TODD RUNDGREN’S UTOPIA

(9 May, 2018; Peabody Opera House, Saint Louis, MO)

From the Nazz through his various solo outings, masterful production work and, particularly the ten albums released under the Utopia banner, I have been a fan of Todd Rundgren for a very long time. Sure, my previous experience with the live Rundgren had left a bitter taste in my mouth, but… this was Utopia! I knew that I must see the reunited progressive pop quartet that was responsible for the final eight Utopia albums, including ADVENTURES IN UTOPIA and OOPS! WRONG PLANET; Todd would be reuniting with Kasim Sulton, John “Willie” Wilcox and the keyboardist from the initial Todd Rundgren’s Utopia records, Ralph Schuckett, supplanting Roger Powell, who had to step away from playing in 2009 because of his health. When Ralph was forced to recuse himself due to health concerns of his own, Rundgren’s son suggested they check out a guy named Gil Assayas, who stepped into the very large shoes left by Schucket and Powell. Though Sulton and Todd had continued working together since the band’s unofficial dissolution, Utopia had not played together on North American soil for over three decades. Let’s just say that I was more than mildly stoked when I received confirmation that I would be granted access to this show. Before delving into specifics, might I also say that I was not disappointed!

TODD RUNDGREN’S UTOPIA (photo credit: DARREN TRACY)

The guys very wisely split the show into two very different sets: The first half featured the longer, more progressively-attuned material (primarily from the first offering, TODD RUNDGREN’S UTOPIA and the concept album, RA) with a couple of covers tossed in for good measure; the second half of the show concentrated more on the skewed pop asthetics of later records like UTOPIA and SWING TO THE RIGHT. The stage configuration for the first set featured Rundgren center-stage (was there any doubt about that?), Kasim holding down stage right with Wilcox on a riser behind him and Assayas on a riser stage left… a very prog rock look, fitting perfectly with the music. And, what music! Opening the evening’s festivities was a medley of classic Utopia tunes – “Utopia,” “The Ikon” and “Another Life” – which Todd affectionately dubbed “the Storm” after the tempest had subsided. “As you may have surmised, there’s a thing going around and I got it!,” the Runt declared before, apparently, hocking up a lung and ripping into a killer version of the Move’s “Do Ya.” The sound was virtually immaculate other than the occasional over-modulation of Todd’s mic. “Freedom Fighters,” one of my favorite tunes from my favorite Utopia album, is up next and Gil Assayas’ keyboards are on-point with that record’s version.

TODD RUNDGREN’S UTOPIA (Todd Rundgren) (photo credit: DARREN TRACY)

TODD RUNDGREN’S UTOPIA (Kasim Sulton) (photo credit: DARREN TRACY)

The high notes were not coming off too well, as Todd’s affliction seemed to get the better of him on “The Wheel.” Later in the tune, Rundgren’s solo falsetto voice sounded stronger, if a bit strained. A very nice version. Kasim Sulton took the lead on “Back On the Street.” The number has a thumping groove and Todd looked absolutely hyped to be working in a true band environment again. Leonard Bernstein’s kitschy-cool Broadway show tune, “Something’s Coming,” from WEST SIDE STORY, comes off sounding very much like a kitschy-cool Broadway show tune, a great detour from the progressive pop that is this bands bread and butter. Kasim was back on lead vocals for “Monument,” a rather lightweight attempt at a hit single from Utopia’s last official studio release, 1985’s POV. The song’s break, however, does feature a really nice solo from Rundgren and a cool short blast from Assayas. A very cool visual backdrop adds to the atmosphere and the power of Willie Wilcox and Assayas’ introduction for “Overture: Mountaintop and Sunrise.” Sulton and Rundgren join in before a fist-pumping take of “Communion With the Sun,” highlighting the strength of an often-overlooked classic of the progressive era, RA. The coupling was absolutely great, with some nice vocal harmonies and all four players hitting on all cylinders. “Last of the New Wave Riders,” one of the stellar tracks from the group’s 1980 record, ADVENTURES IN UTOPIA, brought the first half of the show to a rousing conclusion. As the curtain closed, Todd tells the crowd, “We’ll see you in twenty.”

TODD RUNDGREN’S UTOPIA (Todd Rundgren, Willie Wilcox) (photo credit: DARREN TRACY)

TODD RUNDGREN’S UTOPIA (Willie Wilcox) (photo credit: DARREN TRACY)

As the curtain opened for the second set to a recorded intro to “Road To Utopia,” a more traditional stage set-up was revealed, with Willie’s drums now sitting center-stage back, with Gil’s keyboard rig in basically the same spot it occupied before the break; both musicians were now situated on a level with Todd and Kasim, the previous set’s risers having been removed. A quick look at the time as the quartet took the stage again – playing a spirited version of one of my favorite numbers from Utopia’s “pop period” – indicated that they were gone for nearly forty minutes. The additional rest seemed to work wonders for Rundgren’s voice, so I cannot be upset over a break that was nearly twice as long as promised. This second set proved to be punchier than the first, with shorter, more melodic songs emphasizing a true band dynamic. The point is driven home by Kasim Sulton’s lead vocals on the next two tunes, POV’s “Play This Game” and the jazz-tinged “Swing To the Right.” “Trapped” featured a patented Rundgren guitar freakout and, though Todd continued to take a few vocal turns (mostly choruses and harmony parts), it seemed at this point that Kasim was doing most of the leads after the group’s return to the stage. I thought that it may have been Rundgren’s illness forcing a readjustment of the set list but, after checking set-lists from previous nights, it would appear that Sulton’s songs were bunched together like this since the beginning of the tour. “Set Me Free” gave way to a very nice version of “Love In Action,” with Todd once again taking the lead vocal. “Hammer In My Heart” seemed to indicate that the Wizard was saving his voice for the “radio/MTV hits.” Though obviously ailing, Rundgren continued to push through with some quite animated and very spirited guitar histrionics.

TODD RUNDGREN’S UTOPIA (Kasim Sulton, Todd Rundgren) (photo credit: DARREN TRACY)

TODD RUNDGREN’S UTOPIA (Gil Assayas) (photo credit: DARREN TRACY)

Willie Wilcox got his “Ringo moment,” as he took the lead on “Princess of the Universe,” a very Nazz-like pop thing from 1982’s UTOPIA before Sulton again sings lead on “I Will Wait” from OBLIVION. A Philadelphian at heart, Todd always pushed a bit of the Philly Soul sound into his music. “Rock Love” was his “James Brown moment,” setting aside his guitar, exhorting the crowd and his bandmates like a Baptist preacher on a Sunday morning, to ever greater heights of ecstasy. Kasim, on guitar, played a nifty solo. With Sulton back on bass, Rundgren delivered a powerful, if strained (and guitar-less) “Love Is the Answer” as, finally, the audience rose to its feet for a sing-along, clap-along ending. With the Runt looking a little the worse for wear, he nonetheless strapped on the guitar for the final number of the show proper, “One World.” After a short break, the band returned for one final song, a cover of sorts – an emotional, Gospel-tinged “Just One Victory” from Todd’s 1973 solo release, A WIZARD, A TRUE STAR. The evening was everything I could have hoped for (well, I wouldn’t have minded if they did “Itch In My Brain” but, that’s a minor infraction) and, I gotta say, that even though he wasn’t feeling too well, Mister Rundgren looked pretty good for a guy that’s (mumble-mumble) years old.


