In a manner of speaking, Robert Johnson was the Ozzy Osborne of Delta Blues singers, claiming to be in league with the Devil. Musicologists and blues historians like Ted Gioia ( Read his excellent book “Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music”) all agree on that aspect of Johnson’s brief existence but not too much else.
The facts of his life are sparse: born in Hazleton, Mississippi in May, 1911; married twice, cultivating women in every town Johnson played in, finally poisoned to death - supposedly - by drinking a bottle of whiskey laced with strychnine given to him by a revenge-minded club owner at the age of 27 near Greenwood, Mississippi. Gioia’s Delta Blues devotes a whole chapter to Johnson, documenting the stories passed down about his agonizing death, howling with pain as he slowly died from the strychnine on the floor of a fleabag rooming house. Nobody really knows where he was buried - there are three different markers for Johnson.
The myth of Robert Johnson revolves around a story that he cultivated, at least according to his fellow musician Johnny Shines. Johnson went to a crossroads at midnight to meet up with the devil, and handed his guitar over to Satan. The devil tuned it so Robert could play anything he wanted and then handed it back to Johnson in exchange for his soul. It is known that he started playing the guitar at the tender age of three and was also proficient on the harmonica.
Whether he took music lessons from Beezlebub or not,there is no question in my mind that Robert Johnson coaxed sounds out of his Gibson guitar that still resonate strongly from the grainy recordings he made in 1936 and 1937 at two different sessions in a Texas hotel. His biggest "hit" - Terraplane Blues" - sold about 5,000 copies. His ability to play rthymn and melody at the same time, coupled with sliding up and down the neck, create a unique, spellbinding sound, combining with Johnson's mournful wail to define Delta blues, at least for a generation of 60s and 70s musicians. His lyrics - as in "Stones in My Passway" - "Where did you stay last night? / Your hair's all messed up and you ain't talkin' right" - or "Come On In My Kitchen" - "The woman I love took her from my best friend/Some joker got lucky, stole her back again" - are just a few of the verses that have been incorporated into countless blues tunes.
Some blues purists contend that Robert Johnson would have faded into obscurity were it not for English musicians like Eric Clapton and Keith Richards discovering his 78s. Whoever – or whatever – he was, Robert Johnson’s unique musical style always casts a spell on you – just listen to “Hellhound On My Trail” or “Me and The Devil” and you’ll see what I mean.
Friday, April 6, 2012
Saturday, March 17, 2012
Bruce Burnside's For All The World To See
The first thing that struck me when I listened to Bruce Burnside's latest offering, For All The World To See (Copyright 2012, Tortoise Humor Music) is his ability to draw on diverse musical sources that are woven into his songs, a hint of the blues, a touch of country, respect for history and a commitment to respecting musical traditions. The lonely whine of slide guitar , the distinctive echo of the dobro, and the plaintive sound of the lap steel are just three of the instruments showcased on this collection of 15 songs recorded from 2008-2011. His attention to detail is obvious in his fluid musicianship as well as his melodic voice and sensitive lyrics. Bruce plays mandola, mandolin, mando-cello,banjo, piccolo banjo and - of course - guitar on the different cuts. I should admit that I have a biased opinion about his picking; I can still remember how well Bruce played "Mole's Moan" when we were 17.
He has managed to build his music with integrity and creative control, as well as working with a core of talented musicians, choosing not to compromise his creative vision by founding his own label - Tortoise Humor Recordings. As Bruce puts it in the CD notes: "With no enforced deadlines, timeliness, market statistics or progress reports, THR encourages persistence and patience. It's a company that believes the long, slow road to anywhere is more enlightening than the express lane to downtown." By way of illustration, just think about how many musicians crash and burn in the express lane done in by their quest to make it big 'downtown'.
Bruce has frequently documented history through his music incorporating authentic instruments and lyrics, which is the case in "The Year of 1849" - an ironic tale of gold rush fever - and "Pullin' This Flatboat" , a paean to the "boatmen" who once provided the only transportation across America's rivers. 'Road Trip" pays homage to the legend of Robert Johnson, the lyrics suggesting the mythical confrontation between the cryptic Delta bluesman and the Devil that Johnson claimed took place at the "crossroads," although the song really refers to ethics, with the chorus pointing out that:"...At the crossroads, we should follow what we know is right. What we know is right." The instrumental "Tears of the Pueblo" is a sad tribute to the past, inspired by an experience in Santa Fe, and "Heard the Call" references the Old Testament stories of Elijah, Jonah and Moses .
