MAKEM AND CLANCY

THE MAKEM AND CLANCY CONCERT

Two true Irish poets who breathed life into everything they touched, captured live in 1977. This is a sentimental trip, as my mom was kind enough to take me along with her to see them play at the Savoy Theatre in Glace Bay in 1978. I had no idea of their significance or stature, though the memory of meeting the duo afterward to shake hands is a very happy one.

Liam is the lone survivor of the celebrated musical Clancy brothers, left to tell the stories with wit, a spellbinding lilt and a healthy amount of blarney. Tommy Makem passed in the summer of 2007.

For those with any interest in the genre, I also recommend this album, recorded live in the 60's on a Sunday afternoon at Columbia Records' 30th Street studio with Pete Seeger and 200 supporters. The joy in this performance is infectious. At age five, this one and "Beatles '65" were my favorite records. Wrecked both of them on a little mono suitcase record player.



"The Rambles of Spring" from a 1981 TV special, filmed at Bunratty Castle, Ireland.

U2

GET YOUR BOOTS ON (single)

Get your sneakers on and run away from this before it blows!

Too late.

Mixing "Pump It Up" (all apologies to Elvis-the living one) with "Wild Wild West" (Jesus) must have seemed like a great idea after a few pints. Then it turned into a three day drunk.

How's that hangover, members of U2?

I certainly hope that it isn't as painful as listening to this.

MOBY GRAPE

MOBY GRAPE

Overshadowed by the story behind the collapse of founding member Alexander 'Skip' Spence, this long neglected San Francisco band imploded quickly. Countless pages have been filled in praise of this album, though not many people have actually listened to it, except for Robert Plant. You won't hear any of these tunes on classic rock stations, either.

Why?

Despite fine writing and playing from each member, there is nothing that reaches beyond "well done" to the level of GREAT. Make no mistake, this is a consistent set of songs, but memorable or extraordinary are tags that just don't apply. Based on many spins, to me, "Moby Grape" has definite high points ("Omaha") though I don't hear cause for why "important" rock critics lose their minds over it.

Faint traces of the lysergic experience ("Indifference") creep in, mixing with countryish material ("Ain't No Use") but it all lacks "Marv Albert bite". The Grateful Dead later used "Hey Grandma" as a musical template for "Truckin" , but Jerry and company remembered to write in a hook. That's the crucial element lacking here.

These guys also had an uphill battle in having their artistic statement released simultaneously with "Sgt. Pepper", which dominated the airwaves in the summer of '67. Next came a suicidal PR tactic that saw five singles put out all at once, with only "Omaha" charting, trudging to number 88.

Subversive cover art didn't help their case. Don Stevenson is flashing the naughty middle digit, which is funny to me, though still taboo in terms of public display over forty years on. Once Spence disappeared into a drug induced ether that involved an attempt to chop up one of his band mates and ended with forcible confinement in a mental facility, the door to any success slammed shut.

I would still recommend giving this one a shot, if you can find it. Each selection is fairly short which is a plus, though they stretched things out when playing live. This is really where they were in their element.

Mike Douglas show appearance = Very tight.

JONI MITCHELL

COURT AND SPARK

Moving away from intimate guitar/piano vocal only presentation, Joni Mitchell linked up with Tom Scott and the LA Express as well as some of the top jazzers in the session game. Her voice is still very much a focal point, despite the ambitious arrangements.

She remained without peer in the song writing department.

Refusing to be tagged and filed in the early 70's "singer-songwriter" bin, Mitchell pushed past these restrictions to produce an intelligent, esoteric work of art. This propelled her far beyond the musings of some of her contemporaries, who had yet to come to grips with the megaton blast that had reshaped music in the late 60's.

Comfortable in her own skin, "Court and Spark" set the tone for experiments to come.

"People's Parties" is one of the best things that she ever committed to tape. Observation is entwined with all of the human frailty of the observer, shaded in with that immaculate 12 string part. Transitioning shrilly (overdriven layered vocals) into "Same Situation" with a piano based soft landing pad, an intimate vocal performance breaks into an uplifting plea: "Send me somebody, who's strong and somewhat sincere."

