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