Click for other story songs>>>>>> 10  9  8 7 6 5 4 3 2

The story song is the toughest gig in songwriting. The song lyric format is tailor-made for the cut and paste Felliniesque’ imagery of a Dylan; or the run and gun pop couplets of The Beatles and  The Beach Boys.  However, constructing a story with a beginning, middle and satisfying end; with rich characters and a good tune in the span of a few minutes? YOU try it. I have yet to succeed. I’ve written a wedding song and a Christmas Song. Both forms are childs play compared to the story song. Here is my number 1 pick…..

LILY ROSEMARY AND THE JACK OF HEARTS (Bob Dylan)

Upon first listen, one might think “Lily, Rosemary And The Jack Of Hearts” is just another of Dylan’s marathon, stream of consciousness curios. I did. However with the aid of repeated herbally enhanced  listenings, the mind-boggling brilliance of this masterpiece revealed itself.  Dylan had somehow exceeded the bar he had set for himself in the 60’s at a time when people least expected.

But first some background….

After Dylan’s trilogy of 60’s masterworks, (“Bringing It All Back Home”, “Highway 61 Revisited”, and “Blonde on Blonde”), Dylan laid down his chopper, busted up his neck and became a mere mortal. His comeback album “John Wesley Harding” was generously bequeathed the title of masterpiece (it wasn’t). After Dylan issued his ramshackle, supersized slab of mediocrity  “Self Portrait”; the 1970 release “New Morning” was lauded as a ‘return to form’ by critics. Yeah, it was…kinda…. But, the Babe Ruth of Rock had just posted a 23 Home Run /80 RBI season. Clearly, our hero had lost a step. Fans and critics were discreetly concerned. No doubt Dylan was as well.

Fast forward to 1975. Dylan rewarded the faithful with “Blood On The Tracks”. Perhaps the finest album in Dylan’s career. Maybe the finest in ANYONE’S career. Break-up songs were nothing new at the time. But, Dylan upped the ante with an unflinching, drop-dead genius divorce album. Just as Woody Allen’s “Annie Hall” had revolutionized the landscape of romantic comedy in film; Dylan’s new album had forever altered the landscape of the relationship record. Prior to ‘Blood’, Dylan seldom came off well in relationship songs. His snarky, nasal bray was not the most sympathetic medium for an artist already too condescending, judgmental, and full of himself. With “Blood On The Tracks”, we now had a kinder, gentler Dylan. Moreover, time and circumstance had weathered his trademark sneer into raspy, world-weary croon that suited him (and the audience) better.

At first blush, this protracted horse opera seems odd man out on an album full of finely detailed psychodramas.  However, look closer and you’ll find it not only belongs on “Blood On The Tracks”, but in a sense ties the whole album together. The whole yarn is analogous to a poker game. However, the face cards are real flesh and blood humans. Set in the ‘Wild West”; the story is all about bluffing, calculation, duplicity and cheating. The stakes are life, love and lucre. Big Jim is the kingpin of the town and owns it’s only ‘diamond’ mine. His wife Rosemary enters the cabaret looking like “a queen without a crown…” When Rosemary starts “drinkin’ hard and seeing her reflection in the knife….” Suddenly, Rosemary morphs into the queen of spades. Dylan turns in a career vocal performance full of camp, pathos and fun. He hits the mark on every verse.

There are story songs and then there is “Lily, Rosemary And The Jack Of Hearts.” The scope of the story and characters can only be described as ‘cinematic’. Indeed, two screenplays have been inspired by this song. Dylan switches effortlessly from first to third person in his narrative. He gives us flashbacks, character studies, quick cuts….and it all makes sense and comes together. The best thing about this song is that no video exists. It’s theater of the mind. We know that young Robert Zimmerman was a  disciple of old time Radio Theater as a child in Hibbing Minnesota in the fifties. The pictures he painted in his mind of far away places and exotic people inspired him to leave stifling small town rural America for New York to seek his fortune. Our culture would be forever altered if there had been an MTV to do Dylan’s visualizing for him.

“Lily, Rosemary And The Jack Of Hearts” is an unqualified masterpiece. Dylan captures lightning in a bottle with every line. Throw your ear-buds away please. Do not listen to this song as background music for jogging, blogging, housework or any other peripheral activity. Some songs demand and deserve your undivided attention and enjoyment. Close your eyes hit the play button, and let the curtain rise on the greatest “story song” yet written.

NOTE:

Dear Stereo Loungers:

Thanks to all of you who followed this coundown to it’s conclusion. Lists are silly and subjective….But, it keeps me off the streets at night.

