The Orb Interview (Part 1 of 2) [Listen 21:00] Finding Out Who You Are With Alex Paterson S04 Ep06
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S04-Ep06-Part1-of-2-Finding-Out-Who-You-Are-with-Alex-Paterson-of-The-Orb
Special Guest: Alex Paterson (The Orb) (Part 1 of 2) is a major player in the Electronica genre, splashing on to the scene at a transitional time in the genre's history: the period when European musicians were just starting to pick up on the new Techno revolution happening in Detroit and the Acid House scene from Chicago. The Orb were one of the leading bands playing their own form of Electronica at the beginning of the biggest electronic music explosions--the UK Rave scene in the late 80’s to early 90’s--and were fundamental in the direction that Acid House took; spawning "Ambient House" in the new "come down" or chill-out rooms of the rave clubs.
In this podcast we travel back to the days of the early rave scenes, where chill-out music began, music critics, and much more.
Vinylophiles
I wanted to touch upon the history of vinyl for a short article, and found that the history goes deeper, and unfolds infinite layers like an ever-flowering lotus. It proved rather quickly that it couldn't be a subject that could be touched upon so lightly. Of course, my love for the medium has become my own impediment in this endeavor, and I would think it a travesty to not pay the due respect to the players that have been overshadowed in the history. One article can't right all the wrongs of history, and I won't be able to make a good job of it here considering the limitations, but take a look here at the early development of the record and turntable. The inventors and techniques they constructed to capture, and record sound is truly a complex tale. I wish I had known about it sooner.
The history goes so deep, it would make for a great public broadcaster miniseries, in fact. While the big names of Thomas Edison and Alexander Graham Bell are often mentioned, the tale usually stops there; however, there are more players involved, more intrigue, and battles played for the upper hand, like challengers vying to ascend to the royal throne. There are figures in the early development that have gotten overshadowed and have been reduced to a minor players, that really have more to do with the development of the medium and the way vinyl is manufactured today than people would have you believe. One such figure being Emile Berliner.
Berliner was the one who developed the flat disk; earlier developments used a cylinder, and in fact, Berliner's initial product was so inferior to the sound of the cylinders that he marketed his "Gramophone" as a toy. But through the course of events, this toy made its way to a machinist, Eldridge R. Johnson, in Camden, New Jersey who was so fascinated by it that he set to improving the sound quality. With the help of Johnson, improving the sound, and later, the turning mechanism, the "Improved" Gramophone was a contender against the cylinder Edison Phonograph and Columbia Graphophone.
Afterwards, Berliner and Johnson joined with former typewriter promoter, Frank Seaman, who then hired Louis Valiquet to developed a less costly machine to produce. When the board turned down the manufacture of their design, he produced and marketed the design on his own at the same time against the Gramophone. Berliner and Johnson sued, and Seaman counter-sued, and through legal manipulation, Seaman achieved taking away Gramophone's patent rights. Berliner and Johnson counter-sued, and through all the legal wrangling, came out on top of the attempted collusion, and so it is said, created the new company--Victor.
P.S. An interesting note is that technology today is reaching back to the early formats of recorded sound to reproduce the earliest sounds that were thought to have been lost and unreproducible. The first known recordings are now becoming able to reproduce the sound that was irretrievable with contemporary methods. Audio is now being recovered not from the old disks, but from paper with the print of the grooves of the page; by this method and others being advanced, recordings are being recovered that were thought to have been lost long ago. It's fascinating, if you're into that sort of thing.
Gerry Leonard Interview (Part 1 of 1) [Listen 46:00 min] – Getting Voodoo on Zero Seven Two S04 Ep02
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S04 Ep02 (Part1 of 1) - Getting Voodoo on Zero Seven Two With Gerry Leonard
Special Guest: Gerry Leonard - is a Dublin born freelance guitar player/writer and producer who (as of today) has worked on three David Bowie albums, including “The Next Day” Bowie’s latest album released today, March 12. Leonard secured the coveted position of a David Bowie axe man, along-side such greats as Mick Ronson, Adrian Below, Stevie Ray Vaughan, Earl Slick, Robert Fripp, David Torn, and Reeves Gabrels. He has also worked with other artists like Laurie Anderson, Susanne Vaga, Duncan Sheik and Cindi Lauper. But many fans of his know him for his solo projects under the name Spookyghost and the Dublin based duo Hinterland. His style of playing has been described as ambient in nature, mixing, looping and layering sonic sounds over top of one another, creating a cool and original psychedelia that is unmistakably his.
