Savage Distortion

2011-01-29T04:20:00.002-05:00

HOW YA BEEN

Okay, to catch up, I found work at Burger World, the Legal Diva is now a Pickle Person, much has changed, but so little has changed. American politics is still fucked despite the tide of positivity that Obama surfed into the White House. Rock and Roll from the 70's is still far superior to it's current facsimile, and the Jets can still be counted upon for a let-down. Granted the recent let-downs have been much more satisfying - thanks Rex.

Rex and Obama. Tragic greatness. They both have achieved so much, certainly much more than their predecessors, but have fallen just short of the mark. So close they could taste it. Of course they're both still in the game, but it's sort of 'back to the drawing board' for both of them. The upside is that they both are currently enjoying favorable approval ratings, and some real momentum. Obama's recent recovery of his popularity as opposed to Rex's steady stream of 'atta boy's is the only basic difference between their positions. They both have to go back and convince their teams that the dream can be reality, that if everyone stays committed, continues to believe, then this time they can really do it........again. One more time into the breach.

I gotta say, of the two, I have more faith in Rex's ability to pull it off. Mr. Obama and Mr. Ryan both face old and devious rivals. They both fight evil. The Devil is in their respective divisions, and as of late he's been a consistently favored winner. To the Coach and the President's considerable credit, they both have had decisive victories against their intimidating enemies, but in the end, I think Rex has a better team than Obama does.

But I digress.......

So, yeah, I basically quit the Internet a while back. About a year and a half. I oversocialnetworked. Many people have obsessive responses to this new social phenomenon. My own began to have a negative effect on my psyche. It got to where I was more concerned about Papa Robbie's response to a fleeting inconsequential remark about Joe Walsh than I was about enjoying the ability to write about Joe Walsh and have people I've never met read what I wrote, and even, sometimes, respond positively, and engage in discourse about Joe Walsh and Joe Walsh related topics.

Of course I have only myself to blame. Early on in my BlogLife I took to comment baiting. I posted outlandish and idiotically provocative sentiments for the expressed purpose of causing a ruckus. I got what I paid for.

I've learned something, I hope, about myself, and I think the process has improved me. Humility is not sincere when it is slathered in sarcasm, and a rampant unchecked ego is a friend to no one.

Having said that, I still think that I'm right, and 'Funk 49' - despite being a reference to a supposed fragrance, is a bit funky, certainly for a white dude from Ohio.

2009-10-01T09:58:00.002-04:00

YAY JETS!

3-0! Hurray for Rex Ryan.

Beware all opposing teams, we kill.......

2009-10-01T09:53:00.001-04:00

HEY CONGRESS, FUCK YOU

I hope they all die horrible painful and expensive deaths.

2009-08-12T18:53:00.000-04:00

105 Concerts

01: Atlanta Rhythm Section (Steppenwolf was on the bill, but they bailed and we got The Mushroom Band as the opening act. Early 79? Ike Hall, West Point, NY. First exposure to the smell of weed.

02: Nazareth/Frank Marino & Mahogany Rush, summer 79, Capitol Center, Md.

03: Kiss, summer 79? Dynasty Tour, MSG, NYC.

04: Kansas, 79? Ike Hall, West Point, NY.

05: Boston, fall 79, Schwetzingen Sports Arena, West Germany.

06: Rainbow, fall 79, Schwetzingen Sports Arena, West Germany. Gram Bonnet line-up.

07: Van Halen, summer 80, Boston Gardens, Boston, Mass. Dave had multiple injuries, arm in a cast, great stories.

08: Alice Cooper, 1981, Mid-Hudson Civic Center, Poughkeepsie, NY.

09: The Pretenders, 1981, Ike Hall, WP, NY. Original pre-death line-up.

10: Joan Jett/David Johanssen, 1981, Ike Hall, WP, NY. One of the best ever.

11: Rainbow/Scorpions, 1982, MSG, NYC. Scorps blew away pathetic headlining Rainbow.

12: B52's, 1983, Ike Hall, WP, NY.

13: J. Geils Band, 1983, Ike Hall, WP, NY

14: Ozzy, 1983, Mid Hudson Civic Center, Poughkeepsie, NY

15: Krokus/Blackfoot, 1984, Mid Hudson Civic Center, Poughkeepsie, NY

16: Kiss/Accept, 1984, Mid Hudson Civic Center, Poughkeepsie, NY

17: Motley Crue/Ratt, 1984, Mid Hudson Civic Center, Poughkeepsie, NY

18: Aerosmith, 1984, Orange County Fair, NY

19: Wesley Willis & The Fiasco

20: The Ramones,1984, Univ. of MD

21: The Ramones, 1984, The Bayou, Washington DC. Got Tossed out by a jar-head for doing the pogo about half-way through.

22: U2, 1985, Capitol Center, MD The best ever? Maybe.

23: Yes, 1984, Hartford CT

24: Rush, 1986, Baltimore Md

25: Peter Gabriel, 1986, Capitol Center

26: Al DiMeola, 1985, U of M

27: Patrick Moraz & Bill Bruford, 1985, U of M

29: Iron Maiden/Coney Hatch, 1984, Mid Hudson Civic Center, Poughkeepsie, NY

30: REO Speedwagon, 1982, Nassau Colliseum, NY

31: Judas Priest, 1984, Mid Hudson Civic Center, Poughkeepsie, NY

32: Marillion, 1986, The Roxy, NYC

33: Hot Tuna/Foghat, 1987?, The Chance, Poughkeepsie, NY. Bloody awful. The drummer was the only original Foghat member, and Hot Tuna was a poor substitution for the initial headliner, Nazareth, who cancelled.

34: Georgia Satellites, 1987?, The Chance, Poghkeepsie, NY. One of the best ever.

35: Dylan/the Grateful Dead/ Tom Petty & the Heartbreakers. RFK, DC. Great fun.

36: Grateful Dead, 1988, MSG, NYC. Great show, heavy trip, we got Terrapin.

37: Grateful Dead, 1988, Brendan Byrne Arena, Medowlands, East Rutherford NJ. Watched first set without acid. Big Mistake, found some during drums, just in time.

38: REM/10,000 Maniacs, 1987, Radio City, NYC. Great Show.

39: Stevie Ray Vaughn, 1988, Mid Hudson Civic Center, Poughkeepsie, NY. Months before he died. Absolutely amazed.

40: John Lee Hooker, 1987?, Philadelphia, PA. Life Changing Event.

41: Rolling Stones/Living Colour, 1989, Shea Stadium, Queens, NY. Clapton showed up.

42: Rolling Stones/Living Colour, 1989, JFK Stadium?, Philadelphia. Drove down and back same night. It rained. Totally worth it.

43: REM, 1989, Brendan Byrne Arena, Meadowlands, East Rutherford, NJ

45: Keith Richards/Replacements, 1989, Brendan Byrne Arena, Meadowlands, East Rutheford, NJ. Keith's birthday. Great show. Replacements were awful (expected); instead of finishing 'Can't Hardly Wait', which they started and aborted multiple times, they moved on to a rousing 'Happy Birthday' to Keith. If i could have hung out backstage at any concert I've ever seen, this was the one.

46: Kix, 1984, The Bayou, Washington DC. One of the best ever.

47: Kix, 1986?, Hammerjacks, Baltimore, MD.

48: Robin Trower, 1986?, Hammerjacks, Baltimore, MD

49: Frehley's Comet, 1986?, Hammerjack's, Baltimore, MD

50: The Ramones, 1988, Bedford, NY. A very short show, slightly over an hor, during which they went through 35 songs.

51: Metallica, 1990?, The Continental Airlines Arena (formerly the Brendan Byrne Arena), Meadowlands, East Rutherford, NJ. Great show, though I didn't know any of the songs, excepting their cover of Queen's 'Stone Cold Crazy'.

52: The Cramps, 1990, the Academy, NYC. My first crowd surfing.

53: Red Hot Chili Peppers/Dead Milkmen, The New Roxy (Studio 54), NYC. Killer show.

54: Fishbone, 1995, The Wetlands, NYC. Amazed.
55: Lollapalooza, 1990? (the first one), Waterloo Village, NJ. Missed The Boredoms. Caught Henry Rollins, The Butthole Surfers, Nine Inch Nails, Ice T & Body Count, Souxie and the Banshees, and Jane's Addiction. I took a nap during Living Colour, having seen them twice w/ the Stones earlier that year.

56: The Buzzcocks, 1991?, New Rochelle, NY

57: Red Kross, 19??, Joey Ramone's Rock and Roll Summer Nights,someplace on St. Mark's, NYC. I remeber the show, and hanging out with the Two Pats, but not much else. That may have been the night I helped a legless Joey Ramone to his feet at the bar.

58: Gene Loves Jezebel, 1992, The Limelight, NYC

59: Lenny Kravitz, 199?, Roseland, NYC

60: Aerosmith/Guns & Roses, 1988, Orange County Fair, NY. Axl claimed to be ill, only putting in half of a set, forcing the band to fill in with a rather pleasant blues jam and some punk cover with Duff singing. Aerosmith was great, as usual.

61: Aerosmith, 1993, Albany, NY. Still astounding the third time in ten years.

62: AC/DC, 1993?, Albany, NY.

63: The Reverand Horton Heat, 1994?, the Limelight, NYC. Got religion.

64: Smashing Pumpkins, 1994, Albany, NY. The most negative show ever.

65: Pink Floyd, 1994, Yankee Stadium, NYC. The first, and best, of the 'All Drug Olympics'. Weed, beer, mushrooms, acid, cocaine, and hydrocodone. In that order I think, the mushrooms got eaten about an hour out of the city, the acid was dropped as we parked the car, the hydrocodone was saved for the long drive back to Albany to sooth the effects of being stuck in an enclosed space for three hours on a brain full of hallucinogens. The show was good too.

66: Lollapalooza III?, 1994, Saratoga Springs, NY. It was the one Nirvana was supposed to headline before Kurt bailed, leaving the uber popular but oh so depressing Smashing Pumpkins to fill the slot. Nick Cave was good, and so was George Clinton's P-Funk All Stars. The Breeders were apauling, triggering pre-recorded loops to make-up for that fact that only Kim Deal and the drummer had any actual musical ability. A joke.

67: Ramones, 1995, May Day, Albany, NY. My first Ramones show w/ out Dee Dee. Not Bad, not great.

68: UFO, 1995, the Limelight, NYC. God smiled on me, gave Schenker the desire to get back with UFO and tour the 'Strangers In the Night' set. This show meant more to me than any other show, except maybe the first Kiss concert in 79. A dream come true, fifteen years in the making.

69: Bowie, 1995, Roseland, NYC. Best sounding show ever.

70: U2, 2001, MSG, NYC. The first show @ MSG after 9/11. Very emotional, but the band was a bit off. I think they came straight from the plane or something. They certainly tried. The most expensive show ever @ $145.00

71: Alice Cooper, Halloween 2001, Roseland, NYC. Great.

72: Alice Cooper, Halloween 2002, The Beacon, NYC. Better.

73: Alice Cooper, Halloween, 2003, The Beacon, NYC. The best?

74: Alice Cooper, Halloween 2004, The Beacon, NYC. The best?

75: Alice Coope/Cheap Trick, October 2005, PNC Center, NJ. Cheap Trick suffered from poor sound.

76: Tool, 2001, MSG, NYC. Decent. Great sound. Boring band.

77: Patti Smith, 199?, Summer Stage, Central Park, NYC.

78: Devo, 2004, Summer Stage, Central Park, NYC. Mind blowing.

79: Lucinda Williams, 2004, Summer Stage, Central Park, NYC. I got shussed.

80: Beastie Boys, 2008, Summer Stage, Central Park, NYC

81: Music Midtown Day 1, 2006?, ATL, GA. Lou Reed, Tom Petty & the Heartbreakers, Keith Urban

82: Music Midtown Day 2, 2006?, ATL, GA. John Fogarty, some random country, a bit fuzzy on that day

83: Music Midtown Day 3 2006?, ATL, GA. Joan Jett, Def Leppard (horrid), Devo

84: Amsterjam, 2007?, Randall's Island, NYC. Worked for Figo who played one of the alternate stages, saw L.L. Cool J, Busta Rhymes, Foo Fighters, and Tom Petty and the Heartbreakers who proved beyond a shadow of a doubt (all puns intended) that they are the greatest working Americain Rock band, and just might be the greatest Americain Rock band ever, and a contender for the world title.

85: Disco Biscuits, 2008, some hippy fest upstate. Whatever. Snoop Dogg played the first night. He's the man. His band was great.
86: Luna, 2007?, Bowery Ballroom, NYC. Last Luna show(s).

87: Bad Brains, 2000, ????, NYC. Amazing.

88: Wilco, 2007?, Radio City. Fred took me. I got it. American music.

89: Wilco, 2008, McCarren Pool, Williamsburg, NYC. Not the best sound, too much cement. Beer lines out of control. No weed.

90: Kings of Leon/Black Rebel Motorcycle Club, 2007?, Radio City. I dug BRMC, they have a cool dark vibe. KOL are lost on me.

91: Some Hippy Fest, 2007?, Randall's Island, NYC. Dave Mathews, Bare Naked Ladies, Mike Doughty. A hot dusty day.

92: Lollapalooza 5?, 1995?, Randall's Island, NYC. It was the Soundgarden/Metallica bill, the last of the original Paloozas. Soundgarden was good.

93: Kiss, 1996?, Continental Airlines Arena, Meadowlands, East Rutherford, NJ. The first leg of the big reunion tour, a New Years show. Magical, though I detected some supporting tracks beefing up the sound, but hell, Ace was back, the make-up was back, and I was happy to be fifteen again.

94: David Bowie, 2005?, Jone's Beach, NY. Fun show. He had that huge choir/cult act open, what were they called?

95: The Johnson Family, 1996?, Knitting Factory, NYC. Interesting semi-religious family act, great players, great singers, and great songs.

96: All Tomorrow's Parties Day 1, 2008, Monticello, NY. Meat Puppets, Built to Spill, Thurston Moore, Bardo Pond.

97: All Tomorrow's Parties Day 2, 2008, Monticello, NY. Shellac, Polvo, Om, Fuck Buttons, The Drones, Les Savy Fav. Les Savy Fav was the best act of the whole festival.

98: All Tomorrow's Parties Day 3, 2008, Monticello, NY. Dinosaur Jr, My Bloody Valentine, Mogwai, Yo La Tengo, Mercury Rev, Bob Mould, Spectrum. I loved Bob Mould, as his set contained the most familiar material of the whole weekend, and well, I just love Bob, but I got real drunk, and by the time I settled into check out Dinosaur Jr I was having trouble maintaining. J. Mascis had a wall of Marshalls surrounding a giant Marshall stack at least nine feet tall. It was sooooooooo loud. Louder than anything I had ever witnessed. Abusively loud. So much so that I went to find a place to get some horizontal time. When I woke, My Bloody Valentine was wrapping up their set. I went in and was immediately struck by three things: My Bloody Valentine were even louder than Dinosaur Jr, the sound coming from the stage was a wall of noise, a feedback binge that went on for at least twenty minutes, and I had managed to grow old enough to question the necessity of such ridiculous and obviously damaging.

99: Neil Young, 2008, Radio City, NYC. An immensely satisfying show, long, long overdue.

100: Fleetwood Mac, 2009, MSG, NYC. A great show, super high energy. Totally stunned.

101: Deep Purple/Thin Lizzy, 2007?, The Beacon, NYC. Deep Purple was great, Roger Glover, Ian Gillan, and Ian Pace rounded out by Don Airey in place of John Lord, and the excellent and much more melodic Steve Morse in Blackmore’s spot. Thin Lizzy was a bit disappointing, how could it not be without Phil or Brain Downey. Shred King John Sykes, who only played on one Lizzy record (the last one) handled the vocals, and Mark ‘The Animal’ Mendoza, of Twisted Sister, ably handled the bass, but it was simply lacking magic, and Sykes was way louder than longtime Lizzy guitar whiz Scott Gorham.

102: Little Feat, 1988?, somewhere in Connecticut. The late eighties Lowell George-less line-up.

103: Robert Cray/Treat Her Right, 1988?, Lake Componce, CT. Cray was/is great, and so was Treat Her Right, a three-piece of guitar, tenor guitar, and cocktail drum that would later morph into Morphine (I told you, all puns intended).

104: Scorpions, 2008, The Beacon, NYC. Man those sextagenerian Krauts can Rock the shit out of theater.

105: Iron Maiden, 2008, MSG, NYC. Maiden has not lost a step in 25 years.

2009-08-02T10:01:00.002-04:00

1317!

A while back, when Charlton was in town, we went by Generation Records, ostensibly to find the new Mawell release - they didn't have it. You can't just go buy a new record in NYC anymore. At any rate, we picked up a record while we were there, of course.

Talking Heads - Speaking in Tongues. (1983)

A must have that I shamefully had never owned. Packed full of classics, I'm glad to remedy the offense.

Then, a couple of weeks later when Tony Alva hit town, we went back to Generation Records.

Triumph - Just a Game (1979)

The Canadian power Trio's third record, featuring 'Lay It On The Line'.

Montrose - Warner Bros. Presents (1975)

Ronnie's self monikered band's third release, their first post Sammy Hagar record.

Cat Stevens - Tea for the Tillerman (1970)

Yet another classic that I should have already had in the collection.

Billie Holiday - Embraceable You (1957-59)

We needed some Billie. We got a double LP's worth.

Gyspy Kings - Gypsy Kings (1988)

Gotta love this one, total chops all around.

Falco - 3

The LP featuring 'Rock Me Amadeus'. Those following along may remember that our 12" of 'Rock Me Amadeus' is warped.

Electric Light Orchestra - II

My ELO collection is now 'complete' - in the sense that I have all I'm interested in. I don't have or want the first or last record, or the 'Xanadu' soundtrack.

All in all, a great haul.

2009-07-06T15:34:00.004-04:00

1309!

I am pleased to announce that The Legal Diva broke 1300 on the last vinyl haul she pulled down in Chuck-Town last week. This load features more brand new 180 gram reissues*. Papa Robbie was on hand for the event, his guiding hand is evident and appreciated. There are, of course, selections that are purely Legal Diva. She has expanded my horizons as well as my collection. It's a great time to be in love, and in love with vinyl.

*The Chronic

The Lady Sings the Blues

*2Pac - GH

*Raising Hell

*Motor Booty Affair

Welcome to the Real World

*Booty's Rubber Band - Ahh....The Name Is Bootsy, Baby!

Kenny - What About Me

Luther - Power of Love

2009-06-27T13:18:00.003-04:00

THAT REPRESENT MAN

Near as I can tell it comes from Muddy. The boastful first person narrative set to song. Muddy told you he was a Man, then he told you how to spell it.

"Now when I was a young boy, at the age of five
My mother said I was gonna be the greatest man alive"

"I spell mmm, aaa child, nnn
That represents man"

He also told you he was a Hoochie Coochie Man, then he defined it for you.

"The gypsy woman told my mother
Before I was born
You got a boy child's comin'
He's gonna be a son of a gun
He gonna make pretty women's
Jump and shout
Then the world wanna know
What this all about
But you know I'm him
Everybody knows I'm him
Well you know I'm the hoochie coochie man
Everybody knows I'm him"

After the Beatles, John Lennon was lauded for the brave artistry of his naked first person approach to the song.

"I don't believe in magic
I don't believe in I-ching
I don't believe in Bible
I don't believe in Tarot
I don't believe in Hitler
I don't believe in Jesus
I don't believe in Kennedy
I don't believe in Buddha
I don't believe in Mantra
I don't believe in Gita
I don't believe in Yoga
I don't believe in Kings
I don't believe in Elvis
I don't believe in Zimmerman
I don't believe in Beatles
I just believe in me...
Yoko and me
And that reality"

Today, we hear the first person proclamation of superiority in Hip Hop fairly pervasively. Every MC has to mack in a compelling manner. If not, the artist will get eaten alive by the fierce competitive nature of the game. De La Soul's positive vibrations may have been honorable, but in the end it didn't serve them very well. P.M. Dawn anyone? Graciousness and intelligence just can't stand up the the muscle of a Microphone Fiend with Lyrics of Fury.

"I was a fiend before I became a teen
I melted microphones instead of cones of ice cream
Music orientated so when hip-hop was originated
Fitted like pieces of puzzles, complicated
'Cause I grabbed the mic and try to say 'yes yall'!
They tried to take it, and say that I'm too small
Cool, cause I don't get upset
I kick a hole in the speaker, pull the plug, then I jet"

For the generation between Lennon and Run DMC, however, it was Bon Scott who felt compelled to list his many vice related virtues. Scott's braggadocio of badness, perfectly supported by the super tight and sleazy boogie woogie of the band (AC/DC) was the jagged edge that poked a hole in the bag of 70's rock bands stuck in a self-conscious trend of journalistic commentary and observation. Rock was pretentious. Even the Punks, who's self proclaimed raison d'etre was to be the thorn in the side of the pretentious self-indulgent Rock establishment, were pretentious in so doing.

Bon Scott was not pretentious. On occasion he would write subjectively, or, even actually in the third person, but mostly it was Bon on Bon, like Muddy, like Jay-Z, Bon was a boaster, and he made you love him for his arrogance.

"I'm dirty, mean and mighty unclean
I'm a wanted man
Public enemy number one
Understand?
So lock up your daughter
Lock up your wife
Lock up your back door
And run for your life
The man is back in town
So don't you mess me 'round

I'm T.N.T.
I'm Dynamite"

Ain't that a man?

Surely there have been other noteworthy practitioners of the Boast, Ted Nugent and Kiss come to mind, but not nearly on the scale of Muddy, Bon, and two decades of MCs.

2009-06-27T12:14:00.002-04:00

JACKSON'S REACTION TO THE DEATH OF JACKSON

Michael died on Thursday. It's now Saturday, and my two most frequented television channels - MSNBC and VH1 Classic - are both still in round the clock MJ programming mode. I can only watch the Thriller video so many times. My interest in this event waned about mid-day on Friday. So what's my recourse?

My extensive Rock DVD collection has been my refuge. Last night I watched my 'Old Grey Whistle Test' DVD, and this morning I slapped in AC/DC's 'Family Jewels', a collection of their videos from 1976 through 19991.

Later I'll probably watch 'Kissology Volume 1', and maybe 'The History of Iron Maiden Part 1: The Early Years', and there's always 'Running Down a Dream', the four hour Tom Petty movie.

I accept the fact that Michael Jackson was an entertainer of unparalleled talent and acclaim, but c'mon people, can we move on now?

2009-06-26T10:08:00.002-04:00

VINYL, NEW AND USED

The surprising news of Michael Jackson's death will have it's impact upon the record collection. The Legal Diva and I do not have a copy of either 'Off the Wall' or 'Thriller', two records that have never hit the bargain bins, and now it is assured that they never will. Folks just don't sell off their old MJ records.

BUT

I'm quite sure all of Michael's catalog will be re-released on vinyl, like these recent purchases were:

The Chronic - Dr. Dre

Sign of the Times - Prince

The Harder They Come - Original Movie Soundtrack

While we were at it, we scored a number of used records including:

Super Session - Bloomfield/Kooper/Stills

Amazing Grace - Aretha Franklin

Vinyl is alive and well, long live vinyl, rest in peace Michael.

2009-06-05T09:33:00.003-04:00

THE CONTINUING ADVENTURES OF NEW OLD VINYL

And so the collection grows:

David Bowie - Never Let Me Down

The album that launched the spectacle of crap that was the Glass Spider Tour marks the height of David Bowie's mid-eighties dive into commercial mediocrity, but, alas, it's Bowie, and it's vinyl, and it cost me two bucks.

Dreams - Dreams

(No Image Available)

Jazz-Rock or Fusion based band Dreams introduced drummer Billy Cobham to the world. I have yet to give this 'live in the studio' LP a listen, but I'm quite sure it has it's merits.

Jethro Tull - This Was

Tull's debut features 'A Song for Jeffery', and I'm quite sure plenty of standard Tull weirdness.

Johnnie Taylor - Eargasm

Disco pioneer Johnnie Taylor delivers classics such as 'Disco Lady' on this 1976 Columbia release.

The Band - Rock of Ages (Volume 2)

The follow up to the double live Volume 1, Volume 2 features more live classics from The Band including 'The Weight' and 'The Shape I'm In'.

Macy Gray - Sexual Revolution (12" remixes)

Ian Dury and the Blockheads - Laughter

The fifth release by the legendary London based band that created the blue-print for such acts as The Squeeze and Madness, finds Ian and the lads cracking it up in the studio, having a laugh, and delivering another fine record with tongue firmly planted in cheek.

Triumph - Stages

A double live record by Toronto's second favorite power trio.

Yes - Yessongs

A triple live record by English Prog masters proves yet again that whatever anybody else can do, Yes can do it longer.

Santana - Santana

The Bay Area's Guitar God's debut featuring 'Evil Ways' among other notable Latin fused blues jams.

Steve Miller - Fly Like an Eagle

This record plus 'Book of Dreams' equals Steve's Greatest Hits. You know all these songs, we all do.

J. Geils Band - Best Of

The first of two 'Best Of's released at the end of the 70's, this one includes 'House Party', and 'Musta Got Lost'.

Grandmaster and Melle Mel - White Lines (12")

What can you say........"Don't Do It!"

2009-05-16T22:40:00.005-04:00

THE LEGAL DIVA'S VINYL HAUL

My Lady went vinyl shopping. She's amazing. This is what she got:

Stadium Arcadium - Red Hot Chili Peppers

This unbelievable vinyl package of a well loved and oft blogged about record consists of 4 discs - eight sides of the most fantastic Rock music to be released since the turn of the millennium.......and then some. Frusciante is a genius, and a Rock Star, two things lacking in modern music. The choice to issue 4 discs (4 180 gram vinyl discs) says a lot about the respect that the Chilis have for music, and their fans. You will not be able to hear this album in any superior medium or format. It is simply the best sounding release, uh........ever. Really. The packaging is beautiful and of the highest quality. I simply can't go too far in hurling superlatives at this release. I love it. I'm in awe of it. Everyone should buy it.

Like a Virgin - Madonna

Rufus Featuring Chaka Khan - Rufus Featuring Chaka Khan

Touch - Eurythmics

Live and Uncensored - Millie Jackson

All the Great Hits - Diana Ross

Anthology - Diana Ross and the Supremes

Promise - Sade

The Best Of - Dinah Washington

Greatest Hits - Commodores

First Take - Roberta Flack

Roberta Flack and Donnie Hathaway - Roberta Flack and Donnie Hathaway

*Seven and the Ragged Tiger - Duran Duran

* We already have this one....the new copy needs a good home.

2009-04-24T01:16:00.003-04:00

GET HELP @ TRASH BAR

It's always cool to see a band play stuff you recorded, and doubly so when you genuinely enjoy the material. It was such an occasion tonight at Trash Bar when Get Help took the stage.

Chris and I spent a few months about a year ago helping Mike and Tony with their record. That process was about as smooth as it gets. The guys had pretty much worked out what they were going to do ahead of time, so there wasn't much dicking around, and as I said, I dug the tunes, so it was a pleasure to work those sessions.

For the live show Tony and Mike were joined by a rhythm section, a bare bones no b.s. unit of bass and drums that provided a solid foundation while Mike and Tony played guitar and sang - Mike played keys as well on a couple of songs.

There was a decent crowd for the 8pm slot, and the sound at Trash has improved somewhat since we were last there - TEDSTOCK, and like that event of a few years past, Mike was suffering from an infirmity that caused him some difficulty when he sang. Again, much like TEDSTOCK, he rose to the occasion and delivered an impassioned performance.

If you don't have Get Help's new album 'The End of the New Country', you should buy it, and if you haven't seen Get Help live, you should fix that too.

2009-04-23T07:43:00.002-04:00

NOT A MOMENT TOO SOON

Tonight @ 8pm @ Trash Bar I will finally Get Help.

Check the NPR write-up, or the Absolute Punk review in which Smoke and Mirrors actually gets a nod.

At any rate, I like Get Help, and I'll be there.

2009-04-17T09:34:00.002-04:00

MADDEN RETIRES, JACKSON SIGHS

With so few competent commentators broadcasting these days, it's with a sad heart that I wish John Madden a happy retirement. I'll miss his total lack of bullshit, his enthusiasm for a great tackle, and his deft hand at highlighting the subtleties of the battle at the line of scrimmage.

