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The seed of the 1960’s was planted when Ray Manzarek read Aldous Huxley’s book, The Doors of Perception.  Of course, that title would later serve as the inspiration for the name of The Doors, comprised of Ray Manzarek, Robby Krieger, John Densmore and Jim Morrison.  A new documentary about The Doors, entitled, American Masters: When You’re Strange, premieres on PBS this Wednesday, May 12 at 9:00 PM ET.

This Sunday night, on The Lyons Den Radio Show on 91.5fm KUNV Las Vegas and online at http://www.kunv.org/streaming.htm, which airs from 7:00 to 11:00pm PST, we will feature an exclusive live interview with Robby Krieger, guitarist for The Doors and now for the Manzarek Krieger Band.  The Manzarek Krieger Band of course  features Doors founder Ray Manzarek on Keyboards, as well as Brett Scallions (former lead singer for Fuel) on vocals, the legendary Phil Chen on Bass, and the incomparable Ty Dennis on drums.  Manzarek and Krieger have had nearly 40 years of practice and performance under their belts since Jim Morrison passed, making their current live performances nothing less than astonishing.  But don’t take my word for it.  You need to hear it to believe it.

Don’t forget:  Watch American Masters: When You’re Strange this Wednesday, May 12 at 9:00 pm ET on PBS.  Then tune in to The Lyons Den Radio Show, Sunday night from 7:00 to 11:00pm on 91.5fm KUNV Las Vegas, and online at http://www.kunv.org/streaming.htm to catch the exclusive, live interview with Robby Krieger.  See you on the radio.

MOKSHA:  Mammal or Machine

MOKSHA: Mammal or Machine

NOTE: Before you start reading this article, go through and hit Play, then Pause for each of the videos.  Then start reading the article.  By the time you’re ready to watch the videos they will be fully queued  and you won’t have to wait for them to buffer at all.

Moksha –     moke-shah, skt.  (1) liberation or freedom from samsara (the suffering of the endless cycle of death and rebirth); (2) performing the action of liberation, a practice to liberate consciousness (from samsara)  into the field of vast awakening. (Adapted from the glossary of The Words of My Perfect Teacher, by Patrul Rinpoche)

Moksha – literally “release” (both from a root muc “to let loose, let go”), is the liberation  from samsara and the concomitant suffering  involved in being subject to the cycle of repeated death and rebirth (reincarnation).

— Wikipedia

While the members of Moksha sheepishly admit to “dabbling” in eastern religions, their music doesn’t overtly suggest an eastern influence, although clearly the name is meant to suggest that the music is itself a vehicle for their own liberation of sorts.  The instrumentation is decidedly western in its orientation, though within that paradigm the music is prone itself to dabble in, combine, and discard any number of genres not just on the album, but within each song.  Structurally, many of the songs proceed in distinct movements, though it sounds little like the progressive rock of the 1970s which perhaps drew more decidedly from the classical vein.  Too much time and music has passed since those days, and Moksha’s members have steeped in so many genres and traditions that it seems their jammy dance through the vast fields of musical genres is utterly free and devoid of premeditation.  And yet the music definitely bears repeated listening and deep study, upon which one discerns layer upon layer of intent and malice aforethought.

Track 3, entitled Interface, puts forth the lyric from which Moksha’s debut album’s title, Mammal or Machine, is derived.

Come clean, Are you mammal or machine?

Well, truthfully you seem to be in between

Toward which are you prone to lean?

If ever you get confused

just choose to peruse the seam

And maybe then you’ll see

they share a common dream

This livid interface in redbluegreen

It’s not the black side

It’s not the white

It’s the Interface

Interface

It’s not your dark side

Nor your light

It’s the interface

Interface

These lyrics are both penned and sung by Moksha’s putative fifth member, Sam Lemos of the band, F.I.N. At once deep, thoughtful, oblique, informed, and insightful, though at the same time somewhat quirky, the lyrics mirror the music not just in tone and structure, but as metaphor.  They point most obviously to the connection between mammal and machine, evoking on the one hand connotations of man’s emerging cyborg nature, and on the other hand the Renaissance view of man as machine.  But the words go even further, nodding also to the historical thesis of man as divine creation to which the Renaissance view was antithesis, forming a dialectic now culminating in a fusion both “mundane yet divine.”  And having touched this topic of divinity, they also playfully invoke not just the ethics of interracial relations (as in the chorus above), but the competing themes of evolution and creation:

Touch stone to electric flesh and bone

Step into that mirror see how you’ve grown

And how far from home you’ve flown

If ever you feel sub par see, star, beneath your own dome

Just cock your crown and take that throne, please

Come clean, Are you mammal or machine?

