Showing posts with label Southern rock. Show all posts
Showing posts with label Southern rock. Show all posts

Sunday, May 28, 2017

Goodbye to Gregg Allman



I am powerless to resist.

Ever since I heard yesterday of the death of Gregg Allman, I have been listening to my CDs of his music — at home, in my car, wherever I am, whatever I'm doing.

Thoughts of Gregg Allman bring back many fond memories for me. The Allman Brothers Band may have been my favorite band when I was in my teens, and I still enjoy listening to those recordings today.

There is some music I listened to in my teens that makes me cringe when I hear it today. "What was I thinking?" I want to ask myself even though the answer is obvious. I was a teenager, and you know how teenagers are.

But the Allman Brothers music never affects me that way.

It is drizzly and overcast this morning in Dallas, Texas, and I have been listening to the Allmans and remembering those days in my life. It has always seemed to me that Southern blues/rock music was made for a day like today, which makes it an appropriate time to mourn Allman's passing.

The Allman Brothers were responsible for bringing that genre to us. There have been many Southern rock bands over the years, but Gregg Allman and the Allman Brothers Band were the pioneers. They made sure we got the music, then passed the baton to others. Some handled it well; others did not.

But none ever matched what they achieved.

I feel a personal link between Dallas and the Allman Brothers. My grandparents lived here, and my family came here to visit frequently when I was growing up. I can remember buying cassettes of Gregg Allman and the Allman Brothers during our visits — Dallas always had far better music stores than central Arkansas did, as far as I was concerned — and listening to them on my portable cassette player on my grandmother's porch.

Frequently, as I recall, it was raining when I listened to those tapes.

Farewell, Gregg Allman.

Saturday, January 16, 2016

ZZ Top's First Album



I think ZZ Top must have taken a lot of people by surprise when the band released its first album on this day in 1971 — called, appropriately, "ZZ Top's First Album."

I don't know what the sales were like, but I don't really remember ZZ Top making much of a splash until the third album, "Tres Hombres," a couple of years later.

Consequently, I guess it was pretty ballsy (pardon my French) to call it the band's first album — which implies that there will be at least one more. Vulgar though it may be, the word ballsy is appropriate for the tone ZZ Top established in that debut album — if the implication is bold and not a more negative synonym.

That first album was raw, uneven at times, but the band served notice that it was a bluesy, Southern rock band with a sound all its own.

The only single that was released from that album was "(Somebody Else Been) Shaking Your Tree," but it was a cornerstone for the ZZ Top sound. It just never made it onto the Billboard charts.

As I say, the album was uneven. It certainly had its moments, though — moments when certain tracks just worked, you know?

And on those tracks that did work — and "(Somebody Else Been) Shaking Your Tree" was one of them — the future was revealed.

Part of that future was a song that became a staple in the band's concerts — "Backdoor Love Affair." I saw ZZ Top perform in Dallas — as a warmup band. No, it wasn't before ZZ Top became famous. In fact, it was long after that. ZZ Top was the warmup band for the Rolling Stones — and even the best of bands take second billing to the Stones.

Both acts were great, and I distinctly remember hearing ZZ Top play "Backdoor Love Affair."

Wow, I thought to myself. It's like the live side of "Fandango!" Well, except for the fact that the studio version was played a bit slower.

Another song that gave listeners a peek at what was to come with ZZ Top was "Brown Sugar" — and I am definitely not speaking of a cover of the Rolling Stones' song. This was an entirely different song with an entirely different kind of attitude.

And another song that I thought worked was called "Goin' Down to Mexico."

It had the sensation of ZZ Top — a sensation that hasn't really changed that much even as the band went through a rather extended synthesizer phase, during which ZZ Top introduced elements of new wave and punk rock to its sound.

I'm sure most ZZ Top fans were relieved — as I was — when the band returned to its guitar–driven roots in the early '90s.

But on this day in 1971, the band's Rock and Roll Hall of Fame career was just getting started.



Thursday, August 27, 2015

On Being Denied the Pleasure of Their Company



Most of us — if we had our druthers, as the folks in the Li'l Abner comic strip liked to say — would prefer to die quickly and relatively painlessly when we were at the top of our respective games.

Not everyone is granted that wish, of course, just as it is true that not everyone lives to a ripe old age — but if one does live into old age, he/she is not likely to be as fit or as sharp as he/she was at a younger age. Such a person is hardly likely to go out on top of his or her game.

