Peter Buffett
Gold Star interview
http://www.peterbuffett.com/
Being the son of famous parents or the reputed cousin of a world renowned musician may open some doors but it also casts a very long shadow which could easily overwhelm. From the outset Omaha born Peter Buffett has created his own “little bumpy road” which has earned this soft spoken man his own place in the sun and away from other’s shadows. While you won’t find it on his own website, Buffett’s Wikipedia site reports he has won an Academy Award (Oscar), an Emmy Award, and a nod from New Age Reporter for Vocal Album of the year. He has worked with some of Hollywood’s best known actors including Kevin Costner and Demi Moore. In the 80’s he worked with upstart Mtv and wrote the music for use in commercials by the number one trademark company in the world, Coca Cola. And like the other members of his family, talking to the unassuming Buffett is bit like leaning on your fence and talking to a friendly neighbor.
With the release of his latest album, Gold Star, Buffett further explores a significant musical career that encompasses three genres; New Age music, a contemporary spin on indigenous American music and now pop music.
RG: You latest album, Gold Star, is kind of a pop record but I became familiar with your albums on the Narada Label where you were recorded a new age artist.
PB: I only started doing the new age genre because I’d written music for commercials forever. In the mid-80’s I seen some guys get into film work by putting out records. They’d get their music put into films, the director would fall in love with their music, and now everyone’s a “composer.” So I thought, ‘I got to get a record deal!’
I have four albums out on the Narada label, a couple out on Hollywood Records, my ‘500 Nations’ album out on Epic and then a few out on my own. I’d bounced around a little and then thought I’ll just put them out on my own.
RG: Which more and more artists are doing.
PB: Yes. These days it doesn’t make any sense to not do it on your own. But the tricky part is that a lot of people think, ‘If I just put it out a record everyone will know how wonderful I am and buy my record’ but you know the recording labels still provide a service. They still provide you with tour support or a video or something. Its not as easy as just putting out a record but it sure makes a lot more sense these days to just do it yourself.
RG: After your New Age period you got into ‘Native American’ music and you won an Oscar for your work on Kevin Costner’s, ‘Dances With Wolves’ soundtrack.
PB: Well I think I actually won a chip of the Oscar. I’d scored the two minute ‘Fire Dance’ scene where Kevin dances around the campfire. Its considered the “title scene” of that movie and I happen to have been lucky enough to have scored that two minutes of that scene: which launched my interest in Native Americans.
The next project was ‘500 Nations.’ After Dances With Wolves Costner hired me to score his eight hour series ‘500 Nations’ and that just got me further and further into the Native American scene where I met people and that eventually turned into ‘Spirits of Fire’ which debuted in Omaha in 2004. You’re right, I don’t know how to describe it exactly; it’s film, it’s a story, it’s a live concert all under a tent.
RG: You used a terrific number of Native American actors, dancers and musicians in that project. It had to have been massively expensive to take that on the road.
PB: It was and that was what killed its first incarnation. We toured five cities including the National Mall in Washington D.C. That was probably the great moment for the show but the logistics were incredible. All of the performers were Native American and the road crew were mostly native as well. Because of the critical acclaim in the USA it appears we will be touring Europe in 2008.
RG: And now we have what I would describe as a musical period that I would describe as a cross between Tears for Fears and Kraftwerk.
PB: I like it! Ha ha. I mean there are definitely those distinct sections of my career. While I was working on the ‘500 Nations’ project for PBS I was also working on a side project in Milwaukee writing songs for a female singer and created a band around that. So that was the first time I’d written songs in a long time. So when my wife and I moved to New York two years ago now I got into writing songs again. But I didn’t know anybody so I thought I’d sign them myself and see what happens.
RG: I notice you put an effect on the vocals which I thought was really cool.
PB: Thanks. Most of that is double and triple tracking. Back in the old days the Beatles did that too. I’m actually singing along with myself to make it sound like I want it to sound. You know you made those references to some other artists, another one I get a lot is Alan Parsons.
RG: People will recognize Alan Parsons, who had his own career, as the coffee boy for the Beatles and George Martin back in the famed Abbey Road recording studio. And wasn’t he a big player for Pink Floyd for awhile?
PB: Yes, I think the album Abbey Road (Beatles) kind of launched and then he did do a lot of work with Pink Floyd.
RG: As an independent artist how are you going to go about marketing this record? Its got to be a really interesting challenge for you.
PB: It is absolutely. Certainly people that know me through the other work will know me so I contact them through email blasts. And then I went to the same stations that played my New Age music. So there’s a group of about 200 deejays that will currently play my instrumental work. Actually, through New Age Reporter magazine the album got nominated as Vocal Abum of the Year. I didn’t actually win but I got nominated into the last five.
RG: As you create your music, because you have so many diversified styles, and all of them you’ve done well in, when you sit down to write do you say, ‘Today I am going to write a new age song and tomorrow I will write a pop song’?
PB: No. I never really thought of myself as a singer. I just followed a path that lead me to ‘Dances With Wolves’ but I consider myself on this bumpy little road of a career and it tends to take me to places that I don’t really expect or know but this vocal sound is fun and I think I’ll be sticking to that for awhile.
RG: So you are related somewhat related albeit distantly to (MCA recording artist) Jimmy Buffett.
PB: I say that somewhat definitively, I mean we’re not exactly sure but it goes way back to the 1600’s. There is an island in the South Pacific where there are 100’s of Buffetts. We think that our common ancestor got off the ship, The Bounty’ before the mutiny and had 14 wives in the South Pacific.
RG: I know if that guy was smart or suicidal?
PB: I don’t know either but at least it was a smart place to be hanging out I think.
RG: Have you ever casually gotten together with Jimmy Buffett?
PB: Yes. We’ve never played music but he is exactly what he appears to be. He’s a very nice guy.
RG: Are you going to go out and tour behind the Gold Star album?
PB: As far as promotion I am not ready to go out and tour yet although I think I’d like to. The new radio is television and movies. If you can get your songs played in a tv show or in a movie its as good as some commercial radio. I mean the Average Joe can’t get onto commercial radio. Which is why public radio and program like your’s are tremendous. I mean it gives so many people a chance. So we do have people working that aspect of the business. So aside from touring all you do is get into some other broadcast medium and seize promotional opportunities. So local (public) radio is so valuable.
RG: One of the things we try to do on PS Blues is, I’m gonna call you a local guy that done good!
PB: I’ll take that thank-you!
RG: Omaha, musically, has really blossomed and I think people may be unaware of that. So I say this in the kindest regards, Chip Davis is kind of a new age artist and you kind of are too but in a different category. I use this term respectfully but I think Mannheim Steamroller is kind of a Hallmark artist while you are a bit more…
PB: I think Chip has found a niche and he’s mined it and that is to be much admired. I like to think of myself as someone that is always trying to push my limits very hard. When you look back and say you’ve been this kind of artist or that kind of artist, I just keep trying to get better and keep the listener interested rather than annoyed.
RG: There has to be a risk that if you change too much your audience won’t know what to do with you, right?
PB: Yes. I think that’s the fun of the vocal recordings. I think people hear elements of my instrumental style in my vocals and it seems to work. So that people that are familiar with my work hear something familiar in it.
