CD Review: "What Lies Beneath" - Robin Trower - Released 28 July 2009

Some musicians are excellent: some are outstanding. Robin Trower belongs to the latter category. During his long solo career Robin's feel for melody, musicality, passion, and rhythm has not deserted him. Despite decades of successful achievements - on record, and in performance - this album confirms he is still capable of searching for new and challenging musical horizons while retaining his own trademark sound.

The addition of strings, in particular, the cello, on some of the tracks give a a tonal warmth which is immediately appealing. The cello touches the heart and soul in ways other musical instruments are denied.

The qualities that make Robin's music an art which cannot be imitated - and shine throughout this recording - are its rhythmic pure sound; its warm, polyphonic textures; and, of course, Robin's mastery of the guitar: tone; chord inversions/extensions/voicings, vibrato; phrasing; melody; string bends, feedback, whammy-bar, improvisation, wah-wah, and feel.

Track Listing:

01. Wish You Were Mine (instrumental) 

A 'classic' hypnotic rhythm overlayed with Robin's warm guitar tones, feedback and whammy bar create an opening track of ethereal beauty. The interplay with strings (cello/violin) is captivating adding to the celestial mood.   The lead which kicks in at 1:37 is Robin at his finest.

02. What Lies Beneath 

The wah-wah introduction (its use throughout) and the recurring bass riff and sound give this song a solid depth and structure. After repeated listening Robin's voice suits this song, and most songs on the CD. At times, his voice sounds smoky, husky, conversational, but always impassioned, sincere.

03. As You Watch Each City Fall (part 1) 

Beautiful intro. Great melody interspersed with lyrical fill-ins. At 1:56 a new dimension is reached. The rich tapestry of sound is enhanced by the strings, and Robin's soloing and layered guitar parts. The tone of a strat never sounded better.

04. As You Watch Each City Fall (part 2) - (instrumental)

The plethora of sounds, guitar parts, bass, and drums combine to make this a instrumental a joy. Full of creativity; great arrangement. Magical.

05. Freefall 

This track sends shivers up and down my spine from start to finish. The tone of the main guitar is intense and powerful. The blend of Robin's vocals, the melody, the arrangement, bass and drums, combine to produce a classic track. Love the backing vocals ... Astounding.

06. Once The Spell Is Broken 

A song that contains a plethora of sounds including organ. The combination of a strong melody and a wonderful outro solo makes this one of the best songs on the CD. Moody and ambitious; amazing chorus.

07. Sleeping On The Moon 

Don't be fooled by the calm start to this song. Out of the calm comes a strong, passionate chorus (great harmonies). Then it goes up another gear when Robin breaks into incendiary solos at 1:36 and 2:34. Love the groove on the outro solo ...

08. Time and Emotion  (instrumental)

The organ and Robin's melodic guitar riffing and chord embellishments combine to make this a wonderful, atmospheric composition. Robin solos using all the techniques he has perfected since he started out as a professional musician. A sweet and passionate track.

09. Skin and Bone 

A track that appears to be going in one direction and takes different paths. A well-structured song with strong soloing. Great tone and Robin seems to be enjoying himself. The change at 2:10 makes for a welcome fade out were Robin is firing on all cylinders. A sound to behold, indeed.

10. Buffalo Blues  (instrumental)

The blues has played a large part in Robin's musical career and songwriting. This catchy, blues-driven instrumental - supplemented by organ - gives Robin the opportunity to play the blues as only he can. Some sweet lines and bends; seamless playing with incredible tone.

11. Find A Place

The chord voicings make this one of the best tracks on the CD. Robin's guitar parts are inspirational and melodic throughout and create a wonderful sound. A strong verse and chorus make this a great song. Robin's vocals sound completely in sync with the music. An exceptional closing track for the CD. Breathtaking outro.

Credits:

Robin Trower - Guitar & Vocals
Livingston Brown - Bass
Sam Van Essen & Chris Taggart - Drums
Roger Cotton - Organ
Andrew Haveron & Clare Hinton - Strings


Further details about What Lies Beneath at Amazon and trowerpower.com

Robin Trower - UK & European Tour - Sep/Oct 2010 - Venues and Dates

Rock And Roll Hall Of Fame 25th Anniversary Shows - 29/30 October 2009 - New York City: Jeff Beck & Billy Gibbons play "Foxy Lady" as a tribute to Jimi Hendrix

It was great to see Jeff Beck and Billy Gibbons performing "Foxy Lady" by Jimi Hendrix on the second night of this event with images of Jimi emblazoned on a large screen above the stage. Jeff and Billy both play solos, each sounding fantastic, highlighting their own guitar style, tone and licks. Jeff preformed a second song with Billy Gibbons: "Rough Boy" - (some of the finest soloing and guitar tone recorded - Eliminator, 1983) - beautiful song and solos (available on YouTube - embedded by request).