ADRIAN AARDVARK: DYING OPTIMISTICALLY

(EPIFO MUSIC; 2018)

Upon first seeing the name, Adrian Aardvark seemed to me a devouring angel, an agent of the bleakest of Black Metals. Nah… just kidding. In fact, I wasn’t sure what to expect from this album but, I gotta say, it isn’t at all like anything else I’ve heard before… not even close! I mean, it looks and smells like a rock and roll record, spliced with a fair amount of Americana and not a little bit of angst. Even so, my initial thoughts were leaning toward “Ah! Someone’s rich father has bought studio time for his son and his friends to record an album. Kinda like the Shags, woefully untalented but determined to become a band.” After a couple of songs, however, I began to warm up to, even appreciate, what this motley crew were attempting to convey. Oddly enough, while researching the band for this piece, I was amazed to discover that DYING OPTIMISTICALLY is the group’s seventh release since 2008 (and the first since BONES POSITIVE, an EP released in 2014)! I cannot honestly conceive of how I could have missed anything for the last ten years called Adrian Aardvark, though I am now old enough that such things do escape me upon occasion. Anyway, on to the review…

ADRIAN AARDVARK (Daz Bird, Shannon Stott-Rigsbee, Catherine Harrison-Wurster, Christopher Stott-Rigsbee) (photo credit: JERRY CADIEUX)

The first thing that you notice on “Just Us” is alluded to in rather veiled terms up above: Everything (wait… make that EVERYTHING) seems woefully out of tune, with the singer, Christopher Stott-Rigsbee, sounding alarmingly like a drunken karaoke enthusiast. Somewhere around the two minute mark, things almost come together, as a fuzzy bass (or, is it a cello?), insistent drumming and the scraping of a violin keep the thing from totally going over the cliff. Bonus points for – unlike the short prelude/introduction/tune-up that starts the song off – everything ending together. “If Only” definitely sounds like a drunken lament to a litany of “what if’s” in a relationship gone very wrong. Stott-Rigsbee lists his transgressions before admitting, “Yes, I am ashamed of my insecurities/Yes, I am ashamed of my stupid feelings.” Here, the music kinda sounds more in tune and of one mind, occupying a certain feedback/drone frequency that is not unappealing. In fact, the discordant buzz of the whole mess is really starting to grow on me. The cello takes a more prominent spot on “Peace In a Loving Way,” with Shannon Stott-Rigsbee droning away masterfully. The lyrics seem as though they are wedged into a melody that is simply too small to adequately contain them; try, for instance, to fit the first verse into any standard rock format without breaking your tongue: “Through updates, versions and brand new postages/The letters inside remain the same as they travel to/You through signals unseen, speaking words/Floating like waves whisper your way.” It ain’t easy. Even so, at less than two-and-a-half minutes, it feels like you’re in and out almost before you realize that the sound – and, in fact, the entire record – is actually becoming, not only palatable but, begrudgingly enjoyable, as well. The bizarrely-titled “Young Pharaohs and Horses” comes with an equally bizarre video… as it should! Drummer Daz Bard adds a bit of trombone to the proceedings, with Shannon chiming in with a scratchy (whinnying?) violin part; the weird, out-of-place gang vocals, like just about everything else on this album, are no doubt added to merely muddle the lyrical issue. Four songs in and Christopher is starting to come across as more of a true musical genius, as opposed to the offspring of a wealthy Daddy Warbucks type bankrolling his kid’s musical aspirations. “I Don’t Wanna Love No More” is a step back for me. It isn’t necessarily that the sentiments aren’t spot-on in a society of individuals struggling to find their place but, the acapella (aside from three drum rolls somewhere in the middle) delivery – impassioned as it is – just doesn’t do it for me. “Little Girl,” however, is a completely different beast. Despite some rather questionable lyrics: “I am a little girl in a big big world/My dress so clean and my hair is curled” and “Don’t you want to ride with me/Don’t you want to sleep with me” (allusions to Christopher Stott-Rigsbee’s… uh… fluid sexual identity, I know, but… still… ), this is the most fully realized, hardest rocking and most in-tune song so far. A throbbing bass line (Catherine Harrison-Wurster… on the upright, no less) and a frantic vocal performance from Christopher highlight the number.

Creaky Wooden Floor” opens the second half – continuing the strong showing from “Little Girl” – with more weird metaphorical (metaphysical?) lyrics about beets and elephants. The song is pretty nifty, in a New Country kind of way and is delivered, like the previous four tracks, in a short, punk rock fashion. On “Get Gotten,” a chunky guitar riff rides along for a spell before being joined by a very nice violin part; the unmelodic, unnerving howls of Stott-Rigsbee deliver quite an impressive effect. Somewhere about two minutes in, the whole thing shifts gears amidst a beautifully shambolic break before completely collapsing in upon itself at the end. I may have just crowned a new favorite track! There is an insistent hint of didgeridoo (a masterfully understated performance by Christopher) throughout “Horny Wildebeast,” which seems perfectly natural given the song’s title. After a rather rambunctious start, the final four minutes or so seem to settle into a nice mid-tempo with – dare I say? – quietly elegant violin and cello dancing over the top. “Oo Ra Ra” and “The Sun” form a sort of intermingled couplet, with melody, choruses and chanting kinda running through the two-as-one pieces (or, piece, as the case may be). The former is a surprisingly melodic bit of falderol with lyrics somehow befitting the proceedings, such as “Put down the knife, we don’t have to fight/We can make love till morning’s light.” The number eventually devolves into the type of musical chants that the “natives” in all of those old Johnny Weissmuller movies are so fond of. “The Sun” blasts forth from that, a forceful, blistering piece of noise of the type I find so appealing. The lyrics here tend to lean toward a rather cogent warning from everybody’s favorite ball of light: “Feel my heat/Feel the cancer/You can’t be given life/Without being given death.” Oh, Sun, you’re such a kidder! A cool, unexpected blast of the Blues, filtered through various other styles of what has generally become known as “Americana” may, at a mere five-and-a-quarter minutes, prove “Misery Shaker” to be Adrian Aardvark’s magnum opus. Time changes and style shifts glide together seamlessly, held together by the superior percussive efforts of Daz Bird.

ADRIAN AARDVARK (Christopher Stott-Rigsbee, Catherine Harrison-Wurster, Daz Bird, Shannon Stott-Rigsbee) (uncredited photo)

As mentioned at the outset, I was totally unprepared for the musical onslaught of Adrian Aardvark and was, initially, taken aback by the complete atonality of the first track but… I must say that I have been richly rewarded by sticking with the program, seeing it through to its brilliant climax. Heck, I may just have to revisit the group’s Bandcamp page and listen to their other releases… after I’ve rested up a bit from this DYING OPTIMISTICALLY experience.


DOING MY BEST TO BE BRUCE: THE BRUCE KULICK INTERVIEW

BRUCE KULICK (publicity photo)

Bruce Kulick plays guitar. He has played with everyone from Michael Bolton to Billy Squier to Meat Loaf and, of course, a couple of little bands called Kiss and Grand Funk Railroad, Bruce has shared the stage with some of the best known artists in the world and jammed with some fairly unique bands… just because he likes to challenge himself. He spent twelve years touring and recording as a member of Kiss and just completed seventeen years as a member of Grand Funk Railroad, alongside original members bassist Mel Schacher and drummer Don Brewer and two other “new guys,” singer Max Carl and keyboard player Tim Cashion. Most recently, he has recorded two singles with his wife, Lisa (the original “If I Could Show You” and the classic holiday song, “Have Yourself a Merry Little Christmas”), and is looking forward to further exploring that creative avenue in the still-new year.

In an interview recorded on January 10, in anticipation of an upcoming Grand Funk show in – virtually my own backyard – Effingham, Illinois (at the beautiful Effingham Performance Center), Bruce discussed playing with Kiss members Gene Simmons, Ace Frehley and Eric Singer over the previous weekend, at the launch party for THE GENE SIMMONS VAULT EXPERIENCE; a few memorable road experiences with his brother, Bob, and Meat Loaf; the music industry and taxes; and, of course, that l’il old American Band, Grand Funk Railroad. We had penciled in a 15 to 20 minute time slot for this talk; after a few generalities about logistics and such, I realized we had been going at it for 45 minutes. Thanks for the time, Bruce.

GRAND FUNK RAILROAD (Mel Schacher, Bruce Kulick, Max Carl, Don Brewer, Tim Cashion) (publicity photo)

THE MULE: So, obviously, you’ve been a member of Grand Funk for eighteen, nineteen years…

BRUCE: Technically, we just finished seventeen and we’re starting our eighteenth year.

THE MULE: Okay. How did you get the gig?

