RAIDER REVERED: THE MARK LINDSAY INTERVIEW

Mark Lindsay, 2013 HAPPY TOGETHER TOUR (photo credit: TOM LEPARSKAS/O’BRIEN)

Mark Lindsay, 2013 HAPPY TOGETHER TOUR (photo credit: TOM LEPARSKAS/O’BRIEN)

Let’s be honest: While the band played up the name of their leader, the undisputed focal point of Paul Revere and the Raiders was singer Mark Lindsay. Obviously, he was blessed with the smoldering good looks that made him the object of millions of teenage girls’ fantasies but, he also had an intangible savagery – in his vocal delivery and his stage presence – that made him cool enough for the guys to like; both of those things were enough for some parents to ban the group’s records from their homes and pin-up pages from TIGERBEAT, 16 and FLIP magazines from their daughters’ walls but, the songs Mark and the Raiders performed, at least until 1967 (or thereabouts), was pure pop confection (Lindsay’s growl aside) that most parents found rather innocuous and non-threatening to their impressionable offspring.

After winning a talent contest at fifteen, Mark was offered a spot in a band called the Idaho Playboys; however, the group’s leader (one Freddy Chapman) relocated shortly after, leaving the Playboys (minus Lindsay) to soldier on, playing the local bar circuit with their new organist, a guy called Paul Revere. Mark caught the band’s act one fateful night, asking them if he could join in for a few numbers. The next day, a chance meeting with Revere, who walked into the bakery where the youngster was working led to Mark joining Revere’s nascent group of musicians. As the group’s sound began to gel into a rough Rhythm and Blues, Lindsay suggested they adopt the name, the Downbeats, after the influential Jazz magazine of the same name. That was in 1958 and the two went on to perform together for nearly two decades.

The two prime movers of the band soon decided to exploit Paul’s name, changing their moniker to Paul Revere and the Raiders and adopting the dress of the Revolutionary War’s Colonial Army. It wasn’t long before Columbia Records began adding “featuring Mark Lindsay” to the group’s name on album covers and single labels. By 1966’s THE SPIRIT OF ‘67 (released under the title GOOD THING in the United Kingdom), Mark was not only singing and playing sax with the group, he was also writing many of the Raiders’ tunes – occasionally with Revere and various other Raiders but, usually with his friend, producer Terry Melcher. He was also the ONLY band member to appear on a majority of those tunes, including the hits; in fact, more than a few of those singles were originally recorded as Mark Lindsay solo records. When Lindsay finally left the Raiders in 1975, he had already forged a fairly impressive solo career. Somewhere along the way, disillusionment crept in and Mark decided to call it a career but, the pull of the studio and the stage brought him back… only to retire again a few years later. The man, however, has music stamped into those little genomial strands of DNA, so he is continually drawn back to his first love (sorry, Deborah). With recent stints on Mark Volman and Howard Kaylan’s HAPPY TOGETHER package tours and the occasional solo show under his belt (and a new album in the offing), he remains a solid live commodity to promoters and venues across the country.

Paul Revere and the Raiders, 1967 (Phil Volk, Drake Levin, Paul Revere, Mike Smith, Mark Lindsay) (photo credit: ASSOCIATED PRESS)

Paul Revere and the Raiders, 1967 (Phil Volk, Drake Levin, Paul Revere, Mike Smith, Mark Lindsay) (photo credit: ASSOCIATED PRESS)

This summer, Lindsay has joined his old friend, the Monkees’ Micky Dolenz, for the 50 SUMMERS OF LOVE TOUR, a night of Dean-and-Jerry-like frivolity and music. I had the chance to speak with Mark recently about his career, working with Dolenz and the new tour.

THE MULE: You’ve been performing, making music since you were like sixteen, seventeen years old.

MARK LINDSAY: Well, more like thirteen to fifteen. I was a kid.

THE MULE: Okay. Did you ever, in your wildest dreams, think that you’d still be doing… that you’d be doing this nearly sixty years on?

MARK: Believe me, I never thought I would LIVE to be this old. I mean, I thought… When I was starting out, I thought, “What is there after thirty?” You know? What future would anybody have after thirty? I really thought that was the end of it but, obviously, I would’ve been very surprised. However, I’m very gratified that I’m still doin’ it.

THE MULE: Very nice. Yeah, you know… it always amazes me that there are a lot of guys (and ladies) that were big… uh… mid-sixties, early seventies and so on that still just have this incredible drive and desire to do what you do and it…

MARK: It was… It’s so much fun to do and so gratifying and, as long as I can do it, have fun doing it and do it well… hopefully!… and if people still keep coming… I mean, Rock and Roll, which Mitch Miller predicted would die in the ‘60s, of course, never died and it’s still out there and as long as… It’s still alive, man. I mean, it’s the only genre of music that I get to give that’s lasted fifty years. So, more power to it!

THE MULE: Exactly. And, you know, just to touch on a couple of points through your career before we jump into the 50 SUMMERS OF LOVE TOUR. Uh… you worked with Paul Revere and various versions of the Raiders for a very long time and, I know that you kinda had like a… an up-and-down relationship – if you want to call it that – with Paul and… I’m just curious to know if you were in contact with him or he with you during the latter years of his life. Or, really, any of the old Raiders guys.

Mark Lindsay (photo courtesy: REAL GONE MUSIC/SONY MUSIC ENTERTAINMENT)

Mark Lindsay (photo courtesy: REAL GONE MUSIC/SONY MUSIC ENTERTAINMENT)

MARK: Well… Yeah, I was with the Raiders, as you said, throughout the whole recording career, basically. I was on every song that the Raiders had that was a hit. In the later years, I… it was an up-and-down relationship but, in the later years, I did try to stay in touch with Paul but, he was… he had a lot of problems, as you know, and unfortunately, we never got that last conversation that I would like to have had. But, you know… That’s the way life goes sometimes.

THE MULE: Yeah… yeah. Another big, driving force, possibly in your career… certainly the career of the Raiders was Dick Clark. I mean, he really kinda stepped up and said, “Hey, I want you guys for this,” and he pushed you to the forefront…

MARK: Well, he gave us a platform and we just kinda took over and, you know… He actually hired the Raiders, he confessed later, for a thirteen week period and he thought that if the show – WHERE THE ACTION IS – took off, he’d be able to hire a real band. At the end of the thirteen week period, luckily, the… it was kinda like a precursor to MTV… the whole nation got to see us and the whole nation… I guess, most of them liked us because, by the end of that thirteen week period, we had become that real band he was looking for.

THE MULE: How much… You know, every band goes through it… there’s a period, mid-’60s kind of stuff, where it was more of a Pop feel and you’re kinda… even though you wrote a majority of the songs, a majority of the hits, there were other people involved in songwriting and, probably, there were other people coming and performing the parts that – generally speaking – the band should be playing… I mean, how much of that actually happened, how much was actually the Raiders in the studio, doing it the right way?

Paul Revere and the Raiders, circa 1966 (Paul Revere, Drake Levin, Mark Lindsay, Phil Volk, Mike Smith) (uncredited photo)

Paul Revere and the Raiders, circa 1966 (Paul Revere, Drake Levin, Mark Lindsay, Phil Volk, Mike Smith) (uncredited photo)

MARK: Well, the Raiders… the guys… everybody played on the records up until and through “Good Thing” and then, after that, we were touring so much – we were on the road, like 250 nights a year – and Columbia had a three album schedule… you know, they wanted three albums a year – and, of course, they wanted singles. So, Terry (Melcher) and I would write, or we’d get Barry Mann and Cynthia Weil, who wrote… “Kicks” and “Hungry” were a couple of their songs. But, we would record… we would start the songs and go into the studio and, of course, if you listen to… I would say ninety percent of the music that was cut in the mid-’60s in Los Angeles, the Wrecking Crew was either THE band or part of the band, however supplemental. We just didn’t have enough time to “can” everything, so Terry would work on the tracks while we were gone and then, I’d come in and put the lead vocal on and we’d spin it there to the background. I mean, we’d… But, that was the formula we used and some of us… From time to time, some of the guys would be on the record but, it wasn’t a thing with a whole band type of luxury of being in the studio at the same time. We just didn’t have time to do that.

THE MULE: That had to be like, really just exhausting for you because… yeah, you can replace a guitar player, you can replace a drummer, you can replace a keyboard player but, you cannot replace the recognizable voice of a band.

Paul Revere and the Raiders, 1967 (Paul Revere, Drake Levin, Phil Volk, Mark Lindsay, Mike Smith) (publicity photo)

Paul Revere and the Raiders, 1967 (Paul Revere, Drake Levin, Phil Volk, Mark Lindsay, Mike Smith) (publicity photo)

MARK: You know, it was… Looking back on it, it should have been more exhausting but, quite frankly, there was no place I would have rather been. I mean, I liked performing on the road but, I really liked the studio, so, when I came back from a tour, I would drop my bag and head for the studio. And, basically stay there until we had to be on the road again. But, I enjoyed it so much that it didn’t seem… there was no question. You know, when you’re in your twenties, you can kill yourself several times and still bounce back from the dead. It didn’t seem to be that much of a hardship at the time. I really enjoyed it.

THE MULE: Right, right. We’re just not quite so resilient nowadays.

MARK: Yeah. I enjoyed making music so much, that it was certainly a lot more of a positive thing than it was a negative thing for me, so… I had a lot of fun.

THE MULE: Cool. So, let’s move into… uh… today.

MARK: Sure.

THE MULE: So, what can we expect on the thirteenth in Saint Louis – the Saint Charles Family Arena – with the 50 SUMMERS OF LOVE TOUR? And… I guess, how has this tour differed from the HAPPY TOGETHER shows you were involved with?