I will not be doing your legwork for you this time. It’s far more rewarding to discover music as an active participant. Seek this song out. Pull up a couch, turn off the lights, close your eyes and listen on a good stereo like god intended.

Peter Banks was an eclectic and acrobatic guitarist who holds the distinction of being a founding member of the Progressive Rock band Yes.  Banks appeared on the first two albums before he was replaced by virtuoso Rock guitarist Steve Howe. The band achieved world renown while Banks continued to work in various bands and as a solo artist until his death.  Peter Banks was haunted by the success of Yes after his departure. He was proud of his legacy, but at the same time harbored feelings of being cheated from the rewards of the band’s success. A success that was built largely on the template he helped design. The Rock And Roll Hall Of Fame has been tardy and negligent in failing to induct Yes into The Hall. A timely induction would have given Peter Banks the recognition and closure he deserved as a founding member of (arguably) the greatest Progressive Rock band in history.

In addition to the two albums he recorded with Yes, he also appeared on several Yes compilations and anthologies after his departure. His post-Yes band, Flash recorded three albums  during the early 70′s. He also recorded several fine solo albums that showcased his evolution and invention as a guitar player. The following video is a wonderful snapshot of the musician and the man. Accompanied by his beautiful guitar playing.

It had everything. The band, consisting of only three relatively unassuming British dudes, descended from the top of the arena on pedestals, enveloped in curtains designed to look like skyscrapers and made a grand entrance. It was not a case of “pay no attention to the men behind the curtain.” It was a brilliant spectacle and although we were literally at the very top of the arena, in the cheapest seats available, it was a blast. There really wasn’t a bad seat in the house. On one song, hundreds of transparent beach balls designed to look like giant eyeballs fell down and were passed through the crowd, undulating to the music of the band. I left that night utterly fulfilled and satisfied. I would be satisfied if I never got to see Muse again, because it was just that good. On a side note, a band called Passion Pit opened for them and for whatever reason, I personally was not impressed with them. But here in 2013, they are all over the radio and very popular, so what do I know?

Several months ago, Muse announced they would play two nights at Staples Center again in January 2013. Having seen them before and being eager to see their new album, The 2nd Law, performed live, I knew it would be a great show and I knew it would quickly sell out. I didn’t exactly have the funds to pay for tickets at the time, but definitely contemplated it anyway. I decided I was not going to go and just felt happy I got to see them once. Months passed and a coworker told on a Monday in January that she was going to their show Wednesday night. I had completely forgotten about the concert. Fast forward to the next day and Muse posts on their Facebook page that a limited number of tickets have gone on sale for their shows Wednesday and Thursday night. Just out of curiosity, (and honestly a strong desire to still go), I checked for tickets. Only, I checked for tickets for Saturday night, the 26th, their additional show added due to demand. I went through the Ticketmaster prompts and got two tickets on hold. Quickly, I asked my first term pregnant wife (who accompanied me to the 2010 Muse show) if she wanted to go. Of course her response was something groggy along the lines of “it’s up to you, Babe” as she was already half asleep in bed. I was going to buy two tickets. I knew there was a possibility she would not feel up to going come Saturday, but I had to. I was timed out. I started over again and still managed to secure two tickets. I was going, but was she? A few days later, after not having said much at all about it, my wife texted me and said she heard Muse on the radio and was “really excited.” So off we went. Muse part II!

Opening for Muse this time around was Band of Skulls. Our seats were “limited view”, which means we were on second level of the arena, but behind the stage, so for most of the opener, their backs were to us, but we could see them pretty clearly. I was at the very top, against the wall in 2010 and the seats weren’t bad because everyone in the arena was involved in the show. They sounded decent and the crowd seemed to enjoy themselves and they even played a song I recognized (at least I thought so, but trying to find the song now I can’t place it.) Either way, it was fun and short, which was good because everyone came for the main event.

Here is the set list I compiled from the show (It’s possible I missed something in there, so let me know, people who attended.):

“Unsustainable”

“Supermassive Black Hole”

“The Resistance”

“Panic Station”

“The Star Spangled Banner” (Interlude)

“Hysteria”

“Knights of Cydonia”

“Explorers”

“Time is Running Out”

“Save Me”

“Madness”

“Follow Me”

“Undisclosed Desires”

“Plug in Baby”

“Stockholm Syndrome”

“Uprising”

The Encore

“Starlight”

“Survival”

As you can see they focused mainly on the new album, but played a good mix of older favorites too (even “Plug In Baby.”) We didn’t have an issue with our seats once Muse came on, as they were very mobile, walking around the stage and involving the whole crowd, making sure they could be seen. Both singer Matt Bellamy and bassist Christopher Wolstenholme made good use of the stage. Then drummer Dominic Howard had his set on a giant lazy Susan circular rotation, so again, there was no bad seat in the house. The normally three-piece also added touring member Morgan Nicholls on keys, additional percussion and backing vocals.