BRUCE: Well, I was contacted by Don Brewer back in ‘99. It was the middle of the year, I believe. He reached out to me via e-mail and at first I thought it was maybe somebody pranking me, even though I had met him in the past, but I didn’t know him well. He reached out and… I was in New York, actually, helping my parents move to California, but said I’d get in touch next week when I came back. Then, we finally… I thought it would be best to have an actual phone conversation and we chatted about what was actually happening, which was the fact that Mel and Don were going to move forward and they already had a terrific singer, Max Carl, and they were looking for a guitar player and would I be willing to come up to Michigan to do some rehearsal to see what it all kinda felt like, if it would work.

So, I did and, it went rather well. I was pretty nervous because it’s another iconic band that suddenly need a guitarist. But, I really did like Mel and Don and I thought Max was a terrific singer. And, then, from that point, the next time I got together, they had the keyboard player who we’ve had, as well. for all these years, Tim Cashion. And that was Grand Funk Railroad. By the end of ‘99, after us getting together, to rehearse enough, we started to perform. I think we only did one gig in ‘99. Technically, 2000 was our first real year of playing. It’s amazing, it’s been seventeen years, now going into the eighteenth and the same guys. We’re really all getting along very well and we love playing this music. There are some new songs, but generally it’s a lot of the hits from Grand Funk.

THE MULE: I was gonna ask if you’d known Don and Mel before, but you kinda answered in that, so…

BRUCE: Well, I would want to qualify it just by saying that, Mel I never met before meeting him in Michigan. But, Don Brewer… we had a very interesting kind of crossing paths by… I was working with Michael Bolton and we did a tour that opened up for Bob Seger. For many, many tours, Don Brewer’s been the drummer for Bob Seger and, this was 1983. Don had a big beard, I remember. I remembered meeting him and we were on tour, I think, almost three weeks with the guys, so we all got to k now each other a little bit and hang out. And, actually from that tour, Don Brewer wound up meeting his… the woman that he’s married to, because she was actually someone that we were friends with, Michael Bolton and I.

It was really interesting that… There’s even a little modern connection to that, in the fact that, this past year, we opened, one of the few dates that Seger did before he had that injury, you know, with his back, which he, I believe, is having surgery for and he’ll be back out on the road. But, Grand Funk opened for Bob Seger in Indianapolis. It was very exciting because I know some of the people in that band, as well, for years and, of course, Don’s wife, Sunny came and knows those guys from all the tours. (Laughs) I remember saying to Sunny backstage, in front of Don, “This is really weird!,” because here we are, on Bob Seger’s stage. and this is how we all kinda met each other, in a sense, and here we are all together so many years later and there’s 24,000 people out there. And, of course, the gig was huge success for us and that’s all great. So, that’s one of the wonderful things in the music industry, is that, kinda how you meet someone way in the past and you don’t realize how that… You know, if I met Don in ‘83, it wasn’t ‘til ‘99 that I had the opportunity to actually play a guitar with him. That’s a long time and, then here we are, it’s 2018 and I’m still playing guitar with the guy. It’s really kinda cool, you know? And, in a sense, it’s similar to me jamming with Ace and Gene over the weekend. Which was very surreal, too. But, I love that about the music industry. That’s why it’s always great to keep your connections. You never know.

THE MULE: I remember reading that Grand Funk was kind of an influence when you were just getting into the business. So, what is the favorite part about being in this band?

BRUCE: Well, I always saw Grand Funk, when I was young, as kind of like the American version of the British rock trio, like a Cream but, they were just a little more… hence, the “Funk” word. They were a little more funky. It wasn’t as… They definitely weren’t trying to emulate anything British, they were more R and B, in a way. Hence, hits like “Some Kind of Wonderful” and “Locomotion” and stuff like that. But, I did love the rhythm section. Don and Mel… Oh, my God! I mean, Mel was like… he had the original name “God of Thunder,” which was kinda ironic, of course, from my Kiss years with that song. And, Don being just a powerhouse on the drums. The well respected drummer who had the flamboyant drum solo back in the ‘70s.

So, for me, they were really unique because they were American and they weren’t trying to copy anything British but, there they were with all that energy. I think that’s how they were able to sell out Shea Stadium, you know, when they did that gig and broke records at certain times of their big years. So, I was pretty… I remember my first call after Don and I had the chat was to speak to the manager that Kiss was using for some of the years I was in the band, Larry Mazer. I said, “Grand Funk, Don Brewer just called me about being in the band. What do you think?” “Oh, that’s awesome. You gotta do it. That’s great.” I mean, I already knew it was great but, I did want to bounce it off of a business guy. I was always, you know, aware of the band, a fan of the band and quite flattered to asked to be… to have the opportunity to be in the band. It was really quite flattering for me.

GRAND FUNK RAILROAD (Mal Schacher, Max Carl, Don Brewer, Bruce Kulick, Tim Cashion) (publicity phot)

THE MULE: Next year… ‘69. The band’s gonna celebrate fifty years. Are there any plans afoot for a major tour?

BRUCE: That’s a good question. It’s kinda funny that I hadn’t thought of that yet. Obviously, Don and Mel being the original guys and everything, I’m sure they’re very aware of that but, whether or not they have something planned or are trying to coordinate something with the record company or agent, I’m not sure. But, it could make for an interesting story or a great marketing… that’s for sure.

THE MULE: You played with a lot of… I’m gonna call ‘em “over-the-top” personalities throughout your career.

BRUCE: (Laughs) Okay. The music industry lends itself to that.

THE MULE: Are there any that stick out in your mind as, “I can’t believe this.” or, you know, maybe crazy tour stories or anything that you’d care to share?

BRUCE AND BOB KULICK (publicity photo)

BRUCE: Well, I mean, one of the first… I would have to say the first REALLY major artist that I toured with, even though I had some touring experience with some people that had some hits prior to the band I’m going to mention – or the name of the artist I’m going to mention – was Meat Loaf. And, Bob and I, my brother and I played guitar for Meat Loaf. That was for the original BAT OUT OF HELL tour. So, the album was already done. Todd Rundgren and those two guys did the record, Jim Steinman’s songs brilliantly put together with Todd Rundgren. I mean, this thing was quite an ambitious record. It was unique. It wasn’t a real band, it was Meat Loaf and Steinman writing the songs and, yet, you have nine people on stage. Okay. With Meat Loaf, you know, he had to have been over three-hundred pounds and he’s in a tuxedo. You get the picture. And you’re performing on stage with a full rock band of eight other people behind you… two keyboard players, two guitarists, background singers, drums, bass and, you know, it was kind of like a crazy rock opera gone mad and he was very physical. But, I have to say, there were many moments with the Meat Loaf tour where his actions, which were over-the-top theatrical musical art, in a sense, were pretty… In some ways, they certainly were disturbing and in other ways, I realized they’re brilliant. You know what I mean? So, I gotta say Meat Loaf really has always stood out as being someone that was quite… quite special as a performer. I mean, when I joined Kiss it was like “How do I keep up with Gene and Paul onstage?” These guys are incredible showmen on stage. Then I realized I can’t play and even try to move like these guys. I can’t do both and I think the important thing was to play the guitar. But, they were quite outrageous and it was quite exciting, of course, to have these two iconic players be some of the best showmen in rock. So, yeah, I’ve gotta admit, I’ve been blessed with some interesting gigs.

And, even on a band that wasn’t that famous, the Good Rats. Some people know of them, but not everybody. You got the lead singer, Peppi Marcello, he’s performing in shorts and basically looking like someone that would hang out at the ballpark and, you know, he’s holding a baseball bat. He’s running around the stage with that, singing very well songs that he mostly wrote all himself. So, I’ve always kind of… I would say performed with some flamboyant, in very unique ways, each of those artists having their own style of that.

THE MULE: Yeah. Uh… you did mention that you played with Gene and Ace and, Eric was a part of that, as well. Gene once told me that, once a member of the Kiss family, always a member of the Kiss family. That was kind of borne out in you and Eric playing with those two. If Paul and Gene were to make that call, would Bruce answer?

