--Originally Published in "The Wasted Times"
When we think of the truly gifted guitarists in recent history, the names which always seem to hit the printing presses are: Jimi Hendrix, Eric Clapton, and Jeff Beck, to name a few. It has always astounded me that Joe Walsh is not the first name on the list.
Being a musician, and having worked on the business side of the music business myself, it is my observation and belief that Joe Walsh is not appreciated for the true musical genius he is—because he has a sense of humor.
A friend and I had the good fortune to meet Joe Walsh (kind of) in 1993. He came to Houston for one week, appeared on a local radio show as the guest dee-jay, and my friend and I joyfully tuned in daily. He ended the week at the Hard Rock Cafe, which just happened to coincide with my birthday. He had played a concert the night before, hit the radio station at 6:00 a.m. to fulfill his dee-jay obligation, and then appeared at the Hard Rock at 11:00 a.m. Quite a rigorous schedule.
My friend arranged for him to wish me a happy birthday over the air, which he did. She then requested that he give me an autograph via the facsimile machine for my birthday which, again, he did. We went up to him at the Hard Rock to deliver him a thank you message through one of his entourage, and when he overheard what we were saying, he turned around, flashed us a brilliant smile, and said we were welcome. Needless to say, no birthday, past nor present, will ever be topped by that great day. It made me feel good to know that a person who I so greatly admired was also such a nice person.
Joe Walsh was born in Wichita, Kansas on November 20, 1947. He started out as a clarinetist in the school orchestra, no doubt influenced by his mother who was the piano accompanist for the New Jersey Ballet, and progressed from there to bass guitar. He stated once in an interview that seeing The Beatles on the Ed Sullivan Show made him realize what he wanted to become. His parents objected, and sent him to college at Kent State in Ohio. Once enrolled there, Joe took classes in such things as electronics, music theory, and welding. He rarely attended class. He was too busy practicing guitar in the stairwell of the fire escape at the dormitory, reportedly because there was good echo there. He learned every Beatles song, note for note, and even learned to play "And Your Bird Can Sing," a song which John Lennon and George Harrison had to double track in order to make it work. Through a series of events, Joe became a member of the James Gang and, as the cliché goes, the rest is history.
I remember that people were amazed by Joe Walsh, at first. No one could believe that this young man, a mere 20 years of age, who had not been playing guitar that long, could create and play the kind of original music he was making. Much like the realization of the masses at Mozart's debut at the royal palace, people knew that this young man was different.
If you really listen to the three James Gang albums, anyone can figure out that the great, hard rocking songs which became their signature tunes are some of the finest, but take another listen to the ballads. You have to take yourself back to that time, when rock music was just beginning to change its sound. The Beach Boys' Pet Sounds and the Beatle's Sergeant Pepper albums had not been out very long, and yet you could already see and hear the effect. I believe that the James
Gang albums are just as important, for they were a three piece band, with a guitarist who had the ability to sound like an orchestra.
Next, Joe followed James Gang producer, Bill Szymczyk, to Colorado and formed the band Barnstorm. Flautist and percussionist Joe Vitale joined Walsh in this new band, and the music they created together is some of the finest ever made. Barnstorm and The Smoker You Drink. The Player You Get are over 20 years old. I started listening to these albums again not too long ago, and now listen almost every day. Every time I listen, I hear something new. These albums are just as fresh and original as they were 20 years ago, and I don't believe anyone has since topped them.
I have often wondered how many people have figured out that the interlude between "Giant Bohemoth" and "Mother Says" contains Morse Code, which can easily be mistaken for a simple keyboard progression. I urge everyone to get out their encyclopedia and break the code-it is a worthwhile message, and one you would only expect from Joe Walsh.
"Days Gone By," although written by Joe Vitale, has the magnificent guitar contribution by Walsh. This tune has the "call and answer" pattern throughout, and goes on for quite some time in this manner. The best part of the tune comes in the last few measures when, much like the musical themes in Mozart's compositions, the instruments take over for the voices. You hear the flute solo answered by the (phenomenal) guitar solo, building ever so slowly, progressing step by step, building and building, until you keep anticipating the ending, and then, unexpectedly, the climax of the song comes in a melding of the two instruments in such a unique and creative blend that your ears can't quite believe that they have heard something so beautiful. I always have to rewind at this point.
When I listen to Joe Walsh play guitar, it takes me to a different place, and I fantasize about having only one-tenth of the gift he possesses. Sometimes I wonder if he realizes how gifted he is. I find this to be true with all of his albums, from Yer Album to Songs for a Dying Planet, each one possessing a
musical gift, along with a few secrets, to be shared with the listener.
So, the next time you are listening to "Life's Been Good" or "Ordinary Average Guy", enjoy them to the fullest. They are funny and they are fun, but they are not all there is to this creative, gifted genius named Joe Walsh.
Don't let it be so funny that you forget to listen.