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.
Discovering new music and artists that you truly enjoy listening to is one of the percs of this business. It makes you wanna hear more, delve into the back catalog; above all, you find yourself anticipating where the artist will take you with the NEXT release. However, in a world where many a band are increasingly more of the one-and-done variety, perhaps toiling away in virtual obscurity, playing random small clubs and house shows in their own backyards, it is becoming harder and harder for artists to deliver that next single, EP or album. 42 Decibels is one of those bands I came to late, picking up on their sophomore release, ROLLING IN TOWN a couple of years back. To say that I was heartened to discover record number three in my in-box would be a gross understatement. The question is, though, does it live up to my preordained hype? I say yes but, I’ll leave you to judge for yourself.
42 DECIBEL (Nicko Cambiasso, Billy Bob Riley, Junior Figueroa, Matt Fraga) (publicity photo)
Believe it or not, OVERLOADED does have an overarching theme, though not a particularly high-minded one. The title is derived from the band purposely pushing their equipment to its absolute limits, intentionally burying the VU meter in the red causing varying degrees of distortion. They get right to their task with “Whiskey Joint,” a Ramones/Misfits punky kinda vibe. With the ghost of Bon Scott howling over an infectious groove and Glen Buxton’s poltergeist offering up a “spirited” solo, it’s possible that these guys just might have a future in the rock ‘n’ roll game. “Dangerous Mess” is a swampy AC/DC sort of thing that helps add to the Bon Scott comparison. Just to make sure everyone is well aware of 42 Decibel’s influences are, there’s a sloppy Angus-like solo to liven up the final 45 seconds. On “Brawler,” the insistence of Nicko Cambiasso’s drums pounding out a rather primal beat, I am put in mind of a Gary Glitter tune; while it may not be as anthemic as a Glitter song, it is a lot of fun. “Roadkiller” is another on of those chuga-chuga AC/DC foot stomper with a monster riff. However, vocalist Junior Figueroa has traded in his good-time Bon Scott sound for the more menacing style of the incomparable Alex Harvey. The cut features yet another solidly rockin’ solo from redoubtable Billy Bob Riley. There’s a slightly heavier vibe (if that is even possible!) on “Hot Shot.” Think Steppenwolf or, maybe Deep Purple, but without the keyboards. Matt Fraga offers a massive, fuzz-infused bass sound that could very easily substitute for the heavy organ sound of either Jon Lord or Goldy McJohn, while Billy Bob’s lead work and slide solo are wicked cool.
The punk groove, seemingly left for dead after “Whiskey Joint,” is back on “Half Face Dead,” hanging out behind some seriously heavy riffage. I’m not exactly sure what “Half Face Dead” means, but it sounds kinda evil, in a villainous Harvey Dent kinda way. “Lost Case” has a brighter, springier (dare I say, “spritely?”) bounce with some more nice slide work and the return of Junior’s Harvey-esque (as in Alex, not Dent) growl. In a pared down version of THE THREE FACES OF EVE, Riley’s slide and rhythm guitars fight it out like a couple of drunk boxers for a really cool sounding “duet.” “Cause Damage” is a stompin’ Blues thing, a la Foghat’s take on Robert Johnson’s “Sweet Home Chicago” or, I guess, just about any early Foghat song. The dirty slide (man, I do love that slide guitar sound!) and pumping bass line propel the song along its slowly grinding path and helps make the track one of my favorite offerings from OVERLOADED. Another slow Blues, “Double Itch Blues,” reintroduces the AC/DC similarities – and comparisons – with loose guitar runs and Figueroa’s nearly unconscious delivery. A gutteral bass and some rather heavy-handed, if a bit lugubrious, drumming add to the slinky, slippery feel of the tune. With 42 Decibel, I’ve read comparisons elsewhere to Nazareth and, on “Cannon Fodder,” I finally hear it; the guitar work could actually be mistaken as a guest appearance by that legendary band’s highly under-rated Manny Charlton. The group picks up the tempo after a couple of slow Blues pieces, with things speeding up even more, leading to a beautifully messy terminus. I’ve gotta give a huge “Thank you” to the band’s record label (yes, those beasts do still exist), Steamhammer, for sticking with 42 Decibel throughout their – I guess you could call it their “gestation period.” So many artists find their creativity stifled by corporate heads demanding a string of hit singles right from the get-go but, Steamhammer (and their parent company, SPV) has allowed this group (and several others) to grow and evolve, much like the two bands that 42 Decibel are most often compared to. AC/DC and Nazareth – arguably – didn’t find their voices until their third albums (DIRTY DEEDS DONE DIRT CHEAP and RAZAMANAZ, respectively); I think with OVERLOADED, 42 Decibel’s third record, they have, indeed, found their voice and their groove. I cannot wait to hear number four!
