It’s hard to believe that Stevie Ray Vaughan has been gone for nearly thirty years. Vaughan, who reached legendary status in the 1980s for his fluid, fiery guitar playing with his own band, Double Trouble, and on David Bowie’s LET’S DANCE album, was killed in a helicopter crash near Aspen, Colorado in 1990. The man who was at the forefront of a serious Electric Blues revival in the United States was a little over a month shy of his thirty-sixth birthday. His importance and his influence are still felt in the music played by artists across the country and, in fact, the world.
STEVIE RAY VAUGHAN (photo credit: EBET ROBERTS/GETTY IMAGES)
That influence is particularly abundant in Saint Louis, as guitarists like Steve Pecaro and Tony Campanella seemingly work overtime to keep the music alive in a city that is known for the Blues. In fact, Pecaro and his band have hosted an annual STEVIE RAY VAUGHAN TRIBUTE show for two decades; the 20th anniversary show, sponsored by Pecaro’s Guitar Shop and radio station KSHE-95, will be happening on Saturday, November 24 at the Pageant. I know that a lot of so-called “tribute” bands are currently cleaning up in a market that seems perpetually stagnant. However, this show is not what most of us have come to think of as a “Tribute” show. Not even close! This is a celebration of the life and music of one of the greatest rockin’ Blues players of all time. With Pecaro, Campanella’s band and another Saint Louis mainstay, Mike Zito, are also scheduled to appear, along with special guests. If the below video is any indication, the Pageant will be packed and rockin’ all night long. Tickets remain for the all ages event, available in advance at the usual outlets for twenty bucks or $22.50 on day-of-show at the venue’s box office, with 21 and up balcony seats available for $25. The doors open at 7:00 PM, with Mike Zito taking the stage around 8:00.
(EMI RECORDS/CAPITOL RECORDS; 2004)A REVIEW FROM THE VAULTS
So, it’s somewhere around the middle part of 1977 and I’m in the “I’ll buy virtually anything that ain’t disco or Country and Western music” mode that typified my life for several regrettable years (with wisdom and age, I’ve repented/recovered from that dark period, except for the disco… that’ll always suck!). While deciding on which 8 to 10 albums to buy on this particular day, I came across a two record set (one full-length album, one 12″ EP) with a striking black and white cover – a still from the classic silent German flick, METROPOLIS. The price was right, so I was soon the proud owner of LIVE! IN THE AIR AGE by something called Be Bop Deluxe. I’d seen a couple of studio albums by the group, of course, but I just could not get behind that name (or the inexplicably hideous cover art or… perhaps it was a deep-seeded fear of Jazz music, another of my quirky phobias of that bygone era)! But, great googley-moogley, chil’uns! When I dropped the needle on side one, track one (“Life In the Air Age”), my brain nearly exploded! This was great stuff… incredible stuff. “Adventures In a Yorkshire Landscape.” “Fair Exchange.” “Piece of Mine.” “Maid In Heaven.” These were absolutely magnificent slabs of sonic beauty, propelled by the lush, orchestral guitar style of Bill Nelson, the mad genius behind the quartet’s sound.
It was a VERY long time before I came into contact with another Be Bop Deluxe record (though I did purchase a couple of great imports by the then-solo Bill Nelson) – in fact, the band only managed one more album, DRASTIC PLASTIC, before packing it in. Now, a band of which Nelson says, “I don’t think about Be Bop Deluxe as often as fans of the band might presume,” is given its due with this 18-track “Best of… ” package alongside re-issues of the original five studio albums and LIVE! IN THE AIR AGE (all with bonus tracks, naturally). Does it sound dated? Not as much as you’d think! In fact, I could think of a few current artists who would be regarded as the next big thing if they had recorded this stuff in the past couple of years.
