AC/DC Returns With “Shot In The Dark” From The Upcoming LP ‘Power Up’

They say that timing is everything…

On November 22, 1963 the American President John F. Kennedy was famously assassinated in Dallas, Texas. The youthful President seemed to embody a bright and energetic future for the American nation and people were hopeful in a scary world. The entire nation mourned his death like a family member had passed. We were once a united nation… Even my Sainted Mother can tell you where she was the day John Kennedy died. So could Lou Reed, apparently…the only thing Lou and Mom have in common. Nobody in America knew at the time but there were four lads in Liverpool who were about to change the world. By February 1964 when the Beatles arrived in America they had exploded onto the American consciousness like nothing else before or since. A grieving nation looking for something happy and hopeful grabbed onto the Beatles like a man about to fall off a ledge reaching for a railing. I’m not saying JFK’s assassination made the Beatles as popular as they were, but  you gotta wonder if it helped?

I was sitting on my back patio this Tuesday when the surprising news that rock and roll guitar legend Eddie Van Halen had passed away reached me (Guitar Legend Eddie Van Halen Gone Too Soon at 65, RIP Eddie, #EVH ). I guess I should have seen that coming, he’d been battling cancer for five years. I just hadn’t heard that news about his cancer returning. I foolishly thought he’d beaten it. Prior to that news, I knew that AC/DC had a new single coming out and I was excitedly waiting for that to happen. They released it at noon on Wednesday. The new track, “Shot In the Dark” (it’s original, not to be confused with an old Ozzy tune of the same name) is from the upcoming AC/DC album Power Up. It’s no surprise, but I love this new AC/DC song. I’m guessing I would have loved it anyway, but like the Beatles coming after JFK, I do wonder if the Eddie news affected me? I can say, that after Tuesday, I was in the mood for some good-time, up beat, old school, fucking rock and roll!! Who else but AC/DC to deliver the goods!?!

I’m on record as a huge AC/DC fan. They were the first band I took my wife to see in concert when we’d just started dating (AC/DC’s Stiff Upper Lip Concert – I Discover I’m Dating The Rock Chick). I will admit that while the Rock Chick and I share a love of AC/DC she’s firmly in the (leader singer) Brian Johnson camp while I straddle both worlds. I love Brian but I will always be on the original singer Bon Scott’s bandwagon. As an aside, the Rock Chick does a fabulous impersonation of Bon Scott on stage, but I’m getting off track here. It was indeed the Rock Chick who reconnected me with AC/DC after I’d lost track of them during the period after For Those About To Rock. The mid to late 80s were not the prime of AC/DC in my opinion. But starting with the great “comeback” album Razor’s Edge AC/DC returned to form. Frankly, everything they’ve done since has been fabulous.

I do owe this band an apology. After 2008’s Black Ice, AC/DC ran into some issues. Sadly, rhythm guitarist and founding brother Malcolm Young succumbed to dementia and eventually passed away (RIP Malcolm Young, Rhythm Guitarist Extraordinaire of AC/DC). Shortly after that, founding drummer Phil Rudd – who had left AC/DC after 1983’s Flick Of the Switch and returned on 1995’s Ballbreaker – ran afoul of the Australian legal system. He participated in the recording of Rock Or Bust but wasn’t able to tour. Rock Or Bust was the first AC/DC album recorded without Malcolm… Angus Young (lead guitarist) was able to replace Malcolm for that album and tour with their nephew Stevie Young on rhythm so he kept it “in the family.” During that tour it, Brian Johnson was diagnosed with a severe hearing disorder and was told if he played one more show, he’d be deaf for the rest of his life. Believe it or not, old friend of the band Axl Rose took over the lead vocals for AC/DC so they could finish the tour. It was at that point – Malcolm had passed, Brian was going deaf, Phil Rudd was likely going to prison – that in a post on bands who should call it “quits,” I named AC/DC as one of those bands (BourbonAndVinyl List of Bands Who Sadly, Should Call It Quits). In my defense, even bassist Cliff Williams had indicated he was going to quit since his road partying buddy Brian was gone. I was clearly not alone in thinking AC/DC were over.

Late last year, which seems like another lifetime pre-COVID, I started to hear rumors that Angus Young and nephew Stevie Young were up in Vancouver recording… Further, I heard that bassist Cliff Williams, despite threats to quit, was also with them. Soon I heard stories in the press that not only Brian Johnson had been spotted in Vancouver but Phil Rudd was with him too. “We’re getting the band back together,” flashed through my mind. I had wondered if Axl might pop in to sing until I heard that Brian had undergone an “experimental procedure” to cure the hearing problem. You know it’s never going well in any medical situation when they start talking about experimental medicine, but I guess in this instance, it worked. On the “Rock And Roll Albums to Purchase Soon” list I carry around in the back of my brain – I don’t dare write it down in fear that the Rock Chick will realize how much I’m spending on music – I added AC/DC to the top of the list. Then I guess I just filed it away…

About a week ago on “the social media” I started seeing these cryptic posts from AC/DC. It was just a neon lightning bolt (stylized to look like the bolt they use between the AC and the DC on their logo). The light was off and the it popped and hissed into life, fully lit up in red. I knew, as most people did, the time had come. The new AC/DC was almost here. AC/DC actually put up a billboard outside the school that Angus Young attended (sort of) as a child with the words “Power Up” on it so we almost immediately knew what the album’s title would be. Now we just had to wait for the tunes…

First singles from this band tend to be some of the greatest songs in rock and roll history. Even if you just look at them since the comeback, their lead singles have been great, great songs:

  • Razors Edge, “Thunderstruck” – An iconic Angus Young riff and a great track.
  • Ballbreaker, “Hard As A Rock” – After sort of ignoring AC/DC for 10 years, I loved this track so much I actually went to see them on this tour. I’ll never forget Brian carrying Angus around on his back while the latter solo’d.
  • Stiff Upper Lip, “Stiff Upper Lip” – This album is where I fully got back on the AC/DC train. Great track that always takes me back to a great concert. I’ve gotta thank the Rock Chick for buying this album on one of our first dates… she played it and I thought, “Hey, wait a minute, this is awesome.”
  • Black Ice, “Rock N Roll Train” – One of the greatest AC/DC late-career anthems. If this song doesn’t bring you to your feet with devil horns extended on both hands, well then you’re not a rock and roll fan. And you might wanna check yourself for a pulse.
  • Rock Or Bust, “Play Ball” – I love this track despite the fact they let Major League Baseball use it on commercials. It’s just solid rock and roll.

I couldn’t wait to hear “Shot In the Dark.” There is nothing greater than dropping the needle, or in this case pushing “play” on the Spotify app and hearing that great riff-age come blasting out of the speakers. Angus teases out a signature little guitar when suddenly the band kicks in with full force. Even the Rock Chick looked up at me and said, “Oh man, that’s really good.” Phil Rudd is the only drummer that should ever play in this band… he’s right in the pocket and his drums, as always help drive “Shot In the Dark.” He’s not the fanciest drummer, but there’s so much rock n’ roll swagger in his drumming. And let me just say, it’s great to hear Brian Johnson back on the microphone. It’s a big chunky riff and Angus’ guitar solo is quick and incisive. “A shot in the dark, beats a walk in the park,” indeed.

AC/DC long ago found out that they do one thing but they do it to perfection. Hard ass rock and roll. I think this will probably be their swan song but I am very optimistic that in this dark world, AC/DC’s Power Up will be that rock and roll rescue we all need.

Turn this one up loud!! Cheers!

Guitar Legend Eddie Van Halen Gone Too Soon at 65, RIP Eddie, #EVH

*Photo taken by your heartbroken blogger of the inside album sleeve from ‘Fair Warning’

I am simply gutted by the news that I heard today. Eddie Van Halen, guitar legend and band leader has died after a long battle with throat cancer at the tender age of 65. I was just sitting down to read a chapter in Ted Templeman’s autobiography about Van Halen recording Diver Down when I saw on Twitter we’d lost Eddie. Eyes full of tears I couldn’t possibly read that story at this moment so I put the book down. I love Van Halen and I always have. Van Halen was the ultimate party, good-time band and Eddie Van Halen was like a God to many of us… a Guitar God. For those of us who came of age in the late ’70s/early 80s, Eddie Van Halen is our Jimi Hendrix. My heart goes out to his whole family and all of his fans out there. I was literally thinking this weekend, I wish Eddie would put out some music.

My love of Van Halen – the band and the guitar player – dates as far back as my love of rock and roll. His playing is a part of the rock n roll DNA for me. I think their debut, Van Halen, was like the second or third album I ever purchased (Album Lookback: Van Halen – The Smirking Menace of Their Debut at 40). It was the first time I bought a band’s debut album when it was actually debuting. I’ve been on the bandwagon ever since. Everybody loved David Lee Roth’s class clown act but the real reason we liked that album was the guitar. We’d never heard sounds like that before. I think every guy in my junior high school owned that first Van Halen record… and anybody who didn’t, well you didn’t want to know them anyhow. I listened to that album continuously. I was drawn in by “You Really Got Me” but let’s be honest, it was “Runnin’ With the Devil” that caused me to finally buy the album. The song that made the Eddie Van Halen legend was track 2, simply and appropriately titled “Eruption.” It is perhaps the greatest guitar solo ever recorded. The sound was otherworldly. Nobody played that fast. We had all heard the rumors that when Eddie played he didn’t face the crowd, he was hiding his technique (which turned out to be true, he didn’t want anybody to see his revolutionary method of “finger-tapping” up the neck of the guitar which literally changed how the instrument was played). The power and menace of his playing is palpable. Van Halen is the perfect guitar record.

