ADULT CINEMA: TEASER TRAILER

(ILLICIT RECORDINGS; 2016/vinyl reissue, 2018)

North London-born Mike Weston is Adult Cinema. It is Weston’s purpose – some would call it his destiny, considering his familial legacy and musical heritage – to tear down and rebuild classic Progressive Rock in his own thoroughly modern image. TEASER TRAILER is the debut record from Adult Cinema, recently re-released (to coincide with the release of album number two, THIS IS YOUR LIFE) on glorious vinyl. Mike handles virtually everything on the self-produced recording. This approach means that most everything sounds exactly as the artist heard it in his head while writing the album. Also, I’ve gotta tell you that, though the vinyl version is the latest, the track order reviewed here is actually the original CD version. And, so, after getting those pieces of technical info out of the way, let’s look at the music itself, shall we?

Feel Your Eyes” gets things off to a very nice start, with a general approximation of early Steely Dan, some Doobie Brothers vibes, a Brian Eno era kind of Roxy Music psuedo-prog and just a sniff of early Gilmour period Floyd. The song features some great guitar, bass and a Hammond organ owned (but not played here) by a certain Mister Winwood. Adding to the atmosphere is some quite nice piano and Weston’s laconic, somewhat breathy vocal performance. Much of this album was originally released on a self-titled promotional/demo record before TEASER TRAILER was unleashed upon the world-at-large. Such is the case with the next song (as well as the opening track). Here, “Flowers” is presented in what I must assume is either a re-recorded or remixed version parenthetically called “Fallout Version.” I like this tune so much that whatever Mike wants to call it is fine with me. The number starts out as a very nice acoustic thing for the first couple of minutes before heading deeply into a Floydian psychedelia, complete with very Syd-like vocals. The track continues to mutate with a great hard rock ending, putting one in mind of early Uriah Heep or Hawkwind. “Asleep At the Wheel” is very trippy, with another solid dose of spacey Hawkwind noises, not a tribute to Ray Benson. The tune features a great bassline, while the piano and organ are very prominent throughout. Guest performer Paul Nelson’s guitar has a rather metronomic quality to it, adding to the late ‘60s psychedelic vibe. “Dreamt the Other Night (Prog Version)” would not sound out of place on DARK SIDE OF THE MOON or WISH YOU WERE HERE. Acoustic based, the song features understated guitar, powerful bass and a nice, simple drum pattern. Short and sweet, “Dreamt… ” really pulls you in. The album’s first half ends with a dramatic, sorta Styxian shanty, “We Sailed Across the Ocean.” The multi-layered vocals reinforces the Styx reference. There’s a thumping, swirling break before the tune begins ramping up with a slightly heavier organ sound and a dive-bombing bass pattern. This heavier turn is very Deep Purplish, save for a far lighter guitar sound (which is not necessarily a bad thing, by the way). The twist and turns in styles, if not genres, make the track a personal favorite.

ADULT CINEMA (Mike Weston) (photo credit: KENT MATTHEWS)

Got To Prove Myself Today” features a far more powerful vocal approach than the previous cuts on the album, matching the heavy feel of the song. Nelson returns, with an intricate guitar weaving its way through the organ and above the massive bass and drums that underpin everything. It all gives way to an acoustic guitar and piano coda that drives home the tune’s intent. In sort of an English Folk meets Country way, “My Tangled Mind” is filled with a nice acoustic guitar lead, some solid bass, pretty vocals and some darned fine whistling. The beauty and simplicity does the memory of the Beatles and, in fact, the entire British Invasion sound quite proud. “Rowboat” is featured in two versions on the original 2016 CD of TEASER TRAILER. The first (and the one featured on the vinyl reissue) is the original. Trippy, watery machinations of Paul Nelson’s guitar and a lugubrious bass runs throughout the mostly instrumental tune. The vocals are purposely buried in the mix but, checking the lyric sheet, it would appear that the story revolves around a troubled individual who, apparently, has killed and disposed of someone in a watery grave. The second version, offered as a “bonus track” on the CD, is called the “Southend Version.” It’s definitely a heavier take, featuring some serious Hammond organ. The vocals and the number’s true meaning comes into finer focus on this longer version (more than two minutes are added to the original’s 3:47 running time). With the guitars, bass and drums pushed to the front, the studio trickery is gone until the end of the song. If I had to choose one version to listen to on repeat, it would most assuredly be the latter. “Witches” is a rollicking kind of Dancehall Jazz, with some nice period drums from Andy Russell, Nelson moving over to upright bass, a player piano and a traditional Jazz trio featuring Weston’s Dad, Tony, on clarinet. The piano coda from “Witches” wanders back in on “La La La La La,” a rolling kind of tune delivering the tune’s sole lyric, “La” over and over again. The birds chirp, the guitar dips in and out of the mix, cementing a rather pleasant end to what is a better than average album. Head on over to Mike Weston’s website to get a free download of TEASER TRAILER and, while you’re there, pick up a copy of THIS IS YOUR LIFE, too.


