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

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*Photo taken by the Rock Chick

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

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

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

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

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

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

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

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

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

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

Cheers!

Archival Release: Neil Young, 1989’s ‘El Dorado – EP’ Originally Only Released In Japan & Australia

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I just saw that Neil Young has recently released a curious artifact from his vaunted Archives. It looks like he finally released the Eldorado EP. I guess I should say “re-released” the EP. It was originally released in April of 1989 but only in a limited release and only in Japan and Australia. One has to wonder if Young was touring that part of the world at the time and needed to get something out for the fans to buy. I don’t know why he would have held the EP back from general release, but hey, it’s Neil Young. I don’t know if the recent decision to release Eldorado was tied to Record Store Day but I suspect it was. For years I’ve been hearing about El Dorado in hushed and reverent tones. People talk about it on music forums like it’s a well known part of the canon. While I’d heard of it, I’d never actually heard it – which I’m sure it was heavily bootlegged – or even knew what tracks were on it. I just knew that there was some overlap between the EP Eldorado released in April of 1989 and Neil’s great comeback LP Freedom which was released in October of 1989.

Thinking back on 1989 I realize for those of us who came of rock n roll age in the late 70s, the 80s were a tough time to become a Neil Young fan. I won’t say it was easy to become a Neil Young fan in the 70s but it was certainly easier. If you were 10 or 15 years older than I was, it would have been a natural thing to get on Neil’s bandwagon. He had the rock pedigree – he’d been a founding member of the Buffalo Springfield, launched a solo career, teamed up with his on-again/off-again backing band Crazy Horse and then joined Crosby Stills & Nash to become CSNY. In the early 70s he released some of his most popular, accessible work like Everybody Knows This Is Nowhere, After The Gold Rush and Harvest. While the Ditch Trilogy (Time Fades Away, On The Beach and Tonight’s The Night) may not have been as commercially successful as his earlier solo stuff those albums are still counted amongst his greatest works. If you were a fan you likely dug those albums.

If you started listening to rock n roll in the late 70s or early 80s, you started listening to what was then current. It was harder to get on Neil’s bandwagon at that point. Comes A Time was a great album but you didn’t hear a lot of mellow Neil on the radio in my hometown. You were probably under the impression that “Lotta Love” was a Nicolette Larson song. You might occasionally hear “Like A Hurricane” or “Cortez The Killer” on the radio but Neil never caught my attention. I heard the common complaints, “his music is a bummer,” or “he can’t sing” (much like I used to hear about Dylan). Sadly, I probably fell into that trap. I’ll admit, Young’s album most influenced by punk, Rust Never Sleeps did catch my ear. I really dug “Powderfinger” and “Pocahontas” even if I couldn’t always follow the lyrics. “Hey Hey, My My” was a guitar freakout that I liked. I remember Billy Joel on 20/20 at the time complaining that his songwriting was too complex and he played “Hey Hey, My My” on the piano as an example of something simple yet catchy. I don’t know if he was making fun of Neil but knowing Billy, probably. While at that point, still in high school, I began to think more highly of Neil, I still wasn’t on the bandwagon. It was hard in the late 70s or early 80s to jump on that bandwagon despite Rust Never Sleeps and the accompanying concert movie that always seemed to be at the midnight movies with Zeppelin’s The Song Remains The Same playing in the next theater.

His next few albums, Hawks And Doves and Re*ac*tor both slipped by without me noticing. The years when I was graduating high school and going off to college – years of great musical expansion in terms of my collection and awareness – the bottom dropped out for Neil. Trans was (and remains for me) unlistenable, Everybody’s Rockin’ was a rockabilly album and Old Ways was gasp, country. Not a good time to jump on anybody’s bandwagon. Although I remember an ex roommate dropping by a party I was having at my parents house after he’d been to see Neil on the Everybody’s Rockin’ tour and he raved. Still I was unmoved.

Then a very fortunate thing happened for me. I met a guy named Drew who turned me onto a bunch of great music that included Neil Young. Before I knew it I owned Decade a three LP greatest hit retrospective that I believe set the stage for the box set cottage industry. In college I became very backwards focused. Rather than just listening to what was current, I began to dig deeper into the back catalogs of bands I liked. It was the 80s but I was focused on bands from the 60s and the 70s. I knew more about the Faces and Led Zeppelin than I did about Motley Crue or Def Leppard. They were fine bands who ironically I discovered 10 or 15 years after their heyday. Since college, I’m always busy looking in the rearview mirror instead of at what is current. I’ll probably be bragging about listening to Cage The Elephant in like a decade. I went from lukewarm on Neil to very into him. I devoured his back catalog but wanted something more, something current. Around this time he released Landing On Water. I bought it used and quickly sold it back to them. I began to consign Neil to the annals of history in terms of being a viable act.

But as Neil often does, there began to be signs of life. I’m one of the few people who really dug his reunion LP with Crazy Horse in 1987 Life. Yes, I’m that guy at the all night party back then urging someone to put on “Inca Queen.” It was after that album he left Geffen Records who had sued him for “purposely making un-commercial music,” and re joined Reprise (a label founded by Sinatra by the way). His first LP for Reprise was a blues genre exercise, complete with a horn section, This Notes For You. I loved that record and I know I’m the only one who did. That album came out in 1988 and it seems Neil was finally done with genre exercises and pissing off his record company. He was ready to record a real album. A real Neil Young album.

It’s hard to overstate what a great comeback 1989’s Freedom was for Neil Young. It was certainly the best album he’d done since Rust Never Sleeps. The album was book ended with an acoustic and electric version of a song (just like Rust) “Rockin’ In The Free World.” The electric version is one of his greatest songs. It was eclectic but this time in a good way. “Crime In The City” and “Someday” – both great songs – were left overs from This Notes For You complete with horns. “Crime In The City” is a great, gritty epic track. “Someday” is an oddly worded hopeful track. “Too Far Gone” was a beautiful ballad that dated back to his aborted LP Chrome Dreams in the 70s. The album is a combination of rockers and quieter acoustic numbers. Linda Ronstadt shows up to sing harmony on “Hangin’ On A Limb” a track about a seemingly doomed love affair and “The Ways of Love” another beautiful acoustic track. This is not only one of Neil’s best albums, it’s one of the greatest rock albums ever recorded.

Which all leads me to this previously limited release EP, Eldorado. It came out six months prior and was perhaps meant to be a teaser for the upcoming Freedom. It’s credited to Neil & “the Restless,” Chad Cromwell on drums and Rick “The Bass Player” Rosas. I’m delighted to see it finally released, but then I’m a completest. Two of the five songs, “On Broadway” a cover song and the title track of the EP, “Eldorado” were both put on Freedom exactly as they are here. There is a third track, “Don’t Cry” that ended up on Freedom as well, albeit edited. “Don’t Cry” was always a creepy, harrowing breakup song to me. It’s about a guy who helps his girlfriend pack her stuff and take it to the car. “Don’t cry my sweet girl, nothing I say is written in stone.” The narrator is hedging his bets. The thing that made this song feel somewhat menacing was Neil’s freak out guitar work. He’s singing in a reassuring manner but pounding out notes on the guitar. It’s all very dissonant. It’s a great song but man what he does to his guitar strings should be illegal. Apparently at the insistence of Niko Bolas who produced Freedom and Frank Sampedro, Neil’s erstwhile guitarist in Crazy Horse, Neil agreed to edit out about 45 seconds of his guitar fury on the song. So the version on Freedom is slightly different than what you find on Eldorado.