I have so many memories… I didn’t buy their second album (until later) but I had Woman And Children First on cassette. I’d blast that album in the car. I never realized Eddie was playing keyboards on “And the Cradle Will Rock…” until years later. I’m not sure any of us knew that Eddie played keyboards until “Jump” came out. Van Halen was the perfect blend of Eddie’s guitar (and keyboard) sound and Roth’s sense of humor… “His folks aren’t overjoyed” has always been a favorite lyric. Oddly enough, when my girlfriend and I would go to the drive-in with beer and pizza, I’d always take a boom box and Woman And Children First was the cassette I always played. Fond memories of that…”In a Simple Rhyme” is an under appreciated gem. Years later, the Rock Chick and I would love cranking up “Everybody Wants Some” and just reveling in the “awesomeness.”

Fair Warning was for me, simply a masterpiece. Eddie’s guitar playing was perhaps at it’s most muscular and menacing. The tour in support of that album was the first time I saw Van Halen in concert. I think after that the only tour I missed was the one for OU812 because I was in exile in Arkansas. I can still close my eyes and see the band playing “Mean Street.” We had great seats off to the side of the stage. Roth was standing an elevated platform on the opposite side of the stage. He went into the rap at the end… “Now a gun is real easy, in this desperate part of town…” and when he gets to the end and says “Lord, Strike that poor boy DOWN,” Roth fell to the floor like he’d been hit. Suddenly a spotlight flashes on and Eddie Van Halen is standing on the platform on my side of the stage. His playing was incendiary. That guitar solo is etched in my mind like it was last night. What he did to that guitar that night may be illegal.

Diver Down is an album I have always associated with summer. It came out the year I went to college and it was the soundtrack to my post-high school summer. It was rightly on my ultimate summer LPs list (Memorial Day Kicks Off Summer: Go-To Summer LPs (Beach Boys Need Not Apply)). 1984 is the album they’re probably most remembered for and it was an absolute classic. “Jump” their foray into keyboards was a wildly popular track but I always preferred the other keyboard track “I’ll Wait.” Only Eddie Van Halen could conquer both guitar and keyboards. That was the first tour that I saw Van Halen twice, once in Wichita and once in Kansas City. While they’d reached new levels of popularity, alas tensions with in the band – that began when Roth objected to Eddie marrying actress Valerie Bertintelli – erupted into open conflict and Roth and VH split.

Van Halen continued on with Sammy Hagar on lead vocals – commonly referred to as Van Hagar. I still dug them, In Defense of Van Hagar, No Really… Complete With a B&V Van Hagar Playlist. I think they were fundamentally a different band, obviously, but still a great guitar sound. Eventually relations with Hagar soured as well and eventually Van Halen went silent. Now it appears the mighty guitar of Eddie Van Halen has been silenced forever. I saw them in 2012 on the reunion tour with Roth… Roth had mostly lost it but Eddie’s guitar was still razor sharp and worth the price of admission.

There will be debates about where he ranks in the pantheon of guitar greats. He’s top 2 or 3 to me. I never saw Hendrix but I did see Van Halen so I’m biased. Eddie absolutely changed the way lead guitar was played. Every rock and roll guitarist who came after him was influenced by Eddie Van Halen. There would have been no Randy Rhoads without him. Every guitar player in the 80s should be sending royalty checks to Eddie. Make no mistake the world has lost one of the greatest guitarists to ever play the instrument. Van Halen and Eddie’s guitar were and will always be a big part of my love of rock and roll. He brought great joy, excitement and beautiful noise into my life. So many beautiful notes… from “Spanish Fly” to “Cathedral” to the intro for “Little Guitars.” I am deeply saddened tonight, as I’m sure most rock fans are. The Rock n’ Roll flag will be at half mast here at B&V for quite a while… A part of my youth has died… As my friend Doug texted me, “Bummer… this feels really close.” I think we all feel that way.

It’s a dark ride folks, enjoy it while it lasts. RIP Eddie Van Halen, the greatest.

Review: Prince, ‘Sign O’ The Times – Deluxe Edition’ – An Embarrassment of Riches

At the faceless corporation where I work, I used to know this guy who, like me, was a big music fan. That’s pretty rare where I work. Potentially there are more people there that are into music but nobody really discusses it much. The guy I’m thinking about used to actually ask interviewees what music they listened to when he was hiring. I really believe how they answered that question impacted whether he hired the person or not. We were talking about music one day and I said, “What do you think about Prince?” He answered, “I really only like his “Hendrix-y” stuff.” I don’t know why every black man who plays guitar eventually gets compared to Hendrix – well, I know why but its too sad to articulate – I think Jeff Beck and Jimmy Page have more in common with Hendrix than anybody from Vernon Reid to Gary Clark, Jr, but I digress. This was probably in the late ’90s/early 00’s so I’m not sure why Prince even came up… by that time I had largely lost track of him. But I think my work colleague’s response is the way a lot of fans of Prince’s ’80s music would respond. We all dug his stuff that was more rock oriented than his later focus on dance music or soul. 

I’m on record as a huge Prince fan. I was deeply saddened at his loss (Another Giant Gone, RIP Prince). I’ve recounted several times how I discovered Prince during what I call “the dark semester” when I was at KU my freshman year when some guys turned me onto 1999 (Box Set Review: Prince, ‘1999 (Super Deluxe)’ – A Tour De Force, Must Have ). For once I was ahead of the maddening crowd. It wasn’t really until the video for “Little Red Corvette” came out that everybody started getting on Prince’s band wagon. To follow up 1999 Prince, realizing the value of “video,” put out the full length movie and LP to support it, his masterpiece, Purple Rain (Review: Prince’s ‘Purple Rain – Deluxe Collector’s Edition’ – Is It Worth It?). I don’t even think Prince was prepared for how big that record became. It spawned two number one singles and booted Springsteen’s Born In the USA out of the number one spot on the album charts. Suddenly everybody dug Prince. “Oh, I’ve been listening to Prince for yeeeears,” I’d tell people. 

That kind of fame affects an artist or a band. Many artists will retreat from the sound that made them that famous and successful as a natural reaction probably out of fear of needing to outdo that success (Artists Who Changed Their Music to Escape Fame). Prince and his great backing band, The Revolution (Wendy Melvoin on guitar, Lisa Coleman on keyboards, Brown Mark on bass, Matt “Dr” Fink on keyboards and Bobby Z. on drums) retreated to Minneapolis to record Around The World In A Day. There was no press and there were no singles released to promote the album. It just appeared one day in the record stores. And on that day, yes, I purchased the album excited there was more Prince in the world. I remember the brightly colored, psychedelic-tinged cover art gave me pause but it did not prepare me at all for what inside. Prince had largely abandoned his trademark sound and gone… psychedelic? Odd sounds and weird melodies permeated that album. I remember thinking, “what is this shit?” I liked “Raspberry Beret” but that was about it. I did everything I could to connect with that record, but eventually sold it at the Used Record store.

Needless to say, I was shook. When an artist disappointed me back in those days it was hard to get me back on the bandwagon. So when Prince followed up Around The World In A Day with Parade, another soundtrack, I had largely moved on. I heard “Kiss” on the radio and thought it was catchy but by then like a lot of people (I suppose) I thought Prince had lost his mind. I saw the movie, ‘Under the Cherry Moon,’ or more appropriately, I saw the first thirty minutes of the movie before walking out and it didn’t do a lot to restore my confidence in Prince. The fame and success had clearly gone to his head. 

By the time March of 1987 rolled around I was on the verge of graduating from college and there was just a lot going on for me. I’m not even sure I was aware Prince had released his second double-studio album, Sign O’ The Times. By fall of that year, I’d been exiled to Arkansas and lost touch with all music. I can vaguely remember seeing the video of “You’ve Got the Look” a duet with Sheena Easton but I wasn’t drawn back to Prince. I also remember hearing “I Can Never Take the Place Of Your Man” and thinking, hey, maybe Prince still has something left in the tank. I loved the guitar solo at the end. It wasn’t until 1990 when I was taking the Grand Tour across Europe and ended up in Berlin at the Roger Waters’ performance of The Wall (I Attended: Roger Waters & Special Guests, ‘The Wall’ at the Berlin Wall, July 21, 1990) when I heard the track “Sign O’ The Times” over the PA system before the show started. I was absolutely mesmerized. Granted, it was a hell of a sound system, but Prince giving us his grim state of the union address over minimal but hypnotic guitar was when I thought, perhaps I needed to give this album another look. Naturally, I didn’t investigate it for thirty years. 

At the end of the tour in support of Parade tensions were running high between Prince and the Revolution. I have never satisfactorily discovered why… Prince was dating guitarist Wendy Melvoin’s sister Susannah and they had broken up. Maybe it’s that simple. I’ve read where some theorize that the Revolution was getting too much credit for Prince’s success, they were the only thing keeping him from the bad impulses that created Around The World. I’ve heard the opposite, that Prince and his grand genius were being held back by the limitations of the Revolution. I don’t think that’s true, the Revolution was Prince’s most sympathetic backing group but then I never dug the New Power Generation. Prince had brought in other players for Parade, notably Sheila E. on percussion, Miko Johnson an additional guitarist and a horn section. Maybe that destabilized things. 

Prior to their dismissal, Prince had been working with the Revolution on a new album tentatively titled Dream Factory. I say working with them but as usual, Prince was playing all the instruments in the studio. At the same time he was working on a weird concept album where he speeded up his vocals to sound like a woman, Camille. “Camille” was his female alter ego. I don’t know why anybody thought that was a good idea. He sounds more like he’s on helium to me. Prince always wrote great songs for women (The Bangles, Bonnie Raitt, Vanity 6, Sheena Easton, the list goes on) maybe he thought he’d go ahead and sing the songs himself…as a chick. He scrapped both of those projects, fired the Revolution and recorded a triple album called Crystal Ball. Much of what was recorded for Dream Factory  and some of what was recorded for Camille (“If I Was Your Girlfriend,” “Housequake”) ended up on Crystal Ball. His record company rejected the idea of a triple-album and so Prince edited it down to a double album and voila, Sign O’ The Times was born. 

