It got LOUD...24 hours later...

I was reading a magazine I pick up from time to time called American Songwriter: The Craft of Music. Jeff Tweedy is on the 25th Anniversary issue cover (amongst countless other covers both music and non-music featuring Wilco these days), and right now, I eat, drink, and breathe anything Tweedy or Wilco related. They set the bar for American bands right now as far as I am concerned.

What was the most interesting in this issue, was an interview with The Lemonheads' lead singer Evan Dando. The Lemonheads had a strong run inside the mid 1990’s grunge scene as a more polished version of what was out there for the Doc Marten-flannel-wearing-Cobain-Pearl Jam-Soundgarden-Singles-loving-Gen X-er. And now they are making a comeback.

When asked about their popular cover of “Mrs. Robinson” for the re-issue of The Graduate, Dando said, “I never would have done that song. I hate that song. I hate Paul Simon.”

The interviewer remarks back, “Wow.”

(Note: This is IN American Songwriter Magazine, not at a bar...)

Dando goes on, “I hate Paul Simon.”

The interviewer says, “You hated him before...”

“Oh yeah, before, yeah. Except for that one song I like, “Slip Sliding Away”. I like a couple of songs of his actually. I guess it was intensified by having to do “Mrs. Robinson” continues Dando.

“Yeah. So what-” says the interviewer as he is cut off again...

“I mean, he’s super-talented. I know that. But I love his soundtrack to the movie—it’s great. That’s good stuff.”

This struck me as sort of a strange thing for anyone, again, IN American Songwriter to be saying. How can any American songwriter bash Paul Simon besides Paul Simon himself? Love him or not, he is a definite, distinct fabric woven into America’s musical quilt. Hate?

In reading an interview about It Might Get Loud with Jack White and Jimmy Page on Music Mix’s website, the interviewer Dan Snierson asks the question, “Did you take away anything from the summit that will inform your future work?”

White answers, “You should try to take something away from any musician you talk to. Even if you’ve got no respect for what they’re doing, you could learn what not to do. But this is a case definitely of learning what you should do and what you could do. And I’m taking that away, for sure… When Jimmy starts playing or the Edge starts playing, you’re just like, “Wow, I’m listening to every single thing they’re doing now. I want to know what they can show me.”

Sounds like Dando should have a talk with White (if he respects White enough to do so), as he can learn a thing or two from humility, and the lineage of musicians that lead to Dando’s own music and career. In fact, the film It Might Get Loud wraps up with White talking about being part of a family of storytellers, and how he looks to add to that path, and become part of that eternal “family”. I took in as much as I could my first viewing of this film, and hope to get my hands on it to see again, so I can pick up every last detail!

Twenty-four hours after seeing the film It Might Get Loud the tone, the art, the personalities, and the crash course designed to amalgamate creative genius together has just only begun to resonate with me. Jimmy Page. The Edge. Jack White. Tone. Tone. Tone.

Here are three of the world’s most influential “sonic architects” from decades of world culture in one setting; guards-down, showing you some of the cards up their sleeves from the past, present and future. But more than that, this is a glimpse into three immortal figures who have staked their claim in guitar-history and the world of music forever, making them real and mortal

How do you touch a Rock God? I suppose the closest, besides being leather pants, a family member, fellow rocker, or celebrity, is a documentary. And sometimes that is even closer.

We get to see The Edge in Dublin, pointing out childhood spots and the places where U2 practiced, wrote and performed. That glimpse, gives you a peek at who is really turning the wheels in that band. For all of Bono's image, The Edge has all of the edge.

There's rural Jack White and Detroit Jack White. While he looks as Edward Scissorhands as ever, you can't help but be taken by his presence, his prowess and spewing creative fire. The image of his bleeding hands as he rips solos with The Raconteurs leaving a trail of blood down the body and neck of his guitar was more than moving. It wasn't blood and guts in a gory type of way, but in a glory type of way. This man embodies Rock. He has taken all that was before him, and shown it all to you from Son House to Jimmy Page. He is Rock's favorite son.

