If Jimi Hendrix were still alive today, he would be 75 years old, going on 76. Have you ever wondered how he might look and sound like? Enter Jimy Bleu, who according to the website of Kiss The Sky – World’s Greatest Jim Hendrix Tribute is the longest running Hendrix tribute artist in the world with more than 45 years.
Sure, nearly every tribute calls themselves the “ultimate” or “greatest” tribute of the artist they capture. But in the case of Bleu and his band, this may well be true. Just watch the above clip and tell me the shit this guy does on stage isn’t absolutely mind-boggling – the way he plays the guitar, the way he moves, the facial expressions – it’s almost creepy, making you feel you’re looking at some Jimi Hendrix reincarnation.
According to Kiss The Sky’s website, Jimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since.
Based on the above, you figure Bleu must have been 17 or 18 when he saw Hendrix at Woodstock, which would make him about 66 or 67 years old. So he’s a somewhat younger version of what Hendrix would be today, but close enough.
While I’m very interested in tribute bands and, as some readers of the blog know, have seen many, I rarely get as excited as I feel about Kiss The Sky – which is why I didn’t think twice and immediately bought a ticket for their upcoming October 13 gig at Monmouth University Center for the Arts, where they will perform with a Cream tribute called Heavy Cream. It promises to be an epic night!
Yesterday evening, it was finally time for John Fogerty and ZZ Top at PNC Bank Arts Center. I’ve been fortunate to see a number of great shows there over the past few years and have come to like this amphitheater-style venue in Holmdel, NJ. The Allman Brothers Band, Santana and Steve Winwood are a few of the concerts that come to mind. Of course, one of the potential caveats with outdoor venues is the weather, and things started off a bit dicey on that front.
While driving to PNC, I was blasting Creedence Clearwater Revival’sHave You Ever Seen The Rain from my car stereo, literally living the song: seeing the rain, coming down on a sunny day – at times pretty heavily! I arrived right in the middle of an early evening thunderstorm with lots of lightning and thunder, and it wasn’t hard to imagine to see a bad moon rising. But I had waited for Fogerty for some 40 years and was determined not to allow some rain to get into the way. Luckily, the thunderstorm dissipated before the show got underway and I could ride it out in my car in the parking lot.
ZZ Top started the main part of the evening. There was an opening act I missed due to surprisingly long lines to enter the facility – the first time I ever recall encountering that at PNC. The Texan rockers’ set was identical to the song lineup they played during the tour opener in Atlantic City the night before, mostly drawing from their ’70s albums and 1983’s Eliminator, the band’s most commercially successful release. That was the record that first brought ZZ Top on my radar screen, long before I listened to their first three albums, which I now generally like better than their 80s recordings.
As usual, I didn’t record any videos with one exception, so I’m relied on YouTube clips from previous live shows. To make it as similar as possible, I tried to find the most recent footage with an acceptable quality. I realize this approach not 100% ideal, but for the most part I believe it captures the overall feel of the show.
Things kicked off with Got Me Under Pressure from Eliminator followed by a nice cover of I Thank You, first recorded by Sam & Dave in 1968 – it’s hardly impossible to ever go wrong with a Stax tune, at least in my book! Next up was Waitin’ For The Bus, one of my favorite ZZ Top tunes. It is the opener of their third studio album Tres Hombres fromJuly 1973. Unlike most other original tunes that are credited to all three members, only guitarist Billy Gibbons and bassist Dusty Hill share credits for this song. ZZ Top combined it with Jesus Left Chicago, another track from the same album. Here’s a nice clip from Bonnaroo 2013 where they did the same.
Another song I’d like to highlight is I’m Bad, I’m Nationwide. It is from Degüello, ZZ Top’s sixth studio release from November 1979. One thing I thought was fun to watch was Gibbons and Hill trading guitar and bass parts toward the end of the song.
Close to the end of the regular set came Sharp Dressed Man. The track, which is also from the Eliminator album, remains a classic to this day despite its noticeable ’80s sound. Surprisingly to me, when it came out in 1983, it only reached no. 56 on the Billboard Hot 100. In the UK, it did better, peaking at no. 8 on the singles chart.
The encore was reserved for two other ZZ Top classics: La Grange from Tres Hombres and Tush, which in my opinion perhaps is the ultimate blues rocker – at least the studio version, on which the band sounds super-tight and just rocks! Tush is the closer of Fandago!, the follow-on album to Tres Hombres, which came out in April 1975.