Last Friday Prince dropped a “Super Deluxe” edition of Sign O’ The Times and I’ve been in the B&V lab voraciously absorbing this thing. The Rock Chick walked by the lab yesterday and said…”You’ve been listening to Prince non-stop for like a week now?” Indeed I have…I may not be a “Sexy M.F.” but I am a funky one. This is an embarrassment of riches. First and foremost, the original album Sign O’ Times is a tour de force and certainly Prince’s magnum opus. To my ears its his last masterpiece. He’s all over the place like the Beatles’ White Album. There’s rock, soul, funk and under currents of jazz on this album. As I listen it feels like I’m at the greatest after hours party ever. To see someone work on that level and take so many chances is breathtaking. The title track, “You’ve Got the Look,” “If I Was Your Girlfriend” were the most well known hits but there is so much more here. “Strange Relationship” is now amongst my Top 5 favorite Prince tracks. “Baby I just can’t stand to see you happy, Yeah, I hate to see you sad,” may sum up every bad relationship I’ve ever had. “The Ballad of Dorothy Parker” is another brilliant, brilliant track. “Slow Love” is a classic soul ballad. He could literally do it all.  How I didn’t include this on my list of essential double-albums is a mystery, The BourbonAndVinyl Essential Old School Double Vinyl Albums

The bonus material, like the 1999 Super Deluxe is copious. There’s so much here to absorb. The first disc of extras is the remixes and edited singles, really nothing to hear there. It felt a little like filler, although I did like “Shockadelica.” Following that there are three discs with 45 tracks. There’s some amazing stuff that Prince left in the vault. It all starts with an earlier 1979 version of “I Can Never Take the Place of Your Man” which serves to show how much that tune developed up to 1987. To underscore Prince’s jazz leanings at the time, Miles Davis shows up on “Can I Play With U?” There are so many great, funky tracks here – “Witness For the Prosecution” (in 2 different versions), and “Blanche” are highlights. There’s a great pop-rock track with that trademark Prince guitar on “Cosmic Day” which has that “Camille” voice… I wish he’d sang it in his normal voice but it’s still a great track. “Walking In Glory” touches on gospel. There is just so much and it’s all such high quality music. 

To round out the “Super Deluxe” set is a live concert from the tour supporting the LP, recorded in Utrecht. Prince only toured Europe for Sign O’ The Times largely because Parade had actually been a bigger hit there than in the U.S. Sheila E. had graduated from percussionist to drummer and I really dig this concert. Prince could certainly deliver. After running through some of the material from the LP, they go through the hits. This is the only live version of “Purple Rain” I think I have and it’s a killer. He manages to deliver the falsetto in “Kiss” in an impressive fashion as well. It’s a strong and aggressive performance even without the Revolution. If all of his shows were this good, I’ll take all the live Prince I can get. 

The ultimate question I always ask for a box set is, “Is it worth it?” For any fans of ’80s Prince or this album in particular, it’s a must have. I will admit, freely and up front, the price tag on this package is a little staggering. There are a lot of box sets coming in 2020 – U2, Lou Reed, and Neil Young all have big packages coming. Because of that I went with the download vs the CD version of this box. The price on the vinyl was so high it gave me a nose bleed. I understand in these hard times that this would be a hard pill to swallow but I urge all fans to at least go out and stream this stuff it’s a must hear. There is literally something for everyone in this box. 

Cheers! Stay funky people but be safe doing so. 

 

Review: Ozzy’s ‘Blizzard of Ozz, 40th Anniversary Expanded’ – Is It Worth It?

I recently wrote a piece reflecting back on my first Led Zeppelin LP purchase (LP Lookback: In Praise of Led Zeppelin’s ‘In Through The Out Door’). In it, I discussed the uphill battle I faced trying to catch up with all the great music that had come out in the twenty years before my “rock awakening” in the late 70s. It’s not like I could stream back then. I was busy buying what was current and trying to selectively and quickly build an album collection of all those great, older records at the same time. I will admit, the emphasis of my purchases back then was more slanted toward what was current. I had the Stones’ Some Girls, Van Halen’s debut LP and ZZ Top’s Deguello, to name but a few. I didn’t realize it at the time, but most of what I was drawn to in the early stages was blues based. Not to put too fine a point on it, but I even had the Blues Brothers’ (John Belushi and Dan Aykroyd) LP, Briefcase Full of Blues. That was a great backing band – Steve Cropper and Matt “Guitar” Murphy on guitars. 

I don’t know why but I was very slow on the uptake when it came to a genre that I absolutely love now, Heavy Metal. Certainly the Van Halen album I had qualified as Heavy Metal, but not much else in the record crate really came close. Metal was where the link between blues and rock and roll was permanently severed, so maybe that was what caused my early hesitancy. My mother had a friend who I’ll call, “Mrs. Smith,” whose kids were the same age as my brother and I. My brother had been buying music for several years prior to my getting into music and I was always taping stuff from his collection. It was a cheap way to build my own music collection. I remember taping and subsequently wearing out Hot Rocks, the Stones greatest hits package that my brother owned. Mrs. Smith heard I was monastically up in my room taping any music I could get my hands on and kindly volunteered to bring a stack of her kids’ records over for me to tape. I’m sure my mom was down in the kitchen complaining about me being “music crazy,” when I should have been, in her mind, “girl crazy.” Mom probably wasn’t wrong. 

A few days later when Mrs Smith dropped by, and she always seemed to be dropping by, she had a stack of records with her. I thought I was open to anything and hauled them up to my room with some blank cassettes. I started glancing at some of these records and I will say, they gave me pause. I recall scratching my head when I looked at the cover art for the first album in the pile, Black Sabbath’s Sabbath Bloody Sabbath: 

“What the Hell is this? Is that a 666? What is going on at the Smith house?” I wondered aloud. Anybody who knew me when I was younger would probably tell you, I was a bit of a wild child. Actually people would probably say that about me now as well. Most people would have assumed I’d see that album cover with its ghoulish images and been all in on Sabbath. Oddly, I had enough exposure to the Catholic church that the whole thing freaked me out a bit. I’m not proud of that. When I dropped the needle on the LP, I quickly stopped taping the album. The music sounded like an invading army. The lead singer, whoever that was (I had no idea who this Ozzy Osbourne was), sounded like he was in pain. The next record was Judas Priest’s British Steel and I’m sad to admit, it didn’t fare much better to my young, tender ears. It was too fast, too hard. I don’t think I taped any of those albums that day. 

As fate would have it, only a few months later I was in the car and heard this great track, “Neon Nights” on the car radio. Who is that? That’s a great track. I mean, this couldn’t have been more than six months after Mrs. Smith’s album visit and now I was into metal? I bought that great Black Sabbath LP, Heaven And Hell, their first with amazing vocalist Ronnie James Dio almost immediately after that (Artist Lookback: Black Sabbath, 1980-1981, The Superb Dio Era). The cover art on that album didn’t inspire fear in me… it made me smile. Oh, how soon I was corrupted! I’m not even sure I realized that I’d held an LP from the “classic” line-up of Black Sabbath merely six months earlier. In fact, with the change of vocalists I’m not sure I even knew they were the same band. Dio was so much more…operatic than Ozzy and I was a clueless teenager. 

Ozzy, mired in alcoholism and drug addiction had been fired from Black Sabbath. Living in a hotel, drinking and drugging, a record company guy Don Arden sent his daughter Sharon out to sign Ozzy. She would later become his manager… and his wife. Ozzy quickly formed a band that was supposed to have been a new group named Blizzard of Ozz. The record company wanted to call it “Sons of Sabbath,” which Ozzy rejected. Somehow Ozzy found one of the greatest guitarists ever, Randy Rhoads to lead the band (Artist Lookback – Ozzy & Randy Rhoads: A Match Made In 80s Metal Heaven). The guy played nothing like Sabbath’s Tony Iommi. He was powerful yet nimble… more in the Eddie Van Halen style. He also recruited Bob Daisley to play bass and Lee Kerslake (who just passed away, sadly) to play drums. Rhoads and Daisley wrote a majority of the songs that would appear on Blizzard of Ozz while Ozzy continued drinking and drugging (and mostly sleeping under the drum riser during rehearsals). The results were nothing short of spectacular. Blizzard of Ozz became the name of the album, not the band, and when released it was released as an Ozzy solo album. He was the name, but it’s a shame they couldn’t hold the band concept together. 

I was over at a friend’s house when he put Blizzard of Ozz on his mom’s stereo. I had heard “Crazy Train,” and for whatever reason didn’t take it seriously. Through out the years I was guilty of not taking Metal acts, songs or albums seriously, a malady I’m gladly over now. All I knew about Ozzy was this “wild and crazy guy” act. Yeah, we get it Ozzy, you’re crazy. But then I heard the album. It is simply one of the landmark Metal LPs of all time. “I Don’t Know,” “Mr. Crowley” and “Crazy Train” were radio staples and stone cold classics. “Goodbye to Romance” was a surprisingly great ballad, meant as a farewell to his former bandmates in Sabbath. It’s the deeper tracks that hooked me though… “Suicide Solution” about the late Bon Scott drinking himself to death was great had showed some depth. “No Bone Movies” was actually an anti-porn song. “Revelation (Mother Earth)” is probably the first Heavy Metal track about the environment. After hearing the album at my friend’s place… yes, I taped the album. Sadly, my first actual Ozzy LP purchase was to be the follow-up, the equally majestic Diary of a Madman. 

I find it hard to believe that it’s been forty years since this legendary album came out. In that time the LP has seen its share of controversy. Sharon Osbourne being the ghoul that she is tried to minimize Daisley and Kerslake’s contribution – going so far as to release the album with new bass/drum parts recorded by other musicians. A sin she fixed in the 30th anniversary edition. Daisley had to sue to get credit as a songwriter. Both Daisley and Kerslake helped write Diary of a Madman and played on the LP – but weren’t credited on the album sleeve, they weren’t even in the photos. Thanks Sharon. Those four guys – Rhoads, Daisley, Kerslake and Ozzy had an amazing chemistry. It would have been nice to see what would have happened if it’d been allowed to continue… Sharon’s greed and Randy’s untimely death will keep us all wondering it seems. 