MARK: Well, HAPPY TOGETHER, of course, has each artist… It’s more… it’s kinda like the formula that Dick Clark… CAVALCADE OF STARS. You had one band come on and one act, then another and then another until everybody had played. The difference with 50 SUMMERS OF LOVE is, Micky and I are together but, instead of one performer doing his songs and then… you know, opening up for the other guy or vice-versa, were both onstage, basically, together all the time and, we’re doing Monkees songs and Raiders songs, of course, but… he’s singing on some of the Raiders songs, I’m singing on some of the Monkees songs… we goof around. It’s just more of a partnership or a duo onstage so, I really don’t know what you can expect. Basically, we’re both onstage from the time the curtain goes up to the time the curtain goes down.

THE MULE: Awesome! Now, you… Obviously, both of you guys were on TIGERBEAT covers and, you know, everything throughout the ‘60s but, how and when did you and Micky actually meet?

Mark Lindsay, 1967 (photo credit: TEEN LIFE MAGAZINE)

Mark Lindsay, 1967 (photo credit: TEEN LIFE MAGAZINE)

MARK: Oh, we met WAY back. He was… I lived a the top of the hill, Lookout Mountain over Laurel Canyon and he lived in the Canyon. We got together from time to time but, we both were so busy at the time, we didn’t have much time to hang out. There wasn’t much hang out time that was happening. So, I’ve known Micky for a long time. I mean, we’ve gotten together over the years but, not to the extent that we’re together now. But, it’s just a lot of fun, a fun show. I’ve heard comments from people who see the show, it’s really different than anything else because it’s not just one guy coming out and doing his hits and then another guy coming out and doing his hits. It’s more of a joint effort, for sure.

THE MULE: So, this is a chance for Saint Louis to hear, probably, the two most famous versions of “(I’m Not Your) Steppin’ Stone,” then.

MARK: Oh, yeah. You bet! We do it together.

THE MULE: Cool! That’s awesome. That was one of the things that I was wondering… how you guys were going to handle that song, in particular. Uh… the Fab Four, the Beatles tribute… they are opening the show but, they’re also acting as the house band, right?

MARK: Yeah. They open the show. They have an incredible act. If you… I mean, I swear, they sound so much like the original guys, the Beatles and, they look like ‘em. You know, they have the costumes and everything. So, if you close your eyes… you don’t have to close your eyes even… it’s almost like hearing SERGEANT PEPPER… live. If you could hear SERGEANT PEPPER… live. But, since the Beatles will never be together… that’s impossible ‘cause a couple of those guys are… uh… we’ll never see it again. But, it takes you right back to the sixties and between… you know, the Beatles had so… Oh, my gosh, they pretty much performed the soundtrack of our lives. And, of course, the Monkees had a lot of hits and the Raiders had a lot of hits so, if you like that period of time – the mid-’60s – which I think is one of the richest and most prolific times of Rock and Roll… so many great songs were being written and so many great acts were out there. If you like that period of time, you’re gonna be taken right back there and, of course, with Micky and I doing… you know, singing part of each other’s songs and being together, you get a different take of a song… at least, ours, as well.

THE MULE: How do the musicians kind of fit in with what you’re doing and how do you guys… Micky and you… Do you kind of attempt some Beatles stuff throughout your set?

MARK: We leave most of… Well, we do a couple of songs toward the end that… Most of the Beatles songs are done by the Fab Four. We have… Luckily, the Raiders and the Monkees both had enough hits that we have plenty of material for our own show. But, it’s just… It’s just a lot of fun. That’s all I can tell ya. I mean, you never know exactly what’s gonna happen.

THE MULE: So… let’s get into your new album, your new project. Tell us about that a little bit and how everyone can get a copy of it.

Mark Lindsay with Brian Wilson, 2013 (photo credit: JEFFREY FOSKETT)

Mark Lindsay with Brian Wilson, 2013 (photo credit: JEFFREY FOSKETT)

MARK: Well, it’s not quite out yet but, it will be. It’s songs I started two or three years ago. I started… Brian Wilson was looking for songs for a solo album so, I started writing some songs that I thought were kind of like evocative of the period and that I could kind of hear the Beach Boys doing in that kind of style and… I presented them to him and he liked a lot of them but, then, I don’t know what happened… Maybe his producer didn’t care for the tunes. One thing led to another and nothing happened. The songs were just laying there, so I went, “Well, what the heck?” So, I went ahead and finished them myself and… uh… So, it’s like… it’s just kind of a slice of that time, that much… a kind of a… I don’t want to say softer edges… Well, yeah… A slightly different style of music than people probably expect from me. But, I think the songs are great and I had a lot of fun doing it and it’s going to be out soon. It’s called… It was started long before this 50 SUMMERS OF LOVE TOUR was proposed but, that’s the title of the project. It’s called SUMMER OF LOVE. I wrote a couple of songs with that title so, it kind of fits in but, it’ll be available quickly.

THE MULE: Alright. We’ll be looking for it. Definitely. So, I guess we can wrap this up. With all of your solo stuff, the stuff you did with the Raiders, the various package tours that you’ve been on over the years… uh… Everything – soundtracks, movie roles… What are you most proud of in your life and in your career?

MARK: Well, probably, I think “Indian Reservation” is certainly an iconic record and production. I’m very proud of that. For a lot of reasons – lyrically and performance-wise but, it was just such a statement for the time that needed to be… a story that needed to be told. The song was written by John D Loudermilk and one of the reasons that it sold almost six million copies is the fact that it was just something that, you know, was very timely and… uh… There it is. I’m proud of a lot of stuff but, if I had to pick one… one thing – and, that’s very hard to do… because it’s not as much Rock and Roll as, for example, “Good Thing,” but, just for a song that made a statement that probably impacted more people than any other, I’d pick that.

THE MULE: Okay… awesome. I would tend to agree. I mean, I can think of a lot of songs that I really, really like but… I was born in ‘58 so, you know, by the time that came around, I was really just kinda starting to get into music and stuff and I remember the first time I heard that… it was just like, “Uumph!” You know? It hit me like… It meant something, you know?

MARK: Yeah. It was… Well, all the musicians on the record, it was… It’s funny… it was basically going to be a Mark Lindsay single and we cut it as that but, I was… Since I produced it, I thought it was great but, I wasn’t sure whether I thought it was great because I produced it or because it was really great. So, I was very ambivalent about releasing it under my name and so, finally, the… Jack Gold, the head of A and R for CBS said, “Look, if you don’t wanna release this as Mark Lindsay, I’m gonna put it out as the Raiders.” I said, “Okay. Fine.” And, he did. So, it’s the biggest record the Raiders never played on!

THE MULE: That’s funny! How big… You know, another question occurs to me. I mean, we talked about Dick Clark and we talked about Paul… How big of – I guess I can’t say “influence,” because it would be more the business side of things, but… How much did Clive Davis play into the career of the Raiders and Mark Lindsay?

Paul Revere and the Raiders, 1969 (Paul Revere, Keith Allison, Freddy Weller, Mark Lindsay, Joe Correro, Junior) (uncredited photo)

Paul Revere and the Raiders, 1969 (Paul Revere, Keith Allison, Freddy Weller, Mark Lindsay, Joe Correro, Junior) (uncredited photo)

MARK: Well, he was on our side through most things. Whenever I asked him for something, I usually got it. But, there’s one thing that he asked me to do that I didn’t do and, I don’t know what would have happened had I done it. But, I don’t regret it. In the middle of the Raiders’ career, like in the late ‘60s, early ‘70s, he came to me with an idea and he said, “Look, I want you to leave the group and become a solo artist.” And he played me some songs and he said, “I think you could… ” He’d heard some of the solo stuff and he said, “I think you can be, you know, like a… ” He didn’t say but, he kinda intimated… like Johnny Mathis. “Wow… well, that’s pretty ambitious!” You know? I mean, nobody can be a Johnny Mathis. Except Johnny Mathis. I like… Basically, it came down to, I just like Rock and Roll so much that I said, “I’ll continue to do my solo stuff but, I don’t wanna leave the group.” So, that’s where that one… And, that’s the only thing that he asked me to do that I didn’t do but, you know, it all worked out in the end!

THE MULE: Yeah, absolutely! I’d say it did. You’ve had a great career… ‘60s stuff, ‘70s stuff still sounds crisp and enjoyable today and, I’m just lookin’ forward to seeing you on the thirteenth and maybe hang out a little bit and we can maybe discuss some stuff a little bit further.

MARK: Okay, Darren, I look forward to it and… uh… like I say, I can’t guarantee what’s gonna happen but, it’ll all be fun. Looking forward to it.

THE MULE: Alright, man. Thank you so much.

MARK: Alright, Darren. Thank you. We’ll see you on the thirteenth.

50 SUMMERS OF LOVE

50 SUMMERS OF LOVE

Mark Lindsay and Micky Dolenz, along with the Fab Four: The Ultimate Tribute brings the 50 SUMMERS OF LOVE show to the stage of the Family Arena in Saint Charles, Missouri on Friday, October 13th for what promises to be a fun time for the entire family. For ticket information and additional tour dates, visit the tour’s Facebook page.