THE WHO/THE HILLBENDERS

(May 23, 2019; HOLLYWOOD CASINO AMPHITHEATRE, Saint Louis MO)

The more you see your rock heroes pass away or visibly age, the more nervous you get that an advertised performance might be the last chance you’ll get to see them. Hence, when I was “on the fence” initially about catching the Who’s May 23rd performance at Hollywood Casino Amphitheatre, a friend’s willingness to facilitate everything made all the difference. And I’m glad, because this was one hell of a concert. Pete Townshend and Roger Daltrey could have stopped years ago… it’s likely that their most towering musical achievements are behind them. But man, those two have still got it. And I love being reminded of past rock glories. Nothing wrong with nostalgia at all… that’s why we keep going back to enjoy the legends proving yet again why they deserve to be in that category.

THE WHO (Pete Townshend) (photo credit: LS)

I’ll say upfront that TOMMY was a significant album in my life. Musically it is brilliant; conceptually, it was at the very least bold and adventurous. The “Overture,” which the band opened with, is one of my favorite pieces of music ever. Truly. With the full orchestra in tow (The Who have planned this tour to include local orchestras joining them along the way) and a rather dazzling lighting backdrop, the audience was immediately treated to sheer spectacle. A suite of TOMMY tunes, including the expected “Pinball Wizard,” fab as always, and the timeless brilliance of “We’re Not Gonna Take It,” roused the crowd plenty, but affected yours truly on a very emotional level. I won’t pretend that this wasn’t nostalgia of the deepest kind for me. I could tell you all the personal associations this music holds for me and how it transcends what rock tends to be on every single level, but then this would cease to be a review and instead turn into my diary. I’ll be disciplined here and just say… I loved it. And the orchestra added grandeur and layers of sonic dressing to Pete’s extraordinary compositions.

THE WHO (Roger Daltrey) (photo credit: LS)

I would have likely been okay if the band wanted to do the entire album, but they didn’t. Instead, “Who Are You” was next, a catchy but overly familiar song from their catalog. It’s one of those insidious tunes that you can’t escape with this band. Nothing wrong with it, and Roger Daltrey sings the crap out of it (Rog was in good voice tonight, by the way). But to assess where it stands in the scheme of things, try making a song out of your own name, to be cute. Or, try NOT to think of the theme song for a really, really successful TV crime show. Can’t do it, can you? Well who the hell are YOU? “Eminence Front” is a reasonably catchy later-period Who tune, which the crowd enjoyed. Familiarity tends to breed affection, especially with one of the greatest classic rock bands of all time. “Imagine a Man,” from the 1975 album THE WHO BY NUMBERS was pleasant and melodic and Pete seemed to be having a great time performing it. In fact, it’s worth mentioning that Pete and Roger both seemed to be in great spirits. Both addressed the audience repeatedly, commenting on the “nice people” of Saint Louis, our great rivers, and of course, the exciting status of a certain hockey team. More on that shortly. But a nice surprise for me personally was the song “Join Together.” It’s a quirky mid-period Who tune that I liked so much as a youngster, I bought the single. I would never have imagined they would perform that one; it was NOT a huge hit. But by god, here it was, complete with Jew’s harp and pure weirdness. Happy music fan! Two classic older tunes, “Substitute” and “The Seeker” came next, with Daltrey complimenting Townshend’s writing and stating how a certain lyric was one of the best lines Pete ever wrote, that being “I was born with a plastic spoon in my mouth.” The crowd listened attentively whenever Daltrey or Townshend addressed them, and this was truly a fun part of the show. Again, their upbeat moods were palpable. These guys know how much they need each other, and every time Daltrey sidled up to Pete and put his arms around him, you had to get a deep thrill. The “bloody Who” have been at it since the early ‘60s, my friends. You have to respect their longevity! A pair of classics from WHO’S NEXT were served up: “Behind Blue Eyes” and “Won’t Get Fooled Again,” the latter performed in an intimate acoustic style that made for one of the evening’s most tasteful choices. It’s a legendary song with heaps of gravitas, I just would have preferred a bit more intensity on the utterly classic closing line ”Meet the new boss/Same as the old boss,” which has been quoted so much in the years since its inception. You could hardly hear Daltrey sing the lines in this arrangement. But no matter; it was still a delight. Pete addressed the audience after that by apologizing, sort of, for ENDLESS WIRE and allowing that they were only going to do one song from that record, which was actually a guitar-pickin’ pleasure (“Tea and Theatre”). Pete then introduced a suite of songs from QUADROPHENIA, which likely represented the grandest musical section of the show overall. The legendary guitarist is justifiably proud of his second double-album rock opera in a five-year span, and what struck me about this section is how under my skin these songs were, in some special little corner, even though I could name the titles on TOMMY much more easily. But musically, this batch of songs: “The Real Me,” “I Am the Sea,” “The Punk and the Godfather,” “5:15” and the genuinely transcendent instrumental “The Rock,” exemplify the art form of rock and roll ascending to heights it rarely goes to, with riffs and cool harmonies and quirky little passages that only an inspired musician can conjure. History has already recorded Pete Townshend as having a kind of ambition and understanding of rock melodrama and emotional release in a truly pioneering manner. This was simply incredible stuff. Rock as ART. Who conceived of such a thing? “Love Reign Over Me,” of course, is indispensable Who, with Daltrey demonstrating that he is taking care of himself… he doesn’t screech excessively… he delivers only the drama and peak moments he knows he NEEDS to these days. His partner has suffered hearing problems and a voice that has “gone away to some strange place,” or however it was he put it. But there is something profound about such an influential group still aiming for the sonic heights, and when they GET there, it is shiver inducing. Such was the case with the closing “Baba O’Riley.” I can’t say enough about this one. Criminy. It’s a rock classic, yes. But the indescribable highlight of the show was having Rog and Pete kick ass backed by an electrifying orchestra on one of their grandest musical offerings, during which leggy violinist Katie Jacoby strolled out in a Saint Louis Blues jersey, attacking her instrument flawlessly on the climax of the song. The crowd went justifiably wild. It seems improbable that the Blues’ first appearance in the Stanley Cup finals, an aging rock band’s bid for one last dramatic chapter (they announced that they have a new album ready for fall, though they didn’t play anything from it), and the expansive power of a full orchestra would combine to such powerful effect here at what most of us came to know as Riverport, with floodwaters wreaking havoc nearby. But man, this was a moment! When you see and hear this sort of spectacle happening and creating another memory so potently, you appreciate it. It was so powerful that I didn’t sense ANY grumbling about the lack of an actual encore. You hit the giddy, transcendent heights and then you say farewell. The Who did so, acknowledging each and every sterling band member like Pete’s brother Simon Townshend and that Zak Starkey fellow, who has been manning the drums for them for years. And heck, how can you NOT appreciate the epic nature of a local violinist having a huge moment onstage? Everyone felt it, trust me.