To celebrate the 40th Anniversary of Blizzard of Ozz Ozzy had released an “Expanded Edition.” A momentous album of this stature deserves a big 40th anniversary package… If you don’t already own this album – by all means, purchase it immediately! However, if you do, and most of us do own this record, the question remains, is there anything in this package that would drive you to rebuy it? I have to say, no. There is a B-side track, “Looking At You, Looking At Me,” that’s been out for years that everyone should check out. There’s a live track “You Said It All” that was released previously on an Ozzy live EP. There’s a couple of studio outtakes that were included in the 30th Anniversary Edition. Then there is a handful of six live tracks from the Blizzard tour. They’re nice tracks but its all a bit disjointed. There just isn’t that much new material or compelling reasons to rebuy this 40th Anniversary package. It seems like this is Ghoul Sharon’s latest cash-in. I would have hoped they’d have an entire show from the Blizzard tour to include here, the way the Stones included Brussels Affair in the latest Goats Head Soup box. That would have been worth the price of admission here. I hear Daisley has some tapes but Sharon didn’t want to have to pay for them… I think she’s hurting Ozzy’s legacy. 

Regardless of Sharon’s shady financial motives, Blizzard of Ozz remains one of my favorite Ozzy albums and one of my favorite albums period. This is one to play extremely loud… maybe with a pint of something strong to nip at while you’re flying your Devil Horn hands in the air! 

Cheers! And be safe out there! RAWK from an acceptable, safe distance folks. 

 

 

 

 

Review: The Rolling Stones, ‘Goats Head Soup Deluxe’ Box Set

“Can you hear the music? Can you feel the magic hangin’ in the air?” – The Rolling Stones, “Can You Hear The Music?”

It seems like only yesterday that I cajoled a friend of mine with some connections into helping me get tickets to the see the Rolling Stones’ 50th Anniversary concert at Newark’s Prudential Center in December of 2012. Springsteen jumped on stage to perform “Tumbling Dice” with the band. The Black Keys and Gary Clark, Jr each did a blues number with them. Lady Gaga even impressed me on “Gimme Shelter.” It was a truly exceptional evening. I just realized we’re creeping up on their 60th anniversary in 2022… Hopefully we’ll get an album of new stuff before then. They released a great new single during this global pandemic, New Single: The Rolling Stones’ Great Pandemic Song, “Living In A Ghost Town”, to tide us over but it only whetted my appetite for more.

When you have a career that spans six decades it gets hard for rock historians or music critics to get their arms around it. Inevitably they tend to break up the Stones career into three phases based on who was playing lead guitar. There’s the early, blues-cover centric era with Brian Jones on lead. There’s what is considered their “golden” or “classic” period when they did most of their biggest and best music with Mick Taylor (formerly of John Mayall & the Blues Brothers, Artist Lookback – John Mayall’s Blues Breakers: The Guitar Hero Trilogy 1966-1967). And finally there’s the current period with their longest tenured lead guitar player, Ronnie Wood. I love the Ronnie Wood-era of the Stones – and I’m in the minority here – but that’s who was playing for them when I first got into rock n roll. Some Girls was my gateway drug into rock and roll. I love the way Ronnie and Keith practice what Richards calls “the ancient art of basket weaving,” by intertwining the two guitars.

If we buy into this categorization, the rock intelligentsia has also made a point that the Mick Taylor era is the ultimate era of the Stones. And true, the  Stones penultimate period began as Brian Jones was drinking and drugging his way out of the band. Starting with Beggars Banquet (Jones on lead when he showed up…brilliant slide on “No Expectations) and stretching through Let It Bleed (when Taylor joined), Sticky Fingers and their magnum opus Exile On Main St, the Stones were indeed the most brilliant rock band in the world. With Taylor taking over all the exceptional lead guitar during his tenure he allowed Keith to become, again in his words, a “riff-meister.” When rock critics talk about the Stones’ golden period they actually mean these four albums.

While all these guys laud the Taylor-era of the Stones, they are all also of a mind that the Stones creativity failed them after Exile On Main St. In truth, Mick Taylor stuck around after the arduous process of recording that classic double album for two more records, Goats Head Soup (73) and It’s Only Rock N Roll (74). The common claim is that these albums, despite the presence of the guitar-wizard Mick Taylor, signal the moment when the Stones stopped being true rock artists and became arena-filling, sell-out rock stars. Mick became a jet-setter and Keith a full blown addict. We tend to build up our heroes only to tear them down on this planet. I will admit, I always thought – before the internet – that It’s Only Rock N Roll came out after Exile and before Goats Head because I always felt It’s Only was the stronger album. The more I listen to Goats Head today I’m not sure what I was thinking.

Despite all the critical haters, when Goats Head Soup came out in 1973 it hit number 1 in the U.S. The lead single, “Angie” also hit number one. It was produced by Jimmy Miller who had done all of their albums from the “classic” period. The album sold well. The Stones were continuing their “tax exile” status and were living outside the U.K. at the time. Keith Richards drug problems were increasing and there weren’t many countries where they could record so they ended up recording a lot the album in Kingston, Jamaica. It was the only place they could get in if you believe Keith. Marshall Chess who was leading Rolling Stones Records (the group’s own record label) was stunned to find out the band hadn’t played together in six months. He rented out a studio in Kingston for months at a time so the band could just jam. He said after only a few minutes they locked into that “Stones synergy” as if they’d been playing together every day.

I think the reason for the collective critical “meh” – Lester Bangs famously hated Goats Head Soup like it was a personal betrayal – was that anything the Stones did after Exile was bound to be a letdown. The sessions for Exile had drug on forever. Keith was ensconced at Nellcotte in the south of France and while Mick had as much input it was clearly Keith in control of that record. For the follow-up Mick wasn’t interested in doing that again. On Keith’s part, with his heroin problem worsening, he wasn’t capable of a leadership role with the band. Mick took over. He wanted to explore some different avenues with the band so we have a lot more ballads on Goats. Critics always laud Blood On the Tracks from Dylan as a requiem for the Sixties. It was actually an album about the end of a marriage. They like to describe The Last Waltz as the drunken (or coke-fueled if you’re Neil Young), Irish wake for the Sixties. To my ears, Goats Head Soup sounds much more like a requiem for the hippy idealism of the Sixties. It’s the come down record… like the day after the party. “Comin’ down again, where are all my friends?” as Keith sings.

There are great rockers on this album – “Dancing With Mr. D” about dancing with the Devil which may be slightly silly but it’s still a great track, “Silver Train” covered so nicely by Johnny Winter, and “Doo Doo Doo Doo Doo, Heartbreaker,” a track everybody  loves. “The police in New York City, they chased a boy right through the park, and in a case of mistaken identity, they put a bullet in his heart,” sounds like something that could have been written for today’s long, hot summer. “Star Star” (aka “Starfucker”) is a wonderfully vulgar Chuck Berry-style track. But for me, it’s the ballads on this record that shine. Keith’s vocal turn on “Coming Down Again” is one of my favorites. “Winter” is spectacular and ended up on my Stones deep tracks playlist (Playlist: B&V’s Favorite Rolling Stones Deep Tracks). “Angie” was the monster hit.

For me Goats Head Soup and that time is the iconic era of the Stones. They were the personification of and the album is about decadence and decay –  perfect for the 70s. This album is the Keith Richards, long-hair, shirt off, teeth rotting-out best. I wanna take my shirt off, grow my hair long and dance around playing air-guitar with a broom for a lot of this material. When rock bands imitate the Stones it’s this era they’re looking at. Mick may have steered them in a more down beat direction, but damn it worked. And his partner was holed up with Anita Pallenberg doing smack.

Last weekend, the Stones released a “Deluxe” version of Goats Head Soup. I wasn’t going to buy it but the Rock Chick said, “You know you want it, get it.” It’s nice to be married to a woman who encourages your decadent tendencies. The question is – is it worth it? For me it was but it has a hefty price tag. I like the hard-bound book that came with it. The concert posters in the box will be framed and hung in the B&V lab. For the first time ever on B&V, my recommendation for everyone who isn’t a Stones’ addict, is to eschew the physical box – either vinyl or CD – and definitely go the download route. The box is $150 and in these dark times that’s a lot to ask. Especially with boxes from Petty, Prince, U2 and Lou Reed coming.

From a bonus material perspective, you’re probably thinking, $150 for 3 new tracks? True there are only 3 new, unreleased tracks, but they’re all fantastic tracks. “Criss Cross” was reviewed here a few weeks ago, The Rolling Stones New Single From The ‘Goats Head Soup’ Sessions – “Criss Cross”. “Scarlett” is another groove track that obviously grew out of a jam and features Led Zeppelin’s Jimmy Page. I’d have loved to been a fly on the wall for those sessions. The final unreleased track, “All The Rage” has a great riff and is just classic Stones. The rest is probably for completists, but I love the piano/vocals demo of “100 Years Ago,” its more haunting that way. I like the alternative version of “Hide Your Love,” Mick Taylor’s lead is more prevalent. There’s a couple of instrumentals that are a fascinating glimpse into the creative process but the three tracks labeled “Glyn Johns 1973 Mix” add nothing to the party.

The real reason to buy the box (download), is the widely bootlegged live album The Brussels Affair. Because of Keith’s drug issues/arrests stemming from his days at Nellcote (Anita Pallenberg and Bobby Keys the Stones’ sax player had similar issues), the Stones had to play in Belgium instead of France. While many people have this album in bootleg form, I know many people don’t. And if you don’t, it is their best live album – better than Get Your Ya Ya’s Out. I played the boot for my friend Stormin’ once and he declared the version of “Gimme Shelter” as the definitive. I think the Stones released this as a download-only in their “Live Archive” series, but I’m not sure if it’s still available. For me, it’s worth the price of the download for this live LP only. The entire package is like $25 on Apple… Lots to love here at that price.

As summer winds down and beloved football begins, please be safe out there. Wear a mask, stay six feet away from each other and crank up this album… Me, I’m still out here on the edge, “down in the graveyard where we have our tryst, the air smells sweet, the air smells sick…”

Cheers!

