Still Rockin’ & Howlin’ at 50, Los Lobos Leave No Doubt They Have Survived

Until a few years ago, I only had known Los Lobos because of their 1987 rendition of Ritchie Valens’ La Bamba. The title track of the motion picture about the Mexican-American Chicano rock & roll star topped the charts in the U.S. and many other countries around the world. While they disappeared from the charts almost as quickly as they had conquered them, Los Lobos continued to record great music and perform live. This year, they are celebrating their 50th anniversary with an extended U.S. tour. I was fortunate to catch their gig last Friday at Pollak Theatre, a 700-seat performance venue on the campus of Monmouth Univesity in West Long Branch, N.J.

Before getting to the great concert, I’d like to provide a bit of background on the group. Los Lobos, who blend rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, were founded by David Hidalgo (vocals, guitar) and Louie Pérez (drums) in East Los Angeles, Calif. in 1973. When Hidalgo and Pérez met in high school, they realized they liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Subsequently, they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing the band’s first line-up.

In early 1978, the group, then still known as Los Lobos del Este de Los Angeles, self-released their eponymous debut album in Spanish. By the time of their October 1984 sophomore album and first major label release, How Will the Wolf Survive?, they had shortened their name to Los Lobos and started to write songs in English. Then, the group featured Hidalgo, Pérez, Rosas, Lozano and Steve Berlin (keyboards, woodwinds) who had joined in 1982, the same members Los Lobos have to this day – how many other bands can you name who have had a constant line-up for 40 years?

Los Lobos (from left): Cesar Rosas (vocals, guitar, mandolin), Conrad Lozano (bass, guitarron, vocals), Steve Berlin (saxophone, percussion, flute, midsax, harmonica, melodica), Louis Perez (drums, guitar, percussion, vocals) and David Hidalgo (vocals, guitar, accordion)

To date, Los Lobos have released 17 studio albums, four live records, three compilations and a couple of EPs. Their most recent album, Native Sons from July 2021, is largely a covers collection, which I reviewed here. It won a Grammy Award for Best Americana album in April 2022, the group’s fourth Grammy so far. Time to turn to the concert!

In some regards, writing this review is a bit of a challenge, since I’m only familiar with some of Los Lobos’ music. Moreover, if you check setlist.fm, you quickly notice the band varies their setlists from gig to gig – one sign of their great musicianship. As of the writing of this post, no setlist for this specific gig has been posted on setlist.fm. Thanks to notes I took on my phone during the show and some research, I’ve been able to figure out 60 percent of the songs they played- not too shabby I suppose.

The Pollak Theatre at Monmouth University only has 20 rows and 700 seats, making it an intimate venue

Based on my insights, Los Lobos’ setlist spanned their entire career. Apart from their own songs, they played a number of covers, drawing on the studio albums How Will the Wolf Survive? (1984), The Neighborhood (1990), Kiko (1992), Colossal Head (1996), The Ride (2004), The Town and the City (2006) and Native Sons (2021), among others. The band not only demonstrated great musicianship but also their stylistic versatility, including rock, blues, Tex Mex, cumbia, pop and jazz.

Los Lobos kicked off the show with Is This All There Is?, co-written by Hidalgo and Pérez. The mid-tempo rocker is from their 2004 studio album The Ride, which featured numerous guests. For this tune, it was Little Willie G. (Willie Garcia) of Thee Midniters, one of the first successful Chicano rock bands. Check out Steve Berlin’s massive saxophone and its crunchy sound – I love it!

Chuco’s Cumbia, penned by Rosas, is a great example of a groovy Latin tune by Los Lobos. Cumbia is a folkloric genre and dance from Columbia. Originally, the song appeared on their 12th studio album The Town and the City, released in September 2006.

Another great performance was Love Special Delivery, a garage rock tune originally recorded by Thee Midniters in 1966. Los Lobos included a nice cover on the aforementioned Native Sons album.

To me, a highlight of the night was Kiko and the Lavender Moon, an original I’ve come to dig. Another one was a fantastic cover of Cream’s Politician, which I missed capturing. Co-written by Hidalgo and Pérez as well, Kiko and the Lavender Moon tune was included on Kiko, the sixth studio album by Los Lobos, released in May 1992. It’s an unusual song with traces of retro jazz and a Latin groove. I’ve heard nothing like it before.

Next, I’d like to highlight a one-two punch, starting with Don’t Worry Baby, one of my favorite Los Lobos tunes, off their above-mentioned October 1984 sophomore album How Will the Wolf Survive? The smoking blues-rocker was co-written by Rosas, Pérez and the album’s co-producer, T-Bone Burnett. Immediately following is Mas y Mas, another great rock song half sung in Spanish, half in English. This track is from their 1996 album Colossal Head. The wolves were fully unleashed!

And then the time had come for the encore: a nice medley of La Bamba, which I had not intended to record initially, but I started and then just kept going, especially when I noticed the combination with Good Lovin’. The latter was co-written by Rudy Clark and Arthur Resnick and became a no. 1 single for The Young Rascals in 1966.

Following is a partial setlist:
• Is This All There Is?
• Emily
• Chuco’s Cumbia
• Misery
• A Matter of Time
• Love Special Delivery (Thee Midniters cover)
• Politician (Cream cover)
• Kiko and the Lavender Moon
• Don’t Worry Baby
• Mas y Mas
Encore:
• Medley: La Bamba (Ritchie Valens cover) & Good Lovin’ (The Young Rascals cover)

Eight tracks are missing from the above setlist.

Getting a ticket for Los Lobos was a relatively spontaneous decision, which I’m glad I made since I had not seen them before, plus it was pretty affordable. Since the show, Los Lobos played The Gordon Center of the Performing Arts in Owings Mills, Md. and The Paramount Theatre in Charlottesville, Va. Tonight, they perform at The Ramkat in Winston-Salem, N.C. Then they are taking a short break before heading to Arizona where they play the Fox Tucson Theatre in Tucson (March 10) and the Chandler Center for the Arts in Chandler (March 11). The full tour schedule is here. If you like their music, I can recommend seeing them.

Sources: Wikipedia; Los Lobos website; YouTube

A Really Big Show

Fellow music blogger Dave from A Sound Day has a great recurring feature, Turntable Talk, for which he invites other bloggers to contribute their thoughts about a given topic. Following is my recent contribution to the latest installment, which he called A Really Big Show. In Dave’s words: We’ve asked our guests if they had a time machine, and could go back and see one concert what would it be? It could be a show from before they were born, one they missed or one they actually attended and would like to relive. Big festival, small club show, you name it.

This post originally appeared on February 12. It has been slightly edited and reformatted. I also embedded some photos and clips and added a Spotify album link.

Thanks, Dave, for having me back on Turntable Talk with another interesting topic and for continuing to host the fun series.

A really big show. This took me a little while to figure out. My thought process started with what you could call the obvious, i.e., picking a famous music event or concert like Woodstock (August 1969), Atlanta International Pop Festival (July 1969 and July 1970), The Beatles at Shea Stadium (August 1965) or The Concert for Bangladesh (August 1971). Next, I reflected on shows captured on some of my favorite live albums, such as The Allman Brothers’ At Fillmore East (March 1971), The Beatles at the Hollywood Bowl (August 1964 and August 1965) or The Rolling Stones’ Get Yer Ya-Ya’s Out! (November 1969).

While all the above became part of music history and had very intriguing aspects, the reality is I’ve only read about these concerts. And, yep, I’ve seen great documentaries about Woodstock, The Beatles at Shea Stadium and The Concert for Bangladesh. When it comes to Woodstock in particular, I highly doubt I would have enjoyed the chaotic sanitary and other conditions on the ground. Amid all the hysterically screaming fans, I also wonder how much of the music I would have been able to hear at the above Beatles shows. But, most importantly, I came to the conclusion that my “really big show” had to be a concert I actually visited – coz how else could you really know!

Over the past 40 years, I’ve been fortunate to have seen many great concerts. While I remember most of the bands and artists, I don’t want to pretend I recall all the details. Limiting myself to concerts I can reasonably well remember significantly narrowed the choices. Essentially, it came down to three concerts I experienced back in Germany during the ‘80s: Paul Simon, Grugahalle, Essen, February 7, 1987 (Graceland Tour); Bruce Springsteen and the E Street Band, Waldstadion, Frankfurt, July 12, 1988 (Tunnel of Love Express Tour); and Paul McCartney, October 16 or 17, 1989, Westfalenhalle, Dortmund (The Paul McCartney World Tour 1989-1990).