THE GENE SIMMONS VAULT EXPERIENCE LAUNCH PARTY, 2018 (Gene Simmons, Bruce Kulick, Eric Singer, Ace Frehley) (photo credit: ALEX KLUFT/ULTIMATE CLASSIC ROCK)

BRUCE: Well, obviously, what happened over the weekend when Gene presented his VAULT, it was the first of many of his opportunities in the fans’ hands that paid for it. That was really organic, how all that happened because, it was very well received, obviously. I know my social media is blowing up from me posting stuff about it. I know that fans love that kind of stuff, so now, it kinda poses that question. In the future, you know… ‘cause everyone’s always wondering when there’ll be the final big hurrah, of which I have no idea of when and if that’s going to happen. But, if it does, I finally… Things feel much more aware that they’re aware that the fans love it! Okay? I was aware that Ace was going to be there that day. I found out earlier in the day, actually. Eric actually told me and I already had a plan with Gene to show up later in the afternoon but, you know, not to be a part of anything other than to say “Hi,” you know. My wife’s never been to Capitol Records, which I’ve only been probably once or maybe twice and that’s such an iconic studio in LA. So, you know, support Gene, show up, say “Hi,” meet the fans. I knew it wasn’t going to be 1,000 people, it was only gonna be a hundred people but, knowing Ace went, I went, “oh, that’s kind of cool. I wonder what’s going on.” I remember texting my friend who bought the VAULT, who got there free, “What’s going on there?” He goes, “Ace and Gene are jamming and telling stories for the past 45 minutes,” or something. I was like, “Wow! That’s unbelievable!”

Then, of course, by the time I got there around six and took some photos with Gene and we talked about the VAULT and all and I said “Hi” to Ace, which was great he was still hanging around. Then Gene asked… Then Eric showed up, because he was rehearsing with Paul, I believe, that day, for this Japan tour. Then, the next thing I know, Gene goes, “Stick around. If you’d like to, you’re here, you should come on up.” (Laughs) It was like that. I was like, “Come up and do WHAT?” You know what I’m saying? I didn’t even know if there was more than one guitar in the building, okay? So, when I use the word “ORGANIC,” I mean it… with all capitals. Because I did not go there expecting to ever hold a guitar, did not go there expecting to be on a stage, of course, to sit up on stage to discuss the album and to greet the fans and talk about why he put it out and stuff like that. So, at that portion of the day, which happened later in the day… I believe Gene’s afternoon was supposed to be all meet and greet with people that bought it. But, with Ace showing up, it became… they took an hour break and wound up on stage chatting with each other and playing. In fact, I was just this morning, watching one of the things that I missed because I came later. But, that whole element of us all coming together was just really organic but, what I love about it the most, even though I… it, of course, it was a big thrill for me, was that I’m very aware that… Gene even got ahold of me the next morning, thanked me for coming down and everything. What my brother and I did on the cruise, everybody loved. I think it’s really evident to the Kiss guys that what you started with, “Once a member of the Kiss family, always a member of the family,” especially if you’re available and functioning in a healthy attitude. Obviously, anger, animosity and lawsuits means you don’t get invited to a party, right? That’s not the way the world works.

So, look, what will happen, I have no idea but, I do know that what happened on Saturday night was something that was very clearly in the right direction of showing the fans that in this case, certainly, that Gene gets along with Ace better than anyone may have thought for feared that he didn’t because there’s been times when they all say things about each other and I’ve always been on great terms with Gene but, I haven’t had many opportunities to be on stage with him. So, Eric and I have done things ourselves but, not with an Ace Frehley, except for UNPLUGGED and that’s why my reaction onstage was pretty funny. I said, “Wow, this is like UNPLUGGED, except 2018.” Of course, we were missing Paul but, still, just the elements of Eric, myself and Ace and Gene was just… I realized that it was like… completely not prepared, not planned, nothing. Maybe that made it more charming, made it more unique. I’m certain, though, it presents a new sense within Gene and Ace that fans want to see this. So, I can only hope that it could happen in the future.

THE MULE: Yeah. That would be awesome, actually, to see you take one more bow with ‘em.

BRUCE: Exactly.

THE MULE: Speaking of which, I just gotta say… no questions or anything but, REVENGE has gotta be my all time favorite Kiss album.

KISS, circa 1992 (Eric Singer, Gene Simmons, Paul Stanley, Bruce Kulick) (REVENGE publicity photo)

BRUCE: Well, thanks. I know, I get asked that question sometimes, “What’s your favorite one?” and, believe me, there’s many I love, all the ones that I was involved with, there’s huge highlights on each album but, I usually just gravitate to REVENGE and, a lot of time when I’m doing my meet and greets, I’m meeting fans, I may sign more ASYLUM or more CRAZY NIGHTS than REVENGE but, either way, I’m very proud of that album, for sure.

THE MULE: Speaking of which, I did meet you quite a while back. You were playing with Union and you signed a Blackjack album for me.

BRUCE: There ya go. I mentioned Michael Bolton before.

THE MULE: Yeah, yeah. It’s all cyclical, I guess. I wanna get into a couple more Grand Funk things but, I also gotta know, what other projects are you working currently on, like on your time off from Grand Funk between tours?

BRUCE: That’s a great question. I generally keep myself busy with whatever seems to come up, so, I know I was really very, very pleased that I was able to actually do a few sessions in December. You know, people reach out to me and say “Could we hire you to play guitar on my project?” Or my song. Or my band. Everything’s a little unique and I never say yes or get any further until I listen to see if they have some talent, what they’re about and what they’re hoping for me to play on. So, those things come out – and they came up often enough in 2017 – that I enjoy. I especially like it when there’s a real challenge to some of the stuff, not exactly what you’d think…

There’s one particularly interesting artist from Sweden who’s part of a band and they do theaters and sell out all the time in that part of the world. But, they’re doing “Why Do Fools Fall In Love” as a four man group and, one of the main singers, Robert Haglund, does his own smooth lounge rock, classic rock kind of thing and I just did a song for him. He actually covered a Peter Criss solo album track. I played guitars on it. But, he did it very unique. I loved… I like the Peter song. I wasn’t really familiar with it ‘til he shared it with me but, then, once I heard how he did it and made it his own, I was like, “This rocks!” You know, because it’s a good blend of Smooth Jazz and a rock song. You know what I’m sayin’?

THE MULE: Yeah, yeah. Kinda like, I guess, that character that Bill Murray played… the lounge lizard kinda guy that Bill Murray played on SNL.

BRUCE AND LISA LANE KULICK (uncredited photo)

BRUCE: Yeah. This is interesting, this guy. But, while things come up like that all the time, I still want to explore more things with my wife, Lisa. We put out a song last April. We actually have footage, a duet video and the two of us… I’ve had, I mean, I’m already looking at taxes for 2017. It’s the time of the year when it’s not too crazy and I get a chance to put things together and I realized that I had a really incredibly busy 2017. I’m very proud of it. And, I know that’s part of the reason I didn’t get to everything I wanted to but, we were able to put out a single and, of course, over the Christmas holiday because we kind of promised each other. We were actually hoping to put out a Christmas EP. Last year, the beginning of the year, we talked about it but, I was too busy with traveling and things like the cruise, the Kiss Kruise, and stuff like that prevented it. Grand Funk had more dates than the usual year, which was very exciting for us. So, I want to explore some more stuff with my wife, Lisa, on a few levels, musically and everything. The Christmas song we did got a great reaction on Facebook, of course.

What else? You know, I put out an interesting product this past 2017, where I did a mini-guitar of one of the guitars that were known from my Kiss years and then actually ordered a very small number of faux guitar from the guitar company and sold them myself. They sold out really quickly and I want to do more things like that in the future, all on a very limited basis. I’m not trying to become a mass-merchandise man, okay? Because I’d like to manage it… I’ve had a few people in the industry tell me, “I guess when you say limited, it really is limited.” I know a certain artist that I collect and I go, “Oh, it says limited. How many that I really make that was limited?” It’ll start out at 500, then it turns into fifteen hundred and you get number fourteen hundred. What happened here? Anyway, there’s a lot of that I wanna look at. But, there’s always stuff going on.

