1969: Records in heavy rotation in my bedroom included the debut album from Led Zeppelin, Led Zeppelin II, THE BEATLES Abbey Road (which is a hard listen for me-sorry Beatles fans), THE WHO Tommy (another difficult record to listen to all the way through), KING CRIMSON’S In The Court Of The Crimson King a great record,one that for its time was truly unique, THE ROLLING STONES Beggar’s Banquet which never left my turntable and the follow-up release Let It Bleed, NEIL YOUNG’s masterpiece Everybody Knows This Is Nowhere, ZAPPA’s Hot Rats which help change my musical perspective, FLEETWOOD MAC’s Then Play On, CSN debut, Blind Faith’s one and only official release which is also a very strange record, Nashville Skyline by BOB DYLAN, The MC5’s Kick Out The Jams, Isaac Hayes’ Hot Buttered Soul which arrived unexpectedly when I did not respond in time to a record company selection deadline and glad I got this gem,Chicago Transit Authority double set before they shortened their name to CHICAGO, Jethro Tull’s Stand Up, Live Dead, The DOORS Soft Parade, PINK FLOYD’s Ummagumma, Jefferson Airplane’s Volunteers, and PROCOL HARUM’s A Salty Dog which was actually my brothers record.
Please excuse the absence of my ramblings. Since late October, I only posted sporadically as I was working through a funk, a period of time for self reflection, a sorta house cleaning if you will. In the end I hoped to return a better person; one more insightful, one with a higher sense of morality and empathy. Seems in the recent past I let other interfere with and cloud what I thought was right and just. With this new year comes a new approach, but don’t think for one second that this is a hokey new year’s resolution, for it is not. I chose today as an anniversary date to be remember similar to my choosing Ground Hog Day as the date I quit smoking 3 years ago this February. So, “on with the show”
THE BEATLES: I really don’t know what took me this long to purchase the newly re-released vinyl “WHITE ALBUM”. Guess it was the cost. At a few cent shy of 100 smackers for the vinyl, I hesitated, despite being hounded by the band’s weekly e-mail reminder that it was “on sale now”. The turning point was getting a gift card for a local record store from my son for Christmas. That gift pushed me closer to the sale, that and the 10% off coupon found in the local newspaper. So here I am today, the start of the new year, with the prized package safely secured in my record collection. As I entered the house the first question asked by my lovely bride of 45 years was, “Don’t you already have that on vinyl and CD?”. Yes, is my answer, “yes…But I needed it”.
Here’s my story:
September of 68 I was working after school and weekends at Dubbings Electronics, a factory making cassette and 8 track tapes. Cassettes were new to the music business at this time and Dubbings had the market pretty well covered. Their major clients included Vanguard, Elektra, Capitol Records and their minor labels to name only a few. Needless to say my music collection grew substantially each and every afternoon by at least one or two cassettes. Blues, folk, rock, jazz, whatever I could fit in my boot I took home; Country Joe, Dave Van Ronk, Quicksilver, Butterfield, Frank Sinatra, Dean Martin,Doc Watson, Buffy St. Marie, Ian &Sylvia, Skip James, Steve Miller and a host of others all found their way into my room.
