THE MIKE NESMITH AND MICKY DOLENZ SHOW

(THE FAMILY ARENA, Saint Charles, MO; March 16, 2019)

Nostalgia is a powerful, mysterious phenomenon. It’s the reason we jump at the chance to see musicians we grew up with, and why we get all emotional when we revisit places that were significant to us at one time in our lives, places that likely have changed significantly. To know that something CONTINUES, even if it’s not the same, gets to something primal in our natures. I’ve seen the Monkees about five times, always reveling in this journey back into my childhood, when songs like “(I’m Not Your) Steppin’ Stone,” “Pleasant Valley Sunday” and “Tapioca Tundra” were soundtracks for good times. I never cared what some critics said, ie: They were a “manufactured TV show band,” blah blah blah. The music stood up for me, and I adore it to this day. PISCES, AQUARIUS, CAPRICORN AND JONES LIMITED remains a favorite album of the ‘60s. But the significance of Peter Tork’s recent death shouldn’t be underestimated. Although the Monkees were still very much a going concern after Davy Jones passed, doing a new tour every couple of years, it seemed, with every bit of their madcap humor and chemistry still intact, something perceptibly shifted. Now they were TWO. And Mike Nesmith had pretty much been the lone holdout for the reunion tours, doing only a couple of shows here and there, and agreeing to join a “full” tour only after Jones died, perhaps for his own nostalgic reasons. A band based largely on nostalgia, with a very distinct and popular chemistry, will often survive after the loss of one member. But TWO key members, one of whom was among the two most versatile musicians in the outfit? Are you still a “going concern” after that?

THE MIKE NESMITH AND MICKY DOLENZ SHOW (photo credit: SHERRI HANSEN)

My answer is: Not really. Although I loved seeing Micky Dolenz and Mike Nesmith together at the Family Arena (and let’s be clear, this tour was booked BEFORE Peter Tork died), it didn’t really feel like the Monkees to me. Something was different. It was “the Mike and Micky Show,” exactly how it was billed. And yes, the classic songs were served up, just as fans expected. But the energy was different, the VIBE was different. There is a music brand, “The Monkees,” that will carry on and still sell records. But I just don’t think there is a “Monkees group” anymore. Not without Peter Tork. And that makes me sad.

THE MIKE NESMITH AND MICKY DOLENZ SHOW (Mike Nesmith, Micky Dolenz) (photo credit: NOEL VASQUEZ/GETTY IMAGES)

The show itself, though, was pleasantly entertaining. I have one odd, substantial complaint, though. The sound was NOT loud enough. I rarely feel this way at shows; usually it’s the opposite.. But I really, REALLY wanted the music to be louder. On a scale of 1 to 10 (or “11” if you’re Spinal Tap), the sound was at about “5” for most of the show, occasionally making it up to “6.” And that puzzled me. It reduced the energy level substantially. That said, it was a delight to see Micky in his dapper black suit and hat, and Mike in his jeans and black shirt come strolling out to the stage, all smiles. They opened with “Good Clean Fun” and “Last Train to Clarksville,” the latter a song so infectious and familiar that anyone growing up in that era has to get an instant charge from it. Whatever cynical comments made about the Monkees in some quarters, no one can deny they didn’t utilize top-notch songwriters: Gerry Goffin and Carole King, Neil Diamond, Tommy Boyce and Bobby Hart, Harry Nilsson and more. They may have started as a music-making MACHINE, but it was a machine that worked splendidly. “Sunny Girlfriend” and a peppy “Mary, Mary” were next, the latter song benefitting from the added background vocals of Micky’s sister Coco (a regular in the band on most recent tours) and the lovely Circe Link, who has her own project going with Christian Nesmith (Mike’s son and a member of this entourage). All of us in the audience were, of course, waiting for an acknowledgment of Tork’s passing, and that came when the band performed Tork’s fantastic song “For Pete’s Sake,” which Micky mentioned was the closing song for season 2 of the original TV show. Footage of Tork was shown on the giant screen, and Micky referred to him as “our pal” I think, I couldn’t quite hear. A Nesmith-sung tune from PISCES… made me smile: “The Door Into Summer,” which Nes sang with relish. In fact, it’s worth mentioning what an upbeat mood Nes seemed to be throughout the show, cracking jokes, making odd little gestures and stage antics, even making fun of himself for needing his i-Pad to remember all the old lyrics. He muffed the timing of things a few times, which I found sort of endearing, but the audience may not have noticed it. After a rather low-energy “A Little Bit Me, a Little Bit You” and “You Just May Be the One,” the show finally reached a couple of genuine highlights for me. Micky talked about 2016’s superb GOOD TIMES album, truly a miracle in retrospect, with its mix of newly discovered songs from the vaults and tunes penned by fresh new writers like Ben Gibbard, Andy Partridge and the combo of Noel Gallagher and Paul Weller. That unlikely pair wrote “Birth of an Accidental Hipster,” which Dolenz and Nesmith sank their musical teeth into, the band rising to a slightly higher sonic level along with them. It was just fabulous. And then, the shivers for me when a Nes-less Dolenz sang “As We Go Along,” one of my very favorite Monkees songs, which I don’t think I ever heard them do before. The original recording, from HEAD, famously featured Ry Cooder and yes, Neil Young. Dolenz got a hearty round of applause when he mentioned the HEAD movie, and he wryly quipped, “Oh, you BOTH saw it? Can you tell me what it was about?” HEAD’s reputation has grown in leaps and bounds over the years; it now stands as a crazily entertaining, psychedelic relic of a time that will never come again. Nes returned to the stage for another song from that film, “Circle Sky.” He shushed the audience a couple of times before commencing, for comical effect, as that song is his original, proudly perhaps the most snarling rocker in the Monkees’ repertoire. Then they went right into “Pleasant Valley Sunday,” one of the greatest pop songs of the ‘60s, which could have been two degrees louder for my taste. But still, it’s just a great tune, hard to screw up. Micky announced a break but told everyone to stay in their seats for a special video. That turned out to be a truly poignant, solo in-studio performance by Peter Tork on the song “Till Then.” Tork was delightful and completely vibrant and charismatic in the video; it was honestly a tear-jerker, and the audience was visibly affected.