The set-up was grandiose, but simpler than the 2010 show. It was great to hear a mix of songs from throughout their career and they did some fun stuff for the new songs, such as having the lyrics displayed marquee style on Matt Bellamy’s sunglasses during “Madness” and a huge, multi-tiered inverted pyramid composed of video screens, which contained separate tier pieces, that transformed throughout their set. It was cool to hear them play the Star Spangled Banner, and even cooler so to hear Matt Bellamy may be headed toward American citizenship soon.

It was a fun show and I am definitely glad I saw them again. That said, I don’t know if it’s just nostalgia talking or what, but this still does not top their 2010 Staples Center performance. No matter where you are and what year it is when they come to a city near you, you should definitely, hands down, see Muse perform live. That is all.

Related articles

• Behind The Song: Muse’s “Madness” (dfw.cbslocal.com)
• Muse drummer planning ‘weird percussion journey around the world’ (Q&A) (canada.com)
• Review: Muse delights fans in Oakland (mercurynews.com)
• Muse Take over North America with 2nd Law Tour (vividseats.com)

1979

Kevin Collier: You had a great turnout at your Pig N’ Whistle show back in June. What are your thoughts on the support you had and that show in general?

Justin Ibrahim: My first show in Hollywood was a kickstart show. The response to the show was simply outstanding! A big crowd showed up and we packed the room!! A new musical artist playing his first show in Hollywood couldn’t have asked for a better turnout! The show was so much fun! My wonderful family, friends, and fans were all present and we had a blast! They are some of the best people I know and I was so honored to have performed for them.
Though I loved the raw and intimate setting we created with an acoustic set I’m really looking forward to playing shows with more instrumentation and bigger production in the near future!

KC: Talk about your recent appearance on StaticBeach.com. How was that experience?

JI: It was a pleasure to be hosted on StaticBeach.com! Since I was playing with my friend singing back up and just an acoustic guitar the audience was really able to focus on the lyrics and simple and sweet melodies of the music. I played three of my own songs and an impromptu cover of 3 AM by Matchbox 20; we gave the song more of a folk style and stripped down feel. I acknowledge that switching the style of a song is risky but sometimes it has to be done in order to turn a regular performance into a memorable experience… that’s something I always try to keep in mind when performing! I received a lot of positive feedback for the new rendition of the old song from audience members tuning in. It was a wonderful show.

KC: Congrats on the impending release of your debut album Daybreak. How does it feel to be releasing this album?

JI: Thanks. My album, Daybreak, will be released on iTunes, Spotify, and all other major online music services on January 31st! I’m overly excited! This album has taken a long time to get out; almost 4 years! But such is the way with quality, independent music. I’m finally glad I am able to share these songs from my heart with music listeners everywhere.

KC: How many tracks will be on the album?

JI: There will be 9 tracks on the album. They each tell a story about moments in my life that really sculpted who I am today. When I was traveling in Argentina I wrote a song about a girl who broke my heart. One of the tracks touches on the fallout of a relationship I had with a woman that totally crashed and burned. And once, when I was overlooking the Pacific coast, after experiencing personal tragedy, I wrote a song about healing through heartache and learning to move on. ‘Rochester’ is probably the most accessible and catchiest track of the album but my personal favorite, my baby, is “Beautiful Things.” “Beautiful Things” is the heart of the album.

KC: Can you tell us about your album release show in February? Will there be any other shows in support of the album?

JI: There will be a show on the weekend of February 22-24. We’re looking for the perfect venue in Los Angeles to host the event! I’m hoping to play a couple of shows in LA and the Antelope Valley to kick off the CD. I’m starting to build a tour through California after the CD release shows. Details and updates will be up on my website: JustinIbrahimMusic.com.

KC: What do you hope listeners will get from your album?

JI: I want my listeners to have more questions to ask themselves. As a singer/ songwriter, I personally hope to write songs that inspire people to make positive changes in their lives and make decisions and movements towards hope. In our journeys of life, we’re all on different paths. I hope that my music influences people to move towards progress. If my audience can resonate with themes in each song, whether it’s heartache, being vulnerable, cutting your losses and moving on, or living for something bigger than yourself, I will be satisfied.

