A chance to see Neil Young solo is rare indeed, and Saint Louis fans have not had that opportunity for many years. As a lifelong fan, there was no way I would pass up such an opportunity. I’ve seen Neil with Crazy Horse, with CSNY, with the International Harvesters, with the Stray Gators and more, but the solo acoustic concerts have certainly been among the most memorable. When I flew to San Francisco in 1978 to see Neil at the tiny Boarding House nightclub, that may well have been the most stunning concert I’ve ever seen. So, to say I was stoked for this rare Saint Louis solo show would be an understatement. John Hammond, a grizzled old blues rocker, opened the show despite not being billed. Favoring a bottleneck guitar and looking as craggy as an old oak tree, Hammond was amiable and interesting, but there was some restlessness getting through his set. And it was at least 45 minutes after he finished before Neil finally came out. Dressed all in black, a la Johnny Cash, Neil looked around, waved to the crowd, and finally took his seat. He opened with the nostalgic and totally appropriate Buffalo Springfield-era classic “On the Way Home.” This song speaks volumes to die-hard Rusties, and Neil delivered it with focus and clarity. In fact, it was quickly apparent he was in great voice tonight. At his age, it’s a wonder he can still reach most of those high notes. “Homefires” was next, the first of many surprises. That song was intended for the unreleased HARVEST follow-up, HOMEGROWN, and I couldn’t help but think it was kind of a comment on Neil’s changed love life in the last two years. “I’m free to give my love/But you’re not the one I’m thinking of/So for me, the wheels keep turning/Got to keep those homefires burning.” His ex-wife Pegi might have been the one Young was NOT thinking of. He is certainly thinking about new gal Darryl Hannah, and plenty.
NEIL YOUNG (photo credit: THRASHER)
“Love is a Rose” and “Only Love Can Break Your Heart’ came next, and the latter was a special treat for me. I could not remember hearing that one at a Neil show before, and it was charming. Neil told little anecdotes about many things during the show. He pointed to several guitars and with a couple of them said, “I got that one from Steve Stills. He’s a great guy.” In fact, it soon became apparent that Neil was in an especially chatty mood. This is not typical for him at all. “I feel like I’m talking too much up here,” he remarked at one point. “Like I’m doin’ a job interview or something.” “You’re HIRED!” someone bellowed from the audience, and it was a memorable moment. Young fiddled with his harmonicas, telling his assistant he needed a “C harp.” But when he started the song, he quickly stopped and said, “No, I need a B flat harp!” That song was “Mellow My Mind,” one of three he performed from TONIGHT’S THE NIGHT. He told the story of how he and his band had all drunk alot of tequila and gotten into a certain mood, so they could pay tribute to Bruce Berry and others who had died around that time. Neil played great, ringing piano on that song and “Speakin’ Out,” another tune I had never heard him do. The audience went nuts when he talked about a time in his career when he changed the type of songs he was writing, and how the Kent State massacre drove him to write about a new ill wind blowing in. He then performed “Ohio” on solo electric guitar, a truly compelling and unexpected moment, one the sold-out throng reveled in. His only hint about the times we’re living in came when he talked about school shootings and all the “anger” out there, leading to the fiery song “Angry World.” Some of us thought he might bring up our current president, but that did not happen. It was clear that Neil was NOT speaking from a script; spontaneity was the rule of the night.
NEIL YOUNG (uncredited photo)
For me, after Neil talked about where two of his pianos came from (one had fire damage and he was still able to play it), I was thrilled to hear “There’s a World,” possibly one of his most underrated songs. It’s a dreamlike ode to looking both inward and outward, and Neil played it with great delicacy. That was one of about five songs he played from his most popular album, HARVEST. “Are You Ready For the Country,” a note perfect “Out On the Weekend” and “Heart of Gold” were others. “Love In Mind,” a tender ode from the “ditch-trilogy” live album TIME FADES AWAY, also got an airing… wonderfully evocative. But for hardcore Neil-ites and “Rusties,” the one-two punch of “Love and War” and “Peaceful Valley Boulevard,” from the not often heralded LENOISE album, were the emotional peak of the show. Both these songs touch on violence, things being out of control, and environmental apocalypse, with love being seen as the one necessity for all of us, the ultimate way to peace. The guitar Neil played on that latter song allows for a certain rich, atmospheric resonance in the simple strumming of a powerful chord. The edgy sound, which potently rang through the entire theatre, accented Neil’s existential lyrics perfectly. “A polar bear was drifting on an ice floe/Sun beating down from the sky/Politicians gathered for a summit/And came away with nothing to decide… Who’ll be the one to lead this world/Who’ll be the beacon in the night?” Most in the audience sat in hushed awe.
Unfortunately, that did NOT include a chowderheaded idiot across the aisle from me, who simply could not shut up. He drew a few complaints with that, but when he stood directly in front of the people behind him and blocked their view, that’s when it got serious. The addle-brained druggie (I was sure he had to be; no one could be that rude just naturally, could they?) earned two visits from ushers, but even that didn’t do it. When he continued to jabber, the guy behind him had enough and probably called him a name. The two men stood up, and I was about to witness a fight, I thought. Right here during Neil’s apt song “Love and War”! The good guy’s girlfriend intervened to stop the violence, instead opting to go for security. They did, and the troublemaker was unceremoniously removed by Security. Maybe it’s just me, but if I paid $100 for a Neil Young ticket (or even more), I would not get so fucked up that I would lose all sense of decorum and risk getting escorted out of the show prematurely. Takes all kinds, I guess.
NEIL YOUNG (uncredited photo)
Neil appeared to not be phased by shouted requests or various fan comments. “What d’ya mean?” he said wryly, when someone shouted “Old Man!” And he remarked “It doesn’t even register” after another comment. It was striking to see this iconic, charismatic legend stalking the stage, walking this way and that way, looking as if he was making it up on the fly. “I would do something if I could remember what I was just thinking,” I believe he said near the end. The show barely grazed the 90-minute mark. He closed with “Needle and the Damage Done” and “Heart of Gold,” and was coaxed out for a single encore, “Tumbleweed,” which he played on ukelele. The tender song was clearly directed at Darryl Hannah, a sweet ode to her positive influence on him (it appears on the soundtrack to their new movie, PARADOX). Always leave ’em wanting more, it is said. Mister Young did just that; the fans were yelling until the lights went on. Altogether an eccentric, often dramatic and mostly moving performance by a performer who is seldom less than mesmerizing. I counted in my head, and with all the configurations I’ve seen him in, I think this was Neil show number 25 for me. Many moments from this one will stay with me. That’s how it tends to be with Neil Young shows.
KEVIN RENICK is one check closer to completing his bucket list.
