Yes, there is life beyond politics; and my friend SteveAudio -- California guitarist, studio engineer, and blogger on his own site and the Huffington Post -- is one of the best filters on earth for the music of the Baby Boomer Generation.
Steve also offers up some very hard-hitting political pieces.
Steve has kindly consented to cross-post some of his stuff here at your humble Daily Docket. More announcements about a cross-country collaboration are anticipated.
Meanwhile, check out Steve's site for a lot of great music and commentary.
Thanks to Wintermute for asking me to contribute here. Crossposted from SteveAudio:
Part 11 in my series of under-appreciated guitarists, spotlights someone . . . well, who seems to already be appreciated. Sadly, I don't think he's appreciated for what he has contributed.
As I've written here before, I was attracted to The Yardbirds as soon as I heard their quirky guitar-driven pop. Thus it should be no surprise that I waited impatiently for the debut album their former lead guitarist Eric Clapton released with his new group: Cream.
Too many know Clapton today as an Armani-clad aging rocker, whose playing, while very nice, doesn't seem to be inspirational, but rather sort-of...well, generic. This is the Clapton of the slow, unplugged version of "Layla", of countless major events like 'The Concert For George".
The reason Clapton sounds generic today is that, simply put, he wrote the book for the modern rock guitarist, and everyone else is copying him. Period. Certainly he studied the black blues masters of the '40s, '50s and '60s, and clearly was influenced by Buddy Guy, but I can remember the '60s very clearly, and no white guy played like that before Clapton.
Before he adopted his famous black Strat, he was a Gibson guitar devotee. Plugging into 100 Watt Marshalls, created the basis for a sound that is still relevant today. Clapton with a fire in his belly, with something to prove, was a force of nature. For a brief time, he was the electric guitar. Of course, quickly on his heels came Jeff Beck, and others, but Clapton was the first of his day.
I offer, as proof, this live "Crossroads" by Cream, 1968:
Here is a clock-stopping "I'm So Glad" from the farewell concert at Royal Albert Hall, '69:
And here is the studio (live, actually) version of Crossroads, from "Wheels of Fire", for comparison:
Update:
Here's a brief interview, then "Steppin' Out" from the Farewell Concert. 3 gifted musicians at the peak of their power. Makes many of the "jam bands" of today sound tame:
I brought home a new featured Starbucks coffee to try; and I like it. There is no mention of the scarce Tanzanian peaberry on the package, but I did see some small rounded beans, so perhaps it's part of the blend. Here's the skinny:
Tanzania Medium-bodied with a crisp, clean flavor and pleasing black currant and citrus notes.
Key Tasting Term: Currant
Geography Is a Flavor™ You can tell a lot about a coffee if you know where it’s from, because every bean has a distinctive flavor particular to its land of origin. Coffees from Africa are remarkable for their floral aromas and citrusy tastes.
The citrus and berry notes of Tanzania will pair perfectly with your favorite summer fruit salad.
Tanzania coffee is grown in East Africa’s fertile Rift Valley, which is believed to be the birthplace of coffee. The Great Rift Valley was formed out of explosive earthquake and volcanic activity.
Upon hearing of his death, Flynt released the following statement to Access Hollywood:
The Reverend Jerry Falwell and I were arch enemies for fifteen years. We became involved in a lawsuit concerning First Amendment rights and Hustler magazine. Without question, this was my most important battle – the 1988 Hustler Magazine, Inc., v. Jerry Falwell case, where after millions of dollars and much deliberation, the Supreme Court unanimously ruled in my favor.
My mother always told me that no matter how much you dislike a person, when you meet them face to face you will find characteristics about them that you like. Jerry Falwell was a perfect example of that. I hated everything he stood for, but after meeting him in person, years after the trial, Jerry Falwell and I became good friends. He would visit me in California and we would debate together on college campuses. I always appreciated his sincerity even though I knew what he was selling and he knew what I was selling.
The most important result of our relationship was the landmark decision from the Supreme Court that made parody protected speech, and the fact that much of what we see on television and hear on the radio today is a direct result of my having won that now famous case which Falwell played such an important role in.
I just ran across what may be a cell phone video of one number in that show featuring Syl Johnson, who cut "Take Me To The River" at Hi Records. The music comes through pretty fine, though. Give it a spin. The musicians left to right are: Marvell Thomas (Rufus' son); Teenie Hodges, who co-wrote the song with Al Green; Syl Johnson; an English jazz trumpet player from London; Lannie McMillan; Steve Potts; Leroy Hodges; and Archie Turner (aka Hubbie Mitchell). Enjoy.
