From the Vault » Alan Bershaw

“Overture” – The Who at Tanglewood

Alan Bershaw — Thu, 22 Apr 2010 20:39:34 +0000

The Who’s distinctive first note of the “Overture” is a spine-tingling moment and as the group introduces each of the interlocking “Tommy” themes in succession, the energy level gets increasingly exhilarating. Despite being the final night of the tour, the group shows little sign of fatigue and plays as if reborn for this occasion. Toward the end of the “Overture,” when Townshend is riffing alone, the recording is so clear one can actually hear the snare on Moon’s drum kit vibrating. The excitement level of the audience and concentration level of the musicians is tangible, thanks to a recording that is crisp and well-balanced, revealing the nuances of Townshend’s guitar tone and Entwistle’s massive bass harmonics, which were rarely captured well during this era.
[excerpt taken from the concert summary]

…to be continued on Tuesday, April 27th

[“Overture” – The Who at Tanglewood is a post in From the Vault - The Wolfgang's Vault blog.]

“I Can’t Explain” – The Who at Tanglewood

Alan Bershaw — Wed, 21 Apr 2010 16:53:25 +0000

The oldest original number of the set, the Kinks-like “I Can’t Explain” follows ["Heaven and Hell"] in fine form. Unlike his musical peers in the 1964/1965 era, most of whom were still writing love songs (including Lennon and McCartney), this first single by The Who focused on the frustration of being unable to articulate one’s feelings and is an excellent example of what made Townsend’s writing stand out from the very beginning.

[excerpt taken from the concert summary]

[“I Can’t Explain” – The Who at Tanglewood is a post in From the Vault - The Wolfgang's Vault blog.]

$4 Download Deal: Mississippi John Hurt

Alan Bershaw — Wed, 10 Mar 2010 15:14:59 +0000

The original Garcia

John Hurt, a contemporary of Blind Lemon Jefferson and Leadbelly, played folk ballads, work songs, spirituals, ragtime numbers, and his own interpretations of popular songs, in addition to the blues. Coinciding with The Great Depression, Hurt’s initial recording career never took off and he returned to being a farmer in Mississippi, only to be “re-discovered” in the early ’60s during the American folk and blues revival. During the interim, Robert Johnson and Charly Patton popularized a more aggressive, extroverted form of the blues, but Hurt remained uninfluenced. Instead, he sang in a gentle voice and played intricate and often delicate guitar patterns that remain distinctly original and a lasting testament to one of the true legends of Americana roots music.

Today only — download this entire Mississippi John Hurt concert for only $4.

Take a listen to this version of “The Ballad of Casey Jones.” Here Hurt plays with an alternating thumb and several fingers, with no pick to change the tonality of the strings. His bass line remains dead on the beat and his gentle singing weaves into the guitar rhythm, creating syncopation out of unexpected silences. Fans of Jerry Garcia will be delighted to discover many of his trademark acoustic guitar stylings originated with Hurt. This song and “Louis Collins” performed later in the set, one of Hurt’s greatest songs and possibly the best murder ballad ever recorded, are prime examples.

[$4 Download Deal: Mississippi John Hurt is a post in From the Vault - The Wolfgang's Vault blog.]