Greta Van Fleet: New Single, “When The Curtain Falls”

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Oh, Greta Van Fleet… I can’t stay mad at you.

As most of the B&V readers know, I was a little miffed at GVF when they backed out of Middle of the Map Festival here in Kansas City. Other than Social Distortion, who we all love down here at B&V, I was most excited about seeing Greta Van Fleet. Can they bring it live, I wondered? I was really anticipating answering that question… until a few days prior they had to cancel out of the festival when the drummer, Danny Wagner, hurt his wrist. I can only hope he hurt it trashing a hotel room… anything short of that is unacceptable in my mind, but I’m old school. Keith Moon and John Bonham are my go-to drummers, but I digress. My disappointment that they wouldn’t be here was…palpable. Although I must admit, I managed to discover Austin-based alt rockers Spoon, so it wasn’t a complete wash-out (Middle of the Map Fest: Spoon 6/29/18; Social Distortion, 6/30/2018, LIVE). And yes, Social Distortion is always kick ass in concert, see them if you can. I will admit, the Rock Chick has been mad at GVF ever since.

I keep hearing that GVF have been in the studio working on a proper album. They’ve already released two EPs, Black Smoke Rising (Greta Van Fleet: Kids Channeling Zeppelin On ‘Black Smoke Rising’ EP) followed by a “double EP” From The Fires which contained all four songs from the previous EP (Review: Greta Van Fleet, ‘From The Fires’ LP, er, Double EP). I’ve loved all eight songs these guys have released so far, including their epic cover of Sam Cooke’s “A Change Is Gonna Come.” It’s so refreshing to hear a new rock band! These guys are all guitar riffs and big vocals which you don’t hear a lot of these days. I have to admit, I was beginning to wonder if these guys were ever going to get around to releasing a whole album. I know they’re touring, but lets keep that momentum rolling in the studio!

Today, my patience has been rewarded. GVF have just released a new single, “When the Curtain Falls.” Any residual anger on my part about them missing Middle of The Map, dropped away as soon as I put this new tune on the stereo and heard that first guitar chord. Danny’s drums kick in and Jake Kiszka’s crunchy guitar riff starts. This song struts and storms. It’s both heavy and slinky – like Mike Tyson in his prime, moving so much it’s hard to hit with a lethally dangerous punch at the same time. When Josh Kiszka’s banshee wail kicks in, I found myself nodding my head. Yes, I can still feel the Zeppelin influence (I hear the echo of a Zep riff here, but I can’t quite put my finger on it), but these guys are making it there own. The guitar sound here is addictive. I can’t get over the reckless abandon with which Josh sings. Even the Rock Chick, passing through the B&V lab said, “I wonder how long he’ll be able to sing like that?” Good question.

When Josh turns it over to Jake for the guitar solo, I wanted to jump on my desk and hold a lighter in the air. It’s so much fun to rock out with this music. They sound confident and ready to conquer the world. Hopefully it won’t be too long a wait until this rumored album comes out. If this is a sample of what’s going on in the studio, I think we rock folks out here are going to be very happy. Check this tune out immediately!

 

 

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Tom Petty: New Single From The Upcoming Box-set, “Keep A Little Soul”

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I think I speak for the majority of rock and roll fans when I say, I’m just not over the loss of Tom Petty. I don’t know if I ever will get over it (RIP Tom Petty, 1950 – 2017, A Devastating Loss: The Composer of the Soundtrack to My Life Is Gone). His music and concerts were so ingrained as a part of my life it just feels weird that he’s gone. One thing I’ve been hoping for, nay, praying for, is that his estate and the Heartbreakers would release some of the material that Petty had compiled in his vaults. For a couple of years prior to his passing, Petty himself spoke about revisiting the Wildflowers album and doing a reissue. His original concept had been for that to be a double-album. The re-release would have restored Wildflowers to his original concept and he and the Heartbreakers were going to tour and play the whole thing. Oh, how I wish we all could have seen that.

As far as I know, the Wildflowers project is still in the works. I started seeing on Petty’s Instagram and Twitter accounts, much like McCartney did lately, pictures of boxes of tape reels and other hints that something was coming. I thought fleetingly that it would be the Wildflowers project finally seeing the light of day. Well, it’s not the Wildflowers project I’d been anticipating, instead my prayers have been answered and the Petty camp has announced they’re releasing a box-set (4-CDs or 6 vinyl LPs) entitled perfectly, An American Treasure. The project was curated by longtime band members Mike Campbell (guitar and recent addition to Fleetwood Mac), Ben Tench (keyboards extraordinaire) and members of Petty’s family. The Rock Chick would probably like me to wait until Christmas to snap this box up… I have bad news for her. The release date is set for September 27th.

I have seen, in several publications, the album’s song list. There is a lot to get excited about. First and foremost, he’s releasing the three song set he recorded at Capitol Studios that contains, for those of us who grew up listening to KY102, the definitive version of “Breakdown.” It’s the only version we knew…(Playlist: The B&V Best Tom Petty Album/Deep Tracks). There are B-sides and additional live tracks, not only from Tom Petty and the Heartbreakers but from Mudcrutch too. Oddly, they do throw in a few “deep cuts” or as they call them, “album cuts” from some of the lesser known albums of Petty’s career like the soundtrack for She’s the One and The Last DJ. Overall, I’d have to say this is a fitting box-set to celebrate Tom Petty’s long career. Each CD is organized around a certain decade of Petty’s career. My only complaint is that I don’t see “Sweet William,” a rollicking, bluesy B-side from the Echo sessions. But, I’m sure we’ll see that in due time. Also absent is much of the Wildflowers stuff, like “Girl On LSD” which I’m sure means the expanded edition will come out sometime in the future.