BE BOP DELUXE, circa 1974 (Nicholas Chatterton-Dew, Ian Parkin, Bill Nelson, Robert Bryan) (photo credit: MICK ROCK)
This 18 track collection starts with the title song of the very first Be Bop Deluxe album. “Axe Victim” is rather a lost gem, full of the lyrical wryness and imagery that became a main-stay of not only this band, but of all of Bill Nelson’s subsequent projects (solo or with the group Red Noise). Of course, the benchmarks of Be Bop Deluxe were always Nelson’s guitar work and the solid interplay between the four men (on AXE VICTIM, Nelson was joined by guitarist/organist Ian Parkin, drummer Nicholas Chatterton-Dew, and bassist/vocalist Robert Bryan). The second track, also from that debut, “Adventures In a Yorkshire Landscape,” is fueled by Nelson’s ingenious arrangement (and a smoking guitar solo). The tune would later be retooled for the second version of the band, turning it into an almost orchestral live masterpiece.
BE BOP DELUXE, circa 1975 (Simon Fox, Bill Nelson, Charlie Tumahia) (uncredited photo)
The band’s second album, 1975’s FUTURAMA, introduces drummer Simon Andrew David Fox and bassist Charlie Tumahai, with Nelson exerting his dominance on all fronts: all lead vocals, guitars, and keyboards are performed by him; all songwriting and arrangements are by him. FUTURAMA is the most well-represented release on POSTCARDS… , with four tracks (“Stage Whispers,” “Sister Seagull,” “Jean Cocteau,” and the wickedly cool “Maid In Heaven”). The wisdom of adding Tumahai and Fox is evident from the first notes of the charging train wreck that is “Stage Whispers.” The funky calypso break merely adds to the insanity, and – if I haven’t mentioned it yet, Bill Nelson can play that guitar thing! “Maid In Heaven” follows. Like “Adventures In a Yorkshire Landscape” and the song that follows, “Sister Seagull,” this tune became a live staple, taking on a new feel with the addition of Simon “Andy” Clark on keys. Speaking of “Sister Seagull,” again the guitars and the arrangement sets Nelson and Be Bop Deluxe apart from most acts of that time (or, for that matter, most acts that have followed in the 30 years since its release). The final track from FUTURAMA is a jazzy homage to “Jean Cocteau.” The song is a major departure for the group, but the trio show that they are more than capable of pulling off such a change of pace.
BE BOP DELUXE, circa 1976 (Charlie Tumahia, Andrew Clark, Bill Nelson, Simon Fox) (photo credit: JOHN THORNTON)
By the time of the band’s third record, SUNBURST FINISH, Clark was well ensconced on keyboards. His impact is immediately felt on another live staple (and quite possibly the one song that you may have heard on the radio at some point), “Fair Exchange.” The interplay between guitarist and keyboardist on this track is a good example of the direction that the band was headed. Plus, it’s just a darn good song! “Ships In the Night” builds on the slightly Caribbean feel that was first explored during the break in “Stage Whispers.” The keyboards are, by turns, grandiose and whimsical… not an easy feat in the same song! “Blazing Apostles” re-introduces us to Bill Nelson, guitar hero. During the four-and-a-half minutes of the song, Nelson goes from metal crunch to jazzy runs to strident funk to fleet-fingered progressive solos.
BE BOP DELUXE, circa 1976 (Andrew Clark, Bill Nelson, Charlie Tumahia, Simon Fox) (publicity photo)
The group’s second release of 1976 (and fourth, over-all), MODERN MUSIC, finds the revitalized quartet performing as a more cohesive unit, though it is still quite obvious that Nelson is pulling all of the strings. “Kiss of Light” could have (should have) been a big hit back then; it would probably be a big hit if it were to be released today, with its rather staccato vocal delivery, especially on the chorus. The title track is as laid-back as Be Bop Deluxe ever got, with a lilting, slightly bluesy sound. “Twilight Capers” continues the orchestral approach that was adopted on the previous record, with guitars and keyboards ebbing and swelling throughout, leading to a short Jazz-inflected guitar solo at the outro. This is the band and the musical vision that Nelson took on the road, with the tour that eventually produced the amazing LIVE! IN THE AIR AGE.