David Bowie: "The Next Day" Album Review
As the title of David Bowie’s new album “The Next Day” seems to suggest, time has passed, but not by much, relatively speaking. Musically speaking, I think the past nine years that Bowie has been away was mainly because he was aware he was entering another creative low in his life. One of the things I’ve learned about Bowie and his career's trajectory is that his best work comes in waves. The reason for this, I think, is that his creative output has always depended on feeding off of other creative people who are on the cusp of new discoveries and then fostering those ideas to create for his own work – for example, feeding off of the androgynous energies of people like Marc Bolan to create his Ziggy Stardust album or pinching innovative concepts from Kraftwerk to make his Berlin Trilogy. And I would say that by the time that his Reality album came out, he scoped the landscape for new ideas, found nothing to feed off of and decided to retreat from the public rather than put out something that sounded rehashed. Only Bowie knows the true birth of the songs, and most likely, being as secretive as he is, we'll never know the origins of their initial spark.
“The Next Day” is Bowie emerging from the shadows, knowing that he hasn’t missed much in 10 years, (musically speaking) but is now confident to surface with enough interest in music to excite him again. And although this is not a ground breaking Bowie album in the sense that these are innovative sounds to usher in a new epoch of musical innovation, it is one of the best albums of his career. It’s too early to safely say exactly where it stacks up overall in his catalogue, but, I'd say it's better than any of his later day (second phase) Tony Visconti material, and if history repeats itself, his next album will be even better. His albums launched after a creative struggle are always fantastic and always followed by albums that build upon that energy. After having taken at least 2 years whittling away secretly on the album we can deduce two things - first that this album was a struggle for him, and second that this album was extremely important for him to get right. This is a calculating Bowie like we have never seen him; laboring over songs then allowing the ever important time to be his compass.
After having talked to musicians with whom Bowie has worked, I realized some of the techniques Bowie makes use of. One of the techniques that keeps popping up in Bowie's recording sessions when talking to people like Earl Slick or Gerry Leonard is that Bowie has a bunch of unfinished songs that he is constantly working on. He has just a skeleton framework of songs that he pulls out and tries now and again to see if they go anywhere; one such song is “Bring me the Disco King” off the Reality album. Mike Garson told me that he first was introduced to that song way back in 1975 during the Young American sessions and was told to play it yet again during the Black Tie White Noise sessions using a different style but only got the approval during the Reality sessions. I have a feeling after listening to this album that many of these songs were first conceived of years before, and so, in this review of the album, I try to place what album and time period these songs first came into existence.
1. "The Next Day" 3:51
The album starts off on an apocalyptic note, sounding like it could have been pulled off the “Scary Monsters” a la the “Screaming Like a Baby.” Bowie’s delivery has a desperate feel to it and the song has great screaming guitar sounds that bounce along to Bowie’s hypnotic chant “Here I am, not quite dying / my body left to rot in a hollow tree.”
2. "Dirty Boys" 2:58
Starting off sounding like a Tom Waits song with horns; weird time signatures and all. Who knows where he pulled this from. Although sounding nothing like “Sweet Thing” you have to love hearing the interplay between Earl Slick (guitar) and Steve Elson (sax). I’m looking forward to hearing this live someday, hopefully.
3. "The Stars (Are Out Tonight)" 3:56
This is classic Bowie covering a topic that he’s familiar with – the absurdity of fame. One of the stronger songs on the album, the song is reminiscent of something off his “Hours” album.
4. "Love Is Lost" 3:57
My favourite track on the album; Gerry Leonard owns this track and speaks to his unique and amazing guitar style. The rhythm section is something also phenomenal. It sounds like it could have been written for the “Earthling” album.
5. "Where Are We Now?" 4:08
One of the most somber and reflective songs that Bowie has ever released, and a song that only gets stronger with repeat listens. Although I think this is a new song, if I had to guess which time best incorporated it, I would say between “Heroes” and “The Buddha of Suburbia.”
6. "Valentine's Day" 3:01
A song about a massacre style tragedy. Bowie exploits an ironic doo wop “pop” element reminding me of a track off his “Aladdin Sane” and mixes it with shocking lyrics that don’t hit you right away. A commentary about the disconnect from humanity that these shooters who carry out these awful catastrophes possess.
7. "If You Can See Me" 3:15
It has those weird voices that he used on “Outside” but with the energy of “Scary Monsters.”
8. "I'd Rather Be High" 3:53
One of the catchy, ear-worm songs on the album – this song will get in your head. Bowie delivers the lyrics like a British infantry drill sergeant “I’d rather be flying, I’d rather be dead, than out of my head and training these guns on those men in the sand.”
9. "Boss of Me" (Bowie, Gerry Leonard) 4:09
This song could have been included on Bowie and Tony Visconti’s excellent B-side EP off the Heathen album. I wonder if these lyrics are a reference to his marriage with Iman?
