I really hate reporting deaths. In 2009, there has been far too many of them. Today comes the news that guitar legend, Les Paul, has passed away at the age of 94. Yes, that's a great age; a full life. It's just that we hate to watch a change in the pattern of things. It's a disruption. It shines a bright light on our fragilities. Les Paul has contributed to a way of life that has, in turn, enabled other legends to form, to develop sounds that we will always remember. With his partnership with Gibson, Les Paul has developed a signature brand that gave birth to the sound of Led Zeppelin (Jimmy Page), to The Rolling Stones (Keith Richard), to Guns and Roses (Slash), to anyone who created their music with the help of a Les Paul guitar. But that wasn't all of Les Paul. Les Paul also contributed musically, releasing multiple albums. But Les Paul also contributed to the recording of music by innovating recording procedures. Les Paul was a pioneer of Rock music in the purest sense. His death reverberates throughout the world. He will not ever be forgotten.

RIP
Les Paul
1915-2009

Another death today is that of Rashied Ali, noted Jazz drummer who spent much of his time with John Coltrane until Coltrane's death in 1967, after which he contributed to multiple projects. One cannot spend time with Coltrane if you're nothing more than a hangnail, and Ali was certainly up to the task. His drumming met Coltrane's form of Jazz with a syngergy that made great Jazz. He was 76. He brings a fluid style to the Great Band.

RIP
Rashied Ali
1935-2009

Our last post asked the question of why current bands may not achieve any level of fame past the moment they are in, no matter how good or even great they might be. It also wondered if The Rolling Stones, Led Zeppelin, The Clash, or other great bands would have been able to gain a foothold in this era. After the post, I was sent some excellent letters, some too good to just read for myself. I decided to post them (permissions acquired). I think that you'll find them wise and very eye-opening. Of course, this is a subject of great interest to me. I intend to revisit this in another way because I believe that we have a problem that might lead to a surprising turn in Rock. I hope that you'll enjoy the emails as much as I did. After reading, if you feel moved to contribute to our discussion, by all means email us:

Hi Matt

Every generation of musicians draw on their influences. That is typically a good thing but it is however a bigger problem for today's artists to overcome than it was for artists earlier in the "rock" era. The problem is that the longer Rock exists the slower it's evolution is becoming and it will require larger and larger and more radical changes to shift it and make an appreciable impact. 

There are two ways to establish a long legacy in music. The first is to take something that is enjoyed by a few and make it mainstream (ie: The Rolling Stones bringing the blues to the white teenage masses or Dylan taking Folk in to New York City coffeehouses). The second is by breaking out of the confines of the ordinary and going in a new direction (ie: The Beatles move from conventional rock towards psychedelia or The Who adding in a large dose of aggression).

We still have innovators but they are coming along at longer intervals and it is harder for them break big and get their music to the masses because of lack of major label support and the homoginization of radio and TV broadcasting and the fragmenting of formats. In the 70's you could turn on AM radio and hear rock, soul and pop all on the same AM station but now you have to choose between the "rock" station or the "pop" station or the "hip-hop" station so it no wonder that fewer acts are crossing over and gaining enough critical mass to make a lasting change. Also (as you are fond of saying) there is a lot of extra music out there these days for a young band to compete with as well.

- Coleman H.

Hi Matt

You pose a very interesting question – one that I too have pondered over many years.  What makes Yes, Genesis, Kinks,  Beatles, and all the rest, so remembered and kept “classic”, while so many other bands have faded and despite numerous albums, and huge fan bases, have been forgotten?  I have come to the conclusion that the answer is tied to  social unrest or, if you like, the rebellion against the norms of the day.

In the 50s, it was the beginning of rock and roll, and  Elvis and others were being worshipped by masses of kids while their parents (and church leaders, politicians) feared for their corruption!  What better way to strike out against those “narrow-minded” leaders then coveting every aspect of these performing rebels.  Songs of love and lust, escaping the law, driving fast cars, spoke to a new generation of freedoms and adventures that their parents wouldn’t dream of, nor could afford.  It was post-war America , and the kids had money and started to think for themselves.

Near the end of that decade, two other things started to happen – university students began to question their courses for relevance, and Blacks began to question why they were being marginalized.  What a perfect blend for musicians to mine!  Who could forget  Pete Seeger,  Bob Dylan, et al, and where you were when the protests started.  Those are hard memories, born of true beliefs and social and moral participation.  Causes became linked with music, and some music supported causes. 

