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scorched !!
Posted by pureambient on September 22, 2014
or – "Dave Gregory – home at last…"
I suddenly realised, after many months of hearing the name "Tin Spirits" (but never, sadly, hearing their music – until now, that is…) the penny finally dropped: this is DAVE GREGORY'S band. Yes – that Dave Gregory, the one who used to play stunt guitar in that little ole' band from Swindon, the redoubtable XTC. For 19 years, across 12 studio albums, from "Making Plans For Nigel" in 1979 (from the remarkable 'Drums And Wires (1979)'), to "Senses Working Overtime" (from the remarkable 'English Settlement (1982)') on up to the celebrated "Apple Venus (1999)" (the last XTC album that Dave appears on).
Dave Gregory established himself as a stellar lead guitarist capable of precision-engineered, well-crafted and very creative guitar solos, including some truly unforgettable ones all the way from "No Language In Our Lungs" (from the remarkable "Black Sea (1980)") to "The Ugly Underneath" (from the remarkable "Nonsuch (1992)") and all points in between.
If Dave was the "quiet Beatle" of XTC, he wasn't so quiet when it came to his solos, and if Andy Partridge wrote the songs and had that crazy, boundless energy, then Dave was the thoughtful musical foil to Andy's uh, "Extrovert" personality. Dave also has an amazing collection of legendary electric guitars, vintage guitars and amps, and always had a few amazing vintage guitars to hand at every session, always the right guitar for the right solo – always well prepared, and always sounding just right for the song in question – whichever it may be. Yes, that's a lot of "always", but you count on Dave to come up with a great guitar solo for almost any song, no matter how strange, or how beautiful…
Don't forget, too, that Dave was also in "The Dukes Of Stratosphear", along with Andy Partridge, Colin Moulding of XTC, and his brother, Ian Gregory, on drums, the amazing 60s psychedelic rock parody band, and later on, worked with Steve Hogarth (and was a regular member of his touring band, too) and Dave has also appeared on albums by the Bournemouth prog band "Big Big Train", and of course, pre-, during and post-XTC, he has always been in demand as a session guitarist, too.
As the old reliable wikipedia put it: "Since leaving XTC, Gregory has been much in demand as a session musician with a number of artists, including Peter Gabriel, Aimee Mann, Cud, Marc Almond, Bingo Durango, Johnny Hates Jazz, Jason Donovan, Martin Newell, Louis Philippe, Lulu, Mark Owen, R. Stevie Moore and others. Gregory, who has been regularly involved in Steve Hogarth's h-Band, has also contributed to works by Porcupine Tree, including string arrangements on their sixth album, Lightbulb Sun, and for Dublin group Pugwash.
On 16 August 2009, English progressive rock band Big Big Train announced on their official blog that Gregory would be appearing as a guest musician on their sixth studio album, The Underfall Yard.[1] Gregory subsequently appeared on Big Big Train's Far Skies Deep Time EP and is listed as a full band member on English Electric Part One (2012)"
That demonstrates just how in-demand Dave's services as guitarist, arranger and musician are – one of Britain's "most desirable" guitar note-slingers.
Dave's newest band, Tin Spirits, first got together in Swindon, UK in the summer of 2008, when Aussie import, guitarist / vocalist Daniel Steinhardt from TheGigRig invited former XTC guitarist (and musical hero) Dave Gregory to a local studio to video record an 'amp shoot-out' with Dan's band The Hi-Fidels, comprising bassist Mark Kilminster and drummer Doug Mussard. The rest, as they say, is history…
Me saying "Stunt guitar" is absolutely short-changing him, Dave played a huge, huge part in helping Andy Partridge and Colin Moulding to create the "XTC sound", and if anything, not nearly enough credit goes to Dave, for his outstanding contributions to both their albums, and to their live shows – for two decades.
I remember when I saw XTC live, show 9 of the "English Settlement" tour, and I recall watching Dave playing, off to the side of the stage; he was multitasking in a really cool way, and when he reached over to play the squiggly synth line that follows Andy's lyric "just a spineless wobbly jelly fish…" from "When You're Near Me I Have Difficulty" (from "Drums And Wires (1979)") – Dave makes the "jellyfish" sound on his little synth – and then, right back to lead guitar…my jaw hit the floor, and I spent most of the night, trying to see around the incredibly energetic Partridge, to see and hear what Dave was doing back there – it all just sounded amazing! All good.
That show, XTC live at the California Theater in San Diego, California, (my then-hometown) on April 3, 1982 turned out to be the 9th and final show of the US leg of the tour, the rest of which was completely cancelled due to "illness"; but the well-publicised breakdown of Andy Partridge (just hours after young 1982 Dave Stafford saw them play live!!) was the real reason the tour was halted. The band never toured again, occasionally, some years later, doing a small number of acoustic shows on radio or television, or the odd TV appearance here and there…
Dave had joined XTC at just the right moment, just as they were breaking away from their frenetic "dance band" persona, and with the departure of the sometimes alcohol-fuelled organist Barry Andrews, they were, much to their own surprise, already becoming "serious musicians" – recording and touring behind "Drums And Wires" – an album that I still listen to often, well, for me, that's where it all started.