RG: So did you go to Central High School?
PB: I did.
RG: Did you participate in their music program?
PB: I did not. Ha ha. I played piano since I can remember. I played with Lars Erickson who is an extraordinary player. He and his kids play as the Burt Street Boys now in Omaha. Lars is so good that I never took myself seriously. And then I went to college and I took everything that ended in 101 or “ology” and then I discovered it really was music so after that I never took any career path too seriously until I was into my college years.
RG: So I understand that you did play with Bono (U2) once?
PB: Actually I did not. Bono played at my Mom’s service (Susan A. Buffett). It was incredibly powerful and it was incredible that he was there. But it was my nephew that played with Bono. My sister’s son is an extraordinary musician that plays guitar and drums and bass and he’s just starting to sing now. He played with him which was amazing and did it. It was pretty amazing. I certainly have had the chance to sit with Bono and talk but our discussion will fall back into my show and my experiences working with Native Americans. You know how Bono is. That is a fabulous opportunity to sit down and talk with someone like him.
RG: So tell us about the albums title.
PB: I was imerged into the ‘500 Nations’ project and one night I was going to sleep when I said to my wife, Jennifer, “You know, you really deserve a gold star” and I thought, well wait a minute, that would be a great title for a song. So that song amongst others is dedicated to my wife and her ability to put up with me.
Saturday, January 5, 2008
Album Review: Mike Anderson, tomorrow
Artist: Mike Andersen Band
Title: Tomorrow
Writer: Rick Galusha
This is not a blues album; however, it is a good album.
European Mike Andersen slants his second album, Tomorrow, with a strong Black American R n’ B feel and like many talented artists tries to amalgamate several genres into one unique voice. Andersen ties together horn driven blues as heard on the track, ‘One More’ together with rap, as heard on the opening track, ‘Same Damm Time’ with a highly rhythmatic, organ driven B.B. King ballad as heard on, ‘Lessons.’
On initial listens Tomorrow is a rich, diversified album and Andersen, a vocal crooner with short cropped hair and dark suit, very Robert Palmer like in his delivery, as heard on the beautiful ‘We Don’t Make Love.’ It may be that Andersen’s effort is hampered by trying to grab too many styles and fit them into one sound. The first listen was slow but the album quickly opened up.
This is an album with excellent musicianship, songs, and arrangements. It touches several musical bases which may put off some listeners: I quickly skipped over the opening track, Same Damm Thing, as Andersen’s use of “rap” has no appeal to me. This record is not rootsy on any level but is rather a polished album that will appeal more to the recreational listener as opposed to a “musicologist.” To put it another way, in the early-80’s millions of Americans bought Bruce Springsteen’s Born in the USA. Packed with hit singles Bruce’s album managed to encapsulate an era; however, today, among my friends at least, they are more prone to throw on, ‘The Wild, The Innocent, and the E Street Shuffle.’ Andersen is akin to Springsteen’s second release in that it is not formula-like in its execution and subsequently more likely to have a longer shelf life and listened to with greater enjoyment.
Tomorrow is a niche release with faux-pop(ular) songs that swing with familiar blues instrumentation and playing. This is an excellent album to play while driving your car and should be heard, loudly, on a high end stereo as it is mixed to fill the room with tasty melodies and wonderful vocal lines. Andersen’s efforts to leap the pond and develop an audience in North America may or may not work but I would advise keeping an eye on this guy as whatever “it” is, he has “it.”
Title: Tomorrow
Writer: Rick Galusha
This is not a blues album; however, it is a good album.
European Mike Andersen slants his second album, Tomorrow, with a strong Black American R n’ B feel and like many talented artists tries to amalgamate several genres into one unique voice. Andersen ties together horn driven blues as heard on the track, ‘One More’ together with rap, as heard on the opening track, ‘Same Damm Time’ with a highly rhythmatic, organ driven B.B. King ballad as heard on, ‘Lessons.’
On initial listens Tomorrow is a rich, diversified album and Andersen, a vocal crooner with short cropped hair and dark suit, very Robert Palmer like in his delivery, as heard on the beautiful ‘We Don’t Make Love.’ It may be that Andersen’s effort is hampered by trying to grab too many styles and fit them into one sound. The first listen was slow but the album quickly opened up.
This is an album with excellent musicianship, songs, and arrangements. It touches several musical bases which may put off some listeners: I quickly skipped over the opening track, Same Damm Thing, as Andersen’s use of “rap” has no appeal to me. This record is not rootsy on any level but is rather a polished album that will appeal more to the recreational listener as opposed to a “musicologist.” To put it another way, in the early-80’s millions of Americans bought Bruce Springsteen’s Born in the USA. Packed with hit singles Bruce’s album managed to encapsulate an era; however, today, among my friends at least, they are more prone to throw on, ‘The Wild, The Innocent, and the E Street Shuffle.’ Andersen is akin to Springsteen’s second release in that it is not formula-like in its execution and subsequently more likely to have a longer shelf life and listened to with greater enjoyment.
Tomorrow is a niche release with faux-pop(ular) songs that swing with familiar blues instrumentation and playing. This is an excellent album to play while driving your car and should be heard, loudly, on a high end stereo as it is mixed to fill the room with tasty melodies and wonderful vocal lines. Andersen’s efforts to leap the pond and develop an audience in North America may or may not work but I would advise keeping an eye on this guy as whatever “it” is, he has “it.”
Album Review: Paul McCartney, memory half full
Artist: Paul McCartney
Title: memory almost full
Writer: Rick Galusha
These days there’s always some trepidation when opening a new album by an older artist. Yes, the Rolling Stones are releasing vibrant studio albums but they ain’t writing, ‘Gimme Shelter’ anymore. So you never know how good the album will be but there’s a very high percentage your favorite Classic Rock artist’s best days are still behind them.
As solo artists none of the Beatles reached the critical or mass popularity that their synergy gave them as a band. Paul McCartney’s, “Band on the Run” album defined a moment and while Ringo may have had the most post-Beatle hit singles, McCartney scored the best solo album. Unlike so many others, I thought his more recent effort, “Flaming Pie” was quite good and I actually still play two or three times a year. McCartney’s, “Memory Almost Full” gives the listener a glimmer of the best that Paul has to offer.
“Memory Almost Full” is McCartney’s first album after the financially costly divorce from model Heather Mills. As Neil Young once said, referring to a sax player in his band after a broken marriage, “I don’t know about the rest of the band but he’s gonna play his heart out tonight.” Like that ambiguous broken hearted saxman, McCartney has released a very fine album that, like any album destine for longevity, slowly opens after repeated listens. But before we discuss this album, let’s have an agreement; if McCartney, or any of the other three guys, had wanted to “sound” like the Beatles they very likely would have reformed the band or at least made a more serious effort to replicate that Every Brothers meets English seaside vaudeville sing-a-long sound that the Beatles spawned. Instead, it appears to me, that McCartney took some of his finest musical moments and recaptured them in vibrant settings. Heck, if Bob Dylan can awaken from a thirty year sonic slumber why not Paulie McCartney?
