A review of the 1957 classic album by Miles Davis – ‘Round About Midnight.Miles Davis – ‘Round About Midnight (1957) — The Ultimate Music Library
Steely Dan are one of my favourite bands. Walter and Donald wrote some of the finest music… ever imho.
Here are wonderful covers of two of my favourite Dan tracks, ‘Your Gold Teeth’ and ‘Your Gold Teeth II’, sown together in a great medley. These two tracks demonstrate everything I love about the Dan; the jazz infused, yet totally accessible rock and roll, all with that cutting edge of intellectual idiosyncrasy that exudes wisdom.
This band, ‘Brooklyn Charmers’, is simply amazing. I haven’t seen a better cover of these tracks. Check them out.
Copyright Francis Barker 2020
Pick one song from each album and list why. I accept that challenge. Let’s roll. Can’t Buy a Thrill – “Do It Again” gets the nod. Some have called this a strong Latin beat, the percussion obviously drives this song and provides the framework for the electric piano and expressive guitar solos. The album […]
This crazy island
in this ridiculous world
Where is solace?
Somewhere the news cannot reach
and opinions have no sway
copyright Francis Barker 2019
Karlheinz Stockhausen, one of the most important composers of the 20th century, was also one its most controversial. The outer planets, Uranus, Neptune and Pluto are generational in influence, but if one or more of them touch sensitive parts of our birth chart, they can put us in touch with powerful trans-personal energy.
According to his known birth data, he was born with Leo rising, with a Leo Sun exactly conjunct Neptune.
A fount of inspiration
Here is a powerful, creative individual, with a personal connection to the numinous through Neptune, with all the inspirational, spiritual qualities associated with that planet. He was certainly a major visionary in musical terms and has had a huge influence on jazz and popular music as well as classical.
As we have seen previously, Neptune is invariably prominent in some way in the birth charts of creative artists, but he was clearly no idle dreamer.
With Mercury and Venus in Virgo in house 2, the latter trine Jupiter in Taurus in house 10, he was very keen to apply his undoubted inspiration practically, effectively, in detail, and to disseminate it, not only in way to earn a living, but in building a successful career out of it. Indeed, he was also a fine writer and communicator too, teaching his ideas successfully. Without this grounding effect, his genius may well have been lost to the world.
What is more, revolutionary Uranus was very close to the MC (midheaven) in Aries in house 9.
The shock of the new
This midheaven point is traditionally associated with the career or life direction and with Uranus in Aries activating this very personal angle of his chart, we can see the unusual, avant-garde, revolutionary and pioneering qualities he brought to bear in his career. Revolutionary literally means turning upside down: he essentially did this, being a pioneer in the sphere of electronic music.
More than once, his music has been described as ‘disruptive’ (Uranus) and unfathomable (Neptune). He also has Mars in good aspect to Uranus, bringing much supportive, instigating energy and (in Gemini) variability to his repertoire.
copyright Leofwine Tanner 2019
Probably my favourite all time prog rock album, ‘Close to the Edge’ (Elektra/Rhino CD) by Yes.
I was quite young when this came out in 1972 and didn’t actually hear it until later in the following year, when my elder brother brought it home. I think I had heard ‘Fragile’ by then too, the band’s 1971 release, which kicked off with ‘Roundabout’, one of Yes’ more ‘accessible’ numbers for a young boy. Nevertheless, I remember being pretty impressed by the whole album.
However, when my brother put ‘Close to the Edge’ on our family hi-fi, at first I wasn’t sure what to make of it. The slow start of planetary, naturalistic sound, the incredible weaving together of all the different movements of side one, took some time for me to appreciate, but now it’s like one epic poem, a vast spiritual movement of sound that is hard to describe, in words. It just has to be experienced, let it take you somewhere.
I still particularly like the ‘I Get Up I Get Down’ section, so beautiful, bringing together all the singing talents of the band, not just Jon Anderson, but also Steve Howe and Chris Squire.
Which leads me to a major point. Has there ever been a better example of five incredible talents working together, at the top of their game, producing such a masterpiece? I would doubt it.
Jon Anderson’s unique voice and inspirational lyricism; Bill Bruford’s peerless percussion; Steve Howe’s sheer virtuosity on six and twelve strings; Chris Squire’s uniquely lyrical bass and underrated singing; Rick Wakeman’s pure genius and dexterous flair.
It would prove to be a small window, sadly. Very soon, Bill Bruford would be on his way, followed soon after by Rick Wakeman. But what a beautiful, ornately made window it was. It was of its time.
Side Two for me is equally impressive. I can still quite easily listen to ‘And You And I’ on repeat. I love the start, with Steve Howe hitting the harmonics on his twelve string, the way Rick’s synth plays over the top is so joyful, full of life. And like all Yes tracks, it’s difficult to envisage how they all put this together, so differing are the elements, but they come to together beautifully, woven by lyrics which are both hard to fathom, yet totally fitting – a Yes trademark.
And the final track, ‘Siberian Khatru’. Heaven knows what it’s about but if I had just one track to take to my desert island, I think it would be this.
Great, catchy guitar riffs to start off and great rock playing by the whole band, but soon the wonderful group singing harmonies come in to play, adding a great atmospheric and naturalistic feel.
Then all the virtuosity of the band kicks in – indescribable. Especially, towards the end when they sing pairs of mysterious words with lots of reverb, which may, or may not, be related… but it works, it means something, though I don’t know what it is. And did I mention Steve Howe’s jazzy guitar on the outro?