RINGO STARR: GIVE MORE LOVE

(ROCCABELLA RECORDS/UNIVERSAL MUSIC GROUP; 2017)

There are a mere handful of people that are readily recognizable by just one name: Cher, Liberace, Siegfried-and-Roy (Which I believe was actually the name of a white tiger that had a very successful show in Vegas until some German sap stuck his head in its mouth and it bit down… hard), Madonna and, apparently, Ringo… some dude that, aside from having one syllable more in his name than Cher (who’s primary claim to fame was from a line in a song by the Tubes: “Oh, God! More beautiful than Cher!”), but one less than Madonna and falling far short syllable-wise to the other two, is the father of a fairly successful rock drummer. Okay… I guess I have to come clean and tell you… I have absolutely no idea who this guy with the large proboscis actually is! Well, other than the drummer for, arguably, the greatest band to ever trod this earth. And, oh, yeah… he can sing a little and he’s not a half bad actor. Other than that, a real nobody! Aaand… I think I’ve got all of the stupid jokes out of my system for this review, so…

RINGO STARR (photo credit: GARY MILLER)

GIVE MORE LOVE kicks off with “We’re On the Road Again,” which features a spendly, snake-charming lead guitar from Steve Lukather (yes, THAT Steve Lukather) and bass from that other guy that Ringo played with back in the 1960s. Ringo is his usual rock solid drummer-type, nothing flash but spot on, nonetheless. His vocals are nice on this song, utilizing a standard rock and roll lyrical tool: We’re on the road and we’re coming to your town. “Laughable” is a pretty solid rocker with another nice guitar part, this time from Peter Frampton. Benmont Tench turns out to be the song’s MVP with some quite effective keyboard coloring, while the bass player (either Sir Paulie or background vocalist Timothy B Schmitt) also delivers a stand out performance. One of the more memorable songs from the album (and, just maybe, from Mister Starkey’s recorded output for the past twenty years or so). “Show Me the Way” is Ringo’s love song to either McCartney, his legions of fans or, – more likely – wife Barbara Bach. The “growing old together” theme is one that only a human who has lived through as many years as this artist can pull off with any kind of conviction. It’s a modest little mid-tempo rocker that definitely hits the mark, proving once again, why we love this guy so much. Lukather again gives us a rockin’ little guitar part; Jim Cox’s organ borders on the exquisite. (That last part didn’t come out quite right, but… it is what it is.) “Speed of Sound” is not the Wings tune, but a rather out-of-character “gotta get away” sentiment from Ringo. There’s quite a nice melody line from Ringo, a gentleman who always seems to deliver the perfect vocal for someone with his limited vocal prowess. Lukather and Frampton shine on guitar and co-writer Richard Marx (who, coincidentally, is NOT dead) offers some nice acoustic backing. “Standing Still” is Ringo revisiting the Country sound of his 1970 album, BEAUCOUPS OF BLUES. The vocals are far more forceful here than on any of the more rocking tunes on this record. A name from the very distant pass – Gary Burr – gets a co-writing credit and adds a bit of acoustic guitar to the proceedings, while Steve Dudas plays the electric and Greg Leisz takes the lead on the dobro, all of which adds up to a most impressive tune!

RINGO STARR (publicity photo)

After a pause to flip the record (there’s just something so exciting and special about turning over a slab of vinyl to get to the rest of the recording, isn’t there?), we’re on to side two. “King of the Kingdom” is co-written by yet another music legend, Van Dyke Parks. The tune features a cool wa-wa guitar lead from Dave Stewart and some tasty sax work from Edgar Winter. The newfound Starkey swagger returns, at least lyrically, though it’s tempered by the punchline, “But, she’s the King of the Kingdom.” The brilliant Nathan East continues his stellar bass playing, introducing a little bit of a Reggae feel to the number. You just knew that Joe Walsh was gonna show up somewhere on this record, didn’t you? Well, “Electricity” is that spot. The Starr of our show is definitely having fun with this one, both vocally and percussively. Tench is back with Don Was pitching in on bass and co-writer Glen Ballard offering up some Fender Rhodes. Another Country number, “So Wrong For So Long,” proves that a bit of tongue-in-cheek goes along way. Stewart, Cox, East and Burr return in various capacities, as does Leisz, this time on the pedal steel. Honestly, as much as I like the rock stuff here, I certainly wouldn’t mind another full-blown Country record from this old fart. “Shake It Up” is Ringo playing Carl Perkins (as he did on “Matchbox” way back when), Edgar supplies some finest-kind rolling boogie-woogie piano. Toss in a spot-on Rockabilly solo from guitarist Dudas, and this one may just be my favorite track on the whole record. The album’s title track and closing number, “Give More Love,” is another echo from the past, with a late ‘50s/early ‘60s atmospheric teen idol kind of tune, the type of song that made Ricky Nelson my sister’s favorite singer. Dudas’ bassy guitar sound is perfect for the song, with the Bissonette brothers (Matt on bass, Greg on percussion) adapting their heavier sound to the proceedings with great success. Ringo in the role of Ringo is, per usual, very Ringo-like and that ain’t a bad thing. This is certainly a nice way to end a record from a guy who’s main claims to fame is as the father of famed drummer Zak Starkey and as the lead in the snubbed-by-the-Academy feature film, CAVEMAN.


LIARS: TFCF

(Mute Records; 2017)

Liars have managed an unprecedented feat in my music world. The art punk band that, until their new CD was the work of duo Angus Andrew and Aaron Hemphill, have now made 8 albums in a row that I have loved. In the past 30 or so years, no other artist has made that many consecutive albums that knocked me out. Radiohead and Wilco were in the running, but then each made an album that failed to floor me. So Wilco stalled at 7 in a row. That leaves Liars in this unique position… a band I love who have never made an album I didn’t find thrilling. Their debut in 2002, the bizarrely titled THEY THREW US ALL IN A TRENCH AND STUCK A MONUMENT ON TOP, was responsible for one of the most memorable listening experiences I’ve ever had on the road, with a 30-minute closing track that absolutely marked them out as authentic weirdos. The follow-up, THEY WERE WRONG, SO WE DROWNED, was kind of a song cycle about witches and witchcraft, with some seriously spooky stuff on it, and some willfully perverse anti-commercial compositions that dared you to like them. I did, though… something this band was doing sounded like no one else, and seemed to be the product of an aesthetic that was hard to pin down. Their music combined chants, tribal percussive elements, odd fragments that could be haunting for a spell and then disappear, ambient passages and, sometimes, kick-ass driving rockers. Through it all, the voice of Angus Andrew, which sometimes he’d use to actually sing and sometimes he’d employ in the service of controlled atonality or spooky asides, served as a sonic trademark; Liars established their sound early on, one that was never less than intriguing and that featured fascinating stylistic variations each time out. It was weird, hypnotic, rhythmic and mysterious. It wasn’t for everybody, but so what? It was for ME, that’s all that mattered. In just 15 years, this eccentric band have made 8 albums I love. That’s a damn good track record!

LIARS (Angus Andrew) (uncredited photo)

But when I heard that Hemphill had left the band before this new CD, I was seriously worried. My first reaction was anger.… what, Aaron, being in one of the most fascinating bands of the new millennium wasn’t enough for you? Was Angus too controlling? Was your own muse being stifled? Not enough records being sold? I really wanted to know WHAT happened, and in the pre-release publicity, I read that Andrews wasn’t too happy about the departure. He went back to his native Australia after shuffling around multiple locations between the US and Europe, and set about making TFCF on his own. He remarked that he felt like a “bride being left at the altar” or somesuch, and indeed, the unsettling cover photo shows a dejected looking Andrew sitting by himself wearing a bridal gown, an uneaten cake nearby. It’s the most off-putting Liars cover, but in context, it makes sense and it’s quite sad. As a fan, going into this record, you had to be wondering if this was going to be the first Liars album to fall short – if the departure of Hemphill was gonna reveal that Andrew REALLY needed someone else to rein in his weirder artistic impulses, of which there were many. What were we in for, anyway?

The answer, miraculously, is another great Liars record. Here is proof positive that Angus Andrew is a true visionary, a singular composing talent who has enough adventurous ideas and experimental willfulness to keep the Liars sound fresh and flowing. One big surprise is the prevalence of acoustic guitar on this album. “The Grand Delusional” begins right away with a bit of sombre picking… haunting and evocative. “We said we would ride/We said we would take them out to sea,” Andrew sings, and it could be a reference to his ex-bandmate or a metaphor for something else. It doesn’t really matter; it’s lovely and cryptic. There are two songs that have a specific recurring line that must surely have something to do with the pain of Hemphill’s departure. “Staring at Zero” is short but it has a fairly typical ominous Liars rhythm track over which Andrew sings “Why can’t you shoot me through the heart?… We both were broke right from the start.” Sounds like admitted self-pity to me, and when it segues into some singer/songwriter-y acoustic guitar again right away, the effect is not typical Liars at all, and yet startling in that Liars way. Fascinating stuff. On the memorably titled “No Tree No Branch,” one of several songs that has echoes of Radiohead (past albums had even more songs somewhat reminiscent of Thom Yorke and company), the recurring lyric that sticks in your head is “If you listen you’ll hear that sound right there in my mind.” It’s true, we DO hear that sound and the rapid, demented keyboard bit over which it’s sung is captivating. This goes right into “Cred Woes,” possibly the most quintessential Liars track on the album. With a truly insistent simple percussion track and an ascending synth line that is sort of an earworm for those of us into this kind of weirdness, Andrew goes on about something obviously important to him but you won’t necessarily make out all the words. You also may not be able to read them in their tiny white type over green background flora as presented in the CD booklet. No matter; something compelling is being presented here, something dramatic and original. It has never mattered to me personally if I could understand everything Andrew was singing on Liars recordings. Some of the most memorable moments are slow and contemplative here: “Ripe Ripe Rot” is like an Eno-esque, slightly sour ambient track with a subdued Iggy Pop-style vocal. “You don’t remember what I said/And it’s time again to explode your heart/Yeah it’s time again to let go,” Andrew sings, with a resigned sadness. This dissolves into a big slice of ambient drift that would be pure hymn-like afterthought if not for the repeating dissonant machine sound that laces it, but maybe that’s the point. Andrew is still carrying on, still indulging his sense of sonic wonder… but his brain is surely hurting, and he’s up to something more than prettiness. In fact, he’s always been up to something partially inscrutable, something where others may not go gently. Liars albums take WORK, and I’m glad this one is no different. It’s one of the shortest Liars discs, but a worthy successor to 2014’s MESS. Sorry about your bandmate, Angus, but hell… you’ve proved you don’t need ANYONE, right? You’re one of the most interesting guys in rock, and I for one plan to follow you wherever you go.


