Rock and Roll – Zachary Mule

KEEPING THE LEGACY ALIVE: SONS OF CREAM LIVE PREVIEW

SONS OF CREAM (KOFI BAKER) (uncredited publicity photo)

The terms “power trio” and “supergroup” were coined to describe Cream. Eric Clapton was already regarded as one of the best guitar players in the world (London’s walls would occasionally feature graffiti claiming “Clapton Is God” in the mid-1960s), while both mutli-instrumentalist Jack Bruce and drummer Ginger Baker both had formal training as Jazz musicians before joining Blues Incorporated in 1962. Baker and Bruce, though they argued and fought continually, somehow managed to end up playing together in a number of groups until they decided to meld their considerable Jazz chops with Clapton’s heavy Blues style to form the crushingly formidable group Cream in 1966. The band recorded four albums before breaking up in 1968, leaving an indelible mark on popular music that is as strong today as it was then.

CREAM Farewell Concert, Royal Albert Hall, 26 November 1968 (JACK BRUCE, GINGER BAKER, ERIC CLAPTON) (photo credit: RAY STEVENSON/SHUTTERSTOCK)

There are a lot of bands that could be considered as “sons of Cream,” power trios and other groups with bonafide chops that made Cream such a powerhouse musical entity; there is only one, however, who can call themselves Sons of Cream. And they have the pedigree to prove it: Kofi Baker, the son of Ginger and Malcolm Bruce, Jack’s son, have teamed up with guitarist Rob Johnson (keeping it all in the family, Rob is a grandnephew of Ginger Baker) to celebrate the music and the legacy of Cream. “With a name like Rob Johnson, you really can’t go wrong, right?,” Kofi quipped in reference to legendary Bluesman Robert Johnson who wrote “Crossroads,” during a recent interview to preview the trio’s upcoming tour stop at the iconic Wildey Theatre in Edwardsville, Illinois.

SONS OF CREAM (MALCOLM BRUCE, KOFI BAKER) (photo credit: ROGER BROOKS PHOTOGRAPHY)

We discussed how Ginger (and Jack, as well) was essentially a Jazz player who could articulate the music in a much different fashion than a standard-issue rock drummer and how that finesse plays an important role in his style, as well: “You’ve got to come check this band out because we’re playing the music the way they played it, but you’ve got better sound quality now so you can actually hear it better.” As Baker discussed the similarities (non-musical, as well as musical) between his Dad’s group and his band, mentioning how he and Malcolm argue and fight just like their fathers did throughout their careers, he added, “But, also, you gotta check this band out because I don’t know how long this band is gonna stay together.”

Kofi mentioned that aside from playing songs from the Cream catalog, he, Johnson and Bruce would also be playing some tunes from Blind Faith, the post-Cream band that features Ginger and Eric Clapton. He also wanted to point out that Sons of Cream were also writing new music. “The whole point of Sons of Cream was that we are writing original stuff. I mean, I actually wrote an original album with Rob Johnson, the guitar player, before Malcolm joined the band.” Additionally Baker discussed recording some music after the tour. “We are writing original music, as well, and we’re actually doing a record deal in England after this tour and we’re going to do an album. We’re going to do half and half. We’re going to do half Cream songs and half originals, which is basically what Cream did. Cream, you know, did originals and covers.” “The idea, as we progress, is we might start writing more new Cream songs… Keep the legacy going and keep that genre of music going where it’s a lot more improvised.”

He also wanted everyone to know that Sons of Cream is not a tribute band. “Like I say, it’s not a tribute band, it’s a legacy band called Sons of Cream and what we’re trying to do is keep that genre of music, that legacy… our legacy alive. We wanna play and do new stuff and mix it all up and, you know, keep the whole thing going… get it to the masses, to the young people. I just want the young people to experience music that’s not so contrived.”

SONS OF CREAM (KOFI BAKER, MALCOLM BRUCE, ROB JOHNSON) (photo credit: INDIA SCARLET/THE WATERFRONT NORWICH)

Kofi Baker and Sons of Cream roll into Edwardsville on Saturday, February 22 for what promises to be a fun and – possibly – volatile night of music, keeping the legend and the legacy of Ginger Baker, Jack Bruce and Eric Clapton alive. For more tour dates and more information about the band, go to their website; for ticket info and directions to the Wildey, please visit the venue’s site. See you there!

THE JOURNEY AND VISION OF AUD WHITSON: A RISING ARTIST’S PATH TO MUSICAL EXPRESSION

AUD WHITSON (photo credit: TAYLER GILBERT)

Aud Whitson, a singer-songwriter whose style defies easy classification, is carving a unique path in the music world. With a mix of raw honesty and vulnerability in her work, Aud is on a journey to connect with others through her songs, tackling themes of imperfection, personal growth, and self-expression. In an exclusive interview, Aud shares insights into her musical roots, creative process, challenges, and aspirations for the future.

A PASSION SPARKED BY UNEXPECTED OPPORTUNITIES

Aud’s path to music was not a linear one. Although she was always involved with music from a young age, it wasn’t until the COVID-19 pandemic that her career in songwriting truly took off. “I wasn’t actually 100% going to become a songwriter,” she admits. Music had always been a part of her life – growing up singing in church, participating in school choirs, and even studying music in college – but it was a more casual pursuit until fate intervened.

During the pandemic, she had an opportunity to sing background vocals for an artist in need of a favor. It was here that she shared her own music, receiving the encouragement she needed to dive into songwriting more seriously. “They told me to pursue it. I started to see how that felt and if it was something I enjoyed. I don’t plan to stop anytime soon,” Aud reflects. It was through this experience that she began to embrace her craft and explore her voice as an artist.

INFLUENCES AND MUSICAL BACKGROUND

Aud’s musical background is diverse, drawing on a variety of genres and experiences that shaped her approach to songwriting. She credits her early years in church as a foundation for her love of singing, which started when she was just a toddler. “I grew up singing in church, which made me realize I loved music,” she says. Her musical journey expanded into classical music through middle and high school, where she honed her technical skills. However, it was during her college years that Aud began to realize that classical music, while something she was good at, wasn’t the form of self-expression she was seeking.

“The moment I started trying to find my own voice – what style of singing and what kind of performance felt expressive for me – that’s when I landed on being a singer-songwriter,” Aud explains. She’s not one to easily classify her own music, but describes it as a mix of “soft indie vibes” that resonate deeply with listeners.

When asked about her biggest musical influences, Aud points to Frank Ocean’s BLONDE as a transformative album. “I listened to that album every day. I had never felt so moved by any project up until that point,” she says, noting that it was the first album where she felt every song was perfectly crafted. Another significant influence came from Ed Sheeran’s debut album, which she recalls as a standout for her as a young teen and led her to explore more acoustic artists.

A UNIQUE CREATIVE PROCESS

Aud’s songwriting process is anything but formulaic. “The foundation of the songs usually happens when I’m just living my life,” she explains. Her brain is constantly engaged with concepts and themes that she revisits over time. Once she has a theme in mind, she sits down with her guitar, and the lyrics begin to flow. While the process is often quick, sometimes taking as little as 20 minutes to an hour, the development of the song can take longer as she refines the sonic details.

