Review: The Cult, Live In Concert At The Venerable Uptown Theater, Kansas City, MO September 27, 2022 – Sensational Show!

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*Photo above of Ian Astbury (vocals) and Billy Duffy (guitar) of the Cult taken by your intrepid blogger

I wish I could capture the elation I feel after a great, great rock n roll concert. I felt like I was walking on clouds as I left Kansas City’s venerable Uptown Theater after last night’s show by the Cult – Ian Astbury (vocals extraordinaire), Billy Duffy (guitar), John Tempesta (drums), Charlie Jones (bass) and Damon Fox (keyboards). I felt even more pumped up than I did after recently seeing Starcrawler live in August and that says something.

I do have to admit, I couldn’t help but turn to the Rock Chick last night and say, “What a difference 4 or 5 months make…” We had seen the Cult previously on this tour, in Denver in May, and it was not like last night. The band was awfully sluggish that night although Ian Astbury worked his ass off to get the crowd into it. That wasn’t the case last night. When this band is on and they all lock into a groove – as they did last night immediately – it’s like watching the Bill Russell led Celtics in the late 50s… (not that I’m old enough to have seen that, I just like the metaphor). Championship play indeed! I was thinking it’d had been a while since I’d seen a band twice on a tour. I used to try and catch the Stones twice or more on their big U.S. tours. I would always try and see Van Halen in both KC and Wichita. I saw Springsteen twice on the Born In The U.S.A. tour. But that was all long, long ago in a galaxy far away. But then I realized I did see Depeche Mode on the Spirit tour in 2017 in both Denver and Tulsa. I am so glad we decided to see the Cult again, it was so much better last night.

I don’t know what it is about the Uptown Theater that seems to bring out the magic for the Cult. It’s where I saw them the first time on the Beyond Good And Evil tour in 2001 and it was one Hell of a show as was last night’s concert. Last night may have been so much better than the show in Denver because admittedly I had much better seats – the 5th row – and that always makes you feel more a part of the experience when you’re that close. The Uptown is a slightly smaller venue than the cavernous Mission Ball Room so that gave it a more intimate feel and maybe the band picked up on that. The stage was smaller so maybe that made them play so tightly. Or perhaps it’s just as Billy Duffy said when he got on the mic after the show, when the band was taking bows, “We’ve got a lot of history in this room.” Billy, I’m just glad to have shared some of that with you!

Make no mistake, this was a great show last night. The Cult, as my friend Stormin’ used to say, “brought down the sky” last night. I don’t know if that was the best Cult show I’d ever seen – it’d be hard to pick just one – but it certainly ranks up there. I really liked the Love tour where they played that entire LP. And yes, I also dug the Electric tour. My first time seeing them, which is always special, at that very same Uptown Theater also ranks up there… While I criticized Billy Duffy’s guitar playing at the Denver show as sluggish, I have to say last night he was on fire. He didn’t miss a note. His solo’s were incendiary.

The Cult climbed on the smokey, incense laden stage a little after 9pm last night. Astbury had a long, baggy black jacket on with a black bandana tied around his head. The bandana was so low it was hard to see his eyes. As the Rock Chick said last night, “It felt like he was always looking directly at me…” The first track of the night was one of my all time favorites from the aforementioned Beyond Good And Evil, “Rise.” While the setlist was very similar to the setlist in Denver, everything just sounded “on” last night. The crowd immediately had their arms in the air. I will say, that was one of only 2 tracks they played that weren’t on their best known trio of 80s LPs Love (1985), Electric (1987), and Sonic Temple (1989). I was late to getting on the Cult bandwagon – it was the Rock Chick who turned me onto them – so if I had any complaint I’d have liked to hear something from this millennium – “Dirty Little Rock Star,” or maybe “For The Animals.” They’ve put out some great LPs over the last 20 years. It’s a shame they skipped over that. Or I’d have been happy for maybe even “Dreamtime” from their debut.

After “Rise” they went into a great 4 song run from Sonic Temple. “Sun King” has always been a favorite and last night’s rendition was sublime. I was thrilled to hear a deep cut in “Automatic Blues,” a real crunchy rocker. Again, Duffy’s playing was on fire. It became apparent to me right off the bat that the rhythm section of Charlie Jones and John Tempesta may be the best the Cult has ever had. I could feel the drums and bass through the sound waves rippling through the legs of my jeans. For “Sweet Soul Sister” they let Damon Fox lead it off with his keyboards and then in the middle of the song he had a keyboard solo that reminded me vaguely of the Who’s “Won’t Get Fooled Again.” Ian went on a rap and I could swear he was quoting the Doors’ “Horse Latitudes.” I’m not convinced that having a keyboard player adds much to the Cult – I liked it when they had a second guitarist on stage, but then I like guitar. But admittedly “Sweet Soul Sister” was a cool moment in the show.

After a soaring rendition of “Edie (Ciao Baby)” the band launched into a series of tracks from Electric. “Li’l Devil” is always rocking good fun. They followed that with “Wildflower,” and then another deeper cut in “Aphrodisiac Jacket” (a personal favorite), and finally “Peace Dog.” “Peace Dog” was a real highlight as it turned into a sing along toward the end with everyone flashing a peace sign high above their heads, yours truly included. After the Electric tracks they played one of the new songs from the upcoming Under The Midnight Sun album, “A Cut Inside.” I had only heard it once but will admit I was surprised they didn’t play “Give Me Mercy” which has been out a little longer. Hearing “A Cut Inside” makes me that much more anxious to hear the whole new LP! I will say I feel like “A Cut Inside” is an “ok” track but it didn’t hit me like “Give Me Mercy.”

After an incendiary version of “Fire Woman,” Ian stood up on the riser at the front of the stage, held out his long braided hair and said, “Why the short hair bro’s?” I laughed out loud. Hey, I’d grow my hair long too if it looked like Ian Astbury’s. They then launched into “Revolution” a great deeper track from Love. They ended the main set with two more tracks from that LP, which were both absolute highlights from the night, with “Rain,” and then “She Sells Sanctuary” (my all time favorite Cult track).

The encore was only one song but they made it count with an AC/DC-esque version of “Love Removal Machine.” They stayed on stage to sing Happy Birthday to John Tempesta… they even had a cake for him. Then they announced the band. They seemed genuinely touched by the crowd’s reaction, especially Billy. Billy asked if any of us had been there for their first show at the Uptown… and went on to say it was a GA show, and only 4 people were there… It just felt like a really special show for these guys.

If you’re out there somewhere and the Cult is coming to your town, as I always say, “Buy the ticket, see the show.” It’s worth it, trust me.

Cheers!

Creedence Clearwater Revival, ‘At The Royal Albert Hall – April 14, 1970’ – Another Great Live LP From Their Vault

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It seems it’s time here in the B&V labs for us to (like the Dude) slip into our big, tan, baggy Westerly cardigan and mix a White Russian as we turn our attention once again to the mighty, mighty Creedence Clearwater Revival. You’ll have to forgive me for referencing the classic movie The Big Lebowski and Jeff Bridges’ iconic character, “The Dude,” but ever since the Dude lost his Creedence tapes when his car was stolen at the bowling alley the two have always kind of been tied together for me. CCR has once again opened up the vaults and released another searing live LP, At The Royal Albert Hall – April 14, 1970. I have to wonder how much great live stuff they have in the vaults and why it’s taking over half a century for these live recordings to see the light of day?

Say what you want about Creedence but they were a great band. I don’t think they ever had that “cool” cache like the Stones or the Beatles but they put out some great, straightforward, meat and potatoes rock n roll. They rocked but had a touch of blues in the music… along with a swampy southern vibe. It was a wonderful goulash. They were from San Francisco but dressed like lumberjacks from the great northwest. These guys had the Grunge look 30 years before it was a thing. And of course John Fogerty had that awful “page boy” haircut. Maybe that’s what hurt their swagger? They had a profound influence on rock n roll. Springsteen inducted them into the Rock Hall of Fame. In 1986 Bob Seger covered their iconic protest tune “Fortunate Son” and released his live version of the song as a B-side to the song “American Storm” (it was later added to the CD as a “bonus track”). I 100% agree with what Seger says to begin the song, “This by a band that I’ve always loved called the Creedence Clearwater Revival…” (although Bob, it’s just Creedence Clearwater Revival, there’s no “the” in the name). If ever there were two acts cut from the same cloth it was Seger and CCR. I think you can trace Creedence’s influence well beyond Springsteen and Seger though. Ike and Tina Turner covered “Proud Mary.”

For a band who never really released a great live LP during their active period of 1968 to 1972 they’ve certainly made up for it since. They did release Live In Europe in 1973 but that one feels like an LP released to fulfill contractual obligations. The Concert also recorded in 1970 but not released until 1980 was a more accurate portrait of this iconic band’s live show. It was only 3 years ago that they finally released the full recording of their performance at Woodstock, Live At Woodstock. Man, we loved that down here at B&V. But then as long time readers know, we love our live albums around here. Although embarrassingly we didn’t include any CCR on our list of our favorite live LPs. Oh well, live and learn. CCR – John Fogerty, vocals/lead guitar; Tom Fogerty, rhythm guitar; Stu Cook, bass; Doug Clifford, drums put out a body of work that will forever keep them in the conversation for “Greatest American Rock Band.” And live, well they could really bring it live. I’m going on record today as saying Creedence may be one of the greatest live bands ever.