Bruce describes the title tune - "For All The World To See" - as "..a declaration of love from time ever lasting," the instruments and vocals combining in a plaintive but positive affirmation that"...A love can light the darkest night..." His unique sense of humor comes through on "My Own Way" and "Bring Down The Lights." Bruce's latest musical offering is sprinkled with instrumentals that show off the talented players he works with - "Up This Mountain", "Troll Under The Bridge," "Underwater," and "The Wishing Well."
"For All the World To See" is a testament to Bruce Burnside's considerable ability and talent, available 24/7 at http://www.bruceburnside.com/. Bruce iinformally dedicates the collection to his grandsons Pryor and Silas, pointing out that: "...It is my prayer that over the next thirty or so years these songs will answer some of their questions and germinate others."
He has managed to build his music with integrity and creative control, as well as working with a core of talented musicians, choosing not to compromise his creative vision by founding his own label - Tortoise Humor Recordings. As Bruce puts it in the CD notes: "With no enforced deadlines, timeliness, market statistics or progress reports, THR encourages persistence and patience. It's a company that believes the long, slow road to anywhere is more enlightening than the express lane to downtown." By way of illustration, just think about how many musicians crash and burn in the express lane done in by their quest to make it big 'downtown'.
Bruce has frequently documented history through his music incorporating authentic instruments and lyrics, which is the case in "The Year of 1849" - an ironic tale of gold rush fever - and "Pullin' This Flatboat" , a paean to the "boatmen" who once provided the only transportation across America's rivers. 'Road Trip" pays homage to the legend of Robert Johnson, the lyrics suggesting the mythical confrontation between the cryptic Delta bluesman and the Devil that Johnson claimed took place at the "crossroads," although the song really refers to ethics, with the chorus pointing out that:"...At the crossroads, we should follow what we know is right. What we know is right." The instrumental "Tears of the Pueblo" is a sad tribute to the past, inspired by an experience in Santa Fe, and "Heard the Call" references the Old Testament stories of Elijah, Jonah and Moses .
Bruce describes the title tune - "For All The World To See" - as "..a declaration of love from time ever lasting," the instruments and vocals combining in a plaintive but positive affirmation that"...A love can light the darkest night..." His unique sense of humor comes through on "My Own Way" and "Bring Down The Lights." Bruce's latest musical offering is sprinkled with instrumentals that show off the talented players he works with - "Up This Mountain", "Troll Under The Bridge," "Underwater," and "The Wishing Well."
"For All the World To See" is a testament to Bruce Burnside's considerable ability and talent, available 24/7 at http://www.bruceburnside.com/. Bruce iinformally dedicates the collection to his grandsons Pryor and Silas, pointing out that: "...It is my prayer that over the next thirty or so years these songs will answer some of their questions and germinate others."
Monday, February 20, 2012
Soul Survivors
As a rule, I'm not fond of February. It's short, cold and generally nasty, even though the month covers Valentine's Day, President's Day and public school vacations across the country. Consequently, I wasn't surprised to read that Whitney Houston died suddenly and unexpectedly, or that Don Cornelius committed suicide - the news just seems to fit in with all the other negative aspects of the month.
I first watched "Soul Train" when I was going to college in Ohio. I got into radio during my freshman year when a friend challenged me to do a show, and ended up doing afternoon drive on WOBC, the Oberlin College station. Not only did I play mostly black music - Curtis Mayfield, Aretha Franklin, The Temptations and The Four Tops, just to name a few - but my deejay patter was nuanced, loaded with the disposable "lines" I had listened to as a kid, coming out of the New York stations - "The rest of the best", "the tops of the pops," "the wax you can't afford to miss!" -for example - or - "Guaranteed to put more soul in your stroll - glide in your stride - and dip in your hip!" When I saw a young Aretha , Wilson Pickett or Motown act wallowing in soul on the show, it just enhanced my belief that it was the funkiest sound to be found even if I was committing cultural fraud by trying to imitate a black person on the radio. Don Cornelius basically took American Bandstand and created a soul version, complete with himself as the Dick Clark persona, the teen aged dancers for eye candy and the performers, opening up "soul" music to the white audience by using a format they already felt comfortable with. Imitation - whether it be my first attempt at radio or the parallels between "Train"and "Bandstand" - is still the sincerest form of flattery.