Why the interest in Eldorado if three of it’s five songs are repeated (basically) the same on Freedom? There are two tracks that didn’t make Freedom and have never been released before. Again, I’m a completest but I really like these two unearthed tracks. The first track on the EP is the unreleased “Cocaine Eyes” and it’s just a great, lost Neil Young rock song. It’s an anti drug song but unlike “The Needle And The Damage Done” this song rawks. “Ain’t a day goes by, I don’t burn a little bit of my soul.” I think its about overcoming an addiction to coke, but then it’s vague enough to make you wonder if the guy actually got past cocaine. “You lost the race once again, my old friend.” Maybe he’s talking to Crosby? The guitar solo at the end is a slashing, classic Young solo. The other previously unreleased track is “Heavy Love.” It’s another great galloping rocker of a song. “Inside your head I’m singing, inside your heart I dig for more.” The song ends with a loud crash of drums or what may be Neil pounding on the strings. It just sounds like something is exploding…  If I’d have heard either of these songs – prior to hearing and loving Freedom – I’d have probably been ready to proclaim that Neil was back!

I will warn you before you run out and buy this EP, it will probably be included in Neil’s supposedly upcoming Archives III. Before Archvies I came out I bought several of Neil’s live LPs that ended up in the box set. I was pissed about that. I figured why get the box, I own half of it already? While I did purchase a few of the discs that were included in Archives II, at least this time I went in with my eyes open. I would definitely recommend everyone check out the two newly released tracks and if you haven’t done so, for the love of all that is holy, please pick up Freedom at your earliest opportunity. Trust me.

Cheers!

Edgar Winter (And Many Special Guitar Guests), ‘Brother Johnny’ – A Fitting Tribute To His Brother Johnny Winter, Blues/Blues Rock Legend

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It’s no secret that we’re big blues fans here at B&V. We’ve even published a playlist of our favorite blues songs done by rock artists, a playlist still in high rotation here in the B&V labs. All of the great rock n roll I love is really built on a foundation of the blues: The Rolling Stones, Led Zeppelin, and Cream to name but a few. The blues always has a great beat, impassioned vocals and a great guitar solo. All of that translated very well to the rock idiom. “The blues had a baby and they called it rock n roll.” One of the great blues guitarists out there who I’ve always dug but oddly never owned a ton of his stuff was Johnny Winter who passed away in 2014 at the age of 70 years old. While I never owned a ton of Johnny’s stuff, I have been listen to and a fan of his for a long time. With his skinny frame, white-blonde hair and albino skin he was, in my mind, an iconic guitarist. While he may be predominantly known for the blues I’ve always thought of him as more blues/blues rock.

I feel like Johnny Winter should be better known. He hailed from Texas. By the time he was 10 he was playing guitar in bands with his younger brother Edgar (more on him later). He really hit the national scene in 1969 and was hailed as the “next Hendrix.” The hype was pretty big. While he never really lived up to that he fashioned a great blues/blues rock career. He had some great albums: his 1969 eponymous debut, Second Winter, Johnny Winter And, and with his multi instrumentalist brother Edgar Together – Live. His cover of Dylan’s “Highway 61” is almost as iconic as the original. I have always loved his Stones’ covers “Stray Cat Blues” and “Silver Train” to name only two. Johnny played at Woodstock, for god’s sake, why isn’t he a household name? Some of my favorite work by Johnny was when he resurrected Muddy Waters’ late career by producing and playing on a trio of great LPs.

Johnny’s younger brother Edgar followed a similar career path. He played keyboards, saxophone and I understand it, pretty much anything he picked up. After playing with Johnny early on he struck out on his own. He had a couple of really big hits in the 70s, “Free Ride” and the instrumental “Frankenstein” (what a riff). He joined brother Johnny on a live LP but afterwards really became more known as a session musician. I was surprised and thrilled to see that eight years after his death Edgar has put together a guitar extravaganza tribute LP to his late brother. Who better to memorialize the great Johnny Winter but Edgar? Between listening to the new Chili Peppers and cranking up Rush’s Moving Pictures 40th Anniversary Edition, I’ve been jamming on this album almost constantly.

Tribute LPs can be a tricky endeavor. They can be really scattershot depending who is involved. Different artists and their styles can pull in wildly varied directions and fray the cohesiveness of the album. Brother Johnny avoids that trap for a couple of reasons. The level of talent Edgar managed to recruit to this thing. From Joe Bonamassa to Billy Gibbons to Warren Haynes, Edgar recruited topnotch guitar players who obviously respect and perhaps revere Johnny’s music/playing. The tunes are in good hands here. The second reason this thing holds together so well is the nature of the songs – it’s the blues. Whether it’s a full band rave up or an acoustic, front porch strummer these tracks all have that blues cohesion. The whole album holds together extremely well. The album literally makes me feel like I’ve driven down the highway to some hidden roadhouse for a blues jam where girls in cut off jeans and cowboy boots shuffle around the floor. Edgar does a lot of the singing and I thought perhaps he’d do all of it but that’s not the case. Many of these tracks are duets.

The aforementioned Joe Bonamassa shows up on the opening track and he gets things off to a roaring start on “Mean Town Blues.” When I heard the way he was torturing that guitar my head snapped up and I stared, open mouthed at the speaker. He shows up for a second track later on the LP, “Self Destructive Blues” and it’s another barn burner. Joe sings lead on that one. I heard Joe play live and he did a track each from Clapton, Jimmy Page and Jeff Beck and he killed it. He made each track his own and yet paid homage to those great former Yardbirds. That was truly ballsy.

Kenny Wayne Shepherd shows up on a catchy as hell rockin’ blues “Alive And Well.” Edgar sings and snarls his ass off on that one. Shepherd shows up later for a rollicking “Highway 61” later on the LP as well. Keb Mo’ does a great acoustic blues track “Lone Star Blues.” Keb’s vocal is as tasty as Texas brisket. ZZ Top’s Billy Gibbons, another Texas great guitar player shows up with former Allman Brother Derek Trucks on the down and dirty “I’m Yours And I’m Hers.” Only in the 60s/70s are you gonna find a song like that one. “You know I’m yours and hers, somebody else’s too…” I don’t think the Rock Chick would allow that sorta thing. Billy sings but the track is guitar heaven with Derek playing too. There’s more guitar fire power on this song than anybody than, well, the Allman Brothers.

“Johnny B. Goode” is a treat with Edgar and none other than Eagle Joe Walsh trading lead vocals. Joe’s guitar playing is as exceptional as ever. The most shocking track on the album, at least to me, is when Micheal McDonald, yes the ex Doobie Brother, takes lead vocal on “Stranger.” Walsh is still on board to play lead and Ringo Starr is on drums. It’s less bluesy and doesn’t fit completely with the rest of the album stylistically but damn if it isn’t a great, great song. Joe’s guitar solo is mind blowing. Steve Luthaker plays on “Rock N Roll Hoochie Koo” a track Johnny did prior to it being a hit for it’s writer Rick Derringer. Doyle Bramhall II does the slow burn, acoustic “When You’ve Got a Good Friend.” I’ve been a fan of Doyle’s since the Arc Angels. Another Allman Brothers’ alum, Warren Haynes shows up for the crunchy blues track “Memory Pain.”

There is so much to like on this record. I didn’t hear a single dud on this album. It’s a great tribute to Johnny Winter and a testament to the power of his music and the blues in general. If you like the blues or hell, if you just like great guitar, turn this one up… maybe get a pint of Southern Comfort and dance around… close your eyes and imagine you’re in a great, little roadhouse blues bar. It’s what Johnny would have wanted.

Cheers!

Rush, ‘Moving Pictures (40th Anniversary Super Deluxe) – Celebrating Their Masterpiece

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Oh man, now we’re getting to the really, really good stuff. You can’t be a rock n roll fan and not love Rush’s 1981 LP Moving Pictures. I can’t believe it’s been 40 years – actually 41, I think this was delayed by Covid – since this landmark LP came out. To this day I can’t hear the iconic drumming that starts “Tom Sawyer” and not reach to turn up the volume. Rush is celebrating their masterpiece with the release of Moving Pictures: 40th Anniversary Super Deluxe that includes the original album and a full concert from the 1981 tour.

