BourbonAndVinyl Comes Alive: The Epic List Of Essential Live Albums

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You don’t see a lot of live albums any more. Back in the 70s and 80s, when dinosaurs with guitars roamed the Earth, spitting fire and lighting their guitars on fire and well, there was just a lot of fire, live albums could be a big deal. I say “could be” because often times “live in concert” records were just throwaways. Bands would put out a live album as a way to fulfill contract terms. If a band owed a record company four albums and they only had 1 more album due to fulfill the contract, they’d pump out often uninspired, rote, live album so they could sign with another record company and get a big signing-bonus check. Sure, there were more creative ways to get out of a record contract – The Stones famously submitted a single to their record company entitled, “Cocksucker Blues,” a slow, bluesy number about, well, a guy who…nevermind, you get the picture. The record company guys were so horrified by the Stones they released them from their contract for purely moral reasons. Ah, the 60s.

Because so many bands put out “contract fulfilling” live albums, the live album as an art form gets a bit maligned. Tom Petty used to call those live albums, “greatest hits played faster” albums. Not unfairly… However, in the hands of a committed artist, a live album can be something special. There are many cases of a live album being the key that actually broke an act nationally – Bob Seger, Peter Frampton, and Cheap Trick are all great examples of that. The live album choice was a way to capture those band’s on-stage magic, that up to that point they’d been unable to find in the studio. I’ve always felt to be a truly classic rock and roll artist, you’ve got to be able to bring it live. With that thought in mind, it’s no surprise, that many acts on this list would be on anybody’s “greatest of all time” lists. Great bands tend to do great live albums.

I’m not fond of just putting out lists of things. “It’s not really writing, it’s just typing” as Truman Capote once said. But every now and then I have to submit a summer listening list to the B&V faithful. I have arranged this list in alphabetic order. Some of these acts have more than one essential live album so I have tried to list only the pick of the litter. Although in some cases, I couldn’t make up my mind and just listed all of them. In many cases, it’s us in the audience and our wild cheering that can make the music that much more magical…and yes, I’ll be the first to admit, that many times, the band in question heavily overdubbed the vocals or the guitar parts…

  1. Aerosmith, Live Bootleg – Before they looked like the Real Gypsie Housewives of Rock N Roll, Aerosmith used to be menacing, gypsy drug addicts who could rock. This is a great document of that time.
  2. The Allman Brothers, Live At the Fillmore East – Blues with a jazz improvisational twist.
  3. Gregg Allman, The Gregg Allman Tour – Joined by Allman Bros Jaimoe (drums), and Chuck Leavell (piano), Gregg is more soulful/R&B-ish than with the main band. His backing band Cowboy even gets one side to show off their stuff.
  4. The Band, Rock of Ages or The Last Waltz – Either of these are great, I lean toward Waltz as it’s like a drunken wake for the 60s as the Band play with influences to contemporaries.
  5. The Beatles, Live At the Hollywood Bowl – The Beatles were such studio wizards, it’s nice to get a different view of the legends. This album puts a little meat on the bones of the myth. Live at the BBC iis also a great listen, just without an audience.
  6. David Bowie, Live in Santa Monica ’72 – Bowie and the Spiders from Mars… Mick Ronson almost outshines Bowie… almost.
  7. James Brown, Live At the Apollo – Soul Brother #1’s greatest album.
  8. Jackson Browne, Running On Empty – A concept album about the road, recorded on the road. His last classic record.
  9. Johnny Cash, Live at Folsom Prison – The man in black, “I shot a man in Reno, just to watch him die…” A young inmate in the audience went on to some fame… his name was Merle Haggard.
  10. Cheap Trick, Live At Budokan – This takes me back to riding to high school in my buddy Brewster’s car, listening to this on 8-track.
  11. Eric Clapton, Just One Night – The definitive version of J.J. Cale’s “Cocaine.”
  12. Leonard Cohen, Live In London – About what other artist can you say: After years spent in a Buddhist monastery, he emerged to find out his manager had ripped him off. He had to tour to fund his legal fees. It was a treat to hear how warmly he’s greeted by his fans.
  13. Sam Cooke, One Night Stand: At the Harlem Square Club – Greatest. Singer. Ever.
  14. Chris Cornell, Songbook – Sentimental choice here… An acoustic run through solo, Soundgarden, Temple of the Dog and Audioslave tunes.
  15. CSNY, Four Way Street or 1974 – I probably lean toward 4-way, but 1974 is a 3-disc, superbly curated (by Graham Nash) look at the tumultuous ’74 tour.
  16. Dire Straits, Alchemy – The definitive version of “Sultans of Swing” and my buddy the accountant’s favorite live album.
  17. Bob Dylan, Bootleg Series Vol 4, Live 1966 – Mislabeled as being from The Royal Albert Hall. Dylan backed by the Band (sans Levon) before they were the Band. The most combative live album ever – his folk-y fans resented his electric turn.
  18. Bob Dylan and the Band, Before the Flood – During a career lull for both acts in 1974 Dylan and his erstwhile backing band reunited for Planet Waves and this incendiary live album.
  19. Peter Frampton, Comes Alive – After a series of great solo records, it took this monster to break Frampton to the world.
  20. Free, Live Free! – Perhaps their best album.
  21. Grateful Dead, Live/Dead – So many to choose from, ’72 is also great… but I love how muscular they sound here. Pigpen’s keyboards are epic.
  22. George Harrison, Concert for Bangladesh – My buddy Ron was there and says it was as epic as it sounds.
  23. Jimi Hendrix, Band of Gypsies – So many choices… I went with this one because it was the only one released while he was alive. Winterland, the box set is also a must have for The Jimi Hendrix Experience at their peak.
  24. Humble Pie, Performance: Rockin’ The Fillmore – Frampton’s last album with Humble Pie.
  25. J. Geils Band, Blow Your Face Out – Before the sleek, synth pop of “Freeze Frame” the J. Geils Band were a soul, blues extravaganza, documented here. They also have a single disc live album, Live, Full House that’s exceptional.
  26. Billy Joel, Songs From The Attic – After hitting it big, Joel turns back to his early material and rerecords it with his road band, bringing the sometimes lifeless studio renditions to life. A rare case of an artist reflecting on his past.
  27. Elton John, 11-17-70 – Buy this just for the essential version of “Bad Side of the Moon” but stay for the rest. No hits, just rock.
  28. Journey, Captured – Greg Rollie’s last album with Journey and the last thing they did before becoming corporate sell-outs.
  29. B.B. King, Live At the Regal – B.B. and his rapport with his audience makes this great performance even more special.
  30. The Kinks, One More From the Road – Great Kinks arena-rock.
  31. Kiss, Alive – Heavily overdubbed, yes. Excellent, yes. Alive II was also a fan fav.
  32. Led Zeppelin, BBC Sessions – Zeppelin never really recorded a great live concert album. I liked How The West Was Won, but BBC is really the pick of the litter. Don’t forget their reunion live LP, Celebration Day.
  33. Little Feat, Waiting For Columbus – Internal dissension was tearing them apart, but you couldn’t tell listening to this great live document.
  34. Bob Marley, Babylon By Bus – You could equally pick Live! or Live At the Roxy. Marley and the Wailers were money on live albums.
  35. Dave Matthews Band, Live At Red Rocks – The best of many choices. I like this one since it focuses on the early DMB albums.
  36. Paul McCartney, Wings Over America – Derided as a “tour souvenir” I still like this record. It’s the first one I can think of with an acoustic set in the middle.
  37. Van Morrison, It’s Too Late To Stop Now – The Caledonian Soul Orchestra!
  38. Nirvana, Unplugged In New York City – Stripped off all the strum and drang, Cobain’s beautiful songwriting and sense of melody pop out at you.
  39. Ozzy Osbourne & Randy Rhoads, Tribute – Ozzy’s fine tribute to Randy, RIP.
  40. Pearl Jam, Live In Seattle, November 6, 2000 – My favorite from their bootleg series. This is a powerhouse show in front of the hometown fans.
  41. Tom Petty, The Live Anthology – A box set that is the ultimate statement on Petty and the Heartbreakers live… RIP Tom.
  42. Otis Redding, Live At the Whiskey A Go Go – I like this one better than Live In Europe, it’s more raw and immediate to me.
  43. Red Hot Chili Peppers, Live In Hyde Park – Overlooked gem of a live LP… Frusciante and Flea are on fire.
  44. Lou Reed, Rock N Roll Animal – Ferocious live solo and Velvet Underground cuts.
  45. R.E.M., Live At the Olympia – I don’t know if Michael Stipe was ever this engaging on stage ever again.
  46. The Rolling Stones, Get Your Ya Ya’s Out – The Stones have started a wonderful live Vault Series, but this is still their quintessential live album.
  47. Rush, All The World’s A Stage – This one came early in their career and it’s a powerhouse… although they medley up on “Working Man,” which is too bad.
  48. Bob Seger, Live Bullet or Nine Tonight – I’d give the nod to Live Bullet here only because it’s the sound of a funky, rock and roll bar band, The Silver Bullet Band to be specific, conquering the world.
  49. Bruce Springsteen, Live 75 to 85 (Box Set) or 1978 Cleveland – The box set captures Springsteen at the peak of his popularity, but really anything recorded on the iconic ’78 tour from his bootleg series is worth the price. I also like Live At the Hammersmith Odeon from the Born To Run tour. You really can’t go wrong with live Springsteen.
  50. Talking Heads, Stop Making Sense – Also get the DVD, visually entertaining too.
  51. Thin Lizzy, Live and Dangerous – True on both counts.
  52. U2, Under a Blood Red Sky – Before they were world spanning titans… they just simply rock Red Rocks outside of Denver.
  53. Stevie Ray Vaughn, Live at Carnegie Hall – SRV had to self finance this thing to get it recorded. Thank God he did.
  54. Velvet Underground, Live With Lou Reed, Vol 1 &2 – Rough sound quality but essential for any rock and roll fan.
  55. Muddy Waters, Live at Newport – Muddy launching the blues revival in America at the iconic Newport Festival.
  56. The Who, Live At Leeds – The power and the glory of “maximum R&B.” They’ve got a great BBC collection as well.
  57. Neil Young, Live Rust – On tour for one of his most popular albums, this live album is split between an acoustic and an electric performance. Neil has put out a number of excellent concert recordings in his vault series, from Massey Hall to Tonights The Night Live that are all worth checking out.
  58. Warren Zevon, Stand In The Fire – Sober but still unhinged. Zevon never gets his due…