If that’s too subtle for you, the spiritual connection is made more overt in the final verse, itself a prayer of sorts:

God help the girl who develops a pearl

& is killed upon collection

Gaia help the boy who’s in love with the toy

that’s burned after infection

God help the gal who hasn’t a pal

Yet gets all of the attention

Gaia help the man who developed the plan

That’s been doomed since its conception

Witty and literate, these infectious lyrics fit the music perfectly, and fashion something completely new and unexpected for those who have been following Moksha’s live shows for the past three years.  You’ll find yourself singing along to the chorus before the end of your first listening, and the depth and complexity of the music, itself a fusion of musical genres, will keep you coming back for more, and still singing the chorus even when there’s no music playing.  All this makes Interface the perfect choice for the first single from the album.

Following the departure last year of Moksha’s lead singer, Angela Kerfoot, the band was compelled to reinvent itself in several ways, resulting in bass player John Heishman and keyboard player Brian Triola stepping more solidly into their roles as vocalists (featured on Blind To The Time, Morning Fog, and Trouble).

The band has also taken a queue from Thievery Corporation, ushering, Andy Warhol-style, a parade of vocalists and guest performers across the stage in its live performances.  The album mirrors this development.  The album features a fantastic performance by Angela Kerfoot on the atmospheric and groovy Open The Door, as well as guests Sam Lemos (on Interface) and Windy Karigianes (on Say U Will).  Jazz Singer Windy Karigianes’ performance is at once sexy, sultry, funky, ethereal and understated, and the band delivers a performance in which one can discern the influences of Pink Floyd, Paul Simon, and Maria Muldaur, to name just a few.

In addition to guest vocalists, Mammal or Machine also features a number of guest musicians  including Brian Stoltz (the Neville Brothers, Bob Dylan, The Meters) on guitar; D.J. Logic on turntables; Peter Apfelbaum (Hieroglyphics Ensemble) on tenor sax, along with members of Carlos Santana’s horn section: Bill Ortiz on trumpet, Jeff Cressman on on trombone, and Eddie Rich on baritone sax.  This all-star horn section is featured on the first five  of the album’s 11 tracks, and Peter Apfelbaum delivers a tenor sax solo on Morning Fog, a track which gets my vote for the album’s second single.

Here’s a live version of a track that didn’t make the album, but which may make their upcoming live album, and which features the lyrical and vocal contributions of Same Lemos and F.I.N., along with Peter Apfelbaum on tenor sax, D.J. Logic on turntables,  and Brian Stoltz on guitar, recorded live at the Hard Rock Cafe on the Las Vegas Strip.

From this one can get a sense that there’s definitely a lot going on with these guys, and they have a tendency to want to throw everything into the mix, including the proverbial kitchen sink.  The boys were smart enough to recruit James “Banzai” Caruso (Bob Marley & the Wailers, Damian “Jr. Gong” Marley, and Julian Marley) to mix the tracks and distill the sound.  Finally, the boys scored big in securing the legendary mastering talents of Gavin Lurssen, for whom the short list of artists he has mastered reads like a who’s who of music over the past 70 years.  Lurssen  has won Grammys for O Brother, Where Art Thou? (Album of the Year, 2001), Martin Scorsese Presents The Blues: A Musical Journey (Best Historical Album, 2003), and Robert Plant/Alison Krauss – Raising Sand (Album of the Year, 2008).

To be sure, however, the four musicians who form the core of Moksha – Jeremy Parks on guitar, John Heishman on bass and vocals, Pat Grey on drums, and Brian Triola on keys and vocals – should not be understood to rely on the admirable talents of those they have recruited for this album.  Rather, the contributions of the artists and masters who assist on this effort should be understood as tribute to the superb musicianship and musical sensibility of the Moksha core.  And the band was wise enough to put forth the stripped down core for the second half of the album.  They shine best on tracks like Morning Fog, Easy A, Bobbin’ On The Sea, and God’s Country.  Here’s MOKSHA performing Bobbin on the Sea live at Sinister Rock Club in Las Vegas.

