Don Preston
Dom DeWilde's Eye Of Agamotto
Friday, November 20, 2009
Perhaps best know for his tenure with Zappa and The Mothers of Invention, keyboardist Don Preston (often referred to as Dom DeWilde) actually has had a long and interesting history in the music industry. A few months back while compiling the 'Summer of Zappa' series, I developed an interest in Preston's solo work, and found that he is an extremely accomplished player with a fascinating story to tell.
A Michigan native, Preston developed a musical friendship while in his early 20's with Detroit players Tommy Flanagan and Yusef Lateef, both of whom he was introduced to by Army buddy, Herbie Mann. The product of a musical family (his father was at one time the long-standing conductor-in-residence for the Detroit Symphony Orchestra) Preston primarily played acoustic bass during those years, but was additionally proficient at the piano. By way of his increasing musical development, he forged additional alliances, working with Elvin Jones for 12 months, and joining The Hal McIntyre Big Band who were tapped to accompany Nat 'King' Cole on an intercontinental tour, a tour in which Preston performed piano duties rather than the 'King' himself. At the conclusion of those dates, he relocated to Los Angeles where he was befriended by Paul and Carla Bley and returned to the upright bass for club dates with them. They in turn introduced him to Charlie Haden and others in their circle who were among the principle leaders on the American West Coast in steering jazz into virgin territories. They were heady times, and Preston was right in the thick of it. But another electrifying scene was also gathering strength in Los Angeles when Preston first encountered Frank Zappa. So what did he do? Well to loosely paraphrase a bit of dialogue from '200 Motels,' "He could have played the blues with John Mayall, or far-out, exciting jazz with Blood, Sweat and Tears. But instead he joined The Mothers and their 'comedy' rock! No one would ever take him seriously after that." Fortunately others did. Interesting jazz collaborations in the following years included John Carter, Bobby Bradford, Gil Evans, and Michael Mantler with whom he's recorded several outstanding dates. Plus there has been memorable work with Art Davis and Tootie Heath, Meredith Monk and Eugene Chadbourne as well.
But it was before those collaborations, and just prior to falling into Zappa's orbit that Preston began to develop an interest in electronic keyboards and sound. At the time he was a member of Don Ellis' big band. In that band he became one of the first, if not the first to utilize synthesizers in a live setting, jazz or otherwise. In fact, in the early 60's he designed his very own synthesizer, well before the advent of commercial Mini Moog's, DX-7's, ARP's, and MIDI's. To quote Preston, "It was 1965. You couldn't buy one then. The Moog synth came out in 1967. The thing I made was a collection of oscillators, filters, and other bells and whistles. And it synthesized sounds. It had about 50 oscillators, 3 filters, 2 ring modulators, a tape delay, a Theremin, and a mixer. It was of my own design and assembled from parts with a casing made of clear plexiglass. Along with that, I used several metal sculptures and a truck spring the create 'electronic' sounds." The homemade instrument essentially made Preston a pioneer in live electronic music, an area that he still creates in today. He has addtionally either scored or orchestrated the soundtracks to several major motion pictures, most famously, Francis Ford Coppola's, 'Apocalypse Now.' Preston himself is responsible for orchestrating roughly a quarter of the memorable score, which I believe is all pretty impressive. Am I right?
The selections in the sets below come largely from a compilation ('Vile Foamy Ectoplasm') of recordings that Preston made between 1967 and 1981. It was originally released in 1993, then taken out of print and rereleased in 2008 with additional tracks, as well as having renamed a few from the first edition. The remainder come from 'Transformation,' a 2001 recording by the Don Preston Trio. Most of it is jazz oriented in a very Herbie Hancock/George Duke sort of way. Not so much funky as it is fusion. It's melodic, well constructed, well executed, and well tempered. The straight ahead numbers reflect all he absorbed from Paul Bley, and there are also a few of Preston's electronic pieces (Death Lights, Zanti Serenade, and Construction In Slow Motion...) that are quite engaging as well. And just to mix things up a bit, I've included two very short songs by his former band mate in the Mothers of Invention, Jimmy Carl Black and his post-MOI group, Geronimo Black. Preston contributed to their sole release, but he does not appear on the two selections that I've chosen to include. Why did I do that, you might ask? For f#@ks sake, I suppose. No harm done though. They fit in and come at no extra cost to you. Dump 'em if you don't like 'em.