One afternoon, Ruthie who worked in the “Mastering Lab” called me over to hear something she thought was unique, that is, something strange to her 50 year old ears. The“lab” was a climate controlled, sound proofed room, with thick glass windowed partitions. Basically it was an air tight room, with a red light occasionally blazing DO NOT ENTER over the door. One had to wear white gloves, a hat, and coveralls to enter the room. In its outer office was a bank of cassette players. Ruthie slipped a cassette into one of the machines and placed her very expensive headphones over my ears. Upon hearing the sounds, I was at first perplexed but knew instantly what it must be. “They say it’s your birthday.” It sounded like The Beatles. Then, a second test cassette was placed in the machine,“Number nine, number nine” repeated over and over, all with a cacophony of sounds, screams, horns, etc. Smiling I answered with more of a question, THE BEATLES?, I proposed. She then with her white gloves on, removed the cassette from the apparatus and put in another cassette…. HELTER SKELTER….THE BEATLES ,YES IT MUST BE THE BEATLES. She informed me it was a company hush hush job, no one was to know what we were putting together, not even her. Yet she proclaimed she had her suspicions and needed “verification” which was ME. No labels were found in the labeling department and no inserts declaring THE BEATLES were located in the inventory department, just a number 4XWL stamped on each cassettes. Over the next few days we manufactured one million cassettes (half a million packages as we found out this was a two record set) all produced and neatly secured until the November 15 shipping date. The entire factory, two shifts, was working on one project. Needless to say Ruthie slipped me a few early finished cassettes during week one, no labels just 4XWL which I suspected meant the newest product by The Beatles, later to be nicknamed “The WHITE ALBUM”. I shared my good fortune, a perk of the job if you will with some friends, friends who were skeptical at first but after a little while. agreed…yea man,it must be The Beatles.The labels and inserts arrived a few days before shipping which started the factory buzzing again as we were steaming on labels, insert cards with pictures of THE BEATLES were installed, a separate station was established for the black box enclosure as this project was a two cassette package never done by our company before, shrink wrapping with supervisors watching over the process and hand counting each item before securing it in shipments of 250 per box. Special boxes had to be ordered as Capitol products usually shipped in 500 per box but with the new configuration of the black box enclosure, well, that threw everything off. Shipping boxes were sealed by a supervisor who hand numbered each. The hand trucks were loaded by us flunkies and boxes placed in the shipping department awaiting mailing labels.Walls and walls of cardboard boxes each hand numbered sequentially safely secured. Finally, D-day arrived, huge semis took away our project and all was quiet again, except for my cassette player in the backroom where I counted 10 BUFFY ST. MARIE cassettes, 20 of another Vanguard artist, etc, until I hit the ordered number, labeled it for shipping to some obscure site in middle America.There in the confines of my inner sanctum played, THE BEATLES, over and over again.
TICKETS TORN IN HALF:October 12,1970- ROCK RELICS AUCTION@Fillmore East This was a Rock RELICS Auction which was scheduled to have “Surprise Guests”.The Auction itself was a blast hosted by WNEW-FM Dj John Zacherle. A professional auctioneer monitored the bidding. Guitars, clothes, posters, drum heads, sticks, etc, etc were all auctioned off with the proceeds going to “candidates for peace”. Guest acts included Edgar Winter, Mongo Jerry, Elvin Bishop (with the Pointer Sisters) Jake and The Family Jewels, and David Rea.To this day I still have the program with all the prices the items sold for.
TICKETS TORN IN HALF: AUGUST 29,1998: PETER GREEN’S SPLINTER GROUP @ TRAMPS. Immediately after this show I wrote a review which was published in a general fanzine from New Jersey and another one in PETER GREEN’s fan club newsletter out of England. To paraphrase my lengthy heartfelt item: “I went with great trepidation knowing the history of PETER GREENBAUM during his FLEETWOOD MAC days and the subsequent mental illness issues which made him virtually and literally disappear from the music business for years. He, Peter is THEE MAN who founded what was first known as PETER GREEN’S FLEETWOOD MAC, yes, the entire name, his upfront, aka The star of the show, “a guitarist’s guitarist”. The first album blew me away. While mainly listening to TEN YEARS AFTER (their debut) at the time along with a few other “British blues” collections, the first PG’sFM album stunned me”.
“ThoughtCo.” described the album as an ” inspired mix of blues covers”, and placed it in the top 10 “The Best Blues-Rock Albums Of The 1960s”. “Guitarist” (UK magazine) placed the album in “101 Essential Guitar Albums”, and John Tobler considered the album to be one of the “100 Great Albums of the 60s”.
I scooped up FLEETWOOD MAC the summer of 1968. While looking to purchase CREAM’s “WHEELS OF FIRE”, the salesman in the record store told me “this is the guy who replaced CLAPTON in Mayall’s BLUESBREAKERS and he is so good”.A few weeks later I took his recommendation, purchased the item and never looked back. As a matter of fact, I also bought JOHN MAYALL’S “Hard Road” featuring Peter Green.