The "Page estate" of a hidden man, known little by the public, opens us open to Page’s roots as young performer, to his session days, to tearing out the "bow" the minute he could. His white hair makes him wizard-like at this stage of his life, and he shows you a glimpse of Led Zeppelin’s recording world, a glimpse of what's in his head and personality, with his passion for guitar and sound.

All of these worlds seem as surreal as the myth they embody, yet somehow they become tangible people by the end. Like Jack and The Edge's eyes lighting up as Page rips "Whole Lotta Love" (true to original form). Their faces have the innocence of children in awe of their hero...the world's hero.

I will never forget hearing Bruce Springsteen induct U2 into the hall of fame and when he got to his part about The Edge in his speech:

"The Edge. The Edge. The Edge. The Edge. (applause) He is a rare and true guitar original and one of the subtlest guitar heroes of all time. He's dedicated to ensemble playing and he subsumes his guitar ego in the group. But do not be fooled. Take Jimi Hendrix, Chuck Berry, Neil Young, Pete Townshend -- guitarists who defined the sound of their band and their times. If you play like them, you sound like them. If you are playing those rhythmic two-note sustained fourths, drenched in echo, you are going to sound like the Edge, my son. Go back to the drawing board and chances are you won't have much luck. There are only a handful of guitar stylists who can create a world with their instruments, and he's one of them. The Edge's guitar playing creates enormous space and vast landscapes. It is a thrilling and a heartbreaking sound that hangs over you like the unsettled sky. In the turf it stakes out, it is inherently spiritual. It is grace and it is a gift."

He is an effects guru and a master of sound. I have grown fond of The Edge. You would never hear The Edge and NOT know it was him. He has changed the playing field for guitarists, and I know his work has lead to innovation in music and sound. The presence of the Edge's undeniable mastery for sound, has it's mark on the world, and is the clear driving sound behind U2. He embodies an evolution in guitar playing and technology. You can hear him in bands like Coldplay, Radiohead, and all of the world's largest touring acts. They all have a piece of The Edge. Jack and Jimmy wanted to know it all, as did I! (and he can sing too!)

I felt it was sort of ironic to watch this film on the heels of Les Paul’s death, as though it should have read some sort of dedication at the end. Though they strip things down and talk about technology and it’s positive and negative effects, one can’t help but recognize the company these men keep. Les Paul, led them to that path.

From the brilliant documentary, another MUST SEE, Les Paul: Chasing Sound:

And it has only begun to resonate. Like the solid body of Les Paul guitar. It resonates like one of Jack White's many “tone beasts”, with nothing that can hold back what’s coming out. It resonates like the Les Paul in Page’s hands, and Jimmy Page's gift to electric guitarists (and music in general), from his production to performance to his innate command of every style. Led Zeppelin doesn’t get old, only the people do, and/or we do.

Here is the Raconteurs playing "Blue Veins", which sounds curiously like the solos in Zeppelin’s “Since I’ve Been Loving You”:

VS.



Being with my wife, a non-musician, she thought, “It was a well articulated balance between personal and musical history of three amazing guitarists. Extremely entertaining even for a non-musician”...and I was hoping so, as I was kid in candy store! As were all three on film, and the crew no-doubt.

It Might Get Loud is getting louder for me. I can hear it more and more as I think about it. It’s about my quest for tone, and to understand all those before me, with me and after me. It’s to take my place in the evolution of sound, and with inspiration and the ground broken ahead; it invites us all to join the family. Jeff Tweedy, Evan Dando, Paul Simon, and myself included.

If you love art, you should see this film. It’s inspiring to have genius captured and opened up for the world to see.

...there are many details left out for one good reason...YOU SHOULD SEE THIS FOR YOURSELF! I am not going to tell you about each special moment, or about "how it ends"...Enjoy!