John, you gave great game, from the sidelines in Oakland to the various broadcasting booths in stadiums across the land. A true one of a kind, and a class act, you and your bus will be missed.

Maybe Al Davis will have a moment of clarity and offer John his old job back.

Wouldn't that be something?

2009-04-16T08:00:00.002-04:00

THE CONTINUING ADVENTURES OF FIGO TOUR 2009

I'm off the tour for a spell, but the Drunken Fool has started a Figo Tour Blog so y'all can follow along as the boys head down the east coast deep into the heart of dixie......

2009-04-10T09:48:00.005-04:00

THE KIDS ARE ALRIGHT: FIGO TOUR 2009 (Part Three - Home Again)

Phew! That shit ain't fuckin' easy. Why couldn't this have happened when I was young and more resilient? Every day that passed brought me more evidence of the sage prophecies of one Lemmy Kilmeitser:

"Another town another place,
Another girl, another face,
Another truck, another race,
I'm eating junk, feeling bad,
Another night, I'm going mad,
My woman's leaving, I feel sad,
But I just love the life I lead,
Another beer is what I need,
Another gig my ears bleed,
We Are The Road Crew

Another town I've left behind,
Another drink completely blind,
Another hotel I can't find,
Another backstage pass for you,
Another tube of super glue,
Another border to get through,
I'm driving like a maniac,
Driving my way to hell and back,
Another room a case to pack,
We Are The Road Crew

Another hotel we can burn,
Another screw, another turn,
Another Europe map to learn,
Another truck stop on the way,
Another game I learn to play,
Another word I learn to say,
Another bloody customs post,
Another fucking foreign coast,
Another set of scars to boast,
We Are The Road Crew"

I can now claim to 98% of that. Leave off the bits about the girl and the map of Europe. I am beat up, but I am also grateful for the chance to live the dream.

After Chicago, it all got blurry, so I'll have to catch you all up.

Following Chicago we were scheduled for two dates in Canada, the first in Toronto followed by a second the following night in Montreal.

Canadian laws prohibit foreign DJs from performing in their clubs and bars without a visa, but, as in our case, they make exception for acts playing in theaters as part of a tour package. We were waiting for such documentation to arrive before our border crossing. Chicago came and went, and we were still waiting. The night after our second performance at The Metro, we packed up and hit the road. Lodgings on the cheap were in order, so we figured we'd stay the night in a random Super 8 in Indiana on our way to Toronto via the Detroit/Windsor border crossing.

At one with the Alice Cooper coming out of the iPod, Indiana got left behind and I finally pulled over somewhere in the middle of Michigan at 4am. Psyche! It was actually 5am, as we had crossed into Eastern Standard Time.

After a few hours sleep, we crawled back in the van, still without papers. We dallied in Michigan while we waited. If evening came without our documents, we would just have to play 'tourists' at the border. We stopped in Ann Arbor at a Whole Foods for an expensive but necessary healthy meal. Still no word. Detroit and the border were an hour away.

I have been to Detroit many times. I have spent a total of five weeks at the Marriott in the GM building, so I know the lay of the land, and I parked us downtown where I knew we could kill time if we had to, but as we ordered the first round of Heineken at the Detroiter, the paperwork came through. Now we needed access to a printer. Fortunately the Final Four was in town and the Marriott was a madhouse, so nobody noticed as we strolled in and used the business center to print our all important document. Paul took the time to 'priceline' us serious digs in Toronto for the same rate as the Super 8. Sweet.

Now all we had to do was cross the Bridge to Canada and talk to the Border Cops.

If we could find the fucker.

Detroit is a third world city. It's literally bombed out like a war zone. Our combined search for gas and the Damn Bridge to Canada (detour hell) took over an hour. We finally hit the booth at the border around 5pm, burnt out and stupid from road lag. The lady asked us what type of venue we were playing - the paperwork had all the info, but she was asking us, and we stuttered out some incomprehensible babble and it was off to the holding pen while somebody called The Phoenix in Toronto to ask them if they were a theater or a club. It took about seven minutes, but it was a long seven minutes of introspection and reflection upon past crimes. Finally, they called us up, handed back our documents and sent us on our way.

Canada is like another fucking country or some shit.

Ontario rolled out under us as we sped through the snow. Oh yeah, it was fucking snowing. Did I mention the fucking snow, in April. Ontario looks much like Indiana, with snow. We made it to Toronto around 9pm, checked into the nice digs at the Hyatt, and just made it to a nice Indian restaurant - Aroma - before they closed. Fantastic byriani, and the always refreshing Kingfisher capped a long day.

Oh yeah, the gig. The Phoenix was a cool old ballroom style theater with a great balcony for the boys to set up in and hang the Figo banner from.

The opening act, Telepathe, left the tour after Chicago, and the lighter load allowed Figo to play their first set from the stage for the first time, and I'm happy to report that it has remained that way even after support act The Crocodiles joined in Boston.

It kept snowing.

(Figo @ Social, Toronto)

The boys played an after party in Toronto at the Social, so it was a late night followed by an early morning. Another long drive to Montreal loomed........in the snow.

Montreal is nice. Very euro, but the French they speak isn't French. Not Really. We played the Theatre Telus, a very modern affair. Interesting show. Lots of bonding among the various camps on the tour, things are jelling, folks are hanging out, all very nice.

Another border crossing was in store for the next day. I woke the lads early for our trek to Boston. A little nervous about re-entry, we made sure to consume all of our little presents we got at the after party in Toronto. Clean in conscience, they barely looked at our passports as we crossed into New York. We made a left at Albany and made it to the House of Blues in Boston, located next to Fenway Park, just in time for game day. I hate baseball. I had to park the van clear across Kenmore Square near my brother's old Frat House on Beacon Street, and feed the meter every two hours. I had an Italian sausage, bough vinyl at Nuggets - where my life in vinyl began, watched Figo and The Crocodiles perform on the massive stage at the House of Blues, watched some Eddie Izzard in the van, then picked up the lads and we went to the after party at some sushi/dance club in Boston. We had a good time hanging out with the various members of Ladytron and the Faint who were spinning at the club, and then we hit the road at 2:30am - homeward bound.

(Parag and myself in front of Nuggets)

(The crowd @ House of Blues during Figo set)

(the Crocodiles)

I got home in time to see the Legal Diva off to work.

Just lucky I suppose.

2009-04-04T17:09:00.004-04:00

THE KIDS ARE ALRIGHT: FIGO TOUR 2009 (Part Two)

In Chicago for another day, we have an early all ages show tonight at The Metro. The Lovely Missus Daly, The Drunken Fool's better half joined us last night. She is originally from these parts and we met her parents for lunch at Carson's famous rib joint. The ribs were fantastic, but I was bowled over by the gratain potatoes. I'm gonna have to learn the recipe.

Tonight we're going to catch my friend Joe Canale who preforms with The Second City comedy troupe before we hit the road and get well into Indiana before finding a Super 8 for the night on our way to Toronto.

Stay tuned......

2009-04-03T18:28:00.002-04:00

THE KIDS ARE ALRIGHT: FIGO TOUR 2009

Entry One:

So, I'm sorry that I've been so lax about posting, but I've eaten up over 1,500 miles in the past three days - 'Been ten thousand miles, been in fifteen states'.

(The Faint)

First night of the tour in support of Ladytron and The Faint was in Milwaukee. We played the Turner theater. Kinda cool, weird slanted stage. The crowd was great, all the Lavernes and Shirleys with their hipster boyfriends. We got miracled, and just in time because my stomach was kaflooey, but a kindly angel provided the proper herbal remedy and I was right as rain for the after party.

(Ladytron)

The next night we did a drive by on Minneapolis. We played an early all ages show at First Avenue - yep, the famous club of stage humping diminutive musical genius fame - 'do you want him, or do you want me, cuz I want you, baby baby baby, aaaaaa (hump stage, piss off Morris Day) aaaaaaah waaaaant yoooouuuuu!'

It was cool.

Were doing all Super 8's on the tour, because Figo will have nothing but the highest standard accommodations.

Tonight and tomorrow we're at The Metro in Chicago, then it's off to Toronto. They speak Canadian there.

Ta ta for now.......

2009-03-26T10:41:00.002-04:00

IT HAPPENED

(not the actual iPod)

Thanks to The Drunken Fool and Figo. It's already full of Metal.

2009-03-21T09:15:00.003-04:00

FLEETWOOD MAC @ MSG

Wow. I really wasn't expecting a high energy, balls out, Rock show, but that's what Fleetwood Mac delivered on Thursday night.

As Lyndsey Buckhingham told us from the stage after the first four numbers, they were out to have a good time, and it showed.

Despite the lack of Christine McVie, and most of her material (Lyndsey and Stevie did manage a version of 'Say You Love Me'), The Mac had no trouble delivering a crowd pleasing, hit packed set.

Fleetwood Mac's career is one based on silver linings, and the mixed blessing here is that not having Christine and her songs means digging out some numbers that wouldn't otherwise have seen the light of the stage.

Stevie and Lyndsey each pulled out a solo number. The band covered Stevie's 'Stand Back', and Lyndsey's 'Go Insane', both of which I could have done without, but were very well received by the crowd.

I was rewarded with a dusting off of the ancient 'Oh Well' - a classic from the Peter Green years most Americans have no knowledge of, and the title track to their 1979 follow-up to 'Rumors', one of the most baffling records from a decade of baffling material, 'Tusk'.

Is it me, or did anyone understand 'Tusk'? All I remember was it hit the bargain bins quick, had a gorilla on the cover, and there was a video with the UCLA Marching band. None of it made any sense, or dollars. Again, that's how I remember it.

Well that song fucking ROCKS in a live situation, specially THAT live situation.

'Oh Well' followed a little later in the set, and to my chagrin it happened as I was headed to find the head, and by the time I got back to my seat they were wrapping it up. I heard it, though. It sounded like I was missing something real good.

All night long I was watching Mick and John. Stevie and Lyndsey get all the glory, and that is as it should be, ....sort of, but the thing to always remember while you're listening to or watching a performance by Fleetwood Mac is the name. FLEETWOOD MAC. John McVie (Mac), and Mick Fleetwood (Fleetwood), these are the guys. It's Their band. And to their credit, they have always laid their stamp on the band. Whether during the initial Peter Green era, with Bob Welch, with Lyndsey and Stevie, or in between, those two blokes kept the groove going. It's their groove, their band, and they are THE RHYTHM SECTION.

Now, I know what you're thinking. You're thinking "Hey man, mister know it all Jackson, we just like the songs, y'know, like 'Rhiannon' and 'Dreams', like 'Don't Stop'."

Well I dig that. What you need to do is go listen to those songs, and listen to the RHYTHM, then look at the cover, and read the name. It will say 'Fleetwood Mac'.

Well, okay, look in the column titled 'artist'.

AND!

These guys are ancient. In their 60's. Even Stevie and Lyndsey. I swear I was routing for Mick's heart not to give out as much as for his great style and power, and rhythm. It didn't and he kept it up all night, and as the night progressed, the music got more intense, Lyndsey went insane on his cool little custom guitar, and they just started jamming the hell out of the songs. 'Don't Stop' became a directive as well as a title. I couldn't believe what I was seeing. It was like Neil and Crazy Horse. I swear it. Big time.

Man, I was blown away.

Okay, so what have we learned? That Fleetwood Mac Rocks!

*I will say this: not as much as the 'Scorpions', but more than Iron Maiden. Yep, I said it. Fleetwood rocked harder than Maiden, not as often, but when they rocked out, well, they left Maiden behind.

Just sayin'.......

*Based upon concerts I've seen this year (footnote concept stolen from mathdude).

2009-03-14T12:15:00.004-04:00

SHOPPING LIST

The recent inventory of the vinyl collection - my one true obsession - has resulted in a list of records that are needed, wheather as replacements for lost or stolen albums, or just plain glaring ommisions.

Accept – Balls to the Wall

A-Ha – Hunting High & Low

Anvil – Hard n Heavy, Metal on Metal

April Wine – Harder…Faster

B52s – Bouncing Off the Satellites

The Band – Music From Big Pink, The Band

Bauhaus – In the Flat Field, Mask

The Beatles – Magical Mystery Tour

Beastie Boys – License to Ill, Check Your Head

Black Sabbath - Black Sabbath

Jackson Browne – Running on Empty, Lawyers in Love

The Clash – Combat Rock

Dead Milkmen – Beelzabubba

Deep Purple – Machine Head

The Doobie Brothers – The Captain and Me

Duran Duran – Rio

Bob Dylan – The Freewheelin’ Bob Dylan

Brian Eno – Taking Tiger Mountain by Strategy

Fishbone – Fishbone, Truth and Soul, The Reality of My Surroundings

Marvin Gaye – Here, My Dear

Genesis – Nursery Cryme

Al Green – Let’s Stay Together, Greatest Hits

Hanoi Rocks – Oriental Beat

George Harrison – All Things Must Pass, Greatest Hits, Concert for Bangladesh

Jimi Hendrix – Are You Experienced, Axis Bold as Love, Electric Ladyland

Husker Du – Warehouse: Songs and Stories, New Day Rising, Zen Arcade

Michael Jackson – Off the Wall, Thriller, Bad

Joan Jett – Bad Reputation

King Crimson – Red

Led Zeppelin – Houses of the Holy

Phil Lynott – Solo in Soho

Tina Marie – The Ultimate Collection, It Must Be Magic, Sapphire

Frank Marino & Mahogany Rush – Live, Strange Universe, World Anthem, Mahogany Rush IV

John Mellencamp – Uh Huh, Lonesome Jubilee

Steve Miller Band – Fly Like an Eagle, Living in the USA

Motorhead – Motorhead, On Parole

Mott the Hoople – Wildlife

Ozzy Osbourne – Bark at the Moon

Joe Perry – Let the Music Do the Talking

Pink Floyd – Saucer Full of Secrets, Atom Heart Mother, Piper at the Gates of Dawn

The Police – Outlandos D’Amour, Regatta de Blanc, Zenyatta Mondatta

Iggy Pop – The Idiot, Lust for Life, Live TV Eye

Queensryche – Queensryche (EP)

The Replacements – Let it Be, Hootenanny

Dianna Ross – Mahogany

The Rolling Stones – Undercover

Rush – A Farewell to Kings, Signals

Sade – Promise, Stronger Than Pride, Love Deluxe, Lovers Rock

Spinal Tap – Break Like the Wind

Starz – Coliseum Rock

Talking Heads – Speaking in Tongues
Thin Lizzy – Vagabonds of the Western World, Fighting

Peter Tosh – Legalize It

Tygers of Pan Tang – Spellbound

Stevie Ray Vaughan – Texas Flood, Soul to Soul

Velvet Underground – The Velvet Underground and Nico, The Velvet Underground, Loaded

Wings (Paul McCartney and the) – Red Rose Speedway

Bill Withers – Just as I Am, Still Bill

Stevie Wonder – Songs in the Key of Life, Fullfillingness’ First Finale, Music of My Mind

X – Wild Gift

Neil Young – Live Rust, On the Beach, Harvest Moon

Explorations:

Diana Washington, Billie Holiday, Ella Fitzgerald, Nina Simone, Motown, Stax, Phil Spector

2009-03-13T13:52:00.003-04:00

LEFSETZ GETS A SEVEN INCH PLATFORM BOOT IN THE ASS

Anyone who has read this blog for a few years may remeber how much I hate Bob fucking Lefsetz, the weasel who thinks he knows everything about the music industry but has done nothing but promote piracy.

Ever since he pissed me (and Flea) off over his stance on the piracy of Stadium Arcadium I have chosen a policy of completely ignoring him so as not to give him any higher of an udeserved profile than he already has, BUT....

Tony Alva sent me this, and I had to share. It's just so fucking awesome. The following is a response from Gene Simmons on a Lefsetz post. Basically it's the Lefsetz post with Gene's responses in all caps.

> From: Gene Simmons>
Subject: Re: Gene Simmons>
Date: March 12, 2009 3:25:07 PM EDT (CA)>
To: Telma.Costa@umusic.com>
Cc: Bob Lefsetz>

Telma,
I'm cc-ing whoever this Lefsetz guy is.
Post on cover of SIMMONS RECORDS.COM.
And, if you can find a foto of this bozo, put it up there as well.
Begin forwarded message:>

From: Bob Lefsetz >

(Gene)Before we start this review of my Keynote Speech at CMS from a guy who's blog was forwarded to me, I'm going to take the liberty of telling everyone I'm going to comment as we go along.>

(Gene)First, the name LEFSETZ. I would tell him to his face. That name's gotta go. It blows. If this guy was in a band and wanted to sign with us, he'd have to change his name. Or, sign with someone else. Otherwise, have no clue who this fellow is or what he does. >

Let's see.....
(Lefsetz) "Imagine you're stranded on a desert island and you stumble upon a member of the opposite sex. You're thrilled! You're gonna have someone to talk to, you're gonna make love until the Coast Guard finally figures out your ship sank and rescues you.

And this person may not be a beauty queen, but hey, he or she is all right. At least that's what you think at first. Maybe you even have sex and forget your plight for a moment or two. But then, even though you're exhausted, your partner just won't give up. Insists on having sex every hour, being coddled, all the while telling you how fucking hot they are. It would almost be enough to get you to jump back into the water and swim to your death.

That's what listening to Gene Simmons is like."> > THANK YOU.

"He's not a dumb dude."> > THANK YOU.

"But it's a full time commercial."> > CORRECT.

"And why? Doesn't he have enough money?"> > WELL, RESPECTFULLY, IT'S NOT UP TO THIS AMATEUR TO DETERMINE IF I HAVE ENOUGH MONEY. I'LL LET HIM KNOW IF AND WHEN I DO. UNTIL THAT TIME, IT'S BEST TO PAY ATTENTION TO YOUR OWN MONEY.

"Isn't this like an ex-President buying time on television to give us his opinion on the budget? Running for an office he can't be elected to? Hey Gene, you were a star once, can you let it go? Can you stop trying to convince us that not only is your music great, but that KISS is the biggest act in the world?"> > NO.

"I mean if we really want to get down to it, don't we have to give credit to Bob Ezrin?"> > YES. ALWAYS.

"The producer of "Destroyer", containing the KISS klassics "Detroit Rock City", "Shout It Out Loud" and the band's biggest hit, "Beth"? Not only did Ezrin produce those tracks, HE CO-WROTE THEM! I'm thinking without Ezrin, KISS is a footnote."> > PERHAPS. > OH, I FORGOT TO MENTION, KISS STARTS THE SOUTH AMERICAN LEG OF THE 35TH ANNIVERSARY TOUR AT BUENOS AIRES STADIUM - 90,000 PEOPLE. LET ME KNOW IF YOU WANT A TICKET.

"Ezrin went on to further greatness, producing one of the biggest albums of all time, Pink Floyd's "The Wall", as well as the critically lauded debut of Peter Gabriel. KISS? They took the makeup off and put it back on, reunited with the original members, kicked them out again and kept dunning us with endless product promotions."> > ALL OF THIS IS TRUE. AND YOUR POINT IS..."?

"And that's what this "keynote" address at CMW was. A product promotion, for the latest iteration of Simmons Records."> > CORRECT.> I HAVE A FIDUCIARY DUTY TO UNIVERSAL MUSIC CANADA AND I HAVE A VESTED INTEREST IN SIMMONS RECORDS. TO DO OTHERWISE AT CMW, WOULD BE STUPID. I KNOW HE'S NOT INFERRING I'M STUPID. QUITE THE CONTRARY.

"Just because you're a big musical act, that doesn't mean you're a decent executive, that you can run a record company."> > SAYS WHO. YOU? AND WHAT HAVE YOU DONE TO MAKE THESE ASSESSMENTS. WHAT'S YOUR QUALIFICATION, IN FACT, FOR SAYING ANYTHING...

"That's like saying a great football coach has to have been a star quarterback. They're different skills. One that Mr. Simmons has yet to master. Sure, he made that demo tape with Van Halen, but the band ended up on WARNER BROTHERS!"> > THIS MORON DOESN'T KNOW DETAILS AND BEHAVES AS IF HE DOES. FACT ONE: AFTER SEEING THE BAND AT THE STARWOOD CLUB IN LA IN 1977, I SIGNED VAN HALEN TO MY PRODUCTION COMPANY, "MAN OF 1,000 FACES" AND PRODUCED THEIR 24 TRACK DEMO, 15 SONG DEMO AT ELECTRIC LADY STUDIOS. KISS WAS GOING OUT ON TOUR, AND I DIDN'T WANT TO KEEP VAN HALEN TIED UP, SO I LET THEM SHOP THEIR OWN DEAL, WITHOUT INSISTING I KEEP A SLICE. > WHAT HIS POINT ABOUT ALL THIS, IS BEYOND ME.> >

"Truly, it was relentless. Gene with that bizarre hairdo sponsored by Brillo"> > NOW, NOW...NO NEED TO BE JEALOUS, BABY.> JUST BECAUSE I REMEMBER YOUR MOMMY BACKSTAGE AND THEN AT THE HOTEL IS NO REASON TO BE ENVIOUS OF MY GOOD LOOKS.> >

"maintaining that 360 deals are good for artists and that Canada can be the new Ireland."> > CORRECT. I "DO" BELIEVE CANADA POSSESSES ALL THAT.> >

"U2 came from Ireland, what does that country possess that Canada does not? Isn't that like saying Mutt Lange came from Rhodesia, therefore Lithuania should be able to produce the best record producer on the planet?"> > NO. NOT REALLY. AND, I'M NOT SURE ANYONE READING THIS HAS A CLUE WHAT THE RHODESIA/LITHUANIA THING MEANS. > >

"Really, it didn't have to be 2009, it could have been 1009. With a huckster up on stage, trying to convince us to buy from him".> > NOPE. NEVER SAID YOU SHOULD BUY FROM ME. DON'T LIE, HONEY.> >

"Sure, there's salesmanship involved in becoming a successful musical act, but that's not ninety percent of the equation."> > SAYS WHO, BITCH. YOU? AND, WHAT'S THE NAME OF YOUR BAND. AND WHAT'S YOUR QUALIFICATION FOR SAYING OR DOING ANYTHING?>

"But with KISS, it is! The music is just the vehicle to make money. I don't excoriate this, I just don't REVERE IT!"> > NO PROBLEM. GO FIND ANOTHER BAND.> >

"Gene showed a five minute promotional film that was such an assault, the guy in front of me put his hands over his ears."> > I THINK YOU MISUNDERSTOOD. THAT WAS YOUR GIRLFRIEND. AND YOU WERE TALKING TOO LOUD. SHE WANTED TO SEE AND HEAR GENE SIMMONS. NOT YOU.> >

"Didn't Pete Townshend sing "A Little Is Enough"? Obviously, Gene's never heard that track, otherwise he would stop telling us how great he is and let us come to our own conclusion."> > NO. I WON'T STOP TELLING YOU HOW GREAT I AM. FIND SOMEONE ELSE FOR THAT.>

"It was sad."> > NO, IT WASN'T. EVERYONE HAD A GREAT TIME AND EVERYONE ENJOYED THEMSELVES.> >

"Although Gene paid lip service to the Internet, it was like he wanted to jet back to the seventies, when the label was king, when record companies were flush with cash that they'd blow on a bunch of new acts."> > THAT'S TRUE. I WANT RECORD COMPANIES TO BECOME POWERFUL AND FLUSH WITH MONEY AGAIN. I WANT BANDS TO REALIZE THAT ANY ENTITY THAT GIVES THEM MONEY (ADVANCES) AND NEVER FORCES THEM TO PAY THE RECORD COMPANY BACK, WHEN AND IF THEIR RECORD BOMBS (AND THEY ALMOST ALWAYS DO), IS THEIR BEST FRIEND. I KNOW OF NO OTHER BUSINESS THAT GIVES YOU MONEY AND NEVER ASKS FOR IT BACK. EVEN YOUR MOM WILL WANT YOU TO PAY BACK HER LOAN.> >

"Those days are through. Shit, imagine trying to get money from Simmons' company. That'd be like sucking quarters from a parking meter. Gene's notorious for not parting with his own money. Shit, I'm stunned he doesn't require new acts to pay HIM to be signed!"> > THIS IS A SMALL PERSON, WHO'S NEVER DONE ANYTHING, NEVER BEEN IN A BAND AND DOESN'T KNOW HOW THE RECORD INDUSTRY WORKS. HE DOESN'T KNOW ME AND I DON'T KNOW HIM. AND HE WOULDN'T KNOW, IN EITHER CASE IF I "DO" OR "DON'T" PART WITH MY MONEY. AND IN ANY CASE, IT WOULDN'T BE HIS BUSINESS, OR MY GARBAGE COLLECTOR'S.> >

"I only went because the last couple of times Gene's spoken he has said some truly heinous things, blasting the audience, that he told us today to respect, for stealing his music. I figured he'd come out with a few clunkers that would crack you up.> > But all I got was a damn advertisement."> > THAT'S CORRECT.> I AM ADVERTISING SIMMONS RECORDS. THAT'S WHY I'M UP HERE TALKING ABOUT IT. THIS GUY IS A GENIUS.> AND I STILL CONSIDER FREE DOWNLOADS AND FILE SHARING STEALING. AND I WANT YOU TO PAY FOR MUSIC...AND FOR ANYTHING. IF A BAND WANTS TO GIVE AWAY THEIR STUFF FOR FREE...I HAVE NO PROBLEM. MY ONLY QUESTION IS, HOW DOES THE RECORD COMPANY, WHICH PAID GOOD MONEY UP FRONT, GET ITS MONEY BACK, IF THE MUSIC IS FREE"?> >

"I know Gene loves that I'm writing this."> > SURE. I LOVE ANYONE WHO TALKS ABOUT ME.> >

"Almost to the point where I considered not writing about his speech at all. But I've got to. Because in order for music to ascend to its rightful position at the top of popular culture's leader board,"> > (I CAN'T WAIT FOR THIS LEADER OF POPULAR CULTURE TO TELL ME HOW TO POSITION THINGS).> >

"it's got to be more about its intrinsic value than the sell."> > YES, AND NO. IT "SHOULD" BE ABOUT MUSIC, BUT IT'S ALSO GOT TO BE ABOUT BUSINESS. IN CASE YOU HAVEN'T NOTICED, IT WAS NEVER JUST CALLED "MUSIC." IT WAS, AND STILL IS CALLED THE "MUSIC BUSINESS."> >

"It's got to be more about music than showmanship. It's got to be more about creativity than expediency."> > NO. HES GOT IT ALMOST RIGHT. IT'S GOT TO BE ABOUT BOTH.> >

"KISS had a gimmick. It's served the band well. A gimmick can get you noticed, but soon thereafter it becomes about the music. KISS took off its makeup and few cared."> > HE'S RIGHT. ABOUT 10 MILLION.> >

"The Beatles gave up their suits, messed with their hair, even gave up playing live and the band got bigger and bigger."> > I LOVE THE ANALOGY. KISS AND THE BEATLES. THANKS.> >

"The problem is, Gene Simmons thinks there's a handbook."> > YES. MY HANDBOOK.> >

"Listening to him is like watching a bad version of "Glengarry Glen Ross"."> > NO. NOT REALLY. I DIDN'T LIKE THAT FILM MUCH. I'M MUCH MORE FASCINATED BY ME.> >

"It's like going to a training session for Kirby vacuum salesmen. It's always interesting to hear how another person made it, but if you want to be successful in the future, you're better off ignoring everything Gene Simmons has to say."> > THIS STATEMENT MADE BY A GUY WHO'S STILL LIVING IN HIS MOTHER'S BASEMENT.> >

"Unless, of course, you love money more than music."> > ACTUALLY, I LOVE BOTH MONEY AND MUSIC.> >

"But since you're reading this, I doubt that..."> > GOOD LUCK TO THIS GUY.> WE LOVE HEARING THE GOOD AND THE BAD.> > AND WE HOPE YOU GET OUT OF MOM'S BASEMENT SOON.

I love you Gene, from the bottom of my heart. I have given you a lot of money over the years and for the most part it was always worth it - except maybe the mid 80's era, but I didn't buy those albums anyway, so I thank you for the music, the shows, the entertainment, the merchandise, and now for sticking a good one to Lefsetz. What an ass.