There it is rock and roll fans. A nice list of live records to pour over during your summers by the pool… call it your summer homework assignment. If there’s something I left out, just post it in the comments. I’m always open to ideas! Hold those lighters in the air and celebrate the majesty of rock and roll played live!

 

Elton’s Retirement From Touring Takes Me Back to His KC Starlight Theater Show July 6, 1982

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I heard recently that like Paul Simon, who has decided to call it quits on touring, Elton John has announced he’s retiring from the road. While this is sad news for all rock and roll fans in general and Elton fans more specifically, the news could be worse. Poor Neil Diamond just announced he was retiring from the road due to Parkinson’s. I hated to hear that. A friend of mine saw Diamond in Wichita once… he said the blue hairs went crazy after Neil stood up and said, “If you want to, you can sing along, but if you’ve got any guts you’ll stand up and dance…” My buddy says it’s as close as he’s going to get in his lifetime to seeing Elvis. I was also told by a backstage hand once that during soundcheck, Neil chain smokes and cusses like a sailor…Oh, to be a fly on the wall. You gotta love Neil Diamond, but I digress.

Again, while the news that Elton is retiring from the road is sad, in light of some of the huge losses the rock and roll world has seen over the last few years – Petty, Prince, Chris Cornell, Lemmy, Glenn Frey, Bowie (to name but a few) – at least Elton is going out on his own terms and not feet first. Elton is a rock and roll survivor, managing to get through drug addiction and alcoholism to find joy, contentment, marriage and fatherhood waiting at the other end. Good for him! I certainly hope he continues recording because I’ve loved his late career LPs, from Songs From the West Coast all the way through Wonderful Crazy Night. It’s nice that he’s going to take this “victory lap.” The man is simply put, an Icon. The tour is supposed to last three years…And here I thought I struggled to say goodbye. The Rock Chick says it always takes me about a half an hour to leave a party… gotta get one more hug/handshake/joke told…

For those of you who only know Elton from The Lion King (and I feel sorry for you), let’s step back a bit… It’s hard to overstate how huge Elton was in the early 70s. From 1970 to 1976 he was the king of not only the rock charts but the pop charts as well. He was even big in the Soviet Union, which in the Cold War was no minor feat. Not only was his music popular, the albums he produced during that period are some of rock’s greatest: Elton John, Tumbleweed Connection, 11-17-70 (Live), Madman Across the Water, Honky Chateau, Don’t Shoot Me I’m Only the Piano Player, Goodbye Yellow Brick Road and Captain Fantastic and The Brown Dirt Cowboy. That’s a pretty staggering discography. Elton was to the first half of the 70s what Michael Jackson was to the 80s, The Beatles to the 60s, Elvis to the 50s or dare I say, what Sinatra was to the 40s. And like Sinatra or Elvis, you only need one name to identify Elton… although now I guess it’s Sir Elton.

He and his songwriting partner, lyricist Bernie Taupin rank up there with Lennon/McCartney and Jagger/Richards as far as I’m concerned. His backing band during most of his “golden” period were also a pretty top-notch outfit: the intrepid, often overlooked but fabulous Davey Johnstone on guitar, Nigel Olsson on drums and Dee Murray on bass. These guys could play great, hard rocking tunes like “Funeral For a Friend/Loves Lies Bleeding,” “Saturday Night’s Alright For Fighting” or one of my favorites, “Elderberry Wine” or turn it down for any of Elton’s intricate, beautiful ballads. In the early 70s they really were untouchable. But, like happens to all artists, both physical and artistic energy begins to wane. It’s hard to sustain white-hot, fiery success like that forever.

By the end of the 70s Elton had started writing songs with other people. I don’t believe he and Taupin were estranged, but Elton decided new lyricists might give him a spark. The almost constant touring and partying probably weren’t helping, but we don’t judge here at B&V, especially Rock Stars. Surprisingly, by the latter half of the 70s Elton had also slowly separated from his backing band… first Olsson and Murray and later with Davey Johnstone. Along with all this change to the creative unit, Elton’s fortunes on the charts began to slow down. The chart topping juggernaut finally came to an end. I have heard some theorize that the cooling in his commercial success was a backlash to Elton’s admitting he was bisexual in a magazine article. 1976’s Blue Moves, his second double-album in 3 years only produced one hit song, “Sorry Seems To Be The Hardest Word.” The album’s melancholy tone seemed to signify that something had ended…

While the backlash was probably real, it’s hard to understate how much music changed in the latter half of the 70s. Punk rock blossomed in 1976-1977 and that changed everything. Elton wasn’t the only artist who was knocked back on their heels by the new attitude and energy of punk. Facing that, while dismantling his backing band and forging new songwriting partnerships was probably difficult and would have been for anybody. Luckily, by the time 1982 rolled around, Elton was slowly (literally) getting the band back together. He’d already pulled Nigel Olsson and Dee Murray back into his band. He had never fully stopped writing songs with Taupin. The final piece was put in place with the return of guitarist Davey Johnstone. In April of 82, with the support of his “classic” line-up, Elton released Jump Up! The album’s hit single was a beautiful Taupin lyric honoring the late John Lennon, entitled “Empty Garden.” I’ve always thought of that record as a minor come back for Elton… but I think I may be the only one who feels that way. The real comeback came with 83’s Too Low For Zero. 

Coincidentally by April of 1982, I had become an adult and could legally buy beer, which seemed like a huge deal at the time…”walk like a man…” By May of that year I had graduated from high school. I was getting ready to head off to a new life at the University that upcoming August. I spent that summer working in a local restaurant as a busboy, utterly filthy work, for minimum wage but I was happier than I’d ever been. I also spent the summer going out every night to drink beer with my friends or as was more likely the case, hanging out with my girlfriend… Ah, 1982. I was in love for the first time. And when I say, “in love,” I mean it in all the tragic, dramatic, painful intensity that youth brings. “Ah to be young and feel love’s keen sting…” One might say I had the tunnel vision of any narcissistic, in-love teenager who was drinking a lot of beer. So I was utterly surprised when my mother appeared in my bedroom to announce we were attending the Elton John concert at Starlight Theater. I had heard my brother, who was always light years ahead of me on music, listening to Elton’s first volume of Greatest Hits seemingly constantly through the shared wall of our bedrooms, but I didn’t remember him asking for these tickets for his birthday. At the time, I was focused on more temporal things…

And, here’s the thing that bugs me to this day. I didn’t want to go. I tried to get out of it. I wanted to go and park in some dark corner of the neighborhood with my girlfriend. I was listening to a lot of Van Halen at the time. I was a Stones and Zeppelin guy. I didn’t think I really knew a lot of Elton’s music, save for what I was hearing coming out of my brother’s room. I mean, everybody knew the hits, they were hard to avoid. To make matters worse, I’d be attending with not only my brother but with my parents. When you’re a teenager the prospect of spending a beautiful summer night with your parents is as appealing as a dental appointment. The show we were attending was the first of two dates at the Starlight Theater. The second show, July 7th was going to be broadcast on a radio station and blasted across America (what I’d give for a bootleg of that show!) so we weren’t even going to be a part of the broadcast. We attended the July 6th show. Last but not least, the Starlight Theater was a gentile, beautiful outdoor theater in Swope Park. Starlight had only recently started allowing rock concerts to be held there – while I’ve seen Bowie, Rush and Soundgarden at Starlight since then, that would have been unthinkable until my senior year in high school. Starlight was more known as a musical theater destination. My Fair Lady, anyone? I remember thinking, well it’s Elton, no wonder he’s playing Starlight, he’s mellow…. or so I thought.