A Michigan native, Preston developed a musical friendship while in his early 20's with Detroit players Tommy Flanagan and Yusef Lateef, both of whom he was introduced to by Army buddy, Herbie Mann. The product of a musical family (his father was at one time the long-standing conductor-in-residence for the Detroit Symphony Orchestra) Preston primarily played acoustic bass during those years, but was additionally proficient at the piano. By way of his increasing musical development, he forged additional alliances, working with Elvin Jones for 12 months, and joining The Hal McIntyre Big Band who were tapped to accompany Nat 'King' Cole on an intercontinental tour, a tour in which Preston performed piano duties rather than the 'King' himself. At the conclusion of those dates, he relocated to Los Angeles where he was befriended by Paul and Carla Bley and returned to the upright bass for club dates with them. They in turn introduced him to Charlie Haden and others in their circle who were among the principle leaders on the American West Coast in steering jazz into virgin territories. They were heady times, and Preston was right in the thick of it. But another electrifying scene was also gathering strength in Los Angeles when Preston first encountered Frank Zappa. So what did he do? Well to loosely paraphrase a bit of dialogue from '200 Motels,' "He could have played the blues with John Mayall, or far-out, exciting jazz with Blood, Sweat and Tears. But instead he joined The Mothers and their 'comedy' rock! No one would ever take him seriously after that." Fortunately others did. Interesting jazz collaborations in the following years included John Carter, Bobby Bradford, Gil Evans, and Michael Mantler with whom he's recorded several outstanding dates. Plus there has been memorable work with Art Davis and Tootie Heath, Meredith Monk and Eugene Chadbourne as well.
But it was before those collaborations, and just prior to falling into Zappa's orbit that Preston began to develop an interest in electronic keyboards and sound. At the time he was a member of Don Ellis' big band. In that band he became one of the first, if not the first to utilize synthesizers in a live setting, jazz or otherwise. In fact, in the early 60's he designed his very own synthesizer, well before the advent of commercial Mini Moog's, DX-7's, ARP's, and MIDI's. To quote Preston, "It was 1965. You couldn't buy one then. The Moog synth came out in 1967. The thing I made was a collection of oscillators, filters, and other bells and whistles. And it synthesized sounds. It had about 50 oscillators, 3 filters, 2 ring modulators, a tape delay, a Theremin, and a mixer. It was of my own design and assembled from parts with a casing made of clear plexiglass. Along with that, I used several metal sculptures and a truck spring the create 'electronic' sounds." The homemade instrument essentially made Preston a pioneer in live electronic music, an area that he still creates in today. He has addtionally either scored or orchestrated the soundtracks to several major motion pictures, most famously, Francis Ford Coppola's, 'Apocalypse Now.' Preston himself is responsible for orchestrating roughly a quarter of the memorable score, which I believe is all pretty impressive. Am I right?
The selections in the sets below come largely from a compilation ('Vile Foamy Ectoplasm') of recordings that Preston made between 1967 and 1981. It was originally released in 1993, then taken out of print and rereleased in 2008 with additional tracks, as well as having renamed a few from the first edition. The remainder come from 'Transformation,' a 2001 recording by the Don Preston Trio. Most of it is jazz oriented in a very Herbie Hancock/George Duke sort of way. Not so much funky as it is fusion. It's melodic, well constructed, well executed, and well tempered. The straight ahead numbers reflect all he absorbed from Paul Bley, and there are also a few of Preston's electronic pieces (Death Lights, Zanti Serenade, and Construction In Slow Motion...) that are quite engaging as well. And just to mix things up a bit, I've included two very short songs by his former band mate in the Mothers of Invention, Jimmy Carl Black and his post-MOI group, Geronimo Black. Preston contributed to their sole release, but he does not appear on the two selections that I've chosen to include. Why did I do that, you might ask? For f#@ks sake, I suppose. No harm done though. They fit in and come at no extra cost to you. Dump 'em if you don't like 'em.
