When AC/DC finished their world tour four years ago in support of their previous album Rock or Bust, they looked more bust than rock. Now the Aussie band is back in full force with a new album, released yesterday, and suddenly it feels like time was turned back 40 years. While Power Up may not have anthems like Hells Bells, Back in Black and You Shock Me All Night Long, AC/DC’s 17th studio album delivers plenty of the kind of straight kick-ass rock & roll that have made them such a widely beloved band among rock fans.
The fact AC/DC are still alive borders on a miracle. In April 2016, six months prior to the end of the Rock or Bust tour, lead vocalist Brian Johnson had to bow out due to severe hearing issues. This forced the band to reschedule the remaining 22 gigs and bring in Axl Rose of Guns N’ Roses to finish the tour. At the end of the tour, bassist Cliff Williams was a spent force and announced his retirement. Drummer Phil Rudd had missed the entire tour in the first place due to legal issues. As had rhythm guitarist and songwriter Malcolm Young, who had been forced to retire in 2014 due to dementia. He passed away in November 2017 at the age of 64.
Essentially, this only left lead guitarist Angus Young, who had formed AC/DC with his older brother Malcolm in 1973. Fast-forward to August 2018 when Angus Young; Stevie Young, who had joined the band in April 2014 following the departure of his uncle Malcolm; Phil Rudd; Cliff Williams; and Brian Johnson who thanks to a special hearing aid is able to sing again were photographed near a recording studio in Vancouver, Canada. Ever since rumors had been floating around about a new album. The long wait is over.
Produced by Brendan O’Brien who had also worked with AC/DC on their previous two albums Rock or Bust and Black Ice, Power Up was largely recorded in Vancouver over a six-week period between August and September 2018. All of the songs had been co-written by Angus and Malcolm during the period between the Stiff Upper Lip (February 2000) and Black Ice (October 2008) albums. Power Up is a tribute to Malcolm, another parallel to the above mentioned Back in Black that was dedicated to Bon Scott, Johnson’s predecessor who died in February 1980 due to acute alcohol poisoning.
After so much death and despair, how about some music! Here’s the opener Realize. With the power guitar riffs and Johnson’s screaming vocals, it sounds like classic AC/DC. The tune also appeared separately as a single three days ago.
Shot in the Dark became the album’s lead single released on October 11. It’s perhaps the “hit” on the record, reaching the top of the U.S. Billboard Mainstream Rock chart. Here’s the official video.
When a band like AC/DC names a track Demon Fire, you know pretty much what to expect.
Wild Reputation has a great main riff that sounds a bit Stonesy.
Let’s do one more: Here’s the cool closer Code Red.
“Malcolm and myself over the years, whenever we’d come to an album we always walked in with a lot of A-grade songs,” Angus Youngtold the Associated Press. “We always had a stack full more left that were all great, great tracks…I concentrated on the ones I knew were Mal’s favorites. It’s a fitting project for him. He always liked being simple and direct, so I felt, what better than his music?”
“We all felt Malcolm around us, he was there,” added Brian Johnson. “We’re not spiritual type people, but, boy, oh boy. Malcolm was a very strong character in real life, and him passing away wasn’t gonna stop that. He was there, everywhere, and I think you can tell it on the record.”
It’s fair to say AC/DC aren’t breaking any new ground on Power Up. While for many other bands this may be a point of criticism, AC/DC have been great at what they’ve done for decades, so you really don’t want them to change. Plus, there may be more. During a separate interview with Apple Music, Angus Young revealed there are hundreds of unpublished songs in the AC/DC vault he and Malcom had written together. Young also joked, “You can’t call an album ‘rock or bust’ and then go bust.”
Sources: Wikipedia; Associated Press; Apple Music; YouTube
The annual 11-hour marathon on the Jersey shore combines first rate tribute music with a great cause
Today would have been the 7th annual Rock the Farm festival, a great music tribute event conducted each year in the New Jersey shore town of Seaside Heights. But in light of the seemingly never-ending COVID-19 pandemic, the organizers made the responsible decision to cancel, hoping they can bring back the 11-hour music marathon in 2021.
I think the idea behind Rock the Farm is ingenious: Imagine an iconic music festival that could never happen in reality and bring it to life with compelling tribute acts and raise money for a great cause in the process! It’s almost like a mini Live Aid, except of course The Beatles or The Doors could have never have shared a bill with the Eagles, Guns N’ Roses or Tom Petty.
The event is organized by Jersey non-profit community organization CFC Loud N Clear Foundation, which offers post-rehab support programs to individuals and families struggling to overcome addiction to opioids, alcohol and other substances. Rock the Farm serves as their main annual fundraiser.
I realize that unless you are from Jersey and/or have been to the festival, this is a bit of an inside baseball post. But as more frequent visitors of the blog may recall, I dig seeing tribute bands, especially when they are of the high caliber Rock the Farm has attracted over the years. This year would have been my fourth time in a row to attend. Instead, I’m taking a look back at highlights from the past two years.
Let’s kick things off with a Guns N’ Roses tribute band from Dallas called Guns 4 Roses. While I haven’t found any information on when they were formed, their website lists gigs going back to 2009. Here’s their rendition of Sweet Child O’ Mine captured at Rock the Farm 2018.
TUSK are an outstanding tribute to Fleetwood Mac, mirroring the Rumours lineup. This band from New Jersey, which tours nationally, features Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). Here’s Dreams and You Make Loving Fun, from Rock the Farm 2018.
Another highlight at Rock the Farm 2018 were Free Fallin’, a Tom Petty tribute from Minneapolis, founded in 2007. Their members are Tom Brademeyer (as Tom Petty, guitar & lead vocals), Karl Swartz (as Mike Campbell, guitar & vocals), Craig Volke (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals), Russ Lund (as Ron Blair, bass) and Mark Larsen (as Stan Lynch, drums). Here they are with Refugee, one of my favorite Petty tunes.
The headliner at Rock the Farm 2018 were Live/Wire, a kickass AC/DC tribute from New York. Founded in 2000, the band includes Mike Hughes (as Angus Young, lead guitar), Bill Voccia (as Malcolm Young, rhythm guitar), Chris Antos (as Bon Scott and Brian Johnson, lead vocals), Bill ‘Daytona’ Bowden (as Cliff Williams, bass) and Billy Rauff (as Phil Rudd, drums). Based on their current schedule, the band’s touring radius appears to be the eastern half of the U.S. Here’s It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll). Despite some apparent technical issues with the bagpipe, it’s a pretty cool rendition.
