Review: Billy Idol With Steve Stevens – The New EP ‘The Cage’ – Superb, Prime-Idol Rock n Roll, Yes!

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It’s been about a week and half since Billy Idol and his wonderful partner in crime, guitarist Steve Stevens, released their latest EP The Cage and man, it’s simply superb. It rocks so hard it makes me feel like it’s 1983 and I’m going to take the t-tops out of the Camaro and drive up and down Main Street with my car stereo turned up to 11… maybe grow my mullet back. I must confess, prime Billy Idol always puts a little steam in my stride.

I feel bad I’m only now getting around to writing about this new Billy Idol EP. With new LPs by Ozzy Osbourne (Patient Number 9) and Starcrawler (She Said) combined with going to see the Cult in concert here in KC last week (a very special evening) my rock n roll cup “runneth over” so to speak. Late summer and fall have always been my favorite times of year and this year is no exception. Great music to go with the great weather. Soon I’ll be sitting on the patio in the “wee small hours” with headphones and (yes!) a sweater on while nursing a tumbler of sour mash and ruminating on… everything.

Billy Idol burst onto the scene as a solo artist after leaving his first group, the English punk band Generation X in the early 80s. He somehow connected with guitarist Steve Stevens and things took off from there. His first album came out in the summer of 1982 and I’ll have to admit, I don’t remember hearing any Idol in KC on the radio at the time. Of course I was immersed in Van Halen, Journey and the Robert Plant at the time… I do remember after going to college in the fall of that year (gads, has it been that long?), seeing – not hearing – Billy Idol on MTV. You read all the time about how MTV helped certain artists’ careers and it’s true for many. For Billy Idol, to a bunch of beer drinkin’, Midwestern kids just out of high school I have to say Idol was kind of hurt by his videos in our circle. What can I say, we were small minded. Were we just afraid of punk rock? Punk had already affected all of our favorite bands, so why the fear? Idol’s blonde, severe crew cut and leather clothes put us off for some reason. He was always snarling and punching the air. We were used to rock stars that looked like hobos – long hippy hair, a couple of guys with beards (usually at least the bass player or the drummer), all dressed in blue jeans and tie-dye. Actually by the mid-80s it was more likely our rock stars were wearing spandex and yet we were still put off by Idol?

I remember working in the kitchen where I lived that fall of ’82 and hearing “Hot In The City” on the local (mostly pop) radio station and really digging it. Of course I had no idea it was Billy Idol. I remember thinking, while hearing the song and melting in the heat of the dishwasher (I could never get away from crappy kitchen jobs) and thinking, “This guy is a real crooner…he sounds a little like Jim Morrison.” Then I’d go to the common room and MTV would be on – because it was always on except football Saturdays/Sundays – and see “Dancing With Myself” and think, “This punk rock guy is crazy, he’s killing zombies.” I was listening with my eyes and not my ears. I don’t know if I’m the only one who let video imagery turn me off a band? I was the same way with Guns N Roses, I’m embarrassed to admit. If you’d blind folded me and tied to me a chair – and I had a girlfriend at the time who tried once – and made me listen to the music I think I’d have jumped right in on Billy Idol. I remember hearing “Eyes Without A Face” on my car stereo and then going to work and singing “Steal a car go to Las Vegas, oh the gigolo pool…” on the loading dock until my foreman Howard said, “Shut up and load the barrels on the truck.” It was then that I started to think Idol might actually be, well, “ok.” But of course by early 1984 everybody’s hair had kind of taken a step toward the more chaotic so maybe I was more emotionally prepared to accept a guy with a blonde crew cut by then. Finally, somewhere in there, a guy named Walt (name changed to protect the guilty) moved in with us and he had Rebel Yell on cassette. Man, we wore that thing out. “Blue Highway” is still my favorite track from that album and should have been a hit.

I have to admit, after Charmed Life in 1990, I sort of lost touch with Idol. He put out a couple album over the first 15 years of the new millennium and while I was hoping for the best I couldn’t connect with them. Then, last year in late summer he released an EP entitled The Roadside. I think he and Steve Stevens may have found the perfect vehicle to release new music. EPs only have four songs they have to focus on. The lead track from that one was “Bitter Taste” and it’s not only one of Idol’s best songs EVER, it’s one of the best songs I’ve ever heard, period. Oddly, despite absolutely loving “Bitter Taste,” and shouting that fact from the rooftops, I didn’t review The Roadside. I’ve gone back and listened to it. “Rita Hayworth” and “You Don’t Have to Kiss Me Like That” are strong tunes. I remember being oddly disappointed when I heard the rest of the EP. I think “Bitter Taste” was so huge it eclipsed the rest of the songs to me. And admittedly, I didn’t like the ballad “Baby, Put Your Clothes Back On,” because… who says that?!? to anyone? But in retrospect The Roadside was a fine comeback for Idol.

The Cage is definitely a harder rocking affair than the previous EP. The lead off track, which is nominally the title track, “Cage” is just a huge hard rocking track that I can hear people in the arena singing along to. I can’t say enough about how great Steve Stevens’ guitar is. I have reviewed this song already, so I don’t want to beat the dead horse, but it’s a great rock n roll anthem. And I will say “Cage” was in high rotation here to end my summer.

The next track is “Running From The Ghost” and it’s a stunner. It covers a lot of the same themes that “Bitter Taste” did. A man looking back at his checkered past not with regret but perhaps more resolve. It’s a “yeah it was tough but it was what it was” kind of track. It starts with just Billy’s voice and a piano. I thought it might be a ballad. But then then some light percussion and strings come in. You can feel the track building. And then Steve Stevens’ guitar pops in and melts your face off. Guitar notes hitting you fast and furious. It’s a great, great song in the car. Billy sings over rumbling drums while Stevens weaves his guitar in and out through out the song. “I’m running from the ghost, the ghost inside of me, heavy on my mind.” Talking about ruminating over a tumbler of sour mash… Great guitar solo from Stevens on this track too. It ends the way it started, with just Idol’s voice (which may be treated) and that haunting piano. Splendid stuff.

The third track, “Rebel Like You” of course harkens back to Idol’s big song “Rebel Yell.” It starts with the sound of a motorcycle. It’s about the singer meeting his soulmate in the front row of a show. It’s an upbeat, bouncing rocker with an infectious chorus, “Yeah it’s alright, now you’re here.” I wish I could have written this track for the Rock Chick. I totally get the vibe. Like “Cage” I could see this track bringing the crowd to it’s feet with arms thrown in the air. I can’t get over how great Billy and Stevens sound on these rocking tracks. He obviously had some pent up energy to expend after the lockdown.

The last track is “Miss Nobody.” I’ll admit it’s a complete left turn. It’s still upbeat. Idol actually speaks the lyrics vs sings them. There are background singers… it’s kind of, well, Vegas-y. But I still really like it. I think the Rock Chick is a little more reserved about the track but while I blasted the new EP in her car on Saturday for her she could see I was into it and didn’t say much. Idol sets the scene in the first lyric, “I was walkin’ ’round MacArthur Park, It was late night and the streetlights sprayed the dark.” Idol just sounds like he’s having a great, naughty time and who isn’t down for that? The track is like nothing I’ve heard Idol do, and yes, when the back-up singers sing the chorus they overwhelm Idol’s voice a little and I understand if I alone dig this tune but I’m into it!

This is great new music from Billy Idol and I think none of us would have guessed he’d still be this vital in 2022… I’m sure many of us would have guessed he wouldn’t be here in 2022 but let’s not get negative. Everybody needs The Cage on high volume. When I reviewed the song “Cage” I said that Idol had arrived to “save summer.” He may just be saving my early fall as well! Turn this up to 11… get out the Camaro (but don’t drink and drive) and have a ball!

Cheers!

