J I M I H E N D R I X on THE ELECTRIC LADYLAND CLASSIC ALBUM
AND WITH COUNTLESS OTHER
MUSIC LEGENDS CLICK BELOW TO LISTEN TO THE INTERVIEW
Mike Finnigan has toured and has been a session musician for Jimi Hendrix, Joe Cocker, Etta James, Sam Moore, Crosby Stills and Nash, Dave Mason, Buddy Guy, Manhattan Transfer, Taj Mahal, Michael McDonald, Maria Muldaur, Peter Frampton, Cher, Ringo Starr, Leonard Cohen, Tower of Power, Rod Stewart, David Coverdale, Tracy Chapman, Los Lonely Boys, and Bonnie Raitt.
Phantom Blues Band
Mike got his start playing professionally in 1964 in Kansas. He then moved to Wichita and travelled the country with The Serfs. It was during a trip to New York City that Mike recorded with Jimi Hendrix, a session that resulted in the legendary release "Electric Ladyland."
In 1972, Michael formed Finnigan and Wood. In 1975, Mike put down roots in Los Angeles where he pursued more group and solo recordings while at the same time touring and recording with Crosby, Stills and Nash, Dave Mason, Etta James, Dr John, Carlos Santana, Joe Cocker, and Bonnie Raitt.
He is twice a winner of a Blues Music Award (formerly W.C. Handy Award) for his work with Taj Mahal.
Finnigan has always been active politically and was, for several years, a regular contributor to the weblog Crooks and Liars.
PHANTOM BLUES BAND
I N S I D E O U T
Mike Finnigan(keys,vocals), Larry Fulcher( bass, vocals), Johnny Lee Schell(guitar, vocals), Joe Sublett (tenor and baritone sax), Darrell Leonard(trumpet, bass trumpet) and Tony Braunagel(drums, percussion).
CHRONICLES, TRUTHS, CONFESSIONS AND WISDOM FROM THE MUSIC LEGENDS THAT SET US FREE
…Order yours today on Hardcover or E-book
at bookbaby.com or amazon.com
Featuring over 45 intimate conversations with some of
the greatest rock legends on the planet
CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH...JACK BRUCE … JOE LALA… JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER... ROGER FISHER... STEVE HACKETT... ANNIE HASLAM ‘MELANIE’ SAFKA... PETULA CLARK... SUZI QUATRO... COLIN BLUNSTONE… DAVE DAVIES... JIM McCARTY... PETE BEST
Frank Marino is an invigorating virtuoso
and champion guitar slinger who is also considered to be among the greatest
players of all-time. The Montreal native and his assiduous band Mahogany Rush were
one of the elite monster rock acts throughout the 70s.
The band performed on several prestigious television music shows
including Don Kirshner’s Rock Concert and
Burt Sugarman’s The Midnight
Special hosted by the notorious Wolfman
Jack. Marino jokingly stated that Mahogany Rush was
mysteriously omitted from the Midnight Special DVD collector video library
released to the public.
Mahogany
Rush also played for more than 300,000 people at California Jam II in
1978. The televised concert featured Ted Nugent, Aerosmith, Santana, Dave
Mason, Foreigner, Heart, Bob Welch (with Stevie Nicks and Mick
Fleetwood), Frank Marino & Mahogany Rush and Rubicon.
Mahogany Rush was managed by Steve Leber and David Krebs, who also
handled Aerosmith and Ted Nugent. Some of the bands most significant
releases include, Maxoom, Child of the Novelty, Strange Universe, Mahogany
Rush IV, World Anthem, Live, Tales of the Unexpected, What’s Next, From the
Hip, Dragonfly(The best of Frank Marino & Mahogany Rush), Eye of the
Storm, and Real Live!(double live album).
The Sicilian -Syrian Marino captured the essence of Jimi Hendrix early on in his career.
Rock and roll urban legend suggests that when Marino was a teen he
was visited by an apparition of Jimi Hendrix after a bad LSD trip, which led to
the spirit of Hendrix entering Marino’s body and bestowing his
ability to play the guitar. Marino renounces the fabrication and says
Hendrix was still alive while he was in the hospital recuperating from the LSD
trip. But he did learn to play the guitar while recovering.
Frank Marino was widely recognized throughout his career as a master for
performing Hendrix cover tunes. Marino’s cover versions were
impeccable and audiences globally would ultimately embrace them. His cover
tunes were commercially successful (“Roadhouse Blues” The Doors, “All Along the
Watchtower,” “Purple Haze” Jimi Hendrix) but Marino was never pleased
about his original material receiving virtually no airplay on FM radio.
Marino retired from the music business but returned in 2001, largely
galvanized by his fan base. Most recently Frank Marino has been
suffering from adhesive capsulitis (frozen
shoulder) and gradually recuperating. The condition usually resolves itself
within one or two years but restricts mobility and can generate intense
pain. Marino is receiving extensive physiotherapy. The condition began
after Marino spent tedious immeasurable hours in his studio meticulously
editing his forthcoming Live DVD.
F R A N K M A R I N O:
A RARE AND EXCLUSIVE INTERVIEW
ON THE RAY SHASHO SHOW-BBS RADIO
CLICK BELOW TO LISTEN
(AND PLEASE SUBSCRIBE
TO MY YOU TUBE CHANNEL)
Visit www.mahoganyrush.com
for further information, concert updates and the very latest news on the
release of the Mahogany Rush Live DVD.
