(1)May 30,1969@Fillmore East: For me the first time and in the best place in NYC, FILLMORE EAST was THEE venue to see LED ZEPPELIN. The talk since late January was how this band from England, the undercard on the bill, destroyed IRON BUTTERFLY which was the headliner for this weekend of shows. The buzz was that Led Zeppelin left IB stunned in the wings awaiting to hit the stage,left only to play their hit IN A GADDA DA VIDA to the chagrin of many. The schism is now widened as a new sound is in town.
TICKETS TORN IN HALF: March Madness with THE ALLMAN BROTHERS FAMILY and FRIENDS
A complete book could be written about my musical fascination with one band that became my obsession, THE ALLMAN BROTHERS BAND. It started in March of 71 when I saw them live for the very first time. I was speechless. They were that good and then some. Over the years I have been to hundreds of concerts seeing various bands of all genres, 50 plus shows (to date) have been ALLMAN BROTHERS BAND related. Not just the ABB per-say but ABB extended family and friends. I have numbered the show (I’m sure I missed one or several) and with the help of my handwritten notes, SETLIST.COM, some newspaper clipping I saved, and my trusty mayonnaise jar(s) filled with “tickets torn in half” I offer the following.
(Shows #1 and # 2)March 13,1971
My intro to the Allman Brothers was having their first album, sitting in the “A” pile of my record collection. I listened to it maybe twice by this time.Then, my college radio buddy was paying back a favor whereby I gave up my first row ticket for a Leon Russell show at The Capitol so that he could take a girl. He felt he owed me something in return so he invited me to join him to see Johnny Winter at Fillmore East. Our show was the 11:30 set. Dinner was planned for 7PM. By 8:45PM “my buddy” was a no show, and I was freezing just standing around in the cold waiting. Magically, some guy walks up to me handing me a free ticket for the 8PM show. Not knowing whether my buddy would ever show up I thanked the guy for the freebie, finished my cigarette and entered the sacred hall. ELVIN BISHOP was already “Partying Til The Cows Come Home” as I found my upper balcony seat. At the short intermission I grabbed a cup of coffee and a cigarette in the lobby then I sat down to hear the introduction that changed everything: “THE ALLMAN BROTHERS BAND”. In moments my eyes were wide, and a smile from ear to ear appeared across my face. Never before had I seen or heard anything like this band. Yes, I saw Fleetwood Mac with two guitarists exchanging leads, two drummers in THE DEAD, a bass player who had a bottom sound, yet here was a Hammond B-3 player who when he sang was angelic, Ray Charles like. After their set the crowd was roaring for “MORE, MORE”. One long encore, and it was over. After an equipment change the crowd was still buzzing about The ALLMANS. JOHNNY WINTER AND (THE McCOYS) took the stage but all I could think about was THE ALLMAN BROTHERS BAND.
The early show crowd was let out and I could still hear the raves outside about The Allman Brothers. Forget Johnny Winter, as I was excited at a chance to see The Allman Brothers Band again that night.I met my buddy with the ticket and told him of the band’s sound and the amazing guitar workings. After grabbing something to eat we headed back to the hall at about midnight. Elvin Bishop was tearing it up, had the crowd in his favor when we were met with the houselights rising and being instructed that we needed to evacuate the hall in a peaceful manner. Seems a bomb threat had been called in. As it was freezing outside we were promised we would be let back in as soon as it was possible. It seemed like an eternity outside but finally, back in, freezing, the house light dim and “Ladies and gentleman, Johnny Winter And”…. what? What about The Allmans??? I thought, geez. Johnny did a short 35 minute set, and as he exited the stage manager stated “The Allman BROTHERS BAND” would be up next. Thank goodness.
When The Allmans hit the stage an announcement was made that the band would be recording live. They played for hours, hours, yet it was not nearly long enough for me. The sun was rising as we headed for the door. It was an amazing set, as can be witnessed on the album, LIVE AT FILLMORE EAST. Note: a few guys I know went to the next night (Sunday) gig at Suffolk Community College.
(3) APRIL 27,1971:THE ALLMAN BROTHERS BAND @ THE ACTION HOUSE, (aka Rock Pile) Island Park,NY A week night no less but to see the Allman Brothers Band at THE ACTION HOUSE, a small club would be a joy. A very late night, indeed, but worth it and not too crowded.(5 bucks)
(4) MAY 2,1971: ALLMAN BROTHERS @ Hofstra University. It was a Sunday night performance so school on Monday morn would be a drag and (Accounting 2 and Business Law) finals are beginning NOW.
(5) June 25,1971: THE FILLMORE EAST closes with the longest and best set (to date) given by the ALLMAN BROTHERS BAND/ J. Geils Band and Albert King
END OF AN ERA:
The Fillmore East was closing it’s doors for good on Sunday, June 27, audience by invitation only. I felt I needed to be there on Saturday, June 26 for the late show. A few weeks prior to this date, I was speaking with a young lady who worked the box office. Somehow, we two had become friendly over the last few months. She got me a ticket for Saturday, in the middle section of the front balcony. Cool.
JUNE 25: ALLMAN BROTHERS BAND, J. GEILS BAND, and ALBERT KING at Fillmore East, called “the ALLMAN BROTHERS show to end all shows”. In the hall after midnight, we saw the most incredible set by Albert King, followed by The J. Geils Band. Then, The ALLMAN BROTHERS took the stage, introduced so eloquently by Bill Graham, and the band played what is rumored to be their finest set ever. The sun was up, 7AM, as we headed toward the subway on Second Avenue.
July 7, 1971: The release of AT FILLMORE EAST
(6) July 21,1971: ALLMAN BROTHERS BAND/ COWBOY @ shows at Central Park were an experience. In the park the sun was shining brightly as the ABB hits the stage and they finished hours later in the calm of an early evening. Duane was in his element. I took photos galore. With two shows that night,we had the early one. STATESBORO TROUBLE NO MORE DON’T KEEP ME WONDERING DONE SOMEBODY WRONG ONE WAY OUT MIDNIGHT RIDER IN MEMORY OF ELIZ REED YOU DON’T LOVE ME REVIVAL
(7)August 15,1971: ALLMAN BROTHERS BAND show moved to Academy Of Music from Manhattan Center. This was a Sunday night spectacular with Dr. John opening. The ABB were becoming HUGE at this very moment due to the release of the FILLMORE EAST album. It was amazing to see this band and the effect their music had on the crowd. It was like a brotherhood.
Statesboro
Trouble No More
Don’t Keep Me Wondering
Done Somebody Wrong
One Way Out
In Memory of Eliz Reed
Blue Sky (debut for me)
Midnight Rider
Hot ‘Lanta
Soul Serenade ( In Memory of King Curtis)
You Don’t Love Me
Revival
A few nights later (August 26th,1971) WPLJ-FM did a live from the A&R Recording Studio radio broadcast of the ALLMAN BROTHERS BAND. I taped it.
STATESBORO
TROUBLE NO MORE
DON’T KEEP ME WONDERIN
DONE SOMEBODY WRONG
ONE WAY OUT
IN MEMORY OF ELIZ REED
STORMY MONDAY
YOU DON’T LOVE ME
(SOUL SERANADE INTERLUDE)
YOU DON’T LOVE ME
HOT ‘LANTA
BAND INTROS
I wore my tape out listening to it over and over again, and again. It was so great.
OCTOBER 1971:Suddenly very wealthy and very successful some of the band and crew took a break to rehab from a heroin addiction. Duane, Berry, and roadies Robert Payne and Red Dog Campbell checked into LINWOOD-BRYANT HOSPITAL.
OCTOBER 29, 1971: DUANE ALLMAN DIES in a motorcycle accident. The album EAT A PEACH is incomplete.
FEBRUARY 12, 1972: EAT A PEACH is released and becomes an instant success.
(8) July 13, 1972: The ALLMAN BROTHERS BAND @ Gaelic Park, BRONX, NY /Captain Beyond opened. This was a strange show DUANE was gone and you could feel the loss in the music.I had to meander through the crowd having gotten there late due to the horrendous traffic in the Bronx and when I finally got entrance I couldn’t find my group of friends. Show ended early due to local curfew, in The Bronx?
STATESBORO
DONE SOMEBODY WRONG
AIN’T WASTING TIME NO MORE (debut for me)
ONE WAY OUT
STORMY MONDAY
YOU DON’T LOVE ME
WHIPPING POST
MOUNTAIN JAM (W/ GARCIA and WEIR)
Strange on this night listening to Gregg cry out during AIN’T WASTING TIME (first time I heard it) as it pertains to death, not only of the author GREGG ALLMAN’S brother’s death (Duane) but also about soldiers returning from VIETNAM.
NOVEMBER 11, 1972 The Death of Berry Oakley. On November 11th, Berry Oakley was taking a ride on his ’67 Triumph motorcycle along with friend Kim Payne, when he crashed into a bus on Inverness Avenue, only three blocks from Duane Allman’s fatal crash site a year earlier.
(9) May 1, 1973: ALLMAN BROTHERS BAND/ MARSHALL TUCKER BAND @ Nassau Coliseum I had to go, I was curious. The ABB opened with “Wasted Words”.Duane’s gone and so is Berry. Lamar Williams (bass) and Chuck Levell (piano)join the ranks,these are RAMBLIN’ MAN days as DICKEY BETTS takes over. The addition of Chuck is a stroke of genius. He mesmerizes the crowd. Years later I bought the cd recorded this very evening.
WASTED WORDS
DONE SOMEBODY WRONG
STATESBORO
ONE WAY OUT
STORMY MONDAY
MIDNIGHT RIDER
JESSICA
COME AND GO BLUES
RAMBLIN MAN
IN MEMORY OF ELIZ REED
TROUBLE NO MORE
YOU DON’T LOVE ME
LES BRES IN A MINOR
WHIPPING POST
MOUNTAIN JAM
(10) July 21, 1973 ALLMAN BROTHERS BAND @ MSG The ABB even after the death of Duane and Berry were becoming a huge attraction on the circuit. This two night stand at MSG followed two sell outs with the Grateful Dead at RFK stadium , 80,000 seats each night.
WASTED WORDS
DONE SOMEBODY WRONG
SOUTHBOUND- (CHUCK LEVELL IS AMAZING)
STORMY MONDAY
IN MEMORY OF ELIZ REED
COME AND GO BLUES
TROUBLE NO MORE
RAMBLIN’ MAN
STATESBORO
ONE WAY OUT
YOU DON’T LOVE ME
LES BRES IN A MINOR
WHIPPING POST
MOUNTAIN JAM
(11)July 14,1974 ALLMAN BROTHERS BAND/ GRINDERSWITCH @ Nassau COLISEUM- In my opinion not really a good time musically for the ABB but they are huge and the crowd roars acknowledging each song which was a total misrepresentation of what was being played up on the stage. The music to me was disjointed to say the least. I was heart-broken. (except for Chuck during JESSICA). My note: It will be awhile before I see them again, if I ever do.
WASTED WORDS
DONE SOMEBODY WRONG
ONE WAY OUT
STORMY MONDAY
MIDNIGHT RIDER
IN MEMORY OF ELIZ REED
STATESBORO
BLUE SKY
COME AND GO BLUES
TROUBLE NO MORE
JESSICA
YOU DON’T LOVE ME
LES BRES IN A MINOR
RAMBLIN’ MAN
WHIPPING POST
1989: DREAMS: The Box Set is released.
(12) March 18, 1992: THE ALLMAN BROTHERS BAND @ BEACON THEATRE . Its has been quite some time (18 years) since I witnessed an ABB show. Not due to something with me but rather them as a band. They broke up a few times due to drugs, ego, etc, etc,and at some point I lost interest in their shenanigans, but I still loved their music. I was offered a ticket to celebrate my 40th birthday from one of my former students who thought it would be a blast to take me and 8 others to see this monster of a band I raved about for years. So with a free ticket, a seat in the upper balcony left side of stage, safely placed in my pocket the question is: why not venture out the night AFTER St. Patrick’s Day to see if the band (and me) still got it. Jaimoe, Dickey, Gregg, Butch are the heart of the band and now they added Marc Quinones (percussionist), Warren Haynes on guitar and Woody Allen on bass. The house lights dim a few minutes after 8PM and with “1,2,3”…Statesboro Blues is played with THOM DOUCETTE on harp. From my seat in the balcony I was immediately thrown back 21 years in time to FILLMORE EAST, March of 71, with a true twin guitar approach, Gregg in good vocal form and 3 drummers pounding out the beat. WOW.And they offer a few acoustic numbers making their set mesmerizing. Got home about 3AM and went to work a few hours later. I will be back.Note:This night was the very first time I heard the ABB play “Dreams”.
(13) Aug 9, 1995: THE ALLMAN BROTHERS BAND@Jones Beach. They opened with Statesboro, and later Chris Robinson from BLACK CROWES joins in for SOUTHBOUND. Funny, I waited a few tours from the 92 show before I jumped back in, I was afraid of being disappointed. Tonight was the same line up as my last viewing (92) but the outdoor thing loses me a bit.
STATESBORO
MIDNIGHT RIDER
YOU DON’T LOVE ME
BLUE SKY
AIN’T WASTING TIME NO MORE
THE SAME THING
DREAMS
SOUTHBOUND
END OF THE LINE
BACK WHERE IT ALL BEGINS
HOOTCHIE COOCHIE MAN
NO ONE TO RUN WITH ANYMORE
IN MEMORY OF ELIZ REED
ONE WAY OUT
RAMBLIN MAN
1996 THE ABB SELL OUT 13 BEACON THEATRE shows.
(14) March 9,1996: THE ALLMAN BROTHERS BAND@The Beacon. The 7th show of the 13 night run and according to the press Gregg has been erratic in his performance. The first few night he bowed out for a few songs and even missed the entire second set one night. Tonight he was strong in voice and on stage for the entire show. It was pretty good.This line up is great as Warren and Woody do command some attention. And we heard some new tunes.
YOU DON’T LOVE ME
GOOD CLEAN FUN
RAMBLIN’ MAN
WORRIED DOWN WITH THE BLUES
TOMBSTONE EYES
MIDNIGHT RIDER
STAND BACK
END OF THE LINE
CHANGE MY WAY OF LIVING
IN MEMORY OF ELIZ REED
DON’T WANT YOU NO MORE
ITS NOT MY CROSS TO BEAR
AIN’T WASTING TIME NO MORE
HOOTCHIE COOCHIE MAN
BLUE SKY
I KNOW I OUGHTA LEAVE
BACK WHERE IT ALL BEGINS
ONE WAY OUT
WHIPPING POST
(15)July 21, 1996 THE ALLMAN BROTHERS BAND/ GOD STREET WINE @ Jones Beach. They open w/ Statesboro and for me it’s always STATESBORO that grabs me. Sitting at the top of the expanded amphitheater with a guy I finally convinced to attend a show with me, we are seated amongst college kids, drunk guys who conned their drunk girls to go topless. And it rained.
