British Invasion Returns In Full Force To Atlantic City

Beatles, Rolling Stones and Who tribute bands set stage on fire

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The British Invasion may have stopped some 50 years ago, though it surely didn’t feel like it yesterday in Atlantic City. If anything, three outstanding tribute bands illustrated how the music continues to be alive and kicking to this day, and why the British rock and pop music wave of the ’60s is one of the best imports the U.S. has ever seen, except perhaps for German cars!:-)

This was my second year at the British Invasion Festival at the Golden Nugget Hotel & Casino in Atlantic City. I greatly enjoyed the free outdoor one-day event last June when I went there for the first time, so was it worth a two-hour drive to return? You betcha, baby – if anything, I felt it was even better than last year! Britain’s Finest, The Glimmer Twins and Who’s Next once again were in top shape.

Britain’s Finest

Britain’s Finest are one of the most intriguing tributes to The Beatles I know, and as a longtime Beatles fan, I’ve seen quite a few over the decades. Founded in Los Angeles in 2011, the band consists of Benny Chadwick (Paul McCartney), Ruben Amaya (John Lennon),  Robert Bielma (George Harrison) and Luis Renteria (Ringo Starr).

Like last year, they focused on the Beatles’ live period, playing songs, such as From My To You, I Want To Hold Your Hand, Can’t Buy Me Love, A Hard Day’s Night, Help and Twist And Shout. What distinguishes Britain’s Finest from other Fab Four tribute acts I’ve seen is that in addition to a faithful execution of the music, the four guys also resemble John, Paul, George and Ringo, and assume their on-stage personas. This time for a change, I took video myself. Here are clips of From Me To YouCan’t Buy Me Love and Twist And Shout.

To further check out Britain’s Finest and their scheduled shows, visit their website. Most of their upcoming gigs are on the West Coast – given the band is based in L.A., perhaps that’s not a big surprise. They’ll be back east for a series of gigs in Miami starting in early August. But I suppose New Jersey fans may have to wait until next June when they are planning to return to Atlantic City.

The Glimmer Twins

Unlike The Beatles, I actually don’t recall having seen a tribute act to The Rolling Stones. But frankly, except for the original, I doubt it can get better than The Glimmer Twins. This band from Philly is led by Keith Call (lead vocals, harp) and Bernie Bollendorf (guitar), who in an incredible way bring to life Mick Jagger and Keith Richards, respectively. They are backed by excellent musicians, including Michael Rubino (guitar), Bobbie Corea (drums), Rob Ekstedt (bass), Rocco Notte  (keyboards), Bobby Michaels (saxophone, flute) and amazing vocalist Valorie Steel.

The Glimmer Twins play Stones gems, such as Start Me Up, Dead Flowers, Sympathy For The Devil, Jumpin’ Jack Flash, Honky Tonk Women, Paint It Black and, of course, Satisfaction. Here are three the clips from their performance last night: opener Start Me UpJumpin’ Jack Flash and Honky Tonk Women. The latter prominently features Steel – that lady can sing!

The Glimmer Twins have a long schedule of summer shows in the tri-state area and beyond, including gigs in Tarrytown, N.Y. (June 22); Sea Isle City, N.J. (August 4); Manchester, Vt. (August 10); Bethlehem, Pa. (August 11); and Riverhead, N.Y. (August 18). For more about the band and their upcoming concerts, visit their website.

Who’s Next

This firecracker tribute to The Who was the perfect band to close out the night. Their members include Bill Canell as Pete Townshend, Dave McDonald as Roger Daltrey, Mike Conte as John Entwistle and Rich Savarese as Keith Moon. Similar to Britain’s Finest, not only do these four guys sound great, but the resemblance of each to their heroes is truly remarkable. The fact that none other than Messrs. Townshend and Daltrey acknowledged the band at a Who concert in May 2014 in Forest Hills, N.Y. speaks for itself.

Who’s Next play many of the tunes that come mind when you think of The Who: Baba O’Riley, Love Reign O’er Me, The Real Me, 5:15, Squeeze Box, Who Are You, Eminence Front, My Generation, and the list goes on and on. Below are clips of opener The Real Me/5:15 and Who Are You. I got really close for the second clip to better capture how meticulously each member plays and impersonates their part. Fortunately, they skip the destruction of equipment. As much as I can see the spectacle, watching Townshend smash his guitar always made me cringe. Instead, he should have given away the guitars to schools in underprivileged neighborhoods or something like that.