Jeff's set list included: "Drown in My Own Tears", "People Get Ready", "Freeway Boogie", "Cause We've Ended as Lovers", "Let Me Love You", "Big Block", "Rice Pudding", and "A Day in the Life".

On the first night Jeff Beck accompanied Stevie Wonder on "Superstition".

Album Review: "Valleys of Neptune" - Jimi Hendrix - Released March 2010

Everyday in the week I'm in a different city
If I stay too long people try to put me down
They talk about me like a dog
Talkin' about the clothes I wear
But they don't realise they're the ones who's square

                                                                  - Jimi Hendrix

I'm always cautious of posthumously released material from any artist. This album, however, confirms that Jimi Hendrix's music and art still has power, a story to tell, and will resonate for generations to come.  Jimi's premature death in London on Friday, September 18, 1970 sadly deprived the world of a musical genius.

While Jimi's career lasted less than four years, his music and guitar playing remain inspirational, unique, soulful, and relevant. Jimi pushed the boundaries of music creation, guitar playing, and performance to a limit which has never been surpassed by any other musician. Jimi remains the greatest, most innovative, and iconic guitarist of all time.

Eddie Kramer engineered most of Jimi's authorized recordings from Are You Experienced? to Hendrix in the West, and I'm glad to see he's involved in producing this album, together with John McDermott.

Track Listing:

Stone Free

Recorded: Record Plant, New York, April & May 1969

Vocal, Guitar: Jimi Hendrix

Bass: Billy Cox

Drums: Mitch Mitchell  

This reworking of "Stone Free" is intriguing for the hypnotic rhythmic variations Jimi uses to drive the song. The use of sliding octaves, pull-offs, string bending and Jimi's inventive approach to playing segments of songs differently throughout the recording enrich the take/recording. Jimi's vocals and phrasing are beautiful. His guitar tone is incredible. Words can't describe his explosive solo - full of melodic expression, passion, fire. Billy Cox's bass playing and tone is refreshing. I'm not surprised this is the first track on the album. The recording flows and Jimi sounds at ease and inspired.

Valleys Of Neptune

Recorded: Record Plant, New York, September 23, 1969; May 15, 1970

Vocal, Guitar: Jimi Hendrix

Drums: Mitch Mitchell

Bass: Billy Cox  

Beautiful chords, melody and Jimi in fine vocal form. It's such a great song that the absence of a solo, or further guitar parts, overdubs are not missed. The track has a transcendental feeling and is testament to Jimi's artistic gifts and his development as a songwriter. Love the fadeout.

Bleeding Heart 

(Elmore James)

Recorded: Record Plant, New York, April 24, 1969

Vocal, Guitar: Jimi Hendrix

Bass: Billy Cox

Drums: Rocky Isaac 

This up-tempo version of " Bleeding Heart" is a revelation. Jimi's singing and rhythm playing are only eclipsed by his electrifying solos; his use of wah is electrifying. Jimi and Billy dig deep into their R&B and blues roots to create an exceptional sound, vibe. A wonderful track.

Hear My Train A Comin'

Recorded: Record Plant, New York, April 7, 1969

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

The definitive version remains the superb 'live' version recorded/filmed at the Berkeley Performance Centre, California, on May 30, 1970. However, this version is also memorable. The soloing is a source of tremendous melodic inventiveness. Also, Jimi incorporates some scat singing. Great bass and drum sound. 
 

Mr Bad Luck (Look Over Yonder)

Recorded: Olympic Studios, London, May 5, 1967

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

The driving rhythm ensures a memorable musical journey.  In addition to some clowning from Jimi his soloing is magical, upbeat and inspired -  'See that? - I've just broke a guitar string.' While it is well documented Jimi was a perfectionist this track still sounds exceptional.

Sunshine Of Your Love
(Jack Bruce/Pete Brown/Eric Clapton)

Recorded: Olympic Studios, London, February 16, 1969

Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

Jimi's energetic version of Cream's "Sunshine of your Love" shows the breadth of his inventiveness. It makes the original version by Cream seem pedestrian, even though it remains an iconic song with a memorable riff.  While this version elapses into an elongated jam it still retains an infectious rhythm which tends to drag you in. A great groove.

