The War on X-Mas Jam Preview

Thank God Warren Haynes has yet to succumb to the liberal elite and their war on x-mas. While city's such as Tulsa have caved to pressure from the lamestream media and the satanic ACLU and changed their parade's name from a Christmas parade to a Holiday parade, thus taking all meaning from it and eroding our puritan values that can only be represented through the name of a parade that excludes others, Warren stays strong in the midst of socialist pinko protest. The Christmas Jam takes place this Saturday in Asheville for the 22nd year. As Boomer and the Nüdge prepare to embark on this most holy of quests this preview hopes to shine a light on what true Christian Rock can really be, if you don't like it we may be forced to taunt you a second time. Enough with the disclaimers let's look at the lineup for the Saturday evening to Sunday morning service:

Steve Miller Band - I'm no Joker, this is one of the oddest headliners in a while, maybe Warren has just packed it in and decided just to take the money and run, or maybe Asheville is not such a swingtown after all. Well maybe its not that strange since last year featured Counting Crowes and Ani Difranco, maybe they could all get together and Abracadabra! a whiney boring rock band sure to tear the roof off the place. Thankfully the guy is so old we have to assume it will be one of the earlier sets since he will meet his threshold way before midnight, unless his big ol jetairliner runs late in which case we just hope everyone is drunk enough by the time he goes on that jungle love has taken over the Asheville Civic Center. Regardless its an odd pick for the wintertime classic, just hope everyone has enough spirits to dance, dance, dance.

This quote was shared with me yesterday and is too classic not to share:

"I remember one time-it might have been a couple of times-at the Fillmore East in 1970, I was opening for this sorry-ass cat named Steve Miller. Steve Miller didn;t have his shit going for him, so I'm pissed because I got to open for this non-playing motherfucker just because he had one or two sorry ass records out. so I would come late and he have to go on first and then we got there and smoked the motherfucking place, everybody dug it" - Miles Davis

The Warren Haynes Band- this one i am actually really intrigued by, it is supposedly Warren's first venture into soul and will be the debut performance of this band. However I fear we may get a lot of man ballads here. The lineup looks great, with George Porter Jr. of Meters fame on bass, Ivan Neville from Dumpstafunk on keys and Raymond Weber on drums. This will surely be late night and hopefully we have good stuff to report back, Warren with those guys should not dissapoint.

Gregg Allman- Come and let me show you my tattoo - what else can I say.

John Bell (Widespread Panic) - Jojo is one of the special guests, so this begs the question what are the rest of these assfaces doing that they can't show up, School's too busy eating kittens? JB solo is usually pretty entertaining.

Umphrey's McGee - never been that big of a fan, always thought their original music sounded like someone who kept going from being wasted drunk to snorting coke constantly but never mixed the two. However, they are pretty good musicians and do some strange things with combining covers, so it could be interesting. And can you really hate on a band that has covered Dick in a Box?

The Dirty Dozen Brass Band - good ol new orleans music, hope we get some of JB with them and Warren, George Porter and Ivan Neville.

Missing Cats - never heard of them

Drive by Truckers- in the original lineup but canceled along with their Scandinavian tour cause they went too hardcore in Scandanavia, big disappointment that they canceled, was looking forward to a rousing rendition of the president's penis is missing.

Special Guests:
Mike Barnes
Cody Dickinson
Fred Eltringham
Sherman Ewing
Ruthie Foster
Audley Freed
John "JoJo" Hermann
Terence Higgins
Ron Holloway
Ron Johnson
Robert Kearns
Kevn Kinney
Ivan Neville

Should be a great way to celebrate 14 days early the random day that has been chosen to celebrate the birth of the lord, no pagans allowed.

The man I hate most in rock

He sits atop this inglorious throne, oblivious to his true place in the music world. Like so many before him, he perceives himself to be a legend of rock history. Yet, as my good friend so eloquently put it, he's "everything that's wrong with rock-n-roll, in one man."

I could post a twelve hundred page thesis detailing the litany of reasons my hatred for this particular douche-nozzle runs so deep. Sometimes, though, images speak louder than words. And with that notion in mind, it is my unfortunate displeasure to present to you none other than...

Michael Anthony, the bearded, balding and bloated bassist for Van Halen.

Is imitation really the best form of flattery?

While the above aphorism may be true in many contexts, I venture to disagree with this maxim when it comes to music.

Today, I tackle the subject of cover songs. What is it about a good cover song that sticks with you; perhaps as being even better than the original? What are the elements of a bad cover song, and how to spot one when you... well... hear it? As usual, I come loaded with opinions on just these issues.

First things first:

What's the definition of a cover song?

Technically, the definition of a cover song is simply a song performed by one artist, but written by another. To me, however, it's not that simple. Often times, people write music without the intention of ever performing the song themselves. All of the big record lables staff a legion of professional song writers whose main function is to churn out chart-topping hits for the premier artists on their label. For example, can we really say that Kelly Clarkson is a cover artist for singing the songs that Clive Davis shovels her way?