One Fine Tapestry are a tribute to Carole King, one of my favorite singer-songwriters. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo performing a variety of different shows. At Rock the Farm 2019, they were backed by a full band. Here’s their rendition of King’s Sweet Seasons.
Decade is an act revolving around great Neil Young tribute artist John Hathaway, who is also from New Jersey and performs with different line-ups of talented backing musicians. Frequent members include guitarist Gordon Bunker Strout, pedal steel player Joseph Napolitano, bassists Ken Ramos and John Dickson and keyboarder Steve Cunniff. Sometimes, Hathaway’s band also features a female backing vocalist as was the case at Rock the Farm 2019 with Pam McCoy. Here’s Cinnamon Girl.
Always fun to watch are Rolling Stones tribute The Glimmer Twins from Philly. Named after the songwriting partnership of Mick Jagger and Keith Richards, this band is led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound fantastic: Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte (keyboards), Valorie Steel (vocals) and Bobby Michaels (saxophone, flute, organ). Check ’em out with Can You Hear Me Knocking.
The final band I’d like to highlight in this look back were the headliner last year: Simply Queen. This Canadian to Queen, which has been around for 15 years, features Rick Rock (as Freddie Mercury), Bob Wegner (as Brian May), Phil Charrette (as Roger Taylor) and Mitch Taylor (as John Deacon). While Simply Queen mostly perform in Canada, they venture out to the U.S. fairly frequently. Here’s a nice rocker called It’s Late.
My recent “desert island” collection of 10 studio albums included Deep Purple’sMachine Head, which after more than 40 years of listening remains the ultimate hard rock album to me. In that post, I also noted that these days heavy rock no longer is my primary music choice. But occasionally, I still enjoy it, which triggered the idea to put together this playlist. I guess just like with many other things, when it comes to music, it’s all about moderation, except of course for The Beatles, The Rolling Stones, The Who, Neil Young, live concerts, music equipment… 🙂
As more frequent visitors of the blog know, I find doing rankings nearly impossible. But since I suppose there needs to be some system to the madness, the following list is in chronological order from oldest to most recent. And, yes, I suppose in some cases you could question whether a pick is really hard, heavy or metal rock, or is it just rock? The boundaries can be pretty fluid. Plus, to some extent, it’s also a bit subjective. At the end of the day, it’s all about music I dig when the occasion is right. With all these caveats out of the way, let’s get to it.
Steppenwolf – Born to be Wild
This classic from Steppenwolf’s eponymous debut album from January 1968 sometimes has been called the first heavy metal song – in part because of the second line of the second verse, “heavy metal thunder.”Born to be Wild was written by Canadian rock musician and songwriter Dennis Edmonton, aka Mars Bonfire. The tune also appeared separately as a single in June 1968 and became Steppenwolf’s biggest hit next to Magic Carpet Ride. It will forever be associated with the 1969 biker cult picture Easy Rider. Every time I hear that opening line Get your motor runnin’, I feel like climbing on my chopper and heading down Route 18 to the Jersey shore. Then reality sets in. I don’t own a bike, not to mention the minor detail I don’t really know how to ride one. But when I get the urge to look for adventure, there’s always my sexy family crossover SUV! 🙂
Led Zeppelin – Whole Lotta Love
While Led Zeppelin IV is my favorite Zep album, Whole Lotta Love possibly is my favorite tune among their crunchy rockers. Credited to all four members, the track first appeared on Led Zeppelin’s sophomore album that came out in October 1969, ingeniously titled Led Zeppelin II. The following month, Whole Lotta Love was also released as a single and became their best chart-performing song, reaching no. 1 in Australia and Germany, and peaking at no. 4 in the U.S. Notably, it didn’t chart in their home country. From today’s perspective, the fact that Whole Lotta Love became such a big hit looks unreal. You need cooling/Baby I’m not fooling/I’m gonna send ya/Back to schooling//A-way down inside/A-honey you need it/I’m gonna give you my love/I’m gonna give you my love//Want to whole lotta love/Want to whole lotta love/Want to whole lotta love/Want to whole lotta love…
Deep Purple – Speed King
Obviously, it was only a matter of time until I would feature a Deep Purple tune in this post. But while Machine Head was their Mount Rushmore, there’s more to the British hard rockers than this 1972 gem. One great example is the opener to the band’s fourth studio album Deep Purple in Rock released in June 1970: Speed King. Credited to the entire band, the song’s lyrics are made up of titles of classic rock & roll tunes by Chuck Berry and Little Richard, which I always thought was a cool idea. Good golly, said little Miss Molly/When she was rockin’ in the house of blue light/Tutti Frutti was oh so rooty/Rockin’ to the east and west/Lucille was oh so real/When she didn’t do her daddies will/Come on baby, drive me crazy, do it, do it.. This is one kick-ass rocker!
Black Sabbath – Paranoid
While I can’t claim to be a Black Sabbath fan, there’s just no way you can leave out these English rockers from any heavy rock collection. It would be like doing a post about the British Invasion and excluding The Beatles. And, to be clear, I’m not just featuring Sabbath because I felt I had to. I’ve always loved Paranoid, the title track of their second studio album that came out in September 1970. Credited to the entire band, Paranoid first appeared as a single in August of the same year. It became their biggest hit, topping the charts in Germany, and reaching no. 2, 3 and 4 in Switzerland, Austria and the UK, respectively. Apparently, audiences were less receptive in America, where the tune stalled at no. 61 on the Billboard Hot 100. Here’s a cool official clip, even though it’s all playback. Check out Tony Iommi’s cool Gibson SG. One day when I grow up I’m gonna get an ax like this – it even plays rhythm and solo at the same time! 🙂
Uriah Heep – Bird of Prey
Yep, Uriah Heep with their crazy high vocals can border a bit on the weird, but these guys were rockin’, especially in their early days. I seem to remember when I bought the album Salisbury as a young teenager, my six-year older sister who accompanied me to the record store was a bit embarrassed about my choice. Come on, sis’, while with Carole King’sTapestry, CSNY’sDéjà Vu and Pink Floyd’sWish You Were Here, to name a few, you undoubtedly introduced me to some of the best recorded music ever, your taste also varied – let’s just leave it at that! 🙂 Credited to the band members Ken Hensley, Mick Box, Paul Newton and Keith Baker, Bird of Prey is the furious opener of Heep’s sophomore album from February 1971. That tune rumbles just like the tank on the album cover – “geil,” as was fashionable to say in Germany back in the day!