The first few times I heard Moksha perform Morning Fog live I was certain they were covering a track by Medeski, Martin & Wood, the name of which must surely have been just on the tip of my tongue.  But no, this track is pure Moksha.  Here they are performing Morning Fog live at The Hard Rock Cafe on the Las Vegas Strip:

Does this not simply crush your brain?

Mammal or Machine is an album which is far from being the first effort by some local band.  Rather, Moksha has put forth a sound that is both mature and professional, emerging like Athena, fully formed, from the forehead of Zeus.  Indeed, on the whole this album holds its own among the ranks of first albums by now legendary artists.  In fact, after having heard only the first few tracks, the sound was so astonishingly ballsy, bold, and new that I was pone to compare it to Led Zeppelin’s first album – admittedly a musical sacrilege if ever there was one.  But this album is not only worthy, it is truly a masterpiece.  Just as the lyrics of Interface are laced with literary and cultural references through which they weave a startling braid of concepts of man, machine, and divinity, so is the music on this entire album laced with musical genres and allusions, weaving its own startling braid of jazz, funk, rock, hip-hop and more, truly offering a path of liberation and musical transcendence for the listener.  Let go, and be liberated through Moksha’s Mammal or Machine.

Mammal or Machine is or soon will be available through the band’s website, mokshatime.com, The Home Grown Music Network, iTunes, eMusic, Amazon, Nugs.net, Rhapsody, Lala, Slacker, and many others.  And of course, you can always pick up their album when you see them live.

The Jacob Fred Jazz Odyssey (JFJO) is one of the most original and interesting jazz/jam-bands on the scene today. With influences ranging from electric Miles Davis and Jimi Hendrix to Sun Ra, John Coltrane, Cecil Taylor, Larry Young and John Scofield, JFJO combines classical training and superior musicianship with an innovative style that demands that listeners reinvent the way they think about and listen to music.

On January 5, Jambase reported that founding member Reed Mathis (guitar, electric bass, upright bass) is leaving the band to pursue other musical endeavors.

The band also announced its 2009 lineup, which will be as follows:

Brian Haas: Keys
Josh Raymer: Drums
Chris Combs: Lap Steel
Matt Hayes: Upright Bass

This core quartet lineup will make its debut this coming Saturday, January 10 at Kenny’s Castaways as part of the 2009 NYC Winter Jazz Fest.

Be careful. The following clips of JFJO with Reed Mathis may melt your brain. Upcoming tour dates follow the clips.


JFJO covering The Beatles’ “Happiness is a Warm Gun” and more with Steve Kimock live at the World Cafe Live, 6/24/07 (in excerpt).


The Jacob Fred Jazz Odyssey performing their version of Duke Ellington’s “In a Sentimental Mood” live in Brazil.


JFJO performing “Son of Jah” live in Brazil.


JFJO performing the original Brian Haas composition, “Daily Wheatgrass Shots” live in Portland, OR.

    Jacob Fred Jazz Odyssey Tour Dates

01/10/09 Sat Kenny’s Castaways New York, NY
01/17/09 Sat Hailey’s Denton, TX
01/29/09 Thu George’s Majestic Fayetteville, AR
01/30/09 Fri Jardine’s Kansas City, MO
01/31/09 Sat Mojo’s Columbia, MO
02/10/09 Tue Winston’s San Diego, CA (w/ The Bridge)
02/11/09 Wed Largo Los Angeles, CA (w/ Marco Benevento)
02/12/09 Thu Yoshi’s Oakland Oakland, CA
02/13/09 Fri Hopmonk Tavern Sebastopol, CA (w/ The Bridge)
02/18/09 Wed The Indigo District Eugene, OR
02/20/09 Fri Eastside Tavern Olympia, WA
02/21/09 Sat GoodFoot Lounge Portland, OR
02/22/09 Sun Tractor Tavern Seattle, WA
02/25/09 Wed Hodi’s Half Note Fort Collins, CO
02/27/09 Fri The b.side Lounge Boulder, CO
02/28/09 Sat Cervantes’ Masterpiece Denver, CO (w/ Lubriphonic)
03/28/09 Sat The Parish Austin, TX

Homepage

Bad planning up front leads to instability and arguments down the road just when you're getting big.  Put it all in writing up front with this amazing musician's legal and business kit.

Bad planning up front leads to instability and arguments down the road just when you're getting big. Put it all in writing up front with this amazing musician's legal and business kit.

