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...tuned in to the festival and who did not. Most of today's successful moguls were there, contract-signing pens at the ready. At the time, the three top record companies were RCA, Capitol and Columbia. Joe Smith of Warner had pre-empted the pack by signing Jimi Hendrix before the festival. But the most enterprising of all was Columbia's Clive Davis, who in the wake of the festival signed Janis Joplin; Blood, Sweat and Tears; Santana; and Chicago. To their eventual sorrow, RCA and Capitol were still viewing such affairs?indeed, all of rock?as something...
...music where, in many cases, the music just can't stand on its own anymore. Gimmickry abounds. Theatrics have been a part of rock every since Presley didn't show any pelvis on the Sullivan Show. But for our purposes, the final push started at Monterey, when Jimi Hendrix first burned a guitar, or with Peter Townshend's first windmill chord. The notion of theatrics has expanded to the point where the average Jethro Tull show is half music and half theater. Something seems necessary to augment the music which for a lot of reasons has stopped undergoing radical changes...
There's a niche for Beck. You file him under "flash." Flash (as a musical term) was created for him. The two have riaen and faded together. Hendrix was never flash because he had a certain lyrical as well as musical genius. His genius aside. Clapton was too humble to be flash. Alice Cooper and Ian Anderson? Theatrics. David Bowie and Rod Stewart? Rock star trips. Steve Marriott? Punk arrogance, and Peter Townshend, for all his onstage pyrotechnics, has been sneaky serious ever since perfect placement of that primal teenage stutter on "My Generation...
...playing. Beck has the audience's complete attention; you have to watch him even when he's playing rhythm because of his unique approach even then. He picks the riffs to lead off each song, and he guides the whole band's attack. He is not interested in Hendrix's wall of sound, or Clapton's trio virtuosity. Again, Beck is primarily interested in hearing himself play. In fact, my theory is that he tends to surround himself with relative mediocrities just in order to emphasize his own talents. Bogart and Appice are perfect examples: Rod Stewart and Ron Wood...
Mahavishnu Orchestra, with Loggins and Messima. This is the weirdest double bill since Soft Machine and Cat Mother and the All Night Newsboys backed Jimi Hendrix in '69. The Orchestra plays swirling, spiritual jazz-rock, from John McLaughlin's mystical base. Loggins-Messina are Buffalo Springfield drawn through Poco. This lot played at the Common this summer. And cut everybody except Smokey. October 27th at the AQUARIUS. 7 and 10 p.m. Tickets...