BE BOP DELUXE, circa 1975 (Charlie Tumahia, Bill Nelson, Simon Fox) (uncredited photo)
And this is where the continuity of this release comes into question: The single tune from the live album, “Life In the Air Age,” the title track, if you will, does not follow “Twilight Capers.” Three songs from the group’s final release, DRASTIC PLASTIC, is wedged between the MODERN MUSIC and LIVE! IN THE AIR AGE tracks. The tunes – “Electrical Language,” “Possession,” and “Islands of the Dead” – are fine songs, but it is very obvious that Nelson was tiring of Be Bop Deluxe and guitar-driven rock music. “Electrical Language” is powered more by the vocal performances than by guitar (or keyboards), while “Islands of the Dead” is a rather thoughtful, mostly acoustic piece. “Possession,” of the three, is the closest to what fans had come to expect from Be Bop Deluxe’s grand wizard of the nicely turned phrase (of both word and fretboard).
BE BOP DELUXE, circa 1975 (Simon Fox, Charlie Tumahia, Bill Nelson, Andrew Clark) (photo ourtesy: GAB ARCHIVES/REDFERNS)
“Life In the Air Age,” a track from SUNBURST FINISH, bears witness to just how great this group was as a live unit. The song itself is a progressive pop masterpiece and the band certainly prove their mettle in bringing it to life on stage. As good as they were in the studio, the fact that they were able to improve on those studio versions is a testament to the combined talents of the four musicians, and the arranging acumen of Bill Nelson, in particular. The final two tracks of the package brings it full circle (another continuity issue), with both the A and B sides of the first Be Bop Deluxe single, the independently produced and released “Teenage Archangel” and an early version of “Jets At Dawn,” a tune re-recorded for AXE VICTIM. The A side is, actually, a fairly standard sounding teenage-angst pop song. The B side, however, clocks in at nearly seven minutes and features some of the most exquisite guitar on this package. I just wish that the single tracks would have been sequenced as the lead tracks on this package, even though they were tack-on, bonus cuts for this version of POSTCARDS FROM THE FUTURE. Ah, well… you can’t have everything, but you can have a fairly comprehensive Be Bop Deluxe primer to hold you over until the proposed box set that Bill Nelson is reportedly working on.
BE BOP DELUXE (Bill Nelson, on stage November 1976) (uncredited photo)
UPDATE:Bill Nelson’s eight-disc box set, THE PRACTICE OF EVERY DAY LIFE: CELEBRATING 40 YEARS OF RECORDINGS was finally released in 2011, featuring 34 choice cuts from the Be Bop Deluxe era. Aside form various compilations and reissues, Nelson continues to set a furious pace, releasing no less than four albums of new music this year alone. The last,DYNAMOS AND TREMOLOS is half synth-pop, half guitar rock, all instrumental.
Needless to say, as soon as I heard that they were coming back to Pop’s, I was pumped to have the chance to see Sevendust again! Then, I found out that Clutch was going to headline. What!?! Clutch AND Sevendust on the same night? Hell, yes! I was definitely gonna be in that pit!
TYLER BRYANT AND THE SHAKEDOWN (Tyler Bryant) (photo credit: DUSTIN GABEL)
Opening the show was Tyler Bryant and the Shakedown from Nashville, Tennessee. Since their start in 2009, Bryant and the band have released several singles and EPs, including 2015’s THE WAYSIDE, as well as their first full length album, WILD CHILDREN, in 2013, and the recently released self-titled follow-up. Onstage, they definitely perform very well, feeding off the energy of the crowd; their influences, likewise, play a vital part in the Shakedown’s sound: Kinda like a mix of Blues riffs combined with a good, solid rock base that I strongly believe places them in a musical genre all their own! Their unique blend of musical styles and strong onstage presence has led to the band touring with and opening for such acts as Aerosmith, Eric Clapton, ZZ Top, AC/DC, BB King and Jeff Beck and has garnered them an opening slot on several dates of Guns ‘n’ Roses’ NOT IN THIS LIFETIME tour, which wraps up on December 8 in Honolulu. If you do get the chance to see them live, you definitely shouldn’t miss it!
