TICKETS TORN IN HALF: BOB DYLAN AND THE BAND@ MADISON SQUARE GARDEN- JANUARY 31, 1974(If you like what you are reading please hit the button to “subscribe”. Thanks.)
I don’t know why any suburban concert goer circa 1972-1978 would ever want to attend a show at NASSAU COLISEUM… drug busts, arrest, the other night 10 arrest at the BOB DYLAN and THE BAND show. Geez…I refused to buy a ticket knowing the life style of a young man would be in jeopardy when confronted by the tactics of the Nassau County PD and the county’s notorious DA. So when the call came that my bride’s co-worker had two tickets for the same show but housed in the safety and security of New York City’s MADISON SQUARE GARDEN I was on the train in a flash.Being a Thursday night I had to call in “sick” for work. Of course my boss questioned my sudden illness so I nicely told him I’m going to see Bob Dylan so “freak you” but only in stronger words.He listed it as a “personal” day.
DYLAN hadn’t toured in almost 8 years, 1966 that is and I was 14 at that time. To boot, DYLAN hadn’t released an album in almost four years so this was going to be a “must” see event. Tickets were sold out in a matter of minutes in our area. Four nights, two at the Nassau piss hole and 2 night with 3 shows ( one matinee-4PM) at MSG.DYLAN had just released “Planet Waves” a few days before our show, an album made with THE BAND onboard.
So away I go, train ride in with a bottle of wine and my usual Marlboro Reds, getting primed before meeting up with my wife and another couple. A quick bite to eat, payment for the tickets, and into the show. Pretty good seats to the left of the stage, two levels up but close enough for my zoom lens to work.(Notes from my journal-“Dylan opens with MOST LIKELY YOU GO YOUR WAY and a few tunes before THE BAND does STAGE FRIGHT, Bob joins in, then acoustic BOB, then THE BAND, then BOB and THE Band closing with MOST LIKELY YOU GO YOUR WAY. Neat. I took a photo of YOKO, Albert Grossman and DICK CAVETT chatting during intermission”.
Most Likely You Go Your Way (And I’ll Go Mine) 2.Lay Lady Lay 3.Just Like Tom Thumb’s Blues 4.Rainy Day Women # 12 & 35 5.It Ain’t Me, Babe 6.Ballad Of A Thin Man 7.All Along The Watchtower 8.Ballad Of Hollis Brown 9.Knockin’ On Heaven’s Door 10.The Times They Are A-Changin’ 11.Don’t Think Twice, It’s All Right 12.Gates Of Eden 13.Just Like A Woman 14.It’s Alright, Ma (I’m Only Bleeding) 15.Forever Young 16.Something There Is About You 17.Like A Rolling Stone — 18.Most Likely You Go Your Way (And I’ll Go Mine) 19.Blowin’ In The Wind
Village Voice Review
Madison Square Garden with the Band | January 31, 1974 Aside from some guest appearances (a Woody Guthrie Tribute; the Concert for Bangladesh; a Band show at the Academy of Music) Dylan was off the road for seven-and-a-half years and didn’t play a full concert in New York City for a very long time. That was a lifetime, an entire career in rock and roll back then. A lot would happen in between: military actions, protest movements, motorcycle accidents, Woodstock. But then he came back with one of the greatest rock ‘n’ roll alliances on one of the most amazing tours ever. The ‘74 tour with the Band featured Dylan at the height of his Seventies powers, alongside Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and Levon Helm very close to the apex of theirs. This show at the Garden would amply showcase all of the above, and an audience at the height of Watergate roars like a jet engine as Dylan sings the “But even the President of the United States/Has to stand naked” line during “It’s All Right Ma, I’m Only Bleeding.”
Jan 30, 1996: JOHN ENTWISTLE @ Tramps w/ Godfrey Townshend ( no relation to Pete) on guitar. This was a fantastic night celebrating my 44th birthday with friends listening to THE OX rock this small but great venue.