The song “The Supernatural”, well, classic Green.November 22, 1969 I saw FLEETWOOD MAC live at FILLMORE EAST and he/they were better than advertised. Jaw dropping good. What a band, what a great guitarist. Then, before their scheduled 1970 show at FILLMORE EAST, Peter quit the band, his band, and started his “disappearing” act. Over the subsequent years I collected most everything I could regarding Peter Green, especially his/ their live stuff (mostly bootlegs): Mayall’s BluesBreaketrs, Fleetwood Mac in Boston, jamming with The Dead and Duane Allman at Fillmore East, etc. Forty plus pieces of sheer joy.
So here I am in TRAMPS on a hot August night in New York City 1998, twenty-nine years hence, not knowing what to expect. This small but quaint venue is sparsely populated tonight,plenty of elbow room so I am stationed upfront when the lights dim. “Peter Green’s Splinter Group” is the announcement to light applause.Peter looks, well noting like Peter Green of old, in fact, he looked old and very nervous. The band kicks in and Peter plays a few notes, mostly rhythm guitar, at best, and his guitar is obviously turned down real low. He doesn’t truly sing either as the other guitarist did most of the lead playing and singing.I was crushed. A few songs in,”It Takes Time”, “Homework”, and then “Black Magic Woman”, finally Peter arrived,somewhat. The sweetness could be heard coming out of his amp. He looked as if he was concentrating so hard to play the notes, but he nailed it, for me anyway. My buddy hated it. “Albatross”,”The Supernatural”, ”The Green Manalishi”, oh my, the line in Manalishi rang true “making me see things I didn’t want to see”, his playing was tentative but worth every second.
B.B. King once commented, “He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats.”
I made it back one more time to see Peter Green in September of 2000 at B.B. King’s in New York, John Mayall’s Blues Breakers and Peter Green’s SPLINTER GROUP. Peter was so much better this time, more relaxed, and did an acoustic set of tunes. After the show Peter signed our ticket stubs and spoke to us about (true) The NY FOOTBALL GIANTS. Yes, he did.
Recently, I saw a documentary about Peter Green and his struggles with mental illness. His medications seem to be under control and he is articulate, humorous, and willing to speak about the band, his music and his life. God bless him. He still has a strong distaste for the “music business”.
(1)November 22, 1969: JOE COCKER and THE GREASE BAND/ FLEETWOOD MAC/ KING CRIMSON
(2)August 29,1998 8/29/98 PETER GREEN’S SPLINTER GROUP@ TRAMPS
(3) September 7,2000 PETER GREEN’S SPLINTER GROUP@BB Kings
ROCK’S IN MY HEAD- CHAPTER 31: BACK TO SCHOOL: SENIOR YEAR (Part1)
With only one full day of my senior year of high school under my belt I needed a rest so I took the afternoon off from work and travelled back to The Pavilion grabbing tickets at the door to see The MC-5, The Stooges with David Peel and The Lower East Side. These bands, two from Detroit, and Peel from NYC,were not my usual fare of British blues bands or San Franciscan hippies. These guys were what has been called “radical chic”. After seeing a TV news segment about The Stooges I knew that this band intrigued me and I should make an attempt to see them LIVE whenever they hit town. This particular show was enlightening to say the very least. It started late, finished later, and the crowd, not as dense in population as the Led Zeppelin show a week earlier, can best be described as “crazy”, made up of mostly drunken guys,who were also very high and a bit dirty, so my outfit for the evening did NOT fit in. But, did I fit in either? That was the question.
The Stooges had a nice droning sound with a lead singer with….ah, charisma? Eventually he had no shirt and pants that barely stayed on his hips while shaking his skinny ass toward the crowd. His performance had every one’s attention…I WANNA BE YOUR DOG, 1969 OKAY, What were they doing? What were they saying? I didn’t exactly know what was happening musically but I knew this was different, very, very different.