I confess: I’ve watched all the Alex Jones films, and the Zeitgeist films too. For a while I was reading all the stories from the Watson brothers (Paul and Joseph, who write for Prisonplanet.com and infowars.com), and Alex’s various websites (including the foregoing sites, and JonesReport.com). I would print them out, take them with me to lunch, and surreptitiously leave them on the table for anyone else to happen upon. And I was listening to The Alex Jones Show on podcast with regularity.

I was like Fox Mulder: I wanted to believe. But I had and have several problems with Jones’ world view and methods. It was easy enough to overlook and dismiss my misgivings at first. In fact, it wasn’t until I heard Alex Jones rant about the maker of Zeitgeist that I began to get a glimmer of the deeper religious furniture under Alex’s hood, and I began to really give consideration to what had been merely a subconscious dis-ease prior to that.

Zeitgiest is a film which overlaps to a large degree with the Alex Jones paradigm – with one exception. Zeitgeist features a fairly scholarly analysis of the astrological and symbolic origins of most of the world’s major religions. If you happen not to be religious this is no big deal. But if you are one of the faithful, this is a major challenge to that faith.

So this one day was listening to a podcast of the Alex Jones show on my iPod. He went off on this rant about this argument he had with the maker of Zeitgeist about whether a certain bird behavior was the result of nature or nurture.

Now to me this is a fairly silly debate. And at the moment I don’t recall which side Alex fell on. I’m pretty sure Alex was saying that this certain behavior was genetic, inherited, and not learned. It dawned on me that the significance for Alex was that humans were different than animals in that we are capable of learning and we have free will.

Personally, I think that for humans our behavior is shaped by both nature and nurture, that we carry genetic switches that flip depending on environmental circumstances.

But the debate had religious ramifications for Alex, ramifications that lurked as subtext only: If humans were merely complex animals, then the significance of the Bible is called into question, and perhaps diminished as merely the product of these clever animals’ imagination. Jones could not allow the conversation to lead there.

And so it was that I allowed myself to awaken and consciously confront my first problem with Alex Jones’ world view. I am Buddhist, and Jones is Christian. I don’t mean this in any kind of a derogatory or intolerant way, but rather my issue goes to a fundamental distinction between the world views of these two great religions.

Buddhism, to the extent it is a religion, is officially agnostic as to whether there is or is not a God (used here in the monotheistic western sense of the term, by which is implied a primal cause, omniscience, omnipotence, etc.) Without going too deeply into Buddhist philosophy, it should suffice to say that from the Buddhist point of view, the Universe functions according to certain laws of nature, and these laws function whether or not there is a God, and if there is one, then He, She or It is probably going to be subject to these laws as well, but more importantly, the Universe does not appear to need a God for these laws to function.

Ultimately, Buddhism is concerned with the nature of our thinking and our actions. Specifically, Buddhists define certain modes of thought as positive, and certain other modes of thought as negative. Fear is very definitely a negative mode of thought and is to be avoided, or transformed into fearlessness. Buddhists cultivate a sense of fearlessness about death out of their faith in the notions of karma and reincarnation (actually, rebirth – but that’s getting needlessly technical for our purposes here).

Christians, in contrast, believing not in reincarnation but rather in an eternal heaven or hell, and have historically operated with fear as a primary motivating force. This is not to say that the Christian heaven is not by itself an attractive or motivating goal, but it seems Christians have always employed a big stick as well as that carrot.

Certain Christians, particularly Fundamentalist Christians, concern themselves greatly with the Book of Revelation and the Eschaton or End Times. Certain of these it seems even take efforts to “imminentize the eschaton” as Robert Anton Wilson said it in

    The Illuminatus! Trilogy

– that is, they seek to hasten the End Times. Such action appears to be motivated by the faith that they have earned salvation from certain damnation through their faith in Christ, and that by hastening the End Times they hasten their re-union with God.

I believe some of the Neocons may by secretly motivated by this type of thinking. I don’t think Jones is so religious as to be one of these Eschaton Imminentizers (not all Eschaton Imminentizers are Neocons, and not all Neocons are Eschaton Imminentizers), but I think deep in his consciousness he believes that the Neocons are up to something of Biblical proportions.

However, if Jones doesn’t welcome the actions of these Eschaton Imminentizers (and I think he doesn’t) he certainly is set up to profit from them in the meantime, as his ministry is one fueled by the propagation of the fear of what he portrays as the imminent New World Order.