I became an Entwistle fan the moment I heard “Boris The Spider”.It was early 1968,I’m at a house party for a friend’s 16th birthday party to which I gifted him BLUE CHEER’S “Vincebus Eruptum”. It seems like I purchased the wrong gifts for the wrong people at the wrong times. That gift has nothing to do with this story. While the BLUE CHEER record was not a hit, I did throw on the album “A Quick One” by THE WHO. At that house party we must’ve played “Boris the Spider” 20 times. Every guy there loved it, the girls not so much.
“Boris the Spider” is a song written by John Entwistle the bass player of The WHO. If memory serves me well I picked up that album “A Quick One” during the previous summer after hearing from a friend how powerful the band was at MURRAY The K’s “Music in the Fifth Dimension” shows in NY. These shows were the debut of THE WHO and CREAM and having loved i the album so much it made its way with me to many house parties. In my collection I also had “My Generation” (the album) and a few WHO singles that I was fortunate enough to find in a pretty cool, small, local record store. And after “The Who Sell Out” arrives I was totally sold on the band. Before the year is out (1969) I was fortunate enough to have seen the band three times, they mesmerized me live and on record, Keith Moon on drums and John Entwistle on bass, Pete Townsend on guitar, and the swirling, whirling microphone of Roger Daltry on vocals.
This time out I was seeing John Entwistle (solo band) at Tramps. Tonight was the opportunity to see the bass man live, loud, and up close.
The Beatles’ rooftop concert was the final public performance of the English rock band the Beatles. On 30 January 1969, the band, with keyboardist Billy Preston, surprised a central London office and fashion district with an impromptu concert from the roof of the headquarters of the band’s multimedia corporation Apple Corps at 3 Savile Row. In a 42-minute set, the Beatles played nine takes of five songs before the Metropolitan Policeasked them to reduce the volume. Footage from the performance was used in the 1970 documentary film Let It Be.
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TICKETS TORN IN HALF:(THE REAL and FAKE) FLEETWOOD MAC-Various Nights in Various Places with Various People
(1968) I’m a sixteen year old, living across the street from a nineteen year old college student, a bohemian kinda guy who enjoyed music as much as I did. When he had time to be seen with a young punk we would (occasionally) engage in a conversation about the bands he saw. He told me about The LOVING SPOONFUL early on in their career, a little later THE AIRPLANE, and once he mentioned seeing FLEETWOOD MAC(December of 1968 @ Steve Paul’s THE SCENE ). This guy raved about the group, especially their singer/ guitarist. I jotted the name of the band in my trusty notebook thinking this is a band to be on the look out for. Then,I heard nothing about them for quite some time and no matter where I searched I could not find any of their recordings. A few months passed (early 69) when I found A Hard Road (February 1967 release date), the third John Mayall album (and the first to feature Peter Green who I still did not know was the singer/guitarist in question). “A Hard Road” was amazing, especially “The Stumble” which I thought would make the perfect “break song” for my band, “Another Kinda Love”, and …”The Supernatural”. Who is this guitarist?Peter Green? Who?
My kid brother was a THREE DOG NIGHT fan and a budding concert goer. Pop always said it was the double breasted suits, Beatle boots, and music which led him astray from the priesthood. So, with a few friends he attended a July 1969 show at THE (NYS) PAVILION in Queens, NY. On the bill was FLEETWOOD MAC.While my brother raved about how fantastic THREE DOG NIGHT’s performance was, he said little about FLEETWOOD MAC except to say I would like them. A few nights later my buddies (sans me) saw Ten Years After @ WOLLMAN RINK in Manhattan and lo and behold FLEETWOOD MAC opened. The guys loved both bands. For me it was another missed opportunity. But alas, a few weeks later I found “Then Play On” in the record store, also “Fleetwood Mac”, the one with the garbage can on the cover. I was mesmerized by the music, and now realized Peter Green from Mayall’s “A Hard Road” was the guitarist/singer in question.
Then, it was my turn,November 22,1969@Fillmore East, JOE COCKER and THE GREASE BAND headlining with FLEETWOOD MAC and KING CRIMSON as support bands; I saw Cocker in August, Crimson was unheard of (another story)…It was a Fleetwood Mac night to remember, at least for me. PETER GREEN was phenomenal as was the rest of the band. So,so good they were.My girlfriend thought they were not even close to Cocker’s Grease Band. What?I need to rethink girlfriends.