LP Review: Starcrawler, ‘She Said’ – They Expand Their Sound Palette On Their Strong Third Album

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I feel like I’m a little late to the game in sharing my thoughts on Starcrawler’s great new LP She Said. I think it’s been out a couple of weeks now and I’m just getting around to talking about it. It’s been a crazy two weeks. I had company here at the house so that always blows a hole in the music listening schedule. It’s frowned upon when I hide in the B&V labs listening to obscure B-sides on headphones when the house is full of company. And then, while I was drinking on the balcony with family, we had a flood of great releases: Ozzy’s new album Patient Number 9, CCR had their great vault release At The Royal Albert Hall, and then Beck surprised me Sunday night by releasing a Neil Young cover “Old Man,” on a commercial no less (terrible motive, great song). I had to comment on that one… And of course this week on Tuesday I went to see the Cult who roared into town and blew the roof off the Uptown Theater. How can a poor boy keep up with and listen to all of this rock n roll!! I think fall is going to be great for music!

A lot has happened in the world of Starcrawler since their last LP, 2019’s Devour You. Well, if I’m being honest a lot happened in the world since 2019. After the Rock Chick turned me onto Starcrawler, I actually got a chance to see them live right after Devour You came out. It was a great show and I really like Devour You. But then the pandemic and lockdown hit and like every other band out there Starcrawler was grounded. And like most bands they turned to writing the next album. I read a story about Arrow de Wilde (lead singer) being in her apartment and Henri Cash (lead guitarist) coming over and sitting outside her window, playing her the beginnings of “She Said,” the title track. She sang lyrics at him from the balcony “like Romeo and Juliet.” There were additional changes for Starcrawler since that last LP. Founding member Austin Smith (drums) left the band. He was replaced by Seth Carolina. I always worry a change in the line up can hurt band chemistry. Then Henri Cash’s brother Bill Cash joined the band to augment their sound. Bill not only plays rhythm guitar, he also plays pedal steel which I find fantastic. Tim Franco remains the band’s bass player. Starcrawler carries on now as a five-piece band.

Beyond all of that Starcrawler signed to a major label, Big Machine Records, after being on a small independent label for their first two LPs. I had forgotten their raunchy, punk rock debut was produced by creepy Ryan Adams but I’m off topic here. I couldn’t help but think about Social Distortion, another Cali punk band who made a huge leap forward between their second LP and their major label debut third LP. I mention all of this just to again frame the fact that a lot has happened to this band in the last three years. Not to mention they always seem to be on tour since the lockdown lifted. They’ll go from KC to Minny to NY to the UK to South Korea. They’re certainly putting in the roadwork. I actually just saw Starcrawler again a month and a half ago, before the new LP came out, and they were as usual, sensational. While they remain untamed rock n roll electricity on stage, they’ve toned down the blood spitting antics but they still bring it live. They’re thrilling to watch. Seth Carolina was great on drums and I love the addition of Bill Cash…chemistry intact. I wish I’d seen them right after the LP came out – I totally mis-identified an acoustic track they did and called it “Runaway” and it turns out it was “Better Place.” I didn’t have a setlist to go from. They played two acoustic songs and I do believe one of them was a stripped down version of “Broken Angels.” It was guess work and weak detective skills using the internet that caused the mistake. My apologies for the error.

I really like She Said. While the band has come a long way from the debut, especially in terms of songwriting (there are no songs like say, “Pussy Tower” about “head” on this album), I can still hear their influences: punk rock (maybe a bit of the Runaways), classic rock (Stones/Faces), and a dash of Glam Rock (Bowie’s more butch-y moments). The LP was produced by Tyler Bates who is more well known for doing movie scores. Perhaps he gives the LP it’s more cinematic scope. While I do think this is a step forward for Starcrawler, I see it as more of a consolidation of the large leap they made between the debut and Devour You. Some bands do defy the “sophomore slump.” Although as I think of this as a consolidation of gains made on the second album versus a large leap forward, I can’t help but think of all the new textures present on this album like acoustic guitar and pedal steel. They’ve got a new Gram Parsons/Stones ala “Dead Flowers” vibe that they only dabbled in on “No More Pennies” from the last LP. And I can’t say enough about how much more advanced Henri Cash’s guitar playing has become. The guy gets better each time out and that really helps propel the music forward. Lyrically many of the songs seem to point to a theme of longing – for a lover, for connection – which was perhaps influenced by lock down. I will say the production on this album is a leap forward for the band.

For fans of Starcrawler’s more punky, harder rocking stuff, you need not worry. While they’ve got a much more varied sound on She Said, they blast out of the gate with the lead off track, first single “Roadkill.” It’s a classic meet-me-at-the-finish line rocker. I really like Henri’s riff on this song. It’s fast and hard. There are plenty of songs that just rock out on this album. “Thursday” is another riff rocker. I like Seth Carolina’s drums on that one. Henri Cash’s guitar is kind of Stonesy on this one too with a brief, snarling solo. “You always leave me with nothing…” “True” is another of their hard driving rock songs. It’s got a frenetic energy that reminds me of the first album. “Runaway” is just a great hard rock tune. It may be my favorite of their driving, punk-influenced tracks.

The title track, second up on the LP, is where we start to hear some varied sounds from Starcrawler. I think “She Said” will go down as one of their more iconic songs. It’s more of a chugging rocker than their usual full-tilt attack. There’s so much longing in this song…”Please, please, come back to me…” It would have been a perfect pandemic track and is the first track they wrote for the album during that dark time. Henri’s guitar tone really opens up on this track and gives me that Stonesy vibe. “Stranded,” the following track continues that longing theme. I love the lyric, “I met a racetrack girl at a bus stop.” The chorus is infectious, “Stranded on the side of a one-way street, The stars in her eyes won’t shine on me.” Arrow hauntingly repeats the words “shine on me.” Wonderful track. Henri’s solo here may be my favorite.

Beyond those great tracks we really see Starcrawler expand their sound. “Broken Angels” is a ballad/midtempo track that I just love. There’s a haunting guitar figure and a hint of keyboards. If I’m not mistaken Bill Cash makes his pedal steel debut here. “Broken angel burn your wings, I’ll make you stay.” The wobbly solo makes me think of the Faces’ version of Chuck Berry‘s “Memphis.” “Midnight” is an acoustic based tune that is like nothing I’d heard them do before. Despite being slightly mellower, I heard this in the car and noticed I was driving very fast. “Better Place,” the final track borders on country-rock and is a lovely ending. Henri and Arrow duet on that song like Gram and Emmylou. That track is just a knock out, worth the price of admission.

Finally there’s a track I really like called “Jetblack.” It’s a real change of pace and kicks off the second half of the album. The song is almost dance-able. I’m not saying it’s their “Miss You” or anything It’s just got a funky drum going on. It’s very Glam rocky. I find my shoulders moving in my chair as I listen… I never dance so that’s as close as I’ going to come. It’s just a slinky, groove that I connected with immediately.

I urge everyone to jump on the Starcrawler bandwagon. These guys are putting out great rock n roll, playing real instruments and rocking out with a vengeance. They get better with every album and She Said is no exception. I recommend putting this one on and turning it up to 11.

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: Ozzy Osbourne, ‘Patient Number 9’ – Glorious Metal LP Packed With An All-Star Band

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“It’s one of those days that I don’t believe in Jesus…” – Ozzy Osbourne, “One of Those Days”

I can’t tell you how good it feels to have a new Ozzy album out in the world. It’s like having your favorite, cool uncle who used to slip you beers at wedding receptions in town for a long visit. Ozzy went a decade between 2010’s Scream and his next album 2020’s surprise comeback LP Ordinary Man. We loved Ordinary Man here at B&V. But then we’ve been an Ozzy fan from the start. Well, almost from the start. I merely taped a friend’s copy of Blizzard of Ozz. At the time I was actually more into the Dio incarnation of Sabbath but there’s room for both in any record collection. My first Ozzy album purchase was actually Diary Of A Madman, his second LP. I had to wait until I was in college to finally see Ozzy live on the Ultimate Sin tour in Wichita. Jake E. Lee was his latest guitar wizard in 1986 and it was a great show.

