these back in August. Both are sonic treats.
Loveless by My Bloody Valentine
This is my first foray into 'shoe gaze'. So far it has been incredibly rewarding. It reminds me of the sheets of sound from artists like Coltrane. I had to look up the lyrics, but the catchy hook of 'Only Shallow' pulled me into this album and the rest drove me along a catchy and occasionally profound-ish journey.
MTV Unplugged in New York by Nirvana
Like many Nirvana was, to me, a one-album band. I knew there was more than Nevermind but since Nevermind was never one of my great favorites I'd not bothered with the rest. This raw and moving concert showed me that Nirvana was more than amplifier and snarl.
Jagged Little Pill by Alanis Morissette
Roughly fifteen years later I finally got into the album my sister was listening to as I grew up. Part of the draw was the familiarity: I'd heard all of these songs so many times, they had already carved out solid neuron connections of familiarity and likableness. Anything I could add was said long ago.
Stop Making Sense by The Talking Heads
These guys always bugged me before. I didn't care for their sound, and as such didn't expect anything from this live album. But the infectious incredible energy and humour brought to this performance got me to like them. Maybe they just put too much sheen on their studio stuff. This I could dig.
Movies I obsessed over in 2009:
Cinema Paradiso
I'm a bit behind the times here, too.
This Italian movie tells the story of a projectionist and a director, and is enhanced, in my opinion, if you know a little something about Italian cinema in the first place. Nice love story, nice cinematography, nice plot. Frankly, one of the more twee movies I'll ever recommend.
Paprika
As anime goes, this is the peak. From Akira and Ninja Scroll through Miyazaki, Satoshi Kon and Ottomo's Steam Boy, I think this hits the nail on the head. This is what Eternal Sunshine of the Spotless Mind should have been.
Deals with: reality, dreaming, avatars, science and technological development, movies, ethics and change, love, etc. I've been humming it's theme for what feels like a lifetime. Expect great animation paired with a rarity in anime: character development!
La Dolce Vita
...And we're back to Italy. What can I say? It's not 8 1/2 but everything is superb: the director this time is looking on bemused by the antics of the rich and famous. Sort of a 1960's Rules of the Game. To be expected is top quality cinematography, acting, and wayward plot.
Soalris
The 1972 Russian three-hour sci-fi epic. Sound like fun? Kubrick would late make a similar movie in 2001 but this treats very different themes on humanity and consciousness. Again, warnings about the future and incomprehensible worlds out there, but unsurprisingly perhaps, the real monsters/terror/caution is ourselves. Oh sci-fi.
Grand Illusion
Musings on the French and German side about war lead to deeper musings regarding roles in history, roles of class, and the dying aristocracy after WWI. Really they're all just human. No, really. The war is actually depriving us of our humanity that we share. Where are you going...?
Books I obsessed over in 2009:
On The Road by Kerouac
Kerouac has always been a bit iffy for me. I knew more about his ideas in philosophy than the story of his ramblings and rovings. What could this travelogue teach that others don't? Yet the language style, the characters (thinly disguised) and Paradise's demeanor throughout are intoxicating and real. I think he captured something and created a new archetype in Dean.
Ulysses by Joyce
I had tried reading this a few times without success. Eventually I was just in the right mood, the right frame of mind, and devoured it in a couple of weeks. Once I acclimated to his language the narrative was so wonky and engrossing that it couldn't be escaped. Laying the Odyssey over it all was tremendous. I didn't get all the references, and maybe never will. But those I did were so well-included that my jaw was often literally open.
Answer to Job by Jung
Jung debates the most important book int he bible from a psycho-theological perspective. A must read for those interested in theology or religious psychology or history.
Swann's Way: First Part by Proust
The middle section of this bothered me. Yet the opening, regarding the narrator's childhood and memory, was a delight. Swann was less so.
Also: Huckleberry Finn and Jane Eyre by Twain and C. Bronte. Neither quite lived up to what I was hoping for, but both were an admittedly great read. So too Mendel's Experiments in Plant Hybridization which I'd wanted to read for quite some time. If you like science and genetics it comes highly recommended. For those who are really really into genetics and medicine I also had fun this year with Virchow's Cellular Pathology and Boveri's Origin of Tumours. But you kind of have to be into that sort of thing.