In the early 60s, with all that going on, Brits began a movement that would change the world – reimagining the Blues of the America .  Bands like  The Rolling Stones and  John Mayall pioneered this sound.  This was a phenomenon, and Americans in the know began to collect this music.  The Blues were inherently based on social protests, life on the streets, loss and hardship, and this too, began to influence the growing rebellion seen in the US universities.  And one other thing in  Britain began as well: the adaption of US  black music forms into Skiffle, a kind of rockin’ pop, led by the Beatles.  We know where that story goes.  Can you remember them on  Ed Sullivan – of course you can! 

Protests,  riots all fueled by speeches protesting the lack of fairness and freedom, and then the  Vietnam War!  Music began to channel change for not only social and moral issues, but also questioned whole governments and their quests for power.  And the youth of America and all around the world, began to listen, and remember, and dress in a way that showed they cared.  And most of the bands and artists that were there at the beginning, further adapted their songs to accommodate these further protests and demands for change, carrying the fan bases with them.

Even as the anti-war movement ended, people still watched and listened to the bands, the leaders becoming figureheads and carrying forward with causes, not just music. 

But finally, with many of the youth of those days integrated into society, tired of fighting and weary of war, music began to become more of a commodity than full of meaning to the masses.  As you said, the  top of the popshas never changed, but for awhile, music was an important part of the social fabric, and now, well, now it is still important to those that were there, those that remember, but sadly, today the kids, and young adults have little to identify with.

And until there is something that really pulls people together for some cause or another, and musicians help fuel the fire, until people can associate music with important memories, we will not have the remembered bands or music of those happening, wonderful, scary times.

- Bob

Hi Matt,
Just a quick thought to your open question regarding bands and their greatness. I think the baby boomer generation was the last to care about music in mass. There are still a lot of young people into music but not the numbers we had. While many listen to music few really care. It's taken for granted. Bands can't achieve greatness if no one is listening and no one is paying attention.

Radio does nothing to foster music appreciation because they treat it as a commodity, not a work of art. At one time radio was the driving force behind breaking new bands and maintaining their status and uniting the public's awareness.

There are just so many differences between The Stones' day and today that I doubt they would ever achieve the greatness anything near their current status if they were starting out today.

Have a great day.

- Bill B.

Hey Matt,

Long time reader; first time e-mailer. Found your site through the Digital Bits a while ago and have always enjoyed your little bits of music news and thoughts.

Not really sure why I’m writing, I guess your articles of late have perked my interest in writing you.

Ah the state of the music industry...

First let me thank you for your glowing thought on the Pains Of Being Pure At Heart. Only had heard of them by name, but for some reason your review more or less made me drop everything and download the album (itunes, and not really normally a downloader). I was hooked. What a solid first album. It nails exactly what it intends to do. A few weeks picked up an LP copy. Like you mentioned in your review it reminds me of those first albums from some late seventies/early eighties groups. For some reason it really reminds me of "Talking Heads 77" and "The Cars" albums. It’s kinda hard to explain, but it’s a damn fine album. Almost acts like a greatest hits album itself. Ended up seeing them perform here in Portland a few weeks ago, had lots of fun, almost hard to believe it was their first show here. A good feeling.

I’ve really thought about some of what you have been posting lately.

Is rock music dying? Fading away? What bands will be remembered in 30 years? I don’t know if I have answers to any of those questions.

Do I think the CD is dead? Most likely it’s run its course. I think music media will move toward more things like the new Neil Young archive releases. Fun box sets, full of hi def audio, rare tracks, multimedia with lyrics, videos, photos. But I guess well see won’t we.

I think what is happening to rock right now is that it is missing something. I don’t know if you want to call it "heart", "value" or "genius"

Maybe people are being so bombarded they don’t even know where to begin. As you know more and more music is released to the world everyday. Maybe people don’t even know who to trust anymore, the bands, the label, the radio, there friends’ taste.  Heh.

"Heart"

Maybe we need to see artists be more honest about themselves. Is it for the fame? The money? The creativity? What do they want from us? I think people find it hard to follow someone when they don’t know what their agendas are. Maybe we are just sick of rock stars and their rich life styles.

"Value"

Maybe we are too broke to invest in music anymore. $13 for an album with 2 good songs? Perhaps you are right in thinking that musicians should be putting out excellent singles or EPs and cutting all the crap songs out of the picture. From what I’ve read recently Radiohead has no current plans for a future album. Perhaps just singles or EP's. Radiohead is never wrong right? right?


"Genius"

This maybe the biggest thing missing from current rock. Where is this generation’s poet? The boomers had theirs, Generation X had ‘em. But where are they now? Some would say there are some out there, and I would agree. But you probably aren’t gonna hear them on the radio. I think the current poets need some better producers too. I honestly can’t think of one off the top of my head.