2009-03-12T16:48:00.002-04:00

RECORD RELEASE PARTY

Saturday night, at Southpaw (125 5th ave, Brooklyn), Himalaya is proudly hosting their record release party.

It's a great record, recorded at Smoke and Mirrors over the better part of the past year. I believe it captures the essence of this great local band.

Formerly Philadelphia residents, Himalaya moved to NYC and has been playing shows here, as well as in Philly and Washington DC.

Their blend of guitars and voices over a pulsing rhythm is at times reminiscent of classic rock like the Rolling Stones and more the modern space rock of Spiritualized.

Come join me and the band celebrate the fruits of their labors this Saturday. You won't be disappointed.

2009-03-10T10:24:00.005-04:00

MORE NEW OLD VINYL

The Drunken Fool and I went Vinyl shopping the other day. Here's my latest haul:

XTC - 'Skylarking' and 'Black Sea'

It turns out that I already had 'Skylarking' so it goes to The Drunken Fool.

Culture Club - 'Kissing to be Clever'

I know Tony Alva will mock this purchase, but I also know it will get pulled out during parties.

Bob Marley & the Wailers - 'Kaya' and 'Live!'

I'm closing in on a complete Bob Marley collection, just a few more to go.

10,000 Maniacs - 'In My Tribe'

The legal Diva is a big fan, but I like this record too.

Jimmy Cliff - 'Reggae Nights' (12" single)

More party music.

Barry White - 'Just Another Way to Say I Love You'

Barry is too smooth, this is our third Barry LP.

Falco - 'Rock Me Amadeus' (12" single)

I'm very disappointed, this copy I bought is warped beyond playability. I'll have to get another copy.

Edgar Winter Group - 'Shock Treatment'

This album kicks ass, as do all the Edgar Winter/Rick Derringer albums from that era.

Albert Collins, Robert Cray, Johnny Copeland - 'Showdown'

An Electric Blues must have. I owned it in the 80's. I'm so glad I found a replacement copy.

City Boy - 'Heads Are Rolling'

The sixth release from this way under rated Canadian band.

Steve Vai - 'Flexable'

Another 80's staple I used to own and needed to replace.

U.K. - 'U.K.'

The debut from the Alan Holdsworth led Pop/Prog outfit featuring Eddie Jobson, Bill Bruford and John Wetton.

Bon Jovi - '7800° Fahrenheit'

Hey, at 2 bucks I couldn't resist.

Squeeze - 'Argybargy' and 'East Side Story'

Shut up, I like The Squeeze, okay?

Little Feat - 'Sailin' Shoes'

I used to think that 'Waiting for Columbus' was all I'd need, but, again, at 2 bucks, what the hey.

The J. Geils Band - 'Best Of Two'

Another great lost 70's band, they had an entire career of rockin' before 'Freeze Frame'.

Twisted Sister - 'Under the Blade'

Yet another replacement copy. This one is great for a laugh.

Van McCoy - 'Disco Baby'

Gotta have 'The Hustle'. "Do it!"

Santana - 'Abraxas'

A classic, might as well be considered a 'best of'.

2009-03-02T09:14:00.004-05:00

NEW OLD VINYL

Recently Tony Alva came up from ATL for a visit, prompting a stop by Generation Records for some vinyl. I got:

'In the Heat of the Night', 'Precious Time', and 'Get Nervous' - Pat Benatar

'Panorama' and 'Shake it Up' - The Cars

'Long After Dark' - Tom Petty

'Diamond Life' - Sade

'Silk and Soul' - Nina Simone

A few days later I stopped by my secret trove of used vinyl, and I picked up:

'Odds & Sods' - The Who

'Wings at the Speed of Sound' - Paul McCartney & Wings

'Red Octopus' - Jefferson Starship

'Emperor' - Emperor

(No Image)

'My Time - Your Time' - Straight Shooter

(No Image)

'Shaft' and 'Groove -A - Thon' - Isaac Hayes

'Tapestry' - Carole King

'Gold' - Ohio Players

'We Are Family' - Sister Sledge

'Wired' - Jeff Beck

'Repeat When Necessary' - Dave Edmunds

'Romantic Warrior' - Return To Forever

'Naturally' - Three Dog Night

'Sloppy Seconds' - Dr. Hook and the Medicine Show

'Rainbow Bridge' - Jimi Hendrix

'Classics: The Early Years' - Neil Diamond

'Carney' - Leon Russell

'Journey to the Center of the Earth' - Rick Wakeman

'Sniper and Other Love Songs' - Harry Chapin

2009-02-16T13:36:00.002-05:00

THE WAFFLE PRESIDENT

In honor of Presidents Day, I suggest that Obama take some good advice and use waffles to stimulate Congress. I think having waffles would make each member of Congress happier, and in turn more receptive to the ideas of other members of Congress.

That's what I'd do. I'd be the Waffle President.

2009-02-13T13:35:00.003-05:00

GLUTEN-FREE, NON DAIRY DINNER PARTY

The Legal Diva and I are hosting a dinner party for some friends, one of whom has some dietary restrictions. No wheat, and no dairy. No problem!

We're starting off with a string bean salad featuring green and white string beans, sesame seeds, cucumber, and white cannelini beans.

The main dish will be a seafood stir fry with shrimp, scallops, golden beets, cauliflower, snap peas, baby corn, and sprouts.

We'll finish with a fruit course of figs, dates, and kumquats.

This will prove our ability to cook without bacon, butter, or cheese. I'm quite excited about it.

2009-01-27T19:49:00.022-05:00

JACKSON'S HARD ROCK AND METAL MELTDOWN RECORD GUIDE

Accept

German Metal band featuring Teutonic dwarf with giant voice, Udo Dirkschnieder.

Heyday: 1979-85

Must Have: 'Restless and Wild' (1982)

Also Recommended: 'I'm A Rebel' (1980), 'Breaker' (1981)

For the Hearty: 'Accept' (1979), 'Balls to the Wall' (1984)

AC/DC

Seminal Aussie Hard Rock act featuring SG toting spasmodic dwarf, Angus Young. AC/DC would survive the death of front man Bon Scott in 1980 to deliver the biggest selling Hard Rock album of all time, 'Back In Black'.

HeyDay: 1976-present.

Must Have: 'High Voltage' (1975), 'Dirty Deeds Done Dirt Cheap' (1976), 'Let There Be Rock' (1977), 'Powerage' (1978), 'Highway to Hell' (1979), 'Back in Black' (1980)

Also Recommended: 'If You Want Blood......You've Got It' (Live - 1978), 'For Those About to Rock (We Salute You)' 1981

For the Hearty: 'The Razor's Edge' (1990), 'Live at Donnington' (1990)

Aerosmith

Aerosmith is a Boston based blues band that helped define American Hard Rock in the 1970's. Obviously Rolling Stones influenced, Aerosmith would create a second act for themselves out of the ashes of their drug induced early eighties crash and burn. Too bad that in doing so they became over-exposed bloated super stars and proceeded to churn out radio friendly crap.

HeyDay: 1973-1979, 1988-present.

Must Have: 'Aerosmith' (1973), 'Get Your Wings' (1974), 'Toys in the Attic' (1975), 'Rocks' (1976), 'Draw the Line' (1977), 'Live Bootleg' (1978)

Also Recommended: 'Night in the Ruts' (1979)

For the Hearty: 'Done With Mirrors' (1985)

Angel

Conceived as the 'anti-Kiss' in the mid seventies, Angel consistently churned out mediocre Rock records to overwhelming indifference. Angel was adept at writing songs that were simultaneously catchy and forgettable. Guitarist Punky Meadows provided a splash of much needed cool, but unfortunately his guitar was largely inaudible beneath the blaring cheese of Gregg Giuffria's army of synthesizers.

HeyDay: 1980

Must Have: N/A

Also Recommended: 'Live Without a Net' (1980)

For the Hearty: Insufficient Data.

Angel Witch

New Wave of British Heavy Metal standouts, Angel Witch sadly never panned out, leaving us with only one glorious album.

HeyDay: 1980

Must Have: 'Angel Witch' (1980)

Also Recommended: N/A

For the Hearty: N/A

April Wine

Canadian Hard Rockers April Wine released a slew of records in the seventies before gaining a wider audience briefly in the late seventies and early eighties highlighted by the success of the song 'Sign of the Gypsy Queen'.

HeyDay: 1981

Must Have: 'The Nature of the Beast' (1981)

Also Recommended: 'Harder.....Faster' (1979)

For the Hearty: Insufficient Data. They have a mess of LPs I'm not familiar with....yet.

B.T.O.

Another Canadian act, B.T.O. emerged from the ashes of the Guess Who in the early seventies with huge radio success built upon the hits 'You Ain't Seen Nothin' Yet', and 'Takin' Care of Business'.

Heyday: 1973-76

Must Have: 'Bachman-Turner Overdrive II' (1973), 'Not Fragile' (1974)

Also Recommended: N/A

For the Hearty: N/A

Bad Company

Formed in 1974 by former members of Free, Mott the Hoople, and King Crimson, Bad Company hit the charts big time with their self titled debut. Chart domination throughout the seventies, however, could not save the band from self destruction by the end of the decade.

HeyDay: 1973-79

Must Have: 'Bad Co.' (1974), 'Straight Shooter' (1975)

Also Recommended: 'Run With the Pack' (1976), 'Burnin' Sky' (1977)

For the Hearty: 'Desolation Angels' (1979)

Blackfoot

Southern Rock road monsters Blackfoot, led by guitar whizz and future Lynyrd Skynyrd member Ricky Medlock, never broke huge, but managed to leave us with some blistering Rock records. Blackfoot also had the unique feature of having a great deal of Native American blood in the band, hence the moniker.

HeyDay: 1978-1981

Must Have: 'Strikes' (1979)

Also Recommended: ' 'Tomcattin' (1980), 'Marauder' (1981)

For the Hearty: 'Vertical Smiles' (1984)

Black Sabbath

It is widely held that Black Sabbath invented Heavy Metal. Hailing from Birmingham, England - Metal Ground Zero, Sabbath laid down the template for all to follow. After firing Ozzy in 1979, Black Sabbath went on to release two stellar albums with Ronnie James Dio in the early eighties before turning into sheer rubbish by mid-decade.

HeyDay: 1970-1975, 1980-1982.

Must Have: 'Black Sabbath' (1970), 'Paranoid' (1970), 'Master of Reality' (1971) 'Vol. 4' (1973), 'Sabbath Bloody Sabbath' (1974), 'Sabotage' (1975), 'Heaven and Hell' (1980), 'Mob Rules' (1981)

Also Recommended: 'Never Say Die' (1978)

For the Hearty: 'Technical Ecstacy" (1976)

Blue Oyster Cult

Long Island natives Blue Oyster Cult carried the banner of American Hard Rock in the seventies. Their success culminating in 1976 with the single 'Don't Fear the Reaper', B.O.C. was unable to maintain consistency, and after another hit album, 1981's 'Fire of an Unknown Origin', the band fell apart and disbanded after a viewing of Spinal Tap in 1984.

HeyDay: 1972-78, 1981.

Must Have: 'Blue Oyster Cult' (1972), 'Tyranny and Mutation' (1973), 'Secret Treaties' (1974), 'On Your Feet Or On Your Knees' (Live 1975), 'Agents of Fortune' (1976), 'Spectres' (1977), 'Fire of an Unknown Origin' (1981)

Also Recommended: 'Some Enchanted Evening' (Live 1978) 'E.T.I. Live' (Live 1982)

For the Hearty: 'Cultasaurus Erectus' (1980)

Budgie

Hugely influential on the NWoBHM scene, Budgie was never successful in America, but left a stamp on the British Metal scene.

HeyDay: ???

Must Have: N/A

Also Recommended: 'Never Turn Your Back on a Friend' (1973)

For the Hearty: Insufficient Data.

Cheap Trick

This band of mid-westerners actually began their career touring American military bases in Germany before finding success in America on the back of strong albums and constant touring in support of American Hard Rock giants Aerosmith and Ted Nugent. The sky-rocketing success of their 1979 live release 'At Budokan' was followed by one stellar studio effort, 'Dream Police' before succumbing to commercial pressures which prompted a generic sound to their eighties product.

HeyDay: 1978-1980

Must Have: 'Cheap Trick' (1977), 'In Color' (1977), 'Heaven Tonight' (1978), 'At Budokan' (1979), 'Dream Police (1979)

Also Recommended: N/A

For the Hearty: N/A

Alice Cooper

With his original band, Alice Cooper found his stride when he signed to Warner Bros. in 1970 and began work with producer Bob Ezrin. Massive success was followed by massive excess, which was followed by 'going solo' in 1975. More success and excess followed until Alice suffered an alcohol induced breakdown in 1978. A brief period of creative highs coupled with commercial lows was followed by a wholesale sell-out Hair Metal style in the late eighties.

HeyDay: 1971-1977

Must Have: 'Love it to Death' (1971), 'Killer' (1971), 'School's Out' (1972), 'Billion Dollar Babies' (1973), 'Welcome to My Nightmare' (1975), 'Goes to Hell' (1976) 'From the Inside' (1978) 'Flush the Fashion' (1980)

Also Recommended: 'Special Forces' (1981), 'Zipper Catches Skin' (1982)

For the Hearty: 'Easy Action' (1970), 'Lace and Whiskey' (1977), 'The Alice Cooper Show' (Live 1978), 'DaDa' (1984), 'Brutal Planet' (2000)

Deep Purple

One of the most prolific Hard Rock acts of the seventies, Deep Purple not only gave us a boat load of product, but their revolving door membership populated the Hard Rock landscape well into the eighties.

HeyDay: 1971-74

Must Have: 'Machine Head' (1972)

Also Recommended: 'In Rock' (1970), 'Fireball' (1971), 'Made In Japan' (1972)

For the Hearty: 'Who Do We Think We Are' (1973), 'Burn' (1974), 'Stormbringer' (1974), 'Perfect Strangers' (1984)

Def Leppard

Shining stars of the NWoBHM, Def Leppard released a promising debut followed by one of the greatest Heavy Metal albums of all time, 1981's 'High n Dry', only to completely lose the plot on their third record, the massively successful 'Pyromania'. 'Hysteria' followed amid tragedy, and more tragedy followed amid total commercialization and MTV domination.

HeyDay: Depends upon who you ask. Jackson says 1980-1981.

Must Have: 'High n Dry' (1981)

Also Recommended: 'On Through the Night' (1980)

For the Hearty: 'Pyromania' (1983)

Dio

Ronnie James Dio's first professional musical escapade came in the form of a single released in 1959, thus he's always been an elder statesman of Hard Rock and Heavy Metal. Discovered fronting the aptly named Elf by Ritchie Blackmore in 1974, he was lured by Ritchie to help found Blackmore's post Deep Purple effort, Rainbow. By 1978 Ronnie and Ritchie weren't getting along, and Black Sabbath nabbed him to take Ozzy's spot. Tony Iommi and Ronnie could only manage two studio and one live release before Dio was prompted to leave that band to form his own in 1982.

HeyDay: 1984,85.

Must Have: 'Holy Diver' (1983)

Also Recommended: 'Last In Line' (1984)

For the Hearty: N/A

Foghat

British band Foghat found success in the mid-seventies by delivering decidedly American sounding blues based Hard Rock. As is unfortunately the case most of the time, success led to mediocrity and obscurity.

HeyDay: 1974-78

Must Have: 'Foghat Live' (1977)

Also Recommended: 'Energized' (1974) 'Fool for the City' (1975)

For the Hearty: 'Stone Blue' (1978)

Girl

Never successful in their own right, Girl is most notable for providing Phil Collen to Def Leppard and Phil Lewis to L.A. Guns.

HeyDay: The gig where Collen was spotted by the Leppards.

Must Have: N/A

Also Recommended: 'Sheer Greed' (1980), 'Wasted Youth' (1982)

For the Hearty: N/A

Heart

Prior to their career as MTV dominating vixens, Ann and Nancy Wilson, along with guitarist Howard Leese broke on the American Hard Rock scene in the mid-seventies on the back of strong compositions like 'Magic Man' and 'Barracuda'. Heart not only broke the gender barrier in the male dominated world of Hard Rock, but they also founded the fertile Seattle Rock scene.

HeyDay: 1976-1980 (Jackson ignores their mid-eighties MTV years)

Must Have: 'Dreamboat Annie' (1976), 'Little Queen' (1977)

Also Recommended: 'Magazine' (1978)

For the Hearty: 'Dog and Butterfly' (1978), 'Bebe Le Strange' (1980)

Helix

More Canadians, Helix never broke huge, but managed to deliver some damn fine Hard Rock in the early to mid-eighties. Polished but not cheesy, at least initially, Helix had everything but luck. Jackson believes the blame can be laid on singer Brian Vollmer's missing incisors.

HeyDay: 1983, 84.

Must Have: N/A

Also Recommended: 'No Rest For the Wicked' (1983)

For the Hearty: Insufficient Data

Humble Pie

Mostly known for launching the career of Peter Frampton, Humble Pie was dominated by singer/guitarist Steve Marriott, and managed to produce a few strong albums before Pete left and Steve fell into fatal substance abuse.

HeyDay: 1970-74

Must Have: 'Performance Rockin' the Filmore' (1971)

Also Recommended: 'Rock On' (1971)

For the Hearty: Insufficient Data

Iron Maiden

Along with Def Leppard, Iron Maiden stand as one of two NWoBHM bands that outlasted the scene. Led by bassist and main songwriter Steve Harris; impossible complex arrangements gave way to a more commercial sound by the late-eighties, but despite that fact and multiple line-up changes Iron Maiden is still going strong thirty years on. All hail the Maiden. Up the hammers!

Must Have: 'Iron Maiden' (1980), 'Killers' (1981), 'Number of the Beast' (1982), 'Piece of Mind' (1983)

Also Recommended: 'Maiden Japan' (Live 1981)

For the Hearty: 'Powerslave' (1984)

Jethro Tull

Despite an arty progressive approach, Jethro Tull, led by singer/flautist Ian Anderson delivered one of the most enduring Hard Rock records in the canon, 1971's 'Aqualung'. After releasing far too many records and flirting with obscurity Tull manged to beat out Metallica for the first ever Metal Grammy in 1989. Anderson still leads Jethro Tull around the world's sports arenas while hes' not managing his salmon farming empire.

HeyDay: 1970-76

Must Have: 'Aqualung' (1971), 'Thick as a Brick' (1972),

Also Recommended: 'Benefit' (1970), 'Too Old to Rock n Roll: Too Young to Die' (1976)

For the Hearty: 'Stand Up' (1969), 'War Child' (1974)

Judas Priest

The blue-print for modern Metal, Judas Priest grabbed the baton from fellow Birmingham natives Black Sabbath in the late eighties as they went on to lead the Metal wave of the early-eighties before succumbing to formulaic cookie-cutter albums in an effort to embarrassingly keep up with the very bands they had inspired in the first place.

HeyDay: 1976-1982

Must Have: 'Sad Wings of Destiny' (1976), 'Sin After Sin' (1977), 'Stained Class' (1978), 'Hell Bent for Leather' (1979), 'Unleashed in the East' (1979), 'British Steel' (1980)

Also Recommended: 'Rock a Rolla' (1974), 'Point of Entry' (1981)

For the Hearty: 'Screaming for Vengeance' (1982), 'Defenders of the Faith' (1984)

The Kinks

In an early eighties interview, Kinks guitaris Dave Davies was asked what he thought about the New Wave of British Heavy Metal bands. He replied that it wasn't called Heavy Metal when he invented it.

HeyDay: 1964-67, 1970, 71, 1977-84.

Must Have: 'Lola versus the Powerman and the Money Underground Part One' (1970), 'Misfits' (1977), 'Low Budget' (1979), 'One for the Road' (Live 1980), 'Give the People What They Want' (1981)

Also Recommended: 'The Kink Kontraversy' (1965), 'Muswell Hillbillies' (1971), 'Sleepwalker' (1977), 'State of Confusion' (1983)

For the Hearty: 'Kinks' (1964), 'Kinda Kinks' (1965), 'Face to Face' (1966), 'Something Else by the Kinks' (1967), 'The Kinks Are the Village Green Preservation Society' (1968) 'Arthur (Or the Decline and Fall of the British Empire)' (1969), 'Everybody's in Showbiz' (1972), 'Word of Mouth' (1984)

Kiss

NYC based Kiss brought the level of specatcle in Rock concerts to new heights in the seventies while simultaneously merchandising themselves into ridicule. Re-inventing themselves as a Hair Metal band in the eighties did little to improve their reputation, and a reunion with Ace, Peter, and make-up in the late nineties confirmed the notion that without the strong songwriting of their early carrer, the specatcle was all that was left to market.

HeyDay: 1973-1978

Must Have: 'Hotter Than Hell' (1974), 'Dressed to Kill' (1975), 'Alive' (Live 1975), 'Destroyer' (1976), 'Ace Frehley' (Solo Album 1978)

Also Recommended: 'Kiss' (1973), 'Rock and Roll Over' (1976), 'Gene Simmons' (Solo Album 1978), 'Alive II' ("Live" 1978)

For the Hearty: 'Love Gun' (1977), 'Paul Stanley' (Solo Album 1978), 'Dynasty' (1979), 'Unmasked' (1980'), 'The Elder' (1981), 'Creatures of the Night' (1982)

Kix

A tax write-off for Atlantic Records, Kix never manged to sell a lot of records until their bandwagonning late eighties period, but their first three records are a unique blend of Hard Rock and New Wave/Punk featuring infectious melodies, monster riffs, and tounge in cheek song writing.

HeyDay: 1980-91

Must Have: 'Kix' (1980), 'Cool Kids' (1983), 'Midnite Dynamite' (1985)

Also Recommended: 'Blow My Fuse' (1988)

For the Hearty: 'Hot Wire' (1991), 'Live' (Live 1993)

Krokus

The only known Swiss Hard Rock band, Krokus made up for their lack of talent with exuberance and persistance. As derivative as their sound was (Bad Company meets AC/DC), Krokus flourished briefly in the eraly eighties when anything with a goodly amount of chunk-a-chunk was viable.

HeyDay: 1979-84

Must Have: 'Hardware' (1981)

Also Recommended: 'Metal Rendez-Vous' (1980)

For the Hearty: 'One Vice at a Time' (1982), 'Headhunter' (1983)

Led Zeppelin

Inventors of the preening androgynous vocalist (Plant) and gun-slinging guitar player (Page) template, Led Zeppelin released ground breaking record after ground breaking record in the seventies until excess stalled the machine and killed the drummer - the greatest Hard Rock drummer of all time, John 'Bonzo' Bonham. Still, the legend endures.

HeyDay: 1969 - present (Led Zep Bro!)

Must Have: 'Led Zeppelin' (1969), 'Led Zeppelin II' (1969), 'Led Zeppelin III' (1970), 'Led Zeppelin IV' (1971), ;Houses of the Holy' (1973)

Also Recommended: 'Physical Graffiti' (1975), 'Presence' (1976)

For the Hearty: 'The Song Remains the Same' (Live 1976), 'In Through the Out Door' (1979), 'Coda' (1982)

Loudness (ラウドネス)

Pronounced 'roudness', Japan's answer to Krokus left little enduring mark on the Hard Rock landscape.

HeyDay: A couple of weeks in 1985.

Must Have: N/A

Also Recommended: 'Thunder in the East' (1985)

For the Hearty: Insufficient Data

Lynyrd Skynyrd

Expanding on the concept of Southern Rock begun by the Allman Brothers, Northern Floridians, Lynyrd Skynyrd brought their brand of Swamp Music all the way up the charts with smash hits like 'Sweet Home Alabama' and 'Freebird' in the seventies before a tragic plane crash took the lives of band members Steve Gaines and Ronnie Van Zant. More death followed, Allen Collins in 1990, Leon Wilkeson in 2001, and the recent loss of Billy Powell (keys, 1953-2009) leaves Gary Rossington as the lone surviving Street Survivor. Rest in peace, Billy.

"Sweet Home Alabama
Play that dead band song" - Warren Zevon 1980 ('Play It All Night Long')

Must Have: 'Pronounced 'lĕh-'nérd 'skin-'nérd' (1973), 'Second Helping' (1974), 'One More From the Road' (Live 1976), 'Street Survivors' (1977)

Also Recommended: 'Nuthin' Fancy' (1975), 'Gimme Back My Bullets' (1976)

For the Hearty: N/A

Frank Marino/Mahagony Rush

Canada's answer to Jimi Hendrix, Frank Marino was a mainstay of the American Hard Rock scene in the seventies before falling into obscurity in the eighties.

HeyDay: 1974-1982

Must Have: 'Live' (Live 1978), 'Tales of the Unexpected' (1979)

Also Recommended: 'Mahogany Rush IV' (1976), 'World Anthem' (1977)

For the Hearty: 'What's Next' (1980), 'The Power of Rock & Roll' (1981)

Metallica

Founders of the Thrah Metal scene of the mid-eighties, Metallica, led by James Hetfield and Lars Ulrich moved to San Francisco in the early eighties at the behest of original bassist Cliff Burton before conquering the world via constant touring. In 1991 the Bob Rock produced self titled album took the world by storm. Success went straight to the twin cerebellums of Hetfield and Ulrich, and the band predicatbly went straight down the crapper. It nothing to do with haircuts.

Must Have: 'Master of Puppets' (1986), 'Metallica' (1991)

Also Recommended: 'Ride the Lightning' (1984)

For the Hearty: 'Kill 'em All' (1983), '.....And Justice for All' (1988)

Molly Hatchett

Skynyrd had it's reprecussions. Apparently there were some more good ole boys in North Florida with Gibsons that wanted in on the action.

Must Have: N/A

Also Recommended: 'Molly Hatchet' (1978), 'Flirtin' With Disaster' 1979)

For the Hearty: Insufficient Data

Montrose

While not nearly as old as Ronnie James Dio, Sam Hagar has an impressive resume as well. Ronnie Montrose's eponymous Hard Rock outfit managed at least two quality records before Sammy left to embark on a solo act. Ronnie went on to form Gamma, who's output was so underwhelming that they do not appear in this Record Guide.

HeyDay: 1973, 74.

Must Have: 'Montrose' (1973)

Also Recommended: 'Paper Money' (1974)

For the Hearty: Insufficient Data

Gary Moore

A brief stint in Thin Lizzy in 1974, followed by a flirtation with Prog Rock (Coliseum) and another tour of duty with Thin Lizzy (1979's 'Black Rose') had primed this Irish shred master for a solo carreer that began with a blistering string of LPs before a serious study of the Blues dominated his work in the late eighties.

HeyDay: (as a solo Hard Rock/Metal mercahant) 1981-85

Must Have: 'Corridors of Power' (1982), 'Victims of the Future' (1983)

Also Recommended: 'Gary Moore' (1982)

For the Hearty: Insufficient Data

Mötley Crüe

It seemed like a joke, but somehow I knew they weren't joking. That was my take on the cover of the first Motley Crue album when I got it in 1981. Who knew? Crue Motto: If you can't beat 'em, kill their drummer.

HeyDay: 1981-???

Must Have: 'Too Fast For Love' (1981), 'Shout at the Devil' (1983)

Also Recommended: N/A

For the Hearty: 'Theatre of Pain' (1985), 'Girls, Girls, Girls' (1987), 'Dr. Feelgood' (1989)

Motörhead

Thre is no Hard Rock or Metal act more important than Motorhead, and there's no one person who embodies the spirit of this Record Guide more than Lemmy. The band most likely to depreciate property value; all anybody needs to do is slap 'Ace of Spades' on the turntable and drop the needle. It makes it's own sauce.

HeyDay: Eternal

Must Have: 'Motorhead' (1977), 'Golden Years' (Live EP 1979), 'Ace of Spades' (1980), 'No Sleep 'til Hammersmith' (Live 1980), 'Another Perfect Day' (1983)

Also Recommended: 'Overkill' (1979), 'Bomber' (1979), 'Iron Fist' (1982)

For the Hearty: 'On Parole' (1975), '1916' (1991)

Mott The Hoople

Searching for a sonic idendity throghout their first four albums, Mott the Hoople disbanded in 1972 only to be given a second life by David Bowie, who produced their fifth record and wote the hit title track 'All The Young Dudes'. A few albums later Mick Ralphs left to form Bad Company and shortly after Ian Hunter went solo with Mick Ronson in tow, but those few albums left a legacy that's influential to this day. Ask Mick Jones; without Mott you'd have no Clash.

