Saturday, February 29, 2020

Playlist February




  • Steven Wilson—The Future Bites (2020)
  • Jonathan Wilson—Dixie Blur (2020)
  • Robert Plant—Digging Deep vinyl singles box set (2020)
  • Soccer MommyColor Theory (2020)
  • Colin EdwinInfinite Regress (2020)
  • David Sylvian and Holger Czukay—Plight & Premonition / Flux + Mutability (2018)
  • Emiliana Torrini and the Colorists—self-titled (2016)
  • Joe Satriani—Additional Creations and Bonus Tracks (2014)
  • Chris Isaak—Live at the Fillmore (2010)
  • Foals—Antidotes (2008)
  • Porcupine Tree—In Absentia box set reissue (2002)
  • Jimi Hendrix—First Rays of the New Rising Sun (1997)
  • Nick Cave and the Bad Seeds—Murder Ballads (1996)
  • Dire Straits—On the Night (1993)
  • Little Feat—Waiting for Columbus (1978)
  • Carlos Santana/John McLaughlin—Love, Devotion, Surrender (1973)



New on newsstands

The last time I remember death threats against an author was three decades ago. In 1989, Ayatollah Khomeini issued a fatwa against Salman Rushdie for writing "The Satanic Verses."  (Rushdie remains alive and well but that book's Japanese translator was murdered.)

Now, another author is been hiding after death threats.

Jeanine Cummins' book tour for "American Dirt" was canceled due to "specific threats to booksellers and the author." 


Why has this novelist whose thriller was an Oprah Book Club Pick been targeted for her work? 

That's the subject of my deep-dive cover story this week for Monitor Weekly magazine. 

It's a story about the "woke" social justice movement, old hierarchies in the publishing industry, and the further encroachment of cultural appropriation claims into the realm of fiction. (A shorter version is available online here.)

Saturday, January 25, 2020

Playlist January



  • Field Music—Making a New World (2020)
  • Gary Moore—Live from London (2020)
  • Les Amazones D'Afrique—Amazones Power (2020)
  • Bass Communion/Freiband—VL Tones (2020)
  • Wire—Mind Hive (2020)
  • A Winged Victory for the Sullen—The Undivided Five (2019)
  • The Slow Show—Lust and Learn (2019)
  • Bruce Soord—All This Will Be Yours (2019)
  • Henrik Freischlader—Live 2019 (2019)
  • Eilen Jewell—Boundary Country (1973)
  • Greg Brown—Milk of the Moon (2002)
  • Joni Mitchell—Travelogue (2002)
  • Low—Things We Lost in the Fire (2001)
  • Lauryn Hill—The Miseducation of Lauryn Hill (1998)
  • Nick Drake—An Introduction to... (1994)
  • Richard Thompson—Amnesia (1988)
  • Japan—Gentlemen Take Polaroids (1980)
  • David Bowie—Pinups (1973); Santa Monica '72 (1994)
  • Pink Floyd—Saucerful of Secrets (1968)

Friday, January 10, 2020

Neil Peart: 1952 - 2020




Before the phone call from Neil Peart, I was a jangle of nerves. It was October 2006. Neil was calling from a hotel room in Toronto to promote his new book, Roadshow: Landscape with Drums: A Concert Tour by Motorcycle, which traced his 21,000-mile journey across North America and Europe during Rush's 2004 tour.

My trepidation was due to the fact that Neil hadn't been conducting many interviews during that period of his life. Neil was renowned as one of the most intensely private rock stars on the planet. In part it was because he was a naturally shy man who was never comfortable with fawning adulation. It was also because people kept wanting to ask him about the awful tragedy of losing both his teenage and daughter and wife between 1997 and 1998. Imagine having that wound endlessly prodded by Rush fans, however well-intentioned. Although Neil had emerged from his multi-year hiatus of grief to resume recording and touring with Rush, he wisely retreated from public contact. Accompanied by his close companion and security expert Michael Mosbach, Neil took strenuous measures to avoid contact with fans. To come across Neil Peart in the wild (his natural habitat, really) would have been more rare than stumbling across Bigfoot.

So, yeah, I was nervous. I wanted to do right by the interview. We started talking...and I immediately relaxed. Neil was friendly, easy to laugh, and very much at ease. The interview focused on what he was listening to (we talked about our mutual love of Porcupine Tree), watching (Talladega Nights: The Ballad of Ricky Bobby!), and reading (Graham Greene, John Steinbeck, Ernest Hemingway and so many others). It was more a casual conversation than formal interview and it was a hugely enjoyable experience chatting with someone who was so thoughtful and erudite.

