Illinois Entertainer December 2020 | Page 28

continued from page 26

third , was realizing that I didn ’ t have anything more to say in this particular realm and that I had to be okay with that . And if that meant that I would never again write a song , or move in a particular direction , then I was going to have to accept that . And going through those series of losses over time — it wasn ’ t just one day , it was a sequence of things that led to a certain set of realizations — when I came out the end of that , I thought , “ Okay — I ’ m on the other side of this now . So whatever the next decision I make is , it ’ ll be the best decision , and I ’ ll be fine . Even if it means I ’ ll just sit here , staring out the window .” And in that time frame was literally when James Iha showed up .

28 illinoisentertainer . com december 2020

IE : But it ’ s inescapable that you ’ re a synthesis of everything you ’ ve grown up listening to , from AC / DC to Joy Division . And it all comes boomeranging back in CYR , which feels decidedly OMD-vintage but with a totally modern edge . BC : Well , I think people have long underestimated our ability to move . They became fixated on what they considered to be our music , in general . They became fixated on the moments they considered to be our apotheosis or our apex . But that ’ s just not how we operate . We ’ re a peaks-andvalleys band , always have been . So when we feel a peak coming , we ’ ll surf harder . But when we sense a valley , we ’ re totally cool with that . Anybody who saw us play in the ‘ 90s when we would do those shows that were super-uncomfortable and I was going after the audience — it was almost a living gestalt theatre , almost like performance art — anybody who saw those shows would understand that this was a group that was totally fine with the valleys . It was very freeing for us , as a band , after experiencing so much pressure in the early ‘ 90s , to stand on a stage and go , “ This sucks . Literally , this sucks — this place sucks , you suck , we suck , this sucks .” There was something about it that broke the Sammy Davis , Jr . showbiz tradition , like , “ I bought my ticket , and here ’ s what ’ s gonna happen , and you ’ re gonna tell me how great and wonderful this night is .” But No , tonight ’ s not magical at all ! In fact , we ’ re going to drag you straight down to hell with us ! Some of the greatest shows I ’ ve ever played was because we were literally willing just to explode onstage and throw the whole thing in the trash can . It was amazing . So people who don ’ t understand how we work , DNA-wise , get kind of surprised by an album like CYR . But that ability to pivot has always been there . But they just don ’ t like that empirical evidence because it goes against their inner narrative . And for years , their inner narrative was “ Grunge band , had some good songs , lead singer ’ s kind of weird , and once they fall apart , they ’ ll never get it back together again .” Then it becomes more about me , and me flailing around in my never-ending loop to recapture the past .

IE : You ’ re a dad now . Are you and the missus still together ? BC : Oh yeah — the marriage is good . And my kids are nuts . They ’ re Corgan ' s , you know ? They ’ re bouncing off the wall . And I see flashes of music interest in them , but they ’ re still five and two , so it ’ s still a bit early . But I ’ ll catch ‘ em singing , and they definitely have the voice . But put it this way — they ’ ve got rock star names . My kids ’ names are Augustus Jupiter and Philomena Clementine , so I gave them great stage names to start with .

, and I just liked the sound of the word . But once I kind of fixated on the word , I went back and did some research and found its mythological context , and there ’ s some connection to the minotaur , I think . And I ’ ve had experiences where I ’ ll have a feeling about a word , and then I ’ ll use the word , and I kind of have a sense of what I think it means . But then I ’ ll do research , and I ’ ll find out that it ’ s fairly accurate . I don ’ t know if that ’ s intuition or the fact that I ’ ve just read so much ; I ’ ve absorbed a lot more than I thought I did .

IE : How did the pandemic come into play on CYR , if at all ? BC : Not at all — it was done . It was mixed literally as the pandemic was kicking in . And I live in a conspiracy world , so I kept telling everybody , “ It ’ s coming .” And they said , “ Oh , it ’ s not gonna be a big deal .” And I said , “ No . It . Is . Coming .” So I was pretty prepared .

IE : One final question — as a small business owner , how is your teahouse going ? BC : It ’ s going great , actually . Except that we can ’ t have indoor dining . But it ’ s still great , totally fine . I just can ’ t do all the artistic stuff I wanna do in there because you literally can ’ t have any crowds .

Continued from page 26

goes to the impassive Wyman , as bassist for the world ’ s most influential American electric blues torchbearers and with access to the most enviable of vintage instruments . He chooses a white Steinberger bass for what he decided would be his final tour . The oddball instrument could have looked stylish at Fixx or Devo gig , but it ’ s not an instrument any rock and roll revisionist will be desperate to unearth at a rural pawn shop . And although his bandmates swapped guitars nearly every song , Wyman plays his unhip but reliably stable instrument for the entire show . There ’ s not a Fender Jazz , Vox Teardrop or Gibson EB- 3in sight . It ’ s a ridiculous rant , of course , because Wyman ’ s fingers never falter . The Stones ’ expanded lineup provides excellent support . Saxophonist Bobby Keys adds grease to “ Honky Tonk Women ” ( while Jagger is straddled by a giant inflatable doll ). Lisa Fischer takes her star turn alongside Jagger for a spine-tingling “ Gimme Shelter .” Bernard Fowler provides robust voice to “ Mixed Emotions ” and the slinky “ Miss You .” The Uptown Horns punctuate songs including “ Bitch ” and Richards ’ “ Happy .” Chuck Leavell adds sparkling piano to “ Tumbling Dice .” The native Georgian propels “ Sympathy for the Devil ” as the industrial urban stage erupts into eerie red light and Richards peels off stinging licks in rapid fire . The fans get in on the act , too , as the 16,000 seat Convention Center becomes an intimate venue for a stirring singalong during “ You Can ’ t Always Get What You Want .” Matt Clifford ’ s shimmering organ joins Leavell ’ s piano as the song builds toward its Gospel-styled climax .