STATESBORO
MIDNIGHT RIDER
BLUE SKY
YOU DON’T LOVE ME
WHAT’S DONE IS DONE
WORRIED DOWN WITH THE BLUES
CHANGE MY WAS OF LIVING
IN MEMORY OF ELIZ REED DREAMS
HOOTCHIE COOCHIE MAN
BACK WHERE IT ALL BEGINS
NO ONE TO RUN WITH
ONE WAY OUT
6.
1997: THE ALLMAN BROTHERS BAND SELL OUT A DOZEN SHOWS FOR THE MONTH OF MARCH @ THE BEACON
(16) March 16,1997:THE ALLMAN BROTHERS BAND@ Beacon-A SUNDAY NIGHT-THE FIFTH SHOW OF 12 NIGHTS and they open with HOT ‘LANTA. James Montgomery joins ONE WAY OUT, Duane Betts. Warren and Woody still there and smokin’.
HOT ‘LANTA
STATESBORO (DICKEY ON SLIDE)
SAILIN’ CROSS THE DEVIL’S SEA
MIDNIGHT RIDER
BLUE SKY
BLACK HEARTED WOMAN
WHAT’S DONE IS DONE
WORRIED DOWN WITH THE BLUES
IN MEMORY OF ELIZ REED
THE SAME THING
DREAMS
BACK WHERE IT ALL BEGINS
SOULSHINE(debut for me-amazing)
CHANGE MY WAY OF LIVING
NO ONE TO RUN WITH
HIGH FALLS
ONE WAY OUT w/ James Montgomery, Duane Betts
1998: THE ALLMAN BROTHERS SELL OUT 15 SHOWS @ THE BEACON. This round odf shows the band has a different line up as WARREN HAYNES and WOODY ALLEN are out concentrating on GOV’T MULE while also avoiding the craziness known as DICKEY BETTS.
(17)March 7, 1998: THE ALLMAN BROTHERS@ THE BEACON The 4th of 15 dates:Jack Pearson (guitar) and Oteil Burbridge(bass) join Gregg,Dickie, Butch,Jaimoe and Marc. An Acoustic set is a nice change of pace.Note:Gregg appears to be in “la-la land”.
DON’T KEEP ME WONDERING
AIN’T WASTING TIME NO MORE
CHANGE MY WAY OF LIVING DIMPLES
STORMY MONDAY
GOOD CLEAN FUN
HIGH FALLS
(ACOUSTIC SET)
PONY BOY
EVERYDAY
MIDNIGHT BLUES
COME ON IN MY KITCHEN (OUTSTANDING VERSION)
MELISSA
MIDNIGHT RIDER
(ELECTRIC)
NOBODY KNOWS
IN MEMORY OF ELIZ REED
encore
NO ONE TO RUN WITH
(18) Oct 31,1998: GREGG ALLMAN @ Westbury Halloween night and what better way to have some fun then see THE GREGG ALLMAN BAND perform. I must say it was quite different from THE ALLMAN BROTHERS BAND, yet still tasty.
1999: THE ALLMAN BROTHERS BAND sell out 18 shows at THE BEACON.
(Taken from a clipping I saved) “Through that second set, the trademark twin-guitar attack of Betts and new guy Jack Pearson (who replaced Warren Haynes last year) soared as they first would cut heads trying to outdo each other, and then ultimately would play in well-rehearsed, parallel harmonies”.
Note:At the end of this run JACK PEARSON leaves the band.
(19)March 6,1999: THE ALLMAN BROTHERS BAND@ Beacon, these run of shows in March are now known as THE RITE OF SPRING/ MARCH MADNESS and of the 18 sold out shows I have two sets of tickets, one set for MARCH 6 (orchestra left side) and another for the second night MARCH 19, front row center.And a new buddy joins in my madness for the first night.
March 6,1999 has an Amazing opening; the two tunes which open the debut album, the SPENCER DAVIS tune “Don’t Want You No More” and the band runs straight into “It’s Not My Cross To Bear”. WOW.
DON’T WANT YOU NO MORE
IT’S NOT MY CROSS TO BEAR
STAND BACK
GOOD TIMES (DON’T FADE AWAY)
PLEASE CALL HOME
I’M NOT CRYING
ONE WAY OUT
BLACK HEARTED WOMAN
J.J.’S ALLEY
SEVEN TURNS (ACOUSTIC)
MELISSA (ACOUSTIC)
SAILING’ CROSS THE DEVIL’S SEA
BLUE SKY
LEAVE MY BLUES AT HOME
STORMY MONDAY
LES BRES IN A MINOR
REVIVAL
SOUTHBOUND
WHIPPING POST
(20)March 19,1999: THE ALLMAN BROTHERS BAND@ Beacon : My second show of this run (first row center) and I couldn’t find ANYONE available to go. Then finally at a St. Paddy’s Day get together I offered the ticket (free) to a friend, and after speaking to his wife he finally agreed. To this day he states it was the “best show” he ever attended. I must admit it was pretty good.Note: Similar setlist from the other night.
DON’T WANT YOU NO MORE
IT’S NOT MY CROSS TO BEAR
DON’T KEEP ME WONDERING
GOOD TIMES (DON’T FADE)
PLEASE CALL HOME
I’M NOT CRYING
STATESBORO
SOUTHBOUND
J.J.’S ALLEY
SEVEN TURNS (acoustic)
MELISSA(acoustic)
SAILIN’ ACROSS THE DEVIL’S SEA
BLUE SKY
LEAVE MY BLUES AT HOME
LES BRES IN A MINOR
REVIVAL
RAMBLIN’ MAN
WHIPPING POST
(21) March 10: 2000: THE ALLMAN BROTHERS BAND@ Beacon This year is DICKEY BETTS’ last run. Last year
Jack Pearson left the band due to “tinnitus” and blamed Dickey being way too loud, Jack preferred the acoustic sets which in years past were amazing. A new kid DEREK TRUCKS is in on guitar and he is a show unto himself. Dickey is fired a few months later.THE RITE OF SPRING/ MARCH MADNESS continues with 13 sold out dates and all recorded for the collection PEAKIN’ AT THE BEACON.These tapes when played back found DICKEY to be out of tune, lost in songs, and WAY TOO LOUD. These recordings sealed his fate. My mother was in the hospital in a coma since mid February. I had my tickets and was going to pass on this year until Pop told me, take a night off from visiting the hospital, go to the show, a Friday night and my first time in the loge seats. Mom died 5 days later.
EVERY HUNGRY WOMAN
STAND BACK
SEVEN TURNS
DREAMS **** (yeah)
GOOD CLEAN FUN
BACK WHERE IT ALL BEGINS
DON’T WANT YOU NO MORE
IT’S NOT MY CROSS TO BEAR
AIN’T WASTING TIME
BLUE SKY
RAVE ON
FEEL SO BAD
IN MEMORY OF ELIZ REED
NOBODY KNOWS
NO ONE TO RUN WITH
(22) March 24,2001: THE ALLMAN BROTHERS BAND @ Beacon – Nine sold out shows. WARREN HAYNES (guitar and vocals) is slowly taking command with Derek Trucks as the set list changes every night and special guests are added. Chuck Leavell (guest) does an amazing JESSICA.My crew is now a quartet and we are seated in the second row loge. Wonderful seats and a fabulous setlist.
BLACK HEARTED WOMAN
STAND BACK
HOOCHIE COOCHIE MAN
FEEL SO BAD / w Larry McCray,Ronnie Burrage
ROCKING HORSE
ALL NIGHT TRAIN(w/ Chuck Leavell)
DESDEMONA (oh my, this was so good)w/ Chuck
JESSICA w/ Chuck (the best ever)
DON’T KEEP ME WONDERING
SOULSHINE(Warren shines)
WHO TO BELIEVE
WORRIED DOWN WITH THE BLUES
DREAMS
THE SAME THING w/ John Popper,Jeff Potts
HIGH FALLS w/ Chuck
encore
SOUTHBOUND w/ Leavell, Popper,McCray, John Manning
(23) July 3, 2001: DICKEY BETTS BAND @ BB KINGS About 8 of us decide to go see what Mr. BETTS is up to. He is playing two shows at the much smaller than the BEACON, B.B. KING’s club on 42nd Street. Nice dinner at Conally’s, a short walk to BB’s. An after a few drinks at the club, DICKEY BETTS takes the stage. “ Sad” is all I wrote in my notebook.
TUESDAY, SEPTEMBER 11,2001: Our world changes.
(24)Nov 24, 2001: Derek Trucks Band @ IMAC, Huntington, NY This was one cool band, and a great night was had by the usual crew of 4.
(25) March 23,2002: 9 sold out shows THE ALLMAN BROTHERS BAND@ Beacon. We 4 headed over to the WHITE HORSE TAVERN for our pre-show dinner. So sad as we stood in the middle of Hudson Street staring at the downtown skyline and NOT seeing the TWIN TOWERS. We hugged, a group hug, shed a tear or two. Dinner and a quick cab ride uptown.
MIDNIGHT RIDER
TROUBLE NO MORE
LEAVE MY BLUES AT HOME
WOMAN ACROSS THE RIVER
HEART OF STONE ( a highlight)
GOOD CLEAN FUN
OLD BEFORE MY TIME
ROCKING HORSE
SOUTHBOUND (W/ Bobby Allende for Jaimoe)
STAND BACK
COME AND GO BLUES
HOOCHIE COOCHIE MAN
FIRING LINE
JUST BEFORE THE BULLETS FLY
INSTRUMENTAL (untitled)
DESDEMONA
WHIPPING POST
MOUNTAIN JAM
(26) MAY 9, 2002: Dickey Betts GREAT SOUTHERN @ Mulcahy’s One might ask, Why would you go to see Dickey again if he was so bad last outing? The answer is simple: We got 10 complementary passes and it was local bar. Dinner at the WANTAGH INN, a short walk to the bar (it is a pretty large room but not as big as BB King’s) and DICKEY’S band wasn’t half bad, and Dickey was in good voice, too.Not too bad.
(27) Aug 13, 2002: THE ALLMAN BROTHERS BAND@ Jones Beach. Dinner at Wantagh Inn, tailgating at The Beach.
AIN’T WASTING TIME
STATESBORO
BLACK HEARTED WOMAN
WORRIED DOWN WITH THE BLUES
COME AND GO BLUES
WHO TO BELIEVE
DONE SOMEBODY WRONG
WOMAN ACROSS THE RIVER
DREAMS
FIRING LINE
THE SAME THING W/ Danny Louis (Gov’t Mule) on keys
DON’T KEEP ME WONDERING
ROCKING HORSE
YOU DON’T LOVE ME
NO ONE TO RUN WITH
INSTRUMENTAL
WHIPPING POST
1.
(28) Oct 31, 2002: GREGG ALLMAN BAND @ Westbury our second time seeing GA on Halloween. Geez, The man can sing. And his band is pretty funky. Jay Collins on sax.
(29) March 22, 2003: THE ALLMAN BROTHERS BAND@ Beacon-Unprecedented, the ABB sell out 13 shows. March Madness continues as we get the same 4 seats we had last year, in the second row loge. We have the 8th show of the run.
STATESBORO
BLACK HEARTED WOMAN
ALL NIGHT TRAIN
BANKS OF THE DEEP END (Rob Barraco(piano) Thom Doucette (harp)
YOU DON’T LOVE ME
PLEASE CALL HOME (horn section)
MAYDELL
ROCKING HORSE
THE HIGH COST OF LOW LIVING
I’VE BEEN LOVING YOU TOO LONG (amazing Warren) w/horns
END OF THE LINE
MELISSA
COME AND GO BLUES
THE SAME THING w/ horns
TROUBLE NO MORE
CHANGE IS GONNA COME w/ horns
IN MEMORY OF ELIZ REED
ONE WAY OUT w/ Thom, Seth Trucks (drums),Richard Bolger (trumpet) Jay Collins (sax), Christopher Karlic (baritone sax).
(30) March 20, 2004: THE ALLMAN BROTHERS BAND@ Beacon The third night of 9 sold out shows. Same seats as last year.
DON’T WANT YOU NO MORE
IT’S NOT MY CROSS TO BEAR
EVERY HUNGRY WOMAN
THE NIGHT THEY DROVE OLD DIXIE DOWN
GOOD MORNING LITTLE SCHOOLGIRL w/ Thom
WASTED WORDS w/ Thom
STATESBORO w/ Thom
ROCKING HORSE
NO ONE LEFT TO RUN WITH
KEY TO THE HIGHWAY w/ Thom
AIN’T WASTING TIME NO MORE
BLACK HEARTED WOMAN
THE SAME THING
NEED YOUR LOVE SO BAD
CAN’T LOSE WHAT YOU NEVER HAD
DON’T THINK TWICE (Susan Tedeschi- guitar/vocals)
DREAMS
IN MEMORY OF ELIZ REED
ONE WAY OUT w/ Thom
(31) Aug 24, 2004: THE ALLMAN BROTHERS BAND@ Jones Beach, Wantagh aka THE NO FUN ZONE. This is a Tuesday night gig. We have 12 seats and a tailgate party pre show. THIS WAS AN AMAZING SHOW for many reasons, the first being the opening number, Dr. John’s “Walk On Guilded Splinters” and the encore “Layla”, both are first listens for me in an ABB concert setting. Derek did reprise his role as slide expert similar to when he played with Clapton so needless to say he nailed this one, as did Warren on guitar, and both GREGG and Warren on vocals was a treat. Even though we don’t like the Beach scene this was a great night with friends and family enjoying the ABB under the stars.
I WALK ON GILDED SPLINTERS
EVERY HUNGRY WOMAN
TROUBLE NO MORE
AIN’T WASTING TIME NO MORE
WOMAN ACROSS THE RIVER
YOU DON’T LOVE ME
MIDNIGHT RIDER
STAND BACK
DREAMS TO REMEMBER
WHO TO BELIEVE
STATESBORO
MELISSA
BLACK HEARTED WOMAN
MOUNTAIN JAM
AFRO BLUE
MOUNTAIN JAM-REPRISE
WHIPPING POST
LAYLA
1.
