The 10 Concerts I Should Have Skipped

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 I will start by stating the obvious. I love listening to music. I have spent hours sitting around my home listening to vinyl, CD and now iPod versions of albums. There is nothing more satisfying than finding something new to listen to, something that gives me the same thrill as the first time I heard “Some Girls.” As you may have guessed from reading through the posts of B&V, another thing I love to do is go out and see live music. I love watching musicians perform whether it’s a local band in a small bar all the way up to seeing national acts perform at a festival. I think any band that you want to consider “great” has to not only deliver on album, but they have to deliver the goods live. There are some bands I didn’t really like until I saw them live, like say, The Stone Temple Pilots or Bush. When I see a great band live, something just clicks.

Of course, I’ve had the opposite happen too. I’ve gone out with the expectation that I was going to see a great concert, only to come home baffled or disappointed. It’s rare, considering how many shows I’ve seen over the years that this happens, but as I was pondering this I realized there are 10 shows that frankly, I just wish I hadn’t attended. I try to stay positive at B&V but I felt chronicling these misfires was important. Now, there are different reasons for a bad concert. The band may have been tired or indifferent in this small market. There are occasional equipment failures. Sometimes it’s the choice of material performed. And alas, there are those “self-inflicted” wounds, where I was the problem, not the band. Here are my 10 examples, where maybe staying home and watching Kojak reruns might have been a better idea….

The “Self-Inflicted Wound” Shows 

  • Neil Young & Crazy Horse: This is the show that got away from me. They were playing Kemper in 1986, billing themselves as “The Third Greatest Garage Band In the World.” From all accounts from my friends I attended with, this was a great show. We started drinking in Manhattan, Ks and continued the entire drive into KC. I’m told I threw up and promptly started making out with the girl in front of me… who was on a date. I tried to rush the stage and ran into the barricade, falling face first to the floor where the booze pinned me down. I was rightly shown the door by security. I am not proud of this one…. To describe me as hammered is… generous. I’ve never been that drunk for another show.
  • Scorpions/Deep Purple/Dio – This one, I can at least blame on my friend Steven. He and his brother-in-law had been drinking and partying pretty heavily that day. The Rock Chick was pretty excited to see the Scorpions, but I didn’t realize how much she was into them. We fucked around with the 2 drunks so long, I missed Dio. I saw him walk off stage flashing the devil-horns, that was it. Deep Purple came out and I’m not sure what Ian Gillian was celebrating but he was dressed like a gay pirate in capris and a sleeveless t-shirt (not that there’s anything wrong with gay pirates, mind you). The Scorps came out and my two buddies fell apart. They were our ride, yes the drunks were driving, so to the Rock Chick’s never ending scorn, we had to leave.

The Artist Chooses Bad Material

  • Boston, in Boston (well, really Worchester): Boston took what, 7 years to put out their weak third album, “Third Stage.” We had all grown up on “Boston” and “Don’t Look Back.” Boston still threw a long shadow in those days. I thought seeing them on their home turf would be fantastic. Boy, was I wrong. After 2 or 3 great songs, they decided to play “Third Stage” front to back, in it’s entirety, like it was fucking “Quadrophenia” or something. I actually fell asleep during that part of the show. Asleep at a concert, while sober?
  • Neil Young: I love Neil Young but my luck with this guy has been horrible over the years. I did see him on the CSNY tour and he was fabulous, but solo, I always crap out. I made the mistake of seeing him on the “Greendale” tour. Like Boston, he played the entire album, front to back. Yuck. Can we please leave the “rock operas” to The Who, folks? I made the mistake of taking the Rock Chick, who is not a big Neil fan to begin with… Needless to say, I now have to play my Neil Young when she’s out of the house. The encore was good…

Just Plain Bad Shows

  • Joe Walsh, circa 1980: Joe came to KC as a headline act. My high school concert buddy, Brewster, who later betrayed me and took someone else with him to Springsteen’s “The River” Tour, yes that wound still stings, called me and said, “we gotta go, Rocky Mountain Way, man.” Joe comes out and he’s on fire, he’s laying down blistering solo’s, raising the roof off the place. After setting that furious pace during the opening 30 minutes, he said, “We’re gonna turn it down a little bit, but don’t worry we’ll bring it back up…” And I’m still waiting for him to turn it up. He mellowed the place down for the next hour. He came out for an encore and I yelled, “Walk Away” in an attempt to get him to play that wonderful James Gang chestnut… Unfortunately Joe took me literally, and played 1 mellow song and uh, walked away.
  • Rush, “Moving Pictures” Tour: My first time seeing Rush was a disaster. They’d incorporated keyboards into their music but were baffled on how to incorporate them live. I did see them a few years later, on the “Signals” tour, and despite it being a weaker album, the show as much, much better. Every time I’ve seen them since, it’s been better than that first one… Wait, we’re still talking about music here aren’t we?
  • R.E.M., “Monster” Tour: Again, another great album by a great band and I just felt bored shitless at this show. I think R.E.M. is a band better suited to a club or small theater than a huge outdoor amphitheater. Stipe’s state presence was off this night. He sang one song turned around facing the drummer. I looked around the expansive lawn, where we were camped out in the GA section and small knots of people had gathered where they were all talking. The music wasn’t holding their interest.
  • Ryan Adams, “Cardinology”: Ryan played a truncated version of the shows he’d been playing in bigger cities. He game zero fucks about the KC audience… No effort. It’s frankly been hard to listen to his stuff since then without this show shading it. Effort matters, even out here in the provinces people.
  • Eric Clapton, circa 2005: Went to Dallas with my buddy Steven to see Clapton. I seem to recall this was a birthday gift from Steven, so I don’t want to be too harsh. Any fire that was in Clapton as a performer or guitarist is completely gone. He ended the show by covering “Somewhere Over the Rainbow.” Sigh.
  • Bob Dylan, circa 2004: Merle Haggard opened this show and I thank God every day I saw ol’ Hags live. He had a voice like smooth whiskey. Then Dylan came out. I’m the biggest Dylan fanatic you’re gonna find and it took me forever to identify the songs he was playing. I still don’t know how a show could go this wrong. His vocals were buried way down in the mix. I had to read the playlist on a website the next day to find out what I’d heard. My buddy Drew has seen Dylan on a night when he’s on and said it was great… I was not so lucky.

I don’t ever want to discourage anybody from seeing a live show. Support live music, folks. These examples serve merely as a cautionary tale about how it can go wrong. Most of these artists I’ve seen again and the shows were better. There’s nothing like the magic that happens when the lights go down, and that first chord gets struck. The anticipation, the presence of truly skilled, great musicians is just amazing. It’s a communal, almost religious vibe… Unfortunately, on rare occasions the sermon gets lost… If you have any examples of bad shows, please share in the comments section.

Cheers!

The B&V Inauguration Day Playlist… (Sorry, No Toby Keith)

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First and foremost, I must apologize to those few readers out there who might have seen my last attempt to put an iPod playlist together for Friday’s impending Inauguration. While I’ve been on my annual Bourbon fast, it hasn’t precluded me from drinking wine. And as occasionally happens when I’ve pulled the cork, I sat down at the keyboard. The resulting post was, shall we say to be generous, not “light.” Wine… what are you going to do, all that sugar?  I’m not an overtly political person. As I’ve said many times before, I see myself as a centrist, hedonistic moderate with a taste for fine bourbon and loud rock music. To the right I look like a “dirt-munching, tree hugging, druid.” To the left I look like the landed gentry although that could be because of my penchant for powdered wigs. The struggle is real, folks.