The "hit" single was "Help Me", with strong support from Larry Carlton. His tasteful playing through the fade is beyond description. "Free Man in Paris" featuring Crosby and Nash on backing vocals, charted as well. The blurring of gender perspective in the chorus line coupled with that guitar hook is extremely effective.

Both of these songs represent a very deft marriage of pop and jazz with incredible attention to detail in every aspect. All possible loose ends are dealt with and you WANT to hear more.

"Raised on Robbery"



Heavily orchestrated arrangements ("Down to You") never overwhelm the author. Unlike so many before (and too many after) her constructions steer away from the whiny, cliche-ridden paths that could easily be taken when subject matter drifts so close to the writer's experiences.

Covering the jokey "Twisted", wrapped in full-on jazz, is a bizarre ending to an otherwise stellar set.

Listeners will be drawn in by the melodies, musicians by the roster of great players that lend their hands to these impressive songs. Joni was only at the beginning of a rewarding journey into deeper forms of expression, with concessions to a wider audience soon to be all but left behind.

BIG STAR

#1 Record

Dizzying styles and fads were thrown at the record buying public in 1972. Artists who had brought so much to the imaginations of listeners in the 1960's were either dead or releasing work that saw them going into decline. Some of the heroes of the previous decade were looked upon as spent forces, creatively.

The K-Tel generation was now ripe for brainwashing.

Along came Big Star, taking the best elements of British Invasion pop, the jangle of the Byrds and fusing it all with great playing, song writing and crystal clear production. The makings of a super successful group?

It really should have been.

Chris Bell, Jody Stephens and Andy Hummel formed the core of the outfit (then called "Icewater") They were then joined by former Box Tops singer, Alex Chilton, with he and Bell doing the bulk of the writing. Renamed for a local supermarket chain, while recording, all of the pieces fell into place.

Released on Ardent Records, hampered by inept distribution from Stax, the album flopped commercially. Although music critics drooled over # 1 Record, many didn't even get to hear it. Shortly after, Chris Bell walked away from the band.



Everything here is meticulously thought out in terms of arrangements and how the instruments were recorded. It seems fitting that producer John Fry mentioned, at the time, "that if it came out of England it was alright by us."

Anyone watching reruns of That 70's Show would be familiar with the opening strains of "In the Street", little knowing (or caring) where it came from. Love the line about stealing a car to drive around and the "wish we had a joint so bad" turnaround. Clean, crisp Stratocaster produced guitar figures are everywhere. "When My Baby's Beside Me" and "Thirteen" also leap out and grab the ear.

Heavier material appears occasionally ("Don't Lie To Me", "Feel") but it is the exception and not the rule.

Signaling a downshift in the homestretch, "rock" exits the picture in favor of quiet fare. Melancholy permeates the remaining songs, which seem caught in the long shadow of a lonesome sunset. "Try Again" would not have sounded out of place on "All Things Must Pass." Acoustic strumming and slide guitar, surround the "Lord, I've been tryin' to be what I should" lyric. Mysteriously titled, "St 100/6" makes a stark, album closer.

"Love me again
Be my friend
I need you now
I'll show you somehow."



Although they would (without Bell) produce another brilliant set (Radio City), it would suffer the same fate as # 1 Record. An aborted attempt at a third album signaled the end of the band. The legend grew up around them as time passed. Countless artists have paid tribute, citing them as a huge influences.

Alex Chilton: "Well, all in all I sort of look at the Big Star records as being a little bit innovative, you know? And by that I mean in a mostly musical sort of way, and not so much in a literary sense. I look at the tunes that we wrote, and I think that some of them – a few of them – are pretty good. I listen to the music, and I think that some of it shows a good musical mind at work. That’s what I think is good about those records. I see them as being the work of sort of young, fairly promising musical minds. I’m not as crazy about them as a lot of Big Star cultists seem to be."

Some film shot during these sessions. "Thank You Friends" is from "Sister Lovers" (third, incomplete Big Star album)



"#1 Record" isn't easy to find on vinyl, though it's readily available on a twofer CD (which includes "Radio City") released by Rykodisc in the early 90's. When listening, you'll be amazed that this was done in the early seventies.

NICK DRAKE

PINK MOON

Appreciation for all things musical often comes at the expense of certain social expectations. Listening for a small quirk in an arrangement when you should be focusing on a conversation is just a small symptom of this.

