THE MIKE NESMITH AND MICKY DOLENZ SHOW

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

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

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

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

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

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

THE MONKEES (Peter Tork) (video still)

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

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

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


MARK MORTON: ANESTHETIC

(WPP RECORDS/SPINEFARM RECORDS; 2019)

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

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

MARK MORTON (photo credit: TRAVIS SHINN)

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


ACE FREHLEY: SPACEMAN

(eONE MUSIC/ENTERTAINMENT ONE; 2018)

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

ACE FREHLEY (uncredited photo)

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

ACE FREHLEY (photo credit: JAYME THORNTON)

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


UPCOMING: 20TH ANNUAL TRIBUTE TO STEVIE RAY VAUGHAN

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


CLUTCH/SEVENDUST/TYLER BRYANT AND THE SHAKEDOWN

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

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

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

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

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

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

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

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


NEIL YOUNG/JOHN HAMMOND

(June 28, 2018; FOX THEATRE, Saint Louis MO)

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.


STONE TEMPLE PILOTS: STONE TEMPLE PILOTS

(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.


FRANK ZAPPA: QUAUDIOPHILIAC

(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 than willing 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.


GREGG ALLMAN: SOUTHERN BLOOD

(ROUNDER RECORDS/CONCORD RECORDS; 2017)

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.