Most of us, I guess, would like to live long lives, but most people can't live long lives and be as vibrant as they were when they were young. Some can, I suppose, but not most of us. Everything in life, it seems, is a trade–off.

(In a way, I'm inclined to think that Spencer Tracy's character in "Inherit the Wind" was saying the same thing when he remarked, "Progress has never been a bargain. You have to pay for it. Sometimes I think there's a man who sits behind a counter and says, 'All right, you can have a telephone, but you lose privacy and the charm of distance. Madam, you may vote but at a price. You lose the right to retreat behind the powder puff or your petticoat. Mister, you may conquer the air, but the birds will lose their wonder, and the clouds will smell of gasoline.'"

(Perhaps, when the subject is quality of life, it depends on what one considers progress — longevity or never having to contend with diminished abilities.)

My mother was denied the old age that my father has had. Mom was a schoolteacher who died in a flash flood 20 years ago. She and my father owned a duplex in Dallas and rented half of it as an additional source of income. The house had been in the family for decades. It originally belonged to my mother's parents, and she grew up there.

A week or so after my mother died, my brother and I crossed paths with the tenant, who remarked that Mom went out at the top of her game, and I couldn't argue with that.

A few hours before Mom died, she was at a carnival at her school. I've seen pictures that were taken that day. Perhaps there are home videos that were made as well in which I might be able to hear Mom chatting with her students or her students' parents. I can't get that from photographs, of course, but the look on Mom's face tells me she was in her element that day — and, for that matter, all the years she taught at that school. The tenant was right. Mom went out at the top of her game.

While I wish she had been with us longer, it is hard for me to imagine Mom in retirement. I know there were times when the job wore her out, but her work with children always seemed to energize her. I wonder where she would have found a source for that energy in retirement. My guess is that, if she couldn't be paid to mentor children, she would have found some way to do it for free — perhaps in a voluntary part–time capacity at a school or library.

There is a conundrum at play in every human life. See, I am grateful to have that mental image of my mother and not the one that my mother had of her mother in the final years of her life — but I still wish I had not been denied the pleasure of her company all these years.

Today would have been her birthday. It is also the 25th anniversary of the helicopter crash that claimed the life of another — and much more prominent — native of Dallas, Stevie Ray Vaughan. He was considerably younger than Mom, but it could also be said of him that he went out at the top of his game.

And I often wish we had not been denied the pleasure of his company.

Stevie Ray Vaughan struggled with substance abuse issues in the 1980s, but he had straightened up and was clearly on an upward trajectory when his helicopter crashed in southeast Wisconsin 25 years ago today. Each album was better than the one that preceded it, and his last album, "In Step," seemed to be the one that would earn him the acceptance of the mainstream audience.

His debut album with his band Double Trouble was called "Texas Flood," which was the name of one of the songs they played on the album — but it wasn't a Stevie Ray original. Matter of fact, it was a blues standard that had been covered by many artists over the years, but it came to be associated with Stevie Ray. Maybe he played it better than anyone else ever did. I don't know if that is true, but I do know that he played the hell out of that song.

I was in graduate school at the University of North Texas — about 35 or 40 miles north of Dallas — when Stevie Ray was killed, and I remember watching the news reports on the Dallas TV stations the night following Stevie Ray's funeral. The list of attendees read like a who's who of popular music — Eric Clapton, David Bowie, ZZ Top, Stevie Wonder, Bonnie Raitt, Jackson Browne. Those are the ones I can remember off the top of my head. I'm sure there are many I have forgotten.

After Stevie Ray's death, the city of Austin, Texas, erected a statue in his memory, showing him wearing his trademark poncho and holding his guitar at his side standing by the river. Some folks didn't like it. I liked it well enough, I suppose, but I think I would have preferred for him to be holding his guitar in his classic pose on stage. To me, the guitar looked a little too much like a gun at his side — until you got close enough to examine it.

I thought it was ironic, in this the 25th anniversary of his death, that we got so much rain this past spring, and the river flooded the area around the statue. At the water's peak, Stevie Ray appeared to be standing on water.

Talk about your Texas flood.