One of the most fascinating aspects of Aud’s approach is her willingness to break away from conventional recording methods. For her most recent project, she tracked the initial demos on her phone. “I got feedback from other musicians that my phone recordings had a vibe about them,” she explains. She would record guitar directly into her phone, then transfer it to Logic, layering vocals and refining the sound. It wasn’t until after this that she worked with producer Chase Horseman to polish the tracks in a studio. “Being able to do more of the production myself meant I could take what was in my head and copy it directly into the song,” she says.

NAVIGATING CHALLENGES AND GROWTH

Aud’s path hasn’t been without its challenges. Performance anxiety has been a significant hurdle, especially in the days leading up to shows. “For a while, performing would really eat away at me for the days leading up to the performance,” she admits. Through trial and error, she found a routine that helped her manage nerves – avoiding caffeine, alcohol, and ensuring she eats properly before stepping on stage.

Despite her initial nervousness, Aud finds a sense of control when she’s performing live. “Once I am on stage, I feel very in control. It’s a surreal feeling,” she says, describing how time seems to slow down as she commands the room. She’s learned to embrace the pressure, realizing that it often brings out her best performances.

On top of personal challenges, Aud has had to grapple with the realities of the music industry, including criticism. However, she notes that having a strong support system is crucial to navigating these challenges. “If you have the right people in your life informing you, that’s a really big privilege,” she says. Her close-knit circle helps her stay grounded and continue to grow as an artist.

FINDING IMPERFECTION AND EMBRACING THE HUMAN EXPERIENCE

One of the most powerful aspects of Aud’s music is its raw honesty. Her classical training once led her to strive for perfection, but over time, she’s learned to embrace imperfection. “I have worked through a lot of perfectionism. I used to hide behind the security of calculation,” she reflects. In her more recent work, she’s focused less on flawless execution and more on creating something that feels genuine. “This project, I want to make something with flaws that makes people feel things,” she shares.

Through this evolution, Aud has come to realize that being imperfect is part of the human experience. “I don’t have to be perfect all the time. I’m allowed to be human,” she says. This understanding has led her to create music that reflects the messiness of life – something she hopes will help others feel less alone.

LOOKING AHEAD: GROWTH AND NEW PROJECTS

Aud’s journey is only just beginning, and she’s already making plans for the future. “I’m excited to release more music in 2025, including songs that people have connected with at my shows but haven’t been released yet,” she says. She’s also working on new material for an upcoming album, with the aim of gradually increasing her production quality.

Looking further into the future, Aud hopes to release a full album. “I’m just releasing singles and EPs right now, but having a fully-formed project will be exciting,” she explains. She envisions an album that continues to evolve from her current EP, blending low-fi vibes with higher production values. Her inspiration for this direction comes from artists like Clairo, whose vintage sound combined with rich production resonates deeply with her.

BALANCING MUSIC AND LIFE

Maintaining balance in her life while pursuing her music career is no easy feat. Aud works full-time outside of music, making ends meet while continuing to nurture her passion. Despite not earning much from her streams, she remains focused on her long-term vision. “I don’t make music for money, but it is difficult. It takes time to grow,” she reflects. To manage the emotional demands of the industry, she focuses on celebrating the small wins – whether it’s a hundred listeners or a successful live performance.

Outside of music, Aud enjoys hobbies that help her disconnect from the pressures of her career. “I crochet. I like to go on walks and spend time in nature,” she shares. These activities help her maintain a sense of balance and remind her that she’s more than just a musician.

A MESSAGE OF CONNECTION AND HOPE

Above all, Aud hopes her music can serve as a source of connection for those who feel alone. “I hope that this music helps people, especially younger people who are struggling mentally and emotionally,” she says. In a time where many are feeling lost or disconnected, Aud’s music aims to offer a message of hope.

Aud Whitson is an artist to watch in the coming years. With her honesty, vulnerability, and dedication to her craft, she is well on her way to making an impact in the music industry. Keep an eye on her upcoming shows, including performances at Arts On Broadway/KCMO on February 15th and Replay Lounge on February 18th.

Aud Whitson’s story is a testament to the power of perseverance, self-expression, and the willingness to embrace imperfection. As she continues to evolve as an artist, she remains committed to creating music that resonates deeply with her audience, offering both comfort and connection in a world that often feels disconnected.

For more on Aud Whitson and her music, visit her website at audwhitson.com or follow her on Instagram.

EDITOR’S NOTE: A HOUSE THAT CAN’T GET QUIETER, Aud’s latest EP will be available to stream or download on Friday, February 7, 2025.

DO THE ARCHITECTURAL WATUSI Music Features/Interviews | Kasey Lehmkuhl | February 7, 2025 | Acoustic Music Alternative Rock Artist Feature Aud Whitson Chase Horseman Digital Download Folk Music Indie Music Introspective Lyrics Lawrence Kansas Lo-Fi Recordings Rock and Roll Singer/Songwriter Streaming EP

TAYLOR SWIFT: THE ERAS TOUR

(25 October, 2024; CAESARS SUPERDOME, New Orleans LA)

A JOURNEY THROUGH TIME, MUSIC AND CONNECTION WITH SARAHLINDA TWENTE

When I first heard that Taylor Swift was embarking on the ERAS TOUR, I was immediately transported back to childhood – riding in the back of my dad’s car, singing along to “Our Song” on a CD. At six years old, I had no idea how Taylor’s music would become a constant presence in my life, accompanying me through heartaches, losses, and moments of joy. As I grew, her music grew with me, providing a soundtrack for nearly every chapter of my journey. For younger fans, the way they experience Taylor’s music might look different – streaming songs on playlists instead of popping in CDs. But the connection remains the same. Her music has been a soundtrack for so many, spanning generations and providing a sense of shared experience across time and space.

TAYLOR SWIFT: THE ERAS TOUR (photo credit: SOPHIA GERMER/THE TIMES-PICAYUNE NOLA.COM)

The ERAS TOUR wasn’t just about hearing Taylor’s hits – it was an emotional journey. My first show, in Kansas City, was one of the best nights of my life, but the second time I saw her, in New Orleans, felt even more profound. As I looked out at the sea of fans, mostly women, I felt an overwhelming sense of unity. In a time of uncertainty, it was a powerful reminder of what we can do together – through music, through strength, and through shared experience. For many of us, Taylor Swift’s music has been a constant companion through the ups and downs of life. Her lyrics have helped us heal, inspired us to be brave, and given us the courage to keep going. But the ERAS TOUR brought something new – a sense of collective power. Inside the walls of Caesar’s Superdome, we were all ONE. It was one of those moments in life where you aren’t just surviving – you are living.

Author SARAHLINDA TWENTE with her Dad, MICHAEL, at the TAYLOR SWIFT show in New Orleans (uncredited photo)

Sharing the concert with my dad added another layer of emotion. As mentioned previously, he’d played Taylor’s music for me when I was a child and now, at 24, I was singing along beside him in the presence of Ms Swift herself. That moment – sitting together, as we had when I was young – reminded me that Taylor’s music isn’t just about the lyrics, it’s about time and the way it can pull us back to moments we thought we’d lost, but also carry us forward into new ones.

One of the most magical elements of the night in New Orleans was the light-up bracelets handed out at the start. As the music played, these bracelets flickered in sync with the beats, creating a visual display that made the whole arena feel connected. I found myself dancing along with my dad, who was grooving to “You Belong With Me” – a highlight I never saw coming and that will forever be etched into my memory. Each show, Taylor surprises fans with a couple of songs not typically on the set list. As a die-hard SPEAK NOW fan, hearing “Haunted” live was a dream come true. The notes of the song, paired with the crowd’s energy, turned it into a moment that felt almost otherworldly.