And don’t forget to purchase a copy of my book
entitled Check the Gs -the true story of an eclectic American family and their
Wacky family business… or the second edition entitled … Wacky Shenanigans on F
Street- ‘Proud to be Politically Incorrect in Washington DC’ ... available now
at amazon.com.
TONY PALMER AND HIS RE-EDITED VERSION OF THE BEATLES WORLD WAR II
Tony Palmer’s film resume includes over 100 films, ranging from early works with The Beatles, Cream, Jimi Hendrix, Rory Gallagher (Irish Tour '74) and Frank Zappa (200 Motels), to his classical portraits which include profiles of Maria Callas, Margot Fonteyn, John Osborne, Igor Stravinsky, Richard Wagner, Benjamin Britten and Ralph Vaughan Williams. He is also a stage director of theatre and opera.
Palmer’s latest project is a legendary musical tribute “The Beatles and WWII” issued on CD/DVD by Gonzo Multimedia UK .Take a group of some of the most famous solo artists of the 70’s – Elton John, Tina Turner, The Four Seasons, The Bee Gees, Peter Gabriel, Bryan Ferry, Rod Stewart, Leo Sayer, Keith Moon, Helen Reddy, Jeff Lynne & Frankie Valli – get them to sing cover versions of some of the most famous Beatles songs ever written. Add a considerable dollop of authentic documentary footage of the Second World War telling the story of that epic encounter… “The Beatles and WWII”!!! Sound crazy? It is. But
enormously entertaining, and occasionally very chilling. A unique blend of
music and film like no other. Of that much we can be absolutely certain.
“The best collection of
Beatles covers in a film EVER”
In an article written by
Ronnie Dannelley editor of Ear Candy Magazine: “The old 1976
film was the strangest mix of cinema and rock ‘n’ roll, combining
World War II images (newsreels and Hollywood films made at that time) with the
music of The Beatles (not The Beatles original recordings, but by various
artists). The old movie combined a pastiche of World War II-themed film
segments (both period films and post-war action films) with the backdrop of the
music of The Beatles (NOT the original songs, but cover versions by various
artists). Strange concept huh? A long story, but the end result was
disastrous. The original distributor junked the film so completely that no
copies survived, and the film took on its iconic status.”
Says legendary director Tony
Palmer of his new film, “Although the original 1976 film had disappeared,
thanks to the indifference and stupidity of the original distributor,
instinctively I felt the central idea, and the material, and of course the
music, were just too good to be lost forever.
“So for those fans who have
had to rely on a few very poor quality extracts on YouTube, the 2016 film is a
completely new experience, much of it in HD. Yes, we have used some of the
original tracks, but added a lot of new archive footage, some never seen
before. In addition, I have often used totally different music. The film starts
with Vaughan Williams, and ends with Shostakovich, taking in Rachmaninoff en route and including many of the famous 2nd
World War speeches by Roosevelt, Churchill, Montgomery, Chamberlain, Joe
Kennedy and Hitler. And the film makes reference to war-torn Syria and
the massive problem of immigration along the way.
“The Beatles and WWII”
Tracks:DVD Greensleeves - arr. Vaughan Williams
The Fool on the Hill - Helen Reddy
Yesterday - David Essex
The Long and Winding Road - Leo Sayer
I Am the Walrus - Leo Sayer
Come Together - Tina Turner
Shostakovich 11th Symphony
I Am the Walrus - Leo Sayer
Maxwell's Silver Hammer - Frankie Laine
Shes Leaving Home - Bryan Ferry
Let It Be - Leo Sayer
Getting Better - Status Quo
Help! - Henry Gross
Nowhere Man - Jeff Lynne
With a Little Help from My Friends - Jeff Lynne
'Army Air Corps' song - Robert MacArthur Crawford
Lucy in the Sky with Diamonds - Elton John
She Came In Through the Bathroom Window - Bee Gees
With a Little Help from My Friends - Jeff Lynne
Because - Lynsey de Paul
Get Back - Rod Stewart
Nowhere Man - Jeff Lynne
We Can Work It Out - The Four Seasons
'Oche Nash' from St John Chrysostom Liturgy, Rachmaninoff
Shostakovich 11th Symphony
A Day In The Life - Frankie Valli
Michelle - Richard Cocciante
The Long and Winding Road - Leo Sayer
Victory March - Sousa
The End - Will Malone
When I'm Sixty-Four - Keith Moon
Golden Slumbers - The Bee Gees
Strawberry Fields Forever - Peter Gabriel
Hey Jude - The Brothers Johnson - 1:30 Shostakovich 4th Symphony
Fool on the Hill - John Williams (arr. Brouwer)
CD One
The Fool on The Hill - Helen Reddy Yesterday - David Essex
The Long & Winding Road - Leo Sayer
I Am The Walrus - Leo Sayer
Come Together - Tina Turner Maxwell's Silver Hammer - Frankie Laine
She's Leaving Home - Bryan Ferry
Let It Be - Leo Sayer
Getting Better - Status Quo
Help! - Henry Gross Nowhere Man - Jeff Lynne
Lucy In The Sky With Diamonds - Elton John
CD Two With A Little Help From My Friends - Jeff Lynne
Because - Lynsey De Paul Get Back - Rod Stewart
We Can Work It Out - Four Seasons A Day In The Life - Frankie Valli
Michelle - Richard Cocciante When I'm Sixty Four - Keith Moon
Golden Slumbers/Carry That Weight - The Bee Gees
Strawberry Fields - Peter Gabriel
Hey Jude - The Brothers Johnson Lennon speaks
The Fool on the Hill - John Williams
Purchase “The
Beatles and WWII” “The best collection of Beatles
covers in a film EVER” at www.gonzomultimedia.com or amazon.com
“It is
a far more complex film than the original, and I hope will give everyone pause
for thought about the troubled world in which we live.”