Review: Smashing Pumpkins Release 2 New Songs, “Cyr,” “The Colour of Love”

*Image likely subject to copy right

I was recently writing about a difficult period in my life, 1994-1995 and some of the great music that got me through those rough times (Tom Petty: New Vault Song, “There Goes Angela” From The Upcoming ‘Wildflowers’ Box). When I think about that rough patch in my life one of the bands that I think about, who got me through it, is the Smashing Pumpkins. In 1994 I had one of those milestone birthdays that make you start to ponder your life and the direction you’re heading. My good friend Doug flew in for that birthday celebration at a live-music bar down in Westport, the Hurricane. It was indeed epic but those records are sealed. As a gift Doug brought me 2 CDs. While Doug grew up in KC like me, he was living in Chicago at the time and had adopted that city so thoroughly that we referred to him as “Mr. Chicago.” Naturally this led him to gift me two CDs from Chicago-based groups. The first was from singer/songwriter Ralph Covert who eventually started recording music for children. The second CD was from this group I hadn’t really heard of named the Smashing Pumpkins.

The album he gifted me on that difficult birthday was the Pumpkins’ masterpiece second album Siamese Dream which had come out less than a year prior. I have to admit that Doug, despite not owning a stereo, has turned me onto some great music over the years. I’m trying to talk Doug into buying a turntable so we can disguise our beer drinking jaunts as trips to the used record store and yet he resists the idea, but I’m getting off topic here. The Smashing Pumpkins hadn’t really broken through on KC radio yet in 1994. Their debut Gish was so broadly ignored here that I have to admit I thought Siamese Dream was their debut (at least I did in ’94). It was years before I picked up or even listened to Gish, which I love. In 1994 I had vaguely heard of the Smashing Pumpkins. I was aware they had a video involving an ice cream truck (“Today”) but that was about all I knew.

Well it’s no surprise but Siamese Dream knocked me out. Not only the big songs like “Today,” “Cherub Rock” and “Rocket” drew me in, but some of the deeper album tracks grabbed me too – “Mayonnaise,” “Space Boy,” and “Hummer.” Needless to say, I was on the bandwagon despite still being blissfully unaware of Gish. A year and half later, the Pumpkins – Billy Corgan,  vocals/guitar/bass/keyboards/mastermind; James Iha, guitar; D’Arcy (Wretzky), bass; and Jimmy Chamberlin, drums – exploded when they released the 1995 guitar magnum opus Mellon Collie And The Infinite Sadness. After that album everyone was on the bandwagon. Tracks like “Zero” and “Bullet With Butterfly Wings” were everywhere. That was the first tour I saw the Pumpkins and I was extremely impressed. Some friends and I were on the floor – there were no chairs – and we got up close to the band and they were on fire. It was scorched earth with guitars. 

Alas, toward the end of that tour the wheels came off. Jimmy Chamberlin’s heroin addiction got the best of him and he and their touring keyboardist Jonathan Melvoin both O.D.ed. Melvoin died and Chamberlin was subsequently fired from the band. And I thought I was having a rough time? On their next LP, 1998’s Adore, the band took a stylistic left turn and adopted a more electronica based sound. I always thought it was symbolic of how pissed Corgan was at Jimmy (who he described as his “musical soulmate,” the two had roomed together on the road in the early days) that they’d choose a musical direction that didn’t really require a drummer. A lot of people were put off by the new Pumpkins’ sound on Adore. My friend’s wife, when we saw them on that tour, turned to me and said “What is this shit?” How Greil Marcus of her! I dug that album and that tour. I was especially impressed with James Iha at that show, he was coaxing wild, bizarre notes out of his guitar. He reminded me of the Edge from U2.

Unfortunately, Chamberlin’s departure from the band began what has continued to be an almost constant churn in the line-up of the band. Chamberlin came back for Machina and a more rocking sound but then D’Arcy left. The band finally broke up in 2000 only to reform in 2007 with only Corgan and Chamberlin as members. Before I knew what was happening Chamberlin was out. The band was down to just Corgan and a guitarist named Jeff Schroeder for a while. They actually brought in Tommy Lee of Motley Crue fame to drum on 2014’s Monuments To An Elegy, an album I really dug. So it was a big deal when it was announced that both Chamberlin and to my delight Iha were returning to the fold in 2018 for Shiny And Oh So Bright. I liked that record – LP Review: Smashing Pumpkins, Iha’s Surprisingly Tentative Return ‘Shiny And Oh So Bright’ – although I have to admit, it was not the guitar assault I was hoping Iha’s return would have suggested. The line up at the time was Corgan, Iha, Chamberlin and guitarist Jeff Schroeder so you do the math – 3 guitarists and 1 drummer – I just thought it would rock harder. 

I’ve been waiting with great anticipation for what I assume will be called  “Shiny And Oh So Bright Vol 2.” I was delighted last week when I saw that the Pumpkins had released two new songs, the mysteriously titled “Cyr” and “The Colour Of Your Love.” And I have to say, like the last album, only Billy Corgan can have a band with three guitarists and record two songs that are keyboard based. “Cyr” is all keyboards and what sounds like drum machines. It sounds like what U2 has been grasping for lately, a current sounding song. I played it for the Rock Chick trying to find a modern equivalent in terms of sound – I was thinking the Killers, Imagine Dragons or someone like that. When she heard “Cyr” she said, “That sounds like hopped-up Coldplay.” Withering criticism at least in this house. I despise Coldplay. To me, it sounds like a song that would have fit nicely on Adore. Yes, I’d like more guitar but this song has such a great beat (something I never thought I’d write) and melody it drills into my brain. It’s very poppy. “Cyr” signals to me that Corgan is going to do whatever the Hell he wants to do. 

The better of the two tracks to me, is the second track, “The Colour Of Your Love.” On this track I can at least discern Chamberlin’s drumming. Again it’s not the guitar-assault you’d expect or hope for when Iha and Corgan are on guitar… It’s got a lot of keyboards. It’s of the same smooth, polished music that Corgan has been doing since Oceania. It doesn’t seem to matter whose in the band. There isn’t even a guitar solo on this track which is disappointing. It is a hooky song and again an infectious melody. These aren’t bad songs they’re just not what I expect when I think of the classic Smashing Pumpkins. 

For any of you hoping for “Bullet With Butterfly Wings” these tracks aren’t for you. If “Daphne Descends” from Adore is your thing, then you’ll really dig these songs. Again, they’re not bad, they just aren’t songs I’d recommend to anybody who isn’t a die-hard Pumpkins fan like me. One has to wonder how involved Iha really is with this new music or really with the last album if I’m being honest. I’m starting to wonder if they’re just paying him to be in the publicity photos. While I am still greatly looking forward to whatever these guys do next, I’m the last person to predict what the next album will sound like…I guess it’ll be whatever the Hell Billy Corgan wants to do. 

Be safe out there, Cheers! 

 

LP Lookback: In Praise of Led Zeppelin’s ‘In Through The Out Door’

*Picture of my original vinyl of Zeppelin’s ‘In Through The Out Door’ taken by your intrepid blogger

I like to think that I had to be drug onto social media. I am not nor will I ever be on Facebook even though I think it would help spread the word on B&V. A number of years ago my father called and asked if I remembered a girl I’d dated in college who I’ll call Tisha (name changed to protect the guilty, ie, me). “Why yes dad, of course I do, why?” He replied in the chilling words, “She hit my Facebook page.” At the time my father was 72. I don’t know what surprised me more, that Tisha would have reached out (it ended…poorly) or that my father would be on Facebook? A week later my father called me again and said, “Do you remember a woman from San Francisco named Karen (name changed to protect, well, me)?” I couldn’t help but reply,”Let me guess dad, Facebook?” Apparently the woman in question had left the message, “I only know one person with this name…” My father, ever the wit, replied, “Now you know two.” I think that sufficiently frightened the poor woman but I had to tell my father to either a) close this portal to my past, I’m married now or b) put a much clearer picture of yourself out there so these woman stop thinking I’m a 72 year old man. I mean I’ve lived hard, but not that hard…

All that was enough to keep me off Facebook forever… it’s a jungle out there. But when my daughter was old enough she started to dip her toe in the water on social media which, as night follows day, led my wife to a number of social media outlets. After a couple of hundred instances where my wife waived her phone in front of me to show me a picture of the Stones, I realized, ok maybe I should relent and get on a few of these things. So the actual reason I got on social media was to follow the bands I loved. It’s always rock n roll that drives me. Many bands would announce new music or new tour dates on Twitter or Instagram. It was just an alternative way to keep up with rock and roll now that terrestrial radio has all but died. As a side effect of being on social media, you can never really get away from the anniversaries of key events – birthdays, death anniversaries, album anniversaries, etc – of your favorite bands, albums, and rock stars. The month of August has been a momentous one: Springsteen’s Born To Run turned 45 last week and the anniversary of Stevie Ray Vaughan’s tragic passing was this week (Lookback: Stevie Ray Vaughan, Lost 30 Years Ago, Aug 27, 1990), all of which was duly noted, celebrated and memorialized on social media. I could have written something nice for Born To Run but the album whose release date was August 15th, a few weeks ago, is the one that caught my eye: Led Zeppelin’s final studio album In Through The Out Door. 