SEVENDUST (Lajon Witherspoon, Morgan Rose) (photo credit: DUSTIN GABEL)
The second act of the night, much anticipated by myself and all of their fans, was Sevendust from Atlanta. The band is a personal favorite and much of the crowd was cheering for them to come onstage. The group formed in 1994 and are currently promoting their 12th album, ALL I SEE IS WAR, which was released in May. They still deliver that unique Nu-Metal sound as only they can and always have from the first time I saw them live, promoting their very first album. The tradition continues with the latest release, highlighted by the hardcore vocals of Lajon Witherspoon, Morgan Rose’s blistering drum fills, and insane guitar riffs from Clint Lowery and John Connolly. The sound, the intensity and the level of professionalism definitely leaves you wanting more! The vibe you get seeing them perform live is just surreal! After a rocky start and multiple name changes, Sevendust has seen much success, with three consecutive RIAA gold certified albums, a Grammy nomination and millions of albums sold world-wide. Their fan base is huge and fiercely loyal. If you get the chance to attend one of their shows, you will soon see the love and respect people have for Sevendust, with the members of the band givingit all right back to their audience like I have never seen with any other live act! Much respect to the members of Sevendust for keeping excellent rock alive!
CLUTCH (Neil Fallon) (photo credit: DUSTIN GABEL)
Closing out the night was Clutch, touring in support of their just-released album, BOOK OF BAD DECISIONS. Since forming in 1991, Clutch have released 12 studio albums, as well as several rarities and live albums. As always, these guys have never failed to deliver a superb show. Even with a set weighted primarily with songs from the new record (11 of the 15 found on …BAD DECISIONS), the energy you feel by the second song is just unreal because the vocalist, Neil Fallon, is so pumped up, so quick to belt out thatnew material, interact with fans and dipinto a back catalog filled with fan favorites. Fallon’s infectious energy keeps both old school Clutch fans and newer fans of the latest releases rocking hard. With 27 years on the front-lines of the metal scene, Clutch easily achieves their goal of rocking the venue down to the foundation!
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.
(PLAY PEN MUSIC/RHINO RECORDS/WARNER MUSIC GROUP; 2018)
After a brief dalliance with the late Chester Bennington, Stone Temple Pilots (drummer Eric Kretz and the brothers DeLeo, guitarist Dean and bassist Robert) are back with a new record and a new singer (Jeff Gutt) in tow. Unlike the recent stale, rather listless return of the Layne Staley-less Alice In Chains, this band had me intrigued the very first time I heard the advance single, “Meadow,” on the radio; this is not an “all new, all different” STP, this is an extension of those early albums that thrilled us throughout the ‘90s. With the ghosts of both Scott Weiland and Bennington floating in and through this music, we are pummeled by the realization of just how great this band are. Gutt – lyrically and sonically – is on virtually equal footing with Weiland (even if he does kinda remind me of Layne physically).