10. "Dancing Out in Space" 3:24
This is the song that got me thinking of how his songs on this album could have been written earlier and updated for this album. It sounds like something he could have been working on when he released “Never Let Me Down.”
11. "How Does the Grass Grow?" (Bowie, Jerry Lordan) 4:33
This song could have easily been a release from the Labyrinth soundtrack and even has the goblin chorus in the background.
12. "(You Will) Set the World On Fire" 3:30
Having a “Tonight”, or something off of Iggy Pop's “Blah Blah Blah” album (at their best moments); this track is dripping with classic 80’s Bowie energy.
13. "You Feel So Lonely You Could Die" 4:41
One of the best in the business when it comes to expressing a reflective sadness and desperation, this is one of Bowie’s ballads that he often includes on his albums. Once again, I think this is a new track but is closely related to “I Know It’s Going To Happen Some Day” off his “Black Tie White Noise.”
14. "Heat" 4:25
Not my personal favourite track on the album and a bit of a bummer to me; sounds like something off side two of “Earthing.”
Bonus Tracks [Extended Edition]
The first question people have about the Expanded Edition is "Is it worth it?" The answer here is a resounding yes.
15. So She 2:31
This is happy Bowie and takes me back to the first time I heard “Lucy Can’t Dance”; another bonus track off Black Tie White Noise.
16. Plan 2:02
A neat guitar instrumental ditty that fits perfect with the overall atmosphere of “The Next Day.”
17. I’ll Take You There 2:41
Another high energy track that seems to incorporate elements from his 80’s period and a really strong ending to the Extended Edition.
Final Mike Garson interview [Listen 41:19 mins] – Mike Garson Sticks His Neck Out To Protect Our Country S02 Ep03 (part 4 of 4)
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S02 Ep03 (part 4 of 4) - Mike Garson Sticks His Neck Out To Protect Our Country
Interview Date: December 2, 2011 @2pm EDT
Special Guest: Mike Garson is an improvisational and multi-genre piano icon and one of the most respected and sought after rock sidemen in the industry. In addition to his side work, he has also had a successful solo career in both the classical and jazz worlds, as well as worked with some of the most impressive people in music. But the thing Garson is most known for is the work he has done with David Bowie. Having worked with Bowie since his North American Ziggy Stardust tour back in 1972, the amazing stories and insights into Bowie's output helps to add a depth into Bowie’s art that few, if any, could touch. Through the years, Garson has helped shape some of Bowie’s most notable songs and albums including; Aladdin Sane, Pin Ups, David Live, Diamond Dogs, Young Americans, Black Tie White Noise, Outside, Buddha of Suburbia, Earthing, Hours, Heathen, and Reality. I met up with Garson when he played live at the Detroit Institute of Arts on December 2nd, 2011, during his “Bowie Variations tour” promoting his new album. In this podcast, Garson and I talk about Bowie being called a chameleon, Mike Garson being a secret weapon, and how he unselfishly risked his life to protect our country.
Well, I’m really sad to see Mike Garson’s concert and interview come to an end; I wish it could go on. As you may have noticed in a previous podcast, I alluded to another guest from Bowie’s entourage - Reeves Gabrels – guitar virtuoso, singer-songwriter, producer, previous Bowie collaborator, and all around music improv expert has agreed to come on the show. He is working to finish his new record and is on board to come on when it’s finished, so stay tuned for that! I was also talking to some members of Bowie’s old band and asked them for their list of favorite Bowie records. Both Mike Garson and Gail Ann Dorsey were nice enough to send me there picks; so here they are:
Mike Garson:
1) Aladdin Sane
2) Outside
3) Diamond Dogs
4) Young Americans
5) Hunky Dory
6) Buddha of Suburbia
7) Heathen
8 ) Reality
9) Ziggy Stardust
Gail Ann Dorsey: my Top albums starting at number one would be,
1) Young Americans
2) Station To Station
3) Stage
4) Outside
5) Earthling
6) Ziggy Stardust...
Low and The Lodger are also big on my list...