To commemorate the announcement of the new box, a single has been released, “Keep A Little Soul,” a track recorded in 1982 for the Long After Dark sessions. I have to say, and this may be a little sentimental on my part, I love this song. Long After Dark is a bit of an overlooked album in the Petty canon. It came after the two triumphs, Damn The Torpedoes and Hard Promises. Petty and the Heartbreakers had been on the road almost non stop and released an album almost every year and a half. Long After Dark had a bit of darker undertone, despite some of the more modern touches like the synth on “You Got Lucky.” They sound, well, a little tired on this record. I think they were burning out a little bit. I still love the album but it just didn’t do as well as the two previous records.

To put it in perspective, Long After Dark came out a mere three years after Torpedoes, a pace of an album a year, plus a tour. It had been six years since the first album came out. Five albums and constant touring can take it’s toll on a band. It was no surprise that it took three years for the follow up, 1985’s Southern Accents to come out. Of course, in the interim, Petty had smashed his hand when punching a wall in a fit of anger… They couldn’t get a guitar part to sound right. I think we’ve all been there. Looking back at Long After Dark, the most notable thing about it might that it was Howie Epstein’s first album with the band on bass and exquisite harmony/backing vocals.

When I first heard “Keep A Little Soul,” I couldn’t help but think, how did this not make the album? How in the world did Petty keep this in the can for all these years. “Keeping Me Alive” was another outtake from the Long After Dark sessions but it finally came out on the box-set Playback in 1995. But upon further listens you start to realize, this song really didn’t fit the darker tone of the album… This track isn’t a song that would have fit in with “Change of Heart,” or “Straight Into Darkness.”

This song is a great midtempo, upbeat message track. It’s one of those, everything is going to be alright lyrics. “It doesn’t matter, when you keep a little soul, nothing really matters any more.” The sound is classic Petty and the Heartbreakers. If anybody shines here it’s Benmont Tench’s keyboards. Howie Epstein can be heard singing the background vocal. Petty is engaged and sounds happy. This song doesn’t have that world-weary feel that many of the other tracks on the album have. The track starts with only Petty’s voice counting it in and ends, in a bittersweet moment, with Petty saying, “That was fun…”

I think “Keep A Little Soul” is an essential track in what will turn out to be an essential addition to the Petty catalog. I have to mention, if you haven’t already, go out to YouTube and check out the video for it. It has never before seen footage of the band on the road and on stage. Although I was an early Petty fan, I didn’t get to see them live until the Southern Accents tour. It was fun to see Petty, with the different hair cuts – with that Long After Dark era mullet (full confession, I, your intrepid blogger rocked a mullet in the 80s) – on stage and going crazy, dancing, running around. God, I could kick myself for not going to see him earlier… I’ll be the first to admit, I smiled through the entire video and when it was over there was a tear in my eye… It was a bit like looking at an old photo of a friend or a fallen comrade and being taken back to the moment of the photo… and just for a second, feeling that same youthful joy…

Keep a little soul out there folks! We all need it. Cheers!

Album Lookback: Joe Strummer & The Mescaleros, ‘Streetcore’

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I’ve enjoyed a few days off from the world over the 4th of July holiday. It’s a time for bbq and refreshing vodka cocktails by a pool and listening to rock and roll. I could get used to being a man of leisure. Time that I should have spent reading I’ve spent in front of the television watching Wimbledon. I should be watching the World Cup like the rest of the world. Soccer or football as it’s known everywhere else is a beautiful, elegant game to watch but for some reason my attention has been on tennis. I found myself drawn to a tennis player named Vitalia Diatchenko, I can’t put my finger on why…ahem. When not watching Wimbledon, sadly my eyes have turned to what the kids call, “the social media.” It was NPR who tweeted recently that there is a box set in the works chronicling the solo work of Joe Strummer. That caught my attention.

As most people know, Joe Strummer was the leader of one of the greatest bands of all time, The Clash. The Clash – Strummer on vocals/rhythm guitar, Mick Jones lead guitar/vocals, Paul Simonon bass/vocals, and Topper Headon on drums were often referred to as “The Only Band That Matters,” due to their huge influence and political lyrics. They were spawned from the same punk scene as the Sex Pistols but their sound ranged from punk to reggae and ska to rockabilly. They could really do it all. Elvis Costello, when commenting about the Clash once said something to the effect that, “The Clash were only punk on the first album or two, after that it was them playing Joe Strummer’s record collection.” That must have been some record collection, indeed.

Sadly, out here in the wilderness of the American Midwest, you didn’t hear a lot of Clash on the local radio. It wasn’t until MTV started playing the videos for “Rock The Casbah” and “Should I Stay Or Should I Go” that I became aware of the Clash. That was pretty late in the game. “Should I Stay or Should I Go” famously, for me, was playing on the jukebox in a bar I was sitting in while my first girlfriend broke up with me… I still wince when that song comes on. Despite that, I went out and bought Combat Rock (on cassette, no less) and I still love that music. That sent me crashing through their catalog, all of which I consider essential listening to any rock fan: The Clash (get the UK version), Give Em Enough Rope, London Calling and Sandanista are all iconic rock for me.