It’s hard to overstate how big Rush were in the late 70s. For those of us of a certain generation they were kind of like our Zeppelin. Three virtuoso musicians – Geddy Lee (bass, vocals), Alex Lifeson (guitar) and the late Neil Peart (drums extraordinaire) – blended perfectly. While their self-titled debut album (released before Peart joined the band) didn’t sell well it caught the attention of Jimmy Page who became an early fan. It wasn’t until their 4th album (missing out on “my third LP is the charm” theory), the Prog-rock 1976 epic 2112 that Rush captured middle America where I live. It wasn’t until years later when I was in late junior high or early high school that I heard the whole first side of 2112 at a party that this guy Billy Edwards had. His father was an alcoholic and had vodka bottles stashed all over the house and Billy would steal them and his dad couldn’t really say anything about it. Anyway, drunk on screwdrivers we all jumped around playing air guitar to “Overture/Temples of Syrinx.” I was playing my “air guitar” so furiously I vaguely recall tearing off my thumbnail. Rock n’ roll, baby! I went out and bought the LP the next day.

Usually in those days if I bought an LP by a band and dug it, I’d plunge through the whole catalog. For some reason I didn’t do that with Rush (until much later). They were putting out an LP every year and it was really hard to keep up especially on my paltry allowance. They were one hard working band. And they were very prog rock in those early days and I think that scared me a bit. I bought a now obscure greatest hits LP, single vinyl named Rush Through Time but I was disappointed it didn’t have “Working Man” on it and so sold it. Argh. There was so much music coming out that I liked in those days I just never seemed to focus on Rush. They were always there, in the background, on the radio. I’d hear the epic “Xanadu” or “Closer To The Heart” from A Farewell to Kings or “The Trees” from Hemisphere on KY102 our local rock station. They loved Rush. My mother didn’t… she thought Rush stood for “Ruled Under Satan’s Hand” but then she probably would have been on the PRMC if she’d been married to a Senator.

Permanent Waves came out in 1980 and you couldn’t escape the songs “Freewill” or “Spirit Of The Radio.” The band was crafting shorter songs, well, relative to some of their older output in an attempt to be more radio friendly. Although saying that it sounds like they were consciously trying to be more “popular” and I don’t think that was the case. I mean, side two had “Natural Science” with their famous “I., II., III.,” prog rock subtitles. I think their writing style was changing. They thought, as did their record company, that Permanent Waves was going to be their huge break out record that would take them from semi-cult status (and lets be honest it was a pretty big cult) to mega stars in the same way that Born In The U.S.A. would break Springsteen a few years later. While the album was a success it didn’t have the effect they thought it would. It was their biggest album up to that point. After the tour for that album they did what they always did – took a short break and headed right back into the studio. I guess the fact that these guys weren’t hard partying rock stars but toiling musicians helped them avoid burn out. They decided, screw mega success, we’re going to take a detour and do our own thing…

Moving Pictures, their supposed “detour,” was actually the album that made Rush a household name. It was clearly influenced by what was happening in New Wave at the time.  Side one is about as perfect a side of music as you’re going to find in rock n roll. I knew this guy I used to  hang out with a bit. I wouldn’t say he was a friend, but an acquaintance. His name was Mickey Congress (name obviously changed to protect the guilty). He had this sweet Mustang with a powerful car stereo. He had two speakers mounted on the A-frame of the roof of the car, the pieces that hold up the roof of the car. We went out partying one night and he had Moving Pictures on tape. I had only heard “Tom Sawyer” at that point. I remember thinking, “Cool song, at least Peart has moved on from that idiot Ayn Rand and is now inspired by Mark Twain.” I was so critical in those days, “rock snob extraordinaire.” Anyway, Mickey had the entire LP on this cassette. The only problem is the guy was addicted to treble. He had the high end so turned up when he cranked the album, and he just kept playing it over and over again that night, it was so piercing it would melt your fillings. It sort of ruined the album for me at the time. It wasn’t until later, after I saw them in concert, that I bought the album and heard it without the high treble that I realized how great an LP it truly was/is.

“Tom Sawyer” is the opening track and what a classic. It has caused many a man to play “air drums.” It’s simply put a rock standard. “Red Barchetta” about a sci-fi, fantasy car is one of their most beloved songs in their catalog. As a youngster I wanted a Red Barchetta, only to find out there was no such car. “YYZ” which everyone thought was a secret code – it’s not, it’s the airline code for the Toronto airport – is one of my favorite of Rush’s many instrumentals. “Limelight” is a cautionary tale about the pitfalls of fame and a great rock song. I think they’ve played all four of the songs on side one at every show they’ve done since then. Side 2 is no slouch either. It starts with their last 10-minute plus epic, “Camera Eye” which is just a killer prog rock track. Other than “Xanadu” its one of my favorite long Rush tracks. The final track, “Vital Signs” even touches slightly on reggae. There’s nothing Rush can’t do.

I was lucky enough to see Rush at Kemper Arena on April 24th 1981 on the Moving Pictures tour. Only the biggest bands – Bob Seger, Journey, Styx (yeah, I know, Styx?) and Rush could come in and play two back to back sold out concerts at Kemper. They probably played to over 25,000 people in 2 days. Alas, my seats were in the nose bleeds, behind the band. I could see the techies working behind the scenes but couldn’t really see Geddy. I remember being disappointed after the show but that was because of my vantage point, and the sound was bad behind the band. Another disappointing first experience. I saw them again only a year later on the Signals tour and I was in front of the band that time… much better sound and experience.

The bonus on this 40th Anniversary package is a full concert from that tour. They released a live LP after, Exit Stage Left, but I always felt it didn’t do that tour justice. Now we have a whole show in it’s full glory. This is the exact same setlist that they played at Kemper the night I saw them – or saw their backs – in 1981. If you don’t have Moving Pictures yet the concert makes this a must have. It is the sound of one of the greatest rock bands ever at the height of their power. They open with the iconic “Overture/Temples of Syrinx” from 2112. They play tracks from every album in the catalog. And they play with a mighty force. The new stuff from Moving Pictures sounds fresh and fantastic. They play all the tracks that were in heavy radio rotation – “Xanadu,” “Spirit of the Radio,” “The Trees,” just to mention a few – but they don’t shy away from some of the great prog rock in the catalog with a healthy dose of Hemisphere’s “Cygnus” song cycle. While I had a shitty seat at the show, I can say the band was on fire that night. I would kill for a do over. This live concert in the 40th Anniversary box would stand up amongst any of their great live albums.

Rush, as usual, really comes through on this 40th Anniversary set. Unearthing this fabulous concert is a great gift to the fans, and there are many of us. I bought the album after seeing them in concert that April night in 1981 and I really had bad seats. I’m glad I did. This concert feels like unearthing a hidden artifact from my childhood, a rock n roll Rosetta Stone, if you will. If you dig rock n roll and Rush this is must have for all of you. I feel like holding a lighter over my head in one hand, and flashing the devil horns of rock n roll in the other…

“Cast in this unlikely role, ill-equipped to act with insufficient tact, One must put up barriers to keep oneself intact.”

Cheers!

 

 

 

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

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*Photo taken from the internet and likely copyrighted

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

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

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

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

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

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

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

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

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

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

Cheers!