KC: Who or what has been your biggest influence/inspiration in your music?

JI: My greatest inspiration comes from my faith in Jesus Christ and my relationships with others. Though my faith in Christ plays a large role in my writing, I also find I write from great pain within my heart and constant thought and doubt in my mind. We live in so much complexity; there are no black and white lines in our lives.I want my music to explore how we navigate our world as such fragile and resilient beings. When I reflect on issues centered around that context I strongly feel my purpose in writing and sharing music with others.

KC: Is there anything you would like to say to your fans?

JI: You are the best! Thank you for your love, encouragement, and support! It only gets better from here. We’re going places and it’s going to be a new, awesome, and exciting journey! See you soon!

Check out Justin’s debut album, Daybreak, out now! Click here to buy the album on iTunes. Check out his website, Twitter, and Facebook page. You should also check out Music by Cazz, another great indie artist, (he’s the guy supporting Justin on cajon in the videos).

Support independent artists!

If you walk down Skid Row in downtown L.A., you will see a desert of  despondency and dementia. However, wafting out of the upper floor over the assembled multitude you will hear music.  Invisible to all below is an oasis of hope and light called Catrancher Studios; equal parts musical laboratory, performance space and church of the muse and mind.  When economics dictate, Catrancher is also a top-notch post-production facility.

Catrancher catrancher.com is owned and operated by feline impresario Lassie. However, she delegates most technical and musical support to her human Larry.

Those who make the pilgrimage to Catrancher, will find one of the more alluring features is the 24/7 club cum musical alter, The Tempered Plug. You see, the loft space that currently houses the Catrancher complex came equipped with its very own half-pipe. Apparently the previous resident was an agoraphobic skateboard enthusiast who favored brushing up their kickturns and axie stalls in the comfort of home. A radical half-pipectomy left Catrancher with an impressive elevated bandstand for live music performance.

However, the attraction of Catrancher and The Tempered Plug is not only the incongruity of the locale,   the space is also a visceral treat for any musician who likes instruments, collectables, and ephemera large and small.  You will find an array of stringed instruments to rival most music shops (sans the ‘don’t touch without assistance’ placards). Additionally, every mundane household item (lamps, ashtrays, clock,  mousepad, thermometer etc….) is a miniature guitar or musical instrument.  And,  if your media of choice is books. You could get lost for years in the Catrancher library of vintage classics.

If jamming on Don Ho tunes is your plate of poi, grab a slack key Hawaiian guitar off the wall or one of a dozen varieties of ukulele on display.  And, if you really do feel the spirit and want to go all hymnal on somebody’s ass, sit down at a real live pipe organ, harmonium or old school church pump organ. There’s no musical elitism at Catrancher. If you want to grab a bass off the wall and sit in on a more conventional jam, all the better;  just decide if you prefer the four or eight string variety.

If you do attend a performance happening at The Tempered Plug, there are some basic rules of engagement.  The sacrament of music is not bestowed lightly. Loitering in the stairwells to smoke, natter and pose is discouraged. If you’re there, you’re there. You must give the courtesy of your presence.

The homey comforts of The Tempered Plug aside, Catrancher Studios has a more practical reason for its existence.  It’s a recording studio meant to capture and disseminate music of all sorts. Lassie and her human Larry maintain a ‘state of the art’ Pro-Tools facility in order to capture any magic the muse friendly environment of Catrancher might produce. Voice-overs are also a specialty.  Some studios specialize in producing hi-fidelity sounds and do it well.  Catrancher offers the same with extras that cannot be found in any other recording studio in the city.

There’s a vibe at Catrancher.  People record in New York to catch that city’s energy.  Same is true with New Orleans and San Francisco.  Up until now, L.A. had a sound more associated with the snootier, show-bizzy aspect of the music industry. L.A can now boast an urban, edgy but organic sound that embraces the wildly diverse pallet of indiginous cultural influences. That sound and vibe belongs to Catrancher Studios. Skid Row’s hidden place…..

View from the roof of Catrancher Studios>>>>>>>

CONTACT: click here catrancher.com Phone: 213-926-6483 or 323-251-5727

Brian Eno is such an amorphous artist, it’s hard to post a definitive video or “live” performance in the traditional sense. He’s producer, musician, writer, artist, collaborator, videographer and musicologist all rolled into one. However, the ambient instrumental “An Ending (Ascent)” is surely one of Eno’s most beautiful pieces of music. Here we have a remix version with a stunning video superimposed on top. Coolest thing I’ve seen or heard in quite a while.