Neil Peart was truly a Renaissance Man. He was naturally interested in the world around him and he pursued his many interests with hard-working zeal and a disciplined pursuit of excellence. He'll be remembered primarily, of course, as one of the very greatest drummers who ever lived. The man turned millions of concert attendees into air drummers. But Rush was just one (very sizable) aspect of a multi-faceted life.

Neil Peart was an intellectual and an autodidact who sure did deviate from the norm... For instance, during the 1980s, the drummer began bicycling hundreds of miles from one show to the next (stopping off at art museums along the way). And though he was a collector of expensive cars and enjoyed racing them, his favorite transportation was his BMW motorcycles. As a highly skilled motorcycle rider, he always took the small, off-the-beaten path route rather than well-traveled highways. A metaphor for his life, really. He was obsessive about visiting every single national park in the US (there are 61 of them) and made sure to get his park passport stamped at each one. Neil didn't just take up rowing, swimming, and cross-country skiing, he worked to master their proper techniques and stretch himself to the limit in each pursuit. He was a scholarly birdwatcher. A chef. A model kit builder. About the only thing I think he never got around to doing, though he sometimes talked about the idea, was fly-fishing.

Neil's intelligence and many interests made him a wonderful raconteur. It was in talking about books during our interview that I really connected with Neil. Reading was the great love of his life, perhaps even more than music. If he didn't have drumsticks between his hands, he had a book in them.

After the interview, I posted a parcel of books and CDs that I thought Neil would enjoy. Neil later wrote about one of the books, Case Histories, calling it "a gripping mystery by Kate Atkinson, whose genre is referred to as 'literary thriller,' which apparently doesn’t have to be an oxymoron."

A year later, when the R30 tour had finished, I was surprised and delighted to receive a hand-written postcard (picture above) from Neil to thank me for the gifts. A few years later, he sent me another personal postcard (see below). Indeed, for all his aloofness, the drummer was renowned for taking time to write to fans—something that very few rock stars of his stature would do. Not surprisingly, many bands that toured with Rush have testified to how the trio went out of their way to look after their opening acts. It's true what they say about Canadians being the nicest people....

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Neil Peart was, first, a man of letters. He invested great time and care in corresponding with friends. The Canadian treasured that ancient and fast-fading art of composing thoughtful letters about, well, "news, weather and sports"—paraphrasing the words of a local television newscaster he once came across—with a close circle of pen pals. All those years of mindful tapping at keyboards and licking envelopes and stamps were a preparation, of sorts, for his foray into becoming a public author. Later, Neil began sharing similar epic essays on the open forum of his website—plus cooking recipes and book reviews. Neil Peart was one of the finest essayists of our age. And if that strikes you as hyperbole, just go read his "News, Weather, and Sports" pieces on his website NeilPeart.net (select from the list in the drop-down menu) and you'll quickly come to the same conclusion.

Neil's first book was an account of a cycling trip across North Africa. It was the first of his many publications as a first-rate author. His books were part memoir, part travelogue. His experiences in Africa, South America, Europe, and America were never dull. An explorer by nature, he had so many adventures (including a number of narrow escapes from harrowing situations). I'm particularly fond of his 2004 memoir, Traveling Music: Playing Back the Soundtrack to My Life and Times, in which he used his travels to chronicle not just the music that shaped him but also share revealing stories about his childhood and music career. One of the paradoxes of Neil Peart is that although he was an intensely private person, his books were unstinting in how much he opened himself up to his readers. There are many, many, many memoirs out there about people who've experienced tragic loss and devastating grief. Yet few of them immerse the reader in the experience of what it's like to go through the stages of mourning, seemingly endless concentric circles of hell, quite like his memoir Ghost Rider does.

Neil displayed the sort of facility with prose that he employed behind a drum kit. (Admirably, he was also a stickler for the proper use of the em-dash!) But what made him such a treasured travel writer was that he didn't just describe physical journeys—he wrote about mental ones. Neil was a thinker. Traversing swathes of the world by bicycle, motorcycle, and car, Neil was innately curious about the human condition. He wanted to parse the ideas, past and present, that shaped the places he visited and the people he met.