Eye Of Agamotto, Pt.1
1) Moon Unit
2) Siesta*
3) Palmer Park
4) Death Lights
5) Bannon Call
6) Horta Babies
7) The Eric Dolphy Memorial Barbeque
8) I Love You
9) The Donkey
10) Andrea
*Jimmy Carl Black & Geronimo Black
Eye Of Agamotto, Pt.2
1) Zanti Serenade
2) Trapezoid
3) Sweet 15
4) Silicone Hump
5) Immaculate Deception
6) The Eye Of Agamotto
7) Gone
8) Construction In Slow Motion With Sharp Interludes
9) Inner Blues (Not A Blues)
10) The Eternal Question
11) Aegospotamos
*Jimmy Carl Black & Geronimo Black **w/Ian Underwood of The Mothers
Source material for Eye Of Agamotto, Pts. 1&2 comes from the following:
Vile Foamy Ectoplasm (Originally released 1993/Reissued 2008)
Transformation (The Don Preston Trio/2001)
*Geronimo Black (1972)/**Playground Psychotics (1992)
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
2 x 2
In The Long Form
Friday, November 13, 2009
No.#6 in a series
Howard Hanson w/The Eastman-Rochester Orchestra
Symphony No.#2, Opus 30, 'Romantic'
Adagio; Allegro Moderato
Andante Con Tenerezza
Allegro Con Brio
Taken from the Mercury Records recording of the same name
Gavin Bryars w/Tom Waits
Jesus' Blood Never Failed Me Yet
Tramp w/Orchestra I (String Quartet)
Tramp w/Orchestra II (Low Strings)
Tramp w/Orchestra III (No Strings)
Tramp w/Orchestra IV (Full Strings)
Tramp and Tom Waits (Full Orchestra)
Tom Waits (High Strings)
Taken from the Point Music recording of the same name
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
Friday, November 13, 2009
No.#6 in a series As a refresher, the premise of the 'In The Long Form' series is to feature outstanding musical pieces that exceed 10 minutes in length, while still holding interest, engagement, and purpose. This chapter features classical and modern classical for the first time with compositions by two remarkable composers --- Pulitzer Prize winner, Howard Hanson (1896-1981), the long time Director of the prestigious Eastman School of Music in Rochester, NY, and modern composer, Gavin Bryars (1943- ) whose works as a minimalist include free jazz, experimental music, avant-garde, and neo-classical forms. Both of the selections I've selected are cyclical in their approach, especially the latter, while the former has an underlying theme that while liberally expanded upon, always returns to the main theme and musical statement. Additionally, both compositions are widely considered to be among the best works of their author's respective careers.
'Jesus' Blood Never Failed Me Yet,' is constructed around an endlessly repeated thirteen bar tape loop, excerpted from a field recording of a London Town hobo singing a tender hymnal. Building ever so slowly, the piece gradually layers rich harmonies and textures over the repeated refrain, employing brass, woodwinds, strings, and finally the addition of the tubercular vocals of Tom Waits who accompanies the tramp with remarkable simpatico. The result is an eloquent and lush soundscape that unhurriedly evolves over the course of 71 minutes to produce a calming, subdued atmosphere, while simultaneously paying an emotionally moving tribute to the nameless tramp's spirit, nobility, and simple faith in his redeemer.
Hanson's 'Symphony No.#2, Opus 30, 'Romantic'' meanwhile packs the equivalent emotional punch in a mere 27 minutes through it's tension building structure, and it's rich and equally lush orchestration. Here the cycle begins with a simple stepwise ascension of the principle theme, gradually intensifying in volume and strength until the crash of cymbals carries it over into the next episode. From that point forward, melody and countermelody mingle like waves on open water, while overlapping harmonies create both a melancholy and melodrama that is nearly heartwrenching. What makes for the dramatic tension throughout is the way the orchestral weight plays against haunting passages of rhapsodic lyricism that float above the ebb and flow that root it. It's deep, yet completely accessible.
Both compositions are filled with passion and heartache, and both are being featured because they seem to accurately reflect how I happen to be feeling at this particular moment in time. Several more of the series can be found in 'The Vault.'
'Jesus' Blood Never Failed Me Yet,' is constructed around an endlessly repeated thirteen bar tape loop, excerpted from a field recording of a London Town hobo singing a tender hymnal. Building ever so slowly, the piece gradually layers rich harmonies and textures over the repeated refrain, employing brass, woodwinds, strings, and finally the addition of the tubercular vocals of Tom Waits who accompanies the tramp with remarkable simpatico. The result is an eloquent and lush soundscape that unhurriedly evolves over the course of 71 minutes to produce a calming, subdued atmosphere, while simultaneously paying an emotionally moving tribute to the nameless tramp's spirit, nobility, and simple faith in his redeemer.
Hanson's 'Symphony No.#2, Opus 30, 'Romantic'' meanwhile packs the equivalent emotional punch in a mere 27 minutes through it's tension building structure, and it's rich and equally lush orchestration. Here the cycle begins with a simple stepwise ascension of the principle theme, gradually intensifying in volume and strength until the crash of cymbals carries it over into the next episode. From that point forward, melody and countermelody mingle like waves on open water, while overlapping harmonies create both a melancholy and melodrama that is nearly heartwrenching. What makes for the dramatic tension throughout is the way the orchestral weight plays against haunting passages of rhapsodic lyricism that float above the ebb and flow that root it. It's deep, yet completely accessible.