HeyDay: 1972-74

Must Have: 'All the Young Dudes' (1972), 'Mott' (1973), 'The Hoople' (1974)

Also Recommended: 'Mad Shadows' (1970), 'Brain Capers' (1971)

For the Hearty: 'Mott the Hoople' (1969), 'Wildlife' (1971), 'Live' (Live 1974)

Nazareth

Hailing from Scotland, Nazareth's 'Hair of the Dog' is a masterwork, certainly one of the top ten all-time best Hard Rock LPs. The preceeding three Lps had been produced by Deep Purple bassist Roger Glover, but when Nazareth guitarist Manny Charlton took the production in hand for 1975's 'Hair of the Dog', the band was propelled into the stratosphere. No subsequent effort met the mark, but the band manged to release quality material until the mid-eighties.

HeyDay: 1973-1981

Must Have: 'Hair of the Dog' (1975)

Also Recommended: 'Razamanaz' (1973), 'Loud n' Proud' (1974), 'Rampant' (1974), 'Close Enough for Rock n Roll' (1976), 'Expect No Mercy' (1977), 'No Mean City' (1979)

For the Hearty: 'Playin' the Game' (1976), 'Malice in Wonderland' (1980), 'Snaz' (Live 1981)

Ted Nugent

Michigan native and renown outdoorsman Ted Nugent has managed to stay relative in recent years for all the worst reasons, but his mid-seventies output remains a benchmak to this day.

HeyDay: 1974-1978

Must Have: 'Ted Nugent' (1975), 'Free for All' (1976), 'Cat Scratch Fever' (1977), 'Double Live Gonzo' (1978)

Also Recommended 'Call of the Wild' (w/ Amboy Dukes, 1973), 'Tooth, Fang, & Claw' (w/ Amboy Dukes - 1974)

For the Hearty: 'Weekend Warriors' (1978), 'State of Shock' (1979), 'Scream Dream' (1980)

Ozzy Osbourne

Kicked out of Black Sabbath in 1979, Ozzy nearly got lost in the haze of indulgence. 'Discovered' living in squalor in Los Angeles by Sharon Arden, daughter of Sabbath Manager Don Arden, Ozzy became her project, her ticket, and her romantic and domestic partner. On the back of guitar whizz kid Randy Rhodes, Sharon and Ozzy built a metal machine that is still operating twenty-five years after the untimely death of Randy.

HeyDay: 1980 - present

Must Have: 'Blizzard of Ozz' (1980), 'Diary of a Madman' (1981)

Also Recommended: 'No More Tears' (1991), 'Tribute' (1987)

For the Hearty: 'Speak of the Devil' (Live 1982), 'Bark at the Moon' (1982), 'Ultimate Sin' (1986)

Queen

One doesn't consider intellectuals to be Hard Rock Star material, but that didn't stop this British quartet from conquering the world in the mid-seventies. Running the gammut of musical styles, but always keeping Hard Rock as it's base, Queen used the studio as a musical instrument, and with the help of producer Roy Thomas Baker, delivered Smart Rock that fell short of pretention, mostly due to Freddie Mercury's ability to pull off just about anything.

HeyDay: 1974-1988

Must Have: 'Sheer Heart Attack' (1974), 'A Night at the Opera' (1975), 'News of the World' (1977)

Also Recommended: 'Queen' (1973), 'Queen II' (1974), 'A Day at the Races' (1976), 'Jazz' (1978)

For the Hearty: The Game (1980), 'The Works' (1984), 'A Kind of Magic' (1986)

Quiet Riot

Ozzy Osbourne nicked guitarist Randy Rhodes and bassist Rudy Sarzo from this L.A. based Hard Rock outfit. Undaunted by what must have seemed a crippling loss, wig meister and big mouth vocalist Kevin Dubrow managed to get Rudy back, and with a new line-up went on to release the first ever Metal record to reach number one on the Billboard charts. The fact that they sucked ass did little to stop teemimg millions form buying their 1983 release, 'Metal Health'. The cat was out of the bag by the next album, and Quiet Riot was seen to be a shitty as they were.

HeyDay: 1983, 84.

Must Have: N/A

Also Recommended: 'Quiet Riot' (1977), 'Quiet Riot II' (1978)

For the Hearty: 'Metal Health' (1983)

Rainbow

Unable to effectively dictate his rule over Deep Purple, Strat Master Ritchie Blackmore took his leave of that band to form one in his own image. Wisely recruiting the greatest Heavy Metal vocalist of all time, Ronnie James Dio, Blackmore founded Rainbow in 1975. By 1984 he was back in a re-formed Deep Purple.

HeyDay: 1975-1979

Must Have: 'Rainbow Rising' (1976), 'Long Live Rock and Roll' (1978)

Also Recommended: 'Ritchie Blackmore's Rainbow' (1975), 'On Stage' (Live 1977), 'Down to Earth' (1979)

For the Hearty: 'Difficult to Cure' (1981)

Ratt

Seminal Los Angeles Hair Metal act Ratt began their career as a Judas Priest cover band. Their full length debut, 1984's 'Out of the Cellar', produced by noted Judas Priest helmsman, Tom Allom, set the charts on fire with the catchy but still rockin' single 'Round and Round', but by 1986 we all wished that they had stuck to covering Priest.

Must Have: 'Out of the Cellar' (1984)

Also Recommended: 'Ratt EP' (1983)

For the Hearty: 'Invasion of Your Privacy' (1985)

Raven

Like Rush on meth, Raven were sonically different from thier NWoBHM counterparts, but much like most NWoBHM bands they were pretty much over by 1984. Regardless of their big flash in a small pan aspect, Raven left us with some truly breathtakingly exhuberant records before falling into shit.

HeyDay: 1981-83

Must Have: 'Rock Until You Drop' (1981), 'Wiped Out' (1982)

Also Recommended: 'Crash Bang Wallop' (EP 1982)

For the Hearty: 'Live at the Inferno' (1984)

Riot

This Brooklyn based Hard Rock oufit inexplicably chose some sort of Asian marsupial for their mascot, which is probably why thier initial success was limited to Brooklyn and Japan. In the early eighties vocalist Rhett Forrester replaced Guy Speranza, a move which vastly improved the band's sound. The subsequent release, 'Restless Breed' stands head and shoulders above the rest of the band's output. Sadly, Rhett was murdered in Atlanta during a robbery in 1994.

Must Have: 'Restless Breed' (1982)

Also Recommended: 'Rock City' (1977)

For the Hearty: 'Narita' (1979), 'Fire Down Under' (1981), 'Born in America' (1984)

Rose Tattoo

Australian blues based Hard Rock band Rose Tattoo could be considered AC/DC's little brother band, being managed and produced by the same Vanda/Young team. Featuring the slide guitar of Pete Wells, and the throat of Angry Anderson, Rose Tattoo recorded three very influential but commercially unsuccessful records before dissolving into obscurity.

HeyDay: 1978-84

Must Have: 'Rock and Roll Outlaw' (1978/1980), 'Scarred for Life' (1982)

Also Recommended: 'Assault & Battery' (1981)

For the Hearty: Insufficient Data

Rush

Rush's legacy is easily as large as the vast tundra of their native country, Canada. Rush successfully merged the intricacies of Prog Rock with the monster riffs of Hard Rock into a brand whose multitude of faithfull consistently line up to see them live and buy their records. Indeed, Rush enjoys the support of the most dedicated fans in all of Rock.

HeyDay: 1974-1986 (Rush fans will argue my cutt off date)

Must Have: '2112' (1976), 'Permanent Waves' (1980), 'Moving Pictures' (1981)

Also Recommended: 'Fly By Night' (1975), 'All the World's a Stage' (Live 1976), 'A Farewell to Kings' (1977), 'Hemispheres' (1978), 'Exit....Stage Left' (Live 1981), 'Signals' (1982), 'Power Windows' (1985)

For the Hearty: 'Rush' (1974), 'Caress ofSteel' (1975), 'Grace Under Pressure' (1984)

For the Rush Geek: Everything else.

Saxon

Saxon emerged as a fore-runner of the NWoBHM in the early eighties, but their zeal to succeed coupled with a willingness to compromise found them keeping up with the Ratts in the mid-eighties, sealing their doom in sheer suckdom.

HeyDay: 1980-83

Must Have: 'Wheels of Steel' (1980), 'Strong Arm of the Law' (1980)

Also Recommended: 'Denim and Leather' (1981), 'Power and the Glory' (1983)

For the Hearty: 'Saxon' (1979)

MSG (Michael Schenker Group)

Michael Schenker, mad genius of the six string, began his career in his brother Rudy's band, the Scorpions, before Joining UFO in 1974. His tenure with UFO has left a legandary and lasting mark on the Hard Rock landscape. In 1980 Schenker struck out on his own, initially releasing strong records before losing the plot in the mid-eighties.

HeyDay: 1980-84

Must Have: 'Micheal Schenker Group' (1980), 'MSG' (1981)

Also Recommended: 'One Night at Budokan' (1982), 'Assault Attack' (1982)

For the Hearty: 'Built to Destroy' (1983)

Scorpions

Germany's favorite sons of Metal have been around forever, and will probably expire on stage many years from now. Their carrer has spanned style changes, line-up changes, and technological changes, but one thing has remained unchanged. They fucking rock the fuck out.

HeyDay: 1975-84

Must Have: 'In Trance' (1975), 'Tokyo Tapes' (Live 1978), 'Lovedrive' (1979), 'Animal Magnetism' (1980)

Also Recommended: 'Fly to the Raibow' (1974), 'Virgin Killer' (1976), 'Taken By Force' (1977), 'Blackout' (1982)

For the Hearty: 'Lonesome Crow' (1972), 'Love at First Sting' (1984)

Slade

Huge in England during the early to mid-seventies, Slade is mostly known in America for having penned all of Quiet Riots hit songs.

HeyDay: 1971-76

Must Have: N/A

Also Recommended: 'Slayed' (1972)

For the Hearty: Insufficient Data

Starz

Part of the Leber/Krebs satble of seventies Arena Rockers, Starz had trouble getting noticed behind stable mates Aerosmith and Ted Nugent, but managed to produce some fine albums before packing it in at some point during the early eighties.

HeyDay: 1976-79

Must Have: 'Violation' (1977), 'Coliseum Rock' (1978)

Also Recommended: 'Starz' (1976)

For the Hearty: 'Attention Shoppers!' (1977)

Status Quo

Along with Uriah Heep and Black Sabbath, Status Quo were the basis for Spinal Tap. After an early hit in the groovy sixties with 'Pictures of Matchstick Men', Status Quo trudged on through the seventies as Anthem Rock merchants, surviving not only to open the Wembly Live Aid show, but to somehow marshall themselves past signifigant drug issues and virtual obscurity. Status Quo are still a viable act in England to this day.

HeyDay: 1967, 1972-78

Must Have: 'Rockin' All Over the World' (1977)

Also Recommended: N/A

For the Hearty: Insufficient Data

Sweet

Glam Rock progenitors The Sweet coupled serious musical ability with gleeming imagry to great success in the early to mid-seventies before addiction to alcohol and SSL consoles took the wind out of their sails.

HeyDay: 1971-78

Must Have: 'Desolation Boulevard' (1974), 'Give Us a Wink' (1976)

Also Recommended: 'Sweet Fanny Adams' (1974)

For the Hearty: 'Off the Record' (1977), 'Level Headed' (1978)

T. Rex

Marc Bolan transformed his fairy-tale folk vibe into a Hard Rock behemoth, riding the Galm Rock boom of the early seventies to the stratosphere and straight into obscurity, followed by a brief come-back, and a tragic death all in a matter of eight years. Teaming with producer Tony Visconti, Bolan created three classic Hard Rock albums, and several chart busting singles.

HeyDay: 1970-73

Must Have: 'Electric Warroir' (1971), 'The Slider' (1972)

Also Recommended: 'Tanx' (1973)

For the Hearty: 'T. Rex' (1970), 'Zinc Alloy' (1974)

Triumph

This Canadian Hard Rock trio gained notoriety based on their stellar live show, but their recorded output was nothing to sneer at, until the mid-eighties, then the sneering began in earnest.

HeyDay: 1976-83

Must Have: 'Just a Game' (1979), 'Allied Forces' (1981)

Also Recommended: 'Progressions of Power' (1980)

For the Hearty: 'Rock and Roll Machine' (1977), 'Never Surrender' (1983)

Thin Lizzy

Irish natives Thin Lizzy, led by bassist/singer/writer Phil Lynott were the most successful of a handfull of bands that kept Hard Rock alive in Britain during the seventies. Lynott's poetic charm and tough guy attitude provided the perfect frame to hang their Gaelic influenced Rock upon. Bad luck and drug addiction kept Thin Lizzy from true world domination, but they left a legacy of influence that crosses genres and has sustained to this day.

HeyDay: 1972-84

Must Have: 'Vagabonds of the Western World' (1973), 'Jailbreak' (1976), 'Bad Reputation' (1977), 'Live and Dangerous' (Live 1978)

Also Recommended: 'Nightlife' (1974), 'Fighting' (1975), 'Johnny the Fox' (1976), 'Black Rose' (1979), 'Thunder and Lightning' (1983)

For the Hearty: 'Chinatown' (1980), 'Renegade' (1981)

Twisted Sister

Severly talent deprived, Twisted Sister survived the seventies as a bar band until the world was ready for them. In the early eighties, as Metal was sweeping the music world, Twisted Sister was in the right place at the right time, for a couple of years anyway.

HeyDay: 1984

Must Have: N/A

Also Recommended: 'Under the Blade' (1982), 'Stay Hungry' (1984)

For the Hearty: 'You Can't Stop Rock 'n' Roll' (1983)

Tygers Of Pantang

Most notable for spawning the career of future Thin Lizzy/Whitesnake guitarist John Sykes, Tygers of Pan Tang rode the NWoBHM wave long enough for Phil Lynott to steal Sykes, but not before releasing some above average Metal records.

HeyDay: 1980-83

Must Have: N/A

Also Recommended: 'Spellbound' (1981), 'Crazy Nights' (1982)

For the Hearty: 'Wild Cat' (1980), 'The Cage' (1983)

UFO

London based pshycadelic blues band UFO transformed themselves into one of the most influential acts of the seventies with the addition of guitar wunderkind Michael Schenker in 1974. After a string of amazing records, Schenker left in 1979. UFO continued into the eighties with guiarist Paul Chapman. While their initial post-Schenker LPs were decent, 1980's 'No Place To Run' actually being stellar, the band fell into bad habits, crappy records, and history.

HeyDay: 1974-1981

Must Have: 'Force It' (1975), 'No Heavy Petting' (1976), 'Lights Out' (1977), 'Obsession' (1978), 'Strangers in the Night' (1979), 'No Place to Run' (1980)

Also Recommended: 'Phenomenon' (1974)

For the Hearty: 'The Wild the Willing and the Innocent' (1981)

Uriah Heep

The unlikely blend of Steppenwolf and Pink Floyd actually payed off in the early to mid-seventies for Uriah Heep despite consistant critical lambasting. A revolving door line-up coupled with your basic loss of plot found the band floundering in the late seventies. In the early eighties, sole remaining founding member, guitarist Mick Box, led a revamped Heep to record two above average records that sound nothing like early Uraih Heep, with the exception that they rock.

HeyDay: 1970-75, 1982-84

Must Have: 'Demons and Wizards' (1972), 'The Best of Uriah Heep' (1976)

Also Recommended: 'Salisbury' (1971), 'Look at Yourself' (1971), 'Magician's Birthday' (1972), 'Uriah Heep Live' (Live 1973), 'Sweet Freedom' (1973), 'Abominog' (1982), 'Head First' (1983)

For the Hearty: 'Very 'eavy, Very 'umble' (1970), 'Wonderworld' (1974), 'Return to Fantasy' (1975)

Van Halen

Eddie Van Halen set the guitar world on it's ear in 1978 with the release of the first VH album. Eddie's magic fingers teamed with 'Diamond' David Lee Roth's considerable charisma and Michael Anthony's angelic harmonies; Van Halen was unstoppable. For a while at least. Complacency had caught up with them by 1982's 'Diver Down', and Roth left after the commercial monster '1984'. Roth was replaced with Sammy Hagar, and more success followed, but Van Hagar was not Van Halen anymore. The edge was gone.

HeyDay: 1978-81

Must Have: 'Van Halen' (1978), 'Van Halen II' (1979), 'Women and Children First' (1980), 'Fair Warning' (1981)

Also Recommended: N/A

For the Hearty: 'Diver Down' (1982), '1984' (1984)

Whitesnake

When Deep Purple fell apart in 1976, vocalist David Coverdale, along with keyboardist John Lord and Drummer Ian Paice, formed Whitesnake with guitarists Micky Moody and Bernie Marsden. Albums followed, band members came and went, and finally, in 1984, Deep Purple reformed with Coverdale's predecessor, Ian Gillan, leaving Coverdale the sole former Purple Whitesnake memeber. Recruiting began, more records followed, then a video with a chick and car, and the rest is history, except that Coverdale is back in 2009 with yet another Whitesnake line-up. To thier credit, it sounds like Whitesnake.

HeyDay: 1978-88

Must Have: N/A

Also Recommended: 'Ready an' Willing' (1980), 'Live....In the Heart of the City' (1980), 'Slide it In' (1984)

For the Hearty: Insufficient Data

Wishbone Ash

Whishbone Ash is most notable for influencing Thin Lizzy an Judas Priest with their twin lead guitar style.

HeyDay: The Seventies.

Must Have: N/A

Also Recommended: 'Argus' (1972)

For the Hearty: Insufficient Data

ZZ Top

This Texas Trio is unfortunately mostly known for their beards, a car, and a few videos. They should be more widely known for blistering Heavy Blues, and some of the most amazing guitar playing, courtesy of Billy Gibbons, and stinky grooves ever witnessed.

HeyDay: 1974-85

Must Have: 'Tres Hombres' (1973), 'Fandango' (1974)

Also Recommended: 'Degüello' (1979), 'Eliminator' (1983)

For the Hearty: 'Rio Grande Mud' (1972), 'Tejas' (1977), 'El Loco' (1981)

2009-01-24T13:59:00.002-05:00

MSG - "ROCK BOTTOM" - 1981

This live performance of the UFO classic features the best MSG line-up: Paul Raymond (keys), Cozy Powell (drums), Ted McKenna (bass), and Gary Barden (vox). Schenker rips, of course. Barden apparently skipped the phone call to Phil Mogg for the lyrics. He made up his own which include the rhyme "Las Vegas Sands" and "don't understand". I don't think he understood Phil's lyrics. I don't think asking Michael would have been much of a help. I also don't think Michael gave a half a shit about what lyrics Gary sang, or Phil for that matter.

2009-01-24T13:23:00.001-05:00

NEW FLICKR UPLOADS

I added a bunch of photos to the Flickr site.

2009-01-23T20:27:00.002-05:00

NEW SIDEBAR ADDITIONS

It's my pleasure to introduce you all to a new blogger, my niece Jessica. Her thing is Fashion Photography. The link can always be found on my sidebar. I hope you dig it.

I've started a new blog as well. It's a home for my longer travel posts.

2009-01-22T12:54:00.004-05:00

WHO THE HELL IS LOUISE FAZENDA?

After years of misunderstanding Phil Mogg (UFO) I decided to do some lyric research, specifically the last line of the second verse of 'Out In The Streets' (Force It - 1975).
The line that follows "Your comic book impersonations".

I always thought he said something like: "useless memorendo to dream on", knowing I was probably wrong, mostly because 'memorendo' isn't a real word.

My first two searches brought up: "Your wish for cinders embers to keep".
Now, I wouldn't put such imagery beyond Phil, bit it smelled wrong to me.

My third search brought me: "Louise Fazenda and Buster Keaton", which falls in line with the "comic book impersonations" of the previous line.

It felt right, but I broke out the vinyl for corroboration, and it was a solid match.

It turns out that Louise Fazenda, like Buster Keaton, was a silent film star.

It turns out that some UFO lyrics actually do make sense.

Then there's this one from 'Rock Bottom' (Phenomenon - 1974):

"Shadow earth is closin' in above her lamps in your street
Lucifer goes walkin' down for you to meet"

That seems kosher, but I had trouble reconciling these two results for 'Mother Mary' (Force It - 1975):

1)
"Try to make some changes really on the line
Given your religion, never ever time
All the jokers laughing, queens upon the floor
Don't misunderstand it, baby needs some more

Lovin' up some ransom, weapon and a gun
Just your education, hard to understand
Will the teenage lesion make a mark on you
Make a big tome status, then we run them through"

2)
"Try to make some changes really on the line
Given your religion, never ever time
All the jokers laughing, queens upon the floor
Mothers understand it, baby needs some more

Woh held up to ransom, quick hand and a gun
Just your education, hard to understand
Will the teenage legend make a mark on you
Make the big tome status, a pen will let him through"

I think it's this:

"Try to make some changes, really on the line
Given your religion, never ever time
All the jokers laughing, queens upon the floor
Mothers understand it, baby needs some more

World held up to ransom, quick hand and a gun
Just your education, hard to understand
Will a teenage legend make a mark on you
Make the big time stainless, and we're runnin' through"

At any rate, Phil keeps you guessing, decade after decade........

2009-01-22T09:24:00.001-05:00

TRAVELOGUE

A longer post on the Big Germany Trip can be found here.

2009-01-14T18:49:00.004-05:00

LIVE MUSIC WEEKEND

Jackson's got a heavy load of club dates this weekend.

The Priscillas are in town. This London based female Punk Rock quartet features New Jersey native, former Drag Triplet, and personal good friend of mine Jenny Drag, aka Jen Brown. They won a radio contest and have come to town to perform at Little Steven's shindig at Piano's Saturday night, but these gals have an agenda, they're going to own NYC by staging a four night onslaught on our little village.

The fun begins Thursday night at Maxwells in Hoboken before taking on the City proper over the next three days.

Friday night also features Himalaya playing the Charleston in Williamsburg at 8pm. Chris and I played a few shows at the Charleston back when we were Bob. It was fun. The Charleston is a hole without a stage. There's also the promise of free pizza.

After that show I'll head across the Williamsburg Bridge to Delancey to Catch the Priscillas second show.

I'm not sure what the deal is at Piano's for the Little Steven show, but I'm going to try and make that one as well.

Sunday I'm thinking NFL.

The Priscillas show info:

Thursday, January 15, 8:30pm @ Maxwells 1039 Washington Street Hoboken, NJ (201) 653 1703

Friday, January 16, 11:30pm @ Delancey168 Delancy St. at the corner of Delancey and Clinton NYC (212) 254 9920

Saturday, January 17, Time: Doors 8pm @ Pianos The Little Steven Battle of the Bands Competition!!158 Ludlow Street NYC (212) 505 3733

Sunday, January 18, 8:30pm @ Otto’s Shrunken Head53 East 14th Street NYC (212) 228 2240

2009-01-06T21:44:00.001-05:00

ANOTHER 'GREATEST SONG EVER'

Mothersbaugh's got a gift.

2009-01-06T09:23:00.003-05:00

UNSERE BAYERISCHEN LIEBLINGSGETRäNKE

Granted, not all the beverages are specifically Bavarian, indeed some of these moments occurred in the Baden-Wuerttemberg region, but you get the idea, right?

2009-01-06T07:15:00.005-05:00

DAS DEUTCHES VINYL

Sam Cooke - The Man And His Music

Two discs - twenty-eight tracks of magic courtesy of Sam Cooke. Great score.

Marillion - Misplaced Childhood

Yes, I already own this one, but I found the European gate fold version, and my copy from 1984 has seen better days, hell, I need a new 'Clutching At Straws' as well.

Thin Lizzy - Remembering Part 1

A compilation of early stuff, this find does not fill the need for a vinyl copy of 'Vagabonds.....'

Can - Limited Edition

An excellent example of the rare find I had hoped for in Munich. Score!

Earth Wind & Fire - The Best Of

Big Party Record. I gotta say, the Legal Diva is doing a great job expanding the funkier side of the vinyl collection.

Electric Sun - Earthquake

Uli's first post Scorpions effort, it doesn't quite stand up to 'Fire Wind' (the second), but it's pure Electric Sun, which is to say it's pure Uli, complete with less than stellar cover art courtesy of his wife. That never works. I'd never seen this record before, hadn't known it existed.

Score!

UFO - The Best Of

Ok, that's not the album cover, that's the cover of the first record. I bought a compilation of their first two studio LPs and the live one that were made before Schenker joined in '74. The record I bought is so far out of print, and so unwarranted, so unnecessary that no image of it appears on the web.

Score!

The Staples Singers - Unlock Your Mind

This tiny thumbnail is all that represents the album image (on the web) of this stellar 1978 release by the most soulful act of the 70's. Up bup! There is no argument.

Score!

Reggae Gold (2008) - Various Artists

Nice ....uh....cover. There's some hot tracks on this soon to be party staple. I'm particularly fond of the Damian and Stephen Marley colabo.

Nas - Illmatic

Not new, but still fresh. Jackson digs the Nas. Thanks baby.

Wishbone Ash - Argus

This is what I was looking for. This is exactly the kind of record I was seeking. Wishbone Ash is sorely under-represented in the collection. Score!

REM - Out Of Time

Needed it for the collection. Mike hates 'Texarkana'. Dot, not Mills or Stipe.

All in all, we spent over an hour in Optimal, could have spent more time and money, but we dragged ourselves out before we did too much damage to our bank account.

2009-01-03T04:39:00.002-05:00

PHOTOS

A complete collection of our Germany photos can be found here, and at long last, our Cruise photos are up as well. You can also view photos of Our Gang, NYC, and Central Park.

Enjoy

2009-01-01T05:50:00.035-05:00

.......IT'S A LONG WAY BACK TO GERMANY

Ah, Deutchesland, the place of my birth, my home for the first two and a half years of my life, my home again for my 8th grade year, and finally, blissfully, magically the site of the Wilson Family Christmas 2008.

The Legal Diva and I flew out of Newark on the clearly superior Lufthansa Airlines on December 18th, landing at Franz Joseph Strauss Airport, Munich late morning on the 19th. We picked up Veronica, our rented VW mini-van, and made our way to downtown Munich to the Sheridan Le Meridian, our base camp for the first half of the trip.

After a brief nap we made our way to the Munich Christkindermarkt, a lovely holiday evening stroll, where we took in the sights, and had some wurst and gluhwein.

The next day we were off for an over-nighter in Rothenburg ob der Tauber, a magically preserved medieval walled town in central Germany. Veronica handled the road well amid less than desirable driving conditions.

Rothenburg is unbelievable, situated on the Romantic Road, it certainly lived up to it's billing. We strolled, shopped, dined superbly, made some new friends, consumed many fine brews, and generally had a splendid time. Savage Distortion recommends Rottenberg highly despite the tourist-centric vibe.

Day three brought us back down the Autobahn to Munich where we met up with the General and Mrs., who had just completed a serene cruise up the Danube. We had a lovely dinner with them, followed by a leisurely stroll through the Christkindermarkt back to the Sheraton.

The following day we were joined by Rod, Karen, Julia, and Jackson's Godson, Tyler. After they settled in at the hotel, we all went for a walk through the - that's right, you guessed it - Christkindermarkt. We stopped to watch the Glockenspiel do it's spiel, then had lunch at the Rathskeller.

Exhausted travelers were brought back to the hotel, napping ensued, followed by yet another pass through the Christkindermarkt, the ever growing in population center for the Munich gift buying crowd, on our way to the Hofbrau Haus for what turned out to be one of the top three meals of the trip. The Hofbrau Haus does not disappoint, complete with oompah band in lederhosen, huge beers, and fabulous food.

Day five brought us Fred, The Gotham Gal, Jess, Emily, and the J-Man......and another jaunt through the Christkindermarkt. The Legal Diva and I, having Markt'd ourselves out, decided to split off in search of vinyl. After some investigation, and some ancillary shopping during which the ill-fated smoked meats were purchased - more on that later - we located Optimal. Oh Joy! Me made quite the haul, purchased selections will be the subject of a separate forthcoming post.