THE HILLBENDERS meet PETE TOWNSHEND, 2015 (Gary Rea, Mark Cassidy, Nolan Lawrence, Pete Townshend, Chad Graves, producer Louis Jay Meyers, Jim Rea) (uncredited photo)

Springfield’s Hillbenders opened the show with an 8 or 9-song run through a biting mix of rock-flavored bluegrass. This quintet achieved notoriety for recording a bluegrass version of TOMMY that was way more resplendent than anyone expected. Townshend was more than a little impressed; he posed for photos with the band in Nashville a while back, and praised them to the hilt onstage here. It may have seemed odd to those not familiar with these matters that an acoustic bunch from down yonder in southern Missouri would be opening for rock legends, but I thought it was rather profound. Music should be surprising, unpredictable, and adventurous. It should continually shoot up the “sparks” of life. Everyone onstage did that tonight, and it was truly a thrill.


RINGO STARR: GIVE MORE LOVE

(ROCCABELLA RECORDS/UNIVERSAL MUSIC GROUP; 2017)

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

RINGO STARR (photo credit: GARY MILLER)

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

RINGO STARR (publicity photo)

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


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

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

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

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

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

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

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

PINNACLE

THE BEATLES: SERGEANT PEPPER’S LONELY HEARTS CLUB BAND

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

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

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

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

JEFFERSON AIRPLANE: SURREALISTIC PILLOW

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

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

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

THE VELVET UNDERGROUND AND NICO: THE VELVET UNDERGROUND AND NICO

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

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

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

THE DOORS: THE DOORS

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

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

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

THE JIMI HENDRIX EXPERIENCE: ARE YOU EXPERIENCED

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

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

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

PINK FLOYD: THE PIPER AT THE GATES OF DAWN

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

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

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


THE YARDBIRDS: ROGER THE ENGINEER

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

Album cover

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

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

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

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

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

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

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

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

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

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


EIGHT DAYS A WEEK: THE TOURING YEARS

(UNIVERSAL MUSIC ENTERPRISES/STUDIOCANAL/APPLE CORPS/IMAGINE ENTERTAINEMNT/WHITE HORSE PICTURE (137 minutes; Unrated); 2016)
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Back in September, I was just back from the theater, having seen EIGHT DAYS A WEEK: THE TOURING YEARS. My immediate thoughts were that the film was truly an amazing ride and that director Ron Howard did a fabulous job with all of the archival film footage; cleaned and restored for the big screen, I was definitely taken back to the height of Beatlemania. After the end credits rolled, the audience was treated to a near-thirty minute segment of the Beatles’ 1965 Shea Stadium concert (almost the entire show), which was awesome… with a crisp new “remaster,” it was like being in the front row with that screaming, rabid New York crowd. Unfortunately, that piece of history didn’t make it to the DVD/Blu-Ray releases, as it was used as an “incentive” to get butts in theater seats. Oh, well… maybe someday! The film (and the bonus feature) made me realize, again, how much I miss both John and George; it really was a wonderful night of Rock ‘n’ Roll with, as Ringo said, “The biggest band in the land.”