Micky Dolenz (photo credit: KAY TUOHY)
Micky Dolenz was always my favorite Monkee. They all had their charm, of course, but Micky seemed to me to be the most knowing, the most IN on the joke and the most determined to have as much fun with it as possible. The initial “joke,” of course, was that this quartet of Beatlemania-aping youngsters – three Americans and one Brit – would produce a madcap TV show in the mid-’60s that would hopefully yield a non-stop string of radio hits penned by the likes of Carole King, Neil Diamond, Boyce and Hart and many others. Producers Bob Rafelson and Bert Schneider definitely seemed to view the whole thing through the lens of satire, and hired hand music producer Don Kirshner felt it was his job to feed the music through the hit machine he was in charge of, and to NOT let the boys get too cocky or assertive. Let’s have FUN, kooky visuals but slick, well-constructed pop tunes for the ears… that seemed to be the mandate. And Micky was the singer on a majority of the band’s hits… “Last Train to Clarksville,” “I’m a Believer,” “(I’m Not Your) Steppin’ Stone,” “Pleasant Valley Sunday” and many more. He wasn’t the “cute one,” that distinction went to Davy Jones. And Mike Nesmith was the group’s quirky intellectual, the one who had a discernibly broader agenda and undeniable charisma. Peter Tork was arguably the group’s most polished musician. But Micky Dolenz embodied the spirit of the Monkees thing better than anyone – he delivered his lines with the most sass, he had nonstop energy (throughout the many reunions as well), and, frankly, he had the best voice, one which has probably been underrated through the years. Micky can SING. And his natural ability to be a professional showman, an audience pleaser, has probably been the most anchoring element of this group in its different incarnations. It’s impossible to imagine the later Monkees successes – the ’86 comeback on MTV, the later trio tours, the wildly successful 50th reunion album and tour – without Micky’s boundless energy. You really HAVE to thank him for the band’s durability all these years later; he’s a gamer, plain and simple. And by the way, that “joke” I mentioned above? Well, the real joke – and triumph – was that the Monkees were damn good. Rock and Roll Hall of Fame be damned – these guys showed a staying power that no one could have predicted, thanks to fabulously catchy songs, the early determination to prove they could actually PLAY their instruments (and even write songs!), and a gift for both re-invention AND nostalgia stoking, which meant that every time they “came back” from seeming oblivion, a huge audience was waiting. One that included the rabid older fans and ever curious NEW fans. Hey hey, they’re the Monkees! But they didn’t monkey around when it came to delivering what fans wanted, time after time.
The Monkees (Peter Tork, Mike Nesmith, Micky Dolenz, Davy Jones) (screen shot)
“I realized a long time ago that if you give the audience what they want, which is those hits they like, you can just about do anything else you want,” said Dolenz during a long-awaited phone interview recently. “And in my case, every time I do a show, I liken it to someone throwing me a birthday party. The audience is so excited to hear those songs. It feeds you! It feeds the fire.”
Dolenz was responding to my question about how an artist mostly associated with an “oldies” type act, can keep singing the same songs over and over, and still be engaged. How do you keep the experience fresh for yourself?
“I can only speak for myself. I can’t speak for Mike or Peter or David,” he said. “After the Monkees, I sort of bailed out on that part of the business for a while. I moved to England, and for about 15 years I was directing and producing television shows. I did no Monkee business. And when I came back in 1986 for that reunion, it all felt very new to me again! I never really made a major attempt after the Monkees to have a solo career. Not as an artist or writer. I don’t write that much, you know… I had done a couple of little things here and there, but I was never really a writer or anything.”
So for Dolenz, performing those eternally popular songs was not a problem. “Pleasant Valley Sunday?”
“Oh, that is definitely one of my favorites. I always favored Carole King and Gerry Goffin’s stuff.”
The concert favorite “Goin’ Down?” “Yeah, that’s a great one.” More on “Goin’ Down” in a moment, but the point is that Dolenz was perfectly happy fulfilling audience expectations.
“I wasn’t trying to do all new material,” he said. “I’m not one of those performers who says ‘I’m not gonna do any of my old hits.’ But again, I can only speak for myself.”
I mention that nostalgia is actually a good thing in music, it provides added resonance for listeners who grew up with a certain kind of music. People WANT to relive great moments from their youth, and what’s wrong with that?
“Sure. And another reason I have no problem with it is, I have done other things in my life. I’ve done musical theater (his credits include AIDA, PIPPIN and a London stage production of HAIRSPRAY in 2010). I’ve gotten great reviews, and I’ve played great characters. So if I go out and do a Monkees concert or a Mickey Dolenz concert, it’s not the only arrow in my quiver. It’s not the only thing I’ve done. But it’s certainly the thing I’m most remembered for.”
Micky Dolenz and Joyce DeWitt in a 2014 production of COMEDY IS HARD! (uncredited photo)
Any baby boomer can recite favorite moments from the first phase of Monkee mania: that inescapable theme song from the TV show, the irresistibly catchy early hits like “ …Steppin’ Stone,” “I’m a Believer,” “She” and “A Little Bit Me, A Little Bit You,” the frenzied energy of the show, a pioneering experiment in the concept of music video. Some people may even remember the unlikely, limited tour that featured Jimi Hendrix as an opening act, something I did NOT have a chance to ask Dolenz about. I was more interested in talking about their music, and though I didn’t get to bring up all my favorite songs, I DID ask about “Goin’ Down,” easily one of Dolenz’s finest hours as a vocalist. Over a jazz-laced romping arrangement that expanded the group’s sonic palette rather significantly, Dolenz sings a rapidfire, tempo-challenging lyric that would be far beyond the ability of most vocalists. The case for Dolenz as one of the finest pop singers of the era was made right then and there, and that was way back in 1967. I tell him how extraordinary the track is.
“The story is, there was a song that Mose Allison, a jazz singer, had done – it was called ‘Parchman Farm,’” Dolenz begins. “It was an old bluesy/jazzy kind of thing. I don’t even know if he wrote it (Kevin’s note: he didn’t). It was only three chords. And I always wanted to do it. Peter had done it in the Village when he was coming up, he liked it also. So Mike and I and Peter and Davy laid down a track… it had no melody, just basically this three-chord progression. And when we finished, it was so hot, but then Mike said, and rightly so, ‘I love Mose Allison, and I love that song… but why would the Monkees cover Mose Allison? It’s just a three chord progression! Let’s have someone write some WORDS for our track.’ So we gave it to Diane Hildebrand. And she came back with the song… and the first time that I routined it with her, we played the track. And I had the lyrics in front of me. So I sang it, (Dolenz sings a few lines of the song to me first at the familiar rapid tempo, then at the sluggish tempo he employed when first rehearsing it.) And Diane goes ‘No, No, it should be TWICE that fast!’ (he laughs) And I said ‘What?’ So I rehearsed it, obviously, and then laid the vocal down. Yeah, it’s a big one.”