For more about Who’s Next, check out their website. At this time, it doesn’t list any upcoming shows, but I’m sure there will be more. The band already announced last night they are going to be back to Atlantic City for next year’s British Invasion Festival. While much can happen in a year, I have every intention to return as well!

Sources: Britainsfinestband.com, theglimmertwins.com, whosnexttribute.com, YouTube

Clips & Pix: Bruce Springsteen & The E Street Band/Born To Run and Dancing In The Dark

The other day, I was discussing Bruce Springsteen with fellow music blogger hotfox63 and one of his readers, who unfortunately had a bad sound experience with a show by The Boss in Germany. Yesterday, while cleaning my smartphone, I discovered the above clip I took from a gig Springsteen did with The E Street Band in late August 2016 during The River Tour.

I think this footage perfectly illustrates why Springsteen usually is such a compelling performer – because he visibly enjoys leaving it all on stage for his fans.  Yes, obviously, an artist needs some talent to be good, but what truly makes music exciting is genuine artist engagement, and Springsteen is all about that. I mean, just watch the guy – how can you not love that? It doesn’t even matter that the second tune in this medley, Dancing In The Dark, isn’t Springsteen’s strongest song, at least in my opinion.

Born To Run is the title track of Springsteen’s third studio album from August 1975, which was his commercial breakthrough. Dancing In The Dark is from Born In The U.S.A., his seventh and most successful studio record. The song was also one of seven tracks from the album, which were released as singles, and it became his highest charting hit on the Billboard Hot 100, peaking at no. 2.

Sources: Wikipedia, YouTube

What I’ve Been Listening To: Rick Barth/Hand Me Down Soul

A mix of rock and acoustic-oriented roots music on Jersey singer-songwriter’s studio debut

Rick Barth is another promising example that good music isn’t dead, just harder to find nowadays than say in the 60s and 70s where all you needed to do was to switch on the radio. FM radio definitely played an important role in the start of my music journey, along with my sister’s vinyl collection and my terrific guitar teacher. But back to Rick!

I met Rick last Sunday at Sarah Street Grill in Stroudsburg, Pa., while attending The Acoustic Singer-Songwriter Series. Organized by Rick, the event features a rotating lineup of New Jersey singer/songwriters and acoustic musicians. I was primarily there to see John Hathaway, a singer-songwriter from Asbury Park, N.J., who also fronts a great Neil Young tribute band called Decade. I’ve previously written about John, most recently here. John introduced me to Rick.

Rick Barth

In addition to organizing this great event, Rick is a Jersey singer-songwriter himself. In 2015, he released his studio debut Hand Me Down Soul. After having listened to the album a few times, I like what I’m hearing – a nice mix of rock and acoustic-oriented roots music, delivered with a slightly rugged voice. I can hear a little bit of Bruce Springsteen, John Mellencamp and Steve Earle here and there, who are all artists I dig. Interestingly, according to a previous review by Geoff Wilbur’s Music Blog, Rick started out his music career with hard rock and metal. He has certainly come a long way!

Hand Me Down With Soul kicks off with Wherever You Are, a nice mid-tempo rocker. Like all tracks except for one tune, the song was written by Rick, who also plays acoustic and electric guitars.

Another mid-tempo rock tune I like is Another Time With You.

The title track takes things slightly down a notch. In particular, I like Rick’s soulful vocal delivery of the tune.

I Love You (Now Go Away) is another standout to me. One of the country-oriented song’s defining features is the bluesy harmonica provided by Lou Tambone.

One of the all-acoustic songs on the record is Beautiful, an appropriate title. In addition to Rick’s vocals and acoustic guitar, the tune only features some organ by Jim Reeber in the background – really all that’s needed.

The last tune I’d like to call out is the album’s closer Invincible, another acoustic-oriented song. Rick co-wrote the lyrics with Darren Parker.

Hand Me Down was produced and engineered by Brian Csencsits at his studio Supreme Sound in Woodland Park, N.J. Apart from the above, other musicians on the record include Ralph Heiss (bass), Jeff Bridi (bass) and Mari Byrd (backing vocals on Good Old Days). Hand Me Down Soul is available on iTunes, Amazon.com and via Rick’s website.