Rainbow – Long Live Rock ‘n’ Roll
I don’t care how you feel about Rainbow, and my thoughts about them are mixed these days, Long Live Rock ‘n’ Roll just is an epic rocker. Co-written by former Deep Purple guitarist and Rainbow founder Ritchie Blackmore and the band’s powerhouse lead vocalist Ronnie James Dio, Long Live Rock ‘n’ Roll was the title track of Rainbow’s third studio album released in April 1978. It also became the record’s lead single in March of the same year. To me, this is Rainbow’s best song. Apparently, audiences felt differently, at least the time, and far preferred some of their later songs, on which Blackmore adopted a more commercial sound along the lines of Foreigner.
Gary Moore – Victims of the Future
Before Gary Moore fully embraced electric blues during his solo career, the Irish guitarist released heavy rock album Victims of the Future in December 1983. The big hit off that record was the power ballad Empty Rooms, which was played to death on the radio in Germany. I don’t even recall hearing the title track, which was co-written by Moore, Neil Carter (keyboards), Neil Murray (bass) and Ian Paice (drums) – and, yep, that’s the Ian Paice from Deep Purple. The song wasn’t released as a single; clocking in at more than six minutes, it wouldn’t have been radio-friendly to begin with. Admittedly, this is a pretty aggressive tune I can only tolerate occasionally, but when I’m in the mood for some heavy action, I still enjoy it. According to Wikipedia, Moore later dismissed the record as “just one of my feeble attempts at heavy rock”. It’s certainly quite different from his electric blues music he released starting in the early ’90s all the way until his premature death at age 58 in February 2011.
Guns N’ Roses – Sweet Child o’ Mine
My sentiments about Guns N’ Roses in general are similar to the previous pick. Sometimes, their music is simply too aggressive, so again, I need to be in the right mood. When I am, I actually enjoy a good number of their tunes. On these occasions, Sweet Child o’ Mine is one of my favorites. It’s a track off their debut album Appetite for Destruction from July 1987. Credited to the entire band, the tune also became the album’s third single in August of the same year. It was one of the songs that fueled the record’s massive international chart success, turning it into Guns N’ Roses’ biggest album. The guitar work on this song is just killer!
Scorpions – Raised on Rock
I suppose writing a post about heavy rock without acknowledging German veterans Scorpions would border on treason. The band from the city of Hannover first entered my radar screen with Love at First Sting, their hugely successful ninth studio album they released in March 1984, 12 years into their recording career. I seem to recall reading somewhere there were times before then when Scorpions were more famous elsewhere than in their home country. With hits, such as Rock You Like a Hurricane, Big City Nights and Still Loving You, Love at First Sting definitely changed that. Scorpions continue to rock and roll to this day. In April, they released a new tune, Sign of Hope, a classic Scorpions-style ballad, inspired by COVID-19. According to a statement on their website, they have been working on songs for a new album. The tune I decided to feature here appeared 26 years after Love at First Sting. Raised on Rock is the opener to the band’s 17th studio album Sting in the Tail from March 2010, which together with the supporting tour was positioned as their farewell. Then, they decided they simply couldn’t stop.
AC/DC – Play Ball
Let’s wrap up things with a great late-career rocker by AC/DC. Play Ball is from their 16th studio album Rock or Bust, which is the band’s most recent to date from November 2014. There have been reports about a new album for some time, largely fueled by Twisted Sister’sDee Snider, who apparently is close to AC/DC. According to this NMEstory from late July, the album is already in the can, but it’s release has been delayed due to COVID-19. It sounds like thanks to some technology wizardry, it will feature the classic lineup including Malcolm Young and be the band’s final album. For now, let’s focus on actually released AC/DC music. Co-written by Malcolm Young prior to his forced retirement due to dementia and his younger brother Angus Young, Play Ball was the lead single from Rock or Bust, which appeared in October 2014, preceding the album by one month – a classic AC/DC rocker!
Jeez, after listening to ten heavy rock tunes, my ears are exhausted. Yesterday, the long-awaited reissue of The Rolling Stones’Goat Heads Soup came out. I think I’m just about ready for Angie. A-Angie, A-Angie/When will this hard rock disappear/Angie, Angie/where will it lead from here…
A selection of newly released music that caught my attention
As another busy week that left little opportunity for blogging is drawing to a close, the time has come again to take a look at newly released music. The selections in this latest Best of What’s New installment all fall into the pop rock and blues areas. Artists include a rock band from England teaming up with a U.S. rock singer-songwriter, two blues artists from down under, a gothic blues singer-songwriter from Nashville and Sheryl Crow with her latest single.
The Struts with Albert Hammond Jr./Another Hit of Showmanship
The Struts are a British rock band from Derby, England, which was founded in 2012. According to their website, In just a few years, The Struts have found themselves massively embraced by some of the greatest icons in rock-and-roll history. Along with opening for The Rolling Stones, The Who, and Guns N’ Roses, the U.K.-bred four-piece was hand-picked by Mötley Crüe to serve as the supporting act for their last-ever performances, while Dave Grohl praised them as the best band to ever open for Foo Fighters. To date, The Struts have released two full-fledged studio albums, 3 EPs and numerous singles. For their latest single Another Hit of Showmanship, which appeared today, they teamed up with singer-songwriter Albert Hammond Jr., who is best known as guitarist in American rock band The Strokes. “‘Another Hit of Showmanship’ reminds me of being at a club night called Ramshackle years ago at the O2 Academy in Bristol, where they’d play bands like the Libertines and Razorlight and Scissor Sisters, and of course the Strokes,” Struts vocalist Luke Spiller stated, as reported by Rolling Stone. “I hit up Albert out of the blue and told him, ‘We’ve got this song, and I’m so excited to see what you would do with it.’ As soon as he got his hands on it, he took it to a whole different level — it really just shows why he’s so brilliant at what he does.” It’s quite a catchy tune!