(32)March 12, 2005: THE ALLMAN BROTHERS BAND@ Beacon The third night of 10 sold out shows and overall another amazing night. Warren is in complete control of the set list and invited guests. And the acoustic set is back featuring Derek and Warren (guitar duo), Gregg on a grand piano, and special added attraction-HUBERT SUMLIN. Wow.
REVIVAL
LEAVE MY BLUES AT HOMW
DONE SOMEBODY WRONG
HOT ‘LANTA
JUST AIN’T EASY
END OF THE LINE
FORTY-FOUR BLUES (Hubert Sumlin)
SMOKESTACK LIGHTNING (Hubert Sumlin)
INSTRUMENTAL ILLNESS
acoustic set
ONCOMING TRAFFIC- Gregg solo on grand piano
PLEASE CALL HOME _Gregg solo on grand piano
THESE DAYS- Gregg and Warren guitars
DEATH LETTER -Derek and Warren guitars
electric set
SOULSHINE
DREAMS w/ Jay Collins (sax)
ROCKING HORSE
NO ONE TO RUN WITH
ONE WAY OUT
(33) March 11, 2006:THE ALLMAN BROTHERS BAND@ Beacon The third show of a 14 night run of sold out performances, and ours was a goodie. Glenn joined us full time in our foursome and we have the same seats as in years past, second row in the loge. Glenn is a huge Skynard fan so one surprise guest made his night.Tonight was “The 35th Anniversary of the Live at Fillmore East Performances”.We also had PETER FRAMPTON as a guest guitarist in set 2 and the legendary ROY HAYNES on the skins.Too cool.Note: Over the many years and numerous ABB shows I saw ROY HAYNES with the BROTHERS 3 times.
DON’T WANT YOU NO MORE
IT’S NOT MY CROSS TO BEAR
EVERY HUNGRY WOMAN
WHO’S BEEN TALKING
MIDNIGHT RIDER ( Devon Allman-guitar)
GOOD CLEAN FUN
INSTRUMENTAL ILLNESS
I WALK ON GUILDED SPLINTERS
SIMPLE MAN (w/ Gary Rossington)
BORN UNDER A BAD SIGN (w/ Peter Frampton)
LES BRES IN A MINOR
MELISSA
KEY TO THE HIGHWAY
AFRO BLUE (w/ Roy Haynes(drums), Wil Calhoun(Living Colour-drums),Jay Collins (sax))
DREAMS
ONE WAY OUT
SOUTHBOUND( w/ Frampton, Collins,Calhoun)
(34)Dec 31, 2006: GREGG ALLMAN & FRIENDS @ Westbury Music Fair, Westbury, New York It’s NEW YEARS EVE and 3 couples have seats to see GREGG in a semi-round arena. Nice room, good seats, good friends, and great music. The horn section knocks me out and Gregg was in good voice. Highlight was THESE DAYS and MELISSA.
(35) March 24,2007:THE ALLMAN BROTHERS BAND@ Beacon The 4th night of a nine sold out show run. Same seats as always, lucky us.But the noise in the crowd was Gregg was erratic and appears ill, again. Oh boy, this could get ugly fast. Warren to the rescue.
STATESBORO
REVIVAL
LEAVE MY BLUES AT HOME
ROCKING HORSE
SOULSHINE W/ Ron Holloway- sax
THE HIGH COST OF LOW LIVING
ONE WAY OUT
COME ON IN MY KITCHEN-W/ Luther Dickinson-guitar
DREAMS w/ Ron Holloway
IN MEMORY OF ELIZ REED- Oteil and Derek- bass duo, Kofi Burbridge-flute, Ron Holloway- sax
MOUNTAIN JAM
DAZED AND CONFUSED(yes, that song_-Warren amazing)
MOUNTAIN JAM -reprise
WHIPPING POST
(36) May19,2007: DICKEY BETTS/ GREAT SOUTHERN @ Westhampton Beach, NY- Why oh why did we go and paid a pretty penny for the right to see a legend in a sharp decline. Its been 7 years since DICKEY BETTS was fired from the ALLMAN BROTHERS BAND and tonight I was so glad he hasn’t reappeared with them. He was drunk with slurred speech, could hardly stand, forgot words and stood idly by as his son took over when Dickey lost the lead on numerous songs. This was an embarrassment beyond belief. Now I know why they fired his fucking arrogant ass.
2008: The year of NO ALLMAN BROTHERS SHOWS at the Beacon. Gregg was ill and the band postponed their annual fest at The Beacon.
(37)March 21, 2009:THE ALLMAN BROTHERS BAND@ Beacon
Its been two years and we were eagerly awaiting the announcement that the ABB would return to the stage of the Beacon. That announcement came the first week of January and as always I prepared for the resale, hoping for the same tickets, the same seats, as in years past.Bingo, this year the band scheduled 15 shows at the legendary venue and all 15 sold out immediately as this year marked the 50th anniversary of the birth of the band. The first few shows had many guests: BUDDY GUY, LOS LOBOS, JOHNNY WINTER, TAJ MAHAL, LEVON HELM, TREY ANASTASIO, BRUCE WILLIS (?), BOZ SCAGGS, STANLEY CLARKE, and SHERYL CROW. The special guest for Thursday and Friday nights performances (we had Saturday) was none other than ERIC CLAPTON, so it was anticipated that he / or someone of his stature would reappear for Saturday night. But alas, it was not to happen. Our guest(s) was the horn section from The ASBURY DUKES with BRUCE HORNSBY and SUSAN TEDESCHI. Overall, it was a blast but not a true ABB performance. Gregg was up front for the first few songs and disappeared for quite some time.
LITTLE MARTHA(tease)/ INSTRUMENTAL
ONE WAY OUT
STATESBORO
BLACK HEARTED WOMAN
THE SAME THING (w/Jukes)
SOULSHINE (w/ Jukes)
LITTLE BY LITTLE (w/Jukes, Southside Johnny-harp,Susan Tedeschi-guitar/vocals, James van de Bogert-drums
DON’T THINK TWICE- Tedeschi- guitar/vocals
LOST LOVER BLUES- Tedeschi-guitar/vocals
STAND BACK-w/ Jukes/Tedeschi
GRANDMA’S HANDS (a Bill Withers tune) w/Hornsby-piano, Jukes, Tedeschi-vocals
IN MEMORY OF ELIZ REED W/ Hornsby-keys
THE NIGHT THEY DROVE OLD DIXIE DOWN w/Jukes, Hornsby
JESSICA w/Hornsby
SOUTHBOUND
with The Asbury Jukes Horns; Bruce Hornsby, keyboards; Susan Tedeschi, guitar & vocals
(38) March 13, 2010:THE ALLMAN BROTHERS BAND@ UNITED PALACE,NYC
WTF. The Dolan’s, owners of THE BEACON (and other places) scheduled the ABB each year boxing out most of the month for rehearsals and gigs. I guess after last year they were not to sure of the status of the band so the master of scheduling rented out the space for the entire month to CIRQUE DE SOLEIL. The ABB found solace in the UNITED PALACE, a theatre/church(huge) on 175th Street in WASHINGTON HEIGHTS, as we say in NY, “way the fuck up there”. Not really sure what was taking place, we entered the pool for the sale of tickets hoping for the best. Eight shows over two weeks was the announcement. We got the third show, the first Saturday in the run. Seats way up top.
DONE SOMEBODY WRONG
AIN’T WASTIN’ TIME NO MORE
STAND BACK
HOOCHIE COOCHIE MAN
HEART OF STONE (UNBELIEVABLY GOOD)
NEW INSTRUMENTAL
GOOD MORNING LITTLE SCHOOLGIRL
WHIPPING POST
LITTLE MARTHA>
BLUE SKY>
LITTLE MARTHA
DREAMS
NO ONE TO RUN WITH
THE SKY IS CRYING
IN MEMORY OF ELIZ REED (W/ BRUCE KATZ)
ONE WAY OUT
(39) August 3,2010: GOV’T MULE@ House of Blues, Myrtle Beach,SC
It was pretty late but I finally convinced the bride to go to the show.We got there as JACKIE GREENE was finishing up. She agreed to stay for one set of MULE,even knowing that GM can play for hours. We stayed for two sets and all the encores. They were that good.
(40) March 12,2011:THE ALLMAN BROTHERS BAND back where they belong@ Beacon 13 sold out shows with a host of special guests each night. Tonight we had DAVID HIDALGO joining the band.AND Tonight was the 40th ANNIVERSARY of the recording of AT FILLMORE EAST. So what better way to enjoy the night by the band playing the entire album in sequential order for the first set.
STATESBORO
DONE SOMEBODY WRONG
STORMY MONDAY
YOU DON’T LOVE ME
HOT ‘LANTA
IN MEMORY OF ELIZ REED
WHIPPING POST
MOUNTAIN JAM
TROUBLE NO MORE
THE SKY IS CRYING
DON’T KEEP ME WONDERING(W/HILDALGO)
GOOD MORNING LITTLE SCHOOL GIRL (W/ HILDAGO)
EVERY HUNGRY WOMAN
MOUNTAIN JAM (REPRISE)
NO ONE TO RUN WITH
(41) March 10, 2012:THE ALLMAN BROTHERS BAND@ Beacon with 10 sold out shows. Ours was the second night and featured an acoustic set then RANDY BRECKER joined the band. It was delightful.(Note: Last show of this run was without Gregg Allman)
STATESBORO
COME AND GO BLUES
DOWN ALONG THE COVE
STAND BACK
SAILIN’ CROSS THE DEVIL’S SEA
BLING WILLIE MCTELL
BAG END
ONE WAY OUT-w/AJ Ghent lap steel
Second Set
(Acoustic)OLD FRIEND-(WARREN/DEREK ONLY)
DARK END OF THE STREET (Gregg, Oteil, Warren, Derek,Marc)
DONE SOMEBODY WRONG-Gregg,Warren, Oteil,Marc,Derek)
(Electric)
REVIVAL
HOT ‘LANTA>
ALL ALONG THE WATCHTOWER>
HOT ‘LANTA w/ Randy Brecker-trumpet
DREAMS w/ Randy Brecker(amazing)
MOUNTAIN JAM W/ BRECKER & James van der Bogert-drums
SOUTHBOUND W/ Brecker,Duane Trucks-drums, AJ Ghent
(42) September 22, 2012: TEDESCHI TRUCKS BAND @ Beacon This is my first time enjoying the husband wife collaboration known as TEDESCHI TRUCKS BAND and what better place to see them then a loge seat at THE BEACON. I saw Susan with her solo outfit a few years back when she opened for BUDDY GUY. I also saw the DEREK TRUCKS BAND a few times and of course as part of the ALLMAN BROTHERS BAND .
LOVE HAS SOMETHING TO SAY
ISN’T IT A PITY (Geo Harrison tune)
EVERYBODY’S TALKIN (Fred Neil cover)
I KNOW (Trucks Band cover)
THE SKY IS CRYING (Elmore James)
THE NIGHT THEY DROVE OLD DIXIE DOWN (The Band)
MAHJOUN( Derek Trucks cover) w/ Marc Quinones
MIDNIGHT IN HARLEM
ROLLIN’ AND TUMBLIN’ (Hambone Willie Newbern cover)
SHELTER
ANYDAY/BLUE SKY(Derek&Dominos/Allman Bros)
THAT DID IT (Bobby Blue Bland)
OLD TIME LOVIN’ (Al Green cover wband intros)
UP TIGHT (Stevie Wonder)-truly spectacular
BOUND FOR GLORY
ANGEL FROM MONTGOMERY(John Prine)
SIMPLE THINGS
GET WHAT YOU DESERVE(Derek Trucks cover)
GIVE IT UP OR LET ME GO (Bonnie Raitt) w/Eric Krasno
(43)March 9, 2013:THE ALLMAN BROTHERS BAND@ Beacon Sold out 11 shows, ours was #6 in the run and were at our usual seats in the loge.
DONE SOMEBODY WRONG
MIDNIGHT RIDER
END OF THE LINE
WORRIED DOWN WITH THE BLUES
AIN’T WASTING TIME NO MORE
DUSK TILL DAWN (Bill Evans-sax)
JESSICA
STATESBORO(Davis Stoltz-bass)
YOU DON’T LOVE ME
ROCKING HORSE
BLACK HEARTED WOMAN
STAND BACK
IN MEMORY OF ELIZ REED>
DRUMS>
IN MEMORY OF ELIZ REED
SOUTHBOUND(w/Vaylor Trucks-guitar, John Ray-bass)
In January as THE BEACON run is announced, with it came the notification that DEREK TRUCKS and WARREN HAYNES will be leaving the band at years end.
Following the announcement three weeks ago that two key members of the Allman Brothers Band — guitarists Warren Haynes and Derek Trucks — would be leaving the group at the end of the year, frontman Gregg Allman has more bad news for the group’s loyal fans: It will stop touring altogether at the end of 2014.
In a new interview with Relix, Allman stated that he’s ready to move on. “This is it — this is the end of it,” he said. “Forty-five years is enough, and I want to do something else anyway. Everyone has their own real good perspective bands.”
(44)March 14, 2014:THE ALLMAN BROTHERS BAND@ Beacon- Something is amiss as we keep wondering, “Is this really the last year? The last time?” We sensed the end is near and knew the announcement. However, the boys sell out 10 night, ours is the fifth show and a Friday night which is unusual as we traditionally get tickets for Saturday. But here we are in the loge again, just down to three of us, but we took Glenn’s ashes with us. (NOTE: Gregg Allman misses the last two shows in this run).
DONE SOMEBODY WRONG
COME AND GO BLUES
WASTED WORDS
DUSK TILL DAWN
I WALK ON GILDED SPLINTERS (amazing)
GAMBLER’S ROLL
TRUE GRAVITY
HOOCHIE COOCHIE MAN
AIN’T WASTING TIME NO MORE
MELISSA
BLUE SKY w/James vander Bogert-drums
BLACK HEARTED WOMAN
SEVEN TURNS
ROCKING HORSE
GET ON WITH YOUR LIFE
IN MEMORY OF ELIZ REED
ONE WAY OUT w/Duane Trucks-drums
Six OCTOBER shows-THE FINAL RUN- were announced for The BEACON. My desire was to obtain one ticket for the very last night. Prices for a regular ticket for the first five nights was extremely high and the last show was mortgage size, ridiculous. Unfortunately, it was not meant to be as the shows sold out in a matter of minutes and I was for once “out in the cold”.