I have been a fan of XTC since the late 70s or early 1980s, indeed, I was fortunate to be at that very last live show they ever did, in San Diego back in '82. That's the only time I ever saw XTC or Dave Gregory play live, but the experience stuck with me, and based on seeing them that year (they were AMAZING!) I continued to collect their albums, and to follow their progress, as they moved into their own version of the Beatles' "Studio Years" – when touring becomes a burden, and the decision is, let's (still) make records, but, not play live.
This was mostly down to bandleader Andy Partridge, it was Andy who ended up so stressed out that he called time on live performance just HOURS after I saw him play a blinder of a show, and everyone was disappointed, because XTC live was one of the most energetic and interesting bands you could see live, in the early 1980s – they didn't really have a lot of competition, especially once they had delivered both the most excellent "Drums And Wires (1979)" and it's excellent follow-up, "Black Sea (1980)" – followed by the very excellent "English Settlement (1982)" – by the next excellent album, 'Mummer 1983', it was time for Terry Chambers the drummer to go – and go he did, to Australia to marry his girlfriend, and, after playing with the Australian band "Dragon" for a couple of years, after that, he never really returned to the music business.
Now drummer-less, it did not in any way phase the remaining three members of XTC, who were all long-time friends from Swindon, and Andy Partridge, Colin Moulding and Dave Gregory, carried on through the rest of the 1980s, and into the 90s, until eventually, Dave could stand no more, and he left – and, then, XTC was a duo – and Andy and Colin went on to make more albums, although for me, once Dave left – they were lacking that spark – sure, Andy is damn near as good a player as Dave is (they are both amazing guitarists, let's face it) when he makes the effort, and, he did make more of a real effort with the lead guitar parts on the 'post-Dave' albums, because I am sure he was conscious of the shadow and the memory of Dave sitting there in the studio, quietly ripping through some more amazing lead guitars for the latest XTC disk. The amount of lead guitar on records post-Dave, is noticeably less – Andy plays a few good solos, here or there, but it's just not quite the same….
But the eventual fate of XTC is a story for another time, for now, suffice to say, that Andy and Colin went on to create a very respectable canon of work after the departure of Dave, who suddenly found himself at loose ends – playing on sessions, playing wherever he could, for a quite a few years after he left XTC. Things were almost beginning to plane out, Dave was almost forgotten, and could easily have faded from the ever-quick-to-forget music fans, but luckily, a chance encounter with a trio of Genesis / XTC fans ended up in more invitations to jam, and over time, Tin Spirits, was formed as a four piece, two-guitars-bass-and-drums band – with Dave Gregory on lead guitar.
So – once I realised that I had been missing the boat completely for a few years, that this amazing band, Tin Spirits, had toured the UK (and I could have SEEN THEM live – extreme dismay!) and indeed, they had been, and, much to my eternal frustration, on their earlier tours, they did a lot of covers of prog and other music that they had a shared love for, including Genesis "Back In NYC" from "The Lamb Lies Down On Broadway" and other songs by Rush, Yes "Roundabout") and even Frank Zappa. You can view some videos of some of these amazing prog covers on the Media page of the Tin Spirits official website.
Of course, it will not bother me one bit, if instead of these covers, that if we do get to see them (and I really, really hope we can…) that we might have to "endure" listening to them play most of the tracks from their new disc "Scorch" – and I will tell you, much as I would have loved to see and hear Dave Gregory play "Back In NYC" with his new band, it would be NO hardship whatsoever to sit and listen to Tin Spirits play some or all of the "Scorch" album – no hardship at all. 🙂
I have heard Scorch about four times now, and each time I hear it, I just end up feeling so uplifted, and it really, really makes me want to play the guitar (and only the very best guitar albums have that effect on me); it also really makes me want to write on guitar again (not something I've done a lot of since 'gone native') and one thing that Tin Spirits have been extremely effective at, is creating a very full, very prog sound, without the use of keyboards – none whatsoever were used on "Scorch", it's all guitars, bass and drums – as it should be, really. Dave himself is an accomplished keyboard player, but I applaud their determination, and "Scorch" is proof positive that you can make a big, big prog sound just with two guitars, bass and drums. Of course, guitar technology has come a long, long way, and the lines between guitars and synths, continue to blur.
But the main difference between Dave Gregory, amazing lead guitarist of XTC, and Dave Gregory, amazing lead guitarist of Tin Spirits – is that in the former, he didn't really get to play much at all – a solo here, a solo there, a keyboard solo, the odd guitar bit here or there – but nothing that he could really get stuck into – whereas in the latter, he doesn't just get stuck in – he excels, explores and explodes – you can hear that Telecaster cutting through the air during the epic "Garden State", and the extended solos that Dave is now not only allowed to take, but should be legally REQUIRED to take, will knock your guitar-playing socks off.