Just how it should be, long reign the mystery.
copyright Leofwine Tanner 2019
I grew up with you
communing with distant pasts
What is your future?
copyright Leofwine Tanner 2019
The continuing story of what I consider to be one of the greatest albums ever, Steely Dan’s ‘Aja’ (MCA) from 1977. If you haven’t seen part 1, check in my blog first.
If side 1 was a tour de force, then side 2 continues slightly differently, with four songs which are in their own way, equally impressive.
‘Peg’ gets going with a much lighter disco feel, compared to side one. It’s fairly typical of the time but done in Steely Dan’s own inimitable way, with attention to detail. It turns out the guitar solo which made it onto the album took some time to finalise, with numerous guitarists auditioning for the ‘role’. Listening to it, I think they made the right choice. This is probably the most ‘commercial’ track on the album.
With Track 2, ‘Home At Last’, we’re suddenly, though not surprisingly, in the realms of Homer (the ancient Greek writer, not the cartoon character) and Ulysses (Odysseus), with references to danger on the rocks and being tied to a mast over a bluesy jive that gets your foot a-tapping nicely. Once again the instrumentation, particularly the use of brass, I feel, is second to none. Very much of its time, almost ‘Starsky and Hutch’ in feel.
‘I Got The News’, the second to last track is an ‘angular’ sounding disco number, with those enigmatic, yet fitting lyrics full of innuendo and direct references which are so much a feature of the Dan’s music. There’s a great guitar break too, which belies the track’s disco setting, a feature first perfected I think on their previous album, ‘The Royal Scam’. It’s like they’re letting you know how sophisticated they are – and why not?
And so to the last, and certainly not least track on this classic album. ‘Josie’ is one of Steely Dan’s most celebrated songs, a fine R&B number, about a girl the guys simply can’t do without, it would seem, a bit of a hell raiser by the sound of it, who evidently could’ve been present when Nero set fire to Rome in AD 64. This has all the feel of LA and sophistication, the place Becker and Fagen made their home for some time.
Once again though, it’s the jazz inspired elements, like the rather haunting, minimalistic guitar riff/section sandwiching the main part of the track, which sets it apart from what anyone else was doing before or since.
‘Aja’ will always be a classic. Was it the peak of their success? Most definitely, which doesn’t mean you shouldn’t listen to ‘Gaucho’, or ‘Two Against Nature’, nor indeed the older back catalogue. It’s just that if I was to recommend one album of this band, it would have to be ‘Aja’. It gets an A+++.
copyright Leofwine Tanner 2019
I think I can say without qualification that Steely Dan’s 1977 album release, ‘Aja’ (MCA), changed my life. This is part one – I feel there’s simply too much to say in one piece.
At the time I was at college and it became the soundtrack of my time. It was a tape (I got the vinyl later) and I must have worn it out. On that tape ‘Josie’ was the opening track, swapping places with ‘Black Cow’ from the vinyl.
Of course, I was already a big fan of their previous five albums, beginning with the 1972 release of ‘Can’t Buy A Thrill’ and the singles, ‘Reeling In The Years’ and ‘Do It Again’. That was some entry into the mainstream.
Put simply, anyone who tries to play guitar or any instrument, like me, or just appreciates music, simply couldn’t help but be impressed, not merely with the virtuoso playing of various band and session guys over the years, but with the whole jazz infused rock style which is all their own.
And to say that the songs of Walter Becker and Donald Fagen are well-crafted would be a great understatement; they are simply peerless – witty, sarcastic, intellectual, moving, all in a wonderfully constructed, painstakingly produced package that is, nevertheless, often hard to define. The element of doubt I’m sure is deliberate, lyrically and musically, so that the listener can make up their own mind, take them to places they never thought they would go. And I’ve been everywhere.
But to the album. Is it their best? Probably, a classic certainly, released when punk rock was at its height, which makes its success all the more remarkable. Great music is great music in any age and will find its way.
New York night life
The opening track, ‘Black Cow’, is the name of a mixed alcoholic drink of New York origin, apparently, though as is sometimes the case, the name of the song is incidental to the main message: that there’s a relationship ending, badly, and one of them isn’t taking it too well. Pretty straightforward really. The song to me simply oozes New York night life, with a slow, steady, ‘catchy’ beat which has been sampled at least once since then. Great piano solo, superb de rigueur saxophone on the outro.
The title track is next and quite unlike anything the band had attempted before. ‘Aja’ is a girl’s name, quite a girl by the sound of it. The lyrics are concise, perfect, simply to illustrate the song, leaving the stage open for the incredible musicianship. The song is complex, evocative of sensory pleasures, Asian themes. I feel sunshine every time I hear it. Denny Diaz’s extended guitar solo is wonderful, almost like glints of sunlight on the Pacific Ocean, or maybe a boat bobbing up and down.
And then the saxophone solo (yes, another one, and why not!), seems to take you into the evening, more busy night life, romance. If this wasn’t enough there is, in my opinion, the most incredible outro ever, consisting of sensational drumming, a single piano chord repeat pattern and atmospheric synths all around it, taking you into the heady early hours of the morning. Quite wonderful.
‘Deacon Blues’ is the next track, completing side one of vinyl. The story of a loser? More than once I’ve toyed with the idea that it could be about me. The subject is resigned, yet determined to play saxophone, to drink Scotch all night and go out driving (no, I don’t do that).
Once more I sense the night, this time dark alleys, jazz clubs, New York street life. The saxophone illustrates the song beautifully (naturally), a long track of nearly seven and half minutes, but it’s over before you know it – a sign of quality, that not a second is wasted in creating these mental pictures. Great lyrics, great playing, great song. Just great.
It even inspired the name of a band, but that’s another story.
So that completes side one. Only three tracks, but all different. Quite simply the best first side of an album, period.
copyright Leofwine Tanner 2019