This blog is usually focused on new or vault releases from bands that have been around for a while. There are a lot of bands that I love who just haven’t released anything since I started this endeavor. Suffice it to say, I’ve never written anything about Led Zeppelin and I admit it might seem strange that I’d pick In Through The Out Door as a starting place, but this album will always hold a special place in my heart. I included it on my “Dirty Dozen” list of albums that only I seem to love, B&V’s True Confessions: The Dirty Dozen – 12 Albums That Only I Love… Time to Re-Evaluate?. The album came out on August 15, 1979 just as I was beginning my rock and roll journey. I had only been buying albums for about a year. In Through The Out Door was the first Zeppelin album I ever bought. If that’s how I started my actual journey through Zeppelin’s catalog why shouldn’t it be my first Zeppelin post here? When I was 13 I didn’t have a big back catalog of albums. And Zeppelin were always kind of mysterious to me… I knew “Stairway to Heaven,” “Dazed And Confused,” and “Whole Lotta Love” but not much else about them. A guy named Matt showed me a picture of Robert Plant in Biology class and I said, “Who’s that?” In Through The Out Door was the first record released after I’d started buying music so naturally it was my first Zeppelin purchase. I’m just happy I was alive when Zeppelin, the Who and so many other bands were still active. I wasn’t “all in” on Zeppelin yet, but in August of ’79 that was all about to change…

I remember in the summer of 1979 my parents got a new ‘Time’ magazine. I’d always flip through the pages. For once, that summer they had an actual rock and roll article and I was always starved for knowledge about this powerful new music that had changed my life. I remember the article cited a slump in album sales in ’79 and all the hopes of the record companies were pinned on Fleetwood Mac’s Tusk (which came out in Oct ’79) and Led Zeppelin’s In Through The Out Door. It’s odd what I remember. Fleetwood Mac were coming off the mega-success of Rumors and expectations were running high. Tusk ended up being a somewhat bloated double album and Lindsey Buckingham took them in an experimental direction. The album was considered a bit of a disappointment (not to me, I love that flawed, brilliant album) but it sold 4 million copies which is amazing. Granted, it probably pales in comparison to Rumors’ sales of a kajillion records. 

The Zeppelin story is a bit more complicated. I remember the Chili Peppers’ video for “Scar Tissue” where it looked like someone had beaten the shit out of the band. It made for a great video, but in the case of Led Zeppelin, by the time In Through The Out Door came out, that was virtually their exact situation. By 1979 it had been three years since they’d put out an album, 76’s heavy rock album Presence. Prior to Presence, Zeppelin were riding high on 1975’s double-album Physical Graffiti. On hiatus before a second sold-out tour of America, Robert Plant and his wife Maureen were involved in a car crash in Greece and Plant broke his ankle (which inspired the lyrics for the epic “Achilles Last Stand”). The band, really frustrated they couldn’t return to the States and the adulation and groupies went headlong into the studio and recorded that pent-up frustration on what became their heaviest album, the aforementioned Presence. 

Finally back in America for a tour in support of Presence, the band got the tragic news that Robert Plant’s son Karac had died of some mysterious disease. That was a tough blow. The rest of the tour was cancelled and Plant returned home to grieve. The mighty Zeppelin went silent for three years which was a huge absence at the time. A lot changed in music from ’76 to ’79. Punk had come to the fore. The Punks singled out Zeppelin in particular as “bloated, dinosaurs.” People were actually wondering if Zeppelin would return at all. There were rumors that Page was going to replace Plant with Roy Harper, a singer who Page had produced an album for (and Plant sang about on “Hats Off To Roy Harper”). 

When Plant finally came out of seclusion he was keen on taking Zeppelin in a new direction. He was deeply effected by the criticism of the Punks. I should have included Zeppelin on my post about rock bands who reacted to punk (How The Biggest Bands In the World Reacted Musically to Punk Rock in the 70s), because Zeppelin were a band who did react to Punk in a big way. Things within Zeppelin had also changed. Drummer extraordinaire John Bonham’s alcoholism had deepened to the point where it was becoming a problem. Jimmy Page’s heroin addiction had also gotten a lot worse. There had been a time of tax exile as well that had stressed the band. Cue up my “Scar Tissue,” video reference. This band was in a bad place. 

I tend to think about Presence and In Through the Out Door as the yen and yang of Led Zeppelin. Presence was heavy, hard rock, helmed by Page and Bonham. In Through The Out Door was lighter, experimental (almost art) rock, helmed by Plant and in a first, John Paul Jones. This was the first album where Jones had a writing credit on most of the songs. The sound had fundamentally changed as well on this record. In Through… didn’t sound like any of the previous Zeppelin albums. That’s partially because Plant was energized and pushing for a new direction but it’s mainly because neither Bonham or Page showed up very often in the studio, bogged down by their addictions. John Paul Jones had a new keyboard, the Yamaha GX-1 synthesizer and he and Plant sat around writing songs, playing with the synth. 

While long time Zeppelin fans were disappointed with this album it did single-handedly save the music industry in ’79. It sold 1.7 million copies right out of the gate and went on to sell six million copies. It was a number 1 album for Zeppelin. Despite all that, Bonham and Page had said that on the next album, they were going to take over again and the mighty Zeppelin would rock again… alas, that never came to be. 

The first track that ever got played in Kansas City from the album was the single, “All of My Love.” People may consider it lightweight but I always dug that ballad. Zeppelin didn’t do many ballads. I was always told that the person Plant was singing about wasn’t a woman but his late son, Karac. I don’t know if that’s true, but I bought that rumor. It made it a more poignant song for me. Yes, it’s synth washed but it’s a great ballad. I didn’t buy the record immediately though, when you’re 13 you have to buy macho albums with macho songs… I had to wait for the second single, “Fool In The Rain.” It had something Zeppelin rarely had – a sense of humor. This was Bonham’s shining moment on this album for me. Sure the small drum solo isn’t “Moby Dick,” but it showed for me that he could still be captivating. 

The track that makes this album a must-have for me is the epic opener, “In The Evening.” When I told the Rock Chick I was writing about this album she crinkled her nose and said, “Its an OK album but I do love “In the Evening.”” Indeed. It’s got a great riff and an infectious melody. Having started with a great track the album also ends on a great song, the bluesy “I’m Gonna Crawl.” I have to admit, “I’m Gonna Crawl” sounds like the only track Page was fully engaged on. He seems kind of checked out for the most part on the record, I’ll fully admit. But when he did show up he kills it. 

A lot of people don’t dig “Hot Dog” a rockabilly, country rock throw away but it always makes me smile (Playlist: Favorite Country Rock Songs – Rockers Going “Country-ish,” Hidden Rhinestone Gems). “South Bound Suarez” may not be “Rock And Roll” but it’s a solid a rock and roll tune. The only track on this album that leaves me slightly cold is “Carouselambra” but that’s probably because it’s such a long track. I can remember my buddy Matthew playing his cassette copy of the album at the drive-in theater at a “Row Party” we had out there and just cranking “Carouselambra.” It’s a fond memory… 

There were other great songs that came out of the sessions for In Through… that they held back and eventually came out on Coda. “Wearing And Tearing” was directly addressed to the Punks, “Ozone Baby” and “Darlene” were all tracks that would have fit in well on the album. I remember reading in ‘Hammer of the Gods’ Plant wanted to release an EP with those three tracks prior to the actual album coming out. I think that’d would have been interesting. 

In Through the Out Door isn’t Zeppelin’s finest album. I think it can be seen as a transitional album. Zeppelin was leaving their blues rock past and heading in some new and exciting directions. It is a very forward looking album. The roots of Plant’s early solo work can be certainly heard here. The sad part of the story is we never got to hear where Zeppelin would have taken this next. During the rehearsals at Jimmy Page’s house for the American tour to support this album, John Bonham consumed a superhuman amount of vodka and died. The band couldn’t see a way forward without their mate. John would have been really hard to replace. 

While this album might not be anybody’s favorite Zeppelin album it’s still a worthy selection from their great, great catalog. I urge everyone to put this on and evaluate – or probably more accurately re-evaluate – this great album. 

Be safe out there. Cheers! 

Lookback: Stevie Ray Vaughan, Lost 30 Years Ago, Aug 27, 1990

*Image of SRV taken from the internet and likely subject to copyright

August 27th, 1990 will always be, for me, if I may paraphrase FDR, a day that will live in Blues Rock infamy… B&V has always focused on new or vault releases from established rock artists who have been around for a while. I like to turn people on to stuff they might not be aware of, its easy to lose track of certain artists. Doing that though has meant there are a lot of artists that I love that I haven’t had the chance to write about. The grim 30 year anniversary of the loss of the magnificent Stevie Ray Vaughan compels me to write about the guitar legend…

I remember when I was a kid all the “adults” who were my parents’ age would occasionally talk about where they were the day President John F. Kennedy was shot and killed. My mother, for those interested, was watching ‘As The World Turns’ while ironing in the living room of my parents’ apartment. Although, in truth, that was probably what she could be found doing on most days. I wasn’t alive yet when JFK was assassinated but I can relate to that “I remember where I was when…” vibe (It Was 42 Years Ago Today… The Loss Of The King… Elvis Presley. Where I Was…).

The year 1990 was a momentous one for me. In mid January, I marched into the office of my corporate masters and resigned my position in Arkansas. My last day was February 1st. I arrived home at my less-than-ecstatic parents’ house in a U-Haul with my meager possessions and a slight hangover. I have a vague memory of a box of Playboy magazines tumbling out of the U-Haul at the feet of my Sainted Mother during the move-in with one magazine falling open to the provocatively posed centerfold, a rather awkward moment… My poor, long suffering mother. What can I say, Arkansas was a lonely place. I had moved my stuff into my parents’ spare room, but to say I was “staying there” is a bit of a misnomer. I left there more often than I was actually there. I went to the Kentucky Derby in Louisville, went to see friends in Chicago and even returned to Arkansas to see the friends I’d made there. Living under the constant disappointed glare of my father was getting uncomfortable so eventually I decided I was going to go to Europe for a couple of months… travel the Continent. Perhaps write the Great American novel… or the decent American blog, years later.

I left on July 3rd of that year, but by the time I landed in Rome it was the 4th of July. I’ve been in Rome exactly twice in my life and both times they’ve had a record heat wave. Next time I go, it’ll be in a random winter month. Anyway, I transversed the continent from Italy to Germany to Spain and France and then to the British isles. It was a great, life-altering trip. I even got to see Roger Waters in Berlin (I Attended: Roger Waters & Special Guests, ‘The Wall’ at the Berlin Wall, July 21, 1990). I finally ran out of money and travelled back to Kansas City in mid-to-late August. I had gotten in the habit of walking around all day while I was in Europe (where I’d lost some weight too), and to keep that “exercise-regimen” up, I’d get up in the mornings and walk this four mile trek I’d laid out near my folks’ place. By August 27th, I couldn’t have been home for more than maybe a week? It started off like most of my unemployed days that year, I got up, grabbed my radio “Walk-man” and took off down the trail.