Josh Teskey&Ash Grunwald/Thinking ‘Bout Myself
Vocalist and guitarist Josh Teskey is a co-founding member of The Teskey Brothers, an Australian blues rock band formed in 2008. Ash Grunwald is a blues musician who hails from down under as well and has been active for 20 years. What do you get when you combine the two? Josh Teskey and Ash Grunwald, and an album, Push the Blues Away, scheduled for November 13. NME reportedThinking ‘Bout Myself is the first single released August 24. The two artists have worked together before. In 2019, they recorded a single, Ain’t My Problem, and while filming a clip for the song ended up jamming. “Somebody filmed our little jam,” Grunwald stated. “And it became the seed of a great idea: Why don’t we do an acoustic blues album? No bells and whistles, something from the heart.” All except two of the eight tracks were written either by Teskey or Grunwald. Well, based on this single, it certainly sounds promising.
Adia Victoria/South Gotta Change
Adia Victoria is a Nashville-based singer-songwriter, who according to Wikipedia is known for her “gothic blues” musical style. After a friend had given Victoria a guitar for her 21st birthday, she got into blues music. In 2010, she moved to Nashville and began performing locally. Her debut single Stuck in the South appeared in early 2015. Rolling Stone included her in a 10 New Artists You Need to Knowfeature, calling the tune a “swampy, bluesy track that put Adia Victoria on the map.” Her debut studio album Beyond the Bloodhounds came out in May 2016, followed by her sophomore release Silences from February 2019. South Gotta Change is Victoria’s new single released today and produced by none other than veteran T-Bone Burnett. Victoria’s compelling vocals and a great sound make this tune a real gem. Check out the official video.
Cheryl Crow/In The End
Threads may have been Cheryl Crow‘s final full-fledged album, as she stated when it came out a year ago. I previously reviewed it here. Luckily, Crow also said she’s not retiring from touring or releasing new music. Going forward, she added, she wanted to focus on singles or perhaps EPs. Apparently, Crow is following through. After releasing a cover of Bill Withers’ Lonely Town, Lonely Street in April and the original Woman in the White House on August 10, Crow is out with another single today: In the End. An excerpt from the lyrics leaves no doubt what’s on her mind these days. There’s a fly on the wall in the house on the hill/Where the king of the world watches TV/And the people await for his latest mandate/To a nation of angry believers/His words are a trap while his loyal band of thugs/Cover up all his many transgressions/The fly lands on his ear and whispers, “What’s there to fear/As long as you’re still the obsession?/As long you’re still the obsession”… Co-written by Crow and her long-time collaborator Jeff Trott, the nice pop rocker is classic Sheryl Crow.
Sources: Wikipedia; The Struts website; Rolling Stone; NME; YouTube
A selection of newly released music that caught my attention
This has been an extremely busy week on the work and family fronts, which hardly left any time to listen to music and reading posts written by my fellow music bloggers – not to mention writing something myself. Time to start catching up! A great place to begin is to take a look at newly released music. And I found some really good stuff, mostly by bands I had not heard of before. There’s also a nice collaboration single by former Toto guitarist Steve Lukather.
South of Eden/The Talk
South of Eden, formerly known as Black Coffee, are a four-piece rock band from Columbus, Ohio: Ehab Omran (lead vocals, acoustic guitar), Justin Young (lead guitar, vocals), Tom McCullough (drums) and Nick Frantianne (bass). According to their website, the band has already performed alongside everyone from the Foo Fighters to System of a Down, and invite you to join them on their journey of looking at rock ‘n’ roll through a modern lens…Originally from the country of Jordan, Ehab primarily listened to the Arabic music his parents would play, in addition to superstars like Michael Jackson, Phil Collins, and James Brown. After coming to America, he was introduced to a wider range of music that inspired him: eighties and nineties rock including Guns N’ Roses and notably Queen…Ehab and Nick performed together in various bands (channeling Iron Maiden, Red Hot Chili Peppers, and Alice In Chains) and eventually joined Justin and Tom who had been working on their own band (influenced by Van Halen and Black Sabbath). The Talk is the title track of the band’s debut EP, which came out yesterday (August 21). Credited to Omran, Young, McCullough and producer Greg Wells, this nice rocker reminds me a bit of Greta Van Fleet. While it’s more on the aggressive side, it’s got a catchy melody. Check it out!
The Lemon Twigs/Hell on Wheels
The Lemon Twigs are a rock band from Long Island, N.Y., fronted by brothers and multi-instrumentalists Brian D’Addario and Michael D’Addario. Brian and Michael, who had significant stage experience as children, formed The Lemon Twigs in 2014 when they were still in high school. The band’s touring line-up also includes Daryl Johns (bass), Tommaso Taddonio (keyboards) and Andres Valbuena (drums). Their first release was a cassette, What We Know, issued as a limited edition in 2015. This was followed by the debut studio album Do Hollywood from October 2016. They have since released two additional albums, an EP and various singles. Co-written by the brothers, Hell on Wheels is the opener of the band’s new studio album Songs for the General Public, which appeared yesterday (August 21). I think it’s a catchy tune.
Steve Lukather/Run to Me
Last October, following Toto’s final show in Philadelphia to wrap up their 40th anniversary tour, Steve Lukathertold Pennsylvania local newspaper The Morning Call the gig marked “certainly the end of this configuration of Toto.” But apparently Lukather already had other plans. He was supposed to join Ringo Starr and His All-Starr Band for a tour earlier this year, which of course didn’t happen and has been postponed until 2021. Now he’s out with a new song, Run to Me, the first single from an upcoming solo album, which as reported by Rolling Stone, is set for release sometime next year. The tune was co-written by Lukather together with his former Toto band mates David Paich and Joseph Williams. In addition to Paich and Williams, it features Ringo Starr and Huey Lewis and the News bassist John Piece. “This is a happy summer single for less than happy times,” commented Lukather on his website. “It just seemed like this was the right time to release the song…A little out of character for myself, but fun. Inspired by my youth…” There’s definitely a ’60s vibe in this melodic tune, which came out on August 20. Here’s the official video.
Let’s wrap up this new music installment with some indie rock from England. Sea Girls, formed in London in 2015, feature Henry Camamile (vocals, guitar), Rory Young (lead guitar), Andrew Noswad (bass) and Oli Khan (drums). The band’s debut single Call Me Out appeared in June 2017. This was followed by various additional singles and three EPs, which were all self-released. Last year, the band managed to get a deal with Polydor Records. After a few more singles and another EP, Sea Girls recorded their full-fledged studio debut Open Up Your Head, released on August 14. It includes the above tune Forever, which was written by Young. I really dig the guitar-driven sound of this tune – pretty catchy song!