That night the entire Wilson clan descended upon Alpenraum for a lovely multi-course family holiday dinner.

Afterward, Rod, Karen, Julia, the Legal Diva, and I hit a local sports bar, thus founding Team Nightlife, whose semi-nightly meetings would provide much jocularity over the ensuing days.

December 24, Christmas Eve, and it was off to Garmisch for the General and Mrs., Rod's gang, and the Legal Diva and myself, while the Fred crew hoped a flight to Berlin.

The two car caravan, the mini minivan convoy, cruised the Autobahn through Bavaria into the Alps. Driving into the alps is a magical moment. The word splendor was invented for such moments, and as the clouds cleared, and the Alps jutted out, well...., let's just say Jackson figured on the high probability of a higher power, of divine creation.

We checked into the Atlas Post Hotel, and had lunch, a great lunch, another of the top three meals, before leisurely exploring the beautiful town of Garmisch, nestled in the Alps, truly one of the most gorgeous locations on the planet.

Our Christmas Dinner, another multi-course affair, was provided by the Atlas Post Hotel. I'd like to say that you can't buy memories like these, but obviously you can, as we did, but those moments are rare, and I'm blown away with gratitude and thankfulness for all of my blessings.

Christmas morning we exchanged gifts, not the least of which was the joy of each other's company in the most magical (that word again) of settings.

More strolling through Garmisch-Partenkirchen, soothingly quiet on Christmas Day, brought us up to dinner-time at Gasthaus Frauendorfer in Partenkirchen which pulled out all the stops, including an accordion player and two lederhosen clad slap-dancing German youths, as well as another delightful meal.

It started to snow as we ate.

Himmel.

After dinner, Team Nightlife descended upon Peaches for drinks.

Every family vacation has it's ups and downs. Chevy Chase based his career on that dichotomy, and the Wilson Family Bavarian Christmas was no exception.

Day eight dawned glorious and bright, the Alps gleaming in the sun as we embarked on a day trip to nearby Neuschwanstein, the last and most fabulous and famous of Mad Ludwig's Bavarian Castles.

The drive brought us briefly through the Austrian Tirol, postcard perfect scenery at every glance, to Neuschwanstein, which was, as it turns out, a mad house of tourism due to it's being the only game in town operating on the day after Christmas.

An endless queue for a horse drawn carriage up the mountain to the Castle in freezing weather caused a little drama, and a lot of frozen toes, but it was well worth it. The place is just plain breathtaking.

Upon returning to Garmisch, the Legal Diva and I opted for a dinner on our own at the Australian Lounge. Somebody needed a burger, somebody else was craving wings. Our server turned us on to VB (Victorian Bitter), a great Australian beer. Apparently nobody down under actually drinks Fosters, and VB is really Australian for beer, mate.

After dinner, Team Nightlife returned to Peaches for a second round.

A wise decision to spend day nine just meandering around Garmisch-Partenkirchen was made. We shopped, strolled, and ended up lunching at GlasHaus on schnitzel and soup - the third of the top three meals.

A nap was followed by another fine dining opportunity with the family, and Team Nightlife sans Julia capped the evening back at the Australian Lounge.

All good things must come to an end, and on day nine we said goodbye to Garmisch and made our way back to Munich via a wee drive through lovely Oberammergau.

Our last night with the family was spent at the Sheraton Airport Hotel, which provided us with many fine beverages and another lovely meal.

At breakfast, a fantastic breakfast, we said goodbye to our departing family before spending our last day in Deutchesland in bed after a brief side trip buying an extra suitcase for all the crap we bought.

The front end of our flight was the single greatest airport experience we've ever had. The Lufthansa folks were great, very accommodating, which put into stark contrast our arrival at JFK where we were abused verbally by the US Customs Asswipes, had our smoked meats jacked, and were basically greeted back into the US with a hearty Fuck You.

Yeah, Merry Fucking Christmas to you too, Jackson.........

2008-12-09T21:35:00.003-05:00

THE MIDDLE OF THE ROAD

Although my cable news viewing has dropped off considerably since the election, I do, from time to time, pass by MSNBC en route elsewhere, and I've notice a goodly bit of kvetching on the part of certain liberals about Obama's seemingly conservative cabinet appointments.

Get a grip.

I understand the concern; he campaigned on a platform of change, and the number of former White House staffers being called up from both the Bush and Clinton administrations seems like a harbinger of status quo.

Fear not fellow pinko-commies, for the promised change is well assured. Obama is the change.

In fact, his appointments are indicative of a decidedly different approach to the executive branch, one of inclusion. Gone will be the 'with us or against us' mentality. Obama will be advised on all matters by a variety of experienced viewpoints, but policy will be directed by him, his fresh outlook, his vision.

That will indeed be a change.

2008-12-09T21:07:00.002-05:00

THAT METAL SHOW

First the Jets, then Obama, now this. Somebody up there likes me.

I can't stop watching 'That Metal Show', the new Hard Rock/Heavy Metal VH1 talk show hosted by Eddie Trunk. Even guys that I've ridiculed for decades like Ygnwie Malmsteen are oodles of fun to watch, mostly due to the highly metal-educated comedy duo of Jim Florentine and Don Jameison, Eddie's co-hosts and chief tormentors.

Promo clip.

No mention of Saxon yet, but I'm hopeful.

2008-12-09T13:47:00.028-05:00

THE BIG CRUISE

So, yeah, we got back a few days ago, er...okay a week, and here's the recap:

An unremarkable (the best you can say) flight to Miami was followed by checking in and relaxing at the Biscayne Marriott, the same hotel we stayed at three years ago for the first cruise.

The Legal Diva and her super duper cousin Shantel, who lives in Hialeah, caught up over a fantastic dinner at David's, while Jackson was let down by Hamlet 2 on the in-room movie, though pleased by the Checkers cheeseburgers.

The following day we had a free day in Miami which we spent doing last minute errands (shopping, mani-pedi) and a wonderful meal at Shantel's whipped up by her Bahamian cousin Wanda. A sublime fish boil of red snapper, potatoes, onions, and habeneros, what the islanders call Scotch Bonnets. Perfect with a Heineken.

The girls dragged us to Red Lobster, for the biscuits.

The next morning, Sunday, we slept in, re-packed, and got on the boat, the Carnival Triumph. It was game day, the Jets were beating the Titans. I was wearing the green, but I had to settle for watching the Cowboys game on the jumbo-tron that looms above the Lido Deck. At least I got to see the Jets highlights.

After the game it was time to get decked out for dinner (every night 8:15, table 351, Paris Dinning Room) with the Legal Diva's noble and fascinating extended family, over fifty strong.

Day two was the first of three 'fun days at sea'. That means no port of call. Heavy winds spelled no mini golf, and I settled into wrapping up Edgar Rice Burroughs' 'Tarzan #10: Tarzan and the Ant Men', a mind number indeed. I had been unable to find my discman type CD player before we left Brooklyn, and I was in the market for a cheap replacement. I was amazed by my inability to do so. The ship only sold iPods. I brought CDs. Bummer.

After dinner that night, The Legal Diva's cousin SailorSay, sister Laa Shana, family friend Lynn, and yours truly gathered to drink a lot of vodka (w/ Red Bull for Jackson & SailorSay), and exercise our posteriors. Room service sandwiches and candid conversation capped a very late and wonderful evening.

We didn't arrive at our first port of call, Old San Juan, Puerto Rico, until five o'clock in the evening, but it was worth the wait. Pulling into the harbor at sunset provided a few nice snapshots, and as the evening dawned, we found ourselves strolling the quaint little backstreets of old San Juan.

The Legal Diva's estimable uncles Ernie and Frankie, and their lovely wives Linda and Karen (respectively) joined us for a bite and a drink at Mojito's (scroll down), where we were treated to some outstanding mofongo (conch and chicken), braised chorizo, and truly amazing fried calamari.

Some trinket acquisition followed, then we split off from the group, wandered a bit, and stumbled upon Botin. The nice young lady out front informed us that Botin is the oldest operating restaurant in the WORLD.

We took the bait, and are so glad we did. Old world elegance surrounded us as were impeccably served - more like catered to - by an outstanding staff. The meal, created by Chef Jean-Louis, who came by for a table visit, was stupefying in it's simplicity, awesome in it's satisfaction. Appetizers of shrimp scampi and a cold plate of Serrano ham, braised chorizos, and cheese were followed by a roast suckling pig for two.

That pig put me out for the night, but it was so worth it.

The next morning we woke already docked in Saint Thomas, U.S. Virgin Islands.

We kidnapped SailorSay for the day, and struck out seeking adventure on a bright and beautiful Caribbean day.

Immediately accosted by tour guides eager to cram us in with dozens of of our shipmates onto open air tour buses, we deftly made our way through the gauntlet, but not without enraging an over-zealous and clearly stressed tour guide/bus driver. Instead, we opted to walk into town, a leisurely stroll of about a mile along the waterfront.

After a fruitless search for a place to eat in a couple of different harborside neighborhoods, we finally made our way to Frenchtown, clear on the other side of the crescent shaped harbor, to the Hook, Line, and Sinker, a local eatery, where food and beverage was in the offing. We split some conch fritters, then the ladies had fried shrimp, and Jackson got his burger on.

An 'off-ship' meal having been obtained, the three of us walked back along the waterfront, opted out of a 'shopping tour' via motorboat, and ended up at the Paradise Point Skyride ("call something paradise, kiss it goodbye...."). The Legal Diva had expressed a good amount of trepidation at the thought of taking a ride on a tram to the top of the mountain, but both the gals apparently wore their adventure duds that day, and in the end I didn't have to marshal them onto the Skyride.

The ride up the mountain offered some swell views that only hinted at what we'd see from the summit, as well as a great photo of my super trooper reacting to fear and wonder simultaneously.

At the top we got Bushwacked while taking in the view. We purchased some trinkets, and then took the tram back down to the harbor and our waiting state-rooms, where we napped prior to dinner, and an early night.

Day five, Thanksgiving, brought us to Saint Maarten, Dutch and French Virgin Island. Again, we had arrived in port during the wee hours, but unlike Saint Thomas where we had until 7:30 pm to return to the ship, in Saint Maarten our day was cut short at 4:30 pm.

The Legal Diva and I took the day to ourselves, and hired a van/cab/private tour guide named Matt to give us the two and a half hour tour of the island.

The island of Saint Maarten is shared by two civic entities, the Dutch Side and the French side. Our ship docked on the Dutch side at Philipsburg, where we caught a water taxi across the harbor to the town center, which is where we found Matt, whose use of a map in his pitch coupled with an ease of manner sold us on his services, which was basically a circumnavigational drive around the island passing points of interest (defunct salt flats, a new airport, a nude beach), a half hour stop for lunch at the market in Marigot, the main French town (more later on that), and endless commentary about the electrical separatism unique to the island. The Dutch use 220, and the French go with the more American friendly 110.

Our meal at the Marigot Market took place in one of about ten or so stalls with outside seating jammed in together on one corner of the market. We wisely settled on Rosemary's. It was fabulous, and featured more conch fritters - the best yet, a whole red snapper for the lovely Legal Diva, and an outstanding curry goat for yours truly.

After the pleasant and competent Matt dropped us back in Philipsburg, we did some more trinket shopping, I picked up the sorely needed discman type CD player, and we sauntered along the beach before stopping for some frozen cocktails at a beachside watering-hole.

I took the opportunity to go for a dip in the Caribbean, this being my second cruise, and I had yet been able to go for a swim. It was rainy in Jamaica, night time in San Juan, rough surf in Grand Cayman, and we failed to come across a decent beach in Saint Thomas, having not ventured far enough to find one. At last I had my opportunity, fortunately wearing a swimsuit, and I enjoyed a wonderfully refreshing swim in the warm, clear, blue-green, salty surf of the Caribbean.

Back on the boat we took a rest before joining the family on the Lido deck for the Cowboys game, again with the f'ing cowboys! I retired to our state room for a brief nap before Thanksgiving dinner. The menu that night offered a typical Thanksgiving plate featuring roast turkey, mash, stuffing, and cranberry. The Legal Diva's father went there. I did not. He enjoyed it. I forget what I had.

A few vodkas and some light gambling filled the gap between dinner and bed.

Days six and seven we 'fun days at sea'. I finished the Tarzan while rocking out to the Chilis and Joe Walsh in our state-room, revelling with the Legal Diva and SailorSay over vodkas and whiskey of evenings.

Sunday dawned to find us docked back in Miami, indeed we had been but a few miles out since the night before, floating just past the international line for gambling reasons.

Drowsily we made it back to the Marriott where we spent the day sleeping and watching the Jets lose.

A mid morning flight to LaGuardia was slightly delayed, but that's not why I was in a pissy mood. It wasn't the loss by the Jets either. I was in a pissy mood because I hate people in general, and people in airports and on airplanes are on the south side of that demographic.

"Paid my fare, don't wanna complain
You get to me, you're always outta champagne
Treat me like a bum, I don't wear no tie
You ain't nothin' but a waitress in the sky"

2008-12-08T13:18:00.012-05:00

CRUISE PHOTOGS

These are my faves.

MORE HERE

2008-11-15T22:57:00.002-05:00

TOP TEN CLASH SONGS

I've always considered myself more of a Mick Jones fan than that of Joe Strummer. Mick was the hookmaster, he brought the pop to the mix whereas Joe was sort of the Dylan of the band, his art was in his message more than the musicianship.

A few weeks ago 'White Man In Hammersmith Palais' popped into my head, I was Robin Hood, the famous early 13th century wealth distributionist for Halloween, and the line about Robin Hood suddenly surfaced into my consciousness.

"White youth, black youth
Better find another solution
Why not phone up Robin Hood
And ask him for some wealth distribution"

It dawned on me that 'White Man In Hammersmith Palais', a Joe Strummer number, was clearly my favorite Clash tune. More than that, upon further retrospection, my second favorite had to be 'Bankrobber', another Joe tune.

These revelations forced me to take stock, and here's the results:

1) White Man In Hammersmith Palais - Joe
2) Bankrobber - Joe
3) Stay Free - Mick
4) The Card Cheat - Mick
5) Death or Glory - Joe
6) Clampdown - Joe and Mick
7) Somebody Got Murdered - Mick
8) Hate and War - Mick
9) Career Opportunities - Joe
10) Safe European Home - Joe

So, as you can see, Joe eeks out a narrow advantage in the top ten. If I extrapolated out a bit, I'm sure it's stay about even.

2008-11-15T21:34:00.005-05:00

RE-TRACKING WITH HOUSE OF BLONDES

So, since we're on the topic (see below); here's how it's supposed to be done.

We're in the thick of the new House of Blondes album, and it was decided that two songs needed adjustments in the rhythm tracks after a goodly amount of tracking had been done.

We bit the bullet, shit-canned 90% of the tracks, and started over. We tracked drums, bass, and scratch vocals on the two songs this afternoon. Afterwards we added rhythm guitar.

The rhythm section is the foundation. Everything else can be added later, if necessary, but you just can't work the other way around. I mean you can, but you shouldn't.

It was nice to be at the studio working with Chrispy again after a long hiatus.

2008-11-15T20:57:00.002-05:00

SHARON OSBOURNE IS STILL A JERK

Old news, I know, but I heard 'Crazy Train' on the radio on the way home from the studio tonight, and I listened to the rhythm section to determine if they were playing the original or the new (a few years old now) one with the replaced drums and bass. It was the new one, of course.

The decision to re-track all the drums and bass on the first two Ozzy records was, on the surface, a financial one, but more specifically, it was done out of spite. It was a despicable move on Sharon's part to short change bassist Bob Daisley's royalties.

The original rhythm section consisted of Bob and drummer Lee Kerslake, who also suffers financially from the re-tracking, but it was Bob that Sharon was out to get.

Why? Because Bob and Sharon have been at war for over twenty years over writing credit he was never given; you see Bob wrote almost all the lyrics on not only the first two Ozzy albums, but the following two as well, but he was never given the credit, and thusly he has been denied the publishing money as well.

Now, you gotta give Sharon credit for keeping Ozzy alive, but this re-tracking move has to be among the lowest deals in a business rife with slime.

What's more, it damages the song. Randy played his parts to Bob and Lee's rhythm. The greatest session players can't replace the groove of musicians playing together. Robert Trujillo and Mike Bordin (bass and drums respectively), who did the re-tracking, are great musicians, and to their credit they did a great job of it, but in the end, it's just not the same, not as good, and completely unwarranted.

What a jerk.

2008-11-09T10:52:00.001-05:00

LOOK AT IT THIS WAY

2008-11-05T10:26:00.002-05:00

YESTERDAY WAS THE DAY

I'm trying to think of something classy, something decidedly not smug to say, but, well, honestly nothing comes to mind. Since neither Tony nor Misanthrope took me up on the 'buck and a beer' bet, that would suggest they smelled the winds of change coming down the pike months ago, so I would suppose they've already gotten comfortable with the facts at hand.

2008-11-04T10:10:00.002-05:00

TODAY'S THE DAY

Jackson just returned from his local polling center where he cast his vote for Barack Obama, in fact, he voted communist straight down the line.

The outcome is uncertain, though I'm very confident. One thing is certain, starting tomorrow I can quit obsessively watching cable news. I've come to dislike Chris Mathews and Keith Olberman, though I'm still a Rachel Maddow fan. I suspect Bill O'Reilly will gain back some ratings points because I think I'm not alone in my proposed abandonment of punditry among my fellow comrades; whereas Bill and the Foxcists will begin the post campaign trash talking immediately.

One surprising turn of events has come of all this. I now see what Hunter S. Thompson saw in Pat Robertson. I'll never agree with Pat's agenda, but he's come across as a reasonable sort, and short of endorsing Obama, Pat has at least conceded that Obama is fit to sit in the Oval Office.

Vote, now......

2008-10-11T00:16:00.003-04:00

POWER TRIO

VH1 dedicated a whole day to the band a short while back, 'Rush Hashana' celebrated the Jewish New Year with 24 hours of Rush programming, featuring the concert films 'Rush In Rio' (2003), and 'R30' (2005), as well as a great many hours of Rush videos.

Young guitarist Aleksandar Živojinović, aka Alex Lifeson, formed Rush in Toronto, Canada, in August of 1968 with Drummer John Rutsey, and bassist/vocalist Jeff Jones. Bassist/vocalist Gary Lee Weinrib, aka Geddy Lee, replaced Jones a few weeks later.

Influenced by the Heavy Rock blasting out of Britain by acts like Cream, Hendrix, and Zepplin, the then still in high school members of Rush gigged locally as often as possible. After graduating, they expanded their horizons playing shows throughout Ontario, and frequently crossing the border into mid-western USA.

As it often happens to young dedicated musicians, after years of slogging it out in clubs they garnered a sizable fan base, but were given a very cold shoulder by the major labels. Again, as often happens with dedicated young musicians, Rush decided in 1974 to go the DIY route and record and release their debut record on their own Moon Records label. Engineered by Terry Brown, who would produce the band's first nine records, 'Rush' failed to make much noise until a Chicago disc jockey began giving 'Working Man' some air time. The song quickly took off, and Mercury Records stepped in, signed the band and re-released the record.

Soon after, John Rutsey quit due to health reasons. The band held auditions, and two weeks before their first proper US tour they found Neil Peart, who would go on to handle the lyric writing duties as well as provide the his legendary drum skills.

'Fly By Night' followed in 1975 and showcased what would become the classic Rush format, progressive but accessible Rock anthems (the title track) and epic fantasy based compositions ('By-Tor and the Snowdog').

Rush was ascending, their audiences were growing, and in an effort to strike while the iron was hot, they quickly returned to the studio to record 'Caress of Steel'. In retrospect, they might have been better off taking a few months to develop stronger material, as well as spending more time in the studio recording it. There are some good moments on 'Caress of Steel', 'Bastille Day', and 'Lakeside Park', but much of the album is fantasy oriented, including the side-long 'The Fountain of Lamneth', which made the record less accessible. The overall sound of the record is a bit lacklustre as well, suffering from a muddy mix that renders the album less than stellar.

Feeling the pressure to deliver, and cognisant of the fact that 'Caress of Steel' fell short of the bar, the band set out on a miserable tour they quickly dubbed the 'Down the Tubes Tour'. Mercury Records' response to 'Caress of Steel' was to pressure the band to concentrate on more commercial material for their next foray in the studio. Rush's response was to ignore the record execs, and press on with their vision. They knew that it was make or break time, but they were not interested in 'making it' if 'making it' meant compromise.

Fortunately for Rush, the resulting record, '2112', was a masterwork. Opening with another side-long song cycle, '2112', was a defiant move and a triumph. Whereas 'The Fountain of Lamneth' was meandering, unfocused, and lacking in punch, '2112' began with a brilliant and powerful overture that was followed by the slamming, super heavy and super catchy 'Temples of Syrinx'. A tale of a repressive future, and one man's struggle against it followed, and with it, Rush delivered the record that would finally land them on terra firma in the music biz.

The second side featured five nicely crafted and dynamic compositions. Beginning with their ode to altered consciousness, 'A Passage to Bangkok', and wrapping with the anthemic 'Something for Nothing', the second side offered a balance to the first, and together they set the bar extremely high for future Rush records. Rush was more than happy to rise to that challenge.

A much more successful tour followed, culminating in a three night stand at Toronto's Massey Hall, which was recorded for Rush's first live release, the double album 'All the World's a Stage'.

Rush and Terry Brown travelled to Rockfield Studios in Wales for their next studio effort. While 1977's 'A Farewell to Kings' didn't quite live up to the standard set by its predecessor, it wasn't hack job either. 'Closer to the Heart', a very accessible AOR staple, is surrounded by a dynamic assortment of songs, including two epic Prog riff-o-ramas clocking at over ten minutes:'Xanadu', and 'Cygnus X-1'.

'A Farewell to Kings' gave Rush their first Gold disc, and gave testament to Rush and Terry Brown's mastery of the recording process.

Returning to Rockfield Studios in 1978 for their sixth LP, 'Hemispheres', Rush stayed the course, delivering another fine album. The highlight is the nearly ten minute instrumental, 'La Villa Strangiato (An Exercise In Self-Indulgence), which has been responsible for many a jaw hitting many floors. Also noteworthy, 'The Trees' finds Neil waxing socio-political, albeit allegorically, and considerably cynical as well.

Another change in environment was needed, and Rush chose Le Studio in Quebec for 'Permanent Waves', and the result was another pivotal record that marked a new phase in their career. I chalk it up to confidence and comfort, but whatever the reasons, 'Permanent Waves' is Rush's maturing point.

Another Gold record, 'Permanent Waves' provided the band with two classics, 'Spirit of the Radio' and 'Freewill', and kept the Prog fans happy with 'Jacob's Ladder' and 'Natural Science'.

As good as 'Permanent Waves' was, and it was very good, it was, in the end, a pre-cursor, a taste of what was still to come.

What can one say about 'Moving Pictures'? It's hard to come up with the proper superlatives. It's certainly Rush's best work, and many, yours truly included, would praise it as one of the ten best Rock records ever made. The opening track, 'Tom Sawyer' enjoys an ubiquity that somehow defies becoming 'played out'. I always turn the radio up when I hear it, as I do for any of other songs on 'Moving Pictures' for that matter. Twenty-seven years later, the album continues to amaze and inspire. For the record, 'Camera Eye' is my pet cut, but every cut is exemplary.

Another live record followed, 'Exit Stage Left', and then it was time to try and follow 'Moving Pictures'.

'Signals' followed in 1982, and has never really hooked me. 'New World Man' was a successful single for the band, but 'Subdivisions' has turned out to have more lasting appeal, or at least radio presence. 'Signals' marked the end of Terry Brown's working relationship with Rush.

1984's 'Grace Under Pressure' had me worried that the band was on the decline. It sounded cold, dispassionate, and sterile to me. The single was 'Distant Early Warning'.

Nearly convinced that Rush was 'over', I was pleasantly proven very wrong by 1985's 'Power Windows'. The band seemed passionate again, and well crafted, powerful songs like 'Big Money', 'Manhattan Project', and 'Marathon' made me a believer again.

For my money, Jackson money, Rush hasn't made a record as good as 'Power Windows' since. Many wouldn't agree, but that's my opinion, and since I never purchased any of them, I have little to add other than to this day, on the stage, Rush has no competition.

2008-10-10T22:53:00.004-04:00

MORE NEW OLD VINYL

Van Morrison - Saint Dominic's Preview

A good record, certainly better than 'Astral Weeks'. It's got 'Jackie Wilson Said' on it, that's the only radio cut, but listening to it I found 'Listen to the Lion', which I really like a lot, somewhat reminiscent of 'Into the Mystic'.

Steve Hackett - Spectral Mornings

Former Genesis guitarist's third solo release from 1979. I had my reservations about this one. A spin revealed a decent and diverse record. The guitar player from Marillion definitely had this record. I couldn't help but think of the Misanthrope when I plucked it out of the bins.

Salt 'n Pepa - Hot Cool Vicious

The debut from the female pioneers of Hip-Hop, 'Hot Cool Vicious' features the classic 'Push It'. Yep, push it real good.

Dead Kennedys - Too Drunk to Fuck (12")

A classic, it was only released as a single. Mine has a different cover.

The Saints - (I'm) Stranded

The debut LP from the seminal Australian Punk band. I've only ever heard the title track. I'm eager to dive in to this one.

Starz - Violation

A solid record from the under rated 70's Rock outfit, the problem is that I forgot that I already own it. That happens from time to time, with almost 2,000 records in my collection, I sometimes lose track. I figure Tony has it, so, anybody else want it? Mathdude?

Mountain - Nantucket Sleighride

The second record from Leslie West's doomed early 70's band, I picked it up for the title track which Andy Rock spoke highly of.

Cheech and Chong - Los Cochinos

The comedy duo's third album from 1973, it features the classic 'Basketball Jones'.

U2 - Unforgettable Fire

As stated previously on this blog, 'Unforgettable Fire' is my favorite U2 album. When I posted about U2 a couple of months ago I noticed the LP had gone AWOL, it's probably at the studio, but I picked up another copy just in case. Hey, for two bucks, what the hell, right?

Ruth Brown - The Soul Survives/Ruth Brown Testifies at Blues Alley, Washington D.C.

My cursory search found no reference to this Indie label release by the Soul/R&B legend, so I used this saucy photo of the woman who's impact on music deemed Atlantic Records 'the house that Ruth built'. I'm quite sure the album title says it all.

Taj Mahal - The Natch'l Blues

The second album from the uber influential and consistently congenial Blues and Folk superstar, released in 1968 at the height of his career.

Eddie Murphy - Comedian

Highlights from his groundbreaking and just plain funny as hell 'Delirious' film. This stuff never gets old.

2008-10-08T23:02:00.004-04:00

WE LIKE THE MOON

It's sad that it has taken tragedy to get me back on the stage, but that's what has happened. A good friend and comrade in the trenches of pharmaceutical sales meetings suffered a brain aneurysm a couple of months ago. She now faces not only the challenge of a long gruelling rehab, but a staggering pile of medical bills. Being that Suzie is such a remarkable person, she has many remarkable friends who have come together on her behalf to stage a benefit concert to raise funds to help her family meet the costs of her various treatments.

The show will be Tuesday night, the 14th, at R Bar - 218 Bowery, starting at 7pm, and will feature, among other acts, The Bone Dog Blues Band, as well as Chrispy and myself performing as Smoke and Mirrors.

We'll be doing an acoustic based set with some electric elements. We spent a few hours today putting a set list together and re-learning the songs. We chose songs that would be suitable for an acoustic set, and were easy enough to whip into shape in 6 days. As it turns out, we're doing a number of cover tunes, about half the set, including:

The Guitar Song - Dead Milkmen
Teenage Girl - Darlings
There She Goes - The Velvet Underground
Halloween - Dream Syndicate
Take Me Out - The Waylons
Questioningly - The Ramones

Two of those bands, Darlings and The Waylons, are local NYC bands that we've recorded at Smoke and Mirrors Brooklyn.

The rest of the set will consist of original numbers, some of which have never been performed live. No, Virginia, there will be no 'Peace Chicken', but there will be 'Virginia'.

I'm excited to play again, and I'm proud to be a part of such a wonderful event.