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, RIngo Starr, Paul McCartney, John Lennon, circa 1964) (uncredited photo)

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, RIngo Starr, Paul McCartney, John Lennon, circa 1964) (uncredited photo)

So, by this time, who doesn’t know the story of the Beatles’ humble beginnings? Just in case you’ve been living under a rock for the last six decades, here’s the Cliff Notes version: Paul McCartney meets John Lennon, joins his band, bringing George Harrison along for the ride; then, here comes Ringo Starr, John and Paul start writing songs together, Brian Epstein becomes their manager, the lads meet George Martin, who works with them, molding their sound in the studio… yeah, yeah, yeah! As a lifelong fan of the Fab Four, I still came away amazed by this fabulous new documentary. Seeing and feeling just how wonderful the Beatles and their music were and continue to be today makes me realize just how much they still mean to me, forty years after they went their separate ways. The narrative of EIGHT DAYS A WEEK is presented through, not only vintage interviews of the Liverpudlians, but recent remembrances from Paul and Ringo, plus various other musicians, composers and celebrities. However, the real “star” is the concert footage and the mania surrounding the mop tops. It’s great reliving how the Beatles literally took control of popular culture in the 1960s; one of the things that I enjoyed seeing was how hard Ringo was playing back in the very early live days, displaying an almost punkish verve at times.

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, Paul McCartney, John Lennon, RIngo Starr, Washington DC 1964) (photo courtesy: APPLE CORPS)

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, Paul McCartney, John Lennon, RIngo Starr, Washington DC 1964) (photo courtesy: APPLE CORPS)

Personal fan-boy histrionics aside, what sets THIS Beatles documentary above others – first and foremost – is the unbelievable quality of the film itself: Not only the concert footage, but the manic press conferences and even the boys simply caught relaxing, is so clear and crisp that it really just staggers you. It was worth it to hear new concert footage with clean, crisp sound, highlighting how truly hard they rocked… especially Lennon tearing up now-classics like “Twist and Shout” and “Dizzy, Miss Lizzy.” Celebrated fans as disparate as Whoopi Goldberg, Elvis Costello and Sigourney Weaver relate just how hard they fell for the Beatles… Yes, everything from THE ED SULLIVAN SHOW to the Hollywood Bowl performance to their huge world tours and all of the madness that followed, but also because they were funny and talented, met the right people at the right time (manager Brian Epstein and producer George Martin would become the two most important people in their professional lives) and had a ton of belief in themselves and in their art. The Fab Four were always ready and more than willing to push the envelope. After seeing this movie, it’s very easy to see how and why these celebrities and, indeed, the world fell in love with them and why that love is still going strong over fifty years later.

EIGHT DAYS A WEEK: THE TOURING YEARS (a 14 year old Sigourney Weaver at the Hollywood Bowl in 1964) (uncredited photo)

EIGHT DAYS A WEEK: THE TOURING YEARS (a 14 year old Sigourney Weaver at the Hollywood Bowl in 1964) (uncredited photo)

To be sure, the Beatles released an astonishing number of great, hit songs and huge, groundbreaking albums between 1962-1970… a mere eight years. It’s still hard to believe! EIGHT DAYS A WEEK tells their story quite well and, seeing it initially in the theater, on the big screen, was a huge benefit (in particular, the restored Shea Stadium footage, with all the madness and screaming, was stunning). The film is nothing short of phenomenal; Howard and his crew did a superb job of presenting another – often overlooked – part of the Beatles’ huge world wide success, aside from the string of hits and the intense madness that surrounded them everywhere they went. Quite frankly, watching them deal with the insanity going on around them all the time, it amazes me how they remained so grounded. That Shea Stadium show in August, 1965 before 56,000 people was a game changer, setting up a future for arena and stadium rock shows; that performance took Rock and Roll music to heights never before (and seldom after) imagined.

EIGHT DAYS A WEEK: THE TOURING YEARS (Paul McCartney, John Lennon, George Harrison, Ringo Starr at Shea Stadium, 1965) (uncredited photo)

EIGHT DAYS A WEEK: THE TOURING YEARS (Paul McCartney, John Lennon, George Harrison, Ringo Starr at Shea Stadium, 1965) (uncredited photo)

Historically, one of the real turning points for the band was when they rejected George Martin’s idea of wanting them to only do other people’s songs; they wanted to write their own music and, so… away they went. The Lennon/McCartney hit-making machine was rolling and wouldn’t stop until outside business affairs jammed the gears. Still, by the time they decided to quit touring in 1966 to focus their creative output into studio work, they were just starting to hit their peak, releasing a string of masterpieces starting with RUBBER SOUL and REVOLVER. Recent interviews with Ringo Starr and Paul McCartney and archival clips of George Harrison and John Lennon, commenting on and explaining things along the way, really adds to the story and to the enjoyment of this documentary. The film flows very well.