And so, as a Buddhist, my first problem with Jones is the perpetual state of fear that he carefully cultivates in his audience. That state of fear is necessary to drive sales for his sponsors, who tend to cater mainly to a survivalist world view. I have no problem with being prepared for the worst, but I am also realistic about how Jones makes his money.

The second problem I have with Jones is that while he has an excellent grasp of the gross mechanics of current events, a lot of his statements, ideas, and understanding of the philosophy which motivates the players both historically and at present on the world stage is superficial at best, often oversimplified, and at worst, born of sheer ignorance. As a result, he tends to draw extreme and unwarranted conclusions, and often does so from extremely tenuous and often disconnected evidence. He seizes upon even the weakest of coincidences as proof of his world view, drawing unwarranted universal generalizations from disparate and isolated instances.

If you are constantly on the lookout for any evidence that will confirm your world view, then you are bound to find it, often at the expense of seeing a lot of other stuff that tends to conflict with it.

As an example of this overly simplistic world view, Jones and the Watsons often say that Zbigniew Brzezinski “hates Russia,” but I’ve never really seen any real support for this conclusion.

Here, it is easy for me to put myself in Brzezinksi’s shoes and comprehend that he likely has some complex feelings about something as vast as Russia. When I was in college, I spent some time studying in China, and I find that my feelings about the vast country of China are somewhat complicated. I have a deep love the culture and the people, but my feelings about the government tend to be less benign, and for this reason I consciously pray for the enlightenment of the Chinese Government, if only to transform my negative thoughts on the subject into positive ones.

I expect Zbigniew’s feelings about Russia are even more complex than the ones I feel toward China. This is because Brzezinski (a) was born in Poland and lived through the Soviet invasion of Poland at a young age, and (b) is a professor of Political Science who has taught at both Harvard and the University of Chicago. The import of the latter fact is that it is extremely unlikely that he could get where he has with such a simplistic world view as that which Jones portrays, particularly when Brzezinski is widely reputed as one of the foremost political realists of his time.

Another example Jones’ tendency to over-simplify has to do with his grasp of political philosophy. According to Wikipedia, Jones only briefly attended a local community college in Austin, Texas. I point this out not to ridicule him, but to suggest that he lacks the basic intellectual training and tools with which to comprehend the philosophical ideas that motivate important players on the world stage.

For example, in his film, Endgame, Jones states that David Rockefeller subscribes to Fabian Socialism, which he equates to German National Socialism (Nazism) subject to the distinction that the Fabian Socialists’ path to world domination is incremental and political rather than militaristic. However, this is simply wrong.

German National Socialism (Nazism, a form of Fascism) is a politically corrupt integration of cronyistic corporatism and elitist party politics wherein economic and political power are consolidated in a few corporations. In contrast, Fabian Socialism is an incrementalist approach to a more classical form of Socialism (the English word for Communism) in which control of the means of production is ultimately held directly by the State. It is worth noting that both of these brands of “socialism,” as well as the Soviet and Chinese implementations of “Communism” are to be contrasted with the pure Marxist vision of “Communism.”

Karl Marx, after engaging in a comprehensive study of history, posited the theory that throughout history, for any given political system, be it Agrarianism, Feudalism or Capitalism, the contradictions inherent within that system will inevitably give rise to that system’s successor. This theory is known as Dialectical Materialism. Without going into the contradictions within Agrarianism or Feudalism, Marx said that Capitalism was characterized by two conditions: (1) the fact that labor is the source of all value (regardless of whether that value may be modulated by supply and demand), and (2) the defining trend of Capitalism being that toward the mechanization of labor (replacing the work of people with the effort of machines, or more simply, putting money to work rather than people). That this is a contradiction may not be perceived until you take both factors to their extreme: When all labor is replaced by machine, then the products made by the machines will have no value. That, he said, is when the revolution will occur.

The historical ramifications of a correct understanding of Marx are huge. First, it necessarily follows that the revolutions that transpired first in Russia, and then in China and other countries cannot be viewed as Marxist in any real sense. They were opportunistic seizures of power which treated the masses as fodder and philosophy as an excuse. Second, if you accept Marx’ analysis, it follows that the real “Communist” revolution is yet to come, but that in this age of emerging Artificial Intelligence, Robotics, and growing unemployment, may be closer than we think.

Why are these philosophical subtleties important to this discussion? Because if Jones had actually gone to college, studied philosophy and obtained a degree, these subtleties would not be lost on him, and would deeply inform his world view.