The opening track on the album, ‘Dance Tonight’ is pure contemporary McCartney, a mandolin perky tune that is well arranged; tooth-sweet and radio friendly. ‘Ever Present Past’ is a reduex version of a previous hit, ‘My Brave Face.’ The third track, ‘See You Sunshine’ is a perfect pop song that only a brilliant writer such as McCartney could muster – very English, light, fresh and while the issue is that ever-present pop topic, love, McCartney takes the listener along for a audio walk along a park path in spring sunshine. “Look what you do to me baby, You make me feel so fine. Step out in front of me baby, they want you in the front line, they want to see your sunshine.” This is an excellent pop song that Baby Boomers will appreciate.
On, ‘Only Mama Knows’ McCartney intro’s the song ala ‘Eleanor Rigby’ and quickly vamps the track into a higher energy Silver Beatles era style rocker with heavy pulsating bass and crashing high-hat that escalates into a somewhat exasperate chorus, “Only Mama knows why she laid me down in the God forsaken town, She was running too, What she ran from I never knew…Got to hold on, I got to hold on.” In the end the song transmogrifies back into a symphony of strings and slowly fades into the next track.
‘You Tell Me’ uses a chorus setting ala’ ‘You Never Give Me My Money’ while the singer clearly muses his memory as if asking a former lover, don’t I remember all these greats times? What happen to them then?
This is a very good album that, for some, will be a most gratifying listening experience. When McCartney sang, “Will you still love me when I’m sixty-four’ the song’s reference was beyond most listeners ability to realistically relate. Today, as many of the Beatles fans are amid that age range, the song has a whole new relevance. On ‘Memory Almost Full’ McCartney pens the tune, ‘The End of the End’ where he sings of his own death. “No need to be sad. On the day that I die I’d like jokes to be told and stories of old to be rolled out like carpets that children have played on and laid on while listening to stories of old.” In many ways McCartney brings his career full circle with this track. It is meaningful and sad yet wonderful. This is an excellent album full of melody line, textures and musical reference points.
Title: memory almost full
Writer: Rick Galusha
These days there’s always some trepidation when opening a new album by an older artist. Yes, the Rolling Stones are releasing vibrant studio albums but they ain’t writing, ‘Gimme Shelter’ anymore. So you never know how good the album will be but there’s a very high percentage your favorite Classic Rock artist’s best days are still behind them.
As solo artists none of the Beatles reached the critical or mass popularity that their synergy gave them as a band. Paul McCartney’s, “Band on the Run” album defined a moment and while Ringo may have had the most post-Beatle hit singles, McCartney scored the best solo album. Unlike so many others, I thought his more recent effort, “Flaming Pie” was quite good and I actually still play two or three times a year. McCartney’s, “Memory Almost Full” gives the listener a glimmer of the best that Paul has to offer.
“Memory Almost Full” is McCartney’s first album after the financially costly divorce from model Heather Mills. As Neil Young once said, referring to a sax player in his band after a broken marriage, “I don’t know about the rest of the band but he’s gonna play his heart out tonight.” Like that ambiguous broken hearted saxman, McCartney has released a very fine album that, like any album destine for longevity, slowly opens after repeated listens. But before we discuss this album, let’s have an agreement; if McCartney, or any of the other three guys, had wanted to “sound” like the Beatles they very likely would have reformed the band or at least made a more serious effort to replicate that Every Brothers meets English seaside vaudeville sing-a-long sound that the Beatles spawned. Instead, it appears to me, that McCartney took some of his finest musical moments and recaptured them in vibrant settings. Heck, if Bob Dylan can awaken from a thirty year sonic slumber why not Paulie McCartney?
The opening track on the album, ‘Dance Tonight’ is pure contemporary McCartney, a mandolin perky tune that is well arranged; tooth-sweet and radio friendly. ‘Ever Present Past’ is a reduex version of a previous hit, ‘My Brave Face.’ The third track, ‘See You Sunshine’ is a perfect pop song that only a brilliant writer such as McCartney could muster – very English, light, fresh and while the issue is that ever-present pop topic, love, McCartney takes the listener along for a audio walk along a park path in spring sunshine. “Look what you do to me baby, You make me feel so fine. Step out in front of me baby, they want you in the front line, they want to see your sunshine.” This is an excellent pop song that Baby Boomers will appreciate.
On, ‘Only Mama Knows’ McCartney intro’s the song ala ‘Eleanor Rigby’ and quickly vamps the track into a higher energy Silver Beatles era style rocker with heavy pulsating bass and crashing high-hat that escalates into a somewhat exasperate chorus, “Only Mama knows why she laid me down in the God forsaken town, She was running too, What she ran from I never knew…Got to hold on, I got to hold on.” In the end the song transmogrifies back into a symphony of strings and slowly fades into the next track.
‘You Tell Me’ uses a chorus setting ala’ ‘You Never Give Me My Money’ while the singer clearly muses his memory as if asking a former lover, don’t I remember all these greats times? What happen to them then?
This is a very good album that, for some, will be a most gratifying listening experience. When McCartney sang, “Will you still love me when I’m sixty-four’ the song’s reference was beyond most listeners ability to realistically relate. Today, as many of the Beatles fans are amid that age range, the song has a whole new relevance. On ‘Memory Almost Full’ McCartney pens the tune, ‘The End of the End’ where he sings of his own death. “No need to be sad. On the day that I die I’d like jokes to be told and stories of old to be rolled out like carpets that children have played on and laid on while listening to stories of old.” In many ways McCartney brings his career full circle with this track. It is meaningful and sad yet wonderful. This is an excellent album full of melody line, textures and musical reference points.
Album Review: Anthony Gomes, Music is the Medicine
Artist: Anthony Gomes
Title: Music is the Medicine
Writer: Rick Galusha
The latest album by Anthony Gomes, Music is the Medicine’ leans heavily into the rock genre with just the occasional whisper to blues. Produced by uber-dialman Jim Gaines this good time party album sounds wonderful. Gomes’ songs are well paced, highly textured and more about the song than the flash. Interestingly Gomes uses his latest platter to approach contemporary issues such as war, ‘War on War,” co-written with Mark Selby, and universal peace. Granted his lyrics aren’t providing any fodder for grey matter when he sings, “How different can we really be, From the colors of the war machine, Where the blood is red and the money’s green.” However simplicity set against the pulsing push of the band and Gomes’ doodling guitar sound-texturing is admittedly cool.
On the next track, “Love is the Answer” Gomes revs up a faux-gospel sing-a-long anthem that evokes, “People all over the world, Come together, Rise Up, Take a Stand, We got the power in our hands, Understand, Love is the Answer.” Okay, John Lennon he isn’t but he’s making in-roads to issues and singing about something other than back door love and clichéd bluesman braggadocio. Gomes uses the building crescendo to step out of the moment in order to take a tasty nylon string guitar solo only to come back with a well paced guitar solo that will lend itself kindly to live performances.
Gomes’ latest is a highly polished rock n’ roll record that breaks into a “play that funky music white boy” with the song, ‘Everyday Superstar.’ Superstar is a toe-tapping commercial ‘70’s radio friendly soul sound with rock overtones and rich melody lines. On “Testify” Gomes revs up a Kiss-like-riff and a ‘party all night’ when he sings, ‘Kick the door open let the party begin...We’re going right for your ear hole, Then we’re gonna penetrate your soul.” So its not art: put this one in your guilty pleasures stack, clear the chairs out of the room and grab your tennis racket. Its fun, it has a positive message, its far from art and its packed with energy. This is a, ‘roll-down-the-windows-and-let-wind-blow-through-your-hair’ album that fills a niche… but it ain’t blues.
