After making his name in the White Stripes and the Raconteurs, this week rocker Jack White debuts Dead Weather, a supergroup featuring members of three other indie-rock bands. It raises the questions of what makes for successful side projects or supergroups, and why do artists take them on? Today we explore this tradition with Wall Street Journal pop music critic
Jim Fusilli and
Mark Beaumont, music critic for London's Guardian newspaper.
Comments [12]
Remember the rock record "Super Sessions" with Mike Bloomfield, Al Cooper and Stephen stills from the late 60s?
And then there was the McCoy Tyner jazz double album "Supertrios" with Jack DeJonette, Ron Carter, Tony Williams and Eddie Gomez from the mid 70s.
Both are great. And I love your show John.
Brian Flahive
(remember "Airworks"? I co-produced it together with Julia Prospero and Ray Gallon)
what about ASIA? Audioslave?
all super - boring...!
Why are rock fans so obsessed with the media hype of terms such as "supergroup"? When true musical geniuses such as Miles, Trane and Ornette Coleman played together their listeners just enjoyed the moment of a great collaberation!
Genesis is AMAZING
What about Oyster Head? Just as good, if not better, than the groups those guys came from.
Never was a particular fan of Jack White, but I have new respect with a Gary Numan cover! That's a great song; I just replaced my vinyl version of Replicas last year.
Supergroups though, eh. All these bands (once the members are acclaimed) are usually created for supersuccess, and that is the problem. Typically, where is the room for creativity when you are custom built to be a commercial vehicle? But then again maybe a ramshackle fringe bunch of folks like White or like a Beck or someone could pull it off.
Let's not forget that Crosby, Stills & Nash (and then Young) were not a supergroup when they came together. They were all members of briefly popular bands that had not presented any individuals as stars. Very few people knew who Crosby, Stills, Nash or Young were.
Eric Clapton was the only one in Blind Faith who was a real star with a following of his own. Steve Winwood was simply the boy-wonder in the Spencer Davis Group and Traffic.
Velvet Revolver wasn't bad.
Oyster Head = Amazing. A super group done well
Super groups hardly ever are..there is always one style that outweighs the others...they nevr have a new sound, they never expand or move outside their comfrot zones...and frankly the songs are usually trite and plain stupid.
Please don't fail to discuss Blind Faith and the hype that attended their short lived success at the end of the Sixties. The album went to number one, but on their sole American tour they had to fill out the set playing Cream and Traffic numbers. A lack of songwriting collaboration undermined the kick of virtuoso musicians playing together, egos emerged, and a seminal supergroup dissolved in acrimony.
For me, The Super Group is The Traveling Wilburys. I have the CD's, Olivia's movie, and a whole bunch of videos surrounding the group, plus a one hour video biography or Roy Orbison. No matter what else I do in music, a trip into Jazz, listening to all of Philip Glass on my Zune, whatever, I always come back to the Wilburys.
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