Instead, Jones conceives only monolithic views of a New World Order which are at best overly simplistic and at worst misguided and alarmist.

If one bothers to actually study the words of people like Zbigniew Brzezinski, one finds that he expresses what appear to be very sincere concerns for things like Human Rights (concerns which seem to be antithetical to the New World Order Jones portrays). And if the New World Order were as monolithic as Jones would have us believe, then one would expect a guy like Zbigniew Brzezinski to be one of George W. Bush’s biggest cheerleaders.

Instead, in his book, Second Chance, Brzezinksi quite eloquently and meticulously rips George W. Bush a new asshole six ways to Sunday and gives him a near failing grade in his handling of foreign policy, mainly promulgated in the wake of 9/11. However, Zbigniew stops far short of even pondering whether 9/11 might have been an inside job (a point on which I tend to agree with Jones).

In his review of the post-Soviet presidencies, Brzezinski explains that George H. W. Bush lacked any kind of vision to guide his foreign policy but was essentially an adept manager who had extensive experience as a foreign policy bureaucrat prior to ascending to the office of President. Consequently, although Bush 41 did use the phrase, “New World Order” on several occasions, he used the expression not with any particular grand vision in mind, but rather simply parroted the phrase which had already been uttered by his Russian counterpart as a way of consciously wooing Russia to align itself with NATO after the demise of the Soviet Union. In this sense, we were already in a New World Order once the old Soviet Union had imploded upon itself. It was a New World Order in which the United States found itself as the world’s only remaining superpower (a fact which in hindsight also made us the world’s biggest target).

Brzezinksi explains that Clinton, in contrast, actually did have a vision for the future of this New World Order, although this vision was characterized by a blind faith in what Clinton perceived as the inevitable historical (though largely unarticulated and undefined) force of Globalization, much in the fashion in which the idea of Manifest Destiny fueled the westward progress in America in the 1800’s.

Of course, all the while Clinton held the oval office, there was a group that was constantly plotting to regain control of the White House: The Neocons. By now we are all quite familiar with the Project for a New American Century, and the Fascist Regime that has gripped America over the last eight years.

And so by the time of George W. Bush, there were two post-Soviet factions within the Council on Foreign Relations (CFR) (and likely also within the Bilderbergers and the Trilateral Commission): The Neocons and the Globalists. These two groups appear still to be struggling, but with Obama taking the White House it seems clear the Globalists will have the upper hand for now.

I am sure Jones would argue that these distinctions are minor at best, and that the New World Order will manifest with the same basic characteristics regardless of which faction happens to be in control at any given time. This may be so. I don’t really know at this point.

However, by failing to see these subtleties, Jones perpetuates the view that this New World Order is something that canand should be resisted and defeated, but above all, should be feared.

In truth, I expect, that is an effort as futile as trying to put the genie of nuclear technology back in its bottle. The world has already changed and irrevocably so. There is simply no realistic way to undo the architecture of the New World Order. What I think we can do is play a positive and responsible role in influencing the shape of this New World Order so as to make it as benign as possible.

Order Your Guide Today!  Click Here Now!

Order Your Guide Today! Click Here Now!

Facebook, the social networking site, contains a feature which allows users to join and promote charitable causes. The feature also allows people to donate money to the cause. Recently, I saw that a friend of mine joined the cause, The Derek Zoolander Center for Kids Who Can’t Read Good (and want to learn to do other stuff too).

The Zoolander Center is a fictitious center which appeared in the comedy film, Zoolander, starring Ben Stiller and Owen Wilson. Zoolander tells the story of Derek Zoolander (played by Ben Stiller), the son of a coal miner, who becomes a male supermodel.

Not to put too fine a point on it, the cause is obviously a joke.

Having seen the movie many times (I own the DVD), I instantly knew I had to join this cause. When I began exploring the page, I found that most people understood the cause to be what it was intended to be: a joke. But some people had posted serious comments about how important it was to promote literacy among children. Posts like this:

Alexandra Larance wrote at 9:04am on January 2nd, 2009
if you care about the human rights and the state of the world….then care about literacy… only through education, the written word will the young and old be able to move the world towards peace and fair justice.

But what really baked my noodle was seeing that some people had actually donated real money to the cause. $90 in fact, as of this writing. Mustafa Ahmed hit the nail on the head when he posted this:

Mustafa Ahmed wrote at 2:21pm on January 1st, 2009
i wanna see the dipshit who donated $90, then slap then in the face… hard.

