TICKETS TORN IN HALF:Ella Fitzgerald-January 18,1974 @Philharmonic Hall

Every year for my birthday gift to myself I would seek out a show to see: The Doors, Quicksilver,Traffic, Geils, are a few but 1974 I was definitely thinking outside the box as my request was to see ELLA FITZGERALD at Philharmonic Hall in NYC. It was a cold Friday night, and colder since I was working in a bank and taking the night off was a sin in those days. But screw them anyway as my boss was a jerk and in a few weeks time, just before I would almost punch him out, I quit.

So it is January 18,1974 and we attend ELLA FITZGERALD@ Philharmonic a great birthday show for me,simply a great show. Dressed to the nines,we sat amongst folks a lot older than us (22) and when the FIRST LADY OF SCAT was introduced I was one of many who gave her an immediate standing ovation. The older gent behind me said “ SIT DOWN, SONNY” to which I replied in a nice way “ FUCK OFF ASSHOLE”. He didn’t bother me again.I hate being called “Sonny”.

NYT: January 21, 1974:

Ella Fitzgerald had quite an evening Friday at Avery Fisher Hall. She was greeted by an audience that filled both the hall and all available Space on the stage. When her drummer was delayed getting to the hall, an emergency call went out for a substitute, and she wound up with two drummers. And, to cap the affair, she was given the Lincoln Center Medallion, the first pop singer and the first woman to receive the award, which had previously been bestowed on Dmitri Shostakovich and Andres Segovia.

To go with all this, Miss Fitzgerald delivered one of those easy‐going unpretentious song programs that have been pleasing her audiences for the last 20 years. As usual, she was far better on relatively slow, well‐structured ballads than when she was skimming the surface of fast tunes. “The Man I Love,” an old standby, and a recent addition to her repertory, Norris Turney’s charming tribute to Johnny Hodges, “Checkered Hat,” brought out her most expressive singing. Her regular quartet, led by Tommy Flanagan, was joined on several numbers by Roy Eldridge on trumpet, Eddie (Lockjaw) Davis on tenor saxophone and Freddie Waits, substitute drummer.

TICKETS TORN IN HALF:THE DOORS/ LONNIE MACK- JANUARY 18,1970@ FELT FORUM

TICKETS TORN IN HALF:THE DOORS/ LONNIE MACK- JANUARY 18,1970@ FELT FORUM

A few days shy of my 18th birthday and I’m feeling like a veteran rock n roller having attended a shit load of concerts.Yet,I was still a bit naive. The entire crew at work, even us part timers got a nice Christmas bonus which I spent on new slacks, cut perfectly for my skinny body, a nice pullover, a new jacket with almost matching boots, and two tickets to see one of my girlfriend’s favorite band THE DOORS, Sunday, January 18,1970 at The FELT FORUM, my second shot at seeing this legendary band.If I could have I would have begged off but didn’t. Again,as last year, the rants and poems by Morrison while the group played a pedestrian beat in the background made me think…ah, he (Morrison) is not that good.Yet the women in the crowd loved him, they actually roared with delight at his antics and his profanity. Lonnie Mack opened the show and was as good as last time I saw him. John Sebastian joined the Doors on harmonica for the opening tune ROADHOUSE BLUES. And my stroll around The Forum almost got me arrested. Good thing I am fast and the security guard fell on the stairs when he grabbed me.

It was a long night, with a late start to the show, and a missed train for a ride home, I was getting nervous knowing that I had classes in the morning, midterm exams.The sun was about to rise as our train pulled into town, arriving home a few minutes before my folks woke up for work. I went upstairs and set my alarm hoping against hope for some shuteye, but alas, no. Pop called up to me, “Time to get up, Mary”, his pet name for me because of my hair. I washed my face, brushed my teeth, got a cup of coffee and lit a smoke. As I exhaled I wondered ,“What the hell am I doing? That show was not worth it.” I took a shower, dressed and heading off to high school.

