![]() ![]() The qualified success of "Hush" was sufficient to allow for the release of Royal's second album Billy Joe Royal featuring Hush. Īlthough more successful than Royal's last six single releases, only two of which had ranked even low on the Billboard Hot 100, "Hush" would not afford Royal a Top 40 comeback: managing only one "top-tier" market breakout in Chicago - whose prime Top 40 station WLS would rank "Hush" as high as #5 tying the WLS hit parade peak for both Royal's 1965 career record " Down in the Boondocks" and also Deep Purple's 1968 "Hush" cover - "Hush" would rise no higher on the Hot 100 than #52, with a Canadian pop chart peak of #45. Royal later regretted not liking the song. In 1971, "Rose Garden" become an international hit for Lynn Anderson, and was South's most successful composition. Royal did record "Rose Garden" for his album Billy Joe Royal featuring Hush, though didn't release it as a single. Royal didn't like it, so South wrote "Hush" for him while leaning on the dashboard. Joe South, Royal's regular songwriter/producer, was travelling to Nashville with Royal and writing " Rose Garden" in the car. Each artist had a Top 5 hit with their version.īilly Joe Royal recorded "Hush" on 12 July 1967 in Nashville with Barry Bailey, future lead guitarist for the Atlanta Rhythm Section, on guitar. It was also covered by Deep Purple in 1968 and by Kula Shaker in 1997. ![]() The song was later covered by Somebody's Image (an Australian band fronted by Russell Morris) in 1967. Beck - like Brian May, David Gilmour, Jimi Hendrix, Eddie Van Halen - is one of those rare guitarists who doesn’t just have an instantly recognisable sound, he has the ability to make the seemingly impossible look effortless." Hush" is a song written by American composer and musician Joe South, for recording artist Billy Joe Royal. There’s no hunched-over focus, no over the top arm flailing, no twisted facial expressions. ![]() There’s just one hand that floats up and down the fretboard, while the other plucks the strings, manipulates the whammy bar, and twists the volume knob, all at once.Īnd so it is at Royal Albert Hall tonight. He shares his appreciation of The Beach Boys’ Pet Sounds before sensitively reinterpreting that album’s Don’t Talk (Put Your Head on My Shoulder).Ī typically low-key entrance (a wave and a look around before the sunglasses go on) is followed by a rapid succession of instrumentals in various styles and tempos (often within the same song), interspersed with an occasional soft-spoken “thank you”. But, for the most part, the focus is very much on the music, playfully performed with enthusiasm and the occasional ’60s rock star flair.īeck may raise his right arm, index finger pointing upwards, at the end of a song punctuate his more complex, high-speed flourishes with a subtle, low-impact fist pump or put both hands on his hips after hitting a particularly beefy chord. But the clearest sign that he’s still enjoying this, just three weeks shy of his 78th birthday, are the spontaneous smiles he shares with his band.Īnchored by bass player Rhonda Smith (whose CV includes Prince and Beyoncé), it also features cellist Vanessa Freebairn-Smith (who’s worked with everyone from Paul McCartney to Jay-Z), drummer Anika Nilles (clearly as comfortable laying down jazzy rhythms as electronica-influenced beats), and keyboard player Robert Adam Stevenson. Together they support Beck through 80 minutes of frequently complex and intricate music, including originals and well-worn cover versions cherry-picked from throughout his career. Star Cycle - alternating between power chords, the sing-song melodies Joe Satriani’s built a career on, and all-out shredding - has only grown in bombast through four decades of live performance since first appearing on There And Back. The familiar rendition of Mahavishnu Orchestra’s You Know You Know allows the musicians on stage to get a little darker - and Smith and Nilles to pull focus with individual solos. The muscular Stratus is all groove and Beck’s impossibly fast, fiery outbursts. Nitin Sawhney’s Nadia, with its drum & bass backbone, is even more jubilant than on 2001’s You Had It Coming. Big Block sounds way more nimble than a slab of ’80s blues-based hard rock has any right to. ![]()
0 Comments
Leave a Reply. |