Lover Man

Recorded: Olympic Studios, London, February 16, 1969

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

Slow version of this song enhanced by a great sound from the bass and drums. Great fill-ins and soloing by Jimi. The outro solo evolves into a free form jam full of superb licks and melody. Evidence, if needed, of Jimi's creative potential during spontaneous jam sessions in the studio. 

Ships Passing Through The Night (Night Bird Flying)

Recorded: Record Plant, New York, April 14, 1969

Guitar, Vocals: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

Engaging riffs, rhythms, melody and rendition of a song which shows great potential. Again, beautiful soloing. Despite its failings this song still contains the seeds of something beautiful: Night Bird Flying. Jimi's solo performance at the coda of the song highlights his prodigious talent and guitar magic.

Fire

Recorded: Olympic Studios, London, February 17, 1969

Vocal, Guitar: Jimi Hendrix

Bass & Backing Vocals: Noel Redding

Drums: Mitch Mitchell 

Difficult to improve on the 'live' version included on The Jimi Hendrix Concerts CD released in 1990 - truly an incendiary performance - great drumming by Mitch Mitchell, and Jim's guitar playing is stratospheric. This version still contains some great playing. What the atmosphere was like in the studio is/was only known by a few individuals.

 

Red House

Recorded: Olympic Studios, London, February 17, 1969

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

A 'live' performance favourite and one of the greatest blues songs composed. A launching pad for Jimi to give a strong vocal performance and show his soloing and improvisation skills.

Lullaby For The Summer (Ezy Rider)

Recorded: Record Plant, New York, April 7, 1969

Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell 

An instrumental which evolved into "Ezy Rider". This version contains some tantalizing moments. It displays the development of a song. The composition has a great groove and riffs over which Jimi improvises. Which take is this? How many patterns were changed? Was the band in disarray? I don't know, and frankly, I don't care. The music speaks for itself.

Crying Blue Rain (Blue Window)

Recorded: Olympic Studios, London, February 16, 1969

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

A slow blues that morphs to a faster groove. The band are jamming and Jimi colours the instrumental with beautiful chord voicings and licks.

The album is well produced and most of the tracks highlight a genius at work. Even though marred by patches of weakness there is creativity and passion in the raw material, and - more importantly - honesty.

Jimi Hendrix was a human being - not a god - whose unique personality continues to shine through in his music, lyrics and guitar playing. To rise from a poverty-stricken background, to be black, left-handed, shy, and become a musical genius - always evolving, taking risks - and conquer the musical world, is testament to Jimi's perseverance amid a myriad of unwanted distractions and pressures.

This album - while imperfect - is testament to the creative mind of an exceptional artist who will be remembered as long as music exists.

Further details at Amazon

Concert Review: Jimi Hendrix - The 1970 Isle Of Wight Music Festival

Isle Of Wight Festival 1970

Jimi Hendrix

'Yeah ... Thank you very much for showing up, man, you all look really beautiful and outa sight ... And thanks for waiting. It has been a long time, hasn't it? ... That does mean peace not this ... Peace ... OK give us about a minute to tune up, all right? Give us about a minute' - Jimi Hendrix addresses the festival crowd - Monday, Aug. 31, 1970

It is summer and I'm sixteen. I look down at my brother who is asleep on a small patch of ground. A patch of ground that has been our home for three days and nights. We have sleeping bags, some food and drink, body aches, and above us a dark blue sky patterned with stars and planets. Someone stole our tent the day we arrived. Our musical pilgrimage has included travel by ferries, hitchhiking day and night, sharing cars and vans with some people who engendered - within us - curiosity, terror, or both. Why such a daunting and exuberant journey? Well, to hear and feel music played by some of the greatest musicians and bands ever to grace this planet.

Despite negativity in the media regarding management of the festival, unrest amongst fans, overt commercialization, drug dealers, heavy security, the attendance of Hell's Angels and so-called anarchists, I feel instilled in a carefree happy environment. The vibe is cool and the people in our vicinity are friendly and - like my brother and I - are engrossed in the diversity of music and performers. Everyone enjoys gazing at other people in the crowd: mainly at clothes, painted faces, hair, partial nakedness.