As it turns out, At The Royal Albert Hall – April 14, 1970 actually documents CCR’s first concert appearance in the U.K. They certainly came to conquer as if this was the reverse of the War of 1812. The Americans are setting the capitol on fire. When we listen to this concert it helps to step back and look at the then current British rock n roll environment at the time. The Beatles, who had returned to a more rock n roll approach (vs the psychedelic approach they’d adopted) on Abbey Road and the soon to be released (May 1970) Let It Be had just announced their break-up. McCartney’s debut came out three days after this show. Cream had broken up the year prior. The Stones were coming off the successful Let It Bleed album and tour but founding member Brian Jones had quit and then sadly drowned in his pool. It feels like there might have been a rock n roll void in the U.K. at the time… enter “a band I’ve always loved,” Creedence Clearwater Revival.

At the time Creedence was at their zenith. 1969 had been an amazing year. They’d released three of their best LPs – yes, 3 LPs in one year – Bayou Country followed by Green River followed by my personal favorite Willy And The Poor Boys. Talk about a 1-2-3 punch. They’d also played in the wee hours of August 17th, 1969 at a little festival known as Woodstock. They were supposed to play the night of August 16th but the Grateful Dead just kept jamming and CCR had to come on after midnight on the 17th, much to John Fogerty’s chagrin. But that Woodstock set was legendary stuff. This concert at the venerable Royal Albert Hall was right before CCR was to release another great LP, Cosmo’s Factory. The time was ripe for an American Invasion of the British rock scene.

CCR come out on this recording and deliver. I will admit there are parts of this where Fogerty’s vocals are slightly distorted which only make the recording more deliciously menacing. They kick it off with “Born On The Bayou.” Right off the bat you can tell Fogerty is taking no prisoner’s on guitar. There’s no in-between song chatter (for the most part) it’s just set ’em up and knock ’em down. There was certainly some “chooglin'” going down that night. Fogerty is just wailing and talkin’ about old hound dogs and the 4th of July. They stretch “Born On the Bayou” into a hypnotic groove. What a perfect opening. That quickly rolls into “Green River.” It starts to feel like the Royal Albert Hall is turning into a roadhouse out at the crossroads, outside the city limits with beer for a quarter or perhaps for a pound. Fogerty’s lead stabs through clean and strong. That leads us into the third track, from the album Green River, the more obscure “Tombstone Shadow.” “Everytime I get some good news, there’s a shadow on my back.” Great, great track with a bluesy vibe and great lead guitar.

That leads us to my favorite track on the album, “Travelin’ Band.” I love this version of the song. It borders on manic. It is a full tilt, meet me at the finish line rocker. Fogerty says a quick thank you and then they launch into “Fortunate Son.” This middle section of the album is some of the greatest rock n roll I’ve heard in a long time. A screaming guitar solo kicks off “Commotion” and at that point it’s just hold on for your life. CCR is rawking. The pace is relentless. To give everybody’s heart a rest at that point, CCR slow it down and go midtempo with another personal favorite, “Midnight Special.” You can hear the crowd cheering as Fogerty sings the first few lines. The chooglin’ keeps on rolling with a spirited rendition of “Bad Moon On The Rise” ( the studio version of we included in our Moon themed playlist).

After that the hits keep coming. The band sounds enthused and into it. They hit “Proud Mary” which is one of their early hits. When Fogerty wasn’t playing any Creedence songs because he was tied up in litigation and just plain pissed, it was Bob Dylan who told him he needed to play his CCR tunes… “otherwise people are gonna think “Proud Mary” is a Tina Turner tune.” While Fogerty is on fire so is the whole band. The rhythm section of Cook and Clifford are tight. They keep rolling right into “The Night Time Is The Right Time,” perhaps the bluesiest moment of the night. The big surprise for me was the rollicking version of Little Richard’s “Good Golly Miss Molly,” and it’s big fun. Fogerty’s guitar is on fire at this point. I imagine the London Fire Dept having to pour water on the guy… But he manages to come back for one more, the appropriate ending, “Keep On Chooglin’.” After exhorting the crowd to keep on “chooglin’,” Fogerty jams and bends his guitar strings – and plays harmonica – through the longest song/jam of the night. I love this song.

I don’t think the set lasted even an hour. The crowd had to have left the Royal Albert Hall smiling and keyed up. If you’re into live albums this is a great one to have. It’s a high energy, full tilt rock n’ roll performance. Turn this one up loud and if you’re out there and you’ve had your Creedence tapes stolen… I hope this will help ease that pain. I know that between this live album and Ozzy’s latest LP, Patient Number 9, I am certainly feeling great these days. Although that might be the White Russians…

Keep on chooglin’ out there people. We need that vibe today more than ever.

Cheers!

Review: Roger Waters “This Is Not A Drill,” Live In Kansas City, Sept 3rd, 2022 – A Spectacle of Sight & Sound

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*Picture of Roger Waters performing “Wish You Were Here” taken by your intrepid blogger

I have to admit, it’s been so long since I’ve been to a big, arena-sized concert that I’d be hard pressed to even tell you the last band I saw in such a big venue. I did see Joan Jett and Cheap Trick about a year ago at an outdoor venue, commonly referred to in the music industry as “a shed”. A few weeks ago, I also saw Starcrawler at what’s basically a bar. But in an arena, I haven’t gone to a concert since before COVID. I was a bit surprised when I heard from an old buddy of mine who said he had tickets to see Roger Waters and asked if I wanted to go with he and his daughter. Naturally, I was in. While Waters’ split with his original band, Pink Floyd, was decades ago his setlists are still packed with classic Pink Floyd tunes. I couldn’t help but laugh to myself when I thought about Roger Waters last show in Kansas City, way back in 2017. I didn’t attend, but the Rock Chick and I went out for drinks with this “friend of a friend” of hers and the lady’s boyfriend. The boyfriend – who plays music and has groovy long hair – said of the Waters’ concert he’d attended that he’d walked out offended by Roger’s politics and anti-Trump commentary. To which I replied while laughing incredulously, “Have you not been paying f*cking attention to Pink Floyd’s lyrics all these years?” Oddly we never saw that couple again.

I will admit that I got into one of the boxes where I store my old concert t-shirts that have been retired for various reasons to dig out my shirt from the 1990 performance Roger did of The Wall at the Berlin Wall that I was lucky enough to attend. I figured he’d see me in the audience and be like, “Hey, man you were in Berlin, come on up on stage and play some tambourine…” But alas, there are reasons I’ve retired some of those old concert T’s… The shirt from the Berlin show is now yellowed and stained with age and perhaps sloppy eating habits. Even washing it didn’t perk that thing up. Oh, well.

It’s hard to describe the feeling I had as we drove down to see Waters. I knew that he was going to play mostly (80%) Pink Floyd tunes. I think for most of us who became fans of rock n roll in the 70s Pink Floyd, and maybe Led Zeppelin, were the zenith of our rock n roll worlds. They were certainly the two coolest bands on the planet. I have such a visceral connection to all of Floyd’s music I wondered if I’d feel emotional when hearing it again, played live. When those guys split – Waters the bassist and primary composer in the band was on one side and David Gilmour (guitar, vocals), Rick Wright (keyboards) and Nick Mason (drums) were on the other. In the end the Gilmour/Wright/Mason side won the rights to continue as Pink Floyd. Waters retained the rights to The Wall. Only he is allowed to perform that concept album in full. It was Waters’ magnum opus after all.

Waters certainly focuses on the music but he also puts a lot into the visual piece of the performance. Last night can only be described as a visual spectacle.  Everything he writes is typically built around a concept and I guess you could say his concerts are constructed similarly. He has this giant, X shaped video screen that lifted off the stage and up into the sky where he projected not only images of the band playing live, but short videos, political commentary and animation. He spoke lovingly of his “old band,” but only showed images that included himself, Syd Barrett (the late founder of Pink Floyd and their original vocalist/guitarist), Rick Wright (who is now sadly deceased as well) and Nick Mason (who is like Ringo, in that only he gets along with all the other members of the band… I guess drummers are the peacemakers). Gilmour was in exactly 0 photos projected on the screen. Grudges, can’t live with them, can’t live without them. There was also a flying pig with “Steal from the poor give to the rich,” and “Fuck the poor” written on the side. And for a while there was a giant sheep floating around the arena. You really feel like you’re part of the performance. And for the politically sensitive snowflakes out there, Waters did say before the show, “We’ll start in 5 minutes and for those of you who don’t like Roger’s political commentary, fuck off to the bar now.”

The band acquitted themselves quite well especially guitarists Johnathon Wilson and Dave Kilminster who admittedly have the biggest shoes to fill in recreating David Gilmour’s splendid, iconic guitar work. Waters played acoustic guitar and piano but many times just stood at the mic and sang. He’s a little awkward without an instrument but I was riveted. He held out playing bass guitar – the instrument he’s known for (and frankly I’ve always thought he was a criminally underrated bass player) – until the very end when they were doing tunes from Dark Side of the Moon. The stage was a big X or cross and the band performed in “the round.” I’m not a huge fan of that set up. When Waters went to the opposite side of the stage to play piano I couldn’t see him or the grand piano except on the big screen hanging precariously above us.