THE MONKEES (Peter Tork) (video still)

Set two began with a few “unplugged” acoustic tunes including “Papa Gene’s Blues” and Dolenz’s own “Randy Scouse Git,” which he prefaced with a funny tale of how he wrote the song based on something he observed in London. But when the Monkees were planning it for their next recording at the time, Dolenz was told to change the title because it meant something “dirty” in England. So the release over there listed it as “Alternate Title.” Chuckle! “Tapioca Tundra” was next, and despite this being my all-time favorite Monkees song and a theme to my own childhood, this was a slow, acoustic and completely different version of it. I would have loved to hear it as the rocker it is. That said, however, it was a delight to see the careful and attentive way Nesmith sang his own song, which clearly had some meaning for him. So did his First National Band classic “Joanne,” which was a sweet surprise. He remarked that though he didn’t write it for the Monkees, he was proud to be able to do it on this occasion. Nesmith is a bit of an eccentric. The way he phrases things in interviews, and most of what he said at this concert was curiously offbeat. At times he seemed to barely make it back to the mic in time, after stepping offstage to do whatever he was doing. And at one point he seemed surprised to find himself alone onstage, but that could have been an act. In musical terms, “Me and Magdalena,” another song from GOOD TIMES, may have been the highlight. This splendid Ben Gibbard-penned gem, found Dolenz and Nes in perfect harmony, literally, with the band’s keyboard player adding a sweet sparkle. It’s sort of amazing to hear a modern Monkees classic… an indication of more that the band could have accomplished with just a couple of different turns of fate’s wheel. But here it was, a NEW song in their canon that stands proud and tall. “Take a Giant Step” followed and was also better than expected. I had been wondering to myself if they would tackle “Goin’ Down,” Micky’s most incredible vocal performance from their entire oeuvre. And by golly, here it was. But they slowed it down, and not unsurprisingly, shortened it quite a bit. Micky used the moment to introduce the members of their backup band, which included seven other musicians! After a rousing “Sweet Young Thing,” it was a climactic run of classics to end the show: “(I’m Not Your) Steppin’ Stone” (a stone classic, that), “Daydream Believer” (an audience sing-along favorite, although not everyone was doing so, quite obviously), “What Am I Doing Hangin’ ‘Round,” the late-era Nesmith classic “Listen To the Band,” and of course, “I’m a Believer,” which would start a riot if NOT performed at any Monkees-related show. Then it was all over, with me trying to figure out if my sadness or gratitude was greater.

THE MIKE NESMITH AND MICKY DOLENZ SHOW (Micky Dolenz, Mike Nesmith) (uncredited photo)

Dolenz and Nesmith have another round of dates on this tour in June. And it is certainly possible they will play again together down the road. But they both have plenty of other things happening in their careers. And I would really be surprised if they didn’t openly admit that something has irrevocably changed. These are not young guys anymore, and Nes has had health problems recently. The march of time continues, and the fact is, we can’t really see “The Monkees” in concert anymore. Half the band is now in rock heaven. What we can and MIGHT see is an “approximation” of an experience that once thrilled, once brought us back to a more innocent and hopeful time. That’s largely what this particular show was. I enjoyed it and thought there were some delightful moments. But let’s just admit that it wasn’t truly the Monkees. It was a group of nine people serving up a sound that was one version of what you would hope to see at such a show. You can’t go home again. And the past is a foreign country, they do things differently there.


VOK: IN THE DARK

(NETTWERK MUSIC GROUP; 2019)

There was a time about 15 or 16 years ago when everything coming out of Iceland or Scandinavia would excite the hell out of me. Bands were being written about like crazy by lovestruck American scribes including yours truly, and in those post-Bjork days groups like Sigur Ros, GusGus, the divine Mum, Ampop, Trabant, Mugison and many others had me at “Halló, þetta er okkur!” I craved hearing DIFFERENT sounds, DIFFERENT voices, anything that wasn’t predictable American formulaic stuff. And I falsely concluded that anything coming outta the Arctic Circle or thereabouts was gonna be thrill-tronica.

VOK (Einar Hrafin, Andri Mar, Margret Ran) (publicity photo)

Not quite, it turned out. Just ‘cause you have weirdness in your country with midnight suns or a month or two of darkness or the like, doesn’t mean you’re driven to make potently original music. Bland pop can come from anywhere. However, it wouldn’t be fair to call Iceland’s Vok bland. Take the fact they’re from Iceland, with the exceedingly high expectations I’m guilty of, out of the picture and you have an accomplished band with a good strong singer (Margrét Rán), a vibrant enough arsenal of peppy keyboard sounds and tons of production finesse, and you got yourself a more than listenable pop/rock platter. IN THE DARK won’t annoy you or your friends, not at all. But neither is it likely to make you scramble to the web to look up everything you can find about the band. They’re from Rekjavik. They started in 2013. Besides the serious-of-intent Ms Ran, the group sports saxophonist Andri Mar and the multi-instrumentalist Einar Hrafn. This is their second major release, and it’s a decent listen. I looked for details that stood out, and on the title track, onesuch is the tart way Ran sings the refrain “I better toughen up!” That last word comes out at a higher pitch than the previous words, and it gets you. So does this interesting, clearly sung verse: “A creature in the making/Is taking a shape/It’s a form that I’ve seen before/It feels so familiar/But still so rare/Wanna see it but it shakes me to the core.” That’s pretty evocative, and when you consider she’s likely singing about love, you know you got someone with some real artistry here. Guitars are muted, there’s a slow build going on that is refreshing… but it does feel like the sound itself is rather familiar. That impression is reinforced with tracks like “Night and Day” (marked by clean, cool ‘80s-retro keys) and the mid-tempo “Scarcity,” which sounds like, well, “Night and Day.” The first clutch of songs really have a sameness about them which, if you like female fronted synth-pop, you’ll probably enjoy. By the time you get to “Spend the Love,” a bit of ennui may be setting in, although I was grateful the chorus was “spend the love” instead of “spend the night.” Anything for a difference.