Produced by Sandy Lieberson Directed & Edited by Tony Palmer
Billy Gibbons and ZZ Top have
essentially pioneered its own musical genre since the release of their
first studio album in 1971. The band fused hard rock, blues, and Texas
boogie into their own unique sound, style, and live performance. The
hard rockin’ power trio of Billy Gibbons (guitars, vocals), Dusty Hill (bassist and vocalist) and Frank Beard (drums) has energetically and persistently entertained audiences worldwide for over forty years.
ZZ Top will be bringing their Texas-style rock & blues boogie to Ruth Eckerd Hall in Clearwater, Florida on December 27th and to the Hard Rock Live in Orlando on December 29th. Tickets for the Clearwater show are available at www.rutheckerdhall.com or by calling 727-791-7400 for more information. Tickets for the Orlando show are available at www.hardrock.com or call 407-351-(LIVE) 5483.
In 2012, after a nine year hiatus from the recording studio, ZZ Top released their fifteenth studio album entitledLa Futura. The album spotlights many of the attributes that has distinguished the band as rock music legends. Tracks like “Chartreuse,” “Have a Little Mercy” and “Big Shiny Nine” reminisce to the Top’s heyday while igniting habitual hot and saucy Texas boogie intoxication. “Heartache in Blue” is
my favorite track on the album, an exceptional blend of the blues
highlighting Gibbons impressive guitar licks with virtuoso harpist James
Harman. The track “Flyin High” was actually requested by longtime ZZ Top fan and NASA astronaut Mike Fossum. It was played in space on-board the Soyuz spacecraft during its launch to the International Space Station.
The Best Buy version of the CD includes two bonus tracks … “Threshold of a Breakdown” and “Drive by Lover” another personal favorite and skillfully choired by bassist Dusty Hill.
La Futura is an exhilarating Texas boogie & blues pilgrimage … ZZ Top style! I gave La Futura(4) Stars.
BILLY GIBBONS was born and raised in Houston, Texas.
Billy received his first electric guitar after his thirteenth birthday.
Some of his early influences included electric blues musician and
songwriter Jimmy Reed.
While attending Warner Brothers’ art school in Hollywood, California,
Gibbons played with various bands. At 18, he formed the psychedelic
blues-rock group, The Moving Sidewalks, inspired by fellow musician and friend Rory Erickson of the 13th Floor Elevators. The band recorded one album entitled Flash (1968).The Moving Sidewalks were …Billy Gibbons, Tom Moore, Don Summers and Dan Mitchell.
Gibbons became a prominent songwriter with his penned releases “99th Floor” and “Need Me.” The band performed with The Doors and with Jimi Hendrix during
his first American tour. Gibbons also formed a special friendship with
Hendrix. Hendrix mentioned Billy on The Dick Cavett Show by stating that
Gibbons would be the next big thing as a guitarist. Hendrix gave the up
and coming guitarist a pink Stratocaster. ZZ TOP was formed in Houston, Texas in 1969. After
various lineup changes, the classic line-up of Gibbons, Hill and Beard
signed with London Records and recorded their debut self-titled album
in 1971. Early on, Gibbons became the bands principal songwriter. The
group also began a long and rewarding relationship with manager/producer
Bill Ham.
In 1972, the band followed up in the studio with Rio Grande Mud.
The release of their third studio album entitled Tres Hombres
(1973) would define ZZ Top’s perennial sound and style while launching
the band into rock stardom, performing at large arenas and stadiums. Tres Hombres (Top 10 album) was a brilliant rock & blues statement. The album spawned the bands signature tune “La Grange” (#41 Billboard Hot 100), a song about a bordello near La Grange, Texas. Other notable tracks were “Jesus Just Left Chicago,”“Beer Drinkers & Hell Raisers” and “Waitin’ for the Bus.”
In 1975, ZZ Top released Fandango! (Top
10 album) Half of the tracks were recorded live in concert and the
other half were new studio released songs. ZZ Top was now a top
headlining concert attraction selling-out arenas worldwide. The Fandango
tour consisted of three legs and 55 shows. It began in March of 1975
and ended February of 1976. Various supporting acts during the tour
included KISS, Status Quo, Peter Frampton, R.E.O. Speedwagon, Aerosmith
and Blue Ó¦yster Cult to name a few.Fandango spawned the hit single “Tush” (#20 Billboard Hot 100).