If you’ve read my blog or know my music taste otherwise, undoubtedly, you already know where this is going to. If it’s not a concert by The Beatles, my all-time favorite band, the next best would be a show by an ex-Beatle. So, yes, Sir Paul is my pick!

Paul McCartney and his backing band (from left): Paul “Wix” Wickens, Chris Whitten, Linda McCartney, Paul McCartney, Robbie McIntosh and Hamish Stuart

Needless to point out that back in 1989, I was thrilled to get to see one of my biggest music heroes! Thinking about it while I’m writing this post makes me excited and want to jump into a time machine!

A few months prior to the gig, I had bought Macca’s then-new album Flowers in the Dirt and dug it right way, especially the Beatle-esque lead single My Brave Face. This sounded so much better than any track on predecessor Press to Play!

At the time, I also already owned Wings Over America on vinyl, a live album capturing the American leg of the 1975-1976 Wings Over the World Tour. While Paul had a different backing band for his 1989-1990 world tour, the album still gave me an idea how he might sound live in 1989. Remember, there was no YouTube back then, so I couldn’t search for any clips of live footage – hard to imagine from today’s perspective!

Paul McCartney with Robbie McIntosh

So what do I remember from the actual show? To begin with, I was amazed without any maybe how fantastic Paul (lead vocals, electric and acoustic guitar, bass, keyboards) sounded. So did his backing band: Linda McCartney (backing vocals, keyboards, percussion), Hamish Stuart (backing vocals, acoustic and electric guitars, bass), Robbie McIntosh (backing vocals, electric guitar), Paul “Wix” Wickens (backing vocals, keyboards) and Chris Whitten (drums, percussion). To be clear, I’m relying on Wikipedia here! In addition to Macca, I only specifically remember Linda, Robbie and Hamish who btw was an original member of Average White Band.

I also recall that looking around the concert hall, I thought much of the audience was “older”, i.e., about the same age as Paul was at the time, which would actually mean 47! I was 23 years then, so, yes, late ‘40s definitely felt “older.”😊 Something else I still can see before my eyes were moments when things got emotional and women would start to well up. That was when Paul sang tunes like Let It Be, Hey Jude and Yesterday. Hey, I can get emotional now just recalling this!

From the 1989/90 World Tour program

Speaking of music, the show spanned a nice range of songs, including tunes from Flowers in the Dirt and other McCartney solo albums, Wings and plenty, plenty of Beatles songs – YES! I had been full of anticipation regarding the latter, and Paul and the band didn’t disappoint – man, did they sound great!

Bless Setlist.fm where I found the entire song line-up. The only thing I honestly couldn’t reconstruct is which of the two concerts they played in Dortmund I saw, Monday, October 16 or Tuesday, October 17, 1989.

Here’s the setlist for October 17, which is identical to the October 16 date:

Regular Set
• Figure of Eight
• Jet (Wings)
• Rough Ride
• Got to Get You Into My Life (Beatles)
• Band on the Run (Wings)
• Ebony and Ivory
• We Got Married
• Maybe I’m Amazed
• The Long and Winding Road (Beatles)
• The Fool on the Hill (Beatles)
• Sgt. Pepper’s Lonely Hearts Club Band (Beatles)
• Good Day Sunshine (Beatles)
• Can’t Buy Me Love (Beatles)
• Put It There (with “Hello, Goodbye” outro snippet)
• Things We Said Today (Beatles)
• Eleanor Rigby (Beatles)
• This One
• My Brave Face
• Back in the U.S.S.R. (Beatles)
• I Saw Her Standing There (Beatles)
• Twenty Flight Rock (Eddie Cochran cover)
• Coming Up
• Let It Be (Beatles)
• Ain’t That a Shame (Fats Domino cover)
• Live and Let Die (Wings)
• Hey Jude (Beatles)

Encore:
• Yesterday (Beatles)
• Get Back (Beatles)
• Golden Slumbers (Beatles)
• Carry That Weight (Beatles)
• The End (Beatles)

Isn’t this one hell of a song line-up? The good news is footage from Paul’s 1989-1990 world tour was captured on Tripping the Live Fantastic, a nice live album released in November 1990. According to Wikipedia, it was his first official solo live album and first release of concert material since the above-mentioned Wings Over America.

I’ve since seen Paul two more times in the U.S.: July 2016 (Hersheypark Stadium, Hershey, Pa.) and June 2022 (MetLife Stadium, East Rutherford, N.J.). In case you’re curious, I previously posted about these gigs here and here. While both concerts were great, it’s that first show back in 1989, which will always have a special place in my heart.

– End –

My contributed post ended here. Following are some clips of tunes from the setlist of “my” show, using clips of corresponding tracks from Tripping the Live Fantastic. I’m also including a Spotify link to the entire album.

Band on the Run (Wings)

Maybe I’m Amazed

Sgt. Pepper’s Lonely Hearts Club Band (Beatles)

Things We Said Today (Beatles)

My Brave Face

I Saw Her Standing There (Beatles)

Spotify link to Tripping the Live Fantastic:

Sources: Wikipedia; Setlist.fm; YouTube; Spotify

Smokey Shines at Philly Met

Shop Around by The Miracles must have been among the very first Motown songs I heard many moons ago. Motown and the infectious groove of the tunes that came out of the Detroit label started my lifelong love of soul music. When I coincidentally saw a couple of months ago that Motown legend Smokey Robinson was touring and scheduled to play the Met in Philadelphia, I immediately got tickets – yes, it totally was an impulse purchase. Saturday night, the time had finally come, and ooo, baby baby, what a miraculous show it was!

Smokey Robinson. Where do you even start? Now 82 years young, the man has enjoyed a 67-year career and counting – 67 years! It all started in 1955 when he formed the first lineup of the Five Chimes, the group that a couple of years later would become The Miracles. In August 1957, Robinson and his band met Berry Gordy Jr., who in 1959 with Robinson’s encouragement borrowed $800 from his family to create Tamla Motown and changed music history.

In September 1960, Smokey Robinson and The Miracles became Motown’s first stars with Shop Around. Credited to Robinson and Gordy, the tune topped Billboard’s R&B Chart and became a no. 2 on the mainstream Billboard Hot 100. In the following years, Robinson continued to write hits for the group, including You’ve Really Got a Hold on Me, The Tears of a Clown (a co-write with Stevie Wonder) and I Second That Emotion, to name a few.

In the mid-’60s, Robinson also became Vice President of Motown Records, serving as in-house producer, talent scout and songwriter. Apart from The Miracles, he penned and produced hits for other Motown acts, such as The Temptations, Mary Wells and Marvin Gaye. Robinson also became a successful solo artist with hits like Quiet Storm (1976), Cruisin’ (1979), Being with You (1981) and Just to See Her (1987). According to his online bio, he has amassed writing credits for more than 4,000 songs.

Smokey Robinson (front, right) with The Miracles: Claudette Robison (front left), as well as (back left to right) Bobby Rogers, Marv Taplin and Ronald White

Robinson has won numerous accolades, including the Grammy Living Legend Award, NARAS Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors and the National Medal of Arts Award from the President of the United States. He’s also in the Rock ‘n’ Roll Hall of Fame and the Songwriters’ Hall of Fame.

While it is impossible to do Robinson’s impressive career justice with a brief summary, I’d like to mention two additional things. Bob Dylan once called him America’s “greatest living poet.” Among the bands who covered Robinson’s songs are two of the greatest of all time: The Beatles (You’ve Really Got a Hold On Me – 1963) and The Rolling Stones (Going to a Go-Go – 1982).

Smokey Robinson, Met gig shots and yours truly with the real star of the show

Let’s get to some music! Robinson’s set featured a nice mix of songs spanning five decades, including some of the big ’60s hits by The Miracles, a medley of mid-’60s Temptations tunes he co-wrote, as well as select solo tunes from the ’70s, ’80s, ’90s and 2018. He also included a rendition of Fly Me to the Moon, which he covered on his 2006 standards album Timeless Love. Not only did Robinson still hit extremely high notes with his falsetto, but the man’s physical flexibility was astonishing and frankly age-defying!

I Second That Emotion, co-written by Robinson and Motown songwriter Al Cleveland, first appeared as a single by Smokey Robinson & The Miracles in October 1967. It was their third no. 1 in the U.S. on the Billboard Hot R&B Singles chart and peaked at no. 4 on the Billboard Hot 100, becoming their second-highest charting single there since Shop Around in 1960, which had made it to no. 2. The tune was later also recorded by Diana Ross & the Supremes and separately by Diana Ross & the Supremes with The Temptations.