The band that I hired at my wedding, which is another band that’s very, very like Rat Pack but, they do… They’re called Nutty and they do also, like, Jazz versions of classic rock songs by mashing up things. Early last year, late ‘16, we put out… They did “Detroit Rock City” and I sat in with them at a local supper club place here in California and that thing just blew up on the internet. It was great. In fact, I’m going to go see them play tomorrow night and I know I wanna get together with them and try to do a little more experiments, jam with them a few more times over the course of 2018, in some clever way. I haven’t figured them out yet. I probably want to really have a good discussion with them. I really love, you know, just doing other things.

I’m sometimes too busy to do ROCK AND ROLL FANTASY CAMP, which I’ve been a counselor for… God, I’ve been working with David Fishof, who is the promoter of that, and I’ve been doing that since 2005 or ‘06 so, it’s been a long time. Sometimes, since I can’t always do the camps, I’ll wind up… But, I’ll get called up to do one the corporate gigs that David did before. The whole thing, which ALWAYS goes really well. What a thrill! One was this huge accounting company, who obviously have a very successful team that they’re willing to do a big convention and then have us entertain them one day and be a part of their team-building. I got jam with Nancy Wilson from Heart and I was the guitarist. We did “Barracuda” and “Crazy On You” and “Magic Man” and, man, what a thrill that was, along with some other very talented people that you would know their names, like Ian Paice and Tony Franklin, Teddy Andreadis.

So, you know what I mean. It just seems like I go from a Grand Funk gig to, I could jump into a session that week or that month. I’m off to do a corporate gig when I can and, then I’m thinking of merchandise to market that I feel the fans would really love, because if I was a fan of me, I’d love it. (Laughs) You know,,, I always put myself in that position, “What would I think if I was into me.” Because, I’ll always try to get, with anything with my name attached to it, I want really, really high quality stuff. I look forward to 2018 being really exciting and branching out and continuing with this kind of success that the last year proved to me. Very excited about it.

THE MULE: You know, the weird thing, I guess, about… thinking about this current incarnation of Grand Funk, it has been together longer than the original band and that’s including the time with Craig.

BRUCE: Right. That is pretty interesting, for sure. And, you know, it’s kinda like one of those statistics like where Eric Singer has been, of course, the drummer longer than Peter Criss ever was, i you accumulate all of the years. And, he’s probably the third in line with Gene and Paul. Fun facts.

THE MULE: Yeah, that is just wild.

BRUCE KULICK (photo credit: NANCY DAGATA)

BRUCE: The one point I want to make about Grand Funk. The one thing I always regretted is that they actually did kind of stop at times. You know what I mean? They weren’t always moving forward in one form or another, there were periods where they just completely stopped. Which makes our seventeen year milestone, I guess, pretty easy. You know what I mean?

THE MULE: Yeah. Yeah, kinda but, it’s still something to celebrate and look back on. What got me… Grand Funk, loved them since the beginning and, SURVIVAL may be my all-time favorite Grand Funk album but, after BORN TO DIE, they split. They were having arguments and everything during that album and Frank Zappa, of all people, called them up and said, “Hey, would you get back together and make an album with me?” So, that kinda says something about the power of that band.

BRUCE: I know. Look, I’ll run into some of the guys from Van Halen… I remember running into Michael Anthony and Eddie’s brother, Alex, at the Admiral’s Club in Dallas, for American Airlines. You know, I’ve met them through the years, mostly from my Kiss years. “Hey, what are ya doin’?” and I’d see they were on tour and, “Oh, I’m just coming back from a Grand Funk gig,” and, “Oh, my God! Grand Funk! My favorite band! Oh, my God!” I mean, it’s stuff like that that blows my mind, of course. And, look, I’m one of the very fortunate musicians to be able to say that if I meet a stranger and they didn’t recognize me or know anything and say, “Oh, you play guitar?” and, if that came up, “Well, who’ve you played with?” And, I can say, “Grand Funk and I used to play with Kiss. You know, I always get a huge reaction from one of those bands. It’s funny that the Grand Funk one… I actually can say that it’s almost 50/50. Obviously, more people know Kiss but, if they know of those bands and they know music, it’s real interesting how many people react to Grand Funk but won’t react to Kiss or know… Of course, if they used to be a Kiss fan, they probably don’t have to ask me who I’ve played with if they’re a Kiss fan.

THE MULE: With this long history with Grand Funk, I know that Don and Mel are both incredibly creative people and so are you and the other guys in the band, Tim and Max. Will there ever be an album of new material with this current line-up?

BRUCE: You know, it’s interesting. Obviously, kind of longer ago, closer to when we were first getting together, we did put some new things in the set that we still do, because Max is a great songwriter and, of course, Don can write, all of us can write but, we also know that the gigs that we do, it’s… The majority of the reason why we’re booked is the name and the hits that the band had. What was kind of funny was, probably fifteen years ago, even a few years into me playing with them, the record industry was still in flux but, there was still a very healthy record business and, of course, fast forward to now and how everything’s going to streaming and people… Many, many iconic bands don’t bother putting out new records, you know, and that’s why that equation keeps getting challenged as to, even if Don and Mel had the desire to, would they feel, in a business sense, that it was something viable, that they want to do. I mean, I can speak for myself, not them but, my last record was put out in 2010 and I’ve been really hesitant about moving forward with a brand new record, with new material. It’s easy… I can put out a single with my wife. Can I put out a single for myself? That would be a lot easier than a full record.

So, your question is even bigger than just “Can Grand Funk do a new record and put it out?,” it’s just what’s going on in the music industry. I think it’s where Don and Mel before might have been, “Well, we do a few new things in the set and we just wanna be this touring band” and, it’s not about trying to put out a new product or whatever their kind of desires are about where they see the Grand Funk brand going. But, it’s kinda funny, at the time, in the years when it was probably a lot easier, they really didn’t choose that route and, now, I think it’s even more, kinda like, most people do the PledgeMusic to sell their music, if they have the desire to do that. I don’t know. I gotta read this article I saw. Something about “Music Industry Is In Trouble” by Paul McCartney. I wanna read what that’s about because it;s gonna be really interesting. Beause I think Paul McCartney has put out some really good full records in the past fifteen years and I doubt if any of them are gold and… Could you have a more famous person? I doubt if Ringo sells very, very, very well. I mean, he’s the most iconic drummer in the music business and a Beatle.

But, I don’t know what to tell you when it comes to, “Will you put something out?” I get posed the same question about me, too. It’s always really, kind of a frustrating thing to an artist to kind of wrap their heads around it. Wow… we’ll see what happens. Touring, thank God, is healthy because people like to see live music and, when I’m onstage, I am thrilled to be performing. The travel part, I don’t love. You know, I love to go to different places and meet the people. But, it’s always, “Thank God people still have the desire to see live music!” Of course, with their cell phone in their hand (Laughs), recording every moment of it!

THE MULE: So, what can… the people and their cell phones expect in Effingham on the 27th? What kind of show are you going to give ‘em?

GRAND FUNK RAILROAD (Bruce Kulick, Mel Schacher, Don Brewer, Max Carl, Tim Cashion) (publicity photo)

BRUCE: Well, it’s going to be interesting, because actually, in 2017, we started to tinker around with the set and bring out a couple of things we hadn’t played in a while. We did a New Year’s date, which went very well, in Minneapolis at a casino up there but, it’s kind of exciting now that I never know… Are we including the new ones, are we only doing one, do we do both? We only did one at that show but, I don’t know. And, maybe Don has some ideas about some others, too, that we might be looking at. I think, in that way, I’m giving you kind of a little… What I’m saying is that Grand Funk always puts on a very entertaining show with many hits that everybody knows. It’s really interesting how we’ve created some sets and, even though we adjust the set from time to time, that there’s not really a… It really builds excitement throughout the evening and, no matter what condition people are from the first song, we know they;re going crazy by the encore and, generally, more likely going crazy much, much sooner, like in the middle of the show. It’s gonna be a lot of really, in a way I can call it good time rock ‘n’ roll.