Rather than waiting a decade for another album, apparently only four days after Ordinary Man came out, Ozzy grabbed producer/guitarist Andrew Watt and headed back into the studio to record the follow-up. I really like Andrew Watt as a producer. Besides Ozzy he also produced the fabulous Eddie Vedder solo LP, Earthling. The strategy on this LP was very similar to the last album – recruit top notch players and rock out. Much is being made about the all-star cast of guitarists who play on this album, but there are great musicians on every instrument here. While Chad Smith mans the drum kit for most of the songs on Patient Number 9, like he did on Ordinary Man, there are a few tracks where the late Taylor Hawkins drums. It makes me wonder if these songs were Hawkins’ last recorded tunes? Metallica’s Robert Trujillo, who actually played in Ozzy’s band before joining Metallica, plays bass on most of the tracks. But, Duff McKagan from Guns N Roses mans the bass on several of the tracks. And former Jane’s Addiction bassist Chris Chaney plays on “Nothing Feels Right.”

When you have a bunch of guest stars playing on an album I always wonder about continuity. Will the songs hang together well as an album? Recently Edgar Winter did a fabulous tribute album for his brother Johnny, creatively titled Brother Johnny. There was a host of guitarists who showed up to pay tribute to the late, great bluesman. I felt the album, reviewed in these pages, held together well because all the tunes were in a blues framework. I think despite all the guest appearances Patient Number 9 holds together so well as an album because a) it’s all in a heavy metal framework which keeps everyone rocking in the same direction and b) the base band for this album: Andrew Watt/guitar, Robert Trujillo/bass, and Chad Smith drums – who all play on a majority of the tunes – hold the continuity together from Eric Clapton to Metal Viking Zakk Wylde. It doesn’t matter who plays lead guitar, they have to play with the band. Everybody, including Ozzy, plays with enthusiasm and gusto. Despite some heavy themes you can feel the joy coming off this album.

It’s clear Ozzy has mortality on his mind. With titles like “Dead And Gone,” “Immortal” and “Mr. Darkness” it’s not hard to figure out where Ozzy’s head is at. But in the years since Ordinary Man the Ozzman has “been through hell.” He was diagnosed with Parkinsons. He got Covid. It’s a wonder he got this album out. While I doubt he’ll ever tour extensively again I think having this wonderful metal LP is a blessing. I can understand after all he’s been through why Ozzy sings, as I quoted above, about it being “One of those days that I don’t believe in Jesus.” I think we’ve all had those moments when we feel abandoned by Fate. I will say, and it was the Rock Chick who noticed this first, Ozzy’s voice does sound a bit treated on this album. It’s auto-tuned in quite a few places. But hey, it’s Ozzy I can forgive that. And again, you can tell everyone including Ozzy had so much fun on this project the heaviness doesn’t get to you.

I just love this album. If push came to shove I’d probably admit I liked Ordinary Man just a smidge more but that’s mostly because it’d been 10 freakin’ years since we’d heard from Ozzy and it was such a pleasant surprise. There is a lot to like here. As promised it’s a smorgasbord of guitarists. Ozzy managed to get two of the three former Yardbird guitarists to play on this record. Jimmy Page was approached and declined but I don’t think Jimmy plays that much any more which is a shame. Mercurial Jeff Beck plays lead on two of my favorite tracks here. I love the title track which features Beck’s fabulous solo’ing but I reviewed “Patient Number 9” already. Beck also plays on the power ballad “A Thousand Shades” and his playing is so melodic it’s one of the absolute highlights of the LP. Jeff Beck needs to rock out more. I was stunned when I read Clapton agreed to play on this album. He shows up on “One Of Those Days,” quoted above. I don’t know how they did it but Clapton plays like he’s still in Cream. It’s a great solo and perhaps the best solo Clapton has played since he guested on the Steve Winwood tune “Dirty City.” (Seriously, check that tune out).

While much has been made of Ozzy getting the former Yardbirds to play on this record for me two of the best moments on this album are when Ozzy teams up with his erstwhile bandmate from Black Sabbath, Tony Iommi. Those two go together like peanut butter (a substance I was forced to give up) and jelly. “Degradation Rules,” reviewed previously, an ode to masturbation – although I can’t decide if it’s pro or con – is a wonderful, sludgy metal tune and sounds like an outtake from Masters of Reality. Iommi’s guitar is unmistakable. Ozzy even plays some harmonica on the track, which I love. The other Iommi track is the epic “No Escape From Now.” It starts off like the spooky “Planet Caravan” from Paranoid but then the band shifts through several time changes. They go fast, they slow down. Then the band falls away and Iommi drops some of the heaviest riffage I’ve heard since Vol 4. His solo’ing on this song is so epic and beautiful it belongs in an opera.

Pearl Jam’s Mike McCready shows up on the heavy track “Immortal.” His solo verges on Eddie Van Halen territory. Many notes are shredded. It’s wonderful. He really acquits himself well here. Dave Navarro of Janes Addiction (and briefly the Red Hot Chili Peppers) shows up on the other power ballad here “God Only Knows” and it’s actually one of my favorite tracks. There’s a track on here that doesn’t credit any lead guitarist, “Dead And Gone” that is also an absolute highlight. It takes me back to “Shot In The Dark” just a bit. I’m guessing Andrew Watt saved that solo for himself. Although I’ve heard that Josh Homme from the Queens of the Stone Age played on here somewhere – I can’t find him in the credits – and maybe it’s him. All of these are great moments.

Ozzy’s longest tenured guitarist Zakk Wylde shows up on more tunes than any other guest guitarist. The guy is just a Heavy Metal Viking. He’s got to be a  head taller than Ozzy. I saw them together on the Black Rain tour and it sounded like an airplane landing in the arena. My favorite of the Zakk tunes is probably “Evil Shuffle.” That’s pretty much how the Rock Chick sees me walking through the house – with my evil shuffle. Its a typical, HEAVY Zakk tune. “Mr. Darkness” about an obsessed fan “stanning” over Ozzy is another Zakk highlight. “Nothing Feels Right” which was released as the third single could be seen as Ozzy giving us the state of his health over Zakk’s soaring guitar. It’s all great stuff.

If I had any complaint about this record – and I don’t really – it’s that it feels a little longer than the sixty minute running time. They likely could have edited a few things out. There’s a little bluesy throwaway at the end, “Darkside Blues,” where Ozzy again plays harmonica that they could have cut. It’s only a minute and a half long. Although I kind of wish they’d fleshed that out into an actual tune because well, I love the blues. They could have cut the “scary monster, b-movie, horror film” intro on the title track. And they likely could have cut one of the four Zakk tracks to streamline this thing a little bit. But again, complaining about too much Ozzy on an album is like complaining about too much money in your checking account.

This is a great album and a wonderful celebration of the man, the myth, Ozzy Osbourne. The Ozzy comeback or renaissance continues strong on Patient Number 9. I’ll probably spend most of my weekend up in the B&V lounge cranking this metal mayhem up to 11 and spilling Woodford Reserve on the carpet. This one is a must have for all you hard rockers out there. Enjoy this one at max volume!

Cheers!

Song Lookback: Pinball Wizard – With 3 Versions To Pick From, What’s Your Favorite?

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I was listening to my MP3 player on “shuffle” the other day while I was reclining in the sun. All these years after those summer jobs, toiling in the heat and here I am still working on my tan. While listening to an MP3 player seems to run against our vinyl ethos here, I’m on record as listening to multiple sources of music as it’s hard to take a turntable everywhere you go. While my turntable may fit in the overhead space on an airplane it’s generally frowned upon to bring it with you on the flight…it is certainly frowned upon by my wife. There is something to be said about the convenience and portability of your music. I have to “not so humbly” admit, my MP3 player is the best “radio station” around right now, but I digress. Anyway, I’m basting in the sun, half expecting a chef to come rotate me ala rotisserie while pouring butter on me, and up pops the great Who song “Pinball Wizard.” It got me thinking about that particular tune and the different versions by different artists that I’ve heard over the years. Most of my ideas for B&V come when I’m listening to tunes and I guess this is no exception.