Both compositions are filled with passion and heartache, and both are being featured because they seem to accurately reflect how I happen to be feeling at this particular moment in time. Several more of the series can be found in 'The Vault.'
Howard Hanson w/The Eastman-Rochester Orchestra
Symphony No.#2, Opus 30, 'Romantic'
Adagio; Allegro Moderato
Andante Con Tenerezza
Allegro Con Brio
Taken from the Mercury Records recording of the same name
Gavin Bryars w/Tom Waits
Jesus' Blood Never Failed Me Yet
Tramp w/Orchestra I (String Quartet)
Tramp w/Orchestra II (Low Strings)
Tramp w/Orchestra III (No Strings)
Tramp w/Orchestra IV (Full Strings)
Tramp and Tom Waits (Full Orchestra)
Tom Waits (High Strings)
Taken from the Point Music recording of the same name
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
Godley/Creme & 10cc Reconsidered
With New Consequences
Friday, November 06, 2009
At some point over the summer months, my friend Willard who authors the excellent 'Never Get Out Of The Boat' blog, posted Kevin Godley and Lol Creme's quirky, uneven, and extremely self-indulgent, 'Consequences,' a multi-disc boxed set that was originally released back in 1977. The genesis for the package was simple enough. The intention was a demonstration record for a clever invention the two former members of 10cc had developed called 'The Gizmo.' This unique little device was supposedly capable of providing guitarists with a new and wide variety of sonic textures when attached to the bridge of their instrument. But being the adventurous (and mischievous) lads that they were, the pair couldn't control their impulse for excess, and the once straightforward project quickly snowballed out of control to become an entirely different sort of monster. With 3 full length LP's of possible material at hand, the now 'conceptual' project ended up as a textbook exercise in immoderation with more dialogue than actual music, and an intriguing but overwrought storyline that collapses under its own weight. That said dialogue came courtesy of the outlandish, Peter Cook of Derek & Clive fame, and although his comedic presence clearly has its moments, it only served to make 'Consequences' an even more esoteric record than any that were previously produced by Godley & Creme when members of 10cc.
In years past, I was never able to fully embrace the music of 10cc, perhaps for the same reasons that most others could not. While Graham Gouldman and Eric Stewart offered accessible pop sensibilities to the group, their counterparts, Godley & Creme often pushed the envelope just a bit too far with their razzle dazzle. Tongues firmly embedded in cheek, they may have simply alienated their audience with a cleverness that many listeners may have found overbearing and far too droll. That directional tug of war within their ranks sadly prevented the band from ever gaining the popularity they could have earned. Some very interesting ingredients were present in their material, but the total package was always just slightly out of reach for the average listener (save for the few 'hits' that broke through). Over the years my opinions regarding their vision (good or bad) have not wavered, but nonetheless I have always appreciated the intelligence, originality, tunefulness, and undisputed musicianship that they always displayed. And as I've learned more about recording techniques, engineering, and studio tricks of the trade, I can also admire their highly adventurous production values.
But getting back to 'Never Get Out Of The Boat' and 'Consequences,' the reader responses to Willard's post frequently alluded to how much stronger a recording 'Consequences' could have been if only it had been reigned in and edited with a bit of objectivity. With that in mind, I've attempted just that, hoping to present it revamped in a brand new light. Admittedly I've edited quite a bit, but on the other hand I've failed miserably at reigning it in. Rather than pairing it down to the equivalent of a single LP, '...Reconsiderations No.#1 & No.#2' (as the titles suggest) still remain as sprawling as previously, but happily more tuneful if only slightly more focused. Eliminating what I perceived as unnecessary and over-indulgent from the original, I instead inserted numerous (and far more musical) selections from the 10cc catalog during the period when Godley & Creme were still active members. I've left enough of the dialogue intact to keep the storyline alive, but not so much as to overshadow the music as it did in the original. The addition of the 10cc material I believe makes for a more rewarding listen, and may in actuality enhance the original 'concept.' I might be fooling myself about the enhancement part, but certainly not the musical portion. Believe me, if you heard the original and overreaching six sided beast in it's native form, you'd likely agree that this version delivers much more quality for your listening pleasure, and far less filler.*
*To hear 'Consequences' in it's entirety, you'll find it here.
