YOUR PERSONAL EXPERIENCES MAKE THIS A SMALL PLANET
November 17th,2007
Congratulations to our first place winner. Harry Kalthoff gets the Time/Life boxed set.
WHAT A LONG, STRANGE TRIP
In the words of Jerry Garcia, "What a long strange trip it's been". That statement pretty much describes my life and the music that has been a part of it. The trip began in the early 60s in a park in Southern California listening to Canned Heat and Jefferson Airplane. A simpler, happier, and in many ways, a safer time than the world we live in today. We weren’t as concerned about gangs and pedophiles as we are now. The main thing that worried us was the possibility of getting that letter from the President, the letter that started "Greetings." It was during this time that the music that had been so happy and carefree started to be infiltrated by the somber and metaphorical lyrics of protest songs. Not that it made the music darker or sadder, it simply added to the power of rock and roll, and pulled the youth of the world farther into it. There was never a more dramatic change in my life and the music that became my rock and roll identity than moving from Southern California to Texas. The '70s brought the influence of the then fledgling sound of what became known as Southern Rock. Hard, driving, sometimes raunchy guitar licks intertwined with strong blue's strains symbolized the rebellious spirit of the South and it's people. Bands with names that represented the bonding and family-like camaraderie of the members were, to say the least, unusual from what the rock and roll world was used to. The best known of these bands, Lynyrd Skynyrd, Marshall Tucker and Allman Brothers were very much family. The lyrics of the Southern Rock genre are for the most part ballads, stories that were often taken from life. Who doesn’t know the origins of "Freebird?" Before you label the bands of Southern Rock as "good old boys" you have to look at a few other groups that twisted the image. In particular there are two bands out of Houston that definitely were not "good old boy" bands but have to be considered Southern Rock. Few people outside the south ever heard of Fever Tree, but if you can find a copy of their music you will understand our love of them. The other band out of Houston, ZZTOP... need I really say more? Billy, Dusty and Frank are definitely not good old boys in sound or appearance, but are true icons of Southern Rock. I realize I have only scratched the surface of all the influence Rock and Roll has had on my life and the lives of so many other "boomers," but there is only so much time to reflect. It would be an injustice, though, to end this without paying tribute to those special people we will never be able to see in concert again. So many very talented artists have left us, most through very tragic circumstances and not always of their own doing. There is no rhyme or reason to the order of this list of people I remember…Buddy Holley, Stevie Ray Vaughan, Duane Allman, Janis Joplin, Jimi Hendrix, Jim Morrison, Cass Elliot, Roy Orbison, John Lennon, George Harrison and so many more. There is one I have to remember here because I'm not sure he would ever be remembered in any other list, but he was a special friend with an awesome voice that never got his chance…David Callaway, we miss you brother. To borrow the words of Jim Morrison, "No one here gets out alive!"
I am the author of this piece and hereby grant rockandrollplanet.com the rights to publish it…Harry "Searcher" Kalthoff
David Callaway was a Texas musician who left this world in May of 1980 before achieving the success that many people believed was his destiny. He left behind three little boys to carry on his music and legacy: Jeremy, Gabe, & David.