Whitney Houston deserved to live a lot longer. It's unfortunate that her audience is left with conflicting images - the Whitney who turns the national anthem into a signature once in a lifetime, never to be equaled showstopper, and the Whitney who cringes as Bobby Brown curses her via cell phone on their "reality" show. Their tumultuous relationship played itself out to the final act with Bobby leaving the funeral service because he didn't want to make a scene. Although redundant, it needs to be repeated - judge the artist by his/her music, by their contribution to the arts, not their personal life. As far as I know, when we consider Picasso or Van Gogh or Hemingway, we don't dwell on how much they drank or whether they screwed up their relationships, so why is it that Michael Jackson and Whitney Houston are measured differently ? My final impression of the funeral was the legendary Clive Davis actually speaking - which he rarely does - about Whitney's divine talent. Coming from the man who discovered and nurtured artists like Santana, Janis Joplin and Earth,Wind & Fire, it was the best eulogy the music industry could muster.
I first watched "Soul Train" when I was going to college in Ohio. I got into radio during my freshman year when a friend challenged me to do a show, and ended up doing afternoon drive on WOBC, the Oberlin College station. Not only did I play mostly black music - Curtis Mayfield, Aretha Franklin, The Temptations and The Four Tops, just to name a few - but my deejay patter was nuanced, loaded with the disposable "lines" I had listened to as a kid, coming out of the New York stations - "The rest of the best", "the tops of the pops," "the wax you can't afford to miss!" -for example - or - "Guaranteed to put more soul in your stroll - glide in your stride - and dip in your hip!" When I saw a young Aretha , Wilson Pickett or Motown act wallowing in soul on the show, it just enhanced my belief that it was the funkiest sound to be found even if I was committing cultural fraud by trying to imitate a black person on the radio. Don Cornelius basically took American Bandstand and created a soul version, complete with himself as the Dick Clark persona, the teen aged dancers for eye candy and the performers, opening up "soul" music to the white audience by using a format they already felt comfortable with. Imitation - whether it be my first attempt at radio or the parallels between "Train"and "Bandstand" - is still the sincerest form of flattery.
Whitney Houston deserved to live a lot longer. It's unfortunate that her audience is left with conflicting images - the Whitney who turns the national anthem into a signature once in a lifetime, never to be equaled showstopper, and the Whitney who cringes as Bobby Brown curses her via cell phone on their "reality" show. Their tumultuous relationship played itself out to the final act with Bobby leaving the funeral service because he didn't want to make a scene. Although redundant, it needs to be repeated - judge the artist by his/her music, by their contribution to the arts, not their personal life. As far as I know, when we consider Picasso or Van Gogh or Hemingway, we don't dwell on how much they drank or whether they screwed up their relationships, so why is it that Michael Jackson and Whitney Houston are measured differently ? My final impression of the funeral was the legendary Clive Davis actually speaking - which he rarely does - about Whitney's divine talent. Coming from the man who discovered and nurtured artists like Santana, Janis Joplin and Earth,Wind & Fire, it was the best eulogy the music industry could muster.
Saturday, February 4, 2012
Professor Harp's Master Class: Narragansett Cafe, Sunday, 1/29/12
I knew I would like Professor Harp's music the minute my friend Sue and I walked into the Narragansett Cafe in Jamestown last Sunday afternoon, mainly because he was right in the middle of "Don't Mess With Cupid ", probably my all time favorite Oris Redding tune. The Professor's mix of Wilson Pickett, Motown, and downhome Delta blues paying homage to legendary players like Roy Milton to contemporary greats like Robert Cray is definitely my kind of music, turning a laidback Sunday afternoon into a toe-tapping, finger-snapping good time.