In years past, I was never able to fully embrace the music of 10cc, perhaps for the same reasons that most others could not. While Graham Gouldman and Eric Stewart offered accessible pop sensibilities to the group, their counterparts, Godley & Creme often pushed the envelope just a bit too far with their razzle dazzle. Tongues firmly embedded in cheek, they may have simply alienated their audience with a cleverness that many listeners may have found overbearing and far too droll. That directional tug of war within their ranks sadly prevented the band from ever gaining the popularity they could have earned. Some very interesting ingredients were present in their material, but the total package was always just slightly out of reach for the average listener (save for the few 'hits' that broke through). Over the years my opinions regarding their vision (good or bad) have not wavered, but nonetheless I have always appreciated the intelligence, originality, tunefulness, and undisputed musicianship that they always displayed. And as I've learned more about recording techniques, engineering, and studio tricks of the trade, I can also admire their highly adventurous production values.But getting back to 'Never Get Out Of The Boat' and 'Consequences,' the reader responses to Willard's post frequently alluded to how much stronger a recording 'Consequences' could have been if only it had been reigned in and edited with a bit of objectivity. With that in mind, I've attempted just that, hoping to present it revamped in a brand new light. Admittedly I've edited quite a bit, but on the other hand I've failed miserably at reigning it in. Rather than pairing it down to the equivalent of a single LP, '...Reconsiderations No.#1 & No.#2' (as the titles suggest) still remain as sprawling as previously, but happily more tuneful if only slightly more focused. Eliminating what I perceived as unnecessary and over-indulgent from the original, I instead inserted numerous (and far more musical) selections from the 10cc catalog during the period when Godley & Creme were still active members. I've left enough of the dialogue intact to keep the storyline alive, but not so much as to overshadow the music as it did in the original. The addition of the 10cc material I believe makes for a more rewarding listen, and may in actuality enhance the original 'concept.' I might be fooling myself about the enhancement part, but certainly not the musical portion. Believe me, if you heard the original and overreaching six sided beast in it's native form, you'd likely agree that this version delivers much more quality for your listening pleasure, and far less filler.*
{Act One}
"As a G major, Mr. Stapleton, you handle the baton"
1) Overture
2 ) "This divorce is just a formality, isn't it?"
3) Don't Hang Up
4) 'A Hole With Or Without Prejudice'
5) Brand New Day
6) Mine, Yours, Ours* / Burial Scene, Pt.1*
7) Art For Art's Sake / Fireworks*
8) The Second Sitting For The Last Supper
9) '10 O'Clock On A Wet And Windy April Morning'
10) Sleeping Earth (Excerpt)*
11) The Flood*
12) Cry**
13) 'A Strange Look'
14) Lost Weekend*
15) 'An Atmosphere Of Studied Chaos'
Une Nuit a Paris Suite
16) One Night In Paris
17) The Same Night In Paris
18) Later The Same Night In Paris
19) "Not the weather, surely?"
20) Fire*
21) Flying Junk
...Reconsideration No.#2
{Act Two}
"Lead me in with a count of seventeen, Mr. Stapleton!"
1) Five O'Clock In The Morning*
2) I'm Not In Love
3) Burial Scene, Pt.2*
4) "As I understand it..." / 'Popular Music'
5) The Worst Band In The World
6) "Ah, Mrs. Stapleton! Did you hear the news?"
7) The Wall Street Shuffle
8) Cool, Cool, Cool*
9) "The phone's gone dead!"
10) Sailor*
11) 'The Only Possible Explanation'
12) Office Chase*
13) Mr. Blint's Prelude (from 'Blint's Tune')* / Wind*
14) Life Is A Minestrone
15) 'Theories In Practice'
16) Blackmail
17) "I think something must be happening!"
18) I'm Mandy, Fly Me
19) "This is chaos! There is no television!"
20) Fire (Reprise)*
21) End Credits (The Film Of My Love)
Source material for 'Godley/Creme & 10cc Reconsidered' comes from the following:
Godley & Creme
*Consequences (1977)/**The History Mix, Vol.1 (1985)
10cc
Sheet Music (1974)/The Original Soundtrack (1975)/How Dare You! (1976)
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
1) Overture
2 ) "This divorce is just a formality, isn't it?"