MeatLoaf doesn't just walk across a stage during his shows. He moves along as if he is stalking something dangerous, generating anger and passion as he goes, with the emphasis on anger. He is known for making his concerts a dramatic spectacle, telling stories with his staging as much as with his songs. This is as true as ever, maybe more so, with his Bat Out Of Hell III tour. The crafting of his show begins with a stage setting that is simple but carefully planned. The front of the stage is bare to allow plenty of room, while the back half consists of risers to accommodate the drummer and two keyboard players, one of whom doubles on the sax. Between these risers are two lower risers with steps up to allow access from the stage or from behind it. It is a very basic design that allows the two female backup singers to enter or leave the stage as necessary, and also permits the three guitarists to interact with the other musicians. The backdrop consisted of three tapestries, which were sometimes partially covered by projection screens. The lighting was the most intricate part of the set, and was used to good dramatic effect. MeatLoaf and his band ran through the latest album and, of course, a number of old favorites. The star employs a lot of storytelling as he spins his songs into short plays. One of the more interesting, though bizarre, moments came late in the show. MeatLoaf had interacted with the audience all night, but one fan was a bit out of control and got on the singer's nerves. Of course, if you were on stage and had someone up front yelling "Shrek and Donkey" over and over, it would tend to distract you. MeatLoaf interrupted his monologue to chastise, shame and finally threaten the man. A few minutes later, he jumped off stage to give the fan a bear hug and a quick make up kiss. The audience was fascinated by the entire tableau. The initial show lasted for two hours, and the band came back immediately for a three song encore. The first was an interesting take on the somewhat obscure song, "Black Betty." This was followed by a lukewarm version of "Gonna' Buy Me A Mercury." The final song was more ambitious. The Rolling Stones "Gimme' Shelter" is one of the all time great rock and roll songs, and not many bands would attempt to cover it. This one pulled it off nicely, for a great finish to the evening. One more word about the set. For the first song, MeafLoaf shared the stage with a unique air guitar band. That is, he had fifteen-foot-tall (think muffler shop roadside advertising icons) inflatable men complete with musical instruments and bobbing heads. It set the tone for the night: have fun, and don't take any of it too seriously. This show in Clearwater's Ruth Eckerd Hall was a makeup for the show he was forced to cancel earlier this year due to illness.
Last night brought one of the most awaited reunion tours in recent memory to the American Airlines Center in Dallas: the Police. This was the tour that many thought would never happen. Stewart Copeland, Andy Summers, and Sting were at the height of their powers and their popularity when they broke up in 1984. There was a fair amount of bitterness, and Sting had been quoted as saying that there would never be a reunion. But as we are often reminded, "never" is a long time. And legions of fans are glad, as was evidenced by the sold out arena. The band went through just about every song that the average fan would have asked for, although it was impossible to get to everything. Sting seemed as youthful as ever, jumping around the stage and playing and singing with obvious enthusiasm. Copeland's drum playing and Summers' guitar work was as tight as if they had never stopped playing together. For the most part, the songs sounded just as they always had, but there were some subtle differences in rhythm and tempo. Now the big question: do we get a new album? After so many years apart, it would seem like a logical next step. After twenty three years, there must surely be some creative fires burning that would be best served by a collaboration. If they can get along with each other long enough to do so, it has a built-in audience just waiting.
The Tampa Bay Blues Fest at Vinoy Park in St. Petersburg offered a rare opportunity to see two legends in one evening. The crowd was already fired up from the previous blues bands that had graced the stage here. However, when Percy Sledge came out, which he did just as a thunderstorm was rolling in, it was obviously a special moment for many in the crowd. This legend of R&B, who just may have possessed the most soulful voice ever, is not often seen these days. He launched immediately into some of the best songs the genre ever created, including those that he made legendary. For those who were old enough to remember the songs when they were new, there was a bit of magic in hearing him sing "Dark End Of The Street," "When A Man Loves A Woman," and "Warm And Tender Love." Even more charming was having him sing some of them as duets with his wife. The night's other big treat followed Sledge to the stage. Jerry Lee Lewis, performing again after the success of his recent duets album, Last Man Standing, is still full of fire at 71 years old. His voice isn't as strong as it once was, but his piano playing is still blazingly fast and accurate. With Lewis, the piano always seems to be an extension of himself, rather than a separate entity. The crowd knew that they were seeing something special, and the excitement was obvious as Lewis ran through some great songs. "Roll Over Beethoven," "Trouble In Mind," and "Sweet Little Sixteen" were exciting preludes to the Big Bopper classics: "Great Balls Of Fire," and "Whole Lotta' Shakin' Goin' On." And in case you're wondering, he proved on that last song that he can still play the piano with his backside.