Anyway, BourbonAndVinyl, as I stated in my first post, my “Mission Statement,” is about the glorious pleasures of sipping fine, dark murky fluids and listening to loud rock and roll music. B&V is not the forum for a political manifesto and alas, my first attempt at an Inauguration Day playlist looked like it was torn from the pages of the Unabomber. Well, at least it did to some folks. While I stand behind every word, B&V is not the forum for such thoughts…

These are tense and dark times. The peaceful transition of power is set to take place on Friday, yet the tension is thicker than anything I’ve seen in my short life. It sure doesn’t feel like a “peaceful transition” to me. Half the nation appears ready to burst out into protest marches, boycotts and upheaval, while the other half of the nation appear ready to celebrate by firing guns in the air, yell something politically incorrect and, well I don’t know, burn some books (how does the Right celebrate?) Political discourse has become well, coarse. We apparently have elected a “Tweeter-In-Chief,” which isn’t helping reduce the tension. I’m hearing the name Putin a lot more than I ever wanted to. Golden Showers have even been drug through the muck (don’t knock anybody’s fetishes). Even my good friends in the GOP appear tense. I had more than one Republican friend tell me he didn’t vote for Trump. I had one friend tell me he wrote in Mookie Blaylock… clearly a Pearl Jam fan… It appears nobody really got what they wanted this time around.

All that aside, the more I read about the Inauguration itself, the more I find myself thinking, “God, what shitty music they’re going to have.” 3 Doors Down? Lee Greenwood? I didn’t even know Lee Greenwood was still alive. Something called Jackie Evancho is performing? Is that a group like Jethro Tull or a person? I have no idea. I thought at least Kid Rock or Nugent would show up to lively up things. Maybe they are performing, but I haven’t heard about it. Toby Keith is set to play. Toby Keith? I have to keep reminding myself this is 2017 and not 1997. I would have assumed Toby Keith would have been trampled by mutinous cattle by now. Shit, even the despicable Beach Boys are on the fence, unable to decide to show up or not. I think they hit an all new low when a Springsteen cover band even dropped out, the B Street Band. Wow.

Well, as usual in these situations, I find myself needing rock and roll music more than ever. And the list of “artists” above isn’t doing much for me. I think we can all agree on that. Music has a way of lifting me up, getting me through the tough times or accentuating the good times. Whoever you are, you could probably use some rock music on Friday. So if you’re on the Right or Left, happy or mad about the election, do what I do. Head down to the tavern, talk a little treason and drop some money in the Juke Box. Remember folks, we’re all Americans here. And, as Bill Murray famously said in “Stripes,” being American means that our ancestors were all kicked out of every other decent country.

Here’s a little playlist to play over the muted television during the Inauguration ceremony for those of us who are concerned, no matter what your political persuasion. Pour something strong.

  1. Barry McGuire, “The Eve Of Destruction” – It seems to fit the mood of the country.
  2. The Rollins Band, “Liar” – Give me one honest politician…
  3. The Beatles, “Back In the USSR” – Oh, come on, this one is funny, unless it’s true…
  4. Green Day, “American Idiot” – Well, can you argue?
  5. David Bowie, “I’m Afraid of Americans” – It appears half of you are afraid of the other half and vice versa…
  6. Warren Zevon, “Lawyers, Guns and Money” – “Send lawyers, guns and money, the shit has hit the fan.”
  7. The Clash, “Know Your Rights” – “A public service announcement with guitars!”
  8. Bob Marley & The Wailers, “Burnin’ And Lootin'” – Let’s have none of this on Friday…
  9. Bruce Springsteen, “Long Walk Home” – This track also seems to fit everybody’s mood these days.
  10. The Animals, “We Gotta Get Out Of This Place” – for all the folks who say they’re headed to Canada. My choice would have been the south of Spain.
  11. Talking Heads, “Life During Wartime” – A song about insurgents in a post apocalyptic dictatorship that you can dance to…”this ain’t no party, this ain’t no disco.”
  12. Elvis Costello, “What’s So Funny (About Peace, Love and Understanding)” – Great question…
  13. Black Sabbath, “Paranoid” – Just because you’re feeling paranoid these days, it doesn’t mean someone isn’t after you.
  14. Beck, “Nausea” – Aren’t we all a little nauseous these days?
  15. Bob Dylan, “Positively 4th Street” – “…then you’ll know what a drag it is to see you…” Seems to be a lot of “Facebook friendships” ending lately.
  16. Bob Marley, “So Much Trouble In the World” – Reggae speaks the truth, baby.
  17. Green Day, “Know Your Enemy” – Let’s keep it straight who is on who’s team.
  18. The Eagles, “Frail Grasp Of The Big Picture” – I can see each side saying this about the other… ah, the divide.
  19. Bruce Springsteen (featuring Tom Morello), “The Ghost of Tom Joad” – “The highway is alive tonight, everybody knows where it’s headed.”
  20. U2, “Bullet The Blue Sky (Live)” – “Into the arms…. of America”
  21. Credence Clearwater Revival, “Who’ll Stop the Rain” – Take care of each other out there…
  22. David Bowie, “This Is Not America” – Nothing I’ve seen in the last year represents the country I grew up in.
  23. Jackson Browne, “Looking East” – Jackson stands on the West coast, looking East and isn’t thrilled with what he sees. Seems to fit the mood.
  24. Judas Priest, “Tyrant” – Ominous metal.
  25. The White Stripes, “Icky Thump” – The funkiest song ever written about immigration.
  26. Iron Maiden, “Run To The Hills” – Everyone seems poised for something bad to go down… best be ready to move.
  27. Bob Marley, “Small Axe” – More wisdom from the prophet Marley, “Oh evil men, playing smart and not being clever.”
  28. Bad Company, “Evil Wind” – An evil wind of division has blown across my country and I feel it’s cruel chill in my bones.
  29. The Faces, “Wicked Messenger” – The Faces putting an ominous spin on a Dylan song. Again, just fits the mood.
  30. Grace Potter, “Ah, Mary” – She’ll be the end of me and maybe everyone, oh, Mary, Mary, Mary, America.”

Well, I never said it was going to be a cheerful playlist. If you have any suggestions for additional songs, please feel free to add in the comments. Since I’m on my annual Bourbon fast, I hope someone pours a glass of Buffalo Trace on my behalf.

Cheers!

 

Artist Lookback: The Runaways, A Guilty Rocking Pleasure

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One of the great things about being married to the Rock Chick is the enormous amount of music she’s turned me onto over the years. Among other bands, early on she turned me onto an all female band, The Donnas. I had never even heard of the Donnas until the Rock Chick put on the LP “Spend The Night” one night and man, these chicks “rawked!” Their song “5 O’Clock In the Morning” was on high rotation at the house for quite some time and boasts one of the most hot-shit guitar solo’s you’re ever going to hear. All female bands were somewhat of a novelty for me when I was growing up. In fact, there wasn’t really any female band I paid much attention to when I was growing up. There was Heart (who had 2 women and 3 men), but after 1980 they went all slick pop and lost my interest. “Barracuda” by them was a descent track. Of course Heart had to suffer through spurious rumors of lesbian incest. Chicks never got their due back in the day. Most of us owned a bunch of heavy metal and hard rock albums and then one or two Fleetwood Mac/Stevie Nicks albums and that was the extent of what we knew about “chicks who rock.”