(REPERTOIRE RECORDS/COLUMBIA RECORDS; reissue 2016, original release 1966)
Throughout the early 1960s, popular music was a “singles” medium. Sure, full-length albums were part of the mix but, by and large, these collections consisted of up to one half recent single releases and massive doses of filler and cover tunes. However, by the spring and summer of 1966, album rock music was going full force, with classic records being released by the Rolling Stones, the Beach Boys, Bob Dylan, Frank Zappa’s Mothers of Invention, the Beatles, the Kinks and the Jefferson Airplane, among others. One of the “others” was the first official studio album by a band called the Yardbirds, who had generated a string of hit singles on both sides of the Atlantic beginning in 1964. The album, released as YARDBIRDS in the United Kingdom and most of the world, was renamed OVER UNDER SIDEWAYS DOWN for North American release (as well as in France, Germany and Italy); the Australian mono release was dubbed ROGER THE ENGINEER.
The Yardbirds, 1966 (Chris Dreja, Paul Samwell-Smith, Jim McCarty, Keith Relf, Jeff Beck) (publicity photo)
The record featured the vocal prowess of Keith Relf, Chris Dreja’s rhythm guitar, Paul Samwell-Smith on bass, Jim McCarty on drums and… oh, yeah… some guy by the name of Jeff Beck playing lead guitar. Jim McCarty’s original liner notes opines, “It has often been said that Jeff Beck is one of the leading guitarists in the country, and I am inclined to agree with him.” This is a terrific, classic 1960s rock album, with plenty of something for everyone: Fuzz guitar, Middle Eastern influences and straight-on boogie rock in the form of “Beck’s Boogie,” performed by a true master. It’s also one of the first albums to highlight a new sound, a sound that would become known as psychedelic rock.
The Yardbirds, 1966 (Paul Samwell-Smith, Chris Dreja, Keith Relf, Jeff Beck, Jim McCarty) (uncredited photo)
This 2016 two disc remaster features both monaural and stereo mixes of the album and is chock full of bonus tracks. The mono disc (which was still the most common configuration for mass consumption fifty years ago) contains the more interesting bonus material, including the two singles (and accompanying B-sides) from Relf’s short-lived solo career. Also on board – and of more interest – are a pair of songs recorded after the departure of bassist Samwell-Smith: “Happenings Ten Years Time Ago” and “Psycho Daisies,” released in the UK as a single. The B-side, “Psycho Daisies,” features the final line-up before the implosion that ultimately led to the formation of a legendary monster of rock; the track has a rare lead vocal from Beck, as well as a lad named Jimmy Page playing bass. “Happenings Ten Years Time Ago” is a guitar-lover’s wet dream, with Jeff and Jimmy sharing lead duties. Also playing on the session was a young bassist by the name of John Paul Jones. When Page inherited the Yardbirds name, he enlisted Jones as a member of what would become the New Yardbirds before morphing into another band you might have heard of… Led Zeppelin.