The ERAS TOUR was a celebration of togetherness. Taylor’s music has always been about resilience, and the energy in the arena provided proof of such. Thousands of fans, all singing, dancing, and celebrating together, felt like a collective statement: We are stronger when we stand together. In the midst of the upcoming election, anxiety and fear was no stranger. For me, the experience of attending this concert was a gentle reminder that no matter what life brings, there is power in community, and there is nothing we can’t do when we unite. The ERAS TOUR was a reflection of resilience, girlhood, and the incredible power of women. As I sang alongside thousands of others, I realized just how much Taylor’s music has given us – a shared space where we can heal, celebrate, and empower one another. It was more than just a concert; it was a reminder of the power of connection and the timeless impact of music. And right at the core of this impact, you have Taylor Alison Swift.

DO THE ARCHITECTURAL WATUSI Live Music Reviews Music Features/Interviews | Sarahlinda Twente | January 13, 2025 | Community Country Music Experiences Live Music Music New Orleans Pop Music Pop Rock Rock and Roll Taylor Swift THE ERAS TOUR

A COMPLETE UNKNOWN

(SEARCHLIGHT PICTURES/WALT DISNEY STUDIOS/TSG ENTERTAINMENT/VERITAS ENTERTAINMENT/WHITE WATER/RANGE MEDIA PARTNERS/THE PICTURE COMPANY/TURNPIKE FILMS(141 minutes; Rated R); 2024)

Biopics are always fraught with possible problems, among them an army of fans and pundits waiting to pounce on every historical inaccuracy and to analyze the actors playing the key figures, judging whether or not they did an authentic enough job portraying those figures… an especially opinionated exercise when it comes to MUSICAL biopics. Sometimes there is general agreement that the film did a good job (recent biopics on Ray Charles, Elton John and Queen, for example). And sometimes a film in this category flames out so quickly, hardly anyone even bothers to see it (anyone remember that Bowie film a couple of years ago that couldn’t even get the rights to use most of Bowie’s music?). James Mangold, the director of the superb new Bob Dylan biopic A COMPLETE UNKNOWN, is clearly aware of the burden placed on him to credibly tell the story of a true musical icon… he’s braved these waters before with his Johnny Cash film, WALK THE LINE, which mostly won audiences and critics over, despite some liberties taken here and there with facts. Mangold had his two main stars in that film do their own singing, a challenging task for Joaquin Phoenix, who played the man in black, and Reese Witherspoon, who delivered an Oscar-winning performance as June Carter. But Mangold did an impressive job selecting the parts of that story he wanted audiences to see, and using the enduring collaboration and initially iffy romance between Cash and Carter as his cinematic throughline, an artistic decision that worked quite well.

A COMPLETE UNKNOWN (MONICA BARBARO, TIMOTHEE CHALAMET) (screenshot)

All of this is to say that Mangold had an even loftier task bringing the story of the legendary Bob Dylan to life; Dylan is one of the most important and influential singer/songwriters of all time, and every music fan in the world over a certain age knows SOMETHING about the performer and has impressions (and favorite periods) developed over more than a half century of pop culture evolution. How could you make a worthy film about a musician who meant so much to so many, and still does? Well, two key decisions pointed the way: one was to focus entirely on Dylan’s first five years, when he made the biggest splash as the Greenwich Village “folkie” inconoclast who changed the rules and forced a debate about Folk music versus Rock and Roll to come to the surface, most notably at the infamous Newport Folk Festival. The second decision was to find the right actor to play Mister Zimmerman (Timothee Chalamet, simply superb) and have a good part of the script deal with two key women in Dylan’s first phase: Joan Baez (played here by Monica Barbaro) and Sylvie Russo (a character based on the real-life Suze Rotolo, an artist and activist Dylan was romantically involved with for a while and is pictured with him on the cover of his debut, THE FREEWHEELIN’ BOB DYLAN). Elle Fanning plays that role in the film with charm and often heartbreaking vulnerability. Anyway, A COMPLETE UNKNOWN does an effective job alternating scenes of Dylan singing his powerhouse and emotive songs and building an awestruck following in the process, with scenes showing his interactions with the already established Joan Baez (who inevitably falls for him after seeing his charisma and obvious talent) and the slightly more angsty young artist who shares his bed. It’s hard to just concisely sum up how well this movie delivers on these things. Chalamet is an absolute marvel, able to capture enough of Dylan’s early originality and relentless drive to convince you that you’re really in the presence of this legendary (and often prickly) performer, who simply will NOT reveal all his secrets or willingly be told what to do. I was frankly in AWE much of the time of Chalamet’s singing and successful portrayal of the inscrutable personality quirks that history has shown Dylan to always have had. You get whole songs sometimes and partial performances at other times, but it ALWAYS sounds authentic, with a handful of moments truly standing out musically, among them “Song for Woody” (a tune Dylan wrote for Woody Guthrie, who is seen ailing in a hospital bed early on when the young Bob visits and encounters Woody and fellow folk icon Pete Seeger (Edward Norton), “Girl From the North Country,” “Blowin’ In the Wind,” “The Times They Are A-Changin’,” and at least the first portion of “Highway 61 Revisted,” which is killer and I wish the film HAD given us the full song. I was personally absolutely riveted by every single scene showing Dylan interacting with Joan Baez, as I have some knowledge of that part of the story, and Baez was an early favorite of my late brother. Baez tires of Dylan’s abrasiveness and self-centered manner, flatly stating in one scene, “You’re kind of an asshole, Bob.” It’s absolutely not in the cards for these two very serious musicians to truly gel romantically, but they can’t avoid or ignore each other during this period. When they duet on an absolutely stunning live performance of Dylan’s song “It Ain’t Me Babe” at Newport, the way it is filmed and the subtext of the lyrics results in one of the most singular and memorable musical performances ever put on film. Seriously, I got chills from this scene, and the way Barbaro looks at Chalamet’s Dylan with a combination of respect for his immense talent and knowing sadness that he is ultimately sort of “unreachable,” is cinema magic. I loved Barbaro’s performance, and I loved the script, truthfully. There are so MANY moments that felt right to me as both a musician myself and a longtime observer of pop culture and the ever-changing music industry. You get plenty of scenes dealing with the industry’s attempt to capitalize on Dylan’s talent, by the way, and to reign in his sometimes unruly ways, culminating in the widely known controversy when Dylan “went electric” at the Newport Festival. It’s all engrossing stuff. And I can’t leave out Edward Norton’s solid performance as Pete Seeger… he’s our guide to the role that folk music was playing in the culture in the early ‘60s, an admirer (and mentor at times) of the stunning young talent who quickly starts changing the musical landscape Seeger has been a part of for so long, and the wise veteran who knows how songs can unite people in uncertain times (made clear by scenes showing the nuclear confrontation between the US and Soviet Union and growing civil unrest, something the Sylvie character addresses), but is concerned that Dylan may DIVIDE, rather than unite the audience.