VOK (Einar Hrafin, Margret Ran, Andri Mar) (photo credit: SIGGA ELLA)

Fortunately, there are three stellar tracks on tap. “Round Two” begins with a bit of ominous keyboard, almost alien, then a lovelorn sonic dreamscape unfolds, with Ran’s voice mixed to maximize an edge of heart-piercing vulnerability. “Would you step away with me/And give me everything I wanted,” she sings, with just a hint of Bjorkian eccentricity. Her lyrics here actually remind me of Taylor Swift, but the murky “otherness” of the production kills that impression pretty quickly. The underlying shadows in this song make it a winner; so does Ran’s vocal. “No Direction” is the other mixtape-worthy number, starting with wordless singing and a handclap-emulating rhythmic element before one of the standout verses emerges: “The highway’s leading me the wrong direction/The silhouettes are dragging me down the road/The question is, where am I going?/Better find out than not knowing.” At least that’s what I think I heard, and it sounds an awful lot like my own life. So yeah, this is a nice, showy number. Some film director may get ahold of this one for a deeper than you expect romantic melodrama down the road. “I can wait another day for love” is the chorus line that’ll lodge in your memory, possibly. The surprise but short instrumental “Rooftop Views” is a bit of welcome respite, then we get another standout: “Fantasia.” This is probably the best song on the album, actually. It’s cool, classy melancholy all the way, with Ran’s voice in your face and bigger than life, yet intimate in that chilly Icelandic manner. There’s a minor-key beauty here, coupled with a true sense of purpose at painting a mood of romantic anguish. And this verse is killer: “It coulda been love from the start/We could have been home/Words are a game to you/The only thing you can control/I felt so lonely falling/We had put on a bad show/Too proud to let you know/Too proud to let it go.” Although one more step into production busy-ness could have deflated this one, they kinda get it just right… it’s angsty and musically captivating in about the right blend. If someone is gonna shed tears during Vok’s new release, it’ll be to this song.

VOK (Margret Ran, Einar Hrafin, Andri Mar) (publicity photo)

So it’s like this: IN THE DARK is a perfectly competent, listenable album with a way better than average chanteuse in charge of things. But in a country known for original sounds, it doesn’t break much ground. Ran was asked by an interviewer where their name “Vok” came from. Her response was, “It’s one of those words used to describe something, and it has no equivalent in English.” Most of the sounds on this record have PLENTY of equivalents in the English-speaking world. That doesn’t make it bad, not at all. Just not truly intoxicating except for a song or two.


TOR LUNDVALL: A STRANGENESS IN MOTION: EARLY POP RECORDINGS 1989-1999

(DAIS RECORDS; 2019)

Sometimes an artist can be quite prolific without most folks knowing who they are. That seems to be the case with Tor Lundvall, an East Hampton based electronica auteur whose largely ambient works tend to be limited editions. He was on a label called Strange Fortune from 2004-2006, where I first heard his evocative works LAST LIGHT and EMPTY CITY, the latter a perfectly satisfying dark-ish ambient platter that worked fine as immersive mood music. Lundvall has categorized his own music as “ghost ambient,” which, while not an official sub-genre in most texts I have read, sums it up tidily. Before the Strange Fortune years, he released a series of seasons-themed platters (something not unsurprisingly common in ambient circles) such as THE MIST and UNDER THE SHADOWS OF TREES. Lundvall is an introspective observer of nature, it seems, and woodlands, fields and changing weather informs his sound rather pervasively. Works for me, as I am a total ambient freak.

TOR LUNDVALL in Washington DC, 1990 (uncredited photo)

Now, however, in one of several retrospective collections he has put out (a couple being very limited-edition box sets), he’s gone back to his youthful coffers to gather up the material that comprises A STRANGENESS IN MOTION: EARLY POP RECORDINGS 1989-1999. This does not qualify as ambient, although the evocative and tonally rich keyboards Lundvall plays could certainly serve it up, and HAVE on later recordings. But we get vocals throughout, and unless you’re Elizabeth Fraser or that guy who sang on a track on Eno/Budd’s classic THE PLATEAUX OF MIRROR, or any number of nameless ethereal female vocalists who’ve spruced up more heavenly music-style outings than I could name, you don’t get invited to the “Ambient Party.” What Lundvall was doing in yonder years was essentially synth pop, music with two or three well-known IDM type beats, simple but atmospheric keyboard sounds generally mixed upfront, and soft but clear vocals.

TOR LUNDVALL in the studio, 1994 (uncredited photo)

Original One” comes right out of the speakers with a four-on-the-floor dancey beat and a rather distracting male vocal occasionally barking something unintelligible. No lyrics, but… no “ambience” in the classic manor, either. But it’s kinda fun. “Procession Day” is better, centered around a lovely descending minor fourth interval and an airy Lundvall vocal: “From my window, leaves are turning/From my window, I watch the changing world,” he sings, and there are plenty of casual observations like that throughout the remaining tracks. This is genuinely pleasant, however, and may remind you of classic Orchestral Manoeuvres in the Dark. “The Clearing” features dual vocal tracks, one virtually whispered, the other a gentle, higher-register vocal that, when occurring in tandem with the other, creates a hypnotic effect. There are three or four different keyboard elements in the mix, so Lundvall was clearly already a master of light electronica, and he has too much serious intent to let any of this approach the shallow side of the electronica pool. That said, much of this music sounds like standard ‘80s synth-pop, something that many of us were listening to in colleges and clubs at the time. “The Melting Hour” has a rather driving rhythm that recalls early Echo and the Bunnymen (Lundvall’s sweet lead vocal sounds like a lyric he sings, “haunted by dreams”), and “Watched” is rather hypnotic in its purposeful airy pop sound, even if you get the sense that this kind of music was and still is being made by any competent electronica musician with the right computer setup.