3) Don't Hang Up
4) 'A Hole With Or Without Prejudice'
5) Brand New Day
6) Mine, Yours, Ours* / Burial Scene, Pt.1*
7) Art For Art's Sake / Fireworks*
8) The Second Sitting For The Last Supper
9) '10 O'Clock On A Wet And Windy April Morning'
10) Sleeping Earth (Excerpt)*
11) The Flood*
12) Cry**
13) 'A Strange Look'
14) Lost Weekend*
15) 'An Atmosphere Of Studied Chaos'
Une Nuit a Paris Suite
16) One Night In Paris
17) The Same Night In Paris
18) Later The Same Night In Paris
19) "Not the weather, surely?"
20) Fire*
21) Flying Junk
...Reconsideration No.#2
{Act Two}
"Lead me in with a count of seventeen, Mr. Stapleton!"
1) Five O'Clock In The Morning*
2) I'm Not In Love
3) Burial Scene, Pt.2*
4) "As I understand it..." / 'Popular Music'
5) The Worst Band In The World
6) "Ah, Mrs. Stapleton! Did you hear the news?"
7) The Wall Street Shuffle
8) Cool, Cool, Cool*
9) "The phone's gone dead!"
10) Sailor*
11) 'The Only Possible Explanation'
12) Office Chase*
13) Mr. Blint's Prelude (from 'Blint's Tune')* / Wind*
14) Life Is A Minestrone
15) 'Theories In Practice'
16) Blackmail
17) "I think something must be happening!"
18) I'm Mandy, Fly Me
19) "This is chaos! There is no television!"
20) Fire (Reprise)*
21) End Credits (The Film Of My Love)
Source material for 'Godley/Creme & 10cc Reconsidered' comes from the following:
Godley & Creme
*Consequences (1977)/**The History Mix, Vol.1 (1985)
10cc
Sheet Music (1974)/The Original Soundtrack (1975)/How Dare You! (1976)
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
A Wizzard's Brew
The Eccentric Magic Of Roy Wood
Friday, October 30, 2009
Don't let the face paint, fright wig, and goofy Halloween costume fool you. Multi-instrumentalist Roy Wood has far more going for him than appearances may suggest. He possesses a musical depth that runs far deeper than the one trick pony's of the rock n' roll field who also indulge in theatrical make-up and histrionics. The wizardly persona is a truly adept one, for Roy Wood conjures a magical brew of pop influences that squarely place him head and shoulders above the pack.
As much a rock n' roll historian as a musician and composer, Wood's tunes run the gamut of contemporary music forms, particularly those of American origin to include jazz, do-wop, rockabilly, pop, boogie woogie, and yes, a defined degree of British heavy metal to boot. Possessing an uncanny chameleon-like ability to adapt, this crafty wizard is also capable of replicating the feel and style of others artists music, thereby paying reverential tribute to their own legacies in the process. His strange magic however lays in the ability to filter those styles through a prism of his own design. Though at times derivative, the sum of the parts coalesce into an end product that is uniquely his own. The inferential tips of the hat not only signal his love and understanding of pop history, but also make for compelling listening, particularly when he liberally blends those ingredients together, often into one song. The result makes for a potent elixir that can work some very powerful mojo. With his dense production techniques, his mega multi-layered instrumentation and sometimes schizophrenic match making, Roy's music is what some might consider an 'acquired taste.' But when his sorcery is approached with open ears, the music becomes an exhilarating and bewitching carnival ride through 'The Tunnel of Fun,' offering thrills, spills, and unexpected surprises at every turn.
Once the primary songwriter for legendary scene maker's, 'The Move' (which with the addition of Jeff Lynne evolved into 'Electric Light Orchestra'), Wood went on to front nearly a half dozen different ensembles over the years, each expanding on his original concept of a rock n' roll orchestra capable of handling the heat from the eclectic kitchen of his imagination. When fronting a band failed to fulfill his objectives, Wood's instrumental virtuosity kicked into high gear producing solo efforts that found him adroitly juggling guitars, drums, keyboards, cello, numerous exotic noise makers, and a multitude of horns both big and small.