I remember standing in the hot July night, trying to look like I wasn’t really there with my parents, sitting on the other side of my brother wistfully missing my girlfriend… we’d seen each other earlier that day, I have no idea what was wrong with me. Mere hours apart were enough to turn me into Rimbaud. I had to admit, begrudgingly to myself, that we had really good seats – in the center and just far enough back I could see over everybody. I quietly noted to myself to ask dad where he scored the great seats. I was still lukewarm on the whole thing when the opening act came out. I have vague memories of that part of the show, but I remembered it was a female lead singer. I finally Googled it and it was Quarterflash, a one-hit wonder whose song “Harden My Heart” was big at the time. The only thing I truly remember about Quarterflash’s set was that Elton himself came and stood on the side of the stage and watched the show. I went from cynical teenager to utter fanboy at just the sight of Elton. He was dressed exactly like he is in the picture I used for this post. He had the black cowboy hat and a sport coat on. His mere presence changed my attitude.

Still, I wasn’t sure what to expect. The lights dimmed and the electronic keyboard/synthesizer opening to “Funeral For a Friend/Love Lies Bleeding” started and in a fog of smoke, out comes Elton. The band launched into the song with a ferocity I had not anticipated. I was familiar with the song from the local rock station, KY/102 but hearing it live was like trying to pilot a 747. Every other thought in my mind – my girlfriend, my impending departure to college, even thoughts of ice cold beer – all melted away. I was mesmerized. What followed was simply one of the greatest shows I’ve ever seen. I have thought back and I wonder if it was the low expectations I carried in that made me respond to that show, but I don’t think it was. They were on fire that night. At the end of “Funeral,” Elton picked up his piano bench over his head and threw it to the back of the stage where it crumbled into pieces. I don’t know why, but my father thought that was hysterical. Every time Elton did it, and he did it a lot, my father doubled over. Me, I just thought it was cool.

The mix of hits and deep tracks was amazing. I hadn’t realized how much of his music I knew. He played songs everybody knew, “Someone Saved My Life Tonight,” “Empty Garden” (which was the new one), “The Bitch Is Back,” and “Pinball Wizard.” He also played deeper tracks, which, somehow, most of which I knew. “All the Girls Love Alice,” “Where To St Peter” and best of all “Teacher I Need You,” a song he announced by saying, “Most of these songs I pick for you, this song, I play for me…” Even the handful of songs he played that I hadn’t been familiar with, “Ticking,” “Elton’s Song” or “Chloe” were executed with such brilliance, I walked out of there loving them. The band must have been on stage for over 2 hours.

If my misty, gimlet-eyed memory serves me, they ended the main set with a crushing version of “Saturday Night’s Alright For Fighting.” They returned to the stage and mellowed things out with “Daniel,” before revving it back up with “Crocodile Rock.” Now, I’ll admit “Crocodile Rock” has never been a favorite of mine, but that night, after all this band had put into the performance, I was up on my feet and dancing like everybody else. The last song they played, and I still remember this, was Jerry Lee Lewis/Beatles medley consisting of “Whole Lotta Shakin Going On/I Saw Her Standing There/Twist And Shout.” I walked out of Starlight wordlessly with my parents and brother, all of my self-consciousness about being with my family washed away. I had just witness rock and roll Royalty put on an amazing show. While Elton’s banter in between songs seemed a tad stilted and slightly shy, his playing had been that of a crazed, confident rocker.

I learned a lot of valuable lessons that night. First and foremost, Elton John kicks ass. There is nothing mellow about the guy. I also learned, always buy the ticket and see the show. It’s important to open yourself up to all things music. And, last but not least, try not be to so whipped… Well, ok it took me a few more months and a brutal break up to learn that last one… “Sorry Seems To Be the Hardest Word” actually played on the radio during my break up, so that seemed fitting. I’m sad to hear that Elton is retiring from the road. He’s truly one of the greatest rock’n’roll showmen of all time. It’s my hope I can talk the Rock Chick into going to the KC show. I’ve gotta see him one more time. After seeing him in 1982, I kept my ear tuned to what he was doing… do yourself a favor and check out any of the albums he’s put out since 2001, especially Songs From the West Coast and The Diving Board, you’ll thank me later…

Congratulations Sir Elton John on your impending concert retirement. I certainly appreciate the time I spent with you in 1982.

 

 

 

 

 

 

Concert Review: Tom Petty & the Heartbreakers, Kansas City, 6/2/2017

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*image from the Kansas City Star

It was a bit of a rough May… First we lost Chris Cornell and then we lost Gregg Allman. I was beginning to feel that numb sense of despair I’d felt for much of 2016. But then I remembered on Friday, June 2nd, I had tickets to see Tom Petty & the Heartbreakers on their 40th Anniversary tour. And as a bonus, former James Gang/Eagles guitarist Joe Walsh was slated to open. While I love Tom Petty, and concerts in general, I was having a bit of trouble getting up for this show. It’s just that I’ve seen Petty so many times, I was fearful it would the same old set, the same old show. As usual, I was wrong…

As Petty is reflecting on his 40th anniversary, I couldn’t help but think back to my history with Tom. I can still remember my first Petty show. I had been a huge fan of his since their debut album came out when I was in junior high school, but I didn’t get to see him live until I was in college on the Pack Up The Plantation tour in support of the flawed but still enjoyable album, ‘Southern Accents.’ That show was ok, but the Heartbreakers were augmented with a horn section and back up singers. Sadly they also chose to hang a giant Confederate flag behind them, a choice Petty now regrets.

It wasn’t until I saw them on the ‘Let Me Up, I’ve Had Enough’ tour that I got the real, genuine rockin’ Tom Petty experience. That album was very Stonesy, for lack of a better word, and the show was more full on rocking. Sure, I’d seen them behind Bob Dylan, but they were better on their own. It was at the ‘Let Me Up…’ show in Boston that I realized what great musicians these guys are. Stan Lynch was still manning the drum kit and he was a monster. It was Mike Campbell’s guitar that really caught my attention. The man should be on the list of every “Greatest Guitarists” everywhere. I can’t say enough about Benmont Tench’s abilities on keyboards. He sits on a stool surrounded by every type of keyboard imaginable and seemingly plays all of them at the same time… it’s like the guy has 4 arms.

After that experience, I made a point to see Petty on every tour. I remember my buddy Stormin and I drinking with a group of friends of ours who were going down to old Kemper Arena in Kansas City to see Petty on the ‘Full Moon Fever’ tour. Stormin and I were broke and I was unemployed. Neither of us had bought tickets. Our friends talked us into going down to scalp, something I rarely do. Some guy walked up to us and asked us what we thought his tickets were worth. They were 5th row on the floor. “Uh, face value?” He just smiled and said, “Give me $20 each and we’ll call it even.” We ended up with better seats than our friends. That was such a great show for me, when you’re that close it changes the experience. I can remember, looking up to a darkened entry way, behind the stage, and a couple I could only see in silhouette were dancing to the music… it was like they were the perfect stage decoration. I envied them their joy.

It was my old friend Stormin who called to alert me that Petty was on tour for his 40th Anniversary. I hesitated a bit, only because at our last Petty show my wife, the Rock Chick said, “He plays the same 10 songs every time we see him… I may be done with Petty.” But knowing this was his 40th anniversary show, and likely the Heartbreakers last big tour, I did some research. Petty claimed they were going to mix up the setlist. I was in. I can only say, thank God for my over 30 year friendship with Stormin, because I would have hated to miss this beautiful Anniversary celebration.

