Various Artists – To Cry You A Song – A Collection Of Tull Tales (1996)

Can a “tribute” performance be a masterpiece?

I doubt it. It actually could be, but there must be well-defined criteria to consider a certain tribute album as a masterpiece. Reason being, actually I want to rate this tribute compilation as masterpiece. But, never mind with a four-star rating as long as you get my true message that this is a great compilation of Jethro Tull’s music performed by great musicians. If you are a fan of Jethro Tull, it’s a must collection. Well, actually this is not truly a tribute compilation as there are two songs: “Tull Tale” written by T. Gardner of Magellan and “Cat’s Squirrel” written by M. Abrahams.

The compilation album is opened beautifully with “Tull Tale” (2:35), an instrumental track written specifically for this tribute, featuring Stan Johnson on flute. Containing pieces of “Bouree” and other Tull classics, it serves as an introduction to Magellan’s excellent cover of “Aqualung”. It starts off with a great piano intro, then it goes into an industrial music combined with metal guitar sound on the verses. The guitar solo is played on a slightly different chord progression, but it sounds really well. “Up The Pool” is performed wonderfully with great acoustic guitar work and unique vocal by Roy Harper. Really good. The great song “Nothing Is Easy” (4:17) is performed remarkably well by John Wetton on vocals. It’s so rewarding when I listen this song – it’s like King Crimson meets Jethro Tull.

“Mother Goose” (4:23) is performed by Lief Sorbye (of Tempest) in a great arrangement. Well, overall I don’t see any track that is performed worse than the original version – all of them are great arrangements. But if you force me to mention the best of the best performance is the one performed by Glenn Hughes on track 9: “To Cry You a Song”. As you may have known that the vocal timbre between Ian Anderson and Glenn Hughes is totally different and you might have imagined that Glenn Hughes voice only suitable for Deep Purple or Trapeze. But what hhappen here is truly a fabulous combination of energetic music with organ solo (reminds us to Jon Lord?) and rocking and funky voice of Hughes. The result is Deep Purple meets Jethro Tull kind of music. I especially like when Hughes sings his high register notes under chorus lyrical part: “It’s been a long time .!!”. Wow! It’s a wonderful voice man!

In summary, if you are a die hard fan of Jethro Tull, this tribute is a compilation that will definitely satisfy you. Production and sound quality are to notch. Highly recommended. Keep on proggin’ . (Gatot)

Personnel:
Mick Abrahams (guitar on 04., 08., 09., 10. – 12.)
Rob Armstrong (drums, percussion)
Robert Berry (keyboards on 04., 05., 08., 09., 10. + 13. guitar, bass, drums on 05., all instruments + vocals on 06.)
Clive Bunker (drums on 04., 08., 09. 10. – 12.)
Duncan Chisholm (fiddle on 11.)
Glenn Cornick (bass on 04., 09., 10. – 12.)
Ivan Drever (guitar on 11.)
Stuart Eaglesham (vocals on 11.)
Keith Emerson (keyboards on 12.)
Trent Gardner (keyboards on 01. 02, vocals on 02.)
Wayne Gardner (guitar, bass) on 02.)
Roy Harper (guitar, vocals on 03.)
Glenn Hughes (vocals on 09.)
Stan Johnson (flute on 01.)
Brett Kull (guitar, whistling, background vocals on 07.)
Adolfo Lazo (drums)
Phil Manzanera (guitar on 04. + 10.)
Ian McDonald (flute on 04. + 10.)
Michael Mullen (violin on 13.)
Charlie Musselwhite (harmonica on 08.)
Jay Nania (bass on 13.)
Colm O’Sullivan (keyboards, effects on 03.)
Roger Patterson (percussion on 01., drums on 02.)
Dave Pegg (guitar, vocals, mandolin)
Matt Pegg (bass on 14.)
Paul Ramsey (drums on 07.)
Derek Sherinian (keyboards on 09. + 11.)
Lief Sorbye (vocals, mandolin, flute,mandola on 05., bodhrán on 06., vocals, flute on 13.)
Robby Steinhardt (violin 0n 10.)
Mike Summerland (bass on 08.)
Derek Trucks (slide guitar on 08.)
Mike Varney (guitar on 05.)
Ray Weston (bass, vocals, piano on 07.)
John Wetton (vocals on 04.)
Rob Wullen (guitar on 13.)