As often happens with bands, internal dissension tore them apart. They fired Headon when he succumbed to drugs. He and Terry Chimes would rotate in and out of the band. Mick Jones was fired in the famous “Clash Communique.” The wheels were coming off. Finally, the Clash ended things in 1985 with the substandard album, Cut The Crap. Mick Jones spun up the oft overlooked, but worth checking out Big Audio Dynamite. Strummer, however, took a more low key approach to his solo career. He started off doing soundtracks and a little bit of acting. It wasn’t until 1999 that he formed The Mescaleros with Scott Shields and Martin Slattery and a rotating group of other musicians. Still, there was nothing they did that hit big or with the force of the Clash. Frankly Strummer’s solo career could be categorized as disappointing.

I was up late one night, ruminating and sipping bourbon when the documentary of Strummer’s life came on, The Future Is Unwritten. I highly recommend any fan of the Clash or of Strummer to rent that movie post haste. It was a fascinating thing to see. Everybody from Anthony Kiedis to Bono are interviewed. It was watching that movie that I discovered that the Mescaleros had released an album after Strummer had passed, Streetcore. I bought it the next morning. How was this brilliant album overlooked? It’s the strongest thing Strummer ever did solo. He truly saved the best for last…

The album opens with a great rocking song, “Coma Girl.” It rocks on the verses and goes into a slight reggae back beat during the choruses. This tune should have been a big, big hit. That leads into the monster reggae song, “Get Down Moses.” It’s one of my absolute favorite tracks. The bass is enormous. Those two tracks would be worth the price of admission but this whole album is amazing, start to finish.

There are two songs, I’ll say, influenced by Johnny Cash. Joe was vacationing in California and dropped by Rick Rubin’s studios. Johnny was there doing some recording for the American Recordings sessions. In the liner notes to the fabulous Cash box set, Unearthed, Rubin describes the scene. Strummer would drop by everyday and lay down by the glass wall to the recording booth and just watch Johnny play. After about a week of that, Rubin asked if Joe wanted to do something with Johnny and he was too frightened. Rubin mentioned to Cash that the Clash played a lot of reggae, which surprisingly Johnny loved. The next thing you know, they’re all huddled around the stereo listening to Bob Marley records. Johnny and Joe cut a duet doing “Redemption Songs,” which is just perfect. You can’t make stories like this up… Joe’s version, without Johnny, is here on the album and it’s a beautiful reading. If ever there was a case of the material suiting the artist, it’s this. I would advise anybody to also search out the duet… While watching Johnny, Strummer also wrote, “The Long Shadow,” which is here as an acoustic number. Johnny never recorded it but it would have been perfect for him. “The Long Shadow” is the kind of epic song you’d think only the Man In Black could pull off, but Strummer does too. It evokes traveling across the vast continent and surveying the moral and emotional landscape. It’s quite striking.

This is a posthumous release and according to Wikipedia many of Strummer’s vocals are first takes. I think his vocals have a ferocity and edge to them, maybe it’s that first take thing, but this is a well sung, punchy record. “Arms Aloft” and “All In A Day” are great rocking songs. This album reminds me of a Clash album stylistically because there’s a little of everything. “Burning Streets” is a virtual sequel to “London Is Burning.” “Ramshackle Day Parade” is an epic ballad. It’ll grab you by the collar. There is one song, “Midnight Jam,” which is the Mescaleros playing behind snippets of Strummer’s radio show – he DJ’d a program where he played all sorts of world music. It’s a fitting tribute to Strummer’s fine taste in music.

The album ends on it’s second cover song, the Bobby Charles’ track “Before I Grow Too Old” re-titled and repurposed as “Silver and Gold.” A touching little acoustic number that ends with Strummer saying, “that’s a take.” I know this record might seem a little obscure to most folks, but that’s our job here at B&V, to point out and shine a light on music that you might have overlooked. This is a great album by an incredibly important artist. Worth checking out!

Cheers!

Review: Middle of the Map Fest: Spoon 6/29/18; Social Distortion, 6/30/2018, LIVE

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*Photo of Mike Ness of Social Distortion taken by your intrepid blogger

Sometimes you just gotta see a band live to understand what they’re about…

When the Rock Chick approached me about going to a new music festival in town entitled Middle Of The Map Festival, I was skeptical. I mean, it’s late June… fucking hot weather in the Midwest. And besides, I didn’t recognize most of the bands involved. But then I examined the line-up more closely. Two names immediately jumped out at me. Greta Van Fleet and Social Distortion. GVF is my new, classic rock crush and Social D, well, the Rock Chick got me on their bandwagon when we met in 2000 and I’ve been a fan ever since. I also noticed that one of the Rock Chick’s favorite bands, Spoon, was on the list… I could easily discern that this was the reason she wanted to go. Although, in truth she’s a bigger Social D fan than I am, so it was probably a win/win for her…

I have posted a couple of times about Great Van Fleet, (Review: Greta Van Fleet, ‘From The Fires’ LP, er, Double EP or per chance, Greta Van Fleet: Kids Channeling Zeppelin On ‘Black Smoke Rising’ EP). I was so stoked to see these guys live… are they for real? Only seeing them live would tell me. Even my buddy, Drummer Blake texted me and asked if I was going to the MOTM Festival. Was I!?! And then on Thursday I saw the tweet… Danny, the drummer in GVF, hurt his wrist and they were cancelling their appearances in KC and Chicago, prime blues rock country. Goddammit son! I don’t know how he hurt his wrist, my guess would be skateboarding… I’m certain his wrist wasn’t hurt throwing a TV out of the window of the 30th floor of a Hilton like Bonham would have done. Without B&V who will teach the children about rock and roll? The fucking show must go on, son. Suck it up Danny, rub some dirt on that wrist and hit the stage, goddammit.