Friday, December 25, 2009
Top Ten Albums
Usually people take late December and earliest January to make 'best of' lists of the past year's stuff: political events, book, movies, music, inventions, discoveries, whatever.
Since I am hopelessly out of touch regarding current events here is an appraisal of the top ten albums of all-time.
If you want last year's movies check my sister's blog: http://feedmeacat.blogspot.com
1. Sgt. Peppers Lonely Hearts Club Band by The Beatles
No surprise here, and not without good reason: every track sounds ground-breaking compared to earlier efforts. Many like Revolver more, but this ain't their list.
2. Pet Sounds by The Beach Boys
The album that inspired 'Sgt. Peppers' was Brian Wilson's pet project (not where the title comes from, though) with usual incredible harmonies, this time paired with great soundscapes.
3. Highway 61 Revisited by Bob Dylan
Not my personal favorite Dylan (that would be Blood on the Tracks). Yet I am always lightly stunned when I put it on again and am hit by the snare that launches 'Like a Rolling Stone'.
4. What's Going On by Marvin Gaye
Politically conscious, great music. A league apart from his other work, and from Motown records in general, this album was seminal, and still flows and jives with incredible clarity.
5. Kind of Blue by Miles Davis
You can't say it was the big bang of jazz, that honor goes to Louis Armstrong. But this album might be the formation of the Milky Way. The new direction it paved would mark all other albums as pre- or post- Blue.
6. Live at the Apollo by James Brown
Best live album and best of James Brown. I've yet to hear any other album, on either regard, that can beat this one.
7. The Velvet Underground and Nico
The second-most important album from 1967, and arguably more important. While the banana album was barely received on it's release it has gone on to pave the way for the likes of many a hard-rocking or experimental band.
8. London Calling by The Clash
The best punk album ever, hands-down. The versatility, passion and effort on each track slam you into a new way of thinking about punk: sometimes the artists can play their instruments, and sing songs with meanings.
9. Astral Weeks by Van Morrison
A truly unique album. I've yet to hear anything comparable with this odd masterpiece of storytelling and almost free jazz recording. Morrsion is passionate and open, far from polished.
10. Are You Experienced? by The Jimi Hendrix Experience
Not the best Hendrix, perhaps (that might be Electric Ladyland) but impressive in that it showcases Jimi's prodigious abilities in shorter songs, without having to extend his playing to fifteen minute jam sessions. More tightly wound than usual, but a nice package.
Runner's up, not nearly as carefully planned:
11. Dark Side of the Moon by Pink Floyd
12. Innervisions by Stevie Wonder
13. Led Zeppelin IV (ZOSO) by Led Zeppelin
14. Purple Rain by Prince
15. The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie
16. Let It Bleed by the Rolling Stones
17. John Lennon by The Plastic Ono Band
18. Thriller by Michael Jackson
19. Blue by Joni Mitchell
20. Who's Next by The Who
Since I am hopelessly out of touch regarding current events here is an appraisal of the top ten albums of all-time.
If you want last year's movies check my sister's blog: http://feedmeacat.blogspot.com
1. Sgt. Peppers Lonely Hearts Club Band by The Beatles
No surprise here, and not without good reason: every track sounds ground-breaking compared to earlier efforts. Many like Revolver more, but this ain't their list.
2. Pet Sounds by The Beach Boys
The album that inspired 'Sgt. Peppers' was Brian Wilson's pet project (not where the title comes from, though) with usual incredible harmonies, this time paired with great soundscapes.
3. Highway 61 Revisited by Bob Dylan
Not my personal favorite Dylan (that would be Blood on the Tracks). Yet I am always lightly stunned when I put it on again and am hit by the snare that launches 'Like a Rolling Stone'.
4. What's Going On by Marvin Gaye
Politically conscious, great music. A league apart from his other work, and from Motown records in general, this album was seminal, and still flows and jives with incredible clarity.
5. Kind of Blue by Miles Davis
You can't say it was the big bang of jazz, that honor goes to Louis Armstrong. But this album might be the formation of the Milky Way. The new direction it paved would mark all other albums as pre- or post- Blue.
6. Live at the Apollo by James Brown
Best live album and best of James Brown. I've yet to hear any other album, on either regard, that can beat this one.
7. The Velvet Underground and Nico
The second-most important album from 1967, and arguably more important. While the banana album was barely received on it's release it has gone on to pave the way for the likes of many a hard-rocking or experimental band.