The band signed with Warner Brothers Records in 1979 and released their sixth studio album entitled Degüello. The album generated two hit singles … “I Thank You” (#34 hit single) and “Cheap Sunglasses” (#89 hit single). Billy Gibbons and Dusty Hill also grew their chest length beards during this period. In 1981, they released El Loco while spawning the singles … “Tube Snake Boogie,” (#4 hit) “Leila” and “Pearl Necklace” (#28 hit).
ZZ Top released their ninth studio album entitled Afterburnerin 1985. The album became their highest charting album at #8 in the U.S. The album generated the hit singles … “Sleeping Bag” (#8 Billboard Hot 100), (#1 Mainstream Rock Tracks), “Velcro Fly” (#35 Billboard Hot 100), “Stages” (#21 hit) and “Rough Boy” (#22 hit).
In 1990, ZZ Top released Recycler. It was their final album with Warner Brothers Records. The track “Doubleback” was featured in the film Back to the Future Part III. The single “My Head’s in Mississippi” reached #1 on the Billboard Album Rock Tracks chart.
In 1994, the band signed with RCA Records and released their 11th studio album entitled Antenna. The single “Pincushion” reached #1 the Mainstream Rock Tracks charts. Billy Gibbons co-produced with Bill Ham on the album. Subsequent releases …Rhythmeen (1996), XXX (1999), Mescalero (2003) and La Futura (2012). Rhythmeen was the last album to feature their longtime producer Bill Ham.Rick Rubin shared duties as producer with Billy Gibbons on La Futura in 2012.
In 2004, ZZ Top was inducted into the Rock and Roll Hall of Fame by
Keith Richards. ZZ Top has generated 11 gold records, 7 platinum,
13-multi-platinum records, while selling over 25-million units.
ZZ Top continues to tour relentlessly and still packs the house worldwide.
On March 30th 2013, after 44 years, the original lineup of The Moving Sidewalks performed a reunion show at B.B. Kings Blues Club & Grill in New York City.
I had the rare opportunity to ask Billy about ZZ Top’s current tour,
the band’s latest studio release, his relationship with Jimi Hendrix, my
infamous “Field of Dreams” wish question, and much-much more.
Here’s my recent interview with legendary guitarist, singer,
songwriter, producer, car customizer and founder of classic rock legends
ZZ Top …BILLY GIBBONS. Ray Shasho: Hello Billy! ZZ Top will be performing at Ruth
Eckerd Hall in Clearwater, Florida on December 27th and the Tampa Bay
area is especially looking forward to that show. The band will also be
in Orlando at Hard Rock Live on the 29th. Where and how will you be
celebrating Christmas in 2013? Billy Gibbons: “With Miz Gilligan in Florida, well
in advance of December Twenty-Five, in order to get warm, sample the
seafood, hit the gaming tables, seek out Mexican cuisine, go to
Versailles for Cuban fare, charter an afternoon for salt water fishing,
take in a night at the dog track, take in a ball game, take in something
frosty around South Beach…basically chillin' before taking the stage
with my pals. An elegant simple scheduling.” Ray Shasho: “I saw the band perform for the first time around
1973 at the Baltimore Civic Center … ZZ Top opened for Earth, Wind and
Fire and Uriah Heep. I knew the band was going places after that
performance; I never witnessed a power trio with so much energy and raw
power. Billy Gibbons: “That's about as on target as I've
ever heard and right to the point as we, the band, were aimed at free
drinks and getting on the gals. And to accomplish the task, we fired up
the tempo, cranked up the volume, and let it rip. Hard! And it
definitely set the tone for what was to come and what remains as the
driving force, even now.” Ray Shasho: Why do you think the trio has worked so
successfully over the years, especially with all the bizarre changes in
the music industry? Billy Gibbons: “Amidst the rampant gallop of
attempting to maintain pace with an increasing speed of change, working
within the trio as a base is just like a pyramid…the 3 sides stand
stridently around the constantly shifting sands. I say, “Three is for
me!”” Ray Shasho: One of my favorite ZZ Top tunes is “Jesus Just
Left Chicago” just an incredible hard-driving blues classic …What is the
origin behind that classic blues/rock song? Billy Gibbons: “Jesus Just Left Chicago” is
certainly an obtuse mental visual, particularly placing a fixed
location, moving forward from, and going to. The surreal combination of
Jesus, Chicago, and New Orleans, is a bizarre mix of righteousness, and
soulful sin. It’s a blend of bluesy elements stirring up some salient
points to ponder.” Ray Shasho: I chatted with Norman Greenbaum about “Spirit in
the Sky” and the similarities to Canned Heat’s “On the Road Again,” yet
they’re also very different in their own ways … Was the “La Grange” riff
based on John Lee Hooker’s “Boogie Chillun”? Billy Gibbons: “The “La Grange” riff is another
interpretation of one of the cornerstone staples of that splendid
American art form, the blues. There are many ways to chop it, we just
got really lucky and landed something with resonance that lasts and
lasts.” Ray Shasho:Billy, here’s a question that I
ask everyone that I interview. If you had a ‘Field of Dreams’ wish, like
the movie, to play, sing or collaborate with anyone from the past or
present, who would that be? (You can name more than one person) Billy Gibbons:“Ry Cooder. The expressions from that
Rylander-man are many and I know there's somewhere he'd go and that
sooner or later, I would fit in. Ry's range is that wide. I'll call 'im
directly and get the ball rolling.” Ray Shasho: The Moving Sidewalks was a cool psychedelic blues