As the album progresses, though, you realize you are hearing an artist that loves getting lost in the music. “Hidden” has a 1-2-2-1 keyboard phrase that repeats over and over, effectively, while Lundvall’s shy, boy-ish vocal seems to hover between the background and the foreground. There’s a kind of hazy allure to this track that leaves a lasting impression. “The Night Watch” is even better, a cumulatively mesmerizing song offering more of those evocative lyrics: “I see a tree sitting on the field/The twisted limbs, its leaves conceal/The small dark birds fly against the sky/Along the black streets, the shadows try… ” I let this one play three times. “Lessons That Kill” offers bright, pinging electronics that call the French duo Air to mind, and convey a sense of underlying drama that would have made for a fine instrumental. There is a cool shift in the main melody just after the two-minute mark. Lundvall does sing again, though, and the vocals don’t really command attention, even though they are pleasant enough. The closing “August Rain” features cool, fizzy keyboards in the foreground and a dreamlike, half-whispered vocal firmly in the background. The effect is like lucid dreaming… are you fully awake in reality or not? And how important is it to you to even KNOW what the lyrics are saying? These final few tracks raise that question.

TOR LUNDVALL, 2016 (publicity photo)

Ironically, even though this isn’t a Tor Lundvall ambient release, it would sound pretty good in the background at a social event. I can’t imagine this soft, pop-tronica style really bothering anyone. Lundvall has focus and clarity in his music; you could tell he was thinking things over, and trying to direct his sonic assembly to do his artistic bidding. His later work may be more entrancing to those of us into the ambient immersion thing, but A STRANGENESS IN MOTION… , while not particularly “strange” by my reckoning, does showcase an artist making strides towards a promising musical destiny.


MARK MORTON: ANESTHETIC

(WPP RECORDS/SPINEFARM RECORDS; 2019)

Mark Morton (Lamb of God’s guitarist) has released his first solo album. Titled ANESTHETIC, it is far from something to make you fall asleep. This album truly has something for everyone. It has dark, grooving, fast paced metal, soft rock, vocal focused ballads and just about everything in between.

The record starts with “Cross Off,” an absolutely thumping track from Morton and Chester Bennington (Linkin Park, Stone Temple Pilots). The groove heavy track begins with a scream from Bennington reminiscent of HYBRID THEORY (Linkin Park’s first album) as the late singer delivers searing metal vocals throughout, leading into a breakdown that’s impossible not to move to. From “Cross Off,” the album storms into “Sworn Apart,” with Papa Roach vocalist Jacoby Shaddix delivering a solid performance. Once again, Morton offers a filthy groove. “Axis” features Mark Lanegan (Screaming Trees, Queens of the Stone Age) and Slash’s favorite singer, Myles Kennedy. Lanegan sounds like he has been gargling gravel for five years. The track slows things down and forces you to listen. And, so, away we go again with “The Never,” featuring Testament’s Chuck Billy. The tune takes off like a rocket launch 2 inches from your head. More filthy grooves and barking vocals littered throughout this track force you to bang that head. The album slows down a bit from here, with tracks featuring Kennedy (“Save Defiance”) and Mark Morales from Sons of Texas (“Blur”). Both are solid efforts, with Morton and bassist Mike Inez delivering solid performances.

MARK MORTON (photo credit: TRAVIS SHINN)

The record moves on to “Back From the Dead,” a track with Buckcherry’s Josh Todd. A solid, hard punk/metal thing, this is the best vocal performance Todd has given in years. Another highlight is the hard left turn of “Reveal,” featuring Naeemah Z Maddox. This track really shows Morton’s ability with a guitar. He slows it down and delivers a soulful and sweet guitar solo that works seamlessly with Maddox’s vocals. The album moves on to a hard rock track featuring Morton on vocals. He does a really solid job putting the vocals down in “Imaginary Days.” Very surprising, indeed. And, on to the finish… My favorite track of the year so far is “The Truth Is Dead,” featuring Randy Blythe (Lamb Of God) and Alyssa White-Gluz (The Agonist, Arch Enemy). You can already guess what happens here. White-Gluz opens the track with a beautiful singing intro which breaks into Blythe hitting his signature growl. Lows, highs, everything you could want from Blythe. Alyssa comes in at the perfect time to deliver the chorus, with Blythe throwing some clean vocals behind her. They both show off their growls through the breakdown. The album finishes STRONG. You can definitely tell Morton put a lot of time into this and chose carefully who he wanted performing each track. It’s obvious this is a labor of love and respect for the music. ANESTHETIC is highly recommended, as I think the album is killer… absolutely worth a listen.


ACE FREHLEY: SPACEMAN

(eONE MUSIC/ENTERTAINMENT ONE; 2018)

Even though Ace Frehley wasn’t my favorite member of Kiss, I was certainly appreciative of his guitar pyrotechnics (figuratively, if not literally) and, once I heard his first lead vocal on the LOVE GUN track “Shock Me,” his stock shot up dramatically in my estimation; the band now had three very distinct voices (Ace’s other-worldly, Marvin the Martian on helium atonal delivery alongside Gene Simmons’ deep-throated growl and Peter Criss’ gravelly purr) to offset Paul Stanley’s rock star style and front-man proclivities. Frehley’s ups and downs (and ins and outs) with Kiss and his battles with more than a couple of personal demons have been well documented; I won’t waste your time rehashing Ace’s checkered past… I’m just glad to have new music from the man.

ACE FREHLEY (uncredited photo)

SPACEMAN kicks off with the anthemic grind of “Without You I’m Nothing,” a track – surprisingly – co-written by former bandmate Gene Simmons, who also adds some chunky bass to the proceedings. Ace’s vocals, which have taken on a certain world-weary quality, are in top form and a slow-build solo is a much-needed cherry on top; not that the song is bad, it just never seems to catch fire, much less spark, aside from that solo. “Rockin’ With the Boys” is a hook-laden rocker that, oddly, hearkens back to “Beth” with its “No need to worry/I’ll be home soon/’Cause I’m rockin’ with the boys” chorus. The song is quite easily one of the best things Ace has recorded as a solo artist. Proving himself to be “King of the Power Chord Riffing World,” the hooks just keep coming with “Your Wish Is My Command,” Ace continues to turn up the cool factor with each successive tune. Even though Alex Salzman is onboard as bassist, the cut is another Simmons co-write, featuring just about everything that we’ve ever loved about Kiss. “Bronx Boy” has a little harder edge than the previous tracks, but then, the New York borough that spawned Frehley and Kiss tends to be a little harder edged than a good chunk of the United States. Another anthem, “Pursuit of Rock and Roll,” closes the first half of the album, as Ace name-checks some of the biggest names in the history of good ol’ Rock ‘n’ Roll, while visiting upon many of the cliches that the music is founded upon: Power chords, riffs you could caulk your house with, wicked solo after wicked solo, gang vocals and, I’m pretty sure that there’s a chunk of apple pie in there somewhere. Oh, and Anton Fig. Ace’s long time friend (Fig played drums on Frehley’s first solo record way back when) is in there, too. While Scot Coogan and Matt Starr are fine time-keepers, they aren’t always willing to show any flashes of aggressive playing, tending to keep things simple which allows the guy who’s name is on the album cover to show off his prodigious guitar chops; Anton has played with Ace long enough to feel comfortable playing with a more aggressive style.