EIGHT DAYS A WEEK: THE TOURING YEARS (Ringo Starr, Ron Howard, Paul McCartney) (photo courtesy: STUDIOCANAL)

EIGHT DAYS A WEEK: THE TOURING YEARS (Ringo Starr, Ron Howard, Paul McCartney) (photo courtesy: STUDIOCANAL)

I have been a Beatles fan since their first appearance on THE ED SULLIVAN SHOW, solidified by seeing A HARD DAY’S NIGHT in the theater and they are still as wonderful, their music still honest and positive and still touching new generations of listeners and fans… over fifty years later. As Sigourney Weaver said in the movie, “It was this sense of world music. We were all loving them, all over the world.” The joy of the Beatles’ music is, we can all have our favorite song and our favorite album; from 1962 to 1970, they made music for the ages and, indeed, this film is a must see for fans of all ages. A big “Thank you!” to Ron Howard for bringing us a new look at a very well-known story. He did a fantastic job with this movie, with a little help from some friends… John, Paul, George and Ringo.


PAUL MCCARTNEY

(August 13, 2016; BUSCH STADIUM, Saint Louis MO)

Paul McCartney (The Busch Stadium crowd enjoys the show) (photo credit: JEFF KING)

Paul McCartney (The Busch Stadium crowd enjoys the show) (photo credit: JEFF KING)

It’s really worth a moment of reflection here: What’s it like to be Paul McCartney? None of us can really know. McCartney is almost unarguably the most successful and influential singer/songwriter/musician in the history of popular music. He’s reached a place no one else has gotten to, a rarified zone of rock royalty where interest and reverence for him is ongoing, on a global scale. Taylor Swift and Bruce Springsteen may be able to sell out stadiums at times, and the Rolling Stones can say they’ve been around as long still doing their classic rockin’ thing. But NO ONE has had the impact through multi generations, the acknowledged cultural influence, the extensive body of work and the ability to sell out shows around the world, like Sir Paul McCartney. On the pop culture landscape, it’s like there is Mount McCartney, soaring high towards the clouds to a peak you can’t even make out or even comprehend, and then way below, there are some other peaks that are also impressive but not as gigantic. Mount Dylan. The Jagger-Richards Range. Who International Park. Et cetera.

Paul McCartney (photo credit: JEFF KING)

Paul McCartney (photo credit: JEFF KING)

You get the idea. So beloved are the Beatles, and so deep and enduring is the nostalgia for all that they represented, all the good memories they provided for millions, that people around the world want to experience any taste of that magic again, and to believe that Beatlemania is not just a thing of the past. Sir Paul McCartney bears that burden (not discounting Ringo here, but he doesn’t tour as much and he simply wasn’t one of the prime architects of that Beatles songwriting thing that changed the world) on his 74-year-old shoulders, and he does so with class, good cheer and almost unbelievable energy. Mount McCartney indeed! And we fans are lucky enough to still climb those musical heights each time Paulie decides to perform. He’s doing it often these days, and it is never less than a spectacle. He might be technically a senior citizen, but man oh man, Mister McCartney still shows he’s got it, and that he loves doing it. Song after song after song.

Paul McCartney (photo credit: JEFF KING)

Paul McCartney (photo credit: JEFF KING)

At Busch Stadium, August 13… nearly 50 years since the Beatles played here at the stadium’s previous location (the year that REVOLVER, one of their very best albums came out!), McCartney treated a wildly enthusiastic crowd to a generous platter of classic songs and some obscurities, from throughout his career. He opened with “A Hard Day’s Night,” a timeless classic that he’d not done before live. Another from that beloved movie, “Can’t Buy Me Love,” soon followed. I’m sure I wasn’t the only long-time fan to experience a chill or two just from those two rockers. Dressed smartly in a purple jacket and dark jeans, McCartney sounded and looked younger than his age, and wasted no time chatting up the audience. Miraculously, considering that the acoustics for a sold-out stadium show are by no means always optimal, you could hear just about every word he uttered. And you WANTED to “listen to what the man said” because, hey, how often do you get to share time with him? At one point, McCartney took time to acknowledge all the many signs people were holding up in the stadium. There were the usual lovey-dovey kinda things, but a young girl held up a sign that said (I had high-powered binoculars to try to catch all this), I think, “Loved you as a bug, loved you as a wing and love you still today.” I saw her laugh delightedly when McCartney mentioned that sign. In fact, the ample projection screen repeatedly showed people laughing, dancing, and singing along to favorite tunes. It was a celebration, after all, McCartney being “one on one” (as it was billed) with thousands and thousands of delighted fans. And the set list was by no means predictable. Sure, you’d be reasonably safe to expect stuff like “Back In the USSR,” “Let It Be,” the inevitable “Hey Jude,” “Maybe I’m Amazed” (and yeah, he DID mostly hit those high notes despite a few subtle strains evident in his vocals here and there) and the great “Band on the Run,” one of his finest solo songs. But genuine surprises (unless you were an internet set list junkie) included “I’ve Got a Feeling,” “We Can Work It Out” (a personal favorite), a warm and tender “Here, There and Everywhere,” “And I Love Her” (gorgeous) and “Fool on the Hill.” At one point, McCartney gave a nice mini-talk on where songs come from, something he’s obviously been asked a zillion times. He explained that sometimes it’s a melody, sometimes a lyric idea, and sometimes an insistent chord progression that has “potential.” He began playing one such evocative progression on guitar a few times until it evolved, marvelously, into “You Won’t See Me,” another delightful surprise. And what else can be said about brilliant songs like “Eleanor Rigby” and “Blackbird,” two of the many, many touchstones in Macca’s career, never losing their beauty or impact?