band. The band opened for The Jimi Hendrix Experience, and you
developed a special friendship with Hendrix. Billy Gibbons:“Yes, and it's fair to tag Jimi
Hendrix and The Experience with threads that tie into psychedelic blues
quite handily. Jimi was always generous in sharing his curiosity about
how certain sounds could be created from an imaginary idea. We spent
many hours comparing pragmatic ways to bring those vaporous thoughts
into tangible, electric form. When Jimi had no guidebook, he invented
one.” Ray Shasho: Did Hendrix actually give you a pink Stratocaster? Billy Gibbons: “It's the one seen in the famed photo with The Moving Sidewalks.” Ray Shasho: Your latest studio release “La Futura” has gotten
rave reviews and the track “Flyin’ High” was even requested by
astronaut Mike Fossum during a launch to the International Space
Station. Billy Gibbons:“Wow. Who'da thought writing the
track with my pal, Austin Hanks, would take off from our studio shack in
L A and land a seat in outer space…?!? We just wanted to create a good
Southern rock song. Now it's a stratospheric number.” Ray Shasho: After a nine year hiatus from recording, what made this album such a success? Billy Gibbons: “Good material as they say… And the
richness of Rick Rubin standing alongside us and turning us into more of
what we already were. More ZZ with a defiant touch of our raucous and
raunchy beginnings.” Ray Shasho: What was it like working with Rick Rubin? Billy Gibbons: “Super sounds in the studio, interspersed with surfin' safaris at Zuma Beach.” Ray Shasho: Billy, what factors make a great producer? Billy Gibbons: “Patience. We learned it early on.
The studio sessions for "La Futura" left no doubt about Rick's ability
to be in no hurry. The result is the luxury of the band playing a
composed piece in many different ways and going with the flow. It takes
time, of course, yet that again is the value of maintaining a measure
of patience to get there.” Ray Shasho: Who are some of the producers that you’ve admired over the years? Billy Gibbons: “The staff specialists from Ardent
Studios in Memphis, particularly Joe Hardy who has steadfastly guided us
through many exotic sonic landscapes with an ever escalating
expression. G.L. "G-Mane" Moon in Houston is always lending his
talented techniques with us to bust a move to a higher groove as well.” Ray Shasho: Billy, anything you’d like to promote? Billy Gibbons: “Hot sauce and barbecue sauce. There's never enough…!” Ray Shasho: I heard you’re quite a chef … what’s your specialty? Billy Gibbons: “Mexican cuisine. Guacamole,
certainly, which is a staple compliment to the vast variations found in
the many different regions of the country. Fiery spices make for fierce
foods and that, my friend, is a good thing…!” Ray Shasho: Billy, thank you so much for taking time out of
your busy schedule today. More importantly for all the incredible ZZ Top
music you’ve given us and continue to bring into the future. We’ll see
you in Florida December 27th and 29th. Billy Gibbons: “Thanks Ray, we’ll see you then!”
Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com- Please support Ray by purchasing his book so he can continue to bring you quality classic rock music reporting. “Check the Gs is just a really cool story ... and it’s real. I’d
like to see the kid on the front cover telling his story in a motion
picture, TV sitcom or animated series. The characters in the story
definitely jump out of the book and come to life. Very funny and scary
moments throughout the story and I just love the way Ray timeline’s
historical events during his lifetime. Ray’s love of rock music was
evident throughout the book and it generates extra enthusiasm when I
read his on-line classic rock music column on examiner.com. It’s a
wonderful read for everyone!” …stillerb47@gmail.com
Robin Trower has
everlastingly mesmerized rock enthusiasts across the planet with his
intricate heavy rock and blues harmonics. The master of the Stratocaster recently released roots and branches an
inventive mix of cover tunes spotlighting Robin’s favorite R&B,
blues and early rock ‘n’ roll classics compiled with several explosive
new tracks of Trower material.
The most memorable cover tracks of roots and branches is Trower’s impressive blues rendition of the Willie Dixon penned, “Little Red Rooster,”
Arthur “Big Boy” Crudup’s, “That’s Alright (Mama),” and the Booker T.
Jones/ William Bell composition “Born Under a Bad Sign.” Robin Trower
instills the magic of his own genius into these timeless classics.
Trower’s heavier rock and blues adaptation of “That’s Alright Mama”
should inspire generations for years to come.
My favorite tunes on roots and branches are the back to basics Trower arrangements of “See My Life” and “Sheltered Moon.” “See My Life” runs deep; it’s an incredible hard rockin’ blues composition that wails … Trower Power! Robin Trower has also established himself as a first-rate rock vocalist. Although Trower contributed vocals while with Procol Harum,
during his quintessential period with legendary music partner and
friend James Dewar … Trower’s only voice contribution to the classic
lineup was a short dialogue at the beginning of the track, “Twice Removed from Yesterday. …I gave roots and branches (5) five stars.
The BEGINNING: In 1960, the British guitarist formed
The Paramounts, which would eventually evolve into the progressive rock
band Procol Harum. The Paramounts
lone hit was a cover version of The Coasters classic, “Poison Ivy”
(1964 #35 U.K Singles Chart). The Paramounts split-up in 1966.