On Ooo Baby Baby, Smokey slowed it down and went very high – the ladies loved it! And, yes, yours truly was impressed as well. Ooo Baby Baby, co-written by Robinson and Pete Moore, the bass singer of The Miracles, was released as a single by The Miracles in March 1965. It reached no. 2 on the Hot R&B Singles chart and no. 16 on the mainstream Billboard Hot 100. The tune has been covered by numerous other artists over the years, such as Ella Fitzgerald, Todd Rundgren and Linda Ronstadt.

With The Tears of a Clown, Robinson presented yet another hit billed as Smokey Robinson & The Miracles, though with the distinction that it was the group’s only ’70s single in his set. Co-written by Robinson, Hank Cosby and Stevie Wonder in 1967, The Tears of a Clown wasn’t released as a single until July 1970 when it first appeared in the UK. In September of the same year, it also became a U.S. single. The tune ended up topping the Hot R&B Singles and Billboard Hot 100 charts in the U.S., as well as the UK Official Singles Chart, making it the group’s biggest hit. The Tears of a Clown had first been included on the group’s August 1967 album Make It Happen.

The last two songs I’d like to highlight are both from Smokey Robinson’s solo career. Just to See Her, co-written by Jimmy George and Lou Pardini, was first recorded by Robinson and released as the lead single of his popular 1987 studio album One Heartbeat in March of that year. The tune is his last big U.S. hit to date, peaking at no. 8 and no. 2 on the Billboard Hot 100 and Hot R&B Singles charts, respectively, and topping the Adult Contemporary chart. In the UK, it reached no. 52.

And then the time had come for the final song of the night and Smokey to take us on a cruise by car – a long cruise! Cruisin’, one of his best-known solo songs, first appeared on his studio album Where There’s Smoke…, which came out in May 1979. Penned by Robinson, the tune was also released separately as a single in August of the same year. It climbed to no. 4 on both the Billboard Hot 100 and Hot R&B Singles charts, as well as no. 34 on the Adult Contemporary chart. Personally, I would have been okay with a shorter cruise and instead a couple of additional tunes, such as my beloved Shop Around. At the same time, it was heart-warming to see Smokey evidently having a ball and engaging with the audience, including two ladies he asked to come up on stage.

Following is Saturday night’s setlist:

• Intro – Overture
• Being With You (1981)
• I Second That Emotion (Smokey Robinson & The Miracles cover – 1967)
• You’ve Really Got a Hold on Me (The Miracles cover – 1962)
• Quiet Storm (1975)
• Ooo Baby Baby (The Miracles song – 1965)
• The Way You Do the Things You Do / Get Ready / My Girl (The Temptations covers – 1964, 1966 & 1964)
• The Tears of a Clown (Smokey Robinson & The Miracles cover – 1967)
• I Love Your Face (1992)
• Fly Me to the Moon (In Other Words) (Kaye Ballard cover – 1954)
• La Mirada (2018)
• Just to See Her (1987)
• The Tracks of My Tears (The Miracles cover – 1965)
• Cruisin’ (1979)

Last but not least, here’s a Spotify playlist that captures all songs of the above setlist sans La Mirada, the most recent solo tune Robinson performed, which I couldn’t find in Spotify. Robinson joked it hasn’t come out yet. By that, he meant the tune hasn’t been included on an album. It did appear digitally as a single in June 2018.

Sources: Wikipedia; Smokey Robinson website; Setlist.fm; YouTube; Spotify

Yes to Yes at State Theatre New Jersey

When I learned a few weeks ago that Yes would play right in my backyard, I spontaneously decided to get a ticket. After all, what would be the chances that would happen again anytime soon or perhaps ever? Plus, prices were fairly reasonable and State Theatre New Jersey in New Brunswick is a nice midsize venue only 20 minutes away by car from my house. But as the show was coming up, I started second-guessing myself. After all, Yes have seen multiple lineup changes over the decades, and none of their current members are original. Plus, while I’ve generally come to dig their music, there’s only so much love I have for prog rock. It turned out to be a good decision, so let me share my wonderous story from last evening (October 9)!

Yes are among the few exceptions of prog rock I’ve sufficiently come to appreciate to a level where I dig them, though it did take me a while. My journey started in 1983 when the English group scored their biggest mainstream hit Owner of a Lonely Heart and released 90125, their most commercially successful album. Both marked a significant departure from the band’s original sound. In fact, by the time that music appeared, Yes had ended their initial 13-year run from 1968-1981 and reunited with a modified line-up: Jon Anderson (vocals), Trevor Rabin (guitar, keyboards, vocals), Tony Kaye (organ, electric piano), Chris Squire (bass, vocals) and Alan White (drums, percussion, backing vocals, synthesizer).

None of the musicians who recorded 90125 was on stage last night, though White who sadly passed away this May at the age of 72 after a short illness did have a presence. In addition to being listed on the tour poster, he was remembered with a video at the beginning of the night. In 1972, White replaced the group’s original drummer Bill Bruford. The currently performing line-up of Yes features longtime members Steve Howe (guitar, vocals), Geoff Downes (keyboards, vocals) and Billy Sherwood (bass) who first joined in 1970, 1980 and 1989, respectively; together with Jon Davison, lead vocalist since 2012 (also acoustic guitar, percussion, keyboards) and Jay Schellen (drums, percussion), who first toured with Yes in 2016.

Yes: Left: Steve Howe; right (clockwise from upper left corner: Geoff Downes, Jon Davison, Jay Schellen and Billy Sherwood

The concert was part of the ongoing U.S. leg of the band’s tour to celebrate the 50th anniversary of Close to the Edge, their fourth studio album released on September 13, 1972. In addition to performing the record in its entirety as the second set, Yes played an introductory set that mostly drew from their ’70s catalog, including Time and a Word (July 1970), The Yes Album (February 1971), Fragile (November 1971), Relayer (November 1974), Going for the One (July 1977) and Tormato (September 1978).

The set also featured two tracks from The Quest, the most recent Yes album that came out in July this year, their first in seven years. While it was a legitimate reminder the current version of Yes is more than their own touring tribute band, perhaps somewhat selfishly, I wished they would have kept it to one new song and instead included Owner of a Lonely Heart or thrown it in as an encore. For the latter, the band picked two other excellent tunes from Fragile and The Yes Album.

I’d say it’s time to finally get to some music. Capturing clips of a group performing songs ranging from approximately four to 19 minutes in length is a challenge. I’m not only talking about physical endurance but more importantly the real possibility of testing the patience of people seated around you. Luckily, the conditions turned out to be great, so I decided to rely on my own clips for the most part.

Let’s kick it off with Yours Is No Disgrace, the opening track from The Yes Album, which was credited to all members of the band at the time including Steve Howe. Jon Anderson told Songfacts the song’s lyrics were about “how crazy we can be as a human race to be out there flittering money around and gambling, trying to earn that big payout, when actually that’s not what life is truly about.” Another influence was the Vietnam war: …Death defying, mutilated armies scatter the earth, Crawling out of dirty holes, their morals, their morals disappear… Killing is brutal and cruel, but the disgrace falls not on the soldiers, but on those who orchestrated the war. This is the only footage I didn’t capture myself, and I could only find a partial clip on YouTube. It still nicely illustrates this line-up of Yes has the necessary chops to master the band’s complex tunes.

Next up is a tune that at under 5 minutes presented a good opportunity to film in its entirety without overly taxing my arms from holding up the phone. Why can’t prog rock acts have more tunes with that duration? No Opportunity Necessary, No Experience Needed was co-written by Richie Havens and Jerome Moross. As such, the song held the distinction of being the only cover in the set. It originally appeared on Havens’ sophomore album Something Else Again, which came out in January 1968. Yes also chose their second album Time and a Word to include their rendition.

Wonderous Stories, off Going For the One, was the shortest song of the night. Therefore, I decided to, well, go for it and record it as well! Penned by Anderson, the beautiful ballad also became the album’s first single in September 1977. Peaking at no. 7 on the Official Singles Chart, it remains the band’s highest-charting single in the UK to this day. Anderson said he wrote the tune on “a beautiful day” during a stay in Montreux, Switzerland, “one of those days you want to remember for years afterwards.”

While the night was mostly a celebration of the band’s ’70s catalog, as noted above, Yes did include two tracks from their most recent album The Quest. At first, I was going to ignore it. Then I changed my mind. After all, when listening to some of its tunes back in July, I thought they sounded pretty good. Here’s Dare to Know, written by Howe.

