this is pretty cool.
the MUSEUM OF POP CULTURE in SEATTLE recently did their annual fundraiser for local music education and community engagement initiatives by celebrating the work of regional favorite sons ALICE IN CHAINS. aside from their performance at the event, there were also performances both on-site and via video submissions by various peers and artists, many of the METAL and ALTERNATIVE ROCK persuasion.
while i am pretty on the fence about music-related museums in general (in my mind movements are only truly dead once you can visit an exhibit), these performances by the likes of MARK LANEGAN of SCREAMING TREES, MASTODON, HEART, FISHBONE, KORN, SOUNDGARDEN, TAD DOYLE of TAD, KRIST NOVOSELIC of NIRVANA, DAVE NAVARRO of JANE'S ADDICTION, COREY TAYLOR of SLIPKNOT, METALLICA, BILLY CORGAN of THE SMASHING PUMPKINS, TAYLOR HAWKINS of the FOO FIGHTERS are amazing and serve of evidence of the cultural impact ALICE IN CHAINS had on their peers and the next generation of musicians.
makes me miss LAYNE STALEY and MIKE STARR all the more deeply. not to mention their fallen peers in CHRIS CORNELL and KURT COBAIN. rest in peace brothers.
photo by nacrowe
with the impending second bankruptcy of GUITAR CENTER likely to be finalized at the close of this month, it seemed as good a time as ever to look back at the live performance series GUITAR CENTER SESSIONS that they co-produced with DIRECT TV that took advantage of their iconic flagship HOLLYWOOD location.
it feels like the end of an era with their impending doom, but sadly they never took advantage of the internet and basically ceded that ground to competitors like SWEETWATER. it is mind-bogging that COVID knocked them out give that this lockdown period we've been living through has sold more guitars and instruments then any other period in history. just think about that.
oh well, at least we have these performances until they inevitably get taken down.
as corporate propaganda goes, ERNIE BALL MUSIC MAN's online STRING THEORY video series on YOUTUBE is pretty effective. they basically created extended interviews with such notable players as JOHNNY MARR, DAVE NAVARRO, JERRY CANTRELL, KIRK HAMMETT, DARON MALAKIAN, JADE PUGET, TOM DELONGE and J MASCIS among many others, all explaining how they came to play guitar and what being a musician / songwriter means to them. somewhere, of course, they mention the strings.
there has definitely been a move towards these types of online cross-promotional infomercials (well-produced as they are) by various companies in the retail guitar space, each showcasing how their product in concert with products by other notable manufactures support recording and touring musicians and allow them to pursue their art. and just in terms of marketing i think that is a smart move since it equates your product with the quality of other well-known brands, in this case guitar manufacturers like FENDER, GIBSON, IBANEZ, G&L and PAUL REED SMITH and amp companies like MARSHALL, MESA-BOOGIE, FRIEDMAN, FENDER, DIEZEL, ORANGE and BOGNER among others.
in terms of each artist, hearing them talk about their influences and how they came about playing guitar as they strum off iconic riffs through their live rigs is just such a sweet spot to hit for any fan of guitar playing. i can never hear enough of "THIS CHARMING MAN" or the solo from "THREE DAYS" in its entirety, no matter the context.
kinda feel guilty for showcasing blantant, unapologetic corporate propaganda, but oh well. enjoy!
BOOK REVIEW | "DON"T TRY THIS AT HOME: A YEAR IN THE LIFE OF DAVE NAVARRO" BY DAVE NAVARRO & NEIL STRAUSS
photo & text by nacrowe
there was an interesting period in the late 90s when guitarist DAVE NAVARRO was without a regular gig as it had been years since he left the RED HOT CHILI PEPPERS and JANE'S ADDICTION had recently broken up for the second time. he was also recently divorced (pre-CARMEN ELECTRA). it was during this time that he bunkered himself into his HOLLYWOOD HILLS home and chose to document a year in his life ANDY WARHOL-style, by buying and installing a vintage photo-booth and requiring every person that entered his house (celebrities, models, comedians, hangers-on, musicians, groupies, maids, plumbers, drug dealers, etc) to take a photo when entering. WARHOL famously setup a 16mm film camera at his FACTORY studio and had everyone sit for several minutes, the idea being that after a while you stop posing and act like your authentic self.
DON'T TRY THIS AT HOME: A YEAR IN THE LIFE OF DAVE NAVARRO (HARPERCOLLINS, 2004) is the culmination of NAVARRO and co-writer NEIL STRAUSS contextualizing these photographs into NAVARRO's relapse into heroin addiction. you would think that this premise would be easy fodder for glamorizing drug addiction, especially with the seeming young HOLLYWOOD in-crowd partaking in his late night activities on a semi-regular basis. but the book really just sets up how lost he was at the time. it would be years before he would properly go about getting professional help regarding the trauma of dealing with his mother's murder by the hand of a jealous ex-boyfriend in his formative years as a teenager.
all that being said, i can't imagine the seductive power of being so young and admired. i don't know how anyone in that situation would not become a full blown addict with the HOLLYWOOD set. but he got out of it. he recovered.