So who would donate real money to this cause? Maybe it was a professional model.

Get DVD Copy Pro Now!  Click Here!

Get DVD Copy Pro Now! Click Here!

It’s been all over the music news media lately that the current version of Led Zeppelin (the O2 Arena version, featuring Jason Bonham on drums) sans Robert Plant, is itching to get back together and tour, but that Robert Plant himself has been steadfastly coy on the topic.  It seems he prefers instead to spend time touring with Alison Kraus, and really, who can blame him?  Led Zeppelin fans, that’s who, not to mention the remaining members of Led Zeppelin.  After all, there’s gold in them thar arena  tours.  And let’s face it, Jimmy Page isn’t getting any younger.

According to Twisted Sister frontman Dee Snider, the remaining members of Led Zeppelin have been threatening to go on tour with someone else in Plant’s shoes in the hopes that this will bring Plant to his senses, and back to Led Zeppelin. And the top contender to fill those shoes, it seems, is the lead singer from a band called Alter Bridge.  You may not have heard of Alter Bridge, but you’ve probably heard of it’s immediate predecessor: a little band called Creed.

Creed was big on the post-grunge scene in the late 1990’s.  They sold a lot of albums, but the critics dismissed their fodder as derivitive (and really, what isn’t derivative in some way?)  After Creed broke up in 2004, guitarist Mark Tremonti and drummer Scott Phillips reunited with ousted bassist Brian Marshall to form Alter Bridge.  They grabbd the former frontman from a band called the Mayfield Four, a dude named Myles Kennedy, to be their lead singer.

The Next Robert Plant?

Myles Kennedy of Alter Bridge: The Next Robert Plant?

Myles Kennedy is more than just another rocker.   He’s got a working knowledge of jazz theory as well as some serious technical ability, and before he played in the Mayfield Four he had a jazz fusion band called Cosmic Dust which allowed him to implement his knowledge of jazz theory.

But these days his main claim to fame has to do with his pipes.  He’s got a set of lungs which he puts to impressive use on a track called, “Blackbird.”

Now I’ve read (I can’t remember where) that Kennedy holds the note towards the end of the song for over 30 seconds but when I listen to the song, I am reminded of a section in Pink Floyd‘s Animals album, where the voice fades seamlessly into a synthesizer which extends the note seemingly ad infinitem.  I’m not saying that they cheated with synthesizers on Blackbird.  What I am saying is that in the studio it would be easy enough to crossfade between two distinct vocal tracks to create the illusion that he held the note for more than thirty seconds.  I can’t prove this (without access to the original multitrack recording), but my suspicion is strongly substantiated in this live video of Alter Bridge performing “Blackbird” in which Kennedy totally bails on any semblance of an attempt to hold the note at the climax of the song.

Not to dis Kennedy entirely, as the lapse is understandable if it was faked in the studio, and his guitar work is certainly competent in the live video.  But Led Zeppelin already has Jimmy Page on guitar, and while it would be interesting to see Page and Kennedy trade guitar solos, in the end the slot opened up by Plant’s preoccupation with Alison Kraus is a vocal one, and if Kennedy can’t replicate his feat live, then the “Blackbird” studio performance should not be cited as a reason why Kennedy should be the choice for Zeppelin now, and the boys should keep looking for a real singer.

And so the thing for me is this:  I have another candidate I’d like to see fill Plant’s position.  There’s a Polish progressive rock band called Quidam (a Latin word which means, “someone”) and until recently its lead singer was a woman named Emila Derkowska.

Emilia Derkowska of Quidam

Emilia Derkowska of Quidam

Derkowska is widely acknowledged as possessing an “angelic” voice by those who have heard her sing, but she can still belt out a song will all the angst and raw sexual energy that you would expect from a Led Zeppelin tune.  In fact, here she is covering Led Zeppelin‘s “No Quarter”:

Quidam, performing No Quarter live in Warsaw, Poland May 26, 2002

Derkowska rendered her last perfromance with Quidam in August of 2008.  Now I am not aware of the circumstances attending Derkowska’s departure from Quidam, but as far as I am concerned it represents a loss for both Quidam and its fans.  But it also means Derkowska may be available for a Led Zeppelin 2.0. I think she deserves a look.

Here she is performing an original tune (in Polish) with Quidam entitled, “Choćbym”:

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