Tracklist:
01. Magellan feat. Stan Johnson: A Tull Tale (Gardner) 2.33
02. Magellan; Aqualung (Anderson) 8.09
03. Roy Harper: Up The ‘Pool (Anderson) 3.01
04. John Wetton: Nothing Is Easy (Anderson) 4.18
05. Lief Sorbye: Mother Goose (Anderson) 4.23
06. Robert Berry: Minstrel In The Gallery (Anderson) 5.22
07. Echolyn: One Brown Mouse (Anderson) 3.15
08. Charlie Musselwhite: Cat’s Squirrel (Traditional) 5.52
09. Glenn Hughes & Mick Abrahams: To Cry You A Song (Anderson) 5.10
10. Robby Steinhardt & Phil Manzanera: New Day Yesterday (Anderson) 4.00
11. Wolfstone: Teacher (Anderson) 3.59
12. Keith Emerson: Living In The Past (Anderson) 3.21
13. Tempest with Robert Berry: Locomotive Breath (Anderson) 4.32
14. Dave Pegg & Matt Pegg: Life’s A Long Song (Anderson) 2.45

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Various Artists – A Classic Rock Salute To The Doors – Light My Fire (2014)

Southern California-based Purple Pyramid Records and producer, instrumentalist Billy Sherwood raised the bar with this tribute to The Doors by convening a star-studded cast, featuring classic rockers performing with progressive rock luminaries. And the jazz contingent is onboard, evidenced by jazz guitar great Larry Coryell appearing with Focus keyboardist Thijs Van Leer on “Love Me Two Times.”

When I first broke the seal on this recording and perused the personnel listing I was delighted yet partly suspicious, fearing this would be an unbalanced project and/or a riffing contest framed on The Doors songbook. Such is not the case. Thus, Todd Rundgren performing alongside Captain Beeheart Magic Band guitarist Zoot Horn Rollo and Yes keyboardist Geoff Downes signify one of many rather unlikely, yet markedly productive and enticing state of affairs. It’s a varied set, where all the vocalists retain their signature chops and modus operandi. Although one unremitting factor is centered on their penchant for extracting the force-field of The Doors’ vocalist Jim Morrison’s commanding delivery.

The production’s stunning sound quality yields additional bonus points and should warm the hearts of audiophiles. Ultimately, each rendition of The Doors’ songbook is imbued with the musicians’ idiosyncratic niceties amid a plethora of shrewdly placed dynamics, layered keys and guitar shadings. They inject distinct characteristics but don’t sacrifice The Doors’ core song-forms. Hence, disparate musical personalities uncannily attain an accord on many fronts by imparting a sense of ownership and camaraderie, whether or not they were recording tracks in the same studio at the same time.

It’s easy to discern that Sherwood and associates maximized the talents and style of each artist’s strengths, juxtaposed by strong soloing spots and the obligatory personal touches that many of us would anticipate. Van Leer helps give “Love Me Two Times ” a modern uplift by instilling some good old Hammond-B3 organ style boogie rock, abetted by Coryell’s Texas blues patterns and hard rock phrasings. Moreover, guitar hero Leslie West (Mountain) does what he does best via his emphatically thick vocals, coupled with sinuous slide guitar leads atop Rod Piazza’s harmonica notes, as they punch it out on this husky finger-snapping spin on “Roadhouse Blues.”

Tony Kaye (Yes) uses a synth emulated electric piano sound during “Riders On The Storm” and Keith Emerson (Emerson, Lake & Palmer) preludes “People Are Strange” with stride piano clusters and synths alongside time-honored session ace, guitarist Jeff “Skunk” Baxter’s deft acoustic guitar work. Yet rockabilly vocalist Robert Gordon croons through “Touch Me” with the resonance and machismo of Morrison, complemented by pumping rhythms and Nik Turner’s (Hawkwind) swirling sax notes and prog rock keyboard great Jordan Rudess’ spiraling notes. Whereas, Rundgren tenders a pop-ish and clement outlook on The Doors’ swaggering and bluesy torch piece “Alabama Song (Whiskey Bar).