IT WAS FIFTY YEARS AGO TODAY… A LOOK BACK AT THE MUSIC OF THE SUMMER OF LOVE

The Summer of Love (San Francisco, 1967) (photo credit: SAN FRANCISCO CHRONICLE ARCHIVES)

The Summer of Love (San Francisco, 1967) (photo credit: SAN FRANCISCO CHRONICLE ARCHIVES)

It’s hard to believe that this summer marks the 50th anniversary of the so-called “Summer of Love,” highlighted by a major explosion of influential rock acts, mind-expanding music and… oh, yeah!… there was that landmark Beatles album, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND. 1967 was a watershed year for music; a year which saw the release of several important debut albums and a slew of downright great rock ‘n’ roll records.

Big Brother and the Holding Company (James Gurley, Sam Andrew, Janis Joplin, Dave Getz, Peter Albin) (publicity photo) Grateful Dead (Phil Lesh, Jerry Garcia, Bill Kreutzmann, Bob Weir, Ron McKernan) (photo credit: HERB GREENE)

Big Brother and the Holding Company (James Gurley, Sam Andrew, Janis Joplin, Dave Getz, Peter Albin) (publicity photo) Grateful Dead (Phil Lesh, Jerry Garcia, Bill Kreutzmann, Bob Weir, Ron McKernan) (photo credit: HERB GREENE)

The Doors’ first album came out early in the year, along with another important first step in the psychedelic movement, as SURREALISTIC PILLOW by the Jefferson Airplane, Grace Slick’s debut with the band. The Grateful Dead followed with their first album about a month later. At the same time, the Godfathers (and Godmother) of punk and alternative rock hit the ground running with the Velvet Underground’s opening salvo. Janis Joplin got some attention as the new singer for Big Brother and the Holding Company, while a former US Army paratrooper, ex-pat who also played a little guitar released his first album, ARE YOU EXPERIENCED, as front man of the Jimi Hendrix Experience. The Beatles came out with their magnum opus, SERGEANT PEPPER’S… on the first day of June; while they were recording what many consider the greatest album of all time, a band called the Pink Floyd were also working at Abbey Road Studios, just down the hall from the Fab Four, on their first album, Syd Barrett’s psychedelic masterpiece, THE PIPER AT THE GATES OF DAWN. Late in the year, Cream, Traffic, Buffalo Springfield and the Who gave us still more great music (in the forms of DISRAELI GEARS, MISTER FANTASY, BUFFALO SPRINGFIELD AGAIN and THE WHO SELL OUT, respectively). The Monkees, the Beatles, the Turtles, Aretha Franklin, the Box Tops and Lulu all hit the top of the singles charts with unforgettable tunes throughout the year. The year 1967 was, indeed, a watershed year for pop music and the year that rock and roll grew up, expanding musical limits and young minds the world over.

PINNACLE

THE BEATLES: SERGEANT PEPPER’S LONELY HEARTS CLUB BAND

SERGEANT PEPPER'S LONELY HEARTS CLUB BAND; The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (publicity photo)

SERGEANT PEPPER’S LONELY HEARTS CLUB BAND; The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (publicity photo)

Obviously, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND is the standard by which all music released in 1967 (and, in fact, in the fifty years since) is measured. The album was a big surprise when it came out… lots of folks actually thought the Beatles might be breaking up because they hadn’t released anything new since February, with the single “Strawberry Fields Forever” (and, their last album, REVOLVER, hit the streets nearly a year earlier, in early August, 1966). Ironically, the John Lennon-penned “Strawberry Fields… ,” the very first song the Lads worked on for the album, didn’t even make the final cut. SERGEANT PEPPER’S was a true product of the great working relationship between the Beatles and their producer, George Martin, who took the band’s brilliant pop songs and grandiose ideas, molded them into a cohesive orchestral whole and just made everything work… beyond anyone’s wildest dreams. The record’s last track, “A Day In the Life,” was immediately recognized as one of the Beatles’ best and most important songs; Lennon’s dreamy vocals at the start are still as haunting as ever and Paul McCartney’s amazing bass playing stands out, as it does throughout the entire album. Over the past fifty years, the Fab Four’s eighth full-length is as well known for the amazing cover by artist Peter Blake as for the thirteen tracks found within the sleeve; the songs, the performances, the production and the visuals all gelled to make SERGEANT PEPPER’S LONELY HEARTS CLUB BAND the single most memorable moment in the annals of not only popular music, but popular culture as a whole. Rock and roll and pop music would never be the same; the rock medium, in particular, would move away from looking at an album as merely a collection of singles to a well thought-out, cohesive set of songs, sequenced to be enjoyed in its entirety. I was just thirteen years old when the record came out and, even after five decades, I still appreciate and still enjoy all the great music that came from that “Summer of Love.”

TOP OF THE POPS: FIVE ALBUMS THAT CHANGED THE LANDSCAPE OF POP MUSIC

JEFFERSON AIRPLANE: SURREALISTIC PILLOW

SURREALISTIC PILLOW; Jefferson Airplane (Jorma Kaukonen, Jack Casady, Grace Slick, Spencer Dryden, Paul Kantner, Marty Balin) (uncredited photo)

SURREALISTIC PILLOW; Jefferson Airplane (Jorma Kaukonen, Jack Casady, Grace Slick, Spencer Dryden, Paul Kantner, Marty Balin) (uncredited photo)

First and foremost, Jefferson Airplane’s SURREALISTIC PILLOW, their first with former Great Society singer Grace Slick, proved beyond any shadow of a doubt that a woman could rock the house down with the seminal Society leftovers, “Somebody To Love” and “White Rabbit.” Grace quickly ascended to become one of, if not THE premier rock vocalists of her time. With Slick on board, the Airplane were quite successful, both commercially and critically, for several years, while “Somebody To Love” and “White Rabbit” have become radio standards. Jefferson Airplane became one of the symbols of a new era in rock music with the psychedelic folk of SURREALISTIC PILLOW. I still enjoy listening to it.

THE VELVET UNDERGROUND AND NICO: THE VELVET UNDERGROUND AND NICO

THE VELVET UNDERGROUND AND NICO; The Velvet Underground (Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale) (publicity photo)

THE VELVET UNDERGROUND AND NICO; The Velvet Underground (Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale) (publicity photo)

The Velvet Underground’s debut – “produced” by Andy Warhol and featuring (at Warhol’s behest) Teutonic femme fatale, Nico – didn’t really hit me until years later, but the record’s influence was very important to many of the groups that I got into in subsequent years. The original group – Lou Reed, John Cale, Maureen (Mo) Tucker and Sterling Morrison – took quite a different approach to the commercial rock scene; their avant-garde sound, highlighted by great playing became the cornerstone that indie and alternative rock would build upon in the years since. As is often said, it may not have sold many copies, but everybody that heard it wanted to start a band; were the true alternative to pop music and started an underground rock movement that continues to reverberate throughout the music world.

THE DOORS: THE DOORS

THE DOORS; The Doors (Robbie Krieger, Ray Manzarek, John Densmore, Jim Morrison) (photo copyright: JOEL BRODSKY)

THE DOORS; The Doors (Robbie Krieger, Ray Manzarek, John Densmore, Jim Morrison) (photo copyright: JOEL BRODSKY)

Another band that dabbled in the darker side of the musical spectrum was the Doors, perhaps darker even than the Velvets. Of course, the quartet’s first album featured the classic rock fixture, “Light My Fire,” which propelled a tragic rock god, Jim Morrison, into a larger-than-life cult figure, but it was songs like the eleven-and-a-half minute epic, “The End,” that truly defined the band. Eight months later, the group’s second record, STRANGE DAYS, cemented Morrison’s shamanistic standing with “People Are Strange,” the evil intent of Moonlight Drive,” “Love Me Two Times” and another dark epic, “When the Music’s Over.” My favorite Doors album is actually MORRISON HOTEL from a couple of years later, but the groundwork was definitely laid on their classic first album.

THE JIMI HENDRIX EXPERIENCE: ARE YOU EXPERIENCED

ARE YOU EXPERIENCED; The Jimi Hendrix Experience (Noel Redding, Jimi Hendrix, Mitch Mitchell) (publicity photo)

ARE YOU EXPERIENCED; The Jimi Hendrix Experience (Noel Redding, Jimi Hendrix, Mitch Mitchell) (publicity photo)

Jimi Hendrix, Mitch Mitchell and Noel Redding hit big with their debut record, ARE YOU EXPERIENCED, though I didn’t get into Hendrix until a few years later. Jimi took the world by storm, becoming rock’s big guitar hero, virtually supplanting England’s rock gods, Eric Clapton, Jeff Beck and Jimmy Page, soaring to ever greater heights in a meteoric four year career. Tragically, Hendrix, Jim Morrison and Janis Joplin, along with the Rolling Stones’ Brian Jones all passed on within a couple of years of each other (between July 1969 and July 1971), becoming the first “official” members of what would come to be known as popular music’s “27 Club.”

PINK FLOYD: THE PIPER AT THE GATES OF DAWN

THE PIPER AT THE GATES OF DAWN; Pink Floyd (Syd Barrett, Nick Mason, Richard Wright, Roger Waters) (photo credit: ALAIN DISTER PHOTOSHOT)

THE PIPER AT THE GATES OF DAWN; Pink Floyd (Syd Barrett, Nick Mason, Richard Wright, Roger Waters) (photo credit: ALAIN DISTER PHOTOSHOT)

Finally, we have the first record from the Syd Barett-led Pink Floyd, THE PIPER AT THE GATES OF DAWN, a group and an album that was the impetus for the Progressive Rock movement, which would spawn such acts as King Crimson, Yes, Genesis and Emerson, Lake and Palmer, among others down the road. Oddly enough, the Floyd were recording their debut down the hall at Abbey Road Studios where the Beatles were producing their masterpiece. SERGEANT PEPPER’S LONELY HEARTS CLUB BAND was inspired by Brian Wilson and the Beach Boys’ PET SOUNDS album which, in turn, was inspired by the Beatles’ own RUBBER SOUL. How much did what John, Paul, George and Ringo were doing in that neighboring studio inspire Syd, Roger, Rick and Nick? That’s what made the music of the era so memorable… groups and artists could no longer afford to stand on their laurels, they were continually pushed by others to up their game, to progress and change. For fifty years (and counting), that has been the lasting legacy of SERGEANT PEPPER’S… .