I was disappointed. The Rock Chick was still pretty excited about Spoon and to tell the truth without the GVF hype, I sort of felt free. I could just drink a bunch of vodka and groove on the tunes. Our friends, Edie and Brad (names changed to protect the innocent) came over and everybody seemed jacked up for the show. My corporate overlords kept me on the phone right up until the time I had to jump in the Uber. Someone handed me a strong vodka drink and I was like, OK, no GVF, I’ll just party. We got down to the festival and the first band I saw, on the second stage, in a parking lot no less, was a band called Y God Y and they were just taking the stage. I was hammering down another vodka when these guys hit the stage. Two keyboards, never a good sign, a drummer and a groovy, hipster lumberjack in shorts on lead vocals and guitar…That guy was extraordinarily hairy… I couldn’t help but think, well fuck… But here’s the weird thing and the great thing about music festivals, they give you exposure to bands  you’d never hear. The really hairy lead singer actually had a nice falsetto voice… these guys sounded great. I realized perhaps I’d taken this thing too lightly… Forget about GVF. I grooved to Y God Y for a few great songs and then lurched into the main venue, the intrepid Grinders, which is basically a mulch covered field and hunkered down for Spoon. Y God Y had me grooving.

I will be the first to admit I am the last person who should review Spoon. Short of knowing my wife likes them, I couldn’t have told you anything about them. I’ve heard a number of their tracks, because, as mentioned, the Rock Chick loves these guys. Frankly, I thought they were European. But my dear friend, hummus and chardonnay enthusiast RJ will tell you, “Did you know they’re from Austin, Tx, Ken?” For the 8th time RJ, yeah I got that… Spoon, lead singer Britt Daniel, drummer Jim Eno, bassist (and unsung hero of this band) Rob Pope and keyboardist/guitarist Alex Fischel with touring member Gerardo Larios (keys/guitar) took the stage a little earlier than expected. These guys had me immediately… the first track, which I’d never heard was “Knock Knock Knock.” They have a slinky groove, I can’t exactly put my finger on it, but they are catchy AF, as the kids say.

The lead singer, Britt Daniel, would occasionally pull out his guitar and play a funky rhythm guitar… there was no intense solo’ing. It was more of a groove or a mood. Alex Fischel plays spooky, epic keyboards that Rick Wakeman would envy. The only thing Alex is missing is a big high collared cape. The bass player, Rob Pope held everything together with a tight, insistent bass line. These guys tore it up on their set. I was very very impressed with them. “Don’t You Evah,” “I Turn My Camera On,” and “Do I Have To Talk You Into It?” were all great. Towards the end of the show, they even did this long, psychedelic jam… I’m ashamed to tell you I don’t know what track it was. I’m not qualified to talk about Spoon, and well, vodka. These guys were great. As I staggered out of the venue a great power trio were starting on the Tito’s parking lot stage… I still don’t know who they were, but I stood there mesmerized for two songs… I wish I’d taken it more seriously. Some great music went down Friday night… Sometimes, you just gotta see the band live to understand. I’ve spent the last two days listening to Spoon.

Nursing what the medical profession would call a “hangover” I rode the Uber down to Grinders for Night 2 of Middle of The Map Fest. I got in the venue early enough that I saw a number of songs by an artist I want to check out more in-depth, Nikki Lane. She was awesome. She lives in Austin and sounds like old country. She even covered a Jesse Coulter song. Thankfully I wasn’t using vodka as liberally on night 2… I didn’t see, but I could hear the Sluts play on the parking lot stage. Great punk rock. The only down part of the build up to Social D was Built To Spill whose senseless jams sounded like serial killer testimony set to music… Oh well.

Finally, shortly after 10 pm, Mike Ness and the latest incarnation of Social Distortion hit the stage while a tape recording of Tom Petty’s “Last Dance With Mary Jane” played to honor the fallen… A wonderful gesture. Besides Ness, currently Social D consists of Johnny Wickersham (guitar/backing vocals), Brent Harding (bass) and David Hidalgo, Jr (drums). It was like seeing old friends. These guys do punk/cowpunk/hard rock like it’s meant to be done. They started with a brilliant trio of songs, “Reach For the Sky,” “Highway 101″ (one of my favs…”I believe in love again…”), and “Don’t Take Me For Granted.” Sadly KC took Social D for granted… the crowd was spartan. “She’s a Knockout” turned into an extended guitar jam. They also did extended guitar jams on “Story of My Life,” and “California (Hustle and Flow).” It was so great to see hard rock guitar on a beautiful night in KC.

“99 To Life” brought the country/cowpunk influence in for the night, it was just great. My wife has a cat, named Rhett, and his theme song is “Mommy’s Little Monster” and I was thrilled to hear Social D play that song last night, a first. As was early punk track “Another State of Mind,” which they crushed.  “Machine Gun Blues” and “California (Hustle And Flow)” from the last album were both high lights. I just wish Ness would stop being the 10 year cicada, issuing a new album every decade… Mike, get in the studio, we need more guitar rock! Ness introduced “Don’t Drag Me Down” as a song he’d written about racism back in 1994… He said it was sad in 2017 the White House started tacitly making racism ok again… Indeed, Mike, indeed.