The Yardbirds, 1966 (Chris Dreja, Jeff Beck, Jim McCarty, Jimmy Page, Keith Relf) (publicity photo)
The Yardbirds may, of course, be best known for having Jeff Beck, Jimmy Page and Eric Clapton playing with them at one time or another during their brief run; they didn’t achieve the same elevated status as some of their counterparts, but they did have their share of great music and have proven to be quite influential over the last half-century. The band’s first proper album, affectionately called ROGER THE ENGINEER (after Chris Dreja’s cover art, depicting the man who engineered the sessions), is a great place to start delving into the genesis of not only psychedelic rock, but two of the most iconic guitar players ever, as well as the group the Who’s John Entwistle said would “go over like a lead balloon”; it is, truly, one of the great rock albums of any generation.
ZZ Top are like an old friend… you just want to hang out with them and have a good time. After four-and-a-half decades (and counting), they have the distinction of being the longest running rock band with ALL its original members still going strong. That in itself is great, much less that they are still rocking as hard as ever. Their new live album, with songs recorded at tour stops all over the world (thus, the name) sounds great and is as fresh and as fun as the Tops have ever been… even after all this time. “Got Me Under Pressure,” “Cheap Sunglasses,” “Legs,” “Sharp Dressed Man, “La Grange,” and “Tube Snake Boogie” are all here and, so is guitar legend Jeff Beck, who joins the trio for “Rough Boy” and “Sixteen Tons” (yes… the Tennessee Ernie Ford song). Billy Gibbons and Beck have known each other for quite a long time and the former Yardbird has been a touring companion with the “Little Band From Texas” on more than one occasion.
ZZ Top (Dusty Hill, Frank Beard, Billy Gibbons) (uncredited photo)
Bassist Dusty Hill, the great stickman Frank Beard and Gibbons still rock with an unbridled wit and vigor and some of the coolest licks you’ll ever hear. Personally, I find Billy to be one of the finest axemen around, taking a backseat to no one. Frank Beard (the only member of ZZ Top without a beard!) is just fine, a powerful meat-and-potatoes type of drummer… steady as a rock. They, like any band that has been around as long, will have their ups and downs, but they still manage to record some new stuff on occasion (their last album, LA FUTURA, came out in 2012). I‘m so glad they are still around – just the three of them – still blasting out their own style ofrockin’ Blues and still having a blast doing it. This new LIVE GREATEST HITS FROM AROUND THE WORLD record should serve as ample proof of that. Long live the ultimate party band, that little ol’ band from Texas, ZZTop!
(MAILBOAT RECORDS/PASCO MELVIN MUSIC; reissue 2016, original release 2015)
During the recording sessions for Aerosmith’s NIGHT IN THE RUTS, the excesses fostered by the 1970s Rock and Roll lifestyle (primarily perpetuated by vocalist Steven Tyler) had taken their toll: Joe Perry exited before the album was completed, with his stage-right counterpart, Brad Whitford, following him out the door after nearly two years of inactivity and in-fighting. Derek Saint Holmes had been “let go” from Ted Nugent’s band at least twice between 1975 and 1978 because… well, because he wasn’t Ted Nugent; while the ‘Smith fell apart in 1979, Derek formed Saint Paradise, releasing an excellent record before hooking up with the newly bandless Whitford for 1981’s WHITFORD/SAINT HOLMES album. With another album recorded and ready for release, the project was (seemingly) shelved permanently when Brad returned to a presumably clean and sober Aerosmith and Saint Holmes went back for another round of abuse from Uncle Ted. Now, three-and-a-half decades late, the pair have come together again to clean up a little unfinished business. That unfinished business has manifested in the form of REUNION.