This is really a master class for lead guitarists, and we could all learn more than one thing from listening to "Scorch" – and the rest of the musicians in the band are not slouching, in any way – guitarist / vocalist Daniel Steinhardt (also a pedal board/guitar controller inventor – the inventor of the amazing TheGigRig) is damn near as experienced and as capable as Dave is, so it's a remarkable pairing, almost, but not quite, like having two Dave Gregorys in your band – and that, my friends, is a VERY good thing.
Bassist / lead vocalist Mark Kilminster and Doug Mussard (drums and vocals) are one of the most experienced and adaptable rhythm sections I have ever heard, and the way they slot in their backing, providing rhythmic support for the two interlocking guitar wizards – this would be, a "sort of" analog / mirror of the prog / pop "version" of Levin and Bruford supporting Fripp and Belew – I cannot think of any other truly analogous pairing of "amazing rhythm section" with "two remarkable and innovative guitarists" – I can happily and honestly say that about both King Crimson, and, about Tin Spirits.
And, another thing – the "no keyboards" rule has been faithfully followed, so somehow, Tin Spirits have created truly Progressive Rock, without the use of the dread synthesizer, and to me, to use just the guitar technology available, to be able to write for two guitars, bass and drums, and create the complex, intricate and beautiful music that is contained on "Scorch" – that is quite an accomplishment.
I am absolutely gobsmacked by just how good "Scorch" is, to the point where I plan to sit down this weekend, and order their first album, so I can have their entire recorded catalogue :-). I know that the first album is not rated as highly as "Scorch" is – but I am prepared and ready anyway, open ears and mind, and I am sure I will enjoy it. If this video is anything to go by (link below), it's going to be excellent – a 13 minute plus epic from that first album, "Wired To Earth"; here is "Broken" – this bodes well, sounds good to me!
I bought "Scorch" without having heard one note by Tin Spirits – and, as sometimes happens, it was an incredibly GOOD 'blind' decision. This album is currently rocking my world, and finally, after 19 years of tantalising glimpses of Dave Gregory's genius, from the guitar solos on "That Wave" from the remarkable "Nonsuch" to his brilliant work on "Drums And Wires", "Black Sea", "English Settlement", and so many other brilliant XTC albums; "The Big Express" is a huge favourite of mine, really, I love all of XTCs catalogue, one of the most enduring in this genre (start out punky, and then gradually mutate into the new Beatles – you know, THAT kind of band!) not to mention the 1986 smash hit "Skylarking" album, produced by Todd Rundgren – an amazing body of work, but now, Dave has started another one – and this one is the guitar band for guitarists who REALLY LOVE GUITAR – "Tin Spirits". Album Two, "Scorch", is fantastic. I haven't heard Album One yet ("Wired To Earth"), but, I will be ordering it this weekend.
From those tantalising glimpses of brilliance provided by a great solo from Dave on a really good XTC song, to this: where Dave is utterly set free, where he can solo for as long as he likes, and, this record is full of extended, and super-extended, and ridiculously super-extended guitar solos, many of them by Dave – and the range of playing, from Hendrix ballad style drenched in prog beauty to scathing Telecaster lead lines, I could just listen to the guitar solos, and duos, on this record over and over and over – and, don't get me wrong, the band has EXCELLENT vocals, but right now, I am bathing in the glory of a finally-unleashed, finally-unchained, doing it the way HE wants to, nearly endless guitar solos from Dave Gregory – FINALLY !!!!!!!!! If only Andy had let Dave play like THIS in XTC, we might have seen them become a brilliant Prog band too…
This boy can PLAY. He can PLAY good. He knocks my socks off on this particular disc, if you haven't picked up "Scorch", I recommend it highly – it's the guitarist's guitarist guitar album of the future, and I love what I am hearing – finally, freed from the 30 second XTC mini-solo, when Dave stretches out on album closer "Garden State", it's like getting to hear Hendrix practicing beautiful guitar for "Angel" or "Drifting" or "Little Wing" that's all I can think about, when I hear the fluid, sinuous, sounds of Dave's guitar, and his tones are pure liquid fire, they are musically SCORCHING, there is absolute purpose, and serious musical intelligence there, and never has there been a more aptly named album.
I will let others do the song by song analysis of "Scorch"; I am really more interested in conveying what an extremely excellent album "Scorch" is, and, also, trying to give it the back story it deserves, and how it fits into the chronology of both XTC, as well as Dave Gregory's long and very distinguished career as a great guitarist, arranger, and all-round musician, vintage guitar enthusiast, and now, playing in the band of his dreams – Tin Spirits. And for me, even though I've started at the wrong end of their short and sweet catalog, "Scorch" is an amazing musical document, and it is absolutely worth checking out.