STONE TEMPLE PILOTS (Robert DeLeo, Dean DeLeo, Jeff Gutt,Eric Kretz) (photo credit: MICHELLE SHIERS)
“Middle of Nowhere” is as straight forward a rock ‘n’ roll tune, with a ballsy Led Zeppelin riff and a snotty sorta solo, as anything from the band’s original run with Weiland. The music does sound a little compressed to me, but that could just be Dean’s guitar being tuned a little bit toward the lower side of things… a sound that is not entirely unappealing to these ears. We are definitely starting things off on the right foot here. On “Guilty,” Jeff displays a certain violent swagger, much like the dangerous edge that defined many of Weiland’s lyrics: “You’re gonna pay the price/You’re gonna pay tonight.” Robert’s bass is quite prominent in the mix, highlighting just how good he is… something that I somehow missed on those classic records. The compressed sound continues, an artifact I’ve learned is unique to the vinyl version of the album; again, it sounds pretty good to me, a little more bassy, which I like. I must admit, though, it is a bit nettling to think that this may not have been the sound the group was aiming for but, you know… VINYL! The first single, “Meadow,” is steeped in the classic STP sound and could very easily be mistaken for an early outtake or a B-side from PURPLE or TINY MUSIC… SONGS FROM THE VATICAN GIFT SHOP. A staccato guitar and pumping bass are indicative of that signature sound, as well as some multi-layered vocals from Gutt. “Just a Little Lie” burns low, a near-stately pace that finds the band hitting on all cylinders. More of Jeff’s brilliantly oblique and illusory lyrics lend the tune a rather melancholy feel even as he invites the listener to sample this new Stone Temple Pilots: “Step inside the maiden ride/It helps if you don’t breathe/Patronize and criticize/And welcome to the scene.” Dean DeLeo offers a trippily laid-back solo that perfectly fits the mood of the number. A short, potent stab of near-perfection, “Six Eight,” plays out as a weighty piece of psychedelic Blues of Zepplinesque girth and Hendrixian breadth. The lyrics, again, are at once fraught with a multi-leveled complexity yet given over to the simplicity of a well-turned phrase… and here I thought it was only Rock ‘n’ Roll! “Thought She’d Be Mine” is a magnificent ballad as only STP can deliver. There’s a certain power-by-subtraction approach to Eric’s drum work, as he concentrates his efforts on the vibes, underscoring the chiming quality of the guitars. Though he’s more than proven himself through the first five tracks, this is the best indication so far as to the superb lyrical and vocal abilities of the new guy.
STONE TEMPLE PILOTS (Jeff Gutt, Robert DeLeo, Dean DeLeo, Eric Kretz) (photo credit: MICHELLE SHIERS)
Side two (or, for those of you who don’t speak “record,” the second half) kicks off with “Roll Me Under.” The song kinda makes me think, “What CORE woulda sounded like if it had been recorded by some strange mash-up of Pink Floyd and Guns ‘n’ Roses.” As far as that statement goes, Gutt’s lyrics may answer the assertion best: “Do with me what you will.” “Never Enough” is a strolling piece of mid-’60s British Invasion Mod, with a nod to Steve Marriott and Peter Frampton-era Humble Pie and Robert’s bass part has a definite Entwistle quality to it… I can almost see the Ox’s nimble, fleet-fingered hands working this one out. The melody line on “The Art of Letting Go” reminds me – believe it or not – of the Allman Brothers Band’s “Melissa.” Obviously, with that comparison, the tune is another solid ballad. The kinda open-ended lyrics could be about a lost love or the band’s two previous singers; it works nicely either way. And, of course, after the Allmans where can you go but to the Beatles? There is just something about the vocal melody line of “Finest Hour” that keeps screaming “McCartneyism!” to me. The song features the usual solid work from the musicians, especially Dean’s guitar and Kretz’s drums. “Good Shoes” is STP playing Rockabilly filtered through a rough punk groove. While maintaining the Rockabilly feel, Dean also supplies the record’s most stinging, snotty guitar along with a very Rock God solo. “Reds and Blues” is the type of song that Alice In Chains should have gone with for their return. As is, it makes a great album closer for STONE TEMPLE PILOTS and bodes well for the future of this group. While the four members of STP embrace their history and the memories of Scott Weiland and Chester Bennington here, they are also forging a path forward that should excite their fans, both old and new.