Title: Music is the Medicine
Writer: Rick Galusha
The latest album by Anthony Gomes, Music is the Medicine’ leans heavily into the rock genre with just the occasional whisper to blues. Produced by uber-dialman Jim Gaines this good time party album sounds wonderful. Gomes’ songs are well paced, highly textured and more about the song than the flash. Interestingly Gomes uses his latest platter to approach contemporary issues such as war, ‘War on War,” co-written with Mark Selby, and universal peace. Granted his lyrics aren’t providing any fodder for grey matter when he sings, “How different can we really be, From the colors of the war machine, Where the blood is red and the money’s green.” However simplicity set against the pulsing push of the band and Gomes’ doodling guitar sound-texturing is admittedly cool.
On the next track, “Love is the Answer” Gomes revs up a faux-gospel sing-a-long anthem that evokes, “People all over the world, Come together, Rise Up, Take a Stand, We got the power in our hands, Understand, Love is the Answer.” Okay, John Lennon he isn’t but he’s making in-roads to issues and singing about something other than back door love and clichéd bluesman braggadocio. Gomes uses the building crescendo to step out of the moment in order to take a tasty nylon string guitar solo only to come back with a well paced guitar solo that will lend itself kindly to live performances.
Gomes’ latest is a highly polished rock n’ roll record that breaks into a “play that funky music white boy” with the song, ‘Everyday Superstar.’ Superstar is a toe-tapping commercial ‘70’s radio friendly soul sound with rock overtones and rich melody lines. On “Testify” Gomes revs up a Kiss-like-riff and a ‘party all night’ when he sings, ‘Kick the door open let the party begin...We’re going right for your ear hole, Then we’re gonna penetrate your soul.” So its not art: put this one in your guilty pleasures stack, clear the chairs out of the room and grab your tennis racket. Its fun, it has a positive message, its far from art and its packed with energy. This is a, ‘roll-down-the-windows-and-let-wind-blow-through-your-hair’ album that fills a niche… but it ain’t blues.
A reply to Chick Willis open letter
By Rick Galusha
Recently Miami Herald columnist Leonard Pitts Jr. published the column, “The Rules? There’s only one rule: Whatever you say, avoid bullying.” In it Pitts makes the point, it’s valid for the less powerful to take a swipe at the more powerful. Specifically, in contemporary society blacks are allowed to say things about whites that are patently unfair but it is expected to be tolerated.
In his open letter entitled, “A Real Blues Artist and Inventor (part one)” the noted blues musician Chick Willis makes several points; blacks in America continue to be at a disadvantage, blues was born of hardship within the African American culture and more and more “the blues” is really nothing more than 70’s rock being repackaged to aging white suburban baby boomers.
However, I think several of Willis’ comments deserve to be addressed.
In his thesis Willis writes, “”There is no way that a person that has not had the experiences of the blues or has lived the blues can know anything about the blues. Those people are copying what they have heard, not what they have experienced.” Willis then goes on to acknowledge some legitimate white blues players including Stevie Ray Vaughan and Eric Clapton. Within the blues tradition there is a passing-of-the-torch process where older musicians school younger musicians. Clapton very probably was schooled by listening to records and by playing with John Mayall. Stevie was schooled by emulating his older brother and others on the Dallas music scene. What Willis goes on to infer is that White musicians who pay homage to black performers or at least lend their economic might to help them “know that they will forever be imitators of the blues” but he likes’em anyway.
There are two things I’m learning as I get older; 1.) No one gets out of life alive, and 2.) The longer you live the more suffering you are going to experience. There are several fallacies in Willis argument. For example, if one were to weigh the suffering of Jews over their 4,000 years of recorded history is their cultural pain sufficient to allow them to play the blues? If one were to examine the system of serfdom in Medieval Europe, a time when a vast majority of whites were enslaved by landowners, wouldn’t this cultural sense of suffering equate to at least some white boys being able to play the blues? Or does the passage of time marginalize cultural suffering? Do Mr. Willis’ rules apply to indigenous Americans? As a group their suffering is significant. Can they play the blues? (I’m thinking of Mato Nanji of Indigneous.) Either way Willis had better accept that fact that based upon his argument there are going to be some super badass Muslim blues players in the next decade because I can’t imagine anyone in the world suffering more than the average Joe living in today’s Middle East.
To paraphrase a paragraph from Willis, “There are a few white people that are giving these White Blues lovers phony blues all because they want to take advantage of them by giving them watered down blues…a music that was invented by Black people…it seems like slavery all over again.” Another thing I’ve learned over the past three decades of involvement in the music industry is that some people just don’t care that much about music. Music is little more than audio wallpaper to most. At a recent concert Bonnie Raitt (someone omitted from Willis’ list of legitimate white players) mentioned Memphis Minnie. The crowd whooped its support for the late singer. But a month later when two other progenitors of Memphis Minnie came to town, Sue Foley & Maria Muldaur, those “whoopers” were at home on the couch. AS the old saying goes, “The masses are asses” and don’t really know much about what comes out of their mouths but they’re willing to act like they do. Don’t take someone else’s ignorance personally – they probably didn’t mean to offend you. There are a handful of fans that see music as a bona fide art form but not many as a percentage of the whole population.
B. B. King figured out how to make a good living playing the blues and I doubt that Willis has the chutzpah to say that B. B. King did not live the blues life. The fact that Willis struggled all his life playing the blues is not a cultural form of racism as much as it is the fact that his music lacks mass appeal. People vote with their dollars. That Willis hasn’t achieved stature outside of the hardcore blues genre is hardly a sign of racism – it’s simply economics. (And why isn’t Willis inferring King’s a racist for not offering him one of those precious opening slots on his tour?)
Let’s look at it another way, a white man invented basketball; however, today it’s a sport that on the professional level is dominated by black men. Using Willis’ argument should a rule be passed that regardless of skill, regardless of the ability to sell tickets, at least one white man should be on the floor at all times for both teams in a professional basketball game? To even propose such a nutty idea borders on “bullyism” not to mention the fact that the game would suffer under such an idiotic rule. African Americans clearly invented the blues; however, this was a music that was heavily influenced by the Christian church. History shows that Jews founded the theology of African American churches. The guitar is a Spanish instrument and the piano was invented in Europe. Therefore, using Willis’ arguments, a Spanish Messianic Jew is by definition a legitimate blues player. I do of course have my tongue firmly planted in my cheek but I think you get my point.
When the Beatles hit American shores the blues were inadvertently changed forever. Purist may not like it but more of them drive cars to work than ride a horse to the office. So change and adaptation is just a part of the life; is hypocritical to embrace the changes you like but condemn other changes because you don’t happen to like it? One thing is for certain, to make such a statement sure is human but that doesn’t make it accurate.