Sources: Wikipedia; South of Eden website;The Morning Call; Rolling Stone; YouTube
Yesterday, I found myself listening to AC/DC and once again was reminded what a kick-ass rock band they were. While I’ve covered them on previous occasions, it occurred to me that I had not put together a playlist. Well, the time has come, but before getting to some music, a bit of history is in order.
AC/DC were formed in Sydney, Australia in November 1973 by Scottish-born brothers Malcolm Young (rhythm guitar) and Angus Young (lead guitar) who teamed up with Larry Van Kriedt (bass), Colin Burgess (drums) and Dave Evans (vocals). Apparently, the Young brothers came up with the band’s name after their sister Margaret Young had seen the initials “AC/DC” on a sewing machine. Margaret also inspired Angus Young’s characteristic school uniform stage outfit.
In September 1974, Evans was replaced by vocalist Bon Scott. Like the Young brothers, Scott had been born in Scotland and come to Australia as a child. In October 1974, AC/DC recorded their first studio album High Voltage. It was produced by Malcolm’s and Angus’ older brother George Young and Harry Vanda, who both were also members of The Easybeats. The album was released in February 1975 in Australia only.
By the time AC/DC started work on their sophomore record T.N.T. in the summer of 1975, Mark Evans (bass) and Phil Rudd (drums) had joined the band. Not only saw the record, another Australia only release that appeared in December 1975, the band’s classic lineup but also the hard-edged R&B-based rock & roll that would become AC/DC’s trademark sound.
The next important stage in the band’s history was the signing with Atlantic Records and their first international release in April 1976, an album that was also titled High Voltage. The record was a compilation of tracks from the band’s first two albums. AC/DC have since recorded 14 additional studio albums, and released various live and soundtrack records, one EP and two box-sets. The band has also gone through numerous lineup changes, with Angus Young being the only remaining original member. Let’s get to some rock & roll!
I’d like to kick it off with Love Song, a tune from AC/DC’s first record, the aforementioned Australia-only release High Voltage. Like all their songs until the Highway to Hell album, it was co-written by Angus Young, Malcolm Young and Bon Scott. The track is one of two tunes from that album that were never officially released internationally until 2009 when they were included in the box-set Backtracks.
AC/DC’s first international release, which as noted above was also titled High Voltage, includes two of their early classics: It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll) and T.N.T. It was a tough choice since I dig both of these tunes. I decided to go with the former song, which also became the album’s second single. Who would have thought bagpipes and hard rock guitar form such a friggin’ perfect harmony!
For the next tune, I’m jumping to Let There Be Rock, AC/DC’s fifth album from July 1977. It was the last record with bassist Mark Evans, who after clashes with Angus was replaced by Cliff Williams. Here’s one of my favorite tunes from that record, the fantastic closer Whole Lotta Rosie.
Highway to Hell marked another important milestone for AC/DC’s. The band’s seventh studio album released in July 1979 was the last with Bon Scott, who died in February 1980 after a night out in London. The official cause of death was acute alcohol poisoning, but according to a book by British-Australian author Jesse Fink, heroin was involved as well. While the album’s title track certainly hasn’t lacked exposure, I think it remains one of the greatest rock songs of all time, with a beautifully simple, instantly recognizable guitar riff. Here’s the official video.
Perhaps not surprisingly, AC/DC almost called it quits after Bon Scott’s death. But they decided to carry on and, apparently with the Scott family’s encouragement, hired Brian Johnson. Not only did Johnson become the band’s new vocalist, but throughout the ’80s, he also assumed Scott’s role in co-writing songs with the Young brothers. Five months after Scott’s death, AC/DC released Back in Black. The title and the all-black cover were in honor of Scott. With more than 50 million copies sold worldwide, Back in Black not only became AC/DC’s most successful record but one of the best-selling albums in music history. Here’s the official video of the great title track, another tune with a brilliant guitar riff.
For the next tune, let’s jump to January 1988 and AC/DC’s 12th album Blow Up Your Video, the last produced by Harry Vanda and George Young. That’s the Way I Wanna Rock ‘n’ Roll also came out separately as the record’s second single in March 1988. Here’s the official video.
After releasing five albums during the ’80s, which certainly was a remarkable pace, AC/DC started to slow down. The ’90s only saw two new records. Another change was that the two Young brothers took over all of the song-writing. Here’s Hard as a Rock, the great opener from Ballbreaker, the second of the two albums that appeared in September 1995. Phil Rudd, who had left during the recording sessions for the Flick of the Switch album from August 1983 due to drug problems and frictions with Malcolm Young, returned as the band’s drummer.
Stiff Upper Lip, AC/DC’s 15th studio album from February 2000, saw the return of George Young as producer. Here’s the opener and title track. It also became the album’s lead single.
In October 2008, AC/DC released Black Ice. With an eight-year span since Stiff Upper Lip, it marked the longest gap between the band’s successive studio albums. The record’s development was delayed due to an injury bassist Cliff Williams had sustained and the band’s switch from Elektra Records to Sony Music Entertainment. But I guess AC/DC made it count by making Black Ice their longest-running studio album to date. Here’s the official video of opener and lead single Rock ‘n’ Roll Train.
The last track I’d like to highlight is from AC/DC’s most recent record Rock or Bust, which came out in November 2014. While all songs were co-written by Angus Young and Malcolm Young, Malcolm had retired earlier in the year because of his declining health due to dementia. All of his guitar parts were recorded by his nephew Stevie Young. Here’s the fantastic Play Ball, a true late career gem, in my opinion.
Sadly, AC/DC’s story has been pretty grim since Malcolm Young’s departure. Shortly before Rock or Bust’s appearance, Phil Rudd was arrested and charged with attempting to procure a murder, threatening to kill, possession of methamphetamine and possession of cannabis, following a police raid on his home. While the murder procurement charge was subsequently dropped, Rudd was convicted of the other charges and sentenced to eight months home detention and a fine of NZ$120,000 in July 2015. As a result, he missed the 2015-2016 supporting tour for Rock or Bust.
Things got worse. In April 2016 during the Rock or Bust tour, AC/DC announced the departure of Johnson due to hearing issues. Guns N’ Roses’ Axl Rose was brought in to complete the tour’s remaining gigs. In July 2016, bassist Cliff Williams announced his retirement from the band at the end of the tour. On November 18, 2017, Malcolm Young passed away at the age of 64. Three weeks earlier, George Young had died. A cause of death wasn’t reported. He was 70 years old.
