I was a very busy man in 2017. I didn’t have a lot of free time for concerts or albums. But, I did manage to seek out some quality records and attend a few shows. The list below is not specifically about music released in 2017, rather it is stuff I purchased over the past year that really tickled my taint.
Albums – in no
particular order
The Claudia Quintet, For
(2007).
I can’t quite remember how I found this band, but it was an
amazing find. I am at a loss to describe what sub-genre of jazz these folks
play. There are some aspects of jazz fusion, and some traditional jazz moments.
I think the addition of a vibraphone and accordion give this quintet a sound
that is uniquely theirs. They also make liberal use of the clarinet which I am
increasingly becoming a fan of.
Trio Subtonic, discography.
I heard this band on the local Portland, Oregon, jazz radio
station, and I was an immediate fan. Within a month of hearing them on the
radio, I purchased their entire catalog. They are a local Portland trio who
self-describe themselves as groove jazz, which is a good label for what they
do. I also think of them as playing a sort of light rock jazz fusion. I am
itching to see them live.
Herbie Hancock, Headhunter
(1973).
I can’t explain why, but I always thought Herbie Hancock
only existed in the 1980s, and that he only played 80s schlock. Now I realize how
fucking dumb I am. Hancock created some of the best jazz fusion music of the 1970s. Headhunter is my favorite
Hancock album. What separates Headhunter
from other jazz fusion albums of the era is the liberal use of funk. And, I
love funk.
Algiers, The Underside
of Power (2017).
As a general rule, I avoid bands that use a lot of
electronics, but every once in a while I benefit from breaking my own rules.
The attraction to Algiers is the soulful vocals and the overall feeling of
doom that is sometimes present in industrial music. The songs “Cry of the
Martyrs” and “The Underside of Power” might be my favorite tunes of 2017 and The Underside of Power my favorite album
of 2017.
Chuck Westmoreland, Self Titled (2016).
I saw Chuck Westmoreland open for Slim Cessna’s Auto Club in
Portland. He was impressive live, and I took a chance and bought his album at
the show. Portland is not a city known for its country and western bands, but perhaps
Chuck Westmoreland will help change that. Stylistically Chuck is all over the
place, there are some contemporary moments, and some rocking moments that
scream 1970s honky tonk. It is all done with Westmoreland’s huge soulful voice.
Norska, Too Many
Winters (2017).
I was about to give up on Portland, Oregon’s Norska. It
seemed like they were never going to finish their new album. Oregon, in recent
years, has become a hotspot for metal. Bands like YOB, Danava, Witch Mountain,
and Red Fang have all made it from having strictly local followings to
national, and in the case of YOB and Red Fang, international. Norska, I believe
is the best of the bunch. Stylistically Too
Many Winters is comparable to the style Red Fang has popularized. But,
Norska does it with more panache, and greater musicianship. In my opinion, Too Many Winters is a slight step
backward from Norska’s self-titled debut, which was a little more progressive.
But Too Many Winters is a solidly
rocking album.
Robert Plant, Carry
Fire (2017).
I expected this album to suck. I have disliked every Robert Plant
album, including the stuff he did with Jimmy Page, until his collaboration with
Allison Kraus. Plant seems to have finally found a post Led Zeppelin style that
suits his voice. Speaking of Plant’s voice, I felt like he sounded strained on
Carry Fire. But this straining contributed to the emotional feel of the album.
I fucking love albums that make me feel emotion. Plant made me tear up a couple
times, and that for me is pure fucking gold.
The Helio Sequence, discography.
I saw The Helio Sequence open for The Church, and they blew
me away. Awesome drumming, awesome vocals, and great song writing. I thought I
was done with “alternative” rock. But, The Helio Sequence demonstrate that I
just didn’t dig deep enough.
The Church, Man Woman
Life Death Infinity (2017).
What the fuck is going on? Robert Plant after decades
released a masterpiece, and The Church released their best album yet in 2017! I
have always found The Church to be a difficult band to talk about. They are not
goth, not pop, not rock, not alternative, not post punk, and not new wave. So
what are they? I have no idea, but I like it. There is something about Steve
Kilbey’s voice coupled with the sparseness of the Church’s music that creates
melancholy, tension, and release. I don’t have any other words to describe it.
Kreator, Gods of
Violence (2017).
It is time I admitted to myself that Kreator is the
best and most consistent metal band from the 1980s. They have done what Slayer,
Metallica, etc, have not been able to do – impress me again and again with each
and every new release. In fact, I can’t think of any songs from any of their post-80s albums I have not liked. I also appreciate that Kreator has matured along
with their fans and moved away from the simplistic songs about violence, death, and Satan – not that there is anything wrong with songs about Satan.
Shows
Frost and Fire, Ventura, CA.
My memory is like a steel sieve, but I think I also included
Frost and Fire in my 2016 list. The 2017 lineup included Manilla Road, Raven,
Bitch, and Cirith Ungol. I have wanted to see Raven since I was in high school
(approximately one century ago). They were old chubby guys (like me), but holy
shit they could and did rock the fuck out. Manilla Road blew me away. If you
have the chance to see these guys, go for fuck’s sake. The Manilla guys are
extremely talented, and their banter with the crowd was fun. I had seen Cirith
Ungol before so I knew what to expect, and they delivered a very good show.
Also they are nice guys and very welcoming of fan interaction. The old NWOBHM
band, Panther, was also great.
The Pack AD and Skull Diver, Portland, OR.
This was my third time seeing the Pack AD. The first time I
saw them they played what I think of as blues punk – power chords with blues
style vocals. They have over the past ten years become better musicians. The
power chords are still there, but the guitar playing is now more varied, and
the drumming is as it has always been – a good fit, but a little more subtle
than in the past. The ladies in the Pack have become more pop oriented, but
still a lot of fun to see live.
The Church and Helio Sequence, Portland, OR.
SoDak introduced me to The Church, fifteen years ago, and
they have been among my favorite bands for most of this time. I never get
tired of Steve Kilby’s voice. The show contained a lot of slow tempo songs, but
it was the right show at the right time. I was feeling a bit slow tempo myself.
Books
I read a lot of music biographies in 2017, but only a one
merits a recommendation.
Tony Fletcher, Moon:
The Life and Death of a Rock Legend (1999).
If you are a Who fan,
and you only want to read one book about the band, read Moon. It is often said
about The Who that they had a lead guitarist, a lead singer, a lead bassist and
a lead drummer. I believe this is true. But, if people were pressed to think of
who the leader was, most would say Pete Townsend. Pete wrote most of the songs,
and determined the intellectual direction of the band. But, the reality of The
Who is that Keith Moon was the band leader, at least until his alcohol and drug
habits completely took over his life. Keith’s immaturity, recklessness, insecurity,
and need for love and recognition dominated the band emotionally, publicly, and
in some cases creatively. If you are looking for a book that glorifies the rock
and roll lifestyle, look elsewhere. But, if you truly want to understand a rock
and roll icon, Moon is for you.
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