Willis may also be well served to realize that most blues fans today came to the genre via The Rolling Stones or the Allman Brothers. An aspect of many rock fans bring with them is that “cover bands” do not get the same respect that the original songwriter/performer gets. How many times can someone roll out Crossroads Blues and expect to taken seriously? If I can put on the master playing Hell Hound on My Trail why would I want to hear some heretofore unknown Jack cover it? For me, if an artist wants to record a cover I think they need to add something special to it; otherwise its just a nice party favor. Chris Duarte once said to me, “You can always tell how bad a festival is by the number of times you hear “Sweet Home Chicago.” Admittedly a well chosen cover during a live performance can energize an audience.
Willis equates the judges of the IBC to the murders of Medgar Evans, Emmit Teal, The Birmingham Bombings and the Jim Crow courts of the South. I sympathize with Willis in that his contribution to the art form is virtually unrecognized today. I acknowledge his pain that many blues fans are ignorant of Willis’ music. That is truly sad and unfortunate but please Willis must recant such an offensive remark designed to be hurtful and divisive. Society didn’t accept this kind of crap from radio talk show Don Imus so why would anyone accept this kind of buffoonery from anyone else?
As with any art form, there will always be experts that have an opinion and there will always be an audience to disagree with them. As a friend once said to me, “writing about music is like dancing about architecture.” Willis may have lived a life of the blues but he is hardly the sole determinant of its definition. In the end two things and only two things will rule on this issue; “There are only two kinds of music; good music and bad music,” and you simply cannot pass a rule about what someone else must enjoy listening to. What Willis likes is probably not what most Americans are willing to spend their money on.
As Leonard Pitts Jr. said, “don’t be a bully.” Racism espoused by a Euro-Centric or Afro-Centric person is ugly. American’s blacks do not have the market on pain and suffering. Admittedly blacks faced hurdles that many whites do not comprehend but anyone can play the blues and whether Willis recognizes that or not is longer determinant to the discussion. Club owners are going to book bands that make them money. Record labels are going to release albums by acts that make them money. Clubs that book acts that people don’t want to see go broke. Its not racism: its economics. Contrary to what Willis thinks, there are plenty of recitals every day that do not include a black performer but are, by contemporary definition, blues. There will always be a contingency of the audience that agrees with Willis’ politically correct arguments. I say enjoy whatever you like but be open to new musical experiences. Chris Thomas King is musically all over the board; some I like, some I don’t, but I am always game to hear what he’s come up.
If Willis wants to see more black performers on blues stages I suggest Willis heed the fundamental rules of economics by adapting and changing in order to provide a “product” that the audience will spend their money on. Yes, money corrupts art but it really is the only unbiased measurement of the value people place on something. I don’t base my listening habits on best seller charts but I do know you can’t educate the public by implying they’re stupid “wet behind the ears” racists.
If Willis doesn’t want to take a look at what audiences are responding to and adjust his act to meet the demands of a wider audience then he needs to accept his choice. There is no societal obligation for people to seek him out: especially if he chooses to downplay their apparent tastes. If Willis doesn’t want to adapt and change (and who isn’t having change shoved down their throat at work these days) then he needs to accept the consequences of his choice rather than bemoaning the amount of melanin in someone’s epidermis.
By Rick Galusha
Recently Miami Herald columnist Leonard Pitts Jr. published the column, “The Rules? There’s only one rule: Whatever you say, avoid bullying.” In it Pitts makes the point, it’s valid for the less powerful to take a swipe at the more powerful. Specifically, in contemporary society blacks are allowed to say things about whites that are patently unfair but it is expected to be tolerated.
In his open letter entitled, “A Real Blues Artist and Inventor (part one)” the noted blues musician Chick Willis makes several points; blacks in America continue to be at a disadvantage, blues was born of hardship within the African American culture and more and more “the blues” is really nothing more than 70’s rock being repackaged to aging white suburban baby boomers.
However, I think several of Willis’ comments deserve to be addressed.
In his thesis Willis writes, “”There is no way that a person that has not had the experiences of the blues or has lived the blues can know anything about the blues. Those people are copying what they have heard, not what they have experienced.” Willis then goes on to acknowledge some legitimate white blues players including Stevie Ray Vaughan and Eric Clapton. Within the blues tradition there is a passing-of-the-torch process where older musicians school younger musicians. Clapton very probably was schooled by listening to records and by playing with John Mayall. Stevie was schooled by emulating his older brother and others on the Dallas music scene. What Willis goes on to infer is that White musicians who pay homage to black performers or at least lend their economic might to help them “know that they will forever be imitators of the blues” but he likes’em anyway.
There are two things I’m learning as I get older; 1.) No one gets out of life alive, and 2.) The longer you live the more suffering you are going to experience. There are several fallacies in Willis argument. For example, if one were to weigh the suffering of Jews over their 4,000 years of recorded history is their cultural pain sufficient to allow them to play the blues? If one were to examine the system of serfdom in Medieval Europe, a time when a vast majority of whites were enslaved by landowners, wouldn’t this cultural sense of suffering equate to at least some white boys being able to play the blues? Or does the passage of time marginalize cultural suffering? Do Mr. Willis’ rules apply to indigenous Americans? As a group their suffering is significant. Can they play the blues? (I’m thinking of Mato Nanji of Indigneous.) Either way Willis had better accept that fact that based upon his argument there are going to be some super badass Muslim blues players in the next decade because I can’t imagine anyone in the world suffering more than the average Joe living in today’s Middle East.
To paraphrase a paragraph from Willis, “There are a few white people that are giving these White Blues lovers phony blues all because they want to take advantage of them by giving them watered down blues…a music that was invented by Black people…it seems like slavery all over again.” Another thing I’ve learned over the past three decades of involvement in the music industry is that some people just don’t care that much about music. Music is little more than audio wallpaper to most. At a recent concert Bonnie Raitt (someone omitted from Willis’ list of legitimate white players) mentioned Memphis Minnie. The crowd whooped its support for the late singer. But a month later when two other progenitors of Memphis Minnie came to town, Sue Foley & Maria Muldaur, those “whoopers” were at home on the couch. AS the old saying goes, “The masses are asses” and don’t really know much about what comes out of their mouths but they’re willing to act like they do. Don’t take someone else’s ignorance personally – they probably didn’t mean to offend you. There are a handful of fans that see music as a bona fide art form but not many as a percentage of the whole population.
B. B. King figured out how to make a good living playing the blues and I doubt that Willis has the chutzpah to say that B. B. King did not live the blues life. The fact that Willis struggled all his life playing the blues is not a cultural form of racism as much as it is the fact that his music lacks mass appeal. People vote with their dollars. That Willis hasn’t achieved stature outside of the hardcore blues genre is hardly a sign of racism – it’s simply economics. (And why isn’t Willis inferring King’s a racist for not offering him one of those precious opening slots on his tour?)
Let’s look at it another way, a white man invented basketball; however, today it’s a sport that on the professional level is dominated by black men. Using Willis’ argument should a rule be passed that regardless of skill, regardless of the ability to sell tickets, at least one white man should be on the floor at all times for both teams in a professional basketball game? To even propose such a nutty idea borders on “bullyism” not to mention the fact that the game would suffer under such an idiotic rule. African Americans clearly invented the blues; however, this was a music that was heavily influenced by the Christian church. History shows that Jews founded the theology of African American churches. The guitar is a Spanish instrument and the piano was invented in Europe. Therefore, using Willis’ arguments, a Spanish Messianic Jew is by definition a legitimate blues player. I do of course have my tongue firmly planted in my cheek but I think you get my point.