A COMPLETE UNKNOWN (CHARLIE TAHAN, TIMOTHEE CHALAMET, ELI BROWN ) (screenshot)

That actually DID happen for a short time, but it’s quite clear that Dylan was simply ahead of the curve, and was too important and effective a songwriting voice to be held back by ANYONE… whether established peers like Baez and Seeger, his manager Albert Grossman (Dan Fogler) and other industry types invested in him, or an audience sometimes not willing to initially go along with the “new sounds” and aesthetic that Dylan was determined to explore. The film ends with Dylan heading off down the road on his trusty motorcycle, and we all know that the musician was soon to have a serious accident that would lay him up for a significant period and result in significant changes in his music. But I absolutely found myself feeling that A COMPLETE UNKNOWN had made almost all the right decisions: WHEN to begin the story (there is nothing about Dylan’s childhood, for example, something I’ve read a bit of grumbling about), when to end it, and how his music – and personality – significantly affected both those around him and those in his audience. You’re plunked down, as a viewer, into the middle of a vibrant Greenwich Village scene, and you’re given enough of a legendary artist’s music, impact and mysteriously insular nature, to gain fresh insight into how Dylan changed things, as well as to feel like you’ve time traveled a bit. I was consistently riveted by A COMPLETE UNKNOWN, and truly emotionally stirred by most of its scenes. Yes, it’s a terrific musical biopic. But even more, it’s a significant piece of cinema and possibly the best film James Mangold has directed (kudos also to his co-screenwriter Jay Cocks). Offhand, I can’t think of a better and more significant cinematic tale of how a musician came to change the world and remained mysterious and unpredictable throughout. Look for some Oscar nominations and plenty of revived interest in this Dylan fellow… I hear he is still around and doing things that people still argue about to this day.

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies | Kevin Renick | January 8, 2025 | A COMPLETE UNKNOWN Albert Grossman Biopic Blues Rock Bob Dylan Classic Rock Dan Fogler Edward Norton Elle Fanning Folk Music Greenwich Village James Mangold Jay Cocks Joan Baez Monica Barbaro Movie Music Newport Folk Festival Pete Seeger Rated R Rock and Roll Theatrical Release Timothee Chalamet Woody Guthrie

BECKY AND THE BIRDS: ONLY MUSIC MAKES ME CRY NOW

(4AD RECORDINGS; 2024)

Before I attempt to justify my opinion that this Swedish artist has made one of the absolute best albums of the year, let me provide some context. While I have been a music reviewer for a few decades now, the most magical period of doing so was roughly from 2002 to 2008. In that first decade of the new millennium, I was a co-editor of PLAYBACK STL (which had a print edition for half a dozen years), a contributing writer to fLUSH (the predecessor of ZACHARY MULE, which you are reading right now), and a contributor to an all-Scandinavian review zine called IT’S A TRAP. I became something of a Nordic obsessive, kicked off initially by my adoration for the Norwegian girl trio Ephemera and fueled by other singular artists such as Stina Nordenstam, Bol, Maria Solheim, Efterklang and too many others to mention. I developed a theory that something in the cultural DNA of the Scandinavian countries resulted in a music-making process and production aesthetic that was substantially different from what we’re used to in America. Intimate, close-mic’d vocals and emotive detail in both performance and overall arrangement were two of the stylistic traits, I felt, and album after album bore me out on that. I fell in love with the sound, and though the industry and music zines overall would take major hits in the millennium’s second decade, I would never forget the musical bliss I experienced for some wonderful years.

BECKY AND THE BIRDS (THEA GUSTAFSSON) (photo credit: OSCAR LINDQVIST)

Becky and the Birds, the artistic moniker of inventive Swedish “songbird” Thea Gustafsson, have just released their debut, ONLY MUSIC MAKES ME CRY NOW, and it is an absolute sonic tour de force. Had this album come out back in the IT’S A TRAP days, I would’ve raved about it and tried to find a few similar artists to compare it to. But here and now, in 2024, this thing strikes me as one of the most crazily original platters to come along in years. And it’s just what I needed in this post-election nightmare when nothing makes sense anymore, up is down and black is white. What we have here is an adventurous, largely electronica-based cut-and-paste surge of energetic short songs led by a creatively driven young woman who’s been honing her compositional skills and production techniques for some years, and is now ready to serve us this heaping platter of stunningly original gems to help lighten our load, as she’s clearly done for herself. A strong sense of melancholy runs through this thing, and it struck me at times as a dedicated attempt to explore the dream state, or perhaps remain IN it, during the aftermath of some kind of chaos or pain. Every song moves past quickly and is PACKED with musical details, such as the beautiful piano chord progression in “I Made My Baby Cry” (and first use of real harmonies on the disc) to the low-level pulse that precedes an actual beat in “Everything” (where you hear the word “Damn!” uttered twice and the title repeated multiple times), to the hypnotic totality of “When She Holds Me,” one of the album’s true gems, where the repeated simple guitar chords and ethereal rise of wordless vocals are truly mesmerizing. Gustafsson’s lyrics are not always genuinely clear, but I think I heard the line “The world is wishing me well” in this entrancing song, and it struck me as poignant.

BECKY AND THE BIRDS (THEA GUSTAFSSON) (uncredited photo)

I wrote down the phrase “skittering, erratic currents of electronic sound” to attempt to sum up the musical approach on this album. Loops are employed regularly but are sometimes interrupted by other loops or sounds or Gustafsson’s own vocals, which by nature of being distinctly airy, sweet and sometimes haunted-sounding, provide a memorable counterpoint to the often technology-driven arrangements here. “To Trust You” is a video available to follow lyrically on the Birds’ website… there’s some distortion here and there, but you can clearly hear Gustafsson singing “If it happened once/Why wouldn’t it happen twice?” and this is thematically one of a number of songs dealing with relationship fallout and heartache. In the track “I Look At the Choices I Made,” the weirdness of both the vocals and arrangement gave me the impression that our singer cannot actually ARTICULATE those choices in a normal “conversational” manner, so she’s letting the music convey how tough that is. And in “London Is Not the Same” (the second supercool song of the year to express a personal change because of the U.K’s biggest city, the other tune being Taylor Swift’s haunting “So Long London”), the soundscape is flat-out weird and genuinely melodic in equal measure, something I quite enjoyed. You won’t learn WHY London is different now according to Gustafsson, but no matter… everything about this track is utterly compelling. So is “Anymore,” with its five-tone sequence played at the lower end of the keyboard preceding Gustafsson’s buoyant vocal, “I Made My Baby Cry” (which hardly needs many other lyrics to drive its mournful point home), the almost normal-sounding “Elsa 4-Ever” with its uncharacteristically solitary guitar picking in the background and a clear upfront vocal, and the remarkable “Celebrity//Don’t Leave,” a song that really got to me and that I should have listened to several more times before writing this review. My lord, this is one of the most original compositions I’ve heard in a couple of years. And Gustafsson sings it with some of the most bracing, powerhouse vocals ever laid down in this modern era. In the early part of the song, some of her phrasing is vaguely reminiscent of FOLKLORE-era Taylor Swift, an impression heightened by a male vocal offering counterpoint in the song briefly. “Take some time,” Gustafsson starts to sing, with an uncertain follow-up after. We soon get almost a literal spigot of unusual musical ideas flowing, spreading, forming puddles of sound you are trying to let your ears maneuver through until it all ends, in devastating manner, with her singing “Don’t leave me like this” several times, with the final one being stark and somber. I’m not sure I have heard a minute on ANY recent album as overpowering as this; it’s right up there with Taylor’s “How much sad did you/Think I had?” on her TORTURED POETS… album.

