Gerry Lane’s New Album Shows There’s Still Some Life Left in Rock

Down on the Boulevard is Irish guitarist’s sixth solo album

Call me a happy camper. Gerry Lane is the second great artist I just “discovered” and write about during the same weekend. Like Minimum Vital, which I covered in my previous post, Lane popped up in the same “New Music Mix” my streaming provider served up yesterday. And like the French progressive rock band, Lane also doesn’t have a Wikipedia page, even though he has been active since 1970 and played with Noel Redding (yep, that bassist from the Jimi Hendrix Experience) and Gary Moore, among others. What’s up with that?

According to his website, Lane was born in West Cork, Southern Ireland. His first instrument was a button key accordion. He later progressed to guitar, and during his early teens he played in the family pub with whoever the visiting musician was. He played in many bands in the West Cork area, one of the most successful being a band called “SOUTHERN COMFORT”…

While in that band he met Noel Redding (Ex Bass player with the Jimi Hendrix Experience). Gerry and Noel played together in various bands around Southern Ireland. During the late 70’s Gerry played the showband circuit in Ireland and England with bands like, Stage 2, Tony Stevens Band and Discovery…In 1980 Gerry formed a band called ” DRIVESHAFT “. With that band he toured extensively in Ireland and England playing headline gigs…and supporting visiting international acts like: Rory Gallagher (also from Cork Ireland), Phil Lynott’s Grand Slam, ZZ Top, Def Leppard, Saxon and the Michael Schenker Group.

In 1983 Gerry moved to England and while living in London he got to work and record with Gary Moore, Cozy Powell (ex-Rainbow / Whitesnake / Jeff Beck / Black Sabbath), Neil Murray (ex-Bass player with Whitesnake / Brian May Band), John Sinclair (Keyboard player with Ozzy Osbourne / Uriah Heep)…In 1993 Gerry moved to the Canary Islands (Gran Canaria) where he now lives and works.

Gerry Lane

The singer-songwriter’s and producer’s vocal influences include Joe Cocker, Tony Joe White, Jimmy Barnes and Bob Seger. Lane’s website also notes Eric Clapton, Mark Knopfler, Rory Gallagher, BB King and Buddy Guy as guitarists who have influenced him. When it comes to songwriting, he cites Tony Joe White, Keb’ Mo’, Mark Knopfler, John Hiatt and Bob Seger. Okay, you might say, any music artist can name famous peers. At the end of the day what truly matters is the music. And the music on this album is a lot fun to listen to, so let’s finally get to some of it.

Here’s the title song and opener. Like all of the 10 tracks on the album, it was written by Lane. Down on the Boulevard also includes a new version of Meloneras Blues, the title track from what appears to be his solo debut from 2008. Check it out!

The album’s second track Kick off them Shoes has a cool blues and Stax soul vibe. It reminds me a bit of Cocker’s You Can Leave Your Hat On. This is some tasty shit!

Track no. 3 is called Cryin’ in the Rain. When the first three songs of an album are great, usually, it’s a good sign. Just like the previous tune, I dig the soulful vibe.

The Writing’s on the Wall features some nice slide guitar action.

Let’s finish things up with another tasty rocker: Solid as a Rock. With that cool guitar riff and sound, I could actually picture this as an AC/DC song. And guess what? It turns out the tune is a tribute to rhythm guitarist Malcolm Young, as the notes to the following clip point out.

Mal was a hard man/He was born into a clan/He was a guitar singer/In a rock & roll band/He was dynamite/He was TNT/He was out of sight/He touched the devil in me

He was solid as a rock/He took it to the top/He was solid as a rock/He never let it stop – that’s right/He was solid as a rock…

Yeah, baby!