Black Keys Release Rocking, Sleazy New Single “Wild Child” & It’s Put a Twisted Smile On My Face

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“I’m just a stranger with a twisted smile…”

When I was in college, which believe it or not were the “heavy drinking” years, my friends and I used to all say when we weren’t studying or in school that we were social workers out doing “social” work trying to improve things for people. Which basically meant we were out doing crazy shit to help entertain other people whose lives might not be as interesting as they could or should be. Such is the hubris of youth… or of drunken youth. “We are the youth gone wild…” as the song goes. Or at least we were the youth gone wild. Anyway, as part of that whole boozy buffoonery, I remember saying to friends, “When I’m old I just want these memories to be a twisted smile on my face that no one understands but me… and perhaps people will wonder where it came from?” I guess I was powerfully channeling my inner David Lee Roth all the time. Remember how cool he was back in the 80s?

I took a friend to the doctor today. And while I was sitting in the waiting room – where I waited almost as long as I did at the DMV a few weeks ago, someone owes me a beer – I saw that the Black Keys had dropped a new single “Wild Child.” I may be a little late on this one as apparently it’s number 1 on some music chart… I don’t really pay attention to the “charts,” as I’ve mentioned before (12 Favorite Old School, Vinyl, Single- Album Greatest Hits LPs; The Struggle Was Real). I was just thrilled the Keys had a new song out. I had heard they had a new album coming out but didn’t have any other details… I do now, the album is called Dropout Boogie and it’ll be out May 13th. I can’t believe they’ve already got a new album coming out? It was just last year they put out the great blues cover LP Delta Kream. And only two years prior they’d released the fabulous Let’s Rock. To turn around and drop a new album already is 1970s level rock n roll output. Usually they take a break for guitarist/singer Dan Auerbach’s latest solo album… or he produces someone else’s music. To be fair, Pat Carney (drums) also does some outside producing as well. Good for them. Always nice to work with other people, get the juices flowing for the next band project.

I was delighted when I heard that first single and the opening lyric, “I’m just a stranger with a twisted smile…” It certainly took me back to sunny spring days a life time ago… Perhaps there’ll be a twisted smile on my headstone. “Wild Child” is another in a long line of great Black Keys songs. These guys are some of the most consistently wonderful rockers out there. The entire song is a “come on.” Boy meets girl and proceeds to attempt to woo said girl. The first 7 seconds are a funky, almost disco, little riff that wouldn’t be out of place in and old school porn movie… not that I know anything about that sort of thing. Then the song kicks in with one of those monster Auerbach riffs. “Your heart is in danger…” Oh, indeed it is. The guitars are fuzzy and sleazy which perfectly fits the track. Carney’s drums throb like a heartbeat. Between riffs you can hear Auerbach doing a wah-wah thing that gives this such a funky, fun underpinning. As usual there’s a great guitar solo – we’d expect nothing less from these guys. “Baby won’t you show me your wild child ways.” Yes, please. You can feel the lust and need dripping off this song… It’s the perfect Spring song – even if you live in Kansas City where Spring has basically been Winter 2.0.

Here is the link:

These guys have come such a long way since their early bluesy, punky rock n roll. I would really like to see these guys live. I actually saw them do 1 song with the Stones at their 50th Anniversary show in Newark… They certainly acquitted themselves well. This album is an automatic buy for me. It’s not that kind of Jack White, genius gone weird level stuff that I have to hear first (and hear a few times) before I’ll buy. There’s nothing wrong with being consistently kick ass. Tom Petty was consistently kick ass so that’s pretty fine company the Black Keys find themselves in. Petty was an American Treasure after all.

Cheers! And always…during these dark times, keep smiling even if it’s a little bit of a twisted smile!

Pink Floyd: First New Single Since 2014 – “Hey, Hey, Rise Up (Featuring Andriy Khylvnyuk)” For Ukrainian Humanitarian Relief

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I had to rub my eyes when I started seeing the stuff on line… A new song by legendary band Pink Floyd? That can’t be right. Perhaps it could be early on-set dementia catching up with me? Pink Floyd hasn’t done anything since 2014’s The Endless River, a mostly instrumental tribute to their then-recently passed keyboard player Rick Wright. And the songs on that album were crafted from jams they did when recording The Division Bell back in 1994. They just went in and did some creative editing and a little bit of addition to come up with the album. I dug The Endless River as it harkens back to that Floyd period after founding guitarist/vocalist Syd Barrett departed and before the massive fame that came with Dark Side Of The Moon. And let’s face it, Pink Floyd was always at their best when lamenting a departed band member be it Syd Barrett, Roger Waters or Rick Wright. But after The Endless River, David Gilmour announced, that’s it, Pink Floyd are done.

Hence my shock when I saw that there was a new Floyd song on the way. It turns out Gilmour has gotten Pink Floyd back together for the most noble of reasons. The song is for charity, namely Ukrainian Humanitarian Relief. All proceeds go to that. Gilmour could have released this as a solo track, but obviously he realizes that the creative/commercial reach of using the Pink Floyd name is far wider than just his solo stuff. Pink Floyd has always stood on the side of Peace and this is a perfect use of their clout. Joining Gilmour (guitar) is Nick Mason on drums – and if Gilmour and Mason are involved it’s Pink Floyd to me – with Guy Pratt whose played bass for Pink Floyd for a long time and Nitin Sawhney on keyboards. Gilmour’s daughter-in-law is Ukrainian so he obviously has a personal stake in all of this.

On vocals it’s Andriy Khlyvnyuk from the Ukrainian band Boombox. Gilmour sat in with Boombox a few years ago, although Andriy was absent that night, visa issues. More recently Boombox was touring, I believe in America, when the Russians launched their unprovoked invasion. He flew back to Kyiv to help defend his country. After being there a few days he posted a video on social media singing a Ukrainian song “The Red Viburnum In The Meadow.” It’s a “we will rise” kind of song. Very stirring. It was then that Gilmour got the idea of pulling Pink Floyd back together. Mason was immediately keen on the idea. Gilmour was quoted as saying, in a self-deprecating manner, “All I had to do was go in and play the “guitar god” part.” And he certainly does. There is also a very affecting video on YouTube, seen here:

I thought, “Charity single ok, I’m in,” but I didn’t expect to like this song as much as I do. Andriy’s vocal is as impassioned as you’d think it would be. I loved when U2 did that side project as The Passengers and did that song with Luciano Pavarotti, “Miss Sarajevo” so I found hearing someone sing in Ukrainian quite moving. And Gilmour’s guitar is, well quite inspired. He’s one of those guitar players who when I hear him, I know it’s him. His style of playing is so distinctive. He does not sing at all on the song, it’s all Andriy on vocals.

There are some who may argue whether this is “really” Pink Floyd. But it was the line up of Gilmour and Mason who were credited as Pink Floyd on A Momentary Lapse of Reason. Rick Wright played on the album but wasn’t an “official” band member so he could avoid the hassles brought on by Roger Waters lawsuit against the band… which he eventually lost. So if you want to get caught up in the debate of whether this is Pink Floyd or not, go right ahead. But here at B&V this is Pink Floyd.

This is a great song put together for an even greater reason, Ukrainian Humanitarian Relief. Anything that can help is positive. I love that Gilmour cranked up Pink Floyd in the cause of humanitarian relief. The Russians atrocities get worse every day. I can’t believe we’re seeing a war in Europe in 2022. If this great song can shine more light on it, I’m in. Come for the noble cause, stay for the impassioned vocal and searing guitar solos. And as we used to say in high school, “It’s Pink Floyd, man.”

“All we are saying is give Peace a chance” – John Lennon!

Cheers!

Review: Red Hot Chili Pepper’s ‘Unlimited Love’ – Frusciante Returns For A Midtempo, Groove-fest

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If you’re like me, you spent the weekend holed up in a room with big speakers listening to the highly anticipated new LP from the Red Hot Chili Peppers (complete with John Frusciante back on guitar) Unlimited Love.