As I walk through the crowd I regain energy from the music weaving through the air. The sounds of acoustic guitars, drums, singing and chanting bring a sense of joy and comfort. The human landscape of multi-coloured clothes, tousled hair of every shade and length, and pretty girls - some dancing in erotic fashion as the evening sun glints in their hair - arouse delight and passion within me. The mood and smells are intoxicating. I suddenly wish to be older. Finding my brother, and our mutual space, is aided by our closeness to the stage, and the positioning of numerous flags rich in diversity and colour which act as an aide-mémoire.

Most people have witnessed memorable performances by Taste, Free, Chicago, Family, The Who, Jethro Tull, Miles Davis, The Doors and other artists: music of all genres played by superlative musicians and bands. Days and hours of invigorating music and beautiful images fill our minds, hearts and souls. Utterly magnificent and indescribable.

It is a cold dark morning. A collective cry of joy and relief raises from the crowd (circa 600,000) as Jimi's arrival on stage is announced. 

Shortly after 2.00 a.m. the eyes of those lucky to be awake and standing are centered on one individual walking towards the front of the stage. Jimi Hendrix is dressed in a colourful garment with long trailing sleeves. He is cradling a black and white fender stratocaster. There is no crush or discomfort: just lights, colours, darkness, people waking, coughing and rubbing their eyes. I try to wake my brother. Gradually, he opens his eyes and sits motionless. I tell him Jimi Hendrix is on stage. My brother rubs both his eyes and attempts to stand with some difficulty.

A calm cold beauty descends as I gaze at this amazing human being and his backdrop of daisy-chained Marshall stacks. For a moment I'm fearful of tumbling, being crushed, or losing my brother, as people start to move closer to the stage. I think of some of the inventive music and guitar solos Jimi has created. The first time I heard "Purple Haze" is ingrained in my memory. How could someone compose such a sublimely inventive and haunting song? The opening riff using tritones is unforgettable. I can hardly grasp that I 'm going to witness Jimi Hendrix in concert for the first time.

Music, to my mind, is an emotional roller-coaster to be experienced live: to be captured with your eyes and ears, and if it fails to change your emotions and feelings then move on to music that does. A live performance cannot be captured on vinyl, video, CD or DVD, etc. Such mediums fail to convey the potpourri of images, colours, sounds, vibrations and volume which make your inner being glow.

As Jimi speaks, sings, plays his guitar, the crowd watch in silence mesmerized by his magical charisma, stage presence, mercurial rhythms and soaring solos. I cheer and shout - like most people - after each song. My tiredness replaced by immense energy (I can't remember the last time I rested or slept).

The frost melts as Jimi plays "Spanish Castle Magic". It sounds like a hot bright light breaking through the black, blue and white formations created by the stage lights. Jimi's guitar playing reaches a higher level: soaring, electrifying, intense. His vocals are full of sensuality and power, and during the final solo his guitar sound becomes surreal - distortion and feedback combine to create an expansive dreamy sound.

' . . . That's if we travel by our dragonfly . . . '

While it is evident there are technical problems with Jimi's amplification, pedals and guitars (mostly going out of tune) his voice, phrasing and guitar playing are, at times, exceptional and soul-stirring. He establishes rhythms that are startling and utterly original. Jimi sings "All Along the Watchtower" passionately. His soloing is enhanced by feedback and infectious interplay with Billy Cox on bass. I believe Jimi is blessed to have Mitch Mitchell on drums and Billy Cox on bass as his rhythm section. They bring out the best in Jimi. Mitch shows he is an imaginative and multi-dimensional drummer, and Billy plays fluid and tight, with a deep intuitive skill, matching Jimi pattern for pattern. Jimi's playing is remarkable as it takes different twists and turns.

The patterns weaved by Jimi and Billy Cox are hypnotic during “ Machine Gun” and once again Jimi creates some outstanding runs and sounds. Jimi plays soft, raw, loud, continually bending and moving in the direction of the sound he is trying to create. At times it appears to be a struggle and there is a haunting tension and passion in his playing. Then the rhythm changes and the trio synthesize again to paint a different musical landscape.

Adorning a Flying V Jimi plays a powerful yet turbulent rendition of “ Red House”. I watch and listen as Jimi deliveries his guitar phrases and vocals with a wrestling intensity. It is great to hear new numbers: “Freedom,” ”Dolly Dagger” and “Hey Baby (Land of the New Rising Sun)”. 

Jimi pulled a blistering version of "Voodoo Child (Slight Return)" out of the bag. His guitar sounded heavily distorted and the notes rained down sprinkled with Jimi's unique creative powers.