2008-10-07T22:42:00.002-04:00

A BAND BASED ON A PLAN, A PLAN BASED ON A BAND

In 1984 I began my lengthy tour of duty as an undergrad at the University of Maryland. At the time I was growing despondent at the state of Heavy Metal. All the good bands were starting to sound like the shitty new ones. I was looking for something new. I befriended a group of Punks who hung out at the Student Union. They were fun, freaky, and a refreshing departure from the typical U of M student. They gave me a different outlook on life, and they gave me the new music I was looking for. One of the many tunes that they exposed me to was a song called 'True Men Don't Kill Coyotes' by the Red Hot Chili Peppers. It was fresh, fierce, fun, and funky. Their self titled 1984 debut was quickly purchased and put into heavy rotation in Milkyum's Malibu.

We loved it. 'Green Heaven', 'Mommy, Where's Daddy', 'Police Helicopter', 'Baby Appeal', and 'Get Up and Jump' were highlights on an album that spoke to us, our sensibilities. The Red Hot Chili Peppers were silly, playful, irreverent, and reverent. A blend of P-Funk, Hip-Hop, and Hendrix, the Chili's were blazing a new trail in Rock.

Anthony, Flea, and Hillel were high school chums. Flea had a gig playing bass in Fear, and Hillel, along with drummer Jack Irons, had a band called What Is This. The four of them would sometimes perform together for shits and giggles, and were surprised when their 'joke band' garnered the interest of major label EMI. What Is This subsequently signed with MCA, and Hillel and Jack chose to milk that particular cow.

Undaunted, Anthony and Flea recruited drummer Cliff Martinez and guitarist Jack Sherman, and hit the studio with Gang of Four guitarist Andy Gill producing. Though big Gang of Four fans, Anthony and Flea found Gill difficult to work with. At the same time their relationship with Sherman was never very good. The album came out, they toured, and fell apart.

Fortunately, What Is This failed to pan out for Hillel. Sherman was replaced and the band traveled to Michigan to record their second effort with George Clinton producing. The resulting 'Freaky Styley' was much more to the bands liking.

Another disappointing tour followed, but things started looking up when Jack Irons came back into the fold for their third record, 'Uplift Mofo Party Plan'. The album actually charted, and morale was high despite increasing drug use on the part of Hillel and Anthony.

More Touring followed, including a European jaunt, and Hillel's health declined. An EP, 'The Abbey Road EP', featuring a handful of tracks from their previous records and a cover of Hendrix's 'Fire', was issued to buy some time until Hillel could rebound. He didn't. Hillel died of an overdose on June 25th, 1988. The dark drug scene did not sit well with Irons, and he left the band.

Eventually Anthony and Flea regrouped with drummer Chad Smith and guitarist John Frusciante and recorded 'Mother's Milk'. The album provided the band with their first successful singles, a cover of Stevie Wonder's 'Higher Ground', and 'Knock Me Down', an ode to Hillel.

The band gelled on tour, and with a newly sober Keidis they returned to the studio with Rick Rubin to record their smash hit 'Blood Sugar Sex Magik'. Suddenly, the Chili Peppers were superstars. Massive exposure overwhelmed Frusciante, who grew despondent and quit the band to pursue a drug habit of his own.

Guitarist Arik Marshall filled the gap for the 1992 Lollapalooza tour, and eventually Jane's Addiction's Dave Navarro joined the band. The recording of 1995's 'One Hot Minute' was clouded by Anthony's relapse, and Navarro's different approach to writing. The Chili Peppers work up material from jam sessions, and Navarro had difficulty with the process.

Inevitably Navarro left the band, but remarkably a fresh out of rehab Frusciante found his way back to the Chili Peppers. Another smash hit, 1999's 'Californication' followed, and the band, fuelled by Frusciante's prolific talent, cemented their place in the Rock pantheon.

'By The Way' was released in 2001, and found the band, at the behest of Frusciante, straying from the Funk and treading more subdued and textural waters. It sold bizillions regardless.

The band took it's time working on 2006's 'Stadium Arcadium', and the double album proudly displays the care and inspiration that went into it's creation. Frusciante's genius seems unlimited and boundless, and 'Stadium Arcadium' clearly demonstrates his dominance in the creative process.

In their third decade, the Chili Peppers seem unstoppable, certainly considering the tremendous amount of tragedy and personal struggle that they have encountered, and, more importantly, persevered through.

2008-10-07T21:43:00.003-04:00

JOE WHO?

Who is this 'Joe Six-Pack' I keep hearing about? I don't think he's exactly stoked to be saddled with such a moniker. I think he'd rather be known as 'Joe Six-Figure'. Just sayin'..........

2008-10-07T19:44:00.005-04:00

NEW OLD VINYL

I picked up a few records the other day. Four slabs o' vinyl, 10 bucks; discovering a new band, priceless.

There's not a whole lot of things I love more than 70's Hard Rock, and to find a 'new' band from that era at this late stage is just short of miraculous. In my many years of flipping through record bins in search of the ever elusive Tank or M80 records, I had never come across Dirty Tricks. The cover of their third and final Polydor release, 'Hit and Run' (1977), caught my eye.

Upon closer inspection I noticed that the record had been produced by the legendary Tony Visconti (Bowie, T. Rex, Thin Lizzy). That sold me, and as I continued to peruse that particular bin of used LPs, I found their second record, 'Night Man' (Polydor 1976), and grabbed that one too.

While Dirty Tricks is not the musical equivalent of the lost treasure of the Sierra Madre, they don't suck either. Dirty Tricks sound like a late 70's Hard Rock band, and that is good enough for Jackson. A British act, Dirty Tricks, after getting dropped from Polydor, briefly hooked up with Ozzy after he was booted out of Black Sabbath. I guess the magic failed to surface, and Ozzy soon bailed, headed to L.A., and found Randy Rhoads, who apparently was in possession of the magic.

I have almost purchased Roger Taylor's 'Fun In Space' album countless times, as the Queen drummer's solo debut record has long been a frequent resident of the bargain bins. At 2 dollars, I finally bought it. I remember when it came out, and I remember thinking it could be a good record given the fact that Roger was responsible for some of Queen's more rocking and less pretentious tracks ('I'm In Love With My Car', 'Tenement Funster', 'Sheer Heart Attack', and 'Fight From the Inside'), but it's quick relegation to the aforementioned bargain bins and a total lack of recommendation via word of mouth managed to keep me gun-shy in respect to pulling the trigger on it's purchase.

My suspicions were well founded. While 'Fun In Space' is not complete crap, it ain't great either. Roger has a great raspy whiskey vocal style, and his drum chops are noteworthy. He is also a capable guitar player as evidenced by his guitar playing on Queen's 'News of the World' record, so it is not surprising that he played all the instruments ("approximately 50%" of the synth tracks were played by Engineer David Richards) on 'Fun In Space', which he also wrote, arranged, and produced.

What's wrong with 'Fun In Space'? Songs, or the lack of them. The songwriting is simply not that strong.

I had expected a Hard Rock record given his contributions to the Queen canon, but 'Fun In Space' finds Roger flirting with technology, opting for synths over guitars much of the time. Now, there's nothing wrong with that, but it feels like Roger was keeping up with the Joneses, or the Gabriels, or the Sumners more specifically, and the result is a great sounding record that lacks greatness in composition.

The cover art is cool as hell, though. Another Hipgnosis classic.

The fourth record I picked up was a 12" of the Tom Tom Club's 'Pleasure of Love'. I confused this song with their timeless classic 'Genius of Love', which I thought would be a great addition to the collection. I envisioned it being pulled out at parties to enthusiastic response. Oh, well, wrong song. The kicker is that when I pulled the disc out for a spin, I discovered that it was severely damaged, cracked clear across the entire surface, unplayable.

Caveat emptor.

2008-09-28T00:55:00.004-04:00

ALL TOMORROW'S PARTIES

My old buddy and veteran of many psychic wars Rob Kendall invited me to attend yet another music festival to fittingly end the festival season, bringing my total for the season up to three. All Tomorrow's Parties was not only the biggest of the three, it was hands down the strangest and easily the best.

Held over three days at Kutsher's in Monticello, New York, ATP featured 40 bands stretched over two stages in what was truly a marathon of Indie Rock. Kutsher's is a beat up country club - think 'Dirty Dancing', embracing Rock as a means of survival in it's twilight. Despite the cheesy decor and the decidedly run down state of the place, or maybe partly due to those factors, Kutsher's was a great spot for the event. Attendees had the option of booking rooms for the weekend, a great idea that we opted out of due to the close proximity of Rob's parent's house, minutes away, and the graciousness of said parents in offering to schlep our drunken asses to and fro.

The festival kicked off Friday afternoon with Bardo Pond, who I've never heard of, and we missed due to traffic leaving NYC. We did make the Meat Puppets who performed their LP 'Meat Puppets II', which features 'Lake of Fire', which was covered by Nirvana at their MTV Unplugged performance. The band was loose, and singer/guitarist Curt Kirkwood seemed a bit less than engaged. Quite a bit of seemingly disinterested guitar noodling. On the other hand, his brother, bassist Cris Kirkwood, leaped about the stage like a madman.

Tortoise took the stage next and provided 45 minutes of instrumental Prog rock that bored the shit out of me.

Sonic Youth's Thurston Moore followed, his assembled band which featured SY drummer Steve Shelley accompanied the ever likable Moore as they performed his 'Psychic Hearts' solo effort. I like Thurston, I just wished I liked his music more than I do. I certainly respect his work.

Built To Spill closed the evening performing their 'Perfect From Now On' record. I'd never heard the record. Hell, I'd never heard Built To Spill at all, though I was aware of their prominence in the Indie scene. I can see why, they are very good. Tight as hell, catchy well crafted high energy tunes, the only drawback for me being the vibe I got from the singer, which I found to be off-putting in a certain arrogant way.

Day two kicked off with Alexander Tucker, a solo acoustic act. I found his use of loop stations interesting, certainly creative, but the solo acoustic thing bores me fast, unless it's Neil Young, and Alex ain't Neil.

We moved to the main stage for Apse, who I quite enjoyed. Rather chaotic, but there was something endearing about them, something positive and joyful amid the catharsis of their performance.

The Drones followed Apse on the main stage. Hailing from Australia, the Drones were among a number of acts from around the world at this international festival, indeed there was a very large assortment of nationalities represented among the 2,700 attendees. I liked The Drones quite a bit. In contrast to their moniker, The Drones offer peppy, poppy, heartfelt Rock with plenty of positive energy and a lack of Bullshit type of candor that I found refreshing. I met the drummer later that day and resisted the urge to bring up Rose Tattoo.

After The Drones we headed back to the second stage to check out Wooden Shjips, who I'd never heard of either. Their name evoked hippiedom, but we'd heard positive things. Well, all I can say is that Wooden Shjips lacks strong tunes, but somebody in the band has more than one Uriah Heep record, and though their material didn't grab me, I dug their sound.

Rob was keen on catching the Fuck Buttons, probably due to their name. An electronic act, the Fuck Buttons didn't do it for me, and I bailed to go wander around, smoke weed, and cop a seat. There was no seating at either stage, and all the standing wore on me.

The Fuck Buttons were followed by Edan with guest Dagha. I thought Edan and Dagha were going to be some sort of World Music, maybe another hippy deal. Wrong. Edan and Degha delivered some refreshingly cliche free Hip Hop, and won my enduring affection with their use of Thin Lizzy's 'Johnny the Fox Meets Jimmy the Weed'.

A quick visit to the second stage to check out OM. A duo consisting of a drummer and a fuzzed-out electric bassist/vocalist, OM is a one trick pony whose novelty wore out fast. Long winded mystical chanting accompanied their plodding, trudging cro-magnon compositions. I took another walk.

Back at the main stage we caught Polvo. I was curious about Polvo, the Misanthrope had blogged about them recently, and I was looking forward to the set. The problem was that due to a typo on the provided line-up brochure, the entire time Polvo was onstage I thought I was watching a band called Autolux. Polvo was good, at least I remember thinking that while I thought I was catching Autolux, but looking back, I can't remember much about their set.

Les Savy Fav was the highlight of the day, if not the whole weekend. I was wholly unprepared for what was unleashed in that theater when Les Savy Fav took the stage. Yet again, I'd heard of them, but I was not familiar with their music, and I certainly had no idea what was in store. I speak, of course, of vocalist and complete madman Tim Harrington. Harrington is a force of nature, part comedian, part drunken giant leprechaun, the fact that he's also a good singer seems almost ancillary when one witnesses the sheer insanity that he brings to the stage. While the band deftly made their way through the surprisingly upbeat set, Harrington explored the environment, climbing, running, jumping all over the stage, and spending equal time in the audience, all the while clutching a magnum of red wine, of which I'm sure he disposed of more than one. I was very impressed.

Shellac closed day two. Yet again, I'd heard the name, but it wasn't until they took the stage that I remembered that Shellac is Steve Albini's band. I suppose they're good, but I have Albini issues. Certainly I respect his work as a producer and engineer, but he's such a douche, and watching him front a band left me.....uh.....whelmed. I tried to ignore Albini's geeky stage presence, tepid vocals, and amateurish guitar skills by focusing on the amazing rhythm section, without which the band would simply suck out loud.

We arrived at day three in time to catch The Wounded Knees, supposedly somehow related to Mercury Rev, and consisting of two acoustic guitars (heavily processed), drums, and flute. The tunes didn't grab me, but the flute player (flautist?) was amazing. Jay Mascis (Dinosaur Jr.) sat in for the lengthy set closer during which he traded licks with the talented flute lady.

Robin Guthrie opened the main stage for day three. The former Cocteau Twin guitarist created sweeping reverb drenched soundscapes accompanied by a series of artsy video montages. I bailed during the second number to check out The Lillys on the second stage. The Lillys rewarded me with some sharp tunes with hints of Blur, Weezer, and Talking Heads. Not too shabby.

Back to the main stage for EPMD, I thought I was in for more Electronica, instead I got old school Hip Hop. I was pleasantly surprised. Mercury Rev was up next, another band I'd heard much about but managed to avoid. I was more interested in Spectrum at the second stage, I was familiar with Spectrum, an off-shoot of Spacemen 3. Of the three major acts to emerge from Spacemen 3, Spectrum most closely resembles the sound of Spacemen 3, but they lack the songcraft of Spiritualized, and the sonic boom of Sonic Boom. A bit disappointed, I joined Rob at Mercury Rev at a particularly messianic moment in their set. Grand is the word I'd use to describe Mercury Rev, that and, well, kinda gay. Good, but a bit pretentious, and kinda gay.

I've been due a live Yo La Tengo experience for sometime. Practically all my musician friends love Yo La Tengo. I even played a Yo La Tengo song when I was in Happy Boy. I'm sorry, but I missed something. Most of the time it was like watching Crazy Horse without Neil Young. I started in with the tequila. We caught a bit of 'You'll Know Us By The Trail Of Our Dead'. Very earnest Post Emo, well executed but lacking in the all important sack.

I continued with the tequila and was perfectly intoxicated for Bob Mould, the only act at the festival represented in my record collection. I love Bob, and he did not disappoint with a set culled from Husker Du, Sugar, and solo Bob. It was great. Absolutely fantastic.

By this point I was extremely drunk. I somehow managed to miss Mogwai altogether. I caught a bit of the way too loud Dinosaur Jr. set. Jay Mascis has three super-sized Marshall stacks. It was too much and I found a couch. By the time I made it back to the main stage My Bloody Valentine were wrapping up their much touted first American gig in 16 years. Ooops. Damn tequila.

I saw a lot of bands, probably too many.........

2008-09-13T00:44:00.003-04:00

A SOLO RECORD BY ANY OTHER NAME............

When all is considered, certainly at face value, one can hardly deny the fact that Peter Gabriel is a bit of a weirdo, a truly talented visionary, an innovator, but a weirdo none the less. From playing dress up fronting Genesis, to making music with primates, it's safe to say that Pete trods upon a different path, and damn am I glad of it.

One of the first things that impressed me about Gabriel when my brother Fred introduced me to him in 1983 was the fact that he had named all four of his initial solo records 'Peter Gabriel'. That's so weird. It forced his fans to develop alternative titles, Wet Car, Scratch, Melting Face, and 'Security', the last having the distinction of actually being sort of official as it appeared on the center label of the vinyl disc, a concession to Geffen Records, but not on the record jacket.

Okay, 'weird' may be a bit strong, at least for his post Genesis career, but that flower outfit was weird, as were many of the costumes he appeared in on-stage in those days, and the reverse Mohawk was truly weird.

As far as his solo era is concerned, specifically those first four records, maybe unconventional might be a more fitting adjective.

And it's that conscious lack of convention that made him an exceptional artist, his innovation a direct result of an effort to break from routine. It certainly doesn't hurt that he's a gifted singer and composer.

In 1975, after the difficult birth of Genesis' 'The Lamb Lies Down On Broadway', Peter parted ways with Genesis, ostensibly to embark upon a film career. No movie ever surfaced, and by 1977 Peter had signed to the fledgling Geffen Records, and released his first solo record, the first self titled record, the album with the wet car on the cover.

Produced by Bob Ezrin, Wet Car, briefly reviewed here, in summary, is a truly great record, as well as home to Gabriel's first Classic Rock staple, 'Solsbury Hill'. Whereas I accept that the third record, Melting Face, is the strongest of the four, Wet Car is my favorite. There's a lot of big production numbers - Ezrin? Big production? Really? - some quirky arrangements that provide a link to his past work, and some really fantastic songs, 'Solsbury Hill', 'Modern Love', and 'Here Comes the Flood' stand out, but the whole thing is magic.

Robert Fripp, who appears on Wet Car as guitarist, was promoted to Producer for the second record. Released in 1978, Scratch suffers in comparison to Wet Car, mostly on the basis of the songs themselves. Scratch is much more introspective, quieter, and, well, weird. The record has grown on me over the years, and I do enjoy it, but outside of 'On The Air', 'DIY', and 'Exposure', it lacks punch. While Wet Car shows a great amount of musical diversity, on Scratch the diversity comes off as a bit meandering and unfocused.

For 1980's Melting Face, or Games Without Frontiers, as it is sometimes called, Gabriel brought in Steve Lillywhite to produce, but it was Gabriel's own notions of production that have earned him and engineer Hugh Padgham lasting recognition as innovators. Gabriel's vision was simple, no cymbals. No hi-hats, no crashes, no rides or splashes. The effect was two fold, it opened up the sound of the record, providing more space, a sharper focus, for the rest of the instrumentation, and notably, Peter's amazing voice. The great innovation, however, came accidentally. During a drum take, while the talk-back mic was on, Phil Collins hit his snare. The sound of that snare in the control room, passing through the massive compression of the talk-back system, created a sound that captivated Peter. In response, Hugh Padgham rigged up a similar compression scheme for the snare mic. They then added a noise gate, and created the soon to be ubiquitous 'Gated Snare' sound, an effect that would not have worked in conjunction with cymbals.

Melting Face contains two of Peter's more well known songs of the pre-'So' era, 'Games Without Frontiers', and 'Biko', while 'I Don't Remember', and 'Family Snapshot' stand out as wonderful compositions, and help to earn the record the outstanding status it enjoys. Melting Face is also a much more focused record, at least thematically, largely dealing with racism, exclusion, and social outsiders, culminating with the ultimate statement that is 'Biko'.

The last of the bunch, 1982's 'Security' provided Peter with his biggest hit yet, 'Shock the Monkey'. At the same time, the album is Peter's weirdest post Genesis LP. From tribal rhythms to ethereal ambiance, there was simply nothing conventional about it. Again, Peter the innovator, Gabriel the great embracer of technology, showed his pioneering ethos in the recording of 'Security' by being one of the first to go digital, as well as the use of sampling, another infant technology at the time.

After a big tour and a resulting live record, Gabriel cocooned for a bit, only to emerge in 1986 as the great entertainer with one of the biggest records of the decade, but that's another story, those records have names, weird one's too.

2008-09-12T23:33:00.004-04:00

NFL 2008, WEEK 2

I'm not doing picks this year, at least not all the games like I've done the past few years. Instead, I'm just going to concentrate on the important games, by which I mean games involving the Jets, Giants, Saints, Falcons, Cardinals, Cowboys, and the cheating Pats. I'll probably also touch on other interesting match-ups, but mainly I'm going to stick to the actually relevant games.

Of course the big game this week is the Jets/Pats battle royal at the Meadowlands. Now, I'm no fool, contrary to popular belief based on absolutely insane statements made right here, but all that stuff is just entertainment. In all actuality I'm a man of reason, and reason dictates that even without Tom Brady, the cheating Pats are still a very dangerous and talented team. I mean all Matt Cassel has to do is get the ball near Moss and Welker and they'll do well. The X Factor, however, is two-fold. First, the Pats have to play on unfriendly turf, and you can bet that the Jets are going to show up armed with a mighty axe for some mighty grinding. There's more than just bad blood between these two camps, and X Factor number two, Brett Favre, is certainly capable of leading the Jets to victory. The lack of Brady simply closes the gap a bit, and hell fucking yeah I'll take it.

Jets win.

Indy/Vikings is a big game, both teams have something to prove. Indy has to prove that they are still the team to beat in their division, and the Vikings need to prove that they are as good as the hype. Let's face it, Jim Brown and OJ proved that a great running back does not equal championships.

Indy wins.

The Giants will beat St. Louis. Of course they'll let the Rams stay in the game, maybe even blowing a lead, before finally vanquishing the team that belongs in Los Angeles.

New Orleans travels to Washington D.C. (Maryland actually) to take on the Skins. I like new Redskins Head Coach Jim Zorn, as I was a Seattle fan back before Holmgren, before the new uniforms, before Starbucks, but I think he needs some time to work out the kinks in his offense, and I truly hope he's given that time. In the meantime they will lose to the Saints.

Atlanta has a big division game against Tampa Bay. The Falcons surprised a lot of people last week. It may be too soon to buy wholesale into the new Falcons, but I'm hopeful, and I think they will eek out a win.

Miami at Arizona, last year I would have picked them both to lose. This year they are both much improved. I gotta go with my man Chad and the Fish, as much as pains me to route for other teams in the Jets division. I'm nothing if not loyal. This one's for the Legal Diva!

San Diego will lose at Mile High to Jay Cutler and the Broncos. I don't really care who wins, but it's a big division match-up, so I suppose it's a big deal, to somebody.....

Pittsburgh will continue to dominate the AFC North with a victory over Cleveland.

The Eagles/Cowboys is probably the toughest game to pick. It could go either way. Both teams are playing very well, and though the Cowboys may be a stronger team on paper, I think McNabb is in the zone right now, and that coupled with my hatred of the Cowboys leads me to pick the Eagles, again despite their divisional proximity to the Giants.

It's going to be a very interesting year, the playing field overall has been greatly levelled, except for Northern California that is. What's going on in the Bay Area?

Go Jets!

2008-09-12T20:12:00.008-04:00

PERSISTENCE GAINS RESPECT

I've been a Heavy Metal fan since 1979 when my brother Rod turned me on to Judas Priest's 'Hell Bent for Leather'. The timing could have not been more perfect, for in 1979 a fierce wind began to blow across the land of Hard Rock. It's epicenter was England, and it came to be known as The New Wave of British Heavy Metal. A tidal wave of Heavy Metal bands crashed ashore on both sides of the Atlantic, and indeed it's force was felt world-wide, in Japan, and notably in California.

While I was obsessively buying Saxon and Iron Maiden records, a Danish expatriate and tennis player named Lars Ulrich was doing the same in Los Angles. So strong was the lure of the Metal that Lars hung up his racket in favor of a drum kit and placed an ad in a local paper. That ad brought him his life-mate (no homo) James Hetfield, and Metallica was born.

I've often thought about this. How the members of Metallica were nursed on the same mother's milk as I, but as the seeds germinated, their tree bore much different fruit.

Metallica's gestation period ended in 1983 with the release of 'Kill 'em All', an only slightly classier title that the original, 'Metal Up Yer Ass'.

It wasn't until 1984 that I had the displeasure of hearing a few tracks from 'Kill 'em All', courtesy of a co-worker at a McDonald's in Ocean City, Maryland. The gentleman in question had all the earmarks of what I would come to expect from and associate with a Metallica fan. Not very smart, not very clean, and fiercely and boisterously supportive of his favorite band.

I didn't dig it, Metallica that is, my co-worker was a fun guy despite his fondness for Metallica, and looking back, I respect him for at least being at the forefront of Thrash, which is a sub genre of Metal that hadn't been named yet because Metallica had just invented it.

That's what this post is about, respect, because although I didn't take to Metallica, or the hoards of Thrash bands that would follow in their wake, they were the founding fathers of Thrash. Sure, just as the founding fathers of our country, they didn't just come up with their sound one day out of thin air. Others paved the way and provided some serious shoulders to stand on. Jefferson had Voltaire, Hamilton had Thomas Paine, and Metallica had Motorhead and Judas Priest. Like Jefferson and Hamilton, Metallica took from their influences those aspects that worked for them in their environment. They latched onto the precision, the seriousness of Judas Priest, but jettisoned the more melodic, the more accessible side of the band, and in it's place they dropped in the growl, the danger, of Motorhead.

It was a formula that worked, and indeed, in time, a formula for success.

So, as I've stated, I shunned Metallica, as I did all Thrash. I didn't like the vocals. Being raised on the Beatles I appreciated melody and harmony in a vocal performance, something totally lacking in Thrash, plus I didn't much care for the production. Tinny drum sounds, the lack of bass guitar in the mix, screeching high end barrages of sixteenth notes serving as solos, and the shouting approach to vocals all combined to put me off the genre.

By 84 Metal was dead for me, my Metal had been replaced by Thrash and Glam. Everything was driven to one extreme end of the spectrum or the other; caught in the void in between, I went elsewhere, Punk, Classic Rock, and the emerging synthesis of the entire canon of Rock, Alternative.

Metallica on the other hand blazed a trail of destruction across the world with their relentless touring, amassing an enormous fan base the old fashioned way, the hard way, one show at a time. I was increasingly finding myself inundated and out-numbered by Metallica fans. I'd find myself in conversation with fellow Metal fans, discussing the virtues of Judas Priest and Iron Maiden, and invariably they'd bring up Metallica, I'd let on that I wasn't a fan, and they'd look at me like I was talking about quadratic equations.

Then I met the Joe man, a true brother, a true friend, and a true Metallica fan. He even liked Anthrax for chrissakes! Joe and I bonded over a great many bands, U2, Jane's Addiction, Bauhaus, he even had respect for Kiss. Joe had good taste, and he liked Metallica. How could I resolve such confounding lack of reason?

At the time, '.....And Justice for All', Metallica's fourth and biggest album to date was selling at an an incredible rate despite the lousy production at the hands of Lars and James. The album sounded dreadful, but people were buying the shit out of it. Metallica's legions of worldwide fans propelled the record to the top of the charts. Without any real radio support, without any MTV presence at all, Metallica had climbed to the top.

Respect.

I hated the record, but you had to give 'em props. They had earned their success.

Then came The Black Album, or 'Metallica' as their landmark 1991 release was titled. Hell, you'd think that Hetfeild had spit on the mothers of his entire fan base, such was the response from the die-hard Metallica fans.

The band had come to realize the mistakes made in the production of ".....And Justice for All". They had money now, and with their new position of strength came the ability to spend some time on the follow up. The band enlisted producer Bob Rock, who's recent success with Motley Crue ('Dr. Feelgood') had him on the top of many a Hard Rock band's wish list for producers.

Bob pushed the band in ways they'd never been pushed. He made them record all the basic tracks live as a band, divorcing them from their previous studio methods of separate tracking, and in doing so producing a groove, a cohesion, that had been sorely lacking. Bob also found room in the mix for Jason Newstead's bass guitar, a huge development in the maturing of the Metallica sound, but it was with Hetfeild that Bob truly transformed Metallica. Bob forced James to sing, or at least shout with unprecedented melody, even pulling harmony parts out of the notorious barker.

The Black Album may have pissed off a lot of the core fans with it's polish, it's hooks and melodies, but those same attributes opened the door to mass appeal, and 'Metallica' definitely appealed to the masses.

I even liked it.