A few weeks ago my daughter was in town and we went over to see my parents. My father, a half a glass of wine in, decided to drop some family trivia. Each member of our nuclear family was born in a different state. While true, it’s not something I think about a lot. My father was actually born in Los Angeles. His parents, my grandparents, migrated from Kansas to California during the Great Depression like so many people did. It wasn’t quite as Grapes Of Wrath as it sounds. My grandfather had a job in a factory waiting for him. My grandparents were comfortable enough they not only had my dad but my uncle both in L.A. Eventually they returned to the Midwest but I always wonder what would have happened if they’d stayed out West. Who knows, I might have gone to high school with Anthony Kiedis, Flea and Hillel Slovak. I’m about the same age as those cats. Maybe, despite no evidence of musical ability, I’d be in the Red Hot Chili Peppers. Although my low pain threshold has kept me away from tattoos… and I’m not brave enough to appear on stage in only one sock. Dare to dream.

New music from the Chili Peppers is always a treat. Maybe it’s because (as mentioned) I’m roughly the same age, it always feels like getting an email from an old friend when they drop new music. Admittedly I was late getting on their bandwagon. I am probably the only Chili Peppers fan who discovered the band through the one album they did with Dave Navarro, One Hot Minute. Critics felt the songs on that album were under developed but I love that record. “Warped” is just an amazing song. “My tendency for dependency is up ending me…” From there I went back to their seminal line-up and most famous LPs featuring John Frusciante – Blood Sugar Sex Magik and Mother’s Milk. Those albums were a tour de force of guitar funk. Flea is the greatest bassist of his generation. It was fun following Kiedis’ development as a vocalist. He started as a rapper now he’s a fabulous vocalist. I was hesitant to buy Californication when it came out. I remember listening to samples of it at the Barnes & Noble on the Plaza. I walked out of there with that album and it solidified my place on their bandwagon.

I was terribly bummed after Frusciante left a second time after Stadium Arcadium. I’d seen them on that tour and he played with an almost religious ecstasy on his face. Everyone except my parents loved Stadium Arcadium. I had people significantly older than me at work tell me they were listening to that album. You could argue they were the biggest band on the planet at that point. A friend of mine at the time said to me, “I can’t believe I’m more into the Chili Peppers LP than the new Pearl Jam. If you’d told me 10 years ago that would happen I’d have told you you were crazy.” While I was bummed they’d lost Frusciante after that album and tour I stayed on the bandwagon. I thought Josh Klinghoffer who replaced Frusciante was a significantly less talented lead guitarist but I was in no way anti Josh. I loved I’m Beside You. However, I was really unimpressed with The Getaway, despite the sensational first single, “Dark Necessities.” The wheels came off on the second half of that album… Having listened to it for the first time in a long while this weekend, I stand by my opinion.

As I said, with Frusciante returning to the fold after an amicable split with Klinghoffer (Chad Smith played with Josh on Eddie Vedder’s new LP and tour) anticipation has been running high for this album. Anticipation is a tricky thing. If it gets to excessive it can interfere with how you perceive an album. I expected the same kind of guitar masterwork we got on Stadium Arcadium. There are moments of Frusciante’s transcendent guitar work but I would describe this album as more “Flea forward” than their last LP together. This album has a lot of funky bass and that is not a bad thing. These guys remind me of my old college roommates. There were five us in a tiny apartment. Rent was like $60 a month. We were wild men in those old days. When we get together for reunions these days they’re always fun but nothing as crazy as the college years. Maybe that’s what happened on this record. Old pals got together not to recapture old glories but reaffirm their bond and vibe. This album is a very midtempo affair. That doesn’t necessarily bother me, but the Rock Chick was not pleased.

The album starts with the first single, the somber “Black Summer.” It may not be as glorious as “Dark Necessities” but it’s a great track. It’s very “Slow Cheetah.” The first third of this record is just sensational. It’s as varied and melodious as anything they’ve ever done. “Here Ever After” is an upbeat, funky ear worm of a song. It gets in your head and it stays there. “Aquatic Mouth Dance” has some great horns that distinguish it. I do love Flea on trumpet. It’s another funky rocker. “Not The One” is just a gorgeous ballad. I love the line “I don’t look like myself in photographs.” Beautiful song, beautifully sung. “Poster Child” is a funky “We Didn’t Start The Fire” trippy trip through history. The chorus is another “stick in your brain” kind of moment. “I will be your poster child…”

“The Great Apes” is really the first track that Frusciante’s guitar dominates. The sounds he gets out of a guitar are so distinct. There are certain guitarists who I hear and just know who it is. It’s as unique as a vocal. David Gilmour and even Clapton are like that for me. I’m realizing Frusciante is as distinct as those guys. “It’s Only Natural” continues the hot streak. While it’s mellower it’s got some cool guitar sound effects. “She’s A Lover” is another bass heavy, funky up beat track. It’s another song I like a whole lot. “These Are the Ways” is probably the biggest rock song on the album. Frusciante lets loose with some heavy riffs on that track.

It’s after that, starting with “Whatchu Thinkin'” and “Bastards of Light” that the album falls into that midtempo vibe and they never really get out of it. I like Rick Rubin and I think he’s the perfect producer for these guys but he lets them get a little monochromatic at times, like Picasso in his “Blue Period.” The Chili Peppers’ creative process is jam based – most of their songs come out of sessions where they get together and jam. That jam based process doesn’t really lend itself to editing. They probably could have cut a few songs and it would have helped the album. It’s an hour and thirteen minutes long. “Bastards of Light” is the only track I didn’t connect with, it turns into Kiedis singing through a megaphone. “White Braids & Pillow Chair” is a pretty ballad but it meanders as did my mind at that point in the album. Taken by themselves each of these songs are great but as a whole the album does seem very midtempo. There’s nothing wrong with mellow it’s just not what I’d expected.

Things get back on track toward the end of the album with the upbeat “One Way Traffic.” “Will you be my traffic jam?” It’s got a great sing along chorus. That’ll be a big one live. I really love the song “Let ‘Em Cry.” It may be my favorite on the album. “Veronica” has great lyrics. “The Heavy Wing” is probably, yes, the heaviest track on the album. Frusciante takes over the vocals on the back end of that song which is an unfortunate choice. “Tangelo” wraps things up much like “Roadtrippin'” did Californication, with a beautiful acoustic guitar driven track.

This is certainly one of the biggest albums of the year and I urge everybody to check it out. I can’t wait to see these guys live again. I want the Rock Chick to behold the majesty of John Frusciante live. They purportedly put together 50 songs when recording this album and there are rumors they might release a follow up in short order. I’m for all the Chili Peppers with Frusciante I can get!

Enjoy this laid back groove of an album. I know it made my weekend! Cheers!

B&V’s 12 Favorite Old School, Vinyl, Single- Album Greatest Hits LPs – The Struggle Was Real

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I was never a guy who watched the music charts. As a decidedly rock n roll guy and not a “pop” music fan I didn’t look to see who had the number 1 song in the world, or any place else for that matter. What was popular didn’t matter to me. What rocked absolutely mattered to me (and still does)! There was one true rock n roll station in Kansas City at the time, KY102 and they didn’t play “hits.” The hits were all to be found on the pop station, Q104. My brother was diverse enough he’d listen to both stations, but I was all rock n roll, all the time… once I eventually got into music. My parents would play the Casey Kasem show American Top 40 on Sunday mornings on the way to church in an attempt to mollify my anger at having to get out of bed, bathe and go to Mass. I had gotten into music and I guess they thought playing pop music would soothe the savage (and apparently heathen) beast. Spoiler alert: it didn’t work. Listening to pop music on the way to and from church was as close as I got to knowing anything about the pop music charts and what was popular. And yes, for those of you who missed him, Casey Kasem was even cheesier than you might imagine.