I tell Micky my poignant story about “(I’m Not Your) Steppin’ Stone,” which in a nutshell, is simply that my good friend and musical colleague, Rick Haegg, whom I had a lot of music plans with, died before we could get ourselves on video significantly. The performance of us doing the Monkees song live at Lindberg’s, in Springfield, MO, is destined to be the only YouTube clip of us out there. Micky used my mom’s expression “Oh, wow” in response to this story. But what I had LONG wanted to ask Dolenz about was, of course, Neil Young. Dolenz did a gentle cover of Young’s “Sugar Mountain” on his 1991 collection of pop lullabyes, MICKY DOLENZ PUTS YOU TO SLEEP. But more significant is the fact that it’s still not widely known among casual fans that Neil played on three or four Monkees songs, including “You and I” and the gorgeous “As We Go Along,” from the legendary HEAD soundtrack.
Micky Dolenz, soundchecking on the Monkees’ 2014 tour (uncredited photo)
“Oh, God,” Dolenz exclaims at the mention of that song. “Absolutely one of my favorites.” The shimmering acoustic guitars of the track and another stellar Carole King lyric (in collaboration with Toni Stern) propel Dolenz to what might be his most romantic vocal ever. “Give up your secrets/Let down your hair/And sit with me here by the firelight… Why think about/Who’s gonna win out?/We’ll make up our story as we go along.” Those are beautifully evocative lines that, when combined with the exquisite tune and a sweeping performance by Dolenz, can induce genuine chills. And yes, Neil Young plays guitar on it. But just HOW did ol’ Neil get involved?
“Well, he was just around, like everybody was at that time,” Dolenz replied. “I think he had a close relationship with Carole King, and so that’s why he might have been on that one. But everybody was around. Stephen Stills, Buddy Miles, Carole. It was a pretty small community. Everybody sort of hung around at everybody else’s house. Neil was around all the time. It could’ve been the producer, Jack (Nicholson, a co-producer of the soundtrack). Or Ry Cooder, he was the other guitar player on that. It’s also well known that not only us, but everyone was using the Wrecking Crew. Have you seen that documentary?”
Dolenz was referring to an acclaimed 2008 documentary about the legendary group of studio musicians who played on countless major recordings in the ‘60s. I felt guilty that I hadn’t seen it and told him I’d make an effort to do so.
“You should watch it. Yeah, the Wrecking Crew… it was Tommy Tedesco, Hal Blaine, Joe Osborn, Carol Kaye, Leon Russell. Glen Campbell. Lots of others. They played on everybody’s stuff. A lot of the Beach Boys stuff. In fact, the story goes that there isn’t one Beach Boy on ‘Good Vibrations’ except for the singing, of course. They played on a lot of early Byrds recordings… the Association… Mamas and Papas. In those days, that’s what you did. Lots of stuff. I’m so glad they are finally getting recognition.”
I asked about Glen Campbell, since he’d died quite recently. What did Micky most remember about him?
“Oh, I have lots of memories. We became really good friends. He was in the Wrecking Crew. We kind of just hit it off. We both had families at the same time… in fact, our families hung out. We had barbecues together. One day Glen said, ‘Do you remember your first recording session? Before the Monkees?’ I vaguely remembered it. I was singing around LA at the time. I didn’t know much about recording at all. There were four or five musicians there at the session. I was maybe 19 or 20. So we did the recording, and then the Monkees thing happened. And Glen Campbell said ‘Well, I was your guitar player.’ It was the Wrecking Crew! The song was called ‘Don’t Do It.’ Glen played on it. And Joe Osborn on bass. We did another one called ‘Huff Puff.’ Yeah, Glen was just a great guy.”
Dolenz had also been friends with another legendary songwriter, Harry Nilsson. For the 50th Anniversary of the Monkees, a remarkable set of circumstances came together to spark a new Monkees record, GOOD TIMES, in 2016. It’s a fantastic and surprising recording, which got some help from the discovery of some half-finished Monkees tunes in the vaults, one of which featured Nilsson.
The Monkees (Micky Dolenz, Davy Jones, Peter Tork, Mike Nesmith) (publicity photo)
“It all came together pretty quickly when we were discussing what we were gonna do for the 50th anniversary,” Dolenz explained. “We had some unfinished tracks from the ‘60s, songs written by Carole King, Neil Diamond and Harry Nilsson. And there were vocals on some, like ‘Good Times,’ the one that Harry wrote. That was obviously gonna be for me to sing on eventually. Harry had put down a pretty hot vocal as a guide vocal. And I thought, Wow, I could do a duet with my old friend Harry Nilsson! So we ended up calling the album GOOD TIMES, that was my idea. And that was the title track.”
Then all sorts of famous songwriters came out of nowhere to be part of this project, right? You discovered that the Monkees had fans in high places!
“What happened was that the record label and producers reached out on their rolodex, and all of a sudden we get songs submitted by Rivers Cuomo, Andy Partridge (from XTC). Noel Gallagher and Paul Weller. Ben Gibbard. It just exploded and took off. I am very grateful and flattered and proud of the album. We got great reviews, too. Even ROLLING STONE gave us a good review, and they were never so into the Monkees before!”
I mention how unprecedented it is for a band to have a top 20 album 50 years after the fact. Compilations or hits collections might make the charts later in an artist’s career, but for that to happen with a NEW album? Truly remarkable!
“Yeah, it occurred to me,” Dolenz began with a laugh. “The equivalent in 1966, back when the Beatles, Stones and the Monkees were around, would have been for an act from 1916 to now have a top 20 album. It would have been something by Al Jolson or Enrico Caruso!” We both laughed loudly.
Micky Dolenz, 2014 Monkees tour (uncredited photo)
But there was something truly remarkable in the strength of the songs on GOOD TIMES. Mike Nesmith sings “Me and Magdalena” with a delicacy that truly elevates the gorgeous melody to a transcendent level (Dolenz provides harmonies). Peter Tork is at his very strongest on “Little Girl” and “Wasn’t Born To Follow.” And no one could have anticipated the luscious psychedelia and beautiful joint vocal performance of Nesmith and Dolenz on the Noel Gallagher/Paul Weller co-write, “Birth of an Accidental Hipster.” Such musical surprises led ULTIMATE CLASSIC ROCK to declare that “the fact that there is a new Monkees album in 2016 is miraculous enough, but that said album, GOOD TIMES!, is nothing short of a masterpiece is astounding.” Fans like yours truly were genuinely amazed.
“It’s obviously very gratifying,” said Dolenz. “It took the three of us… well, actually the four of us, because even Davy has a song on there (“Love To Love”). But everything just came together… It had a lot to do with the producer, Adam Schlesinger, who really was enthusiastic. We just kind of caught lightning in a bottle.”
Is there any chance of another Monkees record happening in the future? After all, Micky said that even the notoriously reluctant Mike Nesmith loved making this record.
“Well, nothing is in the works right now. We are still riding the crest of the wave off GOOD TIMES. It did pretty well. In my solo show, I even do three songs off that album. The general consensus was that we didn’t want to try to follow that up right away with GOOD TIMES 2. But down the road, you never know.”