I was listening to the local rock and roll station when they announced there had been a helicopter crash outside of the Alpine Valley amphitheater, out in the boondocks between Chicago and Milwaukee. I knew the theater as my friends Doug and RK had taken me out there less than year before that, the previous September, to see the Rolling Stones on the Steel Wheels tour. The DJ mentioned that Eric Clapton and Stevie Ray Vaughan had both played the night before and no one had been able to locate either one of them but it was believed that one of the performers had been killed. My walk slowed to a crawl as I took this in. I remember standing on the trail when I had this horrible thought at the time – and I’m not proud of this at all – I hoped it was Clapton and not Stevie Ray. It’s not that I wanted either of them dead nor did I wish Clapton any particular ill-will but if I had to choose at that point in time I wanted Stevie Ray to survive.

Clapton, by 1990, was pretty much a spent force, or so I thought. He’d go on to record a few interesting albums, but for the most part he’s chosen to fade away vs burn out… good for him. But any creative fire from Clapton was going to be, well, few and far between. But Stevie Ray Vaughan… he was, in my mind the future of blues rock guitar. I had been an early adopter on SRV and his fabulous backing band – Chris “Whipper Layton on drums, Tommy Shannon on bass and later Reese Wynans on keyboards. Stevie Ray Vaughan and Double Trouble did a lot to usher in the blues/blues rock revival that happened in the 80s/90s. There would be no Kenny Wayne Shepherd or Jeff Healy with out Stevie Ray… The venerable bluesman Robert Cray had a big success in 1986 with Strong Persuader a great album but one has to wonder if he’d have had that success without Vaughan blazing the trail before him. You have to remember, this was the 80s – synth rock, New Wave bands were everywhere… and the bands that weren’t post-punk, new wave, were Hair Metal bands. Stevie didn’t wear make-up or put hair spray on his head, he wore a hat reminiscent of Zorro. And that guitar – the tone, the sound, the amazing solos. Old school blues played that ferociously was definitely swimming up stream in the 80s. 

I bought, and still own (on vinyl), SRV’s debut, landmark album, Texas Flood (1983). The album was steeped in the blues which always seemed to be at the root of all the music I loved. Double Trouble had played the Montreux Jazz Festival to great aplomb in ’82. They blew everybody in the audience’s mind including David Bowie who invited Vaughan to play on his LP, Let’s Dance, which was a commercial resurgence for Bowie thanks to SRV’s awesome leads. When Stevie Ray backed out of the ensuing tour in order to record his debut it caused quite a stir. All publicity is good publicity I guess. When I first put on Texas Flood, I was blown away. You could hear the influences – Howlin Wolf, Willie Dixon, Albert Collins and Freddie King – but you knew this was a guitarist who was going to make the blues his own. The title track remains a favorite of mine. I even love the track “Mary Had A Little Lamb,” a live favorite, originally arranged by Buddy Guy. “Love Struck Baby,” and “Pride and Joy” are blues rock staples. It’s maybe my favorite of his records.

The two ensuing follow-up albums, while not as towering an achievement, are must-have albums. Couldn’t Stand The Weather (the title track had a great video) was criticized for too few originals, but Vaughan had the balls to tackle Hendrix’s “Voodoo Child (Slight Return)” and it is epic! “Tin Pan Alley” was a first take. The follow-up LP, Soul To Soul contains some of my favorite SRV tracks – “Change It,” “Little Sister,” and “Lookin’ Out My Window” are all great tracks. The final track, “Life Without You” is one of his finest, underrated songs. It’s a great, my baby has left me songs. Stevie played the blues but man could he rock. 

Unbeknownst to many of us outside the world of musicians, Stevie had some demons. He had started drinking when he was a little kid – stealing nips from his alcoholic dad’s bottles. As and adult he’d added cocaine to the mix. I remember reading that he’d mix the cocaine into the whiskey and that he had an ulcer. We like whiskey around here but please folks, don’t add Coke of any kind to your bourbon, it spoils the taste… I know he collapsed on stage one night in Europe and I always assumed that was the ulcer, but everything I read said it was dehydration. 

Finally, he went to rehab. And he came out clean. And, perhaps this is why I had that awful thought on August 27th of 1990, hoping it was Clapton and not SRV in the helicopter. After getting clean Stevie put out the best, most rocking album of his career, 1989’s In Step. He was attacking rock n roll/blues rock with an all new ferocity and energy. Songs like “The House Is Rockin'” or the lead single, “Crossfire” were great rock n roll songs. There were great blues too like “Leave My Little Girl Alone,” and Howlin Wolf’s “Love Me Darlin’.” He had finally straightened out his life and was making the best music of his career and then, tragedy struck and as I learned on that lonely trail in 1990, it was Stevie Ray Vaughan in the helicopter. I was crushed. I know it’s cliche and they always say about an artist who dies  young, that the artist was on the verge of something new, some different direction. But in the case of Stevie Ray, I believe that may be true. I cite as proof, the last song on In Step, the epic “Riviera Paradise.” Clocking in at almost 9 minutes, it’s like nothing Stevie Ray had done before. It’s one of the most beautiful pieces of music that I’ve ever heard. It points in so many directions that Stevie Ray could have taken, if only… 

One of my greatest regrets is I never saw Stevie Ray Vaughan live. I know my college roommate saw him open for Huey Lewis & the News… the balls on Huey Lewis to invite those guys to open? Wow. There’s a blues roadhouse that I used to like to go to every now and then, especially on Sunday nights, B.B.’s Lawnside BBQ. On one wall behind where the bands usually set up is a giant mural of all the blues greats. B.B. and Muddy are in the center. Off to the right, down in the corner is the image of SRV, kneeling with the hat and poncho from the In Step album cover. If you look around, you can see a concert poster for a show he and Double Trouble played at a small blues club that used to be downtown, the Grand Emporium… admission was like $4. Oh to have been in the Grand Em that night… for only 4 bucks. 

I can’t believe it’s been 30 years to the day that we lost Stevie Ray. Where’d all that time go… I urge all fans of B&V, blues and rock n roll to check out Stevie Ray’s body of work. There were a couple of posthumous LPs released (one with his brother Jimmie) and a great live LP, Live At Carnegie Hall that I didn’t mention above that merit attention from everyone. 

Stay safe out there and remember, no Coke in your bourbon, folks. R.I.P to the one of the greatest of all times, Stevie Ray Vaughan, thirty years down the line. 

 

Tom Petty: New Vault Song, “There Goes Angela” From The Upcoming ‘Wildflowers’ Box

It’s no secret here at B&V how much I love Tom Petty (RIP Tom Petty, 1950 – 2017, A Devastating Loss: The Composer of the Soundtrack to My Life Is Gone). From the moment I purchased Damn The Torpedoes shortly after it came out, I’ve been on the Petty bandwagon. I’m still shook by his loss. He and his backing band The Heartbreakers – Mike Campbell on guitar, Benmont Tench on keyboards, Ron Blair (and later Howie Epstein followed by Blair again) on bass and Stan Lynch (later Steve Ferrone) on drums – were one of the most formidable rock and roll bands in the world.

It would be very, very difficult for me to pick a favorite Petty album. But, like most people, I’d have to say Petty’s second “solo” album Wildflowers would be on the list of nominees. While it was called a solo album, like Full Moon Fever before it, most of the Heartbreakers save for drummer Stan Lynch played on the album. Petty and producer Rick Rubin wanted more flexibility than working within the confines of the 5-piece Heartbreakers so they categorized this as a solo project. I guess Petty felt freer in that atmosphere. Stan Lynch could be a bit rigid in the studio, or so I’ve read. Sometimes you gotta shake up the chemistry, the vibe. Steve Ferrone played drums on Wildflowers and basically took over on drums for Stan Lynch after this album. Years and years later Ferrone would still be known as “the new guy.”   

Wildflowers was released in November of 1994 which seems like a lifetime ago now. That year, 1994, was an amazingly tumultuous year for me. I had a “milestone” birthday and as I much as I hate to admit it, I think it freaked me out. I felt my youth was slipping away. I was at loose ends. I was working for a medical supply company, a criminal outfit out of Chicago… I think they did most of their recruiting from prisons, a history of theft was considered an attribute… and I wasn’t making any money. I kept thinking my career was over. Emotionally I’d remained so walled off I had stayed unmarried while most my friends were “married with children,” as Frank Sinatra sang. Being a gypsy from an emotional standpoint was beginning to get old. It kept me protected but it also made me isolated. I was spending more and more time alone. 

Eventually that led me to a very, very destructive relationship. Looking back, if I was being honest about it, I have to admit that I was as bad or worse for the woman I was seeing than she was for me. I own my part of it. Sometimes we choose to jump into relationships for all the wrong reasons. There were breakups, betrayals, heartbreak and money lost. It ended up consuming two years of my life that would have been better spent working on “me” a little bit. I hope wherever that person ended up, she’s in a better place. I certainly know I am. 

In the midst of all that, Tom Petty dropped Wildflowers. I remember being blown away by the album. There were some great Heartbreaker style rockers that I just loved and that rank amongst Petty’s best tunes – “You Wreck Me,” “Cabin Down Below,” and “Honey Bee.” But perhaps because of where I was in the midst of my “mid-life crisis” (I hope it wasn’t a mid-life crisis, if that was the  midpoint of my life I’m gonna die pretty young), but I was really drawn to some of the quieter more introspective moments on the album. The title track remains one of my favorite Petty tracks. “Time To Move On” is a great song that should have been a sign from the Rock N Roll Gods, that yes, it was time for me to move on from where I was at. “Crawling Back To You” contains my all time favorite Petty lyric, a phrase that could sum up my entire adult existence, “Most things I worry about, never happen anyway.” Every track on that album was a standout. 