Last night The Who, that band that just refuses to grow old, returned to Ford Amphitheatre in Tampa to make up the concert that they had cancelled almost two weeks earlier due to Roger Daltrey's bout with bronchitis. At times you could tell that he was still struggling with it. For the most part, though, his vocals were strong with the rebellion that made this group one of the most strident proponents of the "never trust anyone over thirty" school of thinking that was a hallmark of the late sixties youth movement. Oddly enough, even at their current ages of 63 (Daltrey) and 61 (Townshend), there was nothing that seemed incongruous about their performing these songs. "My Generation," "Who Are You," and "Won't Get Fooled Again" still scorch with the same fire that they always did. Perhaps now there is a realization that the differences are generational but not necessarily age related. They ran through some of the songs off the most recent album, Endless Wire, as well as a number of other old favorites. "I Can't Explain" "The Seeker," "Behind Blue Eyes," "Pinball Wizard," and "Imminence Front" all had the crowd on their feet. And where Daltrey's voice at times came up a bit short due to the bronchitis, he more than made up for it with the enthusiasm that he still has for these songs. For his part, Townsend was just amazing. He strutted across the stage with his patented "Lord of the Guitar" moves, crouching and jumping and windmilling for everything he was worth. These two, along with much of the crowd, went from being sixty to being back in the sixties. We can't wait for the next tour.
As one of the premier blues-rock guitartists of all time, Eric Clapton has never been intimidated by the talent of other artists. He seems to always be surrounded by the some of the greatest talents in the business, whether it is at one of his own Crossroads festivals or in a concert which he is headlining. Last night's show at the American Airlines Center was no exception. The start of the show was delayed for forty-five minutes due to a fire alarm and the resulting evacuation. The worst part of this impromptu fire drill was that opening act Robert Cray's (does a guy this talented really need to open for anyone?) part of the show had to be cut down to six songs. He made the most of it, and got the audience's full attention with "Twenty," the title track from his most recent album. The song is a tribute to the soldiers fighting in the Middle East, and is even more powerful when he performs it live. Clapton's set was, naturally, a walk down memory lane. And Eric Clapton's memory lane is, of course, as rich and full as that of anyone in the music business, living or dead. The fans were happy that he has once again begun performing the J.J. Cale penned "Cocaine." That is significant because it seems to indicate that his addiction problems are solidly in the past. Other favorite songs of the night were opening number "Tell The Truth" from his Derek And The Dominos days, along with "Layla," "Wonderful Tonight," and "Crossroads." Always the most generous of musicians, Clapton gave his star sidemen plenty of opportunities to shine. Local favorite Doyle Bramhall II was a big hit, and slide wizard Derek Trucks amazed with every riff, just as he always seems to do. How good do you have to be to have this guy playing guitar on your tour? The final set was everything a fan could have hoped for. Robert Cray joined the others on stage, and the all star jam was on. It just doesn't get any better than this.
Last night's concert at Dallas' American Airlines Center proved two things. First, that absence makes the heart grow fonder. Second, that an eleven year vacation can be good for the creative juices. Bob Seger's latest stop on the tour in support of his new album, Face The Promise, was a rousing success. Seger's many fans have been so anxious for something new from this singer that they would probably have purchased tickets to see him sit on stage and read a newspaper to himself. He came with much more than that, though. Seger started with some old favorites, then mixed in the new songs,and returned to the classics that his fans had come for. Highlights on this night included "The Horizontal Bop," "We've Got Tonight," "Old Time Rock And Roll," of course, "Night Moves." One thing for sure, "the fire down below" may have been banked for a while, but it was never extinguished. Part of Bob Seger's appeal has always been his "everyman" quality. Throughout his many successes, he always managed to seem more like the old friend who lives down the street than he did a rock star. Fast forward eleven years, and he is a little thicker in the middle, the hair is gray, and he wears glasses. Just like us, and just like the old friend who lives down the street.
The Red Hot Chili Peppers brought their Stadium Arcadium tour to the St. Pete Times Forum in Tampa, Florida on January 28th 2007. Easily one of the most eagerly awaited tours of the past few years, this was a certain sell out. Standing in line with tickets in hand, there was a palpable excitement going through the crowd. It was going to take a very capable opening act to keep this crowd happy as they waited for the Chili Peppers to come on stage. Gnarls Barkley was up to the job and kept everyone satisfied with their unique blend of funk, rap, and rock. But this night was all about that four man band from Los Angeles, and this crowd was on its feet from the time they walked out. They launched into their high energy, rock it like you mean it, all or nothing style from the first note and never slowed down. For the next two and one half hours, the Chili Peppers played the songs that everyone wanted to hear. Along with the new material, there were heavy doses of Californication and songs from all the previous Chili Pepper albums. This is one band that holds nothing back. They dance, they jump and they thrash at their instruments as if this were their first and last concert. That kind of energy is infectious, and it ran through the audience like a kinetic wave. What more could you ask of a rock band?