I will say, the album opener, "Carnivore" sets the mood brilliantly, it's a proggy instrumental with lots of great guitar, but it's when we move into the next few songs, and you start to get to where there are well-defined guitar solos…and you suddenly "hear" Dave, you KNOW it's Dave just by the sound – and to my mind, the only guitarist that I think is similar to Dave, is the late, great Jimi Hendrix (but probably, the gentler, more melodic "side" of Jimi) – who is clearly, clearly a huge influence on Dave. So when that first "Gregory" solo hits your ears – you are suddenly really paying attention, and it does not disappoint – instead, it reels you in, you want more – and you don't just get more – you get a LOT more – more Dave Gregory guitar on this album than you will find on any three XTC albums ! And that is saying something…
The gentle, pastoral guitars of "Little Eyes" from "Scorch", take you everywhere from an almost King Crimson "Discipline"-style "interlocking" or what I call "gamelan guitars" to fluid, beautiful, liquid Hendrix guitar solos – the whole effect is so uplifting, positive sounding – a brilliant track, "Little Eyes" gives you a very good idea of the basic quality of the album – it's just a perfect little song – lovely. It's long instrumental outro, is a great showcase for Dave's amazing guitar style, and in this solo, you hear him reaching for the stars – and finding them, sparks flying – just one of those so-perfect solos, that then merges perfectly right back into the rhythm of the song…seamless, timeless – beautiful.
Take someone like Dave Gregory, with his massive collection of amazing vintage guitars, his knowledge of how sounds were created in the past, and his ability to recreate very specific guitar tones by using particular combinations of guitars, amps and effects, add in his many, many years of guitar playing, almost always, as a lead guitarists in one form or another – and you have a mature, powerful, guitar-force-to-be-reckoned with: Dave Gregory; in 2014 – suddenly, I can hear the culmination of that career, a player at the top of his game, the craft of guitar is relaxed, confident, powerful – you can hear it – in the beautiful guitar solos that are featured in almost every track on "Scorch". Remarkable! And really, really beautiful, too.
Get "Scorch" now, if you love prog, if you love pop, if you love guitar music, if you loved XTC, if you love the guitar work of Dave Gregory – heck, just get it – I bet you will like it! In Europe, you can get it from Burning Shed, in America, probably Amazon. This be rocking! I'm going back to listen to it again right now…ah…sonic bliss 🙂
2 Comments Posted in "prog rock", "progressive rock", "rack mount", "the music of the moment", "what we're listening to", artists, Beatles, guitar, listening, music, musicians, pedalboard, pop, prog, pureambient, releases, rock, stereo, stompbox, synth, synthesizer, YouTube Tagged "andy partridge", "colin moulding", "dave gregory", "frank zappa and the mothers of invention", "frank zappa", "prog rock", "progressive rock", "steely dan", "the beatles", "the move", 25 O'Clock, Apple Venus Vol. 1, barry andrews, beatles, Black Sea, Chalkhills, Chips From The Chocolate Fireball, Daniel Steinhardt, Doug Bussard, Drums And Wires, Dukes Of Stratosphear, English Settlement, genesis, Mark Kilminster, Mummer, nonsuch, Oranges And Lemons, pedalboard, pink floyd, pop, power supplies, prog, Psonic Psunspot, psychedelic, psychedelic music, rock, rush, scorch, Skylarking, swindon, switching, terry chambers, The Big Express, The Dukes Of Stratosphear, the gig rig, the kinks, thegigrig, tin spirits, wired to earth, xtc, yes
"under the influence" (beatlesque)
Posted by pureambient on May 31, 2014
I wanted to take a little time to try to give some indication of the vast scope and reach of the influence of the Beatles, and in particular, their influence on other musicians. This has inspired everything from direct Beatle parodies such as "The Rutles" (featuring Neil Innes and Eric Idle) to tracks that sound very Beatle-like (such as any number of Raspberries, Badfinger, Todd Rundgren, The Move, Roy Wood, Knickerbockers, songs – and many, many others – see lists below) to whole albums of Beatles tribute (such as Utopia's brilliant and very musical Beatles spoof album, "Deface The Music", from 1980).
Even the world of jazz was invaded by the music of the Beatles, from Wes Montgomery and other guitarists of the day, inventing their own jazz versions of Beatles tracks, or someone of the stature of Ramsey Lewis, making, in 1968, an entire album of Beatles covers, all taken, amazingly, from the Beatles then-current 1968 "White Album" – in a completely unique and extremely jazz way.
Awesome inspiration, across all genres of music – the music of the Beatles actually can be called "universal" in its appeal, given the strange and disparate characters who breathe new life into a huge, huge range of covers and tributes and sound-alikes, from the very ordinary covers, to the truly bizarre spoofs, jokes and odd variations that abound the world over – everybody under the sun has had a crack at covering a Beatles song – and some go much, much further, either creating amazing near-carbon copies of Beatles songs (such as 1976's "Faithful" album by Todd Rundgren – his "faithful" version of "Strawberry Fields Forever" is exquisite) or creating music that sounds so much like the Beatles, that it is actually thought to be by the Beatles (for some unknown reason, "Klaatu" was one such band, where folk thought that it was actually the Beatles, performing anonymously six or seven years after they had broken up…but, it was not).
For my money, there are other artists who create original music that is much, much closer in content and feel than the music of "Klaatu" (but, don't get me wrong, "Klaatu" are a remarkable, very capable, and very interesting band to listen to – and, little-known fact, they are the actual authors and creators of the original version of the Carpenters' hit single, "Calling Occupants (Of Interplanetary Craft)" – not too many people know that in that case, the Carpenters were doing a cover of…"Klaatu" !