There are certain songs that are just classic in and of themselves regardless of who records it. The song seems to take on a life of it’s own. I remember long ago before I met the Rock Chick, having an argument with a woman in a bar – not an irregular experience at the time, sadly – and she was insisting that the song “Black Magic Woman” was first and perhaps only recorded by Santana. I was gently trying to explain to her who Peter Green was and that there was a Fleetwood Mac before Lindsey Buckingham and Stevie Nicks. She was having none of it. I’m not sure she even believed me about Peter Green founding Fleetwood Mac and she certainly didn’t believe that he’d written that song. If I may quote the movie Cool Hand Luke, “Some (wo)men you just can’t reach.” It was indeed “a failure to communicate.” I finally demurred and backed off realizing it was better for her to live in ignorance and for me to head to a different bar stool.

As I thought about “Pinball Wizard,” I was reminded of a similar post I’d done a few years back. I had the good fortune to be able to go on a beach vacation. One rainy afternoon I ducked into the lobby bar and the guy was playing the old Smokey Robinson tune “You’ve Really Got A Hold On Me.” That melody quickly lodged itself into my rum-addled brain. I started thinking about the three versions of the song I like the most: the original, the Beatles’ version and finally Eddie Money’s version. To the surprise of most people, I like the slinky almost bluesy version done by Eddie Money(!) best. That may seem crazy and perhaps hurts my rock n roll credibility, but that was the first version of the song I was familiar with – being a product of the late 70s/early 80s – and the version that appeals to me most. Sometimes, a version of a song you hear first is the one you attach to.

In the 60s when the British invaded they brought with them all these great blues and soul tunes that they’d been listening to. Most white folks over here weren’t listening Little Richard, Chuck Berry or Muddy Waters but Mick Jagger, John Lennon, Keith Richards and Paul McCartney (among others) were. When young teenagers in the suburbs heard all those great cover versions on early Stones’ or Beatles’ records it’s doubtful many of them realized they were songs by great African-American artists right here in their own backyard. It was kind of subversive if you think about it. There are probably a large number of people who think “Roll Over Beethoven” was strictly a Beatles tune… and word to the wise, if you happen to get into an argument in a bar about it, just quietly change seats. It’s not worth it.

When I was growing up, the source, yay the font of rock n roll music was local radio. For us here in Kansas City it was KY/102. There was a more pop oriented station Q104 but that was for wussies and soccer moms. I’m sure most cities around were similar. They may have had more than one rock n roll station, and probably more than one pop station, but the radio universe was similar wherever you went. As a young teenager in the late 70s, I didn’t have a vast knowledge of all the music that came before me. I was into what was on the local radio. While they played the Who they really didn’t play “Pinball Wizard” very often. I heard “Baba O’Riley,” “Won’t Get Fooled Again,” and “Who Are You” on high rotation but “Pinball Wizard,” not so much. I even heard “You Better You Bet” from one of the LPs only I like, Face Dances, more than “Pinball Wizard,” but it was then-current. The version of “Pinball Wizard” that did get airplay was the one by Elton John, recorded in 1975. To this day, it’s the Rock Chick’s favorite version of the tune. That freaks the purists out but I get it – it was the first version of the track she heard.

For me, there are really three essential versions of the song. They are, as follows, the original by the Who, a version recorded by Rod Stewart with the London Philharmonic Orchestra, and finally the aforementioned Rock Chick favorite by Elton John.  Let’s look at all three:

The Who, 1969

“Pinball Wizard” was the first single released from the Who’s fourth LP, the epic rock opera Tommy. It’s hard to overstate how innovative it was for Pete Townshend and the Who to marry low brow rock n roll with the high brow concept of opera. Tommy is one of the earliest examples of a “concept album.” I remember being somewhat disappointed that the main riff, played by Townshend, was on an acoustic guitar instead of an electric but when I was a teenager I liked it loud and I too was raised on Elton’s version. It’s one of the Who’s great singles. It’s hard not to love this track. It’s one of the fundamental building blocks or rock n roll.

Rod Stewart & the London Philharmonic Orchestra , 1972

This is a version of “Pinball Wizard” that I’m going to guess not many people have even heard. I hadn’t ever heard it until I bought Rod’s box set Storyteller. Rod had been approach by the Who to sing the song with the London Philharmonic Orchestra – a project they were fully involved in – and appear in the movie version of Tommy. The Who did a few versions of songs from the rock opera with the Orchestra as well. Rod agreed to sing the song (in a more rock n roll version) and be in the movie but his drinking buddy Elton John talked him out of it. Elton told Rod he’d be too identified with and tied to the song if he appeared in the movie. I like this version of the song because well, I like Rod but also like the dramatic tension the Orchestra brings to the music. It’s a really elevated, cool version.

Elton John, 1975

Having screwed his buddy Rod Stewart by talking him out of the role and performance of the song, Elton slipped in and recorded his version. And he also appeared in the movie, pictured above. This is a more 70s rock n roll version. The piano and electric guitar fuel the classic riff instead of Townshend’s acoustic guitar on the original. There are a lot of people from the 70s who grew up listening to this version rather than the Who’s version who will swear it is the ultimate version of the song. I bet there are a few drunk people in bars who think that but hey, I don’t hang out in bars any more… OK, at least I don’t argue with women in bars anymore other than my wife. This really is a great version of the song. Davey Johnstone, Elton’s great guitarist, plays a tasty solo toward the end.

Conclusion?

As you listen to these three versions of the song back to back – as I did over and over this week while waiting for Ozzy’s new album to drop (review forthcoming soon) – you come to realize this is really one of the absolutely great rock songs of all time, whoever is performing it. I would advise any rock band whether they’re just starting in a garage or if they’re a bar band or playing arenas to learn how to play this song.

So what’s my favorite? Will I make a radical choice like the Eddie Money pick from the “You’ve Really Got A Hold On Me” post? For me, the favorite is clear, it’s the Who’s version. Although I’ve always been more partial to Quadrophenia than Tommy. For all of those who vote for Elton, I get it, it’s a tremendous version of the song and it gave me pause when trying to decide which version I liked best. For those who dig the Rod version – kudos on thinking outside the box.

If you want to voice an opinion of these three, I encourage everyone to contribute in the “comments” section. Enjoy this and be good out there.

Cheers!

The Struts Release Great New Song, “Fallin’ With Me” – Am I Finally On The Bandwagon?

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The Rock Chick came in last Friday and said, “I heard this new song this morning and I think you’ll like it…” Well, that’s always an invitation I can never resist. She’s turned me on to so much great music over the years – Oasis, Motley Crue (which I was shamelessly behind on), Green Day and more recently Greta Van Fleet. She is the Rock Chick, after all. The Struts – Luke Spiller (Vocals), Adam Slack (guitar), Jed Elliott (bass), and Gethin Davies (drums, and really you can’t get a more English name than Gethin Davies can you?) have been around a little less than a decade. Their debut LP Everybody Wants came out in 2014.

I have to tell you, I really like this new song, “Fallin’ With Me.” It made me wonder why I hadn’t gotten more into the Struts over the years. I’ve always been aware of the Struts and there are a few tracks that have pierced my consciousness over the span of their three released albums but I never quite completely embraced them. I remember listening to the debut when it came out and thinking Luke Spiller, the lead vocalist, might be Freddie Mercury’s illegitimate son. It’s uncanny how much he sounded like the late Queen-frontman on that first album. The guy trills his R’s so hard – which is kinda cool – one has to shudder when you think about him doing “Rudolph the Red Nose Reindeer.” I guess I could never decide if these guys were a serious rock n roll band or if this was some sort of really intense Rock Star cosplay they were involved in.