Sources: Gerry Lane website; YouTube

Revisiting My Favorite German Rock Band: BAP

If you have followed my blog for some time, you may recall seeing the name BAP. The group around singer-songwriter Wolfgang Niedecken was founded in the West German city of Cologne in 1976. They entered my radar screen in 1981 after their national breakthrough with their third studio album Für Usszeschnigge! (translation: to cut out). BAP remain my favorite German rock band, which I realized once again the other day when listening to some of their music. This triggered my decision to do another post on them. And it may not by my last!

One of BAP’s defining features is that Niedecken performs their songs in Kölsch, the regional dialect spoken in the area of Cologne. While I think they are on par with many English singing bands, undoubtedly this has largely limited their appeal to Germany, though they have ventured out to neighboring countries and even once to China. BAP have seen many line-up changes over the decades, and Niedecken remains the only original member. Since September 2014 after the departure of two longtime members, Niedecken announced that going forward the band would perform under the name Niedeckens BAP and no longer have a standing line-up.

BAP in 2016
Current members of BAP (from left): Wolfgang Niedecken (guitar, vocals), Werner Kopal (bass), Anne De Wolff (multi-instrumentalist), Ulrich Rode (lead guitar), Michael Nass (keyboards) and Sönke Reich (drums)

Niedecken has been BAP’s driving creative force. His key influences are Bob Dylan, Bruce Springsteen, The  Kinks and The Rolling Stones. Niedecken has a friendly relationship with Springsteen. In fact, I previously read that whenever the Boss performs in Germany and Niedecken is around, he likes to invite him on stage to play a song together – to me this sounds like something Springsteen would do. BAP have released 17 studio albums, eight live recordings and three compilations to date – more than enough fodder for another playlist, so let’s get to it. Unlike the first chronological playlist I published here, this time, I’m going randomly.

Let’s kick it off with a nice blues rocker called Diego Paz Wohr Nüngzehn (Diego Paz was 19). Co-written by then-guitarist Helmut Krumminga and Niedecken, the tune has a cool ZZ Top La Grange vibe. It appeared on BAP’s 15th studio album Radio Pandora from May 2008.

The next song takes us all the way back to 1980 and Affjetaut (defrosted), BAP’s sophomore release. Here’s the opener Ne schöne Jrooß (greetings) co-written by Niedecken and Klaus Heuser, who had joined the band as their lead guitarist prior to the recording sessions and would become Niedecken’s key musical partner until his departure in 1999. While perhaps not surprisingly the sound is a bit dated, I still dig that tune.

In August 1996, BAP released their 10th studio album Amerika (America), one of my favorites. Here’s the great opener Nix Wie Bessher (nothing like it used to be), another Niedecken-Heuser co-write. As you can hear, BAP’s sound had significantly matured by then.

Time Is Cash, Time Is Money, a humorous take on organized vacation travel, appeared on the band’s sixth studio record Ahl Männer, Aalglatt (old slick guys). The song was co-written by Niedecken and producer Reinhold Mack. Mack had produced, co-produced and sound-engineered for Queen, Billy Squier and E.L.O. According to Wikipedia, it was the first time BAP relied on a “professional” producer – I assume by this they mean somebody who had worked with international acts.

Next up: Do Kanns Zaubere (you can do magic), one of my favorite BAP ballads, and yet another co-write by Niedecken and Heuser. The tune is from their fourth studio album Vun Drinne Noh Drusse (from the inside to the outside) released in August 1982.

Over their long history, BAP have released a number of songs addressing social and political issues, including racism/hostility against foreigners and nationalism – sadly topics I never thought would remain as relevant as they are today in the 21st Century. Here’s Denn Mer Sinn Widder Wer (Coz we’re great again – sound fucking familiar?) The track appeared on BAP’s eighth studio album X Für ‘e U (an “x” for a “u”) released in October 1990 in the wake of Germany’s reunification. And, yes, in case you wondered, Niedecken and Heuser teamed up for this tune as well. The clip I found is not an official video but was put together by the guy who uploaded it YouTube.