Professor Harp is a one man band in his own right, using a chromatic with a pickup , a unique sound that at times suggested a Hammond organ ,punctuated by runs on a regular blues harp played Chicago style as he alternated between the two. The band was lean and mean, trading riffs with the Professor, effortlessly grinding out long and danceable jams much to the delight of the crowd. His rendition of "Shakey Ground" got us on our feet , coupled with standards like "Midnight Mover" by Wilson Pickett and another tune that sounded suspiciously like "Funky Broadway", not to mention paying tribute to an earlier musical era with tunes like "Flip,Flop and Fly," and vintage rock and roll to boot.
Professor Harp goes by the official moniker as the undaunted Professor Harp, but his real name is Hugh Holmes , originally from Boston. According to his bio, the Professor played drums as an "undergraduate" until he heard a performance by George "Harmonica" Smith and decided to trade the skins for blues harp. The Professor describes his distinctive downhome mix as "roots" music- "It's whatever makes me feel good and moves me, so to speak." He's played with Luther "Guitar" Johnson and Solomon Burke. but his best known mentor was Muddy Waters. Professor Harp was introduced to Muddy at the legendary Paul's Mall by a mutual friend who suggested Muddy should allow the Professor to sit in on a few tunes. Although the blues great was at first unresponsive, Muddy stopped halfway through his next set and brought Professor Harp onstage. Waters called Holmes "Hugh The Professor of Harp" , while Solomon Burke labelled him Professor Harmonica Holmes, both of which led to the Professor eventually adapting his official title.
Check out his newest CD "The Undaunted Professor Harp: They Call Me The Professor" which you can order online at http://www.professorharp.com/ or - better yet - go see the Professor live for a seminar - majoring in the blues but minoring in rock, funk, swing and rthymn and blues.
Professor Harp is a one man band in his own right, using a chromatic with a pickup , a unique sound that at times suggested a Hammond organ ,punctuated by runs on a regular blues harp played Chicago style as he alternated between the two. The band was lean and mean, trading riffs with the Professor, effortlessly grinding out long and danceable jams much to the delight of the crowd. His rendition of "Shakey Ground" got us on our feet , coupled with standards like "Midnight Mover" by Wilson Pickett and another tune that sounded suspiciously like "Funky Broadway", not to mention paying tribute to an earlier musical era with tunes like "Flip,Flop and Fly," and vintage rock and roll to boot.
Professor Harp goes by the official moniker as the undaunted Professor Harp, but his real name is Hugh Holmes , originally from Boston. According to his bio, the Professor played drums as an "undergraduate" until he heard a performance by George "Harmonica" Smith and decided to trade the skins for blues harp. The Professor describes his distinctive downhome mix as "roots" music- "It's whatever makes me feel good and moves me, so to speak." He's played with Luther "Guitar" Johnson and Solomon Burke. but his best known mentor was Muddy Waters. Professor Harp was introduced to Muddy at the legendary Paul's Mall by a mutual friend who suggested Muddy should allow the Professor to sit in on a few tunes. Although the blues great was at first unresponsive, Muddy stopped halfway through his next set and brought Professor Harp onstage. Waters called Holmes "Hugh The Professor of Harp" , while Solomon Burke labelled him Professor Harmonica Holmes, both of which led to the Professor eventually adapting his official title.
Check out his newest CD "The Undaunted Professor Harp: They Call Me The Professor" which you can order online at http://www.professorharp.com/ or - better yet - go see the Professor live for a seminar - majoring in the blues but minoring in rock, funk, swing and rthymn and blues.
Tuesday, January 24, 2012
Remembering Etta
Unfortunately, I wasn't surprised when Etta James passed away , after reading about her health problems over the past few months. I'm left with disparate images of the woman and the artist.
My understanding of Etta James the woman is largely shaped by Beyonce's portrayal in "Cadillac Records", the most compelling image being when Adrian Brody's Leonard Chess finds her lying naked on the floor of her totally empty house, enlisting Jeffrey Wright's Muddy Waters to revive James before her heroin addiction claims her life. The movie character is bitter, tough, contemptuous and suspicious of Chess's romantic overtures. James' origins are alluded to in another powerful scene, an ill-fated lunch in a posh restaurant with legendary pool hustler Minnesota Fats, whom Etta thinks is her father. Her attempt at finding her roots ends with James bellowing at the waiter for another drink, determined to go on a bender after Fats categorically denies parenthood, the same bout with booze and drugs that ends up with her eating the carpet. The most poignant scene intercuts between Etta singing "I'd Rather Go Blind" in the studio as Leonard Chess drives away from 2120 South Michigan Avenue, having just revealed that he has sold the label, but he never makes it to the end of the street, dying from a heart attack in his signature Cadillac.