ACE FREHLEY (photo credit: JAYME THORNTON)

Even though it’s a cover (originally recorded by Billy Satellite, later a hit for Eddie Money), “I Wanna Go Back” fits in well with what could be described as a “developing pattern,” with its lyrics-as-catharsis recalling both the happier times and a life sometimes ill-spent. The song, short on lyrical content (though it does get the point across nicely), is a mid-tempo rock ballad that fades just as Frehley takes flight on another guitar solo. Picking up the mantle envisioned with the album’s title, Ace is off to the final frontier with “Mission To Mars.” It’s another song that somehow feels unfinished; again, the tune’s not bad, just… incomplete. Another fine solo saves the number from mediocrity. “Off My Back,” likewise suffers from an early fade. The number itself feels more fully formed than the previous two cuts, with an aggressively biting vocal and another finest-kind solo. The album’s final track, “Quantum Flux,” is an instrumental track with ebbs and flows that has me thinking that I sure wouldn’t mind hearing an entire record of instrumentals from Mister Frehley; hey, don’t laugh… it has been done before. With a really cool acoustic riff playing underneath, Space Ace delivers some of his tastiest runs on this piece. Even though there are other stellar moments on SPACEMAN, it seems that Frehley saved the best for last. I will admit that many of the problems I mentioned above are merely minor annoyances; something a bit more troubling is the mix on the vinyl version of the record (the version I used for this review). The music seems compressed and muddy, which could have clouded my perception of the players’ (particularly drummers Starr and Coogan) performances. With vinyl making a strong comeback, it’s a shame that many of the mixing techniques that were perfected in the ‘70s and ‘80s are now, seemingly, forgotten. Still, while this album probably won’t get as many plays as DESTROYER or HOTTER THAN HELL, it won’t necessarily be collecting dust on my shelf, either.


UPCOMING: 20TH ANNUAL TRIBUTE TO STEVIE RAY VAUGHAN

(24 November, 2018; THE PAGEANT, Saint Louis MO)

It’s hard to believe that Stevie Ray Vaughan has been gone for nearly thirty years. Vaughan, who reached legendary status in the 1980s for his fluid, fiery guitar playing with his own band, Double Trouble, and on David Bowie’s LET’S DANCE album, was killed in a helicopter crash near Aspen, Colorado in 1990. The man who was at the forefront of a serious Electric Blues revival in the United States was a little over a month shy of his thirty-sixth birthday. His importance and his influence are still felt in the music played by artists across the country and, in fact, the world.

STEVIE RAY VAUGHAN (photo credit: EBET ROBERTS/GETTY IMAGES)

That influence is particularly abundant in Saint Louis, as guitarists like Steve Pecaro and Tony Campanella seemingly work overtime to keep the music alive in a city that is known for the Blues. In fact, Pecaro and his band have hosted an annual STEVIE RAY VAUGHAN TRIBUTE show for two decades; the 20th anniversary show, sponsored by Pecaro’s Guitar Shop and radio station KSHE-95, will be happening on Saturday, November 24 at the Pageant. I know that a lot of so-called “tribute” bands are currently cleaning up in a market that seems perpetually stagnant. However, this show is not what most of us have come to think of as a “Tribute” show. Not even close! This is a celebration of the life and music of one of the greatest rockin’ Blues players of all time. With Pecaro, Campanella’s band and another Saint Louis mainstay, Mike Zito, are also scheduled to appear, along with special guests. If the below video is any indication, the Pageant will be packed and rockin’ all night long. Tickets remain for the all ages event, available in advance at the usual outlets for twenty bucks or $22.50 on day-of-show at the venue’s box office, with 21 and up balcony seats available for $25. The doors open at 7:00 PM, with Mike Zito taking the stage around 8:00.


BE BOP DELUXE: POSTCARDS FROM THE FUTURE… INTRODUCING BE BOP DELUXE

(EMI RECORDS/CAPITOL RECORDS; 2004) A REVIEW FROM THE VAULTS

So, it’s somewhere around the middle part of 1977 and I’m in the “I’ll buy virtually anything that ain’t disco or Country and Western music” mode that typified my life for several regrettable years (with wisdom and age, I’ve repented/recovered from that dark period, except for the disco… that’ll always suck!). While deciding on which 8 to 10 albums to buy on this particular day, I came across a two record set (one full-length album, one 12″ EP) with a striking black and white cover – a still from the classic silent German flick, METROPOLIS. The price was right, so I was soon the proud owner of LIVE! IN THE AIR AGE by something called Be Bop Deluxe. I’d seen a couple of studio albums by the group, of course, but I just could not get behind that name (or the inexplicably hideous cover art or… perhaps it was a deep-seeded fear of Jazz music, another of my quirky phobias of that bygone era)! But, great googley-moogley, chil’uns! When I dropped the needle on side one, track one (“Life In the Air Age”), my brain nearly exploded! This was great stuff… incredible stuff. “Adventures In a Yorkshire Landscape.” “Fair Exchange.” “Piece of Mine.” “Maid In Heaven.” These were absolutely magnificent slabs of sonic beauty, propelled by the lush, orchestral guitar style of Bill Nelson, the mad genius behind the quartet’s sound.

It was a VERY long time before I came into contact with another Be Bop Deluxe record (though I did purchase a couple of great imports by the then-solo Bill Nelson) – in fact, the band only managed one more album, DRASTIC PLASTIC, before packing it in. Now, a band of which Nelson says, “I don’t think about Be Bop Deluxe as often as fans of the band might presume,” is given its due with this 18-track “Best of… ” package alongside re-issues of the original five studio albums and LIVE! IN THE AIR AGE (all with bonus tracks, naturally). Does it sound dated? Not as much as you’d think! In fact, I could think of a few current artists who would be regarded as the next big thing if they had recorded this stuff in the past couple of years.