(BARKING PUMPKIN RECORDS/ZAPPA FAMILY TRUST/DTS ENTERTAINMENT; Audio DVD, 2004) A REVIEW FROM THE VAULTS
To say that Frank Zappa was ahead of the musical curve – WAY ahead of the curve! – is, quite possibly, the understatement of this very young millennium. Recently, FZ’s eldest male offspring (the one titled “Dweezil”) discovered an old tape box, dated March 1, 1970, bearing his name (that would be “Dweezil.” We just went through this – in an earlier parenthetical aside – at the beginning of this impossibly rambling and circumlocutious sentence). The box contained a very early, unimaginably expansive recording of what would eventually become “Chunga’s Revenge,” recorded in an unto then unheard of separation/mix called “quadraphonic”; this recording, in fact, preceded the whole quadraphonic rage (“rage” may not be the best way to describe it, though… the process never really caught on with anyone other than audio geeks of the highest form) by several years and today’s hip new sound, Digital 5.1 Surround Sound by nearly three-and-a-half decades! That recording (in the guise of “Chunga Basement”) is now released in all of its four-channel glory, alongside nine other such experiments recorded by FZ and his various groups (Zappa, the Mothers, and… Dweezil, the proposed name of the new group with which Frank recorded this version of “Chunga… “). Dweezil (the son, not the band), after inquiring as to the existence of other like-minded recordings, has sequenced the ten tracks culled from the vaults of the Utility Muffin Research Kitchen, not chronologically, but with an eye (an ear?) toward maximum listenability. So, how’d the kid do? Let’s examine, shall we?
Frank and Dweezil Zappa (uncredited photo)
QUAUDIOPHILIAC begins with two of Zappa’s orchestral pieces, the first (“Naval Aviation In Art?”) comes from the much-contested LATHER (an historic four-album set that was whittled up and edited into five separate albums – STUDIO TAN, SLEEP DIRT, the two-record set LIVE IN NEW YORK, and ORCHESTRAL FAVORITES, the latter being the place that this tune eventually saw release); the second is a re-worked, unreleased “Lumpy Gravy” from the same session that spawned the former. The two tracks combined clock in at a robust 2:39. The third track comes from the same source, but features – for the first time here – a signature FZ guitar solo. The previously unreleased “Rollo” is everything that made you fall in love with Zappa’s music (except without the pee-pee and fart jokes): Intriguing time-changes, adventurous arrangements, squiggly guitar leads. This, friends and neighbors, is truly the stuff of which FZ’s legend was made!
Aynsley Dunbar, Frank Zappa (uncredited photo)
A previously unheard version of “Watermelon In Easter Hay,” retitled “Drooling Midrange Accountants On Easter Hay” by Dweezil, is next. The new name comes from an FZ quote in which he discusses the record business in – as you can tell – his usual glowing terms; this spot-on diatribe is now edited over an alternate arrangement of the tune. The next two songs – SHEIK YERBOUTI’s “Wild Love” and SHUT UP ‘N’ PLAY YER GUITAR SOME MORE’s “Ship Ahoy” – feature several musicians who cut their teeth in Zappa’s late ’70s bands: bassists Roy Estrada and Patrick O’Hearn, guitarist Adrian Belew, vocalist Napolean Murphey Brock, and uber-percussionist Terry Bozzio. Though the songs are familiar, the four-channel mixes bring out the hidden intricacies inherent in all of FZ’s music. The much bally-hooed (just how much? Well, check out the first paragraph of this here critically-motivated piece) “Dweezil” tape rears its magnificent head next. Apparently, Dweezil would have been a kind of Mothers super-group in a standard four-piece rock setting: FZ on guitar (and, presumably, vocals), Ian Underwood on keyboards, Aynsley Dunbar on drums, and Max Bennett on bass. As far as I know, Zappa’s reasons for retiring Dweezil after this single recording session has never been revealed. Obviously, Frank decided to reconvene the Mothers in a newer, harder-edged version and to maintain his steadily growing solo career, as well. “Chunga’s Basement,” now, is merely a glimpse of what could have been.