42 DECIBEL: OVERLOADED

(STEAMHAMMER/SPV; 2017)

Discovering new music and artists that you truly enjoy listening to is one of the percs of this business. It makes you wanna hear more, delve into the back catalog; above all, you find yourself anticipating where the artist will take you with the NEXT release. However, in a world where many a band are increasingly more of the one-and-done variety, perhaps toiling away in virtual obscurity, playing random small clubs and house shows in their own backyards, it is becoming harder and harder for artists to deliver that next single, EP or album. 42 Decibels is one of those bands I came to late, picking up on their sophomore release, ROLLING IN TOWN a couple of years back. To say that I was heartened to discover record number three in my in-box would be a gross understatement. The question is, though, does it live up to my preordained hype? I say yes but, I’ll leave you to judge for yourself.

42 DECIBEL (Nicko Cambiasso, Billy Bob Riley, Junior Figueroa, Matt Fraga) (publicity photo)

Believe it or not, OVERLOADED does have an overarching theme, though not a particularly high-minded one. The title is derived from the band purposely pushing their equipment to its absolute limits, intentionally burying the VU meter in the red causing varying degrees of distortion. They get right to their task with “Whiskey Joint,” a Ramones/Misfits punky kinda vibe. With the ghost of Bon Scott howling over an infectious groove and Glen Buxton’s poltergeist offering up a “spirited” solo, it’s possible that these guys just might have a future in the rock ‘n’ roll game. “Dangerous Mess” is a swampy AC/DC sort of thing that helps add to the Bon Scott comparison. Just to make sure everyone is well aware of 42 Decibel’s influences are, there’s a sloppy Angus-like solo to liven up the final 45 seconds. On “Brawler,” the insistence of Nicko Cambiasso’s drums pounding out a rather primal beat, I am put in mind of a Gary Glitter tune; while it may not be as anthemic as a Glitter song, it is a lot of fun. “Roadkiller” is another on of those chuga-chuga AC/DC foot stomper with a monster riff. However, vocalist Junior Figueroa has traded in his good-time Bon Scott sound for the more menacing style of the incomparable Alex Harvey. The cut features yet another solidly rockin’ solo from redoubtable Billy Bob Riley. There’s a slightly heavier vibe (if that is even possible!) on “Hot Shot.” Think Steppenwolf or, maybe Deep Purple, but without the keyboards. Matt Fraga offers a massive, fuzz-infused bass sound that could very easily substitute for the heavy organ sound of either Jon Lord or Goldy McJohn, while Billy Bob’s lead work and slide solo are wicked cool.

The punk groove, seemingly left for dead after “Whiskey Joint,” is back on “Half Face Dead,” hanging out behind some seriously heavy riffage. I’m not exactly sure what “Half Face Dead” means, but it sounds kinda evil, in a villainous Harvey Dent kinda way. “Lost Case” has a brighter, springier (dare I say, “spritely?”) bounce with some more nice slide work and the return of Junior’s Harvey-esque (as in Alex, not Dent) growl. In a pared down version of THE THREE FACES OF EVE, Riley’s slide and rhythm guitars fight it out like a couple of drunk boxers for a really cool sounding “duet.” “Cause Damage” is a stompin’ Blues thing, a la Foghat’s take on Robert Johnson’s “Sweet Home Chicago” or, I guess, just about any early Foghat song. The dirty slide (man, I do love that slide guitar sound!) and pumping bass line propel the song along its slowly grinding path and helps make the track one of my favorite offerings from OVERLOADED. Another slow Blues, “Double Itch Blues,” reintroduces the AC/DC similarities – and comparisons – with loose guitar runs and Figueroa’s nearly unconscious delivery. A gutteral bass and some rather heavy-handed, if a bit lugubrious, drumming add to the slinky, slippery feel of the tune. With 42 Decibel, I’ve read comparisons elsewhere to Nazareth and, on “Cannon Fodder,” I finally hear it; the guitar work could actually be mistaken as a guest appearance by that legendary band’s highly under-rated Manny Charlton. The group picks up the tempo after a couple of slow Blues pieces, with things speeding up even more, leading to a beautifully messy terminus. I’ve gotta give a huge “Thank you” to the band’s record label (yes, those beasts do still exist), Steamhammer, for sticking with 42 Decibel throughout their – I guess you could call it their “gestation period.” So many artists find their creativity stifled by corporate heads demanding a string of hit singles right from the get-go but, Steamhammer (and their parent company, SPV) has allowed this group (and several others) to grow and evolve, much like the two bands that 42 Decibel are most often compared to. AC/DC and Nazareth – arguably – didn’t find their voices until their third albums (DIRTY DEEDS DONE DIRT CHEAP and RAZAMANAZ, respectively); I think with OVERLOADED, 42 Decibel’s third record, they have, indeed, found their voice and their groove. I cannot wait to hear number four!


ASIA: SYMFONIA – LIVE IN BULGARIA 2013 WITH THE PLOVDIV OPERA ORCHESTRA

(FRONTIERS MUSIC; 2017)

Ain’t gonna lie… Asia’s self-titled debut album was one of my favorite – if not my absolute favorite – and most listened-to releases of 1982. Why? This type of supergroup progressive pomposity was well out of favor by the time of its release. Well, first and, perhaps, foremost was the fact that I would buy anything… make that ANYTHING that featured John Wetton on bass and vocals; the former Mogul Thrash, Family, King Crimson, Uriah Heep, UK and Wishbone Ash player was and remains one of my all-time favorite singers and bass players. Mister Wetton did not disappoint with this record! Next, Carl Palmer (The Crazy World of Arthur Brown, Atomic Rooster and Emerson, Lake and Powell… er… Emerson, Lake and Palmer) was much more than a drummer… he was a percussionist who could pound out a beat like John Bonham or lay down a swinging Jazz groove, a la Bill Ward or any number of his early influences like Gene Krupa or Buddy Rich, plus… BRAIN SALAD SURGERY and “Karn Evil 9.” Need I say more? The final pieces to the puzzle were 40 percent of the band that recorded my favorite Yes album, 1980’s DRAMA: Steve Howe, an innovative and virtuoso level guitarist and Geoff Downes, keyboard genius and former Buggle. I was in Prog Nerd Heaven even though I had been listening to tons of Punk Rock back then, including the Damned, XTC and the Jam (though those bands had taken their music down a more inventive, progressive path by that time). So, anyway… I was hooked from that very first power chord to “Heat of the Moment.” These guys were the real deal and I was more than ready to snatch up their next offering, ALPHA, released the following year. Yeah… it suffered from what many call “the (dreaded) sophomore slump” and the discouraging reception to the album led to the exit (temporary, though it was) of Wetton. John was back in time to record the next set, ASTRA, though Steve Howe had headed out the back door as the bassist was reentering through the front; Wetton’s return and Howe’s replacement, Mandy Meyer, couldn’t salvage the sinking ship and Asia became a distant memory as everyone moved on to other projects. The original four (Downes, Howe, Palmer, Wetton) reformed in 2006, releasing three albums of new material before Howe left once again in early 2013 (citing the wear and tear of juggling touring and recording schedules with both Asia and Yes). Which brings us to this album, featuring current guitarist Sam Coulson on what was his first tour with the band; released, unfortunately, six weeks after John Wetton lost his years-long fight with cancer, the quartet is in fine form – even if the set list is a bit spotty, which may have to do with the involvement of the Plovdiv Opera Orchestra during the second half more than anything else.

ASIA (Carl Palmer, John Wetton, Geoff Downes) (publicity still)

The album is broken up into two distinct parts: Asia performing as a standard four-piece rock band (Disc 1 of the 2 CD set) and accompanied by the orchestra on a somewhat more sedate set (Disc 2). The first set gets off to a rousing start with “Sole Survivor,” a track from the debut album. The core members of the group – Wetton, Palmer and Downes – are in fine fettle here. John’s voice is strong; Geoff’s keyboard work enters into (Jon) Lordian realms, heavy and intense; Carl’s drumming borders on hyperactive, with thunderous fills and a slightly quicker tempo than I remember from the original. Sam Coulson’s guitar parts offer a bit more heft than did Howe’s original which, alongside Palmer’s jackhammer delivery, gives a certain urgency to this updated arrangement. “Time Again” is a propulsive proto-metal behemoth, somehow reminiscent of Crimson’s “21st Century Schizoid Man.” The guitar is more in line with the original and the backing vocals are on point, as well. It’s another great version of one of the prime cuts from the first record. Truth be told, when I first heard the lead track to 2012’s XXX album, “Face On the Bridge,” I did not like it. At all! It sounded like a sappy, sentimental “time has passed me by” ballad from a band whose time had, indeed, come and gone. Brother, was I wrong! How could I have missed on this one so badly? Here, the song bristles with a vigor that belies that inevitable passing of time. Compared to the original, though the song was barely a year old (release wise), in this setting, Wetton’s voice sounds even stronger, Downes delivers some inspired live flourishes and Coulson’s guitar adds a little somethin’-somethin’ that even the legendary Steve Howe couldn’t bring to the original. “My Own Time (I’ll Do What I Want),” from the group’s second record, is very much a product of its time. ALPHA saw the band move further into the realm of schmaltzy MTV/Journey balladry, leading to divisions within and an eventual split. This particular song isn’t really too bad, just not what Asia’s fans were expecting after that monster debut; now, thirty years later, the tune seems to take on a new relevance, especially with Wetton fighting various major illnesses. I’m sure the other three men on stage felt the emotional power that their singer put behind these lyrics during this tour.