The Joe Man then dragged me to the former Brendan Byrne Arena, the now former Continental Airlines Arena, a place we call the Meadowlands, now the Izod Arena, to Metallica in the flesh. There was no opening act, just a short promo film, and then BAM!, Metallica pulverized the joint. I'd seen Priest, I'd seen Maiden, I'd seen Kiss twice, and I'd not experienced anything like it. If it wasn't for Lars' need to stand up behind the kit after every song to bask in his wonderfulness, I might have even been won over completely. Certainly their cover of Queen's 'Stone Cold Crazy' had me leaping up and down ecstatically, but in the end I just couldn't deal with the personality, well, two personalities, Lars and James.

Kirk Hammett always enjoyed a soft spot in my heart. Maybe it was his Heavy Metal Santana vibe, but more likely it was his lack of jerkness. Newstead was another non-jerk, stalking the stage ominously, flinging his bass about with abandon, no, it was the Jerky Twins, Lars and James, that put me off.

But I respected them.

Their next three albums fell on ever increasing indifferent and disappointed ears. Metallica had lost the plot, and as Hetfield's alcoholism began to poison the bands internal relations, culminating in Newstead's departure, Metallica embarked on a truly bizarre project. They hired a band therapist, returned to work on what would become 'St. Anger', and had the proceedings documented for a feature film.

Therapy is decidedly not Metal, and watching these millionaires whine and bitch about truly asinine matters did not prompt one to raise a fist in the air, but, regardless of what fans now thought of their exposed, flawed heroes, they were thinking about them at least. 'Some Kind of Monster' may have pulled aside the curtain on Metallica, but it made them relevant again.

Exposing themselves was a ballsy move. Again, respect.

They could have called it a day. Shit, they don't need the money, and as I'm sure Lars will gladly tell you, file sharing has destroyed a band's ability to rake in the millions via album sales anyway, but they soldiered on.

Persistence gains respect, and often persistence leads to perseverance. To that end, Metallica made a very smart, very respectable move. They brought in Rick Rubin to produce their next album, the recent release, 'Death Magnetic'. I've only heard one track, the single, I'm sure on the title, but I can tell you that it sounds like the Metallica of old, think 'Master of Puppets' with much better production.

I don't think I'll buy it, but I do respect it.

2008-09-12T18:10:00.011-04:00

SHINE A LIGHT

So, uh, yeah....I never made it to the theater to see Martin Scorsese's Rolling Stones feature, 'Shine a Light'. Well it showed up on the On Demand menu, and I thought about it for about a nano-second before committing the $4.95 to view.

So, yeah, I'm a bit, er.......conflicted.

I guess I thought it'd somehow live up to 'The Last Waltz', but no, not so much. I figured Marty's obvious love for The Stones (check his soundtracks) would bear out a great film. We'll, sort of. 'The Last Waltz' has better energy, better candid back story chatter from the musicians, and, as much as I'd hate to say it, stronger performances. The Band called on a great many more 'friends' to perform with them at their hootenanny, The Stones only brought out three.

I was mightily impressed, and pleasantly surprised by Jack White's duet with Mick on 'Lovin' Cup'. 'Lovin' Cup' is sacred territory, and I was a bit leery about it, having known in advance that it was coming my way. I was afraid of another horrible disfigurement of a Stones classic like that of a certain W. Axl Shithead and his maltreatment of 'Salt of the Earth' back in the late nineties. Well, apparently Jack has some affection, and respect, for 'Lovin Cup', as was evidenced by his reverential treatment, his obvious preparation - he knew the words, hell, twenty-odd years down the road and I'm not 100% on the lyrics to 'Lovin' Cup', and the sheer joy of the moment he displayed throughout. My God, imagine trading lines with Mick on 'Lovin' Cup'. I'd die from a joy overload.

The second guest was Buddy Guy. They played an obscure tune that, apparently, might have been written by Muddy, certainly performed by him, 'Champagne and Reefer'. Now, I'm going to love anything Buddy does, he's simply electrifying, and I'm also going to love a song that goes:

"Give me champagne when I'm thirsty
Give me a reefer when I want to get high"

Nobody was quite sure about the quirky 10 bar arrangement, it did seem odd, but it was a celebration on-stage, and Mick's harp playing proved a powerful contrapuntal element to Buddy's Strat on the barely stable musical see-saw.

The third artist to sit in with The Stones was Christina Aguilera on 'Live With Me'. Now, I'm on record as stating that 'Live With Me' is my least favorite song on an otherwise perfect 'Let It Bleed'. Many of you, and others as well, have argued the case for 'Live With Me', and I can dig your rap, my man, or woman, my person, if you will. I do love the nasty guitar stabs in the verse, but, I don't know, the song seems kind of a toss off, like 'Short and Curlies', or 'She Was Hot' (which they also performed). At any rate, I can see it's utility in a situation such as we're discussing. It makes a nice saucy 'Mick and Hot Chick' duet moment, reminiscent of similar moments of yester-yore with Tina and such, but, Christina, despite considerable chops, and a not too shabby, though a bit lean, physical construction, is not Tina. Tina and Mick were peers, contemporaries, they had simpatico, it worked. Christina and Mick, not so much. Gotta give her props for keeping up with the band though. Not a bad cup o' beverage, just not mine I suppose.

I think Keith had on off night. Strike that, I'm positive he did. The audio mix also seems a bit frantic with instruments darting in and out, a likely result of serious 'ducking' to hide 'unplanned tonal events' - we call 'em mistakes. I don't think I'd be up for telling Keith he fucked up, but Marty's camera's not only caught some of those events, they also caught Keith's glances to Charlie owning up to them. I suppose only Charlie enjoys the luxury of keeping Keith honest.

That brings up what is excellent about this film, however. The intimate onstage moments that Marty managed to capture are very enjoyable, moving, and effective. The Buddy Guy sequence is a great example. Not only does the camera lovingly capture a true Blues legend sharing a loose, largely unrehearsed jam with The Stones, it captures the magic, the magic conjured up by joy, that happens when talent and experience mix with abandon. Marty also managed to capture a special and telling moment as Keith and Buddy walked backstage after the song. Keith handed his black Gibson ES 335 to Buddy, 'take it, it's yours now', Keith says. This is not the action of a rich egotistical Rock Star patronizing a less fortunate comrade. Keith knows Buddy has plenty of guitars, as well as the means to acquire as many as he may desire, no, Buddy's doin' fine, as Keith well knows, no handouts necessary. It was an ancient act of chivalrous nature. The gunslinger knows he was bested, and in a gesture of respect, he hands over his side arm in acknowledgment of a schooling.

Time and again Marty captures the moments, like on 'Far Away Eyes' - brilliant pedal steel by Ronnie by the way - when Keith strode up the mic for the harmony part in the chorus - "....and you can't harmonize"...yeah, I know, ironic - and Keith blows the line and mutters "...aww fuck it." straight into the mic. Immediately Keith looks over at Mick, obviously pleading for mercy from the backstage barking he's sure is in store for him. Moments later, as the second chorus swings around Keith is obviously steering clear of his mic, and here comes Mick with his hand held mic imploring Keith to take another stab as they share the handheld. It's a touching moment of friendship, caught lovingly by Marty's camera jockeys. In years past, I don't think Mick would have been inclined toward touching moments of reassurance. No, I think in years past Keith would have received the tongue lashing (all puns intended) he was expecting.

It seems The Stones have arrived at a place of peace in respect to how they act toward each other. Like any marriage that lasts as long as theirs, forty-four years, a certain amount of acceptance settles over the union. You just have to survive long enough for it to happen, and in order to survive that long, you have to be in it for the right reasons. Pure reasons.

Marty may have caught the Stones on an off night, but he caught them loving it, he caught the purity in what they are, which is a forty-four year long homage to the Blues of Muddy, the Country and Western of Hank, and the Rock and Roll of Chuck.

2008-09-11T10:28:00.004-04:00

KNOW YOUR RIGHTS

Hey, assholes, it's my fucking blog, a place where I'm free to vent my hatred as I see fit. I hate the Patriots, and I hate Republicans. I suggest that if you are too much of a sissy to handle some strong language thrown at Republicans and Belichick's team of cheating shit weasels, then stay the fuck away, go to the thousands of 'I Love Tom Brady' blogs, go worship the book banning creationist and the doddering old fool she shares the ticket with at the thousands of websites dedicated to such idolatry.

Please.

If you love music, non cheating football teams, truth, justice, and reason, then please read on friend.

UPDATE:

Okay, I had just got out of bed when I wrote that, so I'd like to add the following addendum:

1) 'Anonymous' will always have fecal matter slung at themselves upon entry.
2) I don't hate anyone I know.
3) Please leave comments, if, and only if, they are more than mere diagnostic statements about my emotional state or psychological makeup. I have professionals working on that, thank you.

2008-09-11T10:20:00.001-04:00

WHAT HAVE WE HERE?

Hey, maybe it's just me, but I'd like to keep this family in Alaska.

2008-09-09T11:53:00.002-04:00

NFL WEEK ONE

Very exciting week. All my teams - Jets, Giants, Saints, won their opener. Favre brought his 'hail mary' as expected, and the Jets receivers responded well. Eli got Big Blue off to a great start, and although they slacked a bit here and there, they managed a win, and that's what counts. Reggie Bush woke up from his year long funk. Thanks Reggie, we'll see how the next 15 games go.

Tony's Falcons emerged from their dismal performance of recent years with a victory over Detroit at the hands of hitherto unknown Running Back Michael Turner.

Even Mathdude's Cardinals managed a win over, well, San Fran, but hey, it's win.

Tennessee's unexpected win over San Diego was interesting, as was Chicago's victory over Peytie Pie. It seems practice is important. Unless you're Plexico that is.

The nancy boy Cowboys beat the lacklustre Browns. Big deal, let's see how they do against a real team.

The big story is, of course, my prayers being answered in the form of Tom Brady's season ending knee injury. Sure, they beat KC, but I'm confident that Brett and the Jets will crush them next week. I've heard that if Matt Cassel goes down, the Pats have the so superbly qualified Sarah Palin waiting in the wings.

2008-09-07T09:16:00.002-04:00

LOOK IN THE EYES........

Book-Banning Creationist.

Look before you leap people. Go ahead, vote for McCain, if you want your children to grow up in a land of faith based ignorance. If you oppose a woman's right to choose, then by all means vote for John McCain.

I want to believe America is better than this. I really hope so.

2008-09-04T19:23:00.002-04:00

AND WE'RE OFF

Eli Manning runs it in for the first touchdown of the NFL season. Big props to Plexico for getting them in the red zone on the first drive.

Oh, it's on.....

2008-09-04T01:00:00.005-04:00

CLASH CITY ROCKERS

I came late to the Clash party. I remember my brother Rod having the first two records, 'The Clash' (1977-UK, 1979-US), and 'Give 'em Enough Rope' (1978), but the first time I recall hearing the Clash was in Alex Mans' Road Crew Mobile Unit One in 1983. He had the first record in the cassette player and I remember hearing 'Hate and War'. I suppose I though it was okay, but not my cup o' beverage, at least not yet.

In the early 90's I made a mix tape at Rod's house that had selections from 'London Calling' (1979): 'London Calling', 'Brand New Cadillac', 'Jimmy Jazz', 'Lost In the Supermarket', and 'Clampdown', so I guess by then I'd come to appreciate the Clash.

Soon after I bought the first record on cassette, and by '97 I had become a full blown Clash fan, and had obtained all their albums on vinyl, with the exception of 'Cut the Crap' (1985), which I don't consider to be an actual Clash record due to the lack of Mick Jones.

What finally sold me on the Clash wasn't so much their seminal Punk sound, or the sociopolitical content of their songs. What sold me was the fact that they were a great Rock band. Joe Strummer's post Clash career serves only to point out that the Clash was indeed an example of the sum being greater than the parts. Mick brought hooks and melody, Paul Simonon brought credibility, and Topper Headon brought talent.

What I like the most about the Clash is the diversity of musical styles. By their third album ('London Calling'), they had moved beyond the limits of traditional Punk, expanding on the Reggae influence, and delving into a number of other musical frontiers.

Chrispy asked me recently where the Reggae came from. Certainly the Clash were not the only English Punk band to dabble with the 'crooked beat', they just did it better, or more authentically. The Reggae influence was two fold. Paul Simonon (bass) grew up in Brixton surrounded by Jamaican immigrants, Reggae was the soundtrack to his youth. The major factor, however, and this goes for the entire English Punk community, was Don Letts. Don was the house DJ at the Roxy, the first, and initially the only club in London that would put up with Punks. Don spun mostly Reggae, and thus the English Punk scene was born amid the sound of Roots Reggae, Dub, and Ska.

The Clash, in particular, were fascinated with Jamaican music. Their initial attempt at Reggae can be found on their debut record in the form of their cover of Junior Marvin and Lee Perry's 'Police and Thieves'. While a bit faster and more angular than the real thing, it was a notable and reverent effort.

The Clash's obsession with Reggae went beyond music as well. In aligning themselves with Reggae, they were consciously associating themselves with Rastas and Rude Boys - outcasts, criminals, and most importantly, political outsiders. The Clash, very early on, was as much a political organization as it was a band. Frantically trying to shed, or at least obscure the middle class roots of three quarters of the band (Paul was decidedly working class, hence the credibility previously mentioned), Reggae was a perfect touchstone for their personal historical revisionism. 'White Man In Hammersmith Palais', also from the debut record, though not Reggae, lyrically sums up the relationship between the band and Reggae.

"Midnight to six man, for the first time from Jamaica
Dillinger and Leroy Smart, Delroy Wilson, your cool operator
Ken Boothe for UK pop reggae, with backing bands sound systems
And if they've got anything to say, there's many black ears here to listen

But it was Four Tops all night with encores from stage right
Charging from the bass knives to the treble
But onstage they ain't got no roots rock rebel
Onstage they ain't got no...roots rock rebel

White youth, black youth, better find another solution
Why not phone up Robin Hood, and ask him for some wealth distribution

Punk rockers in the UK, they won't notice anyway
They're all too busy fighting, for a good place under the lighting
The new groups are not concerned, with what there is to be learned
They got Burton suits, ha you think it's funny, turning rebellion into money

All over people changing their votes, along with their overcoats
If Adolf Hitler flew in today, they'd send a limousine anyway

I'm the all night drug-prowling wolf, who looks so sick in the sun
I'm the white man in the Palais just lookin' for fun
I'm only looking for fun"

So wholly taken by Jamaican culture, the Clash decided to take a Jamaican holiday in early 1978 just prior to recording their second album. Their dreams of harmoniously integrating with the Kingston scene were dashed upon the rock of racial reality. Where they weren't shunned they were robbed and threatened. Jamaica was not Brixton. They high tailed it home after a few days. 'Safe European Home' from 'Give 'em Enough Rope' details the experience.

"Well, I just got back an' I wish I never left now
Who dat martian arrivin' at the airport?
How many local dollars for a local anaesthetic?
The johnny on the corner wasn't very sympathetic

I went to the place where every white face is an invitation to robbery
An' sitting here in my safe European home, I don't wanna go back there again"

But the love for the music remained.

'Give 'em Enough Rope' shows the band branching out in other ways as well. 'Julie's Been Working For the Drug Squad' offers a Swing feel, and 'Stay Free', Mick's touching ode to childhood friends gone astray, displays Mick's emerging strength as a Pop songsmith.

'London Calling', however, is where all the rules got tossed in the dustbin. Along with Punk Rock, Rock and Roll, and Reggae, the band took on Jazz, Rockabilly, and English Musichall. Paul Siminon's 'Guns of Brixton' finds the band very close to an authentic Roots Reggae sound. 'Death or Glory' is a Hard Rock anthem. 'Clampdown' is Punk grown up. 'Lost in the Supermarket' is pure Pop bliss. 'Jimmy Jazz' is a loose bluesy romp that nearly falls apart, only increasing it's charm. 'Brand New Cadillac' provides the Rockabilly, but it's 'The Card Cheat' that has earned my eternal devotion. A traditional English ballad with a traditional English arrangement about traditional English subject matter - love, death, and cheating at cards.

The Clash followed 'London Calling' with a compilation of B-Sides and out-takes, and again 'Black Market Clash' dishes up the Jamaican influence. Side one is all Punk Rock and Rock, even a cover of Toots Hibbert's (Toots and the Maytals) 'Pressure Drop' features a speedy Rock arrangement to a Reggae classic. Side two is all Dub. On 'Bankrobber', and 'Armagideon Time' the Clash completely nail the freaky echo laden Reggae sub genre.

'Sandinista' (1980) was an explosion of diversity. Over the span of three LPs the Clash continued to immerse themselves in a variety of musical styles, though the mammoth scope of the record often finds the band lacking in execution, much of it is excellent, most notably Mick's more accessible contributions - 'Police On My Back', and 'Somebody Got Murdered'. Paul returns to form with 'Crooked Beat', and Joe continues the struggle on tracks like 'The Call Up', 'The Leader', and 'Washington Bullets'.

1982's 'Combat Rock' was a decidedly reigned in response to the excess of 'Sandinista'. While providing the Clash with two massive hits, 'Rock the Casbah' and 'Should I Stay or Should I Go', it hasn't much else to commend it outside of 'Straight to Hell', which combines Caribbean and Asian motifs, and 'Ghetto Defendant', which features a spoken word performance by Allen Ginsberg.

The success of 'Combat Rock' propelled the Clash into the stratosphere of Rock stardom, which, predictably, killed the band.

I don't know if they were 'the only band that mattered', but they did leave a legacy, an indelible stamp on modern music, and that matters, it matters quite a bit.

2008-08-28T23:27:00.004-04:00

THREE OF A PERFECT......UH........TRIO?

Roger Fripp emerged from the 70's undaunted by the swing of public taste away from Progressive Rock, indeed, he may well be the only Prog artist to emerge from the 70's at all. I do not accept what Yes and Genesis did in the eighties as Progressive Rock, but Fripp stuck to his guns, and his time signatures.

That is not to say that King Crimson did not roll with the times entirely. Another overhaul was at hand, another line up change, like so many before, but ultimately different in that this time the roster would last three albums, three remarkable albums.

The sounds changed, but the vibe did not. All of Fripp's compositions are derivative of a singular mode, some crazy scale I can't name, certain intervals and certain time signatures. That's what he does.

In the mid 70's Fripp became disillusioned, refused to tour, and King Crimson disbanded. The time off apparently did him well, and in 1981 the new King Crimson was unveiled in the form of the 'Discipline' album.

Other than Fripp, Bill Bruford (drums) was the only returning member of the old band. In rounding out the line up Fripp chose well. Indeed, those choices made all the difference.

The addition of Adrian Belew (guitar, vocals) brought King Crimson what it needed to survive, a writing partner for Fripp, and in Belew he found one who was capable of providing hooks within the strict Frippian compositional code. It's Belew's vocal melodies that provided accessibility far beyond what the band had delivered in the past, that and editing. Gone were the album side long songs. 'Discipline' features an unheard of total of 7 songs. Belew's guitar playing was a great addition as well, his arsenal of unorthodox noises contrasted nicely with Fripp's precise and intricate patterns, which he could drop in line with seamlessly as well, building mind blowing harmony parts.

To that end, Tony Levin (bass, stick) was a perfect fit. A major part of the 'new' King Crimson sound was the Chapman Stick, a fret tapping instrument that Levin would use to add a third layer of harmony to the intricate arpeggios that are a staple of the King Crimson sound.

Over the course of three albums, 'Discipline' (1981), 'Beat' (1982), and 'Three of a Perfect Pair' (1984), the four members of King Crimson would create some wonderful music, each adding his stamp, but creating a sum greater than its parts.

2008-08-28T20:01:00.005-04:00

BY THE WAY, WHICH ONE'S JETHRO

So, having all these Jethro Tull CDs fall in my lap prompted me to explore the Tull thing a bit more deeply. Being a fan and collector of 70's Rock, I already owned a fair number of Jethro Tull records on vinyl, namely: 'Benefit', 'Thick as a Brick', 'Aqualung', 'Too Old for Rock and Roll', 'Minstrel in the Gallery', 'Songs From the Wood', and 'Warchild'. That leaves 'Stand Up', 'This Was', 'A Passion Play', 'Live, Bursting Out', and 'Stormwatch' as the the albums I didn't already have, which I do now.

On the phone yesterday Tony Alva made an astute observation. He said Jethro Tull was good stuff, but after listening to a whole album, it's best to move on to something else. Bravely tossing Tony's sage advice to the wind, I've been listening to Tull for two hours straight.

It is true that Jethro Tull can wear on you after a while. Surprisingly, in my case, it's not the flute that starts to grate on me, nor the baroque arrangements, but Ian Anderson's voice. I like his voice, but there's a threshold of tolerance I'm afraid.

I've never really been prone to listening to entire Tull records, mostly I'd just play the hits, and in so doing avoid the effect of prolonged exposure that Tony so aptly described. I decided to venture into the uncharted territory.

At any rate, I began with 'Aqualung'. Easily the most well known, and I would venture to guess, the best selling Jethro Tull album on the strength of the Classic Rock staples 'Aqualung', 'Cross-Eyed Mary', 'Locomotive Breath', and 'Hymn 43', I figured 'Aqualung' would be my best bet for hidden nuggets of joy and bliss. I was wrong. The remainder of the record consists of the acoustic guitar and voice driven whimsy type drivel that I had been wise to avoid all these years.

Jackson is made of strong stuff. I can take it. I put on 'Minstrel in the Gallery'. Other than noting that by 1975 Jethro Tull had secured a better drummer, 'Minstrel in the Gallery' is a rather unremarkable record.

Undaunted, I gave 'Benefit' a spin. Aha! I found one. 'Benefit' boasts two 'hits', 'Cry You a Song', and 'Teacher', but the big news here is that the rest of the record doesn't suck, in fact it's a fairly strong record overall.

Feeling somewhat justified in my pursuit by the success of 'Benefit', I whipped out 'Too Old to Rock and Roll, Too Young to Die', the title track of which is probably my all time favorite Tull tune. While not as good as 'Benefit', it's not too bad. The title track is by far the best thing on it.

After that I had to stop. I bet you thought I was going to go through them all. Not even the mighty Jackson is up to that task. I do plan on listening to them all, but I need a break, for like a month or two.

2008-08-28T01:07:00.003-04:00

LIFE IS GOOD

The Jets are going to kill this season.

Obama will be the next President.

Somebody sent me all the Schenker UFO albums on CD, as well as every Jethro Tull record from 70-79, and Robin Trower's superb 'Bridge of Sighs' LP.

Sweet, sweet life o' mine.......

2008-08-22T01:53:00.002-04:00

NEW OLD VINYL

A recent visit to Generation Records was quite fruitful.

Tom Petty - Wildflowers

Tom's second 'solo' record from 1994 features an excellent assortment of musicians. You may know them as the Heartbreakers. 'Wildflowers' is the debut record for drummer Steve Feronne, who has remained in the Petty camp ever since, as well as Producer Rick Rubin who would go on to produce the following two TP and the HB records.

I was flabbergasted to find this gem in the bins. What a stellar record, beautifully recorded, and chock full of outstanding tunes. 'You Don't Know How It Feels', and 'It's Good To Be King' aside - and I'm not knocking the quality of those wonderful tracks, 'Wildflowers' is a treasure trove of deep cuts. The LP just keeps giving through 15 tunes without a moment of anything less than great. 'To Find a Friend', Crawling Back To You', and 'Wake Up Time' rank among Tom's best compositions.

On vinyl, 'Wildflowers' is a two record set. 15 songs stretched over two discs allows for nice fat grooves, which in turn provides the most excellent quality in a listening experience.

It doesn't get much better.

Ozzy Osbourne - Speak of the Devil

Shortly after Randy Rhoads died, under pressure from the label, Ozzy recorded a two night stint at The Ritz in NYC, and released this double disc collection of Sabbath tunes. Brad Gillis, on loan from the then largely unknown Nightranger, handled the guitar duties, while Tommy Aldridge and Rudy Sarzo rounded out the band on drums and bass respectively.

'Speak of the Devil' is largely scoffed at, derided, and even disowned by Ozzy himself. I rather like it, despite it's glaring flaws: Brad Gillis, Ozzy's double tracked voice, the basic unwarranted nature of the album itself. I'm sure it's the novelty, and the nostalgia that endears the record to my heart. Regardless, the album is out of print, so I call it a score.

Aldo Nova - Subject

This one is mostly nostalgia based. I bought it when it came out (1983), and for some reason it grabbed me. Most likely the production values hooked me. It's a great sounding record.

Saxon - The Eagle Has Landed

Okay, this one is 100% nostalgia. There's no other value to it whatsoever. There's simply nothing to commend it otherwise. The song selection is decent, but the LP lacks that special Saxon magic. That's a joke.

Hey, I need it for the collection.

2008-08-22T01:19:00.003-04:00

LIVE IN THE STUDIO

That's a term that gets tossed about, but can mean a number of different things. Years ago, before multi-track mixing consoles became ubiquitous, all studio recording were 'live in the studio'.

Tonight at Smoke and Mirrors we recorded a new Himalaya song, and we did it live in the studio. Given all the advantages of modern audio recording technology, 'live in the studio' can be viewed as risky, and depending on the band, a complete waste of time.

When you record an entire band playing with all the amps and drums in one room you face a number of challenges. First, the band has to be up to it. Because everything is in the same room you get a lot of 'bleed'. Drums on the bass track, guitars on the drums track, every mic picks up a bit more than just the instrument you put it on. Due to the bleed, you can't go back later and overdub the mistakes; you're stuck with the performance. Thusly the band has to be able to deliver a solid track. An increasing rarity.

Secondly, you need to make sure that what's bleeding onto one track is in phase with that same bleed onto another track. The little bit of drums being picked up on Guitar 1 has to be in phase and the same volume as the little bit of drums bleeding onto Guitar 2. Tricky business.

I must give Chrispy credit for his foresight on the second account, and sorting it out during the line check. I would never have thought about it.

Himalaya did a great job, certainly considering the song is less than a week old. Take 7 was the keeper, and no one quit the band.

2008-08-19T00:40:00.004-04:00

MICRODOT/VIA SKYWAY

Rose Live Music hosted the return of Microdot opening for Via Skyway tonight. It was great to see Microdot playing again, specially with Dr. Rob Machold back behind the kit in the Microdot line-up. Their set included fan faves such as 'X-Ray', 'Map of the Ancient World', and 'Biltmore Clock', and they even tossed in a 'new' tune, the name of which I forget. but I dug it.

Via Skyway wound their way through seven mind bending and dynamic Vitray classics, as well as a Sterolab cover. The eight piece band barely fit on the tiny stage at Rose Live Music, but they delivered the goods, acquitted themselves well, and had a jolly good time doing so.

Both bands should gig more often.

2008-08-19T00:39:00.002-04:00

WILCO AT THE POOL

I saw Wilco at McCarren Pool last Wednesday. They were good. I had a great time with my brother Rod and his wife Karen. The Brooklyn Lager made me sick.

2008-08-19T00:34:00.003-04:00

THE VICAR

The Legal Diva and I have become fans of The Vicar of Dibley, a Britcom featuring Dawn French, co-creator of Absolutely Fabulous, as the Vicar of Dibley, a tiny fictitious English hamlet.

It's just damn funny is all, mostly due to the supporting cast.

I can't get enough. The Legal Diva got us the DVD boxset. I wish there were more episodes.

2008-08-10T01:15:00.003-04:00

ALL POINTS WEST

I checked out the first day of the All Points West festival at Liberty State Park on Friday.

A bit of an ordeal getting there from Manhattan, a ferry - 30 bucks, huge line, about a mile walk from the dock to the festival.

I will say there's a great view of Manhattan from the festival site.

What's up with the beer jail?

Beer was sold in corrals, and had to be consumed there, with no view of the stage, before re-entering the festival proper. Wristbands with five detachable tabs were dispensed, one tab per beer; tabs gone, no more beer. Dragacious, severely dragacious.

We arrived in time to catch a bit of Duffy. Not really my thing, but certainly not awful.

Next we moved to the main stage where the New Pornographers were already in progress. Maybe it's me, but the New Pornographers seem to lack identity. I couldn't get a line on them. A cover of ELO's 'Don't Bring Me Down' made up for the Coldplay knock-off tune, but nothing really grabbed me.