The Rock Chick has been extolling me to write a post on “Chicks Who Rock” for quite a while now. I had to tell her, beside reminding her of her lifetime reading ban of B&V due to undue criticism of my sentence structure, that I don’t take requests at B&V even if you are sleeping with the writer. That said, the Donnas’ “5 O’Clock In the Morning” popped up on the iPod shuffle the other day and I started doing some reading about them on the inter-web. They cited a band called The Runaways as one of their major influences. I knew I’d heard of The Runaways but couldn’t quite place them. Suddenly it occurred to me that when Joan Jett was inducted into the Rock And Roll Hall of Fame, she mentioned that she’d got her start in The Runaways. I had always thought The Runaways were like Menudo, with interchangeable parts… perhaps I was wrong. Intrigued, I knew I had to do more musical spelunking.

Another great thing about being married to the Rock Chick is that she’s willing to dedicate an entire evening to listening to music. The same evening I put on Big Star’s “#1 Record” we listened to an assortment of new music including The Record Company, The Shelters and yes, The Runaways. I figured The Runaways’ music, since they were put together by skeezy producer Kim Fowley as a novelty act, would be awful. I was very pleasantly surprised. These chicks rocked hard with a punk sensibility that I had not expected. Even the Rock Chick dug The Runaways’ first album and she has very discerning taste. Clearly more research was necessary.

I was too young for The Runaways. They put out their first album in 1976 when I was still collecting baseball cards and only lasted through roughly 1979. They were formed around the core members of Joan Jett on rhythm guitar and some lead vocals, Sandy West on drums and of all people, Lita Ford on lead guitar. When I found out Heavy Metal Maven Lita Ford was in this band with Joan Jett I knew I was onto something. They went through a number of bass players including a chick who ended up in the all female pop band The Bangles. I never had much use for the Bangles… so I consider that the one blight on the Runaways’ otherwise spotless pedigree. For their first two studio albums The Runaways also had Cherrie Currie on lead vocals. Apparently there have been documentaries and biographical movies made about these gals, but I’ve never seen any of them. I understand there was a lot of conflict and drama around the band – but what band doesn’t have conflict and drama. It sounds like this Kim Fowley guy who was their producer and manger was pretty rapey around these young teenage girls. The back story all sounds pretty awful. However, I’m not here to talk about all of that. I just like the music. They never really caught on in America but were, as the cliche goes, “big in Japan.”

The Runaways music is, as I mentioned, a blend of hard rock and punk. These are sleazy songs about misbehavior. These are the dirty girls my mother warned me about and I soooo loved from adolescence to my thirties. Oh, who am I kidding, I still love the bad girls. The debut album is probably the pick of the litter, simply titled “The Runaways.” “Cherry Bomb” was “the hit” that they are most remembered for. Its all dirty riffs and Lita Ford’s screaming leads. I’ll admit some of the lyrics are juvenile but that’s what I’ve always loved about rock and roll. “You Drive Me Wild” has a dirty riff with possibly Lita’s best guitar solo. “Is It Day Or Night” a question I’ve often asked myself when I wake up, is a big loping rocker. They even cover Lou Reed and the Velvet Undergrounds’ “Rock And Roll” with a lot of cowbell. Oh my God is that song so 70s. “American Nights” is an anthem that should have been played all summer in every small town in the U.S. The album ends with a baffling mini-opera kind of song, “Dead End Justice” which utterly lost me. Other than that misfire, “The Runaways” is dirty, rock and roll fun.

The second record, and Cherrie Currie’s last record with the band before going solo was “Queens Of Noise.” They start off right where they left off on the debut record, all hard rock and dirty girl lyrics. The title track comes from a lyric on “American Nights.” They sing in the chorus, “do whatever you want to me.” God, I love these girls. “Take It Or Leave It” is one of my favorite tracks on this record, sung by Joan Jett, and is cowritten by none other than Jagger/Richards. I have to assume Mick was sniffing around the girl band which makes me love the guy that much more. “Neon Angels On The Road to Ruin,” and “Born To Be Bad” continue the basic Runaways themes. I will say the song “Midnight Music” is a more sophisticated tune. “California Paradise” which boasts some interesting drumming and “Hollywood” are better “California sunshine” songs than anything those pussies the Beach Boys put out. “Johnny Guitar” the closing track has some of Lita Ford’s most epic guitar soloing of her career.

The third record, “Waiting For the Night,” I really enjoyed despite the exit of Cherrie Currie. I like “Waiting For the Night” almost better because Joan Jett does all the singing. I just dig her voice more. You could tell the band was pulling in two different directions, punk vs hard rock. Song like “Little Sister” and “Wasted” feel more punky to me than hard rockers. And, “Fantasies” and “Trash Can Murders” are more metalish music than punk. “Gotta Get Out Tonight” has a poignant urgency as does “Wait For Me.” This is all very solid rock and roll. “School Days” has a break neck riff that Aerosmith would be jealous of.

Although they did put out another studio album, by “Waiting For the Night” The Runaways were a spent musical force. Inter-band struggles finally tore these guys apart. Apparently Joan wanted to go more punk with Sandy West and Lita Ford lining up against her, pushing for a more heavy metal direction. They split ways for the oldest reason in the rock and roll books – “creative differences.” Lita went on to be an 80s Heavy Metal Chick. Sandy West had her own band but alas succumbed to cancer in 2006. Cherrie Currie, whoever everyone thought would soar as a solo artist, never really found success. And Joan Jett, well, everybody knows that story. Had I known about The Runaways when I wrote my post about bands who had members who went on to bigger fame, I’d have included these guys. The Runaways are more than a novelty band, they’re a guilty rock and roll pleasure. At the very least everyone should hear their debut album.

Chicks who Rock are very, very powerful… take my word for it. I married one.

Cheers!

Playlist: The B&V 20 Best Bowie Deep Tracks – You Won’t Hear These on the Radio

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*photo shamelessly stolen from the internet

Ah, January. With the turn of the calendar and a shiny new year and the prospects there of, everything seems so hopeful. However, for me January has been permanently altered by the loss of David Bowie. Now for me, early January isn’t for making lists of New Year’s Resolutions, although I am on a Bourbon fast this month (and yes, it’s awful). Early January has morphed into celebrating Bowie’s birthday and sadly, the anniversary of his passing a year ago. This has caused me to veer off my usual attitude of looking forward as the year begins to looking backward at the career of one of the greatest rock and roll legends of all time. Of course there have been a number of loving remembrances and tributes to Bowie this season which have also fueled my Bowie bender.

So instead of joining a gym, as many do in January, I sit around listening to the Berlin Trilogy trying to make sense of ‘Lodger.’ Why critics describe that LP as “more accessible” than the other two LPs, ‘Low’ and ‘Heroes’ is a mystery I can’t seem to solve. Another thing that has contributed to my January Bowie obsession (which, to be honest is really a year round thing) is that Bowie released some (relatively) new music this year again on his birthday. The EP ‘No Plan’ was reviewed on an earlier post here at B&V and it contains the last three songs he recorded during the ‘Blackstar’ sessions. The music is superb and certainly worth a purchase and listen.

If you flip on your radio, ether terrestrial or satellite, you’re likely to hear the usual tracks from the Bowie canon, “Fame,” “Young Americans,” “Changes,” “Rebel Rebel.” For the more progressive minded you might hear some of the edgier works, “Heroes,” “Sound And Vision,” “DJ” or maybe “Ashes to Ashes.” Let’s not get into “Modern Love,” and “Let’s Dance.” Now, don’t get me wrong, I dig all of those songs as much as the next Bowie fanatic. But the man’s body of work is so much broader than the tunes that complete a 2-disc greatest hits compilation. It’s like with Springsteen,  they only play “Born To Run” and “Jungleland” on the radio. Stretch out radio guys, stretch out.