AC/DC have sold over 200 million albums worldwide, including approximately 71 million in the U.S. alone. And the story may not be over yet. Over the past couple of years, there have been rumors about a new AC/DC album in the making. And it appears they weren’t just rumors.
In February this year, heavy metal vocalist Dee Snider toldBlabbermouth.net that Brian Johnson not only had confirmed to him that he was working with the band again, but that AC/DC was indeed recording a new album. Apparently, Phil Rudd and Cliff Williams are back in the fold. Supposedly, the material includes recordings of Malcolm Young from the early 2000s. I guess we’ll have to wait and see.
This two-part series isn’t a traditional year-end music review. If that’s what you’re looking for, you could check out this New York Timesarticle about the 28 best albums of 2018 or this Rolling Stone piece titled 50 Best Songs of 2018. Frankly, I don’t even know the names of the majority of artists and songs mentioned in these two articles. And without meaning to sound arrogant or judgmental, I simply don’t care! The reality is the vast majority of music that’s popular nowadays and in the charts doesn’t speak to me.
I’ve also finally accepted that classic rock won’t return to the mainstream – like the blues, it was never meant to be there in the first place, as a recent article reminded me. But, as the same article also correctly stated, just because rock no longer is in the limelight doesn’t mean it’s dead. Consider this: My most viewed blog post this year was a review of a concert by excellent Led Zeppelin tribute band Get The Led Out. My most popular Facebook post was a video clip I took of Guns ‘N Roses tribute Guns 4 Roses performing Paradise City, which got 125 shares and some 24,000 views. Trust me, I’m not particularly popular on Facebook, but rock music apparently is!
I think the above examples are anecdotal evidence of rock’s ongoing appeal outside the charts. More importantly, rock isn’t going away in my music world. To start with, I never get bored listening repeatedly to The Beatles, The Rolling Stones, Cream, Neil Young and The Allman Brothers Band, to name a few of my favorite artists. I also feel there’s a massive amount of 60s and 70s music I’ve yet to explore. Altogether, this adds up to more stuff I will ever be able to handle, even if I would retire from work immediately and live until age 100! And then there’s icing on the cake when occasionally I come across young bands I dig like Detroit classic rockers Greta Van Fleet, all-female New York blues rock band Jane Lee Hooker or Memphis blues, soul and R&B outfit Southern Avenue.
Music, apart from being something I deeply enjoy, has always been a welcome distraction from challenges life can throw at you. This year, I certainly had my share, so it’s probably not a coincidence that between the blog, listening to music and going to concerts, 2018 felt like my most active year in music to date. It’s also worth remembering that shit happens to everybody. I’m alive and have a job, and my family has a roof over our heads, so ultimately I should be grateful. With that being said, let’s get to part 1 of this review, which focuses on concerts I’ve visited this year, and there have been many.
Between original artists and tribute acts, I must have set a new record for myself! I’ve seen more than a dozen original artists, who in reverse order include Toto (Nov); Steely Dan twice (Oct & Jul); Southern Avenue (Aug); Ann Wilson, Jeff Beck and Paul Rodgers (Aug); The Doobie Brothers (Jul, together with Steely Dan); Gov’t Mule (Jul, Dark Side of the MulePink Floyd show); Neil Young (Jul); Lynyrd Skynyrd (Jun); ZZ Top & John Fogerty (May); Jackson Browne (May); Buddy Guy (Apr 20) and Steve Winwood (Mar 9). I also had a ticket for Aretha Franklin for March 25, one of her very last shows that got canceled due to her illness. The concert would have coincided with her 76h birthday.
While all of the above gigs delivered, the three highlights were Steely Dan at The Beacon Theatre, New York City, Oct (review); Neil Young at Wang Theatre, Boston, Jul (review); and John Fogerty at PNC Bank Arts Center, Holmel, N.J., May (review). Following is one clip from each show.
Here’s the mighty Dan with Deacon Blues. This song is a great example of a tune I can listen to over and over again, and it just doesn’t get boring. Truly masterful music never does!
Next up: Neil Young and After The Gold Rush – the combination of Neil with his shaky, almost vulnerable voice and the pipe organ’s church-like sound still give me goosebumps when I think about it!
And here’s John Fogerty with Billy Gibbons performing Holy Grail, a tune they wrote together prior to their Blues & Bayous Tour. Yes, essentially, it’s a remake of La Grange, and it certainly wasn’t the best song of the show. But it’s the only clip I took myself that night, plus watching these two rock legends together on one stage was a treat in and of itself.
Things in 2018 were also pretty intense on the tribute concert front but, hey, I suppose my good blogger pal Music Enthusiast doesn’t call me the “King of Tribute Bands” for nothing! By now I can probably claim that I’ve seen tribute acts of bands ranging from A to Z. The highlight in this context once again was Rock The Farm in Seaside Heights, N.J. at the end of September (review). Among others, the annual festival featured great tributes to Neil Young (Decade), Guns ‘N Roses (Guns 4 Roses), Fleetwood Mac (TUSK), Tom Petty (Free Fallin’) and AC/DC (LIVE/WIRE). Another great tribute event was the British Invasion Festival at the Golden Nugget Hotel & Casino in Atlantic City, N.J. in June (review). Like the previous year, the line-up included tributes to The Beatles (Britain’s Finest), The Rolling Stones (The Glimmer Twins) and The Who (Who’s Next).
Outside these two festivals, I’ve seen numerous other tribute bands throughout the year. In this context, I’d like to call out the above noted Led Zeppelin tribute Get The Led Out (review), as well as Echoes, “The American Pink Floyd” (review), and Jimi Hendrix tribute Kiss The Sky, which I saw together with Cream tribute Heavy Cream (review). Following are a few clips. First up: Get The Led Out playing the big enchilada Stairway To Heaven.
Next is a flavor of Echoes performing Time and The Great Gig In The Sky from The Dark Side Of The Moon album. I still frequently listen to that record to this day, oftentimes at night and with earbuds. I really should get a decent set of headphones, especially for Pink Floyd music.
Last but not least is Kiss The Sky setting the stage on fire with Voodoo Child (Slight Return). If you’re into Hendrix, it’s really a fun show to watch.