Discovering an artist that reminds you of why you became obsessed with music to begin with is the payoff.

Despite years lost in dusty record stores I have only become aware of Nick Drake's contributions in the past year.

Glad to have finally caught up.

Released in 1972, "Pink Moon" was his third and final album. Like its predecessors, little notice was taken of it and by 1974, he was gone.

Accompanied only by an acoustic guitar in a myriad of tunings, the voice is that of someone who's constantly telling you a secret. Leaning in closer, you pick up information missed the first time around.

Return trips to these quiet, inscrutable songs become inevitable.

RUSH

SIGNALS

For many listeners/critics, this album was the point where:

a) They really liked the new direction taken and wanted more.

b) They set fire to the record in protest.

c) They set fire to themselves.

This was an X-mas gift for me back when it first came out, so I went with the first option.

Arguably, these guys are three of the most accomplished players out there. Stunning virtuosity does not always translate to mainstream success, though (not that any artist should focus on pleasing the universe). Their earlier work often strayed into lengthy, conceptual territory.

Beginning with the "Permanent Waves" LP in 1980 , streamlined song writing was the road forward and "Signals" was a great balance between pleasing everyone and no one. Those who enjoyed ten minute swords and sorcery epics now had to look elsewhere.

Geddy Lee's voice underwent a fairly dramatic transformation through this period, finding a greater warmth and tonality in the process. The Roland JP-8 synth was also the centerpiece of most tracks which drove people in the "rock camp" away from the group.

"Subdivisions" and "New World Man" got quite a bit of airplay with the album notching a top five US chart placing. All of the instrumental elements that make their sound unique are in place, though they are tempered with more of a pop-rock feel.



A sea change was also reflected in Neil Peart's approach to his lyrical craft. "Losing It" addresses the universal concern of decreasing skill and stamina that accompanies aging. Hemmingway is referenced, alluding to his decline before his death.

"Digital Man" is the best of both worlds. Shredding and insane shifts in timing sit comfortably with synth overlays and slight detours into ska. Listen to those basslines! No wonder this was brought back into the setlist for their last tour, as it must be fun to play.

Terry Brown was gone as producer after this, reputedly not happy with the shift in direction.

Though they continued to be a powerful live act, the band spent the remainder of the 80's chasing synthesizers down a rabbit hole, to their detriment, on record.

WHAT IS AND WHAT SHOULD NEVER BE

For some time now, there has been a lot of speculation as to what the remaining three-fourths of Led Zeppelin plan to do in 2009. Following a successful reunion show in London last December, rumors of a new studio project and a world tour were in the air.

Robert Plant said, “No way.”

Longtime fans of the band said, “Really?”

Plant said, “Really.”

Fans then collectively tilted their heads to one side and in a louder, higher pitch said, “REALLY?!?”

Plant turned, stamped his foot in their direction, waved his cane and yelled, “GET!!!”

The fans ran away, whimpering.

Plant went back in to the house and settled into his Lazy Boy to watch Wheel of Fortune. “Goddamn kids”, he muttered.

The stories continued. “Oh, he’ll come around. He’ll finish the tour with Allison Krauss, go home, dye his chest hair, do a bong hit and say, ‘OK fuckers, where's that confounded bridge?’"

Meanwhile, in a secret laboratory somewhere in the neighborhood of the Large Hadron Collider, Jimmy Page , John Paul Jones and Jason Bonham were rehearsing and writing songs.

Led Zep flies again in ’09!!

Not so fast.

This week John Paul Jones, pictured below, made a statement to the press.



He said that, "Robert Plant wanted no part of their experiments and that they would indeed tour the world- with another singer.” He then straightened his tricorn and stomped off.

So why is Bob Plant bailing?

Because it’s not him. (GASP!)

How do I know? If we’ve learned anything from the original Star Trek series, it is this: No goatee = not evil. Goatee = evil.

Observe!

Regular Plant




Evil Impostor Plant




Do you see? Look at those crinkled, evil eyes.

If true fans want to see Plant on tour with a reunited Zeppelin next year, there is only one solution: Get the real Robert Plant back.

But how?

Someone has to manually operate the transporter system as it cannot be pre-set. Since James Doohan is dead, we could get Jimmy Page to do it. If you can fuck around with a theremin for half an hour and put a bunch of hippies in a trance, then a transporter should be child’s play.