THE DOORS were a staple in my listening pleasure over the years.After hearing about this band from my older music loving neighbors I bought the “Light My Fire” single and the first album on their recommendation. Good stuff, I thought. To my surprise the second album “Strange Days” was purchased for me by my Dad after he saw an ad for its release in a record store window in Greenwich Village. Why he bought it for me I’ll never know but I liked that he did and I enjoyed the record.
While I was working as an intern in NYC (Summer 1968)I bought “Waiting For The Sun” which I thought was the start of the end, a downward spiral, for the group. Then, “The Soft Parade” which compared to the releases of the same period (a few weeks before Woodstock Festival) shows that THE DOORS were reaching for straws here…horns, etc …pop music, yuck.
So this is my introduction to THE DOORS, four albums worth of tunes before I see them live for the first time, January of 1969. While that show is their first attempt at arena rock it is considered to be one of their “shining moments” by their legions of die hards. I was just okay with it. Now, it’s my second shot and we find a drunken, bearded, and “slightly” overweight Morrison. Well,anyway, the musicians were great. The entire show has been released live, check it out…it will prove my point.

from pitchfork review.
The rest of the band is here to support the star, and it never lets him down: The Doors were a loose, groovy, and ferocious combo, here playing a setlist that sticks to rock and blues and skips all the winsome and folky stuff that cluttered up Waiting for the Sun and The Soft Parade. Organist Ray Manzarek played the hooks that turned songs like “Hello, I Love You” into pop hits, but here he’s focused on driving the rhythm section. Even his legendary solo on “Light My Fire” changes in concert from a melodic improvisation to a jam that climaxes in frustration, as you can hear him stabbing the keys with all ten fingers and wishing he had another ten besides. On the other hand, guitarist Robby Krieger is ferocious right from the riff of “Roadhouse Blues”, and he makes their cover of Bo Diddley’s “Who Do You Love” one of the best recordings the Doors ever made.

Twenty one dates after this night…july 3, 1971 and Mr.Mojo Risen is dead.

TICKETS TORN IN HALF:January 18,1975-Alvin Lee&Co/Gentle Giant@ Academy of Music,NYC

Alvin from a different time

Just when I thought my TenYearsAfter obsession was over for good ALVIN LEE and Co, a new band, decide to tour.(Recently this show was released by his estate as a cd). The band was MEL COLLINS ( my buddy from the King Crimson interview fiasco) on sax/flute,Ian Wallace (Crimson)drums, STONE THE CROWS bassist Stevie Thompson and Ronnie Leahy (keys), two singers, a conga player, and ALVIN (aka Graham Barnes) all with a R&B groove. No TYA tunes no matter how many times some idiot yelled out “GOING HOME”.

  1. Got to Keep Moving
  2. Let’s Get Back
  3. Somebody’s Callin’ Me
  4. All Life’s Trials
  5. Baby Please Don’t Go
  6. Time and Space
  7. There’s a Feeling
  8. Every Blues You’ve Ever Heard
  9. Percy’s Roots
  10. Money Honey
  11. Going Through the Door
  12. I’m Writing You a Letter
  13. Ride My Train

As far as GENTLE GIANT goes, true GG fans are amazed that I saw them live and often ask, “How were they?” to which I reply, “Not good”. I have zero notes about their performance written in my notes.

TICKETS TORN IN HALF: January 16,1971- HOT TUNA/TAJ MAHAL/ BRETHREN @ FILLMORE EAST

According to my friends I possess a somewhat eclectic taste in music and by my constantly seeking out new shows to attend, sometimes it is difficult to find an accompanist who would enjoy what I was going to see/listen to. This show was one of those nights. HOT TUNA (Jorma and Jack) was on a semi-official departure from JEFFERSON AIRPLANE, a band I was fascinated with.The last two times watching the Airplane, one night at Suffolk Community where there was more TUNA than AIRPLANE, and their last November Thanksgiving run at FILLMORE EAST when HOT TUNA did a complete set outshining the (newer) AIRPLANE, I was ready for this, HOT TUNA. Seems like most of my guy friends had plans or worse case scenario, had no interest in this particular show. So, a good friend, a woman accompanied me to FILLMORE EAST for HOT TUNA, TAJ MAHAL and BRETHEN. Brethren was a band out of New York, and a friend of mine knew one of the members so that connection made me pay close attention to what they were doing. They were alright, just alright, but somehow in the next few months they continued to pop up on the bills of other shows I attended. I learned to appreciate that band when I became familiar with their stuff.