I think, though, that in many ways, that the Beatles, and to a somewhat lesser extent, The Beach Boys, had a huge influence on musicians all over the world. From Apples In Stereo to XTC, there are so many musicians, including some pretty unlikely characters, that have either covered Beatles songs faithfully (or unfaithfully in some cases), or have created either songs and/or albums of songs that mirror, mimic or even mock, the sound of the Fab Four.
I think that it's very true what they say, that imitation is the sincerest form of flattery, if that is true, then the Beatles have been flattered until they are completely flat, because so, so many musicians have cited them as a major influence, and have unashamedly copied their songs, their sound, their harmonies, their guitar playing, their bass playing, their song structures and so on – and the list of people who do cite the Beatles as a musical influence is just simply too long to print in this forum.
What always surprises me is the number of extremely progressive musicians who claim a serious Beatle influence, when you listen to the music of a band like Yes, or King Crimson – you wouldn't necessarily immediately think "Beatles" – but Yes were obviously fans of the band, in the early days, they covered the Beatles "Yes It Is", and I believe that both Steve Howe and Chris Squire have said they are fans of the Beatles music. Robert Fripp has also acknowledged the influence of "Sgt. Pepper's Lonely Hearts Club" band on him upon hearing the whole album on his car radio one fateful evening, and Beatles references are embedded, sometimes deeply, into the music of King Crimson – "Happy Family" from the third Crimson album, "Lizard" is an unconcealed tale of the Beatles breakup, penned by then-Crimson lyricist Peter Sinfield.
So sometimes, there are Beatle-influenced bands and musicians, where the music made by those musicians, music sounds nothing like the Beatles to our ears – but for them, the Beatles still loom larger than life, buried deep in their internal, musical DNA – just waiting to get out, in the form of new songs that are about the Beatles, influenced by the Beatles, or simply sound like the Beatles, intentionally (usually) or not (occasionally). Perhaps yet another splinter-list should be "Songs That Sound Like The Beatles But Their Composers / Performers Did Not Intentionally Try To Sound Like The Beatles – It's By Complete Accident" but I feel that my already non-legendary non-skills as a list producer have already fallen flat, and that's too complicated for me to work out who did or did not "intend" to sound like the Beatles! I don't think I can write that list – but if you can – please do, and please send it in, and if it's complete enough, I will post it here.
Speaking now as a guitarist, I don't think I've ever met a guitarist who did not care for the guitar playing of John Lennon or George Harrison, nor have I ever met a bassist who did not respect the massive skills of Paul McCartney on the bass guitar – the absolute, indisputable master of melodic bass playing – and when I listen to Chris Squire play, I do hear echoes of Paul McCartney's style in his playing – especially the "high register" bass work. This famed skill at playing beautifully in the higher and highest pitch ranges of the bass guitar has been imitated by many, but for me, well, it's Todd Rundgren's "Determination" that showcases this technique in an incredible way (see below for more on "Determination" ).
The same can absolutely be said for drummers admiring Ringo Starr, everyone knows that Ringo is not a "flashy" drummer, he doesn't often "show off" but what Ringo has that many, many drummers do not have, is the steadiest tempo imaginable, and, a sense of when to play, and when not to – he always provides just the right amount of percussion to any given song, never overplays – just what is required. This is borne out when you hear live sessions by the Beatles, while John, Paul and George make error after error in the earliest takes of any given song, it's rare indeed to hear the almost metronome-like Starr make an error.
Even guitarists who also play bass get the whole "Paul McCartney high-register bass playing" concept, as can be evidenced by the multi-talented Todd Rundgren, from his 1978 solo album "Hermit Of Mink Hollow", there is a brilliant track called "Determination" , which not only features pitched up, trebled up, "jangly guitars" but a beautiful, beautiful, McCartney-esque bass line, that just pulls the heartstrings as it flies beneath the open chords, beginning in the high register, and then sweeping down to become a bass again – McCartney's early adoption of unusual styles such as playing bass melodically, playing bass in the very high registers, or playing bass in any number of innovative ways, not always melodic – playing with his low E string slightly detuned (as in the song "Baby, You're A Rich Man") or, playing the low E string so hard that it detunes as he plays (as can be heard in parts of the song "Helter Skelter") – has not gone unnoticed by Todd, and any number of other McCartney imitators. Speaking of McCartney imitators, Eric Carmen and the Raspberries also recognise the genius of the Beatles front line which is evidenced by songs that closely resemble Beatles songs in form and content, lyric and guitar styles.