The show started with an ominous version of “Comfortably Numb,” sans the guitar solo at the end, set to acoustic guitar and synth. Then the screen rose up into the rafters and we were off and running. He started off with “The Happiest Days of Our Lives/Another Brick In The Wall Pt 2/Another Brick In the Wall Pt 3” and the crowd was into it. I did feel Roger’s vocals were a little low in the mix but I’m knit picking. He then played “The Powers That Be” from an album only I like, Radio K.A.O.S. There’s a moment in that song in the chorus where they sing, “You better run, you better run on home” that hits like a sledge hammer although it was little muted or muddled last night. It didn’t hit me as hard as usual. I will admit I was pretty blissed out for most of this show. Being so intimately familiar with the material really helps.

After Waters played a great new song, “The Bar,” he went into a muscular “Welcome To The Machine.” He closed out the first set with “Wish You Were Here,” where I snapped the photo above, “Shine On You Crazy Diamond” and finally “Sheep” from the album Animals, a personal favorite. Those four songs were worth the price of admission. The band was cooking. The keyboards on “Sheep” played by Jon Carin and Roger Walter were spot on.

To kick off the second set, Waters marched right past my chair dressed in his neo-fascist character from The Wall and played “In The Flesh.” The band captured all the menace in that song. That led us into a great version of “Run Like Hell,” which is the Rock Chick’s favorite… alas she was not with me… Never trust a woman whose really into Pink Floyd – trust me on this. One of the absolutely highlights for me last night was the tune “Deja Vu” from his last solo record Is This The Life We Really Want? He muses in the song, “If I had been God, with my staff and my rod, I think… I coulda done a better job.” That song is the one I woke up with still lodged in my brain. It was then that Roger finally picked up his bass and the band launched into a set of songs from Dark Side Of The Moon. Roger let the band members do most of the vocals during that part of the show – “Money,” “Us And Them,” “Any Colour You Like,” “Brain Damage,” and “Eclipse” – and call me crazy but that seemed to be when Waters was happiest. He just wandered around the stage, almost in the background playing bass with a huge grin on his face.

After explaining the “Doomsday Clock” to the audience he played the sole track of the night from The Final Cut, “Two Suns In The Sunset” which is an underrated gem. I was a little disappointed he didn’t play “The Gunner’s Dream,” but again I’m knit picking. He did a quick reprise of the new song, “The Bar” with his band gathered around him at the piano, doing what appeared to be shots and ended the night with “Outside The Wall.” And with that both Roger and I were off and racing through the night time streets on our way home.

It was really a great show. The music of Pink Floyd – and much of Rogers’ solo music (for me at least) – is so much a part of my rock n roll universe it was just sheer joy to hear it played live. I was so utterly present in the moment it was wonderful. You’re taken in by the great songs and all the amazing visual aspects of the show and it’s hard not get swept away. It was certainly a great way to spend an evening.

If Waters is headed your way, do yourself a favor, buy the ticket see the show. One has to wonder how long big spectacles like this are going to exist!

Cheers!

Review: Starcrawler Live In Kansas City 8/12/2022 – Incendiary Rock N Roll!

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*Photo of Arrow De Wilde and drummer Seth Carolina of Starcrawler at the Record Bar in Kansas City, taken by your intrepid blogger

I wish I could share just a percentage of the joy I feel when I see live music. To see an actual band play actual instruments and conjure magical sounds before my very eyes and ears is just so special. Crowded in a dark room, shoulder to shoulder with like-minded rockers is just so wonderful. Last night was no exception. The Rock Chick and I headed downtown to Kansas City’s Record Bar to see one of my favorite new-ish bands, Starcrawler. They absolutely did not disappoint. Starcrawler consists of Arrow de Wilde (singer), Henri Cash (lead guitar), younger brother Bill Cash (guitar/pedal steel!), Tim Franco (bass) and new drummer Seth Carolina. I was concerned about Starcrawler just a touch as original drummer and founding member Austin Smith had left the band during the Covid thing and you never know what that will do to the chemistry of a band. With a front woman like Arrow de Wilde and her on-stage guitar foil Henri Cash, I needn’t have worried.

I’d like to tell you I discovered Starcrawler on my own. That yes, I have my fingers on the pulse of new music such that I make these grand discoveries when a kick ass rock band emerges from the haze. But no, it was the Rock Chick who I must give credit for finding this band. She traveled out to Denver a few years ago to visit her offspring while I stayed home because of requirements from my corporate masters. Well, that and someone has to take care of the damn cat. Anyway, the Rock Chick returned from Denver with tales of a wild woman lead singer for this band Starcrawler. I went out and watched a bunch of clips on YouTube just to be amused. But then I started listening to the songs and realized, damn these guys rock! I immediately bought their first eponymously titled debut album and several stray singles like “Ants” and their Ramones’ cover, “Pet Sematary (sic).”

It was shortly after that Starcrawler came to Kansas City and played the Riot Room. They had just released their great second LP, Devour You. I had purchased and really enjoyed that album. You could hear how this band was developing and advancing as songwriters and musicians on that record. Needless to say I rocked out that night at the Riot Room… Starcrawler was just killer live! Can’t believe it’s been almost three years… I was in the front row and Arrow not only spat water upon me – pre-Covid I was down for that – she landed on me when she hurled herself off the stage. Sadly, she then jumped up on the bar and threw some lady’s cocktail on the Rock Chick and my friend RJ… Needless to say RJ sat out last night and the Rock Chick… well, like so much of our marriage, she’s best described as a reluctant participant. Marriage is a compromise. I will say as we walked to the car she did say to me, “That was a great show!”

We got to the Record Bar during the last moments of the opening act which was regretful. Dinner had taken longer than I thought it would. At approximately 9pm the band took the stage, everyone wearing pink shirts save the drummer. Those drummers, what are you gonna do? They started jamming and we all stood anticipating Arrow’s arrival on stage. She strode out from the side of the stage – a head taller than most the crowd, a lion-maned, blonde Amazon come to slay us with her rock n roll. She was wearing elbow length white gloves laced up with pink ribbon, a white/pink bikini top and white hip-hugging pants… half go-go girl, all rock star. She walked to the mic and we were off to the races. She moves like a snake, slithering around stage and then her body reacts to the music like it’s on a hinge. Her shoulders are evocative. She and Henri are great on stage together like a modern day Jagger/Richards. When they both get to rocking they’ll lean over and spin their long hair around and just bear down on the rock n roll. And can I just say, and this may sound weird, de Wilde has lovely hands. Her fingers are really long and elegant and she guides the crowd with them. Simply mesmerizing.

There were so many highlights. “I Love L.A.” is one of my favs so it’s no surprise I dug that song. There were several new tracks that I’d heard – “She Said” and of course the raging “Roadkill” that were also highlights. I really like the addition of Bill Cash who plays rhythm guitar but more importantly added some pedal steel guitar on several tracks which gives the songs a nice extra texture. Starcrawler played a couple of new songs – from the upcoming September LP She Said that haven’t been released yet. That’s always dicey but they brought those tracks home! After a great rendition of another personal favorite “No More Pennies,” which always conjures the Stones for me, they went to the acoustic guitar for two really great songs. Arrow stood still for those ballads and delivered the vocals. “Better Place” was straight acoustic guitar but “Runaway” had that plaintive pedal steel that took it to next level. Henri sings not only back up and harmony but full on duets and it conjures a whole Gram Parsons/Emmylou Harris vibe. Simply wonderful. I can only wish that the new LP was out so I could be turning it up loud today.

There were so many other highlights. “Ants,” which I believe is their first single just RAWKED. I was up at the bar getting a drink and was close to the front and the audience went nuts. The aforementioned “Pet Sematary” was also a highlight. “You Dig Yours” is another great track from Devour You and it was just transcendent last night. They are so much more muscular in their delivery live than on record and that’s not a knock on their very strong studio work. Naturally they ended the main set with “Bet My Brains” which will probably be like their “Satisfaction.” It’s just a great rock anthem and so fitting for this band. They returned for the encore, the great “Chicken Woman” which is just fun to listen to. Arrow was first to leave the stage followed 1 by 1 by the rest of the band.

The Rock Chick and I escaped into the night… high on the stars and the cool evening air and the incendiary rock n roll we had just absorbed. I know Starcrawler is opening for Jack White tonight in Minneapolis… I had hoped Arrow would spot me in the crowd and I’d wake up on the tour bus this morning on my way to that gig. But alas, I am merely here at home reporting on the great music I heard. If you’ve got a chance to see these guys on this tour – as I always say – buy the ticket see the show. Some day these guys will be playing arenas and charging Springsteen money for tickets so see them in a small venue up close and personal… it’s worth every penny.

Enjoy the show, Cheers!

Review: The Rolling Stones, ‘Live At The El Mocambo’ – The Legendary Concert Finally Released

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I wish I could tell you how happy all of us down here at B&V are that the Stones have finally released an official version of the entire legendary 1977 show from Toronto’s El Mocambo Club (March 5, 1977). The album, creatively titled, Live At El Mocambo dropped a few Fridays ago – 45 years after the actual shows. In the interest of full disclosure I purchased this one on CD. The $149 price tag on the vinyl was too rich even for this avid, obsessed Stones’ fan. Hearing this live album I have to say, it ranks up there with Get Yer Ya-Yas Out as one of the Stones’ finest live LPs. The Stones have been around so long, different live albums tend to capture/conjure different eras in the band’s storied history. Ya-Yas captured them at their career peak with Mick Taylor still on lead guitar. I’ve always been fond of Live At the BBC: On Air  released only a few years ago, but that one really captures the early-Stones, Brian Jones era. Now we have Live At the El Mocambo to give us a taste of the mid-70s, Ronnie Wood-just-joined-the-band era. Of course this early Ronnie Wood era had already been documented on the Stones’ 1977 Love You Live, another Stones live album I love… maybe I just truly love Live Albums.