Rick told me he is currently working on his next record. He joked he wants it be acoustic-oriented but that the folks who work with him keep suggesting to add drums and other instruments. According to his website, the album will be called Fade.

Sources: Rick Barth official website, Geoff Wilbur’s Music Blog, YouTube

What I’ve Been Listening To: Johnny Hathaway/Deep Cuts And Bruises

New Jersey singer-songwriter’s debut album presents nice mix of melodic rock and acoustic songs

Oftentimes, I complain how terrible most of today’s music is and how true craftsmanship seems to be a matter of the past. Modern technology makes it possible that artists no longer need to know how to play an instrument; heck, they can even get away with mediocre vocals, since you can pretty much correct anything with computers. But what I really mean is the majority of music dominating today’s charts. However, as I’ve realized time and again, fortunately, there is more to the picture.

Good music is still out there, but since it is largely gone from the mainstream, it is harder to find. A great example is John (Johnny) Hathaway, a singer-songwriter from Asbury Park, N.J. I met John last September at Colts Neck Rockfest in Colts Neck, N.J., where he was performing with his excellent Neil Young tribute band Decade. I dig Young, so we started chatting about Neil and John’s band. I’ve since been to various other of their gigs. But it was only recently that I realized John is also writing his own music and released his debut album Deep Cuts And Bruises in April 2016.

John Hathaway

Recently, I went to a solo performance by John at The Acoustic Singer-Songwriter Series,  a live performance series by a rotating lineup of New Jersey singer/songwriters and acoustic musicians, organized by Rick Barth, another Jersey singer-songwriter. Rick is a great guy. His singer-songwriter series is a nice opportunity for up- and coming artists to perform their music in a nice, relaxed and relatively low pressure atmosphere. He also has an album out, which I’m planning to review separately.

John told me since he didn’t have a band at the time, he pretty much produced Deep Cuts And Bruises by himself at home with a 24-track machine. Except for drums and percussion, which were played by Ken Biedzynski, and lap steel guitar on one track by Mike Flynn, John played all of the instruments himself, including acoustic and electric guitars, bass, mandolin and harmonica. There are also various guest vocalists. Given that only the mastering was done at a professional studio, the sound is great; frankly, if you didn’t know, you’d never guess you’re essentially listening to a home-produced record. Time to get to some music!

Here is the album’s opener Release Me, a nice rocker with a catchy chorus.

Another rock-oriented song and one of my favorite tunes on the album is Ride Along. I really like the guitar sound on this track, which also has a strong chorus.

Two Days From Tucson is one of the acoustic tracks on the record. It has a nice, relaxed, rootsy and country vibe to it. Backing vocals are provided by Pam McCoy.

Another acoustic standout is Real Men. The singing is beautiful, featuring alternating lead vocals between John and Linda King, who also provides backing vocals. Flynn sets nice pedal steel guitar accents.

From Deep Within is a mid-tempo melodic rock-oriented tune. In particular, I like the harmony guitar parts that are reminiscent of Boston – and it’s safe to assume all of it done without the sound technology of wizard Tom Scholz!

The last tune I’d like to highlight is the title track, another gem on the record. This song has great dynamic, with a grungy main section nicely framed by a low start and end with mandolin.

Other guest vocalists on Deep Cuts And Bruises include Lisa Barone, Wendy Horn, Laura Catalina Johnson and Sandra Huth. The album was mastered by Dave Florio at Sound Cave Studios in Sayreville, N.J. The record is available on Spotify.

While John hasn’t started work on another album, he told me he has about 60 songs, which sounds like a good quantity to me. I’m pretty sure we’ll hear more recorded music from him at some point.

Sources: John Hathaway Facebook page, YouTube

What I’ve Been Listening To: Crosby, Stills, Nash & Young/4 Way Street

As oftentimes seems to happen lately, this post was inspired by a coincidence – earlier this week, I spotted 4 Way Street by Crosby, Stills, Nash & Young in my Apple Music album suggestions. While I had been aware of the record (and somewhere still must have a taped recording on music cassette!), unlike Déjà Vu, it had pretty much exited my radar screen. But it didn’t even take the 34 seconds of the opener Suite: Judy Blue Eyes to remind me what a killer album it is. As such, it felt appropriate to dedicate the 50th installment of the What I’ve Been Listening To feature to this gem.