So as I’ve been listening to various Bowie albums this week, I couldn’t help but look up at the stereo periodically, as some deeper album track came on and mutter, “God damn that’s a great song… why don’t they play that on the radio?” As that continued to happen over the span of the last week or so, I began to scribble song names down on scraps of paper and deposit them on my desk. How I find anything on the surface of my desk is an organizational issue that plagues the Rock Chick and only makes sense to me. Trust me, I think I know where everything is on this desk… I think it was Einstein who said, “if a cluttered desk represents a cluttered mind, what does a clear desktop represent?”…but I digress.

I put 20 of these songs together on an iPod Playlist and I must admit, they cohere pretty nicely. Despite his diversity of sounds, styles and personas, at the heart of it is always Bowie’s fabulous voice and sense of melody. The man was a giant from beginning to end. And let’s not forget, the guy could rock. These tracks are album tracks, not singles (for the most part). These are songs you’re not likely to hear on the radio and perhaps may not even be familiar with. There will be, as with any list I put together, egregious omissions. It was difficult to narrow this just down to 20… I invite anyone with an opinion to add songs to the list in the Comments Section.

Without further adieu, here’s one man’s Bourbon deprived view of Bowie’s Best Deep Tracks.

  1. “Black Country Rock” from ‘The Man Who Sold The World’ – The debut of guitarist Mick Ronson. I love this rocker. This LP may be Bowie’s hardest.
  2. “She Shook Me Cold” from ‘The Man Who Sold The World’ – One of the hardest songs in Bowie’s catalog. Ronson’s guitar is Jeff Beck-esque.
  3. “Oh! You Pretty Things” from ‘Hunky Dory’ – Song starts off with just voice and piano but kicks in around the 1:21 point. Great vocal.
  4. “Kooks” from ‘Hunky Dory’ – There’s just something so catchy about this song. This is an old school, weird cabaret song. I just love the lyrics. Bowie revels in the joys of finding another eccentric.
  5. “Watch That Man” from ‘Aladdin Sane’ – ‘Aladdin Sane’ is one of Bowie’s strangely overlooked, rocking classic LPs. The album art gets all the attention but the music within is great. This is the first track on the album and it grabs you by the throat…
  6. “Prettiest Star” from ‘Aladdin Sane’ – Great guitar work from Ronson, as usual. Piano, horns, great vocal from Bowie.
  7. “Lady Grinning Soul” from ‘Aladdin Sane’ – Hauntingly beautiful track.
  8. “Word On A Wing” from ‘Station To Station’ – I almost went with the epic, 10 minute title track from this album, but settled on this soulful ballad. I could have heard Sinatra do this tune and not be surprised.
  9. “Always Crashing In the Same Car” from ‘Low’ – Bowie lamenting how his career had, in his opinion, fizzled over spooky guitars and synths. Love the riff.
  10. “Joe The Lion” from “Heroes” – Bowie brings in Robert Fripp, his best guitar collaborator since Ronson. You could really pick any song from side one of “Heroes” (other than the title track) for inclusion here. Rocking guitar with an impassioned vocal.
  11. “Loving the Alien” from ‘Tonight’ – ‘Tonight’ was critically a much maligned record and after the smash hit of ‘Let’s Dance’ an utter commercial disappointment as well. But I think there are some great tracks on this record, especially this spacey album opener. Beautifully sung.
  12. “Neighborhood Threat” from ‘Tonight’ – Bowie goes back and recuts a tune he cowrote for Iggy Pop’s “Lust For Life” LP. I love both versions. albeit I’ll admit Bowie’s is a tad more compressed that Iggy’s. “Look at his eyes, did you see his crazy eyes?”
  13. “Thursday’s Child” from ‘Hours’ – ‘Hours’ is the LP where I reconnected with Bowie. This beautiful LP opener is a lush, gorgeous song.
  14. “Slow Burn” from ‘Heathen’ – While ‘Hours’ helped me reconnect with Bowie, ‘Heathen’ was where he completely returned to form. It’s a fantastic album. This rocker was actually the first single and should have been a huge hit.
  15. “Afraid” from ‘Heathen’ – Another rocker…”And I’m not afraid, any more.” Indeed!
  16. “Conversation Piece” released as a B-side and then later as bonus track on the rereleased ‘Heathen’ – This song was originally written in 1969 and Bowie re-recorded it in 2002 for the abandoned ‘Toy’ album, which I’m still hoping gets a release. I love the lyrics in this song and I was pretty much obsessed with it when it came out.
  17. “Fall Dog Bombs the Moon” from ‘Reality’ – The follow up LP to ‘Heathen,’ ‘Reality’ was another great, overlooked record. This deep LP track has a great riff and a great weird Bowie lyric.
  18. “I’d Rather Be High” from ‘The Next Day’ – Well, wouldn’t anyone?
  19. “Dancing Out In Space” from ‘The Next Day’ – Another great song from Bowie’s surprise comeback, ‘The Next Day.’ Bowie always had his eyes turned upward to the stars… I like to think he’s out there dancing in space even as I type this…
  20. “No Plan” from the EP ‘No Plan’ – I love this soaring, epic ballad. Originally cut in the ‘Blackstar’ sessions.

I’m sure there are an infinite number of songs I’ve left out here. “Station To Station,” “Cat People,” just to name a couple. But I was going for deep LP cuts… Again, you really can’t go wrong with just about any Bowie LP you choose to put on. I still miss Bowie. The world is less interesting with him gone.

Pour something murky, since I can’t, and get lost in these tunes! Cheers!

 

Ryan Adams: The First Two Songs From the Upcoming LP, “Prisoner”

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Prior to his big hit “New York, New York” I had never heard of Ryan Adams. I had never heard of his first band Whiskeytown either. In the aftermath of 911, “New York, New York” and it’s accompanying video were in high rotation around the U.S. I quickly purchased his album “Gold” and absolutely loved it. I suggested the song “Firecracker” from that record be played at our wedding, but the Rock Chick quickly shouted me down. I immediately went Sharky’s Machine on her so it turned out alright.

I’m not a big country or alt-country guy, but I dug Ryan Adams. I quickly went out and bought his best LP, 2000’s “Heartbreaker,” and loved it. There was something I could relate to on those early albums… I stuck with him through “Demolition,” which I actually thought was a strong, if disjointed album and the odd, simultaneously released “Love Is Hell” and “Rock N Roll” period. After that I purchased every LP he put out – including the awful, awful “29” (seriously, avoid that album) and the puzzling “III/IV”double LP.

There seems to be two styles Ryan veers between. There’s the acoustic, alt-country, heart broken balladeer, which as a man who dated as long as I did, I loved. “Oh My Sweet Caroline” with Emmy Lou Harris on the harmony is one of the most beautiful songs I’ve ever heard. On the LP “Demolition,” the song “Dear Chicago” grabs me by the heart strings. The other direction, which I like less, is this new wavy, Smith’s sounding mope rock. It’s most represented by the LP’s “Rock N Roll” and to a lesser degree his eponymously titled LP from 2014. I tend to like Ryan best when he’s mixing the acoustic and the electric, the light and dark, like on the LP’s “Cold Roses,” the excellent “Easy Tiger” or “Cardinology.”

Clearly, I was a big Ryan Adams fan. But I don’t know what happened, my ardor for his music cooled. I saw Ryan in concert, the only concert I’ve ever attended by myself as the Rock Chick is not into Ryan Adams and she refused to attend. She drags an imaginary knife over her wrist whenever she catches me listening to Ryan. There are some bands who haven’t clicked for me until I see them live. The music just springs out at me and suddenly I get it. With Ryan it was the opposite. It was a short show. I’d been reading playlists on-line in anticipation and he cut the setlist short. It was clear Kansas City was not a priority stop for him, despite the theater being at capacity. His on stage presence was the opposite of charismatic, he was annoying. Then, in 2011 his “Ashes & Fire” LP, which was more in the acoustic mold left me cold as well. It was an OK album but I just couldn’t connect with anything past the first single.