And, the vocals that these guys pull off are incredible. Max is the perfect lead singer and, then you’ve got Don and, Tim sings like a bird. So, the three of those guys, it’s incredible what the vocals are. I’m always so blessed to listen to that. Then, there I am playing with that rhythm section of Mel and Don, who are top-notch and admired by many of the musicians that cane after them. I’m doing my best to be Bruce, who wants to put a little bit of whatever the Grand Funk sound was attached to who I am, which is, I’m brought up on good ol’ classic rock guitar, Eric Clapton, Jimi Hendrix, Jeff Beck and all of that… and, Jimmy Page. I just rock out. I do rock a little harder, I would say, than what Mark Farner did but, always with a lot of respect for Mark’s riffs and how Mark helped craft those songs. It’s quite a show. I mean, people really, really, really enjoy it. I can’t believe how many of my Kiss fans that, high in mind, maybe knew the name but, they didn’t realize… “That’s a Grand Funk song? I didn’t know that!” I always get that reaction from the people that I know were at the show, they either write me or email me after the show or something.

So, the band’s terrific, something I’ve been very proud of all these years. So, if you’re anywhere near there and, I know that’s a good venue because I know a lot of bands, I’ve heard from the guys that have performed there. I’m really hoping for the people to get the opportunity to come see us because, it’s memorable.

THE MULE: It is a great room. Really, I mean… it’s awesome!

BRUCE: It’s a little far from everything (Laughs) but, we’ll make due.

THE MULE: The staff there, they are so accommodating. It’s just amazing. You’re gonna love it.

For more information about the Effingham show, check out the Grand Funk tour page and, for all things Bruce Kulick, go here or here.


EYE OF NIX: BLACK SOMNIA

(SCRY RECORDINGS; 2017)

So… what to make of this Eye of Nix thing? Noise! A lot of noise. Glorious, glorious noise. The kind of noise that makes you thankful for ears. On their second full-length release, BLACK SOMNIA, the more experimental aspects of the band’s curious brand of metal fuel the spooky, Gothic feel created by the lyrics and vocal prowess of Joy Von Spain. You know that you are in for something special from the moment the needle drops and the opening surge of “Wound and Scar” slithers and bores deep into your shattered psyche. Von Spain alternately sings, screams and growls over the roiling mix of droning guitars, a thrumming, distorted bass and some quite violent percussion. While there is no apparent melody here “Wound and Scar” is, nonetheless, a wickedly impressive cacophony and a brilliant opening salvo. “Fear’s Ascent” sees the recently-departed Justin Straw piling on the primal pounding, while Nicholas Martinez supplies layers of abrasive, discordant guitar noise as Masaaki Masao plays the mad alchemist with various samples, keyboard effects and, just for good measure, more guitar. All the while, Joy’s hauntingly beautiful vocals lay, virtually buried beneath the din, before erupting into a frantic, inconsolable wail about halfway through. This all, almost inconceivably, makes for a much more structured sort of violence than that heard on the first cut. Side One’s final track, “A Curse,” is a rather surreal soundscape, with whispered, frenzied vocals, skittering guitar and – a now seemingly obligatory feature – thunderous drums; snaking under and through the track is the sublime bass work of Gerald Hansen, another now-former member of the group. I really like this newly reimagined behemoth from 2013… it sounds almost Siousxie-like when the vocals come in and the chaos intensifies.

Eye of Nix (Nicholas Martinez, Masaaki Masao, Joy Von Spain, Zach Wise, Luke Laplante) (photo credit: SEER PRODUCTIONS)

A gently strummed guitar, an impressive bass part and – believe it or not – almost understated drumming highlight the first two-and-a-half minutes of “Lull,” the Side Two opener. As the nearly operatic voice of Joy Von Spain is introduced into the mix, the strumming turns into majestic power chords while Hansen and Straw attack their chosen instruments with a sudden sense of urgency. “Lull” is the most melodic, straight-on rocker on BLACK SOMNIA so far. What can I say about Toll On?” It features more of the same overpowering intensity and emotionally draining experimental metal/operatic vocals that have informed the first four numbers, while instrumentally, the song remains crushingly heavy. The softer middle section of the tune is beautifully suffocating, rather like a watery grave; as the music regains steam, the voice takes on an almost punk or No Wave aspect. “A Hideous Visage,” as the name implies, plays as a soundtrack to a fever dream, rising and falling to create an inescapable blackened nightmare landscape. Like the music, there are also a disquieting ebb and flow in Von Spain’s voice, from soft and pretty to harsh and haunted. The eight-and-a-half minute horror-inducing piece is certainly a fitting way to end what is a very solid third offering from Eye of Nix. One can only imagine the heights this band can reach with the recent infusion of new blood, as Zach Wise and Luke Laplante take on the formidable challenge of replacing the rhythm section of Hansen and Straw. I, for one, can’t wait!


50 SUMMERS OF LOVE

(October 13, 2017; THE FAMILY ARENA, Saint Charles MO)

When this show was announced, I was excited at the prospect of seeing two of my favorite performers – the Monkees’ Micky Dolenz and Mark Lindsay of Paul Revere and the Raiders fame – doing some of my favorite songs in solo sets, a la the HAPPY TOGETHER packages of the past. After speaking to Lindsay about the show, I was even more excited, as I learned that this was a full-on production that features both vocalists onstage together, sharing songs, stories and memories. I previously likened the concept to the early live work of Dean Martin and Jerry Lewis; meanwhile, in a recent interview with the Mule’s Kevin Renick, Dolenz said, “It’s a little bit like a Rat Pack thing.” And, I suppose – if you suspend all disbelief and squint your eyes just right – a case could also be made for the Bonos (circa THE SONNY AND CHER COMEDY HOUR). However you look at it, the “A Little Bit Me, a Little Bit You” aspect of a show starring Mark Lindsay and Micky Dolenz is a dream come true for any child of the 1960s.

THE FAB FOUR (Ron McNeil as John Lennon) (photo credit: DARREN TRACY)

Opening the show was the Fab Four, hailed as “the Ultimate Tribute,” performing to perfection a set of Beatles tunes that the lads never performed live. Decked out in the Beatles’ SERGEANT PEPPER’S LONELY HEARTS CLUB BAND attire, the Four looked and sounded like the originals as they played and quipped their way through a packed 40-minute set. Led by founder Ron McNeil as John Lennon, the group – quite naturally – focused on material from the groundbreaking 1967 album, including (of course) the title track, “With a Little Help From My Friends,” “Strawberry Fields Forever,” (the non-album single from the same recording sessions, as well as its equally brilliant B-side, “Penny Lane”) and the heady, atmospheric “A Day In the Life.” All of George Martin”s studio trickery and embellishments, by the way, were performed live by the quartet, via the keyboard work of McNeil and Doug Couture’s George Harrison… no mean trick, that. The group also visited REVOLVER for “Got To Get You Into My Life,” and the brilliantly dreary “Eleanor Rigby,” one of my all-time favorite Beatles tunes. Nestled in the middle of all of this amazing music was “Yellow Submarine,” along with another of my personal favorites (but then, aren’t they all?), “Day Tripper.” What a great way to kick off the night!

Micky Dolenz and Mark Lindsay (photo credits: DARREN TRACY)

After a short intermission, the Fab Four were back onstage… this time in Raiders costumes. McNeil introduced the headlining duo, Mark Lindsay first, then Micky Dolenz, as the band launched into “(I’m Not Your) Steppin’ Stone,” a song recorded by both the Monkees and Paul Revere and the Raiders. Mark told Micky, “I recorded it first,” to which Micky replied “I had the hit.” The hits came fast and furious from there, with the duo performing their own songs, as well as each other’s. The Raiders tune “Steppin’ Out” gave way to the Monkees’ “Last Train To Clarksville,” a tune that had the revved-up crowd up and dancing. The Raiders’ first “woulda, coulda, shoulda” non-hit, “Louie, Louie” (the Kingsmen recorded the song around the same time they did and rode their version to the top of the charts) followed hot on the heels of that one.