The Stones were at a cross roads in the mid-70s. After the tour for 1974’s It’s Only Rock n Roll Mick Taylor, lead guitarist extraordinaire, quit the band. Taylor played on what many consider to be the peak of the Stones’ career on albums that include Exile On Mainstreet and Sticky Fingers. When Taylor was in the band there seemed to be a strict division of guitar labor, Taylor played the solo’s and Keith was allowed to become the “Riffmeister,” strictly rhythm. By the time Taylor left the Stones it was largely believed that their classic period had ended and the Stones had become more decadent and less focused on the music. Critics lamented they were a spent creative force. It didn’t help that disco and punk were nipping at their heels. Supposedly, Jagger was fascinated with being a star and Keith was fascinated by, well, heroin. If you ask me Goat’s Head Soup and It’s Only Rock n Roll are still pretty “classic” Stones albums but I’m a pretty big fan. But for the Stones there was never any serious consideration given to quitting when Taylor split. Nothing can stop the Stones, man.

They were ready to record a post-Taylor album so they used those sessions to audition a new lead guitarist. They were probably thinking, “Hey, we need to jam with some new guys, let’s record it and try and get an album out of it. ” Many guitarists auditioned including Jeff Beck and Peter Frampton to name drop a few. Others included Steve Marriott, Rory Gallagher, Wayne Perkins and Harvey Mandel. Finally they decided on Ronnie Wood, who in retrospect was the perfect choice. Wood and Richards’ guitars meld together so well. There would be no more guitar division of labor, these two would practice what Keef calls “the ancient art of weaving,” where their guitars snake in and out of each other’s. Plus Ronnie was a good drinking buddy for Keith. The ensuing LP, recorded as a guitar audition, was Black And Blue. The critical reception was mixed but the album spent a whole month at number one in 1976. I love the record but when a college buddy asked me about it I just said, “It’s more for fans.” Over the years I’ve regretted that as I love the songs on that record. It’s long on grooves and jams but… what’s wrong with that? It also has two of their greatest ballads, “Fool To Cry,” and my favorite “Memory Motel.” The album includes contributions from Mandel, Perkins and Ronnie… but alas no Jeff Beck who left his audition and said, “We jammed for 2 hours and I only played three notes.” Jeff Beck, sigh.

Despite the success of Black And Blue, and the ensuing tour in support of it, critics couldn’t help but continue to decry that things “were over” for the Stones. They were still considered a spent creative force. To make matters worse Keith and his girlfriend Anita Pallenberg kept getting busted for coke and heroin possession. And of course, Keith traveled with such a large quantity of drugs – for his and Anita’s use – that he was charged with trafficking. He could have ended up doing real time. He eventually received a suspended sentence… but they were so nervous Keith and Mick took the band into a studio in Paris at the end of 1977 and recorded enough music to fill Some Girls, Emotional Rescue and Tattoo You. The Stones apparently – when you back them up against the wall – DELIVER. But, I’m losing the thread here…

The Stones made a great choice in Ronnie Wood. The guy’s enthusiasm for rocking out, evinced by his time in the Faces, is contagious. He brought a sense of fun and excitement back to the Stones who were suffering from a bad case of ennui. They were going to follow Black And Blue up with a live album and while they had stuff recorded from both the ’75 and ’76 tours, it was decided they needed to go to Toronto to record a show in a small club, the El Mocambo. Toronto has become the Stones’ home away from home over the years. The Stones now do little club shows at the beginning of almost every tour but in 1977 they hadn’t played a small club since their days the Marquee Club in Richmond 15 years prior. They’d been filling stadiums for almost a decade. It was Wood who lobbied for a club show. It was also Ronnie’s idea that the Stones go back and mix up the set list, playing old blues numbers and some of their shorter classic tracks. I still wonder how they talked Mick into this. It was just the band (Mick/Keith/Ronnie with Bill Wyman on bass and Charlie Watts on drums) with Billy Preston and Ian Stewart on keyboards and Ollie Brown on percussion. There was no horn section or back up singers (save for Keith and Ronnie). This is as straightforward as you’re going to get from the Stones at this point in their career.

Oddly, they used some of the El Mocambo stuff on the ensuing live album, Love You Live, but only 4 tracks. It was, for you vinyl cats out there, side 3 aka “The El Mocambo” side. I can’t help but think it might have been better to just release the entire El Mocambo show back then? I will admit Love You Live has a lot of great moments. They played the entire album on the Houston rock radio station the night after I saw the Stones for the first time with my buddy Brewster, who was apparently upset with the Stones’ set list that night. He said, “What album is this?” I didn’t know at the time. And he said, “At least they’re playing everything I wished they’d played tonight.” Drinking warm beer in the Astrodome parking lot in 1980 I will say, Brewster could always be incisive.

I have to say, first and foremost, Live At The El Mocambo sounds fantastic. I don’t know if its the intimate setting – it only sat 300 people but it feels like you’re there. The Stones had kept the gigs a secret. They faked a radio contest – what would you do to see the Stones? – and the winners would see April Wine live. The opening act was the Cockroaches… aka the Stones. People showed up and were surprised, the Stones were the actual headliners. Mick Jagger sounds like he’s having an absolute blast during this show. At one point he tells the small crowd that Ronnie Wood is inviting them back to his hotel room after the show… but they have to bring their own beer. The band is really tight on these performances – as if this was an escape from all the turmoil off the stage – and the tighter they play the more relaxed and fun Jagger becomes. Or maybe they’re just responding to playing in a tiny club. Keith has always said Mick could rule a stage from a stadium to a phone booth. Ronnie Wood’s lead guitar is also searing on this album. I couldn’t turn it up loud enough.

The Stones start off with a bit of a lumbering version of “Honky Tonk Woman.” It’s like they’re getting their bearings. Then they take off with “All Down The Line” one of my favorites from Exile On Mainstreet. Everything seemed to come together from there. What’s so great about this album is they not only took Ronnie’s suggestion to play older tracks and blues tunes but they play almost the entire Black And Blue album, something that you’re never gonna hear again. They played one of their earliest “Route 66” and its great but around that they play three tracks from Black And Blue. “Hand Of Fate” is a forgotten rock masterpiece as is “Crazy Mama,” but Jagger sounds IN TO IT. I love the ballad “Fool To Cry” (although I’m broken-hearted they didn’t do “Memory Motel”) but I’ve always been a sucker for ballads and sad songs… ask anybody whose dated me. I used to sing the lyric from “Fool To Cry” to this girl I used to date who lived downtown behind the old blood bank on Armour, “I gotta woman, she live in the poor part of town, I go and see her sometime, we make love so fine…” She’d always say the same thing, “This isn’t the poor part of town.”

“Mannish Boy,” and “Crackin’ Up” are two old blues covers that actually ended up on Love You Live but while I enjoyed the El Mocambo side, the songs just seem more in context here. “Dance Little Sister” and “Tumblin’ Dice” just snarl here. “Hot Stuff” from Black And Blue leads off the second disc. “Star Star” is still the most vulgar Chuck Berry-type track ever. They do a couple of blues tracks and it felt like I was back in Richmond (although I’ve never been to Richmond). “Worried Life Blues” is a track I’ve never heard the Stones do and I loved it. They did “Little Red Rooster” which also amazing… I think they took that to number 1 in England. I mean, you just don’t hear these songs at a Stones show. “It’s Only Rock N Roll” and “Rip This Joint” rock with such a ferocity you think things are going to slip the rails.

After they return to more predictable fair to end the March 5th, 1977 set with “Brown Sugar” and “Jumping Jack Flash,” they’ve tacked on three songs from the March 4th show. It may seem weird but it almost feels like an encore. If the encore was obscure songs that I would be allowed to pick. “Melody,” another great Black And Blue track and gives Billy Preston a chance to share lead with Mick. Then they play “Luxury” a reggae thing from It’s Only Rock n Roll. The final track is a very early version of “Worried About You” a song that didn’t see the light of day until Tattoo You, side 2 (and yes, I know there are Tattoo You, side 2 freaks out there…I’m one of you).

This is the sound of the Greatest Rock N Roll Band in the World discovering the joy in playing a concert again. You can hear the joy they find in the music. I do think a lot of that comes from Ronnie Wood’s almost childlike, joyful attitude. This is a treat for big Stones fans and more casual fans alike. It would be another year before the Stones emerged, defiant and triumphant with Some Girls, an album that silenced the “they’re done” talk. That album also happened to awake a rock n roll obsession in a young man living in the Kansas City suburbs…but that’s another post.

I can already tell this album is going to get a lot of airplay here at B&V this summer… Cheers!