From ROLLING STONE:
The only note of sentiment during the Allman Brothers Band‘s October 28th concert at New York’s Beacon Theatre – their last at that venue and anywhere else, at least for the foreseeable future – came after more than four hours of music: three sets and an inevitable encore, “Whipping Post.” The seven members of the group – the surviving trio of founders, singer-organist Gregg Allman and drummers Butch Trucks and Jaimoe; the long-serving guitar team of Warren Haynes and Derek Trucks; and often overlooked veterans Oteil Burbridge on bass and percussionist Marc Quinones – lined up onstage and took a bow: a first at any Allmans-Beacon show I’d ever attended.
(Con’t)
That work, it seems, will stay undone. During the intermissions, a curious message appeared on the large video screen behind the band: “The road indeed goes on forever. So stay calm, eat a peach and carry on . . .” The individual members of the Allmans will certainly continue to play in some form and combinations. There may even be reunions. As for the guitarists, Derek’s R&B juggernaut with his wife Susan Tedeschi, the Tedeschi Trucks Band, recently played a transcendant Beacon run in September, and Haynes’ group Gov’t Mule will make their traditional holiday stop at that stage on December 30th and 31st. I went to the former; I don’t want to miss the latter.
(con’t)
But it will take more than a peach to get me through next March. It was never spring, I always said, until I saw the Allmans peakin’ at the Beacon. Tonight was a generous, continually thrilling farewell. It will make the leaving that much harder to bear. (My sentiments exactly)
(45) December 30, 2014: Gov’t Mule @ Beacon I already miss the ABB and The night before New Year’s Eve in Manhattan is not a great idea but I had to see Gov’t Mule at The Beacon-loge seats of course and I was rewarded with a great show. I was with one of my ABB buddies who informed me on the way home that next year I was on my own for MULE in December.We got home after 3 AM. Okay, you win.
WORLD BOSS
WHISPER IN YOUR SOUL
STOOP SO LOW
FORSAKEN SAVIOR
STRATUS(Billy Cobham cover)-amazing
THE JOKER/GET UP STAND UP(Steve Miler/Bob Marley)
BIRD ON THE WIRE(Leonard Cohen)w/Better Half Singers
THE LETTER (BoxTops)w/Better Half Singers
DONE GOT WISE
BROKE DOWN IN BRAZOS
TRIBUTARY JAM
MR.BIG (Free cover) w/ Simon Kirke-drums (unbelievable)
THE HUNTER >(Albert King/Free-cover)w/ Simon Kirke
GOOD MORNING LITTLE SCHOOLGIRL >w/Simon Kirke
THE HUNTER (Reprise) w/ Simon Kirke
GAME FACE>BIRDLAND>MOUNTAIN JAM
THORAZINE SHUFFLE
FUNNY LITTLE TRAGEDY>MESSAGE IN THE BOTTLE>
FUNNY LITTLE TRAGEDY(Reprise)
HOT LEGS- (Rod Stewart cover)w/ Carmine Appice-drums
STAY WITH ME(Faces cover) w/Carmine Appice-drums
(46)October 3, 2015: Tedeschi Trucks Band@ Beacon I missed the run of TTB for the last two years. I needed to go for this one. And here I am in the lower balcony first row, not a bad seat with my bride for her first TTB show, which she loved. Tonight’s bill is two sets, no opening act.
ALL THAT I NEED
MADE UP MIND
IT’S SO HEAVY
GET WHAT YOU DESERVE (Trucks Band cover)
MAHJOUN (Trucks Band cover)
COMIN’ HOME (Delaney/Bonnie cover)- great idea
SOMETHING (Beatles cover)
IDLE WIND
THE LETTER (Box Tops cover)
KEEP YOUR LAMPS TRIMMED AND BURNING
LAUGH ABOUT IT
ANYHOW
LET’S GO GET STONED (The Coasters cover)
STICKS AND STONES (Titus Turner cover)
BIRD ON A WIRE (Leonard Cohen cover)
CRYING OVER YOU
THE SKY IS CRYING (Elmore James cover)
FIRE AND RAIN (James Taylor cover)
Instrumental Jam
THE STORM
I WANT MORE
MIDNIGHT IN HARLEM
I GOT A FEELING (Beatles cover)
WITH A LITTLE HELP FROM MY FRIENDS (Beatles cover)
(47)Oct 7 2015: WARREN HAYNES – Ashes and Dust Tour/w/ JUSTIN TOWNES EARLE@ The Space, Westbury, NY Strange set up in a small venue. We took the very last row in the seated area, near a beer only bar. Not too bad. Warren is playing with a few guys from CHESSBOXER and a drummer JEFF SIPE.
Guitarist Warren Haynes returned to the stage with his Ashes & Dust Band featuring members of ChessBoxer and drummer Jeff Sipe last night at the Granada Theatre in Dallas, Texas. The Winter Tour opener featured a mix of material from Warren’s Ashes & Dust LP as well as choice covers and other favorites from Haynes’ solo repertoire.
Warren Haynes and the Ashes & Dust Band kicked off the show with a double dose of Ashes & Dust in the form of “Beat Down The Dust” and “Is It Me Or You.” The evening’s first cover was a take on Neil Young’s “Revolution Blues” which was followed by Warren’s ode to Jerry Garcia, “Patchwork Quilt.” It was then time for a trio of covers as “Instrumental Illness” from Haynes’ time in The Allman Brothers Band led into Little Feat’s “Skin It Back” and the Allmans’ “Blue Sky.” After a run of originals the ensemble ended the main set with one more Allman Brothers classic – “Jessica.” Warren and the band said farewell with a “Two Of A Kind Blues” encore.
SPOTS OF TIME
REVOLUTION BLUES (Neil Young)/JERUSALEM RIDGE
PATCHWORK QUILT (Phil Lesh and Friends cover)
BLUE SKY (Allman cover)>
INSTRUMENTAL ILLNESS (Allman cover)
LAY OF THE SUNFLOWER (Gov’t Mule)
BLUE MAIDEN’S TALE
COMPANY MAN
DUSK TILL DAWN (Allman cover)
HATTIESBURG HUSTLE>
DRUMS.>
HATTIESBURG HUSTLE (REPRISE)
STRANDED IN SELF PITY/HOTTENTOT
IS IT ME OR YOU
SKIN IT BACK (Little Feat cover)
JESSICA (Allman cover)
I BEEN TO GEORGIA ON A FAST TRAIN (Billy Joe Shaver cover) w/ Justin Townes Earle
(48)DECEMBER 30,2015: Gov’t Mule @BEACON Took a buddy of mine and he was amazed at the performance. So was I.
BLIND MAN IN THE DARK
MR.MAN
ANY OPEN WINDOW
FAR AWAY
ROCKIN’ HORSE>THELONIUS BECK
BEAUTIFULLY BROKEN
DOLPHINEUS
PAINTED SILVER LIGHT/HERE COMES THE SUN-tease
SOULSHINE/VOODOO CHILD
UNRING THE BELL/LES BRES IN A MINOR
ENDLESS PARADE
BAD LITTLE DOGGIE
I’LL BE THE ONE/BLUE SKY
SUGAREE w/Jack Pearson,Jimmy Vivino,Steve Kimock
I SHALL BE RELEASED w/ Kimock,Pierson and Chuck Leavell
DREAMS w/ Leavell,Pierson, Vivino
(49) Sept 9 2016: GOV’T MULE/ZZ TOP @ Jones Beach Probably the shortest set ever and a bit disappointed and then ZZ TOP did an uninspired set of hits. Nah, on ZZ TOP.
BAD LITTLE DOGGIE
STEPPING’ LIGHTLY
MR. HIGH AND MIGHTY
INSIDE OUTSIDE WOMAN BLUES #3
BANKS OF THE DEEP END
KIND OF BIRD (Allmans cover)
THORAZINE SHUFFLE
(50) October 8, 2016: TEDESCHI TRUCKS BAND @ Beacon The buzz was that Warren was there the night before. Oh my. Tonight No Warren but I had my bride with me again. She really likes this band.
ANYDAY (Derek Dominoes cover)
LAUGH ABOUT IT
IT’S SO HEAVY
DON’T KNOW WHAT IT MEANS
LEAVING TRUNK (Sleepy John Estes cover)
VOLUNTEERED SLAVERY (Rahsaan Roland Kirk cover)
I PITY THE FOOL (Bobby Blue Bland cover)
I WANT MORE
LES BRES IN A MINOR (Allmans cover)
IDLE WIND
CALLING OUT TO YOU
JUST AS STRANGE
WAH WAH (Geo Harrison cover)
LET ME GET BY
I GOT A FEELIN (Beatles cover)
ELENOR RIGBY (Beatles cover)
CRYING OVER YOU
HONEST I DO (Jimmy Reed cover) w/ Doyle Bramlett II
I WISH I KNEW HOW IT WOULD BE TO BE FREE (Billy Taylor cover)
SING A SIMPLE SONG (Sly/Family Stone cover) w/ Doyle Bramlett II
I WANT TO TAKE YOU HIGHER (Sly cover) w/ Bramlett
ANYHOW
WITH A LITTLE HELP FROM MY FRIENDS
(51)October 14,2017: TEDESCHI TRUCKS BAND @ Beacon w/ my Beacon buddy and his bride
KEEP ON GROWING (Derek/Dominos cover)
MADE UP MIND
UNTIL YOU REMEMBER
SAILING ON (Toots/Maytals cover)
PART OF ME
MIDNIGHT IN HARLEM
DON’T KNOW WHAT IT MEANS
HOW BLUE CAN YOU GET (3 Blazers cover)
THE STORM
DON’T LET ME SLIDE
DO I LOOK WORRIED
CHEVROLET (Lonnie Young Jr cover)
ISN’T IT A PITY (Geo Harrison cover)
THE LETTER (BoxTops cover)
I WANT MORE
I WISH I KNEW HOW IT WOULD FEEL TO BE FREE (Billy Taylor cover) amazing
DELTA LADY (Leon Russell cover) w/Trey Anastasio
MOUNTAIN JAM (Allmans cover) w/ Anastasio
A SONG FOR YOU (Leon Russell cover)
BOUND FOR GLORY
(52) TEDESCHI TRUCKS BAND (4th time) at BEACON October 5, 2018 with my bride and another couple we get the same exact seats as the previous year. When the band opens with a Jimmy Cliff tune, one which I love…oh my…
SITTING IN LIMBO (Jimmy Cliff tune)
DO I LOOK WORRIED
PART OF ME
IT’S SO HEAVY
ANYHOW
HIGH & MIGHTY
LEAVING TRUNK (John Estes tune)
VOLUNTEERED SLAVERY ( Rashaan Roland Kirk tune)
IDLE WIND
TELL THE TRUTH (Derek/Dominos)
DON’T DRIFT AWAY
LET ME GET BY
SWEET AND LOW
DON’T MISS ME (Derek Trucks Band cover)
MADE UP MIND
I PITY THE FOOL(Bobby Blue Bland tune) amazing Susan
BLUE SKY (Allmans cover) w/ Jimmy Herring
IN MEMORY OF ELIZ REED w/ Jimmy Herring
GOING,GOING,GONE (amazing Dylan tune) w/Doyle Bramlett II
GET WHAT YOU DESERVE (Derek Trucks cover) w/ Doyle Bramlett II
TICKETS TORN IN HALF: February 18,1972- Billy Joel with Beefheart
What a strange year 1971 was with the MANSON trial and conviction, Lt. CALLEY found guilty and THE TROUBLES in IRELAND even more intense that before with THE BRITISH adding internment without trial to captured IRA members. Television had a new hit with ALL IN THE FAMILY while the MARLBORO MAN and cigarette ads in general were banned. The Allman Brothers record the LIVE album and a few months later help close out FILLMORE EAST for good. The STONES relocate to France to avoid taxes, while George Harrison is bringing attention to BANGLADESH when it declared its independence from Pakistan.
Just when I thought that 71 was as crazy as it could get along come BLOODY SUNDAY in Northern Ireland, Israeli athletes murdered in the summer Olympics, NIXON is re-elected in a landslide over George McGovern, and someone comes up with the idea which later becomes known as WATERGATE, all while AMERICAN PIE is played endlessly on the radio.
With FILLMORE EAST closed most mid range (those avoiding or not as popular to play at MSG) entertained the Rock N Roll crowds at the ACADEMY of MUSIC on 14th Street or at THE CAPITOL in Port Chester, NY.
On February 18, 1972 ,a Saturday night when it snowed like crazy but I drove my trusty VW to NYC to see the J. Geils Band/Capt. Beefheart/Billy Joel @ Academy of Music, the Late show. I took a friend of mine who to this day states, “BEEFHEART stole the show”. The J.GEILS BAND was the rising stars at this moment. The opening act, Billy Joel, did an imitation of one, JOE COCKER, as well as bad mouthing his own current album “Cold Spring Harbor”, stating it was mixed at “Mickey Mouse speed” or something to the effect. In 1972 Billy Joel was virtually a newcomer to the NY stages.Granted we had seen him many times as the organist of the Long Island band THE HASSELS, as well as he being a member of the ill fated ATTILA, a two piece heavy metal-ish organ drum outfit, which was horrible.Tonight at The Academy was different. According to my journal which I usually wrote in after a show, BILLY JOEL played piano, did a song or two from “CSH”, another song about playing piano in a bar in Los Angeles, a song about getting high, and finished with THE STONES “Honky Tonk Woman”. My BEEFHEART notes were far more extensive so I guess one can determine which band I was there to see.
Anyway, back to the good ole days…I liked the HASSLES as a local live band (66-67@ Hullabaloo) and I especially enjoyed their HAMMOND B-3 (Rascals like)sound. So when opportunity knocked while in the record department of TSS I grabbed their first album on UNITED ARTISTS RECORDS, along with their 45 RPM cover of SAM and DAVE’s “You Got Me Hummin” which is labeled incorrectly as “You’ve Got Me Hummin” (jive ass white suburban kids). The album includes “Every Step I Take (Every Move I Make)” a tune written by Billy Joel ( with a great drum part which I practiced routinely)and the band’s cover of TRAFFIC’s “Coloured Rain”, a so-so rendition Also, this being the fifteen minutes of fame for another Long Island phenomena VANILLA FUDGE, The HASSLES did “A Taste of Honey” ala The FUDGE but worse, as a matter of fact it is laugh out loud funny bad.