I think my hesitancy around certain groups can be traced back to when I first started listening to music. It was right around puberty and at that time in a man’s life you’re not terribly confident about anything. When it came to rock n roll, you didn’t dare be caught listening to the wrong acts. They had to be legitimate hard rock or you were looked down upon as a dilettante or worse “uncool.” You didn’t dare listen to anything that was deemed “pop” music. I think that’s why some people shied away from Cheap Trick back then because they were often described as “pop rock.” It wasn’t until Live At Budokan that suddenly the Rock Gods decreed Cheap Trick was an acceptable band. I don’t know why, I’ve always liked Cheap Trick from my early days listening to music up to their latest LP,  In Another World.

But even since growing up, leaving high school and college, I’ve always been wary of brand new acts. During the 80s when my musical tastes expanded way beyond the classic rock radio I’d grown up with, I was still kind of wary of certain bands. While all my friends were listening to Motley Crue and Def Leppard I was busy listening to the “rock canon” from the decades prior. I couldn’t be bothered with new bands when I was in the process of discovering David Bowie, the Velvet Undersground/Lou Reed, the Faces, Neil Young’s “Ditch Trilogy” and Springsteen’s early stuff. I could more often be found listening to Mick Taylor-era Rolling Stones than anything you’d hear on the radio. Videos didn’t really help. All the hard rock bands had identical videos – to my eyes anyway – tall hair, spandex, chicks dancing around and that same 80s production. Often times the band’s videos would put me off so terribly I’d avoid actually hearing the music. Billy Idol was certainly someone whose videos kept me from plunging into his catalog. He didn’t look like a good Midwest guy from next door with his bleach blonde, crew cut hair and curled lip. (His new song is amazing, btw, “Cage”). It took me all the way until “Paradise City,” Guns N Roses’ third single before I bought Appetite For Destruction. It’s like I was closed off from all things current or I had a fear of jumping on the bandwagon of a “fad.” Since those early days it seems I was always searching for authenticity. I didn’t want to be “duped.”

Well between listening to a bunch of B-sides and the new Chili Peppers’ track “Tippa My Tongue” this weekend I spent a lot of time listening to the Struts. I listened to all three of their LPs. I’m nothing if not methodical. I’m not sure if I’m ready to declare I’m on the bandwagon, I need more time, but I can tell you this new song “Fallin’ With Me” is a great song. The track has that classic, 80s, Sunset Strip trashy rock/metal sound. It starts with drums, bass and sing-along chorus that just earworms it’s way into my head. Luke Spiller is a great vocalist. When the guitar kicks in, oh yes, I’m taking this ride. The opening lyric, “You be my Alice, and I’ll be your Madhatter” is the perfect invitation to this hard rock good time. I love the way Spiller drags the “fa” in the word “Fallin'” so it sounds like a twisted Christmas carol, “Are you fa-fa-fa-fa-fa-fa-fa-fallin’ with me?” Hell yes! This chorus just makes me want to rock out:

“You’re coming with meLet’s take a diveMeet at the Rainbow9:45Wear something trashyThat’s what I like (yeah)We’re on the rooftopJumpin’ off the sides (jumpin’ off the sides)”

I don’t know if I have any clothes that would be considered “trashy” but… Anyway, here’s the video for the track:

I don’t know if these guys have an album on the way – no one on the internet seems to know – but I will be listening intently if they do. Even if they don’t I’ll certainly be enjoying “Fallin’ With Me” for the rest of time. It often takes just one song or concert to suddenly change all of my heavy preconceptions about a band. Metallica clicked for me on Death Magnetic, really late in the game. I waited until “Paradise City” to buy GnR’s debut. I had to see No Doubt live before I went, “Hey, these guys are good…that bass player…” “Fallin With Me” may just be that epiphany moment for me and the Struts. It’s a great rock n roll song and I think everybody, however you feel about the Struts, should check it out and turn it up loud!

Cheers!

B&V’s Favorite B-Sides – Songs That Were Orphans But Found Fame Anyway

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*Photo of actual 45s, and actual B-sides, taken by your intrepid blogger

I think a lot of people, especially the casual music fan, can be put off by the term B-side. The term sounds like something you’d find in the discount aisle of your local retailer next to day old bread. It’s not an “A” it’s a “B” so it must be somehow… less valuable? Oddly, I actually understood what a B-side was before I started really getting into collecting music. My father had an old wire rack full of singles – known as 45s as that was the speed the turntable would have to be turned to in order to spin the smaller vinyl discs. An album is rated at 33 1/3 RPM (revolutions per minute), a single was 45 RPM’s. These old 45s that my father had amassed when he was still cool was a who’s who of 50s popular music: Elvis, Johnny Cash, and Ray Charles. My little brother commandeered the collection as his own when he was really young and then enhanced it by buying Beatles’ singles…he was always years ahead of me on rock n roll…it’s a wonder he didn’t make my parents get his haircut in that mop top Beatles’ style but I digress. He had the little plastic insert that allowed him to play the 45s – which have a bigger hole in the middle – on the turntable. 45s only had one song per side unlike an album which has a number of songs on each side (well, typically… maybe not if you’re the Allman Brothers and it’s live and you’re really cooking, then it might be say, “Whipping Post” taking up one entire side of the LP). My brother and I shared a room in the early days so occasionally I’d wander in hand he’d be playing tunes. I think it was on one of those occasions that he explained what a B-side was to me before I even cared about music.

In the early days of rock n roll, like my dad’s collection, the music industry was focused on singles. Typically albums were merely a collection of previously released singles. When the artist in question had released enough songs to fill up an album the record company would lump ’em together and pump out the LP as another item to sell to the public. On those singles typically the A-side would be the song they wanted to release as the “hit.” What to do with the other side of the 7″ vinyl disc? Well, slap another song on the B-side! Typically the B-side would be a “lesser” tune, one the record company didn’t have high hopes for. The record company didn’t always get it right. Tony Bennett’s signature song “I Left My Heart In San Francisco” began as a B-side to “Once Upon A Time” a track none us can remember. “I Left My Heart In San Francisco” may be that first B-side to break out as a hit, I don’t really know. It was a DJ who decided to turn the record over to play the B-side and the rest, as they say, is history. Since it was left up to the record company, sometimes with input from the artist, B-sides weren’t always the “lesser” of the two tracks released. Record companies are rarely right about anything.

When the Beatles ushered in the “album” era of rock n roll the nature of B-sides changed. It really was the Beatles, especially after they stopped touring, who realized the artistic possibilities of a full length album. You listen to albums like Rubber Soul or Revolver and you realize there is a unity of sound and themes that enhance the listening experience over 12 songs instead of just the “hit” singles and some filler. When artists started releasing full length, thought-out albums the pool of tracks for use on B-sides – because people still bought a ton of singles back then – became a lot deeper. Typically the record company would pick a song to be a single, and then look for a deep album cut that in some cases might be “filler” on the album and slap it on the B-side. However, as usual, the record company didn’t always get it right. Rod Stewart’s signature song “Maggie May” was the B-side to “Reason To Believe.” And, exactly like “I Left My Heart In San Francisco,” an enterprising DJ in America turned the single over and voila, “Maggie May” is a monster hit and Rod Stewart became a star.

In the pantheon of great, great songs that started out as B-sides the list is long. The Beatles chose to release the epic psychedelic track “I Am The Walrus” (mostly written by John Lennon) as the B-side to “Hello, Goodbye” a McCartney track. Obviously “I Am The Walrus” is a legendary track but they put it on the B-side? Which is too bad because Lennon was quoted later as saying something like, “that was when we all began to get tired of being Paul’s backing band.” That animosity festered… But “I Am The Walrus” is not an isolated case of great tracks ending up as a B-side. So many great tracks ended up as B-sides and went on to become monster hits, legendary in their own right. The Stones released “You Can’t Always Get What You Want” as the B-side to “Honky Tonk Woman”; Bowie released “Suffragette City” as B-side to “Starman”; and finally the Byrds’ “Feel A Whole Lot Better” (a Gene Clark penned classic) was B-side for “All I Really Want To Do” a Dylan cover. The list is vast and I could go on and on.