Highlights are thriving components, especially when infamous Yes alumni, guitarist Steve Howe and keyboardist Rick Wakeman delve into an extended call and response motif, spanning rock, jazz and classical nuances in the bridge section of “Light My Fire.” Here, Ian Gillan provides the antithesis of what we’d expect, considering his high-impact vocals with Deep Purple, as he counterbalances the soloists with a care-free and straightforward rendering of the familiar choruses. Indeed, this tribute endeavor covers all the bases and then some. It’s not to be overlooked. Kudos to the production team for bestowing their rather enlightening plan of attack as it’s quite apparent that a lot of thought prefaced the onset of this astonishing alignment of rock’s past and present rock stars. (by Glen Astarita)

First off readers let me say that I do not like cover bands, cover albums, tribute albums and compilation albums. I have always felt they should be considered a separate genre and that they usually do a disservice to the original composers and bands. After listening to “A Classic Rock Salute To The Doors” though I am rethinking those thoughts. It is hard to cover every song here, there are 16 of their greatest hits, so I will try to give an over view of what I think is important. I will leave the final decision up to you as to how good it really is after you listen to it.

I was fortunate enough to see ‘The Doors’, 3 times, once at Cobo Hall in Detroit. They were a very unassuming band with almost no equipment. They used no special effects, fireworks, light shows or anything other than themselves, a few instruments and only a couple amps and speakers. The stage was pretty empty even by the standards of the 1960’s. What they lacked in equipment they made up by how tight and cohesive they were as a group when they were all in sync with each other and halfway sober. Jim Morrison usually took all eyes off the other 3 members but make no mistake that without them Jim Morrison would probably have become another undiscovered rock star.

Several of the guests on this album most likely knew ‘The Doors’ back in the day and are by all rights are ‘Superstars’ themselves. More than 42 of rock’s greatest classic ‘Superstars’ showed up to play on this album. That’s a lot of “tribute” to any person or group and shows the love and respect they all had for ‘The Doors’ and their music. By my count there are at least 7 tribute albums out there for ‘The Doors’ but from where I sit this is probably the only one that should matter.

The album starts off with one of my favorites, ‘LA Woman’. From their 6th, album released in 1971, ‘LA Woman’. Jami Jamison, Ted Turner and Patrick Moraz do an admirable job of covering this tune. The guitar work, Ted Turner I am assuming, gives an old favorite a different twist.

I could go into much more detail on more songs off this album but since space is limited I will just give some observations here. This is certainly an album to help introduce anyone who has never heard ‘The Doors’ before to their greatness. After listening to it I guarantee they will hunger for the original music just to hear who these 4 guys, who cut out a slice of rock history for themselves, really were.

The guitar work on every song is clean, precise and shredded, something that Robby Kriegers “fingerstyle” guitar playing did not allow him to do. Not that Robby Krieger wasn’t great, he was just not as technical since “fingerstyle“ playing is better suited to Flamenco and Folk Music. It’s probably the most notable difference in all of the tunes here.

Conspicuous by its absence here though is ‘The Unknown Soldier’ which could have easily replaced the version of ‘People Are Strange’ with David Johansen and Billy Sherwood. This is the only song I really felt did not belong among the 16 cuts on this album.

The closing song is my all time favorite and appropriately is, ‘The End’, featuring Pat Travers and Jimmy Greenspoon. Listening to this version gave me goose bumps and almost brought tears to my eyes. The depth is so different but not nearly as dark as the original. I think you’ll find yourself listening to it over and over again! (Mike Langford)

One of the finest tribute albums ever !

Personnel:

Jimi Jamison: vocals (1); Patrick Moraz: keyboards (1); Ted Turner: guitars (1); Scott Connor: drums (1, 2, 3, 4, 5, 6, 8, 10, 11, 13, 16); Billy Sherwood: bass (all tracks), guitar, piano, synths (8), drums, keyboards (12); Lou Gramm: vocals (2); Thijs Van Leer: keyboards (2); Larry Coryell: guitar (2); Leslie West: guitar, vocals (3); Brian Augur: Hammond B-3 organ (3); Rod Piazza: harmonica (3); Mark Stein: vocals, Hammond B-3 organ (4); Mick Box: guitar (4); Joe Lynn Turner: vocals (5); Tony Kaye: Hammond B-3 organ (5); Steve Cropper: guitar (5); Edgar Winter: vocals (6); Chris Spedding: guitar (6); Keith Emerson: acoustic 7 ft. grand piano and original Moog, modular synthesizer (7); Jeff “Skunk” Baxter: acoustic guitar (7); Joel Druckman: acoustic upright bass (7); David Johansen: vocals (8); Robert Gordon: vocals (9); Jordan Rudess: keyboards (9); Steve Morse: guitar (9); Nik Turner: saxophone (9); Adam Hamilton: drums (9); Graham Bonnet: vocals (10); Christopher North: Hammond organ & Leslie (10); Steve Hillage: guitar (10); Ken Hensley: vocals, Hammond B-3 organ (11); Roye Albrighton: guitar (11); Eric Martin: vocals (12); Elliot Easton: lead and Spanish guitars (12); Todd Rundgren: vocals (13); Geoff Downes: keyboards (13); Zoot Horn Rollo: guitars (13); Mark Farner: vocals, guitar (14); Chick Churchill: keyboards (14); Glenn Grossman: drums (14); Ian Gillian: vocal (15); Rick Wakeman: keyboards (15); Steve Howe: guitar (15); Ricky Joyce: drums (15); Pat Travers: vocals, guitar (16); Jimmy Greenspan: keyboards (16).

For details see booklet

Tracklist:
01. Jimi Jamison, Ted Turner, Patrick Moraz: L.A. Woman 7.28
02. Lou Gramm, Thijs van Leer, Larry Coryell: Love Me Two Times 3.21
03. Leslie West, Brian Auger, Rod Piazza: Roadhouse Blues 4.06
04. Mark Stein, Mick Box: Love Her Madly 3.26
05. Joe Lynn Turner, Tony Kaye, Steve Cropper: Riders On The Storm 6.19
06. Edgar Winter, Chris Spedding: The Crystal Ship 2.44
07. Keith Emerson, Jeff ‘Skunk’ Baxter, Joel Druckman: Intro (People Are Strange) 3.58
08. David Johansen, Billy Sherwood: People Are Strange 2.21
09. Robert Gordon, Jordan Rudess, Steve Morse, Nik Turner: Touch Me 3.49
10. Graham Bonnet, Christopher North, Steve Hillage: The Soft Parade 8.04
11. Ken Hensley, Roye Albrighton: Hello, I Love You 2.39
12. Eric Martin, Elliot Easton: Spanish Caravan 2.54
13. Todd Rundgren, Geoff Downes, Wake: Alabama Song (Whiskey Bar) 3.26
14. Mark Farner, Chick Churchill: Break On Through (To the Other Side) 2.51
15. Ian Gillan, Rick Wakeman, Steve Howe: Light My Fire 7.00
16. Pat Travers, Jimmy Greenspoon: The End 11.23

All songs written by Jim Morrison – John Densmore – Ray Manzarek – Robby Krieger
except:
06.: written by Jim Morrison &
13.: written by Kurt Weil – Bertolt Brecht

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Keyboard Magazine – June 2016

This issue features a tribute to the late, great Keith Emerson and is packed with interesting anecdotes by those who worked with him throughout his career.

One interesting anecdote comes from the guitarist in the supergroup The Best.

What, you’ve never heard of The Best? Imagine a group that included Emerson on keys, legendary guitarists Joe Walsh (James Gang, the Eagles)
and Jeff “Skunk” Baxter (Steely Dan, The Doobie Bros.), bassist John Entwistle (The Who), drummer Simon Phillips (Jeff Beck Group, Toto), and vocalist Rick Livingstone.

In the article, Baxter describes the events that lead up to the formation of The Best.

“I first met Keith at the China Club in L.A. back in the ‘90s. I was in the house band, and Keith would come in and play all the time. The band would include John Entwistle on bass, and various guitar players, like Joe Walsh, lots of studio guys. We had great fun seriously playing, not just jamming. One night John and I were talking and thinking, ‘this is too good, we should do something more serious.’ A well-known publicist Michael Jensen offered to arrange a couple of shows in Japan so we solidified the band: Keith, John, Joe, Simon Phillips, and a singer buddy of mine Rick Livingstone. We didn¹t know what to call ourselves, and being such shy wallflowers, we decided on The Best. [Laughs.]”

Much more about Keith Emerson in this issue + many other articles (about Carly Bley), reviews and much more.

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This entry is dedicated to Keith Emerson