Sorry for rambling. I’m not much of a writer, just a fan of music.

- Andrew

Excellent question; I've tried to formulate the following response:

For me, the music that has resonated most in my life was music I heard at a certain age (say, between 18-28).  I think there have been studies, or at least anecdotal evidence, suggesting this is true for most people.

If so, when The Clash and The Jam (to cite two bands you mentioned) were first 'breaking', people who were between 18-28 at the time could devote more attention to their favorite bands, because - at the time - there was no Internet, no 500-channel satellite/cable television, no video games, probably very little 'home theater', etc.

Perhaps today the 18-28 group, who would normally be the most passionate followers of the new bands you mentioned, simply have too many competing demands for their time & attention to make possible the elevation of the new bands to the level of the old bands.

- Dave F.

These are excellent observations all. I include them because they're important thinking, the kind that we have been perplexed by for many years. I hope that we can continue this observation. Maybe we can help to shine a light to lead them all home.

I have a single review for today. I have listened to the just released 2CD Legacy Edition of From Elvis in Memphis and have reported my thoughts on the set. Elvis Presley recorded some amazing material in his American Studios sessions and they're all here.

I have a question for readers. I want to switch TAP to Wordpress but have no clue on even starting. Anyone to help school me a bit?

Have a super weekend!

Some more Great Album Covers: (We'll update this on Monday)

David C.:

and Jeff H.:

Jive Records is releasing the new Backstreet Boys album called This Is Us, planning the release for October 6.

Sony Classical has a Joshua Bell album coming called At Home With Friends, scheduled for September 29.

Columbia Records will release Give Up the Ghost by Brandi Carlile in both CD and LP formats. Date is October 6. LP will also contain bonus CD.

RCA Records will release the Julian Casablancas solo effort, Phrazes for the Young, scheduled for September 29.

Legacy Recordings has added the DD for Home Is Where The Heart Is by David Cassidy to the planned David Cassidy DD releases that include Cherish, and the very rare Gettin' It In The Street. While the last two are scheduled for August 18, Home Is Where The Heart Is is planned for August 25.

Wind-Up Records will release A Time For Lions by Stars of Track and Field on September 15.

Nettwerk Records will release Let It Go by State Radio on both CD and LP, planning for October 6 (LP), and September 29 (CD).

Bigger Picture Group (WEA) will release The Quiet Time of a Rock and Roll Farmboy by Big Kenny on both CD and LP. Release date is October 27.

Nonesuch will reissue Being There (1996) by Wilco on 180g 2LP with bonus CD included on October 27.

Fueled by Ramen Records will release brand new eyes by Paramore on September 29.

You can now pick up the SACDs for Pirates (Rickie Lee Jones), Toulouse Street (Doobie Brothers); and Music From Big Pink (The Band) as those have been released. In addition, you can now get the re-mastered Hasten Down the Wind 180g LP from Linda Ronstadt. Mobile Fidelity has also announced upcoming SACDs for Rock of Ages; Cahoots; Northern Lights/Southern Cross (The Band), and The Captain and Me; Takin' It To The Streets (Doobie Brothers). MoFi will also release 180g vinyl LPs for The Cars; Candy-O (The Cars); Pilgrimage (2LP) from Michael Brecker; My Aim is True; This Year's Model; Armed Forces (Elvis Costello); Sinatra & Strings; Live in Paris (Frank Sinatra); and multiple formats (CD/LP) of Dixie Chicken, and Waiting For Columbus (Little Feat). All titles except the ones currently available are 'ship-date to be determined'. We'll let you know.

Gregg Rolie, who has logged quality time with Santana (and Journey), starts off his latest album, Rain Dance – Live, with music sounding like he still belongs with the early Santana troupe.  The cuts on this 12-track album that includes excellent versions of “No One to Depend On,” “Evil Ways,” “Black Magic Woman,” and “Oye Como Va,” all songs that Rolie had a hand in delivering to the world via his involvement with Santana, are well done in a Live environment.

Gregg Rolie is a quality musician with high standards for his music - renditions or self-penned.  On Rain Dance – Live, we not only get to slip into a comfortable environ with Rolie as he revisits his early influences, but we get a strong album of excellent Live performances.

This is well recommended!  ****

Nettwerk Records will digitally release the 4-track EP, named Great Escape, by UK's The Rifles, whom Paul Weller of The Jam has gushed about, on July 28. Later in the year, Nettwerk will release their full-length album, which we'll be sure to cover. Three tracks found on this release will NOT be found on the band's upcoming album. Check 'em out at Facebook, and/or MySpace, and/or their official site.