“Very Great” moments in Gospel music, throughout history.
Categories
Gospel and Such.
Category: music videos
A few notes from Wikipedia: Norman Greenbaum: If you ask me what I based “Spirit In The Sky” on … what did we grow up watching? Westerns! These mean and nasty varmints get shot and they wanted to die with their boots on. So to me that was spiritual, they wanted to die with their boots on.
“I had to use Christianity because I had to use something. But more important it wasn’t the Jesus part, it was the spirit in the sky. Funny enough … I wanted to die with my boots on.”
“According to The New York Times article, Greenbaum used a Fender Telecaster guitar with a fuzz box built into the body to generate the song’s characteristic guitar sound.”
Greenbaum daringly defies any and all Anti-Hand-Clapping ordinances in the above performances, and Ms. Hagen takes a commendable swing at the immortal song, as well.
Brian Connolly, Steve Priest, Andy Scott, and Mick Tucker comprised the glam maestros known as {The} Sweet. Schrödringer’s definite article notwithstanding, these great men rose to achieve world domination in the 70s. Extraordinary catchiness paired with pure power escalated Sweet to the uppermost echelons. They also projected a sense of great fun, often sorely lacking in hard rock.
Categories
Trick, Cheap.
Robin Zander, Tom Peterrson, Bun E. Carlos, and Rick Nielsen made copious amounts of aural nirvana, particularly in the late 70s, as Cheap Trick. The concerts in Budokan were recorded in 1978, but not released in the US until demand became so frenzied that Epic had little choice. Intended solely as a Japanese album, the LP jettisoned the band into the realms of world domination. This was preceded by Heaven Tonight, the band’s greatest studio achievement. Several pieces from this classic are captured here performed live at various venues. Cheap Trick’s highs were nothing short of vertiginous.
Unquestionably one of the titanic figures of 20th century music, Thelonious Monk composed and performed mountains of material that now has classic status, but during his initial heyday in the 40’s, it was often dismissed as too quirky, too dissonant, too…weird. Well, Monk’s work is indeed all of those things, but in just the right amount. There is an uncanny air of ineffable mystery that permeates his playing that is striking. His style is angular, uses silence beautifully, and is deeply personal and idiosyncratic. Although hugely influential, no one has ever sounded remotely like him.
Robyn Hitchcock is one of the more prolific and gifted figures in a certain (eccentric) quadrant of music history. After leaving The Soft Boys, a Neo-psych outfit he founded, Hitchcock emerged as a most formidable solo figure. Heavily influenced by Dylan, and Syd Barrett, his compositions tend towards the obscure, the ineffable, the humorous, the surreal. He remains a vital figure to this day.
The Velvet Underground consisted, in their heyday, of vocalist/guitarist Lou Reed, keyboardist/bassist John Cale, guitarist Sterling Morrison, and Moe Tucker on the drumkit. Doug Yule replaced Cale in 1969, and Teutonic songstress Nico appeared on the group’s debut record.
Often cited as Godfathers of Punk, this hugely influential New York band mixed art rock, minimalism, garage rock, and often quite taboo lyrical subject matter. Brian Eno commented on the group’s initial lack of sales, “Everyone who bought one of those 30,000 albums (referring to the “Banana Album”) ended up starting a band.”
Syd Barrett, co-founder and main braintrust of Pink Floyd until his mental state made his departure inevitable, was without doubt one of the greatest, most original musicians of his time. Until being ousted from the band, he contributed the vast majority of the material.
Embarking on a solo career, Barrett composed and performed a wealth of brilliant, if patchwork, songs. Flashes of his genius abounded, but his increasingly erratic behavior made production quite challenging, indeed. Syd released 2 albums worth of material, then retired to private life for the rest of his days.
Great moments in Electricity Jazz, or Fusion. Miles pretty much invented it, then along came Mahavishnu Orchestra. The latter’s John McLaughlin is a towering instrumentalist, and is featured also in Davis’s Jack Johnson. Belew and Fripp are gods. But perhaps this music’s most brilliant practitioner might be guitarist Allan Holdsworth. A titan of the instrument, revered by Eddie Van Halen, Frank Zappa, and countless others, Holdsworth’s improvisations induce breath-holding and goosebumps.
Addendum: as this post evolves, more will be revealed. Inserting now some Weather Report, featuring Wayne Shorter. And *now*, Jeff Beck.
And furthermore: Pat Martino. And Larry Coryell. And Material, featuring Bill Laswell.
Lee Hazlewood came to be known as a songwriter for, and vocalist with, the wonderful Nancy Sinatra. His gravelly baritone was the perfect compliment to Sinatra’s pure-as-gold pipes. But he was far, far more than that. Listening to his solo material, it’s hard not to be won over by the deadpan idiosyncrasies that pervade his songs and delivery. Wry humour, outright quirkiness, and a wistful sense of loss are Lee’s calling cards. A wonderful musician, the leading light of “Cowboy Psychedelia”. But most importantly, he’s utterly, unapologetically himself.
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