In what my be the concert event of the year, Roger Waters is touring to perform the Dark Side Of TheMoon album. And since an event this big deserves a classic venue, we traveled to Los Angeles to catch his first show at the Hollywood Bowl. It did not disappoint.
If you have never been to the Hollywood Bowl, it is one of the premiere sites for music concerts. Shows often start around twilight, when the Hollywood hills behind the stage are gently lit by a sun which is setting behind the audience's back. Add the famously mild southern California weather, and you have a setting which could have been dreamed up on one of the local studio sound stages. The "Bowl" is uniquely Californian.
The scheduled 7:30 show starts at 7:45, and this crowd would have found it difficult to wait any longer. There is a near palpable sense of anticipation. Pink Floyd is a band that has achieved the status of legends, and Dark Side Of The Moon is the favorite album for many fans. Those of us who never got to see "The Floyd" are grateful for this opportunity to see Roger Waters, and Floyd veterans are thrilled just to hear this music performed live again after so many years.
The stage tonight is dominated by a projected backdrop that is initially a large bottle of scotch, a glass, and a radio. As show time nears, the backdrop becomes interactive. A hand reaches out, sets down a glass and a cigarette, and turns the dial on the radio. The music changes. And soon the band takes the stage. Wow! The crowd jumps up, applauds, and surprisingly, sits down to listen to the music. The first hour plus runs through some Floyd favorites, the most touching of which is "Shine On You Crazy Diamond," with a huge image of the recently deceased Syd Barret projected behind the band. "Shine On" was written for this founding member of Pink Floyd.
After a twenty minute intermission, the band returns to perform The Dark Side Of The Moon. How's this for a surprise? Nick Mason is joining the band on stage. There are now two drummers, four guitarists, two keyboard players, and a saxophone player, along with three female backup singers. As they run through the songs brilliantly, we can't help but wonder if these guitar players feel as though they have died and gone to heaven with this opportunity to play these classic guitar songs. Without exception, they make the best of it. Still, we wonder all along who is going to handle the vocals on "The Great Gig In The Sky?" When it is time, one of the backup singers steps up and nails it. This crowd is ecstatic.
Everyone would have gone home happy at this point, but of course we were treated to an encore. All told, this show lasted three hours, minus the twenty minute intermission. And of course that great backdrop was just the beginning of the special effects, which included fire, fireworks, and a great "floating" pyramid with the prism effects from the album cover. Put this one on your must see list.
Bonnie Raitt fills the stage at Grand Prairie's Nokia Theater with an easy grace that can only come from years of touring and a bushel basket full of Grammy awards. Between songs, she keeps the audience entertained with a lively and somewhat racy banter. She is obviously comfortable on stage, and makes her audience feel comfortable as well. And yes, she still looks great-trim and gorgeous with that trademark red mane and grey streak.
On this tour, Keb-Mo is the opening act. His particular brand of contemporary blues is the perfect accompaniment for Raitt, but without a doubt he is talented enough to be a headliner. One major hit song would likely vault him into that position. Ever generous and always happy to be part of an ensemble, Raitt does take the stage mid-way through his act to perform a couple of songs with him.
When she takes the stage again to begin her portion of the show, Ms. Raitt has a wealth of material to draw on. The show is heavily flavored with songs from her most recent album, Souls Alike. But she also gives the audience a healthy dose of her hits from Nick Of Time and Luck Of The Draw, before reaching even further back to perform "Goodnight Louise" and the John Prine penned "Angel From Montgomery."