REUNION is exactly that, with the two living in the same town just outside of Nashville, Derek and Brad got together and started writing at least an album’s worth of new songs. And what a fine record it is, drawing on a combined 80-plus years of rockin’ experience. “Shapes” kicks things off nicely, offering all of the best parts of the namesake’s previous bands – Aerosmith, Ted Nugent and Saint Paradise – with none of the excesses (the drugs, the loincloths, the over-the-top frontman). The guys still sound great together and Saint Holmes hasn’t lost the vocal prowess that made so many of those early Nugent records (and, indeed, the sole Saint Paradise release) so memorable. Surrounding themselves with a group of like-minded players (bassist Chopper Anderson, drummer Troy Luccketta and keyboardist Buck Johnson) is also a plus, with Luccketta’s presence, in particular, paying immediate dividends, as the drums crack and pop, adding just the right amount of heavy bounce. A bluesy little slice of Americana, “Tender Is the Night” finds Saint Holmes doing his best Bob Seger. The guitars jangle and shine, while Johnson’s keyboards and Anderson’s bass take the tune to completely unexpected heights. This song could easily be a hit on Classic Rock or Country (yeah, I said it!) radio, making it an early favorite. On “Rock All Day,” a dirty “Hooligan’s Holiday” guitar riff leads into an ‘80s hair metal groove featuring a wicked slide part. For some reason, Derek’s vocals remind me of Steve Walsh’s Kansas heyday. With Motley Crue and Kansas musical references tossed into the mix, this one is some really good stuff!
“Hot For You” is a slice of Stones-style Rhythm and Blues that hits on Brad’s Aerosmith ancestry more than anything else so far on this album. More of that magnificent slide guitar, a boogie-woogie piano from Johnson, a memorable hook and some funky horns all add up to another great tune. A power ballad, “Hell Is On Fire” brings to mind certain MTV juggernauts like Snookie and… just kidding! Those juggernauts would be late ‘80s/early ‘90s Aerosmith and Uncle Ted’s super-group, Damn Yankees, with this song’s lyrics coming closer in feel to that band’s Tommy Shaw. Derek also recalls the melody to one of Saint Paradise’s better tunes, “Jesse James.” On “Catch My Fall,” pounding drums and chiming guitars lead into a track that reminds me of Pat Benatar for some reason. It’s probably the most disposable number here and, having said that, maybe one of the tunes most likely to be a radio hit.
WHITFORD/SAINT HOLMES (Derek Saint Holmes) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)
Steve, is that you? “Shake It” is the most Aerosmith-sounding track on the album, right down to Saint Holmes’ vocal histrionics and phrasing. As guitarists, neither Derek nor Whitford have lost any of the sting for which they’ve been known and, this is not a bad little tune, with some nice piano and a killer drum groove (a la Joey Kramer on “Rag Doll”). With its infectious, funky groove, “Gotta Keep On Movin’” could have been the follow-up single to Ray Parker Junior’s “The Other Woman,” or at least the B-side. Chopper Anderson and Troy Luccketta really shine, as do Derek’s vocals; the song also features one of the best solos on the entire record. “Flood of Lies” is another big Rock song. So big, in fact, that it could be mistaken for an outtake from ROCKS. The number is led by Buck Johnson’s organ and fueled by the singer’s passionate performance. Saint Holmes spent so much time as Nugent’s side man that it has caused many to miss (or dismiss) just what a powerful voice he possesses and, like a fine wine, he seems to have improved with age.
It took almost 35 years for these two men to reconnect in any sort of creative way. As far as I’m concerned, it was well worth the wait. This reissue revisits that first record with a bonus disc featuring a remastered version; as a small, gentle reminder of how Derek and Brad sounded in 1981 with a quick rundown of the cuts on WHITFORD/SAINT HOLMES…
“I Need Love” kicks things off. The song is anthemic and poppy; very much a product of its time. “Whiskey Woman” has turned out to be the record’s most enduring number, an AOR staple then, a Classic Rock radio staple now. “Hold On” is your standard-issue marketable pop ballad with a bouncy New Wave groove, courtesy of drummer Steve Pace and bassist Dave Hewitt. “Sharpshooter” is a muscular, Sammy Hagar style rocker that woulda done really well on the fledgling MTV network. “Every Morning” takes the best parts of the two previous cuts and tosses in an absolutely massive drum sound. “Action” is a power-pop sorta thing that’s actually pretty good, if a bit repetitive. Columbia Records chose “Shy Away” as the record’s first (and only) single, though I’m not sure it was ever officially released (even if it was given a catalog number). It’s a great piece of (Greg) Kihnsian pop. “Does It Really Matter?,” like much of the record, is an AOR/pop anthem. In a bit of a departure for the duo’s debut, “Spanish Boy” is a nice slab of hard rock. “Mystery Girl” continues in the same vein. In fact, it’s probably the hardest rocking track on the entire set. It’s a very nice way to close out a pretty solid ‘80s rock album.
