Halloween is almost upon us. Obviously, the meaning of this day evolves as you move through life's stages, but it was only during my grammar school years in the 1970s that I looked forward to it with such anticipation.
During the mid-sixties, Robert Landau, now a professional photographer, was embarking on what would eventually become a career of documenting on film the life and the surroundings of his hometown. One of the things he began detailing were these rock'n'roll billboards.
Wait, what? This is apparently what happens when you give a simple assignment to an indie director with too much imagination. A straight-up biopic of Dylan would have been fine. But do we really need to see Cate Blanchett in drag?
Such scrappy behavior -- hopeful, yet realist in a "turning world" -- is what propels this Down Under band over the precarious tightrope navigating the middle ground between dreams and nightmares on their journey to define a rock 'n' roll (r)evolution in the 21st century.
The Doors might have been the first musical discovery of my youth; after glomming onto my big sister's Beatles, Stones, and yes, Monkees records, I bought all I could by The Doors. My choice might not have been a healthy omen.
Chick Corea's new album, Forever, is a two-disc set, with the first disc being acoustic, and the second disc with a full band and guests. For the first disc, I asked him if it was a return to Return To Forever.