Yes, Stevie Ray Vaughan went out at the top of his game, but you can still feel the loss for the rest of us. He was 35 when he died. He would be 60 if he had been permitted to live. At the time of his death, he had been putting out several records/CDs that soared on the charts; one can only imagine what the future held for him. Hey, 60 is a whippersnapper compared to Bob Dylan, the Rolling Stones and Paul McCartney, all still out there playing to packed houses in their 70s.

What else might Stevie Ray have done in the last quarter of a century? I don't know, but I'm sure he would have been an influence on popular music. "In Step" would have been his breakthrough album, I'm sure of it, and I'm equally sure it would not have been his last. The entire musical landscape might be different today if he had not died.

"After he cleaned himself up, by 1990, he was back to playing guitar in a ferocious way," Jason Hanley, senior director of education for the Rock and Roll Hall of Fame and Museum, told the Milwaukee (Wis.) Journal Sentinel. "Who knows what he would have done next?"

One thing I do know — if you like blues rock, then you owe Stevie Ray Vaughan a special debt of gratitude. Every day, really, but today in particular.

Sunday, February 12, 2012

Forty Years of the Peach Corps



Today is both the birthday of a very good friend of mine (happy birthday, Brady) and the 40th birthday of an album that played an important role in my teen years — "Eat a Peach" by the Allman Brothers Band.

All sorts of celebrations have been and will be held to mark the occasion, not the least of which is a special radio program that is being aired nationally. The hoopla is well deserved. "Eat a Peach" is often said to be the Allmans' best album.

It was tragic that "Eat a Peach" was the last Allman Brothers album to include one of the brothers, Duane Allman, who died in a motorcycle accident in 1971. He would be 65 if he hadn't been killed, but he is eternally in his mid–20s.

Duane died during the final recording sessions, and the surviving band members decided to re–name the album. Originally, it was supposed to be called "The Kind We Grow in Dixie," but, after Duane's death, they decided to adapt a comment he made to an interviewer who asked him what he was doing for the revolution.

"There ain't no revolution," he said, "it's evolution, but every time I'm in Georgia I eat a peach for peace."

That resonates with me.

I grew up in the South, and there were many times in my childhood when I ate fresh peaches from roadside stands in the summer. My mother was fond of east Texas peaches, and we always managed to get some in late June or early July when that year's crop was starting to come in.

She would then make the sweetest refrigerator peach pies I've ever tasted, and that is one of my favorite food memories from my childhood. I don't think Mom ever made the connection between peaches and peace, but she was certainly an advocate of peace during her lifetime so I don't think she would have objected.

I often wish I had that recipe, but it was lost long ago.

But even if I didn't have such pleasant associations with peaches, I still would count "Eat a Peach" among my favorite albums.

First of all, it was a double album — and that was something special in the 1970s.

To put things into context, the storage capacity for a CD is probably two or three times what it was on those old vinyl LPs. Therefore, when you buy an album on CD that was originally released as a double LP, every track from that album usually will fit on a single CD.

That's a distinct advantage with "Eat a Peach" — as anyone who ever owned the LP will tell you.

Two whole sides of that double album were devoted to a single track that went on for more than half an hour. It was a concert track called "Mountain Jam," which was recorded at the Fillmore East in New York in the spring of 1971.

Since it was divided into two sides, there was always a strange gap in the middle of the recording when the turntable changed records. On the CD, it is played continuously. No awkward interruptions.

That's great for someone like me. I was an Allman fan in the 1970s. Might be a bit tedious for more casual listeners, though.

There were eight other tracks on the album, and I always thought the best were blues–rock songs like "One Way Out" and "Trouble No More."

Those tracks were on the third side, where the recordings that Duane completed before his death could be found.

The whole album was a tribute to Duane's memory. He was a participant in the "Mountain Jam," and the final side, as I say, was exclusively tracks that included Duane.

The first side, though, was kind of the band's affirmation that it would move forward, ever mindful of Duane's contribution to the past but eager to embrace the future.

That attitude was summed up in the first song, "Ain't Wasting Time No More," and what might be called a kinder, gentler Allman Brothers seemed to be emerging in the track "Melissa."

"Sometimes it all seems to come down to the question of survival," wrote Tony Glover in Rolling Stone, "and learning to live with loss."

The album was "a simultaneous sorrowed ending and hopeful beginning," Glover wrote, and I believe that is true.

The Allman Brothers survived. I can't imagine what my teen years would have been like if they had not.

As far as I was concerned, that certainly was hopeful.