8. London Calling by The Clash
The best punk album ever, hands-down. The versatility, passion and effort on each track slam you into a new way of thinking about punk: sometimes the artists can play their instruments, and sing songs with meanings.
9. Astral Weeks by Van Morrison
A truly unique album. I've yet to hear anything comparable with this odd masterpiece of storytelling and almost free jazz recording. Morrsion is passionate and open, far from polished.
10. Are You Experienced? by The Jimi Hendrix Experience
Not the best Hendrix, perhaps (that might be Electric Ladyland) but impressive in that it showcases Jimi's prodigious abilities in shorter songs, without having to extend his playing to fifteen minute jam sessions. More tightly wound than usual, but a nice package.
Runner's up, not nearly as carefully planned:
11. Dark Side of the Moon by Pink Floyd
12. Innervisions by Stevie Wonder
13. Led Zeppelin IV (ZOSO) by Led Zeppelin
14. Purple Rain by Prince
15. The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie
16. Let It Bleed by the Rolling Stones
17. John Lennon by The Plastic Ono Band
18. Thriller by Michael Jackson
19. Blue by Joni Mitchell
20. Who's Next by The Who
Wednesday, December 16, 2009
Inductees
Rock and Roll Hall of Fame announced its inductees for the year:
ABBA - As I said before, no fighting this one.
Jimmy Cliff - Yay! I just got 'The Harder They Come' and it is a great album. Deserved for this contribution alone.
Stooges - YES! ABOUT DAMNED TIME.
The Hollies - Well, at least Nash will now be a double inductee like Crosby, Stills, and Young.
Genesis - Huh. Oh well.
Next Year's dream list: Gram Parsons, Kraftwerk, Roxy Music, Jeff Buckley, Jethro Tull.
ABBA - As I said before, no fighting this one.
Jimmy Cliff - Yay! I just got 'The Harder They Come' and it is a great album. Deserved for this contribution alone.
Stooges - YES! ABOUT DAMNED TIME.
The Hollies - Well, at least Nash will now be a double inductee like Crosby, Stills, and Young.
Genesis - Huh. Oh well.
Next Year's dream list: Gram Parsons, Kraftwerk, Roxy Music, Jeff Buckley, Jethro Tull.
Tuesday, November 10, 2009
Musicals
Some musicals are great to experience just as an album. Here are some examples:
A Little Night Music by Sondheim
Original Broadway Cast.
This musical waltzes through the 'Glamorous Life' of Norwegian aristocracy and their 'Liaisons'. Based on Bergman's Smiles of a Summer Night (one of my faves) this is full of Sondheim themes, reminding me at times of "Into the Woods" crossed with "Sunday in the Park". The songs are catchy and interesting. The over-played classic 'Send in the Clowns' seems fresh in this first take and in context of the story. Favorite tracks: 'Now Later Soon', 'Remember?', 'Weekend in the Country' and 'The Miller's Son'.
Stormy Weather by Everyone Who Was Anyone
Original Broadway Cast.
Cab Calloway, Lena Horne, Fats Waller, Bill 'Bojangles' Robinson. Plot? Who cares. This soundtrack to the 1943 musical has an amazing score, and if it had nothing else going for it that would be okay. The classic title track is still fabulous, as are the other tracks 'Ain't Misbehavin', 'Jumpin' Jive' and 'My, My Ain't That Somethin''.
West Side Story by Leonard Bernstein and Stephen Sondheim
Original Broadway Cast.
For a cooler kind of jazz "West Side Story" delivers the modern (1950's) Romeo and Juliet story with catchy tunes, lyrics and dance numbers. True, listening to the album won't give you the ballet experience, but listening to Bernstein's symphonic dances is still a treat. In the end Romeo, Tony, dies. Favorite tracks: 'Something's Coming', 'Tonight', 'Cool'.
My Fair Lady by Lerner and Loewe
1956 Broadway Cast.
Based on Shaw's "Pygmallion" Rex Harrison is Higgins: a man obsessed 'Why Can't the English' learn to speak? Julie Andrews, flower girl Doolittle, is taught to speak like a duchess. A peculiar romance entwines the pair as Doolittle softens from hating to loving the man who seems capable of only loving himself. Favorite tracks: 'I'm an Ordinary Man', 'Just You Wait', 'On the Street Where You Live', 'Show Me'.
Perhaps I'll add more later as I find more of this caliber.