After Yes finished the first set with Heart of the Sunshine, a track from Fragile, and took a short break, they returned for the main reason of the night, to perform the Close to the Edge album. I decided to film the third and final track on that record, Siberian Khatru. In retrospect, I wish I would have recorded And You And I, the album’s second tune, which I thought was the highlight of the set. Yes also did a great job with Siberian Khatru, co-written by Anderson, Howe and the amazing Rick Wakeman, who in 1971 had replaced the group’s original keyboarder, Tony Kaye.

And then it was time for the encore, a terrific one-two punch with Roundabout and Starship Trooper. Since the former has become one of my all-time favorite Yes tunes, it was an easy decision to pick. Co-written by Anderson and Howe, Roundabout was the opener of Fragile. A single edit was also released in the U.S. in January 1972. It climbed to no. 13 on the Billboard Hot 100, becoming the group’s highest-charting ’70s single there and the second-highest to date. I guess you know the one tune that beat it: Owner of a Lonely Heart.

This was my first Yes concert, so I don’t have a comparator. I think while it’s fair to say that with Chris Squire, who died from blood cancer in June 2015 at age 67, and Rick Wakeman two essential members of the band’s ’70s line-up were missing, the current incarnation of Yes sounded pretty solid to me. I’m not only talking about Steve Howe who remains a great guitarist. Geoff Downes, Billy Sherwood and Jay Shellen demonstrated impressive chops as well. I must also call out Jon Davison, an excellent vocalist who perfectly nailed Jon Anderson’s parts.

Here’s the setlist:

Set 1
• On the Silent Wings of Freedom [Tormato]
• Yours Is No Disgrace [The Yes Album]
• No Opportunity Necessary, No Experience Needed (Richie Havens cover) [Time and a Word]
• To Be Over [Relayer] (Steve Howe solo acoustic performance)
• Wonderous Stories [Going For the One]
• The Ice Bridge [The Quest]
• Dare to Know [The Quest]
• Heart of the Sunrise [Fragile]

Set 2 (Close to the Edge)
• Close to the Edge
• And You and I
• Siberian Khatru

Encore
• Roundabout [Fragile]
• Starship Trooper [The Yes Album]

I’m also throwing in a Spotify playlist of the setlist:

I’d like to close with a quote from Steve Howe included in Guitar Magazine’s September cover story about the 50th anniversary of Close to the Edge: “Our spirits were very high,” Howe says. “We were young, enthusiastic, and adventurous, and we had this incredible breakthrough success with Fragile. We saw our next album as a real opportunity to prove our worth as a band. The door had been opened and we weren’t going to go backward. We wanted to sharpen our skills as far as writing and arranging.

“Concerts come and go, but a record is forever. I think we all had a sense that whatever we did next, it had to feel like some sort of definitive statement. A record like this was destined to be made, and we wanted to be the ones making it.”

If you’re curious about the remaining U.S. tour, which closes on November 19 in Westbury, N.Y., here’s the schedule.

Sources: Wikipedia; Songfacts; Guitar Magazine; Yes website; YouTube; Spotify

Rock the Farm Once Again Fired On All Cylinders

Saturday, the time had finally come for the long-awaited Rock the Farm to return to the Jersey shore. The annual tribute festival in Seaside Heights, N.J. once again delivered 10 hours of great music for a cause. And that cause – helping individuals and families struggling with addiction to drugs, alcohol and other substances – has gained even more urgency during the COVID-19 pandemic.

Rock the Farm is the main annual event of the nonprofit New Jersey CFC Loud N Clear Foundation to raise funds for programs designed to prevent relapse after drug rehab, a particularly challenging time to stay sober. CFC notes that since it was established in 2012, the foundation has assisted over 20,000 families struggling with addiction and has received numerous accolades and rewards for the innovative, groundbreaking approach to recovery. Throughout the event, individuals who have benefitted from CFC’s programs stepped on stage to share some of their stories, which was both pretty inspiring and moving. You can read more about CFC’s important work here. Let’s get to some music!

Kicking off the festival once again were One Fine Tapestry, a great tribute to Carole King and the music she co-wrote with Jerry Goffin for many other artists. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo who for many years have performed a variety of tribute shows. My all-time favorite Carole King album remains Tapestry. Here’s I Feel the Earth Move.

We May Be Right are a fun Billy Joel tribute led by pianist and lead vocalist Karl Dietel, a 20-year veteran of the New York-New Jersey-Connecticut tri-state area live music scene. The band also features Perry Andrews (brass, woodwinds, percussion, backing vocals), Derek Davodowich (guitars), Luke Kessel (bass, backing vocals) and Andy Janowiak (drums). I know I’ve said this before, it’s amazing to me how popular Billy Joel remains to this day, nearly 30 years since the piano man released his final pop album River of Dreams. There were definitely many Billy Joel fans among the Rock the Farm audience. One of the tunes they enjoyed was Big Shot, off Joel’s sixth studio album 52nd Street from October 1978.

And then it was time to really put the rock into Rock the Farm with La Grange. This New Jersey-based tribute to ZZ Top includes Sean Peronard as “Billy Fibbons” (Billy Gibbons), Pete Perrina as “Frank Goatee” (Frank Beard) and Jim Capobianco as “Rusty Hill” (Dusty Hill). It was all there: The sound, the singing, the beards and even the fury guitar and bass – the only things missing were the rotation of the instruments and my all-time ZZ Top favorite Tush! But, hey, they played plenty of other great tunes. It was a ball. Check out Cheap Sunglasses from the Texan rockers’ sixth studio album Degüello.

How about some more kickass rock? Ask and you shall receive with Stiff Upper Lip! This New Jersey tribute to AC/DC, formed in 2007, features Glenn Taglieri  (vocals), Joe Witterschein (guitar), Mike Cusumano (guitar), Peter Lee (bass) and Steve Villano (drums). One of my all-time AC/DC favorites is their song with the longest title: It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll). The tune initially appeared on AC/DC’s second, Australia-only record T.N.T. Subsequently, it was also included on their first international release High Voltage, which came out in April 1976. Here we go, featuring some enthusiastic, dancing ladies with glowing devil’s horns!

Okay, I’d say it’s time for a little breather. Here’s a little photo collage with different impressions from Rock the Farm.

Clockwise from upper left corner: Rock the Farm audience with bubbles from foam dance floor; the cameraman with another enthusiastic attendee; Jagged Little Thrill – The Alanis Morisette Experience (https://www.facebook.com/jlttribute); reminder of the event’s purpose; Winslow an Evening of the Eagles (https://www.facebook.com/WinslowEaglestribute); and once again the (exhausted) cameraman after 10 hours on his feet

All right, on to part II of this post and The ELO Tribute Show – yep, they make no bones about whose music they are celebrating! The group of Philly area-based musicians includes Mick Bodine (lead vocals, guitar), Andre “Virus” Karkos (guitars, vocals), Chris McCoy (keyboards, vocals), Julie Meyers (violin, vocals), Tommy Grasso (bass, vocals) and Dave Ramani (drums, percussion). Check out their cool rendition of Evil Woman, a tune from ELO’s September 1975 record Face the Music, their fifth studio release.

One could argue that holding a tribute festival in New Jersey without featuring music by at least one artist from the Garden State would be an oversight. Coming to the rescue were Keep The Faith from – nope, I bet you didn’t guess that one – Canada! This Bon Jovi tribute from Ontario includes Chris Newman (lead vocals, guitar), Chris Tondreau (guitar), Dan Benezra (keyboards, vocals), Doug Adams (bass) and Mark MacPherson (drums). Shall we check out their rendition of Born to Be My Baby, off Bon Jovi’s fourth studio album? Well, it’s really a rhetorical question since it’s my frigging blog! Are you one of the 100,000,000 Bon Jovi fans who can’t be wrong? If so, you should know the title of Bon Jovi’s fourth studio album. Yes, New Jersey!

And then things got pretty groovy with Funky Monks who shall we say aren’t your typical monks. Formed in 2003, this Chicago-based tribute to Red Hot Chili Peppers has performed across the U.S. and even internationally. The band consists of Ryan “Ryanthony” Machnica (vocals), Mike Walker (guitar), Jeff “Jefflea” Genualdi (b-b-b-bass) and Paul Guziec (drums). In case you ever wondered why I like to say bassists are cool dudes, Jeff is one of the reasons. Yes, I know, it’s the obvious Peppers tune to feature, but I couldn’t help it. Here’s Under the Bridge, included on Peppers’ fifth studio album Blood Sugar Sex Magik, released in September 1991.