We then have to convince William Shatner to confront Evil Plant to knock both him and George Takei unconscious. Then Evil Plant would do a mind meld with John Paul Jones and discover what most of us already knew: He was wearing a wig on the '75 tour.

Details are fuzzy after this, though I think Evil Plant gets some bad weed and is teleported back to Nashville.

Good Plant, back from nowhere, then tells everyone (in the whimsical epilogue after commercial) that the ruthless attitude of Evil Plant was, "quite refreshing and the very flower of humanity. (screeching) And it always grows!!! PUSH! PUSH!! OooooooooooooooooooooooH!!!!”

John Prine
Opening act: Dan Reeder
Sept/17/2006
Massey Hall-Toronto

John Prine’s Toronto show was definitely well received. Missed the warm up act, Dan Reeder, due to beer. Backed by Dave Jacques (stand up and electric bass) and Jason Wilbur (lead guitar, mandolin), Prine tore into Spanish Pipedream from his debut album.

I was told by a die-hard fan, who had attended many Prine shows over the years, not to expect too much from this performance. My buddies and I were front row, centre and really didn't give a fuck.

There was a bit of an issue with the sound initially, but no weakness evident in the set.

He was in good form, though the voice had more than a bit of gravel (understandable, considering his health issues in the late 90’s). His finger-picking was flawless and his sense of humor was always on display. Between tunes, people were randomly screaming out requests. He smiled as he said, “I know ‘em all.”

Two hours seemed like 15 minutes. Jason Wilbur gets special mention for tasteful playing (his slide work was impeccable)

“Some Humans Ain’t Human” seemed/was directed at George W. Without any soapbox preaching between tunes, Prine commented that he had dug out some of his Vietnam era material and it was all too relevant. The more things change, the more they stay the same. I must admit that I was only familiar with the classics. (I didn't shout them at him, though) The newer material more than held it’s own and I went on to check out his latest CD after the show.

Souvenirs was fantastic and Billy the Bum was completely unexpected. Sam Stone was fairly chilling considering the regrettable actions of the currrent US administration.

With such a treasure trove of songs, he could have easily done another show without repeats. No one would have complained.


The setlist:

Spanish Pipedream
Picture Show
Six O'Clock News
Storm Windows
Souvenirs
Grampa Was A Carpenter
Fish & Whistle
Glory Of True Love
Takin' a Walk
Angel From Montgomery
Billy the Bum (solo)
Long Monday (solo)
Dear Abby (solo)
Clay Pigeons (solo)
That's The Way The World Goes Round (solo)
Sam Stone
Bear Creek
She Is My Everything
Ain't Hurtin' Nobody
Some Humans Ain't Human
Hello In There
Lake Marie
encore: Paradise (with Dan Reeder)

Sept/08/06- Molson Amphitheatre-Toronto

Tom Petty and the Heartbreakers

Opening act: Blind Boys of Alabama


Under an appropriate crimson full moon…

Arriving in time to line up for beer and check out tour shirts, I heard the last of the Blind Boys opening set, which sounded decent. I’m not familiar with their material, though.

When the lights went up, the band dove into “Listen to her Heart”. Killer opener!

Without a pause, “Mary Jane’s Last Dance” was cranked out next with an extended solo passage. Petty, with a fine eye for the mood of the crowd, continued with Full Moon Fever singles. The sing-along chorus of “Free Falling” gave everyone an opportunity to join the band for a minute. There was no shortage of love here, though it seemed there was a deliberate attempt to get the radio friendly stuff out of the way early. No problem with that from my end.

The man of the hour delivered a performance that belied his 55 years. “it’s good to see you again..”, he drawled. Roaming the stage and trading solos with Mike Campbell, he didn’t engage in a lot of banter between songs.

No one went scrambling for beer when he announced that they were going to do material from the new CD. “Saving Grace”, the Jimmy Reed/John lee Hooker via ZZ Top inspired taster single from “Highway Companion” held its own amongst the first few monsters tossed out by the band.


“We’re going to play some music by people that inspired us to do this...”