To offer an example of the divergent ingredients that make up this Wizzard's brew, one needs only to listen to the first track of the mix below. Opening with a plaintive five part harmony straight out of the Brian Wilson songbook, a press roll ceremoniously and startlingly leads one into a regiment of bagpipes(!) that continue the melody with power, regal authority, and certain surprise. Before you can even wrap your head around the jolt of incongruity, the angelic voices return only to be abruptly pierced by the heavy thud of drums which launch into a Zeppelin-esque number that plods the Earth with the compulsory boots of lead, and capable of soaring like some beastly Terradactyl. Later when the drums take a short solo (normally an unwelcomed intrusion), the sound is nearly comparable to that of a 12 story building imploding upon itself. A thundering rumble of wooden sticks on skin like so many chunks of brick, metal, and concrete roaring down into a vast heap of rubble. We're only a few minutes into it, and already It's already cluster fuck leaving you wondering what just happened. On the other hand, in a somewhat less unwieldly vein, 'Hello Susie' comically describes the arrival of a flamboyant party girl at a crowded railway station, who's looks according to the singer were "tanned and quite amazing" to behold. Stepping from the train in her finery and with transistor radio blaring at top volume, she manages to steal the scene from the Queen for whom the crowd had actually assembled, and would no doubt have caused a palpitation in the heart of any red blooded male on hand to have witnessed her entrance.
'Rattlesnake Roll' follows with a finger poppin' rockabilly twist boasting a swingin' horn section that plays in unison, almost to rival the mighty Count Basie Band. The cats are wailing, pompadours and blue suede shoes abound, and just when you think you've got it all summed up, the sweetest of pedal steel guitars enters to bring the hop to a gracious and dazzling close while you pause to mop the sweat from your brow. 'This Is The Story Of My Love' meanwhile demonstrates Wood's reverence for Phil Spector and his 'Wall of Sound.' With earnest sincerity, Wood replicates the shimmering luster of Spector's sound with a small army of strumming guitars, and a thousand tambourines, sleigh bells and castanets, all drenched in glorious echo. Ronnie and The Ronettes would have been as proud to do this number as Todd Rundgren would be to do the next which is 'Any Old Time Will Do,' a song that easily could have been an outtake from his masterful 'Something/Anything?' LP. Singular tributes aside, 'Strider' in contrast is an amalgamation of several styles --- Wilson, Les Paul, Zappa, P.D.Q. Bach --- and performed at such breakneck speed that it almost leaves your head spinning just trying to keep up. And as with the aforementioned 'Rattlesnake Roll,' it too is neatly wrapped up with a tidy and resplendent ending. All are sterling examples of Wood's simpatico and stylistic command. Yet another illustration of brilliance is 'Ella James,' three minutes of near pop perfection and the perfect AM radio hit to have been blaring from 'Susie's' transistor had it ever been played. Something akin to Dwight Twilley's, 'I'm On Fire,' 'Ella James' is a concise A side complete with the requisite ringing guitars, thundering bass, rolicking piano, drums that snap, and a memorable chorus to which one can sing along. Economic yet complete, it's catchy and just long enough to leave you wanting more, and would not doubt command a heavy rotation on jukeboxes if this were a perfect world.
Need more? 'Bengal Jig' aptly displays Wood's humor and twisted sensibilities, driving a juanty Scottish reel with an unlikely electric sitar, while 'Rob Roy's Nightmare' showcases his demented take on big band jazz. I'm personally fond of the hilarity in 'Nightmare' as it could nicely serve as the theme song to a wacky sitcom of some sort, and because it's a loving tip of the hat to Henry Mancini and his 'Pink Panther' scores. 'Are You Ready To Rock?' is a hip boogie woogie number that delivers on its challenge, jumping and jiving from the very first note to the last. The gut bucket saxophones bawl as ponytails swing, and there's good rockin' tonight. But the real ring-a-ding-ding comes at the conclusion when bagpipes (!) enter to wail a chorus like no juke joint stage has ever heard before. The tartan bags haven't been put to such unorthodox yet effective use since Rufus Harley sat in with Sonny Stitt on 'Deuces Wild.' "It's really gone, man!" as the kids with their dungarees and pomade hair would have once said. Now at the risk of hearing a thousand collective mouse clicks navigate away from this page, 'Colourful Lady' shimmy's in with a slice of blue-eyed soul that evokes a meeting of The Average White Band and Pablo Cruise at the intersection of Hall & Oates. That said, it's a sort of 'play that funky music, white boy' sound that all of the aforementioned excelled at during the early 70's and beyond. In any of their hands it could have been a hit, but coming from Wood's laboratory it somehow missed both the charts and the dance floor. Perhaps a blessing, though with 30+ years hindsight, I now like it. The Moves, 'Tonight' is a harmless skiffle nicely dressed up in a brand new pair of snakeskin boots. It's simple but pleasant while the closer, 'Jimmy Lad' likewise skims along quite effortlessly, skipping like a stone across water. Just to mix things up though, Wood once again injects the Scottish Highlanders into the mix with a full brigade of bags this time 'round, complete with woolen kilts, knee socks and ruddy complexions.* The effect is simultaneously exhilarating, cathartic, and chilling enough to make the hair on the back of your neck stand up. Each listen leaves me oddly feeling almost good about life. That it and of itself says a lot, and it's only the first set!