Two months later, Friday night, January 23, 1970 FLEETWOOD MAC is headlining locally (Island Park) at The Action House with Frost opening. Knowing I had QUICKSILVER tickets for the next night I only stayed for one, long fabulous set by THE MAC. Again, they did not disappoint and Peter Green was brilliant…”Black Magic Woman”,”The Supernatural”, “Albatross”,“The Green Manalishi”, “Rattlesnake Shake” (which went on for about 15 minutes),”Jumping at Shadows”,and “Shake Your Moneymaker”.Whew.
A few years ago I was discussing the merits of DUANE ALLMAN with a like minded spirit when the guy told me his remembrance of the JANIS JOPLIN/ GRATEFUL DEAD show at FILLMORE EAST February 11, 1970. JOPLIN was debuting her new band@ Fillmore East. At the late show the DEAD were doing their thing when they invited Duane Allman (Allman Bros. opened the show) AND Peter Green up to the stage for a jam.Peter was in town as Fleetwood Mac was opening for SLY and The FAMILY STONE at Madison Square Garden.Recently I listened to a decent recording of this event and, well, mind-blowing is all I can say.
After these performances (late 69 early 1970), I hear no more about FLEETWOOD MAC shows or recordings, which is strange as the summer schedule (Central Park,etc) was released and I expected their name to pop up. It appears the band had a few difficulties, one being the leader, PETER GREEN walked away (May 28,1970) leaving Fleetwood Mac (version #4) as Jeremy, Danny, John, and Mick. A #5 version appears (August 70-Feb 71) by adding CHRISTINE PERFECT (from CHICKEN SHACK) aka Christine McVie.
Late Summer, the FILLMORE EAST lineup is finally announced and there they are August 28-29, 1970 SAVOY BROWN/FLEETWOOD MAC/FAIRPORT CONVENTION. I send in my SASE for tickets
for what later would be one of my favorite shows of that summer despite some personnel changes and relationship problems in the bands and for me. I had two FAIRPORT CONVENTION albums and knew seeing them live would be unique. Unfortunately Sandy Denny (vocalist) had left the band but I became a huge fan of Richard Thompson (guitar/vocals) that night. Next up, Fleetwood Mac was missing Peter Green which was a huge disappointment for me, they/he were/was the reason I was there. But this newer FLEETWOOD MAC (version #5) now had Christine Perfect on keys /vocals and they introduced KILN HOUSE stuff which rocked. Quite a huge departure from the Peter Green stuff. Finally, Savoy Brown had no Chris Youlden on vocals. Lonesome Dave did the voice, and shades of FOGHAT were born. Despite the fact that all three bands were missing a key component, all were oh so good.
It appears (May 1970) Green left the band, suffering the early onset of mental illness thought to be the result of an unsolicited LSD experience in Munich, Germany.
FLEETWOOD MAC (#6) occurs February 15,1971 when Jeremy Spencer disappears the day the band hits Los Angeles, joining a cult known as THE CHILDREN of GOD, thereby denouncing his career, his band, his wife and two children.
“…given the news of Spencer’s action, the group called on Peter Green in London to rejoin them for the duration of the tour. After an hour on the phone, Green agreed – but only to finish out the tour, which ends in Long Island March 27th. Green, whose departure was partly attributable to his own devotion to Christianity, flew in on Friday, the 19th, to join the band in San Bernardino, California. He refused to talk about the Spencer case and emphasized only that the reunion with Fleetwood Mac is temporary.(Rolling Stone:March 18,1971)
Correction: His devotion was not to Christianity as Peter Green is actually Peter Greenbaum, of Jewish decent. Green did not like the music business, actually gave away all his money at one point.