Review: The Cult Live In Denver 5/06/22 – The Mission Ballroom – Ian Astbury Shines During Sluggish Show

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*Photo taken by the Rock Chick

I spent today, Sunday, driving across the plains of Kansas on my way back from seeing my daughter in Denver… Well, seeing my daughter and the Cult in Denver. I can tell the pandemic is starting to thaw out a bit as my dance card in Denver was completely full. The last few times I’ve been in Denver we really didn’t go out and do much. It was quality family time. Not so this trip. I was doing something almost constantly. And there was the Cult concert slipped into the middle of the schedule Friday night at the Mission Ballroom for just the Rock Chick and me. I didn’t know much about the Mission Ballroom but it’s a fantastic venue. I’d go back to that place in a heartbeat. Plenty of bars, plenty of bathrooms and not a bad seat in the house. This is one of the few times I’ve seen the Cult and actually had a seat. I didn’t go for my usual General Admission floor tickets this time as typically some hulking mountain of a guy ends up standing in front of the Rock Chick who is considerably less… vertical than I am. There aren’t many people who can block my view. We were excited to be on guitarist Billy Duffy’s side of the stage.

Driving across the fruited plains all day – where there is literally nothing to see – gave me a chance to ponder the show I’d seen Friday while I killed the road time listening to the new Chili Peppers album, Rush’s 40th celebration of Moving Pictures and a few episodes of an old crime podcast… we do love our Murder & Mayhem stories here at B&V. The opening act for the Cult was a band I was unfamiliar with, King Woman (editor’s note: the opener was misidentified in an earlier version as Des Rocs). I’ve seen an interesting array of bands opening for the Cult as I’ve been to over half a dozen Cult shows since 2001. The most entertaining opener was probably Monster Magnet at that first Cult show I saw on the Beyond Good And Evil tour. I seem to recall leather clad dancers on stage. I can’t say King Woman was entertaining at all. I got there mid-set and they were performing without a spotlight on the singer. It was all backlit in red. I couldn’t see the face of the band members but especially the lead singer, a lady who seems pretty angry and she was rolling around on stage in the dark. They ended with a cover of the Stone Roses’ “I Want To Be Adored” that was frankly, unrecognizable.

By 9:40 the Cult came onto the stage. The current line up is Ian Astbury (vocals), Billy Duffy (guitar), John Tempesta (drums), Grant Fitzpatrick (bass) [editor’s note: on bass it may have been Charlie Jones] and inexplicably Damon Fox (keyboards/backing vocals). The Cult definitely don’t need a keyboard player. They used to tour with an extra guitar player which made a lot more sense to me. There are very few things I can count on in life – but the Cult live in concert are one of them. They are always MONEY on stage. The fact these guys always bring it live is one of the reasons I fell in love with the band. I had taken the liberty of glancing at the set list prior to the show and while I didn’t have it memorized – I couldn’t remember what they opened with – I was excited about it. It was front loaded with a bunch of songs from Sonic Temple, probably their most famous, commercially successful album. As I’ve said, I’m so into the Cult I like whatever they play but I missed the tour pre-Covid where they played Sonic Temple in it’s entirety. I was sidelined by a foot injury. I’d previously seen the “complete album shows” for Love and Electric so that was pretty disappointing. While I’d have been quite content if they’d come out and opened with 8 tracks from Hidden City I was glad I was making up for missing that last tour.

Thank god I couldn’t remember what the opener was because I was delighted and surprised when I heard the opening notes of “Sun King.” It’s one of my favorites. After two years of virtually no concerts save for a surprise trip to Starlight Theater to see Joan Jett/Cheap Trick I couldn’t help but think, “Finally!” Immediately the Rock Chick noticed that they sounded off. It took me a few riffs in to realize they sounded a little sluggish. Maybe they need to burn off some of that Covid rust? The Rock Chick also noticed that Ian Astbury’s vocals were a little off as well – he changed out his microphone midway through the main set so I’ll give her credit there. The list was heavily weighted to Sonic Temple. The entire show, save for “Rise” from Beyond Good And Evil was from Love, Electric or Sonic Temple or as some might say “their prime.” Maybe the fact that they aren’t touring behind a new album brought less enthusiasm from the group. Maybe it’s the new bass player and keyboard player. Chemistry in a band is important.

The main issue, upon reflection as I drove through golden fields of wheat spotted with green fields of beans and milo and the requisite rural frightful political signs, might have been as simple as one guy: Billy Duffy. I think Billy is one of those great, underrated guitar Gods out there. Although I have to say, he seemed bored. He wasn’t terribly engaged. Or maybe he’s just always sounded better with a second guitarist on stage with him. I was on his side of the stage and he almost seemed distracted. He kept looking up toward the balcony seats, just to our right. We were on his side, only 2 sections out from the stage. The Rock Chick says I’m crazy but at first I thought he was looking up at the giant stack of speakers floating above his head like he was afraid they were going to fall. His guitar was loud and he plays powerfully but he was just playing slower than usual. Tom Petty always called live albums “playing your greatest hits really fast.” This was the opposite of that.

As I said, they opened with a bunch of Sonic Temple tracks. The only track that the keyboard player really had an impact on – to my ears anyway – was “Sweet Soul Sister.” It was nice to have the organ. They had a little mellow breakdown in the middle where Ian addressed the crowd. He was referencing psychedelics, perhaps inspired by Colorado’s pot laws. He told a guy in the front row “Hey man, you can’t text from the front row… you’re in the front row that comes with certain responsibilities,” which I thought was funny. At one time he exhorted the crowd to “Smoke em if you got em.” He also said something about the people filming the show on their phones, calling them out as “Kurosawa, Spielberg and Coppola.” Hey man, if you’re not used to being filmed at this point, I’ve got bad news for you. I mean, I get it. I shake my head at people at a concert who experience it through their phones. I took maybe 3 pictures and put my phone on mute and into my pocket.

Despite that seemingly slightly hostile banter, I have to say Astbury was on fire that night. It’s like he sensed the rest of the band was sluggish and he was determined to put them on his shoulders and carry them through the night. He is one of the best front men and singers in the business. What a voice! He moved around the stage like a man half his age. He’s always active but I hadn’t seen him move that much on stage since the first few Cult shows I saw over 20 years ago. He looked lean and very into it. He gave out his sole tambourine to a kid near the stage who he called “Youngblood” because the kid had a Pink Floyd The Wall t-shirt on. “We’ve gotta teach these young-bloods right!”

As the band slogged through the Sonic Temple material and Astbury tried to pump them up, they hit a high point on “Edie (Ciao Baby).” That ballad soared. I will admit that when they shifted to some of the songs on Electric the band got better – in my opinion, this is disputed by the Rock Chick. “Li’l Devil” was a track where I felt everything clicked for the band. It was a real highlight. They followed that up with two more great tracks from Electric, “Peace Dog” and “Wildflower” which were also highlights. The Love material at the end of the set was also great and included a rocking version “Rain” and “Revolution,” a track Astbury described as “more relevant now than ever.” I love “She Sells Sanctuary” but it did miss that second guitarist.

The main set ended with “Love Removal Machine” another knock out moment of the night. The Electric stuff just sounded better but then as my friend Stormin’ said to me once, “I’m an Electric guy.” I was thrilled that “Rise,” one of their most underrated songs from the late career resurgence, made it into the encore. As I said, it’s the only non Love-Electric-Sonic Temple track they played. In retrospect I’d have liked to hear “Dirty Little Rock Star” or “For The Animals” just to break it up a bit. Maybe they could have thrown in Hidden City’s Hinterland.” But I’m probably splitting hairs. The faithful, myself included, still went nuts for the final track, a rousing “Fire Woman.” It was so good to be in a crowd, shoulder to shoulder with strangers, sharing that communal, ecstatic moment during a concert.

And with that the night was over. While it was a bit of a disappointing show, I’d still go see the Cult again. I’d like to see them on this tour again actually. I just think I caught Billy Duffy on a bad night. But it was still made special by Ian Astbury absolutely bringing his A game. As I am fond of saying, Life is short, buy the ticket, see the show.

Cheers!

Led Zeppelin & The Kansas City Myth Of Their Being Booed Off Stage Early In Their Career

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*Photo taken from the internet and likely copyrighted

It’s hard to explain to young people, like say my daughter, what life was like before the internet. Nowadays you’re merely a few keystrokes away from the answer to any question you have. What time is it in Oslo? Easy, just ask the internet. Any mystery or quandary you have can be resolved in seconds. When I was a kid – and when I type that I realize I sound like the meme “old man yells at cloud” – and I was reading, if I came upon a word I didn’t know or a reference I didn’t understand I had to set the book down and pick up the dictionary or worse go into the den to the encyclopedias aligned from A to Z on the bookshelves. It’s how I learned a lot of things and yet it was a source of great amusement to my daughter when she found out I did that. She also made fun of the fact that I was a league bowler back in those days. It’s hard to make that sound cool.

In the absence of Google, a lot of what we knew was sort of a collective “conscious” if you will. Right out of college I read the long, epic poem/story The Iliad. It’s writing was attributed to the ancient Greek writer Homer. It was written down sometime around 800 B.C. or 600 B.C. I could probably look it up on the internet but it’s not that important. Anyway, I say written down because over the year it’s been acknowledged that those early stories attributed to Homer – The Iliad and also The Odyssey – were actually part of an “oral tradition.” Before you think I’m talking dirty, I merely mean that the stories, told in the form of a poem, were passed from generation to generation not by being written on stone tablets or papyrus, but by being spoken aloud. While I went to high school say, 3000 years later, I’ve come to realize we hadn’t really evolved much. There were certain stories and myths that got passed around from generation to generation.