The Oxford Coma (only one “m”) is a Phoenix three-piece (I suppose we could call them a “power trio”) that has alternately been described as “psychedelic anxiety rock” or “the world’s heaviest jam band.” Call them what you will… I rather prefer “math genius metal.” A few seconds into “Canadian Question Mark,” the opening cut of the self-released PARIS IS MINE, it is obvious (to these ears, anyway) that this is something exceptional. The song, a sort of progressive hard rock instrumental affair (if there are vocals, they are minimal and buried deep in the mix), features a nice mid-tempo groove, with oddly appealing dissonant guitars and a humongous, thudding bass. Though the guitars sometimes sound as if the track is about to explode in a flurry of speed, the rhythm section remains solid. On “Ritaling,” James Williams offers a very punk rock kind of a bass line, while the vocals and guitars have a distinct mid-’90s Kansas City sound (think Season To Risk). There’s a heavier-than-the-rest section with a certain Tony Iommi-like heaviness in Billy Tegethoff’s guitar; the second half of the tune is sort of creepy, with great atmospheric work from Tegethoff. “Daisies” is trippy and psychedelic, with a chukka-chukka kind of rhythm guitar thing and near-Residents like vocal outbursts (Tegethoff and Williams are both credited as vocalists, but who sings what isn‘t listed). Once again, the bass and drums (the latter supplied by Patrick Williams) border on minimalist, leaving the almighty riff to do most of the heavy lifting. This isn’t metal, but it is suffocatingly heavy and there’s a great wah-infused solo at the end that is hard to ignore.
The Oxford Coma (Billy Tegethoff, Patrick Williams, James Williams) (publicity photo)
“The Pulls” is propelled by heavier-than-thou bass and some understated (though still powerful) drumming, allowing for some excellent guitar and haunting vocals to hover just above the surface, giving the tune a demon-spawn sound akin to the offspring of some 1970s hard rock band and Stone Temple Pilots, circa their first three records. The next track, “Ados Watts Jam,” is exactly what the name implies: A jam. Clocking in at a robust ten-and-a-half minutes, the KC/Season To Risk comparisons find their way back into the conversation, with bullhorn vocals crawling just above the mix. There are also a couple of jazzy, Sabbath-esque breaks leading into the final, improvisational section of the tune, all of which proved to be quite entertaining. Even if the song doesn’t exactly fall into the “jam band” category, it is a stretch on the group’s standard song structure. The final track is well-known to rockers and blues aficionados the world over: “When the Levee Breaks,” The Oxford Coma’s version manages to out-heavy the Led Zeppelin version, with Patrick’s nearly ham-fisted Bonham-esque skin pounding and a massive guitar sound. This version is as far from Zeppelin’s version as their version was from the 1929 original by Kansas Joe McCoy and his wife, Memphis Minnie Lawlers. You can listen to (and purchase) PARIS IS MINE, as well as earlier releases, at the group’s Bandcamp page. You will not be disappointed! And, if you are… you need to acquire better taste in music.