Neil's innate curiosity and scholarship fed into his lyrics, which offered sophisticated treatises on ethics, philosophy, and social commentary. Then again, The Professor wasn't above writing the occasional humorous riff on how a dog might view the world around him!

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I could never have imagined that one day I'd get to write a book with Rush's art director Hugh Syme. I am hugely fond of Hugh, who was a joy to work with. I owe this wonderful honor to my dear friend Matt Scannell (Vertical Horizon), who recommended me to Neil, and Hugh. The Art of Rush was a dream project.  (Neil chose his friends carefully—as he expressed it in the "Limelight" lyric, "I can't pretend a stranger is a long-awaited friend"—because he invested so much love and time in each relationship. It's testament to the qualities of grace and love that Matt embodies and expresses that Neil befriended him.)

It was a pleasure to interview Neil again (and also Geddy Lee and Alex Lifeson). Neil worked closely with Hugh on the concepts and ideas for Rush's artwork and so he was very invested in the book. I was inspired to write the best pages I could, knowing that an author I so admired would be reading them. I wanted to attain the sort of excellence he strove for.

Around the same time, Matt also invited me to write sleeve notes for Vertical Horizon's Echoes from the Underground album. Matt invited me to Jim Henson studios in West Hollywood to watch Neil lay down some drum tracks for that album. I sat quietly and unobtrusively in the corner of the control room, observing the virtuoso at work. (See the video of that day, below.) The sheer power of his playing made me hope they had reinforced glass in the control room. Neil was talking about a new ascending drum fill he'd been working on for some time, and unfurled it on the track to magical effect. I witnessed the immense concentration he brought to bear. And enjoyed those moments when he'd chuckle, eyes twinkling. It was an experience I'll never forget.




People may not appreciate that Neil's mastery of his drums was a result of talent, yes, but also immense practice and dedication. During the mid-1990s, Neil started taking drumming lessons with Peter Erskine and Freddie Gruber. Eager to challenge himself and learn more from those jazz masters, Neil had to fundamentally unlearn his largely self-taught style and learn anew the techniques imparted by Gruber. That work ethic applied to many aspects of Neil's life. On more than one occasion, he wrote about his great capacity for endurance.

Neil Peart's final tour with Rush was indeed one of fortitude. By the accounts of his band mates, Geddy and Alex, he was often in great pain. Many years of athletic drumming had taken their toll.

Those of us in the audience had no idea. (As Neil was fond of saying, quoting Gruber, “It is what it is. Deal with it.”) As always, Neil pushed himself past the point of excellence each night. In a short essay for Classic Rock magazine, he explained how his signature drum solo that tour was the culmination of everything he had learned as a drummer.

And then Neil left the lighted stage. He retired from the band, from drumming, from public life.

Neil had other interests he wanted to pursue, such as publishing a final book, Far and Wide. More importantly, he wanted to spend quality time with his second wife, Carrie, and their daughter, Olivia. It was apparent from his writings how much they enriched his life. I never met his family but the bell of my heart tolls for them...

Neil had often expressed admiration for the way in which Bill Bruford had retired during his early 60s, knowing that it's best to bow out when you're at the top of your game.

“Lately, Olivia has been introducing me to new friends at school as ‘My dad – he’s a retired drummer,'” Peart told Drumhead magazine. “True to say,” Neil said, before adding that it’s “funny to hear.”

“It does not pain me to realize that, like all athletes, there comes a time to … take yourself out of the game,” Peart added. “I would rather set it aside then face the predicament described in our song ‘Losing It.'”

(The lyric he's referring to: “Sadder still to watch it die, than never to have known it.”)

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When Neil's drumming mentor and friend Freddie Gruber was near death, he had a conversation with Neil's wife during which he told her, "I had quite a ride. I wish I could do it all again." 

Those words inspired lyrics on Rush's final studio album Clockwork Angels: “Some days were dark/ Some nights were bright/ I wish that I could live it all again.” 

In an interview with longtime Rush chronicler Philip Wilding (whose remembrance piece is a must-read), Neil offered the following comment on Gruber's wistful lament, "I don’t feel that way. Maybe I will when I’m older. Nevertheless, I respected it so much...."

Neil couldn't have lived life any fuller. A "Homeric life," as Bradley Birzer, author of Neil Peart: Cultural Repercussions, wrote in his tribute piece. As one mourner put it on Twitter today, "He lived the lives of 10 men."