TAJ MAHAL on the other hand was noteworthy from the git-go. He slipped out on stage, sat on a stool, and started to play a National Steel guitar. While slowly working through his repertoire other members of the band “appeared” without announcement of fanfare,  to the point were there were four tubas on the stage accompanying him. FOUR TUBAS. It was mind blowing. Besides Taj his band consisted of HOWARD JOHNSON on tuba (later to be musical director for SATURDAY NIGHT LIVE), JOHN HALL (later of ORLEANS fame and update NY politics) on guitar, JOHN SIMON, piano (producer of THE BAND’s “Music From Big Pink”, BIG BROTHER’S Cheap Thrills, BLOOD,SWEAT and TEARS “Child is the Father To The Man” and other recordings) and ROCKY DziDzournu on congas, a standout in my memory as  he was the cat who takes THE STONES’ “Sympathy For The Devil” to new heights, along with a host of other musicians, totaling ten players on stage.Great stuff . A month later, at the same venue TAJ MAHAL is back to record his live album.

To close out the night, Hot Tuna which was now ELECTRIC HOT TUNA was ear shattering loud, to say the least, and being seated second row on the left directly in front of a huge bank of speakers…LOUD.Will Scarlett on harp, the aforementioned JORMA KAUKONEN on guitar, JACK CASADY, my favorite bass player, SAMMY PIAZZA, a (adequate) drummer (I miss Spencer Dryden) and PAPA JOHN CREACH from the AIRPLANE on violin/fiddle. The boys were on fire. Overall, it was another great night at FILLMORE EAST, a truly great night.

Set list from TUNABASE.com

Fillmore East, New York, NY

Water Song

Been So Long

That’ll Never Happen No More

Keep On Truckin’

Trial By Fire

Sea Child

Milk Train

Feel So Good

Come Back Baby

Papa’s Jam *

TICKETS TORN IN HALF- Terry Reid @ Bitter End January 1974

January 1974
Date unknown early 1974: TERRY REID at Bitter End: Terry was hiding for the last two years from Mickey Most, as was “most” of his roster of artists.After basing himself in California with the likes of David Lindley and Graham Nash, Terry returns with a new look, a new record company and a new collection of tunes. Using my limited connection at Atlantic I received two press passes for Terry Reid at The Bitter End. David Lindley was and is an amazing guitarist, anything with strings he can master,saw him with Jackson Browne at PHILHARMONIC HALL a few months ago and Terry was in great voice this night. At one point Terry dropped his slide which rolled out to my seat. After the show I picked the slide up, sought out a stage guy to return it. He said ,“Terry’s right back there”. Bingo, Terry answers the door and is most thankful. The pictures on Terry’s website from THE BITTER END gig, both on stage and backstage are mine.

Human Be-In:San Francisco- January 14, 1967

One event started what later became the SUMMER OF LOVE. Fifty-one years ago today, it was the celebration entitled “the HUMAN BE-IN” at Golden Gate Park in January of 67, an idea of MICHAEL BOWEN the avant-garde artist and co-founder of THE ORACLE, a premier “underground” newspaper which kicked off everything. This”Be-In”inspired the play HAIR: The American Tribal Love -Rock Musical by Rado and Ragni. Also, TIMOTHY LEARY asked the attendees to “turn on,tune in,drop out”.About 30,000 attended.

The mainstream media picked up the story, highlighting Tim Leary, the drugs (LSD and mushrooms), the clothing and the music. These photos and images were shown on the nightly news. TIME magazine ran a cover story on THE HIPPIES and even CBS NEWS had a special report that August.This influx of “flower children” arrived to the 25 square block area of San Francisco with the cross streets , the intersection of it all HAIGHT-ASHBURY.