ZZ Top certainly delivered a solid performance. All three of them are top notch musicians, who have played together forever. The one thing I thought was missing a bit was joy and spontaneity. At times the performance felt like a routine, a show they had done a million times – which undoubtedly must be true for most of the songs they played.
After a 15- to 20-minute intermission, John Fogerty and his band got on stage. Not only did they play a fantastic set, though no encore, but in marked contrast to ZZ Top, you could see these guys had fun, especially Fogerty. He was upbeat in his announcements and moved around the stage quite a bit, projecting an almost youthful joy of playing that reminded me a bit of Paul McCartney.
The set featured mostly featured classics from all CCR albums, except the last one, Mardi Gras, and tunes from Fogerty’s excellent 1985 solo record Centerfield. It also included a new tune Fogerty had recorded with Gibbons leading up to the tour, and a few covers. Unlike ZZ Top, Fogerty made a few variations to the set he played during the tour opener in Atlantic City.
The first track I’d like to highlight is Rock And Roll Girls from the Centerfield album that was released in January 1985. I’ve always liked this tune. One of the distinct features last night was a great Clarence Clemons-style solo by young saxophone dynamo Nathan Collins, giving the tune a nice Bruce Springsteen vibe. According to his blog on John Fogerty’s official website, he will be a senior at the University of Southern California in the Popular Music Performance program – way to go! The quality of the following clip isn’t great, but it’s the only recent version I could find that features the sax part.
Who’ll Stop The Rain appeared on Cosmo’s Factory, CCR’s fifth studio album from July 1970. Fogerty introduced it by pointing out he was playing the tune with the same Rickenbacker guitar he had used at Woodstock – a 325 Sunburst from 1969. How cool is that! And, as has been reported by Rolling Stone and other entertainment media, Fogerty actually gave away that guitar in 1972/73 and it was “lost” for some 44 years, until his wife Julie was able to recover it in 2016 after an extensive search and gave it to John as a Christmas present that year – wow!
Apart from showing an upbeat spirit throughout the night, Fogerty also made it very clear he’s a proud dad. In fact, one of the members of his backup band is his son Shane Fogerty, who did a nice job on guitar, frequently trading solos with his father. The gig also featured another son, Tyler Fogerty, who like his brother is a musician playing guitar and singing. In fact, in 2012, the two brothers were among the co-founding members of Hearty Har in Los Angeles, which describe themselves as a psychedelic rock band. Tyler shared vocals on a few covers, one of which was Good Golly, Miss Molly, the rock & roll classic that first was made famous by Little Richard in 1958.
The next song I’d like to highlight is Holy Grail, Fogerty’s new song he had recorded with Gibbons leading up to the tour. It’s got a nice La Grange groove to it. It’s the only tune I recorded myself, since I figured it might be tough to find it on YouTube. Fogerty and Gibbons had only performed it live once before during the tour opener the night before. That song and a cover of the Moon Martin tune Bad Case Of Loving You, which they also played together, was when Gibbons seemed to be most engaged.
Another standout of the show was a string of New Orleans songs, during which the band truly shined. Here’s New Orleans, a great tune co-written by Frank Guida and Joseph Royster for Gary U.S. Bonds, who recorded it in 1960. The following clip nicely captures last night’s groove, though it’s a slightly different band. The guy on the bass who is visibly having a ball is producer Don Was.
I could go on and on, but this post is already getting very long. So the last song I’d like to highlight is one of my all-time favorite CCR tunes, Have You Ever Seen The Rain. They recorded it for their sixth studio album Pendulum released in December 1970. It also appeared separately and became the band’s eighth gold-selling single. In another dad moment, Fogerty dedicated the tune to his 16-year-old daughter Kelsy Cameron Fogerty. Sure, this wasn’t the first time he did that, but it still felt genuine.
This post wouldn’t be complete without acknowledging the other musicians in Fogerty’s band: Kenny Aronoff (drums), Bob Malone (keyboards), James LoMenzo (bass) and Devon Pangle (guitar). In addition to Collins, the horn section includes two other very talented young musicians: Steve Robinson (trombone) and Ethan Chilton (trumpet). Each of them also has a blog on Fogerty’s website. The fact that John Fogerty gives these young musicians this great opportunity for exposure tells me this man not only has soul but also is a true class act.