ASIA (Carl Palmer) (publicity still)

Holy War,” a song from the OMEGA record, is a heavy prog ballad propelled forward, primarily, by Carl Palmer’s ferocious percussion and Geoff Downes’ keyboard artistry. Wetton seems to be loosening up by this point as his vocals become a bit more aggressive with a raspy sort of growl that fits perfectly within the context of the tune. An overblown symphonic intro from Geoff leads into the overblown progressive balladry of “An Extraordinary Life.” The lyrics are this number’s saving grace. John delivers his words with conviction, though – in the hands of lesser singers – such fare could well have been expressed in an overly dramatic, overwrought fashion. Finally… going all the way back to THEN AND NOW, the 1990 compilation of new and old, comes a power ballad that actually works! “Days Like These” is a great example of how well the Palmer/Wetton rhythm section complimented each other. This version also features a simple organ part from Downes and a spot on solo from Sam Coulson. It’s very nice to hear this one in a live setting. With “Open Your Eyes,” a weird vocoder intro turns into a very nice mid-tempo rocker featuring Wetton’s newly-positive and uplifting lyrics. Carl is particularly… uh… restrained here, showing us that, yes, he can be a true team player. There are more vocoder shenanigans during the middle break, which is a very operatic, chorusy thing that simmers just below John’s improvised vocals. Sam’s guitar fits quite comfortably within the confines of the song, shining especially bright on some very tasty solos and, his interplay with Downes’ organ to end the number is just awesome.

ASIA (Sam Coulson) (publicity still)

As the album’s name implies, Asia is joined for the second set by the Plovdiv Opera Orchestra. The first song with the orchestra, “Only Time Will Tell,” one of the many favorites from the group’s stunning debut, still sounds as fresh and vibrant as it did the first time I heard it, with Sam Coulson echoing that amazing Steve Howe riff, while adding a bit of his own flair to the tune. At this point, I’m not certain how the addition of the orchestra is going to work, as everything in this arrangement sounds exactly like Downes’ original keyboard embellishments. Even with the inevitable intermission between the band set and the introduction of the orchestra factored in, it seems strange to bookend the progressive power of “Only Time Will Tell” with a pair of the group’s more sedate numbers, “Open Your Eyes” and ALPHA’s “Don’t Cry.” With a slightly quicker tempo and Downes pretty much sticking to piano on the latter, the orchestra definitely adds to the overall sound of the piece. I’ve already praised John Wetton’s vocal performance but, really haven’t mentioned his bass work; as always, it is superb (in my estimation, Wetton was one of the best ever) and especially so on this song. Palmer again proves to be a master craftsman, playing deep in the pocket and offering a tasteful fill only when required. Next up is “Heroine.” Uh… okay… not a fan of this one. At all. Wetton’s voice is okay, Downes’ piano and the orchestra sound fine but, “Heroine” is just… BAD! It’s a sappy ballad that simply cannot escape its own sappiness.

ASIA (John Wetton) (publicity still)

I’m not too sure what this says about Asia’s recorded output but, with five songs from their stellar debut and another four from the artistically disappointing follow-up, ALPHA, it certainly seems that, as of 2013, the group was content to bask in the glory of those two records. “The Smile Has Left Your Eyes,” the fourth tune from that sophomore release, starts slow and features the epic build inherent in all early ‘80s power ballads, though with a bit of an edge due to Carl driving the band and orchestra with an accelerated tempo that is not unappealing for an all but forgotten thirty year old single from a mostly forgettable album. The final two numbers come from the formidable ASIA album. “Wildest Dreams” somehow seems more relevant today than it did 35 years ago. I’m not even sure how they even managed to pull this off (unless the Plovdiv Opera Orchestra also brought along a hefty chorus) but, the massive background vocals sound… if not over the top, at least completely out of place. Regardless, this is the quartet hitting on all cylinders, with an aggressive arrangement that highlights a cool duel between Sam and Geoff. The first song on the first side of that first record, “Heat of the Moment” may sound somewhat dated lyrically (featuring one of the most well-known couplets in Prog Rock history, “And now you find yourself in ‘82/The disco hotspots hold no charm for you”), but the power of the music and the conviction in Wetton’s voice still make it a crowd-pleasing sing-along… even in Bulgaria. The sheer firepower that the combined talents of John Wetton, Geoff Downes, Carl Palmer and then-newcomer Sam Coulson bring to bear on this version delivers a fantastic finish to a rather uneven show that may very well have suffered due to the limitations of playing with an orchestra.

I fully understand that this is a very different band than the one that recorded that 1982 debut offering… they are far more thoughtful and introspective, particularly after the health scares faced by their frontman throughout the latter part of their history and, well… let’s face it, apart from Coulson, they aren’t exactly young men. Even when considering the phenomenal accomplishments of Palmer, Wetton and Downes before and after ASIA, it must have been a hard pill to swallow realizing that the group was at their creative peak on their first album; it couldn’t have been easy trying to equal or outshine a record that could quite easily be released under the title ASIA’S GREATEST HITS with no additional material needed to bolster the original nine-track sequencing. However, having said that, shortcomings aside, this album does work as a fitting memorial to John Wetton, one of the true legends of Progressive Rock. I should point out here that I was privy only to the music tracks that make up just a part of the SYMFONIA package, which also contains a DVD (or Blu-Ray) of the concert; there is also a double vinyl set available, without the additional video media.


MARGINALLY WISER: THE CAPTAIN SENSIBLE INTERVIEW

Captain Sensible in repose (with fLUSH issue 11), 2002 (photo credit: DARREN TRACY)

Captain Sensible in repose (with fLUSH issue 11), 2002 (photo credit: DARREN TRACY)

They shoulda been finished by 1980. In the DIY world of late ‘70s punk rock, which saw bands implode (or explode) sometimes within days or weeks of forming, the Damned were releasing their fourth album in 1980, what I consider to be their magnum opus, THE BLACK ALBUM. Of course, by 1980, the band had already split after the departure of guitarist and primary songwriter, Brian James following the release of their second full-length, MUSIC FOR PLEASURE; thankfully, the call of the stage (and a nice payday) brought the remaining band – vocalist Dave Vanian, drummer Rat Scabies and bassist-turned-guitarist Captain Sensible – back together, this time with drinking buddy Lemmy filling in on bass. By the time the sessions for THE BLACK ALBUM began, the group was already on to their fourth bassist, Paul Gray having supplanted former Saints bass player, Algy Ward. Over the years, twenty-five full-time or touring musicians have been a part of the legendary aggregation, with Vanian being the only constant; however, the band coalesced into a solid line-up with bassist Stu West joining Sensible, Vanian, keyboardist Monty Oxymoron and drummer Pinch in 2004.

And, so, forty years after releasing the first UK punk record, DAMNED DAMNED DAMNED, the band are back with a major tour underway and a new album in the offing. With a stop scheduled at the Delmar Hall in Saint Louis on April 21, I reached out to the responsible parties to check in with the band before the commencement of the North American leg of their tour. It was agreed that e-mailing some questions to Captain Sensible would be the best approach. This, then, is the result of that communication; other than a minor tweak here and there, Captain’s answers are left intact, exactly as he wrote them. No animals were harmed in the exchange. Well, maybe a couple, but… they deserved it!

DAMNED DAMNED DAMNED

DAMNED DAMNED DAMNED

THE MULE: You’re celebrating the fortieth anniversary of your debut album, DAMNED DAMNED DAMNED and forty years of a general wreaking of havoc with an extensive world tour. How has the tour been going and what can we expect when you hit the shores of North America for a two-month long jaunt?

CAPTAIN: The band gets on great; probably why it’s the longest lasting lineup in Damned history. But, the important thing is they play the material, particularly from the classic period, with real gusto. Stu and Pinch are a phenomenal rhythm section which allows Monty (an improv genius) and myself freedom to be playful with the songs… it’s never quite the same twice. Which is good, because love music shouldn’t be too predictable. I like an element of danger… I’ve always seen my role in the band to add a touch of chaos.

THE MULE: Of late, a lot of groups have been celebrating these types of anniversaries by playing the entire record live. Can we expect to hear those twelve songs played front to back or do you have other surprises in store?

CAPTAIN: We’ll be playing a special career spanning 40th anniversary set – with the Damned you’re getting three bands for the price of one – we were the first UK punk band, had a hand in creating the Goth scene and veer towards garage psych whenever the inclination takes us. The setlist can change mid gig, depending on the audience… and well timed heckling is encouraged. It’s all about the live experience – to hell with choreography and set routines – we like to live a little dangerous and just go with whatever happens.

From the punk material, I have to say my favourite is “Neat Neat Neat,” with its fabulous Eddie Cochran-esque riff. Perfect for a quick jam and eminently danceable. On the other hand, “Eloise” is simply epic… a theatrical, mad, desperate declaration of love for a “lady of the night,” These things happen… quite often, probably.

The Damned and friends, circa 1977 (Chrissie Hynde, Tommy Ramone, Rat Scabies, Captain Sensible, Dee Dee Ramone, Brian James, Joey Ramone, Johnny Ramone) (photo courtesy: CAPTAIN SENSIBLE)

The Damned and friends, circa 1977 (Chrissie Hynde, Tommy Ramone, Rat Scabies, Captain Sensible, Dee Dee Ramone, Brian James, Joey Ramone, Johnny Ramone) (photo courtesy: CAPTAIN SENSIBLE)

THE MULE: The album was among a number of firsts for the band: You were the first punk band from the UK to release a single with “New Rose,” DAMNED DAMNED DAMNED was the first UK punk album and you were the first English punk group to tour the US. What do you remember from those first few months of the band and the explosion of punk that followed? There must be a great sense of pride in what you, Dave, Brian and Rat accomplished in such a short amount of time.

THE CAPTAIN: Brian put the original ad in a music mag looking for like minded musicians. He wanted a gang that played with aggression. You can hear the results on the first two albums… but, when he jumped ship in ‘78, it left the rest of us with a huge problem. None of us had any history of songwriting. Also, with me now on guitar, we needed a bassist.

We used to hang around in the pubs in Portobello Road, where Lemmy was a permanent feature – propping up some fruit machine or other. Apart from speed metal, that was his passion. He’d let us sleep on his floor if we missed the last bus home, and was a good chum.