Paul McCartney (photo credit: JEFF KING)

Paul McCartney (photo credit: JEFF KING)

Of course, there were not just Beatle songs on the list. Solo numbers as diverse as “Let Me Roll It,” “Temporary Secretary” (I personally enjoyed this one though others apparently were not in my company), “1985,” a searing “Hi, Hi, Hi” (an early Wings classic) and a clutch of tunes from McCartney’s last disc NEW (“Save Us” and “Queenie Eye” among them) sounded just fine, although it was amusing to see McCartney gesture or feign mock disappointment when the reaction to less famous songs was not as thunderous as that for Beatle classics. McCartney knows full well that fans want to hear the tunes they grew up on, and he is incredibly generous (he has been for many years) in bulking up beloved tunes on set lists these days. Two potently touching and dramatic moments occurred in the middle of the show. “Here Today,” the song McCartney wrote as “a conversation I never got to have” with John Lennon, is a tune he almost always plays in concert, but it had an intense emotional resonance to it in this performance… delicate, tender, unbearably sad… and the legend almost looked like he was tearing up anew as he sang. The audience was spellbound. Another genuine surprise was “In Spite of All the Danger,” a song the boys conceived in their Quarrymen days, and which McCartney explained they cut in a primitive studio as a demo. This event is depicted at the end of the movie NOWHERE BOY, which I’d been lucky enough to see, so it had a major impact on me, and McCartney seemed delighted to tell the story. For a song that few at the stadium could have known, it was staggering that McCartney was able to get the crowd to sing the repeated “Whoa oh oh oh” chorus with almost perfect timing. Maybe I’m amazed by this, indeed! Also a sweet and tender “My Valentine,” which he dedicated to his wife Nancy, was subtly compelling in its intimacy, and featured visual aids by Natalie Portman and Johnny Depp on the adjoining screens, something that struck me as surreal but beautiful. But it was old Beatles classics that got the crowd really jazzed: “Lady Madonna,” “Ob-la-di, Ob-la-da,” the George Harrison tribute “Something” (which McCartney began on ukulele as expected, but this time it quickly evolved into a full Beatle-y band arrangement, unlike the last time I saw him perform it), and a stirring “Love Me Do,” complete with the precise harmonica part that Lennon played all those years ago. No one can ever say that Paul McCartney is not a good team player, by the way… the band he’s with now, which consists of some of the most crackerjack players around (keyboardist Paul “Wix” Wickens, bassist and guitarist Brian Ray, guitarist Rusty Anderson and drummer Abe Laboriel, Junior), has been with him for 14 years plus, longer than the Beatles were together! And any encore that includes the perfection that is “Yesterday,” the White Album novelty “Birthday” and the gripping “Golden Slumbers” section of the dazzling ABBEY ROAD medley, well, it lets you know in no uncertain terms that you are one lucky fan to be at this concert. You’re getting rock history live, right here, right now.

Paul McCartney with Abe Laboriel, Junior (photo credit: JEFF KING)

Paul McCartney with Abe Laboriel, Junior (photo credit: JEFF KING)

Paul McCartney’s importance is not just his place in the musical scheme of things, it’s the fact that he is a living testament to the ongoing power of songwriting, performing and communicating with fans. He’s had to endure continual comparisons to his former partner Lennon, judgments about his work since the Beatles, and the always fascinating reappraisals of his recordings that new writers always feel motivated to offer. For example, the once-maligned RAM album is now considered a charming low-key classic by most, and Wings, who nearly always got short-changed in the 70s by snobby comparisons to the Beatles, now have their own special fan base, and McCartney knows that. More than anything, what McCartney knows is that music can transform, inspire, document, delight and be really, really personal for different people, different generations, over a long, long time. You just don’t get to go on the kind of journey Paul McCartney has been on, very often. Because of the volatility of the times he flourished in, and the unimaginable success, McCartney gets to see the impact of his life’s work over and over, and to keep writing, recording, and rocking. And somehow he still manages to do it with that same boyish glint in his eye that he had back on THE ED SULLIVAN SHOW. That is one staggering triumph of an artist and a human being, across six decades, and still going. How can you not regard Mount McCartney with absolute awe? And he’s still here today, his legend secured for all time.