Their second LP “Hour Of The Wolf” was released in January of 69 but I passed on it as did most of the record buying public.The band subsequently breaks up and Billy Joel has a short career as the duo ATTILA with Jon Small, drummer from The Hassles. They regularly played the “family” owned ACTION HOUSE which is another story unto itself. Billy then disappears to Los Angeles as a lounge singer, Bill Martin, before returning in 1971 with “Cold Spring Harbor” his first solo endeavor on Family Production Records.
While this collection of tunes was making little or no noise on the charts, BILLY JOEL starts to hit the clubs where his live act gains the notice of Columbia records which after intense negotiations buys out his previous contract. Billy Joel prepares to record “Piano Man”, his major breakout. November 9, 1973 it is released.
So my story is: from February 18, 1972 until November 18, 1973 I saw Billy Joel only once and that being the opening act for J.Geils Band/Captain Beefheart. To present, since the release of “Piano Man” he has a shitload of album releases, singles on the charts,multiple marriages and divorces, made millions of dollars,and has a “residency” at Madison Square Garden which sells out the minute a new date is announced, and he is a local guy to boot…yet I only saw him once.And most of my friends love to see him…regularly.
PS: I still have “Cold Spring Harbor” and the only other album is “Piano Man”.I sold the single at a nice profit.
TICKET TORN IN HALF: FEBRUARY 17, 1971- FACES (listed as SMALL FACES) and SAVOY BROWN, THE GREASE BAND.
The Spring semester began only a few weeks ago and it is obvious we are not the same group as we were in September. Many of my cronies disappeared from campus. Some failed out, two got busted, one arrested on campus and expelled, others transferred, one left without warning stealing about 40 of my albums(another story for a later date)… so the “clique”changed. The radio station gave me more responsibilities as “record librarian” and more hours on the air. It seemed to be that they liked what I was doing. The time at the radio station combined with being “business manager/co-editor” of the campus newspaper, officer in the student government, and a member of the concert committee left little time for academics. Fortunately, my course work was basically liberal arts basket weaving thrown in with my business classes. Needless to say, I was having too much fun while still maintaining a 3.5 GPA.
I called a girl I reacquainted with at The Dominoes (Suffolk Community) out on an official date to see THE FACES. To my sheer surprise she said YES. We took the train in and arriving in NYC, it started to snow pretty hard so I thought it best we eat in a place closer to the Fillmore. Inside the theater The Grease Band was a disaster without Joe Cocker, followed by Savoy Brown without Chris Youlden, Roger Earl, Lonesome Dave, or Tone Stevens, so we had only one hope left , THE FACES. And, THE FACES did not disappoint, as a matter of fact they were one of the best, most fun, bands I had ever seen.My date agreed. Ronnie Wood kicked it off on pedal steel with SWEET LADY MARY, the band cranked it up with I DON’T WANT TO DISCUSS IT, TOO MUCH WOMAN(an Ike Turner cover),The Stones STREET FIGHTING MAN, Rod Stewart out did Paul McCartney on Paul’s new tune, MAYBE I’M AMAZED, followed by Ian McLagen, Ronnie Lane, and Kenny Jones playing their roles in IT’S ALL OVER NOW,I’M LOSING YOU, LOVE IN VAIN,AROUND THE PLYNTH,AN OLD RAINCOAT NEVER LET’S YOU DOWN, GASOLINE ALLEY, THREE BUTTON HAND ME DOWN and an encore of Elton John’s COUNTRY COMFORT. All while we were seated in the second row center with me taping the show on my trusty cheap cassette recorder. It was a wonderful night, and we lucked out in catching the midnight train back home. Unfortunately it was still snowing and the drive to get her home took longer than I had hoped, and then I still had to travel one hour back to my room in a heavy snow. Got settled after 3 AM with the snow piling up all around me. Micro-Economics Class at 8AM, followed by Macro at 9AM. Something has to give soon.
THE FACES became a favorite of mine to see live as one never knew what to expect. The FILLMORE EAST night had the band chugging MATEUS wine, bottle after bottle which littered the amp tops, keyboards, and drum riser. It has been said the FACES refused anymore engagements at FILLMORE EAST for the fact that “you can NOT get drunk twice in one night”, meaning two sets per night is one too many. So who are these guys?
It’s early 1968 and on the clear evening with a wire antenna attached to my AM/FM Panasonic radio I can pick up CKLW 800-AM-“The Big 8” a station serving WINDSOR,Ontario and DETROIT,Michigan. THE BIG 8 is said to be “the blackest white station in America” playing a unique integrated mix serving Ontario, Detroit and some (clear) nights heard in Cleveland and as far as New York. Commercials needed the disclaimer “Not available in Ontario”.The only problem is the station, a Canadian broadcaster, legally had to play 30% of music from Canada, which in some cases was good as we were introduced to Joni Mitchell and The Guess Who.
So… “ here’s the #1 Canadian hit single ITCHYCOO PARK” by a band I had heard about but never “heard” their music. I wrote down the name of the band, searched for the record and finally found the 45 RPM. It was wonderful. “Itchycoo Park/I’m Only Dreaming” 45rpm on IMMEDIATE RECORDS. A few weeks later I had the album… “There Are But Four Small Faces” a US only release. “My Way of Giving”, “Tin Solder”, “Here Comes The Nice”, all great tunes. In the summer of 68, SMALL FACES-“Ogdens’Nut Gone Flake” which is a blast is released. It is a precursor for HUMBLE PIE to be sure and “Happiness Stan” is one of my heroes. A few years later I played side two in its entirety on my college late night radio program and never got one complaint. Either people didn’t care or weren’t listening. Makes no never mind to me, I loved that album.
Then, STEVE MARRIOTT leaves to form HUMBLE PIE with PETER FRAMPTON, JERRY SHIRLEY and GREG RIDLEY. “PIE” was phenomenal after they dropped the acoustic stuff, so powerful they literally “Rocked The Fillmore”.
The SMALL FACES now left without a frontman picked up two of JEFF BECK GROUP (#1) alumni who are unemployed due to BECK’S car accident. RONNIE WOOD, a bass player for BECK and a guitarist by trade, along with vocalist extradonaire ROD STEWART join up after IAN McLAGEN assists in the making of THE ROD STEWART ALBUM. Fun ensues at the recording so “WOODIE and STEW” join the SMALL FACES as the band is (still) known in The States. At home they are “Faces”, no THE, no SMALL, just FACES.
“First Step” is released spring of 70 followed by an extensive American tour lasting through November.The band plays at both FILLMORE EAST and WEST, BOSTON TEA PARTY, many colleges, The Action House, Unganos, just about any size venue, anywhere… everywhere.
The summer of 70, “Gasoline Alley” the second solo endeavor for Rod Stewart is released and becomes a huge hit. Another FACES tour is planned to which Rod commits while also continuing to record solo works.
February of 71, a few night after I saw them at FILLMORE EAST, “Long Player” by The FACES is out making some noise in the charts and on the road they go for another extended tour.
All is smooth and fun loving until EVERY PICTURE TELLS A STORY (May 1971) hits the charts with the single “Maggie May” becoming a worldwide #1 hit. While “Faces” were playing on Rod’s solo albums, FACES as a band was a separate entity, a touring phenomena. Unfortunately to those new fans only invested in hearing “Maggie May” they had to endure “Faces”, an otherwise great live band. Constant calls for Rod’s hits lead to a bit of distraction to the band members not named Rod.
“A Nod’s As Good As A Wink To A Blind Horse” released in November 71 showed the skills of Ronnie Lane as a vocalist and songwriter. His song “Debris” is only one indication of their past and their future.
Unfortunately, I saw them November 26, 1971 at MADISON SQUARE GARDEN (FACES/CACTUS/BULL ANGUS) and wrote a scathing review of the show and the crowd. “Joshua TV” with its closed circuit video system was used for the first time giving those in attendance a close up of FACES.The other bands were not included in this aspect of the show. Bull Angus was hard to hear which was a blessing, CACTUS muffled, and FACES drunk. My review got negative feedback from the big wigs at WB Records. My “freebie” privilege was revoked.
Rod Stewart’s solo “Never A Dull Moment” hits the stores in summer of 72 and goes to #1with the single “You Wear It Well” topping the charts.
Many are now considering Faces to be Rod Stewart’s “backing band” to the dismay of founding member/bassist and once a primary vocalist, RONNIE LANE.
During the winter, back in England the band starts working on “OOH LA LA”. Rod Stewart’s new pop star persona makes him virtually disappear from the recording sessions forcing Ronnie Lane to take control of a band which was originally his. When the record is released March of 73 Rod Stewart bad mouths the record in the press infuriating Ronnie Lane who after the tour to promote the album quits. The FACES continued on for 2 1/2 years without producing another album, basically touring as ROD STEWART and THE FACES.
May 10,1973 at Nassau Memorial …Ronnie Lane, one of his last gigs with FACES. Jo Jo Gunne opens the show, consisting of a few guys from the remnants of SPIRIT. FACES were good that night, Ronnie Lane exceptionally good. In the late 1970’s Ronnie Lane was diagnosed with Multiple Sclerosis (MS) which had effected his mother and two siblings earlier in life.
Back to ROD STEWART, in October 74 he releases “Smiler” which basically sucks. But continues to tour as ROD STEWART and FACES until …1976 , Faces no more. Ron Wood joins the STONES, KENNY JONES drummed for THE WHO after KEITH MOON’S death in 78.
In a few weeks I’ll write my rant about “April Fool” a great collection by the none other best of the best, RONNIE LANE.…
1968 polarized me. The news, not only in print but on TV and radio had vivid footage, reports from the field of the Vietnam Conflict. Gun shots could be heard in the background as the reports were being taped. The newspapers and magazines did not concentrate solely on the war abroad but also on the conflict developing on the home front, particularly the protests against the war occurring in every major city. The Anti-War Movement was big news. Campus sit-ins, teach-ins, black arm bands, fist salutes,“the long hairs versus the hard hats” with the hard hats being saluted as “Pro America” while the “long hairs” were depicted as “Anti-American”.
A blurb written in Howard Smith’s SCENES in the Village Voice (February 17) addressed a Janis Joplin performance at The Anderson Theatre. I remember being amazed at how Smith described the show. This particular Big Brother and The Holding Company gig, with B.B. King on the bill,was meant to be a “coming out” party, NY style for the recently (8 months ago) herald band’s performance at Monterey. Smith compared Joplin to Bessie Smith (whom I never heard at that point in time), Aretha Franklin, and James Brown. But Janis, is a white girl. Hmmmm, this had to be good.
Besides the VOICE with it’s legendary Howard Smith (SCENES) and Richard Goldstein’s POP EYE column, I read CRAWDADDY , RAMPARTS, ROLLING STONE (newspaper format)and EYE magazine along with the weekly hit paraders that the local stations produced, GO(WMCA), etc. I vividly remember THE MOTHERS OF INVENTION ads run that summer in THE VOICE for their Garrick Theater performances. Also, the first Rolling Stone magazine with John Lennon gracing the cover and pictures from Monterey Pop. However, the risk of bringing home or to work a copy of THE EAST VILLAGE OTHER (EVO) was always a challenge. Oh yeah, that summer I had an intern’s job at CHASE MANHATTAN BANK on Wall Street NYC. 75 bucks a week, wearing a tie, short corporate hair.This 16 year old was now “citified” as I traveled on a daily early morning commute from “out in the country” to the Big Apple.
At CHASE, each Wednesday was pay day and that would be the day I would head to the WALL STREET RECORDS store where I would buy an album or two. I would also slip an EVO from the news stand, cooly placing it on top of the pile of my vinyl selections. After purchase I would carefully place EVO in the bag containing the records. I would only consider reading the EVO in the sanctity of my own room as some folks in my home, or anywhere in fact would deem even the comics a bit obscene. Mom would have freaked. I loved it. Overall, it was a wonderful summer job. My cousin John worked around the corner and we would get together for lunches. At only 16, looking like I was a 12 years old in a suit, I still was served beer at lunch, no questions asked. I did have a phony draft card which I paid 15 bucks for, it had my name printed out, matching my school ID photo and it looked legit but I was never asked for it, anywhere.
That summer from my desk on the tenth floor of the Chase building I watched the TWIN TOWERS being erected two streets over. From my perch I saw TRINITY CHURCH where Alexander Hamilton is buried, the Hudson River a few streets over, and basically the world at large. At work I progressed from a “runner/go-fer” handling mail the first few days, to sitting in the Signature Verification Department, to later helping to find a $1,000,000.00 error all by the end of my second week. I got a raise to $95.00 and was given a desk with my own adding machine and phone. Cool. Every day I still volunteered to take all the outgoing materials to the data processing center on the ninth floor at about 4:30 PM. Everyone considered this a lowly task, except me. The pretty girl at the window greeted me with a huge smile, knew my name by week 2 and gave me the receipt promptly which allowed me the time to zip down the stairs, out the door to the subway all in hopes of catching the 5:08 which I did most evening.
1968: My record collection was growing in leaps and bounds and with a decent paying job and having a record store only a street away well…it was now mostly albums (vinyl) and some cassettes, with an occasional single thrown in.
THE BEATLES “The Beatles” aka The White Album. I already posted about my experience in the manufacturing of the cassettes of this collection but I needed the vinyl. Wore that sucker out.
THE JIMI HENDRIX EXPERIENCE- “Electric Ladyland,” this double set was a late year release,one which my girlfriend bought and I borrowed until she demanded it back so I had to get my own copy.I also picked up a 45 of “All Along The Watchtower” which I recently sold for 15 bucks.
JEFF BECK GROUP-“Truth” Arguments occur when I state that I like this lp better than “Electric Ladyland”. Most of my guitarist friends adored Hendrix and tolerated Beck, until they see him live. Different story they tell. This album was a killer , also bought on Wall Street that summer.
THE ZOMBIES-“Odessey and Oracle” yes the title is a misspelling and never corrected. This was one I bought on a lunch hour after seeing the poster of the band in a record store on Wall Street. Truly a gem “This Will Be Our Year”, the sheer fun of “Care of Cell 44” and of course the overlooked (for one year) “Time Of The Season”.
THE BAND-“Music From Big Pink” bought this early summer of 68, along with an accompanied 45 from THE BAND. Years later I won 5 or 10 bucks from a DYLAN fanatic who claimed the album was recorded AT “Big Pink” the house the band used for rehearsals. My disagreement lead to a minor argument, a few insults, and ultimately he handing over the money when he found out it was recorded in NYC and LA, not in the “basement”. I love being right.