When the Beatles hit American shores the blues were inadvertently changed forever. Purist may not like it but more of them drive cars to work than ride a horse to the office. So change and adaptation is just a part of the life; is hypocritical to embrace the changes you like but condemn other changes because you don’t happen to like it? One thing is for certain, to make such a statement sure is human but that doesn’t make it accurate.
Willis may also be well served to realize that most blues fans today came to the genre via The Rolling Stones or the Allman Brothers. An aspect of many rock fans bring with them is that “cover bands” do not get the same respect that the original songwriter/performer gets. How many times can someone roll out Crossroads Blues and expect to taken seriously? If I can put on the master playing Hell Hound on My Trail why would I want to hear some heretofore unknown Jack cover it? For me, if an artist wants to record a cover I think they need to add something special to it; otherwise its just a nice party favor. Chris Duarte once said to me, “You can always tell how bad a festival is by the number of times you hear “Sweet Home Chicago.” Admittedly a well chosen cover during a live performance can energize an audience.
Willis equates the judges of the IBC to the murders of Medgar Evans, Emmit Teal, The Birmingham Bombings and the Jim Crow courts of the South. I sympathize with Willis in that his contribution to the art form is virtually unrecognized today. I acknowledge his pain that many blues fans are ignorant of Willis’ music. That is truly sad and unfortunate but please Willis must recant such an offensive remark designed to be hurtful and divisive. Society didn’t accept this kind of crap from radio talk show Don Imus so why would anyone accept this kind of buffoonery from anyone else?
As with any art form, there will always be experts that have an opinion and there will always be an audience to disagree with them. As a friend once said to me, “writing about music is like dancing about architecture.” Willis may have lived a life of the blues but he is hardly the sole determinant of its definition. In the end two things and only two things will rule on this issue; “There are only two kinds of music; good music and bad music,” and you simply cannot pass a rule about what someone else must enjoy listening to. What Willis likes is probably not what most Americans are willing to spend their money on.
As Leonard Pitts Jr. said, “don’t be a bully.” Racism espoused by a Euro-Centric or Afro-Centric person is ugly. American’s blacks do not have the market on pain and suffering. Admittedly blacks faced hurdles that many whites do not comprehend but anyone can play the blues and whether Willis recognizes that or not is longer determinant to the discussion. Club owners are going to book bands that make them money. Record labels are going to release albums by acts that make them money. Clubs that book acts that people don’t want to see go broke. Its not racism: its economics. Contrary to what Willis thinks, there are plenty of recitals every day that do not include a black performer but are, by contemporary definition, blues. There will always be a contingency of the audience that agrees with Willis’ politically correct arguments. I say enjoy whatever you like but be open to new musical experiences. Chris Thomas King is musically all over the board; some I like, some I don’t, but I am always game to hear what he’s come up.
If Willis wants to see more black performers on blues stages I suggest Willis heed the fundamental rules of economics by adapting and changing in order to provide a “product” that the audience will spend their money on. Yes, money corrupts art but it really is the only unbiased measurement of the value people place on something. I don’t base my listening habits on best seller charts but I do know you can’t educate the public by implying they’re stupid “wet behind the ears” racists.
If Willis doesn’t want to take a look at what audiences are responding to and adjust his act to meet the demands of a wider audience then he needs to accept his choice. There is no societal obligation for people to seek him out: especially if he chooses to downplay their apparent tastes. If Willis doesn’t want to adapt and change (and who isn’t having change shoved down their throat at work these days) then he needs to accept the consequences of his choice rather than bemoaning the amount of melanin in someone’s epidermis.
Wednesday, January 2, 2008
Book Review: Ron Wood's Autobiography
Book Review: Ronnie
Author: Ronnie Wood
Writer: Rick Galusha
“When it rains, it pours.” This Christmas Season is the year of the rock autobiography. There are releases by Eric Clapton, Patti Boyd (the former Mrs. George Harrison/ Mrs. Eric Clapton) and now Rolling Stone Ronnie Wood; as well as a long threatened Keith Richards tome later in ’08. In 1990 the Rolling Stone’s bassist Bill Wyman left the band and quickly released his autobiography, and perhaps the finest Stones’ insider book, ‘Stone Alone.’ In 1998 former Small Faces and Faces keyboardist Ian McLagan released, ‘All the Rage’ which included his many years as a significant sideman in the Rolling Stones as well as with Dylan, Raitt, Billy Bragg and of course the ever “frugal” Rod Stewart. As a member of the Faces along with Ron Wood, McLagan’s book offered a raw look into the playful antics of a band of imbibing youth who eventually became hopeless drug addicts dabbling in music.
Set-up in a chronological read, Wood’s book begins with his youth as the first member of the Wood family to be born on land; as opposed to the canal barges that still populate portions of the London area. Like many of us, with two older brothers, the young ‘Woody’ was introduced at an early age to pre-rock music, ‘young birds’ and the gang mentality cocoon that many bands develop. Woods story is no different than many of his era, successful band signs contract with crooked manager, get screwed to the wall, find themselves broke and are forced to start all over again. Whether it’s the Stones or the Beatles, Ronnie’s first band, ‘The Birds’ or McLagan’s Small Faces, eventually one is left wondering how so many musicians could have been so repeatedly duped, drunk and broke. It was a different time and the ‘rock ‘n’ roll’ lexicon of business was being written by kids that grew up with nothing, found success, fame and money, and had no idea how to manage it.
Eventually Ron Wood joins as a bass player with former Yardbird guitarist Jeff Beck along with Mickey Waller (drums) and Rod Stewart in the now legendary Jeff Beck Group. While history shows it was studio musicians Jimmy Page and John Paul Jones that sought out then unknown Robert Plant and John Henry Bonham to form Led Zeppelin, Wood’s book spins the lore that Manager Peter Grant first approached Wood to form, ‘The New Yardbirds’ band with Plant and Bonham. Obviously that doesn’t make sense since Plant and Bonham were plucked from obscurity by Page but it makes for good reading. Life with Peter Grant proved unbearable for Wood and, according to his perspective, he rung up Small Faces bass player Ronnie Lane who’s band had just lost Steve Marriott to Peter Frampton to form Humble Pie. Wood’s account pretty much mirror’s McLagan’s as a super shy Rod Stewart eventually relents, joins the band, renames themselves ‘The Faces’ and for the next eight year’s becomes one of the best “rock n’ roll” bands most people never heard of. After the Stones release the seminal album, ‘Its Only Rock n’ Roll’ then guitar player Mick Taylor leaves the band whereupon Jagger “borrows” Wood for a world tour creating resentment among The Faces and in 1975 The Faces split up and Wood becomes a member of the Rolling Stones. Like many, I think of Wood as “the new guy” in the band although the reality is that from 1963 to 1975, twelve years, Mick and Keith had three guitar players (Dick Taylor, Brian Jones and Mick Taylor) but for the last 32 years Ron Wood has been the steadfast anchor to Keith’s engine.
