4th, 5th, the minor fall – 29.05.1997

Veröffentlicht unter The "Where have you been?"-Years

Talking about Leonard Cohen:

With a resilient concinnity close to the threshold marking arrogance – or to put it in better words: knowing the truth – Leonard Cohen writes a kind of poem. A simple guide of how to transport. Or how to achieve rapture for a sarcastic misanthrope. Seen to much and been to far? There was a solution for Leonard Cohen! For him it was so easy to take his guitar and compose “Hallelujah”. Offering now, the “Best Song Ever”-kit.“ As specified on page 2 of the instruction manual, you take the fourth, the fifth and a minor lift. There is your prayer that shalt relieve all thou. Jeff heard the words. And with his strong belief in being true he gave the words a voice of an aching life. So he de-accelerated life for some bars and gave time and space to his listeners to gasp. Buckley was not like Marat, who was in desperate need of water, he maybe just wanted to refresh this 29th May 1997 when the Ol’ Man River asked for a sacrifice. Now for aeon of time the Mississippi formed nature and inspired men, murmuring his stories in starry nights, once gave comfort to the Natchez. Drained and venomed as today he asked that very day for a companion, for an ease and sooth. Someone who was like him, everlasting – so he took the best. Was it Cohen, who said “…and she lets the river answer”?

Be6-d7 at 13°5′ N, 100°29′ E

Veröffentlicht unter The "Where have you been?"-Years

Talking about Murray Head:

“Say It Ain’t So Joe”. Murray seals the envelope of this international music tournament knowing that this is an adjourned game. Gary Brooker and Mickey Jupp should play what was meant as the next move in British rock. Maybe not knowing where to go or just missing the chance to decide which direction to lead Murray, poor Judas who he was, felt more comfortable to loose his ego in a culture that was never aware of the conception of an ego. Richey James, maybe followed as he crossed the bridge to make it to Shinjuku. Glam at Ginza-Road. Culture-clash in Blackwood and Havana. Be6-d7 in Reykjavik by Spasski, 31.08.1972. Is there a social-life in rock-music and is rock-music a social issue or in better terms dealing with social issues, or is it a socialized cultural appendix? Can egomania be the key to win a battle between the systems? Talking about Bobby and Chess: flash-lights and cameras, persona non grata who is communicating via ticker. Eccentric! Maybe a rock star? Scenes of a rally come to my mind, soldiers, teargas, burning buildings… “The image and the empire may be falling apart, the money has gotten scarce. One man’s world held the country together but the truth is getting fierce.” (Say It Ain’t So Joe, 1972). Steve Vai covered “One Night in Bagkok” in 1996. So, why didn’t he cover the song ahead? Anthem! Famous – for all the wrong reasons!

33 1/3 vs. 78

Veröffentlicht unter The "Where have you been?"-Years

Talking about Shadowfax:

Frank was a wild child during this what we accept as the „Where have you been?“-years. With a certain affinity towards acoustic music and guitars. His dad gave him a four-components Grundig hifi-center when Frank was 12 years old. Just to cope with the time. A radio-tuner and an amp, a mc-player and a turntable which one could switch from 33 1/3 or 45 up to 78 rpm. Frank loved it and also started to shred with his Gibson SG-alias (bought at Hertie) through this system. Years went by. Back from the States Frank brought some Windham Hill-samplers with him. Alex de Grassi! One of the guitar heroes who were fair enough to publish the open tunes that he was using. Don’t get Frank wrong, the rest of the artists were awesome but the beat was kind of low for him. So he remembered his beloved Grundig-hifi-center. His friend Peter S., witness of the so-called „Where have you been?“-years, was with Frank and did celebrate the decade’s most popular „whatever“, too. So they switched the turntable to 78 rpm and the beat became excellent. “A 1000 Teardrops” by Shadowfax. The Lyricon starts…

2:47 minutes in the year 1970

Veröffentlicht unter The "Where have you been?"-Years

Talking about Black Sabbath:

„Paranoid“ was always meant to be a reggae. Just a small sketch: Ozzy, Frank, Geezer, Bill and some friends are sitting in front of their home. Dressed in batik-shirts and bermudas. Flavoured smoke hangs in the sky. Ozzy lifts his blue-coloured sunglasses a little bit over his eye-brows, looks at Frank and says: „Yes, man, we got it!“ Crickets chirr and Ozzy slowly starts a „Finished with my woman“ in a falsetto voice. The band grooves. Some moneymaker from the management appears, yelling at the band: “Damned, get real! Put on your black dress and don’t forget the crucifixes!“

Preamble – The Misapprehension in Rock’n’Roll

Veröffentlicht unter The "Where have you been?"-Years

The Bureau of National Anthem is aware that composing and customizing your anthem will have a deep impact on anyones’ musical culture. For this reason we want to let our clients and blog-readers know the fact that a paradigm shift in music took place in that very age that we call the „Where have you been?“-years.