THE DOORS-“Waiting For The Sun” I bought this the same day as “Big Pink’. Yuck, this album sucks, the gateway sleeve sucks, the photos suck,the songs suck, THE DOORS suck, yet I bought it so I suck,too.
ARETHA FRANKLIN- “Lady Soul”(my brother’s record but I took it constantly).Roger Hawkins on the kit,ERIC CLAPTON guitar, JOE SOUTH guitarist extradanaire on the unedited version of “Chain of Fools”,SPOONER OLDHAM keys and KING CURTIS on sax…what a line up and with the Queen of Soul at the mic…there is not one bad song here, geez, there is not one bad note.
“In December 1967, while he was still a member of Cream, 22-year-old British guitar phenom Eric Clapton was brought into a recording studio in the U.S. and asked to add a guitar part to Franklin’s powerful “Good to Me As I Am to You.”
BLOOMFIELD/KOOPER/STILLS-“Super Session” a great listen,especially the Mike Bloomfield side. Before this I thought of STILLS as just part of Buffalo Springfield. After this I thought of him as an amazing guitarist, which he is. Education is a strange thing, this educated me.
THE BYRDS-“Sweetheart Of The Rodeo” Not one of my friends had this, in fact not one of my friends like this. I was warned not to put it on at any house parties. My Pop liked it and that says alot. This album was a big change for the BYRDS, a big change for music, intro a new category “country rock”. God Bless Gram Parsons.Those in country music hated it, rock fans hated it, I loved it.
BIG BROTHER and THE HOLDING COMPANY-“(Sex,Dope and)Cheap Thrills”- this, contrary to popular myth, is not a live recording, only one track Ball and Chain is live, and what a great live track it is.
Dave Getz,drummer….“Cheap Thrills seems to have stood the test of time,It might be because it is arguably the greatest work by a great artist, Janis Joplin. It is certainly the greatest and closest representation of what Big Brother & the Holding Company was as a band and I would add to that argument that Big Brother/Janis as a band, and as a SOUND, was the embodiment of the San Francisco, psychedelic, counter-culture of the 1960s.”
CREAM-“Wheels Of Fire” their third album, a double lp set with one live the other studio recording. “Crossroads”,“Spoonful”, “White Room”, “Sitting On Top Of The World” and “Born Under A Bad Sign”, need I said more.
SMALL FACES-“Ogdens’ Nut Gone Flake” is a blast. It is a precursor for HUMBLE PIE to be sure and “Happiness Stan” is one of my heroes.I played side two regularly on my college late night radio program and never got one complaint. Either people didn’t care or weren’t listening. Makes no never mind to me, I loved that album.
THE ROLLING STONES-“Beggar’s Banquet”- to this day this collection is one of my favorite albums, not just by the STONES but by every other artist.
I got that record the moment it was released and it very rarely left my turntable for one full year. Side 1, Side 2, back to Side 1, and on and on. There are very few albums I can said that about, very few albums I listen to in its entirety without getting bored by a clunker or two. I was enamored by this collection of Stones tunes. The slick printed cover (American version which was completely different from the British cover), the photo spread inside, and the music. These songs were individually and collectively a great relief, a wonderful change in direction from the ROLLING STONES ’67 set of THEIR SATANIC MAJESTIES REQUEST, which I owned but never played all the way through. The only tunes I liked on TSMR were 2000 LIGHT YEARS FROM HOME and SHE’S A RAINBOW. The rest,rubbish.
Before SATANIC MAJESTIES I was stuck on BETWEEN THE BUTTONS(1967) (US version), especially side 1 which we played endlessly at my buddy George’s house.TSMR is/was nothing like BUTTONS. But then, BEGGAR’S BANQUET is released and with that a new STONES approach to the blues.The BB album was the real deal, and foreshadowed what would become of the STONES over the next few years and releases. To my ears Beggar’s Banquet was a Keith album as Brian Jones due to “personal reasons” is limited here to slide guitar on NO EXPECTATIONS, a harmonica on PARACHUTE WOMAN, DEAR DOCTOR and PRODIGAL SON. It was the last ROLLING STONES album to be released during Brian Jones’ life.
Side One Track 1, SYMPATHY FOR THE DEVIL, just listen to the title before you put the needle down, WHAT? Sympathy for whom? Are you kidding me? Conga, screams, maracas, Nicky Hopkins on piano, and THE WORDS…PLEASE TO MEET YOU, seriously this is not Satanic Majesties at all. WOW.Then the voices, Get down,hit it, guitar riffs…six minutes plus of sheer ecstasy . I danced around my room so many times shaking imaginary maracas.
Track 2:NO EXPECTATIONS, Keith on acoustic, Brian in a semi-sober moment plays slide. Bill with a few bass thuds,I still play this tune on my guitar, “never in my sweet short life have I felt like this before”.
Track 3: DEAR DOCTOR, humorous to say the least..”Help me please Doctor I’m damaged”…“preserve it right there in that jar”. Many a nights I sang this tune with like minded folks, very poor off keyed singers we were after a few cocktails.
Track 4:PARACHUTE WOMAN: acoustic guitar, electric guitar, some echo added to vocals, and Charlie beating it down, “join me for a ride”.
Track 5: JIGSAW PUZZLE: The drum beat is awesome, I played it thousands of time, Charlie was the man. “Me, I waiting so patiently, lying on the floor”.
SIDE TWO Track 1 STREET FIGHTING MAN: The guitar intro and then the drums…this was the tune revolutionaries were using as their theme song, well, pseudo- revolutionaries. Hey, it was a sign of the times.
Track 2: PRODIGAL SON: Not a Stones tune but a remake that they called their own.Charlie’s high hat work is exceptional, Mick’s vocals is a take on a blues man.
Track 3: STRAY CAT BLUES: This was sex, straight out.”I bet your mama don’t know you can scream like that”…
Track 4: FACTORY GIRL: I first thought this was the same riff from “2000 Light Years”, but no. As I was working in a factory at the time this tune made so much sense.”Waiting for a factory girl…”
Track 5: SALT OF THE EARTH: This is the one that did it for me. Aren’t we all salt of the earth? and when the drums kick in….”Let’s drink to the uncounted heads”…these words made so much sense to me…and then the mention…. “A choice of cancer or polio”.
Salt Of The Earth
The Rolling Stones
Let’s drink to the hard working people
Let’s drink to the lowly of birth
Raise your glass to the good and the evil
Let’s drink to the salt of the earth
Say a prayer for the common foot soldier
Spare a thought for his back breaking work
Say a prayer for his wife and his children
Who burn the fires and who still till the earth
And when I search a faceless crowd
A swirling mass of gray and
Black and white
They don’t look real to me
In fact, they look so strange
Raise your glass to the hard working people
Let’s drink to the uncounted heads
Let’s think of the wavering millions
Who need leaders but get gamblers instead
Spare a thought for the stay-at-home voter
His empty eyes gaze at strange beauty shows
And a parade of the gray suited grafters
A choice of cancer or polio
And when I look in the faceless crowd
A swirling mass of grays and
Black and white
They don’t look real to me
Or don’t they look so strange
Let’s drink to the hard working people
Let’s think of the lowly of birth
Spare a thought for the rag taggy people
Let’s drink to the salt of the earth
Let’s drink to the hard working people
Let’s drink to the salt of the earth
Let’s drink to the two thousand million
Let’s think of the humble of birth
TICKETS TORN IN HALF: The St. Valentine’s Day Massacre of 1974 with THE LIPSTICK KILLERS
Who are the mystery girls? Androgynous,what the hell is that? Are they boys?Girls?Neither? Both? See through silk blouses, high heels, strange hats, a bass player about nine feet tall wearing a New York Rangers jersey with tights and red knee high boots.Teased hair, pink drums, whew, this band will be a treat.
All this leads up to an event on February 15, 1974 known as the St. Valentine’s Day Massacre held at the notorious Academy of Music. New York City at that time was a dirt hole, a freakin’ sewer. Subway cars smelled of urine,their walls, doors, and windows covered with graffiti, all this decoration/distraction making for a great ride at 3 o’clock in the morning. The streets surrounding 14the Street, the demarcation between the hip south siders and the snobby uptowners, were filled with bums, drunks, hookers, and drug addicts. Nobody was using cocaine as their drug of choice, it was too expensive and passe, here it was heroin. This descent into hell started ages before but culminated musically, socially, when five guys put together a band known asTHE NEW YORK DOLLS. David, Johnny, Billy, Arthur,and Sylvain, collectively these five guys could be found playing everywhere in Manhatten. Every Thursday morning searching the Village Voice one could immediately find an ad for that band and plan a night out, all for about five bucks.
At that time 1971/72 there were not many places that allowed an original band to perform “their” music. In the Village you could find the jazz clubs, a folk club, and some small venues that would employ “recording artists”. The Fillmore East closed so the bigger acts, those that refused to play Madison Square Garden needed to find another venue.That’s when THE ACADEMY booked bands on a regular basis.
Some bands had a history with small New York City theaters. In the mid/late sixties THE MOTHERS OF INVENTION played every Wednesday at the Garrick Theater on Bleecker St. The FUGS played seven nights a week at the Players Theater on MacDougal Street and by 71 THE VELVET UNDERGROUND played twice a night, five days a week at Max’s Kansas City.
Things changed around the time THE COCKETTES/ SYLVESTER and HIS HOT BAND were booked for a five week gig Halloween of 1971 at the old Anderson Theatre on Second Avenue. To the uninitiated this was a big event in the art/ theater environment known as New York City, a must see show for the A-listers.The COCKETTES were a San Francisco drag-queen troupe of aging LSD hippies. NYC was a buzz, tickets sold out in hours, and a few lucky college radio folks like me grabbed some complimentary tixs. One just needs to check out Sylvester and His Hot Band and/or The Cockettes on youtube.com to see how the hippie world of the Woodstock generation was dying off. It was a “new dawn”
(Wiki)“News of the 47 Cockettes boarding the flight was covered by local television and the group took over the plane in full drag. Once in New York they were housed in a dingy hotel where heroin was easily scored but spent most of their time as celebrated guests at dozens of parties where they could eat and drink for free, running a tab at a local diner and getting free taxicab rides”.The Cockettes were still transitioning from being “a happening” to actually doing structured performances.The group had one week to prepare but they had few resources and little energy after all the parties. They were however the talk of town and their show was the hot ticket”. The Anderson Theater in New York City had no sound or lighting systems and needed a curtain. The stage was also twice the size of the Cockettess’ usual one so all the sets had to be rebuilt from scratch in six days.They opened with “Tinsel Tarts In a Hot Coma”, a send-up of films about Broadway in the 1930s.What had seemed so fabulous in San Francisco did not translate well in New York City. For most New Yorkers, it was “You’ve got to be kidding!,” and the celebrities the Cockettes had so wanted to impress were not impressed.Later, the Cockettes tried to explain their New York failure by commenting “the New York audiences did not understand us,” (although it appeared perhaps New York had understood them). After a week of disastrous “Tinsel Tarts…” playing to empty houses, they performed their original musical “Pearls Over Shanghai” for the remaining 2 weeks of their contract, and the Village Voice gave it a rave. But it was too little too late.Sylvester and his band was the lone exception but he disassociated himself after several nights on advice from his business friends.
So here we are at the precipice of change, the “new dawn”,moving from the long-haired, tie-dye T-shirt, patch jeans, and work boots of the LSD 60s, to the tight jeans , satin shirts, platform shoes teased hair of the heroin 70s.
THE NEW YORK DOLLS opened for Long John Baldry (June 72) at My Father’s Place in Roslyn, to less than favorable reviews from my friends who attended. “They suck”…but they also mentioned laughingly that I might like them, as I am the “musical snob who hates MOUNTAIN”. So this outing will be a test. It’s Tuesday night in August 1972, hotter than hell in NYC,smoking a Marlboro Red while standing in the crowd outside the Mercer Arts Center, just north of Bleecker Street at the end of Washington Square. All are anticipating what can only be best described as a true NY happening.The “I’ll see you next week” crowd is there, dressed as provocatively as one might expect of the band.The New York Dolls had a standing Tuesday night gig in the Oscar Wilde Room of the said Mercer Arts Center. This engagement started in early June and had been regularly reported in the local newspapers, television, and a few magazines. The only problem for a local tunnel boy like me would be that the show starts at 10 PM and one had endure two bands before “THE DOLLS” came on. I had work at 7AM Wednesday morning.
One could find THE DOLLS everywhere in NYC. They would be at The Palm Room of The Hotel Diplomat, then doing five nights at Max’s Kansas City, Tuesday’s back at Mercer Arts Center, mostly with The Magic Tramps in tow.
THE NEW YORK DOLLS were everything one could imagine, and to some, nothing. They were five guys who hit the stage, entertaining a crowd which adored them or hated them. They were offensive, brash, bold, and wonderful. You either walked out or you begged for more. Some night they were the best band in the world and other nights the worst (Voted BEST and WORST BAND by the readers of Creem Magazine 1973)
September 72, the band agrees to open for LOU REED, five nights in England. However, after their first sound check, for whatever reason, either being too good or too bad, Lou declines to allow them to play. Stuck in England,they soldiered on, even recorded a few tunes as demos. Then, the premier gig, they opened up for THE FACES at an outdoor festival.Some say they stole the show. A few days later Billy Murcia, the drummer, dies. New York City’s most popular unsigned rock’n roll band is without their drummer.
Returning back to New York the band calls on Jerry Nolan,a known entity, pink drums and all. The second incarnation of The New York Dolls plays on December 22 at the old Fillmore East in a series known as “Bands of the 1970’s” with The Magic Tramps and Teenage Lust. New Year’s Eve they are back to the Mercer Arts Center with The Magic Tramps (another unsung band of NY music), Queen Elizabeth(w/Wayne County), The Modern Lovers, Ruby and The Rednecks, in what is to be called “the endless party of 1973” a show starting at 11 PM and ending when the sun came up, maybe.
The Dolls played in various clubs; Kenny’s Castaway up on 84th St. Street and Third, opened up for Captain Beefheart at Town Hall (February 24) and then on St. Patrick’s Day of 1973, they perform on a bill with Larry Coryell, along with The Mahavishnu Orchestra at the State University of New York in New Paltz. My brother, Kevin Patrick, a student there, called me the next day, he being a huge fan of The Mahavishnu Orchestra, stated… “who the fuck were those guys, how could you possibly like them”. Two days later the New York Dolls sign a two album record contract with Mercury Records for $25,000. July 27th 1973 THE NEW YORK DOLLS (debut) is released.