I tired having worked a KinKs concert (March 26)getting to my room about 5AM but knew I had to solder on as PETER GREEN was in town playing with FLEETWOOD MAC/ EDGAR WINTER’s WHITE TRASH/TIN HOUSE March 26/27,1971@ Rockpile aka The Action House. Again, he did not disappoint,taking the band back to their roots of blues, beautifully played blues. And then he was gone, again
FLEETWOOD MAC(version 7) is now young DANNY KIRWAN (another soon to be rock n roll tragedy) and CHRISTINE McVIE’s band. “Future Games” (71) was Danny’s shining moment as lead guitarist with BOB WELCH added to the line up on rhythm. The blues were dropped from their repertoire. “Bare Trees” (72) is considered the lp which erases everything in the past, a true Kirwan masterpiece, to some. During the promotional tour Danny Kirwan was fired from Fleetwood Mac in the (fall of 1972). His alcoholism and increasing mental instability had made him a difficult bandmate and collaborator. Version 8 is Bob and Christine’s show and so on…they were a mess financially,had troubles with internal relationships and external relationships. They added members, dropped folks, changed management ,moved to LA, back to England,etc
January 26,1974, Academy of Music- FLEETWOOD MAC/KISS/SILVERHEAD. I’m there for FLEETWOOD MAC (not knowing who was still in the band). SILVERHEAD, well I had no idea who they were, still don’t. KISS was on a return performance from their debut at the same venue on New Years Eve. Their set was cut short as Gene Simmons set his hair on fire.(I saw Kiss twice at THE DAISY in Amityville the summer before but then KISS was not like this. Tonight, KISS set the entire venue of 3000 on fire. A great show, lights, fire breathing,fully costumed and ear drum shattering loud. Then, FLEETWOOD MAC appears. I notice MICK FLEETWOOD is not on the kit, No John McVie, No Christine…strange looks around the crowd, “who are these guys” playing instrumentals and no noticeable MAC tunes. Boos start, getting louder by the moment. An announcement is made that refund vouchers are available at the box office, to which I took my two. This was a bogus FM, a band put together by the owner (a past manager) of the “brand name” FLEETWOOD MAC, which hit the road while the true members were sorting out problems with alcohol, drugs, relationships, etc.Immediately after this, the true band grab the reins and hire Buckingham and Nicks, the rest is history.
To me,of all the guitar giants to emerge from the British blues boom Peter Green was perhaps the most naturally gifted. B.B.King famously said this about him: “He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats.” That’s really is all you need to know about the man. Duane Allman acknowledged Green’s influence on him and the twin guitar approach of the Allman Brothers Band, And PETER GREEN penned “Black Magic Woman”.
January 26, 2019, rock legend Peter Frampton will receive the Les Paul Innovation Award at the 34th Annual NAMM Technical Excellence & Creativity Awards in Anaheim, Calif., joining an elite hall of fame that includes past honorees Jackson Browne, Joe Perry, Don Was, Slash, Todd Rundgren, Pete Townshend, Steve Vai, and Lindsey Buckingham. Considering that Frampton, now 68, has been playing since he was 7 years old, joined his first band at age 12 and has reinvented himself repeatedly throughout his illustrious career — and was named one of the 100 greatest guitarists of all time by Rolling Stone — the accolade seems long overdue. “Oh, well, I don’t know about that,” Frampton says humbly. “I’m just thrilled that I’m being put in that category of the other honorees.” It hasn’t always been an easy road for Frampton. He struggled with the stigma of being a reluctant teeny-bopper star; suffered a near-fatal car accident; bore the brunt of the backlash surrounding 1978’s box office bomb movie musical, Sgt. Pepper’s Lonely Hearts Club Band; and found himself in a late-’70s career slump after his overeager record label rushed out a follow-up album to capitalize on his phenomenally successful double concert album, Frampton Comes Alive! But over the years, this true survivor has maintained his guitar-god status through his solo material, his work with his past bands and his collaborations with everyone from George Harrison to his childhood schoolmate David Bowie.
The album “Sweet Baby James” was a game changer, not only for JAMES TAYLOR but also for a host of singer-songwriters who followed. His second album, first for Warner Bros Records, hit the airways in 1970 and slowly made its way up the charts. The single “Fire and Rain”, when released, was a top Ten Billboard hit.