After a 12 song, hour long set, Social D left the stage. They came back for a three song encore, the highlight of which was “Ring of Fire,” the Johnny Cash cover… I was tired, I was hungover, but I was very very happy! Social D always brings it people, get out and see them!

That’s my report from the front lines of MOTM… I hope they do this again next year, it was a blast. See you next year folks!

 

 

BourbonAndVinyl Comes Alive: The Epic List Of Essential Live Albums

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You don’t see a lot of live albums any more. Back in the 70s and 80s, when dinosaurs with guitars roamed the Earth, spitting fire and lighting their guitars on fire and well, there was just a lot of fire, live albums could be a big deal. I say “could be” because often times “live in concert” records were just throwaways. Bands would put out a live album as a way to fulfill contract terms. If a band owed a record company four albums and they only had 1 more album due to fulfill the contract, they’d pump out often uninspired, rote, live album so they could sign with another record company and get a big signing-bonus check. Sure, there were more creative ways to get out of a record contract – The Stones famously submitted a single to their record company entitled, “Cocksucker Blues,” a slow, bluesy number about, well, a guy who…nevermind, you get the picture. The record company guys were so horrified by the Stones they released them from their contract for purely moral reasons. Ah, the 60s.

Because so many bands put out “contract fulfilling” live albums, the live album as an art form gets a bit maligned. Tom Petty used to call those live albums, “greatest hits played faster” albums. Not unfairly… However, in the hands of a committed artist, a live album can be something special. There are many cases of a live album being the key that actually broke an act nationally – Bob Seger, Peter Frampton, and Cheap Trick are all great examples of that. The live album choice was a way to capture those band’s on-stage magic, that up to that point they’d been unable to find in the studio. I’ve always felt to be a truly classic rock and roll artist, you’ve got to be able to bring it live. With that thought in mind, it’s no surprise, that many acts on this list would be on anybody’s “greatest of all time” lists. Great bands tend to do great live albums.

I’m not fond of just putting out lists of things. “It’s not really writing, it’s just typing” as Truman Capote once said. But every now and then I have to submit a summer listening list to the B&V faithful. I have arranged this list in alphabetic order. Some of these acts have more than one essential live album so I have tried to list only the pick of the litter. Although in some cases, I couldn’t make up my mind and just listed all of them. In many cases, it’s us in the audience and our wild cheering that can make the music that much more magical…and yes, I’ll be the first to admit, that many times, the band in question heavily overdubbed the vocals or the guitar parts…