“Top Live Bowie Albums of All Time”
Number 7: Tin Machine – Oy Vey, Baby
Tin Machine – Oy Vey, Baby – I have to say, I had a lot of hope in this album when it first came out; especially after seeing Tin Machine play live earlier that year. Although the lowest ranking of the Bowie live albums, it’s worth
The David Bowie Variations – with Mike Garson [Exclusive interview and Full Concert](3 of 4) [Listen: 25:10 minutes] – Mike Garson helps us out of our Rut
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S02 Ep03 (part 3 of 4) - Mike Garson helps us get out of our Rut
Interview Date: December 2, 2011 @2pm EDT
Special Guest: Mike Garson is an improvisational and multi-genre piano icon and one of the most respected and sought after rock sidemen in the industry. In addition to his side work, he has also had a successful solo career in both the classical and jazz worlds as well as worked with some of the most impressive people in music. But the thing Garson is most known for is the work he has done
with David Bowie. Having worked with Bowie since his North American Ziggy Stardust tour back in 1972, the amazing stories and insights into Bowie's output helps to add a depth into Bowie’s art that few, if any, could touch. Through the years, Garson has helped shape some of Bowie’s most notable songs and albums including; Aladdin Sane, Pin Ups, David Live, Diamond Dogs, Young Americans, Black Tie White Noise, Outside, Buddha of Suburbia, Earthing, Hours, Heathen, and Reality. I met up with Garson when he played live at the Detroit Institute of Arts on December 2nd, 2011, during his “Bowie Variations tour” promoting his new album. In this podcast, Garson and I talk about some of the amazing people he has been trained by and played with, such as Herbie Hancock and Bill Evans, what it was like playing on Trent Reznor’s last concert, and what Garson brings to a Bowie record. But first I ask him about the reported 22 hours of recorded jam sessions for the Outside album.
Top 5 David Bowie Albums of All Time
I envy people who are looking to discover David Bowie and have never heard these last five albums. Records so original and exciting are very rare. To discover them and experience the thrill of expanding your appreciation of Bowie (and of music in general) is alone an experience profound enough to give birth to a new vinyl aficionado and spur a lifetime hobby of searching, digging, and collecting. My advice to those new Bowie fans is to take these albums on one at a time and consume them gradually. These aren’t “Jager bombs” or bottles of “Blue Nun” that you are consuming for a quick buzz, but these albums are like the finest aged Cabernet Sauvignon and Merlot the world has to offer (musically speaking). Let the music gradually wash over you while the concepts and their sounds slowly take you over. I have found, like with all of the greatest music in the world, it is an acquired taste. It is only with repeated and attentive listening that records of this calibre become your favourites. Each one of these albums have a character quite separate from each other; but together, in my opinion, they make up the finest part of one of the finest musical careers in rock history. I have rated each of these Bowie albums according to my thoughts; but with the pack so close together in this race, I really had to listen to my heart and go with that.
Number 5: Heroes
Heroes – This album captures the ambiance of what it must have been like to be in Berlin circa 1977.
The David Bowie Variations – with Mike Garson [Exclusive interview and Full Concert](2 of 4) [Listen: 1:03:13 minutes] – Saying YES to going on the road.
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S02 Ep03 (part 2 of 4) - Saying YES to the question of going back on the road again
Interview Date: December 2, 2011 @2pm EDT
Special Guest: Mike Garson is an improvisational and multi-genre piano icon who is one of the most respected and sought after rock sidemen in the industry. In addition to his side work he has also had a successful solo career in both the classical and jazz worlds as well as worked with some of the most impressive people in music. But the thing Garson is most known for is the work he has done with David Bowie. Having worked with Bowie since his North American Ziggy Stardust tour back in 1972, the amazing stories and insights into Bowie's output helps to add a depth into Bowie’s art that few, if any, could touch. Through the years, Garson has helped shape some of Bowie’s most notable songs and albums including; Aladdin Sane, Pin Ups, David Live, Diamond Dogs, Young Americans, Black Tie White Noise, Outside, Buddha of Suburbia, Earthing, Hours, Heathen, and Reality. I met up with Garson when he played live at the Detroit Institute of Arts on December 2 2011 during his “Bowie Variations tour” promoting his new album. In this podcast, Garson and I talk about his new album “Bowie Variations,” his reason behind the songs he chose, the Aladdin Sane, and Battle for Britain solo and we get into the genius of David Bowie. In this podcast, Garson and I talk about being micromanaged in the studio, the songs "Bring me the Disco King" and "Time", the albums Young Americans, and Reality, the turmoil in and around the Diamond Dogs tour, and even the latest on David Bowie (aka Davy Jones). P.S. Stay tuned, there could be some news about Bowie coming out with new album in 2012!!!
DAVID BOWIE'S TOP ALBUMS OF ALL TIME!
If you haven’t done so already, please take your protein pill and put your helmet on; we will be commencing countdown and turning the engines on in just a few minutes . . .
I hope you enjoyed last week’s podcast and our Bowie countdown. This week we are starting off at Ground control itself by counting down David Bowie’s Top albums of all time. The planet is still blue but there is something you can do and that is send me a message below in the comments (yeah, that’s right I’m the “Action Man” giving you the junk that makes you happy). Tell me what you think. Do you agree with the list, and how would you rate them differently? Do it or I’ll send my little green wheels after you. Here we go . . .
Number 10: Heathen
Heathen – A dark horse in more than one way. This album started off as a failed throw-back album titled “Toy”