Her top notch band on this tour includes New Orlean's John Cleary on piano. Something of a star in his own right, Cleary also sings and can hold an audience all on his own. He is a great addition to the tour. And on this particular night, R&B singer/guitarist/songwriter Teeny Hodges just happens to be in town. He joins Raitt on stage for an impromptu jam session. By the time Keb-Mo returns to the stage, it is truly an all star jam.
Raitt and Keb-Mo both have Texas connections, and this show seems to be a special night for both of them. It is also special for the audience, since we are blessed with what appears to be an unplanned second encore. They could have played for hours longer, no one would have walked out.
James Gang recorded their first album in 1969, and was essentially disbanded in 1971 when Joe Walsh left the group. While he was replaced and the band carried on for awhile, there was really no James Gang without Walsh. Most of their fans did not have the opportunity to see them live, and we thought that after all these years we would never have that chance. So, the 2006 reunion tour was a most pleasant surprise.
On Sunday, Aug 27th, James Gang brought that reunion to Ruth Eckerd Hall in Clearwater, Florida. The packed house served as evidence that the thirty-five years elapsed since the last James Gang album (with Walsh) was recorded has not dimmed their star. James Gang Rides Again, the tour, is like a homecoming for a friend we thought we would never see again. After so much time, it is even something of a gift.
And so, the fans gathered at Ruth Eckerd were primed for the show. Scheduled for 7:00, it started at 7:05. The first song, "Walk Away," was the perfect intro to this walk down memory lane. Walsh's guitar quickly stirred the crowd, and Jim Fox and Dale Peters proved that there is a certain magic when the three of them make music together. This was, after all, America's first power trio. Drummer Fox was once described, by their first producer, as "hitting everything that didn't move, and hitting 'em all the time." Dale Peters, on bass, likewise has a very "full" sound. James Gang always sounded like they had more musicians on stage than they actually had. This tour offers the bonus of a keyboard player as well.
As for Walsh, he is always a crowd favorite. Whether as a solo act, a member of the Eagles, or of Ringo's All Starr Band, he is generally accorded one of the evenings grandest ovations. Part of it is likely due to the "ordinary, average guy" quality that seems to be a genuine part of his personality. After all, how many rock stars schedule regular, online chat sessions with their fans? But the overriding reason is that he is a superb guitar player, and he proves it with every performance.
On this night, though, he is part of an ensemble, and everyone gets a chance to shine. As they run through their catalog of James Gang material, they move easily from rock to blues and back again. There seems little doubt the riff heavy "Funk #49" is the highlight of the evening. At an hour and twenty-five minutes, the show is over too soon. And that is the evening's only disappointment.
There is more electricity in the air than just that created by the storm that is blowing through the foothills above Denver. Red Rocks Amphitheater is alive with excitement and anticipation. As the setting sun begins to color the sky behind us, the lights of Denver illuminate the horizon beyond the stage. When the four legends of rock and roll take their positions on stage, the wind blows the still defiantly long locks of Crosby and Stills. The crowd rises immediately, screaming and applauding, and the show is on. More than a show, this concert is an event.
CSN&Y are suddenly relevant in a way that they have not been for years. This is not to say that they have changed. The change has occurred in a fan base that is war-weary and jaded in a way that they have not been since the early 1970's, and it became immediately evident that this foursome is re-energized with the fires of rebellion that helped propel them to stardom during those turbulent years. The concert began with the song "Flags Of Freedom" from Young's new album, Living With War, and quickly segued into "Carry On" and "Long Time Gone," the Crosby penned anthem of civil disobedience. "Long Time Gone" set the table for what would prove to be a three hour feast of dueling guitar leads. While all four played guitar, and Crosby certainly got in his licks, it was Stephen Stills and Neil Young who traded masterful leads for most of the evening. For those fans who remember the dynamic jams on the magnificent live album Four Way Street, this night was like turning back the clock.
The band continued with old favorites such as "Wooden Ships" and "Helplessly Hoping" before working in more songs from Living With War along with a few new tunes from the other members. "Wounded World," a blues collaboration from Stills and Nash was a strong song and got a good reception from the crowd. And just when things might have seemed to be slowing down again, Crosby got the crowd going again with an inspired version of "Almost Cut My Hair." Crosby always had the strongest voice, and that has not changed. He can still sing to the back row, and as he proved later on the haunting "Guinnevere," his voice is as full and beautiful as ever.