Bo Diddley’s “I’m a Man” was blasted out, note for note (the Yardbirds arrangement, complete with full on rave up at the end.) Then came “Oh Well”. Rarely do you ever hear Peter Green era Fleetwood Mac taken up by any band, with the exception of Judas Priest’s version of “The Green Manalishi” in the late 70’s. Very cool. A liitle Chuck Berry was thrown in for good measure as well as Van Morrison’s “Mystic Eyes” (back to his days with “Them”)

These selections served to confound younger attendees (the ones near me had cartoon question marks over their heads) and those who only knew the hits. I thought that the absence of a Byrds cover was conspicuous, considering his worship of the band. No matter. I wanted him to play "Walls", too.

This is the 30th anniversary tour for the Heartbreakers and an artist with a back catalogue so rich in great material must have a hard time deciding what to put in a two hour set. Full Moon Fever and Wildflowers were well represented. Nothing from late period albums like She’s the One, Echo and The Last DJ. ("Dreamville" would have been excellent...and "Jammin' Me")

An acoustic version of “Learning to Fly” gave Steve Ferrone a rest. Stripped down, it sounded fantastic and made me think of this tune from a new angle.

“Square One” was the highlight of the three tunes he chose to play from the new disc. Played solo, with great vocal support from Scott Thurston, it perfectly complimented everything in the set up to that point.

And the Heartbreakers? Only three remain from the original line up. Bass player Ron Blair returned to the band after 20 years in 2002 and was solid throughout the show. Mike Campbell played jaw-dropping solos, particularly in Refugee and American Girl. He reminds me of Jimmy Page in that he does everything-from finger-picking to slide and beyond-and does it well. Very tasteful and underrated player. Benmont Tench took some extended solos and, despite his virtuoso chops, played every note in service of the songs. Steve Ferrone (joined in 1994) is an atomic clock and got unintentionally “featured” during the first few tunes by a drum heavy mix out front (they fixed it a few tunes in). Scott Thurston is the ultimate utility man (guitar, keys, harp) and provided brilliant harmony vocal support all night. His Roy Orbison impression was dynamite on “Handle with Care”.

The band never had an “off” moment. There was a surreal and beautiful interlude as Campbell and Tench played the outro riff on “It’s Good to be King” in unison and then took the whole thing down to a whisper. Jams were always steered safely back to shore with a telepathy that can only be shared by those who have played together for years. Those four notes literally hung in the air.

Petty repeatedly thanked the crowd and laughed in disbelief at times at the level of heartfelt audience participation. It was great to feel that level of communal excitement build throughout the show. It got better. Think it didn't? Well, it did.

Unbelievable and powerful version of “Don’t Come Around Here No More.”
Completely shredded the record. The outro solos teamed up with the heavy strobe effects and momentarily tap danced all over my brain. It wasn't just the beer...

Toward the end, the audience was losing their voices and their minds. Petty worked hard, twirling and dancing, daring the sky to open up. During “Running Down a Dream”, the rain was now, literally, unstoppable as the band and storm clouds gathered momentum. Through the encore, despite the downpour (felt bad for the poor bastards on the lawn) no one moved. (Who’s going to leave during a killer “American Girl”? Not I…)

With “American Girl” still ringing in everyone’s ears, the group took their bows and disappeared to an incredible standing ovation.

These guys represent the last links to an era where quality material mattered a lot more than what you looked like.

It was great to see an artist so strong in performance and still vital after 30+ years. Even better was the relief in knowing that he had not turned into an embarrassing joke in the name of crass commerce. (Listen to “The Last DJ” disc if you want a musical elaboration on that train of thought)

I'm glad I didn't miss this one.

The setlist (I may have missed one or two)
LISTEN TO HER HEART MARY JANE'S LAST DANCE I WON'T BACK DOWN FREE FALLIN' SAVING GRACE YOU DON'T KNOW HOW IT FEELS I'M A MAN OH WELL TOO MUCH MONKEY BUSINESS HANDLE WITH CARE Band Intro THE WAITING SQUARE ONE IT’S GOOD TO BE KING DOWN SOUTH CABIN DOWN BELOW LEARNING TO FLY DON'T COME AROUND HERE NO MORE REFUGEE RUNNIN DOWN A DREAM I'M CRYING Encore YOU WRECK ME MYSTIC EYES AMERICAN GIRL