We were broke and had been offered some money for a London Damned show if we could get some kind of lineup back together.

As ex-guitarist of the Johnny Moped band, I fancied a go at 6 strings again, so we called up our old mate Lemmy to play bass and knocked together a setlist of Damned and Motorhead favourites during a short boozy rehearsal. The reaction of the audience on the night of the performance was splendid so we arranged another show… and then another…. and then, someone suggested writing some new tunes.

Lemmy had a tour coming up, however, so we found ourselves having the difficult task of finding a bassist with equally uncompromising attitude and sound… and then someone mentioned this bloke they’d heard of that plays his bass with metal picks. His name was Algy, he demonstrated his thunderous technique and was immediately offered the job. Finally, the Damned was ready to record its psychedelic punk rock record… MGE (MACHINE GUN ETIQUETTE – Editor).

The Damned, circa 1976 (Captain Sensible, Dave Vanian) (photo credit: JOHN INGHAM)

The Damned, circa 1976 (Captain Sensible, Dave Vanian) (photo credit: JOHN INGHAM)

THE MULE: I’m reading Steve Jones’ book, LONELY BOY. He kind of gives short shrift to the Pistols’ ANARCHY TOUR that the Damned were a part of. Do you have any memories – fond or otherwise – of that tour and the other bands on the bill?

CAPTAIN: Damned, Clash, Pistols and Johnny Thunders’ band got on great – more than could be said for the four managers who all wanted preeminence for their bunch. MacClaren put the package together cos his lot couldn’t sell tickets outside London… a situation which changed when Steve Jones swore on a teatime TV show. At that point, with Rotten and company on all the front pages the next day, the Damned were no longer required to fill venues so we were given the heave-ho.

I bump into Steve every now ‘n’ then, and put it to him recently that it doesn’t take a lot of skill to curse and swear on a TV programme – I could’ve quite easily done that myself. More than capable! His reply? “But you didn’t, Captain… WE did”

You have to laugh…

The Damned play the Galaxy in Saint Louis, 2002 (Captain Sensible; Dave Vanian) (photo credits: DARREN TRACY)

The Damned play the Galaxy in Saint Louis, 2002 (Captain Sensible; Dave Vanian) (photo credits: DARREN TRACY)

THE MULE: The Damned has certainly had their share of ups and downs, with members coming and going, breaking up and reforming, legal issues regarding the use of the name, signing with and leaving record companies. For you, what are the high points and low points in the band’s career?

CAPTAIN: High point was the reception of the first album. It caused a bit of a sensation and suddenly, we were on front pages… the record is manic and riff heavy – Nick Lowe did a great job of capturing the uncompromising nature of our 35 minute live set. This is the material the more recently arrived members of the band love to play and they totally nail it.

We had no idea the record would be popular… let alone talked about 40 years on.

We were just making the music we wanted to hear cos there was precious little around at the time that had any get up and go. Glam rock had packed the sequins and gone – all we had left was country, disco and prog.

But mainly, I was trying to change my own world cos for me, as a teenager with little education to boast of, I had a life of drudge ahead of me at best. Or a vagabond of some sort… I was already known to the law and things could have gone from bad to worse. I was dossing in a Brighton squat, surrounded by junkies and ne’er do wells – then punk rock showed up and saved me. Every band needs a chaos factor… and I became the Damned’s random unpredictable nutcase. My dream job.

During rehearsals, I was sleeping on Brian’s floor; we spent our days traipsing around clubs attempting to blag support gigs – which paid peanuts so we were generally starving. When Stiff Records offered us a record deal, the promise of a visit to a Wimpy Bar was the clincher.

As for low points… Maybe the rows and punch ups? But all bands have them, I think… even the Mamas and the Papas.

THE MULE: A couple of fairly well known musicians produced the first two Damned albums. What are your thoughts on those first two records and the producers, the Nicks: Lowe and Mason?

CAPTAIN: Nick managed to capture the live sound of the band… it’s not “posh,” that’s for sure. If you play the record loud and close your eyes, you could be in London’s sleazy basement Roxy Club watching the band. It is pure punk – unlike some of our contemporaries, who polished and perfected their sound in an un-punk like manner, I thought.

Nick Mason stood in for Syd Barrett… our original choice. But we were getting Floyd’s studio for free, so couldn’t tell him to eff off.

The Damned's Abbey Road moment (Stu West,Captain Sensible, Dave Vanian, Pinch, Monty Oxymoron) (photo courtesy: CAPTAIN SENSIBLE)

The Damned’s Abbey Road moment (Stu West,Captain Sensible, Dave Vanian, Pinch, Monty Oxymoron) (photo courtesy: CAPTAIN SENSIBLE)

THE MULE: One of my all-time favorite albums and my favorite Damned album has always been THE BLACK ALBUM. What are your memories of writing and recording that record? How do you think it holds up 37 years later?

CAPTAIN: Somehow, the Damned had a role in kick-starting the punk AND Goth scenes – and moving into the ‘80s, I’d noticed Dave Vanian’s songwriting was moving into darker territory – which culminated in the appropriately titled …BLACK ALBUM. We were fascinated by the possibilities a little experimentation in the studio would give… It was a very creative time of Dave and myself having all night brainstorming sessions. The other guys would listen the next day, open-mouthed at the wild departure from the two minute thrashes we’d been famous for. These are the most fun songs to perform… but demand a lot of concentration.

THE MULE: It’s been nearly ten years since the last album of new material, SO, WHO’S PARANOID. I understand that you’re working on a new record. Can you tell us about the PledgeMusic page and when we’ll see the finished product? Do you have something unexpected up your collective sleeves? With the new record coming, your fans have to wonder: Where do the Damned go from here?

The Damned, 2016 (Captain Sensible, Pinch, Dave Vanian, Stu West, Monty Oxymoron) (uncredited photo)

The Damned, 2016 (Captain Sensible, Pinch, Dave Vanian, Stu West, Monty Oxymoron) (uncredited photo)

CAPTAIN: The Buzzcocks guys told us about this PledgeMusic thing, which I’d no idea about – but when told it allowed us to make the album we wanted to make… without a record label bloke peering over your shoulder, I was there. So, we can pretty much do what we like – which in the ‘80s would’ve meant getting comprehensively sloshed and wrecking the studio and getting thrown out of a few along the way for those sort of capers. Probably not this time though, being considerably older… and marginally wiser.

Pinch, Stu and Monty are such great players though… they’re going to get a chance to flex their muscles musically. This is a band that can break out of a song structure and really jam it up.

Each album we’ve made sounds different from the last one – and this one will continue that trend. It’s fun to experiment, to be creative… take a few risks. The only shame is not releasing before the world tour, but to have boshed out a half finished album would be wrong. I have SERGEANT PEPPER… and PET SOUNDS in my record collection, played ‘em to death over the years and, unlikely as it sounds, always aspire to achieve those standards.

An album to celebrate forty glorious years of the Damned seemed a good idea. We don’t make many… it’s quality over quantity. We’ll go off on a tangent, as per usual, as we don’t care to repeat ourselves. It’s been a musical journey in the Damned. I love the experimenting in the studio… all night brainstorming sessions fueled by copious amounts of quality ale. That’s the way to do it – it’s gonna be fun!

There will be some surprises, but plenty of energy and melodic content, too. Oh, and some darkness, too.

The Pledge campaign was an instant success. Thanks, everyone! We are currently trawling through the best material we have and putting it through the Damned machine. Who knows how much longer this band can go on, so we are really going at it with a Big (Brother) eye on the quality. Rest assured, it will be as different as any album the band has ever made. Move on or croak!!! We want people to discover this record and be aurally challenged. Dave, in particular, has some really wacky ideas that he wants to put on here and we are all pretty excited that he is vibed up about it. We may have to tour with a full orchestra and dance troupe to realize it properly! Hahahahaaaaa.

THE MULE: You had a successful solo run in the early ’80s and you continue to release music outside of the band. Is there any news on that front? If so, what and when can we expect something?

CAPTAIN: I did an album with Paul Gray… A POSTCARD FROM BRITAIN, it’s called. It’s a concept piece which reflects our views on our home country… not all of them glowing!

THE MULE: Looking back on a forty-plus year career, where do you think the Damned places in the pantheon of rock music?

CAPTAIN: I really don’t care about any of that… it’s all been fantastic fun. And, a wonderful musical adventure. The Damned are outsiders – we don’t have celeb friends or go to swanky parties. We are the same as we’ve always been… just a bunch of…

The Damned play the Royal Albert Hall, May 20, 2016 (Captain Sensible, Dave Vanian) (Photo credit: DOD MORRISON PHOTOGRAPHY)

The Damned play the Royal Albert Hall, May 20, 2016 (Captain Sensible, Dave Vanian) (Photo credit: DOD MORRISON PHOTOGRAPHY)

THE MULE: Thanks for taking the time to answer my questions. Look forward to seeing you in Saint Louis on April 21.

CAPTAIN: Cheers!!! I have to be real careful these days not to overdo it, as hangovers are gruesome when you get to this age. The getting carted about all over the place is tough on the system too – I always say I do the gigs for free… but I wanna get paid for all the traveling.

Having said that, there is a theory that you stay the same mental age as when you first join your band… to a certain extent I’ve not had the responsibilities and worries that normal people have, I’ve shifted a few records… but been bankrupt and everything in between, as well. To be honest the pursuit of money and fame means nothing to me… who needs a flashy car anyway – I’m happy to get around by train.

I’m a perennial juvenile delinquent… my hero is still Dennis the Menace. There’s more than a bit of him in my act.