The stars of the evening,The MC5 were awesome, almost in the way The Who did it for me a few months previously. These guys were loud, fast, riotous, revolutionary, all with a coordinated choreography. The dance steps were just as amazing as the music was loud. I took something away from this show… on the car ride home I heard a new Creedence song on the FM radio and thought to myself, “What is that shit?”, yeah, The 5 and Stooges helped steer me in new direction; guitars, bass and drums…loud and louder if possible, and the lead singer doesn’t necessarily need to know how to sing. Who needs love songs anyway? And I needed to skip school the next day.
It was about this time that I thought I should buckle down for my last year of high school. I survived so far with a B+ average which should have been higher but I didn’t care. I had all the necessary credits to graduate already chalked up except English 12. Religion and PE were required but didn’t count as full credit courses. To fill my schedule I continued taking art classes and two history electives. My schedule had a study hall every other day first period which would be a problem for my brother as I would like to hit the diner those morning. If he rode with me in the car, it was the diner for him too. I didn’t mind paying the 25 cents school fines for being late, and an additional 25 cents for signing in while being out of uniform as my tie and jacket would remain in my locker.
At this time a bunch of us planned on attending TEN YEARS AFTER at FILLMORE EAST. I grabbed some good Orchestra tickets for the Saturday night early show fully anticipating another great night of scorching TEN YEARS AFTER blues/rock. The show was as advertised, great. The Flock, a horn ensemble with a violin player to boot opened the festivities for the evening and closed their set with a KinKs tune, TIRED OF WAITING. Very cool. Mother Earth was next up. “Boring as boring can be”is the way I described that act to my friends. Still to this day one of my all time LEAST FAVORITE ACTS is Tracy Nelson fronting MOTHER EARTH.
TYA, that’s what was printed on the buttons we were handed as we entered the venue, rocked the house (Spoonful,Good Morning Little School Girl, I Can’t Keep From Crying, Hobbit,Help Me and of course I’m Going Home, the same exact set as played a few weeks ago in Freeport (and I bet same set they played at Woodstock) with a few Chuck Berry encores thrown in. TYA did Chuck Berry better than Chuck Berry. Alvin Lee was tearing it up, Leo Lyons’ head bouncing along to his bounding bass, Chick Churchill standing, clapping, leading the audience from atop his Leslie, and Ric Lee pounding out the back beat. Sold, they were my new FAVORITE live band, a sentiment which could change nightly. Sweating we hit the night air totally satisfied and spent. The gang walked slowly through the Village proudly wearing our TYA buttons.
A few days later I took the program from the show to school. A (attractive) female classmate who paid no attention to me the last three years noticed the program, perused it, and we, she and I, became instant music buddies, opening a whole conversation with a whole new sphere of friends for me. Ah, senior year was not going to be a drag after all. Not only did I feel differently, the way I was seeing things or being seen was different.
The following weekend we two, my girl and I, were back at the same hall, almost the same orchestra seats as the TYA show, middle section a few rows back from the stage to see Crosby Stills Nash who now added Neil Young.This show was originally schedule as CROSBY,STILLS and NASH for August but was postponed. Now, a month after Woodstock here they were as CSN&YOUNG. Ahhhhh… The opening act, Lonnie Mack playing his Flying V Gibson was very tasty, and of course he did his version of Memphis.
The week of the Led Zeppelin show in May I had purchased a new pair of boots from a shoe shoppe on West 8th Street, a few doors down from Orange Julius and ElectricLady Studio. The night of CSN&Y I was wearing these boots and my girlfriend noticed Graham Nash had on the same identical boots. At seventeen years of age, sitting at a Fillmore show with a slight glow on, listening to Graham’s Nash playing his acoustic guitar, while wearing the same boots as me,yes, life was great.
CSN played Suite:Judy followed by a few tunes before Neil joined in as did a bass player and drummer. The highlights were Broken Arrow, Wooden Ships and the closer, Down By The River. Again I brought the program to school, and met some more like minded classmates. My new music buddy (female) from last week invited me to smoke a joint behind the school at lunch. Somehow, I should have sensed that this might not be a good thing. Not that smoking a joint behind the school was a new thing to me but with this girl…
NEWS: What the hell is going on? Chicago is at it again, this time it’s the WEATHER UNDERGROUND- a radical group known as The Weatherman- who are demonstrating in protest of the CHICAGO EIGHT TRIAL. The National Guard is called in.