With psychedelic music and drugs prevalent, one could only predict that the future of THE HAIGHT would not be so rosy or happy. Homelessness, drug abuse, poverty became rampant. The BEE GEES even wrote a song, MASSACHUSETTS, in response to what was happening in SAN FRANCISCO, a ditty about someone who lost the vision, the hope, and was homesick.

Yet, the SUMMER OF LOVE despite its misgivings gave us a great soundtrack for that time and for years to come: THE WHO, JIMI HENDRIX, BIG BROTHER and THE HOLDING COMPANY, COUNTRY JOE and THE FISH,THE ELECTRIC FLAG,QUICKSILVER MESSENGER SERVICE,STEVE MILLER,MOBY GRAPE,HUGH MASEKELA,THE BYRDS,LAURA NYRO,JEFFERSON AIRPLANE,BOOKER T and THE MG’s,OTIS REDDING, THE BLUES PROJECT,BUFFALO SPRINGFIELD and the organizers of Monterey Pop THE MAMAS & THE PAPAS.

Grace.

ON THE TURNTABLE: January 12, 1969-Led Zeppelin-LED ZEPPELIN aka Len Zefflin

WHATEVER BECAME OF LEN ZEFFLIN?

scan 3

Ah, the joys of being an opening act for a major rock band. Consider the following: you are four young men from England, traveling together for the first time as a new up and coming act. Since your band has been recently signed to a major record label, say, ATLANTIC RECORDS, it has been decided by shared management that you will tour with a label mate of some renown, The VANILLA FUDGE. It’s late 1968 and THE FUDGE is, well, still relying on their remake of THE SUPREMES “You Keep Me Hanging On” to put hineys in the seats. You meet up on the west coast for your scheduled romp across The States, 41 dates, with fees ranging from a low $320.00 to a high of $1500.00. At some point your band will leave THE FUDGE and finish the short tour opening for IRON BUTTERFLY of “In-A-Gadda-Da-Vida” fame.So, who or what is this band?

Ladies and Gentlemen…LEN ZEFFLIN. (cue applause). In short order,club owners will know how to spell the name for they will make some headlines, in one year’s time they will release two noteworthy albums, and in two years time they will be the biggest concert draw in America.

1968/1969:

For those who only know of the power and popularity of Led Zeppelin of latter days, let me take you back to a time before their very first album hit the stands.

Jimmy Page was one of the “three”, the triumvirate of rock guitarist gods who moseyed through a British band of some renown named THE YARDBIRDS. This band ,who legend states took their name from Charlie YARDBIRD Parker was somewhat known in the USA, but more popular in their homeland of Great Britain. Without giving the long history of the Yardbirds let’s just say they got a CRAWDADDY (a club) gig when the spot was vacated by THE ROLLING STONES, a band on the move. Eric Clapton was the YARDBIRDS guitarist at that time who became uncomfortable with the band veering away from it’s blues roots, heading into a pop direction. Clapton leaves and suggest Jimmy Page take his spot. Page was the “go to studio guitarist” at the time and didn’t want to vacate that profitable role, so PAGE suggested JEFF BECK who took the gig.

With BECK’s influence the YARDBIRDS moved toward a psychedelic route with fuzz tones, feedback, and overall guitar virtuosity. By 1966 JEFF BECK was voted Melody Maker’s GUITARIST OF THE YEAR.When the bass player drops out of The Yardbirds JIMMY PAGE steps in for a spell. When a new bassist is recruited PAGE stays on for a BECK/PAGE new dual guitar attack approach. Beck gets sick, misses a few gigs and ultimately leaves the band to Page.With the lead singer Keith Relf’s alcoholism and the band not having any more hits, as well as with the rise of CREAM and JIMI HENDRIX, soon most of The Yardbirds disappeared, leaving Jimmy Page with the name. To fulfill  some contractual commitments,with a new manager PETER GRANT on board, the band hits the road as THE NEW YARDBIRDS.

Page had recruited TERRY REID as vocalist but he, with a new MICKIE MOST contract, could not leave. Reid suggested a friend, ROBERT PLANT who brought along his drummer friend JOHN BONHAM. Page called his studio buddy JOHN PAUL JONES for bass and keyboards and after a short tour of Scandinavia, the NEW YARDBIRDS hit the studio to record what would become LED ZEPPELIN’s debut.