With our approved scientific WHYB-methods we will elicit what was formerly known as true.

This is a brand-new service on our website to improve our client counseling. Let us know, if you like it.

Halfway to anywhere

Veröffentlicht unter Anthem of the Month

Halfway to anywhere
or
The day I met Georgios.

„Long journey…!“, the immigration officer pays some respect as his fingers flip through my passport. The 32 color-printed visa-pages make my life look like a road-movie of a homeless. Flip-book 1-0-1! 2 more leaves left. Images of Togo, Mali, China, Japan and Russia fly by. Frankfurt Airport/Germany. The Arrival-terminal is abandoned. I am going to play for Frankfurt Musikmesse 2010.

Georgios Vasiloudis is standing in the middle of the audience and looks at me. He does not ask for permission but makes clear that he is now going to unwrap his violin to join in. Awesome! The proud Greek now stands engird by a band that is now his band and shows everybody, what it is all about: playing music! He is not wasting my time by numb questioning: „What is the key?“ or any other aggravating stuff like this. He becomes a member of the band and „Hey!“ what’s an half-tone when you are a friend. Georgios takes me aback as he talks about his avocational life: Georgios has trees. And he sells trees. Christmas-trees! Aha! 30.000 of them in all. In Greece. Any questions?

One of my foibles is, and there are only a few, that I always fall into a kind of narcoleptic state of mind as long as I try to fancy the proportions of ten parallel soccer fields, 687.000 grains of rice on a chessboard, 13 daisy flowers in a row and things like this. 30.000 christmas-trees make me think about the Greeks and Greek music. Being someone who always litters the Ouzo right into the plastic-palm garden-pottery I am not that much astonished that I have never performed in Greece. The big one concerning the polis is fine, especially now that I see myself as the mayor of Backstage-O-Polis. Stuck in between a dream of filled vine leaves and a cross-country-skiing Costa Cordalis I slumber on and into the dangerous world of half-knowledge concerning pop-hits. I flip an Euro-coin to Charon and try to fade out Nana Mouskouri when all of a sudden the outstanding, unique voice of Demis Roussos sounds over the waters of river Acheron. Before Tommy Shaw aka Mister Wisenheimer now knows better, memories of childhood days come to my mind. Aphrodite’s Child! “666”. Time again for a new flood of e-mail requests. Please, Frank… is there a small chance for a blog without this christianity-white-noise-humming-sound? Hey, I haven’t told the story about me and Pope Benno at Castel Gandolfo yet, security men wrapped in Ermenegildo Zegna, a Tanglewood resonator-style guitar and the ever blipping metal detectors. Let’s get back to Aphrodite’s Child.

The fantastic concept-album „666“ of this Greek band is based on the Book of Revelation by St. John. There is not much to tell or to explain about this album ’cause you have to find out yourself by listening to this master-piece. Interesting fact is that besides Demis Russos Vangelis was a member of the band. You know him, he is the musician who wrote this music you always hear when something is happening in slow-motion. Unlimited fun is granted when you visit www-sites dealing with Aphrodite’s Child. A world wide web displaying the original as-it-once-was level. The pedigree of animated gifs. Hilarity help!!! Home of the server for this flock of pages is surely located in the bizarre, German town Bielefeld. Our all-time favourite game „Sounds like…“ maunders about my personal hero Peter Hammill to the „Kraut-fraction“ up to, and this is hard to believe, Frank Bornemann of Eloy. I was 14 years old! And it was not even summer. But I was witness of the Frank Bornemann signature move when he played at Karlsruhe Stadthalle. Carbon dioxide snow, laserlight and this tragical but killingly funny lunge when the band Eloy changed the keys. I loved it! Well, same time I have read Hesse! Anyway, all this socialized me talking about Flying Arrow guitars. Michael Schenker and UFO, my first concert when I was 12 years old, Frank Bornemann at the age of 14, and now being an acoustic guitar player I have to sneak to the Dean booth. Dean guitars is offering an acoustic version of the flying beauty. A real, real thick product pilot catalogue tells in a mellow tone about some sound shortcoming due to the construction requirements but those who have seen Rudolf Schenker unplugged with the Scorpions know: Who the fuck cares! It is an attitude.

Hic et nunc. George Michael’s (the artist formerly known as: Georgios Kyriakos Panayiotou) „Careless Whisper“ pervades my 70s vision. Reality to Frank! Reality to Frank! Passenger Frank Heydthausen, please come to the meeting point! Dazed and confused I ship the mental aegean sea. Finally I start to croon „Last Christmas“. What the heck is this Greek and Christmas thing all about? Still 2 leaves left in my passport. I have to see Greece! What, no visa required? But a self-adhesive christmas-tree sticker. Hellas!