Oh but the drugs. Make no mistake, like McLagan, Wood’s book is awash of tales regarding drugs and alcohol. By the later half of the book the use of “blow,” “freebase,” “smack,” and Guiness becomes overbearing and, with much irony, Wood is told to clean up or he’d be kicked out of the Stones for drug abuse just before the ’40 Licks Tour.’ Wood winds down the book with clarity, something lacking in most of the book, as he struggles to right his ship and recover from bankruptcy during the ‘90’s not once but three times. At one point he seems to indicate a freebasing habit during his Los Angles years of nearly $70,000 over six weeks and that such abuse went on for five years or a $2,000,000 habit. I can recall reading Musician Magazine in the late 80’s when Keith Richards expressed shock and concern about Wood’s current consumption. The famed Woody Woodpecker of rock notes that he drew strength in his struggle towards sobriety from his wife’s Jo own effort as well as from Stones drummer Charlie Watts who simply decided one day to end his dependence on heroin and alcohol after falling down his stairs at home.
Throughout his book Wood makes reference to two cages in his life; one being the gilded trap members of the band find themselves in when the show goes on the road. There is money, luxury and fame at the cost of loneliness and the inability to do regultar things like walk down the street. The other reference regards a phrase Keith uses when on stage just before the curtain goes up and, “the cage is open.” This is a pretty well written book that is thin on specifics but long on debauchery. Wood finally gives an interesting glimpse into the Stone’s dark period from ’81 to ’89 when the band had essentially broken up due to Jagger and Richards infighting. ‘Ronnie’ would make a terrific Christmas gift for baby boomer Stones fanatics as well as other classic rock fans. Long a prized pursuit of collectors and bootleggers, Wood also recently released a live double CD set of his solo band, ‘The New Barbarians’ (named by Neil Young) which included Keith Richards, Ian McLagan, Stanley Clark (bass) and Jospeh ‘Zigaboo’ Modeliste (Meters, Neville Brothers) on the drums along with Bobby Keys on saxophone. The album is titled, ‘Buried Alive’ and is a barely adequate recording of a sloppy band playing in Maryland.
Author: Ronnie Wood
Writer: Rick Galusha
“When it rains, it pours.” This Christmas Season is the year of the rock autobiography. There are releases by Eric Clapton, Patti Boyd (the former Mrs. George Harrison/ Mrs. Eric Clapton) and now Rolling Stone Ronnie Wood; as well as a long threatened Keith Richards tome later in ’08. In 1990 the Rolling Stone’s bassist Bill Wyman left the band and quickly released his autobiography, and perhaps the finest Stones’ insider book, ‘Stone Alone.’ In 1998 former Small Faces and Faces keyboardist Ian McLagan released, ‘All the Rage’ which included his many years as a significant sideman in the Rolling Stones as well as with Dylan, Raitt, Billy Bragg and of course the ever “frugal” Rod Stewart. As a member of the Faces along with Ron Wood, McLagan’s book offered a raw look into the playful antics of a band of imbibing youth who eventually became hopeless drug addicts dabbling in music.
Set-up in a chronological read, Wood’s book begins with his youth as the first member of the Wood family to be born on land; as opposed to the canal barges that still populate portions of the London area. Like many of us, with two older brothers, the young ‘Woody’ was introduced at an early age to pre-rock music, ‘young birds’ and the gang mentality cocoon that many bands develop. Woods story is no different than many of his era, successful band signs contract with crooked manager, get screwed to the wall, find themselves broke and are forced to start all over again. Whether it’s the Stones or the Beatles, Ronnie’s first band, ‘The Birds’ or McLagan’s Small Faces, eventually one is left wondering how so many musicians could have been so repeatedly duped, drunk and broke. It was a different time and the ‘rock ‘n’ roll’ lexicon of business was being written by kids that grew up with nothing, found success, fame and money, and had no idea how to manage it.
Eventually Ron Wood joins as a bass player with former Yardbird guitarist Jeff Beck along with Mickey Waller (drums) and Rod Stewart in the now legendary Jeff Beck Group. While history shows it was studio musicians Jimmy Page and John Paul Jones that sought out then unknown Robert Plant and John Henry Bonham to form Led Zeppelin, Wood’s book spins the lore that Manager Peter Grant first approached Wood to form, ‘The New Yardbirds’ band with Plant and Bonham. Obviously that doesn’t make sense since Plant and Bonham were plucked from obscurity by Page but it makes for good reading. Life with Peter Grant proved unbearable for Wood and, according to his perspective, he rung up Small Faces bass player Ronnie Lane who’s band had just lost Steve Marriott to Peter Frampton to form Humble Pie. Wood’s account pretty much mirror’s McLagan’s as a super shy Rod Stewart eventually relents, joins the band, renames themselves ‘The Faces’ and for the next eight year’s becomes one of the best “rock n’ roll” bands most people never heard of. After the Stones release the seminal album, ‘Its Only Rock n’ Roll’ then guitar player Mick Taylor leaves the band whereupon Jagger “borrows” Wood for a world tour creating resentment among The Faces and in 1975 The Faces split up and Wood becomes a member of the Rolling Stones. Like many, I think of Wood as “the new guy” in the band although the reality is that from 1963 to 1975, twelve years, Mick and Keith had three guitar players (Dick Taylor, Brian Jones and Mick Taylor) but for the last 32 years Ron Wood has been the steadfast anchor to Keith’s engine.
Oh but the drugs. Make no mistake, like McLagan, Wood’s book is awash of tales regarding drugs and alcohol. By the later half of the book the use of “blow,” “freebase,” “smack,” and Guiness becomes overbearing and, with much irony, Wood is told to clean up or he’d be kicked out of the Stones for drug abuse just before the ’40 Licks Tour.’ Wood winds down the book with clarity, something lacking in most of the book, as he struggles to right his ship and recover from bankruptcy during the ‘90’s not once but three times. At one point he seems to indicate a freebasing habit during his Los Angles years of nearly $70,000 over six weeks and that such abuse went on for five years or a $2,000,000 habit. I can recall reading Musician Magazine in the late 80’s when Keith Richards expressed shock and concern about Wood’s current consumption. The famed Woody Woodpecker of rock notes that he drew strength in his struggle towards sobriety from his wife’s Jo own effort as well as from Stones drummer Charlie Watts who simply decided one day to end his dependence on heroin and alcohol after falling down his stairs at home.
Throughout his book Wood makes reference to two cages in his life; one being the gilded trap members of the band find themselves in when the show goes on the road. There is money, luxury and fame at the cost of loneliness and the inability to do regultar things like walk down the street. The other reference regards a phrase Keith uses when on stage just before the curtain goes up and, “the cage is open.” This is a pretty well written book that is thin on specifics but long on debauchery. Wood finally gives an interesting glimpse into the Stone’s dark period from ’81 to ’89 when the band had essentially broken up due to Jagger and Richards infighting. ‘Ronnie’ would make a terrific Christmas gift for baby boomer Stones fanatics as well as other classic rock fans. Long a prized pursuit of collectors and bootleggers, Wood also recently released a live double CD set of his solo band, ‘The New Barbarians’ (named by Neil Young) which included Keith Richards, Ian McLagan, Stanley Clark (bass) and Jospeh ‘Zigaboo’ Modeliste (Meters, Neville Brothers) on the drums along with Bobby Keys on saxophone. The album is titled, ‘Buried Alive’ and is a barely adequate recording of a sloppy band playing in Maryland.