and i think that is the reason he chose to write and have this book published, to show others (maybe within the music community) that there is a way out, no matter how deep and dependent you are on the drug community. in the years since more members of the community have passed on from drugs or drug-related activities, most notably CHRIS CORNELL, MICHAEL JACKSON, AMY WINEHOUSE, TOM PETTY, MAC MILLER, PRINCE, SCOTT WEILAND (STONE TEMPLE PILOTS), JANI LANE (WARRENT), LIL PEEP, WHITNEY HOUSTON, RICK JAMES, WAYNE STATIC (STATIC-X), IKE TURNER and THE REV (AVENGED SEVENFOLD).
i really feel this book was meant for his peers and not the general public. to the public parts of this book come off salacious and voyeuristic, but to a musician of any importance my guess is this unending expanding cadre of enablers is more than familiar. to them by showing his reality, hopefully it'll make them seek help.
as for NAVARRO, i wish he'd stop with his addiction to hosting shitty REALITY TV shows. i'm just saying.
art by nacrowe
greatest music video moment ever? that part in the GUNS N' ROSES "Estranged" video when SLASH plays a ripping solo after AXL ROSE swims with the dolphins after inexplicably jumping off an oil tanker.
don't believe me? watch it below (starts at 8:02 mark):
thing i appreciate the most about SLASH and GUNS N' ROSES is there lack of boundaries. having boundaries isn't necessarily a bad thing, some things you probably shouldn't do, like having your guitarist rise from an ocean jesus-style because you obviously didn't think out your video well in advance. listen, im not complaining, OBVIOUSLY I LOVE THAT video and especially that part (as well as that other part at 6:15 during the video when SLASH levitates down the SUNSET STRIP passing the RAINBOW and other clubs while a dolphin swims in the street).
when others say no, GUNS N' ROSES say yes and then some, regardless if its byeond moronic.
when i look at bands today everything seems very contained and safe. SLASH's playing in particular reminds me a lot of JOE PERRY from AEROSMITH in that if you've ever watched live footage of the dude, it seems like he is riffing off and in his own world when playing live. he's exploring his own musicality and isn't too concerned with presenting a note-for-note performance of a memorable solo on wax. i love that. i love when musicians are going for it. SLASH did that in spades and in the tradition of JOE PERRY, JIMMY PAGE and of course JEFF BECK.
SLASH is a blues-based rock guitar player, but within that box he experiments like crazy. now my personal taste leans more towards the artier, indie side of bands from that late 80s period, my hands-down favorite being JANE'S ADDICTION. guitarist DAVE NAVARRO similarly shares the same influences (with some post-punk sprinkled in) and a predilection to experiment live, but SLASH for me is the more INTENSE musician. i only came to that conclusion after seeing both live.
years ago i saw GUNS N' ROSES play the new GIANTS STADIUM (or whatever they call it now) when a friend from VENEZUELA was in town and needed somebody to take him. i didn't go into it expecting much, but i have to say without embarrassment, best rock show i have ever seen aside from the time i saw PRINCE at MADISON SQURE GARDEN. i've seen JANE'S ADDICTION several times live and while their music means more to me, GUNS N' ROSES was almost a religious experience. it was boogie, it was sloppy, it was sweaty, it was amazing.
yes lots of their lyrics are misogynist and yeah AXL ROSE is a total backwater hick. but all that being acknowledged. they're an amazing live band.
in the wake of the first breakup of JANE'S ADDICTION in the early 1990s, the founding members basically divided into two camps, the PERRY FARRELL/STEPHEN PERKINS alternative rock outfit PORNO FOR PYROS and the ERIC AVERY/DAVE NAVARRO experimental art-project DECONSTRUCTION.
while PORNO FOR PYROS continued the ascendancy of PERRY FARRELL as a cultural force riding his own wave with his LOLLAPALOOZA platform, it is my opinion that the lone DECONSTRUCTION (AMERICAN RECORDINGS, 1994) album is by far superior, arguably equal in quality with the WARNER BROS. output of early JANE'S ADDICTION.
this is in part because ERIC AVERY as the bassist of JANE'S ADDICTION wrote those iconic, almost tribal, looping, melodic bass motifs that became the creative foundation upon which the songs were based. essentially the next batch of transcendent riffs for a never-made JANE'S ADDICTION album found themselves on this record as well as later ERIC AVERY projects like POLAR BEAR and solo albums (all worth checking out).
i feel strongly that ERIC AVERY has never gotten his due and is criminally underrated and under-celebrated. the dude influenced everyone around him in the alternative scene and his bass style has been copied to the point that its omnipresent. it is almost laughable.
i think in JANE'S ADDICTION you have a band that was more than the some of its parts and each member was invaluable, specifically PERRY FARRELL's ability to cross-pollinate styles and cultures in a pre-internet glorious clusterfuck of ideas that set the tone for the decade. breaking down barriers between the tribes and promoting an almost utopian ideal of raising consciousness through shared ideas and dialogue. but essentially when you come down to it, ERIC AVERY was the vehicle that allowed such to happen. in my opinion.
his post-JANE'S ADDICTION output is more personal in scope and an acquired taste, given that his PETER MURPHY-like atonal vocal delivery and post-punk sense of angular song structure is not for everyone. what i truly love about this output is his love of texture. he really seems to bask in the idea of creating a vibe through sonic textures and then either juxtaposing it or letting it ride out in an almost shaman-like fashion. if you know about his family history in the film industry and his connection to LOS ANGELES it only makes for a more complex, diverse appreciation of his creative output.
again, his stuff is not for everyone but if you dig his work is rewarding.