A Little Night Music by Sondheim
Original Broadway Cast.
This musical waltzes through the 'Glamorous Life' of Norwegian aristocracy and their 'Liaisons'. Based on Bergman's Smiles of a Summer Night (one of my faves) this is full of Sondheim themes, reminding me at times of "Into the Woods" crossed with "Sunday in the Park". The songs are catchy and interesting. The over-played classic 'Send in the Clowns' seems fresh in this first take and in context of the story. Favorite tracks: 'Now Later Soon', 'Remember?', 'Weekend in the Country' and 'The Miller's Son'.
Stormy Weather by Everyone Who Was Anyone
Original Broadway Cast.
Cab Calloway, Lena Horne, Fats Waller, Bill 'Bojangles' Robinson. Plot? Who cares. This soundtrack to the 1943 musical has an amazing score, and if it had nothing else going for it that would be okay. The classic title track is still fabulous, as are the other tracks 'Ain't Misbehavin', 'Jumpin' Jive' and 'My, My Ain't That Somethin''.
West Side Story by Leonard Bernstein and Stephen Sondheim
Original Broadway Cast.
For a cooler kind of jazz "West Side Story" delivers the modern (1950's) Romeo and Juliet story with catchy tunes, lyrics and dance numbers. True, listening to the album won't give you the ballet experience, but listening to Bernstein's symphonic dances is still a treat. In the end Romeo, Tony, dies. Favorite tracks: 'Something's Coming', 'Tonight', 'Cool'.
My Fair Lady by Lerner and Loewe
1956 Broadway Cast.
Based on Shaw's "Pygmallion" Rex Harrison is Higgins: a man obsessed 'Why Can't the English' learn to speak? Julie Andrews, flower girl Doolittle, is taught to speak like a duchess. A peculiar romance entwines the pair as Doolittle softens from hating to loving the man who seems capable of only loving himself. Favorite tracks: 'I'm an Ordinary Man', 'Just You Wait', 'On the Street Where You Live', 'Show Me'.
Perhaps I'll add more later as I find more of this caliber.
Sunday, November 8, 2009
Live Album Round-Up
As my music collection steadily grows I thought I'd take a moment and praise my top ten live albums.
Dream Letter: Live in London, by Tim Buckley
This is one of my favorite albums, period. Tim Buckley was a folk singing troubadour who is here captured at a decisive moment when he was mixing folk with jazz and rock. His band is minimal and his voice soars. If you are only familiar with his son Jeff Buckley's work I highly recommend this album as an introduction to the father.
Live at the Apollo, by James Brown
Many consider this the greatest live album of all time, and it is easy to see why. Brown whips the crowd into a frenzy with long jams and pleading medleys. The material is from Brown's earlier catalogue, and is a perfect showcase for 'the hardest working man in show business.'
At Fillmore East, by The Allman Brothers
For those who love the electric guitar Duane Allman was one of the undisputed masters. This collection of their best pieces from the last Fillmore concerts before closing highlight Duane's amazing technique in extended, but not repetitious, sessions.
At Folsom Prison, by Johnny Cash
Even more so than 'Apollo', this performance has the best crowd interaction. The inmates at Folsom Prison "roar their approval" as Cash presents a bill of songs about prison, love, standards, and some songs even written by the prisoners in the audience. Cash's songs, empathy, and humor makes the whole album excellent.
Carnegie Hall Concert of 1938, by Benny Goodman
This was the first time, ever, that jazz would be played in a venue like Carnegie Hall. The idea was new, but the best possible band for the job ensured that this would not be Carnegie's last jazz concert (see the great Thelonious Monk and John Coltrane live album at Carnegie, for example). The best big-band swing sound keeps the audience clapping through the amazing finale of 'Sing Sing Sing'.
MTV Unplugged in New York, by Nirvana
Okay, so Cobain was actually secretly amped. Still. This set was done in one marvelous take with a selection of some of Nirvana's lesser-known material and covers by Bowie, the Meat Puppets and other bands you may not have heard of. It is, to my mind, a vocal performance. Cobain's raw and passionate voice is the draw.
Live at Leeds, by The Who
The Who could create a great studio album, but this offering shows their legendary live prowess. Covering their classics ('Magic Bus', 'My Generation') and a long section of 'Tommy' they turn up the amps and start to forge what would become arena rock.