That all being said, even as a vinyl guy, I find myself going out to buy music on different platforms. I have a room full of vinyl, CDs and hard drives full of MP3’s. Every now and again I’ll find myself going out to Apple Music to buy a stray song. I recently bought the song “Soulmates to Strangers” by Joan Jett because while I dig her, I just wanted that song. I’m not “that” into her that I considered the entire LP… but I’m getting off topic here. On those occasions I’m out on Apple buying a single song, I find myself glancing at the “TOP SONGS” and “TOP ALBUMS” on the “Rock” home page. I can’t help myself. I’m always curious to see what people are buying. “TOP SONGS” doesn’t really interest me, although occasionally I do find some stray tune on the list I like but my eyes almost always head to “TOP ALBUMS.” The list of top LPs usually includes a few heavy metal titles – like really heavy stuff (keep rawking people!) – but invariably the list is dominated by greatest hits albums. Whether it’s Journey, CCR or the Eagles, it’s always a who’s who of classic rock “best of” compilations. At first I was surprised, but when I think about my own early experience collecting music, I totally get it.

I had my “rock awakening” somewhere around 1977 or 1978. The first LP I ever purchased was the Rolling Stones’ Some Girls and after that there was no turning back, I was hooked. Rock n Roll as an art form was a good twenty to twenty-five years old by that point. Granted the famous rockers from the 50s had all “aged out” by the time I was into music. Listening to 50s rock n roll was like watching old, grainy, black and white footage of baseball in the 1920s… jerky movements and small hats with big gloves. Even Elvis was on his last legs and eventually passed away in awful fashion. I did have a connection to that 50s music. My father had a wire rack full of old singles from Elvis, Johnny Cash and Ray Charles. It was hard to listen to those early Elvis singles (that I loved) and being able to connect that visceral, powerful music that sounded like life itself with the Elvis who died at the end.

If I put aside the 50s and limit the life of rock to 1963, the year “Love Me Do” by the Beatles came out, that’s still a good 15 years of rock n roll I had to catch up on. There was soooo much great rock n roll already extant and it was all I could do to keep up with stuff that was being released currently. How was I ever going to catch up and build a decent record collection? And lets not forget, at the time I was in middle school (or as we called it, Junior High). It’s not like I had a “9 to 5” job down at the bank that paid me a whole bunch. I got a pittance for an allowance from my folks. Most of my spare change went toward buying LPs from the rock groups who were then current. Led Zeppelin’s In Through The Out Door, The Who Face Dances and Springsteen’s The River were all early purchases. That last one, the Springsteen record, was particularly dear as it was a double LP which was always a huge investment. Obviously, each of those groups (and so many others) had a rich history and big back catalogs. What’s a (relatively) poor boy to do to build a record collection of the music he loved?

As a young collector who couldn’t afford to buy all of the Beatles LPs, I did what we all did back then, I turned to greatest hits collections. You must remember that this was long before the 2-CD, wonderfully curated greatest hits packages that I see listed on the Apple Music “TOP ALBUMS” list. There was no Depeche Mode Singles 86 – 98 or Scorpions Deadly Sting. Sure, there were some double LP greatest hits packages out there – the Stones Hot Rocks and Neil Young’s Decade (which was actually 3 LPs) spring to mind – but double LPs were more than my tiny budget could afford. Even after I started working mowing lawns or busing tables I was leery of buying double LPs, greatest hits or otherwise… Pink Floyd’s The Wall was certainly a rare exception. Cassettes helped – I taped my brothers’ Hot Rocks and my parents Beatles’ 1967-1970 aka The Blue Album but I really had limited access to other people’s collections. There was no file sharing unless you count passing cassettes around.

I turned, as most of us did, to buying single-LP greatest hits collections. They never really contained every song I wanted or liked from an artist – they were rarely a complete picture of the artist’s catalog – but those greatest hits albums were the foundation of my early record collection. If I liked the greatest hits album I’d slowly delve deeper into the artist’s catalog until the greatest hits package became, well superfluous. Over the years as my collection grew, I divested of many of the greatest hits packages from those early days. But I wish I hadn’t. I loved so many of those albums. If the album was sequenced right, with a healthy dose of great tunes, it was almost like an original… Sometimes there was a bonus track you couldn’t find anywhere else or a single that hadn’t been released on an album up to that point. Those were always great to have. I thought I’d share the 12 “best of” albums that were my favorites. I’m sure some of you out there owned a few of these?

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  • The Doors, Greatest Hits – This LP got my entire generation into the Doors. It’s iconic to folks of a certain age. There were longer (double-LP) and perhaps better greatest hits albums from the Doors but this was the one we all owned. It was short but it had all the highlights. The biography of Jim Morrison No One Here Gets Out Alive also came out around this time and we all wanted to be the poet rebel. If I was ever in trouble I gave my fake name as Ken Morrison as an homage.

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  • David Bowie, Changesonebowie – Bowie was intimidating. He’d gone through so many stylistic (yes) changes I didn’t know where to start. This was the perfect primer for me on Bowie. I actually still have this one on vinyl. From “Space Oddity” to “Changes” I realized I dug Bowie. I had already purchased Let’s Dance and this album made me realize I’d only scratched the surface.

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  • Paul McCartney, Wings Greatest – This had a bunch of non album tracks like “Mull of Kintyre” and “Junior’s Farm” and it came with a cool poster that I hung on my wall. It was only the tip of the iceberg of McCartney’s post Beatles 70s work but man I wore this thing out. At the time I only owned Band On The Run and the then current Tug Of War and I thought this rounded it out nicely… I had so far to go.

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  • The Eagles, Their Greatest Hits 1971-1975 – This album had a ton of their best tracks from the pre-Hotel California Eagles. As a youngster Hotel California was really all I cared about from the Eagles, but they had so many great songs, this LP, one of the biggest sellers of all time was a must have.

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  • Aerosmith, Greatest Hits – I actually bought their Live Bootleg LP thinking that it had more of their big songs on it. I love live LPs, but Live Bootleg was pretty raw. I ended up going back for this LP to augment my Aerosmith collection. The songs were edited but this was the perfect cassette for the car. The Rock Chick had this on CD when I met her and I knew we were destined to be together.

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  • The Who, Meaty Beaty Big And Bouncy – Sure, I had Face Dances and I even plunked down the cash for Who’s Next but I couldn’t afford to go back and chase all these great early Who tracks down. The critics hoped for more unreleased stuff but I loved this record. It’s a perfect collection of early singles. And “Pinball Wizard” was on this album and I couldn’t afford the double-LP Tommy.

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  • Elton John, Greatest Hits – We were all a little leery of Elton – was he a pop or did he rock? Yes, of course he rocked. This was the perfect introduction to his vast catalog. I don’t know anybody who didn’t own this record. It wasn’t until I was in college, after I’d seen him live that I delved deeper into his catalog.

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  • The Doobie Brothers, Best of the Doobies – I was a huge fan of the Tom Johnston era of the Doobies but I had no idea where to begin… this was the place. While I’m one of the few people I knew who were into the Doobies in the late 70s, I really liked this record. And it was better than Minute By Minute which everyone owned but no one admitted they owned.

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  • Bob Dylan, Bob Dylan’s Greatest Hits – Believe it or not, my first Dylan album was Slow Train Coming, his first in the “Christian Trilogy.” I dug his lyrics (that really was poetry) and wanted more but didn’t know where to start. So I started here. It was the only LP with “Positively 4th Street” on it… a song I love. “Yes, I wish that for just one time you could stand inside my shoes, You’d know what a drag it is to see you.” I can’t tell you how many times I’ve thought that about someone.