The album is released January 12,1969. Some of the tunes hit the New York FM airwaves after the band’s now legendary performance as the opening act for IRON BUTTERFLY at FILLMORE EAST January 31 and February 1, 1969, this being Led Zeppelin’s first US tour. Pete my buddy at Dubbings Electronics attended one of those shows that weekend. He raved about this new band who blew Iron Butterfly off the stage, leaving Iron Butterfly to play just one song, their hit IN A GADDA DA VIDA, and according to Pete, Led Zeppelin came back out due to the booing of Butterfly and the calls for “more” Zeppelin. I have never been able to verify that but Pete said it,so…it must be true.

A few days later while at work Pete asked me to join him to see LED ZEPPELIN at THE SCENE a club in Manhattan. With little provocation I agreed to go to the Wednesday night show. But alas, the shows were cancelled due to John Bonham’s son falling at home in England and Bonham was needed there. So, I made due by purchasing LED ZEPPELIN and listening to the debut album, over and over again.

January 12,1969: LED ZEPPELIN is released.I almost burnt that record out. It was on heavy rotation with JETHRO TULL’s “This Was” on my turntable.Geez, it was so good in early 1969, and is still a good listen today.Nothing like it at the time. Dump the cd, get the vinyl.

ON THE TURNTABLE- Best of 1969

ON THE TURNTABLE -1969:

Putting out my BEST OF for this past year made me nostalgic in a way. So I dug out some listings from yesteryear and over the next few weeks I’ll post a few.My brother and I actual compiled lists of our favorite records but this listing is from most of the records I bought that year, in no particular order or preference.

It’s 1969 and my record collection was growing in leaps and bounds. Seems like the more money I had the more records I bought. However, my stereo was not what one would expect of a serious record collector.  I was using an old split speaker (in a case) record player propped up on my desk. But hey, the sucker did the job. That and my portable single speaker cassette player tucked along side my portable PANASONIC AM/FM stereo radio made up my “sound system”. I also had an AM/FM radio bedside. A friend had a huge stereo unit, one with humongous speakers,a turntable with a “stylus” no less, but alas he had virtually no records, always borrowing mine.

Records In My Rotation throughout that year included:

The debut album from LED ZEPPELIN “Led Zeppelin”, I bought this early on in the year after a recommendation from my work buddy, Pete, who saw this “unknown” band open for IRON BUTTERFLY. This album was amazing and it took me a few days to realize that this JIMMY PAGE was the same JIMMY PAGE from THE YARDBIRDS. Later, in the year after its release and after seeing the band live twice I copped LED ZEPPELIN II. Geez, these recordings were unique, and the band was …WOW.

THE BEATLES “Abbey Road” was and still is a hard listen for me, yet when it first was released I played it continuously, usually picking out a song or two before moving on to some other record .It was probably the Harrison tunes that I liked the most.

THE WHO “Tommy” is another difficult record to listen to all the way through, but that year I did see the band perform “Tommy” in its entirety twice, and I must say, live WHO was better than any record.

KING CRIMSON’S “In The Court Of The Crimson King”was/is a great record, one that for its time was truly original. This band blew me away when I saw them in the fall of 69, opening for FLEETWOOD MAC and JOE COCKER. After their 34 minute set, I bought the album the next payday. Speaking of FLEETWOOD MAC “Then Play On”( their 3rd album) drew me to see them live and I became a PETER GREEN fan that night. This collection showed the originals of the name sake take their blues influenced and mostly refurbished recordings a step further. I must have recited the opening of  “Oh, Well-Part 1” a million times to friends, to the point where I was annoying. I still am, say some. And JOE COCKER’s “With A Little Help From My Friends” which I grabbed in the early summer after hearing some of his tunes on the radio and before seeing him and THE GREASE BAND open for The AIRPLANE at FILLMORE EAST was a goodie, but again, live he was a trip.