Live at the Regal, by BB King
BB King seems to disagree with most people that this is his best live work. As a blues set goes this short recording packs an amazing punch. King is in great form as a singer and guitar player, and the crowd is wildly enthusiastic.
Europe '72, by The Grateful Dead
The Dead had to make an appearance on any 'live album' list. This collection taken from a few different venues and countries on their European tour is a great collection of classic Dead jamming and covers some of their best material.
Ellington at Newport, by Duke Ellington
This live album rejuvenated the band leader's career. For many years this 'live' album was actually a studio cut made to sound live. Recently the original live tapes were found and now the two cuts, live and studio, come packaged together. The Newport Jazz festival boasts many classic jazz shows and artists, but for pre-Miles jazz this is an excellent show.
Honorable Mentions: Highlights from the Plugged Nickel, by Miles Davis; Thelonious Monk Quartet with John Coltrane at Carnegie Hall; Live at the Harlem Square Club, by Sam Cooke; Royal Albert Hall, by Cream.
Dream Letter: Live in London, by Tim Buckley
This is one of my favorite albums, period. Tim Buckley was a folk singing troubadour who is here captured at a decisive moment when he was mixing folk with jazz and rock. His band is minimal and his voice soars. If you are only familiar with his son Jeff Buckley's work I highly recommend this album as an introduction to the father.
Live at the Apollo, by James Brown
Many consider this the greatest live album of all time, and it is easy to see why. Brown whips the crowd into a frenzy with long jams and pleading medleys. The material is from Brown's earlier catalogue, and is a perfect showcase for 'the hardest working man in show business.'
At Fillmore East, by The Allman Brothers
For those who love the electric guitar Duane Allman was one of the undisputed masters. This collection of their best pieces from the last Fillmore concerts before closing highlight Duane's amazing technique in extended, but not repetitious, sessions.
At Folsom Prison, by Johnny Cash
Even more so than 'Apollo', this performance has the best crowd interaction. The inmates at Folsom Prison "roar their approval" as Cash presents a bill of songs about prison, love, standards, and some songs even written by the prisoners in the audience. Cash's songs, empathy, and humor makes the whole album excellent.
Carnegie Hall Concert of 1938, by Benny Goodman
This was the first time, ever, that jazz would be played in a venue like Carnegie Hall. The idea was new, but the best possible band for the job ensured that this would not be Carnegie's last jazz concert (see the great Thelonious Monk and John Coltrane live album at Carnegie, for example). The best big-band swing sound keeps the audience clapping through the amazing finale of 'Sing Sing Sing'.
MTV Unplugged in New York, by Nirvana
Okay, so Cobain was actually secretly amped. Still. This set was done in one marvelous take with a selection of some of Nirvana's lesser-known material and covers by Bowie, the Meat Puppets and other bands you may not have heard of. It is, to my mind, a vocal performance. Cobain's raw and passionate voice is the draw.
Live at Leeds, by The Who
The Who could create a great studio album, but this offering shows their legendary live prowess. Covering their classics ('Magic Bus', 'My Generation') and a long section of 'Tommy' they turn up the amps and start to forge what would become arena rock.
Live at the Regal, by BB King
BB King seems to disagree with most people that this is his best live work. As a blues set goes this short recording packs an amazing punch. King is in great form as a singer and guitar player, and the crowd is wildly enthusiastic.
Europe '72, by The Grateful Dead
The Dead had to make an appearance on any 'live album' list. This collection taken from a few different venues and countries on their European tour is a great collection of classic Dead jamming and covers some of their best material.
Ellington at Newport, by Duke Ellington
This live album rejuvenated the band leader's career. For many years this 'live' album was actually a studio cut made to sound live. Recently the original live tapes were found and now the two cuts, live and studio, come packaged together. The Newport Jazz festival boasts many classic jazz shows and artists, but for pre-Miles jazz this is an excellent show.
Honorable Mentions: Highlights from the Plugged Nickel, by Miles Davis; Thelonious Monk Quartet with John Coltrane at Carnegie Hall; Live at the Harlem Square Club, by Sam Cooke; Royal Albert Hall, by Cream.
Sunday, November 1, 2009
Redding and Cooke
I'm not a tremendous fan of either Otis Redding or Sam Cooke.
Otis Redding is best known for his posthumous single "Sittin' on the Dock of the Bay". Since the song is about my town I feel some connection to it, and its popularity bespeaks to some extent the emotional connection many feel when listening to it.