How ’bout Shoeshine? Ask and you shall receive. This great song, written by Niedecken, is from BAP’s 13th studio album Aff Un Zo (every now and then) from June 2001. It was an important record for the band after the departure of longtime members Heuser and keyboarder Alexander Büchel. The only YouTube clip of the tune I could find is this version from the 2014 unplugged live album Das Märchen Vom Gezogenen SteckerLive (the tale of the pulled plug – live). While it’s a bit different from the studio recording, I think it’s actually pretty cool.

A BAP playlist without a tune from their aforementioned breakthrough album would be incomplete. Since I previously featured what is perhaps their best-known song Verdamp Lang Her (such a long time ago), I’m going with the road tune Frau, Ich Freu Mich (Can’t wait to see you, baby). Given this record appeared in 1981, guess who co-wrote the rocker? Yep, Niedecken and Heuser had done it again!

For the next tune, let’s jump all the way forward to BAP’s most recent studio release, Lebenslänglich (for a lifetime), which appeared in early 2016: Et Ess Lang Her (long ago). The song was co-written by Niedecken and keyboarder Michael Nass. I dig the beautiful acoustic roots sound, which reminds me a bit of John Mellencamp.

The last tune I’d like to highlight is from Halv Su Wild (not a big deal) another of my favorite BAP albums. It is from their 16th and the last studio record to date released under the name BAP. It also marked the final album with longtime drummer Jürgen Zöller (1987-2014) and Helmut Krumminga, who had been the band’s lead guitarist from 1999 until 2014. Here’s a live version of Et Levve Ess En Autobahn (life is a highway), which apparently was captured during an open-air gig in Germany in 2012. Written by Niedecken, it’s an autobiographic song about the band’s long history.

During an interview with Swiss newspaper Tagblatt, Niedecken confirmed BAP are working on a new studio album that will likely appear sometime this year, followed by a tour in 2021. Mentioning his most recent solo effort Das Familienalbum (the family album), which was recorded in New Orleans and came out in 2017, Niedecken also hinted the band’s next record is going to feature some of the same U.S. horn players. For a long-time BAP fan like myself, this does sound intriguing.

Sources: Wikipedia; Tagblatt; YouTube

My Busy 2018 Music Journey Part 1: The Concerts

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 Times article 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!

GTLO Collage Asbury Park 11 24 18

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.

John Fogerty & Billy Gibbons

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 Mule Pink 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

Thanksgiving Is Coming Up…And An Annual Rock & Roll Marathon

Will Stairway To Heaven finally be toppled from the no. 1 spot it has held for 17 straight years on Q104.3’s Top 1,043 Classic Rock Songs Of All Time?

When hearing Thanksgiving, it’s safe to assume most folks think of family, friends, turkey and other feasts. To many it also involves travel to spend time together with their loved ones. While there’s nothing wrong with all of that, to me the upcoming holiday first and foremost means it’s time again for classic rock radio station Q104.3’s annual tradition to play the Top 1,043 Classic Rock Songs Of All Time, as voted by listeners. I suppose the fact that I care of much about this rock & roll marathon indicates I can be quite nerdy. But when it comes to music, that’s just fine with me!

Playing 1,043 rock songs means many hours of great rock music. And, yes, each is fully played, even Pink Floyd’s epic 23-minute Echoes! In order to accommodate all that music, Q104.3 needs to start the countdown the day before Thanksgiving at 1:00 pm ET and go all the way to Sunday evening – a fantastic listening experience for any rock fan! It’s also a nice break from the 50 or so songs they tend to play all the time – just like most other radio stations do!

Collage

One of the things I find remarkable about the list, which is compiled for the 18th time this year and presented in a countdown from no. 1,043 to no. 1,  is that for the past 17 years, Stairway to Heaven has consistently captured the no. 1 spot. While I dig Led Zeppelin and, if given only one choice, may even select the tune myself as the greatest rock song ever, the reality is there are so many other outstanding classic rock tunes. As such, I feel it’s time to shake up the list! While I doubt there will be many changes in the top 10, following are my selections I submitted earlier this morning.