When his 2014 self-titled LP came out, I didn’t even bother to buy it, which was a first. The first single was a rocker, “Gimme Something Good,” but it too left me unmoved. But then, Ryan committed what I considered an unforgivable sin… He did a start to finish cover of Taylor Swift’s “1989” album and actually released it. I had read Ryan did the same thing back in the day, when he’d recorded a cover of the Stroke’s debut LP. The Strokes I can understand but Taylor Swift? Are you fucking kidding me? That’s a name I never thought I’d be typing in the hallowed pages of BourbonAndVinyl. At that point, the man was dead to me. I did read recently he regrets it. He said it was supposed to be something fun, or maybe funny, and that the backlash has been harsh. I’d hope so.

Now, fresh on the heels of his break up/divorce with the attractive Mandy Moore, Ryan is set to release his next LP, “Prisoner.” The Rock Chick merely said, when I told her he had a new album coming, “Oh, great more suicide rock.” I thought to myself, well, Ryan is always best when he’s bummed out. Maybe, just maybe it’s time to check him out again. I’m not sure if I’ll even review his new LP or not… but I feel forced to comment on the first two songs that he’s released so far…

The first track, “Do You Still Love Me” is sonically very similar to “Gimme Something Good.” His vocal is extremely anguished Ryan Adams. It’s hard not to hear this as a plea to his ex-wife. It’s in the electric guitar rock vein of “Rock N Roll.” It rocks but let’s not kid ourselves, this isn’t music you’re going to play at a party. On the surface I like the song, but I have to admit, I felt myself cringe a little bit. The Rock Chick, predictably, hated the tune. It’s like accidentally reading someone’s diary. I think it’s a solid tune, but for some reason I felt it hard to listen to. Obviously, I can’t say I recommend this tune. Maybe it’ll grow on me.

The second track released so far, “To Be Without You,” is an acoustic strummer. Light drums drive the song forward. The vocal is less tortured. I have to admit, despite my turning away from Ryan Adams, this is an excellent Ryan Adams song. It reminds of “Lucky Now” the excellent single from “Ashes & Fire.” For the first time in a long time a Ryan Adams song has grabbed me. I love the acoustic guitar figure he plays on this (I don’t think you can call anything acoustic a “riff” can you?) The lyric is more muted than “Do You Still Love Me,” and even though seems more personal is made less so by the lack of histrionics in the vocals. I’d actually say this one is worth checking out. But as with all things Ryan Adams any more, I’ll caveat it with, a) buyer beware and b) you really have to like Ryan Adams and his style of music to get into.

I don’t know if “Prisoner” will the be the LP that gets me back into Ryan Adams. As usual, I find myself confounded by the first two songs I’ve heard. I’m digging one of them, and luke warm on the other. Only time will tell….

Cheers!

The BourbonAndVinyl 10 Best LPs of the Year (Stones, Bowie, and More)

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The end of the year and the dreaded “holiday season” seem to always bring reflection. Maybe it’s having to see all those relatives that makes our minds wander…The turning of the calendar to a new year seems to crystalize the passage of time in our minds. We’re all another year older… As Bob Dylan sang, “time is a jet plane, moving way too fast…” Along with that personal reflection it seems every magazine, website and blog comes out with their “Best of” lists for the year that is ending. I’ve seen “best LPs” and “best songs” lists. We are a society that likes to organize and rank things. Whether it’s food, TV, movies or music, we need our “top 10” lists at the end of the year to codify the year that was. Since B&V only came into being in July of 2015, I chose not to do a “Best of” list a year ago. But now, with a full calendar year under our belt for 2016 I figured I’d get in on the fun.

I must say, 2016 was a horrible year for rock and roll. As Don Henley sang, “It was a pretty good year for fashion (and I say that fresh off the Victoria Secret’s “Fashion” Show, a ridiculous piece of soft-core porn for the whole family) but a lousy year for rock and roll.” I’m not suggesting that the music suffered this year but I don’t recall a year where we lost so many great ones. David Bowie, Lemmy, Prince, Leonard Cohen, Glen Frey and producer George Martin were among the big names. But other important rock and roll pioneers passed this year including Leon Russell and Sharon Jones. With the passage of time I fear this will become the new normal. Luckily a few of these artists, notably Leonard Cohen and especially David Bowie, were able to leave us with a farewell musical statement.

There was some great music put out in 2016 if you’re willing to look for it. Sadly, you’re not going to hear this on your local FM radio dial. However you get your music, and I’m hoping it’s mostly on vinyl, you need to seek this music out. Whether it’s on Spotify, CD, LP or Satellite Radio, there is great music to be found. Hopefully here at B&V between sips of brown murky fluid, we’ve guided you to some of that music this year. Without further rambling, here you have it, the first ever B&V Best Albums of the Year.

The BourbonAndVinyl Best LPs of 2016

  1. The Rolling Stones, “Blue And Lonesome” – The Stones return to the Chicago Blues of their youth with a power and excitement that surprised even them. This is hands down, the album of the year. Mick’s harmonica playing is the star.
  2. David Bowie, “Blackstar” – In what can only be seen now as a goodbye note, Bowie’s final album is as bold and experimental and fantastic as his strongest work. I really miss David Bowie.
  3. The Cult, “Hidden City” – The third in a trilogy of excellent albums that began with “Born Into This,” “Hidden City” was the Cult’s best album since “Beyond Good And Evil” and perhaps since “Sonic Temple.” And yet, hard rock stations seem to ignore this hard hitting gem.
  4. Metallica, “Hardwired…To Self Destruct” – The Heavy Metal Gods have returned in rare form. If this is “self-destruction” deal me in! “Halo On Fire” remains in high rotation here at B&V.
  5. Mudcrutch, “2” – Tom Petty’s “side project” returns with their second, more focused LP with a strong set of songs. If you were lucky enough to see them live, you know what a great band they are and what great songs these are. “Welcome To Hell” may have become my favorite song on this record…
  6. Paul Simon, “Stranger To Stranger” – Other than David Bowie, I defy you to find an artist who experiments and takes as many risks as Paul Simon. “The Werewolf” and “Wristband” were the songs that jumped out at me, but “Cool Papa Bell” might be the pick of the litter.
  7. Leonard Cohen, “You Want It Darker” – Another huge loss in the world of music. The voice of the infinite singing seemingly from beyond the grave. Some of the most poetic lyrics I’ve ever heard. Yes, the voice is all gravel and rust, but listen to the words and the emotion and you’ll be hooked.
  8. Green Day, “Revolution Radio” – Green Day’s return from operas and grand ideas (Uno, Dos, Tre anyone?) to a more punk, raw sound. This album seems to be flying under the radar but it’s their best work since “Warning.”
  9. Iggy Pop, “Post Pop Depression” – It’s fitting that Iggy, along with Josh Homme and the Queens of the Stone Age, put out his finest album in years at the time when his mentor David Bowie passed. These albums harken back to Iggy’s halcyon days in Berlin with Bowie. The QOTSA and Josh Homme push Iggy in ways no one has in years.
  10. The Record Company, “Give It Back To You” – A newer band making the B&V list of top albums gives me hope. I love this bluesy little gem of a record. I look for bigger and better things from the Record Company.

Honorable Mention

Well, you had to know I couldn’t limit my recommendations to just 10 albums. There were a couple of mellower, understated, rootsy albums, that while not in my top 10, are still highly recommended by B&V. These are those late night, brown and murky fluids in a tumbler albums.