I wish more drummers were like Ringo, well, there is one that immediately comes to mind – Zak Starkey, Ringo's eldest son. Zak is a remarkably talented drummer in his own right (I was fortunate to see him perform with an early incarnation of "Ringo Starr's All Stars" (a show which also happened to feature the above-mentioned Todd Rundgren) and, hearing Zak and Ringo Starkey nail the complex drum part of Todd's "Black Maria" live was absolutely fantastic – Zak made it his own, but carried the band of mostly older musicians, through the set with his unshakeable rhythm, and he has certainly inherited Ringo's steady hand – but Zak is also a thoroughly modern drummer, and in some ways, he goes far beyond his famous dad – which is what you might expect – I mean look at Jason Bonham, it's the same thing, drummer with a famous drummer dad, and with that burden of being the son of a legend, they try that much harder to sound unique, and go beyond the "oh, he's the son of Ringo…" or "oh, he's the son of Jason" – and I am justifiably proud of both of them, for carving their own musical paths, and not relying on "dad" for their fame or ability, but making it on their own laurels.
witnessing one of the variations of "Ringo Starr's All-Starr Band", on the 1989 tour featuring Todd Rundgren, it was remarkable to see Zak take sole control of the drums when Ringo went front and centre to sing, so for some of the classic Beatles songs that the band played, it was Zak on the drums rather than Ringo himself, but it absolutely mattered not, Zak did an amazing job on tracks like "With A Little Help From My Friends" and "It Don't Come Easy" – and at other times, father and son played together, and that was truly a joy to see – amazing !
Two generations of Starkey's, doing what they do best – playing the drums, and playing the music of the Beatles too – among other items from the various band members such as the aforementioned Todd cover – and "Black Maria" live with Zak AND Ritchie Starkey is not something I shall forget any time soon – fantastic"!
And, because it was Todd's big moment, Ringo was free to join Zak on drums, so it was the pair of them behind Todd – and you could see in Ringo's face how much he enjoyed playing the song (I believe it was included in the set list, because Ringo always had liked the song, so much so that he insisted that it be the "Rundgren" moment in the concert – it being his favourite track off of Todd Rundgren's seminal 1972 album, "Something / Anything") and Zak was just head down getting on with the drum part – and that is the only time I've ever seen the song performed with two drummers – and if those drummers are Ringo and Zak Starkey, you know it's going to go well – and it was an excellent cover, absolutely spot-on, and a real highlight of the show.
I don't think anyone can argue that the Beatles had a very, very significant influence on musicians of many generations, and new generations of players are discovering the Beatles anew even now, in 2014, and are translating their experience of hearing Beatles material into their own new "musics" – so the process continues, of hearing songs influenced by the Beatles, even in new music created by young musicians – because, in 2014, maybe they just heard "Revolver" for the first time, and it absolutely blew their minds – just like it blew our minds back in 1966 when we (now, unbelievably, now we're the "older generation"!) first heard it.
And – it's undeniable – this is unforgettable music, genius music from the writing to the playing to the singing and even to the packaging – Beatle imagery is also something that has been oft-copied, and some of their most famous album cover designs have been copied again and again by so many bands.
Some of those copies are more on the side of parody, for example, Frank Zappa & The Mothers of Invention classic Beatles parody, made not that long after the original came out, "We're Only In It For The Money" is directly made to look like a bizarre "version" of "Sgt. Pepper's Lonely Hearts Club Band" and in some ways, the cover is the biggest part of the joke – the music on the album (which is brilliant, by the way – one of my favourite early Zappa / Mothers records) is not nearly as important to the parody as the album design was. But the whole effect is…kind of hilarious 🙂
In particular, some of the most famous Beatles album covers, such as the "bendy" photographs of the band that graces the cover of their innovative "Rubber Soul" album have been imitated by many other bands, time and time again. Even in the earliest days, the unusual photographs of photographer Robert Freeman (as in, the classic shot of the Beatles silhouetted against a dark background) as on "With The Beatles" (UK) or it's US counterpart, "Meet The Beatles" has been copied many times over the last few decades. But revolutionary cover art is difficult to come up with, so bands just borrow from the best…The Beatles.
No article about Beatles' influence would be complete without mentioning two gentlemen from different eras of pop music, firstly, the ridiculously talented eric stewart of 10cc, who has performed Beatles songs live in concert with 10cc, and also has an undeniable streak of "beatlesque" harmony and sound on various tracks throughout the long career of 10cc – the best example is probably part 1 and part 3 of 10cc's pop opus, "feel the benefit" – very "dear prudence" if I don't mind saying so myself :-). the other gentleman in question is from a couple of decades later, from the 1990s and beyond, and that is Jason Falkner; unwilling conscript into pop genius band "jellyfish", after he escaped their clutches, went off on a very successful if low-key solo career – and again, the sound of his vocal harmonies, the beautiful chord progressions in his music tell me one thing: he, like Eric Stewart before him, is under the influence of the Beatles. Personally – I cannot get enough of the music of 10cc or Jason Falkner, two generations apart, perhaps, but, united in their love for Beatle harmonies, jangly Beatle guitars, beautiful Beatle chord progressions, and even Beatle-like lyrics.
I started out writing this edition of the Beatles' story by trying to create various lists of bands that sound like the Beatles, and then, albums inspired by the Beatles, and I was really only able to touch upon a very few – I know that I have missed out so, so many – and everyone has a different "take" on what bands sound like the Beatles, what albums are directly or indirectly inspired by the Beatles and so on.