Sources: Wikipedia, Setlist.fm, Rolling Stone, Hearty Har website, John Fogerty Facebook page and official website, YouTube
Earlier today, I came across Down At The Doctors, a tune by British pub rockers Dr. Feelgood I’ve always liked. The song, which was written by Mickey Jupp, is the opener of Private Practice, the band’s sixth studio album from October 1978.
The first time I heard Down At The Doctors was the great version from Dr. Feelgood’s live album As It Happens, released in June 1979. The clip looks like it could be from around that time. It features the band’s co-founder and original lead vocalist and harmonica player Lee Brilleaux.He passed away from cancer in April 1994.
Dr. Feelgood is still around and has a busy touring schedule, though the current line-up includes none of the original members.
While I’m not a Jimi Hendrix expert, I don’t detect any no new revelations on Both Sides Of The Sky. In fact, if anything, I’d say it pretty much reflects what I’ve heard from Hendrix before. And that’s quite alright with me. After all, we’re talking about possibly the best rock guitarist who has ever walked the planet. So more of the same really means more of the same brilliance. In my book that’s not a reason to complain. Plus, I have to say, this album also provides a nice occasion to rediscover Hendrix.
The record, which was fully released yesterday (March 9), is the third in a trilogy of posthumous albums after Valleys Of Neptune (2010) and People, Hell and Angels (2013). It captures studio recordings Hendrix made between 1968 and 1970. All three albums were co-produced by Eddie Kramer, Hendrix’s go-to recording engineer for all records that appeared during his lifetime. The full release was preceded by three upfront singles: The Muddy Waters tune Mannish Boy, as well as the Hendrix compositions Hear My Train A Comin’ and Lover Man, which I covered in previous posts.
Here are clips of Mannish Boy, a nice take of the Waters classic, and Lover Man, which Hendrix modeled after B.B. King’sRock Me Baby.
“He used the studio as a rehearsal place,” Kramer toldNPR, commenting on the transitional period for Hendrix this collection from the vault captures. These recordings happened shortly after the final album by The Jimi Hendrix ExperienceElectric Ladyland had appeared and before he would record his last and only album with Band Of Gypsies at Fillmore East in January 1970. “Thank goodness that was happening because the tape was running, and he would bring in different musicians to try to figure out what he was gonna do with his musical direction.”
These different artists included Stephen Stills, Johnny Winter and saxophonist Lonnie Youngblood, who appear on different tracks of the album. The collaborations with Stills include his original tune $20 Fine and a great pre-Crosby, Stills, Nash & Young recording of Joni Mitchell’sWoodstock. Winter joins Hendrix on Things I Used To Do, a great electric slide guitar blues. Youngblood provides strong vocals and a killer saxophone solo on Georgia Blues. On that tune, I also dig what sounds like a Hammond in the background – no idea who was playing it. Unfortunately, I couldn’t find YouTube clips for any of these tunes, but the entire album is still available for free streaming on NPRhere. It’s also on regular streaming platforms, including Apple Music/iTunes and Spotify.
“Sometimes, a song would take him nine months to bring to completion, and a lot of these songs are that,” Kramer explained during the above NPR interview. “They are the takes prior to it being completed, which makes them very exciting.” The NPR segment further reported that according to Kramer, the Hendrix vault has pretty much been exhausted when it comes to unreleased studio recordings but still includes plenty of additional live material. Some 47 years after Hendrix’s death, one does indeed wonder how much unreleased material could possibly be left.
Asked whether working on Hendrix music is still meaningful to him, Kramer said, “Oh my goodness, yes, I love working on this stuff. I get so excited just putting the tapes up and hearing his voice. I wanna keep doing Jimi Hendrix for the rest of time.”
The idea to put together this playlist came to me yesterday, after I had spotted this clip on Facebook. It shows John Fogerty and Billy Gibbons rocking out together to some Creedence Clearwater Revival and ZZ Top tunes to promote their upcoming Blues & Bayous Tour. While nothing is spontaneous here as it seems they want folks to believe, and I just wish they would have played more of each song than just the opening bars, hey, it’s still fun to watch these guys. And the thought of them doing a double-headliner that also will be right in my backyard sure as heck is very tempting!