The Batt-O-Meter and the can opener

Veröffentlicht unter Driving naked in a Rolls Royce

The Batt-O-Meter and the Can Opener
or
The Uncontemporaneousness of Events

The origins of Rock’n’Roll are going back to the year 1810. At least the basics of a good tour life and tour supplies were settled in that year: The can was invented. It was tested „tour-proof“ by the British Army in 1813. But how stupid is that: sitting in front of a can for 48 years not knowing what’s inside or how to open it!? But, finally in the year 1858, Robert Yeates has taken the next step to a tour life without worries by inventing the ultimate solution. Tataaaaaa, the can opener is born.

An unacceptable situation for guitar players. Haptic, solving technical problems with hands and fingers, making fire. Ugha-ugha or something like that.
To adhere, to drill, duct-taping the head of the string-crank to a battery-powered drill. Ah! Or, when the sky is the limit and you are calling yourself Jimmy Page: solve the whole thing with a Robo-Guitar! No wonder, scenes from the Old Testament happen in guitar corners of any backstage area – and I am not talking about Onan, deprived of his name, or Lot. Both motives that just rock in a four-color-printing, flocked to black shirts.

But back to the topic. A 10.000 Euro equipment like most of the guitar players, but a 99 Cent Meola-battery from the discounter, with the correspondent given-name, ruins your gig.

At least since the invention of the Maestro Fuzz-Tone FZ-1 in 1962, slot and cross-slot screwdrivers belong to the daily tools of every guitar player. Was it 1962 a pure guess, if the 1,5 volt battery will last, 48 years later it is a standard procedure to furnish a little space somewhere in the technic corner for all those loose screws belonging to the beloved pedalboards.
Then there is a little bit of twiddling with the wires and the protective cap, poking out the tongue and licking the battery.
Features blurred as if you are playing a high-speed-murder-shredder-solo in front of 50.000 fans: battery still has power! Second possibility is the mien “I just licked a whale” – battery low!

Pockets full of batteries, not only in the studio. The simple query to my percussionist, if he could remember when I have changed the battery of my RC-2 the last time, is answered with click and flick sounds. I can’t blame him. Thando comes from Cape Town and speaks Xhosa! A very widespread Bantu dialect, which doesn’t help me any further now. Thando’s international “I’ve no idea!”-sign is for the rest of the band the one. 2 – 3 – 4. There they go.

Now my system is paralyzed by the with “no” battery BOSS RC-2. My signal-line is BOSS TU-2, EMMA, ReezaFRATzitz, EB WahWah and my sparkling RC-2. Christmas-light-error-diagnostic is applied.

Here would be the time for the first „To the editor… but you can run all that by electricity!“

It’s like Robin-Williams-movies – you like the ones where he is wearing a beard or the other ones. It is always the same old quarrel, guitar players with pedals pick: electricity or battery? At nearly all studio recording sessions I use batteries, like most of my colleagues. Anyway, at guerilla-gigs I don’t have a choice. By the way, Jumanji confused me.

But back to the half-life period of battery-powered Rock’n’Roll. It seems as if it needs a span of 48 years between a pioneering invention and its can-opener. But as long as Keith Richards and Mick Jagger are on tour, the half-life of Rock’n’Roll can’t be defined.

NAMM Show 2010. As Robert Yeates freed the Ravioli in the year 1858, so did Keith McMillen in 2010 and made the mysterious energy that powers our stomp-boxes visible for us. The Batt-O-Meter is born! Hallelujah! On an instant it became awarded „NAMM 2010 Best in Show“.

The little yellow-black wonder is just as big as the push-button of the RC-2. And there is a jack with a cable attached to it. Okay, first plug in the cable into the RC-2, press the test button and behold: the battery inside the BOSS loop station is an alkaline, the voltage volume is 7,75 volt and in this device it will work for another hour. The Batt-O-Meter’s display tells me this. I look at this gadget like someone witnessing the first rolling wheel. Flintstones on a space-trip!

The next one to test is my BOSS tuner. The TU-2 is also equipped with an alkaline, this one has 7,13 volt and should be replaced. The WahWah and the ReezaFRATzitz…. I grab one 9 volt block from the pile of batteries of unknown date, press it to the testing point at the right side of the Batt-O-Meter, push the test button to assess that I’m the owner of several riches in block form. Of course the Batt-O-Meter can as well test batteries with the flavors: rechargeable and carbon zinc. Some 1,5 volt batteries are found in the studio and tested right away. Licking would have become difficult here.

No more unnecessary drilling to change something that doesn’t have to be changed. No more unnecessary expenses to buy new, while the old is still valuable. You do not hear me say this very often… but: it makes your environment greener, because you are not throwing away half-full batteries.
Or to get to the point like TM Stevens: “No more licking!”

The Batt-O-Meter itself needs a 9 volt battery. And before the bonedo.com-server comes down to its knees: Yes! The Batt-O-Meter has a self-test function. Just push the button.

For those who don’t know what to do with their tongue now: Start licking stamps … ’cause when you have tested the Batt-O-Meter you will write “THANK YOU!”-letters to Keith McMillen and the distributor who will bring the Batt-O-Meters to Germany.