The band played for one and a quarter hours before taking what proved to be a lengthy break as the stage crew experienced some problems redoing the set with the props needed for the second half. Those props included backdrops which were used as a screen to show pictures of soldiers and a running tally of the U.S. deaths in Iraq, along with footage of the President for the Young song "Flip Flop."
The second half kicked off with "Our House," and went on to include songs such as Nash's "Immigration Man" and Young's "Ohio." This portion of the performance featured the four pairing off into duo's (along with the backing band in most cases) for some of the songs. Nash, Stills, and Young all took their turn at putting away their guitars and playing keyboard. One highlight of the second half was Stills, with some help from Young, performing his song "Treetop Flyer," about a former Viet Nam pilot turned drug smuggler.
This was the rarest of concerts in at least one way: no one seemed to mind when the band said "We'd like to do some songs from the new album." Often, with a band that has been around for this long and had most of their hits thirty years ago, the crowd dreads those words. On this night, they seemed to enjoy the new songs as much as the old. Again, this is likely because the new album taps into a long smoldering sense of frustration with the current political climate.
CSN & Y made sure no one left feeling that they did not get their money's worth. The band was on stage for a full three hours, plus a short encore. They came back out for that encore to an audience that was clearly not ready to let them go after three hours. The encore song, "Woodstock." seemed an appropriate choice for a band that played their first public gig at that legendary festival.
Mark Knopfler and Emmylou Harris have taken their newfound partnership on the road for what appears to be a very limited run. The show at Chicago's Charter One Pavillion on June 25th was one of only a handful of North American performances the duo has thus far scheduled.
Charter One Pavillion is an outdoor theater on Chicago's Northerly Island, which is actually a peninsula extending into Lake Michigan. The pavillion's big draw, other that its acts, is a spectacular view of downtown Chicago. The show began before dusk, and as darkness fell the city lights kept the skyline in flux. What a beautiful backdrop.
On stage, the show started naturally enough with songs from the new album, All The Roadrunning. "This Is Us" was the first offering, and was soon followed with "I Dug Up A Diamond." Other cuts from All The Roadrunning included "Red Staggerwing," "Rollin' On," "Belle Starr," and the title track. The concert was interspersed with songs from Knopfler's Dire Straits days, as well as numbers from Harris's solo career.
Like the album they are touring for, the concert was not so much a spectacle as it was a solid and satisfying performance by two old pros. Good songs, solid musicianship, and a touch of nostalgia were the order for the night.
One tip for those who are not natives of Chicago: even in late June, Charter One Pavillion can be cold. Inclement weather made a light jacket necessary for comfort.
Alan Parsons brought his Live Project to the Ruth Eckerd Hall in Clearwater, Florida on Friday, April 15th. The Live Project includes his regular band plus an orchestra, and Ruth Eckerd Hall is an ideal setting for this type of music. This venue is easily accessible both inside and out. Traffic problems were minimal for what appeared to be a sold out (2,180 seats) show. Once inside, multiple doors to the seating area made it easy to find and reach your seat. The hall is also very attractive, and most importantly the acoustics are "concert hall excellent."
The show began with an intro by the orchestra and a laser light display. The band came on stage and launched into "Eye In The Sky." Parsons presented an imposing figure as impresario. He is a man of impressive size, which was accentuated by his position on a riser at center stage. With his long hair and flashy knee length coat, he easily dominated the stage. Parsons did some singing and played guitar on most songs, switching once to his keyboard. Lead vocals were handled mostly by one band member, but the two guitar players and drummer also took turns singing lead. The Project was completed by a keyboard player.
While he did play a couple of songs from his new album, Alan Parsons dedicated most of the night to his catalog of hits. The crowd embraced this with enthusiasm, and was thrilled to hear the old favorites, including "Time," "Damned If I Do," and "Can't Take It With You." At one hour and 35 minutes, the show was too short but otherwise very satisfying.