COLISEUM/DOOMRIDERS: NOT OF THIS WORLD

(MAGIC BULLET RECORDS/AUXILIARY RECORDS/LEVEL PLANE RECORDS; reissue 2016, original release 2005)

mbl189-1024x1024

Eleven years ago, Ryan Patterson of Louisville three-piece Coliseum released a split EP on his Auxiliary label, sharing the slab with a Boston band called Doomriders, one of Nate Newton’s many side projects when he isn’t playing bass for Converge. The intent of NOT OF THIS WORLD was to pay tribute to Glenn Danzig’s eponymous metal monster, Danzig. Each choosing one song from Danzig’s 1988 debut, the bands added some originals – very much in a similar vein to Danzig’s dark metal – to the mix (Coliseum, two tracks; Doomriders, one). Now, as part of their twentieth anniversary celebration, Magic Bullet Records has taken the two tribute tracks and stuck ‘em on a special 7” reissue. I wouldn’t have minded hearing the whole thing, but… I will definitely take what I can get.

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum’s contribution, “Am I Demon,” comes across as standard-issue lo-fi heavy rock… you know, the good stuff. It’s kinda like Mountain and Blue Cheer tag-teaming with Lemmy, taking the low road while the ref’s not looking to retain their championship belts. Patterson offers suitably dark and gravelly vocals, as well as some brilliant guitar work; bassist Mike Pascal and bassist Matt Jaha lay down an underpinning that is so brutish, so heavy that you could caulk a window with it. If you like what you hear – and who wouldn’t? – check out the band’s latest release, 2015’s ANXIETY’S KISS, available here.

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Possession” comes from Doomriders… DUH! The track starts with a wicked backward guitar that leads into a riff that reminds me of “Battle Axe” by Billion Dollar Babies, with sort of a minimalist (for a metal band, anyway) percussion thing from Chris Bevilacqua and Jebb Riley’s sonorous bass groove; the guitars, supplied by Newton and Chris Pupecki, are more akin to Tony Iommi’s dense slabs of tonality than anything else. Danzig’s punk pedigree is definitely on display on this one, particularly with the Misfits style gang vocals on the chorus. You gotta go back to 2013 to find new music from the quartet with the album GRAND BLOOD. You can find that and everything else Doomriders at this location.

NOT OF THIS WORLD original packaging.

NOT OF THIS WORLD original packaging.

So, short and sweet… just like this awesome blast from the past. Any fan of pure metal, hardcore or any type of aggressive music, really, will want this limited edition release in their collection; likewise, if you’re a fan of any of Glenn Danzig’s previous work, whether it be the Misfits, Samhain or Danzig, this record will fit in nicely with those, as well. It’s available on black, white or clear vinyl from Magic Bullet or any of the usual suspects.


THE YARDBIRDS: ROGER THE ENGINEER

(REPERTOIRE RECORDS/COLUMBIA RECORDS; reissue 2016, original release 1966)

Album cover

Throughout the early 1960s, popular music was a “singles” medium. Sure, full-length albums were part of the mix but, by and large, these collections consisted of up to one half recent single releases and massive doses of filler and cover tunes. However, by the spring and summer of 1966, album rock music was going full force, with classic records being released by the Rolling Stones, the Beach Boys, Bob Dylan, Frank Zappa’s Mothers of Invention, the Beatles, the Kinks and the Jefferson Airplane, among others. One of the “others” was the first official studio album by a band called the Yardbirds, who had generated a string of hit singles on both sides of the Atlantic beginning in 1964. The album, released as YARDBIRDS in the United Kingdom and most of the world, was renamed OVER UNDER SIDEWAYS DOWN for North American release (as well as in France, Germany and Italy); the Australian mono release was dubbed ROGER THE ENGINEER.

The Yardbirds, 1966 (Chris Dreja, Paul Samwell-Smith, Jim McCarty, Keith Relf, Jeff Beck) (publicity photo)

The Yardbirds, 1966 (Chris Dreja, Paul Samwell-Smith, Jim McCarty, Keith Relf, Jeff Beck) (publicity photo)

The record featured the vocal prowess of Keith Relf, Chris Dreja’s rhythm guitar, Paul Samwell-Smith on bass, Jim McCarty on drums and… oh, yeah… some guy by the name of Jeff Beck playing lead guitar. Jim McCarty’s original liner notes opines, “It has often been said that Jeff Beck is one of the leading guitarists in the country, and I am inclined to agree with him.” This is a terrific, classic 1960s rock album, with plenty of something for everyone: Fuzz guitar, Middle Eastern influences and straight-on boogie rock in the form of “Beck’s Boogie,” performed by a true master. It’s also one of the first albums to highlight a new sound, a sound that would become known as psychedelic rock.

The Yardbirds, 1966 (Paul Samwell-Smith, Chris Dreja, Keith Relf, Jeff Beck, Jim McCarty) (uncredited photo)

The Yardbirds, 1966 (Paul Samwell-Smith, Chris Dreja, Keith Relf, Jeff Beck, Jim McCarty) (uncredited photo)

This 2016 two disc remaster features both monaural and stereo mixes of the album and is chock full of bonus tracks. The mono disc (which was still the most common configuration for mass consumption fifty years ago) contains the more interesting bonus material, including the two singles (and accompanying B-sides) from Relf’s short-lived solo career. Also on board – and of more interest – are a pair of songs recorded after the departure of bassist Samwell-Smith: “Happenings Ten Years Time Ago” and “Psycho Daisies,” released in the UK as a single. The B-side, “Psycho Daisies,” features the final line-up before the implosion that ultimately led to the formation of a legendary monster of rock; the track has a rare lead vocal from Beck, as well as a lad named Jimmy Page playing bass. “Happenings Ten Years Time Ago” is a guitar-lover’s wet dream, with Jeff and Jimmy sharing lead duties. Also playing on the session was a young bassist by the name of John Paul Jones. When Page inherited the Yardbirds name, he enlisted Jones as a member of what would become the New Yardbirds before morphing into another band you might have heard of… Led Zeppelin.

The Yardbirds, 1966 (Chris Dreja, Jeff Beck, Jim McCarty, Jimmy Page, Keith Relf) (publicity photo)

The Yardbirds, 1966 (Chris Dreja, Jeff Beck, Jim McCarty, Jimmy Page, Keith Relf) (publicity photo)

The Yardbirds may, of course, be best known for having Jeff Beck, Jimmy Page and Eric Clapton playing with them at one time or another during their brief run; they didn’t achieve the same elevated status as some of their counterparts, but they did have their share of great music and have proven to be quite influential over the last half-century. The band’s first proper album, affectionately called ROGER THE ENGINEER (after Chris Dreja’s cover art, depicting the man who engineered the sessions), is a great place to start delving into the genesis of not only psychedelic rock, but two of the most iconic guitar players ever, as well as the group the Who’s John Entwistle said would “go over like a lead balloon”; it is, truly, one of the great rock albums of any generation.


LAMB OF GOD: THE DUKE

(EPIC RECORDS/NUCLEAR BLAST ENTERTAINMENT; 2016)

theduke

I don’t know if you are a fan of Lamb of God or if you know anything about their passionate, compassionate singer, Randy Blythe. I don’t really care but, you should know about this incredible new EP from the aggressively progressive boys from Richmond, Virginia; you see, Randy and his bandmates care and they are more than willing to go the extra mile for their fans and put their money where their mouths are. I’m just gonna let Mister Blythe speak for himself about this record’s title track: “A little while ago, I became friends with a fan named Wayne Ford – he was terminal – leukemia. I talked with him often, even video chatted him into the studio. He was very calm about his impending death, and we discussed it very openly. I learned a lot from him. This song is for him.”

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Randy was made aware of Wayne’s illness in October 2012, when one of Wayne’s buddies asked him if he could give his sick friend a shout-out from the stage; Randy met Wayne and his wife after the show, giving him a much needed shot of positive energy. A little over two years later, in January 2015, Randy received an e-mail telling him that Wayne was losing his fight with cancer; Randy contacted Wayne and they stayed in touch for the next few weeks, as Lamb of God worked on their next album (VII: STURM UND DRANG), with Blythe even allowing Wayne to video conference with him during recording of his vocal tracks (something that even his LoG brethren aren’t allowed to experience). On February 3, 2015 Randy learned that Wayne had succumbed to the disease. His immediate response was to write a song for Wayne Ford, called, perhaps with a bit of divine intervention, “The Duke,” as Wayne’s father later told Randy that he was a huge John Wayne fan and that he had named his son after the legendary actor known as the Duke. The band has also set up a charity campaign for the Leukemia and Lymphoma Society online, at propeller.la/lambofgod.

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Now that you know what kind of men… no, make that Men… the guys from Lamb of God are, here’s why you should check out the music they make. “The Duke” is a progressive metal tour de force. The track features pounding drums (should it be otherwise?) from Chris Adler, a John Campbell bass line that thrums ominously along the bottom and inventive, pulsating guitars from the tandem of Willie Adler and Mark Morton, topped off with a stunning solo; Blythe’s vocals are mostly clean, only hitting on that well-known throaty growl on the chorus. I always considered Lamb of God to be a very technically proficient group, but this song really blows me away! The other new tune is “Culling,” which is more of the same, while not quite as inventive; this one is all abut the groove. There’s a Zakk Wylde style stun guitar running throughout, with a fleet-fingered, trebley solo punctuating the affect. Randy’s vocals revert to the norm here: Intense, guttural screams, which ain’t a bad thing.

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

The remaining three cuts are live versions of three numbers from VII: STURM UND DRANG. The first, “Still Echoes,” recorded at Germany’s Rock am Ring festival in 2015, features quick, precision strikes from the four musicians while still delivering a vicious, pummeling riff. The last two, “512” and “Engage the Fear Machine,” are from the 2016 edition of the Bonnaroo Music and Arts Festival. The autobiographical “512” is particularly moving, as it recalls Blythe’s plight, being locked away in a Czechoslovakian prison awaiting trial on charges of manslaughter; the music, especially the snaking, circular guitar figure gives the song a suitably claustrophobic feel. By the way, the full story of Randy’s ordeal is told with brutal honesty in his memoir, DARK DAYS is available from Da Capo Press and all major book outlets, both online and brick and mortar varieties… or, you could check out a copy at your local public library. If the above story about his interaction with one terminally ill fan hasn’t given you proof of the man’s character, this book surely will!