BE BOP DELUXE, circa 1974 (Nicholas Chatterton-Dew, Ian Parkin, Bill Nelson, Robert Bryan) (photo credit: MICK ROCK)

This 18 track collection starts with the title song of the very first Be Bop Deluxe album. “Axe Victim” is rather a lost gem, full of the lyrical wryness and imagery that became a main-stay of not only this band, but of all of Bill Nelson’s subsequent projects (solo or with the group Red Noise). Of course, the benchmarks of Be Bop Deluxe were always Nelson’s guitar work and the solid interplay between the four men (on AXE VICTIM, Nelson was joined by guitarist/organist Ian Parkin, drummer Nicholas Chatterton-Dew, and bassist/vocalist Robert Bryan). The second track, also from that debut, “Adventures In a Yorkshire Landscape,” is fueled by Nelson’s ingenious arrangement (and a smoking guitar solo). The tune would later be retooled for the second version of the band, turning it into an almost orchestral live masterpiece.

BE BOP DELUXE, circa 1975 (Simon Fox, Bill Nelson, Charlie Tumahia) (uncredited photo)

The band’s second album, 1975’s FUTURAMA, introduces drummer Simon Andrew David Fox and bassist Charlie Tumahai, with Nelson exerting his dominance on all fronts: all lead vocals, guitars, and keyboards are performed by him; all songwriting and arrangements are by him. FUTURAMA is the most well-represented release on POSTCARDS… , with four tracks (“Stage Whispers,” “Sister Seagull,” “Jean Cocteau,” and the wickedly cool “Maid In Heaven”). The wisdom of adding Tumahai and Fox is evident from the first notes of the charging train wreck that is “Stage Whispers.” The funky calypso break merely adds to the insanity, and – if I haven’t mentioned it yet, Bill Nelson can play that guitar thing! “Maid In Heaven” follows. Like “Adventures In a Yorkshire Landscape” and the song that follows, “Sister Seagull,” this tune became a live staple, taking on a new feel with the addition of Simon “Andy” Clark on keys. Speaking of “Sister Seagull,” again the guitars and the arrangement sets Nelson and Be Bop Deluxe apart from most acts of that time (or, for that matter, most acts that have followed in the 30 years since its release). The final track from FUTURAMA is a jazzy homage to “Jean Cocteau.” The song is a major departure for the group, but the trio show that they are more than capable of pulling off such a change of pace.

BE BOP DELUXE, circa 1976 (Charlie Tumahia, Andrew Clark, Bill Nelson, Simon Fox) (photo credit: JOHN THORNTON)

By the time of the band’s third record, SUNBURST FINISH, Clark was well ensconced on keyboards. His impact is immediately felt on another live staple (and quite possibly the one song that you may have heard on the radio at some point), “Fair Exchange.” The interplay between guitarist and keyboardist on this track is a good example of the direction that the band was headed. Plus, it’s just a darn good song! “Ships In the Night” builds on the slightly Caribbean feel that was first explored during the break in “Stage Whispers.” The keyboards are, by turns, grandiose and whimsical… not an easy feat in the same song! “Blazing Apostles” re-introduces us to Bill Nelson, guitar hero. During the four-and-a-half minutes of the song, Nelson goes from metal crunch to jazzy runs to strident funk to fleet-fingered progressive solos.

BE BOP DELUXE, circa 1976 (Andrew Clark, Bill Nelson, Charlie Tumahia, Simon Fox) (publicity photo)

The group’s second release of 1976 (and fourth, over-all), MODERN MUSIC, finds the revitalized quartet performing as a more cohesive unit, though it is still quite obvious that Nelson is pulling all of the strings. “Kiss of Light” could have (should have) been a big hit back then; it would probably be a big hit if it were to be released today, with its rather staccato vocal delivery, especially on the chorus. The title track is as laid-back as Be Bop Deluxe ever got, with a lilting, slightly bluesy sound. “Twilight Capers” continues the orchestral approach that was adopted on the previous record, with guitars and keyboards ebbing and swelling throughout, leading to a short Jazz-inflected guitar solo at the outro. This is the band and the musical vision that Nelson took on the road, with the tour that eventually produced the amazing LIVE! IN THE AIR AGE.

BE BOP DELUXE, circa 1975 (Charlie Tumahia, Bill Nelson, Simon Fox) (uncredited photo)

And this is where the continuity of this release comes into question: The single tune from the live album, “Life In the Air Age,” the title track, if you will, does not follow “Twilight Capers.” Three songs from the group’s final release, DRASTIC PLASTIC, is wedged between the MODERN MUSIC and LIVE! IN THE AIR AGE tracks. The tunes – “Electrical Language,” “Possession,” and “Islands of the Dead” – are fine songs, but it is very obvious that Nelson was tiring of Be Bop Deluxe and guitar-driven rock music. “Electrical Language” is powered more by the vocal performances than by guitar (or keyboards), while “Islands of the Dead” is a rather thoughtful, mostly acoustic piece. “Possession,” of the three, is the closest to what fans had come to expect from Be Bop Deluxe’s grand wizard of the nicely turned phrase (of both word and fretboard).

BE BOP DELUXE, circa 1975 (Simon Fox, Charlie Tumahia, Bill Nelson, Andrew Clark) (photo ourtesy: GAB ARCHIVES/REDFERNS)

“Life In the Air Age,” a track from SUNBURST FINISH, bears witness to just how great this group was as a live unit. The song itself is a progressive pop masterpiece and the band certainly prove their mettle in bringing it to life on stage. As good as they were in the studio, the fact that they were able to improve on those studio versions is a testament to the combined talents of the four musicians, and the arranging acumen of Bill Nelson, in particular. The final two tracks of the package brings it full circle (another continuity issue), with both the A and B sides of the first Be Bop Deluxe single, the independently produced and released “Teenage Archangel” and an early version of “Jets At Dawn,” a tune re-recorded for AXE VICTIM. The A side is, actually, a fairly standard sounding teenage-angst pop song. The B side, however, clocks in at nearly seven minutes and features some of the most exquisite guitar on this package. I just wish that the single tracks would have been sequenced as the lead tracks on this package, even though they were tack-on, bonus cuts for this version of POSTCARDS FROM THE FUTURE. Ah, well… you can’t have everything, but you can have a fairly comprehensive Be Bop Deluxe primer to hold you over until the proposed box set that Bill Nelson is reportedly working on.