Speaking of “the road,” Dolenz performed no less than 60-plus concerts last year, which took him and Peter Tork to four countries. And this summer, he’s been doing the 50 SUMMERS OF LOVE tour with Mark Lindsey (from Paul Revere and the Raiders) and the Beatles tribute band, the Fab Four. Solo, duo or the odd theatre gig, Dolenz seems to never rest. How does he keep up the stamina for so many shows?
“To answer your question, I DON’T,” he laughs. “I get beat up pretty hard. There’s a saying we have, ‘You don’t get paid to sing, you get paid to travel.’ The singing is FREE. I don’t travel very well, it’s hard on me. Probably the hardest thing about doing this.”
Micky Dolenz performing at the Davy Jones Memorial show, 2012 (photo credit: CINDY ORD/GETTY IMAGES)
Nonetheless, Dolenz is having a good time doing the 50 SUMMERS OF LOVE tour, and I asked him what it’s like performing with his old chum, Lindsey, whose parent band was big around the same time as the Monkees. This show features them performing together.
“Yeah, this is not like a typical compilation show, where one act comes out and does 20 minutes, then the next act comes out,” he said. “The unique thing is that we do the whole show together. We’re both on stage the whole time. He sings on some of my songs and I sing on some of his. We talk in between and do some schtick. We open with ‘ …Steppin’ Stone,’ and we talk about it. He recorded the song, and he’ll say, ‘You know, I did it first.’ But I’ll say ‘Yeah, but I had the hit!’ It’s quite interesting. The set list is based on the SONGS, not who is singing them. It’s a little bit like a Rat Pack thing.”
Dolenz talks about how both he and Lindsey were on the ‘60s TV show WHERE THE ACTION IS, which I tell him I remembered watching. We also talk about enthusiasm for the Monkees’ music in England, Australia and Japan. And the participation of his sister Coco in the latest touring Monkees show (vocals and percussion), and how his daughter, Georgia, just graduated from the Groundlings improve comedy school, and how she and her pop run a furniture business together, called Dolenz and Daughters Fine Furniture. It seems there are constant surprises in Micky Dolenz’s career, and nary a dull moment. It’s plenty of work, and not much “monkeying around.” He knows he’s a beloved pop legend, though, and is grateful for his unlikely and diverse career. I had a zillion more questions I would have liked to ask him, and felt like I had barely scratched the surface in our short chat. But he’s a super busy guy, and was nice enough to give me some time despite an illness in his family. I try to express a level of admiration that would cover how I grew up with him, found myself astonished by the many Monkees reunions through the years and by that amazing new album, and how he’d been on my bucket list of desired interviews. I couldn’t say it all. Micky Dolenz! Wow! But even though I am hardly the first to tell him I’m a devoted Monkees fan and that he is truly one of the most underrated singers ever, I am happy to say it to him personally, anyway.
Micky Dolenz in his Dolenz and Daughters workshop, 2014 (uncredited photo)
“Thank you very much,” is his modest reply. And then I went along, with a HEAD full of impressions…
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)
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: 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)
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)
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.
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: 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: 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)
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
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.
(REPERTOIRE RECORDS/COLUMBIA RECORDS; reissue 2016, original release 1966)
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 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)
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 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.
ZZ Top are like an old friend… you just want to hang out with them and have a good time. After four-and-a-half decades (and counting), they have the distinction of being the longest running rock band with ALL its original members still going strong. That in itself is great, much less that they are still rocking as hard as ever. Their new live album, with songs recorded at tour stops all over the world (thus, the name) sounds great and is as fresh and as fun as the Tops have ever been… even after all this time. “Got Me Under Pressure,” “Cheap Sunglasses,” “Legs,” “Sharp Dressed Man, “La Grange,” and “Tube Snake Boogie” are all here and, so is guitar legend Jeff Beck, who joins the trio for “Rough Boy” and “Sixteen Tons” (yes… the Tennessee Ernie Ford song). Billy Gibbons and Beck have known each other for quite a long time and the former Yardbird has been a touring companion with the “Little Band From Texas” on more than one occasion.
ZZ Top (Dusty Hill, Frank Beard, Billy Gibbons) (uncredited photo)
Bassist Dusty Hill, the great stickman Frank Beard and Gibbons still rock with an unbridled wit and vigor and some of the coolest licks you’ll ever hear. Personally, I find Billy to be one of the finest axemen around, taking a backseat to no one. Frank Beard (the only member of ZZ Top without a beard!) is just fine, a powerful meat-and-potatoes type of drummer… steady as a rock. They, like any band that has been around as long, will have their ups and downs, but they still manage to record some new stuff on occasion (their last album, LA FUTURA, came out in 2012). I‘m so glad they are still around – just the three of them – still blasting out their own style ofrockin’ Blues and still having a blast doing it. This new LIVE GREATEST HITS FROM AROUND THE WORLD record should serve as ample proof of that. Long live the ultimate party band, that little ol’ band from Texas, ZZTop!
The Oxford Coma (only one “m”) is a Phoenix three-piece (I suppose we could call them a “power trio”) that has alternately been described as “psychedelic anxiety rock” or “the world’s heaviest jam band.” Call them what you will… I rather prefer “math genius metal.” A few seconds into “Canadian Question Mark,” the opening cut of the self-released PARIS IS MINE, it is obvious (to these ears, anyway) that this is something exceptional. The song, a sort of progressive hard rock instrumental affair (if there are vocals, they are minimal and buried deep in the mix), features a nice mid-tempo groove, with oddly appealing dissonant guitars and a humongous, thudding bass. Though the guitars sometimes sound as if the track is about to explode in a flurry of speed, the rhythm section remains solid. On “Ritaling,” James Williams offers a very punk rock kind of a bass line, while the vocals and guitars have a distinct mid-’90s Kansas City sound (think Season To Risk). There’s a heavier-than-the-rest section with a certain Tony Iommi-like heaviness in Billy Tegethoff’s guitar; the second half of the tune is sort of creepy, with great atmospheric work from Tegethoff. “Daisies” is trippy and psychedelic, with a chukka-chukka kind of rhythm guitar thing and near-Residents like vocal outbursts (Tegethoff and Williams are both credited as vocalists, but who sings what isn‘t listed). Once again, the bass and drums (the latter supplied by Patrick Williams) border on minimalist, leaving the almighty riff to do most of the heavy lifting. This isn’t metal, but it is suffocatingly heavy and there’s a great wah-infused solo at the end that is hard to ignore.