PROCOL HARUM was formed in 1967 by The Paramounts
Gary Brooker, lyricist Keith Reid, Matthew Fisher, Ray Royer and Dave
Knights. After the immediate success of their Top 40 hit single, “A Whiter Shade of Pale” (#5 U.S. Charts), the band added former Paramounts drummer B.J. Wilson and Robin Trower who
replaced Ray Royer on guitar. The new lineup strengthened the band
musically in preparation for touring. Ex Paramount Chris Copping joined
the band by Procol Harum’s fourth release. The group scored Top 40
commercial success again in 1972 with the hit single, “Conquistador” (#16 on Billboard’s Hot 100). Progressive rock pioneers Procol Harum familiarized the world with their eclectic mix of symphonic rock, blues and R&B music.
Robin Trower recorded five studio albums as a member of the group … Procol Harum (1967), Shine on Brightly (1968), A Salty Dog (1969), Home (1970) and Broken Barricades (1971). Robin Trower later appeared on The Prodigal Stranger (1991) and The Long Goodbye (1995).
Trower left Procol Harum to form his own band. He teamed up briefly
with singer/songwriter Frankie Miller, drummer Clive Bunker (Jethro
Tull) and bassist/vocalist James Dewar (Stone The Crows) to form Jude. The group never recorded an album and soon disbanded.
THE POWER TRIO: In 1973, the inception of a new power trio would epitomize what would become Robin Trower. James Dewar on lead vocals and bass, Robin Trower on guitars and Reg Isidore on drums launched their brilliant debut album entitled, Twice Removed From Yesterday. Most
of the songs on the album were written by Trower and Dewar. The album
was the first of many recorded on the British Chrysalis Record label
created by Chris Wright and Terry Ellis (Jethro Tull).
Robin Trower’s guitar styles were immediately correlated with Jim Hendrix. Critiques hurried to dub him “The White Hendrix.” I say to those critics …
You didn’t listen closely enough to the music. From the
very beginning, Trower developed a very unique style of his own.
Trower’s ingredients included a heavy dose of hypnotic rock with
progressive, blues, acid rock and R&B overtones. The metaphysical
lyrical content was delivered by the commanding voice of James Dewar.
The mesmerizing musical qualities of Trower and Dewar instantly
transported the listener’s mind musically into other worlds and
dimensions. Of course there were guitar techniques that were
similarities to Hendrix but Trower grasped the means and created a brave
new style.
Robin Trower’s next album, Bridge of Sighs (#7
on the U.S. Charts) became a huge commercial success and one of the
most critically acclaimed albums in rock history. It was now evident
that the band had created a certain musical mystique and allure over its
listeners. Every song on the album was brilliantly composed and
performed. The title track, “Bridge of Sighs” would become Robin Trower’s anthem.
In 1975, Robin Trower released For Earth Below. A magnificently engineered album produced by Procol Harum bandmate Matthew Fisher. Fisher also produced the first two Trower albums but this would be his last. Drummer Reg Isidore was replaced with Bill Lordan (Sly & The Family Stone). Long Misty Days was released in 1976. The album reflected vintage Trower arrangements while the single, “Caledonia” actually found its way onto mainstream radio playlists. The album, Robin Trower Live was also released that same year.
In 1977, Rustee Allen
(Sly & The Family Stone) was brought in to play bass so James Dewar
could relax his role as the bands lead vocalist. The group also
established itself as a mega concert attraction selling out arenas and
stadiums worldwide and appearing on national television and radio
syndicated music shows. In City Dreams, their fifth studio album was also released that year and became the bands fifth consecutive certified gold album.
Robin Trower Live releases … Robin Trower Live (1976), Beyond The Mist (1985), Live In Concert (1992), In Concert (1996), King Biscuit Flower Hour Presents Robin Trower (1996), This Was Now ’74-’98(1999), Living Out Of Time (2005), RT @ RO 08(2008), Robin Trower at The BBC 1973-1975(2011).
In 1981, Robin Trower began a musical collaboration with Jack Bruce (Cream vocalist and bassist) with their debut album B.L.T. (Bruce - Lordan -Trower).
Subsequent albums featuring Jack Bruce on vocals and bass … Truce (1981), Seven Moons (2008) and Seven Moons Live (2009).
The 1983 release Back It Up brought in Dave Bronze on bass and Alan Clarke on drums. It would also be the final album featuring their legendary vocalist James Dewar.
In 1987, longtime Trower lead vocalist and bassist James Dewar became
disabled after a medical error damaged his brain. A new Trower lineup
was announced that included vocalist Davey Pattison of the Ronnie Montrose inspired rock band Gamma. The band released the album Passion.
Subsequent albums with Davey Pattison on vocals … Take What You Need (1988), In the Line of Fire (1990), Living Out of Time (2003), Another Days Blues (2005), RT @ RO 08(2009) and The Playful Heart (2010).
Robin Trower began a musical collaboration with Bryan Ferry (Roxy Music) in 1993 on the album Taxi which he also co-produced.
Subsequent albums with Bryan Ferry… Mamouna (1994) and Dylanesque (2007).
In 1994, Robin Trower released 20th Century Blues featuring Livingstone Brown on vocals and bass.
In 1997, Someday Blues spotlighted Robin Trower singing lead vocals.