BE BOP DELUXE (Bill Nelson, on stage November 1976) (uncredited photo)

UPDATE: Bill Nelson’s eight-disc box set, THE PRACTICE OF EVERY DAY LIFE: CELEBRATING 40 YEARS OF RECORDINGS was finally released in 2011, featuring 34 choice cuts from the Be Bop Deluxe era. Aside form various compilations and reissues, Nelson continues to set a furious pace, releasing no less than four albums of new music this year alone. The last,DYNAMOS AND TREMOLOS is half synth-pop, half guitar rock, all instrumental.


SUPERJOINT: CAUGHT UP IN THE GEARS OF APPLICATION

(HOUSECORE RECORDS; 2016)

Superjoint (formerly Superjoint Ritual) is a hardcore/extreme metal/punk supergroup, formed in the early ‘90s by Pantera frontman Phil Anselmo, Jimmy Bower (Eyehategod, Crowbar) and Joe Fazzio. Their latest effort, CAUGHT UP IN THE GEARS OF APPLICATION, opens with what I can only describe as controlled chaos, in a way that only Anselmo and company can deliver. It’s a pretty relentless romp into dark themes and heavy grooves. There are some glimpses of their previous sound throughout, but all in all, this is a fresh sound with new ideas for the band.

SUPERJOINT (Kevin Bond, Jose Manuel Gonzalez, Phil Anselmo, Jimmy Bower, Stephen Taylor) (photo credit: DANIN DRAHOS)

The first half of the album is a sonic explosion, with Phil roaring nasty vocals in over-expertly crafted starts and stops in a way that exudes extreme deliberation, and you can tell that serious time was put in to writing the music. Despite the obvious age in his voice, Anselmo still has a vocal style unique to only himself. The opener, “Today and Tomorrow,” is a pretty good indication of what you’re getting into when you sit to listen to the album as a whole. “Burning the Blanket” is the gem of the first half, having extreme groove, and Phil screeching filthy highs over the latter half of the song.

The record really picks up during the second half, with “Clickbait,” which, in my opinion is the best song on the album and the best representation of the band’s new sound. The album closes up with “Receiving No Answer To the Knock,” which is a solid song and just goes to show you that although the record is over, Superjoint intends to kick your ass until the last second of it; the use of a dark, descending melody on guitar coupled with Anselmo’s best performance on the album let you know that they are not going anywhere anytime soon. Overall, CAUGHT UP IN THE GEARS… is an incredibly solid album and, if you have the time, you should really listen to the whole thing, as I think the totality of its eleven tunes plays better than any single track.


CLUTCH/SEVENDUST/TYLER BRYANT AND THE SHAKEDOWN

(18 October, 2018; POP’S NIGHTCLUB, Sauget IL)

Needless to say, as soon as I heard that they were coming back to Pop’s, I was pumped to have the chance to see Sevendust again! Then, I found out that Clutch was going to headline. What!?! Clutch AND Sevendust on the same night? Hell, yes! I was definitely gonna be in that pit!

TYLER BRYANT AND THE SHAKEDOWN (Tyler Bryant) (photo credit: DUSTIN GABEL)

Opening the show was Tyler Bryant and the Shakedown from Nashville, Tennessee. Since their start in 2009, Bryant and the band have released several singles and EPs, including 2015’s THE WAYSIDE, as well as their first full length album, WILD CHILDREN, in 2013, and the recently released self-titled follow-up. Onstage, they definitely perform very well, feeding off the energy of the crowd; their influences, likewise, play a vital part in the Shakedown’s sound: Kinda like a mix of Blues riffs combined with a good, solid rock base that I strongly believe places them in a musical genre all their own! Their unique blend of musical styles and strong onstage presence has led to the band touring with and opening for such acts as Aerosmith, Eric Clapton, ZZ Top, AC/DC, BB King and Jeff Beck and has garnered them an opening slot on several dates of Guns ‘n’ Roses’ NOT IN THIS LIFETIME tour, which wraps up on December 8 in Honolulu. If you do get the chance to see them live, you definitely shouldn’t miss it!

SEVENDUST (Lajon Witherspoon, Morgan Rose) (photo credit: DUSTIN GABEL)

The second act of the night, much anticipated by myself and all of their fans, was Sevendust from Atlanta. The band is a personal favorite and much of the crowd was cheering for them to come onstage. The group formed in 1994 and are currently promoting their 12th album, ALL I SEE IS WAR, which was released in May. They still deliver that unique Nu-Metal sound as only they can and always have from the first time I saw them live, promoting their very first album. The tradition continues with the latest release, highlighted by the hardcore vocals of Lajon Witherspoon, Morgan Rose’s blistering drum fills, and insane guitar riffs from Clint Lowery and John Connolly. The sound, the intensity and the level of professionalism definitely leaves you wanting more! The vibe you get seeing them perform live is just surreal! After a rocky start and multiple name changes, Sevendust has seen much success, with three consecutive RIAA gold certified albums, a Grammy nomination and millions of albums sold world-wide. Their fan base is huge and fiercely loyal. If you get the chance to attend one of their shows, you will soon see the love and respect people have for Sevendust, with the members of the band giving it all right back to their audience like I have never seen with any other live act! Much respect to the members of Sevendust for keeping excellent rock alive!

CLUTCH (Neil Fallon) (photo credit: DUSTIN GABEL)

Closing out the night was Clutch, touring in support of their just-released album, BOOK OF BAD DECISIONS. Since forming in 1991, Clutch have released 12 studio albums, as well as several rarities and live albums. As always, these guys have never failed to deliver a superb show. Even with a set weighted primarily with songs from the new record (11 of the 15 found on …BAD DECISIONS), the energy you feel by the second song is just unreal because the vocalist, Neil Fallon, is so pumped up, so quick to belt out that new material, interact with fans and dip into a back catalog filled with fan favorites. Fallon’s infectious energy keeps both old school Clutch fans and newer fans of the latest releases rocking hard. With 27 years on the front-lines of the metal scene, Clutch easily achieves their goal of rocking the venue down to the foundation!