  1. Aerosmith, Live Bootleg – Before they looked like the Real Gypsie Housewives of Rock N Roll, Aerosmith used to be menacing, gypsy drug addicts who could rock. This is a great document of that time.
  2. The Allman Brothers, Live At the Fillmore East – Blues with a jazz improvisational twist.
  3. Gregg Allman, The Gregg Allman Tour – Joined by Allman Bros Jaimoe (drums), and Chuck Leavell (piano), Gregg is more soulful/R&B-ish than with the main band. His backing band Cowboy even gets one side to show off their stuff.
  4. The Band, Rock of Ages or The Last Waltz – Either of these are great, I lean toward Waltz as it’s like a drunken wake for the 60s as the Band play with influences to contemporaries.
  5. The Beatles, Live At the Hollywood Bowl – The Beatles were such studio wizards, it’s nice to get a different view of the legends. This album puts a little meat on the bones of the myth. Live at the BBC iis also a great listen, just without an audience.
  6. David Bowie, Live in Santa Monica ’72 – Bowie and the Spiders from Mars… Mick Ronson almost outshines Bowie… almost.
  7. James Brown, Live At the Apollo – Soul Brother #1’s greatest album.
  8. Jackson Browne, Running On Empty – A concept album about the road, recorded on the road. His last classic record.
  9. Johnny Cash, Live at Folsom Prison – The man in black, “I shot a man in Reno, just to watch him die…” A young inmate in the audience went on to some fame… his name was Merle Haggard.
  10. Cheap Trick, Live At Budokan – This takes me back to riding to high school in my buddy Brewster’s car, listening to this on 8-track.
  11. Eric Clapton, Just One Night – The definitive version of J.J. Cale’s “Cocaine.”
  12. Leonard Cohen, Live In London – About what other artist can you say: After years spent in a Buddhist monastery, he emerged to find out his manager had ripped him off. He had to tour to fund his legal fees. It was a treat to hear how warmly he’s greeted by his fans.
  13. Sam Cooke, One Night Stand: At the Harlem Square Club – Greatest. Singer. Ever.
  14. Chris Cornell, Songbook – Sentimental choice here… An acoustic run through solo, Soundgarden, Temple of the Dog and Audioslave tunes.
  15. CSNY, Four Way Street or 1974 – I probably lean toward 4-way, but 1974 is a 3-disc, superbly curated (by Graham Nash) look at the tumultuous ’74 tour.
  16. Dire Straits, Alchemy – The definitive version of “Sultans of Swing” and my buddy the accountant’s favorite live album.
  17. Bob Dylan, Bootleg Series Vol 4, Live 1966 – Mislabeled as being from The Royal Albert Hall. Dylan backed by the Band (sans Levon) before they were the Band. The most combative live album ever – his folk-y fans resented his electric turn.
  18. Bob Dylan and the Band, Before the Flood – During a career lull for both acts in 1974 Dylan and his erstwhile backing band reunited for Planet Waves and this incendiary live album.
  19. Peter Frampton, Comes Alive – After a series of great solo records, it took this monster to break Frampton to the world.
  20. Free, Live Free! – Perhaps their best album.
  21. Grateful Dead, Live/Dead – So many to choose from, ’72 is also great… but I love how muscular they sound here. Pigpen’s keyboards are epic. They were never this experimental/innovative again, in my humble opinion.
  22. George Harrison, Concert for Bangladesh – My buddy Ron was there and says it was as epic as it sounds.
  23. Jimi Hendrix, Band of Gypsies – So many choices… I went with this one because it was the only one released while he was alive. Winterland, the box set is also a must have for The Jimi Hendrix Experience at their peak.
  24. Humble Pie, Performance: Rockin’ The Fillmore – Frampton’s last album with Humble Pie.
  25. J. Geils Band, Blow Your Face Out – Before the sleek, synth pop of “Freeze Frame” the J. Geils Band were a soul, blues extravaganza, documented here. They also have a single disc live album, Live, Full House that’s exceptional.
  26. Billy Joel, Songs From The Attic – After hitting it big, Joel turns back to his early material and rerecords it with his road band, bringing the sometimes lifeless studio renditions to life. A rare case of an artist reflecting on his past.
  27. Elton John, 11-17-70 – Buy this just for the essential version of “Bad Side of the Moon” but stay for the rest. No hits, just rock.
  28. Journey, Captured – Greg Rollie’s last album with Journey and the last thing they did before becoming corporate sell-outs.
  29. B.B. King, Live At the Regal – B.B. and his rapport with his audience makes this great performance even more special.
  30. The Kinks, One More From the Road – Great Kinks arena-rock.
  31. Kiss, Alive – Heavily overdubbed, yes. Excellent, yes. Alive II was also a fan fav.
  32. Led Zeppelin, BBC Sessions – Zeppelin never really recorded a great live concert album. I liked How The West Was Won, but BBC is really the pick of the litter. Don’t forget their reunion live LP, Celebration Day.
  33. Little Feat, Waiting For Columbus – Internal dissension was tearing them apart, but you couldn’t tell listening to this great live document.
  34. Bob Marley, Babylon By Bus – You could equally pick Live! or Live At the Roxy. Marley and the Wailers were money on live albums.
  35. Dave Matthews Band, Live At Red Rocks – The best of many choices. I like this one since it focuses on the early DMB albums.
  36. Paul McCartney, Wings Over America – Derided as a “tour souvenir” I still like this record. It’s the first one I can think of with an acoustic set in the middle.
  37. Van Morrison, It’s Too Late To Stop Now – The Caledonian Soul Orchestra!
  38. Nirvana, Unplugged In New York City – Stripped off all the strum and drang, Cobain’s beautiful songwriting and sense of melody pop out at you.
  39. Ozzy Osbourne & Randy Rhoads, Tribute – Ozzy’s fine tribute to Randy, RIP.
  40. Pearl Jam, Live In Seattle, November 6, 2000 – My favorite from their bootleg series. This is a powerhouse show in front of the hometown fans.
  41. Tom Petty, The Live Anthology – A box set that is the ultimate statement on Petty and the Heartbreakers live… RIP Tom.
  42. Otis Redding, Live At the Whiskey A Go Go – I like this one better than Live In Europe, it’s more raw and immediate to me.
  43. Red Hot Chili Peppers, Live In Hyde Park – Overlooked gem of a live LP… Frusciante and Flea are on fire.
  44. Lou Reed, Rock N Roll Animal – Ferocious live solo and Velvet Underground cuts.
  45. R.E.M., Live At the Olympia – I don’t know if Michael Stipe was ever this engaging on stage ever again.
  46. The Rolling Stones, Get Your Ya Ya’s Out – The Stones have started a wonderful live Vault Series, but this is still their quintessential live album.
  47. Rush, All The World’s A Stage – This one came early in their career and it’s a powerhouse… although they medley up on “Working Man,” which is too bad.
  48. Bob Seger, Live Bullet or Nine Tonight – I’d give the nod to Live Bullet here only because it’s the sound of a funky, rock and roll bar band, The Silver Bullet Band to be specific, conquering the world.
  49. Bruce Springsteen, Live 75 to 85 (Box Set) or 1978 Cleveland – The box set captures Springsteen at the peak of his popularity, but really anything recorded on the iconic ’78 tour from his bootleg series is worth the price. I also like Live At the Hammersmith Odeon from the Born To Run tour. You really can’t go wrong with live Springsteen.
  50. Talking Heads, Stop Making Sense – Also get the DVD, visually entertaining too.
  51. Thin Lizzy, Live and Dangerous – True on both counts.
  52. U2, Under a Blood Red Sky – Before they were world spanning titans… they just simply rock Red Rocks outside of Denver.
  53. Stevie Ray Vaughn, Live at Carnegie Hall – SRV had to self finance this thing to get it recorded. Thank God he did.
  54. Velvet Underground, Live With Lou Reed, Vol 1 &2 – Rough sound quality but essential for any rock and roll fan.
  55. Muddy Waters, Live at Newport – Muddy launching the blues revival in America at the iconic Newport Festival.
  56. The Who, Live At Leeds – The power and the glory of “maximum R&B.” They’ve got a great BBC collection as well.
  57. Neil Young, Live Rust – On tour for one of his most popular albums, this live album is split between an acoustic and an electric performance. Neil has put out a number of excellent concert recordings in his vault series, from Massey Hall to Tonights The Night Live that are all worth checking out.
  58. Warren Zevon, Stand In The Fire – Sober but still unhinged. Zevon never gets his due…