All things must pass, as the wise George Harrison once sang. This also applies to Rock the Farm, which brings me to the final act of the night: Fleetwood Mac tribute TUSK – what a great way to end yet another outstanding event! Founded in 2008, TUSK primarily focus on the Mac’s pop-rock period. In addition, they feature some music from Stevie Nicks’ solo catalog and on Saturday night also threw in a cool blues medley of the Peter Green era. TUSK are Kathy Phillips as Stevie Nicks (vocals), Kim Williams as Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums). Here’s Little Lies, off Fleetwood Mac’s 14th studio album Tango in the Night, which came out in April 1987.

Rock the Farm 2022 is over. Sadly, the same cannot be said about addiction, which continues to upend the lives of those impacted and their friends and families. Many lives have been lost, even more so during the pandemic, leaving empty chairs in kitchens across this country.

The reality is addiction can happen to all of us. Nobody is immune! People struggling with drugs, alcohol and other substances deserve our compassion rather than stigmatization. That’s why it is so important that organizations like the CFC Loud N Clear Foundation continue their work. Once again, in case you’d like to find out more about their programs, visit https://healingus.org.

Sources: Wikipedia; CFC website; One Fine Tapestry Facebook page; We May Be Right website; La Grange Facebook page; Stiff Upper Lip website; The ELO Tribute Show website; Slippery When Wet website; Funky Monks website; TUSK website; YouTube

Get Ready to Rock the Farm

On September 24, the annual music festival Rock the Farm returns to Seaside Heights, N.J. Since my first attendance five years ago, I’ve loved the idea behind the 10-hour spectacle to combine top-notch tribute acts with a great cause. And with the dreadful COVID-19 pandemic now being well into its third year, that cause has taken on a new urgency: supporting individuals and families struggling to overcome addiction.

Drug overdose-related deaths in the U.S. have soared by 28.5% to an estimated 100,306 during the 12 months ended in April 2021, according to provisional data released by the Centers for Disease Control and Prevention (CDC) in November 2021. That’s up from 78,056 for the corresponding period a year earlier. The latest CDC insights also show that estimated overdose deaths from opioids totaled 75,673 for the latest 12-month period, a 35% increase from 56,064 the year before. Imagining all the empty seats these lost lives have left at kitchen tables around the country paints a pretty grim picture.

While there are no barns and cows and Rock the Farm doesn’t take place on a farm, it rocks anyway!

Rock the Farm is the main annual fundraiser of the CFC Loud N Clear Foundation. The New Jersey non-profit community organization offers programs for individuals and families battling to overcome addiction to opioids, alcohol and other substances. Their efforts aim to fill the gap after clinical treatment in rehab, a period when staying sober and remaining on track can be particularly challenging.

The CFC Loud N Clear Foundation was established by the Regan family in 2012 after their son Daniel Regan had come out of a rehab center and with the help of his mother, Lynn Regan, developed a recovery system for himself. Other people noticed it was working for Daniel and started asking how they did it. That’s when the Regan family realized everyone should have access to an aftercare program, sparking the idea of establishing a foundation.

“CFC Loud n Clear Foundation is celebrating over 10 years of building strong communities of recovery,” said Alyssa Regan, CFC Assistant Executive Director who was kind enough to provide a quote for this post. “Rock the Farm is in its eighth year of bringing family fun and incredible music to Seaside Heights, New Jersey. However, this festival is more than just a great day during summer down the shore! Rock the Farm is about smashing the stigma of addiction, living life in recovery out loud, and the importance of aftercare and relapse prevention! This festival, which hosted 15,000 people last year, is entirely run by our community of recoverees and their families in order to raise funds for the program that has helped them gain a new life!”

Rock the Farm’s foam dance floor is a huge attraction for kids. Many mamas and papas like it as well!

Let’s take a look at the great line-up for the upcoming event, which includes tributes to Fleetwood Mac, Red Hot Chili Peppers, AC/DC, ELO, Eagles, Billy Joel, Carole King, Alanis Morissette, ZZ Top and Bon Jovi. Just imagine for a second seeing all the real acts in one festival, not to mention this particular line-up wouldn’t even be possible any longer, given Carole King has retired from performing! Fleetwood Mac and Carole King tributes TUSK and One Fine Tapestry performed at all four previous Rock the Farm events I attended. On separate previous occasions, I also saw Stiff Upper Lip and Keep The Faith, tributes to AC/DC and Bon Jovi, respectively. The other tribute artists are new to me.

Following are clips to preview some of the tribute acts who will play at Rock the Farm 2022. Kicking things off are TUSK with You Make Loving Fun, footage I captured at last year’s event. Focused on the pop rock period of Fleetwood Mac, the group includes Kathy Phillips as Stevie Nicks (vocals), Kim Williams as Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums).

Next up are One Fine Tapestry with one of my all-time favorite Carole King tunes from the iconic Tapestry album: I Feel the Earth Move. At the core of this tribute act are Gerard Barros and Diane Barros, a versatile husband and wife couple performing a variety of different tribute shows, sometimes as a duo, other times backed by a full band, which was the case here. This clip is also from Rock the Farm 2021.

Let’s do two more, using YouTube clips I didn’t create. Here are Stiff Upper Lip with Back in Black. The New Jersey band has been around since 2007 and includes Glenn Taglieri (vocals), Joe Witterschein (guitar), Mike Cusumano (guitar), Peter Lee (bass) and Steve Villano (drums).

As a blues rock fan, I couldn’t resist including ZZ Top tribute La Grange. The band features Sean Peronard as “Billy Fibbons” (Billy Gibbons), Pete Perrina as “Frank Goatee” (Frank Beard) and Jim Capobianco as “Rusty Hill” (Dusty Hill) – clever stage names! Here’s a fun promo video, including snippets of Waiting For the Bus, Under Pressure and Gimme All Your Lovin’.

In addition to plenty of great music, Rock the Farm features food trucks, a wine and beer garden and beach yoga. They also have some fun activities for kids, including a Kidzone Arts & Crafts, face painting, braid bar and “the world’s greatest FOAM dance floor.” While I can’t verify that claim, I can confirm kids and adults have had a lot of fun with the foam in the past!

“All of the members of CFC get the opportunity to create something magical that positively impacts the community, be inspired by purpose, and uplift others who are in search of hope and connection,” Regan added. “CFC has impacted over 20,000 families since its foundation and continues to come up with new and innovative ways to make recovery fun. We can’t wait to rock out with everyone on September 24th and end Recovery month in the best way possible!”

If you’re into live music, dig the above bands, want to support an important cause and can get there, I can highly recommend Rock the Farm. For tickets and more info, visit https://www.rockthefarmnj.com. You can also read more about the CFC Loud n Clear Foundation and their important work here.

Sources: CDC National Center for Health Statistics; CFC Loud N Clear Foundation website; TUSK website; One Fine Tapestry website; Stiff Upper Lip website; La Grange Facebook page; YouTube

Reelin’ In The Years At PNC Bank Arts Center

Last night, I saw Steely Dan at PNC Bank Arts Center, a great midsize amphitheater-style outdoor venue in Holmdel, N.J. My fourth and last concert in June was dynamite, ending a busy month of live music on a high note.

Should I have been surprised that Donald Fagen and his band once again put on a stellar performance? After all, the two previous times I had seen them were both fantastic.

PNC Bank Arts Center is a 7,000-seat venue with an additional grass area capacity to accommodate about 10,500 people

The songs Fagen wrote with his longtime partner Walter Becker remain compelling. Since Becker’s untimely death in 2017, Fagen also successfully continued what had been a key ingredient to the Dan’s sound: Surround himself with top-notch musicians. And, boy, what a killer backing band he had last night!

But even with all of the above, I think one should never take a music artist for granted. And, let’s face it: At age 74, Fagen isn’t exactly any longer, hey, nineteen! I also still remember reading accounts leading up to the two previous times I saw Fagen & co. in 2018, which were less than favorable, criticizing Fagen’s singing, among others. But just like four years ago, he did it again, proving any such concerns to be unfounded!