The Oxford Coma (Billy Tegethoff, Patrick Williams, James Williams) (publicity photo)
“The Pulls” is propelled by heavier-than-thou bass and some understated (though still powerful) drumming, allowing for some excellent guitar and haunting vocals to hover just above the surface, giving the tune a demon-spawn sound akin to the offspring of some 1970s hard rock band and Stone Temple Pilots, circa their first three records. The next track, “Ados Watts Jam,” is exactly what the name implies: A jam. Clocking in at a robust ten-and-a-half minutes, the KC/Season To Risk comparisons find their way back into the conversation, with bullhorn vocals crawling just above the mix. There are also a couple of jazzy, Sabbath-esque breaks leading into the final, improvisational section of the tune, all of which proved to be quite entertaining. Even if the song doesn’t exactly fall into the “jam band” category, it is a stretch on the group’s standard song structure. The final track is well-known to rockers and blues aficionados the world over: “When the Levee Breaks,” The Oxford Coma’s version manages to out-heavy the Led Zeppelin version, with Patrick’s nearly ham-fisted Bonham-esque skin pounding and a massive guitar sound. This version is as far from Zeppelin’s version as their version was from the 1929 original by Kansas Joe McCoy and his wife, Memphis Minnie Lawlers. You can listen to (and purchase) PARIS IS MINE, as well as earlier releases, at the group’s Bandcamp page. You will not be disappointed! And, if you are… you need to acquire better taste in music.
Billy Sherwood seems to be a guy who doesn’t rattle easily. A guy who can step in and handle enormous responsibilities without flinching. In the late ’90s and early 2000s, he stepped in to some pretty big shoes, and helped a struggling Jon Anderson-fronted Yes continue their journey on both record and stage. Sherwood’s a big part of the sound on OPEN YOUR EYES and THE LADDER, both underrated. While releasing a series of solo albums and guesting on records all over the place, both proggy and not, Sherwood became a kind of go-to guy when a band needed not just a multi-instrumentalist, but an experienced engineer. Chris Squire, the legendary Yes bassist who succumbed to leukemia last year, initially picked Sherwood to replace him on bass for a huge 2015 Yes tour that Squire knew he couldn’t participate in. That’s no small thing and Sherwood, by all accounts, jumped in ready to go. But then, Squire left this mortal coil, and now, well, we have to assume Sherwood will continue with Yes, and might even be the point man for a brand new phase, one that none of us can anticipate yet. The guy is a fantastic, versatile musician, and he’s earned good karma a-plenty.
Billy Sherwood with Chris Squire (uncredited photo)
Which brings us to CITIZEN, surprisingly Sherwood’s seventh or eighth solo album since 1999. It’s a solid platter, with appearances by Yes members both past and present, and the last song recorded by Chris Squire (he appears on the opening track, “The Citizen”). There’s a familiarity about the sound that you can’t deny, and it wouldn’t be fair to even think in terms of “Yes-lite” or something. These are muscular, strong compositions, and why not use musicians of the caliber of YES men such as Tony Kaye, Rick Wakeman and Geoff Downes if you can? This is still a Sherwood album through and through, and he sings most of the lead vocals. Among standout tracks: “No Man’s Land,” a fizzy prog confection that alternates between memorably processed lead vocals, Yes-like harmonies, and a confidently anchored arrangement. “Age of the Atom” is a stirring piece that has a descending chord progression, a hooky chorus and some zippy keyboard playing… this one definitely sticks in the ear. By the way, this and “The Great Depression” may bring another progressive behemoth to mind – Genesis. Sherwood sounds a tad like Peter Gabriel at times, and it’s worth mentioning that Steve Hackett from that band is also featured on the record (on “Man and the Machine”). “Trail of Tears” is a tune Gabriel would love… it echoes his aesthetic about indigenous peoples and the subject matter definitely takes on the famed Native American death march of the 1800s. Some very airy, charming synth work is an interesting sonic counterpoint to the theme, and you can just enjoy this track musically without worrying about the history lesson. It’s really good, plain and simple. The aptly named “Escape Velocity” is suffused with Yes DNA… if you just heard this playing, especially during the chorus, you would guess it was likely the real YES, an unfamiliar track perhaps. This is really spirited stuff, and you will swear you can hear Squire on that chorus and bass (though it’s really Billy showing the world why he was Chris’ handpicked successor). Anyway, this is one of the album’s highlights. The ending really kicks ass. And so does the ending of the entire disc, “Written In the Centuries,” which finds current Yes lead singer Jon Davison outfront on vocals. Nice, tight harmonies, chiming guitars, mystical lyrics, tempo changes… why, YES, peeps, you’ll recognize this sound! But somehow it’s also… different. Fresh. It’s the Billy Sherwood approach to prog, and it’s plenty meaty!
Billy Sherwood (publicity photo)
The album has a story line, by the way, something about a lost soul being reincarnated into different historical periods. There’s a song about Galileo (featuring vocals from XTC’s Colin Moulding) and all sorts of references you’ll have fun trying to catch. But you don’t HAVE to know the theme or decipher the lyrics to appreciate this album. There’s a majesty about a lot of this stuff that shows the pedigree of the players. There are melodies, no song is all that long, and the sonics are nicely balanced between what all Yes fans might expect and fresher elements that Billy Sherwood, a thoughtful musician, took care to weave into the compositions. This CITIZEN is a reliable one indeed, and deserves to take its rightful place in the ever evolving community of Yes and related prog-dom. Nice job, Billy boy. I hope your pal Chris got to hear most of this before he said goodbye.
Good Lord, talk about a long break between albums! It was way back in 1971 when Linda Hoyle released her debut, PIECE OF ME. Previously, she’d been in a band called Affinity. Now, 45 years later, we get THE FETCH, which is a reasonably… well, fetching collection of emotive, adult tunes about life and love and yearning. There’s a drowsy, late-night feel to tunes like “Cut and Run” and “Confessional” that can make you drift off to sleep if you’re just kinda lying around listening. The bass is a bit jazzy and the guitars somewhere between proggy and ambient; all instruments serve Hoyle’s mature voice, which has a warmth and sincerity to it that can pull you in if you are relaxed enough. At the same time, it’s not really that GRABBY, and Hoyle serves up a sound and aesthetic here that seem to come from a time now forgotten. I guess that is actually the case, and things FORGOTTEN are part of the subject matter here. “I sat beside a suicide whose love I sadly lost/Led a milkman’s horse to water as we slipped across the frost/Spent my youth researching meaning that was cheap at twice the cost” Hoyle sings in “Confessional,” as a litany of various memories floats by lyrically. It’s the sound of a woman who knows she has seen a lot of years, and yet is still moved by things.
“It’s the World” is one of the stronger tunes here, offering both violin and keyboards in its pleasing, almost jaunty arrangement. A mood of not-quite resignation permeates, and there is alcohol flowing in this music, methinks, although just enough to get through a bout of overthinking. Some of the sentiments can be unnerving. In the angst-ridden “Fortuna,” Hoyle sings: “There’s a formula for fate/She’ll just check out with your last chance/You try to fuck with a lady luck/She’ll offer you sand with a mocking hand/Spin on your heel and she’ll spin the wheel… ” And it’s followed by a reference to “lips older than death… ” Yikes. The imagery is strong but not the kind of thing you ever see on recordings by younger gals. This is the work of someone who has been around and has a few warnings for y’all. Hopefully with a benevolent spirit, though. “Snowy Night” is gentle and pretty and, “West of the Moon” is rhythmic, lyrically pleasing and strongly played and sung… definitely one of the more distinctive tracks here.