Hundreds of THOUSANDS of people are demonstrating against the WAR and in baseball world the NY METS win the WORLD SERIES, 4 games to 1, over the Baltimore Orioles.YOU GOTTA BELIEVE.
TICKETS TORN IN HALF: August 26,1980-The B-52’s/Pylon@ Wollman Rink in Central Park It has been exactly one year since The B-52’s opened the TALKING HEADS show at this very venue and now we are days away from the release of their second album. There has been some airplay of a few of their newer tunes.We are ready as The B-52’s are becoming huge in NY. This night, after a short but interesting set from PYLON (a band being championed by The B-52’s out of Athens, Georgia) the beehived B’s took to the stage and rocked this NY City crowd into a frenzy. We had a blast with Downtown, Rock Lobster, 52 Girls, 6060842,Planet Claire, Dance This Mess Around,Private Idaho.
From RHINO.COM The B-52’s legend goes like this: in October 1976, Fred Schneider, Kate Pierson, Keith Strickland, Cindy Wilson, and her brother, Ricky Wilson, shared a Flaming Volcano at a Chinese restaurant in Athens, GA and soon found themselves in the midst of a jam session. Blame it on the alcohol or the camaraderie, but the end result remains the same: The B-52’s were formed, their name taken from a type of beehive hairdo, which had taken its name because it resembled the nose cone of the aircraft known as the B-52.
Mind you, it took a few months for the newly-minted fivesome to get themselves together enough to perform a real concert, and when they did, it was at a Valentine’s Day party for their friends, so it’s not as though it was at a paying venue or anything, but it hardly matters: by the end of their performance, they’d proved themselves to be a real band. In short order, they were playing around the area, and by 1978 they’d recorded and released their first single, “Rock Lobster,” which turned them into cult sensations.
TICKETS TORN IN HALF July 9, 2000: THE WHO @ Jones Beach
Let it be known that I loved THE WHO, especially live WHO. Noticed the past tense as in LOVED, now I just tolerate THE WHO or better yet,I tolerate what is left of THE WHO. My collection of first day issued WHO records ebbed early on, as in QUADROPHENIA,which I still don’t own. Let’s take the time machine back to some singles I bought in 1967. One on TRACK RECORDS even.“Happy Jack” b-side “Whiskey Man”, “Pictures of Lily”, “ I Can See For Miles”, then it was time for some albums (67) “A Quick One”, Christmas of 67 I got “Sell Out”, then (68)”Magic Bus On Tour”, and finally I picked up the first lp “My Generation”.In 69 I purchased “Tommy”, and picked up my favorite (70) “Live at Leeds”. “Who’s Next” came after seeing the band at Forest Hills the summer of 71. That is the last official WHO album I paid for. However, I did accumulate many Rareties, bootlegs from Fillmore East, Woodstock, Monterey Pop, Live at other venues, 30 Years of Max R&B, the 1st Singles Box Set, The Kids Are Alright, etc, etc.
My times with THE WHO -LIVE
JUNE 6, 1969: THE WHO/CHUCK BERRY/ ALBERT KING @ FILLMORE EAST After finding out how easy it was to obtain tickets for shows at FILLMORE EAST, I ordered two seats for CHUCK BERRY and ALBERT KING for the Friday night early show, June 6. I was especially looking forward to hearing Albert King live as I wore out his LIVE WIRE BLUES POWER album. The tickets arrived in record time. When I attended the Zeppelin show I looked for where I would be seated for the Albert King show(fourth row aisle seat on the left). Too cool, really nice sight lines. Then it happened. At the Led Zeppelin show, the stage announcement was made that an additional act would be added to the Albert King Chuck Berry bill, headlining now would be…. THE WHO. OMG… I was ecstatic…But How?