Micky Dolenz (photo credit: DARREN TRACY)

While the sound was generally solid, it was not without problems; some of the between-song banter (mostly Lindsay’s) was lost to the cavernous rafters of the Family Arena; as the sound tech worked out the kinks, their were sudden over-modulations of bass or guitar. But, those minor issues aside, the group of musicians onstage (including Micky’s sister, Coco on vocals and his “personal” guitarist, Wayne Avers) sounded phenomenal. Coco’s vocals, in particular, caught my attention, as she added that one extra layer that pushed the proceedings from a solid recreation of the songs we all know and love to a “Holy crap! This sounds just like the record.” level. From a rocker’s standpoint, the backing band had a harder edge. And, that’s not a bad thing… these songs are fifty years old and the relative youth of the Fab Four has infused both the songs and the singers with a new vitality. Tunes like “Hungry,” “Good Thing” and Mike Nesmith’s “Mary Mary” crackled and ignited under the pure weight of the Rock ‘n’ Roll offered up by the players, pushing Micky and Mark to ever greater heights.

Mark Lindsay (photo credit: DARREN TRACY)

As we knew they must, the reflections soon turned to this dynamic duo’s time on the small screen, with Lindsay ribbing Micky about “hanging out behind a circus tent with Cheetah and Tarzan,” in reference to Dolenz’ childhood role as CIRCUS BOY in 1956. After a little back and forth, the band launched into the theme song from WHERE THE ACTION IS, the Dick Clark vehicle that propelled Lindsay and the Raiders to superstardom, followed by the theme to THE MONKEES, which ended with a sort of modified “Monkees walk” by the pair. An outrageously bizarre video from WHERE THE ACTION IS featured Dolenz and fellow Monkee, Davy Jones, disrupting and dismantling a performance by Paul Revere and the Raiders. Laughing, Micky said, “I really don’t remember that… at all!” Of course, I think we all knew that someone would eventually broach the subject of opening acts. There was mention made of the Rolling Stones in regards to Paul Revere and the Raiders before Lindsay asked Micky about a certain short-lived opening act on the Monkees’ first major tour. “Yeah,” quipped Dolenz, “this is what Jimi Hendrix sounded like opening for the Monkees… ” as the group pushed into the opening of “Purple Haze.” Two lines into the vocals, Micky began screaming, “We want the Monkees! Where’s Davy? Where are the Monkees?” As the saying goes, “mistakes were made, people were blamed.” Somewhere along the way, Mark noticed that there was something off about the Fab Four’s Raiders’ outfits and produced a feather-adorned tri-corner Colonial hat for the only “Raider” not wearing one, Ron McNeil as Paul Revere; with his back to the band, Lindsay continued his spiel, as Micky quietly replaced Doug Couture’s (not absolutely positive, but relatively sure of the name) hat with a green wool cap, a la Mike Nesmith. A small thing, to be sure, but it definitely registered with the gleeful crowd.

Doug Couture and Wayne Avers (photo credit: DARREN TRACY)

How can you qualify the sheer quantity of great music that came out of the mid-to-late ‘60s, many by the two legendary figures onstage tonight? I mean, “Kicks,” “Pleasant Valley Sunday,” “Him Or Me – What’s It Gonna Be,” “I’m a Believer.” Toss in the lesser-known (though no less impressive) “She,” “Randy Scouse Git” and the psychedelic Blues work-out of “For Pete’s Sake” and you have not only an incredible set list for this show, but along with the Fab Four’s set, you have the soundtrack to the lives of many a baby boomer. Highlight upon highlight drove the performers and the audience to give a little bit more as the evening progressed. Things bordered on transcendent for me when Lindsay and Dolenz discussed their heritage, leading into the spine-shivering intro to “Indian Reservation.” I say again that both vocalists were in top form throughout the show, but it just seemed to me that Mark kicked things up a notch for what was Paul Revere and the Raiders’ biggest hit… a protest, an anthem, a song for the ages.

Micky Dolenz (photo credit: DARREN TRACY)

After a final, brilliant turn by Micky Dolenz on “I’m a Believer,” it was over. Well, not really… I mean, you know how these things work, right? After a very short break, the band returned, with McNeil introducing Mark and Micky back to the stage for the encore, which included one of the Monkees’ most beloved tunes, “Daydream Believer.” The night ended with a rousing “Twist and Shout,” an early hit for the Beatles, with Dolenz delivering the first couple of lines before turning vocal duties over to “John.” As the lights came up, the buzz in the air wasn’t from the amplifiers; it came from the excited, appreciative crowd. And, why not? They had just witnessed two of the greatest performers and purest voices of the Rock era put on the show of their lives.


MICKY DOLENZ: CHATTING UP MY FAVORITE MONKEE AT LONG LAST

KEVIN RENICK is one check closer to completing his bucket list.

Micky Dolenz (photo credit: KAY TUOHY)

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)

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)

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)

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)

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)

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)

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)

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…


ANCIENT VVISDOM: 33

(MAGIC BULLET RECORDS/ARGONAUTA RECORDS; 2017)

Once again, my life has intersected with the occult band Ancient VVisdom, led by lyricist, vocalist and Satanist, Nathan “Opposition” Jochum. The group has released three previous albums (including my introduction to the group, 2014’s SACRIFICIAL), as well as a notorious single-sided split with Charles Manson. Yes… THAT Charles Manson. The guy who is rumored to have written a tune or three with the Beach Boys’ Dennis Wilson. So, with a name like that and lyrics like that and a pedigree like that, their new record, 33, should be heavy enough to have its own gravitational pull. And, it is that heavy… except in the delivery. Antithetical to SACRIFICIAL, this is an album of mid-tempo, near-folk Gothic rock with acoustic guitars aplenty, minimal percussion and an almost soothing vocal performance. Sure, there are plenty of recognizable metal tropes on 33, with enough reference points to keep any headbanging historian ooh-ing and aah-ing but, the heaviness doesn’t come from any crushing musical fury; rather, the true heaviness comes from Jochum’s belief in what he’s singing. Whether you are – like Nathan himself – a true believer in the power of Lucifer or – like yours truly – a follower of Christ, you can feel the man’s fervor and… well, love for the subject matter. And, wherever you fall within that wide spectrum of beliefs, that emotional connection between Jochum and his own belief system makes for a very heavy – and very real – listening experience.

The genesis of the album is a fairly simple one. As Nathan explains, “33 is a master number. It is also the age Christ was crucified. 33 is the age of the peak of existence. It is the age I am. 33 is the answer.” With that concept in mind, Jochum – along with his brother, guitarist Michael (the Dark Angel) and new bass player, Connor Metsker – created his ultimate peaen to the Dark Lord, the first new music from Ancient Vvisdom in three years. Admittedly, it may sound a little strange to hear love songs to Satan but, again, with Nathan’s fervent beliefs laid bare, the lyrics aren’t as disagreeable as you might think. The album opener, “Ascending Eternally,” is a minor key piano piece which serves as a short, atmospheric intro to “Light of Lucifer,” a kind of space hippie, semi-acoustic dirge that – more than anything else – recalls very early Pink Floyd. With nearly whispered vocals, a wicked, droney vibe and the underlying philosophy of “less is more,” the track definitely gets the record off to a great start. “In the Name of Satan” has a Sabbath-like riff that’s dense enough to caulk Tony Iommi’s entire house. And, yet… even with that heavy riffage on display, as well as some rather hefty percussion (Nathan, again proving that less is indeed more, offers nothing more than a lead foot – or, perhaps, a Led foot? – to the pedal of a kick drum to produce the perfect percussive part for the song) and some Maidenesque twin guitar leads over the top, the number seems to be a near-balladic love song. Hearkening back to the last album, Jochum’s vocals are a nasally cross between Klaus Meine and Ozzy Osbourne. With the band seemingly working its way through every conceivable metal touchstone, “True Will” is Metallica’s “One,” with all of that band’s angst removed… just to prove it can be done! It features more of Nathan’s fine acoustic work floating through some great lead work from Michael. If possible, the vocals are even more understated than on “Light of Lucifer,” making the track that much more powerful. “The Infernal One” is very groove-oriented and much more of a ‘90s alt-rock sort of thing – it comes off as an oddly appealing cross between Soundgarden and Manowar, with kind of a ‘70s arena rock guitar solo thrown in for good measure. It’s actually not a bad song at all, though it seems a bit short at less than three minutes.