Linda Hoyle (uncredited photo)
“Earth and Stars” employs vocal effects, spacey minimalism and a proggy feel to take Hoyle somewhere quite different from the other tracks. It’s worth mentioning that Roger Dean designed the cover of this album, and various trademarks of the prog era are hinted at here and there. Hoyle is no ordinary singer/songwriter who has been hiding for decades in the confines of whatever life she leads. Clearly she KNOWS music and loves it. This track and some of the others reveal as much. And in the closing “Acknowledgments,” which features a church organ in beguiling manner, Hoyle sings the names of performers throughout music history that she has loved or been influenced by, after each series of names concluding “Always be a part of me.” Hoyle likely won’t join the heady company of the legends she names, and her sound and style are too limiting (maybe too LATE?) to reach any kind of mass audience. But she is able to touch the spirit with her sentiments and her clear emotional delivery. THE FETCH is one woman’s personal update of a life she’s known, many years after the events happened. It’s nostalgic, wise, and melancholy, and unerringly human in an era where cheap gimmicks and flashy technology tend to draw the most attention.
What a wonderful, bizarre night this was. Reverend Horton Heat have always been one of my favorite live acts; I vaguely remember seeing Nashville Pussy somewhere about fifteen years ago… they didn’t do a lot for me but, well, things change; for me, there were two wild cards: the enigmatic Unknown Hinson, who did a short set toward the end of the Reverend’s show, and the goofball antics of Igor and the Red Elvises. Let’s start things off – as we always do – at the beginning with…
Igor and the Red Elvises (Natalie John; Igor Yuzov; Dregas Smith) (photo credits: DARREN TRACY)
The wild and wonderful women who make up the current incarnation of the Red Elvises (shouldn’t that be “Red Elvi?” Just wondering) and their Commissar of Jocularity, Igor Yuzov. With shaking hips and thrusting pelvis eliciting visions very much like that of a certain ’50s teen idol, sporting a head of “Elvoid”-based follicles and dressed in what can only be described as a lame’ jungle print zoot suit, the larger-than-life singer exhorted (extorted?) the crowd to sing along, clap along, dance along, surf along and pretty much any other “along” he could think of as he built a set from the ground up, randomly calling out – Zappa-style – the next tune. At one point, he even cajoled a good portion of the audience to “spontaneously” erupt into a shimmying, snaking conga line. Is there any wonder why this rockin’ teenage combo is “your favorite band?”
Igor and the Red Elvises (Dejah Sandoval; Igor Yuzov; Jasmin Guevara) (photo credits: DARREN TRACY)
Well, yeah… all of that over-the-top lunacy is as cool as it sounds, but this band is so much more: Musically, Igor and his ever-revolving, evolving group of Elvises play a hip, retro brand of Rockabilly and early rock ‘n’ roll, laced with enough updated alternative grooves to keep even the most jaded of youngsters’ heads bobbing and butts shaking; the band, especially the rhythm section of Dejah Sandoval and Jasmin Guevara (on bass and drums, respectively), are first rate musicians and, obviously, are having just as much fun as Igor and the fans. Aside from her bass-playing abilities, Sandoval proved improbably adept at remaining upright while sporting stacked boots that would give Gene Simmons a nosebleed, while Guevara was virtually a perpetual motion machine, bobbing and shaking her head like Ringo and pounding her kit like a miniature Bonzo. Keyboard player Dregas Smith showed herself capable of laying down a wicked boogie woogie piano one minute, a fuzzy, grungy garage Farfisa the next; as Igor – more often than not – neglected his guitar, Natalie John took up some of the slack on trumpet and various horned instruments, as well as the occasional funky solo. When Igor did play his chosen instrument, he mixed James Burton-style Rockabilly with Dick Dale or Link Wray-like tremolo-laced Surf guitar. The fact that he sounded like Boris Badanov fronting a band of KGB operatives only added to the man’s charm and mystique on songs like “Closet Disco Dancer,” “Surfing In Siberia,” “I Wanna See You Bellydance” and “She Works For KGB.” The aforementioned conga line took shape at the beginning of “Sad Cowboy Song,” which also featured an incredible (as in, not boring) drum solo from Jasmin; the solo actually started with the other three ladies surrounding the kit and joining in on the percussive fun. I could probably write a novella filled with superlatives about Igor and the Red Elvises, but then I would never get to the rest of the show. Suffice to say that a Red Elvises show is pretty much like watching Frank Zappa’s Mothers eat Madness and then throw up Link Wray; that’s kinda my way of saying that a good time was had by all.
Nashville Pussy, the hard-rocking, four-headed Blues beast may seem – on the surface, at least – an odd choice as tour-mates for the Heat boys, but they’ve been traveling the highways and by-ways together for nearly twenty years. If you’re not familiar with this outfit, they play a drug-fueled, beer-soaked Southern boogie… kinda like early Lynyrd Skynyrd laced with liberal doses of Motorhead, as well as a little bit of Hank, Senior. Up top, I mentioned that the only other time I saw them live, Nashville Pussy really didn’t trip my trigger; a few months back, I saw vocalist Blaine Cartwright play an acoustic set two doors down, at the Demo. Cartwright mentioned that he’d been working on his vocals and, obviously, in that stripped down environment, the melodies and the wickedly funny (and equally perceptive) lyrics weren’t so easily lost in the sheer decibels of a Pussy show and, guess what… somewhere in between that show and this one, I went back and listened to last year’s TEN YEARS OF PUSSY compilation and, well, I like ’em… I really like ’em! And, for the record, Blaine’s vocals ARE stronger and clearer than ever, kinda like Uncle Ted or Alice gargling with the ashes of Wolfman Jack and Bon Scott. In fact, with the addition of bassist Bonnie Buitrago a few years back (and, just maybe, the seasoning that comes from almost constant touring), the band has definitely taken on a more cohesive sound since I first saw them, lo, those many years ago.