The show concludes with the one-twothree punch of the saucy “ Brown Sugar ” ( another sax feature for Keys ), Richards ’ snarling riffer “( I Can ’ t Get No ) Satisfaction ,” and the crossfire hurricane of “ Jumpin ’ Jack Flash .” The Blu-ray package includes concert audio on two CDs , along with a booklet containing liner notes , quotes from Jagger and Richards , and photos .

– Jeff Elbel

7

PAUL MCCARTNEY McCartney 50th Anniversary Half Speed Master

( UMe / MPL / Capitol )

Paul McCartney ’ s debut solo album McCartney followed releases by all three of his Beatles bandmates , and arrived a month before the band ’ s 1970 swan-song release Let it Be . This 50th anniversary reissue made its own debut with September ’ s Record Store Day Drop , and now remains available in a limited run of 7000 . If your collection includes 2018 ’ s worthy Egypt Station but lacks the album that started the long thread of McCartney ’ s often-charming arc as a solo artist , now ’ s your chance to hear McCartney at its best – even if the album ’ s approach is deliberately and defiantly in opposition to the Beatles ’ studio craftsmanship built alongside producer George Martin . The 13-track vinyl reissue benefits from a half-speed remaster at Abbey Road Studios , but the self-produced collection ’ s lo-fi approach contrasts starkly with the Beatles ’ prior release Abbey Road . Production notes reveal that aside from a handful of instruments , the tools used to create McCartney included only a Studer 4- track recorder ( with no level meters ), a single microphone , and sheer nerve . McCartney was mostly recorded at home in bursts of creativity and experimentation . McCartney performed all instruments himself , with occasional support from wife Linda for harmonies ( and photography ). “ Buy , buy , says the sign in the shop window . Why , why , says the junk in the yard ?,” the McCartneys sing during “ Junk .” The song ’ s trace of melancholy is balanced by the idea of a young couple building memories together . “ Man We Was Lonely ” fuses the acoustic folk of “ Blackbird ” and the then-forthcoming “ Two of Us ” for another song that finds the couple contented and comforted while settling into marital bliss . The set ’ s most enduring track is “ Maybe I ’ m Amazed ,” which became a top ten hit when the live version from Wings Over America was released in 1977 . The song connects with the mid-tempo contentment and acoustic jangle of “ Every Night ” as two more songs praising home life with Linda and the triumph of love over loneliness ( and the depression McCartney was experiencing in the face of the Beatles ’ breakup ). The album ’ s gatefold sleeve is decorated with Linda ’ s family photographs of daughters Heather and newborn Mary , along with beloved sheepdog Martha ( familiar as the White Album ’ s “ Martha My Dear ”). Tracks like the bluesy “ Oo You ” are neither essential nor enduring concert favorites , but it ’ s fun to hear McCartney as he clearly enjoys the pursuit of his muse . “ Valentine Day ” is an improvised instrumental with “ Come Together ”-styled power chords and solo guitar snarl . “ Singalong Junk ” reprises the earlier song as a swinging instrumental led by sparkling piano and warm guitar licks . “ Kreen-Akrore ” offers a few odd minutes of Linda ’ s heavy breathing as Paul fools around at the drum set , inspired by watching a documentary about a hunt by natives of the Brazilian Amazon . The “ Glasses ” portion of a medley with the jaunty “ Hot As Sun ” features McCartney playing wine glasses . McCartney would never stand as a surrogate greatest hits album , but the handful of highlights touch the peak of McCartney ’ s mastery for pop melody . Although the album ’ s casual approach initially earned poor marks and stole some of the thunder of the Let it Be release , McCartney can be considered more kindly in hindsight . The playful mood throughout the album forms a compelling time capsule marking McCartney ’ s pivotal transition away from the Beatles .

– Jeff Elbel

6

CREDENCE CLEARWATER REVIVAL Cosmo ' s Factory 50th Anniversary Edition

( Craft )

In a brief career littered with highlights , most fans point to CCR ’ s fifth album as its best . Cosmo ’ s Factory arrived in July 1970 with feel-good country-folk single “ Lookin ’ Out My Back Door .” The LP produced six top-ten hits and spent nine weeks atop the Billboard albums chart , toppling chart rivals including the Beatles ’ swan-song Let it Be , the Who ’ s Live at Leeds , the Woodstock soundtrack , and Blood , Sweat & Tears . Perhaps as a reaction to being typecast as a lightweight singles band , CCR begins the album with seven minutes of intoxicating psych-pop / rockabilly interplay in “ Ramble Tamble .” The album reveals a wide range of influences , including side two ’ s 11-minute exploration of Marvin Gaye ’ s soulful “ I Heard it

Continued on Page 30