Part 2 is going to focus on new 2018 albums that excited me. As stated at the outset, don’t expect seeing any chart toppers here! Part 2 will also take a brief look at music activities that are on my radar for 2019.
Sources: New York Times, Rolling Stone, Christian’s Music Musings, YouTube
Eleven-hour marathon for a cause features tributes from AC/DC to Zeppelin
While there were no barns and cows, Rock the Farm 2018 didn’t need them. The fifth annual music tribute for a great cause that took place yesterday in Seaside Heights, N.J. rocked anyway and felt even better than last year when I attended the 11-hour marathon for the first time and wrote about it here.
Rock the Farm, a.k.a. Faux-Chella, is a pretty cool idea: Imagine an iconic music festival that could never happen in reality and bring it to life with compelling tribute acts and raise money for a great cause in the process. It sort of mirrors Live Aid on a mini scale, but instead of focusing on starvation in Africa, the fund-raising supports domestic addiction recovery programs. All of the performing bands donated their time to the cause, playing for free. That’s what I call greatness in America that actually deserves the expression!
With the U.S. being in the throes of an opioid crisis that according to a fact sheet from CNN claimed more than 63,600 overdose deaths or an average of 115 people a day in 2016, an event like Rock the Farm couldn’t be more timely. And while no amount of money is too small to help address this astonishing loss of human life in one of the richest countries in the world, a staggering $18 billion is spent in the U.S. each year as a result of the opioid crisis. And that’s just opioids, so it doesn’t include alcohol or other drugs!
Rock the Farm is the main annual fundraiser of the non-profit CFC Loud N Clear Foundation, which was established by the Regan family in 2015, 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 him 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 the CFC Loud N Clear Foundation.
According to their website, to date CFC has assisted more than 7,500 families to help overcome addiction by a loved one. Seeing founder Dan Regan and other CFC folks, and even more so, hearing from some other former addicts who had the courage to step on stage was inspiring to say the least. To me it’s the quintessential story of hope that has made America great and attracted immigrants like myself to its shores. I hope the country will never lose that!
All right, now that the “heavy stuff” is out of the way, it’s time for some great music. Since there was so much of it, I’m only going to highlight some of it.
Readers of the blog may recall I’ve covered this great Neil Young tribute band from New Jersey before. While they’ve only played together for a few years, all of the band’s members are seasoned musicians, and it shows. Decade are John Hathaway (lead vocals, guitar), Joey Herr (guitar, backing vocals), Lou Perillo (bass, backing vocals), Steve Cunniff (keyboards, backing vocals) and Johnny Burke (drums, percussion). Here’s the opener of their set: A cool rendition of Star Spangled Banner a la Jim Hendrix, and Mr. Soul by Buffalo Springfield, which Neil Young co-founded with Stephen Stills, Richie Furay, Ken Koblun and Dewey Martin in Los Angeles in 1966.
Walk This Way
This terrific tribute band to Aerosmith came all the way from Dallas to support the cause and they kicked ass. While Walk This Way mostly perform in their home state, the show history on the band’s website indicates they also travel nationally and occasionally even beyond. Walk This Way feature Ian Latimer (as Steven Tyler, lead vocals), David Semans (as Joe Perry, guitar & backing vocals), Chris Bender (as Tom Hamilton, bass), Martin Turney (Joey Kramer, drums), Eamonn Gallagher (as Brad Whitford (guitar) and Chris Loehrlein (as Russ Irvin, keyboards). I wasn’t going feature what perhaps is the expected Aerosmith tune, the epic Dream On, but when these guys combined it with Train Kept A-Rollin’, I just couldn’t resist. It was the perfect finish to their great set.
Guns 4 Roses
Walk This Way wasn’t the only band that came all the way from Dallas. They were joined by Guns N’ Roses tribute Guns 4 Roses. Unfortunately, their website and Facebook page only provides the first names of the members (what’s that all about?), and I still had to conduct a bit of research to figure things out: Laz (as Axl Rose, lead vocals), Eamonn (as Slash, guitar), Chris (as Duff McKagan, bass), David (as Dizzy Reed, keyboards), Martin (as Steven Adler, drums) and Chris (Izzy Stradlin, guitar). Hope I got it right. Here’s Sweet Child O’ Mine, one of my favorite Guns N’ Roses tunes.
This outstanding tribute to Fleetwood Mac, which mirrors the Rumours lineup, is another band from New Jersey. Their members include Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). Like Walk This Way, TUSK is a national band, as indicated by the tour schedule on their website. Here’s Dreams and Say You Love Me from the Rumours (1977) and Fleetwood Mac (1975) albums, respectively.
Another band that took a long trip for Rock The Farm was Free Fallin’, a Minneapolis-based tribute to Tom Petty. He is yet another longtime favorite artist of mine, and with their execution of the music and Petty’s distinct vocals, I think Free Fallin’ would have made him proud. The band are Tom Brademeyer (as Tom Petty, guitar & lead vocals), Mark Larsen (as Stan Lynch, drums), Russ Lund (as Ron Blair, bass), Karl Swartz (as Mike Campbell, guitar & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals) and Craig Volke (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals). While I think looks are secondary when it comes to tribute acts, it doesn’t hurt when they have visual similarity with the artists they capture. I should add that’s also the case for at least one member of each of the other tribute bands I’ve highlighted in this post. I was tempted to feature Stop Draggin’ My Heart Around, for which Kathy Phillips of TUSK joined Free Fallin’, but I just couldn’t resist highlighting my favorite Petty tune instead: Refugee, from the excellent Damn The Torpedos album (1979). Just like Stop Draggin’ My Heart Around, it was spot on.
What better way to close out a great all-day festival than with the hard charging rock & roll of AC/DC – and, boy, did Live/Wire kick ass! This band from New York, which has been around since 2000, includes Mike Hughes (as Angus Young, lead guitar), Bill Voccia (as Malcolm Young, rhythm guitar), Chris Antos (as Bon Scott and Brian Johnson, lead vocals), Bill ‘Daytona’ Bowden (as Cliff Williams, bass) and Billy Rauff (as Phil Rudd, drums). While most tribute acts like to call themselves the “ultimate experience” or variations of the claim, I could imagine that Live/Wire are indeed “the ultimate AC/DC experience.” Based on their current 2018 schedule, the band’s touring radius appears to span the eastern half of the U.S. Here’s It’s A Long Way To The Top (If You Wanna Rock ‘N’ Roll). While there were apparent problems with the microphone for the bagpipes, frankly, it didn’t matter much. Instructions for the clip: To be played on a decent sound system at maximum volume!😜
Yes, an 11-hour festival is a marathon, and I can’t deny by back and feet were aching when it was all over, but it was worth each and every moment. So guess what? Come next September, and if I’m still alive, I’ll be back!