Regarding my attempts at filling in these lists – I am ultimately not satisfied by my primitive attempts at "list-making", and in searching the Internet for valid lists of bands that sound like the Beatles, I kept finding lists that made no sense to me, personally – that would always include every big rock band of the day, so it would always be "Pink Floyd", "The Who", "Jimi Hendrix" – and I don't think any of those bands sound like the Beatles at all ! Yet, site after site would cite (ha ha, get it – site – cite) Hendrix or Pink Floyd as a Beatle sound-alike – but I cannot bring myself to agree with this, yes, Hendrix loved the Beatles, he played bit of Beatle melody in the middle of his own songs, he covered many Beatles songs – but, he doesn't really SOUND like the Beatles, does he? Maybe very vaguely, on a song like "Crosstown Traffic" perhaps – but, I'd say, if anything, that Hendrix influenced the Beatles, as much or more than the Beatles influenced Hendrix.
Jimi Hendrix sounds like…Jimi Hendrix, and no other, really – he is utterly unique. Hendrix did absolutely love the Beatles, and would indeed, often insert a perfect bar of George Harrison lead guitar, into one of his own original songs, in live performance – and then give a little laugh, like it's an "in-joke" – "here's a cool melody that I nicked off of the new Beatles disc, it's called "Revolver…".
As for Pink Floyd, it would take some real convincing for me to add them into the list – I love a bit of early Floyd as much as anyone, but I do not hear echoes of the Fab Four in their music (you saw what I did there…."Echoes"…Pink Floyd – and, it was completely unintentional!) I am afraid I just don't get it, these constant references to Pink Floyd sounding like the Beatles – maybe they are talking about the odd Syd Barrett track, I don't know, but it just doesn't seem right to me….so I did not add them in :-). Yes, the Beatles and Pink Floyd did both play psychedelic music, but it was very different in nature – so, no, I don't see the connection, musically.
So – please send in your additions and corrections to any of the lists, and I will update them periodically to reflect world opinion – I am not a Beatle expert (although I have read extensively about them, in particular, I started out years ago with Hunter Davies' remarkable biography of the Beatles; in later years, I've studied the remarkable works of Mark Lewissohn, whose "The Beatles Recording Sessions" is like the Bible, to me, one of my most cherished and most often re-read Beatles information sources).
I will read anything and everything written about the Beatles, even now – and I cannot possibly compile complete lists of the type I am presenting here, so any and all input from readers would be much appreciated – please comment, and in your comments, submit corrections or additions to any of the lists, and every few months, I will compile all of the comments and update the lists – so over time, maybe, these lists will become relatively complete – which would be great, because we would be creating a useful, accurate, and complete Beatle resource – or rather, a resource of bands and albums that SOUND like the Beatles, anyway – why not?
Meanwhile, on the subject of the Beatles music, I've been very happily really enjoying my two latest Beatle purchases: from 2013, the two-double-CD "Live At The BBC" – volume 1 (from 1994) completely remastered, and a new volume 2 entitled "On Air" which is a fantastic addition to this wonderful series – four CDs chock full of radio performances, studio out-takes, and the Beatles chattering – a fantastic Beatles music resource, of early live tracks and one demo, and at this point I say, thank God for the BBC ! Luckily, they kept all of these Beatle recordings, so now they have been compiled for future generations to enjoy.
My other purchase, "The U.S. Albums" is a 13 disc monstrosity, but hearing the albums in the U.S. running orders for the first time since I was a child, is just remarkable – even though John Lennon condemned Capitol for messing with the Beatles' carefully considered running orders, the odd, arbitrary, Capitol-created running orders are unfortunately for we Americans, what we grew up hearing, so even now, I am still startled by the UK releases – because the songs don't arrive in the order my brain expects they will. So now I have complete choice – if I want the real thing, I consult the Stereo and Mono boxes from 2009. If I want the Capitol versions – I consult the US Albums from 2014 – very exciting stuff for Beatle-maniacs such as myself 🙂
The last time I bought this many Beatles CDs all at one go, was in 2009, when the long-awaited stereo and mono re-masters appeared – and of course, that was an essential purchase. Following that, though, I am truly amazed, and at the same time, very grateful indeed, that in 2014, I can almost casually pick up 17 "new" Beatles albums – four from the BBC, and 13 from Capitol – and that just makes my Beatles catalogue so much more complete and containing even more variations on their remarkable catalogue of music – beautiful, rockin' Beatle music.
So we've gone down an alternative path this time, a path taken by the many, many musicians who revere the Beatles, and admire their music enough to copy it exactly, partially, or, some aspect of Beatle music has entered into their own songs, anything from a guitar riff to some high register bass work of a melodic nature, or a steady Ringo Starr back beat – so sometimes, you may have a completely unique song, but there is a section of it that REALLY recalls the Beatles very strongly – so, five percent of the song is 98 percent Beatle-like – but, the REST of the song is not !
