(Translated by Ornella C. Grannis)
Steve Miller was part of the great hippie season of San Francisco,
but in reality he was a blues man who played elegant and refined
blues-rock. When the acid-rock fashion died, Miller revealed his
true mission: writing muzak that was both atmospheric and relaxing.
Raised in Texas, leader of a blues band in Chicago with Barry Goldberg,
Miller arrived in San Francisco in 1966 and formed the Steve Miller
Band. At his side was singer, rhythm guitarist and childhood friend
Boz Scaggs.
The sound of Children Of the Future (Capitol, 1968) is by all means
hallucinogenic, but without sacrificing the structure of the song, and
best of all, preserving all the aggressive boogie riffs of a well
disciplined blues band. The album is stylistically divided in two sides.
Side One is relatively traditional, the domain of the impeccable Scaggs,
with blues cuts perturbed by solos a la Hendrix, ecstatic choruses and
acid keyboard, as in Roll With It and Baby's Callin' Me Home. Side Two
is experimental, as the times demanded, a multi-part suite for ecstatic
voices, Jim Peterman's church organ and wild guitar. Fantastic melodies
are enriched by cosmic overtones, with a spirited country flavor in
Children Of The Future. Instrumentals, psychedelic and celestial, are
placed in the middle of an epic and symphonic "Pink-Floydian" blues in
the seven minute In My First Mind. Short intervals of turbulence and
dissonance punctuate The Beauty Of Time, with its mantra-chorus grand
finale.
Frequent use of electronic effects weakens the guitars' voice on Sailor
(Capitol, 1968), albeit conferring to the music a wilder character. The
opening song Song For Our Ancestors features a sustained organ in
crescendo, mimicking the rhythm of an air raid siren. Living In The
USA and Overdrive are catchy blues rock songs; Dime-a-dance Romance
is Scaggs' best ballad.
Your Saving Grace (Capitol, 1969) and Good New World (Capitol, 1969)
are complementary albums. The first is a collection of soft rhythm and
blues ballads like Your Saving Grace, Baby' s House, Feel So Glad. The
second is a dynamic red-hot album, with a series of insistent blues
rockers like Space Cowboy, My Dark Hour and Brave New World. After
Scaggs and Peterman's departure the sound became progressively more
manneristic and less bluesy.
Number Five (Capitol, 1970) is a roots-rock album, in a year when many
were turning to country. More than anything, it is a pretext to span many
stylistic fronts, from Going To Mexico, to Going To The Country, to
Midnight Tango, always with grace and gentleness.
In 1973 Miller reorganized and aimed at a more polished studio sound,
with wasted horns and calculated keyboards. Starting with The Joker
(1973) the move yielded excellent commercial success in soft rock,
with Rockin' Me (1976), Fly Like An Eagle (1977), Jet Airliner (1977),
and Abracadabra (1982), as well as in the disco suite Macho City (1982),
a festival of velvety electronics.
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Steve Miller fece parte della grande stagione hippy di San Francisco, ma
era in realta` un bluesman che suonava blues-rock, per quanto elegante e
raffinato. Quando la moda dell'acid-rock fini`, Miller svelo` la sua vera
missione, che era quella di scrivere muzak atmosferica e rilassante.
Cresciuto in Texas e poi titolare di un complesso con
Barry Goldberg a Chicago,
arrivo` a San Francisco nel 1966 e formo` la Steve Miller Band.
Al suo fianco c'era il cantante e chitarrista ritmico Boz Scaggs,
suo amico d'infanzia.
Il sound di Children Of Future (Capitol, 1968) era si` allucinogeno
ma senza sacrificare troppo alla struttura della canzone e soprattutto
conservando i riff aggressivi del boogie.
L'album era diviso nettamente in due facciate.
La prima era relativamente tradizionale,
dominio dell'impeccabile Scaggs, con canzoni blues perturbate da assoli
Hendrix-iani, da cori estatici e da tastiere acide
(Roll With It, Baby's Callin' Me Home).
L'altra facciata era invece sperimentale come si conveniva all'epoca,
una suite in piu` parti per voci estatiche, tastiere chiesistiche (Jim Peterman)
e chitarra invasata, una fantasia melodica sovraccarica di toni cosmici,
con briosi aromi campestri (Children Of The Future),
con aperture strumentali allucinate e celestiali nel mezzo di epici e
sinfonici blues
"pinkfloydiani" (i sette marziali minuti di In My First Mind), con
stacchetti fatti di turbolenze e dissonanze (The Beauty Of Time con coro
finale di coro mantrico).
Frequenti ricorsi agli effetti elettronici tolsero su
Sailor (Capitol, 1968)
forza e respiro alle chitarre, pur conferendo un carattere ancor
piu` allucinato alla musica.
L'iniziale Song For Our Ancestors e` una suspence organistica in crescendo
a ritmo di sirena.
Living In The USA e Overdrive sono i blues-rock piu` orecchiabili;
Dime-a-dance Romance la ballad piu` riuscita di Scaggs.
Your Saving Grace (Capitol, 1969) e
Brave New World (Capitol, 1969)
furono album complementari.
Il primo era dedicato a soffici rhythm and blues ballads come
Your Saving Grace, Baby's House, Feel So Glad.
Il secondo era invece un album dinamico e arroventato, con una serie di
incalzanti blues-rock come Space Cowboy, My Dark Hour e
Brave New World.
Dopo l'abbandono di Scaggs e di Peterman il suono divenne ancor piu`
manieristico, e sempre meno blues.
Number Five (Capitol, 1970) e` il suo album di roots-rock, in un anno in
cui molti gruppi si davano al country. Piu` che altro, e` un pretesto per
svariare su molti fronti stilistici
(Going To Mexico, Going To The Country, Midnight Tango)
ma sempre con garbo e delicatezza.
Nel 1973 Miller si riorganizzo` e punto` su un sound piu` salottiero,
con spreco di fiati e tastiere.
A partire da The Joker (1973) questa politica
sorti` risultati commerciali eccellenti tanto sul versante del soft-rock
(Rock And Me, 1976, Fly Like An Eagle, 1977, Jet Airliner, 1977, Abracadabra, 1982)
quanto su quello della disco-music
(la suite Macho City del 1981, sagra dell'elettronica vellutata).
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