Also, there was NEIL YOUNG’s masterpiece “Everybody Knows This Is Nowhere”, along with FRANK ZAPPA’s “Hot Rats” which help change my musical perspective and soon led me to CAPTAIN BEEFHEART  “Trout Mask Replica”.

Two debuts, one from CROSBY, STILLS AND NASH, a summer hit and Blind Faith’s one and only official release, which I thought was a mess, as was their show at MADISON SQUARE GARDEN. “Nashville Skyline” by BOB DYLAN was a pleasant surprise, even my POP liked it, well, it had JOHNNY CASH on it.THE FLYING BURRITO BROS “Gilded Palace of Sin” was a good pick up and  ISAAC HAYES’ “Hot Buttered Soul” arrived unannounced when I did not respond in time to a record company selection deadline but boy was I glad I got that gem. CHICAGO TRANSIT AUTHORITY’s debut double set before they shortened their name to CHICAGO, and coincidentally was the only record I ever bought by them. JETHRO TULL’s “Stand Up” was a mainstay on the turntable along with the profane MC5’s “Kick Out The Jams” which was played on minimal volume as not to upset the parents. And then there was the profanity nestled in JEFFERSON AIRPLANE’s “Volunteers” another record which kept a low profile when played.

I practiced my drums listening to  THE GRATEFUL DEAD’s “Live Dead” but was not enthused with The DOORS “Soft Parade”, and

PINK FLOYD’s Ummagumma was, well, just listen to “Careful With That Axe ,Eugene” and wonder why my Mom would yell, “What is that? Please, no more.” She didn’t particularly enjoy THE STOOGES “The Stooges”, either, no matter how many times I played it. Speaking of Mom’s taste, THE VELVET UNDERGROUND “The Velvet Underground” was more to her liking as was THE KINKS “Arthur”.

JOHN MAYALL’s “Turning Point” was bought the same day as PHAROAH SANDER’s “Karma”, late 1969. Both late night incense burning albums.

and of course, THE ROLLING STONES Beggar’s Banquet which never left my turntable and the follow-up release Let It Bleed (see blog Oct. 20, 2018)

PROCUL HARUM’s “A Salty Dog” which was actually my kid brother’s record found it’s way into my room many a night, along with his SLY and The FAMILY STONE’s “Stand” and JANIS JOPLIN’s “I Got Dem Ole Kosmic Blues Again Mama” but not any of his CREEDENCE CLEARWATER REVIVAL or his “Odessa” by THE BEE GEES. Just the red felt cover on that one turned my stomach. Continue reading

ON THE TURNTABLE:(My) Best of 2018

Mine for 2018-

#1: JOHN COLTRANE- “Both Directions At Once” -The missing link the critics say. The best release, should be all of my TOP TEN as nothing comes close, nothing will, its COLTRANE guys.

#2: ROSANNE CASH- “She Remembers Everything”- Five years is along time to wait but here it is, a sentimental favorite for me as my brother loved him some Rosanne Cash.“From this point on there’s nothing certain/except there’s not many miles to go,”…

#3: RICHARD THOMPSON- “13 Rivers”-According to Stephen M. Deusner in PITCHFORK.com “After fifty years and nearly twenty solo albums, the low-key guitar god finds new ways to renew old sentiments as a singer, songwriter, and instrumentalist on what may be his best album this century.” Who am I to disagree?

#4:DAVID BYRNE-“American Utopia” David Byrne drives me crazy, and me thinks he does it on purpose. Each outing is different from the previous one but is actually the same, sorta. I loved T Heads, still do.My brother and I had most everything they did, demos, bootlegs, singles, rarities, etc and  I also have (vinyl) ENO and his runs with 801, et.al. So this recording is  a bit of all those and others.It’s has day to day lifetime themes,but not necessarily our life scenes.”Everybody’s Coming to My House”,”Every Day Is A Miracle” and then finally, “Here” “Here too many sounds for your brain to comprehend / Here the sound gets organized into things that make some sense / Here is something we call elucidation / Is it the truth? Or merely a description?” Whew…

#5:FRANK TURNER-“Be More Kind”- Just the one tune “Let’s Make America Great Again” should piss off a few of THE NUT PATROL but I don’t care. Here is an Englishman who knows how fucked up we, THE USA,  have been since November 8,2016.