Billy Sherwood seems to be a guy who doesn’t rattle easily. A guy who can step in and handle enormous responsibilities without flinching. In the late ’90s and early 2000s, he stepped in to some pretty big shoes, and helped a struggling Jon Anderson-fronted Yes continue their journey on both record and stage. Sherwood’s a big part of the sound on OPEN YOUR EYES and THE LADDER, both underrated. While releasing a series of solo albums and guesting on records all over the place, both proggy and not, Sherwood became a kind of go-to guy when a band needed not just a multi-instrumentalist, but an experienced engineer. Chris Squire, the legendary Yes bassist who succumbed to leukemia last year, initially picked Sherwood to replace him on bass for a huge 2015 Yes tour that Squire knew he couldn’t participate in. That’s no small thing and Sherwood, by all accounts, jumped in ready to go. But then, Squire left this mortal coil, and now, well, we have to assume Sherwood will continue with Yes, and might even be the point man for a brand new phase, one that none of us can anticipate yet. The guy is a fantastic, versatile musician, and he’s earned good karma a-plenty.
Billy Sherwood with Chris Squire (uncredited photo)
Which brings us to CITIZEN, surprisingly Sherwood’s seventh or eighth solo album since 1999. It’s a solid platter, with appearances by Yes members both past and present, and the last song recorded by Chris Squire (he appears on the opening track, “The Citizen”). There’s a familiarity about the sound that you can’t deny, and it wouldn’t be fair to even think in terms of “Yes-lite” or something. These are muscular, strong compositions, and why not use musicians of the caliber of YES men such as Tony Kaye, Rick Wakeman and Geoff Downes if you can? This is still a Sherwood album through and through, and he sings most of the lead vocals. Among standout tracks: “No Man’s Land,” a fizzy prog confection that alternates between memorably processed lead vocals, Yes-like harmonies, and a confidently anchored arrangement. “Age of the Atom” is a stirring piece that has a descending chord progression, a hooky chorus and some zippy keyboard playing… this one definitely sticks in the ear. By the way, this and “The Great Depression” may bring another progressive behemoth to mind – Genesis. Sherwood sounds a tad like Peter Gabriel at times, and it’s worth mentioning that Steve Hackett from that band is also featured on the record (on “Man and the Machine”). “Trail of Tears” is a tune Gabriel would love… it echoes his aesthetic about indigenous peoples and the subject matter definitely takes on the famed Native American death march of the 1800s. Some very airy, charming synth work is an interesting sonic counterpoint to the theme, and you can just enjoy this track musically without worrying about the history lesson. It’s really good, plain and simple. The aptly named “Escape Velocity” is suffused with Yes DNA… if you just heard this playing, especially during the chorus, you would guess it was likely the real YES, an unfamiliar track perhaps. This is really spirited stuff, and you will swear you can hear Squire on that chorus and bass (though it’s really Billy showing the world why he was Chris’ handpicked successor). Anyway, this is one of the album’s highlights. The ending really kicks ass. And so does the ending of the entire disc, “Written In the Centuries,” which finds current Yes lead singer Jon Davison outfront on vocals. Nice, tight harmonies, chiming guitars, mystical lyrics, tempo changes… why, YES, peeps, you’ll recognize this sound! But somehow it’s also… different. Fresh. It’s the Billy Sherwood approach to prog, and it’s plenty meaty!
Billy Sherwood (publicity photo)
The album has a story line, by the way, something about a lost soul being reincarnated into different historical periods. There’s a song about Galileo (featuring vocals from XTC’s Colin Moulding) and all sorts of references you’ll have fun trying to catch. But you don’t HAVE to know the theme or decipher the lyrics to appreciate this album. There’s a majesty about a lot of this stuff that shows the pedigree of the players. There are melodies, no song is all that long, and the sonics are nicely balanced between what all Yes fans might expect and fresher elements that Billy Sherwood, a thoughtful musician, took care to weave into the compositions. This CITIZEN is a reliable one indeed, and deserves to take its rightful place in the ever evolving community of Yes and related prog-dom. Nice job, Billy boy. I hope your pal Chris got to hear most of this before he said goodbye.