He leaves his many fans with glorious memories, millions of words, and dozens of albums of music. But he also leaves an example of how to live life—never wasting time, always looking to improve oneself, forever seeking the meaning of it all even in the darkest hours.

As he put it in the lyrics to the song "The Garden": "The measure of a life is a measure of love and respect."

During his truly extraordinary life, Neil Peart more than earned both those things.







Follow me on Twitter: @steve_humphries.



Monday, December 30, 2019

Playlist November-December


  • Les Amazones D'Afrique—Amazones Power (2020)
  • The Who—Who (2019)
  • Nick Cave and the Bad Seeds—Ghosteen (2019)
  • God (Steven Wilson and Ford)—Panic Underneath the Arches (2019)
  • Kurt Vile—Bottle it In (2019)
  • Michael Kiwanuka—Kiwanuka (2019)
  • Marillion—With Friends from the Orchestra (2019)
  • Nils Frahm—All Encores (2019)
  • Swans—Leaving Meaning (2019)
  • The Pineapple Thief—Hold Your Fire (2019)
  • The Watson Twins—Duo (2019), Southern Manners (2005)
  • Pink Floyd—The Later Years - Highlights (2019)
  • Robben Ford and Bill Evans—The Sun Room (2019)
  • Michael Kiwanuka—Kiwanuka (2019)
  • David Byrne and St. Vincent—Love this Giant (2012)
  • Shawn Colvin—Live '88 (2019)

When dead artists are resurrected for a tour



Last month, I attended the joint comeback tour by Buddy Holly and Roy Orbison...

...as holograms.

I wrote a story about how hologram tours are tipped, by some, to be the next big thing. We'll see if that prediction pans out - next year's virtual tour by a hologram of Whitney Houston (backed by her former band) could be the one that breaks this trend wide open. Then again, will a virtual performer be a viable substitute for an actual person on stage?

“There's all kinds of talk about the chemistry that a band has, or even a backing band has to have. It's one thing to be playing along with recordings, which most musicians have gotten used to these days. But it's an entirely different thing when your front man isn’t real,” Jem Aswad, senior music editor at Variety, told me.

That lack of true connection between avatar and the band affects the audience experience, he argues. It’s a poor substitute for a flesh-and-blood show such as when Mr. Aswad witnessed Childish Gambino forge an electric connection with his audience while singing “This is America” at New York’s Madison Square Garden last year.

However, fans of music from an earlier time have to make do with limited options available to them because many of the original performers are no longer alive, David Brooks, Senior Director of the Live & Touring beat at Billboard magazine, told me. That’s why some people are willing to see Queen with Adam Lambert singing instead of Freddie Mercury, Vince Neil performing in place of Glenn Frey in The Eagles, or John Mayer sitting in for Jerry Garcia in the Grateful Dead spin-off group Dead & Company.

“If a fan thinks it's cool, interesting, and they know there's no alternative, they might be interested in that,” says Mr. Brooks.

My take on the show I saw was that while I didn't fall into the uncanny valley - the holograms were, at times, quite effective - I wasn't entirely sold on the experience. After a few numbers the show had a certain sterility to it that the live backing band couldn't be overcome. A live performer interacts with the audience; the hologram just acts. The sound was, however, pristine and the show had a good production standard. I've never been into tribute bands and I don't really see the point of watching an illusion.

That said, I could foresee one exception. At present there are two bands of David Bowie alumni musicians who regularly tour in tribute to their former frontman. I've not gone to see either of them because Bowie's voice is irreplaceable. But if either group were fronted by a David Bowie hologram, I'd be very curious to check it out...