There it is rock and roll fans. A nice list of live records to pour over during your summers by the pool… call it your summer homework assignment. If there’s something I left out, just post it in the comments. I’m always open to ideas! Hold those lighters in the air and celebrate the majesty of rock and roll played live!

 

Paul McCartney: Two New Songs From The Upcoming ‘Egypt Station’

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It’s been a tough year… for rock and roll and for pretty much everything else. Personally, I’ve been in a bit of funk of late. Work hassles and other mounting issues occasionally feel like they’re going to overwhelm me. The loss of Anthony Bourdain continues to puzzle and bum me out. Being a Kansas City native, even the loss of Kate Spade has touched me. Her father died the morning of her funeral, two hours prior, apparently from despair. It’s a dark time in all of our lives.  It’s in the dark times, for me at least, that I’ve always turned to music for solace and lets be honest, escape.

However, music this year has been, well, not great. Nineties stalwart’s the Dave Matthews Band and Green Day’s Billie Joe Armstrong have put out strong albums this year but that’s about it. Jack White’s album was wildly disappointing, although I still think he’s a genius. Too bad Meg White went into witness protection (come back Meg, we miss you). It was nice to hear David Byrne come out with an album that was accessible in a very Talking Heads’ way. Those few examples of great albums in 2018 aside, I was beginning to despair that no great music was going to come out this year. Most the stuff I’ve liked this year have been vault releases or re-releases.

It was a couple of weeks ago I started to see legend, former Beatle and kick ass bass-player Paul McCartney began to tease new music on what the kids call, “the social media.” On both Twitter and Instagram, McCartney started posting black and white pictures of himself in the studio. Or he’d post a picture of his guitar, or the keyboard of a piano, and in one post the knobs on his amp.

It’s been since 2013 that McCartney put out a proper album, the great New. I can’t believe it’s been five years. Prior to that you have to go all the way back to 2007’s exceptional Memory Almost Full for a McCartney album. Two proper records in over a decade, I’d say Paul was overdue. For many of us, it’s a big fucking deal when a Beatle puts out an album. For McCartney, it’s a doubly big deal since after a rocky period during the 80s and the early 90s, a period where many of us stopped listening to him, he found his footing again with the comeback album, Flaming Pie. After collaborating with the remaining Beatles on the Anthology series, McCartney said he’d rediscovered his approach to making music. I don’t know what happened, but every album he’s put out since then has been sensational. Unfortunately terrestrial radio doesn’t play artists like McCartney any more… but that’s another post.

This Friday, McCartney put out two new songs from the impending album Egypt Station (release date: September 7th). Based on these first two new tracks, “Come On To Me” and “I Don’t Know,” I needn’t worry that some superb music will be released this year. I think Egypt Station might be another in a string of great, late period McCartney albums. McCartney’s hot streak, From Flaming Pie to Chaos And Creation In The Backyard to New are the type of albums that inspired BourbonAndVinyl in the first place…

The first track I heard was “Come On To Me.” It’s a bouncy rocker. Even the Rock Chick, who doesn’t dig the Beatles, (like me she’s more of a Stones’ person) said, “That’s really good…” Obviously I haven’t seen the liner notes, but I suspect that McCartney played all the instruments on this album. Many guitarists have an instantly recognizable sound or tone on their instrument. McCartney has a very distinguishable drum sound, so that’s got to be him behind the kit…and I love the drumming that drives this song. “Come On To Me,” in my mind, shows how McCartney has re-discovered his inner “Beatles-ness.” There are guitar parts that almost sound like a sitar and every now and then a big horn section comes in. This song is big and bold and I love it. Paul throws everything into this song. Towards the end, McCartney growls, “Yes, I will, yes I will, now…” and you can tell he’s having a blast.

The other track, “I Don’t Know” is a classic McCartney ballad. The man should be known as the Magician of Melody. The song starts off with a beautiful, meditative solo piano. I love that McCartney has long abandoned synthesizers and gone back to real instruments like piano and acoustic guitar. This song really affected me. The lines, “What am I doing wrong? I don’t know,” just seem to fit for me right now. I’m always a sucker for a great ballad… I had an ex who once said, “You only like the sad songs…” and at first “I Don’t Know” almost grabbed me harder than “Come On To Me.” It’s a truly beautiful song. I would tell Paul, you’re not doing anything wrong. Both of these songs are among the best stuff I’ve heard this year.

Let’s hope the rest of the album is this strong. I could really use a great Paul McCartney album about now. I bet you could too.

Cheers!