Any of those tracks could have easily made it onto our list of “favorite B-sides,” but the stakes rose. In the 70s as bands became more prolific and often bands would have more music than they needed for an album. Many times they’d have a song that they really liked but it wouldn’t fit the confined space of vinyl or wasn’t the right vibe for that particular album or often they’d record a cover song just for the fun of it. Instead of putting out a deeper album cut as the B-side, the band would put out one of those unreleased tracks that didn’t make the album. For me the prime example of that was “Hey Hey What Can I Do,” a great acoustic driven track that Zeppelin left off Zeppelin III and instead put out as the B-side of “The Immigrant Song.” Suddenly, this opened up the possibility of non-album, previously unreleased gems out in the wild. Hunting for stray B-sides was a fun side project for my old roommate Drew and I as we built our album collections in college. I remember spending weekends on vacation in Chicago hunting for certain songs only found on that B-side single. Finding a cool B-side is frankly the only reason I lament the end of singles being released. I’ve always been an album guy.

While the hunt was fun, in the era of CD-box sets and compilations many of those orphaned B-sides have been released. Often CD releases and “deluxe edition” releases of classic albums contain those old hard to find B-sides. U2 has done two “greatest hits” LPs each with a complimentary disc of B-sides. Springsteen has Tracks that contained a lot of the B-sides that Drew and I were always chasing after back in college. R.E.M. released Dead Letter Office, a collection of strictly B-sides (and what a great title for that LP). Now, it’s bad enough singles are rarely if ever released, but there’s no scurrying around town to all the usual vinyl shops looking to locate that one copy of “Go Your Own Way” paired with “Silver Springs.” The hunt is over. Now if you want to hear Prince do “Irresistible Bitch” you merely have to download it from a box set. For those of us aware of and collecting B-sides it was like being a member of a cool club or subculture. I guess I still have hunting for great used vinyl purchases left to me… sigh.

A few weeks ago a friend of mine, Dr. Rock, commented on a post I’d done with a playlist of tracks from 1982. Or it might have been a comment on our post about Robert Plant’s solo debut, Pictures At Eleven. Regardless, he mentioned a track “Far Post” that has always been a favorite B-side of mine and naturally Dr Rock suggested I do a post on my 10 favorite B-sides. And as usual that stretched out to my 25 favorite B-sides. In between cranking up new songs from Billy Idol (“Cage”) and the Red Hot Chili Peppers (“Tippa My Tongue”) this week I’ve been scouring through my old 45s and box sets looking for B-sides. As I indicated above, I chose B-sides that were orphans – songs that were originally left off of albums – songs that could only be found on the second side of a 45 or on the single CD release (from back when they would still put out singles on CD with a few extra tracks). I mostly avoided the “deep album tracks” as B-sides. My list is not meant to exhaustive but merely representative of a) my personal favorites and b) what kind of quality material is out there in the world by artists we all love but you may not have heard or worse, heard of. My list stems from the well known all the way to my usual obscure choices. If you have a favorite B-side that didn’t end up on a record, please post it in the comments section. I’m always looking for a good, unheard tune…