One of those stories involve another epic artistic venture, Led Zeppelin. When I started listening to rock n roll in the late 70s, Zeppelin was, unbeknownst to us, nearing the tragic end. The first LP that they put out after I had become a rock music fan was In Through The Out Door, an album that I sometimes feel that I alone love. I remember they announced their U.S. tour in support of that album and the closest they were coming to Kansas City was Chicago. Some of the seniors in my high school were trying to organize a trip to go up there. They were going to rent a bus, everyone would chip in. It was very communal, Woodstocky if you ask me. I’m not sure how they intended to get tickets to the show. Sadly while they were rehearsing for the tour at Jimmy Page’s house John Bonham drank enough vodka to kill a small bear and choked on his own vomit – which is how true rock stars went out back then. I never knew if the senior gang got their deposit money back on the bus?

Before all that tragic shit went down, I remember asking a few people why Led Zeppelin wasn’t coming to Kansas City. I guess I wasn’t worldly enough to realize that KC was just a small tour stopover for most bands. I thought we were a big deal not just a cowtown. It was then that I began to hear what I call the “Kansas City Myth of Zeppelin.” People would speak in whispered, reverent tones about why Zeppelin didn’t play KC. I remember sleeping out for Van Halen tickets and this old hippy behind me in line, who may have been the first person to tell me the story, said to me with a wistful look in his eyes, “Oh Zeppelin will never come back to Kansas City… they’ve only played here once and they were booed off the stage.” This was stunning news to me. First, that the mighty Zeppelin would be booed off the stage and second that Kansas City would have been that rude to anybody. We’re friendly here, like Canadians. The story went that Zeppelin was an opening act for some other band and the fans were drunk and impatient for the headliner and so they booed so loud and obnoxiously Zeppelin left the stage and refused to ever play here again. I was incredulous but after asking around about it, it seemed that everybody told the same story. It had become gospel, part of our accepted, Kansas City collective wisdom.

That may sound crazy to everyone. It was made more believable because there was a similar story – that might have been equally untrue – about Bad Company being booed off the stage as headliners. They had Ted Nugent open for them and I guess Ted came out with his usual crazy blow the roof off the joint stuff. Bad Company rock but they’re a little more laid back and riffy than Nugent. The myth was that Ted had got the crowd so riled up that when Bad Co came out and opened with the mellow song “Bad Company” the crazed crowd was having none of it. I find it hard to believe anybody who shelled out money to see Bad Co would boo them off the stage because of… Ted Nugent? C’mon, it’s preposterous? But with that story out there it kind of made the Zeppelin myth seem somewhat truer. Maybe KC audiences were just crazed assholes?

As incredible as the Zeppelin story was, I saw Robert Plant the first time he played Kansas City on the Fate Of Nations tour. He had been scheduled to play KC on the Now & Zen tour but his guitarist or his bassist had slipped and fell of the stage in (I believe) Tulsa a few days earlier and he’d cancelled. So this deep into his solo career it was the first time he’d played KC which only had played into the “booed off the stage” myth. Anyway, on this night at Memorial Hall with Plant on stage – he played “Ramble On” early in the set and I heard my friend’s girlfriend (now wife) ask, “Why is this guy singing Zeppelin?” (Sigh) – he referenced the “Kansas City Myth of Zeppelin.” He said he had heard a story about why he hadn’t played here in a long time, if ever. I mean, that’s quite a powerful myth if you’ve got Robert Plant himself referencing it. I remember my ears pricked up immediately. He said something about making up for lost time and launched into “Calling To You” or some great Plant rock song.

I finally decided to scour the internet and find out if any of this was true. It turns out Zeppelin had played KC only twice but that was more than the “only played here once” myth. They played KC for the first time November 5th 1969. It must have been after the first LP, as the set is all culled from those songs. Apparently they’d played Ontario, Canada the night before and were playing San Francisco the night after. They’d shipped their equipment on to SF and had to borrow equipment from a local band. They were not openers, they were the headliners. Reviews were positive with a few minor complaints about the borrowed PA system. They apparently played two shows that night, 7pm and 930pm. Rumor has it Bonham got a little blasted on Scotch in between shows and almost missed the second gig. No booing.

They came back almost a year later on August 19, 1970. The set list I found online has them opening with the “Immigrant Song” but the rest of the tracks were from Led Zeppelin and Led Zeppelin II. Again, reviews were very positive and even went so far as saying this was a much better performance than their debut shows a year earlier. At least they had their own equipment this time. Apparently several of the band members had grown beards (most notably Page, but also Plant and JPJ) and the reviewer couldn’t resist commenting on the “abundance of hair.” The reviewer sounds like my grandmother who abhorred facial hair. Anyway, he goes on to complement their more nuanced playing and how they’d developed some mellower stuff to go with the hard rocking stuff. Again, no mention of booing is made here.

Why didn’t Zeppelin ever come back to Kansas City? I think at this point we have to agree that it had nothing to do with KC crowds booing them. It was probably scheduling or money or maybe issues with local promoters. Kemper Arena – where most big shows took place in the 70s and 80s – didn’t open until 1974 and Zeppelin were too big to play Memorial Hall or Municipal Auditorium, they’d outgrown our ability to host them. And yet, it was taken as gospel they were booed off the stage and never returned. Even Plant might have bought into that story at his solo show. We all thought that story was true. Thankfully… no it was not. Although as I type this, I know there is a really old hippy out there somewhere still telling that story like a stoned Oracle of Delphi to young rock fans foolish enough to listen.

What have we learned people? First, KC audiences aren’t assholes. Secondly, Zeppelin did play here a couple of times and god bless you if you were old enough and lucky enough to see them. I was not. I was, as Tom Petty sings, “a boy in short pants” during that time period. What we’ve also learned – question everything, especially authority… even if that authority is a hippy in the Van Halen ticket line…

Cheers!

Review: The Beatles, ‘Get Back (The Rooftop Concert)’ Now Streaming – Iconic!

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“I’d to say thank you on behalf of the group and ourselves and I hope we passed the audition” – John Lennon, at the conclusion of the iconic Rooftop Concert

I think anybody whose been reading B&V for a while knows what a big fan we are of the Beatles’ Let It Be album. We were particularly enthusiastic about the recently released Deluxe Edition of the album from last year. I’m probably alone in the world but I’ve always preferred Let It Be to Abbey Road (the LP released before Let It Be but recorded after it). Last year was a big year for us Let It Be fans (or just Beatles fans in general) with the release of the aforementioned Deluxe Edition and the release of famed Lord of the Rings director Peter Jackson’s 3-part documentary revisiting the original Let It Be film footage, entitled Get Back. I loved every minute of watching the Fab Four create music out of the thin air before our very eyes especially McCartney conjuring the song “Get Back.” Admittedly, the Rock Chick was not as enthused as I was but she’s always been a lukewarm Beatles fan.

It seems this Beatles treasure trove of vault material from the Let It Be sessions is turning out to be the proverbial gift that keeps on giving. Last week they released the audio of the entire Rooftop Concert to all the streaming services. I’m a little bummed it wasn’t included in the Deluxe Edition, I’d have liked to be able to buy this live album but who am I to quibble. The ultimate moment in the Get Back documentary is finally getting to see the video of the entire Rooftop Concert (Episode 3). The Beatles had planned to do a television show documenting their creative process of going in and rehearsing and then recording a new album live in concert – somewhere. George Harrison, who was feeling creatively stifled quit in the middle of the sessions (Episode 1). The rest of the Beatles met with him to convince him to come back and he had 2 conditions, 1) no live show, he was terrified by the idea and 2) he wanted to move the recording back to Apple Studios at 3 Savile Row in London instead of their current rehearsal spot at Twickenham Studios. That left the Beatles and director Michael Lindsay-Hogg in a bit of a fix on how to end the documentary. McCartney was particularly keen on playing live, he felt it would help them reconnect with their audience. Frankly I think it was really a way for the four of them to reconnect as musicians again.

Ringo and Linday-Hogg went up on the roof and got the idea of playing the concert up there, on top of 3 Savile Row. Even the day of the proposed concert, Janaury 30, 1969, no one was sure if they were actually going to play. They hadn’t played a live show since August of 1966 and both Ringo and George were very reluctant to play in front of people. Harrison was adamant that none of his new songs would be in the set. Finally, with everything set up and ready to go, Lennon muttered almost silently, “Fuck it, let’s go do it.” And with that the Beatles (with keyboardist Billy Preston in tow), like with most things they did, strolled up the stairs into rock n roll history. Can you think of a more iconic rock n roll moment than the Beatles’ Rooftop concert? U2 copied it for their video for “Where The Streets Have No Name” including the cops stopping the show. I remember reading in Rolling Stone magazine when I was in college, Tom Petty & the Heartbreakers played a brief set on a roof either in Gainesville or Hollywood, I forget which.

The Rooftop Concert was my favorite part of the Get Back documentary, like most people I suppose, and getting to sit down and crank the audio of the performance on my stereo is a real treat. I really needed something to boost me from the Winter Blues and here are the Beatles to the rescue. I turn this concert on and I can’t help it suddenly I’m on my feet dancing around the room… and I don’t dance. They looked so… joyful(!)… when they were playing on the roof and that joy translates into this music. I can hear the joy in my headphones. There’s that magic moment when John looks at Paul and they lock eyes and you can tell they’re into it! Now you can just hear it. The fact that they were able to overcome all the acrimony and squabbling – McCartney’s controlling nature; Lennon’s disinterest, budding heroin addiction, and well, devotion to Yoko; Harrison’s frustration over being creatively stifled and not taken seriously as a writer; and Ringo… come to think of it, Ringo was always cool – and come together as musicians, as a band again, was as thrilling to me as watching Elvis’ Comeback Special. I am just as passionate about this audio. I think everyone hoped this was the opening of a new chapter for the Beatles and would see them returning to live shows but alas those 42 minutes on the Rooftop were to be the Beatles’ final concert. Or should I say, final public performance. Experts consider the San Francisco date from August 29, 1966 to their last “official” concert, but we don’t split those kind of hairs here at B&V.