Book Review: Patti Boyd's Autobiography
Book Review: Wonderful Tonight
George Harrison, Eric Clapton, and Me
Writer: Patti Boyd
Reviewer: Rick Galusha
Patti Boyd was a fashion model in the early ‘60’s when ‘Swinging London’s’ cool factor was at its height. As a child I can vividly recall the ‘Max Factor’ ads that were filmed in London and aired during ‘The Monkees’ program on television.
Not surprisingly Boyd and Clapton’s autobiographies were released within weeks of each other. After completing Patti Boyd’s autobiography, ‘Wonderful Tonight’ a friend lent me his super rare copy of Derek & the Dominos, ‘In Concert.’ Of all the Clapton albums I’ve heard his playing was never comparable to this – not even close.
Although she was a British citizen, Patti Boyd was born in Africa. The eldest child in her family, Boyd moved back to England at a young age. The product of a broken home, twice, Boyd’s tells the life of an emotionally crippled ‘Child of the ‘60’s’ that lands not one but two of rock’s superstars in matrimony; Beatle George Harrison and Eric ‘Slowhand’ Clapton. Outwardly Boyd lives a dream life; at the center of London’s hip scene, making money as a high paid model, meeting pop stars and traveling the globe meeting celebrities and artists. On the dark side Boyd survives overt spousal promiscuity, drug induced abusive relationships, interlopers & hanger-oners, and an on going saga of egos suffering due to the ups and downs of stardom.
As a ‘hand picked’ model for a role in the Beatles film, ‘Hard Days Night’ Boyd meets and eventually marries the Harrison. Together they stumble through the drug haze of the ‘60’s, go to Wales and then India to hang with the Mariharishi, survive the break-up of The Beatles and then begin to fight as Harrison stumbles to define his post-Beatle life. While Boyd later identifies herself as Harrison “soul mate” she finds time to accept the advances of Harrison’s good friend Eric Clapton. The book is awash with love notes sent from Clapton to Boyd including one signed, ‘Slowhand.’
Boyd eventually leaves Harrison drug dabbling for Clapton’s more serious substance abuse problems with heroin and then alcohol. While Harrison’s life was somewhat cloistered but peaceful, Clapton’s was abusive, self-centered and possessive. Amid the anguish of an alcoholic marriage gone astray Boyd relates how young Conor Clapton, the illegitimate son of Eric Clapton, breaks up her co-dependent marriage. An oblivious husband, Clapton, relates the joy of his new found fatherhood with his barren wife. It is the height of sadness and simultaneous weirdness as the former Patrick Clapham was so self absorbed as to reportedly completely miss her sorrow. The sage continues when the infant falls to his death and subsequently inspires the Grammy award winning song, ‘Tears in Heaven.’
Boyd was certainly one of the ‘In Crowd’ and relates a perspective on many pivotal music moments that Boomers will recognize; including Live Aid, The Concert for Bangladesh and the Apple Records debacle. On one hand it is refreshing as the books spoons away the years to a time of fewer obligations and life’s future beckoned. On the other hand Boyd is a brat that has the gumption to ask Clapton, well after their divorce, for 600,000 English pounds ($1,500,000) for a “cottage with a view” so that Boyd and her new love may reside in.
The book moves very quickly and includes cameos by Mick Jagger, John & Paul, Mick Fleetwood of Fleetwood Mac (who was married to her sister twice), Phil Collins, Mike Rutherford, David Gilmore, Roger Waters and The Who’s Pete Townshend. It is both insightful and gossipy at the same time. This book is fun for fans albeit with little more to offer than moments inside one of rock music’s most famous enclave. It is delicious but shallow and completely entertaining.
George Harrison, Eric Clapton, and Me
Writer: Patti Boyd
Reviewer: Rick Galusha
Patti Boyd was a fashion model in the early ‘60’s when ‘Swinging London’s’ cool factor was at its height. As a child I can vividly recall the ‘Max Factor’ ads that were filmed in London and aired during ‘The Monkees’ program on television.
Not surprisingly Boyd and Clapton’s autobiographies were released within weeks of each other. After completing Patti Boyd’s autobiography, ‘Wonderful Tonight’ a friend lent me his super rare copy of Derek & the Dominos, ‘In Concert.’ Of all the Clapton albums I’ve heard his playing was never comparable to this – not even close.
Although she was a British citizen, Patti Boyd was born in Africa. The eldest child in her family, Boyd moved back to England at a young age. The product of a broken home, twice, Boyd’s tells the life of an emotionally crippled ‘Child of the ‘60’s’ that lands not one but two of rock’s superstars in matrimony; Beatle George Harrison and Eric ‘Slowhand’ Clapton. Outwardly Boyd lives a dream life; at the center of London’s hip scene, making money as a high paid model, meeting pop stars and traveling the globe meeting celebrities and artists. On the dark side Boyd survives overt spousal promiscuity, drug induced abusive relationships, interlopers & hanger-oners, and an on going saga of egos suffering due to the ups and downs of stardom.
As a ‘hand picked’ model for a role in the Beatles film, ‘Hard Days Night’ Boyd meets and eventually marries the Harrison. Together they stumble through the drug haze of the ‘60’s, go to Wales and then India to hang with the Mariharishi, survive the break-up of The Beatles and then begin to fight as Harrison stumbles to define his post-Beatle life. While Boyd later identifies herself as Harrison “soul mate” she finds time to accept the advances of Harrison’s good friend Eric Clapton. The book is awash with love notes sent from Clapton to Boyd including one signed, ‘Slowhand.’
Boyd eventually leaves Harrison drug dabbling for Clapton’s more serious substance abuse problems with heroin and then alcohol. While Harrison’s life was somewhat cloistered but peaceful, Clapton’s was abusive, self-centered and possessive. Amid the anguish of an alcoholic marriage gone astray Boyd relates how young Conor Clapton, the illegitimate son of Eric Clapton, breaks up her co-dependent marriage. An oblivious husband, Clapton, relates the joy of his new found fatherhood with his barren wife. It is the height of sadness and simultaneous weirdness as the former Patrick Clapham was so self absorbed as to reportedly completely miss her sorrow. The sage continues when the infant falls to his death and subsequently inspires the Grammy award winning song, ‘Tears in Heaven.’
Boyd was certainly one of the ‘In Crowd’ and relates a perspective on many pivotal music moments that Boomers will recognize; including Live Aid, The Concert for Bangladesh and the Apple Records debacle. On one hand it is refreshing as the books spoons away the years to a time of fewer obligations and life’s future beckoned. On the other hand Boyd is a brat that has the gumption to ask Clapton, well after their divorce, for 600,000 English pounds ($1,500,000) for a “cottage with a view” so that Boyd and her new love may reside in.
The book moves very quickly and includes cameos by Mick Jagger, John & Paul, Mick Fleetwood of Fleetwood Mac (who was married to her sister twice), Phil Collins, Mike Rutherford, David Gilmore, Roger Waters and The Who’s Pete Townshend. It is both insightful and gossipy at the same time. This book is fun for fans albeit with little more to offer than moments inside one of rock music’s most famous enclave. It is delicious but shallow and completely entertaining.
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