Actually, The Who had played the Fillmore East only two weeks prior to the Led Zeppelin show. During their performance that weekend a fire occurred in the adjoining building. A Fire Marshall, not in uniform, attempted to evacuate the premises of the Fillmore by taking the stage. Pete Townshend The Who’s guitarist got into an altercation with the “undercover” official. Townshend thinking that this guy was a nut job hit him and an arrest of Pete Townshend abruptly ended the show. So this new show, the one I had two tickets for was labeled as THE TRIUMPHANT RETURN OF THE WHO.
Their album which has been labeled a “rock opera” TOMMY was released only a few short days(May23) before this rescheduled performance and the songs from TOMMY were already in heavy rotation on the radio. So there I sat four rows back from Albert King, he dressed to the nines in a dark suit, white shirt and tie, while playing a short but sweet set on his Flying V guitar, BORN UNDER A BAD SIGN, PERSONAL MANAGER,AS THE YEARS GO PASSING BY and STORMY MONDAY. I was amazed at his performance, his grace, and his size, the man was HUGE. Chuck Berry, a rock and roll legend was up next doing what I found out years later was his traditional set list. It was nothing too outstanding for my eyes and ears except seeing him doing his duck walk. Chuck was a visual performer and closed with MY DING A LING a really stupid sing along song which I found embarrassing. He reappeared for an encore and was gone and forgotten by me almost that quickly.
THE WHO on the other hand was fantastic. I sat in awe the entire time, mouth opened kind of awe, brought on by the sheer power of the band. Daltry,bared chested, draped with a fringed vest while swinging his microphone, Townshend windmilling on the guitar, Entwistle’s magical fingers running up and down the frets on his bass, and then Keith Moon on the kit, all amazing, and so very loud. CAN’T EXPLAIN, New TOMMY stuff, SUMMERTIME BLUES, MAGIC BUS, needless to say my very limited concert experiences I just had a new threshold to beat and that would be… THE WHO. Live music to me became a real education and soon an obsession.
OCT 25, 1969: It has only been about 5 months since their last performance at FILLMORE EAST but 5 months in 1969 was an eternity for a rock band. Scheduled as THE WHO “TOMMY” @ FILLMORE EAST for Six nights, just THE WHO, no opening act and – WOW was this loud as THE WHO brought their own sound system, all 45 speaker cabinets worth cluttered the stage to premier their rock opera TOMMY, mixed in with a few hits and misses. First time a band played FILLMORE EAST midweek and for 6 consecutive days AND allowed to use their own PA.Two sets with an intermission between. Keith on UNION JACK Premier drums. WOW/LOUD/UNBELIEVABLE is all I wrote in my notebook after the show.
August 1,1971: THE WHO/ LaBELLE @ Forest Hills in the fourth row center. My tape IS the bootleg out there, thanks to my buddy selling a copy I made for him, I didn’t agree to it at all. Who’s NEXT will be released shortly. This arena being a much larger than FILLMORE EAST and outdoors as well, the music was not as powerful as last time. Even though I was so close to the stage I could not feel the intensity in my chest and I needed that from THE WHO.
Sept 13,1979: THE WHO@ MSG. My fourth visit with the band.THE WHO did not tour the US since 1976 and now they were a five piece unit with KENNEY JONES (Faces) on the kit for the deceased KEITH MOON and RABBIT on keyboards. The band also added a three piece horn section on select numbers. In my opinion, even though I throughly missed MOON, I felt that THE WHO made a triumphant return to the NY stage playing a 22 song set plus encores.
1982 THE WHO were on the road in their first attempt at a “FAREWELL” playing SHEA STADIUM with THE CLASH as the openers. I don’t do stadiums so I opted out even though all my friends were going with great seats. I sat at home listening to SHOOT OUT THE LIGHTS by Richard and Linda THOMPSON.
Jan 30, 1996: JOHN ENTWHISTLE @ Tramps w/ Godfrey Townshend ( no relation to Pete) on guitar. This was a fantastic night celebrating my 44th birthday with friends listening to THE OX rock this small but great venue.