The concert has the Beatles performing only 9 songs and only 5 different songs. They played “Get Back” three times. They played (my favorite track) “Don’t Let Me Down” twice. “Don’t Let Me Down” wasn’t even included on the original Let It Be album. The two versions here were edited into one version and included on the Let It Be…Naked version of the album, which stripped away Phil Spector’s overdubs. They played “I’ve Got A Feeling” twice as well. They played one version each of “One After 909,” and “Dig A Pony.” Three of these cuts actually made the final Let It Be album, “I’ve Got A Feeling” (first version), “One After 909” (one of my favorite train songs) and “Dig A Pony.” At 42 minutes it makes a perfect, old school, one-disc live album, but it does make me wish the cops hadn’t decided to storm up on the roof and stop the proceedings. McCartney, during the final song, with the cops standing over him changed the lyrics of “Get Back” to “you’ve been playing on the roofs again and your momma don’t like it, she’s going to have you arrested.” McCartney also says, “Thanks, Mo” after the song and he was thanking Maureen Starkey, Ringo’s wife, as she was particularly into the music that day as the video shows us. Good on you Maureen!

In the end they got what they wanted, an iconic performance. In the documentary you can see how happy and enthused they were about the playback. McCartney had always wanted to play somewhere they didn’t have permission to play and hoped to be shut down by the authorities. I love that rebel spirit. This could have been the spark of a Beatles reunion, but alas the seeds of their split were too deeply planted. Lennon was all excited about hiring Allen Klein as manager and McCartney hated that idea. Harrison was tired of being stifled. Lennon was also more into Yoko than the Beatles. But what a glorious moment up amongst the chimneys they had on that cold January day.

I loved every minute of hearing this music. It’s truly a worthy listen as well as a worthy viewing experience. Again, my only issue is that it’s streaming only right now which is sadly dicey. I think everyone has heard about Neil Young and Spotify. As usual, I stand with Neil but after all these years of posting our playlists on Spotify its going to take a lot of work to re platform them. We’re pondering our options here at B&V but I digres. I certainly hope The Rooftop Concert comes out on vinyl and if it does I’m going to probably wear that thing out!!

Cheers!

Review: The New Beatles 3-Part Documentary, ‘Get Back,’ Directed By Peter Jackson

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Well, I finally finished the three part Beatles’ documentary Get Back. I was pretty excited when I heard that Peter Jackson, famed director of The Lord of the Rings Trilogy, was going to revisit the footage shot for the Beatles’ 1970 film Let It Be. The Beatles shot over 60 hours of footage for what turned out to be an 80 minute film. Everybody knew there was more to the story. It was announced early on that Peter Jackson was going to make this a 3-part mini-series, if you will, as there was just too much footage for a traditional 2 hour movie. And lets face it, Peter Jackson is kind of the king of movie trilogies. This thing had “binge-watch” written all over it for me. I figured the Rock Chick and I would bang this out in three nights after the Thanksgiving day release. I thought this would be a great exercise for B&V as I’m a big Beatles fan (albeit, as mentioned I’m more of a Stones guy) and the Rock Chick is more of a… casual fan. It turns out that casual nature of her interest in this project only allowed us to watch one episode per weekend. That’s all she could handle. The last three Friday nights were our date with the Beatles circa 1969. Hence, it took me three weeks to get through this. So much for my binge watch fantasies.

I was going to go back to the original Let It Be so I’d have a baseline to compare to the new project, entitled Get Back. I guess I didn’t realize they’ve pulled the original 1970 film off the market. It hasn’t been available for purchase since the 1980s. I think it was considered kind of a drag. I actually saw Let It Be at the midnight movies at Oak Park Mall when I was in high school. I’m still unclear how my parents allowed me to stay out until 2am on a Saturday night. Proof I was a natural born salesman. The midnight movie was typically just drunken or stoned mayhem. I saw Monty Python’s Holy Grail, Led Zeppelin’s The Song Remains The Same, one soft-core porn movie, the cartoon Heavy Metal and yes, Let It Be all at the midnight movies. I’m surprised I went to so many of those things. I think I even saw The Rocky Horror Picture Show at the midnight movies. Crazy times.

I don’t recall much about Let It Be. That may be because of the aforementioned drunken mayhem. Typically when I went to the midnight movies there was beer or vodka involved. Sometimes both. I do remember thinking, like most folks, that it was a bit of a drag. I didn’t know what to expect. I thought it would be more of a concert thing, with complete songs. It turned out it was film of the Beatles rehearsing and working up new material and usually stopping mid-song to debate arrangements. That was McCartney’s idea, to show the Beatles going from nothing to a complete album over the course of January of 1969. So you’d have snippets of songs as they worked out songs, lyrics and arrangements. It was actually a bigger deal than I’d realized at the time. The Beatles hadn’t played together as a band, live, since they’d retired from the road in 1966. They were going to record the rehearsals at Twickenham Studios, a soundstage where they filmed movies, and then play a big concert where they performed the new album. They had all kinds of wacky ideas for the concert. An ancient amphitheater in Tunisia, a cruise ship and other exotic locations were discussed. Someone told me once they’d considered doing it at Stonehenge but that may be apocryphal. You can never trust stoners at the midnight movies.

Episode 1 of Get Back captures the early days of rehearsals at Twickenham Studios. Those rehearsals were basically a disaster. Because the film crew worked during the days, it required the Beatles to show up in the morning… and they were more, let’s say, afternoon and evening people. It was a huge, cold room. They set up their equipment on one side of the soundstage and huddled together trying to come up with ideas. Everyone hated being there. They were used to being at Abbey Road. a more intimate setting. There were to be no overdubs or studio trickery, so George Martin’s role was reduced. Even I’ll admit Episode 1 was hard to watch. The Rock Chick left and went to bed 2/3 of the way through. The Let It Be project has been described as an old couple who are headed for divorce trying to rekindle the relationship by going out on dates to old familiar spots. Episode 1 captures that awkward ethos. Lennon, with Yoko Ono super-glued to his side, seems particularly checked out. The highlight for me was seeing McCartney conjure “Get Back” out of thin air. Paul seems like he’s bursting with music. Every time there’s a break in Episode 1, he’s at the piano working on something. Harrison keeps suggesting songs and Lennon/McCartney basically ignore him. The episode ends with Harrison announcing he’s leaving the group. He’d recently been up in Woodstock visiting Dylan and the Band and realized by seeing how harmoniously they worked that the Beatles were dysfunctional. He says, as he’s walking out, “See you around the clubs.” Lennon suggests giving him a few days, “and then we’ll just get Clapton to replace him.” I’m not sure how that would have worked out. While it was hard to watch, Episode 1 is the perfect set up for Peter Jackson’s narrative.

By Episode 2, they’ve convinced George to come back. He’d agreed on two conditions: a) no live concert, he was terrified by the idea and b) they move back to Apple HQ on Savile Row to the basement studio they’d just installed. Unfortunately the guy they entrusted to install it had been an idiot and nothing worked. George Martin came to the rescue with a mobile recording unit. Episode 2 is where the songs began to gel. It helped that George invited keyboardist Billy Preston to join the sessions. His keyboard work is phenomenal and the Beatles were on their best behavior with him in the room. McCartney who had been very directive of Harrison in Episode 1, has backed off a bit in Episode 2. Lennon is much more engaged. While there aren’t any complete songs in Episode 2, the jams are fun to watch – I especially dug them doing “Hi-Heeled Sneakers” – and the vibe is much better. The original director, Michael Lindsay-Hogg keeps pushing the concert idea but there isn’t much enthusiasm outside Paul. I do have to say, watching the first two episodes makes you realize what a pro Ringo was. The guy doesn’t say much but he shows up on time and he put in the work. He really was the foundation of the band from which they could launch. Jackson takes us from the near disaster of a break up in Episode 1, to progress in Episode 2, which sets up the final chapter.

Episode 3, which I watched last night, is where the songs have finally come together. In fact, they have more than enough songs for an album. A lot of what became Abbey Road is written and demo’d in these sessions. And frankly, a lot of songs that ended up on the Beatles’ early solo records came out of these sessions. They’re still unsure how to end the movie they’re filming. I think it was Ringo who suggested they go up on the roof and play. McCartney’s stepdaughter Heather shows up and she’s yes, adorable… for a while. I can only take so much of her screaming into a microphone. Although I prefer that to Yoko yelling into a microphone. Contrary to the myth, Get Back shows the other Beatles’ being very cordial to Yoko. Sadly you hear Lennon talking enthusiastically about meeting with and hiring Allen Klein, a conman, as their manager. McCartney hated him and refused to sign. The seeds of the break up were planted on film. The other guys started bringing their wives in too. It was a very convivial vibe. Finally, at the end of Episode 3, for the first time ever we get to see the entire Beatles’ roof top concert and it is glorious. The Rock Chick was disappointed they played the same songs a couple times over but that didn’t bother me. There’s a moment when they start playing up there, blowing minds all over the neighborhood, where Lennon and McCartney look at each other and smile and it’s fucking magic. The chemistry is there… all the arguments are gone. It’s amazing footage. After the cops stop them playing (which is good comedy watching the staff stall them) they show the Beatles huddled together in the control room listening to the playback and they all look so joyful. It’s sad to think they couldn’t hold that together.