Redding's best album, essentially universally acknowledged, is 'Otis Blue: Otis Redding Sings Soul'. This album is very good, but has always bugged me. See, out of 11 tracks Redding wrote: 2 and a half. That's a bit of a discrepancy. Most of his songs were covers of tracks by the likes of BB King, The Rolling Stones, Smokey Robinson, or Sam Cooke.
Cooke appears three times on the album, more than anyone else. Redding was a huge fan of Cooke's and covered some of his best-known songs on the album: "Shake", "Wonderful World", and Cooke's masterpiece, "A Change Is Gonna Come".
Then again, everyone used to cover, and the number of folks who covered the latter is quite high. So I shrugged it off.
Besides, Redding was known for his gravelly voice and pleading style while Cooke had a voice with a smoothness far surpassing silk. In that regard I figured Redding's covers were fine: his vocal talents are so different from Cooke's that it is almost like listening to a unique song.
But they weren't actually that different.
For the past few weeks I've been listening to "Sam Cooke Live at the Harlem Square Club, 1963". For a live album the energy is pretty good, but not comparable to Brown's live album the year before. The performance is in Miami. As the liner notes say, and I must wholeheartedly agree, "It's a different Sam Cooke." Sam is feeling the deep soul. And his voice?
Pleading and gravelly.
I was stunned. He was out-Redding Redding. Why?
The simple truth was stark and unavoidable: Redding knew Cooke personally, and must have seen and heard him live. Cooke wasn't imitating Redding, Redding was imitating Cooke; so much so that he even copied Cooke's voice. It just wasn't the voice most listeners knew.
Most who listen to Cooke know his studio cuts, but this live performance, while not amazing, is very telling. It reveals a new angle to the performer and helps clarify the sound distinction between the legend and his protege, Otis Redding. They say imitation is the sincerest form of flattery. In that case Redding was the greatest flatterer of all.
I still listen to "Otis Blue", after all it is still a good album, but you can be sure that "The Harlem Square Club" has left me reevaluating just how 'great' an artist Otis was.
Otis Redding is best known for his posthumous single "Sittin' on the Dock of the Bay". Since the song is about my town I feel some connection to it, and its popularity bespeaks to some extent the emotional connection many feel when listening to it.
Redding's best album, essentially universally acknowledged, is 'Otis Blue: Otis Redding Sings Soul'. This album is very good, but has always bugged me. See, out of 11 tracks Redding wrote: 2 and a half. That's a bit of a discrepancy. Most of his songs were covers of tracks by the likes of BB King, The Rolling Stones, Smokey Robinson, or Sam Cooke.
Cooke appears three times on the album, more than anyone else. Redding was a huge fan of Cooke's and covered some of his best-known songs on the album: "Shake", "Wonderful World", and Cooke's masterpiece, "A Change Is Gonna Come".
Then again, everyone used to cover, and the number of folks who covered the latter is quite high. So I shrugged it off.
Besides, Redding was known for his gravelly voice and pleading style while Cooke had a voice with a smoothness far surpassing silk. In that regard I figured Redding's covers were fine: his vocal talents are so different from Cooke's that it is almost like listening to a unique song.
But they weren't actually that different.
For the past few weeks I've been listening to "Sam Cooke Live at the Harlem Square Club, 1963". For a live album the energy is pretty good, but not comparable to Brown's live album the year before. The performance is in Miami. As the liner notes say, and I must wholeheartedly agree, "It's a different Sam Cooke." Sam is feeling the deep soul. And his voice?
Pleading and gravelly.
I was stunned. He was out-Redding Redding. Why?
The simple truth was stark and unavoidable: Redding knew Cooke personally, and must have seen and heard him live. Cooke wasn't imitating Redding, Redding was imitating Cooke; so much so that he even copied Cooke's voice. It just wasn't the voice most listeners knew.
Most who listen to Cooke know his studio cuts, but this live performance, while not amazing, is very telling. It reveals a new angle to the performer and helps clarify the sound distinction between the legend and his protege, Otis Redding. They say imitation is the sincerest form of flattery. In that case Redding was the greatest flatterer of all.
I still listen to "Otis Blue", after all it is still a good album, but you can be sure that "The Harlem Square Club" has left me reevaluating just how 'great' an artist Otis was.
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