 

New Single: The Smashing Pumpkins’ “Solara”: The Original (3/4 of it Anyway) Line-Up’s Rocking Return

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“I’m not everyone…” – “Solara,” The Smashing Pumpkins

Thanks to my buddy Doug, I was an early adopter of the Smashing Pumpkins. He was the one who gave me their breakthrough album, Siamese Dream as a birthday gift in early ’94. Ok, the album was almost a year old, but I live in Kansas City, not Chicago. I quickly picked up Gish at the used-record store. I was also one of the throng of people who showed up at the record store the day Mellon Collie And The Infinite Sadness came out – it was truly the band’s magnum opus at three vinyl LP’s or 2 CD’s length.

In the ’90s, “grunge” was such an overpowering force that many bands, including the Smashing Pumpkins, got lumped into that category. That era when the Pumpkins came out was when I first began to hear the term “alternative rock.” Kansas City even got a new alternative rock radio station. You wouldn’t hear Foghat on that station, but you would hear the Seattle bands – Alice In Chains, Soundgarden, Pearl Jam and of course, Nirvana. That is also where I started to hear the Smashing Pumpkins. They were so much more influenced by classic rock – layered guitars, epic songwriting, and big drums – than many of their alt rock compatriots who were more influenced by punk, especially the grunge bands. I agree with the label alternative rock, but certainly not grunge for the Pumpkins. The Smashing Pumpkins were like the midwest, more specifically, Chicago’s answer to the Seattle music scene.

By the time ’95’s Mellon Collie came out the Smashing Pumpkins – principal songwriter Billy Corgan on vocals/guitar (and almost all other instruments), James Iha on guitar, D’Arcy Wretzky on bass and Jimmy Chamberlin on drums – were one of the biggest bands on the planet. That was the first tour I got to see them on and they were amazing. But alas, at their zenith is where the worm began to turn. It was on that tour Jimmy Chamberlin and touring keyboardist Jonathan Melvoin (brother of Prince’s old side kick Wendy Melvoin) both O.D’d on heroin, fatally for Melvoin. Chamberlin survived, but the rest of the band, who’d been dealing with his heroin and alcohol addiction for almost a decade made the decision to move on without him.

They followed up with the heavily electronica influenced album, Adore in ’98 as a trio with Kenny Aronoff on drums for the tour. I loved that record. The title track is the Rock Chick’s absolute favorite Pumpkins tune. For the Pumpkins next outing, MACHINA/The Machines of Gods, a now clean and sober Chamberlin was invited to return to the band. Chamberlin and Corgan were roomies when they were out on the road in the early days, and I think that bond brought them back together. However, just as suddenly as the foursome were reunited, bassist D’Arcy left the band. Rumors of crack cocaine use were circulating about her. Melissa Auf der Maur formally of Hole came in to replace her. It was after that tour the Smashing Pumpkins disbanded.

Chamberlin and Corgan worked together in the “supergroup” Zwan, but that ended up being short lived. Corgan released a solo album and I believe a book of poetry. Eventually, however, Billy put out a full page ad in the Chicago newspapers, stating he wanted to reunite the band. Unfortunately, only Chamberlin showed up for 2007’s Zeitgeist, an album best glossed over…

After releasing two very strong albums under the Smashing Pumpkins moniker (Oceania and Monuments to an Elegy) with Corgan as the only original member left, the rumors of a full on reunion began. The Smashing Pumpkins had really become Corgan and a loose collection of other musicians. The only guy who seemed to “stick” in the band was guitarist Jeff Schroeder. I think it was 2 years ago that both Chamberlin and Iha had signed-on to return and join Corgan & Schoreder. I was delighted to hear that, but I am still hugely disappointed that D’Arcy and Corgan couldn’t bury the hatchet. I loved their chemistry on stage. My friends Matthew and Stormin saw them in Denver and D’Arcy threw her bass on the floor and stormed off during the encore – you can’t buy that kinda passion. I’ll have to put her on my list of musicians left out of high profile reunions, My Proposed Supergroup: Those Band Members Left Out of Big Time Reunions.

There were rumors the 3/4 reunited Pumpkins would put out an album. Then I heard it was going to be a series of EPs… Who knows? Corgan, who I consider a genius, is a hard guy to figure out… he certainly means it when he says, “I’m not everyone…” While I was busy doing all my Dave Matthews Band research, LP Review: Dave Matthews Band, The Atmospheric ‘Come Tomorrow’, the Smashing Pumpkins – now Corgan, Iha, Chamberlin and Schroeder – released a new song, “Solara.” It’s our first tangible evidence of the reunion. I guess both or either Iha and Corgan played bass.

As a fan of the harder rock end of the spectrum, I like this song. It’s quite a layered, 3-guitar attack with Corgan/Schroeder/Iha all pounding out a giant riff. Chamberlin’s drumming, as always is fierce. The song actually starts with the beat of his drum. I will say, with all those guitars in the room, I didn’t hear a discernible solo. On his last few albums, the aforementioned superb Oceania and Monuments to an Elegy, Corgan’s singing has been sweeter and almost wistful. His nasally snarl is back for this track. And while “I’m not everyone,” may not be as menacing as “Despite all my rage, I’m still just a rat in a cage,” it’s nice to hear Corgan’s vocals have that old bite again. As guitar driven rock continues to seemingly disappear, I gotta say, I’m glad to hear a track like this. We need more rock n roll. It’s not on the level of that classic Pumpkins stuff, like, say, “Cherub Rock,” or “Today” but it’s a damn good Pumpkins’ song.

I urge everyone to check this out. Rumor has it there’ll be a tour soon. I’m just hoping whatever they’ve been doing in the studio will see the light of day… Corgan can be… mercurial.