January 25, 1971:FILLMORE EAST 8th row right side with a new girl at my side. Opening act was a 23 year old out of San Francisco who goes by one name, VICTORIA.
Mike Jahn’s review of VICTORIA from the NY TIMES that week describes her as “a frail‐looking folk singer from San Francisco,(who) is proving very impressive during her engagement at the Gaslight Cafe,The 23‐year‐old angular faced, thin‐armed performer plays electric guitar and piano, and sings in a highly distinctive voice, shifting from high‐ cutting moments unlike most other female folk singers, to soft breathy moments”. Which she was, all of that, but forgotten by me after she finished her set.
After a short intermission the crowd was reminded that James Taylor was performing a benefit for Native Americans. Out he strolls to applause and a few “We love you James”. His banter with the crowd was entertaining and his comment about having PAUL McCARTNEY in the house had almost everyone, myself included, looking for the former Beatle. Hence, James Taylor opens with an acoustic version of WITH A LITTLE HELP FROM MY FRIENDS.
With A Little Help From My Friends 03:45
2 Long Ago & Far Away 03:45
3 Something In The Way She Moves 03:54
4 Blossom 02:33
5 (Snuff Commercial) 02:17
6 Greensleeves 01:55
7 Sunny Skies 03:57
8 Diamond Joe 03:07
9 Things Go Better With Coke 01:36
10 Carolina In My Mind 04:19
11 Riding On A Railroad 02:44
12 Fire And Rain 04:46
13 Highway Song 05:39
14 Lo And Behold 04:05
15 Machine Gun Kelly 02:52
16 Hey Mister, That's Me Up On the Jukebox 04:13
17 Steamroller Blues 04:25
18 Night Owl 03:51
19 You Can Close Your Eyes 02:38
20 Sweet Baby James 03:16
James Taylor was entertaining, and a pleasure to hear. I made a tape of the performance with my portable and trusty cassette player.
What a way to celebrate my 17th birthday with two tickets to see THE DOORS on January 24, 1969 at Madison Square Garden. New brown corduroy slacks, brown boots, a new overcoat, with a few extra bucks in my pocket from my folks as a birthday gift and away I go. A new pack of Marlboro Reds, train fare, money for the food after the show at the diner, I was psyched to go to another live show. But on the train ride in, the “problem” soon reared its ugly head as I had a girlfriend who was more excited about seeing Jim Morrison and chatting about Jim Morrison with her friends who also would be attending the show, both on the ride in and then again on the way home, Jim, Jim, Jim. Geez, selfish me, taking her to celebrate my birthday, which she basically forgot.
In THE GARDEN the stage was set in the middle of the arena and as the lights dimmed, The Staple Singers appeared first. Beautiful mood and music is the best way to describe what The Staples did. Even with a poor sound system their set was fascinatingly simple, elegant and spiritual. I was awestruck. After a rather extensive intermission, THE DOORS with a bass player (Harvey Brooks) appeared on stage, and adding a small horn section for a few tunes this being their “Soft Parade” days. According to The Doors faithful this show, one of the band’s first attempts at an arena rock show, was one of their finest. That night included songs from The Soft Parade, as well as Tell All The People, Love Me Two Times, Spanish Caravan,Back Door Man, Light My Fire, Five To One and When The Music’s Over
The Doors were, to my limited live experienced ears, musically okay, but not what I had anticipated. I expected a great rock band. Jim Morrison was an idiot, or was it just me? Nah, he was an idiot, hindering an otherwise good band with his “poetry” and rants. One interlude by Mr. Morrrison was something about him sitting on a fence, “and boy, do my balls hurt”. Musically my night was made by really digging The Staple Singers and developing a true appreciation for what they did. They were one cool group with a smooth, unique sound. Needless to say the Staples did not fit into the conversation on the return trip home. And neither did my birthday which seemed to have been overlooked. So as the song goes, TURN OUT THE LIGHTS…
January 30, 1969- The Village Voice- Riffs-“Jiiimmieeeee!” “Jim Morrison carefully wrapped his black leather jacket into the shape suitable for air travel, then heaved it far into this $6.50 seats. It was early on in the proceedings Friday night at Madison Square Garden and if there was any question earlier whether the Doors concert was going to be anything but predictable, it was answered then.” “…. The instrumentalists in the group play their axes, Morrison plays the audience. “… well, the teenies got their show and the Doors and their promoters got lots of money, and money is really all that these monster events, indoors and out, are all about. The music? Who knows? The sound system in The Garden is abominable, but it mattered a lot more during The Staple Singers very professional set then when The Doors came on. The Doors originally sounded like one of the freshest, most promising things happening. Now they have released the same album under three different titles and encourage an audience that would be satisfied if they played bubblegum music as long as up front there was their Jiiimmmmiiiieeee.”