4U: A SYMPHONIC CELEBRATION OF PRINCE

(October 14, 2018; THE FOX THEATRE, Saint Louis MO)

Celebrity deaths are not new and I tend to ponder such passings for only a short time before moving on. Exceptions, of course, do happen. The first that really – make that REALLY – affected me was the plane crash that took the lives of Ronnie Van Zant, Steve Gaines and other members of Lynyrd Skynyrd’s entourage. Groucho Marx, a couple of months earlier, was big but… the deaths and the devastation to the entire Skynyrd band shook me. Others – Glen Buxton, Rick Nelson, Johnnie Johnson, Johnny Cash, David Bowie – all had profound affects on me, as did the untimely deaths of three musicians I had considered friends: God Lives Underwater vocalist David Reilly, and drummers Dustin Hengst and John “Beatz” Holohan of Damone and Bayside, respectively. With all of these (and a few others), my personal feeling of loss was palpable. All of them pale, however, to the majestic hole left by the departure of Prince Rogers Nelson in April, 2016. He always seemed to be so relatable. Not just to me or his legions of fans, but to those outside of his music’s scope, as well. Heck, even my Dad sat through and liked PURPLE RAIN. So, this was an evening that I knew I must be a part of. I was not disappointed!

4U: A SYMPHONIC TRIBUTE TO PRINCE (JAMES OLMSTEAD) (photo courtesy: JEN GRAY/ReviesSTL)

The show was delivered in two parts, as the project’s curator, the Roots’ Questlove, announced (via a recorded introduction). The first would highlight “deep cuts,” while the second half would feature the hits. The deep cuts came mostly from the movie UNDER THE CHERRY MOON. While the material – “Christopher Tracy’s Parade,” “I Wonder U,” “New Position,” among them – are fairly unknown to me, as I wasn’t a big fan of the movie, but having been arranged and orchestrated by Clare Fischer, they, seemingly, were no-brainers for this show. In a brilliant move, Quest had approached Fischer’s son, Brent, as he had worked with his father on several Prince projects. The first half also featured fairly different takes on songs like “Controversy” and the 1999 album cuts “Automatic” and “Something in the Water (Does Not Compute).” Complete surprises were the unreleased compositions “It Ain’t Over ‘til the Fat Lady Sings” and “All My Dreams,” leftovers from the UNDER THE CHERRY MOON sessions. More than twenty minutes into the show, “Nothing Compares To U” was the first song that I really recognized straight off. I certainly don’t mean to slight the talented band accompanying the orchestra; however, “Nothing Compares To U” was the first time that one of the group stepped forward for any type of sustained exposure as electric violinist Ginny Luke delivered a brilliant solo. For the first time, “1999” got some folks on their feet, shaking off the staid, almost sterile orchestra feel of the evening. Miss Luke, likewise, was on her feet, delivering the first minimal vocals of the evening, as well as a bit of booty shakin’ of her own. Bassist CJ Alexander, drummer Skeeter, electronic percussionist Titus Johnson and a still unidentified guitarist, steadfast all night long, seemed energized by the crowd, pushing into new heights of rocking funkiness. If this first half dealt us a somewhat laid-back take on the Prince legacy until the end, that ending certainly did bode well for part two.

4U: A SYMPHONIC TRIBUTE TO PRINCE (CJ ALEXANDER) (photo credit: DARREN TRACY)

4U: A SYMPHONIC TRIBUTE TO PRINCE (THE UNKNOWN GUITARIST) (photo credit: DARREN TRACY)

Totally eschewing that “stay in your seat, this is an orchestra” stuff, as “Let’s Go Crazy” kicked off part two and the front of the stage was crashed by a slew of hearty revellers. A Prince-worthy solo by Luke ended the number. “When Doves Cry” turned into a massive sing-along, with the Fabulous Fox crowd raising their voices as one. It was, for me, the first truly moving moment of the evening, though certain ly not the last. As Ginny Luke became more involved with the crowd, I mentally noted that she had turned into quite the show-stopper. “Little Red Corvette” sounded like it was made to be played in this orchestrated fashion. Mister Alexander delivered an absolutely amazing bass solo and the guitarist (does ANYBODY know this guy’s name?) definitely proved his funky mettle. The inherent funkiness of His Royal Purpleness continued on a cool version of “Kiss.” Though an odd choice (in my opinion) of “Starfish and Coffee” kinda slowed things down at just the right time before spilling into a majestic “Take Me With U.” A snippet of “Irresistible Bitch” followed before morphing into “Raspberry Beret.” The symphony took over for an incredible interlude that led into… the Revolution doing “Purple Rain?” Yes, at this point, the live band sat out and let the legendary moment from PURPLE RAIN speak for itself. Though we had being seeing images and visual cues of Prince all night, his voice literally (and, yes, I have used that word properly) sent a chill down my spine, put a lump in my throat and brought a tear to my eye. In fact, there were several audience members wiping away the tears during this one. The orchestra continued to accompany as Prince’s solo hit. It is, without any doubt in my head, one of the greatest, most soulful guitar workouts in the history of rock, funk, soul or any other genre of music. As the live band joined in, the already overwhelming emotions merely intensified. It was a brilliant finish to an absolutely stunning show! But, wait… after most of the musicians had quit the stage, the video screens came alive again, with the Man himself delivering those familiar words: “I ain’t done yet. Chalk one up for the Kid!” As Prince and the Revolution launched into “Baby I’m a Star” before the band and orchestra joined in amidst an insane light show. While the tune and the presentation was cool, it almost seemed anti-climactic after the stirring “Purple Rain.” My thanks go to Questlove and the Prince Trust for bringing this vision to life and for the band, conductor James Olmstead and the local musicians of the orchestra for an unforgettable evening celebrating the one, the only Prince.

4U: A SYMPHONIC TRIBUTE TO PRINCE (PRINCE) (uncredited photo)