Sunday, October 27, 2019

Playlist Aug/Sept/Oct




  • no-man—Love You to Bits (2019)
  • Lana del Rey—Norman Fucking Rockwell (2019)
  • Opeth—In Cauda Venenum (2019)4
  • Elbow—Giants of all Sizes (2019)
  • Floating Points—Crush (2019)
  • Bat for Lashes—Lost Girls (2019)
  • Bent Knee—You Know What they Mean (2019)
  • Foals—Everything Not Saved Will be Lost, pt 2 (2019)
  • Tool—Fear Inoculum (2019)
  • The Black Keys—Let's Rock (2019)
  • Kurt Vile—Bottle It In (2019)
  • Joseph Arthur—Come Back World (2019)
  • Robbie Robertson—Sinematic (2019)
  • Tinariwen—Amadjar (2019)
  • Sheryl Crow—Threads (2019)
  • Bass Communion—Dronework (2019)
  • Big Wreck—But for the Sun... (2019)
  • Brian Eno—Apollo Atmospheres and Soundtracks (2019 version)
  • David Crosby—Sky Trails (2017)
  • Sarah Jarosz—Follow Me Down (2011)
  • Laura Veirs—Saltbreakers (2007)
  • Eilen Jewell—Boundary County (2006)
  • Low + Dirty Three—Fishtank 7 (2001)
  • Mark Knopfler—Sailing to Philadelphia (2000)
  • Shawn Colvin—Live '88 (1995)
  • The Waterboys—Room to Roam (1990)

Best concerts you've ever seen?

Photo courtesy of Matthew Murphy

If you're in New York between now and early January, go see David Byrne's American Utopia on Broadway. He has completely reinvented what a pop concert can be. Find out more by reading my new interview with choreographer Annie-B Parson on how she helped Byrne (who answered my questions via email) to realize his brilliant vision. One of the best shows I've ever seen.

What distinguishes a truly indelible concert from a good one? I got to thinking about that when I answered a quiz circulating on Twitter (see below) about one’s concertgoing history.

First concert: Johnny Clegg (Johannesburg, 1989)
Last concert: Jenny Lewis (Boston, 2019)
Best concert: Kate Bush (London, 2014)
Worst concert: Blondie (Boston, 2017)
Most concerts: Robert Plant (at least 30 times)
Haven’t but wanna: Arcade Fire

In thinking about the hundreds of shows I’ve seen, I came to the conclusion that three qualities truly elevate a show. The first, naturally, is a dynamic performance. I’m thinking of Prince in Los Angeles, 2011. I watched the human dynamo play a three-hour concert in which his spontaneous fifth encore was 15 minutes after the houselights had come on and half the audience had left.

The second ingredient is an unexpected surprise. When Peter Gabriel performed “In Your Eyes” at the Hollywood Bowl, John Cusack ventured onstage – boombox in hand – in homage to that song’s role in the famous scene from “Say Anything.”

The third, perhaps most underappreciated element, is what happens in between songs. Some bands never say a single word to the audience. By contrast, indie-pop singer Feist made an unforgettable 2017 theater show feel like a campfire singalong among friends.

After the audience joined in on a complex harmony, the Canadian songwriter joked, "You're all hired for the band. Tour bus leaves at 10:15 for Toronto. Get your passports. I suppose that would make you defectors!"

At one point, Feist glanced up when my wife did a bird whistle before the start of the avian-themed "Caught a Long Wind." The two began exchanging bird calls.

Isn’t connection the quality we yearn for most in music? It can happen when recorded sounds in one’s headphones make one feel an ethereal bond with artists – together, but alone. But it’s extra-special when hundreds of enthralled strangers join in musical fellowship, like that evening with Feist.

Sunday, August 18, 2019

Playlist June through July


  • Thom Yorke—Anima (2019)
  • Eilen Jewell—Gypsy (2019)
  • Jesca Hoop—Stonechild (2019)
  • The Waterboys—Where the Action Is (2019)
  • Calexico + Iron and Wine—Years to Burn (2019)
  • Cross RecordCross Record (2019)
  • Rory Gallagher—Blues (2019)
  • These New Puritans—Inside the Rose (2019)
  • SantanaAfrica Speaks (2019)
  • Ludovico Einaudi—Seven Days Walking, day 4 and day 5 (2019)
  • The National—I am Easy to Find (2019)
  • Radiohead—Minidiscs [Hacked] (2019)
  • Ben Granfelt—My Soul to You - Live (2019)
  • Courtney Swain—Between Blood and Ocean (2019)
  • Marillion—dotcom (2019), en el marquee (2019)
  • David Crosby—Here if You Listen (2018)
  • Elbow—Live at Jodrell Bank (2012)
  • These New Puritans—Field of Reeds (2010)
  • David Bowie—Glastonbury 2000 (2018), Storytellers (1999), Never Let Me Down (1987), Tonight (1984)
  • XTC—Apple Venus, Vol. 1 (1999)
  • The Beatles—Beatles for Sale (1964)