Robin Trower’s incomparable vocalist and bassist James Dewar died in 2002. Longtime Trower drummer Reg Isidore died in 2009.
I had the great pleasure of chatting with Robin Trower recently about his latest album roots and branches and
about an amazing music career that has spanned over five decades. He’s a
soft spoken gentleman and just a really nice guy. It became evident to
me that his love of writing music, creating new ideas and playing the
guitar, always has and will forever be his passion. He also hinted about
another new Robin Trower album.
Robin had recently celebrated his 68th birthday.
Here’s my interview with guitar virtuoso/singer/songwriter/ producer … ROBIN TROWER. Ray Shasho: Hello Robin …happy belated birthday to you! Robin Trower: “Hello Ray and thank you very much.” Ray Shasho: How’s the weather in London? Robin Trower: “Very cold and a lot of snow about, not as much here in Hampshire but in Sussex they’ve had a helluva lot of snow.” Ray Shasho: Your manager Derek Sutton called me earlier to
make sure I was onboard with the time change. I consider Derek one of
the very few geniuses left in the music industry. He sounds like a great
guy too; it must be a pleasure to work with Derek. Robin Trower: “Yes, fantastic, he looks after me and
made it possible for me to make the music that I want to make and the
records that I want to make.” Ray Shasho: British artists I’ve interviewed tell me, while
growing up in England; it was difficult to find radio stations to listen
to early American blues and rock and roll. In fact, there weren’t many
radio stations at all? Robin Trower: “It was difficult, especially to get a
hold of black music. Basically we only had one radio station and that
was the BBC, they didn’t play rock and roll until they brought in Radio
1. But there were people who would bring music in and buy records from
America. I was lucky enough to know a guy that had a communication with
somebody at a record store in Memphis, and he used to send him a lot of
stuff. So I was really lucky and got to hear music that a lot of other
people weren’t hearing in Britain.” Ray Shasho: I heard that black music… or early American blues, were only heard on underground radio stations. Robin Trower: “Music like Howlin’ Wolf and Muddy
Waters, when they first came out in America, it was not released in
Britain. So we got it a bit later. Also a guy named Guy Stevens opened
up a specialist label called Pye International and he used to bring in
stuff like that and release it in Britain.” Ray Shasho: Robin, I understand that you were heavily influenced by R&B music, who was your favorite artist? Robin Trower: “Early James Brown was a very big
influence for me; he’s still my favorite artist even now, especially his
live albums like, ‘Live at The Apollo’ which is exceptional and so
inspired me. He set a standard with his band and his music and took it
to a whole new level, it became a benchmark. Not only that, obviously
there was a lot of other music, like I said …Howlin’ Wolf, Muddy Waters,
B.B. King, Albert King being my favorite blues guitar player, Jimi Hendrix
my favorite rock and roll guitar player … there’s a lot of people who
are important to me. But I was definitely inspired by rhythm and blues
and popular music from America.” Ray Shasho: Music critics always used to compare you to Jimi
Hendrix … maybe some of your techniques were similar but I always heard a
totally different sound and style. Robin Trower: “Obviously he was a big influence on
me, especially early on when I first started my band. But I always felt
the songwriting and music I wrote were definitely my own.” Ray Shasho: I really enjoyed your new release roots and branches and especially the way you added your signature sound to those classic cover tunes that obviously meant a lot to you. Robin Trower: “Yea, these are some of the songs that
got me interested in music, wanting to play guitar and all that kind of
thing when I was young and they’re still some of my favorite songs,
just great songs.” Ray Shasho: My favorite song on the album was not a cover
tune; it’s a brand new composition entitled “See My Life,” an incredible
tune that wails Trower Power! Robin Trower: “That’s the only song on there that
was actually done live. Actually the whole thing went down in one take.
Most of it was recorded in the same studio apart from some of the
overdubs; the organ was done at a different studio and I did a couple of
vocals when we were mixing at Livingstone Brown’s Studio.” Ray Shasho: My favorite cover tune on the album was “That’s Alright Mama” …just fantastic! Robin Trower: “Thank you very much. With that one
and “Hound Dog” I was more thinking about the original versions … the
original, “That’s All Right” being Arthur “Big Boy” Crudup and the
original, “Hound Dog” was Big Mama Thornton. With all the old songs that
I’ve done versions of I didn’t go and listen to them, I just did them
roughly from memory because I didn’t want to be influenced at all by the
original version. I just used a skeleton idea of the song and came up
with my own music for it, more or less like I’ve written the tune myself
and came up with it.” Ray Shasho: It’s amazing how many artists have made a living
recording and playing mostly cover tunes. I think in your case it’s the
complete opposite, that’s why this latest album is so rare and
different. Robin Trower: “I’ve been very fortunate …I continue
to write and continue to come up with ideas. I’m very lucky in that way.
I’ve obviously written a lot of songs and I’m still churning them out.
The engine is my love of playing the guitar, that’s what drives the
whole thing along.” Ray Shasho: You’ve also stayed motivated, which is difficult
to do, especially as we get older. How do you continue to stay so
motivated? Robin Trower: “The thing is …you always think the
next thing you do is going to be great. That’s it! I’m going to do
something great one day. Keep trying to do that thing that you’re going
to be really-really happy with.” Ray Shasho: Robin, you’ve already done so many great things. Robin Trower: “I’m not ready to give up yet though.