Etta James' music helped define rthymn and blues, a body of work that ranges from recognized classics like "Trust in Me", "All I Could Do Was Cry", and "Tell Mama" to her straightforward embrace of classic down home blues. My personal favorite is "That's Alright" from her 2004 compilation "Blues to the Bone" on RCA. Her voice reflects the right note of tired resignation combined with sarcasm, the rejected lover accepting the fact yet slyly questioning who her replacement might be. James' voice is permanently enshrined for the audience in "At Last", the rich, smooth tones soaring in front of lush orchestration, each perfect note dripping with emotion, Etta's timeless tribute to love. She was at home in a wide variety of styles, but on "Bone", James reinvents classics like Howlin Wolf's "Smokestack Lightining", "Got My Mojo Workin" from Muddy Waters, and a particularly ominous version of John Lee Hooker's "Crawlin Kingsnake."
Etta James is gone, but will never be forgotten, and will be remembered for her art, not her life. Her voice, the way it cut through the medium as if Etta James was right there in the room with you, is her legacy.
My understanding of Etta James the woman is largely shaped by Beyonce's portrayal in "Cadillac Records", the most compelling image being when Adrian Brody's Leonard Chess finds her lying naked on the floor of her totally empty house, enlisting Jeffrey Wright's Muddy Waters to revive James before her heroin addiction claims her life. The movie character is bitter, tough, contemptuous and suspicious of Chess's romantic overtures. James' origins are alluded to in another powerful scene, an ill-fated lunch in a posh restaurant with legendary pool hustler Minnesota Fats, whom Etta thinks is her father. Her attempt at finding her roots ends with James bellowing at the waiter for another drink, determined to go on a bender after Fats categorically denies parenthood, the same bout with booze and drugs that ends up with her eating the carpet. The most poignant scene intercuts between Etta singing "I'd Rather Go Blind" in the studio as Leonard Chess drives away from 2120 South Michigan Avenue, having just revealed that he has sold the label, but he never makes it to the end of the street, dying from a heart attack in his signature Cadillac.
Etta James' music helped define rthymn and blues, a body of work that ranges from recognized classics like "Trust in Me", "All I Could Do Was Cry", and "Tell Mama" to her straightforward embrace of classic down home blues. My personal favorite is "That's Alright" from her 2004 compilation "Blues to the Bone" on RCA. Her voice reflects the right note of tired resignation combined with sarcasm, the rejected lover accepting the fact yet slyly questioning who her replacement might be. James' voice is permanently enshrined for the audience in "At Last", the rich, smooth tones soaring in front of lush orchestration, each perfect note dripping with emotion, Etta's timeless tribute to love. She was at home in a wide variety of styles, but on "Bone", James reinvents classics like Howlin Wolf's "Smokestack Lightining", "Got My Mojo Workin" from Muddy Waters, and a particularly ominous version of John Lee Hooker's "Crawlin Kingsnake."
Etta James is gone, but will never be forgotten, and will be remembered for her art, not her life. Her voice, the way it cut through the medium as if Etta James was right there in the room with you, is her legacy.
Tuesday, January 17, 2012
Deja Blues -Sugar Ray and the Bluetones Sweeten Things Up At Chans, 1/14/12
I really did think Little Walter had come back to life for a few moments last Saturday night when Sugar Ray Norcia sang "It's a mean old world - when you're livin' by yourself" to a dedicated, standing room only audience at Chan's in Woonsocket. Little Walter's career was popularized to a wider audience in the movie "Cadillac Records" - playing on a Chicago streetcorner, discovered by Muddy Waters, hits the top of the charts with Chess Records, finally dies in Geneva Waters' arms from a beating received over a gambling debt. Sugar Ray Norcia and the Bluetones paid homage to Little Walter with "Mean Old World" among others, but the show wasn't just about craftsmanship.
