Handel’s Messiah is probably one of the most famous and easily recognizable classical compositions ever performed – trust me, you know the “Hallelujah” chorus. Handel’s work, written in 1741 and first performed the following spring in Dublin, recounts the life of Jesus. It’s parsed into three sections, the first detailing the Christmas story, section two recounts the Passion and the third part is reserved for John the Revelator.
Current RnB sits closer to pop ballads with some beautiful woman (or man, I suppose) being pushed out in front of some hired guns to perform a song that a writer in a tiny office somewhere put on paper. Even with such travesties occurring daily, there are proponents of the genre to try and push back against some of the nonsense.
Big Boy Pete – nee Pete Miller – began recording as the Beatles were still singing about holding girl’s hands and the Stones couldn’t put a record out without the assistance of at least a few blues covers. And even if Pete had decided to include a few choice nods back at his musical heroes, the sounds that he managed to coax out of his studio would have surely kept his work at odds with the trends of the time.
This combination of rock troupes and Eastern spirituality, though, is what the band People based its music on. Never heard of ‘em? Not too surprising. I hadn’t either until yesterday on their 1971 offering Ceremony (Buddha Meet Rock).
It would be difficult to summarize the importance of Greg Shaw in a book, little lone a rather short article. But here it goes.
Shaw, being a fan of ‘60s pop and garage began publishing various zines in and around San Francisco when he was growing up. Eventually, that led him down the coast to Los Angeles where he continued publishing, this time in the form of Bomp! Magazine. In that pages of Bomp! appeared countless names that would soon be at the vanguard of music - Lester Bangs, Greil Marcus and Richard Meltzer. Shaw’s ability to assess talent in writers was a gift that he would find transferring rather easily to music and musicians.
John Dwyer has created a pretty dense catalog of music over the last decade and he really shows no sign of altering his approach or letting up at all. Most notably, one of the constant members of the Coachwhips, Dwyer worked that group to countless frenzied performances and a few recordings as well. Having that catalog of dirty electric blues and Velvet Underground stomp, Double Death was assembled to include various live performances as well as some pretty decent covers. Unfortunately, Narnack Records released the cd/dvd combo to celebrate a career cut short.
And because the Nuge already knew that, he’s put together the track list for that compilation you were planning to give to your loved one. Along side gems from Howlin’ Wolf, the Stones, Otis Redding and Percy Sledge are songs from Cheap Trick and a few too many tunes from the Nuge himself. Does that mean that the Nuge sees himself in the same light as these other folks? I hope not, for their sake, but it’s possible.
I found THIS TAPE at Cassette Tape Superstar. And while I am familiar with the Religious Knives, I have no idea who the Haunting is – nor can I locate any info about them on the interwebs. Oddly enough, though, the post where I found Live at the Cove doesn’t say which track is by which band. And even after locating the Heavy Tapes website, there wasn’t too much info to be gleaned. Of course, after a listen, it might not make too much of a difference.