THE DOLLS were now all over New York. They played the Gaslight Au Go Go, Coventry in Queens, Memorial Day weekend at The (formerly Electric) Circus with Barnaby Bye. August 3 while opening for MOTT THE HOOPLE at The FELT FORUM of Madison Square Garden, the Mercer Arts Center collapses to the ground.Its been reported that the unauthorized renovations of 1969 took out some weight bearing walls. Many in THE DOLLS camp looked at this as a bad omen,losing your home base. For the rest of August The Dolls head over to Max’s Kansas City for a residency. In late September they leave on the West Coast tour where they performed on TV show “The Midnight Special.” It would back with Mott The Hoople traveling through Canada for most of October and returning home for the notorious “Homecoming Halloween Bash” at the Waldorf Astoria’s ballroom. The press coverage alone for this event was unbelievable, decadence to be sure, and tickets for fans virtually impossible to obtain.
It’s a “Costume Party” at $7.50 a ticket featuring THE NEW YORK DOLLS. Over 2000 nut jobs arrive early. First problem is the venue as opulent as it is ,with all its prestige, only holds about 1000,legally. And some/most of that 1000 would be A-listers. The band is scheduled to perform after the “costume contest”, a contest of costumes one can only imagine.Doors were to open at 11PM but don’t until 1AM.The band is drunk/high/in poor spirits/hate each other/whatever.
“Oh my God, the Waldorf-Astoria regrets that gig! Hundreds of FREAKS strolling around the entire lobby area, blowing minds. The Dolls made us wait like an extra 90 minutes and then were hilariously drunk. They were totally awful, but, looked great. It made sense somehow.” stated Blinky Phillips, guitarist for THE PLANETS.
To promote the album they embark on an ill fated European Fall Tour. There the press straight out hated them, labeling the band as “mock rock” and a poor imitation of the ROLLING STONES.
With their tails between their legs they are back home to the safe environment know as NEW YORK CITY, February 15, 1974, on a show advertised as “The St. Valentine’s Day Massacre”, at the Academy of Music with Elliott Murphy, tickets sell out in minutes. The stage is readied for THE DOLLS, the lights dim, and a newsreel montage of Hitler invading France is played.WTF? Next a film “The Lipstick Killers” is shown, hey, that’s THE DOLLS…
Film ends…”Puss N Boots” kicks it off. THE DOLLS are on, not just on… but ON. “Bad Girl”,”Looking For A Kiss”, “Who Are The Mystery Girls?”, “Trash”, “Stranded In The Jungle” “Great Big Kiss”, “Chatterbox”, “Personality Crisis”, “Babylon” “It’s Too Late”, “Pills”, and “Human Being”…applause… “you want more?… “Jet Boy”, “I’m Your Hootchie Coochie Man”, “Back In The USA”.The universe is back in balance. The guys can do it, they can be stars.
Two months later, April 14,1974 the band performs at My Father’s Place in Roslyn, with The Miamis opening. “Babylon”, “Puss n Boots”,“Looking For A Kiss”,“Trash”, Stranded In The Jungle”, “Personality Crisis”, “Bad Girl”, “Pills”, “Hoochie Koochie Dolls”, “It’s Too Late”, “Chatterbox”, and the show closer “Human Being” all broadcast by WBAB-FM.
May 10,1974 “IN TOO MUCH TOO SOON” is released. It bombs and Mercury drops them almost immediately. THE NEW YORK DOLLS virtually disappear.
The band tours for a few months with Johnny Thunders and Jerry Nolan in a true heroin dependency while Arthur “Killer” Kane is an out and out drunk.
I didn’t see much in the press or hear much of The Dolls after their release, I do know they played the “Little Hippodrome” the small place between Second and Third Avenue, dressed in red leather. My friend said it was terrible. The band was falling apart, the spirit and the camaraderie that once existed between the performers and the audience was gone.Now, you didn’t know if Arthur was going to show up sober, didn’t know if Jerry was going to stand up,or if Johnny was going to throw up. David and Syl we are trying to keep the band together. However, in that short period of time THE NEW YORK DOLLS go from the sweethearts of New York City, to playing on a bill with THE FACES in Europe, on tour with MOTT THE HOOPLE, now relegated to playing shitty little holes with nobody, I mean nobody, nobody there.
TICKETS TORN IN HALF: Delaney, Bonnie and Friends with Eric Clapton- February 7,1970
With a bottle of red wine and two tickets to see Delaney Bonnie Friends with Eric Clapton we head out into a bitter cold night Saturday night, February 7 of 1970. ERIC CLAPTON was now touring as a member of DB&F. This was a dream come true show with Clapton away from that Blind Faith shit and having Rita Coolidge also on the stage, this would make the night complete. We met some older (by one or two years) town folks on the train ride in who also happened to be heading to the show. Live music became the topic for our small group. And we spoke, and spoke. Too cool, I held my own in discussing our musical tastes. Years later I continued to see these same guys going to the same shows as I was. Always had a fun train ride with them.
Eric Clapton was the man that night and the Fillmore East acoustics made him sound amazing. This was so much better than The Garden sound system when he played with Blind Faith.Tonight at FILLMORE EAST Seals and Crofts opened as did Wilbert Harrison. Both acts paled in comparison to the guitarist revered as GOD.
Eric Clapton – Guitar / Vocals
Delaney Bramlett – Guitar / Vocals
Bonnie Bramlett – Vocals
Rita Coolidge – Vocals
Bobby Whitlock – Keyboards / Vocals
Carl Radle – Bass
Jim Gordon – Drums
Tex Johnson – Percussion
Jim Price – Trumpet
Bobby Keys – Saxophone
The DB & F LIVE album came out a month after the show, so our expectations for the FILLMORE EAST show were high, our anxiety even higher. What would they play? Having seen the band (DB&F) opening for BLIND FAITH and throughly enjoying them, we had some ideas but with the addition of CLAPTON…all bets were off.
Partial set list:Things Get Better/Poor Elijah/I Don’t Know Why/That’s What My Man is For/Where There’s a Will There’s a Way/Crossroads/Coming Home/Little Richard Medley/
ON THE TURNTABLE: And the year was…1970
Every few weeks I post a review of the albums I listened to in a particular year. So today is one of those postings…AND THE YEAR WAS:1970
Strange freaking year for me.January of 1970 I just turned eighteen years old, awaiting graduation from high school, applying to colleges and possible facing the military draft. No matter what transpired the night before or what each morning brought upon us, we partied on.My job at the cassette factory recently closed so I had to find gainful employment to keep my obsession of attending live shows and buying recorded music. I found not one job but two; One working in a boat yard part time after school and full time on the weekends, as well as working evenings as a substitute cleaner/custodian in the local schools when called upon, which was regularly.That custodian gig paid off big time years later, but that’s another story altogether.I graduated high school in June, worked the summer, and headed off to college in September. There I immediately landed on the college radio station doing Friday night 11PM to Saturday 7 AM as well as an occasional afternoon show.
1970 Music: in no particular order or favor:
To me NEIL YOUNG’s third album “After The Gold Rush” (August 70)was better than CSNY’s (March 70)“Deja Vu” but not nearly as exciting as Neil’s “Everybody Knows…”. It’s 1970, so “…Gold Rush” is the perfect collection for the 8-track tape players we all installed in our cars. One copy of “Gold Rush” moved from one friend’s cars to other friends cars. Perfect “pot smoking music” was how it was once described.
After I and II the new LED ZEPPELIN album had to entitled “ III”.They are original…or maybe not, anyway “Immigrant Song” kicks it off, on from there it was electric, acoustic,electric back to acoustic. Cool stuff. The tune“Since I’ve Been Loving You” was copped directly from the obscure “Grape Jam”. Robert Plant was good friends with BOB MOSLEY of MOBY GRAPE so Zep stole from every one, being unscrupulous,unmerciful, but good.
VAN MORRISON’s “Moon Dance” was another staple on the ole turntable, as well as the new turntable/stereo which I had updated at this time. I now had an actual stereo system with true speaker separation… And loud,too.
THE WHO- “Live at Leeds” I bought this (vinyl), threw it on, cranked up the stereo and almost blew out the windows to my room.Simply said, it’s “DA ‘HO”…played it a 1000 times.
THE BEATLES “Let It Be” well… everyone bought this. No biggie here for me, I did buy it but hardly ever played it. I did buy the “Naked” version years later and must say I like the Naked better.
TRAFFIC: “John Barleycorn Must Die”-Summer of ’70, six songs, thirty five minutes, bravo. I was so glad BLIND FAITH was over and TRAFFIC together for another go round. This was a quite different TRAFFIC sound and another great tape to bring out with the boys on the corner.
Two from ELTON JOHN, “Elton John” and “Tumbleweed Connection”- After seeing ELTON JOHN (the trio) open for LEON RUSSELL @ Fillmore East, I was sold, this guy would be huge, but how huge I did not know.
BAND OF GYPSYS “Band of Gypsy’s”-I appreciated his uniqueness, his innovative approach but still was not a huge fan as were most of my friends. Don’t get me wrong, his first album was a gem, and “Electric Ladyland”, wow. Then I wanted to go to this FILLMORE EAST show, New Years Day 1970, even had tickets but that’s another story. After I got this album, I really regretted not going and had a higher appreciation of the artistry known as HENDRIX.
THE DOORS- “Morrison’s Hotel”, this is their fifth album. Their fourth sucked, horns and all. This was a “return to the blues” so said one reviewer. Which blues, I’ll never know. Better than “Soft Parade”, I’ll give you that.
CSNY “Deja Vu” Funny how I liked most of the tunes, except the Graham Nash ones. To this day, I still laugh at the words to “Our House”.With “Two cats in the yard”…”flowers in the vase”…yuck, this is rock and roll, Graham.
T.REX- “T.Rex”(1970 release) After reading about T. Rex and DAVID BOWIE in MELODY MAKER I contacted the record company and received a copy of the album for the radio station in January 1971. I took it home on the winter break and never brought it back.
DEREK and THE DOMINOS-“Layla and Other Assorted Love Songs” I saw the band at FILLMORE EAST in October before the album was released. November ,we get it at the radio station, and I throw it on in the lounge. “Little Wing” grabbed my attention, then that “Layla” tune was kinda special. We saw the band again in December at Suffolk Community College (another story), they never played “Layla” but we did on the station, constantly. During one of my overnighters I played the entire album along with the original version of some of the blues numbers.
THE GRATEFUL DEAD- “Workingman’s Dead” and “American Beauty” both were heavy rotation on my show and in my room.
MILES DAVIS: “Bitches Brew”- “Miles Runs The Voodoo Down” followed by DR JOHN’S “ Gris Gris Gumbo Ya Ya” can get one in a bit of controversy with the radio staff, especially when you are the new guy (me) and the offended party is the outgoing “thinks he is a big shot Assistant Program Director”, a guy who regularly plays a “Melanie Half Hour”. I still swear he removed “Bitches Brew” from the record library. Smart me, I’ll bring my own and play it again, just for fun.
Speaking of fun…THE STOOGES “Fun House” was not welcomed at my parent’s home nor at the radio station…no fun zone, I guess. Nor was the VELVET UNDERGROUND’s “Loaded” welcomed but I played “Sweet Jane”, “Who Loves The Sun” and “Rock & Roll” to no end. Throw in the MC5 “Back In The USA” and one can see why I was hosting a very late night radio show. rather than “the Breakfast Hour”.
And then there was THE KINKS “Lola Versus Powerman and The Money Go Round”, JETHRO TULL’S“Benefit”, VAN MORRISON’s “His Band and Street Choir” wonderful follow up to “Moon Dance”,
WOODSTOCK “TheSound Track, JOE COCKER’s“Mad Dogs and Englishmen”, ROD STEWART’s “Gasoline Alley,THE BEACH BOYS “Sunflower” and of course SPIRIT “Twelve Dreams of Dr. Sardonicus”.
Funny, by Spring of 71 I was in charge of the record library at the station, a true benefit for any record collector, AND was doing Tuesday and Thursday afternoons, with a weekend show… 16 hours total air time…AND NO HOLDS BARRED.
TICKETS TORN IN HALF: The KinKs (1969-1995)/ Ray Davies (1995-2010)
The KinKs
October 18, 1969 Fillmore East
February 21,1970 Fillmore East (cancelled)
March 26, 1971 SUNY@ Farmingdale
November 21,1971 Carnegie Hall
March 3,1972 Carnegie Hall
November 16,1972 Felt Forum
March 31,1973 St.John’s
April 6,1974 Felt Forum
November 28,1975 The Beacon
February 1, 1977 Palladium
August 1,1995 Westbury Music Fair
RAY DAVIES
October 19,1995 Academy on 43rd
February 17,1996 WestBeth Theatre
November 8,1996 WestBeth Theatre
October 20,1997 Westbury Music Fair
February 27,2010 Westbury Music Fair
THE KINKS:
October 18, 1969 Fillmore East
The KinKs was one of my favorite bands from the early British Invasion days. They had not played live in the USA in quite some time so this show scheduled for October 18 at FILLMORE EAST was a “must see” for me. From the very first time I heard YOU REALLY GOT ME on my small transistor radio I knew these guys were different. So when the opportunity to see The KinKs live became a reality I jumped at the chance. Four, balcony seats left side of stage, not too shabby a view and with a great sound system.
The Bonzo Dog Band opened the show. While the crowd waited for their “hit” URBAN SPACEMAN, we were treated to some of the best comedy, music, and visuals I had ever seen (in my limited experience). Just sheer joy, I laughed hysterically throughout their entire set. The singer pretending he was urinating on the light show, the silly hats they wore, the large eyeglasses, and hundreds of props. They were GREAT. Needless to say I purchased two Bonzo albums the next week.Then the amazing KinKs were introduced. Even though it was a short set and one without their pianist who as Ray Davies said, “cracked his skull” so Ray played piano for a few tunes. Overall, it was a fabulous set. Upon leaving the show I remember thinking, ahhh The KinKs and The Who, two of my favorite bands, all I need is The Stones and The Beatles. BTW SPIRIT, the headliners, hit the stage after The Kinks and were decent but Randy California is NOT Raymond Douglas Davies by any stretch of the imagination. So tonight it was The KinKs.
February 21,1970 Fillmore East (cancelled)
February in New York is always cold and this night February 21,1970 was extremely, extra cold, temperature wise and personally. Tickets were purchased for Savoy Brown, The KinKs, Renaissance, The Voices of East Harlem all at FILLMORE EAST. At the Fillmore The KinKs cancelled out at the last minute making my already sour mood worse.