For Jimi, the band and some of the audience - who were awake and standing - the show may have been uneven. All I know is that Jimi's performance at the festival shook and moved me and that for a while I was wrapped in its warmth and magic. I was shocked - similar to millions of people worldwide - when news of Jimi's death was announced on September 18, 1970, and facts surrounding his physical and emotional health were released.  

I still believe Jimi's set was the defining moment of the festival. His set showed an innovator and experimenter reaching out to his audience with his musical genius.  For those fortunate to come of age during the 1960's Jimi Hendrix raised the bar and brought unparalleled power, sensuality and sustained resurrection to guitar playing, song writing and performance. He exuded a contagious charisma and spirit rarely witnessed by any musician, past or present.

No one but Jimi Hendrix knows what his state of mind was during his last month on this earth. I believe, however, he had new horizons to explore musically, emotionally and spiritually. It is often forgotten that while Jimi was a guitar virtuoso, and an instrumentalist of profound influence, he was also an incredibly gifted, first-rate songwriter. Jimi's musical genius will continue to astound future listeners' as long as music exists and his memorable riffs, songs and lyrics will reverberate wherever sound can be heard.

Set List: God Save the Queen; Sgt Pepper's Lonely Hearts Club Band; Spanish Castle Magic; All Along the Watchtower; Machine Gun; Lover Man; Freedom; Red House; Dolly Dagger; Midnight Lightning; Foxey Lady; Message to Love; Hey Baby (Land of the New Rising Sun); Ezy Rider; Hey Joe; Purple Haze; Voodoo Child (Slight Return); In from the Storm.

I didn't mean to take up all your sweet time
I'll give it right back one of these days
If I don't see you any more in this world

I'll meet you in the next one

And don't be late,

Don't be late

'Cos I'm a Voodoo Child

God knows I'm a Voodoo Child

                                                             - Jimi Hendrix

DVD Review: "Live In Tokyo" - The Michael Schenker Group - Released July 2005

While it's not the same as witnessing Michael Schenker live in concert, and the visual (one camera?!) and audio quality are patently substandard, this DVD still captures Michael's original, melodic, fluid guitar playing at its best.

The DVD is good value: two concerts; forty songs, 236 minutes in length, an excellent interview with Michael Schenker, and all the band members are in outstanding form.

Sometimes the best recorded shows available on DVD do not always catch an artist/group giving their finest performance. However, this DVD provides proof that Michael is an outstanding guitar player who remains grossly underrated and highly imitated.

Let's be thankful Michael is still playing and looks to be back on track.

Track listing:
1. In the Search of the Peace of Mind (Scorpions)
2. Doctor Doctor (UFO)
3. Let it Roll (UFO)
4. Natural Thing (UFO)
5. Lights Out (UFO)
6. Only You Can Rock Me (UFO)
7. Another Piece of Meat (Scorpions)
8. Into the Arena (Michael Schenker Group)
9. Are You Ready to Rock (Michael Schenker Group)
10. Assault Attack (Michael Schenker Group)
11. Captain Nemo (Michael Schenker Group
12. No Time for Losers (McAuley Schenker Group)
13. Save Yourself (McAuley Schenker Group)
14. All the Way from Memphis (Contraband)
15. Pushed to the Limit (UFO)
16. Written in the Sand (Michael Schenker Group)
17. Back to Life (Michael Schenker Group)
18. Love Never Dies (Michael Schenker Group)
19. Essence (Michael Schenker Group)
20. Never Ending Nightmare (McAuley Schenker Group)
21. Bijou Pleasurette (Michael Schenker Group)
22. Positive Forward (Michael Schenker)
23. Lost Horizon (Michael Schenker Group)
24. Too Hot to Handle (UFO)
25. Attack of the Mad Axeman (Michael Schenker Group)
26. Love to Love (UFO)
27. On and On (Michael Schenker Group)
28. Armed and Ready (Michael Schenker Group)
29. Feels Like a Good Thing (Michael Schenker Group)
30. Rock Bottom (UFO)

Bonus video - taken from the Unforgiven World Tour, Japan 2001:
1. Cry for the Nations
2. Let Sleeping Dogs Lie
3. Rock My Nights Away
4. Fish Dancing
5. Pilot of Your Soul
6. In and Out of Time
7. The Mess I've Made
8. Hello Angel
9. Fat City
10. Looking for Love

Further details available at: Amazon