Norcia was born in Stonington, Connecticut and started playing blues harp in high school. He officially formed the Bluetones after moving to Providence, and the band started paying its dues in the 1970s, doing regular gigs as well as backing up Big Walter Horton, Roosevelt Sykes, Big Mama Thornton and Big Joe Turner. Sugar Ray joined Roomful of Blues as lead singer in 1991, touring and appearing on three albums, Norcia leaving the band in 1998. He has played with the blues best-known harpists - James Cotton, Billy Branch and Charlie Musselwhite on 1999's "Superharps", and is getting ready to hit the road as part of Billy Hummel's Harmonica Blowout with John Mayall, Billy Boy Arnold and Charlie Musselwhite again. The Bluetones have changed lead guitarists repeatedly, but "Monster" Mike Welch has been part of the lineup for about 10 years, along with the rthymn section of Neil Gouvin and Mudcat Ward and pianist Anthony Geraci.
Norcia and Welch traded riffs throughout the show at Chan's, the "Monster" taking over for a couple of tunes, his vocals sounding a lot like Howlin'Wolf, his playing - like Sugar Ray's harp - straight out of Chicago, the notes fluid and melodic, but still tough and penetrating just the same. Both musicians have a symbiotic relationship as if they can anticipate each other's musical moves, a tight but seamless classic low down groove that had the audience clapping until their hands hurt. Listening to the sound of Sugar Ray's blues harp evokes the legendary players - Butterfield, Sonny Boy Williamson, Little Walter - as well as his own originals, like "Too Many Rules and Regulations."
The band released "Evening" in 2011, which has resulted in four nominations for the Blues Music Awards coming up in Memphis this May, including best album. The music has the feel of a live show, most songs done in one take according to Sugar Ray, reminiscent of the Chess record sound that spawned Muddy Waters, Howling Wolf and Chuck Berry among many others.
Sugar Ray and The Bluetones not only keep on touring, but Norcia also plays regular gigs in Europe as well as the upcoming Harmomonica Blowout tour. To buy the CD, read more about Sugar Ray and find out where and when the band is playing, check out http://www.sugarrayandthebluetones.com/.
Norcia was born in Stonington, Connecticut and started playing blues harp in high school. He officially formed the Bluetones after moving to Providence, and the band started paying its dues in the 1970s, doing regular gigs as well as backing up Big Walter Horton, Roosevelt Sykes, Big Mama Thornton and Big Joe Turner. Sugar Ray joined Roomful of Blues as lead singer in 1991, touring and appearing on three albums, Norcia leaving the band in 1998. He has played with the blues best-known harpists - James Cotton, Billy Branch and Charlie Musselwhite on 1999's "Superharps", and is getting ready to hit the road as part of Billy Hummel's Harmonica Blowout with John Mayall, Billy Boy Arnold and Charlie Musselwhite again. The Bluetones have changed lead guitarists repeatedly, but "Monster" Mike Welch has been part of the lineup for about 10 years, along with the rthymn section of Neil Gouvin and Mudcat Ward and pianist Anthony Geraci.
Norcia and Welch traded riffs throughout the show at Chan's, the "Monster" taking over for a couple of tunes, his vocals sounding a lot like Howlin'Wolf, his playing - like Sugar Ray's harp - straight out of Chicago, the notes fluid and melodic, but still tough and penetrating just the same. Both musicians have a symbiotic relationship as if they can anticipate each other's musical moves, a tight but seamless classic low down groove that had the audience clapping until their hands hurt. Listening to the sound of Sugar Ray's blues harp evokes the legendary players - Butterfield, Sonny Boy Williamson, Little Walter - as well as his own originals, like "Too Many Rules and Regulations."
The band released "Evening" in 2011, which has resulted in four nominations for the Blues Music Awards coming up in Memphis this May, including best album. The music has the feel of a live show, most songs done in one take according to Sugar Ray, reminiscent of the Chess record sound that spawned Muddy Waters, Howling Wolf and Chuck Berry among many others.
Sugar Ray and The Bluetones not only keep on touring, but Norcia also plays regular gigs in Europe as well as the upcoming Harmomonica Blowout tour. To buy the CD, read more about Sugar Ray and find out where and when the band is playing, check out http://www.sugarrayandthebluetones.com/.