Sources: Wikipedia; CNN opioid crisis fast facts (June 2018); CFC Loud N Clear Foundation website; Decade Facebook page; Walk This Way Facebook page and website; Guns 4 Roses Facebook page and website; TUSK website; Free Fallin’ Facebook page; Live/Wire website; YouTube
Just like the Fender Stratocaster, Gibson’s Les Paul is one of the defining electric guitars
As Jim, who writes the excellent Music Enthusiast blog, pointed out a couple of weeks ago after I had published my post about the Fender Stratocaster, I could just as well have called the Gibson Les Paul the model that embodies the electric guitar. I couldn’t agree more; in fact, I had planned all along to do a post on the Les Paul as well, so let’s get to it!
Obviously, the legendary guitar is closely associated with American guitarist, songwriter and inventor Les Paul. The origins of the electric guitar that would bear his name date back to 1940 when Paul built the so-called “Log” at the Epiphone guitar factory. The crude instrument, which consisted of a 4″ × 4″ chunk of pine wood with strings and a pickup, was one of the first solid-body electric guitars. To improve the look, Paul took the wings of an Epiphone archtop body and added them to the pine body.
When Paul offered his idea to the Gibson Guitar Corporation in 1941, they initially turned him down. That changed when rival Fender started marketing their Esquire model in 1950, a solid-body electric guitar that later turned into the Broadcaster and eventually the Telecaster.
After Gibson Guitar president Ted McCarty realized the enthusiasm about the Esquire and the Broadcaster, he asked Paul to become a consultant to the company. In 1951, Paul, McCarty and his team started developing a solid-body. While apparently there are differing recollections who contributed what, the result was the first Gibson Les Paul, introduced in 1952. Paul used it for the first time in public in June that year during a live performance at the Paramount Theatre in New York.
The initial Les Paul featured a mahogany body and neck, two P-90 single coil pickups and a one-piece, trapeze-style bridge/tailpiece with strings fitted under a steel stop-bar. In 1953, a second Les Paul model called the Les Paul Custom was introduced. A more important development happened in 1957, when Gibson introduced humbucker pickups on the Les Pauls. According to Wikipedia, a humbucker is a double-coil pick-up to cancel out the interference picked up by single-coil pickups, i.e., bucking the hum.
While the Les Paul models were formidable instruments, they were pretty heavy, which is why initially they weren’t widely embraced by guitarists. As a result, in 1961, Gibson introduced the Gibson SG, a lighter solid-body guitar that became the company’s best-selling model of all time. The company also stopped producing the traditional Les Paul.
Initially, Gibson launched the SG as the new Gibson Les Paul. But since the model had been developed without Paul’s knowledge and he was unhappy with the design, he requested that his name be removed from the headstock. Gibson agreed and Paul remained as a consultant with the company. Personally, I’ve always found the SG is a really cool looking guitar.
Ironically, a few years after production had been discontinued, Les Paul models started to become en vogue when guitarists like Keith Richards and Eric Clapton discovered and began using them. Other guitarists followed, such as Mike Bloomfield from the Paul Butterfield Blues Band and the Grateful Dead’sJerry Garcia. Again reacting to popularity trends, Gibson reintroduced the Les Paul single cutaway guitar in July 1968. While there have been some tweaks over the years, the model remains in production to this day.
As indicated above, many guitarists have used Les Pauls. Following is a list of some of them.
The legendary session musician and lead guitarist of the Allman Brothers Band has used various Les Paul models. Here’s a great clip of the band’s epic live performance of Whipping Post at the Fillmore East in 1970. I believe Allman was playing a 1957 Les Paul Goldtop.
While Clapton is better known for Fender Stratocaster guitars, he has also used Gibson models, including a 1960 sunburst Les Paul and a 1957 goldtop Les Paul Custom. In 2010, Gibson announced the Clapton 1960 Les Paul Standard signature model, also known as the “Beano Burst.” Here’s a clip of Clapton playing his 1960 Les Paul.
Page has used various Les Paul models, including from 1959 and 1973. He also owned a modified 1960 Les PaulCustom “Black Beauty,” which was stolen in 1970 and has never been found. Gibson has produced three Jimmy Page signature models. In this clip from Led Zeppelin’s live performance of We’re Gonna Groove at London’s Royal Albert Hall in 1970, Page can be seen using a Les Paul.
Slash has used many different Les Paul models including his own custom shop Les Paul. Altogether, he has collaborated with Gibson on eight signature models. Here’s a clip of a 1988 Guns N’ Roses’ live performance of Sweet Child O’ Mine, featuring Slash on a Les Paul.
The Aerosmith lead guitarist has used many Gibson guitar models, including various Les Pauls. Gibson has released two Joe Perry signature Les Pauls, the first in 1996, the second in 2004. The latter is known as the Boneyard Les Paul. In the following clip of a live performance of Toys In the Attic, Perry is playing the Boneyard.
Moore played a Les Paul Standard. There were also two Gibson Gary Moore signature Les Pauls. Here’s the blues rocker and his Les Paul in action live with Walking By Myself.
Among other Gibson models, The Who guitarist used various customized Les Pauls from 1973 to 1979. In 2005, Gibson introduced three Townshend signature Les Paul Deluxe guitars, based on his heavily customized “#1” Wine Red 1976 Les Paul Deluxe, “#3” Gold top 1976, and “#9” Cherry Sunburst 1976. Here is a great clip of a 1978 live performance of Won’t Get Fooled Again, which became the closing scene of The Kids Are Alright rockumentary, in which Townshend plays one of his customized Les Pauls. Sadly, one of the most iconic moments in rock also captured the last performance of Keith Moon, who died in September that year.
Of course, this post would not be complete without a clip of the maestro himself, Les Paul. Not only does it show Paul perform one of his biggest hit singles, How High the Moon (1951), but he also demonstrates one of his inventions called Les Paulverizer. According to Wikipedia, the little device attached to his guitar allowed Paul to access pre-recorded layers of songs during live performance, so he could replicate his recorded sound on stage.