ON THE TURNTABLE: January 20,1964- The Beatles “Meet The Beatles” is released in the US.
Some say it was the Assassination of our beloved President JOHN FITZGERALD KENNEDY which surrounded the Nation in a national funk that somehow brought THE BEATLES to stardom in the U.S. Some say we needed an escape, a diversion, and these four lads from Liverpool were the escape. Yet, I’m not buying it. My reasoning is simple. First,we, the American record buying public came a many months late to the BEATLES party, having not accepted their first few records when released stateside, these same records which were huge hits across the pond. Secondly, the time was ripe for a new (television) hero for the “youngsters” as Ed Sullivan would call us. The biggest show on TV at that time was the BEVERLY HILLBILLIES, a preposterous show which made a ratings killing week after week, and that show having their biggest week just prior to The Beatles first appearance. Americans were enamored with television. And Ed Sullivan was considered a religious experience every Sunday night. Like Sunday morning mass in a Catholic household, one couldn’t miss Sullivan on Sunday nights, it would be sinful.
So here goes my thesis:
Point ONE: Prior to Sullivan (one year before) The BEATLES had 3 releases in States, all which were misses, that is NO HITS, no charting…zero. Those records were
PLEASE PLEASE ME- February 1963(VEEJAY RECORDS)
FROM ME TO YOU-May 1963(VEEJAY RECORDS)
SHE LOVES YOU-September 1963(SWAN RECORDS)which has limited if any airplay.
In early November 1963 after Sullivan witnessed the impact of the lads in their home turf England,and how their audiences responded, BRIAN EPSTEIN,The BEATLES manager, persuades Mr. Sunday Night Television ED SULLIVAN to have THE BEATLES do three consecutive weekly performance on Sullivan’s top rated American CBS television show. Never before had any act accomplished three consecutive appearance on Sullivan, let alone an “unknown” act. CAPITOL RECORDS (US) smelling something good is happening picks up the BEATLES EMI option just as The CBS Morning News (Sullivan’s network) aired a segment on BEATLEMANIA, the morning of November 22, 1963,which they have ready to repeat it on their nationally syndicated CBS NIGHTLY NEWS. However, regular programming was cancelled as JFK was assassinated that day and THE BEATLES piece did NOT air that evening, happenstance. THE BEATLES and their manager become very anxious as they await their coming to America in a few months for three consecutive weeks no less without a hit record. This could mean a disaster for the band. Some in The Beatles camp and a few others considered cancelling.
The BEATLEMANIA segment was finally re-broadcast on CBS NIGHTLY NEWS the evening of December 10, 1963. Immediately airplay for THE BEATLES was requested on radio stations across the nation and CAPITOL RECORDS rushed out I WANT TO HOLD YOUR HAND, the boys newest single on December 26, 1963 which sold one million copies in the first ten days with one and one half million copies by three weeks time, just in time for the SULLIVAN appearance. THE BEATLES have the Number 1 hit in the land AND are appearing on one of the top rated television shows, for three consecutive weeks. BEATLEMANIA has arrived.
April 5,1964 BILLBOARD Magazine
#1: Can’t Buy Me Love (jumped 27 spots):THE BEATLES
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
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.