Wednesday, January 11, 2012
Music, Money and Luck: The Casino Soundtrack
The first time I made the connection between gambling and music was lying by the pool at the Luxor in Las Vegas, amazed to hear Bob Marley wafting from the vast array of hidden speakers, plus ZZ Top, REO Speedwagon, Journey and the rest of the rock and roll anthems that strike a nostalgic chord with the baby boomers. I'm not a successful gambler, but I do know a bit about marketing. With "Sin City" intent on becoming a "family" destination, it made perfect sense to make Mom and Dad feel comfortable by spinning their favorite oldies so they would keep feeding the one armed bandits.
Music is an important part of the casino environment, an extra added attraction to placate the losers, along with free drinks and cheap food. Both gaming resorts in Connecticut not only have live "cover" bands churning out the tunes nonstop, but also provide a canny mix of over the hill rockers to the extent that, when I see the listings, my first reaction is to assume the band members have squandered their fortunes to the point where they'll take any gig they can get. The casinos on the Strip are no exception, the most notable in my memory being a kick ass funk fusion group set on a stage in the middle of "Central Park", the huge main floor of New York, New York, with the slots tucked away between artificial trees and fake shrubbery. I still have a gray plastic microphone that I got from the Motown Cafe, a short walk through the "park" , further enhancing what the gaming gurus like to call the "casino experience" with a perpetual tribute to the power of soul. The other ironic aspect of this cultural shift is that while Vegas grew up on the slick sophistication of the Rat Pack, Dino & Frank & Sammy & Joey have been shoved aside by boomer favorites like Michael MacDonald, ZZ Top themselves and the other aging rockers still able to hit the road.
I experienced the linkage between gaming and music this past New Year's Eve at Rhode Island's own Twin Rivers. The massive open building was mobbed with revelers wearing ersatz top hats. Between the seemingly endless rows of nickel, penny and quarter slots and the central bar, management had planted a "cover" band, perhaps designed to keep the adrenalin up, belting out (What else?) "Don't stop BEE-LEEV- IN!" and the other Glory Days rock anthems while the patrons eagerly fed the machines.
Maybe it's time for a dose of reality in the casino mix. I think most people would appreciate Snoop Dogg's musical advice - "Got my mind on my money and my money on my mind- " before they bet the family farm. As P. Diddy points out -"It's all about the Benjamins baby!"
Music is an important part of the casino environment, an extra added attraction to placate the losers, along with free drinks and cheap food. Both gaming resorts in Connecticut not only have live "cover" bands churning out the tunes nonstop, but also provide a canny mix of over the hill rockers to the extent that, when I see the listings, my first reaction is to assume the band members have squandered their fortunes to the point where they'll take any gig they can get. The casinos on the Strip are no exception, the most notable in my memory being a kick ass funk fusion group set on a stage in the middle of "Central Park", the huge main floor of New York, New York, with the slots tucked away between artificial trees and fake shrubbery. I still have a gray plastic microphone that I got from the Motown Cafe, a short walk through the "park" , further enhancing what the gaming gurus like to call the "casino experience" with a perpetual tribute to the power of soul. The other ironic aspect of this cultural shift is that while Vegas grew up on the slick sophistication of the Rat Pack, Dino & Frank & Sammy & Joey have been shoved aside by boomer favorites like Michael MacDonald, ZZ Top themselves and the other aging rockers still able to hit the road.
I experienced the linkage between gaming and music this past New Year's Eve at Rhode Island's own Twin Rivers. The massive open building was mobbed with revelers wearing ersatz top hats. Between the seemingly endless rows of nickel, penny and quarter slots and the central bar, management had planted a "cover" band, perhaps designed to keep the adrenalin up, belting out (What else?) "Don't stop BEE-LEEV- IN!" and the other Glory Days rock anthems while the patrons eagerly fed the machines.
Maybe it's time for a dose of reality in the casino mix. I think most people would appreciate Snoop Dogg's musical advice - "Got my mind on my money and my money on my mind- " before they bet the family farm. As P. Diddy points out -"It's all about the Benjamins baby!"
Subscribe to:
Posts (Atom)