Originally released in April 1971 as a double LP, 4 Way Street captured music from a turbulent 1970 U.S. tour CSNY conducted after the release of Déjà Vu in March that year. It includes material from gigs at Fillmore East (New York, June 2-7), The Forum (Los Angeles, June 26-28) and Auditorium Theatre (Chicago, July 5). CSNY were at a peak both artistically and in terms of tensions between them. Unfortunately, the latter proved to be unsustainable, and they broke up right after the recording of the album.

CSNY 1970
From left to right: Graham Nash, David Crosby, Neil Young and Stephen Stills at Fillmore East, New York, 1970

Of course, CSNY never were a traditional band to begin with, but four exceptional singer-songwriters who ended up playing together, mostly as CSN, with Young becoming an occasional fourth member. Each already had established himself as a member of other prominent bands: Crosby with The Byrds, Stills and Young with Buffalo Springfield, and Nash with The Hollies. Additionally, Crosby had released his first solo album, while the prolific Young already had two solo records out – his eponymous debut and the first album with Crazy Horse.

Given their history and egos, it’s not a surprise that CSNY wasn’t meant to last. But while it was going on, it was sheer magic. Apart from Déjà Vu, I think this live album perfectly illustrates why, so let’s get to some music!

First up: Teach Your Children, undoubtedly one of the best known CSNY songs, first appeared on the Déjà Vu album. The tune was written by Nash when he was still with The Hollies.

Triad is a song Crosby wrote while working with The Byrds on their fifth studio album The Notorious Byrd Brothers. Although they recorded the song and performed it during a live gig in September 1967, it didn’t make the record. Crosby ended up giving it to Jefferson Airplane, and they included it on their fourth studio album Crown Of Creation from September 1968. Perhaps even more intriguing than the tune is listening to Crosby’s announcement.

Chicago is a song by Nash, which he dedicated to Richard Daley, who was then the city’s powerful mayor. It’s about anti-Vietnam war and counter-cultural protests around the 1968 Democratic National Convention in Chicago, and the ensuing federal charges against eight protesters who became known as the Chicago Eight for conspiracy to incite a riot. Nash also included the tune on his debut solo album Songs For Beginners, which was released in May 1971.

Cowgirl In The Sand is one of Young’s great early songs, which initially appeared on his second studio album Everybody Knows This Is Nowhere, the first of many he recorded with his backing band Crazy Horse. Songfacts points out the liner notes to Young’s 1977 compilation album Decade explain that he wrote Cowgirl In The Sand, together with Down By The River and Cinnamon Girl in a single afternoon while being sick with a 103 degree temperature – it’s quite amazing what a fever can do!

The last tune on the first LP of 4 Way Street is Still’s Love The One You’re With, which also concludes CSNY’s acoustic set. The song became the lead single to Stills’ eponymous debut album from November 1970. It climbed all the way to no. 14 on the Billboard Hot 100, making it his biggest hit single.

The second LP of 4 Way Street captures songs from CSNY’s electric rock-oriented set. Long Time Gone is a tune by Crosby, which was included on CSN’s eponymous studio debut from March 1969. Not that Déjà Vu would have needed any additional strong tunes, but it would have been a perfect fit for that album as well!

Southern Man is another classic by Young, which he included on his third studio album After The Gold Rush released in September 1970. Together with Alabama from his follow-on record Harvest, it triggered a response by Lynyrd Skynyrd with southern rock anthem Sweet Home Alabama. While that tune explicitly tells him to take a hike, the band and Young were actually mutual fans, and there never was a serious feud between them. Young in his 2012 autobiography Waging Heavy Peace: A Hippie Dream said his words in Southern Man were “accusatory and condescending, not fully thought out, and too easy to misconstrue.”

While with so much great material on the album I could easily go on and on calling out tunes, the last track I’d like to highlight is Carry On. Written by Stills, it’s another gem from Déjà Vu. Like Southern Man, the take of Carry On on 4 Way Street is an extended version.

4 Way Street’s musicians include Crosby (vocals, guitar), Stills (vocals, guitar, piano, organ), Nash (vocals, guitar, piano, organ), Young (vocals, guitar), Calvin “Fuzzy” Samuels (bass) and Johnny Barbata (drums). The album was produced by CSNY. In June 1992, an expanded CD version appeared, which was produced by Nash and included four solo acoustic performances, one by each artist.