  1. Norah Jones, “Day Break” – Norah’s most sophisticated, jazzy album to date. Some really great piano on this record.
  2. Van Morrison, “Keep Me Singing” – Van seems recommitted on this record. It’s on the mellow end but that voice of Van’s keeps everything on a slow boil. It’s reflective tone is the perfect album for this time of year (if you’re like me and you dislike the holidays).
  3. Peter Wolf, “A Cure For Loneliness” – There were a few missteps here, nobody needs to hear “Love Stinks” done bluegrass style, but overall this was a great, rootsy album.

Best Re-Release

I would be remiss if I didn’t mention the best re-release of the year. The Beatles, “Live At the Hollywood Bowl,” is a great live document of the band in the midst of Beatlemania and all those screaming girls. Remastered by the late George Martin’s son, this live document puts a little meat on the bones of the legend. Ringo’s drumming may be the biggest surprise here, he’s manic and wonderful.

I could go on, because as we all know, I’m prone to digression and rambling. However, I’ll wrap it up with these albums. If there are any you feel I missed, or an album that you felt was really special in 2016, please feel free to list in the comments.

Happy….Holidays and Cheers!

LP Review: Leonard Cohen, “You Want It Darker” His Farewell Note, RIP

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There are some acts that I don’t seem to get into until late in the game. I get distracted pretty easily. In the case of Leonard Cohen, it would appear I waited too long. I knew very little about Leonard Cohen before his brilliant new release “You Want It Darker,” and his recent demise. I was always aware of Leonard Cohen but like so many other acts, I kept thinking I’d get into him later, when I get time. I had heard great cover versions of his songs by a diverse group of acts from Don Henley, the Civil Wars all the way to Jeff Buckley. I had never really heard much of Leonard Cohen actually singing. I was more familiar with Johnny Cash doing “Bird On a Wire” than Leonard.

I did a post a few months ago on Iggy Pop. He was another act I had waited to get into. His last record, “Post Pop Depression” just pulled me in. I did a lot of extensive research on Iggy, I went back and listened to the Stooges, and his early albums with Bowie. It helped me frame his career in my mind. With Leonard Cohen, I took a bit more spare approach. I only went back to his first album, “Songs of Leonard Cohen.” I had heard a lot of bad feedback about Cohen’s voice. I will say, for the most part, I can understand the complaints. He’s certainly no Steve Perry from Journey, but I’d tell you Cohen’s voice is infinitely more interesting. (And, to be fair, like everybody, I liked Journey.) Like Bob Dylan, people always told me that he was a great poetic lyricist but his songs were better performed by others. Even my friend Doug commented to me a couple of weeks ago that he couldn’t get into Cohen because of his voice and Doug’s tolerance for different music is pretty high. He’s more adventurous than I am, and I envy that.

“Songs of Leonard Cohen,” his debut, is a great album. The lyrics are as poetic as anybody not named Bob Dylan have ever written. The instrumentation was spare and frankly his voice, while not great, delivers the songs very well. To me it was a more poetic version of a singer/songwriter album. I can imagine my brilliant aunt, back in 1968, listening to Cohen’s debut album in her dorm room, smoking those Marlboro Red 100’s she was so fond of. She was a smart lady and probably dug how literate and intelligent the lyrics are. She was the type of person who would have enjoyed that debut album, turned off the stereo and then headed down to burn the Student Union or some other administration building. I do miss that woman. “Songs of Leonard Cohen” gave me a reference point for Cohen’s work but nothing had me prepared for “You Want It Darker.”

“You Want It Darker” is a deep, dark LP that will likely be rarely heard by anybody outside of the already Cohen converted. Other than me, I doubt anybody will suddenly start listening to Leonard Cohen as a result of this LP. And that is really too bad because this is heady stuff. Like Dylan’s voice, after all these years Cohen’s voice is all gravel and rust. If the tomb could sing, it would sound like Leonard Cohen on this album. Cohen’s voice conjure the infinite, the unknowable. There was a lot of commentary about Dylan when he released “Time Out of Mind” that Dylan, who had been ill, was writing about his imminent demise. I think that commentary was mostly hype, but in the case of “You Want It Darker” I think that’s true. This album is the sound of a man wrestling with mortality, with memories of lost loves and the battles that love brings. Some of these songs, “You Want It Darker” and “Leaving The Table” sound like a man telling God he’s ready to die. “If you are the dealer, I’m out of the game.” Holy shit man, that’s heavy. It’s a fascinating listen.

“Treaty” is the best song I’ve ever heard penned for a former lover. Lines like “I heard the snake was baffled by his sin” and “I wish there was a treaty between your love and mine,” brought chills to my spine. I think we’ve all had a relationship that ended badly. “On the Level” is another great song addressed to an ex. “When I turned my back on the devil, I turned my back on the angel too.” There is good and bad in every person and every relationship and I don’t think I’ve ever heard it so poignantly described. It’s like Cohen is settling all of his old scores on this record. Either with former lovers or as I said, with God himself. He doesn’t sound bitter here although I get traces of anger as he wrestles with his Maker.

There was a line in Dylan’s song, “Things Have Changed” that I always liked. He sings the line, “Don’t get up gentlemen, I’m just passing through…” I don’t know why that line appealed to me so much. It was like winking at the graveyard. Cohen’s song “Traveling Light” on this record reminds me of that sentiment. The lyrics “I’m traveling light,
It’s au revoir, My once so bright, my fallen star, I’m running late, they’ll close the bar” sum it all up for me.

The instrumentation is sparse like on his debut record. The production was done this time around by Cohen’s son and recorded in the home he shared with his daughter. The production perfectly frames that haggard instrument, Cohen’s voice. I just find this album hypnotic. I can’t stop listening to it and hearing something new in the lyrics. I’ve always been a sucker for a well written line. This is tumbler of bourbon, the sun is coming up and you’re ruminating on past decisions with your eyes on the horizon as you wonder what’s next.

So now I guess I have to start buying Leonard Cohen albums. It’s going to take me a while to get through this guy’s vast catalog but after listening to “You Want It Darker” I get the feeling it’s going to be very worth it.

I don’t know if anybody will be moved to listen to “You Want It Darker” based on this post but I strongly urge you to do so. Even though the Rock Chick said “I think I should be worried about you for listening to this music,” I still love this album.

Pour something strong and brace yourself.

Cheers!

LP Review: The Record Company, “Give It Back To You” Strong Blues Rock

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I was talking to a friend of mine one time. The topic turned, as it inevitably does when you’re talking to me, to music. This was guy was a bigger music fanatic than I could ever hope to be. This guy was into the some of the hardest, heaviest metal I’ve ever heard. He was espousing the virtue of a band that I hadn’t come across, Opeth. I think there was a band named Lamb of God. It was all what I call, scary monster rock. He even tried to play me one of those “cookie-monster,” growly vocal type of things. I shook my head. Frustrated, he finally asked, “So what music do you like?” My answer was simple and straightforward. The roots of everything musical that I like can be traced to the blues.

The Stones started as a blues cover band. Zeppelin exploded the blues to the limits of the form. The White Stripes, for all the trappings of being a punk rock band, are a blues two-piece masquerading as a punk band. They cover Blind Willie McTell for heaven’s sake. Give me a hummable melody, good vocals, preferably a great guitar solo, and I’m up and on the floor, headed for the volume knob.