*In actuality, they're played by Roy himself by virtue of overdubbing.
Like a musical hall of mirrors, Roy Wood's wizardry takes on many forms and sizes. But his shape shifting always manages to reflect himself as the mysterious man behind the curtain who's pulling the strings. In the end, not only does Roy Wood make good music, he makes for good entertainment. It's a strange magic! A roller coaster ride that delivers more fun than a day at Six Flags. Sorcerer that he is, Wood presents himself as a human jukebox loaded with an encyclopedic knowledge and understanding of pop styles. The alchemist in him takes it all quite seriously, while the impish magician's side fiddles about, mischievously playing tricks on the unsuspecting, leading you through a funhouse of wonder, amazement, and thrills. You've been forewarned.*
*For maximum enjoyment, please play loud!
1) Get On Down Home
2) Hello Susie
3) Rattlesnake Roll
4) This Is The Story Of My Love
5) Any Old Time Will Do
6) Until Your Moma's Gone
7) Strider
8) Ella James
9) Bengal Jig
10) Are You Ready To Rock?
11) Tonight
12) Rob Roy's Nightmare (A Bit More H.A.)
13) Colourful Lady
14) Jimmy Lad
Strange Magic!, Pt.2
1) Bend Over Beethoven
2) Dancin' At The Rainbow's End
3) Keep Your Hands On The Wheel
4) I Can Hear The Grass Grow
5) Indiana Rainbow
6) Curly
7) You Got The Jump On Me
8) I Wish It Could Be Christmas Everyday
9) Got A Crush (About You)
10) See My Baby Jive
11) Why Does A Pretty Girl Sing Those Sad Songs?
12) Green Glass Windows*
13) Wave Your Flag And Stop The Train
14) Jolly Cup Of Tea
15) You Can Dance Your Rock n' Roll
16) When Grandma Plays The Banjo
17) Flowers In The Rain
18) Ballpark Incident
Source material for 'Strange Magic!, Pts.1&2' come from the following:
The Move
The Move (1968)/Shazam (1970)
Message From The Country (1971)/Omnibus: Singles A&B (1999)
Roy Wood
Boulders (1973)/Wizzard Brew (1973)/Introducing Eddie & The Falcons (1974)
Mustard (1975)/On The Road Again (1979)
*Single/Roy Wood's Helicopter (1981)
The Best Of & The Rest Of Roy Wood & Wizzard (1995)
Exotic Mixture (1999)
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
2) Hello Susie
3) Rattlesnake Roll
4) This Is The Story Of My Love
5) Any Old Time Will Do
6) Until Your Moma's Gone
7) Strider
8) Ella James
9) Bengal Jig
10) Are You Ready To Rock?
11) Tonight
12) Rob Roy's Nightmare (A Bit More H.A.)
13) Colourful Lady
14) Jimmy Lad
Strange Magic!, Pt.2
1) Bend Over Beethoven
2) Dancin' At The Rainbow's End
3) Keep Your Hands On The Wheel
4) I Can Hear The Grass Grow
5) Indiana Rainbow
6) Curly
7) You Got The Jump On Me
8) I Wish It Could Be Christmas Everyday
9) Got A Crush (About You)
10) See My Baby Jive
11) Why Does A Pretty Girl Sing Those Sad Songs?
12) Green Glass Windows*
13) Wave Your Flag And Stop The Train
14) Jolly Cup Of Tea
15) You Can Dance Your Rock n' Roll
16) When Grandma Plays The Banjo
17) Flowers In The Rain
18) Ballpark Incident
Source material for 'Strange Magic!, Pts.1&2' come from the following:
The Move
The Move (1968)/Shazam (1970)
Message From The Country (1971)/Omnibus: Singles A&B (1999)
Roy Wood
Boulders (1973)/Wizzard Brew (1973)/Introducing Eddie & The Falcons (1974)
Mustard (1975)/On The Road Again (1979)
*Single/Roy Wood's Helicopter (1981)
The Best Of & The Rest Of Roy Wood & Wizzard (1995)
Exotic Mixture (1999)
Please be certain to visit 'The Vault' for more Birds With Broken Wings content
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