Petty strolled out on the stage last night in a purple jacket. He’s so charismatic and lets face it, purple is just a regal color. I knew this was going to be a different night when they opened with the first song from their first album, “Rockin’ Around With You.” It’s got a Bo Diddley beat and was just a nice burst of rock to start the show. He followed up with a blistering version of “Last Dance With Mary Jane” which ended in a guitar dual between Petty and Mike Campbell… You just know Campbell is going to win all of those. He put on a guitar clinic all night. Everyone really needs to see this show just to hear Campbell play.

While Petty did mix up the setlist last night, what does it say about his catalog that when he plays a song like “You Got Lucky” which was a big hit, that it’s his change of pace material he rarely plays. That would be a must-play for any other artist. Last night was the first time I’d ever heard it live, and it was fantastic. I was thrilled he played some of his newer material… he really accessed all of his catalog and the newer song “Forgotten Man” is more relevant today than it was a few years ago. Playing these unfamiliar tracks put new life into “Won’t Back Down” and even “Free Fallin'” that Petty always plays.

The thing that really electrified last night’s performance was the enthusiasm of the crowd. They sang along on almost every song. I hadn’t seen a crowd that jacked up since the Stones a couple of years ago. The place was full and everybody was in full voice. I even caught the Rock Chick singing along loudly. It was just that kind of night. Petty announced the obscure soundtrack tune “Walls” as a song that had been requested… by him it turns out and the crowd even sang along for that one.

The middle of the set turns acoustic as he turns his focus on a subset of songs from his brilliant ‘Wildflowers’ LP. “It’s Good To Be King” was the usual extended jam. Then he went into “Crawling Back To You,” which has the great quote, “most things I worry about don’t happen anyway,” which could be my theme song. The acoustic strummer, “Wildflowers,” was simply transcendent. He kept things rolling with the rarely played “Yer So Bad” from ‘Full Moon Fever.” Wow!

Petty and the Heartbreakers brought it back up for “Should Have Known Better” which verged on punk rock last night. It was killer. After that, he even played “Refugee” which is a tune I’ve only heard him do once, maybe. The encore was one of my all time favorite songs “You Wreck Me” followed by “American Girl” which would have felt obligatory had the Heartbreakers not brought so much energy to it. When the lights came up, I was ecstatic. Even the Rock Chick turned to me and said, “That was a great, great show.”

I must also mention, the opening act, Joe Walsh. Joe is such a consummate showman. The things he did to his guitar could be classified as abuse. It was fantastic. “The Bomber” was a guitar workout like I haven’t seen in a while. The middle section of “The Bomber” where Joe sounds like he’s playing classical music on electric guitar was even better live. As my friend drummer Blake would say, he’s a very tasty guitarist. People take these amazing guitarists for granted… nobody can play like Joe (and later Mike Campbell) did. Cherish these guitarists people, they’re a dying breed. When Joe said, “I know there are a lot of millennials here, and most of these songs were done before you were born. Let me just say, welcome! This next song, however, is going to make your parents really happy…” and then launched into “Funk 49,” I almost wept with joy. In the words of my friend Stormin who saw the show two nights earlier at Red Rocks, “Joe Walsh is crushing it right now.” And, I’d be remiss, if I didn’t mention the beautiful gesture of Joe dedicating his cover of “Take It To the Limit” to his “brother and bandmate,” Glenn Frey. Class move, Joe, class move!

Last night was a celebration of Tom Petty and the Heartbreakers 40 years as a rock band. But it was more than that, it was a celebration of rock and roll and live music. It was a celebration of the communal aspects of concerts. Different people from all over coming together in unison to drink a little, sing a little and enjoy a whole lot of great music. The temptation to skip seeing that favorite band can sometimes be strong. Many times you think “I’ll catch them next time…” I’m telling you people, get out and see live music… there will come a time when these bands will disappear and you’ll wish you had…

Simply put, a magnificent show last night. Kudos to the crowd! And of course, Happy Anniversary Tom Petty and the Heartbreakers.

P.S. Joe Walsh for President!

Concert Review: Soundgarden, Kansas City May 14, 2017

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*Photo taken by your intrepid blogger

My friend’s younger brother, who I call Young Goodman Brown for no good reason, emailed a couple of months ago. He lives in Tulsa now and is a successful orthopedic doctor. And here I remember him as high school kid with a bleach blonde mullet. Time passes quickly, folks. Young Goodman Brown was excited about this year’s line-up for Rocklahoma, the annual hard rock/heavy metal festival held out in some field in the middle of nowhere, Oklahoma. He’s always trying to convince his brother and I to come down there. After using “the Google” to find the line up, I too was impressed. The Cult was playing this year and you know how much I dig the Cult. I was surprised to also see Soundgarden on the line-up. It’s always great when a band gets back together. At the time it was the only gig they had scheduled but I knew they’d have to be doing some sort of spring/summer tour. Nobody goes out for just one gig.

To my delight and Young Goodman Brown’s disappointment, I found out that Soundgarden was indeed touring more extensively and better yet, coming to Kansas City. There would be no heavy metal camping in Oklahoma for me this year. I was a little shocked a band as heavy as Soundgarden was playing at Kansas City’s venerable Starlight Theater – it’s usually the host of Broadway type musical theater, my parents have season tickets every year, but not so last night. Right before I left for college my parents took me out there for the first time to see Elton John, which was actually awesome (much to my surprise at the time) which tells you Soundgarden isn’t the usual Starlight fare. The Rock Chick, my old friend Steven and I snapped up tickets as soon as they went on sale and Ubered out there last night. I even saw my stereo guy out there and he’s a bigger music junkie than even I am. I knew this would be a special evening.

I will say, the evening started off with the opening act, The John Dillinger Escape Plan and it was not a good start. It was three guys pounding their instruments while the lead “singer” screamed at the crowd. I literally told the beer guy I felt like I’d done something wrong and was in trouble. The lead singer was that angry… It’s hard being Catholic. It’s best to spend the time the opening act is on stage in the beer garden like I did last night. In the interest of full disclosure, I did take ear plugs out there… I knew this was going to be a loud evening.

I’m embarrassed to admit, I forget how heavy and how hard rocking Soundgarden is. I tend to think of them along with the other great grunge bands like Alice In Chains, Pearl Jam and Nirvana. And while all those guys rocked hard with an almost punk sensibility, none of them rocked as hard as Soundgarden. I remember thinking back in the 90s that they were the Sabbath of the grunge movement. My buddy Steven told me last night he heard someone say that on MTV so my “Sabbath” analogy may not be purely original, although I sure thought I came up with it. These guys rock with a fucking vengeance. Why they’re not in the Rock N Roll Hall of Fame is a mystery and perhaps even a scandal.

I knew Chris Cornell was a great front man, that’s expected. His vocals are simply amazing live. I was blown away by his singing. I went out there thinking, “Well, Cornell is awesome, but Thayil will be the hero of the evening.” Kim Thayil, the lead guitar player is one of those great, great guitar gods you never hear anything about. He’s quiet, unassuming, and just shreds. He was laying thick slabs of monster riffs in the most laid back manner. He also plays some intricate, beautiful solos. The guy is the definition of virtuoso. However, I wasn’t nearly as impressed with him as I was with drummer Matt Cameron, which is saying a lot. Cameron is the engine that drives this band. After seeing last night I must say he ranks up there with Neal Peart or Tommy Lee, two of my favorite hard rock drummers. His back beat with Ben Shepherd’s loud, insistent bass guitar was the rock-bed, solid foundation from which Cornell and Thayil soar. Their chemistry is fabulous. Cornell kept having issues with his ear buds and at one time had to run backstage. The first time that happened, Cameron played a great, brief drum solo to cover for Chris. The second time it happened, the whole band joined in on a improvisational jam. I like the moments when things fuck up on stage almost as much as the precision moments.

The opening track, “Incessant Mace,” was a track I was not familiar with. My history with these guys only goes back as far as ‘Batmotorfinger,’ so the opening track wasn’t in my memory bank. Usually when I see a show, I’m such a completist I know every tune they’re playing, which I will say, helps me enjoy the show more. “Incessant Mace” is a slow rolling heavy rock number. I didn’t know it but I really enjoyed it. They played a couple other tunes I didn’t know, which I enjoyed, but then they hit their stride when they played “Spoonman.” Cameron really had the chance to shine on that one. They actually opened with the beginning of “Searching With My Good Eye Closed,” which I wish they’d played in it’s entirety.