Little did I realize at the time, but Petty’s original concept for Wildflowers was for it to be a double album. Petty, before he died, mentioned all the leftover music from the sessions and his plans for releasing all the additional material in a package he was going to call Wild Flowers: All The Rest. Unfortunately Petty tragically passed before he could see that project come to fruition. And, as happens too often with rock stars, there was a legal battle over his estate. His daughters and his second wife sued each other for control of the estate and the back catalog. All of that legal crap has prevented us from hearing any of this “leftover” material. I do have a bootleg copy of the B-side track, “Girl On L.S.D.” that I’ve been hoping to see officially released. It’s a funny song. I think I included it in my Petty deep tracks playlist, Playlist: The B&V Best Tom Petty Album/Deep Tracks

Back in 2015 Petty actually released a song that was teased as single from the “soon to be released” expanded Wildflowers, “Somewhere Under Heaven.” Then of course, tragedy struck, legal battles, etc etc. Apparently juris prudence has prevailed, legalities have been settled and the long-awaited deluxe package is finally going to see release this October. To tease the box, they’ve released an early version of “You Don’t Know How It Feels (Home Recording)” which is fitting as that was the first single from the original album. Recently they also released “Wildflowers (Home Recording)” an early roughed-out version of the title track. Those tracks are interesting to obsessives like me, but I wanted to hear something I hadn’t heard before… 

Earlier this month, the Petty camp released a song, “There Goes Angela (Dream Away) [Home Recording}.” Seeing that “[Home Recording]” on the title made me think, ah, another demo. And yes, this probably should be considered a demo but it’s more fully realized than most demos. Petty was in fine voice during the Wildflowers session and this track is even more evidence of that. I love his plaintive vocal. The track is a ballad in line with “Wildflowers.” I played it for the Rock Chick and she had the same response that I did upon hearing it. She said, “Wow, that’s really pretty.” It’s quiet, strummed guitar, beautiful vocals punctuated with harmonica. I think this track would have fit nicely on the original album without any additional production or instrumentation. I love the lyric, “Have a dream on me…” 

I am delighted to see this long awaited box coming in October. And I have to say, I’m delighted by how great a song “There Goes Angela” is. I think this is going to be a fascinating look at the creative process Petty took in creating Wildflowers but this song is proof that there’s also going to be some great, unheard music on this thing. I urge everybody to check this track out, post haste. 

Be safe out there. 

 

Review: Liam Gallagher, ‘MTV Unplugged (Live At Hull City Hall)’ – Unplugged Redemption?

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Relationships can be very complicated. The most complicated relationship, in my opinion, has to got be marriage – the intermingling of two, non-gender-specific souls for (maybe) life. Love is love here at B&V. I mean, if it lasts any amount of time marriage is certainly going to be complicated. As I’ve stated here before, I’ve always viewed marriage (and all relationships, really) as the classic Venn Diagram. If you remember from grade school, a Venn Diagram is two overlapping circles. The two circles each represent individuals in the relationship. The overlapping part is what they share – common interests, goals and likes/dislikes. The non-overlapping part is that part of ourselves that sustains itself outside of the relationship or better put, it’s the extra stuff we bring to the table.

Really, any aspect of your relationship – and this could be any relationship not just marriage – could be represented by the Venn Diagram. This is never more true than when we talk about music. When I met the Rock Chick, luckily we had a ton of shared, loved music. But there was a lot of great music she turned me onto that I had missed. She turned me onto the Cult, Motley Crue, and helped me rediscover Green Day, amongst many other bands. I like to think I turned her onto some music, but other than expanding her interest in the Stones, I can’t really say what that might be. Now, if I may continue the whole weird Venn Diagram thing, there was music that was…”outside” the overlapping part, if you follow me. No band represents the Rock Chick and my musical divergence more than Oasis. My God, she loves Oasis. And I was, well, lukewarm at best.

Speaking of difficult relationships, Oasis was founded by two siblings, Noel and Liam Gallagher in Manchester, England. If ever there was a poster child for brothers not forming a band, it’s Oasis (The Mark of Cain: When Brothers Form Bands). These guys made the Robinson brothers in the Black Crowes look like the Walton family. Any time they were on MTV being interviewed they had to use subtitles. The brothers Gallagher argued so much they imploded any goodwill and momentum they had in the States. Despite that, their late career albums were kick ass – especially Don’t Believe The Truth and Dig Out Your Soul. In the early ’00s, whenever we had a party I’d labor over playlists, mixing and weaving all these great tunes together to play for the bash and mesmerize my friends. Invariably 30 minutes into it my wife’s friend, who I’ll call Rich because that’s his name, would sidle up to me and say, “Say dude, can we put on the new Oasis’ album?” Apparently the Rock Chick was not the only fan of Oasis in my new reality of being married. So much for my playlist, crank “Lyla.”

It didn’t help that the Rock Chick and I trekked all the way out to Denver to see Oasis live at Red Rocks. I will admit they were amazing that night – it helped that we were in the front row, which really makes you feel like you’re part of the show and its a majestic venue. Unfortunately, the evening took a sour turn when Liam caught me air-guitaring to one track and mocked me shamelessly… he put up one hand, strummed the other and sort of shimmied his hips. I laughed, but clearly I was wounded. I keep promising the Rock Chick I’ll get over it… and I will admit the whole “air-guitar” thing wasn’t exactly cool. I’ve sort of stopped doing that… every time I did the Rock Chick would do that same Liam imitation with the feminine hip shimmy. It took the joy out of it but I’m getting off point here.

Oasis finally broke up. I read somewhere that Liam had gone so far as to question the paternity of one of Noel’s daughters. Really ugly stuff there. And while I’ll always begrudge Liam ruining my air guitar jones, Noel is no saint. I’ll probably never forgive him for calling Michael Hutchence of INXS a has-been at that European awards show (Review: Documentary, ‘Mystify: Michael Hutchence’). Karma did catch up with Noel and Oasis is no more. I know a lot of fans clamor for Oasis to reunite – especially in the UK and well, in my house – but to me, the farther Liam has gotten away from Noel, the better I think he gets.

When Liam and the rest of the gang from Oasis split with Noel they formed Beady Eye. While the second album never saw release here in the U.S., and I may be crazy but I thought Different Gear, Still Speeding was a great record. When Beady Eye imploded I read somewhere, in response to Liam suggesting Oasis reunite, Noel said that Liam needed to go solo and “put it out there.” Apparently Liam was listening because he released a solo album shortly after that, his first. Now, I have to admit, of my own volition I would not have followed Liam into his solo career but I am still married to the Rock Chick, thank God, and she bought his first LP As You Were and to my surprise that album delivered the goods (LP Review: Liam Gallagher, ‘As You Were’ A Pleasant Surprise From an Unpleasant Man). Then, he did it again on the follow up Why Me? Why Not. (LP Review: Liam Gallagher’s ‘Why Me? Why Not.’). Again, the farther away from Noel he gets, the better his music gets. Even I have to admit, the guy was one of the best vocalists to come up in the 90s. And his “angry young man” thing has turned into a sneering curmudgeon-y thing that I can sort of relate to. “You kids rock but get off of my lawn.”

Just a few months ago (in June), Liam released a new live album, MTV Unplugged (Live At Hull City Hall). Many of you may remember in August of 1996 that Oasis performed on MTV Unplugged and it was an unmitigated disaster. At the last minute the band announced that Liam “wasn’t feeling well” and that Noel would sing all the songs. “Wasn’t feeling well” was a euphemism for Liam being drunk… utterly shit-faced. While Noel gamely tried to sing all the big Oasis tracks he just was, well, not Liam. For his part, Liam sat in the balcony, drinking, throwing limes at the band and heckling them. And people wonder why I couldn’t get into Oasis? Kind of a dick move, Liam.

As many regular readers know, I’m a big fan of the Unplugged series, B&V’s Favorite MTV “Unplugged” LPs. And, in conjunction to that, I’m a huge fan of live albums, period (BourbonAndVinyl Comes Alive: The Epic List Of Essential Live Albums). Who doesn’t love a good live album? And folks, this is a really good live album. Liam has returned to MTV Unplugged and has yes, redeemed himself this time. He even asks, “Who gets to do MTV twice?” – the answer Liam is R.E.M. and Neil Young – before mumbling “Actually, once.” His great voice, which only seems to get better with age, paired with acoustic guitar and strings (the orchestra is really top notch here and would make classic Elton John jealous) is just fantastic. As a bonus for the Oasis fans, Paul Arthurs aka Bonehead (a rather unfortunate nickname), a founding member of Oasis shows up on four of the songs. Maybe not the Oasis reunion we want, but perhaps the Oasis reunion we deserve? (I just can’t resist a Batman reference, can I?).

The tracks are an even mix of Liam solo tracks (5) and Oasis tunes (5). After starting with the great As You Were opening track “Wall of Glass” Liam jumps into the Oasis catalog with “Some Might Say.” I have to say, the audience is adoring. Between tracks they yell “Liam, Liam” lustily. After a couple of Why Me? Why Not. tracks Liam does the Be Here Now track “Stand By Me” to the delight of the crowd. Then in a cheeky move, he sings “Sad Song” a Noel-sung bonus track from the deluxe version of What’s the Story Morning Glory. Great deep track and yes, much better with Liam on lead vocals, sorry Noel.

He weaves from solo to Oasis tracks seamlessly until the inevitable, yet still beautiful closer “Champagne Supernova.” It was a really great ending. The first time the Rock Chick played this for me, I thought, man that’s good. But I never dreamed I’d go back to it. However, whenever I decide to go musically exploring out on Spotify, to hear things I haven’t listened to in a while or haven’t ever heard at all – I find myself returning to MTV Unplugged Live At Hull City Hall. This isn’t Thin Lizzy’s Live And Dangerous or the Allman Brothers Band Live At the Fillmore East, no this is nothing that epic. But it is a great, solid live album with fantastic vocals. It’s an addictive listen and I recommend any fans of Oasis or Liam to check this one out. I think you’ll be rewarded.

Be safe out there! Cheers!