Brian Eno:

My Favorite Albums of 2012

7. El Javi Trio - Self Portrait

Yes, that’s right, I’m starting my list with an instrumental EP. To read my detailed thoughts on the band, check out my review of their concert earlier this year. This is a great, albeit short collection of instrumental songs featuring drums, bass and Flamenco guitar, fusing classical and rock effortlessly. Though it’s a great album and currently less than $6 on iTunes (seriously, buy it), this is a band best seen live. Be sure to check them out on Facebook because they may be coming to a town near you in 2013 and you don’t want to miss out. They may play their take on Queen’s “Bohemian Rhapsody”, which you won’t find on their album.

6. Showbread - Cancer

Though their album Who Can Know It? made it onto my list last year, technically it came out in late 2010. So here we are again with their newest offering, Cancer. Much like their dual albums in 2008, Anorexia and Nervosa, this album tells a story and is named after a malady. Cancer sucks, I think we can all agree on that. I have lost friends and family to cancer and I know several people who are currently dealing with it. On the album, which was crowdfunded via Kickstarter, the story is told of Planet Cancer, an allegory to life on Earth and amidst themes of despair, the story offers hope of an escape from Planet Cancer. Again, I only began listening to Showbread with their last album, Who Can Know It?, which I thoroughly enjoyed, but it appears that album was a divisive one. A friend of mine who has followed Showbread for years hated WCKI? and he loved Cancer, so go figure. Check it out. Once again, just like WCKI? the album is available as a free download (or with a donation if you’re feeling generous) at Come and Live!

5. Muse - The 2nd Law

I have been a Muse fan for several years now and I still rank their sold-out Staples Center concert as the best overall concert I have been to and I have been to many concerts. As I like to focus more on independent bands and artists here on The Stereo Lounge, it would be easy for me to slip into calling Muse or any other band that was once great, yet not popular, well, a bunch of sell outs. It would be easy to say something flippant like, “They haven’t put out a decent album since Black Holes and Revelations” or “I can’t believe they went dub step on ‘Madness’ and don’t even get me started on ‘Survivor’ being featured as the 2012 Olympic theme song…” But I won’t be the one doing that. I am sure there are plenty of those people out there and they are entitled to their opinions. I will say that I really haven’t enjoyed their last two albums, this and 2009′s The Resistance as much as those that came before, mostly because in my opinion, Black Holes and Absolution were so hard to top. I mean they could have stopped there and had a great run; called it a career. I for one am happy they didn’t and though I freely admit to not liking the last two albums as much, that in no way, shape or form means I didn’t like them at all. Quite the opposite. I always look forward to new Muse and the same held true here. They are playing Staples Center again this month and I won’t be attending, but I will be hard pressed to find a concert to top their last Staples appearance, which I was privileged to attend. I hope I get the chance to see them live again because it is unforgettable. They are phenomenal live. So yes, The 2nd Law is poppier and more commercial than ever, but I don’t care. I’m the guy who calls himself a Silverchair fan and also really likes Young Modern, okay?

4. mewithoutYou - Ten Stories

Another band I saw this year and also wrote about here on The Stereo Lounge.com, mewithoutYou is very hard to describe to the uninitiated, but I love their style. They have to be one of the most creative bands out there when it comes to using complex allegories to explain simple truths and telling elaborate stories. This whole album is a concept album, essentially, and I would be lying if I said I understood all its various themes, references and nuances, but the thing is, you don’t need to. The album is yet another amazing release from an incredible band and again is a band I would highly recommended seeing live as soon as possible. I have this album on vinyl, but luckily it came with a digital copy as well, because I want to take this baby with me wherever I go and my turntable is not exactly portable.

3. Imagine Dragons - Continued Silence EP

Though they released their full length album, Night Visions, this year, some of the tracks on the album were repeated on their earlier EP, Continued Silence and in my opinion, while I enjoy the new tracks included on the album, the EP is a more complete and perfectly planned release, with not a single song on it I don’t like. 2012 was a huge year for Imagine Dragons and expect to continue hearing about them in 2o13, whether you like it or not. But like it you probably do, because the highest viewed post on my blog was my review of  the Continued Silence EP.