From nme.com: Frank Turner spends his seventh album considering the dire state of the world from multiple angles and, unlike the tidal wave of terrified tin-pot politics plonked incongruously in the middle of every alt-rock album for the past eighteen months, he even proffers some tentative answers.‘Be More Kind’ opens with ‘Don’t Worry’, a reassuring gospel-folk plea for sanity, calm and human connection – rather than social-media isolation – in a world gone wild. “I don’t know what I’m doing, no-one has a clue,” Frank tells Britain’s bewildered generation, “but you’ll figure it out, I might too”. From there he spends the opening half of the record tackling Brexit and Trump with a passion and vitriol that he’s recently only been directing at himself – with inspiring results. ‘1933’ astutely likens the West’s poverty-inspired rightwards swing to Hitler’s ascent to power by blaming immigrants for the desperate state of early-‘30s Germany; amid some of Turner’s fieriest rabble-rock bluster, he reflects the confusion and ignorance of the age. “I don’t know what’s going on anymore!” he yells, though he clearly does: “Don’t go mistaking your house burning down for the dawn,” Turner warns, “be suspicious of simple answers, that shit’s for fascists and maybe teenagers”. A few tracks later he addresses Trump’s ascendance and the moral decline of America on ‘Let’s Make America Great Again’. Frank’s solution: “Making racists ashamed again/Let’s make compassion in fashion again”.

#6-#10 in No Particular Order

MITSKI -“Be A Cowboy”

JAYHAWKS-‘Back Roads and Random Motels

BOZ SCAGGS-“Out of the Blues”

COURTNEY BARNETT- “Tell Me How You Really Feel”

LUCERO- “Among The Ghosts”

Re-issues(all vinyl)

THE BEATLES- The Beatles

JEFF BUCKLEY- Live at SinE

BOB DYLAN- More Blood On The Tracks

THE KINKS- Village Green Preservation Society

and new but old…

RAGE AGAINST THE MACHINE-Live and Rare

TICKETS TORN IN HALF:Neil Young-Solo @Carnegie Hall-January 9,2014

January 9,2014: NEIL YOUNG Solo @ Carnegie Hall

Including stints with CSNY, Crazy Horse, Booker T and The MG’s, and solo I have seen Neil Young perform nine times and this was by far one of the best.Neil, his guitars, keyboards, harmonicas, and a slightly nasty attitude toward the audience members whom were yelling out requests, he was in a zone. Two sets with a slight intermission, and a few encores, while the tickets were expensive, they were worth every penny.

From Billboard: But the highlight of the evening was the sheer strength of the performances of the classic material. Young played versions of songs like “Only Love Can Break Your Heart,” “Ohio,” “Old Man,” “After the Gold Rush” and “Comes A Time” as powerfully and cleanly as you’ve ever heard him play those songs. Performances of 30 or 40-year old songs are rarely so breathtaking and compelling. The gravitas of the venue was a likely contributor to that feeling, but a room can’t carry an entire performance. The credit for that goes entirely to Neil Young, who, at age 68, still has an abundance of grit and fortitude. These songs are giants, and at Carnegie Hall, they were performed as such.

Set 1:

From Hank to Hendrix

Helpless (Crosby, Stills, Nash & Young song)

On the Way Home (Buffalo Springfield song)

Only Love Can Break Your Heart

Love in Mind

Birds

Mellow My Mind

Are You Ready for the Country

Someday

Changes (Phil Ochs cover)

Harvest

Old Man

Set 2:

Goin’ Back

A Man Needs a Maid

Ohio (Crosby, Stills, Nash & Young song)

Southern Man

Needle of Death (Bert Jansch cover)

The Needle and the Damage Done

Harvest Moon

Flying on the Ground Is Wrong (Buffalo Springfield song) After the Gold Rush

Journey Through the Past

Heart of Gold

Encore:

Comes a Time

Long May You Run (The Stills-Young Band song)