This morning I finished the arrangement for the eleventh new song, which
I feel there’s enough for a new album.” Ray Shasho: What is your process for writing new material? Robin Trower: “I just write on guitar. I’ve got one
of these Sony professional handheld recorders and I use a notepad to jot
down all the ideas as I go. I’m continually updating it as I improve an
idea until I’m happy with the material.” Ray Shasho: There’s a new Jimi Hendrix album out entitled,
People, Hell and Angels with twelve unreleased studio recordings and
featuring guest artists. I was wondering if you listened to the album
and also I understand you met Hendrix, but only briefly. Robin Trower: “I haven’t heard it … but I’ll have to
look out for it, if you say it’s good. I met Hendrix briefly while
playing with Procol Harum; we were on the bill with him in Berlin. It
was just a hello and goodbye sort of thing and that was it.” Ray Shasho:In my opinion, James Dewar was
one of the greatest rock voices the world has ever known, and an awesome
bass player. The musical chemistry between you and he was so incredibly
powerful, and the songs were mesmerizing. Robin Trower: “Well, hopefully that’s what you hope
to achieve with music, to make people feel like it’s taking them
somewhere, that’s the ideal effect you should have with music. Jimmy was
very gifted and he had a wonderful voice. We had a fantastic
relationship, we were like brothers. We worked very-very well together;
he was such a sweet guy.” Ray Shasho:Not a lot is mentioned about how
Jimmy Dewar left us. What I’ve read was a medical error left him
handicapped and then years later he had a stroke that ended his life. Robin Trower: “I’m not really sure and I don’t think
anyone is really sure what happened. I spoke to his wife after it
happened and she didn’t even seem certain about it, it’s just one of
those things you know … but something happened.” Ray Shasho: Do you still speak with Jimmy’s children? Robin Trower: “Whenever I’m touring in Britain, I
usually play Glasgow and see all three of his daughters. They’re all in
their late 30’s or so now.” Ray Shasho: I’d have a hard time visualizing Robin Trower
playing acoustic guitar onstage, has it ever crossed your mind during
your career? Robin Trower: “Not really. I’m not very good at
acoustic guitar playing really (laughing). I enjoy working on it because
it gives you a different texture and maybe pushes you in different
areas. But I play electric guitar, that’s my instrument.” Ray Shasho: I heard you had a reunion with your old bandmates The Paramounts? Robin Trower: “Yea, actually four years ago we did a
Christmas show at one of the little Pubs we used to play in when we
were together. It was a lot of fun and I really enjoyed it. The
Paramounts were a good little band. We never broke through into the
mainstream but we did quite well.” Ray Shasho: Then of course many of your Paramount bandmates morphed into Procol Harum. Robin Trower: “Gary Brooker started writing and that was really the core of Procol Harum … his composition.” Ray Shasho: Procol Harum is a great band but I’m so glad that
you left; the world may never have found out who the real Robin Trower
was. Robin Trower: “I wouldn’t have found out. (All
laughing) They were writing so many songs and pieces and there wasn’t
any room for me, so I had to leave.” Ray Shasho: The first time I heard you sing I was completely
blown away because you never sang. I think the only time I ever heard
your voice during the James Dewar days was on the beginning of “Twice
Removed From Yesterday” correct? Robin Trower: “Yes, I did a talking thing, and that
was the only vocals I did while Jimmy was with me. I hadn’t been
singing because we had such great singers. But I did sing in Procol
Harum.” Ray Shasho: “I think you’re a great singer.” I became a fan of Robin Trower as a singer on the album Go My Way, especially the tracks “Breathless” and “Go My Way.” I thought the album was exceptionally good. Robin Trower: “Thank you! I think what’s interesting
when you are singing is that you’re writing is different and I think
that’s given me a different outlet musically, because I’m working on the
voice rather than coming up with a melody idea. It’s been a completely
different thing and that’s been very interesting and in particular with
this new batch of songs I’ve come up with, it definitely led me into
some different areas.” Ray Shasho: How about a sneak preview of what we may expect on the next album once it’s completed? Robin Trower: “It flows on from roots and branches, that’s what I would say. I think roots and branches have
opened up an avenue in terms of the writing and I’m really enjoying the
moment, its seeming to come together really great.” Ray Shasho:Robin, I ask this question to
everyone that I interview. If you had a ‘Field of Dreams Wish’ like the
movie, to play, sing or collaborate with anyone from the past or
present, who would that be? Robin Trower: “I would play with James Brown.” Ray Shasho: “I figured it would either be James Brown or Jimi Hendrix.” Robin Trower: “No, I wouldn’t play with Jimi Hendrix, he’s too good. (All laughing)” Ray Shasho:Thank you Robin for being on the
call today and more importantly for all the incredible music you give
to us. Go on tour soon and please don’t forget about Florida dates. Robin Trower: “I sure will it’s been nice talking with you Ray … Cheers!”
Robin Trower official website www.trowerpower.com
Order roots and branches Robin Trower’s very latest release at amazon.com
Very special thanks to “The Great” Derek Sutton and David Maida.
Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com- Please support Ray so he can continue to bring you quality classic rock music reporting.
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