2. Bad Books - II

The moment I typed the words Bad Books on the page, the almost sickeningly catchy single “Forest Whitaker” pops into my head and refuses to leave. It can stay as long as it wants, because if there is one band I don’t mind getting massive amounts of radio play, it’s indie rock supergroup, Bad Books. I meant to write a review of their concert back in October, but my mind was literally blown a la Tenacious D’s ”Pick of Destiny” and as you can see, I haven’t written anything in the blog since before that concert occurred. Here’s a quick rundown. It was great. The openers were Harrison Hudson (cool dude, check him out too), The Drowning Men (Awesome), and what’s not to like about Kevin Devine and members of Manchester Orchestra having fun on stage? It’s not like I had any unused video footage (it was at the Troubadour, which frowns upon that stuff.) Just buy the album. You will not regret it. End of rant. (Now listen to “Forest Whitaker” and try not to get it stuck in your head for the next 3 weeks.

1. Fun. - Some Nights

For me, this was an easy choice. No band had a bigger year or deserved it more. I began 2012 with my review of Some Nights, and I had no idea how big it was going to get. I don’t have a single bad thing to say about this album and most of the good things are already contained in my review. This album not only got a lot of radio play, but it was covered on Glee and was constantly featured on my iPod. If you have only heard the singles, however, I would encourage you to listen to the whole album. There are some great songs on there, including “One Foot” and “It Gets Better” that haven’t really made it into the mainstream media yet.

So there you have it, my favorite albums of 2012. Below you will find a few albums that may have made my cut, but I simply did not take the time to listen to them enough to reasonably include them on my list, but you should totally check them out anyway. Happy New Year from The Stereo Lounge.com!

Honorable mentions: Mumford & Sons – Babel, Smile Empty Soul – 3′s, The Early November - In Currents

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Ed Cassidy was a one off. Probably the oddest candidate for Rock stardom ever minted. Cassidy came to the party late in life but made the most of his visit and had remarkable staying power.

Cassidy is most famous as the bald drummer in the legendary 60′s rock band Spirit. Cassidy formed Spirit in 1967 with his step-son guitarist Randy California. In an era when flowing locks was the default fashion statement for all rockers, Cassidy was a striking anomaly with his shaved head and black attire. Prior to Spirit he was a member of another legendary L.A. outfit The Rising Sons (1964); a band that sported two young guitar toting visionaries; Taj Majal and Ry Cooder.

Cassidy was born in 1923. He served in the Navy during World War II. After his discharge from the armed services, became a fulltime musician during the golden age of Jazz and rubbed musical shoulders with a host of legends during the 1950′s. These included, Art Pepper, Julian Cannonball Adderley, Roland Kirk, Lee Konitz and Gerry Mulligan.

Spirit was an adventurous and extremely musical concern. The band is best represented by their most famous song, “I Got A Line On You”. A tune that maintains its power and hipness quotient over 40 years after its release. Cassidy died in San Jose on December 6.

(Jethro Tull, Roxy Music, Frank Zappa, YES, UK, King Crimson, Curved Air)

If Mozart were reincarnated as a rock musician he would most likely comeback as Eddie Jobson. Like Mozart, Jobson was precociously talented on both keyboards and violin from an early age. He was the featured soloist at the age of seventeen for B-list proggers Curved Air before Roxy Music snapped him up and made him a star member ( at age eighteen) of their studio and touring band for the next three albums. Due in part to Jobson, Roxy became one of the biggest bands in Europe.  His trademarks were a decidedly androgynous sex appeal and a custom made see-through Plexiglas violin.  Onstage, Jobson brought a glammy, confident swagger that enhanced the appeal of the electric violin as a Rock instrument.  After Roxy Music, Jobson said thanks (but no thanks) to an offer from Procol Harum  and joined the finishing school that was Frank Zappa’s road band in 1976.  After Zappa, he then established his own brand as both electric violinist and world class multi-keyboardist in the progressive all star unit UK.  After three albums, UK folded.  Jobson remained in the Prog elite-league as a member of Jethro Tull and was breifly a member of the 1983 platinum version of YES; going as far as to appear in the video for “Owner Of A Lonely Heart” before ultimately turning down the gig. King Crimson fans can also enjoy his work on the live album “USA”, where he surrepetitiously replaced much of the violin work of previous bowsman David Cross.

Jobson’s first legendary burst of genius was his epic electric violin solo on Roxy’s “Out Of The Blue”. After all that had gone on before, this 1975 electric violin solo finally demonstrated -once and for all- the boner inducing potential of the instrument in a Rock context. Eddie’s solo comes at the end of this video and is worth the wait.