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  • ZZ Top, The Best of ZZ Top – ZZ had emerged from a short hiatus with Deguello an album I still just love. This was a perfect sampling of all their stuff prior. It had everything from “La Grange” to “Tush” which was a perfect for me at the time. I finally ended up owning all of their early records (except Tejas) so I sadly parted ways with this one. It was a great introduction to everything that had come before Deguello.

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  • The Jimi Hendrix Experience, Smash Hits – I had no idea the Hendrix Experience only had 3 LPs… if I’d realized that I probably would have just bitten the bullet and bought them all in high school. But I did love this album. It had “Stone Free” which wasn’t on any of his actual albums. And as mentioned, I always loved a stray single finding a home on an LP.

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  • Crosby, Stills, Nash & Young, So Far – I’m embarrassed to admit I didn’t know this was a greatest hits LP when I bought it. It was the only album I could find “Ohio” on at the time and therefore I thought it was just a studio LP albeit an amazing one. It was indeed a great sampler of their biggest tracks but again with only 1 or 2 LPs to buy I could have foregone it… but I’m glad I didn’t. It wasn’t until college when my roommate Drew turned me on to CSN (Y) that I started to collect their first few LPs including Deja Vu.

I’m sure all of you out there had that LP or cassette of a greatest hits package that you just loved. Nothing that was exhaustive or complete but just a great record you liked to listen to at full volume on the headphones in your bedroom when you got home from school or in your car with the windows down (or if you had money maybe with the T-tops off. What were your favorites from back in the day? Let us know in the comments section.

I hope you all enjoyed this little stroll down memory lane! There is nothing wrong with owning a greatest hits package. It’s a great way to build up your collection. And like me, if you find some gems you weren’t aware of perhaps it’ll lead you to an LP you’d only paged past. To me greatest hits packages serve two great purposes – 1) it builds your collection, especially if you’re not so into the artist you wanna buy all their LPs and 2) it serves and a good introduction or primer into an artist’s catalog. You can’t lose.

Cheers!

Playlist: Our Favorite Songs About The Surreal Realm of Dreams/Dreaming

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*Image of Freud (apparently interpreting dreams) taken from the internet and likely subject to copyright

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Editor’s Note: Right before I went to bed last night I saw the terrible, terrible news that the world of rock n roll had lost another bright light. Foo Fighters’ drummer Taylor Hawkins, dead at 50. Such terrible, terrible sad news. My condolences to Taylor’s family (especially his 3 kids) and to Dave Grohl and all the Foo Fighter’s family. I’m not a huge fan of the Foo Fighters but this one did hit me kind of hard… fifty is still so  young.

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“To sleep, perchance to dream” – Hamlet, William Shakespeare

I’ve always had a more classical bent to my reading. While the Rock Chick is prone to reading murder mysteries I’m more likely to be found reading ‘The Canterbury Tales.’ I’m not suggesting that’s better, it’s probably just weirder. Don’t get me wrong, any more I’m as likely to be reading Michael Connelly as Ernest Hemingway. I had a History Professor in college who, along with an English Professor, had published a reading list which I bought for $2 and it has provided me a lifetime of entertainment. That’s all well and good, but it gets me funny looks.

I was in an airport with the guy who hired me to my current company, many years ago, and I purchased Freud’s The Interpretation Of Dreams at the airport news stand. The guy I was with – we are both Traveling Salesmen – was horrified. My mom had a friend who was a psychologist and I mentioned to him I was reading Freud and even he shuddered…”Find a nice murder mystery, it’s easier to read.” He’d clearly been traumatized somewhere along his educational path by having to write a paper about Freud. In truth I only finished about 2/3’s of the book. Freud gets down in the weeds of trying to break dreams down into a mathematical formula.

While most of Freud’s theories have fallen out of favor amongst the psychological community, you have to give the guy credit. He was really the first person to delve into the surreal mental area of dreams. Freud theorized that the events of your day inspire thoughts and those thoughts are the raw material of your dreams. You eat an apple for lunch and it reminds you of your mother baking a pie and that night you dream your mother is smoking a cigar while juggling pies. Hey, “sometimes a cigar is just a cigar,” folks. I don’t know if anybody will ever be able to tell us why we dream what we dream but it’s certainly interesting to wonder.

Last year I posted a playlist of songs about Sleeping, or my inability to sleep anyway. Longtime readers know I’m a sucker for a thematic playlist… My playlists are really more about trying to expose people to deep tracks or songs they might not have heard (or not heard in a while, anyway). Like this post, I led it off with the Shakespeare quote from Hamlet, from his most famous soliloquy, “To sleep, perchance to dream.” Hamlet was actually contemplating death, that whole “To be or not to be” thing. By “to sleep” he meant “to die” and the dreams he spoke of, which actually terrified him, symbolized what you saw after death. Leave it to me to take a lighthearted rock n roll playlist and go heavy on you… but I guess that’s my M.O.

For this post, I don’t mean anything quite that heavy. I’m just thinking about dreams. It amuses me that they also use the word “dreams” for our aspirations. It makes our wishes seem unattainable. It was George Carlin who once said, “They call it the American Dream because you’d have to be asleep to believe it.” There are plenty of songs on this list that pertain to that whole aspirational dream thing. There are also a few tracks that are about day dreaming. But what is a day dream but a dream that you’re actually conscious for and can actively choreograph. For me, when I think of dreams, I’m thinking about the theater of the mind, when you’ve finally gone into that deep R.E.M. sleep and the subconscious takes over.

As an insomniac there are many nights I don’t dream. But when I do they’re vivid. And usually not hard to interpret. Many people have recurring dreams. I’ve had the dream of falling but not since I was a kid. I’ve had the dream where I’m being menaced and I try to run but my body won’t move… I usually start making horrible noises in my sleep and the Rock Chick wakes me, thank god. I used to have a recurring dream where I was naked in public – like down at the mall – and I was trying to get home… standing behind anything I can find so people can’t see me. I’ve never had the dream where my teeth are falling out but apparently that is a common one. Another common dream I’d like to have is the dream that you’re flying – without an airplane. How cool would that be?

The most common recurring dream I have is set in college. I’m my current age, yet I’m in college. I have to go take an English final (ironically, my weakest subject). But I haven’t been in the class all semester. Many times in the dream I struggle to find the right classroom. If I fail this exam I’ll have to stay in college another semester. In some versions of this recurring dream, I actually skip to the part where I’m looking to find a place to stay because I flunked the exam. The prospect of living with the Vikings I lived with back in the day horrifies me. These are not pleasant dreams. I’ve grown accustomed to an easier lifestyle where I actually bathe and don’t eat fast food all the time.

In good times I dream about being with all my old pals and drinking fine bourbon. Those are great dreams. I always know when I’m happy dreaming. Those are rare. My recurring bad dream involves loss. Sometimes I’m visited by dead relatives – or believe or not, a favorite pet – and they are trying to deliver a message. I’m lost in a parking lot, or some innocuous place and my grandfather shows up 40 years after his death to tell me I’m lost… yeah, grandpa I get that. There are some who might believe this is a visitation from the spiritual world. I just think those people we’ve lost symbolize something to us and their appearance in the dream is merely metaphoric, not some ghost contact. I lost my grandfather, my first close relative to pass, when I was in high school. It was tough. That left a mark and that wound surfaces in dreams…

The worst dreams I have are usually when I see a person whose relationship with me ended long ago. Sometimes it’s the deceased persons mentioned above but more likely it’s someone I’ve had a falling out with or a former lover I’ve broken up with. I’m not pining for anybody but those severed relationships, like the loss of my grandfather left a scar. Those people have come to symbolize loss and pain. Especially when the break occurred early on in your life. When things are going badly or I suffer a defeat or loss those “symbols of loss and pain” pop into my head to underscore the fact. My subconscious seems hell bent on torturing me. I struggle to sleep and if things are going bad my mind creates horrible dreams for me.