March 26, 1971 SUNY@ Farmingdale
Back in college The Concert Committee was in full force. We got POCO signed up for SPRING BREAK and I petitioned as hard as I could to follow that success up with The KinKs. Finally, the contract was signed and the committee discussed who would announce the band to the audience. My name was offered and I was excited but the name I put out, Ronny, another Kinks fan, was the guy chosen. WOW, we had the KinKs coming to my school and when it was all said and done that show was an experience like no other. I got to greet the band upon arrival and showed the dressing (locker) room to them. They were drinking bottles of gin as part of their pre show preparation. By the time the band hit the show they were intoxicated and intoxicating, amazingly good. I hid a tape recorder in the speaker pod and pressed “record” just as the band hit the stage. After the show I helped to put Ray Davies into a car while his brother already in that car argued that he would not ride in the same car as Ray, so Dave had to be escorted to the second car while the piano player had to be moved to Ray’s car. Ray was now out of his car stumbling around the parking lot. Finally, safely in their cars, away they went. I headed to the bar around the corner with some other Committee members to celebrate our success.
Opened with “Till The End of The Day”, “Mr. Wonderful”,”Sunny Afternoon” “All Day and All of the Night”,”You Really Got Me”, Brainwashed”. A few nights later, the fiasco of The KinKs at Philharmonic Hall occurred.
November 21,1971 Carnegie Hall
November 21: KinKs@ Carnegie Hall w/ Lindisfarne, a show of shows. I took my new partner to meet all the boys and girls from Brooklyn seated in the three “dress” tiers boxes for which we had tickets.A few cocktails at the bar, a few more at our seats, and we were ready to go.”Top Of The Pops” opens the show, “Brainwashed”,Waterloo Sunset” Victoria” “Acute Schizophrenia…””Big Sky” and the obligatory “YRGM” and “ADAAOTN”.
March 3,1972 Carnegie Hall
March 3:The KinKs at Carnegie Hall-We couldn’t get enough at the November show so here we go again (about 20 of us) seated once again in the dress circle box. Drinks at the bar, drinks at the seats…”opened with the same song as November “Top Of The Pops”, “You’re Looking Fine” Muswell Hillbillies””Apeman” “2oth Century Man””Skin and Bones”…and all recorded for the “Everbody’s In Show Biz” release. This was a rabid fan base, with paper plates(song requests), a beer duel with Ray during “Alcohol”, and just a supreme appreciation for the artistry known as The KinKs.
November 16,1972 Felt Forum
Nov 16 The KinKs w/Mom’s Apple Pie @ FELT FORUM The KinKs open with VICTORIA and are still with THE MIKE COTTON SOUND for a few numbers. There is a decent live bootleg (not mine) of this night as the show was recorded for official release.
March 31,1973 St.John’s
March 31: KinKs/ Argent @ St. John’s Univ.ARGENT “Hold your head up WOMAN” as Rod Argent recently instructed us as to the proper words to his song were amazing as an opening act should be and then The KinKs complete with paper plates a flying. Got some great shots that night also.
April 6,1974 Felt Forum
Apr6: KinKs @ FELT FORUM This was THE PRESERVATION ACT 1&2 Tour with Mike Cotton Sound, Miss Pamela, etc. As much as I love the KinKs this is my least favorite time seeing them in concert and on record. Boring.
November 28,1975
NOV 28: KinKs @ BEACON This was one of those SCHOOL BOYS IN DISGRACE shows that I hated. YUCK.The Cockney Rebels opened. Double yuck.
February 1, 1977 Palladium
FEBRUARY 1: THE KINKS (8th time)/ SUTHERLAND BROS & QUIVER @ Palladium . The KinKs are still one of my favs even after the SCHOOLBOYS, the 1 and 2, etc so I needed to see The SLEEPWALKER Tour .The boys opened with ONE OF THE SURVIVORS and closed with VICTORIA, yeah, my Kinda KinKs.
August 1,1995 Westbury Music Fair It’s been 18 years since my last KinKs outing…
Aug 1: THE KinKs @ Westbury
The Kinks Return–All Day and All of The Night
Thousands Rock at Music Fair
By Anthony Bosco
An eclectic group of more than 2,000 came out Monday night to see the Kinks perform the first of two shows at the Westbury Music fair. The band added another performance following a quick sellout of their opening night in the metropolitan area.The band, led by brother Ray and Dave Davies in full force, reunited with former keyboardist Ian Gibbons for a quick tour of the eastern United States that stopped at Long Island this week. It was the first time in two years that the band from England has visited the New York City area.
“The Kinks have just arrived,” said band leader and songwriter Ray, 51, after playing several solo acoustic numbers to kick off the show. “A Well Respected Man,” “Dedicated Follower of Fashion,” and “Stop Your Sobbing” were among the acoustic tunes Davies played before the other four band members joined him on stage. The house lights dimmed and the Kinks ripped through a raucous version of “Do It Again” from the band’s 1984 album Word of Mouth. Several hard rocking Kinks singles followed, including “Low Budget,” “A Gallon of Gas” and “Sleepwalker.” But this was not a night of hard rock. At their most poignant, the Kinks easily slipped in and out of some of their most touching tunes.Reading an impromptu set list from paper plates that littered the stage, Davies led the Kinks in moving versions of “Dead End Street,” “Rock-N-Roll Fantasy” and “Waterloo Sunset.”
With fans ranging in age from pre-teen to post-middle age, Davies and his cohorts reached all with their trademark hits, including “Come Dancing,” “You Really Got Me,” “All Day and All of the Night” and “Lola.”Dressed in a Union Jack suit, Davies said, “Who knows, this might be the last time?” before leading the band in the English anthem “Victoria.” The set was short, lasting no more than an hour and 45 minutes, but the Kinks, as always, didn’t let their core group of fans down, nearly spanning a career of more than 30 years in just one night.
The Kinks, formed in 1964 by the brothers Davies, were part of the first British invasion of the Beatles, Rolling Stones and the Dave Clark Five. A series of commercial failures and disappointing record sales has not forced the band into retirement but into another phase of its musical history.A new acoustic CD called To the Bone has already been released in Europe and is slated for release here in the states in December or January. Davies has also recently released his first book, an autobiographical yarn called X-Ray, available in Europe and slated to be released on this side of the Atlantic in the fall.
The Kinks are scheduled to be back in New York City next month for a one-night show in Manhattan.
RAY DAVIES(Storyteller-Solo-The 88)
October 19,1995 Academy on 43rd
Oct 19: RAY DAVIES Storyteller #1 The Academy on 43rd
RAY DAVIES NYC ? Unplugged?(author unknown)
There was much to enthuse over. Davies ran through most of the Kinks’ hits in unplugged mode; himself on acoustic guitar with one guitarist accompanying him. This nudged the audience into realising what fine, durable songs they are: 30 years on, not one sounds dated or immature. We have long known that Waterloo Sunset, Days and Lola are classics; this treatment conferred equal status on minor hits such as Autumn Almanac and Dead End Street. Between classics , Davies read excerpts from his autobiographical X-Ray and told anecdotes: upstaging the Beatles on a package tour, growing up in Muswell Hill with younger brother Dave and older sisters. Mum frowned on the girls playing Billy Eckstine’s That Old Black Magic: the words were too sexy. Davies then sang it, a cappella, with a cheeky smile. “Mum was right,” he said finally: If you could bottle his charm you’d be rich
February 17,1996:Ray Davies: Storyteller@ WestBeth Theatre
Feb 17: RAY DAVIES @ Westbeth Theatre(program) NYC
POP REVIEW;The Life of Ray Davies Through Word and Song
By NEIL STRAUSS FEB. 16, 1996
In “20th-Century Man: An Evening With Ray Davies,” on Wednesday night at a Westbeth Theater Center decorated to look like an English pub, Mr. Davies of the Kinks chronicled his life in song and spoken word. His account, based on his recent autobiography, “X-Ray” (Overlook Press), took him from normal child to misfit teen-ager to upstart musician to exploited songwriter to wistful old-timer. There was one stage, however, missing from this chronology: the glory years of a star. For Mr. Davies, a life in the limelight was derailed in the late 60’s when he was temporarily banned from touring America and embroiled in a series of lawsuits over music publishing.
Despite a career spent in the shadows of the Beatles, the Rolling Stones and the Who, Mr. Davies developed into one of pop’s greatest songwriters. This he demonstrated by performing acoustic versions of “Waterloo Sunset,” “A Well-Respected Man,” “Victoria,” “Dedicated Follower of Fashion,” “Lola” and “The Village Green Preservation Society,” occasionally updating a lyric or two.
For a songwriter of Mr. Davies’s stature, Wednesday’s show (with Pete Mathison accompanying him on guitar) was surprisingly intimate, honest and well-staged. Sometimes his stories put the audience into a bygone era, as when he played his first hit, “You Really Got Me,” once after conjuring up the song’s recording session and a second time after speaking about its stressful but successful performance when the band was an opening act for a show by a cocky Beatles.
At other times, Mr. Davies offered new ways of listening to his songs, as when he interpreted “Two Sisters,” about the tension between a sibling who has settled into domesticity and another who lives a luxurious single life, as an analogy for his own jealousy of the freedom of his brother and band mate, Dave.
When old songs didn’t fit into Mr. Davies’s narration, he played new ones. Though these numbers depicted specific life experiences — a crush on an art-school student, a kinship with a neighborhood hunchback — Mr. Davies always stepped back in the choruses to make a larger point about pretension (in the first song) or how there is more to a person than can be seen by the eye or an X-ray (in the second). These songs, written in his late-60’s style, showed that Mr. Davies’s powers as a lyricist have hardly waned and that his voice was still capable of hitting the sweet high notes that can turn detailed observation into perfect pop.
The performance continues through March 3 at the Westbeth Theater, 151 Bank Street, in the West Village.
November 8,1996 Ray Davies: Storyteller@WestBeth Theatre (see above- second time)
October 20,1997:Ray Davies@ Westbury Music Fair(no notes) w/ Joe Bonamassa
February 27,2010: Ray Davies and The 88@Westbury Music Fair
The 88 open the show, Ray does his acoustic thing and then rewards the crowd with a stunning, KinKs hits filled electric set with THE 88 backing. Wow, what a way to head out of the place.
Over the last few years I saw DAVE DAVIES twice in small clubs with pick up bands. Not as exciting as a Ray show and not nearly enough to be called a KinKs show, even though he did some KinKs hits. The shows coincided with the release of his autobiography KINK and his album “Bug”.
ON THE TURNTABLE: The KinKs- “Then,Now and InBetween”
The other day someone posted a piece on their blog about a few clunkers that The KinKs put out as albums, specifically during this “Preservation: Act 1 and 2” “School Boys In Disgrace” and “Soap Opera” days. I agreed wholeheartedly that these albums basically stunk, except for one or two songs taken out of context so to speak. However, from the moment I heard “You Really Got Me” on WMCA-AM 570 radio in New York I knew this was a band that would be ingrained in my brain. What great riffs, words, energy. After the union band was lifted (1969)and The KinKs were allowed to return to the United States I had the pleasure of seeing them at the Fillmore East opening for SPIRIT. It was a night to remember, even though the reviews were dismal, I was astounded, and over the subsequent years I’ve seen the band 10 times and RAY DAVIES (solo) 5 times. Each show was unique and truly an adventure. Even during the “clunker” years aka their “theatrical period” a live KinKs show was fantastic. While the “theatrical period” records were difficult to enjoy, I take you back to the “classic” years as they are called now.(I hate that phrase)
1964: WMCA-AM (New York’s Top 40 radio) plays “You Really Got Me” by The KinKs- September 0f 1964 to be exact.Two weeks later I bought the single along with THE ZOMBIES ‘She’s Not There” at the local W.T. Grants. A few weeks later I had The KinKs “All Day and All of the Night” with the incredible b-side “I Gotta Move” and THE ZOMBIES “Tell Her No”.
Spring of 65:
The Kinks – first lp was released in 64 but I was a singles man at that time. By 65 I was into the harder stuff…albums. I bought the second (US) album “KinKs Size” first which had “Tired of Waiting/ All Day and All of the Night/Gotta Move” Then,having throughly enjoyed the second I bought the first US “You Really Got Me” album. On that collection I played “Stop Your Sobbing” over and over.“Kinda KinKs” was their next US release but I held off. But at Christmas i received “KinKs Kingdom” with its “Well Respected Man” and “See My Friends”.
In 66/67 I picked up “Face To Face” which featured “Dandy/You’re Looking Fine/Sunny Afternoon”. Then ,“Something Else By The KinKs” (1967) where virtually every track is a winner to KinKs fans…David Watts/ Death of A Clown/Love Me To The Sun Shines/Waterloo Sunset
But the “game changer” is/was “The KinKs Are The Village Green Preservation Society “ of January 1969. This was a masterpiece in my mind. (Note:just bought the 50th Anniversary Edition- all formats and it is still as fresh as it was then.)
About this time the band is working out their problems with the unions (American Federation o fMusicians) having received a ban in 1965 blackballing them from performing in the States.Years later,Ray Davies mused, “In many respects, that ridiculous ban took away the best years of the Kinks’ career when the original band was performing at its peak.”
1969: IT IS ANTICIPATED THAT THE KINKS WILL RETURN TO THE USA…but by this time it is five long years even THE DAVE CLARK FIVE, THE HOLLIES and HERMIT’S HERMITS had more Top Ten hits in the US than The KinKs. To most in The States, THE KINKS were forgotten, it being WOODSTOCK and all.The KinKs were now a “cult band”, a cult to which I was happily a card carrying member. An ad in the VILLAGE VOICE (August 69) encouraged the record buying public to send in $2.00 to REPRISE RECORDS to fund a campaign entitled GOD SAVE THE KINKS. My two bucks went in. A few weeks later I receive a box set complete with (fake) grass from The Village Green, a puzzle, a sticker, a GOD SAVE THE KINKS badge (which I still have) and included in the box was what is now, one of my most prized records “Then, Now and InBetween” . The ‘campaign” was done to help rejuvenate their careers in America . A few weeks later “Arthur” is released with the gems “Brainwashed” and “Victoria”.
The KinKs tour the US with a stop at Fillmore East October 18,1969.I am there, OH ,YES. Then,1970: Lola Versus Powerman and the Moneygoround,Part one: and everything changes…LOLA…L…o…l…a…LOLA.