July 20, 1996: QUADROPHENIA @ MSG Not billed as THE WHO but rather as Pete, John and Roger with a host of others performing QUADROPHENIA in its entirety for Six nights at the World’s Most Famous Arena. Gary Glitter, Billy Idol, a horn section, Zak Starkey on drums (that was a huge plus), and all my buddies to see (for the fifth time) THE WHO (screw how they billed it) playing for the first time since 1989. An acoustic “Won’t Get Fooled Again” as one of the four encores and we got “Magic Bus” that night.
July 9, 2000: THE WHO @ Jones Beach Amazing, they are back.As a five piece. This being the last show of a very short US tour. Tonight, they did every song, that I wanted to hear. (“Can’t Explain”, “Substitute”, “Anyway, Anyhow Anywhere” and they including MAGIC BUS”) And being the last night Pete famously smashed his guitar at the end of “Won’t Get Fooled Again”.Followed by 3 encores.
May 22, 2004: THE WHO @ MSG This was a very short tour of the States consisting of stops in Boston and New York. My 7th time seeing what is labeled as THE WHO. I guess Pete has all rights to claim the name when he stands along side of Roger. Tonight they did all songs penned by Pete Townshend, except Mose Allisons’ “Young Man Blues” which was an encore. We arrived early to see an un-announced opening act The (New and Reformed?) NEW YORK DOLLS.
The Who: Roger Daltrey, Pete Townshend, with “Rabbit”, Zak Starkey, Simon Townshend, Pino Palladino
We sat in the very last row middle of MSG, so far back from the band but a delight.
Taken from Wiki:
Typical May/June set list
4″Who Are You”
11″Drowned” (Townshend solo acoustic)
20″See Me, Feel Me”
ON THE SHELF: FOLLOW THE MUSIC: THE LIFE AND HIGH TIMES OF ELECTRA RECORDS IN THE GREAT YEARS OF AMERICAN POP CULTURE by Jac Holzman and Gavan Daws (First Media 2014) This book is written in oral history style following topics while basically remaining in a chronological fashion. It starts off in Greenwich Village 1950’s as most folk rock tales do. JAC speaks about his love for early folk music, and jazz, and how by age 19 he was thrust head first in the recording business. This was a time for him, as an independent, he was only concerned with the long player (lp) as opposed to the singles market, totally unique in the business. Through out the book we meet folks who were involved with THE DOORS, LOVE, JUDY COLLINS, CARLY SIMON, PHIL OCHS,TIM BUCKLEY and others who help develop the artists on ELEKTRA RECORDS and how this small independent company became a giant in the business.
MY LITTLE KNOWN FUN FACT THAT I LOVE: While not being able to get The Lovin’ Spoonful for $10,000, JAC HOLZMAN went to LA, found LOVE and signed the band the next day for $5000 CASH, which Arthur Lee demanded. The next day Arthur Lee arrives with a gold Mercedes 300 which he paid $4500.00, he also bought a harmonica, he gave the other band members $100.00 each. What a sport.
ON THE TURNTABLE: (aka)THE ROCKING CHAIR- Howlin’ Wolf (1962)
As was common practice in the 1950’s and early 60’s, albums were primarily a collection of singles previous released, so that is the case in what has been called THE ROCKING CHAIR ALBUM aka HOWLIN” WOLF’S second album. I became familiar with one CHESTER BURNETT when I saw the credits to a song “SMOKESTACK LIGHTNING”( a “one chord vamp in E minor”) performed by various artists in the late 1960’s. At the same time I saw the name WILLIE DIXON and sought out more information about these two gentleman, finding that SPOONFUL, KILLING FLOOR and a host of others had their names listed on songs already in my collection by other artist. Soon, I added some “original” Howlin’ Wolf, and Willie Dixon records to my ever expanding collection. Today, ON THE TURNTABLE’s selection is one of the finest collection of “singles” by THE WOLF playing what his mother deemed to be “the devil’s music”.Pick up a copy, you not be disappointed. Enjoy