Becky and the Birds, just wow. I am deeply grateful to Thea and her focused, self-aware musical exploration on this debut for giving me the sensation of getting IMMERSED in and haunted by a new album again; it hasn’t happened for a while. This is incredibly original music, my friends… while it has elements of electronica, old-school R&B and even Hip-Hop in a few places, I can safely say you’ve never heard anything like this before. It’s music made, I think, out of chaos and pain, with a sense that the biggest things we want to say in life… out of lost love, a sense of helplessness, a sense of extreme hurt and disbelief and more… perhaps can’t really be said completely. There are only FRAGMENTS of emotion possible, tossed-off comments, and the dream state, where deep wishes collide with nightmares and unendurable sorrows. I can’t know exactly what Thea Gustafsson has been through anymore than she can know the anguish I have felt for months, myself. But I can nod, knowingly at her declaration that “Only music can make me cry now.” And let me add that I have a feeling only THIS music will make me tear up for a while… it’s beautiful, unsettling, crazy, non-linear and deeply soothing all at the same time. Becky and the Birds have truly made one of the most distinctive albums of the year… it has helped me FIND a little something that I had lost in myself, and I am grateful.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | December 2, 2024 | Becky and the Birds Dance Music Electronica Music Pop Music Rock and Roll Streaming Video Sweden Swedish Pop Thea Gustafsson

TALKING HEADS: TALKING HEADS 77

(RHINO RECORDS/SIRE RECORDS; 2024 box set reissue)

Not many New Wave bands of the ‘70s and ‘80s have the sterling reputation and dedicated fan base of Talking Heads. There are reasons for that. The quartet – lead singer and guitarist David Byrne, ace rhythm section Chris Frantz on drums and wife Tina Weymouth on bass, and multi-instrumentalist (often keyboard player) Jerry Harrison – had uncommonly good instincts, just the right amount of quirky unpredictability in their music, and the good fortune to do their most significant collaborations with other master artists (Brian Eno and filmmaker Jonathan Demme among them). I can’t think of another band from their era whose first five albums are all brilliant, fresh and still intoxicating to listen to, and sealed their reputation by making what is likely the greatest concert film of all time (STOP MAKING SENSE, which Demme directed), a giddily thrilling piece of work that was recently reissued to universal acclaim. Many bemoan the fact that the group called it quits in the late ‘80s due to Byrne’s restlessness and desire to go it alone, but this ensured that they would never become a watered-down or compromised musical entity, and that the reverence for their eight studio albums and two superb live albums would endure. T Heads fans are DEVOTED, and only some inter-band sniping here and there about perfectly understandable differences, caused some to scratch their heads in dismay.

TALKING HEADS (JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH, DAVID BYRNE) (photo copyright: MICK ROCK ESTATE)

While the Heads have been anthologized a few different times, a proper box set reissue of their first album TTALKING HEADS 77 is a welcome and wondrous release. The four-disc set comes with a handsome book that features essays by each member about the early days and the circumstances behind the recording of this album, with Tina Weymouth’s lengthy piece being particularly detailed and illuminating. The original album has been remastered beautifully… the innovative arrangements on stunning songs like “New Feeling,” “Tentative Decisions,” the utterly peerless “No Compassion” (one of my personal favorite songs of their early period) and the completely original “First Week, Last Week… Carefree” sparkle with clarity and musical pizzazz. You can marvel all over again at Weymouth’s distinctive bass, the disciplined arrangements and, of course, David Byrne’s undeniable attention-getting vocals and lyrics. The guy was and remains a stunningly original creative visionary. And yes, it’s fun to imagine those early CBGB’s attendees getting to hear “Psycho Killer” in its infancy, though it sounds fa-fa-fa-fa better here.

TALKING HEADS Live at CBGB’s, 3 March 1977 (JERRY HARRISON, CHRIS FRANTZ, DAVID BYRNE, TINA WEYMOUTH) (photo credit: EBET ROBERTS/GETTY IMAGES)

But speaking of the famed Bowery venue where the Heads and other legendary artists got their start, there’s an entire disc here that captures the group’s final appearance at the club. It sounds marvelous, actually… not tinny or inferior in any way. Byrne energetically shouts out the name of most of the songs in his inimitable manner (“The name of this song is ‘Don’t Worry About the Government!’”) and yells “Thank you!” to the excited crowd afterwards. You can definitely feel the vibe of the tiny but historic locale. And the highlights are many from this performance: I particularly dug such numbers as “Take Me to the River,” the rare “A Clean Break,” “Thank You For Sending Me an Angel,” “Pulled Up” and “Stay Hungry.” The band were totally ON IT here, probably very well-rehearsed knowing this was for a radio broadcast. A third disc in this set is a welcome collection of rarities and alternate takes, including “Sugar On My Tongue,” “Love (Goes To) Building On Fire” (their first single), “I Wish You Wouldn’t Say That” and two alternate takes of “Psycho Killer” among other cool cuts. And the obligatory but still great 5.1 surround mix for Blu-Ray rounds things out.

TALKING HEADS (DAVID BYRNE, JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH on THE TONIGHT SHOW STARRING JIMMY FALLON, 13 June 2024) (photo credit: ROSALIND O’CONNOR/NBC via GETTY IMAGES)

Everything from the bright red cover and strikingly minimal green typeface, to the essays and diverse photos in the book, to the still intoxicating musicality of this powerhouse band, is memorable and more than worth your attention. As much as I played this album when it first came out, I must say that diving into this reissue was revelatory all over again, thoroughly capturing the emergence of one of the greatest and most original quartets of all time. Rumor has it there may be a box like this to come for each of their classic albums. Talking Heads are one of the few entities that deserve that kind of comprehensive approach.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews | Kevin Renick | November 25, 2024 | Alternative Rock Bonus Material Box Set Brian Eno CBGB's Chris Frantz David Byrne Demo Recordings DVD/Blu-Ray Jerry Harrison Jonathan Demme Live Recording Music New Wave Music Punk Rock Reissue Rock and Roll Rock and Roll Hall of Fame STOP MAKING SENSE Talking Heads Tina Weymouth

JON ANDERSON AND THE BAND GEEKS: TRUE

(Frontiers Records; 2024)