JOHN LODGE: 10,000 LIGHT YEARS AGO

(Esoteric Antenna; 2015)

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I’m rather late coming to this one, which is odd because I am a big Moody Blues fan. I think the Moodys are one of the most underrated (at least by official organizations) bands of all time, and in particular, I think Justin Hayward is an incredible singer/songwriter that deserves some kind of special creative inspiration award for the way he transformed the Moodys from an average ’60s pop band to an incredibly evocative, haunting poetic soft prog band. In fact, there is a new film out about the significance of DAYS OF FUTURE PAST in the annals of rock music. Okay, there were others involved in that process, but… it was mostly Justin. However, this review is supposed to be about John Lodge. His second solo disc is titled 10,000 LIGHT YEARS AGO, and it begs the question, as solo outings always do, what interesting things did John have to share with us that could not fit into the confines of the Moodys’ work? Well, maybe that’s not fair – a parent band generally has a signature sound that everyone contributes to; solo albums allow the “lesser” members to do something where they are in control. John Lodge is a vital part of the Moody Blues, and his collaborations with Justin Hayward have made for some of the best music of all time, up to and including their peerless 1975 BLUE JAYS outing. But vocally, he certainly takes a back seat to Justin’s emotive singing. That said, if you cue up the tune “Simply Magic,” you’ll not only get an acoustic charmer of a tune, you’ll get three Moody Blues – as Ray Thomas and Mike Pinder, both of whom left the band after their heyday, make guest appearances. It’s a breezy little tune. I didn’t respond much to “In My Mind” and “Get Me Out of Here,” both of which struck me as rather bland. Somewhat better is the violin and accordion-laden “Love Passed Me By,” a snappy little supper club tune that sounds like John Lodge making music far apart from his homies. He seems really engaged in this track. One thing, though… after years of making poetic, innovative music with his bros Justin Hayward and Graeme Edge, couldn’t Lodge come up with better lyrics than “Love passed me by/When you said goodbye/For another guy/Gone was the chance/Of our romance/When you said goodbye/Now as I lay in my cold and lonely room/It’s the day love passed me by.” C’mon, John, you were involved in tunes like “Tuesday Afternoon,” “Ride My Seesaw,” and “Question”… you’re gonna tell me that sophisticated comps like that didn’t raise the stakes for ya? Most is forgiven with the out and out rock & roll of “(You Drive Me) Crazy,” which is a ton of fun and might be as loose as Lodge has ever sounded in a recording studio. “Lose Your Love” is quite yucky, and Lodge doesn’t have an interesting enough voice or approach to pull off the bland lyrics and overly familiar subject matter here. The closing title track seems like an attempt to utilize some aspects of the Moodys’ sound in a solo context, and while it has a little bit of grandeur and definite forward motion, I couldn’t help wondering what the song might have risen to if Hayward had been the co-writer. Not much original here, honestly.

John Lodge (publicity photo courtesy: ROGERS AND COWAN)

John Lodge (publicity photo courtesy: ROGERS AND COWAN)

It’s gotta be tough, being in a legendary band and thinking you have more to say than what the band will allow. The creative impulse cannot be denied, but the fact is, countless solo albums from bands like the Moody Blues, Yes, Genesis, Pink Floyd and others from the progressive era simply fell way short of expectations. Justin Hayward, as the primary force in the Moodys, always seemed so prolific that he had to get his solo stuff out there, and it retained a familiarity overall that kept fans pleased. While some of Lodge’s tunes rise to the level of melodic pleasantry, there is definitely a sense of something missing on 10,000 LIGHT YEARS AGO. You want it to be dramatic, like the title… searching, thoughtful, maybe even a little epic. At best, though, it is amiable, well-crafted and inoffensive. It’s a “question of imbalance,” a thwarted “search for the lost chord” that would stick with you somehow if these songs were richer in detail, even if most Moodys’ fans will at least be glad this second Lodge outing exists at all.


LINDA HOYLE: THE FETCH

(ANGEL AIR RECORDS; English import, 2015)

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Good Lord, talk about a long break between albums! It was way back in 1971 when Linda Hoyle released her debut, PIECE OF ME. Previously, she’d been in a band called Affinity. Now, 45 years later, we get THE FETCH, which is a reasonably… well, fetching collection of emotive, adult tunes about life and love and yearning. There’s a drowsy, late-night feel to tunes like “Cut and Run” and “Confessional” that can make you drift off to sleep if you’re just kinda lying around listening. The bass is a bit jazzy and the guitars somewhere between proggy and ambient; all instruments serve Hoyle’s mature voice, which has a warmth and sincerity to it that can pull you in if you are relaxed enough. At the same time, it’s not really that GRABBY, and Hoyle serves up a sound and aesthetic here that seem to come from a time now forgotten. I guess that is actually the case, and things FORGOTTEN are part of the subject matter here. “I sat beside a suicide whose love I sadly lost/Led a milkman’s horse to water as we slipped across the frost/Spent my youth researching meaning that was cheap at twice the cost” Hoyle sings in “Confessional,” as a litany of various memories floats by lyrically. It’s the sound of a woman who knows she has seen a lot of years, and yet is still moved by things.