Frank Zappa (photo credit: FRANK LEONHARDT/ASSOCIATED PRESS IMAGES)
The next two tracks are the oldest of these recordings, aside form the Dweezil tape. An unreleased live recording from 1974, “Venusian Time Bandits,” features three more impressive Mothers: George Duke, Chester Thompson, and Tom Fowler. While FZ usually went large – as on the WAKA/JAWAKA title track which follows – it is in the stripped down arrangements for four-piece combos that his own virtuosity is featured in its best light; there is no doubt as to the genius he displayed as a composer, a conductor, an arranger, a band leader. The thing that these smaller groups shows is that Zappa was an unselfish (though demanding) player. He was more thanwilling to stand aside and allow his bandmates to shine, but was able to play rings around just about anybody you could name when he chose. “Waka/Jawaka” is a prime example of FZ standing aside, allowing his compositional and arranging skills to dictate how the other musicians move the music along. “Basement Music #2,” a piece culled from the soundtrack to the BABY SNAKES movie, finishes the set off in fine fashion. Chil’uns, if the newly discovered mixes don’t sell you on this one, then the unreleased stuff is surely enough to convince each of you to become a QUAUDIOPHILIAC! Dude, this just reminds me how much I miss FZ… hopefully there’s more to come.
SOUTHERN BLOOD is a fitting last release for the star-crossed survivor, Gregg Allman. Allman was quite ill and he knew that this would be his last record, a final goodbye to his fans, a love letter to family and friends. As his son, Devon, writes in the liner notes. “What you hold in your hands is our father’s last statement. He wanted to leave you a most poignant, soulful and deep parting gift as he left us all.” The album is filled with great tunes – most of them covers – done in that inimitable Allman style, with that whiskey voice and Southern growl, maybe a little weaker due to his failing health but unmistakable, nonetheless. That style made him a true rock legend, alongside his brother, Duane, and their prototype for Southern Rock and Blues, the Allman Brothers Band. His band – Steve Potts and Marc Quinones on drums and percussion, Ronald Johnson on bass, Peter Levin on keyboards, a horn section of Jay Collins, Marc Franklin and Art Edmaiston and musical director Scott Sharrard on guitar – offer just the right tone and backing for such an important project.
GREGG ALLMAN (photo credit: PATRICIA O’DRISCOLL)
The covers range from Tim Buckley’s “Once I Was” and Willie Dixon’s “I Love the Life I Live” to Bob Dylan’s, “Going Going Gone” and Lowell George’s “Willin’,” songs that leave the listener with a bitter-sweet feeling, as they all – in one way or another – deal with endings and loss and loneliness. One of the most powerful songs on SOUTHERN BLOOD is the Grateful Dead’s “Black Muddy River,” as Gregg sings “I will walk alone by the black muddy river/And dream me a dream of my own.” What an emotional, draining song, with a mournful pedal steel part provided by Greg Leisz. Jackson Browne guests on his own “Song For Adam,” possibly the most gut-wrenchingly beautiful lament as, according to producer Don Was, “Gregg always loved this song because it reminded him of his brother, Duane. When he gets to the line ‘Still it seems that he stopped singing in the middle of his song,’ you can here him choke up and falter.” Was says that they never got to finish the song’s last two lines and feels that it was a “poetic way for him to make his exit.” Definitely a fitting end to a storied career and a final album.
GREGG ALLMAN (photo credit: MATT BUTLER)
Like David Bowie before him, Gregg Allman knew this would be his final statement and he put everything – his heart, his soul – into it. It will stand as a great, lasting testament to Gregg and his phenomenal legacy. His life and his legacy can best be summed up in the record’s opening cut, an original called “My Only True Friend.” If these lyrics don’t bring a tear to your eye, nothing will: “Keep me in your heart/Keep your soul on the mend,” “I hope you’re haunted by the music of my soul/When I’m gone,” “I can’t bear to think this might be the end” and “Still on and on I run/It feels like home is just around the bend/I got so much left to give/But I’m running out of time, my friend.” Rest well, friend. Enjoy that reunion with Duane and Barry.
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.
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.