Steely Dan in action: Donald Fagen (vocals, keyboards, melodica), Jon Herington (lead guitar & musical director), Adam Rogers (guitar), Jim Beard (keyboards), Walt Weiskopf & Roger Rosenberg (saxophones), Michael Leonhart (trumpet), Jim Pugh (trombone), “Ready” Freddie Washington (bass), Keith Carlock (drums) & The Danettes: Carolyn Leonhart, Jamie Leonart and La Tanya Hall (backing vocals)

Before I get to Steely Dan, I’d like to acknowledge opening act Dave Stryker Trio. Until I learned and read about Dave Stryker, I had not heard of this great American jazz guitarist who has been active since the ’80s. Quoting his online bio, Whether you’ve heard guitarist Dave Stryker leading his own group (with 34 CD’s as a leader to date),  or as a featured sideman with Stanley Turrentine, Jack McDuff, and many others, you know why the Village Voice calls him “one of the most distinctive guitarists to come along in recent years.”

Last evening, Stryker (electric guitar) was joined by Jared Gold, who I thought was terrific on the Hammond, as well as McClenty Hunter, a fine jazz drummer. They played neat jazz instrumental jam versions of songs by artists like Stevie Wonder, Curtis Mayfield and The Temptations.

The Hammond reminded me of the man who originally was supposed to join Steely Dan on their Earth After Hours Tour, Steve Winwood. I’m not gonna lie, seeing Winwood for the third time would have been the ultimate thrill. A short February 1 announcement on Winwood’s website cited “unforeseen circumstances” for the change in plans. Back to Dave Stryker. Here’s a cool clip of Papa Was a Rolling Stone from a 2019 performance at jazz radio station WBGO 88.3 fm – groovy with no static at all!

Okay, after seven paragraphs into this review, you may start to wonder when am I finally getting to some Steely Dan music? Alrighty then! Let’s shake it! First up is Night by Night, a tune from Steely Dan’s third studio album Pretzel Logic released in February 1974 – the last that featured the band’s original quintet lineup of Becker, Fagen, Denny Dias, Jim Hodder, and Jeff “Skunk” Baxter. Unfortunately, it appears the dreadful pandemic has made audiences pretty restless. I don’t recall people getting up during shows pre-COVID as frequently as I’ve experienced it during all of my four concerts in June. Frankly, I find it pretty dreadful!

I think it’s safe to say many Steely Dan fans consider Aja to be Messrs. Fagen’s and Becker’s Mount Rushmore. It certainly remains my favorite Dan album. Let’s hear it for the title track. According to Songfacts, Fagen told Rolling Stone magazine that the title came from a high school friend whose brother was in the army and came back with a Korean wife named Aja, although he wasn’t sure how she spelled it.

For this next tune, let’s go to Gaucho, the seventh and final Steely Dan album from November 1980 before Fagen and Becker split and went on a 12-year hiatus. Becker moved to Maui, managed to overcome his longtime drug abuse, and did some occasional production work, most notably for British pop group China Crisis. Meanwhile, Fagen launched a solo career that among others yielded The Nightfly, his solo debut gem from October 1982. Back to Gaucho with Babylon Sisters with another fun tidbit from Songfacts, probably less fun for those involved: Donald Fagen made seemingly endless tweaks to this song, creating one mix after another. Someone in the studio must have been keeping count, because when he hit 250 mixes, the crew gave him a “platinum” disk they created just for him. Fagen kept going, and it was mix number 274 that finally won his approval. He took that mix home to New York, but heard a note in the bass line he didn’t like, so he returned to Los Angeles a week later and reconvened the team to fix it. You gotta shake it, baby, you gotta shake it!

I guess our memories of school can be good and not so good. Clearly, this next tune falls into the latter category. Songfacts notes My Old School, the final track of last night’s main set, is at least partially inspired by an event that occurred at Bard [Bard College in Annandale-on-Hudson, N.Y. where Fagen and Becker met in 1967 – CMM], where both Becker and Fagen, along with their girlfriends, were arrested in a pot raid on a party that was orchestrated by an ambitious young District Attorney named G. Gordon Liddy (hence the line “Tried to warn ya about Geno and Daddy G”). Despite the fact that California has not (yet) tumbled into the sea, both Fagen and Becker have returned to Bard.

The last tune I’d like to call out, from the encore, is a song that reportedly was one of the Dan’s least favorite. Again citing Songfacts: In Rolling Stone, September 17, 2009, Donald Fagan said, “It’s dumb but effective.” Walter Becker added, “It’s no fun.” Well, Reelin’ in the Years may not have a million chord changes and breaks, but in my humble opinion, this tune, off Steely Dan’s November 1972 debut album Can’t Buy a Thrill, is a terrific rocker with a dynamite guitar solo. I wonder how Fagen feels about the song these days. It surely still looks effective!

What else is there to say. Donald Fagen clearly seemed to be energized last night, saying at one point, ‘what a night!’ – and he wasn’t referring to the one in late December back in sixty-three. Playing in his home state of New Jersey, as he called the garden state at the end of the show, appeared to be a thrill. Who, knows, it may even have influenced Fagen’s decision to replace Green Earrings and Any Major Dude Will Tell You with Josie and Black Cow, respectively – two additional tracks from the above-mentioned beloved Aja album. The only thing that could have topped the set would have been Deacon Blues, my all-time favorite Dan tune. But, hey, nineteen, stop complaining! 🙂

I already briefly mentioned the exceptional band that backs Fagen on the tour. These amazing musicians, some of whom have played with Steely Dan for many years, deserve to be called out: Jon Herington (lead guitar & musical director), Adam Rogers (guitar), Jim Beard (keyboards), Walt Weiskopf & Roger Rosenberg (saxophones), Michael Leonhart (trumpet), Jim Pugh (trombone), “Ready” Freddie Washington (bass), Keith Carlock (drums) & The Danettes: Carolyn Leonhart, Jamie Leonart and La Tanya Hall (backing vocals).

Here’s the setlist:
• Phantom Raiders (Stanley Wilson cover)
• Night by Night
• Hey Nineteen
• Black Friday
• Aja
• Kid Charlemagne
• Home at Last
• Green Flower Street (Donald Fagen song)
• Time Out of Mind
• Babylon Sisters
• Josie
• Black Cow
• Dirty Work
• Bodhisattva
• Keep That Same Old Feeling (The Crusaders cover)
• Peg
• My Old School

Encore:
• Reelin’ in the Years
• A Man Ain’t Supposed to Cry (Joe Williams cover)

The Earth After Hours Tour still is in full swing. Tomorrow night, the Dan are scheduled to play Xfinity Center in Mansfield, Mass., before moving on to Bethel Woods Center for the Arts, Bethel, N.Y. (July 3) and First Bank Amphitheater, Franklin, Tenn. (July 13). The full tour schedule is here. If you’re a fan of the Dan and still can get a ticket you can afford, I can highly recommend the show!

Sources: Wikipedia; Songfacts; Dave Stryker website; Steve Winwood website; Steely Dan website; YouTube

Paul McCartney Got Back to Jersey’s MetLife Stadium

Last night, I saw Paul McCartney for the third and possibly last time, at MetLife Stadium in New Jersey. It’s hard to believe six years had passed since my previous Macca concert in August 2016 at Hersheypark in Hershey, Pa. Yesterday’s show marked the final gig of his 16-date North American Got Back Tour. And back he got, with more than two and a half hours of songs, anecdotes and a surprise guest.

Overall, I share the same sentiments of fellow blogger Jim from Music Enthusiast, who recently got to enjoy McCartney in Boston and posted a nice review here. Backed by his longtime touring band, McCartney delivered many great songs and had an amazing amount of energy. His voice definitely wasn’t what it used to be, but I had fully anticipated that, so it didn’t bother me. I was simply happy to get another opportunity to see one of my biggest heroes in music.

Paul McCartney got back. So did I, to see him for the third time.

There was a LOT of music – 40 songs, including a snippet of Jimi Hendrix’s Foxey Lady at the end of Let Me Roll It, and not counting the audience’s rendition of Happy Birthday to congratulate Sir Paul in advance of his imminent big occasion. Putting together a setlist that between The Beatles, Wings and Paul McCartney solo tunes reflects a massive catalog must be tricky and cannot make everybody entirely happy. Personally, I would have loved to see a few more early Beatles songs. And from Egypt Station, Paul’s 17th solo album from 2018, which I feel is among his better post-Beatles efforts, Come On to Me and Fuh You wouldn’t have been my picks, but enough with the silly complaining!

While based on Jim’s blog and other accounts I’ve read Macca’s song announcements and shared anecdotes didn’t vary from show to show, nevertheless, this didn’t feel like some routine gig to me. You could see from Macca’s facial expressions that the soon-to-be 80-year-old still enjoyed performing for his fans. I mean, ‘drink this all in,’ to borrow one of Paul’s expressions he used last night!