Nashville Pussy (Blaine Cartwright; Blaine and Ruyter; Ruyter Suys) (photo credits: DARREN TRACY)
Though the band has, indeed, coalesced into a well-oiled machine, the songs maintain their inherently lewd and rude lyrical bent, while each of the four musicians appear ready to go into the crowd for a bit of a throw down at the drop of a black cowboy hat (or, at the very least, to go into the crowd to throw back a drink or two with their rabid fans). Buitrago and drummer Jeremy Thompson laid down a thunderous rumble over which Cartwright and his wife, Ruyter Suys, worked their six-string magic. Don’t think that because Blaine has concentrated on improving his vocals that he’s neglected his guitar playing… he hasn’t; true, Ruyter still does most of the lead work and soloing in her inimitable style, but I believe that Cartwright’s newfound confidence in his voice has allowed him to just let go on guitar. An example of both appeared in the unexpected form of a cover of the classic Marshall Tucker Band ballad, “Can’t You See.” Don’t think for a second, however, that that means this group has mellowed… they are still as cantankerous and debaucherous as ever; classics like “Pillbilly Blues,” “Struttin’ Cock,” “Hate and Whiskey,” “Rub It To Death” and the ever genteel “Go Motherfucker Go” tells you that this is a buncha folks that would’ve made Caligula blush. Well, most of ’em, anyway; it was kinda funny watching Ruyter, Blaine and Bonnie sweating and thrashing and knocking back shots (or, more often, taking a slug straight from a bottle of Jack) while Jeremy just goes about his job with as little exertion as possible, but still – somehow – managing to sound like two drummers. While Suys’ guitar seemed to occasionally fall out of tune as she throttled the the neck, abused the trings and writhed about the stage, it just didn’t matter; what did matter and what came across from the time Nashville Pussy took the stage was the passion that these people (and their ravenous fans) have for the MUSIC. In a world where electronic beats and auto-tuned voices are becoming the norm, it is refreshing to hear real music played by a band that isn’t afraid to mess up from time to time.
Reverend Horton Heat (Jim Heath) (photo credits: DARREN TRACY)
For over thirty years, guitarist Jim Heath has fronted the band Reverend Horton Heat… to most of his fans, he IS the right Reverend Heat. The band’s sound (a melding of Western Swing, Rockabilly, Rhythm and Blues, Surf Music, and pretty much any other genre that they can work into the stew) really began to come together when bassist Jimbo Wallace came onboard in 1989; many, including Heath himself, consider Jimbo to be the heart and soul of the group. Spanning two different tours of duty, Scott Churilla is the trio’s longest-tenured drummer, having served from 1994 to 2006 and coming back into the fold in 2012. As you can imagine, these guys have become a well oiled live machine and, this show was certainly no different. Proving their staying power – and the continued popularity of their music – the band ripped into the fairly straight-forward Surf instrumental “Big Sky” coupled with the wild hillbilly honk of “Baddest of the Bad,” both from 1994’s breakthrough album LIQUOR IN THE FRONT, before sending the sold-out crowd into a feeding frenzy with “Psychobilly Freakout,” a fan favorite from their debut album, SMOKE ‘EM IF YOU GOT ‘EM.
Reverend Horton Heat (Jimbo Wallace; Jim Heath; Jimbo Wallace) (photo credits: DARREN TRACY)
From there, the boys dipped into the earliest years of Rockabilly with “School of Rock ‘n’ Roll,” a 1958 single from fellow Texans Gene Summers and His Rebels; not only are these guys celebrating their own history, but they continue to celebrate their roots, as well as turning their fans on to music they may not have otherwise heard. In most instances, an upright tends to get lost in the mix… not Jimbo‘s;he prompted pops and thrums out of his instrument like no other could. Scott’s excellent stickwork proved why Jim and Jimbo brought him back into the fold after six years away; many of the Reverend’s best albums feature Churilla mounted on the throne (actually, he plays on all but the first three albums and 2009’s LAUGHIN’ AND CRYIN’ WITH THE REVEREND HORTON HEAT). And, of course, what can you say about Jim Heath? He’s never been a flashy guitarist, but he makes what he does seem so easy; it’s the same with his vocals… rock solid from start to finish. With his eyes in perpetual squint-mode (lights, I would guess) and his face either wearing an all-knowing, world-weary smirk or a mile-wide smile, Heath is one of the most unassuming rockers you’ll ever see. The set list looked like the back of a “Best of… ” album, with such fan-pleasing entries as “I Can’t Surf,” “Bales of Cocaine,” the hard-driving Psychobilly paean to Mister Wallace, “Jimbo Song,” as well as Chuck and Johnnie’s “Little Queenie.” Toss in the instant-classic “Zombie Dumb” from the group’s most recent release (2014’s REV) and a few moreselections from an impressive catalog and you’ve got a rock ‘n’ roll show to remember. However, the boys were just getting started and… we hadn’t even seen their special guest yet!
Reverend Horton Heat (Unknown Hinson; Jim Heath; Unknown Hinson) (photo credits: DARREN TRACY)
As the houselights came back up after “It’s a Dark Day,” Heath had this to say by way of introduction about Unknown Hinson (the special guest, if you haven’t been following along), “This man scares me to death. Not only because of all that vampire shit, but because of the way he plays guitar… he’s better than any of us could ever hope to be.” Sporting the suit he was buried in (I’m not positive, but I’d bet it cinched in the back) and a pompadour from Hell, the vampiric Hinson lumbered to center stage, still wearing the black gloves so important to his evening wear as he sates his murderous predilection; he removed the gloves only to pick up his guitar. Like the music of the Heat lads, Hinson is sorta all over the place: Everything from surfin’ Gothic Country to metallic hillbilly punk. Hinson’s wide palette included hardcore Western swing, Carl Perkins-style Rockabilly, fuzzed-out slabs of pure psychedelia, old-school Rhythm and Blues and his own twisted take on Southern honk; if you close your eyes just the right kind of tight, you’d swear it was Early Cuyler hisself serenading you. Unknown’s short set-within-a-set included the misogynistic “Silver Platter,” as well as such delicately titled little ditties as “I Ain’t Afraid of Your Husband,” “Fish Camp Woman” and “Your Man Is Gay.” Hinson proved to be as good advertised on guitar, moving from Heavy Metal power chords and manic Country pickin’ to mind-expanding psychedelic soloing and mournful Blues licks. The whole thing was rather like what would happen if the legendary George Jones were to hook up with Brian Warner at a Satanic mixer hosted by the ghosts of Jimi Hendrix, Frank Zappa and Minnie Pearl… in short, everything a true music lover hopes for in a live experience.
Reverend Horton Heat (Scott Churilla; Jim Heath; Scott Churilla) (photo credits: DARREN TRACY)
As Hinson exited the stage, Jimbo, Scott and Jim charged into the salacious “Let Me Teach You How To Eat” and its thinly veiled lyrical innuendo. One of Heath’s earliest (from THE FULL-CUSTOM GOSPEL SOUNDS OF THE REVEREND HORTON HEAT, released in 1993), heaviest and funniest tunes, “400 Bucks,” led into a sort of gear-head finale, with the divorce settlement classic “Galaxy 500” and the Surfabilly couplet about fast cars and faster women, “Victory Lap” and “Smell of Gasoline,” the latterfeaturing solos from both Scott and Jimbo. The encore brought Unknown Hinson back to the stage for an extended jam on “The King of the Country Western Troubadours,” including a very Trower-esque solo from Unknown. I’ve seen Reverend Horton Heat several times since 1996 or so and they just keep getting better; throwing Hinson into the mix just upped their game even more. I can’t wait to see what they bring next year… I know it’ll be killer.