The Bourbon And Vinyl 25 Favorite B-Sides

  • Elvis Presley, “Hound Dog” – Elvis released “Hound Dog,” one of his most famous tunes, a few months after his second LP Elvis was released. It was originally released as the B-side of “Don’t Be Cruel.” The record company quickly changed the printing on the single sleeve to make “Hound Dog” the A-side, and “Don’t Be Cruel” the B-side… it didn’t really matter, both songs hit number 1. Elvis was aware of the original by the legendary Big Mama Thornton but was likely more influenced by a cover done by Freddie Bell and the Bellhops. It’s hard not to include one of the greatest songs ever on a favorite B-sides list. As Dylan said, “I’m standing on a chair proposing a toast to the King.” Surely he meant Elvis?
  • Jimi Hendrix Experience, “51st Anniversary” – I’ve always dug this track about a couple who have been married for well, 51 years. This track didn’t make it on Are You Experienced? but was released as the B side for “Purple Haze.”
  • The Beatles, “Revolution” – Another case where Lennon had his track relegated the B-side in deference to McCartney’s A-side “Hey Jude.” Maybe Paul should have let Lennon win a few of these battles. I get “Hey Jude” is epic but “Revolution” is probably my favorite hard rocking Beatles track. Both tracks were on the unreleased tracks, stop-gap U.S. LP Hey Jude.
  • Neil Young, “Sugar Mountain” – Neil liked this song so much he used it as the B-side for two different songs, “The Loner” from his debut and “Cinnamon Girl” from Everybody Knows This Is Nowhere with Crazy Horse. “You can’t be 20, on Sugar Mountain with the barkers and the colored balloons…” It finally was included on Neil’s three-LP greatest hits package Decade a compilation album truly ahead if it’s time.
  • Paul McCartney, “Oh Woman, Oh Why” – McCartney has a myriad of great B-sides. It was hard to pick just one. I’ve always loved “Oh Woman, Oh Why” the B-side to his first ever solo single “Another Day.” The lyrics are a bit slight but McCartney sings like he’s Little Richard turned up to 11. This track is kind of a bluesy rocker and I’ve just always loved it.
  • George Harrison, “Deep Blue” – This rarity was finally released on the “deluxe edition” of Living In The Material World but began as the B-side for Harrison’s charity track “Bangla Desh.” I don’t think of the Beatles as being especially bluesy but I love this acoustic, blues shuffle. Harrison landed a few blues tracks on our Rockers Playing the Blues playlist… I should have included this quiet little gem. I’m a sucker for the blues. I think my brother may have played this song for me, he was a huge Harrison fan and might have had the “Bangla Desh” single.
  • Led Zeppelin, “Hey Hey What Can I Do” – This song, for me, was the beginning of my B-side awareness. Finding this song as the B-side on the single for “The Immigrant Song” was like finding the Ark of the Covenant for Indiana Jones. I can’t believe this track never landed on a proper Zeppelin LP.
  • AC/DC, “Carry Me Home” – This great, hysterical drinking song – that only Bon Scott could have written – was the B-side to the track “Dog Eat Dog” from Let There Be Rock. It was an early selection for inclusion on our Drinking Songs playlist and really is a centerpiece there of. We find our hero, the narrator, too drunk to drive home and it’s too late to find a bus or cab. His only solution is to ask a young lady he’s been drinking with to carry him home with her. Reminds me of my 20s. Rakish charm?
  • Fleetwood Mac, “Silver Springs” – Oh man, this is one of my all time favorite Mac songs. The Rock Chick preferred the live version from The Dance, but I’d been a fan of this song, the B-side to “Go Your Own Way,” that had been criminally left off Rumours, since the first time I heard it in the car driving back to Boston from Cape Cod during my summer after college. It just grabbed me from the beginning. When Stevie builds to the climax and sings/shouts “I know I could’ve loved you, but you would not let me, I’ll follow you down ’til the sound of my voice will haunt you…” she means it. The song does haunt me and I’m not even who she’s singing to…
  • Tom Petty & the Heartbreakers, “Casa Dega” – This song was left off Damn The Torpedoes and was originally released as the B-side to “Don’t Do Me Like That.” Petty has so many B-sides that have seen subsequently released on his various box sets it was hard to pick just one (and actually I picked 2) but I’ve always loved this song partially inspired by a Spiritualist camp in Florida.
  • Robert Plant, “Far Post” – As pointed out by the aforementioned Dr. Rock when we posted about Plant’s solo debut Pictures At Eleven, this amazing song was left off the album and released as a B-side to “Burning Down One Side” in the UK and eventually found it’s way to my local radio station. Great piano break in the song… it felt like Plant was already starting to stretch the boundaries of what he could do outside Zeppelin.
  • The Police, “Murder By Numbers” – The Police actually released this song on Synchronicity if you bought the cassette. Well, I’d purchased the vinyl, naturally. But they made up for it by releasing it as the B-side of “Every Breath You Take.” This was such a great song it never made sense to me they didn’t put it on the vinyl. They do include it on the CD version of Synchronicity.
  • R.E.M., “Pale Blue Eyes” – R.E.M., like so many bands who’ve recorded a ton of B-sides released an entire album of B-sides on the collection Dead Letter Office. I love that album as they do a ton of cover songs. Cover songs do have a way of popping up as B-sides. I especially love this song, a Velvet Underground track. Michael Stipe can sing almost any song better than any original singer. This track was a B-side to the great track “South Central Rain.” I really could have picked just about any song from Dead Letter Office… and heavily considered their cover of Aerosmith’s “Toys In The Attic” which has to be heard to be believed.
  • Prince & the Revolution, “17 Days” – This track was a B-side from “When Doves Cry” from Princes’ masterpiece Purple Rain. This was such an incredible album it’s no surprise that there were some incredible B-sides… Prince was so prolific. This is a classic funk, pop song about a break up. I was drawn to this kinda track back in the day. The chorus will drill into your brain… “Let the rain come down, let the rain come down…” I may be the only fan of this track but I had to include it. It just takes me back…
  • The Cars, “Breakaway” – The Cars buried this outtake from the Heartbeat City album as the B-side to the fifth(!) single “Why Can’t I Have You.” I first heard the song, once again, in the car as some friends of mine and I were driving over a high bridge on our way onto Padre Island for Spring Break. Can you think of a better theme song for a Spring Break? “The loud mornin’ in the small town cries…You gotta get away.” Actually the Spring Break was a disaster but I spent years looking for this track which I later found out was about heroin
  • Bruce Springsteen & The E Street Band, “Pink Cadillac” – The B-side to “Dancing In The Dark.” Oh man, we all bought the 45 with this as the B-side. Clarence Clemons on the sax is epic. I still drive a little faster when this song comes on the stereo.
  • Don Henley, “A Month of Sundays” – This is a little like “Murder By Numbers,” listed above. The track was on the cassette version of Building The Perfect Beast but not the vinyl version I had. It was released as the B-side of “Boys of Summer” and I remember being floored the first time I heard it. I did a tape to tape thing and recorded it so I could listen to it over and over. It’s a sad ballad about the death of the family farm but it just grabbed me.
  • Bruce Springsteen & the E Street Band, “Shut Out The Lights” – Bruce has so many B-sides it was hard to limit myself to just two… This is another Born In The U.S.A. B-side, to the title track. Both songs are about a Vietnam veteran but are very different vibes. “Born In The U.S.A.” was a huge, arena rocking anthem (that was widely misunderstood). “Shut Out The Lights” delivered the message more directly in my mind as it was a sad song about the mental health struggles our veterans faced when they returned from the war.
  • Bob Seger & The Silver Bullet Band, “Fortunate Son” – Well, I did mention that cover songs do have a way of finding themselves on B-sides. This track was the B-side to “American Storm” from the Like A Rock album. I don’t know if there is a more fitting artist to cover Creedence Clearwater Revival than Bob Seger. Perfect song in the perfect hands. Smokin’ O.P.s indeed.
  • Rod Stewart, “Almost Illegal” – Rod had been doing middling pop for so long it was a big deal when he teamed up with Andy Taylor erstwhile guitarist from Duran Duran and released Out Of Order an album that actually… rocked! This song was the B-side to “Lost In You” and I was so enamored with both the LP and that song, I gave this 45 a chance and brought it home from the record store. And, yes, this song rocked and made me smile at the same time. This is probably the most obscure track on my favorites but I am who I am.
  • The Rolling Stones, “Fancy Man Blues” – When the Stones reunited for Steel Wheels we were all ecstatic. I was living in Arkansas at the time and I jumped a flight to Chicago to see them on that tour out at East Troy where Stevie Ray died… Anyway, I was in a bar the night before the show and whoever was in charge played “Fancy Man Blues” the B-side to “Mixed Emotions” and then I spent years trying to find it. The Stones always return to the blues.
  • Red Hot Chili Peppers, “Soul To Squeeze” – As I mentioned in my resent post on the Peppers’ new song “Tippa My Tongue,” the RHCP’s creative process includes a lot of jamming which leads to a plethora of unused material that ends up as a B-side. This haunting ballad – that has to be about Hillel Slovak’s death and Anthony Kiedis’ running away to Mexico and missing the funeral – was used as a B-side twice for both “Give It Away” and “Under the Bridge” before finding widespread fame on the Coneheads’ soundtrack. I’ve seen them do it live and man, goosebumps.
  • Pearl Jam, “Yellow Ledbetter” – Well, you knew this track would be on here, it’s only the most famous B-side released in the 90s. It was the B-side to Jeremy and I purchased the CD single just so I could own this track. It sounds like an homage to Stevie Ray Vaughn, at least when you hear them play it live, but that might just be me. I do relate to the lyric “I said I don’t know whether I’m the boxer or the bag.”
  • U2, “The Lady With the Spinning Head (UV1)” – The Rock Chick turned me onto this song. I love it. It was a demo that spawned both “The Fly” and then “Ultraviolet Light.” Eventually it saw release as the B-side to “One.” We put this on one of our party tracks and people always approach me and ask me about this song… and “The Ground Beneath Her Feet,” but that’s another song for another day.
  • Tom Petty, “Girl On LSD” – Any long time readers of B&V know that this song was my “white whale” in terms of B-sides for a long time. I did have a bootleg version but I always want an official version if I can get it. It’s the funniest song Petty ever did. It finally saw release (in an alternative version) on Finding Wildflowers. Petty has another bluesy rocker named “Sweet William” that has become my new “white whale” B-side… I will find you “Sweet William,” if it kills me.

Many of these tracks you’ve probably heard before. But if there are ones you haven’t I urge you to seek them out and give them a spin. These sadly orphaned B-sides deserve to be heard. There are so many more B-sides out there that I didn’t list. I look forward to seeing if any of you out there have a favorite B-side to add to this list.

Enjoy the last bit of summer! Cheers!

Review: Red Hot Chili Peppers’ “Tippa My Tongue” From Their Upcoming Second LP of 2022 – No Bad Vibes Allowed!

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I don’t know what the first thought that popped into my head was when I heard the Chili Peppers had released a new song “Tippa My Tongue,” and that they had a second LP coming out this year but I’m sure I had the same surprised look that singer Anthony Kiedis has on his face in the picture above. I do remember thinking, “Ah, so Jack White – who released both Fear Of The Dawn and the sensational Entering Heaven Alive this year – isn’t the only one who put out two albums in 2022!” In the 70s it was actually expected that artists would put out at least one album every calendar year and most record companies wanted two albums a year. That fact was underscored to me when I was doing the research for my 1971 and 1972 themed playlists. Several artists have multiple songs on those lists because they put out multiple albums in those respective years. And often back then those 2 albums in a calendar year were both sensational… now that’s genius on a deadline. Nowadays two albums in one year is unheard of. The last time I can remember an artist doing something like this was in the 90s when Guns N Roses put out the two Use Your Illusions albums or when Springsteen released Lucky Town and Human Touch on the same day.

Of course where the Chili Peppers are concerned I probably shouldn’t have been surprised. Their creative process has always been a jam-based process. That is probably even more true now that “once and future” guitarist John Frusciante is back in the fold. These guys aren’t like U2 where the Edge comes in with a riff, the band records a basic track and then Bono comes in and writes some lyrics. The Chili Peppers all get in a room and if somebody’s got something they start there and all join in with Kiedis standing to the side of the room scribbling stream of consciousness lyrics, all while they record the whole thing. Then they sift through the tape and find stuff they can build into songs. And since they use this jamming method to write songs they often have way more songs than they need for an album. That’s how Stadium Arcadium ballooned into a two-CD, 28 song album. And they still had a bunch of songs leftover that they put out as B-sides. “Mercy Mercy” was a b-side from “Tell Me Baby” that I particularly liked…

Even when Josh Klinghoffer was their lead guitarist they utilized their jamming method when recording the I’m With You album – an record I still dug despite Frusciante’s absence – and again they had a bunch of left over material. Eventually they released all of those “extra” songs as singles and B-sides. There were 9 “singles” released and 17 total tracks. They finally did a Record Store Day double-album release entitled, I’m Beside You. Having purchased all of the singles I have them on a playlist since I’m never lucky enough to snag anything at Record Store Day and I’m Beside You was no exception to my bad luck. You’ve got to get up pretty damn early on RSD if you’re going beat the vinyl fiends. I’m convinced you’ve gotta know somebody but even so I still go to my local vinyl stores on that glorious day… but I’m getting off topic.