The advance word came quickly with this album: It sounded like a new Yes album, and Jon Anderson’s voice was in remarkable form. Could one dare hope that both those things were true? In a word, YES! When Anderson teamed up with some enthusiastic New York musicians to make an album that would reflect his renewed songwriting enthusiasm and belief in the lush electrifying sound he helped make famous in the ‘70s, you’d be forgiven for a little skepticism. His parent group had failed to recapture the proggy glory days of classics like CLOSE TO THE EDGE and GOING FOR THE ONE in their post-Anderson projects, and Anderson himself had been mostly inconsistent in his solo releases, though all had their moments. But wow, is this thing impressive! Close your eyes and listen to a few minutes each of epics “Counties and Countries” and “Once Upon a Dream,” and I guarantee you that you’ll be happily taken back to the bygone era when Jon, Chris Squire, Steve Howe, Rick Wakeman and Alan White (or Bill Bruford, if you prefer) powered the “classic lineup” to stratospheric prog heights that may never be surpassed for their overall impact. You’ll swear that some of the guitar lines could be Howe or that the pulsing bass in “Shine On” is not an imitation, but certainly a nod to the great Chris Squire. “Take me to this world of energy,” Anderson sings in that particular song, seemingly not just aware of his unmatched legacy but knowing that his listeners long for this kind of sound again. The ten-minute “Counties and Countries” has the tried and true musical changes Yes were known for, with an ear-pleasing main melody, insistent lyrics about “the truth yet to come” and “the love yet to come,” an ethereal section that starts at about the four-minute mark and a Wakeman-reminiscent keyboard part in the final third that precedes a stirring, soft Anderson vocal piece that is absolutely lovely, and familiar in the best possible way. “You Are Everyone” (a perfect starter), “Build Me An Ocean” and “Still a Friend” are remarkably economic songs that uncharacteristically stay around the five-minute mark or less, with Anderson showing amazing good taste in the arrangements and not getting too cosmic on us. “Make It Right” is an instantly likable song that features the practically iconic combo of a sparse acoustic guitar and Anderson’s clear voice, with Anderson winking at long-time Yes fans with a lyrical reference to “where the mountains touch the sky.” We all know the kind of sonic majesty that can occur when Anderson has mountains and the sky on his mind! And do you like Jon’s romantic side? How about the song “Thank God” here, which may be his most simple and direct love song since “Yesterday and Today” way back on the first Yes album. “Thank God I’m here, thank God I’m home, thank God you’re in my life,”” Anderson sings in the most touching ode to his partner imaginable. Bet this one will turn up in some couple-centric scenarios.

JON ANDERSON AND THE BAND GEEKS (CHRIS CLARKE, RICHIE CASTELLANO, ANDY GAZIANO, JON ANDERSON, ANDY ASCOLESE, ROB KIPP) (photo credit: STEVE SCHENCK)

But for old-school Yes aficionados, if “You Are Everyone,” “Shine On” and “Counties and Countries” haven’t already reeled you in fully, the 16-plus minute “Once Upon a Dream” oughta do the trick. This is an incredibly dynamic, chugging piece of Yes-ish glory that is truly majestic, featuring intricate overlapping vocals, a band playing with ABANDON, a stunning mood shift at about the 7-1/2 minute mark that is worthy of being mentioned in the same breath as a masterpiece like “Awaken” and even featuring another keyboard solo in its final portion that you could mistake for the great Rick Wakeman. “The dream is clear/Lifting you up higher and higher,” Anderson sings in his patented outward-looking lyrical aesthetic, absolutely succeeding in taking us “higher and higher.” And the simple phrase “the angel of your story” in the heavenly musical context here, ought to induce a few shivers. It has to be said that Anderson sounds absolutely warm, wise and WONDERFUL throughout this amazing album. Hard to believe the guy is 80; he sounds half that age! Anderson’s operating at a level of inspiration that I bet he himself would say he hasn’t felt in years. The nine songs here move quickly, with nary a dud, and with just enough genuine Yes stylistic elements of old to combine organically with a newfound economy of purpose displayed by Anderson and his merry band of totally sympatico geeks. This thing absolutely delivers on all fronts, honestly. In all but name, it’s genuinely a Yes album. “See it now ascending,” Anderson sings early on in the record, and later in the epic “Counties… ” you can hear him clearly sing the lyric “I said I would deliver.” That he does, in spades. TRUE is a good name for this record: It’s true to Anderson’s singular muse, true to a legacy that has endured for over half a century, and true to the wishes of Yes fans who might’ve doubted they would ever hear Anderson gifting us with music like this again.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | November 24, 2024 | Acoustic Music Andy Ascolese Andy Gaziano Chris Clarke Classic Rock Jon Anderson Jon Anderson and the Band Geeks Music Progressive Folk Rock Progressive Rock Richie Castellano Rob Kipp Rock and Roll Yes

BIG BROTHER AND THE HOLDING COMPANY: NINE HUNDRED NIGHTS

(EAGLE VISION/EAGLE ROCK ENTERTAINMENT/MULTIPRISES/PIONEER ENTERTAINMENT (59 minutes; Unrated); 2004) A REVIEW FROM THE VAULTS

Before I get into specifics, just let me say… this is an absolutely awesome package! The main section is a very informative, nostalgic 2001 hour-long film, documenting the rise and fall of one of the seminal bands of the San Francisco psychedelic era; the extras include four complete (and obviously digitally remastered) live performances, a rare audio track (pre-Janis?) of “In the Hall of the Mountain King,” interview outtakes from the surviving members of the band and others (which add a lot of history and insight that, while not necessary to the story, are nice to hear), and a bunch of other archival oddities (photos, concert posters, etc.). Ironically, the full band name on the case is “Big Brother and the Holding Company with Janis Joplin,” an appellation that plays heavily into the history of the band. So, having (hopefully) piqued your interest, let’s get into those specifics.

BIG BROTHER AND THE HOLDING COMPANY (Sam Andrew; Peter Albin; Janis Joplin; Dave Getz; James Gurley) (uncredited photo)

The documentary includes a lot of music, a lot of archival material (including interviews), and a lot of reflections on the late ’60s emergence of Sam Andrew, Peter Albin, James Gurley, David Getz and Janis Joplin. The new interviews untangle the myth from the history, making for an intriguing look at a band and a society continually on the brink of collapse. Additional interviewees include music historian and Patti Smith Group guitarist Lenny Kaye and psychedelic gadfly and post-Joplin Big Brother singer/producer Nick Gravenites (Nick also spent time in the Paul Butterfield Blues Band and Electric Flag, among others). Much is made of the Monterey Pop Festival and its backers, and their reasons for asking Big Brother to play. Everyone knows that the festival was basically a tool to package the San Francisco scene for mass consumption, via a documentary by filmmaker DA Pennebaker. What most people didn’t know (at least I didn’t) is that the musicians in Big Brother refused to be filmed; they’d agreed to perform non-gratis at the free show (as had all of the acts), but would not give the producers and backers the chance to earn a big payday at their expense. The powers that be went to Janis after the band’s performance and got the naive vocalist to sign a release by telling her that the band went over so well (that part, at least by all indications, wasn’t a lie) that they wanted them to do another set… this one for the camera. Janis, who may not have been as naive as everyone thought, may have been thinking ahead to her future… without Big Brother and the Holding Company. Contractually obligated by Joplin’s signature, the band performed the second set for the cameras, delivering a smoldering performance that actually set the band on the road to ultimate destruction. Digitally remastered clips from the film – “Ball and Chain” and the previously unreleased “Combination of the Two” – focus on Joplin, with the other four members pictured as nothing more than background dressing. Today, the band (and historians) cite the Monterey Pop Festival as the beginning of the end. But… I’ve already said too much! I don’t want to give the whole thing away, or you won’t want to go out and pick up the excellent NINE HUNDRED NIGHTS (the name refers to the nearly two-and-a-half years that the band’s most famous configuration was together).