After “Spoonman” they launched into “Outshined,” a muscular, slow dirge-y “Black Hole Sun,” and then the hard “By Crooked Steps” from the great, overlooked comeback LP, ‘King Animal.’ The band played tunes from their entire career. It’d be easy at this point for them to come out and play most of ‘Superunknown’ and phone it in. These guys played all over their catalog and played with passion. “Rusty Cage” is a Rock Chick favorite and I can now say it’s one of my favorite since I heard it in all it’s glory last night. Steven turned to me last night after “Jesus Christ Pose,” and said, “I never really liked that tune until this very moment, seeing it live.” Support live music folks, it’ll change your perspective of the music and the songs. You haven’t experienced a song until you’ve heard it live.

“Fell On Black Days” was a particularly high point for me. The song came out when I was going through some bad shit, and the song means a lot to me personally. I’d announced it’s the only tune I’d be disappointed not hearing. They did not disappoint. It was built around Cornell’s fabulous vocal. I was blown away. It was truly the high point in an exceptional concert. Cornell actually played a lot more guitar than I expected last night and I have to admit, he can play. Cornell said at one point, before the encore, that his grandparents lived in Kansas City and it was always a special place to him. I don’t know if it’s true, but it seemed genuine and it was a really nice moment. Then they launched into the encore tune, “Slaves and Bulldozers,” which Cornell said was named by a 5 year old. If you want a hard rock/heavy metal clinic, put on “Slaves and Bulldozers.” It led to a feedback frenzy as each band member slowly left the stage.

This was an exceptional night and an exceptional performance. These guys are just astonishingly good. From guitar solos to vocals to drums, there were so many jaw-dropping moments. It was so heavy and so loud I felt like I was in college again. Never underestimate master musicians practicing their craft. If you’re in a city lucky enough to be on this Soundgarden tour, do yourself a favor and get a ticket. Buy the ticket, enjoy th ride! Hell, I might even go down and camp in Nowhere, Oklahoma to see them again… and that’s saying something.

Cheers!

Vegas, Old Friends, Britain and Rod Stewart at Caesar’s Palace 3/22/17

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*photo taken by your intrepid blogger

Despite the ethos of BourbonAndVinyl celebrating fine, strong drink and rock and roll, and my general sympathies to all seven of the deadly sins, I’ve never been a fan of Las Vegas, aka Sin City. I do love the song “Sin City” by AC/DC, but that’s another matter. However, my Corporate Overlords require me to travel to LV twice a year for “conferences.” It’s like being trapped in Biosphere… I enter the casino/hotel I’m staying at and I usually never see the sun or sky again for a week. Thus was my fate last week. Even inside the casino, the air is so dry in the desert the skin on my hands makes it feels like I’m wearing tiny gloves the entire time I’m there…

There are few things that get me motivated to actually leave my conference hotel and walk up and down the strip to another casino or to a bar or restaurant on the main drag. The one thing that can get me out of my barricaded hotel room is the presence of an old friend. In this case, it was the intrepid Arkansas Joel who lured me out of my room. I met Joel during my exile years, right after graduating college, when I lived in Ft Smith, Arkansas and later Fayetteville. Ah, those heady Arkansas days. Joel was married with an infant child and I was an enfant terrible, something that hasn’t really changed. We were full of youth, piss and vinegar, the young lions come to conquer the world.

I still remember the first time I met Joel, when I was staying at a Ft Smith hotel, the Five Seasons, which is an odd name if you think about it, where they had a free breakfast buffet for anybody who was staying there. They also had a Happy Hour with free beer at end of the day. Joel had dropped by the Five Seasons at the orders of our nefarious manager to, “meet the new guy.” Joel was wearing the same corporate uniform I was: dark suit, white shirt, red tie. With his thin frame and my then beer bloated body, we looked like Joliet Jake and Elwood Blues. Joel, who has been a breakfast enthusiast since I met him (“may I have some more plain, white toast please”), enthused, “this is a great little happy hour buffet thing.” All I heard was “happy hour” and responded, “Yeah man, free beer for two hours tonight!” Joel smiled knowingly and just nodded his head. He’s been taking care of me, pretty much ever since. Our friendship, which has lasted 30 years, is the only good thing that ever came out of my Arkansas days.

Joel happened to be attending the same conference that I was in Vegas last week. We grabbed a burger and talked about the old times, while we drank a few beers. It’s fun to get together and think that we’re still the young lions we once were. Although the reminiscing quickly turned to more current concerns. As usual with Joel, the conversation turned philosophical and utterly fascinating. We talked about how our perspectives have changed over the years since we met each other. Joel was always a solid family man, I was always a gypsy. It was truly a great conversation but after one post-dinner drink, I knew I was done. I had to go barricade myself in my room. Joel headed off into the night to meet some other folks. So much for being the young lion any more, at least on my end. But it’s weird, just seeing Joel, my old friend, and hanging out for as briefly as I did, made me feel that way. There will always be a positive buzz I get when I see him. I just sort of feel better spending the evening with him.

Unfortunately, the gears of work caught hold and I was off and running with customers and employees the rest of my time in Vegas and I didn’t see Joel again. I was running around the casino, from customer lunch or dinner to internal meeting and back again. I was pretty fried by Wednesday night. At the conference, Wednesday night is typically concert night. Last week’s show was the Zac Brown Band. I don’t know a lot about the Zac Brown Band, they’ve got some descent tunes. Although, I have to say, what little I’ve heard, they seem to combine “new country” with a jam band/Dave Matthews ethos, which to me is combining all the worst elements of music in one sound experience. After a dinner with customers, where I begged off on the show, I decided to get some fresh air and walk back from New York New York to the Bellagio, where I was staying.

It was out on the streets, amongst the meandering crowd (you never walk anywhere quickly in Vegas) when I saw the giant Caesar’s Palace sign up in the distance. And, under that sign, I saw the bright neon advert for none other than Rod Stewart. When I was in college there were 5 of us who lived in a tiny house just off campus. Rod’s ‘Never A Dull Moment’ and all of the Faces LPs were in high rotation in that tiny house. Talk about the young lions…those were some of the greatest days of my life and Rod’s music was the soundtrack. I thought… why not… I only had an hour til showtime, and I couldn’t get a cab. If I could make the walk in time, I’d give ol’ Rod a shot. I got to the box office with 3 minutes to spare. When you walk up that late, they’ll cut you a deal on tickets so instead of nosebleeds, I was right up near the front, where I took the pic above. The place was packed to the rafters.

When the curtain came up, after the warm up music, Rod comes out and sings “Love Train” the old O’Jays tune and I thought, “Fuck, Rod has gone all Vegas, this sucks.” I was justified in thinking this, as he had a baker’s dozen of backing musicians on stage with him. There were three ladies singing back up and three other whose reason for being on stage was unclear at first. I thought, well I won’t stick around… but then suddenly the band launched into “Some Guys Have All the Luck” and I realized, Rod is really singing the shit out of this tune. He was all over the stage. This was no Elvis, roll you out on a dolly after the buffet to sing the same set every night, Rod was fully invested. When they launched into “Young Turks” from Rod’s New Wave period, I was thrilled. The three gals on my end of the stage ended up each being multi instrumentalists – violins, harps, banjos, mandolins… talented women indeed. By “Forever Young,” where Rod walked out through the crowd and right by yours truly, the crowd was going bonkers.

Rod announced that he plays the hits but he also likes to mix up the set list every night and slip in a few tunes that are more obscure. He then launched into “Love Is” a great mid tempo, gaelic flavored tune from his last LP, ‘Another Country,’ and said, “It was a fantastic album by the way…” I found myself smiling. He dedicated the song, “Rhythm of My Heart” to all the policemen and military out in the world and acknowledged the horrendous attacks in Britain, which had only just reached me in Biosphere, I’d been that cut off. It was a nice moment. My heart, like Rod’s goes out to my British brethren.

A true highlight for me was when he brought the band to the lip of the stage for an acoustic set. They did, “Downtown Train,” “You’re in My Heart” and two real highlights for me – “Oo La La” from the Faces which he dedicated to Ronnie Lane, a “beautiful spirit,” and “The Killing of Georgie Pt 1 and 2,” which was pretty amazing. He said “Georgie” was banned by the BBC, “but they play it now…” He had promised that he would play songs that were particularly popular in Britain to honor the fallen in his home town, London. It was a special evening. The only moment I wished the Rock Chick was with me was during “Have I Told You Lately,” our song for the first dance from the wedding reception.