Sadly, you don’t hear a lot of blues rock these days. Gone are the days when bands steeped in the blues like The Animals, The Yardbirds, or even the early Stones ruled the airwaves. If I want to hear bluesy music I have to head down and get the genuine article, at Kansas City’s premier blues club, Knuckleheads. I do miss the days before I met the Rock Chick when the Grand Emporium was KC’s blues hub, downtown, but those records are sealed. Bad men doing bad things to the blues. I saw Koko Taylor there… amazing, but I digress. With these unsettling times, who couldn’t use a little blues music.

About six months ago I came across a great song by a new band, The Record Company. The Record Company is a little three man outfit from of Los Angeles. According to “the Wikipedia,” they were three like minded musicians who would gather together to share their latest blues LP finds. Eventually they put the LPs away and picked up their instruments and began jamming in one guy’s living room. The next thing you know they had an album put together. The tune that originally alerted me to these guys was a song called “Off The Ground,” a greasy blues rock number with a great slide guitar solo. I bought the song but neglected to check out the rest of the album. “Off The Ground” was the first single and I never heard anything else on my satellite radio and subsequently spaced them off.

Flash forward a few months to this week and the Rock Chick comes downstairs and says, “I think you need to hear this…” Never argue with a beautiful woman bearing music (throw in some bourbon and you have all three of my greatest distractions in one package…). I always trust the Rock Chick’s musical instincts. The LP she had was the Record Company’s debut album “Give It Back To You,” the one I had neglected to check out when I bought “Off The Ground.” It was so refreshing to hear some brand new blues rock. This whole album has gone into high rotation here at B&V.

“Off The Ground” and the second single “Rita Mae Young” are great bluesy singles. “Rita…” the second single, is a laid black bluesy tune with a great vocal. These guys do some great acoustic driven stuff. “Don’t Let Me Be Lonely” is built around a great shuffling, acoustic riff. It sounds like something Muddy would have done in his early acoustic days. The title track, “Give It Back To You” is a great acoustic stomper, if you believe a song with that description actually exists.

It’s clear who these guy’s influences are. Naturally critics are likely to decry this as “derivative” but find me any music that doesn’t build on what came before it. “Feels So Good,” “Turn Me Loose” and “In the Mood For You” (a nice rolling blues tune) all feel like they were influenced by John Lee Hooker. About midway through “In the Mood For You” the band breaks into a gallop to the finish line and it’s a wonder to behold. The harmonica is all over that song. Speaking of harmonica, there’s a great harmonica breakdown that starts “On The Move” which also boasts some great, primal drumming. If John Lee Hooker is your reference starting point, sign me up boys. The song “Hard Day Coming Down,” another acoustic blues number has a chorus that makes you feel like you’re going to church, baby! And I mean that in a good way.

It’s probably too much to hope that the Record Company would spark a blues rock revival, it’s a good album, but it’s not going to convince the unconverted. “The Crooked City” is the only real quiet, ballad on this collection. Everything else is firmly rooted in the blues. Like Dan Aykroyd once said, “Pretty soon the music known as the blues will only be found in the classical music section of your local library…” and that is a damn shame.

“Give It Back To You” is a very solid rock album. Usually to hear music like this you have to find an older artist so I’m very encouraged to hear a new band who can play this kind of music. I give this album a definite purchase recommendation. And then, maybe, if you’re brave, it’ll lead you to some actual John Lee Hooker…. or if you’re really, really brave maybe some John Lee Hooker with Canned Heat, like say, “Hooker ‘N Heat,” but now I’m getting way too obscure.

Cheers!

RIP Leonard Cohen.

The Music of Cinemax’s Quarry Led Me To Big Star’s “#1 Record”

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I never used to watch much TV. Sure I watched my hapless Kansas City Chiefs over the years… actually I guess I can’t call them hapless any more. I’d watch the Olympics or whatever sporting event happened to be on at the time. When I was in college, after a big test I usually drank a bunch of beer and stared vacantly at the screen for hours while MTV played videos. Those were the days! These days “binge watching” has become a thing. The Rock Chick loves to binge watch television shows. Her tastes run toward the murder and mayhem type shows like, “Breaking Bad,” “The Walking Dead,” and “Sons of Anarchy.” While in the beginning I was a reluctant participant in all this TV viewing, I now enjoy watching these shows with her. I’m still not over “Breaking Bad.” That was a bad ass show.

In that tradition, the Rock Chick found this new show on Cinemax, “Quarry.” As usual, there’s murder and mayhem involved. The show is set in Memphis in 1972. That grabbed me right away because it’s a time in history that I’m obsessed with. The Nixon-McGovern election of that year looms in the background like a lurking villain. We follow our anti-hero Mac Conway as he returns from Vietnam where he was involved in some sort of controversial battle involving civilians. When I was a kid all the bad guys on TV were Vietnam vets which was a complete disservice to those brave young men who served in that conflict. Because of the controversy Mac faced in Vietnam he struggles to find a job. It’s then a mysterious figure named “The Broker” appears and offers him a job as a hit man. Mac drinks a shit ton of bourbon which of course, makes this a B&V approved television show.

While all of that backstory is interesting, what drew me into “Quarry” (besides the bourbon drinking, Four Roses!) was the music. The early 70s was such a fertile time for music. Rock and roll, country, soul, blues, R&B were all so commingled. Mac, our hero, is a huge Otis Redding fan which fantastic. The sound track for this show is amazing. Since it’s set in Memphis you get a lot of blues and R&B. Mac also digs gospel so you get some Soul Stirrers among others. They’ve played everything from Harry Nilsson singing in Spanish to Waylon Jennings to Van Morrison’s “Tupelo Honey.” Whoever is DJ’ing down at the “Quarry” studios knows what he’s doing. The music is great and it always fits the scene.

While all that is great, since this is a show about a hitman, Mac is often meeting his mysterious cohorts in a bar or a club where live music is being played. Memphis is a great town for live music. Having been thrown out of the Rum Boogie Cafe back in the 80s for attempting to play an organ solo when drunk on the dance floor, I can testify to Memphis’ great musical traditions. Reaching through the crowd and pressing down on the organ keys was not greeted very nicely and I do regret that. Anyway, the bar bands that play in the background in this show are worth the price of admission alone. You add these great bands playing with the actual soundtrack and you have one great musical atmosphere. Add it all up, murder, mayhem, bourbon and music and you’ve got one kick ass show.

There is one band that gets mentioned, almost as a background undercurrent in the show, Big Star. This being Memphis in 1972, when their seminal LP “#1 Record” came out it only makes sense. Mac, the Otis Redding fan, comes home to find his wife Joni, (played by the lovely Jodi Balfour, who based on her nudes scenes, I feel is going to be a huge star) listening to Big Star. It’s not the only thing that’s changed while Mac’s been away. Joni is a journalist and her first article, which she mails to Mac while he’s in Vietnam is a write up about Big Star. In one great scene, Mac whose just polished off a bottle of Four Roses is lying in the middle of their living room, surrounded by LPs scattered around the floor (and who hasn’t been there friends?) is listening to the great tune “Don’t Lie to Me.”

I’ve always been a huge fan of rock journalism and Rolling Stone magazine in particular. Inevitably there’s some countdown of the greatest albums of all time. I’ve always sneered at some of the choices. There are always the bands Television and Big Star amongst others that no one seems to have heard. I’ve always blown those bands off, although 20 years ago I did get into the Velvet Underground and they just kick ass. Like the Velvet Underground apparently what few fans Big Star had went out and formed bands. Mike Mills from REM wrote the liner notes to the latest re-issue of “#1 Record.” When I heard “Don’t Lie To Me” I thought, wait a minute, maybe this is worth listening to.