BIG BROTHER AND THE HOLDING COMPANY (Live at the Carousel Ballroom, San Francisco, 1968: James Gurley, Sam Andrew, Dave Getz, Janis Joplin, Peter Albin) (photo credit/copyright: Elliot Landy/landyvision.com)

I will tell you about the extras that I alluded to earlier, however. The four complete songs featured are “Down On Me,” “The Coo Coo,” “Ball and Chain,” and “Piece of My Heart.” The latter two are from the Monterey film; the first two are black and white performances from, I believe, a German television show. Each shows the incendiary qualities of the group. One of the great misconceptions about this band – often cited over the last three decades as a reason for Janis’ departure – was that they couldn’t handle things musically and their ineptitude was holding Joplin back. This film, and especially these performances, debunk that long-held theory. True, the band may never have reached the heights it attained with Janis Joplin, but Getz, Albin, Gurley and Andrew were amazing musicians and had already carved a niche for themselves as one of the premiere groups in the San Francisco area. They were signed to Mainstream Records, a small but influential label, and were getting attention beyond the Bay Area. While no one can deny the talent and charisma of the Texas whirlwind named Janis Joplin, the boys weren’t exactly hacks. They were good! Most of the other extra stuff here just kinda reiterates what we learned in the film. Some of the background info from the interview outtakes adds to the story but, accessing them is sort of a pain: You can’t just play the entire sequence, as each question to each interviewee has to be played separately. That’s annoying, but a minor problem; not one that should keep you from picking up this package. The rest of the “bonus features” include a discography, photo gallery, biographical timelines and “Psychedelic Treats.” Even without the extras, this is a great addition to anyone’s DVD and music libraries.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray HEY, MA! WATCH THIS Music Reviews | Darren Tracy | November 19, 2024 | Big Brother and the Holding Company Blues Rock Bonus Material Classic Rock DA Pennebaker Dave Getz DVD/Blu-Ray James Gurley Janis Joplin Lenny Kaye Monterey Pop Festival Music Documentary Nick Gravenites NINE HUNDRED NIGHTS Peter Albin Psychedelic Rock Rock and Roll Sam Andrew San Francisco

SWING SET: LIFE SPEEDS UP (REMASTER)

(BLACKBERRY WAY RECORDS; 2024)

Mad genius Michael Owens is at it again! He has remixed Swing Set’s 1986 debut, LIFE SPEEDS UP, and then traveled to Abbey Road Studios (yeah… THAT Abbey Road Studios!) to oversee Andy Walter’s remastering of the 10-track masterpiece. Now, for all to enjoy (and the faithful who owned the original, to reminisce over), the album is available from Blackberry Way Records in all of its “purdied-up” grandeur. And… it only took nearly 40 years!

SWING SET, circa 1985 (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (publicity photo)

The Twin Cities’ Swing Set – formed in 1983 – were singers/guitarists Mike Nilles and Dan Prozinski, singer/bassist Ric Studer, keyboardist Dave Nussbaum and drummer Mick Wirtz. By the time they recorded LIFE SPEEDS UP two years later, they were a well-oiled Rock ‘n’ Roll machine and upon the record’s 1986 release, the band found their way onto the Top 50 college charts. Clearly, Swing Set were a group on the rise. Unfortunately, the success was short-lived and, though they released two more albums, the quintet went their separate ways in 1993. In recent years, there has been a mini-resurgence with several tunes showing up on the soundtracks to such hit television fare as STRANGER THINGS and YOUNG SHELDON. So, to quote the cunning linguist Bugs Bunny, “What’s all the hubbub, Bub?” Well, I’ma tell ya, Mister Bunny.

The album kicks off with the atmospheric “Blackout,” a mid-tempo rocker with a memorable, jangly guitar riff, haunting piano and some of the smoothest vocal work (with leads by Nilles) this side of Motown. The track was used in the second episode of Season Two of STRANGER THINGS. On “Laying Low,” Wirtz punches up his delivery with a more forceful approach behind the kit and the guitars take on a Cure-like feel while maintaining a fresh charm that appears to be Swing Set’s signature sound. Studer continues to impress on bass and his lead vocals are equally as solid. The vocalist merry-go-round is completed on “Runaway” as Dan Prozinski takes over those duties here, which offers a rather tribal backbeat and minimalist – but quite effective – instrumentation. “Victim” is pure New Wave Power Pop, hitting on all cylinders with a throbbing bass line, a couple of nice guitar solos and an emotive Mike Nilles vocal. This is the first lyric on the album to actually connect with me. The first of two “bonus” tracks is Dan Prozinski’s “Knock Knock,” recorded in 1988 with bassist Kevin Foley (Kevin, who played in Tommy Stinson’s post -Replacements band, Bash and Pop, passed away in 2011). The song features one of the best lines I’ve ever heard: “Knock me down/I’ve seen that fist before/Knock knock/Comin’ back for more.” If you’re a fan of the show YOUNG SHELDON, “Knock Knock” may sound familiar, as it appeared on the soundtrack. “Walking In the Night” closed out the first side of the original vinyl. It’s another Nilles-authored tune, with his vocals riding along the chugging, percolating bottom end supplied by Mick Wirtz and Ric Studer. There’s an unspoken danger in the lyrics… more implied than any literal threat of violence. It seems that this Swing Set is intent to up the ante just a little more with each song.

SWING SET today (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (photo credit: HUTCH)

Lyrically, “Lost Track” has a lot happening. With allusions and imagery of trains and railroads, the number also evokes a kind of mental anguish over a lost love (or love lost) and, maybe even a sense of hopelessness… or determination. Like I said, Dan’s lyrics, while powerful, are so (purposefully?) open-ended that the meaning may very well be dependent upon the listener’s mood. Or… you know, to paraphrase Freud, “Sometimes a train is just a train.” “The Dance,” with its odd, waltzy feel and pace, finds Ric back on lead vocal duties. Every instrument is played in exactly the proper way that a New Wave-Power Pop waltz should be played, from the understated (yet somehow powerful) stick-work of Mick Wirtz to Studer’s minimal approach to the bass, from the twin lead guitars of Prozinski and Nilles to Dave Nussbaum’s keyboard work underpinning it all before rising to the fore with a short, beautiful piano solo toward the tune’s end. Mixed only slightly louder than the instrumentation is Ric Studer’s voice, a virtual haunting from spirits past. The chorus adds to the forelorn, wispy feel: “And you know what I Know/And you see what I see/And I know what you know about me.” Next up is “I’m On Fire,” the hardest rocking number here; given that, it doesn’t abandon Swing Set’s Pop leaning. Mike’s vocals are not over-the-top aggressive, but Wirtz’s more adventurous drumming alongside Ric’s pumping bass lends that impression. And… was that an accordian back there somewhere in the mix or just a bit of Nussbaum keyboard trickery? Either way, it definitely works well within the confines of this track. “Sincerity” is the second and final bonus cut, with Dan on lead vocals and, once more, the late Kevin Foley on bass. It’s another hard-hitting rocker that somehow puts me in mind of U2, but without that annoying Bono guy (I must say, though, that I did like the stuff he did with Cher). The final Ric Studer vocal lead is “Rain On Our Parade,” a slow-simmering piece of Pop confection. While the tune evokes the feeling of a rainy Saturday, watching TV or playing games or… whatever one does to pass the time while waiting for the rain to stop and the sun to emerge from the clouds, it definitely is not the downer that the title implies. Last and certainly not least is “So Long.” The slowly-paced double entendre works, as any good double entendre should, on a couple of levels: “I’ve waited so long for you” or “So long, gonna miss you.” A fitting end to another solid release from Blackberry Way Records.