The last part of the set started with “Maggie May,” with Rod saying, “Now the party starts…” He then did his second Faces track, “Stay With Me.” I was in heaven. Rod then said, “We never play this song in America, because nobody fucking knows it, but this is for Britain,” and launched into the beautiful ballad, “Sailing.” I think “Sailing” was actually the official song of the Royal Navy for a time. It was a moving moment. The show ended with “Do Ya Think I’m Sexy” and the encore was some Guy Lombardo cover that I scooted out during…

As I walked away, I couldn’t help but think what a great evening it had been. Yes, there are aspects of the show that were very Vegas, especially the costume changes and the encore. But over all, Rod was very engaged and still rocks. He certainly has a lot of infectious fun during the show, laughing and racing around the stage. He still kicks soccer balls into the crowd and can still reach the upper balcony. His band was competent if not stunning. Rod, like myself, may not be the young lion he used to be, but I couldn’t help think as I escaped into the night… I just sort of felt better spending the evening with him, like I felt when I left my old friend Joel. I’ll never know Rod Stewart, but he feels like one of my old drinking mates from the old days. God knows, his music was always present when I was partying in those days… There will always be a positive buzz I feel when I see Rod Stewart…

If you’re stuck in Vegas and want to kill a great rocking hour and 45 minutes… you could do worse…

The Moving HBO Documentary: Eagles of Death Metal: Mon Amis (Our Friends), Bravo!

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I remember the horrible Paris attacks of November 13th, 2015 as if it were yesterday. I chronicled my feelings, mostly simmering rage, in these very pages. While I’m not a religious man, there are things I hold sacred. Along with my family, rock n roll and concerts are one of those things. The communal joining together for an evening of food, drink and music is as close to a church as I’ll ever get (on purpose, at least). So, when the terrorists chose to attack cafes, a football game, and a rock concert, it was as if for the first time, they’d walked into my church with guns. The senseless murder of 89 people in the Bataclan during Eagles of Death Metal’s show particularly upset me, and is why I wrote the post, “My Heart Is In the Bataclan.”

U2 had been scheduled to perform live in Paris and broadcast that concert on HBO but postponed the show due to the attack. They were seen placing flowers at the memorial for the fallen outside the Bataclan. Is there any greater rock n roll ambassadors of Peace than the guys in U2? If I ever met U2, I’d have to use the words of my favorite TV policeman Kojak, “Who Loves Ya Baby.” I remember my friend Steven saying to me, the last time we saw U2 in a stadium in St Louis, “These guys are the soundtrack to our lives.” True dat, Steven. I was thrilled when toward the end of the HBO broadcast concert, U2 brought up the members of Eagles of Death Metal to play the show they were robbed of. It was a beautiful moment which I also chronicled in the pages of B&V.

This Monday, I happened to be watching HBO with the Rock Chick… we happened to love ‘The Young Pope,’ which has some great music, I might add. Afterwards on HBO was a documentary about Eagles of Death Metal and that tragic evening at the Bataclan. I had no idea it was coming on, fate must have willed me to see it. The title is ‘Eagles of Death Metal: Mon Amis (Our Friends)’ and I recommend that everyone see it. It was healing, cathartic and entertaining all at the same time. I’m not too proud to admit that during portions of the show, I had tears in my eyes.

As a back drop to the events at the Bataclan the documentary starts with the history of Eagles of Death Metal. Josh Homme, more famously the genius behind Queens of the Stone Age, and Jesse Hughes, lead singer/guitarist for EODM were high school buddies. I thought it was very cool how their friendship is the very fabric this band was created from. Jesse and Josh record the albums and then Jesse takes the band out on the road. Josh joins on drums when he can, schedule permitting. He was scheduled to be with them the night of the Bataclan attack, but had stayed home in the States for the birth of his child.

The title of the documentary, ‘Mon Amis (Our Friends)’ really sums up the relationship this band has with their fans. They’re a good time, funny, hard rocking band and their fans are some of the most dedicated out there. I had never really heard much of their music prior to all of this, though I was a QOTSA fan. The relationship these guys have with their fans is something special, making the events of November 13th that much worse.

When they finally got to the story of the concert at the Bataclan, they bring in some of the survivors of the attacks. They talk about their love for the band and they talk about the awful, frightening events of that night. It was bone chilling, but you could tell these people needed to talk about it to heal. One of the things that struck both the Rock Chick and I was how close the killers got to the band. I had always heard, “the band got out” before it got dangerous. That is not accurate at all. The guitar player actually hid in the shower of the dressing room while the terrorists kicked at the door to try and get to him. It was very clear from the tearful interviews that Jesse Hughes gives, that this is a band with post-traumatic stress syndrome. Jesse peaked through the curtain and his description of what he saw, people being mown down, is heart stopping.

In a brief snippet, the makers of the documentary interview Bono and the Edge of U2. Bon really summed it up, much better than I did in my B&V post a year and half ago, when he said, “this was an attack on a lifestyle, a lifestyle they hate.” Well said, Bono, well said.

While EODM playing at the U2 concert a few weeks after the Bataclan attack was healing, it was time for Eagles of Death Metal to come back and complete the show they never got to finish. Playing at the Bataclan would have probably been too traumatic, so the documentary chronicles their prep and return to Paris to play at the Olympia theater. They brought back anybody from the Bataclan who was willing and able to attend – and who could blame those who didn’t feel like going back to a concert… the bastards who pulled off the attack have likely ruined that part of those fans lives. To watch Jesse and the band, this time including Josh, come outside the theater prior to the show to greet and hug the fans was another beautiful moment. It just underscores how close this band is to their fans, to their friends, “mon amis.”

This was really a great documentary and I applaud HBO. I also applaud all those fans who survived and attended the EODM’s return to Paris. And I especially applaud the Eagles of Death Metal. May they rock and roll forever! Again, everyone who loves rock and roll, heavy metal and hard rock should see this movie.

Don’t let the bastards drag you down….

Cheers!

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!

Metaphysical Wisdom: The 1986 Ozzy Concert, The Preacher and the Pot Smoker

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It’s rare that you find any “Universal Wisdom” at an Ozzy Osbourne concert. Somehow, in the 80s, I managed to do so.

It was 1986, right in the heart of the 80s, when a group of friends and I loaded up in the car and drove from Manhattan, Kansas down to Wichita to see the Prince of Darkness, Ozzy Osbourne, in concert at the Kansas Coliseum. We were especially excited to see the Oz-man in Wichita because the arena had “festival seating,” where you show up, line up at the door, and when the doors opened, you sprinted as fast as you can to get a seat near the stage, or better yet, get to the open area in front of the stage. I saw Van Halen in Wichita once and actually stood right in front of the stage, hanging on to it for dear life. God Bless Eddie Van Halen, but as usual, I’m off topic. The opening band for Ozzy was some dark metal band we’d never heard of, Metallica, but that’s another topic. We didn’t fight to get down to the stage but found some nice seats on the lower deck, really close to the stage.

This being the 80s there were a lot of stimulates among the pirate crew I’d journeyed to the concert with. We were drinking a lot of beer that day, which could be said of most of our days at the ol’ University. As the old song goes, “for it’s not for knowledge that we came to college but to drink beer while we’re here…” We had a rule when road tripping, not a very smart one, that you had to have a six pack for each person in the car at all times. (Don’t Drink and Drive kids, it’s a bad idea.) I was with several herbal enthusiasts as well. I’ve always been a fan of dark, murky fluids and was never a smoker but I’d probably list myself as a “pot sympathizer.” You enjoy your vices, I’ll enjoy mine. For some reason we had a bunch of black beauties with us. I was never big into stimulates, but speed was always prevalent at college, especially during finals. If you needed to stay up cramming, rather than drink a pot of coffee, take a black beauty or a “No Doze” and zoom, you’re up. Soon we realized it was fun to take one with beer – one foot on the gas, one foot on the brakes. We were so riled up by the heavy metal and speed, we were on our feet, high-fiving like amateurs and sloshing beer all over. Even before Ozzy came on, the poor high school kids in front of us politely moved off to find safer seats. We were young Vikings on a quest for Heavy Metal Valhalla.

Finally, after playing louder, faster, louder, faster these dour guys calling themselves Metallica (how did we not realize what we were seeing, perhaps it was the beer?), left the stage and after a short intermission to remove Metallica’s white-cross cemetery stage set, a giant Ozzy Ghoul descended from the rafters. The stage prop was designed to look like the cover of his latest album, “Ultimate Sin.” The arms/wings of this Ghoul opened up and sitting on his throne was Ozzy, in all his glory. He leapt out of the chair, launched into “Bark At The Moon,” and didn’t stop moving all night. We went bonkers. I think at one point I may have actually barked in the general direction of the moon…Ah, youth.