In the end, dissatisfied with the recordings they shelved the project. They ended up recording Abbey Road next and to fulfill a contract, gave the tapes to Phil Spector to pull together the Let It Be album as their swansong. I’m alone amongst my friends in loving that album. I love a little sloppiness in the music. It makes it feel more authentic to me, but maybe that’s because I dig the Stones so much and they’re nothing if not sloppy. The film they’d been putting together was finally released in May of 1970 to lukewarm reviews. I think the announcement of their break up overshadowed the thing.

Peter Jackson does a nice job setting up the story arc over the three episodes. I don’t know how they did it but they restored this film to pristine shape. The colors – and in the 60s day-glo was in – are gloriously bright and wonderful. George Harrison’s choice of pants’ colors is particularly vibrant. It’s visually stunning to watch. It helps to be a big Beatles fan, as the Rock Chick’s early departures during Episode 1 &2 showed me but it’s more important to just be a big fan of the musical process. It’s fun to watch these guys create new songs out of the air on camera. It’s not just a film of the roof top concert, it’s literally a film about the creative process. If you’re not into this, I think it’s easy to get bored pretty quick. I certainly enjoyed the pay off in Episode 3 of the full roof top concert – their last public concert. That alone to me is worth the price of admission. Everyone should at least watch that episode. 

Instead of saying Cheers as my sign off, I’m going with a more Ringo sign off… Peace and Love everybody!

Review: A Surprise Return To Concerts, Joan Jett & The Blackhearts With Cheap Trick! August 29, 2021, Starlight Theater

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*Photo above of (L to R) Rick Nielsen, Daxx Nielsen and Robin Zander of Cheap Trick taken by your intrepid blogger at an actual live concert

I don’t care what your political persuasion is – I’m a lover not a fighter – but I think no matter what you believe we can all agree that one of the greatest losses during the depths of the pandemic and lockdown was the darkening of concert stages. Live music as an entertainment ceased to exist. It wasn’t safe to pack into a dark, sweaty room with other people and listen to rock n roll played live right in front of you…the way God intended it. I realize the actual loss of human lives was a toll incalculable but this is a rock n roll blog and I feel its necessary to at least acknowledge the cancellation of concerts as a thing. Believe me, I’m not of like mind with moron Eric Clapton… It does stun me, a huge music fan, to think that I hadn’t seen a live concert since Starcrawler on October 14th in 2019. That seems like it was lifetime ago… and it feels like we’ve lived a lifetime in those almost two years.

In the interest of full disclosure, I’m fully vaccinated. I’ve actually started to travel for work again. My corporate masters want me out there on the road and frankly I had missed it. I’d be lying though if I didn’t admit to feeling quite a bit of anxiety that first time I masked up and walked into Kansas City’s somewhat crowded airport. I’d been hiding in my attic ala Boo Radley for two years. Suddenly I’m amongst a crowd of people. It wasn’t agoraphobia but more of a fear of large crowds, whatever that’s called. As they said in the movie Barfly, “People, I just sorta feel better when they’re not around.” I couldn’t imagine going to a concert and most the bands I know had been cancelling everything until 2022. I hadn’t been out to the Ticketmaster website in, well, two years. I did stick my toe into the live music water, so to speak, a few weekends ago when I drove to the Harley Davidson dealership up by the airport to see some friends of mine the Sunset Sinners do a gig. But it was an outside thing in the parking lot with plenty of space.

The Rock Chick celebrated her birthday recently. In truth we celebrated that for about a week which is our wont around here. There’s no such thing as a birth “day.” I like to refer to the week around my birthday as the Festival of Me. The Rock Chick informed me a couple of weeks ago she had something planned for Sunday night, the 29th. She was, as usual, her mysterious self. The only hint I got was that I should take Monday off. At first I thought perhaps we were going to a movie, another thing we haven’t done in two years. But she mentioned to me yesterday while we were at the Nelson Atkins Museum that it was likely we would be standing all night. Cryptic, indeed. That ruled out a movie.

Finally around six last night, we jumped in the car and headed east. It was pretty soon I realized we were headed to the venerable Starlight Theater in Swope Park. She had surprised me on my birthday one year with Jim Gaffigan tickets (a brilliant comic). It was her birthday but I thought maybe she was going to surprise me with another comedy show. It was then she revealed that we were seeing a fabulous rock n roll double-bill, Cheap Trick and Joan Jett & the Blackhearts! I almost screamed! Starlight is such a great old theater and a wonderful place to see a concert. They used to only have musical theater stuff out there, but when I was in high school they opened it up to rock n roll concerts. My first show out there was to see Elton John with my family. I’ve seen some really great shows out there: David Bowie, Rush, Greta Van Fleet and Soundgarden to merely name a few. I knew we were in for a great evening. I will admit I felt that same anxiety that I’d felt at the airport when I found myself crowded into the throng of the crowd but that soon passed. Although admittedly no one was wearing masks in the men’s room which irked me. It’s public safety people.

Cheap Trick, to my surprise, opened the show. I thought for certain they’d be the headliners, but then I’m more into Cheap Trick and am still listening to their latest LP, In Another World. It was great to see these guys stroll out on the stage: Rick Nielson on guitar, his son Daxx on the drums, and Robin Zander in shiny black pants with blue stars on them on lead vocals/rhythm guitar. Cheap Trick are old school rock stars and Zander stands out amongst them. I knew immediately it wasn’t longtime member Tom Petersson on bass. Sadly, he had a recent heart procedure and had to sit this one out. Zander’s son Robin Taylor Zander pinch hit on bass and backing vocals. Robin Taylor also took lead vocalist duties on, I believe, “Downed.” The kid sounds just like his father. Daxx doesn’t play the drums with the aggression of Bun E. Carlos but he gets the job done. As Keith Richards would ask, “He rocks but does he roll?” Not like Bun E, sadly.

Cheap Trick rocked with an attitude. Nielsen was giving people shit in the audience. They opened with the track that opens At Budokan, “Hello There.” They then proceeded to do 19 rocking tracks over the course of an hour and half. They hit all the highlights – “Surrender,” “Ain’t That A Shame,” and “I Want You To Want Me.” Nielsen is a beast on lead guitar. I will admit some of his gimmicky guitars get a little old. He had trouble holding the 5-neck custom guitar on the encore… but hey he shredded on lead guitar. Robin Zander’s voice is as strong as it ever was. He sounded fantastic. His voice was strong, loud and on key. His son Robin Taylor was there on backing vocals to help with the high notes – although Zander didn’t need much help. I loved, especially, the raucous versions of “California Man” and my all time favorite Cheap Trick tune, “She’s Tight.” I was screaming on the chorus, “So I got off the phone” like I was in high school. The only ballad was “The Flame” toward the end of the main set. My only complaint – and it’s a nit – is I’d have liked more from the new LP. They only did two new tracks, the great “Summer Looks Good On You,” and “Another World (Reprise).” I’d have loved to have heard “Light Up the Fire,” an incendiary new track. These guys are consistently excellent. They played with the gusto they did when I saw them when I was in college. I’ll always come out for Cheap Trick.

After that, I was pretty blissed out and yet we still had Joan Jett & the Blackhearts to go! I’ve searched and scoured the internet to find out the names of the guys that were on stage with her last night. She did intro’s but I missed it. They looked younger than the Blackhearts on Wikipedia… The lead guitar player really rocked. He was on fire. I thought she called him Johnny. I’m embarrassed I can’t find his name. My inability to get their names doesn’t take away from the great job the drummer and the lead guitarist did. They had a hard edged, punk rock vibe that I really liked. It was like they turned Starlight into CBGB’s… Joan opened the set with “Victim of Circumstance” and then went into the great Runaways track (one of several), “Cherry Bomb.” That was a real highlight for me, as I’ve always dug the Runaways. “Bad Reputation” was absolutely priceless. The Springsteen penned “Light of Day” was another rocking highlight. They played a song I had never heard, but immediately purchased when I got home last night, “Soulmates to Strangers” that was an absolutely gorgeous track. Everyone should check that out because, well, we’ve all been there. There are subtle vocal things that Jett does on her records and she replicated all of them last night. Whether its an “oo” or an “ah” or a moan Jett made sure it was part of the performance. The last three songs of the main set were all killers: “I Love Rock N Roll,” “Crimson And Clover” and one both the Rock Chick and I’d forgotten, “I Hate Myself For Loving You.” The encore wrapped up with “Everyday People,” another highlight. It was 21 songs of a hard edged rock over the course of almost an hour and forty minutes. Joan Jett really impressed me. I find myself listening to her quite a bit this morning. She’s a rock n roll survivor and icon.

I’m sitting here on a Monday both exhausted and happy. I’m usually exhausted on Mondays, but never happy. My ears have a slight ring and I feel a little ragged. It’s so wonderful to have seen a rocking concert again. To spend an evening grooving on Joan Jett & the Blackhearts and Cheap Trick was such a great way to end the birthday Festival of the Rock Chick. If these guys come near you, if you need some rock n roll, try and see them!

Cheers!