SWING SET, 2024 Abbey Road Studios mastering session (Michael Owens, Terri Owens, Andy Walter) (publicity photo)

The newly-remastered LIFE SPEEDS UP is available from Blackberry Way Records on CD or as a download.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | November 13, 2024 | Andy Walter Bonus Material Dan Prozinski Dave Nussbaum Kevin Foley Mick Wirtz Mike Nilles Mike Owens Minneapolis Music New Wave Music Pop Music Power Pop Reissue Ric Studer Rock and Roll Streaming Video Swing Set

ENO

(FILM FIRST COMPANY/TIGERLILY PRODUCTIONS (85 minutes; Unrated); 2024)

It was absolutely NOT a predictable thing that Brian Eno would ever agree to having a documentary film made about him; he’s on record as stating that he hates most musician biopics, and he has little interest in discussing or examining his own past. But when director Gary Hustwit approached the wunderkind artist/producer/lecturer/thinker/modern philosopher about a project in this realm, it was NOT the ordinary pitch. Hustwit had already worked with Eno on his previous film RAMS, a documentary about influential German designer Dieter Rams, for which Eno did the score. Hustwit had already been working on ideas for a “generative” approach to filmmaking, a way for film to NOT always be the same when watched. In the pamphlet handed out for his film about Eno, very useful in understanding the project, he says this: “When everything went digital, both filmmaking and exhibition, this constraint of a film having to be the same every time or having to be a fixed piece of art was gone. So I reached out to my friend Brendan Dawes, this amazing digital artist and creator who I’d known for 15 years. And he was game to try… First we started experimenting using all the raw footage from RAMS, including Brian’s music. We both realized that Brian would be the perfect subject for a generative documentary and ended up showing Brian a demo using the RAMS footage. He was excited to get involved. I don’t think he was excited about having a documentary about himself, but I think he was excited about the possibilities around the generative film system.”

It goes without saying that there was going to be tons and tons of potentially interesting footage of Eno’s artistic odyssey from which Hustwit could draw to make his experimental doc. You’re talking about the guy who was a founding member of glam rock pioneers Roxy Music, the groundbreaking artist who made crazily inventive albums like HERE COME THE WARM JETS and ANOTHER GREEN WORLD in the mid ‘70s, the man who gave a name to and contextualized the fresh new genre called ambient music, the groundbreaking producer who put his name on some of the most important albums to emerge in the ‘70s and ‘80s by artists like Talking Heads, David Bowie, U2, James, Coldplay and many more; the guy who began creating unprecedented changing light sculptures and exhibitions throughout the world, and a truly visionary creative “philosopher” and thinker who raised many significant questions about the purpose of art, and the complex nature of the world’s problems, and how we should try to think about solving them. Brian Eno is easily one of the most influential artists in music history, and has had a hand in more things than most people might realize. Did you know, for example, that his collaboration with David Byrne, MY LIFE IN THE BUSH OF GHOSTS, was one of the first records to use sampling, and that it influenced many early hip hop artists? That he composed the Microsoft Windows startup theme in the early days of the internet? And that despite the early scorn that some critics heaped on ambient music back in the ‘70s, the genre became a truly significant phenomenon by the late ‘90s, and exploded into new relevance during the pandemic. It is now inescapable throughout the world, and is closely married to the world of film scoring, giving Eno regular work in that realm with projects such as FOR ALL MANKIND, THE LOVELY BONES and Michael Mann’s HEAT. So it would be a daunting task for ANY filmmaker to put a doc together on Mister Eno. But it sure helped that Eno gave Hustwit hundreds of hours of rare, often never before seen footage to utilize and that the generative program he developed was able to ensure that no showing of the “final” film would be the same as any other showing. Weird and unprecedented, eh?

ENO (BRIAN ENO) (photo credit: CECILY ENO)

Screenings of ENO have sold out in most cities where it is shown, and I wondered if I would ever have the opportunity to experience it. But when the Speed Art Museum in Louisville announced a single screening of the movie, my chance arrived. And wow, was it a fascinating, often breathtaking event! Each version of the film is set up with little technological “triggers” that cause certain other sequences to come up next, without filmmaker or audiences knowing what that will be. The film itself contains these transitional “indicators” that let the viewer know a change is about to happen. So yes, you might get some special footage of the early days of Roxy Music, like I saw in MY version of the film, with the glammed-up Roxy boys singing “Virginia Plain” and showing what absolute originals they were. But you might NOT. And even if you are thrilled to see the footage, it’s gonna end before you’ve had your fill, probably. Up next? Will it be Eno’s early video for “Seven Deadly Finns?” Something featuring Laurie Anderson? A discussion of “Oblique Strategies” and how Eno used them to work with David Bowie on his “Berlin Trilogy?” YES, to those latter two things for the version I saw. We get to learn all about the formation of the specialized deck of cards intended to help break creative stalemates. Eno talks about how he and Bowie drew conceptually opposing cards when they were recording the track “Moss Garden” on HEROES. Wryly, we see David Byrne reading a couple of simple cards, and Byrne is featured prominently in a discussion of MY LIFE IN THE BUSH OF GHOSTS. Not much about Talking Heads, however, which was disappointing. But there is a lengthy and amusing segment on U2 and some of the tension that had to be worked through during the production of THE UNFORGETTABLE FIRE, and in particular the song MLK.

I was perhaps most delighted by the amount of talking we get to experience Eno doing, such as his discussion of “why we like music” and how ultimately most humans are driven by “the need to feel you belong.” And about how he tended to always question his own habits, asking the enduring question, “What if we DON’T do it that way?” That ends up having relevance not only for music, but for complicated moral and technological issues as well. My version of the film featured a lot of footage of Eno in his garden, talking about the influence of the natural world on his music, and how what became known as “ambient” was the result of Eno wanting to create a “place” and “inhabitants” and changing movement in his sonic creations. He demonstrates some sound-building efforts in his studio, and I was riveted by these scenes. “I want a sky,” he says of one evolving composition. “What ELSE do I want in this world?” He discusses his enduring interest in “more and more complex and beautiful things,” and shows us his plethora of detailed notebooks that he’s been keeping for decades, to help organize and capture “new ways of explaining things.” And frequently there are memorable scenes such as when the legendary producer admits to breaking down in tears during the creation of the track “Spirits Drifting,” as it came about during a terrible period of insecurity when he was certain he was wasting money on expensive studio time and did NOT have (seemingly) the ideas or impetus to get anything finished.

Wow, that happened to ENO? The guy who has finished more groundbreaking projects and fresh ideas than arguably anyone else in the industry, over time? So, there are indeed some cool revelations like that as well as plenty of music, discussions about art and the problem of being a morally concerned citizen of Planet Earth. We have some options for making things better, Eno says, but we also may just screw it up in the end. My piece here summarizes what I got to experience at this particular screening, but if you are lucky enough to see the film somewhere at some time, you may catch completely different segments. At any rate, for any fan of the truly legendary Eno, this film is a must-see. No, it is likely NOT going to be a comprehensive overview of his whole career, and as my companion pointed out, some may be bothered by the lack of narrative consistency or “arc” in this experimental movie. But boy, I ate it up. And I can hardly wait to see a bunch more versions of the film, should I get that chance.

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies | Kevin Renick | October 23, 2024 | Ambient Music Brian Eno David Bowie David Byrne Dieter Rams Documentary Experimental Filmmaking Experimental Music Gary Hustwit Generative Movies Louisville Kentucky Movies Music Documentary Rock and Roll Roxy Music Soundtrack Music Speed Art Museum Talking Heads U2

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