Ozzy had had an up and down decade. He’d started his surprisingly successful solo career with the legendary guitarist Randy Rhodes but then Randy was killed in a freak airplane accident. Ozzy had finally recovered and pulled a new band together with Jake E. Lee as his new lead guitarist. Jake was with Ozzy that night and while he was no Randy Rhodes, he held his own. The man could “shred” as the kids say. The song “Shot In the Dark” was our favorite and we went appropriately insane when Ozzy played it. “Never Know Why (We Rock)” was another highlight because let’s face it, Ozzy was right when he sang “they’ll never know why we RAWK!” By the time Ozzy played “Paranoid” as the encore, we were certain we’d reached that Heavy Metal Valhalla we had been seeking.

We slowly began to file out of the Kansas Coliseum to find the car when, in the midst of the exiting metal fans we saw a giant cross. I couldn’t help but wonder what the heck was going on, was this more Ozzy theater? It was then that I heard the Preacher’s voice over the loud speaker, decrying the “Evil” that we had just been a part of. The 80s were a weird decade. Ronald Reagan was President and it was “morning in America.” Out of nowhere Heavy Metal and hard rock came under siege from religious groups. Ozzy and his fellow Metal buddies, Judas Priest had been sued for their dark music being wrongly considered to cause suicides. You had the PMRC, the Parents Musical Resource Committee (or was it Center), led by the uptight Tipper Gore who was attempting to censor rock lyrics. For me this all reached it’s apex when my mother went so far as to warn me that Rush was Satanic, “Ruled Under Satan’s Hand.” Sigh. Ozzy in particular seemed to like to goad these “enemies of rock” as we dubbed them. The Ghoul on the cover of his album and the LP title “The Ultimate Sin” seemed to be aimed right at his religious critics.

Apparently inspired to respond, this Preacher had set up a giant cross in the parking lot and had a bullhorn he was shouting scripture through, along with extended diatribes about why we were all going to Hell for attending an Ozzy show. I never thought nor do I think the music you listen to can condemn you to a life of eternal damnation (unless you listen to Wham) but sure as shit, this guy was telling us it could. My friend SB and I stood at the edge of the crowd that had assembled around this guy, merely for amusement purposes. The guy was really into it, screaming into his bullhorn and foaming at the mouth. Most of the Ozzy fans around him were chuckling and a few had the temerity to make fun of the guy. I was worried the Preacher might stroke out in front of us and we were going to need to clear out of there pretty quickly if that happened. I never liked to hang around when the cops showed up.

It was then that a diminutive kid in the hard rock uniform: jeans, concert t-shirt and flannel shirt over it, came forward to ask a question. “Excuse me, Sir…” The Preacher looked stunned and frankly a little joyful that someone had paid close enough attention to ask him a question. Most of the concert goers were merely walking past him. The intrepid Pot Smoker then posed this metaphysical question to the Preacher, “So, if God created the natural world, and pot grows in nature, doesn’t that mean God put pot here for us to enjoy? I mean, doesn’t that mean God wants us to smoke pot?” My mind was blown. Unfortunately for the Preacher, I think his mind was blown too. He didn’t have an answer. The stunned look on his face betrayed his confusion. He began to sputter and stutter into his microphone…The crowd was hanging on what his response was going to be. After what seemed an eternity, the Pot Smoker turned and walked off toward his car. He was pretty sure, as we all were, that the Preacher couldn’t answer that “Big Question.” When the Pot Smoker walked away, the Preacher suddenly composed himself and muttered unconvincingly, “He doesn’t want an answer, look, he’s walking away…he doesn’t want an answer.” Like the rest of the crowd, I just shook my head and we headed to the car. Game, set and match for the Pot Smoker. As we walked to our car, I could hear the Preacher bellowing through his loudspeaker again and maybe it was my imagination, he seemed to have lost a little of his vim and vigor.

I felt like I’d walked away from that great concert a little smarter about the universe and how it works. While I’m a bourbon man, I certainly don’t think a little pot and a lot of heavy metal is gonna send anybody to Hell or anywhere else. I know I realized that night that you should never allow a judgmental individual or group to influence your behavior or your listening. As long as you’re not hurting anybody I say, go for it.

It’s a dark ride folks. Find someone you love, put on some good music and enjoy yourselves.

Cheers!

Bruce Springsteen: Sixty-Seven But On A Roll!

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I have to say a big, belated Happy Birthday to Mr. Bruce Springsteen. The man turned 67 yesterday and shows no signs of slowing down. Having seen Bruce with the “legendary” E Street Band in April, I’m stunned he’s 67. Only Mick Jagger seems to defy age more than Bruce Springsteen. And you have to think in Mick’s case, he’s tethered to Keith Richards who hasn’t aged as… gracefully, but I digress. Springsteen is on a huge roll right now. He’s got a lot going on so I thought I’d catch everybody up.

First and foremost was his 2016 “The River” Tour, one of the year’s highest grossing tours. It was done in support of the excellent box set celebrating “The River” entitled “The Ties That Bind.” The box set had the double LP as released in 1979, the original single LP version of the album that Bruce submitted to Columbia but withdrew, entitled like the box set “The Ties That Bind,” and a disc of outttakes. “The Ties That Bind” was very similar to the great box set celebrating “Darkness On The Edge of Town,” named “The Promise,” after one of the great outtakes from those sessions. “Meet Me In The City” from the outtakes is a great, great Springsteen song. I will say , half of the outtakes had already been released on the previous treasure trove box set, “Tracks.” but I’m splitting hairs here. You need to hear all the tracks together to really frame the artistic period surrounding “The River.”

On the first American leg of “The River” tour, which is when I saw Bruce last, the band played the “River” album in it’s entirety, start to finish. It’s a dicey enterprise playing an entire album in concert. It either goes very well, like when I saw the Cult do “Love” or “Electric” or poorly like when I saw Motley Crue do “Dr. Feelgood.” It’s all about the album’s pacing. “Love” and “Electric” were non stop hard rock albums that held up very well in concert. I’m still baffled as to why “Dr Feelgood” didn’t translate as well live. There are some of my favorite Crue songs on that record, but the pacing seemed to lag on what would be side 2. The Rock Chick gave up on seeing Motley live after that, much to my chagrin… The Rock Chick’s likes and dislikes can be very mercurial… I wonder how long she’s going to let me stick around, but that’s another post… and I intend to stick for the long haul but I digress again. Must be all this traveling I’m doing… can’t stay focused.

“The River,” played straight through actually held up very well live. The album is paced well and highlights everything the E Street Band does well. There are barrel-house rockers and light-touch ballads. Springsteen’s intent when recording “The River” was to recreate the energy the band put off during live shows, so it makes sense that “The River” live would be fantastic. After the album was over, they played what Bruce was calling the “concert after the concert” which varied almost every night. I was pleased to finally see “Rosalita” performed live after all these years of attending Springsteen shows. That set after the album seemed to really spark the excitement in the band. I downloaded the free “Chicago” show and it’s a very strong live album. I began to realize the band was doing some of their finest live work in their career.

When the E Street Band got over to the European leg of the tour, the strictures of playing the entire “River” LP every night had gotten old and so they cast that aside. The sets he started playing in Europe were as varied and career spanning as I’ve ever seen. By the time they got back to the US, Springsteen was setting records for his longest shows and then breaking them on the next night of the tour. The set lists on these shows are staggering in their breadth and depth. What’s better still is that you can buy any or all of these great shows on brucespringsteen.net any time you want.

I picked up the August 30, Metlife Stadium show in New Jersey and it ranks amongst the best bootlegs I’ve ever heard of Springsteen. He opens with the obscure chestnut, “New York City Serenade.” Springsteen fans will all realize how special that song is, I don’t think it’s been performed since the 70s, but I’m no historian. He then went through a quasi chronological tour through his entire career. He only played two songs from “The River” and neither was the actual song, “The River” which is odd considering the name of the tour but hey, he’s the Boss. He even dug into his “solo” period and played “Living Proof” which was a surprising highlight. I highly recommend checking out any of the shows on the tour after he’s returned to the US. I will warn you, the 8/30 date is over 4 hours, so strap in for a long listening experience but it’s worth every minute. He does most of “The Wild, The Innocent and the E Street Shuffle,” my favorite album by Bruce. You can even purchase all three New Jersey shows as one special package, but even I shy away from 12 hours of music from anybody… Do yourself a favor and check out these live recordings, it will reward you.