Like Déjà Vu, the record topped the Billboard 200. It was certified Gold by RIAA just a few days after its release. On December 18, 1992, U.S. sales hit 4 million certified units, giving it 4X Multi-Platinum status. Unlike Déjà Vu, interestingly, the album didn’t make Rolling Stone magazine’s 500 Greatest Albums Of All Time.

Sources: Wikipedia, Songfacts, YouTube

Roger Daltrey Releases Soulful Album

First solo record in 26 years almost didn’t happen

Today, Roger Daltrey released As Long As I Have You, his ninth solo album after 1992’s Rocks In The Head. The voice of the 74-old-year-old frontman of The Who has never sounded better, which is amazing. In September 2015, Daltrey was diagnosed with viral meningitis during The Who Hits 50! North American tour, forcing the band to reschedule the remaining dates until 2016. “I was a month in the hospital, touch and go for a few days,” Daltrey told British tabloid The Sun during a recent interview. “I had a long recovery and you never quite get over it…My feet hurt and my thumbs have gone.”

Daltrey credits his longtime bandmate and brother-in-arms Pete Townshend for finishing the record, on which he had started work after the March 2014 release of Going Back Home, his great collaboration album with Wilko Johnson. “I had eight of the 11 tracks,” he explained to The Sun. “I listened to them and thought, ‘None of this will do anything’…But my manager sent the material to Pete, who rang me and said, ‘What’s up with you? This is fabulous, you’ve got to finish it…Then out of the blue, he said he’d like to play guitar on it. That gave me the confidence to carry on.”

The result is a compelling 11-track collection. Among the nine covers are the title track (Jerry Ragovoy and Bob Elgin), How Far (Stephen Stills), Where Is A Man To Go (Jerry Gillespie & K.T. Oslin), Get On Out Of The Rain (Parliament), Into My Arms (Nick Cave) and You Haven’t Done Nothing (Stevie Wonder). There are also two original songs, Certified Rose and Always Heading Home, a co-write with English novelist Nigel Hilton. Townshend plays acoustic and some electric guitar on seven of the tracks. Other guest musicians include Mick Talbot (keyboards) and Sean Genockey (lead guitar). The album was produced by Dave Eringa, who also served in that capacity on the Wilko Johnson collaboration album. Time to get to some music!

One of the album’s standout is the opener and title track with its groove and soulful backing vocals. The tune was first recorded by soul singer Garnet Mimms in 1964 and is a song The Who covered when they were starting out.

Where Is A Man To Go is another soulful gem. Daltrey’s voice shines.

Another nice cover is Get On Out The Rain, which originally was recorded by American funk band Parliament as Come In Out Of The Rain and included on their 1970 debut album Osmium.

I’ve Got Your Love is a tune written by Boz Scaggs, which was included on his 1997 studio album Come On Home. This is one of the songs, on which Townshend plays lead guitar. Daltrey described his solo to The Sun as “beautiful and sensitive.”

Certified Rose, one of the two original tunes on the album, has a nice Stax vibe and is about watching Daltrey’s eldest daughter Rosie grow up. “I had Rod Stewart in mind for that but I woke up one day a few months ago and I could hear Certified Rose as a soul song,” Daltrey told The Sun. “I just needed to add the right ingredients and change the bridge.”

The last track I’d like to highlight is the record’s closer Always Heading Home, the original tune Daltrey co-wrote with Hilton.

“For Pete to say he wanted to play on my new record was such an honour because he’s my ultimate guitarist,” Daltrey told The Sun. “He’s the most original. He can play like Clapton if he wants and he can play like Hendrix but when Pete plays Pete, where does that come from? It’s that rhythmic thing he does. He will always take chances and doesn’t mind playing a hundred bum notes for four great ones that make you go, ‘Wow!’ Rock doesn’t need to be perfect, it needs bum notes and beads of sweat.”

He added, “We love each other and always have. We used to do this wrestling in public but if anyone came between us, God help them! I’m very happy just to be his singer and have him, at the end of my life, saying, ‘Roger sung my songs better than I ever could.’ That means a lot to me.”

Sources: Wikipedia, The Sun, The Who official website, YouTube

John Fogerty & ZZ Top Bring Blues & Bayous Tour To Holmdel, NJ

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’s Have 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.

Blues & Bayous Tour

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 from July 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.

John and Shane Fogerty
John Fogerty with his son Shane Fogerty who plays guitar and his backing band

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