I don’t want to pretend I’m a ZZ Top expert, but I have a good deal of their songs in my iTunes library – certainly more than enough material to inform this playlist. I think the first time these Texan rockers entered my radar screen was in 1983, when seemingly out of nowhere they were all the rage on the radio with songs like Gimme All You Lovin, Sharp Dressed Man and Legs. At the time, my parents didn’t have cable, which wasn’t as popular in Germany as in the U.S., so it wasn’t until much later that I also got to watch some of ZZ Top’s hilarious music videos, such as the rotating guitars in Legs!
ZZ Top was formed 1969 in Houston, TX, when Gibbons (guitar), Lanier Greig (organ) and Dan Mitchell (drums) got together. That formation recorded the single Salt Lick but record companies weren’t receptive, and it didn’t go anywhere. Greig and Mitchell left shortly thereafter. In late 1969, bassist, keyboardist and co-vocalist Dusty Hill joined, replacing then-bassist Billy Ethridge. Hill subsequently introduced Gibbons to drummer Frank Beard with whom he had played in various other bands in the past. The classic line-up was in place and still is to this day, more than 45 years later – frankly, I don’t know of any other band that hasn’t changed its line-up over such a long time!
Due to continued lack of interest from U.S. record companies, ZZ Top finally signed a contract with UK label London Records and released their debut album. Cleverly called ZZ Top’s First Album, the record appeared in January 1971. While it established the band’s blend of Blues, Boogie, Hard Rock and Southern Rock, it didn’t get much attention. The sophomore Rio Grande Mud from April 1972 entered the U.S. Billboard 200, peaking at no. 104 in June 1972, while the single Francine climbed to a respectable no. 69 on the Billboard Hot 100.
ZZ Top’s commercial breakthrough came with the follow-up album Tres Hombres from July 1973. While the reception from music critics was lukewarm at the time, the album climbed all the way to no. 8 on the Billboard 200. The single La Grange, which has since become a classic, peaked at no. 41 on the Billboard Hot 100 in June 1974. The band’s fourth album Fandango! from April 1975 brought another successful single, Tush, which peaked at no. 20 on the Billboard Hot 100 and became ZZ Top’s highest charting single in the 70s.
The band has since released 11 additional studio records, four live albums and various compilations. Eliminator from March 1983, which includes the above mentioned tunes Gimme All You Lovin, Sharp Dressed Man and Legs, became ZZ Top’s best-selling album, thanks to a more commercial sound the band had adopted in the early ’80s. Their 15th and most recent studio release La Futura appeared in September 2012. I haven’t seen any reports about a new album. La Futura was the first new record in nine years, so if that’s any guide, fans may need to have patience for a few more years. Time for some music!
Let’s start off the playlist with ZZ Top’s debut single Salt Lick, a nice blues rocker written by Gibbons, an early showcase of his outstanding guitar skills. I also like Greig’s organ work.
Brown Sugar, another tune by Gibbons to whom most of the band’s early songs are credited, appears on ZZ Top’s First Album. I like how the song begins slowly with just Gibbon’s vocals and his guitar, before it launches into a groovy blues rocker.
Tres Hombres may be best known for La Grange, but the tune I’d like to highlight from that album is the fantastic opener Waitin’ For The Bus, which is credited to Gibbons and Hill. I just totally dig the guitar riff and groove on that track, and also like the blues harp solo.
If I had just one ZZ Top tune to select, it would be Tush from the Fandango! album. To me it’s perhaps the ultimate guitar blues rocker. I love the riff and how tight the band is playing – there’s not one second being wasted here! Starting with this record, the band’s songs typically are credited to all three members.
In November 1976, ZZ Top released their fifth studio album Tejas. It includes this nice Stonesy tune called It’s Only Love.
Next up: Tube Snake Boogie from El Loco, ZZ Top’s seventh studio album from July 1981. It’s the first record on which the band started experimenting with a more commercial sound, introducing synthesizers on some of the tracks.
Even though it sounds more commercial than their ’70s records, no ZZ Top playlist would be complete without music from the Eliminator album. Despite the somewhat monotonous drum beat, which sounds more like a drum machine, Sharp Dressed Man is just a cool song. And the official video is too hilarious to leave out, so here it is!
And ‘coz it’s so much fun watching ZZ Top music videos from that time, here’s Legs. No doubt, the rotating guitars have become an unforgettable part of music video history.
I would also like to acknowledge a couple of the band’s later songs. Here’s Fearless Boogie, a tune from XXX, ZZ Top’s 13th studio album released in September 1999. And just in case, the title is a reference to the band’s then-30th year in business.