As a musician and a guitarist, I do hear a lot of these "stand-alone" Beatle moments, it might be a few bars of music in a Jason Falkner or Michael Penn pop song that strongly remind one of the Beatles, or just a 10 second passage in a song on the radio – you hear "Beatlesque" bits of music almost every day, and I am often fascinated by them, sometimes, you work in your mind to try and figure out which Beatles song or songs is being referenced – sometimes it's obvious, sometimes, it's impossible to determine – but you do know, just by hearing, when something has the quality of being "Beatlesque".
Lists Of Bands That Sound Suspiciously Like The Beatles
Bands Or Artists That Always Sound Like The Beatles:
Bands Or Artists That Often Sound Like The Beatles:
Badfinger – an Apple band
James McCartney – son of Paul McCartney
The Move – featuring Roy Wood
Raspberries – featuring Eric Carmen
The Swinging Blue Jeans
Bands Or Artists That Occasionally Sound Like The Beatle
The Bears – featuring Adrian Belew
Adrian Belew (ex-King Crimson) – solo artist
Electric Light Orchestra – featuring Jeff Lynne
Jason Falkner (ex-Jellyfish) – solo artist
Dhani Harrison – son of George Harrison
Jellyfish – featuring Jason Falkner
Klaatu
Julian Lennon – son of John Lennon
Jeff Lynne – Electric Light Orchestra – Harrison's producer / member of Traveling Wilburys
Aimee Mann – solo artist
Bob Mould (ex-Husker Du) – solo artist
Nazz – featuring Todd Rundgren
The New Number 2 – featuring Dhani Harrison – son of George Harrison
Andy Partridge (ex-XTC)
Michael Penn – solo artist
Michael Penn & Aimee Mann – couple (they did an incredibly lovely cover of "two of us" – gorgeous track)
Todd Rundgren – solo artist
Teenage Fanclub – Scottish pop band
Utopia – featuring Todd Rundgren
Roy Wood (ex-Move) – solo artist
XTC – featuring Andy Partridge
Bands That Sound Suspiciously Sort Of Like The Beatles
Oasis – (in their dreams, anyway!)
Albums That Are Directly Inspired By The Beatles
Fresh – Raspberries – 1974
Faithful – Todd Rundgren – 1976 (all covers album, including Beatles covers)
The Rutles – The Rutles – 1978
Archaeology – The Rutles – 1996
Deface The Music – Utopia – featuring Todd Rundgren – 1980
We're Only In It For The Money – Frank Zappa & The Mothers of Invention – 1968
– visual parody of Sgt. Pepper's Lonely Hearts Club Band
Well-Known Known Admirers Of The Beatles – Musicians
Jon Anderson (ex-Yes)
Adrian Belew (ex-King Crimson)
Eric Carmen (ex-Raspberries)
Robert Fripp (King Crimson)
Liam Gallagher (ex-Oasis)
Noel Gallagher (ex-Oasis)
Steve Howe (Yes)
Eric Idle (ex-Rutles)
Graham Gouldman (10cc)
Jimi Hendrix (may he rest in peace)
Neil Innes (Rutles)
Aimee Mann (solo artist)
Michael Penn (solo artist) – brother of Sean Penn
Todd Rundgren (solo artist) – w/Nazz, Utopia
Chris Squire (Yes)
Eric Stewart (10cc)
Alan White (Yes)
Please – agree or disagree with my choices; send in additions, recommend deletions, recommend changes – and if there is enough input, I will periodically re-published updated versions of any Beatles lists that have appear in this blog series based on your input.
Meanwhile, maybe there are some artists noted here that you were not aware of, that have obviously studied the music of the Beatles and learned from it, and I am always happy to listen to any musician or band that sounds like the Beatles – so, if I have missed any truly obvious ones – please let me know, and again, I will update the list, too.
Happy listening – the influence of the Fab Four runs deep, traverses the entire globe, and only seems to be on the increase over time, as successive generations re-discover their music (often prompted by their parents, but still…) and then integrate parts of it into their own new kinds of music – a process that I hope goes on forever.
Nothing would make me happier, "in the year 2025" (another 60s pop joke for the older folk in the audience!!), let's say, to hear a brand new song on the radio that sounds very original, but, completely Beatlesque at the same time – that would please me no end, because we then will know – young people are still listening to the greatest rock band that ever was – the fabulous Beatles – and they rock!!
I don't know about you, but I am definitely under the influence of the Beatles – always have been, always will be – my favourite band from childhood, the first band I truly appreciated, and in actual fact, I literally "grew up" with them and their music, it's a joy to still be listening to them now, in the year 2014, and feeling just as happy about it as I first did back in 1963, when I must have heard them on the TV, on the Ed Sullivan show – being only five then, I don't directly recall it, but as it was repeated on TV every year or more often every year thereafter, I feel like I do remember it – and I do remember their later TV appearances directly.
What a remarkable group, and what a remarkable influence they've had on a remarkably talented group of very respectful and creative musicians – my peers I am proud to say, who also "grew up" with the Beatles. There's no better way to end up "under the influence…"
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