“It’s the World” is one of the stronger tunes here, offering both violin and keyboards in its pleasing, almost jaunty arrangement. A mood of not-quite resignation permeates, and there is alcohol flowing in this music, methinks, although just enough to get through a bout of overthinking. Some of the sentiments can be unnerving. In the angst-ridden “Fortuna,” Hoyle sings: “There’s a formula for fate/She’ll just check out with your last chance/You try to fuck with a lady luck/She’ll offer you sand with a mocking hand/Spin on your heel and she’ll spin the wheel… ” And it’s followed by a reference to “lips older than death… ” Yikes. The imagery is strong but not the kind of thing you ever see on recordings by younger gals. This is the work of someone who has been around and has a few warnings for y’all. Hopefully with a benevolent spirit, though. “Snowy Night” is gentle and pretty and, “West of the Moon” is rhythmic, lyrically pleasing and strongly played and sung… definitely one of the more distinctive tracks here.

Linda Hoyle (uncredited photo)

Linda Hoyle (uncredited photo)

“Earth and Stars” employs vocal effects, spacey minimalism and a proggy feel to take Hoyle somewhere quite different from the other tracks. It’s worth mentioning that Roger Dean designed the cover of this album, and various trademarks of the prog era are hinted at here and there. Hoyle is no ordinary singer/songwriter who has been hiding for decades in the confines of whatever life she leads. Clearly she KNOWS music and loves it. This track and some of the others reveal as much. And in the closing “Acknowledgments,” which features a church organ in beguiling manner, Hoyle sings the names of performers throughout music history that she has loved or been influenced by, after each series of names concluding “Always be a part of me.” Hoyle likely won’t join the heady company of the legends she names, and her sound and style are too limiting (maybe too LATE?) to reach any kind of mass audience. But she is able to touch the spirit with her sentiments and her clear emotional delivery. THE FETCH is one woman’s personal update of a life she’s known, many years after the events happened. It’s nostalgic, wise, and melancholy, and unerringly human in an era where cheap gimmicks and flashy technology tend to draw the most attention.


THE HILLBENDERS: TOMMY – A BLUEGRASS OPRY

(Compass Records; 2015)

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Ambition is an awesome thing. In music, it often leads to groundbreaking work or concepts, and this here album from Springfield, Missouri bluegrass band the Hillbenders is a doozy in that regard. The notion of doing a bluegrass interpretation of the Who’s legendary TOMMY album seems preposterous at first… how could the sonic intricacies and intense storyline of Pete Townsend’s magnum opus be re-interpreted in such a different genre, one as down to earth as Ozarks-style bluegrass? The fact that it works so well says a great deal about the abilities (and pure ATTITUDE) of this band – guitarist Jim Rea, mandolinist Nolan Lawrence, dobro player Chad Graves, banjo player Mark Cassidy and bass player Gary Rea. Pete Townsend himself gave a thumbs-up to the record and invited the band to a show on the Who’s recent tour, doing photos with them. So yeah, this crazy project is a success. But how does it SOUND? Well, the amazing thing is that the band largely sticks to the structure of the original songs. It’s just that in place of electric guitars, Roger Daltrey’s peerless vocals and Keith Moon’s powerhouse drumming, you get, well, acoustic instruments like banjo and dobro. There are no long, jammy bluegrass workouts of the type often seen in the genre… the Hillbenders adhere to the original song structures. That is striking on tracks like the magnificent “Overture,” the carefully rendered “Amazing Journey” (which really IS amazing in this sassy, grassy rendition) and the classic “Pinball Wizard,” a rousing performance in which the band makes sure their energy matches the original, and renders the concern about whether a banjo and mandolin could possibly match what Pete did on the original absolutely moot. “Tommy, Can You Hear Me” is delivered simply and soulfully, with perfectly pleasant harmonies. “Sally Simpson” becomes a truly curious hybrid, a song that, thematically, would likely never see its ilk on another bluegrass album. I mean, this is rock and roll in its energy and pure panache. What a revelation to hear the Who’s richly layered classic rock presented in such a different manner. It says something about the universality of music and themes that the Hillbenders could pull this off so thrillingly.

The Hillbenders (Nolan Lawrence, Chad "Gravy Boat" Graves, Gary Rea, Jim Rea, Mark Cassidy) (publicity photo)

The Hillbenders (Nolan Lawrence, Chad “Gravy Boat” Graves, Gary Rea, Jim Rea, Mark Cassidy) (publicity photo)

Not everything brings the awe, though. Daltrey’s haunting “See Me, Feel Me” performance in its two appearances on the original is a work of vocal majesty that inevitably loses something in the simpler, more rustic approach taken here. Similarly, the drama and shifting elements of “Welcome” as a composition are diminished in this arrangement… maybe by this point, the sound is just getting too samey. And “We’re Not Gonna Take It” is missing an edge it badly needs. But gosh, songs like “Christmas” and especially, “Sensatiion,” are utterly inspired and perfectly performed by the Hillbenders, giving fresh life to compositions that most of us from the classic rock era know like the backs of our hands. There is something revolutionary about hearing a modest Ozark string band fearlessly take on a classic rock opera by legendary Brits, and do it with their own personalities and aesthetic intact, triumphantly. It’s a bold leap into rarified musical territory, and it proves once again that all things are possible if you’ve got courage, chops and, well, a pretty awesome source work. Here’s to the Hillbenders for TRULY “kicking out the jams” in every way.