Big Star suffered from a terrible record label and a complete lack of distribution for their records which was their death knell. They formed in Memphis in ’72 by Alex Chilton (who had been a childhood star) and Chris Bell, both singer/guitarists. They’ve been described as “power pop,” or “pop rock” but I think they rock. The Rock Chick hears a little April Wine in their music, I really don’t know how to categorize them. I have to admit, after sneering at Big Star all these years, I was wrong. “#1 Record” is simply put, amazing. These guys are hard to describe. Beatlesque might apply. When I put this LP on last night, I walked back into the living room to find the Rock Chick up on her feet, snapping her fingers and nodding her head. That doesn’t happen all the time. This stuff is catchy as hell.

“Feel” is the first song and right off the bat I’m hooked. Chiming, rocking guitars and beautiful vocal harmonies abound. If that’s power pop I’m in. “In The Street” and “Don’t Lie to Me” are great rocking tunes. The ballad “Thirteen” about young love is one of the most heartbreakingly beautiful songs I’ve ever heard… it stirred up some bittersweet ghosts for me. “When My Baby’s Beside Me” is another terrific rocker with a great riff. These songs get under your skin and stay with you. I find myself humming or singing these songs in my head. “The India Song” is weird, trippy and funny all at the same time. “My Life Is Right” should have been a hit. I love the sound of the acoustic guitar these guys get on the quieter tunes. Really great strumming and it calls to mind Zeppelin’s “Tangerine.”

All these years later, it’s time to give Big Star a chance folks. This is great music that deserves to be heard by everybody. BourbonAndVinyl gives “#1 Record” a very enthusiastic  “Buy Now” review.

Put this one on, pour some Four Roses and thank me later. And when you’re done listening, tune into “Quarry” if only to see Jodi Balfour…

Cheers!

LP Lookback: Temple of the Dog – On Tour Now

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I staggered from my bed late this morning, as is my habit on weekends, after the Rock Chick yelled my name with the cursory “time to get up…” The Rock Chick runs a very military style weekend with plans and agendas… I have a more leisurely approach to my Saturdays. I can’t help it if I have a sleep disorder. At least waking to the Rock Chick’s shrill cry is better than waking to my father’s miserable singing voice, as he belted out “It’s time to get up, it’s time to get up, it’s time to get up in the moooooorning…” How very Ethyl Merman of him…Who says I don’t come from a musical family?

My Saturday morning ritual is a simple one: breakfast with strong black coffee and some hard rock. This weekend’s selection, as it’s been all week is Rage Against the Machine. I just felt like a little angry metal today… I’m feeling subversive. Blame it on the election. And as has quickly become part of my Saturday morning ritual, I checked “the Twitter” to see what was going on. I saw that the Temple of the Dog reunion tour had begun last night in Philadelphia. They played quite an impressive set list. Not only their own tunes, but some solo Chris Cornell, Mother Love Bone tunes (obviously) and an impressive array of cover songs including Zeppelin (“Achilles Last Stand,” are you fucking kidding me, how awesome!), Bowie and Free (who I’ve just recently gotten into). They even did a Syd Barret cover. To end the show they did “War Pigs” by Sabbath. Jesus, I hope they put out a live record after this tour.

For those of you not familiar with Temple of the Dog, it was a one-off “supergroup” of sorts. Although it would have been hard to call them a “supergroup” in 1991 when they formed as not many people outside of the Pacific Northwest had heard of Soundgarden or Pearl Jam whose members formed Temple. From Soundgarden, Chris Cornell did vocals and Matt Cameron (who later joined Pearl Jam after Soundgarden called it quits) mans the drums. From Pearl Jam you had both guitarists, Mike McCready on lead and Stone Gossard on rhythm. Also from Pearl Jam on bass guitar was Jeff Ament. An impressive line up in it’s own right, but they were also joined on a couple of songs by the then unknown Eddie Vedder, most notably on “Hunger Strike” where his vocal propels the song into the stratosphere. It’s one of his most impassioned vocals.

Temple of the Dog was formed as a one-off tribute to singer Andrew Wood. In the late 80s/early 90’s Andrew was the lead singer and frontman for Mother Love Bone. MLB was a great band with some great songs, “Stardog Champion,” “Crown of Thorns” and “Stargazer” just to name a few… I strongly urge anybody who hasn’t heard Mother Love Bone to seek out their music. As I am forced to write too often in the world of rock and roll, Andrew Young was found in a coma from a heroin overdose and died shortly after that. It was truly a huge loss, the man was meant to be a rock star.

Two of the members of Mother Love Bone, namely the aforementioned Jeff Ament and Stone Gossard decided to form a new band after Wood’s untimely death. They recruited a hotshot lead guitarist Gossard had seen play, Mike McCready and various drummers. It wasn’t until Jack Irons, erstwhile drummer of the Red Hot Chili Peppers passed them a demo tape of a singer from San Diego named Eddie Vedder, that the band coalesced under the name Mookie Blaylock… they were later to change their name to Pearl Jam, and the rest is history. The thing to remember here is that, without Mother Love Bone, there would have been no Pearl Jam.

Chris Cornell of Soundgarden had his own unique connection to Andrew Wood. The two had shared an apartment. In the Pearl Jam documentary, ‘Twenty’ Cornell talks about how he and Wood would challenge each other to each write a song every day to compare who had the better song that day. It sounds like the two were very close friends.

And so, to honor their friend and former bandmate, the members came together under the banner Temple of the Dog and did an album. This was about a year before PJ’s seismic “Ten” came out so these guys were relatively unknown at the time. I don’t think anybody was prepared for how kick ass this album was. Prior to this Cornell’s work in Soundgarden was more screaming metal than classic rock. The “Temple of the Dog” album sounded more like Mother Love Bone than anything Soundgarden had done which, when you think about it, is really the tribute to Andrew Wood here. The fact these guys could write and perform like he would really stands out.

The album “Temple of the Dog” had two great singles, that most people have probably heard: “Say Hello 2 Heaven” (a beautiful elegy to Wood) and “Hunger Strike” featuring the incredible Eddie Vedder vocal. It’s a shame Vedder isn’t joining these guys on this tour, but he’s busy drinking with Bill Murray in Chicago celebrating the Cubs historic win… and who doesn’t wish they were with him but I digress. The album is much more than those two singles, it’s an amazingly strong album – these guys had a great chemistry and it shows how close-knit the community was in the Seattle music scene. “Reach Down” is an epic 11 minute jam, turn that one up loud. “Pushin’ Forward Back” is a great rocker. On the quiet side is “Call Me A Dog” and “All Night Thing” both great songs. “Four Walled World” is another great tune with a fabulous vocal from Cornell. You can tell these guys poured their heart into this record, but no one more so than Cornell.

They’ve recently rereleased a deluxe edition of the LP with a few unreleased demo’s and outtakes. I didn’t see or hear anything that made me want to re-buy the record, but if you have never heard or purchased “Temple of the Dog” I highly recommend you pick it up post haste and turn it up loud. While you’re at the record store, pick up Mother Love Bone’s album as well. Most of their material has been repacked and rereleased so it’s not hard to find. These are both great 90s bands and should be heard by any true music fan. With the setlists I’m seeing, I am really hopeful to hear something live come out of this tour… let’s hope they’re dragging a tape machine around with them.

It appears that TOTD is only playing a few shows and mostly on the coasts but if you’re near a place where they’re playing, do what you have to, scalp if necessary but get to one of these shows. It’s time like these when great bands are only touring the coasts that I feel like I live in “concert flyover territory” and I regret living in theMidwest… oh well, someday maybe I’ll get up the gumption to move but then I’d miss going to Chiefs games. Life is such a give and take…

Cheers!