(HIGH MOON RECORDS/RSO RECORDS; reissue 2015, original release 1974)
Love’s seventh official album, REEL-TO-REAL, was seven years removed from the classic psychedelia of the brilliant FOREVER CHANGES and, seemingly, light years away musically. Arthur Lee had steered the Love boat (sorry… couldn’t resist the bad pun) solo since the original group disintegrated due to in-fighting and drug abuse after FOREVER CHANGES and, while each subsequent album featured a song or two that evoked the first three records, Lee had a tendency to ramble without Love’s other songwriter and vocalist, Bryan MacLean, taking at least some of the creative load off. After four years (and four albums) with Elektra and two records for Blue Thumb in 1969 and 1970, Arthur put the Love name to bed and recorded the hard-rocking solo record, VINDICATOR. In 1973, Lee put together a new Love and recorded an album called BLACK BEAUTY; unfortunately, the label, Buffalo Records, went belly-up before the record could be released (a remastered version of BLACK BEAUTY finally saw release through Half Moon Records in 2013). Invigorated by the sound of the new Love, Arthur Lee began work on what would become REEL-TO-REAL, released on RSO Records in 1974. Now, following the success of BLACK BEAUTY, High Moon has released a deluxe reissue of that 1974record, complete with 12 bonus tracks of outtakes, demos and alternate versions. “But,” you ask, “was it worth it?” The short answer is, “Yes. Yes, it was.”
Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)
The album kicks off with “Time Is Like a River,” a signal call that this Love is gonna be a funkier proposition than the band’s late ’60s heyday. The song is highlighted by a soulful Arthur Lee vocal with Motown-style female backing vocals. The number also features a galloping drum track from Joey Blocker and great, funky horns; for those jonesing for a touch of the old guard, the psychedelic dual leads and solos – provided by the tandem of Melvan Whittington and John Sterling – more than fit the bill. “Stop the Music” is kind of an old Rhythm and Blues stroll, with some cool slide work from Sterling, a nice, hard rocking solo and a honkin’ bit of harp from Lee. The surprising use of tuba adds a slight New Orleans Jazz flavor, whileArthur does his best Otis Redding. Love channels Stevie and Earth Wind and Fire on “Who Are You?,” with Philip Bailey-like falsetto vocals and a lot of Wonder-ous clavinet effects from Bobby Lyle. “Good Old Fashion Dream” is a great Southern Soul rocker. Almost as a contrast, Lee’s vocals are raspy and urgent, with Sherwood Akuna’s spongy bass line holding the groove together throughout. The acoustic Blues of “Which Witch Is Which” features a few elements of electric rock and roll, most noticeably an awesome backward guitar by guest Harvey Mandel. “With a Little Energy” is a total James Brown funk workout, with the rhythm section of Blocker and Robert Rozelle propelling the tune forward. Arthur’s vocals have a distinct Sly Stone vibe here.
Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)
What was originally the first cut on Side Two of the 1974 record, “Singing Cowboy” is probably the closest in feel to the original Love’s sound. Sterling’s slide and Blocker’s heavy drums once again shine. The next track had more of an organic beginning, with Akuna, Blocker and Whittington messing with the rhythm in the studio and Lee joining in with some lyrics; “Man, let’s record that,” said Lee. Producer Skip Taylor rolled tape and “Be Thankful For What You Got” was born. Though it isn’t my favorite song on the record, it does feature a funky, rather Caribbean groove; unfortunately, the bass and some faux orchestra parts push it into a proto-Disco sound. “You Said You Would” was one of the more controversial songs as it was being recorded. The chorus of “You said you would/You said you would/Now you’re gone” features gunshot before the last line; everybody but Arthur thought that using the sound effect throughout the tune was… well, overkill, but he wouldn’t budge and that’s how the number was released. The song itself is a return to the poppy psychedelic sound of early Love, with snarky lyrics from Lee, giving it a John Lennon or Harry Nilsson vibe. Hendrixian in scope, if not in execution, “Busted Feet” is a throbbing, pulsating hard rocker. Arthur’s vocals sound urgent and strained to his limits. It’s a cool, welcome departure from the general feel of the album. A ragged acoustic Blues, “Everybody’s Gotta Live,” closes the album proper, reminding me somehow of early, folky Dylan. A nice song and a great way to end a record.
Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)
This nicely packaged reissue clocks in at a hefty 72 minutes plus. The original album was an economical 33 minutes, which means there are nearly forty minutes of extras here… it ain’t all essential but… well, there ya go. The outtakes are pretty cool to hear and the rehearsal stuff is fun… I just kinda think that including a live show from that era woulda been a better choice. Having said that, the first outtake, “Do It Yourself,” is interesting on a couple of different fronts: The shuffling rhythm, funky horns and country-fried psychedelic guitar gives the song the feel of a hard rock version of Earth Wind and Fire; the aforementioned guitar parts are quite reminiscent of the band’s then-label mate, Eric Clapton, a sound and tone and style that, apparently, Arthur Lee loathed. “I Gotta Remember” is a straight on rocker, with Lee’s lyrics and vocals putting one in mind of Jimi. It has a sort of circular arrangement and could have been the hit that RSO label president Bill Oakes was looking for from Love; instead, the song remained unreleased at the time. More Hendrix-like lyrics inform “Someday,” a nifty little Sly and the Family Stone work out with minimal, rather simple instrumentation that focuses more on the basic groove than anything else. “You Gotta Feel It” is a Fats Domino New Orleans stroll with nice guitar and a solid Lee vocal over a rolling, popping bass line. I like the basic premise of the numberbut, at 3:38, it goes on about two minutes too long.
Love (John Sterling, Sherwood Akuna, Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)
The alternate versions of “With a Little Energy” and an electric “Everybody’s Gotta Live,” as well as the single mix of “You Said You Would,” are just okay. The alternate “Busted Feet” is nearly two minutes longer than the version released in 1974, with extended breaks, more vocal histrionics and a wicked, heavy guitar solo. “Stop the Music” uses Arthur’s slightly off-key guitar line as the lead and removes the horns, tuba and harmonica. Lee does a bit of vocal scatting in place of the harmonica. The extended length comes from some pretty funny studio banter. Perhaps the alternate take that differs most from the original album version is “Singing Cowboy.” This version features a faster tempo, as well as a more urgent and upfrontslide guitar; there’s also an unhinged wah-infused solo toward the end. The studio rehearsals (more of a warm-up or, in some cases, just goofing around while Lee decided what he wanted to do during a particular session) are nice additions. “Graveyard Hop” is a weird snippet of “Jailhouse Rock,” with reworked lyrics. The piece sounds really ragged and cool. Maybe the most intriguing bonus cut is the band rehearsing the FOREVER CHANGES outtake, “Wonder People (I Do Wonder).” Even though it kind of sounds like an unfinished San Francisco hippie ballad, it does show that Arthur was a bit more receptive to returning to those songs… at least, in the confines of a recording studio. The song actually features a solid guitar solo, even if Lee’s vocals weren’t much more than incoherent scatting. Overall, the re-release of this woefully ignored album is well worth the price of admission and, spotty though it is, holds up really well.