Maybe. But when I think of cover song, I think of one artist paying tribute to a predecessor's work by performing that predecessor's material. It's not just playing a song someone else wrote. It's not just "singing" a number on stage that was manufactured for sole purpose of furthering your career.

In my book, when an artist plays a true cover song they intend for listeners to know that the song they're hearing is not an original. Rather, they're hearing the interpretation of another's work, and the current performer believes the song (or the way they play the song) says something about who they are as an artist. In essence, I believe a cover song is one musician giving his or her audience a glimpse of the influences that helped shape that person into the artist they have become.

This all sounds weighty and deep, but many songs fit my heady definition of a "cover" and still make me want to fill my ears with concrete.

What makes a cover song bad?

Just because you want to pay tribute to an earlier band, or show everyone that a particular tune really helped define you as a musician, you can still put out a crappy cover song.

To me, a bad cover song is one that says virtually nothing about the artist performing the song... except for maybe that they have heard the song before and they think they might be able to bring it back to life so as to fatten the old wallet. These are the covers that sound so close to the original that the average listener out there is fooled into thinking, "Ooh, i've heard this song before. It's familiar and comforting! I think i'll buy this on Itunes now."

I give you exhibits One (and its original), Two (and its original - kind of, I know the Monkee's didn't write anything original, but you get my point), and Three (and its original.)

Or worse yet, a bad cover is when are artist tries to send a message to their audience saying "this music shaped me," but in reality, they are lying and anyone with an eardrum can tell it.

If you can bear it, see these illustrative displays of musical abortion: retch, gag and finally a big, bile-filled puke.

But fear not, for amidst the sea of the insipid a few treasures are buried.

What makes a cover song good?

This is a little harder to put into in words. There's just something about a good cover. When you hear it you know it's performed with sincerity and soul; you know the artist is reaching out to the audience and inviting them in. And best of all, the artist performs the cover song. They don't just play it; they put their own spin on the song. Through this artistic interpretation they offer the listener a tune that is simultaneously someone's else song and their own.

A strong argument can be made that the greatest cover of all time is Jimi Hendrix's version of "All Along the Watchtower" from the Electric Ladyland album (1968). It's certainly my favorite cover song, and not just because this song has one of the greatest guitar solos ever recorded in the studio. The great thing about this masterpeice is that the orignal song, written and performed by Bob Dylan, was release just one year before Hendrix's version (on Dylan's John Wesley Harding album, 1968). By that time Dylan had already cemented his spot in popular music history. Hendrix was oozing with originality, and that ooze certainly helped him take the folky, acoustic song of an icon and turn it into a paradigm-shattering display of musical genius.

Enough talking, let the comparison speak for itself:
- The orignial All Along the Watchtower here
- Hendrix's cover here

Another one of my favorite covers of a Bob Dylan song is the Derek Trucks Band's version of "Down in the Flood." DTB, and in particular the slide guitar work of Derek himself, takes this song to a place few could even imagine (but that's what you can do when you're a musical prodigy unlike any before you.)

Comparison:
- Dylan's version of Down in the Flood
- Derek Trucks Band cover

Many of the best covers, however, are not pricelss gems of the recording studio. Often times, they are the result of the energy and inspiration that the only the live stage can provide. A splendid example of this type of cover is Joe Cocker's cover of the Beatles "With a Little Help From My Friends" at Woodstock.

Comparison:
- The orignial by the Beatles
- Cocker's liver version at Woodstock

Sometimes, these live explosions can become far more famous than the already-famous orignial. This is often the case in the blues genre. The blues is largely built on the art of the cover song. After the birth of rock-n-roll and the electric guitar, the so-called "blues rock" scene gave us some of the greatest live covers of all time.

The most famous example probably being Cream's cover of Robert Johnson's "Cross Road Blues." Comparison:
- The original "Cross Road Blues" by Robert Johnson
- Cream's live version, entitled "Crossroads."

Four of the greatest blues rock covers ever all happened at a single concert (a two-night show, weekend show in 1972) - later released as, in my humble opinion, the greateset live album of all time: The Allman Brothers Band, Live at the Fillmore East.

Comparisons from that record:
- The orignial Statesboro Blues by the famous Blind Willie McTell
- Allman's live version

- The orignial version of Trouble No More by the even more famous Muddy Waters
- Allman's live version

- The orignial version of "Done Somebody Wrong" by the guitar legend Elmore James
- Allman's live version

- The orignial version of "Call it Stormy Monday" by the jazz/blues fusion pioneer T-Bone Walker
- Allman's live version

So where you can hear a good cover today?

Chances are, probably not on the radio.

It would have pained me to say this a few years ago, but it seems that now the best place to hear a great cover song is at a live "jam band" concert. The Nüdge, given his past experiences on the concert lawn, would know more those shows than I. But it seems to me that bands such as Phish, Widespread Panic, Govt Mule, the Black Crowes and the Derek Trucks Band are keeping the art of the cover alive. Maybe Nüdge can give us some good examples, I know they're out there.

For now, feel free to post your own ideas of good and/or bad covers. I'm interested to hear others' take on this.


Boomer