I was thrilled when I first heard John Frusciante had rejoined the Chili Peppers. I didn’t have anything against Klinghoffer, it’s just that the chemistry between four very specific musicians is a delicate and very special thing. The Chili Peppers have reached all of their absolute pinnacles – creatively and sales-wise – with Fruciante on guitar. I greeted it as great news when I’d heard John had returned from the wilderness. I never thought he’d come back again and included Frusciante/the Chili Peppers on my list of reunions I’d never thought we’d see. I clearly thought he was gone for good. And I liked Unlimited Love, which has turned out to be only their first album of 2022, quite a bit. It’s a “grower.” I also really liked the dark, laid back first single “Black Summer.” It had a very “Slow Cheetah” vibe. I saw Frusciante interviewed and he said he wasn’t sure he even knew how to write rock songs any more when reunited with his erstwhile buddies. The Rock Chick would say he obviously doesn’t because Unlimited Love was too mellow for her. She is the Rock Chick.

Back when Unlimited Love came out I saw Kiedis interviewed in some magazine and he said they had another album with songs that were “looser” and he hoped they’d release it too. I figured, like with I’m Beside You, we’d just see a bunch of B-sides slowly trickling out with singles from Unlimited Love. So I guess I can’t claim complete surprise when I heard they were releasing Return Of the Dream Canteen as the rather immediate follow-up to Unlimited Love. I don’t think we should think of this new album as a “collection of B-sides” or “leftovers,” but rather a second collection of songs that perhaps fit together better. And one could argue that the songs on Unlimited Love all fit together pretty well too. I mean, I couldn’t imagine “Tippa My Tongue” on that earlier album. I don’t think any of us should be discounting this second LP, but we should rejoice that we get another taste of the Chili Peppers this year. I like my rock bands prolific. And Kiedis said they’d gone on a journey to discover who they were as a band… and perhaps that has led them back to their funk roots.

I have to admit, I first heard the teaser for “Tippa My Tongue” on the social media. It was just a quick snippet of the intro and then Anthony singing “Ya, ya-ya-ya…” I’m not gonna lie, it concerned me. In truth this song should be something I really don’t like it’s so… “pop” oriented? The album’s artwork is all soft psychedelic colors like an old Hippy’s faded tie-dye t-shirt. But damn this is a catchy tune. I actually really like this song. It’s 180 degree turn from “Black Summer” and feels more like a “No Bad Vibes” kind of song. It’s much more suited to summer… We have to remember the Chili Peppers started as a funky punk band. This song really takes them back to those roots, even back to the days of say, Hillel Slovak. Well, without the punk punch.

The track starts quietly with Chad Smith’s drums, Flea’s bass and Frusciante’s guitar all together building slowly. It almost summons the menacing beginning of “Dark Necessities.” But then the “ya, ya-ya-ya” thing starts. And yes, I would have appreciated the dark menace of that earlier first single but that doesn’t mean this isn’t a great song. Frusciante’s guitar is more prevalent and I love his brief but soaring solo. With the title “Tippa My Tongue” Kiedis manages to tie together a drug reference and a sexual reference all in one phrase, so kudos. I will admit the lyric, “Funky monks are on the run,” sent me back to the Blood Sugar Sex Magik track “Funky Monks.” I guess the Chili Peppers have gone from “There are no monks in this band, there are no saints in this land,” to “We’ve only just begun, funky monks are on the run, I’m gonna get you with the tippa my tongue.” Perhaps after all these years the Chili Peppers are now lovers, not fighters. Here’s the colorful video:

After the serious heft of “Black Summer” I’m down for the Chili Peppers lightening up a bit. It certainly sounds like they’re having fun. And while I’m not sure what “Well, I believe in love, Perfectly receiving love, It’s vociferous, Then come and get a whiff of this, I’m at the pyramids, Never had a fear of kids” means, I feel so funky and good listening to this track I don’t really care. It’s like I read recently, “August is the Sunday of summer…” So maybe fill a glass of wine and dance around the backyard with this track cranked up… When I first envisioned Frusciante returning to the Chili Peppers I expected he’d come back as the Guitar God we all knew from Stadium Arcadium. But he’s come back on his own terms and the band seems like they’re in a better place. I have no idea what all this portends for Return Of the Dream Canteen but if the record is this much fun it’s going to be a great fall…

Cheers!

New Song Alert: Billy Idol Returns to Save Summer With “Cage” From Upcoming New EP, ‘The Cage’

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I like to think I keep my eyes on all upcoming new music… In my head I have a list of artists who I know are putting out new tunes and I go through that list every night at bedtime to help me get to sleep…like a rock n roll version of counting sheep. While I like to tell myself that I’m totally in touch with all new music coming out in truth new releases still have a way of sneaking up on me. Billy Idol put out a brand new song this week entitled “Cage” and I was blissfully unaware he had anything coming out. Like last year, Billy and his cohort guitarist Steve Stevens (one of the most underrated guitarists out there) are putting out a 4-song EP entitled The Cage. And like last year Billy has appeared out of nowhere to save summer!

Last year saw Billy releasing the EP The Roadside which was preceded by the great, great tune “Bitter Taste.” Man, that song is still in high rotation here at the house. It was an acoustic track with a haunting lead guitar thing done by Stevens. It was on the mellow end but it quaked with a sturdy intensity. It was one of the best tracks of Idol’s storied career. It was the sound of a man looking back on his life in an unapologetic way. “Should have left me way back, way back by the roadside… it’s a bitter taste.” That track is righteous. I still get goosebumps when I hear that song. I’ll admit I was not as taken with the rest of The Roadside and didn’t cover it on B&V. But if you haven’t checked out “Bitter Taste” I advise you to do so post haste.

Yesterday, in the early evening I was drinking a beer getting ready to meet my famed ex-roommate from college Drew for drinks. I was scrolling on “the social media” and saw Billy had put out a new song “Cage.” Billy was quoted as saying something like, “we’ve all been stuck inside for a while and now we’re breaking back out…” in an obvious but perhaps belated comment about the Covid lockdown. He promised that this new EP The Cage was going to be the opposite of last year’s mellower, darker The Roadside. He clearly intends to expend a little pent-up energy and let loose his rebel yell.

“Cage” is a glorious rock song. It’s got a chorus that sounds written for an arena to sing along to. Idol is in fine voice here… I can almost close my eyes and see him on stage punching at the air while he sings this track. It starts with just Idol’s voice behind a chugging guitar and drums. Then the chorus hits and it just explodes. “I’m coming out of my heartless, hopeless rage, I’m coming out of my cell, my broken cage.” Oh Hell, yes! He may be talking a out coming out of lockdown and not being able to tour but hearing this song as I was getting off work drinking a beer ready to head down to the tavern to talk a little treason with Drew… I can’t lie, it sort of fit the moment yesterday.

I dug “Bitter Taste” but as mentioned it was a mellow, dark tune. I love this rocking, upbeat song from Billy. If the rest of the EP rocks this hard it’s going to be a great treat. “Cage” in and of itself is a great song for the end of summer. I just want to drive down the street with this song blaring out of the windows while I wave to the ladies… Loud vocals and guitar, it’s all we want from Billy Idol. Here’s the video:

Wherever you are out there, this song ought to break you out of whatever is holding you back. I advise pouring something strong and turning this one up loud! Hearing that Billy Idol had a new track out was almost as good as the surprise text from my old buddy Drew stating he was in town and wanted to grab a gin… and while I may not be feeling very well this morning cranking this tune is helping me power through it all!

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!