An album by William Shatner? You mean Captain Kirk? T.J. Hooker? The Priceline guy? Yes. That William Shatner. You may remember Shatner’s overly dramatic spoken-word readings of classics like “Mr. Tambourine Man” from 1968’s The Transformed Man. George Clooney said that he would bring this album to a desert island since it would force him to “hollow out [his] leg and make a canoe out of it to get [away].” Shatner’s rendition of “Lucy in the Sky with Diamonds” was voted the worst Beatles cover of all time by Music Choice. Why would Shatner want to make another album? And why would we want to listen to it?
When you see your favorite artist perform live, you could get a faithful rendering or something that barely resembles what they committed to record. Generally it depends on the artist’s intent.
Bob Dylan insists his music is a living thing, and recoils at the very idea of a “definitive” recorded version. And so he tries to breathe new life into songs every time he plays them. And concert-goers might barely recognize their favorite songs. This works for Bob I guess. Many of his fans beg to differ.
Jeff Lynne is the opposite. His records were made with incredible sonic craftsmanship and attention to detail. And he seems to know that’s what fans want to see replicated live.
And that’s exactly what he gives them: perfection.
Released the same year as debuts by R.E.M. and Marillion, Zebra’s 1983 eponymous first album was one of Atlantic Records’ fastest-selling debut albums.
But somehow its brilliance–like the stellar skills, on electric and 12-string acoustic guitar, of lead slinger and singer Randy Jackson– remained somewhat overlooked in a decade dominated by New Wave and synths.
If you’re not familiar with the trio, Canadian threesome Triumph is a fair point of reference. Jackson’s vocals reach stratospheric heights that evoke Geddy Lee, Robert Plant or Nektar’s Roye Albrighton.
This encore from an October, 1983 performance at the Summit in Houston features a frantic Jackson guitar solo that leads into set closer “Don’t Walk Away”.
The more I hear this guitar solo (the one midway through the song, not the one that precedes it) the more convinced I am that compositionally it’s one of the greatest I’ve ever heard–a scintillating blend of long, emotive notes and rapid-fire shards of shred. This mixture was Eddie Van Halen’s calling card, and is the very thing that separates the true Guitar Hero from the all-speed-no-soul hack.
THIS is how a guitar solo is properly, expertly done.
Alice Cooper says that he was backstage at the Grammies one year chatting with John Lennon. Later on, Brian Wilson of The Beach Boys approached him and said, “That’s John Lennon, isn’t it? Could you introduce us?”
Alice thought, “Wow, I get to introduce two of the all time greats of music.” He introduced them and John cheerfully told Brian what big fans he and Paul McCartney were, and how much The Beach Boys had inspired the the Beatles.
Then, over the next hour, Brian approached Bernie Taupin and a few other people and asked to be introduced to John again and again. Each time, John was gracious and friendly, acting as if he was meeting Brian for the first time ever.
Alice looked at John in confusion. John shrugged, “I’ve known Brian for years. He isn’t well, you know.”