On top of all that activity, Bruce’s autobiography, aptly named “Born To Run” came out on Friday. I read a great interview with Bruce in Vanity Fair and it sounds like Bruce plumbs the depth of some of his battles with depression. It’s been described as being like one of his concerts: sprawling, ecstatic and epic. Here’s my problem. The rock and roll autobiography kind of got ruined for me by Keith Richards. I love Keith to death but his arcane writing about the different guitar tunings he used on certain songs was too much for even me. And he went on to comment on Mick’s penis… C’mon man, nobody wants you to go there. Someone gave me Pete Townshend’s autobiography but after Keith’s “Life,” I couldn’t bring myself to even open it. I’m on the fence about Springsteen’s book, because I think he’d be a better writer, but man, it’s a huge commitment.

The treat for me around this whole autobiography thing was that Bruce released a “companion” disc of tunes to go with the book. Two-thirds of these songs have been released on various albums and greatest hits so why bother? Well, he’s released five tunes from his pre-fame career. Two songs are by his first band, The Castiles. One song is from his outfit named Steel Mill. I’m not going to lie to you. The sound quality of these tunes is not great. These songs are for you completists out there – you know who you are – but I can’t recommend them. They’re solid, meat-and-potatos 50’s style rock. Nothing terribly revelatory there.

The two songs I would recommend are a solo song “Henry Boy” and a song credited to The Bruce Springsteen Band (his pre E Street configuration) named “The Ballad of Jesse James.” I really liked “Henry Boy.” It sounds like a left over from “Greetings From Asbury Park.” It’s all rapidly strummed acoustic guitar with words spilling out of Springsteen almost as fast as he can sing them. It’s a really nice addition to the catalog. The gem here, the song I absolutely love and consider a must-have for any Springsteen fan is “The Ballad of Jesse James.” That song is all pure 70’s rock. It opens with a giant slab of a riff and then Bruce hits you with a squealing almost slide guitar sound that kills. There are back up singers. The sound of this song is very much “of it’s time,” the 70s. It sounds like a song Gregg Allman could have recorded on one of his solo albums. The guitar solo is worth the $1.29 for the song alone. I have to wonder, where the hell did this sound go? He didn’t play guitar like this again until “Darkness On the Edge of Town.” The chorus, which I love, asks the question “Don’t you wanna be an outlaw?” The answer, as any B&V enthusiast must know by now, is yes, yes I do. Again, the sound quality is a little rough, we’re all used to highly polished, digitized music these days, but the sound of this one harkens back to hearing a vinyl record on a loud PA system at a bar having a drink-and-drowned night, all the beer you can drink for $5 and who doesn’t miss those days?

Put “The Ballad of Jesse James” on the stereo, slip on your old bell bottoms and dance around like you ain’t got no brains and celebrate Bruce’s Birthday. Happy Birthday Bruce, and many more to come. Here’s mud in your eye! Cheers !

LP Review: The Beatles, “Live At The Hollywood Bowl”

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Long before BourbonAndVinyl, long before I collected hundreds of albums and CDs, long before my music obsession, there was my brother’s stereo… I had an old black-and-white TV in my room, and a clock radio but I only turned the clock radio on if I was listening to the Royals or the Chiefs. I never listened to music. I was a sports guy, not a music guy. My brother, who I’ve mentioned in these very pages as the polar opposite of me, didn’t have a TV but he did have a stereo. It was one of those turntable/tape deck/receiver all in one jobs. I couldn’t understand what he was doing spending all of his spare money on those albums, it made no sense to me. Be careful what you make fun of, it eventually takes you over.

I would walk by his closed door on the way to my own room and I’d hear all these… sounds… coming from his room. What the hell was going on in there. More often than not those “sounds” were the Beatles. They say you can tell a lot about a person by which Beatle they favor… My brother was a George guy. I’m more of a John guy. I’ll let Beatle-0logists decipher the meaning of that. Maybe if our family dentist had dosed my brother and I with LSD like John and George, we’d have been closer as kids, but that time has passed. I eventually knocked on the closed door and after being admitted entrance to my brother’s inner sanctum, plopped down on the floor to listen to these Beatles he was so fond of. It took the Stones to put out “Some Girls” to completely turn me onto music, but my brother’s vast Beatles LP collection certainly pushed me onto that path. Its odd that on so many things my younger brother led the way…

Like I was to eventually become, my brother was nothing if not a completist. He’d buy a greatest hits album if it had an unreleased single on it even if he owned all the other tunes already. One of the albums he seemed to play a lot was the Beatles’ “Live at the Hollywood Bowl.” It sounded like a bunch of girls screaming like a cat in a blender to me but my brother loved that record. I remember the liner notes, printed on the back of the album sleeve. George Martin, who had been asked to put the album together in 1977, long after the Beatles’ break up, wrote the essay printed on the back. If I recall correctly, he said he was only convinced to put the Live LP together after his granddaughter (or maybe it was his daughter) had asked him if the Beatles had been “as big as” or “as exciting as the Bay City Rollers.” I’d say he proved the point. Game, set and match to Mr. Martin.

I sort of forgot about “Live at the Hollywood Bowl” until I got to college. One of my roommates, Drew would sit and listen to that album and laugh his ass off when the Beatles would speak between songs. It was so obvious they were mocking the entire Beatlemania thing. Before “Hard Days Night” John Lennon says, “we made two movies, one in color and one in black and white…” He sounds like a game show host. That was after my conversion to “music junkie” and it was the first time I gave that album a serious listen.

The Beatles famously quit touring in 1966. After that they became studio wizards. The breadth and depth of the music they recorded is amazing. Every album seemed to create two or three sub genre’s of music. It’s easy to think of them as composers like Mozart or Bach and it’s sometimes easy to forget that they were a working band, since after ’66 they only played live once on the roof of the Apple offices in London for the “Let It Be” album. That’s why this document of them as a touring, live band is so important.

In anticipation of hearing this album again, I started listening to the “Live at the BBC” album. It’s a great document of what was, what we tend to forget, a great band. It’s like they’ve turned the BBC studios into their own Hamburg club. They play a lot of their own music, but so many great covers that they never got around to recording and releasing in the studio. The only thing the “BBC” album leaves out is a studio audience. There’s nobody to react to the performances except the jolly BBC DJ. It’s a bit of a sterile live experience. Still, it’s a pleasure to hear these guys playing live together.

Which all leads me to the newly remastered “Live at the Hollywood Bowl.” I kept wondering if they’d ever get around to releasing this album. With every new remastered version, box set, “Live at the Hollywood Bowl” was always left out. I can’t confirm this without flying to Houston and having my brother put the old vinyl on the stereo, but it sounds like they’ve boosted the music up in the mix and turned down the screaming fans. Have no doubt about it, this is a great album. It’s so fun to actually put some flesh and blood on the legends. Taken with the “BBC” live album it helps round out a fuller picture of the Beatles. You see those old films of them performing at stadiums in the 60s and its a little like watching old-timey films of baseball players one hundred years ago. A crude document of history being made.

“Hollywood Bowl” is a fun, fun listen. The chemistry of the Beatles on stage is just amazing. You have to remember with the crude equipment they were using, they likely couldn’t even hear each other. It’s kind of hard to play as a band if you can’t hear the other guys. They bash away with a hearty gusto. I have to say, Ringo takes a lot of shit for not being a very good drummer, but he’s really bashing away on this record. Paul McCartney’s bass sounds like Flea. He lays down the most amazing bass lines. How these guys harmonize with all the screaming is just a miracle.

I love that they open with “Twist And Shout,” as if the rabid teenage girls at the Hollywood Bowl weren’t frothy enough, they start with one of their biggest jams. They play a lot of their early, classic hits, up through “Help!” but its great to hear them tear through some of those older cover tunes that they’d probably been playing since Hamburg: “Long Tall Sally,” “Dizzy Miss Lizzy,” and even “Roll Over Beethoven.” They even let Ringo have a turn at the mic with “Boys.” Despite all the harrowing stories of their touring, it does sound like they’re having a good time on stage.

“Ticket to Ride,” “Things We Said Today,” and “She’s a Woman” all near the front of the album are a toss up for my favorite. These guys could do no wrong with a song. They add four additional “bonus” tracks that weren’t on the original vinyl LP at the end. They’re all very good songs and for those of us who know the original album, it’s almost like they’ve come back for an encore.

This is not only a great album, and a definite recommended buy from B&V, I would go so far as to say this is essential listening, not only for Beatles fans, but for fans of rock and roll in general.

Play this one loud. And as Ringo would probably say, Peace and Love, people. Cheers!