Underworld followed. Again, not really my thing, but well executed, and well received by the crowd. I only knew the song from the 'Trainspotting' soundtrack - "Lager lager lager.....", but I tried to appreciate what they were doing, which isn't a whole lot actually.

The headliner was Radiohead. They were great. I have to say that Radiohead is a great band despite their predilection for inaccessible self-indulgent compositions, which they played a lot of. I suppose it would have helped if I was familiar with any of their post 'Ok Computer' material. In any case, my hat's off to them, they put on a truly superb show.

2008-08-07T23:21:00.002-04:00

ALTERNATIVE TO WHAT?

I used to be hip, and it was only for a brief spate of time between 1988 and 1994, during the Alternative era. Before that I was either playing catch up, discovering bands after the fact, or keeping current with decidedly un-hip Metal bands. Since '94, I've graduated from being hip to a spot just above. I'm waist.

I've always held the term 'Alternative' somewhat in contempt, as I do most labels. I understand that the Industry needs to pigeonhole bands, and the public likes a shared identity, but to me good Rock music is just good Rock music.

The touchstone for the Alternative generation was Lollapalooza. Of course it's impossible to declare a year zero, but Perry Farrell can be given credit for providing an ethos, a mission statement, for that era, Rocks swan song.

During the mid-eighties I gave up on Metal for obvious reasons. I delved into the past, exploring the back catalogs of classic bands like the Stones and Pink Floyd, as well as discovering what I had missed in the Punk arena. I became a U2 fan, a REM fan, a Replacements fan, a Chili Peppers fan, and a Jane's Addiction fan. I was going Alternative, as were many others.

As the term implies, Alternative was a catch-all for anything that wasn't easily classifiable. If it wasn't Metal, Classic Rock, or Pop, it was Alternative. The crazy thing was, as Perry Farrell instinctively knew, that there was a large portion of the populace that were not limiting their tastes to any one genre. The kids were into Rock, Punk, Hip-Hop, and all points in between.

The line-up for the first Lollapalooza pretty much sums it all up:

The Boredoms
Rollins Band
Nine Inch Nails
Butthole Surfers
Living Color
Ice T
Siouxie and the Banshees
Jane's Addiction

Eclectic, no?

I remember a number of people at that show talking up a band called Nirvana, and passing along the 'Bleach' record.

We all know what happened next.

2008-08-07T22:01:00.002-04:00

OKAY THEN

Well, Favre it is.

It'll be interesting. Coles and Cotchery will have to do some adjusting, like running patterns longer than ten yards, and handling passes coming in with a bit more velocity.

I suppose Kellen Clemmens will benefit from backing up Favre for a season. Brett is the polar opposite of Chad. Arm strength aside, Favre plays gut based ball, whereas Chad was all grey matter. If Kellen can take away lessons from both, he may develop into the franchise man the Jets need.

And what of Chad? It's common knowledge that I hold him in high regard. The word on the street is that he'll end up in Miami, which makes sense in that he was a Parcells prospect back when Tuna was coaching the Jets.

I can't get behind the Dolphins for divisional reasons, but I hope Chad finds a home where he can prove himself and get some respect.

Right now I'm flipping between the Jets/Browns and Saints/Cardinals pre-season games. Pre-season gives you a chance to see the new guys, get a feel for the team, but the inconsequential nature of the games keeps me from investing too much into it all.

2008-08-01T14:41:00.002-04:00

IT'S AUGUST!

Training camp has started, the pre-season looms, and September is just around the bend. Not a moment too soon.

There have been the inevitable shake-ups born of salary caps and parity. Shockey is now a Saint. I'm very cool with that. Jeremy is a great player, but he was becoming a bit of a distraction for the Giants, and I'm sure Jeremy is looking forward to being a featured receiver in his former Giants Offensive Coordinator, current Saints Head Coach, Sean Peyton's offense.

For me, it's a win/win. Shockey moves from my number two team to my number three, and let's be honest, there's no way the Giants are going to repeat a Super Bowl appearance. I'm sure they'll do well, hopefully keep the Cowboys out of the championship, but it's not Big Blue's style to dominate dynasty like.

I'm very hopeful for the Saints. They have a lot of talent. The main obstacle for them is the health of Deuce McAllister. His knee is still an issue, and it became apparent last season that Reggie Bush was not going to pick up the slack. How could he when he's afraid of getting hit. Reggie is a sideline seeking pussy. He might be useful as a receiver, but until he grows some balls, he'll never push the pile and move the chains.

Ah, the Jets. Last weekend, as the Favre question captivated sports media, the idea that the Jets might take him was tossed about. Foolish non-sense. Favre is not the answer for the Jets, hell, he's probably not the answer for any team, except maybe the Cowboys who could use a male quarterback to replace the woman Romo even for one season.

No, what the Jets need, they bought during the off-season, an offensive line. Sure, a QB with a killer arm and nimble legs would be great, but Chad can do the job as long as he's got protection, something he and Kellen Clemens, as well as Thomas Jones lacked last year.

The Jets defense took a hit with the Vilma trade. He'll be missed, but again I don't lose because he too will be wearing the Black and Gold down in the Big Easy, and a welcome addition he will be, as the Saints defense was their big weakness last year.

And what of Tony Alva's Falcons? Is there hope? Maybe, certainly more so than Mathdude's Cardinals. 2008 will not see victory coming out of Arizona.

Yeah, I know, thinly veiled.......

2008-08-01T13:44:00.002-04:00

THEY'RE JAMMIN'

Flipping around the cable the other night I happened across a MSG Network re-broadcast of the 2008 Jammys, the Jam Band community's celebration of itself.

What caught my attention was a performance by Steve Winwood doing 'Dear Mr. Fantasy'.

"Dear Mister Fantasy play us a tune
Something to make us all happy
Do anything to take us out of this gloom
Sing a song, play guitar, make it snappy"

Fairly fitting for the occasion.

I freely admit my appreciation for Winwood, and Traffic, though I can do without the Dave Mason stuff. Steve has one of the most delicious and soulful voices ever committed to tape, and he's no slouch on the six string either. A bare bones backing band featuring organ, bass, and drums accompanied him as he wound his way around and through the classic Traffic tune. It was so good that I forgave him his 80's 'Higher Love' period.

After Steve came a tossed together supergroup type thing that these events thrive upon featuring the Hart/Kreutzman drum duo from the Grateful Dead, Little Feat, Bela Fleck, Stephen Marley, and a host of hippies doing Stephen's Dad's classic, the obvious, 'Jammin'.

On paper I'm sure it seemed like a no brainer, but the practical application was dreadful (all puns intended). First off, if you're gonna do Reggae, get a Jamaican rhythm section. The Little Feat drummer, hampered by the irregular percussive nonsense delivered by Hart and Kreutzman, was not up to the job at hand. Indeed, nobody on the stage other than Marley had any inkling as to how the groove works. You could feel his frustration as he tried to synch with the hapless band assembled to honor his father. It was just off, stiff, way on top of the beat - the opposite of Reggae. Near the end it came time for somebody to take a solo, but nobody stepped up to the plate. The superfluous number of guitar players just looked at each other, and then Bela Fleck finally took matters into his capable hands and whipped off a banjo solo that was the only saving grace of the performance, Marley's commendable efforts not withstanding.

Aghast at the lack of thought put into the assemblage of musicians, it dawned on me that there is one thing, and only one thing, that Roots Reggae and Jam Bandism have in common. The Auto-Wah, a key feature in the Jerry Garcia sound as well as that of Junior Marvin and Al Anderson of the Wailers.

Bad Jammys, bad Jammys.

2008-08-01T00:55:00.004-04:00

KEITH BIO

I just finished reading Victor Bockris' Biography of Keith Richards. I read the Bockris bio of Lou Reed a number of years ago, and I gotta say that I don't much care for Victor. He's a sensationalist and treats every tale that he's told as fact. In the Keith book, for example, Bockris puts way too much stock into Anita Pallenberg's version of events, and I found at least one glaring example of a factual error that could have easily been checked.

In the book he declares that after the Stones filmed the 'Rock and Roll Circus', Keith and Mick took off for a vacation in South America during which they wrote some songs for 'Let It Bleed', including 'You Can't Always Get What You Want'. The trouble is that they played 'You Can't Always Get What You Want' in the 'Rock and Roll Circus'.

Did this guy write a book about Keith and not take the time to watch the 'Rock and Roll Circus'? It makes me wonder what else he got wrong.

There was some good info, if indeed the info is kosher.

I loved the 'Bridges to Babylon' bit. If Victor is to be relied upon, the story goes that after the 'Voodoo Lounge' tour Mick wanted to make another worthless solo album, but Keith and Ronnie - who had finally, after almost twenty years, been made a partner with an equal vote - wanted to work on another Stones record while the band was still hot from the tour. Mick did not want to, but he was outvoted. He agreed with a stipulation, that he could bring in his own producers for his songs. Keith agreed. So, Mick shows up with Babyface and the Dust Brothers and proceeds to try and make a Stones record with loops and samples. Keith shows up two weeks late with Waddy Wachtel and is dumbfounded by the process that Mick and and his camp are using. What does Keith do? He makes Jagger so miserable over the course of the next few weeks that Mick actually walked out on the sessions. Keith then told the Dust Brothers and Babyface that they were no longer needed. I'm sure the phrase 'fuck off' was involved. Then Keith and Waddy took all of Micks tracks and re-recorded live takes over the loops and samples, finished off Keith's tracks, mixed the record, and sent it to Jagger who was forced to admit that the final product was much better than it had been before Keith took over.

The Stones are about groove, and you don't get groove from machines, you get it from Keith and Charlie playing together.

Bockris does a good job, however, of shedding light on the complete man, not just the junky Rock God, but the artist, husband, father, and friend.

I only recommend the book to die-hards, and I implore anyone who does read it to keep in mind the probable inaccuracies.

2008-08-01T00:24:00.002-04:00

CROSS PLATFORM ASSISTANCE

I need help.

I have some Quicktime movie files that were created on a Mac, and they exist on a Mac, but that machine is not, and won't be anytime soon, connected to the Internet.

At home I have a PC, the very machine I'm using right now, that is connected to the web.

I burnt a data DVD of the movie files on the Mac and loaded them onto the PC, and the PC doesn't recognize them as Quicktime files. I tried to rename a file adding '.mov' at the end, and though the icon changed to a Quicktime icon, the PC tells me that it's not a movie file.

Can anything be done?

Do I have to find a Mac that's connected to the web?

2008-07-29T20:12:00.002-04:00

ALBUMS I SHOULD HAVE, BUT DON'T

Sisters of Mercy, 'Floodland', 1987

The Joe Man turned me on to this monster record back in 89/90. 'Lucretia My Reflection', and 'This Corrosion' are the tracks that hooked me. I'm sure I have them on some cassette mix-tape somewhere, but I need the vinyl.

Pop Will Eat Itself, 'Dos Desdos Mis Amigos', 1994

Rob Kendall, my roommate for much of 94-99, had this record. I don't know about the whole album, but the lead-off track, 'Ich Bin Ein Auslander', is total bad ass shit. I need it, hope it was released on vinyl.

Radiohead, 'The Bends', 1995

Radiohead's second effort, 'The Bends' is probably their best effort, made back when they were actually concerned about writing good songs.

Spiritualized, 'Pure Phase', 1995

Again, Rob Kendall turned me on to Spiritualized, as well as Spacemen 3, Jason Spaceman's former band. 'Pure Phase' is mindblowingly good, featuring 'Let It Flow', 'Lay Back In the Sun', and 'Medication' among other odes to opiates.

Nine Inch Nails, 'Fixed', 1992

The companion piece to the 'Broken' EP, 'Fixed' features absolutely insane remixes of tracks from 'Broken'. 'Fixed' scared the shit out of me.

Ministry, 'Psalm 69', 1992

The epitome of Industrial Metal, and Ministry's finest moment, 'Psalm 69' scared the shit out of me as well. Gibby's vocal on 'Jesus Built My Hotrod', and William Burroughs' spoken word on 'Just One Fix' help place this record at the top of the Sickest Shit Ever list.

Pigface, 'Notes from the Underground', 1994

Another Kendall discovery, Pigface is the brainchild of Martin Atkins, and features a revolving cast of characters including Al Jourgensen, Genesis P. Orridge, and Jello Biafra among other total nutjobs. 'Chikasaw', featuring Lesley Rankine (Ruby), just blows me away.

2008-07-26T01:07:00.002-04:00

JACKSON'S TOP FIVE LIVE, IN CONCERT, COVER TUNE MOMENTS

5) Kiss - 'Won't Get Fooled Again', Mid Hudson Civic Center, 1984
4) The Replacements - 'Happy Birthday' (to Keith), Meadowlands, 1989
3) Microdot - 'Left of the Dial', Tedstock, 2005
2) Georgia Satellites - 'I Wanna Be Sedated', The Chance, 1988
1) Marillion - 'Tonight I'm Gonna Rock You, Tonight', The Ritz, 1987

2008-07-25T22:17:00.002-04:00

HOW ABOUT JUST, 'THE CULT'?

Ian Astbury formed Southern Death Cult in the Post-Punk climate of Britain, 1981, and along with Bauhaus and Sisters of Mercy (among others), helped define what has become known as Goth.

Southern Death Cult lasted a cozy year and a half before disbanding. Then Ian met guitarist Billy Duffy, and formed Death Cult.

After releasing a self titled EP in 1983, the band dropped the 'death' in an effort to garner a broader appeal.

A year later the band emerged from Rockfield Studios in Wales with the 'Dreamtime' record. Duffy's highly processed guitars and Astbury's developing powerhouse vocal style carry the record which suffers from less than great production. The frequent lyrical references to American Indian culture on 'Dreamtime' coupled with the resonant tenor quality of Astbury's voice inevitably conjure up a Jim Morrison vibe that he has done little to distance himself from, and much to exploit.

In 1985 a much more well defined and focused LP, 'Love', was released, containing the band's breakthrough single, 'She Sells Sanctuary'. Not entirely devoid of their Post-Punk roots, on 'Love' The Cult favor a more Psychedelic sound courtesy of Billy Duffy's penchant for signal processing, and the much improved production provided by Steve Brown.

To date, The Cult had developed their sound steadily and a clear direction, each ensuing release a more mature, more evolved take on the same sonic idea, that of layers, effects, and lots of whooshy-whoosy. In 1986 they took a fork in the road, a fork that lead to a complete overhaul of their sound.

Initially The Cult began work on their next album with Steve Brown, but after tracking had wrapped, they weren't happy with the sound. They asked the then up and coming producer Rick Rubin to remix the record. Rubin, who at that point had produced three records: LL Cool J's 'Radio', the Beastie Boys 'Licence To Ill', and Slayer's masterwork 'Reign In Blood', demanded that they re-record the album with him at the helm.

The first thing Rick Rubin did was to take away all of Billy Duffy's effects pedals. He stripped the band's sound down to highlight the great Duffy riffs that were buried in the heavy application of whooshy-whoosh.

The result was 'Electric', a decidedly Hard Rock record wherein The Cult completely abandoned the Post-Punk and Psychedelia, and totally embraced the Big Guitar sound of, well, AC/DC basically. Rick Rubin made a Mutt Lang Hard Rock record while Mutt was busy making Pop stars out of the formerly Hard Rock band Def Leppard.

'Electric' was refreshing in it's blatant derivative-ness. The Cult gave us the Hard Rock that the Hard Rock bands had stopped giving us, and they found a very receptive audience for it. That was fortunate for the band, as the new direction was a veritable slap in the face to the Goths and Punks who had supported them up to that point.

With the success of the single 'Love Removal Machine', and the support of MTV, 'Electric' established The Cult in America. A world tour followed, and the band gained a Zepplinesque reputation for tour behaviour.

Producer Bob Rock was brought in for 1989's 'Sonic Temple', and Bob let Billy have some of his toys back, though the lesson was learned, and the focus on Big Riffs remained. 'Sonic Temple' launched four singles, including 'Fire Woman', and 'Edie (Ciao Baby)', and launched The Cult to the top of the Rock heap - a difficult place to keep a foothold.

The lack-lustre 'Ceremony' followed. Astbury and Duffy were at odds. The magic was gone, and the ensuing records consistently failed to measure up. By the mid 90's the band was on hiatus, and Astbury engaged in some side projects. A brief reunion, complete with sub-standard album, came and went, and then Astbury left to join the Doors.

The Cult has recently reformed again. I'm not sure I care.

2008-07-25T21:46:00.003-04:00

MORE UNWARRANTED RECORD REVIEWS

I picked up a couple more slabs o' vinyl the other day.

'This Is the Moody Blues'

I've never been too keen to invest in a Moody Blues record. My feelings about the Moody Blues are luke warm at best. There are a couple of songs I like, so when I saw this greatest hits package from 1974 for 2 bucks, I figured what the hell, right? Well, when I more closely inspected the record at home I discovered that it was a two record set issued in one sleeve (I hate when they do that), and only one of the discs was inside. The song I like the most, 'Questions', was on the disc I did get, as well 'Legend of a Mind'. I did not get 'I'm Just a Singer (In a Rock and Roll Band)' or 'Nights In White Satin'. I think I'll survive.

I listened to both sides, and I'm even more convinced that there's no reason to dig deeper into The Moody Blues. Why is The Moody Blues often referred to as Progressive Rock? I'd lump them in wherever you put Procul Harum and Jethro Tull.

'Radio K.A.O.S.'

My first solo Waters record. I've heard much of his solo stuff through Chrispy. I like this one better than 'The Pros and Cons of Hitchhiking', which sounds to me like Roger had Clapton come in for one day to toss off leads willy nilly all over the record in an effort to display his lack of need for Gilmour. 'Radio K.A.O.S.' seems a bit more focused.

2008-07-22T03:07:00.006-04:00

DIE KöNIGE DES DEUTSCHES METALL

Skorpionalben der Oberseite 10:

1) Lovedrive

Certainly sporting the greatest album cover of all time, 1979's 'Lovedrive' is a tour de force. Top to bottom, front to back, not a weak track on it.

In 1978 guitarist Ulrich Roth left the band amicably to pursue his hendrixian style unhampered by Klaus and Rudy's heavier, more accessible, and less cluttered brand of ass kicking Rock. They were still pals, and Uli even provided them with a replacement in the form of young protege Matthias Jabs.

Work began on 'Lovedrive' at producer Dieter Dierks' studio in Koln (Cologne) with Jabs providing competent and commendable contributions, but the stakes were high. The Scorpions were on the cusp of breaking in America, and competent and commendable wasn't enough; the Scorpions needed great. Matthias was put on waivers. He had the gig, but they wanted him to sit out the proceedings for a bit and keep developing his guitar skills. They could afford to do so because around the same time Rudy's brother Michael had just left UFO and was available to join his old band in the studio. In the end Michael played lead on three songs (including 'Another Piece of Meat'), Matthias appears on three, and Rudy handled the rest himself ('Holiday', 'Coast to Coast', 'Always Somewhere').

The Scorpions were a hard rock band in the process (along with contemporaries Judas Priest) of inventing modern Heavy Metal, and the rockers on the record prove their exemplary ability to kick ass, but it's the slower ballads and less intense numbers on the record that have kept me coming back to it for almost thirty years.

'Holiday' is undeniable, a truly great song, stunningly beautiful layered acoustic guitar picking balanced by a monster Big Rock coda. 'Holiday' is also one of Klaus' shining moments, displaying his great range and power.

'Always Somewhere' is the kind of track that sneaks up on you, digs in, and doesn't let go. So many Hard Rock/Heavy Metal lyrics of that era tend to explore life on the road, most likely because that's where the majority were written, but 'Always Somewhere' manages to avoid the trite and cliche, and deliver an evocative performance.

'Coast to Coast' is an instrumental with a rare groove for a Metal tune, and it remains a staple in the Scorpions live set to this day. 'Coast to Coast' is simply a great and fun tune.

'Can't Get Enough', 'Lovedrive', and 'Another Piece of Meat' provide the muscle, the sheer rocking that the Scorpions do so well, and 'Loving You Sunday Morning' blazes the Heavy Pop trail that Def Leppard would later exploit.

'Is There Anybody There' is a most unusual track, and maybe my favorite. What prompted this band of Teutonic Metal Gods to explore the uncharacteristic territory of Reggae is a mystery, and while there's no question that they're a bit out of their depth in doing so, they manage to deliver a pleasing departure from the format. I do not suggest putting 'Is There Anybody There' up against 'Three Little Birds'; there's no comparison, but the attempt in itself is laudable.

2) In Trance

Jackson has already reviewed this record here, but in summary for those less inclined to click away from my captivating prose, 'In Trance' is Ulrich Roth's finest hour, and also displays some of Klaus' more amazing performances.

In 1975 the Scorpions were still laying the groundwork for their later international success, and on this, their third album, the band delivers their first truly solid work. The only problem with 'In Trance', a factor on all Ulrich Roth Scorpions records, is the questionable decision to let Uli sing a couple of tunes. Uli's voice takes a bit of getting used to, and even then it can be a deterrent, on top of which there's the perplexing nature of Uli's lyrical style. Roth is an apparent fan of psychedelic laden imagery in the vein of Cream or early Hendrix, which is bad enough without the language barrier. One can picture Uli with a German to English thesaurus jotting down his notions of psychedelia.

"Summerday is gone, listen to the evening wind
Singing tunes of tamarind into the setting sun
You lie in twilight sleep dreaming colours deep
Today all life is gone"

Klaus wasn't exactly a master of the English language either, but he wasn't trying to write in an established style like Uli, and his songs turned out more accessible; some even resulting in excellence like the title track, and the splendid 'Life's Like a River'

3) Virgin Killer

Despite the horrid title, the song of the same name, and the ill-advised photo on the album jacket, 'Virgin Killer' is a great record. The 1976 follow up to 'In Trance' finds Klaus and Rudy moving on a more basic riff and hook oriented Hard Rock direction, while Uli is still chasing the ghost of Jimi Hendrix. Don't get me wrong, I love Uli, and I honestly dig his stuff; it's just that I know that Uli's stuff is more than a bit 'out there', and thusly hard for most folks to digest.

'Pictured Life', and 'Catch Your Train' are astounding, and Eddie Van Halen admits to the influence they had on his playing. 'Backstage Queen' showcases the decidedly more accessible direction that Klaus and Rudy were moving toward. 'Crying Days' and 'Yellow Raven' are pleasing down tempo, almost ethereal numbers, and Uli chimes in with three lead vocal numbers: 'Virgin Killer', 'Hell Cat', and 'Polar Nights'. The first two are manic, frightening numbers showcasing remarkable guitar skills and stupid regrettable lyrics. 'Polar Nights' finds Uli competing with Robin Trower for the Hendrix heir apparent crown, and would be a better song had he let Klaus sing it.

4) Taken By Force

This hard to find LP from 1977 was the follow up to 'Virgin Killer', and Ulrich Roth's swan song with the band. 'Steamrock Fever', 'We'll Burn the Sky', and 'He's a Woman - She's a Man' are featured on the much more well known live album 'Tokyo Tapes' recorded during the tour in support of 'Taken By Force', and 'The Sails of Charon' has benefited from it's inclusion on their first greatest hits package, 'The Best of the Scorpions'. If, then, you're thinking that you don't need this record, you are mistaken, because you need 'Riot of Your Time', and, if you buy the CD re-release you get the previously unreleased studio cut of 'Suspender Love', another killer 'Tokyo Tapes' track.

5) Blackout

Their breakout LP from 1982, 'Blackout' established the Scorpions in America with the hit 'No One Like You', a commendable commercial effort that stands up to the test of time. The title track continues the thematic formula of a narrative about sexual encounters gone wrong set to a massive riff.

What saves the LP, along with the hit song, and the solid Rocking displayed throughout, are the last two cuts, 'China White', and 'When the Smoke Is Going Down'. 'China White' is a super heavy down tempo number based on the 'less is more' ethos, and 'When the Smoke Is Going Down' is another beautiful ballad in a long line of such offerings.

6) Animal Magnetism

The title track is worth the price of purchase, simply wicked, it's Matthias' finest moment. Also included on the LP is 'The Zoo', which most people thought of as Matthias' finest moment until they read this post and were corrected in their thinking, which is not to suggest that 'The Zoo' is anything less than uber super duper. Who doesn't love Talk-Box?

'Hold Me Tight', 'Twentieth Century Man', 'Falling In Love', and 'Don't Make No Promises (Your Body Can't Keep) are notable tracks in the grand Scorpions Rocking tradition, the latter being the second installment of the sexual encounter gone bad series, and 'Lady Starlight' admirably fills the mandatory ballad spot on the record.

7) Love At First Sting

Okay, I'll concede based solely on the undeniable greatness of 'Still Loving You', but for me, that's all that this record has to offer. I can do without being rocked like a hurricane, and being that I live in a big city, every night for me is a big city night.

This is where I draw the line with the Scorps. The album is mostly formulaic drivel, 'Big City Nights' being a prime example of style over substance, a stratagem that dominates this gazillion selling package of eight turds and one gem.

8) Fly to the Rainbow

The Scorpions sophomore effort from 1974 is also Ulrich Roth's debut. In '74 Uli's freaky acid infused style was still fairly relevant, and his sole composition, and vocal, is the truly wonderful 'Drifting Sun'. 'Speedy's Coming' was the single, and it's a fun little number that references the Rock scene in '74, name checking Ringo, Bowie, and Alice Cooper. Jackson quite likes the title track, and finds the whole album enjoyable, but he also knows you prefer to be rocked like a hurricane. If there was one song as good as 'Still Loving You' on 'Fly to the Rainbow' this record would give 'Animal Magnetism' a run for it's money.

9) Lonesome Crow

The 1972 debut record from the Scorpions features an amazingly skilled sixteen year-old Michael Schenker in the lead guitar spot. 'In Search of the Peace of Mind' is a highlight which warranted inclusion on 'Tokyo Tapes', but the LP opener 'I'm Going Mad' is the standout track despite, or maybe due to, it's utter ridiculousness. If anything it's highly entertaining, even more so in video form.

10) Humanity: Hour 1

The most recent Scorpions offering (2007), 'Humanity: Hour 1' contains at least two great tracks: 'Humanity', and, you guessed it, 'Hour 1'. I don't own the record, but based on the performances of those songs at their recent visit to the Beacon Theater in NYC I'd have to place 'Humanity: Hour 1' above 'Savage Amusement', which has no good songs, and 'Crazy World', which contains the mediocre but timely composition and massive hit 'Winds of Change', and, I'm convinced without hearing any of it, nothing else of any worth.

Besides it's a Skorpionalben der Oberseite 10 list, so 10 it must be.

2008-07-21T00:55:00.004-04:00

URBAN ANGST IN THE LAND OF THE HIPPIE

First some background. In the mid 60's a social sub-culture developed in the Haight Ashbury neighborhood of San Francisco. That scene died in the fall of 1967, but the bands that came out of that scene kept hippie culture alive. The pre-eminent band of that bunch was the Grateful Dead, and throughout the 70's, 80's, and early 90's a self contained society developed around the band, traveling to show after show. It had it's own economy based on the sale/barter of trinkets (hand crafted jewelery and pipes) and drugs.

In 1995 Jerry Garcia died, and with him, the Grateful Dead, but waiting in the wings to take the baton was Phish, a less blues based and more technically proficient band from Vermont. Phish inherited the fan base, the nomadic subculture, and built on it. Phish began putting on festivals that they not only headlined, but produced. They controlled everything.

Phish was a horrible band, and they eventually packed it in.

Now the Disco Biscuits, among other acts, are attempting to keep the Hippies alive.

Camp Bisco was a Disco Biscuits event.

I don't like them either, but tons of Hippies do.

Figo are not Hippies. We tried to wake them up a bit. We had fun. Figo played one of their best performances. The Hippies were afraid. Afraid of the Rocking. Silly Hippies.

Hippies have really dirty feet.

2008-07-16T02:28:00.007-04:00

OFF TO CAMP WITH THE LADS

Figo will be playing the Camp Bisco festival in Upstate New York on Friday, and Jackson will be tagging along to care for Bob's guitars, and whatever else they need me for.

The headliner's are Snoop Dogg, The Disco Biscuits, and DJ Shadow.

We'll be there for two nights. I've been preparing my liver.

Here's some photos of Jackson working for Figo at the Amsterjam Festival last year.

Pray for me.