It’s not always a miserable dream like that. Last night I dreamed I was in a fine restaurant with the Rock Chick and some old buddies and we were eating and drinking and telling old stories – stories that didn’t really make sense in the context of the dream but hey, who cares. Sometimes things I see in my dream happen in real life later down the road. I know that sounds crazy. I used to think that was deja vu but I’m told it’s something called precognition. It’s probably just another trick my brain plays on me. I just hope last night’s dream was one of those that actually happen… it looked like a fun night.

Without further adieu, here are our favorite songs about dreams or dreaming. You’ll find this on Spotify under BourbonAndvinyl.net Dreams/Dreaming. I stand with Neil Young on the whole Spotify thing and that moron Joe Rogan but after all these years it’d be impractical to try and re-platform all our playlists. I’m still looking into it. Neil is on this playlist here in the B&V labs but obviously not on this playlist. As always, if you have a favorite “dream’ themed track, please put it in the comments section and I’ll add it to the playlist. The playlists are, as always, a B&V community thing, not just my purview.

  1. Rainbow, “Street Of Dreams” – I’ve always liked Rainbow, I need to get them on the playlists more often. For some reason this song always reminds me of ‘Nightmare On Elm Street.’
  2. Bruce Springsteen, “I’ll See You In My Dreams” – Great track from Letter To You about seeing his old bandmates in his dreams… I see my old pals in dreams as well.
  3. Alice Cooper, “Caught In A Dream” – Old Alice Cooper is just sooo damn good.
  4. Queensryche, “Silent Lucidity” – I know it sounds like a cop-out but this is my favorite Queensryche track.
  5. Fleetwood Mac, “Dreams” – This song has stuck with me from grade school and evokes the memory of being at the city pool and hearing it on the loudspeaker. I wonder if I’ll dream about that tonight…
  6. Arc Angels, “Living In A Dream” – I hear the Arc Angels (Doyle Bramhall III and Charlie Sexton w/ Stevie Ray Vaughn’s rhythm section) have reunited. I hope so.
  7. Neil Young, “Dreamin’ Man” – While not on the Spotify version of this list, this is still a great acoustic track from Neil.
  8. Ozzy Osbourne, “Dreamer” – I wanted the song “Nightmares” which is a bonus track and not on Spotify, so I went with this great, late-period, Beatlesque track.
  9. David Bowie, “Moonage Daydream” – Like I said, a daydream is just a dream we can choreograph…
  10. Fiona Apple, “Sleep To Dream” – One of two tracks that’s also on our Sleep playlist.
  11. Talking Heads, “City of Dreams” – Great track from an often overlooked LP.
  12. Depeche Mode, “Dream On” – The Rock Chick turned me onto this track.
  13. Alice Cooper, “Welcome To My Nightmare” – Sometimes dreams go bad… hence I had to include a nightmare track.
  14. Supertramp, “Dreamer” – You never hear Supertramp any more and that’s too bad.
  15. The Cult, “Dreamtime” – From their great debut LP. I’m going to see these guys later this spring.
  16. Cream, “Dreaming” – Surreal track fits this playlist perfectly.
  17. Judas Priest, “Dreamer, Deceiver” – An epic ballad with a great guitar solo. This one is for my friend Stormin’ as he loves this track.
  18. AC/DC, “Rock N Roll Dream” – Have AC/DC done a bad album? I think not. Great deep track here.
  19. Blondie, “Dreaming” – I’ve always dug Blondie.
  20. Stevie Nicks, “In Your Dreams” – Stevie Nicks is quietly having a late career resurgence that everyone should be checking out.
  21. Aerosmith, “Dream On” – Well, you knew this one was gonna be here.
  22. Talking Heads, “Dream Operator” – A second track from the aforementioned overlooked LP, True Stories.
  23. Neil Young, “Pocahontas” – This has got to be the description of a dream. There’s no way someone consciously comes up with “Marlon Brando, Pocahontas and me…”
  24. Mudcrutch, “Dreams of Flying” – Great track. I wish I’d have a dream like this.
  25. Van Morrison, “These Dreams of You” – Van in happier, saner days.
  26. Crosby, Stills & Nash, “In My Dreams” – Another great CSN track that you won’t find on Spotify.
  27. Bob Dylan, “Dreamin’ Of You” – Great, late period Dylan.
  28. Python Lee Jackson (Featuring Rod Stewart), “In A Broken Dream” – Early Rod Stewart before he was well, Rod Stewart. He just sings the crap out of this song.
  29. Dave Matthews Band, “Dreamgirl” – Great boozy love song.
  30. Elvis Presley, “If I Can Dream” – Elvis making a huge statement about racism and the state of the nation. The King goes big and kills it!
  31. Bruce Springsteen, “Book of Dreams” – A quiet track from Lucky Town. The ballads from that era tended to be better than the rockers.
  32. Van Halen, “Dreams” – Van Hagar era track with keyboards.
  33. Joe Walsh, “Dreams” – The Rock Chick has been getting into Joe lately, which is awesome. We saw him open for Tom Petty the last time we saw him and Joe delivered.
  34. Eurythmics, “Sweet Dreams (Are Made Of This)” – Another perfect fit.
  35. Cheap Trick, “Dream The Night Away” – Cheap Trick have so many great tunes.
  36. Beck, “Dreams” – Great song from a bad album.
  37. David Crosby & Graham Nash, “Cowboy of Dreams’ – Seek this deep track out. You’ll thank me.
  38. Van Morrison, “Call Me Up In Dreamland” – Another track from Van’s prime.
  39. Randy Newman, “Last Night I Had A Dream” – I love Randy Newman. “Last night I had a dream… you were in it and I was in it…”
  40. Bob Dylan, “Bob Dylan’s 115th Dream” – Great track about Dylan and Captain Ahab finding America and getting busted by the cops.
  41. Cheap Trick, “Dream Police” – Great paranoid rock anthem.
  42. The Allman Brothers, “Dreams” – I shy away from tracks that run 7 minutes on my playlists but I couldn’t omit this seminal Allman Brothers track.
  43. Aretha Franklin, “Don’t Let Me Lose This Dream” – The Queen of Soul’s birthday was this week… had to include her.
  44. R.E.M., “I Don’t Sleep, I Dream” – The second track that does double duty on this playlist and our Sleep playlist.
  45. Pink Floyd, “The Gunners Dream” – I love this track. A guy dreaming about a fellow soldier’s dream… Roger Water recently re did this song.
  46. Tom Petty & the Heartbreakers, “Dreamville” – A lighthearted moment from The Last DJ.
  47. Dave Matthews Band, “Sleep To Dream Her” – This track always stuck out to me.
  48. John Lennon, “#9 Dream” – There are so many great Lennon solo tracks out there.
  49. Tom Petty & the Heartbreakers, “Angel Dream (No. 4)” – Beautiful song from the She’s The One Soundtrack and the recently re-imagined version of the album, Angel Dream.
  50. Green Day, “Boulevard Of Broken Dreams” – I’ve sort of lost touch with Green Day these days but this is one of their biggest tracks.
  51. CSNY, “Dream For Him” – Another great David Crosby penned track.
  52. Van Halen, “Little Dreamer” – From their legendary eponymous debut LP.

Reader Suggestions:

  1. Neil Young, “After the Goldrush” – A song that was on an early incarnation of this list that I just plum forgot. Great reader suggestion. Although you won’t find this on our Spotify playlist for obvious reasons.
  2. Lovin’ Spoonful, “Daydreamin'” – Another great reader suggestion.

That’s it folks. Let me know if you have anything to add! And, as always, may your dreams be pleasant and light… I’ll take care of the heavy bad dreams down here in the B&V labs…

Cheers!