I’d like to close out this playlist with Chartreuse. The tune, which sounds a bit like a remake of Tush, is from ZZ Top’s most recent studio record La Futura. It surely proves these guys still know how to rock.
With total domestic record sales of some 25 million copies, ZZ Top are among the top 100 selling artists in the U.S. Internationally, the band has sold more than 50 million albums. In 2004, the Texan rockers were inducted into the Rock & Roll Hall of Fame. Asked during a Rolling Stoneinterview in November 2017 whether he still wants to be in ZZ Top at age 80, Gibbons said, “Well, yeah, I could do it. We are smack dab in the middle of a technological breakthrough that is making life extension quite a bit of the day-to-day norm.”
As for that double-headliner with Fogerty, the Blues & Bayous Tour kicks off in Atlantic City on May 25. Currently, there are 24 additional dates on the schedule, with the final gig being in Welch, Minn. on June 29.
Sources: Wikipedia, U.S. Billboard Charts, Rolling Stone, YouTube
Earlier this evening, I saw on Facebook that Both Sides Of The Sky, the forthcoming posthumous album by Jimi Hendrix, is now available exclusively at NPR for streaming. I’m currently listening to the collection of tracks recorded in 1968 and 1969, and definitely like what I’m hearing. The first three tunes, Mannish Boy, Lover Man and Hear My Train A Coming, already were officially released over the past six weeks. I previously wrote about them here, here and here.
Based on what I’ve heard so far, I think the lead to NPR’s accompanying review hits the nail on the head: “At this point, some 47 years after Jimi Hendrix’s death, it’s probably unrealistic to expect that a set of deep-vault studio tracks can expand the guitarist’s legacy in any meaningful way. This no doubt dismays the Hendrix obsessives, who pine for the long-whispered-about radical experiments they believe Hendrix squirreled away in some Electric Ladyland broom closet. For the rest of us, the arrival of any sort of Hendrix material, especially if it’s captured in the studio, is a chance to be awed, all over again and in surprising ways, by this human’s freakish powers of musical persuasion.”
Thus far, my favorite tunes include Mannish Boy, $20 Fine (a Stephen Stills tune with him on vocals), Things I Used To Do (nice slide guitar shredder with Johnny Winter), Georgia Blues (slow blues featuring Lonnie Youngblood on saxophone) and the Joni Mitchell classic Woodstock, another song featuring Stills. While the last track is “missing” the magic vocal harmonies of Crosby, Still, Nash & Young, I still dig this version, which features Hendrix jamming on bass and superb organ work.
Both Sides Of The Sky is set for release on March 9.
Sources: Tom Moon, NPR: First Listen: Jimi Hendrix, ‘Both Sides Of The Sky’
This previously unreleased version of Lover Man by Jimi Hendrix is the third track from his upcoming posthumous album Both Sides Of The Sky, scheduled for release on March 9. According to Ultimate Classic Rock, Hendrix recorded this take of the blues rock tune in December 1969 with future Band Of Gypsys members Billy Cox (bass) and Buddy Miles (drums). This was less than a month before that band recorded their eponymous debut album, the last Hendrix studio record that appeared prior his death.
Written by Hendrix, Lover Man was modeled after Rock Me Baby by BB King, per Songfacts. Other versions of the tune can be heard on Valleys Of Neptune, a 2010 posthumous Hendrix album, the second of the trilogy that is concluded with Both Sides Of The Sky, as well as Isle Of Wright, a posthumous live album from 1971.
“Jimi loved the blues,” Eddie Kramer told Ultimate Classic Rock recently. “So did Billy, so did Buddy,” added Kramer, Hendrix’s recording engineer on all of his albums recorded during his lifetime and co-producer of the upcoming record. “Billy was always this wonderful counterpart. He did these fantastic runs, these lovely loping figures. Jimi was so happy to have that bouncy feeling beneath what he was doing. And you can’t have a record like this without the famous cement mixer. That’s what Mitch Mitchell used to say about Buddy — ‘He’s a bit of a cement mixer.’ No kidding. I mean, he was just the most amazing funk/R&B drummer, and I just love the way that Jimi’s solo just rips into that far-out distortion. It just shreds. I mean, that’s the ultimate shred solo.”
Sources: Ultimate Classic Rock, Songfacts, YouTube