Waiting for Macca with cool psychedelic renderings of The Beatles

Usually, I don’t “coordinate” my posts with fellow bloggers. But since I believe Jim and I have a number of common followers and given his recent review, I decided to focus on music Jim didn’t highlight in his great post, so our fellow bloggers don’t end up watching the same clips twice. And, as previously hinted, there is a surprise guest. Curious? Read on! 🙂

Let’s kick things off with a Beatles tune from Revolver: Got to Get You Into My Life. Written by Macca and credited to him and John Lennon, the song is a nice homage to Motown. I’ve always dug it! The performance also prominently showcased Paul’s neat horn section.

The next song I’d like to highlight is from Band on the Run, Macca’s third studio release with Wings. The 1973 record remains my favorite McCartney album post-Beatles. Here’s the great piano-driven Nineteen Hundred and Eighty-Five.

For this next tune, Macca went back, way back, to the very first song recorded in June 1958 as a demo by The Quarrymen, the group that eventually would evolve into The Beatles. In addition to Paul, John and George Harrison, the line-up featured John Lowe (piano) and Colin Hanton (drums). Sure, In Spite of All the Danger isn’t as good as I Saw Her Standing There, You Can’t Do That, She Loves You and other early Beatles tunes, but I still thought it was cool Paul decided to play it.

No Paul McCartney gig would be complete without some solo tunes on acoustic guitar. Here’s Blackbird, off The White Album, a song I loved from the get-go when I heard it many moons ago. In fact, my great guitar teacher showed me how to play it at the time. Unfortunately, these days, I can only partially remember it. But I suppose there’s always YouTube!

Next, I’d like to highlight a medley of You Never Give Me Your Money and She Came Into the Bathroom Window. During his announcement, Paul noted the North American tour marked the first time they performed this. It’s hard to believe they didn’t play these great tunes from Abbey Road during previous tours.

Did I mention there was a surprise? About two-thirds into the show, there was a sudden commotion in the audience. I heard people behind me speculate that Ringo Starr might be in the house. After all, Ringo had showed up at Dodger Stadium in Los Angeles in July 2019 where Macca wrapped his Freshen Up Tour. Well, we didn’t get Ringo. Instead, Bruce Springsteen walked up on stage to a screaming audience. Here are two tunes he performed with McCartney: His own Glory Days, off the Born in the U.S.A. album, and The Beatles’ I Wanna Be Your Man. For a moment, the Boss stole the show, but Macca seemed to be cool with it!

I could go on and on, but all things must pass, to borrow from the wise George Harrison. The last tune I’d like to call out is from the encore: Helter Skelter, another track from The White Album. And an impressive illustration of Sir Paul’s admirable energy level two and a half hours into the gig. Any young cat musicians out there, check this out – just incredible!

I briefly mentioned Paul’s excellent band in the upfront. These guys are simply top-notch musicians and Macca rightfully called them out last night: Paul “Wix” Wickens (keyboards), Brian Ray (bass/guitar), Rusty Anderson (guitar) and Abe Laboriel Jr. (drums). He also noted the name of his amazing horn section, but unfortunately, I did not catch it.

Last but not least, here’s the setlist:
• Can’t Buy Me Love (The Beatles song)
• Junior’s Farm (Wings song)
• Letting Go (Wings song)
• Got to Get You Into My Life (The Beatles song)
• Come On to Me
• Let Me Roll It (Wings song) (with “Foxy Lady” outro jam)
• Getting Better (The Beatles song)
• Let ‘Em In (Wings song)
• My Valentine
• Nineteen Hundred and Eighty-Five (Wings song)
• Maybe I’m Amazed
• I’ve Just Seen a Face (The Beatles song)
• In Spite of All the Danger (The Quarrymen song)
• Love Me Do (The Beatles song)
• Dance Tonight
• Blackbird (The Beatles song)
• Here Today
• New
• Lady Madonna (The Beatles song)
• Fuh You
• Jet (Wings song)
• Being for the Benefit of Mr. Kite! (The Beatles song)
• Something (The Beatles song)
• Ob-La-Di, Ob-La-Da (The Beatles song)
• You Never Give Me Your Money & She Came in Through the Bathroom Window (The Beatles songs)
• Get Back (The Beatles song)
• Band on the Run (Wings song)
• Glory Days (Bruce Springsteen cover with Bruce Springsteen)
• I Wanna Be Your Man (The Beatles song with Bruce Springsteen)
• Let It Be (The Beatles song)
• Live and Let Die (Wings song)
• Hey Jude (The Beatles song)

Encore:
• I’ve Got a Feeling (The Beatles song) (“virtual duet” w/video &… more )
• Happy Birthday to You (Mildred J. Hill & Patty Hill cover) (with Jon Bon Jovi)
• Birthday (The Beatles song)
• Helter Skelter (The Beatles song)
• Golden Slumbers (The Beatles song)
• Carry That Weight (The Beatles song)
• The End (The Beatles song with Bruce Springsteen)

Sources: Wikipedia; Setlist; YouTube

Bonnie Raitt Beams at The Mann

When you visit the website of the Mann Center of the Performing Arts, the first chiron flashing on your screen reads “The Mann is music”. While this is followed by multiple other pronouncements, music is what ruled last night at Philadelphia’s prominent outdoor nonprofit performing arts venue. Great music, delivered by Bonnie Raitt, one of my all-time favorite artists, and her special guest Lucinda Williams who opened the beautiful night.

My decision to see Raitt again was relatively last minute, since at the time I already had tickets for three other shows in June. Until then, I had never planned to go to four concerts by “big artists” during the same month. I may be a music nut, but that’s certainly a pace I cannot maintain, and it’s not just because of high ticket prices, though the latter are a key factor!

Fun at The Mann with great music, nice view of Philly and gourmet pizza!

Before getting to Bonnie Raitt, I’d like to say a few words about Lucinda Williams. Until I saw the bill included the Americana singer-songwriter, who is a few years younger than Raitt and started her recording career in 1979, I had only been familiar with her name. The title of her fifth and to date best-selling studio album Car Wheels on a Gravel Road (such a great image!) also rang a distant bell.

Over her now 43-year-and-counting recording career, Williams has released 14 studio albums, one live record, two video albums and 20-plus singles – not exactly a massive catalog, given the long period. Her most recent album Good Souls Better Angels appeared in April 2020. In November of that same year, Williams had a stroke at her home in Nashville. Fortunately, she recovered, though last night she still seemed to have some mobility challenges and did not play guitar. But Williams still delivered what I thought was a very solid performance.

Here’s Drunken Angel, a tune off the aforementioned Car Wheels on a Gravel Road album. When Williams announced the song last evening she said she wrote it in honor of her friend Blaze Foley, a Texas country singer-songwriter who apparently was prone to drinking and was shot and killed in a bar “over a senseless argument”. Williams also noted Foley had been chasing Townes Van Zandt, “but nobody could keep up with Townes.” Apparently, Foley did become friends with Van Zandt who ended up writing a song about him, Blaze’s Blues.

Before moving on to Bonnie Raitt’s set, let’s do another song Williams performed: You Can’t Rule Me, a nice adaption from a Memphis Minnie composition, which originally was recorded sometime between 1935 and 1941. Williams included it on her most recent album. The blues rock lover in me smiled!

And on to Bonnie Raitt who I had last seen in August 2016 at New Jersey Performing Arts Center in Newark. From the very beginning, it felt as if time had stood still. Raitt looked and sounded the same as six years ago. The only difference were her set included various songs from her excellent latest album Just Like That…, which came out in April this year and which I previously reviewed here. Raitt started her set with the album’s great opener Made Up Mind. Check out that sweet sound – so good!

In addition to playing five tunes from Just Like That…, Raitt drew from other albums throughout her career, including Luck of the Draw (1991), Nick of Time (1989), Silver Lining (2002), Streetlights (1974), Dig In Deep (2016) and the live release Road Tested (1995). Here’s No Business, a song written by John Hiatt, one of four tracks Raitt played from Luck of the Draw. Raitt, who has recorded various tunes by Hiatt, reiterated her admiration of the great roots rock singer-songwriter.

In addition to Just Like That…, which os my favorite Bonnie Raitt album these days, I’ve always loved Nick of Time. Her 10th studio album brought Raitt on my radar screen in 1989. Let’s do the title track, which she penned. Her commercial breakthrough album is best known for the hit single Thing Called Love, which happens to be another John Hiatt composition. Perhaps the official video featuring American actor Dennis Quaid also helped boost mainstream success. Nick of Time saw Raitt switch from her main instrument to keyboards – nice!