Ancient VVisdom (Connor Metsker, Nathan Jochum, Michael Jochum) (publicity photo)

The bass-heavy slab of Sabbath-cum-Metallica-cum-Gothic instrumental moodiness, “Summoning Eternal Light,” gives Connor Metsker a chance to shine (no pun intended). Like similar tracks from Geezer and Cliff, it works well as a stand alone piece or as an intro to the next number. Here, that number is “Rise Fallen Angel,” which features still more Sabbath crunch with Dio-like lyrics of mysticism and spiritualism, while visions of the mighty Priest (along with Cirith Ungol, Diamond Head and Night Demon) dance in your head. It may not be a masterpiece, but it is close. “33is the one where the group (and, in particular, Nathan Jochum’s vocal performance) revisits that weird Blue Oyster Cult/Donald “Buck Dharma” Roeser world of heavy ballads. The only thing missing is an actual drummer; far be it from me to question such decisions but, that one missing factor could have possibly pushed the entire album over the top. As is, though, the return to the heavily BOC-influenced SACRIFICIAL sound may also make “33,” lyrically, the most powerful song on the record. Having stumbled upon the BOC comparison, I am now hearing more evidence that the Jochum boys owe more than a fleeting nod to that august court. On “The Great Beast,” the vocals have settled into a nice pop-rock niche, while the music adds a wickedly cool swamp vibe to the proceedings. This track is definitely in the running for my favorite on the album. “Lux” starts off with a languid, melancholic slice of Americana before the song proper kicks in, a languid, melancholic slice of Americana, with self-affirming lyrics and a chorus that pleads – or warns – “Don’t give yourself away.” I gotta say that the further I head into 33, the better it sounds. A short, chilling piano piece called “Dispelling Darkness” closes the album. Echo-drenched and sustain-heavy, the thing may be the single most disturbing piece of music I’ve heard this year. I wonder how it would have sounded if it had been fleshed out into a full band arrangement with suitably maudlin lyrics. Ah, well… one can dream, can’t one? 33 may not be Nathan Jochum and Ancient Vvisdom’s magnum opus, but… it is one fine record.


RAIDER REVERED: THE MARK LINDSAY INTERVIEW

Mark Lindsay, 2013 HAPPY TOGETHER TOUR (photo credit: TOM LEPARSKAS/O’BRIEN)

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)

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 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)

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)

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.

MARK: Sure.

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 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 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)

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

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.


LIARS: TFCF

(Mute Records; 2017)

Liars have managed an unprecedented feat in my music world. The art punk band that, until their new CD was the work of duo Angus Andrew and Aaron Hemphill, have now made 8 albums in a row that I have loved. In the past 30 or so years, no other artist has made that many consecutive albums that knocked me out. Radiohead and Wilco were in the running, but then each made an album that failed to floor me. So Wilco stalled at 7 in a row. That leaves Liars in this unique position… a band I love who have never made an album I didn’t find thrilling. Their debut in 2002, the bizarrely titled THEY THREW US ALL IN A TRENCH AND STUCK A MONUMENT ON TOP, was responsible for one of the most memorable listening experiences I’ve ever had on the road, with a 30-minute closing track that absolutely marked them out as authentic weirdos. The follow-up, THEY WERE WRONG, SO WE DROWNED, was kind of a song cycle about witches and witchcraft, with some seriously spooky stuff on it, and some willfully perverse anti-commercial compositions that dared you to like them. I did, though… something this band was doing sounded like no one else, and seemed to be the product of an aesthetic that was hard to pin down. Their music combined chants, tribal percussive elements, odd fragments that could be haunting for a spell and then disappear, ambient passages and, sometimes, kick-ass driving rockers. Through it all, the voice of Angus Andrew, which sometimes he’d use to actually sing and sometimes he’d employ in the service of controlled atonality or spooky asides, served as a sonic trademark; Liars established their sound early on, one that was never less than intriguing and that featured fascinating stylistic variations each time out. It was weird, hypnotic, rhythmic and mysterious. It wasn’t for everybody, but so what? It was for ME, that’s all that mattered. In just 15 years, this eccentric band have made 8 albums I love. That’s a damn good track record!

LIARS (Angus Andrew) (uncredited photo)

But when I heard that Hemphill had left the band before this new CD, I was seriously worried. My first reaction was anger.… what, Aaron, being in one of the most fascinating bands of the new millennium wasn’t enough for you? Was Angus too controlling? Was your own muse being stifled? Not enough records being sold? I really wanted to know WHAT happened, and in the pre-release publicity, I read that Andrews wasn’t too happy about the departure. He went back to his native Australia after shuffling around multiple locations between the US and Europe, and set about making TFCF on his own. He remarked that he felt like a “bride being left at the altar” or somesuch, and indeed, the unsettling cover photo shows a dejected looking Andrew sitting by himself wearing a bridal gown, an uneaten cake nearby. It’s the most off-putting Liars cover, but in context, it makes sense and it’s quite sad. As a fan, going into this record, you had to be wondering if this was going to be the first Liars album to fall short – if the departure of Hemphill was gonna reveal that Andrew REALLY needed someone else to rein in his weirder artistic impulses, of which there were many. What were we in for, anyway?

The answer, miraculously, is another great Liars record. Here is proof positive that Angus Andrew is a true visionary, a singular composing talent who has enough adventurous ideas and experimental willfulness to keep the Liars sound fresh and flowing. One big surprise is the prevalence of acoustic guitar on this album. “The Grand Delusional” begins right away with a bit of sombre picking… haunting and evocative. “We said we would ride/We said we would take them out to sea,” Andrew sings, and it could be a reference to his ex-bandmate or a metaphor for something else. It doesn’t really matter; it’s lovely and cryptic. There are two songs that have a specific recurring line that must surely have something to do with the pain of Hemphill’s departure. “Staring at Zero” is short but it has a fairly typical ominous Liars rhythm track over which Andrew sings “Why can’t you shoot me through the heart?… We both were broke right from the start.” Sounds like admitted self-pity to me, and when it segues into some singer/songwriter-y acoustic guitar again right away, the effect is not typical Liars at all, and yet startling in that Liars way. Fascinating stuff. On the memorably titled “No Tree No Branch,” one of several songs that has echoes of Radiohead (past albums had even more songs somewhat reminiscent of Thom Yorke and company), the recurring lyric that sticks in your head is “If you listen you’ll hear that sound right there in my mind.” It’s true, we DO hear that sound and the rapid, demented keyboard bit over which it’s sung is captivating. This goes right into “Cred Woes,” possibly the most quintessential Liars track on the album. With a truly insistent simple percussion track and an ascending synth line that is sort of an earworm for those of us into this kind of weirdness, Andrew goes on about something obviously important to him but you won’t necessarily make out all the words. You also may not be able to read them in their tiny white type over green background flora as presented in the CD booklet. No matter; something compelling is being presented here, something dramatic and original. It has never mattered to me personally if I could understand everything Andrew was singing on Liars recordings. Some of the most memorable moments are slow and contemplative here: “Ripe Ripe Rot” is like an Eno-esque, slightly sour ambient track with a subdued Iggy Pop-style vocal. “You don’t remember what I said/And it’s time again to explode your heart/Yeah it’s time again to let go,” Andrew sings, with a resigned sadness. This dissolves into a big slice of ambient drift that would be pure hymn-like afterthought if not for the repeating dissonant machine sound that laces it, but maybe that’s the point. Andrew is still carrying on, still indulging his sense of sonic wonder… but his brain is surely hurting, and he’s up to something more than prettiness. In fact, he’s always been up to something partially inscrutable, something where others may not go gently. Liars albums take WORK, and I’m glad this one is no different. It’s one of the shortest Liars discs, but a worthy successor to 2014’s MESS. Sorry about your bandmate, Angus, but hell… you’ve proved you don’t need ANYONE, right? You’re one of the most interesting guys in rock, and I for one plan to follow you wherever you go.


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… .