Next, let’s turn to Livin’ For the Ones, another great tune from the Just Like That… album. Raitt wrote the words to music composed by her longtime guitarist George Marinelli. I just love that Stonesy sound!

No Bonnie Raitt show would be complete without Angel From Montgomery, a long-time fan favorite. It was written by John Prine, another songwriter Raitt loves and called out last night. In fact, she dedicated the title track of her new album to Prine, noting the style was inspired by the story-telling songs Prine had written. Angel From Montgomery is included on Raitt’s above-mentioned fourth studio album Streetlights. This is one timeless gem!

This brings me to the final tune I’d like to highlight. I Can’t Make You Love Me, another track from Luck of the Draw, is one of Raitt’s best-known songs. While she has had many great songs over the decades, Raitt has only scored a few mainstream hits. During a recent interview with Zane Lowe for Apple Music, she didn’t seem to mind her relative lack of chart success. In fact, Raitt said after Nick of Time, she had been nervous she would now be measured by that album’s chart performance. Luck of the Draw turned out to be hugely successful as well. I Can’t Make You Love Me, a pop ballad co-written by Mike Reid and Allen Shamblin, is one of three songs that made the top 20 in the U.S. on the Billboard Hot 100.

Bonnie Raitt said two things last night, which are among the many reasons I dig her as an artist. She expressed her happiness to be back on the road, noting the long break from touring had been torture. Raitt also stated she has no plans to retire since she enjoys performing. In this context, she called out other artists like Willie Nelson and Mick Jagger, who are no longer 19 years either. She added she hopes to see the Stones, wishing Jagger the best, who recently came down with COVID.

Before wrapping up this post, I’d like to acknowledge Raitt’s fantastic band. Apart from the above-mentioned guitarist George Marinelli, who also sings, the line-up includes Duke Levine (guitar, vocals), Glenn Patscha (keyboards, vocals), James “Hutch” Hutchinson (bass) and Ricky Fataar (drums). Marinelli, Hutchinson and Fataar have worked with Raitt for many years, both on the road and in the studio. For more on each musician, check out their impressive bios on her website.

Here’s Raitt’s setlist from last night:
• Made Up Mind
• Waitin’ for You to Blow
• No Business
• Blame It on Me
• Nick of Time
• Back Around
• Just Like That
• Something to Talk About
• Livin’ for the Ones
• Have a Heart
• Need You Tonight (INXS cover)
• Angel From Montgomery (John Prine cover)
• Burning Down the House (Talking Heads cover)

Encore:
• I Can’t Make You Love Me (Mike Reid cover)
• Not the Only One (Paul Brady cover)

Raitt’s Just Like That… tour is next headed to Boston’s Leader Bank Pallivion (June 17), Tanglewood in Lennox, Mass. (June 18) and New York City’s Beacon Theatre (June 21 and June 22 – both shows are sold out). The full schedule is here. If you like Raitt and can still get a ticket you can afford, I’d highly recommend it. That lady is the real deal!

Sources: Wikipedia; Bonnie Raitt website; Setlist.fm; YouTube

After Various Attempts, The Starrs Were Finally Aligned at The Beacon

I finally got to see Ringo Starr and His All Starr Band Tuesday night at New York City’s storied Beacon Theatre. While as a huge Beatles fan I can’t quite explain why this didn’t happen years ago, I know one thing for sure: The night turned out to be a great memorable experience that was worth the wait!

At the beginning of the concert, which kicked off shortly after 8:00 p.m. with no opening act, Ringo noted that after various previously cancelled attempts he was glad to be back on the road. Based on the vibe he projected throughout the gig, those were honest words from a close to 82-year-old artist who still loves to perform.

The Beacon Theatre framed by construction scaffolding. And, nope, that black Mercedes wasn’t Ringo’s limousine.

One sad note: All Starr member Edgar Winter was absent. Ringo explained he had come down with COVID. Since his keyboards had been set up, I assume Winter literally must have found out just hours before the gig. But as professional musicians do, they decided the show must go on. Not only do I join Ringo who wished Winter the best, but I also hope nobody else from the band and the supporting staff got infected and the long postponed tour can go on.

Another bit of a bummer: I didn’t capture any video. You can thank the Beacon Theatre’s usher police. I’ve rarely seen ushers constantly pacing back and forth and telling people not to take photos or videos. Granted these are the official rules but, come on, regular concert visitors snapping some photos or taking some video aren’t doing this for profit.

Yes, there is a smile behind that bloody mask!

Well, other than taking a couple of pictures, I didn’t want to become a troublemaker, especially when the performer’s key motto is ‘peace and love’. Instead, I’m relying on YouTube videos captured by some other terrible violators! None of the clips was captured Tuesday night, but they are all from the current tour and feature Edgar Winter. And while he was defintely missed, the group did a great job without him.

Speaking of the All Starr Band beyond Ringo, each member had moments when they truly shined. The first two I’d like to call out are saxophonist Warren Ham, who also played flute and harmonica and sang vocals. Then there was British guitarist and bassist Hamish Stuart, a co-founder of Scottish funk and R&B group Average White Band, aka AWB. Check out their and and the band’s great rendition of AWB’s Pick Up the Pieces, off their 1974 eponymous sophomore album. And, yep, that’s Steve Lukather on bass, who occassionally traded the instrument with Stuart.

Colin Hay, best known as songwriter, guitarist and lead vocalist of Aussie band Men At Work, stood out on vocals, still sounding like business as usual in the ’80s, especially on Men At Work songs. Here’s Overkill, a tune from the band’s sophomore album Cargo, released in April 1993. Check out Hay hitting high notes at around 3 minutes. Hay also perfectly nailed the high notes on Toto’s Africa, a vocal highlight of the night. Unfortunately, I couldn’t find a clip that did the performance full justice.

Steve Lukather was great on guitar. Here here’s rocking out on Hold the Line, Toto’s debut single from October 1978, which gave them a big hit from the get-go. When anouncing the tune on Tuesday night, Lukather said he was 19 years old when Toto recorded that tune, adding in a few months he’s turning 65. I’ve always loved that song!

So where the heck is Ringo in all of this, you may wonder. Well, to begin with, he shared drumming responsibilities with Gregg Bissonette, and they both looked like they were having fun behind their kits. And then, of course, he also did some singing. Here’s Photograph, co-written by him and George Harrison, and first released in September 1973 as the lead single of Ringo’s eponymous third studio album that came out in November that year.

Following is the setlist from Tuesday night:
• Matchbox (Carl Perkins cover)
• It Don’t Come Easy (Ringo Starr song)
• What Goes On (Beatles cover)
• Rosanna (Toto cover feat. Steve Lukather)
• Pick Up the Pieces (AWB cover feat. Hamish Stuart)
• Down Under (Men At Work cover feat. Colin Hay)
• Boys (Shirelles cover feat. Ringo Starr)
• I’m The Greatest (Ringo Starr song)
• Yellow Submarine (Beatles cover feat. Ringo Starr)
• Cut the Cake (WAB cover feat. Hamish Stuart)
• Octupus’s Garden (Beatles cover feat. Ringo Starr)
• Back Off Boogaloo (Ringo Starr song)
• Overkill (Men At Work cover feat. Colin Hay)
• Africa (Toto cover feat. Steve Lukather)
• Work to Do (Isley Brothers cover feat. Hamish Stuart)
• I Wanna Be Your Man (Beatles cover feat. Ringo Starr)
• Who Can It Be Now? (Men At Work cover feat. Colin Hay)
• Hold the Line (Toto cover feat. Steve Lukather)
• Photograph (Ringo Starr song)
• Act Naturally (Johnny Russell cover feat. Ringo Starr)
• With a Little Help From My Friends/Give Peace A Chance (Beatles cover feat. Ringo; John Lennon cover)

Tuesday night’s gig was the second of three dates Ringo Starr and His All Starr Band did at the Beacon Theatre. Tomorrow night, they play Count Basie Theater, a great venue in Red Bank, N.J., before moving on to State Theater in Easton, Penn. (June 11) and Providenc PAC in Providence, R.I. (June 12). The current leg of the North American tour wraps up in Clearwater, Fla. on June 26. Part 2 starts in Bridgeport, Conn. on September 23. The full current schedule is here. If you haven’t seen Ringo yet and like his music and the All Starr Band concept, I can highly recommend the show!

Sources: Wikipedia; Setlist.fm; Ringo Starr website; YouTube