1. Sunshine Of Your LoveCream (78)

2. Purple HazeJimi Hendrix Experience (80)

3. LaylaDerek & The Dominoes (4)

4. TushZZ Top (865)

5. Stairway To HeavenLed Zeppelin (1)

6. While My Guitar Gently WeepsThe Beatles (29)

7. RefugeeTom Petty and the Heartbreakers (110)

8. Dead FlowersThe Rolling Stones (547)

9. SoulshineThe Allman Brothers Band (-)

10. EchoesPink Floyd (311)

The numbers in parentheses indicate the ranks of the songs in last year’s countdown. One, Soulshine by The Allman Brothers Band, didn’t make the cut – I told ya, I’m a music nerd! In case you’d like to join the fun, you can enter your submissions here. Happy voting and happy listening!

Sources: Q104.3 website

My Playlist: Wolf Maahn

The rock singer-songwriter has been a staple of the German music scene for more than three decades

I said it before and I say it again: Germany has more music artists to offer than the handful who have become popular internationally. While I’m not sure anybody cares, I can be stubborn to make my point, so I’m featuring another terrific singer-songwriter you probably haven’t heard of unless you grew up in Germany: Wolf Maahn. He burst on the music scene there in the mid ’80s with a great rock tune that could have been written by Bruce Springsteen. Similar to BAP, the rock band I explored two weeks ago here, most of Maahn’s sizable catalog is in German. And just like in their case, I’ve no doubt language is a significant factor explaining Maahn’s limited visibility beyond  Germany’s borders.

Wolf Maahn was born in Berlin on March 25, 1955. He grew up in Munich, where he saw The Beatles as an 11-year-old in 1966. Perhaps not surprisingly, that concert left a lasting impression. “The Beatles were simply untouchable to me,” he told a German newspaper during an interview in 2001. In 1975, Maahn co-founded Food Band in Cologne, together with his brother Hans Maahn and other musicians. They released their studio debut Foodband in England in 1979. A version of that album for the German market, ingeniously titled Last Year’s Album, appeared the following year. Just like its predecessor, it featured all English music. Food Band released on more album in 1981, Rhythm ‘N’ Juice, another clever title, before they disbanded.

Wolf Maahn Rockpalast 1985
Wolf Maahn (l) and Axel Heilhecker at Rockpalast Night in Essen, Germany, March 1985

Following the dissolution of Food Band, Maahn launched his solo career. Former band mate, song co-writer and guitarist Axel Heilhecker joined Maahn’s backing band Deserteure (deserters). In September 1982, Wolf Maahn und die Deserteure released their studio debut Deserteure. The sophomore Bisse Und Küsse (bites And kisses) appeared the following year. The band’s national breakthrough Irgendwo In Deutschland (somewhere in Germany) was released in 1984. In 1985, Wolf Maahn und die Deserteure became the first German act to perform at Rockpalast Nacht, which was broadcast live in 17 European countries. I previously wrote about the famous music festival here, which between 1977 and 1986 drew artists like Rory Gallagher, ZZ Top, The Police and The Who. BTW, BAP performed there as well.

In 1988 after he had dissolved Deserteure two years earlier, Maahn came out with Third Language, which thus far remains the only English language album of his solo career. He has since released nine additional studio albums, four live records and one compilation. His most recent, the live album Live & Seele (live & soul), appeared in January 2017. Another notable thing about Maahn is his way to play the guitar – left handed with the strings placed in reverse order, i.e., e, b, g, D, A and E. Frankly, being a lefty is hard enough for me to imagine, but having the strings upside down is just impossible – well, evidently not. Time for some music!

I’d like to kick things off with Die Sucht Der Träumer (the addiction of the dreamers). The tune is the opener of Maahn’s second solo album, the above mentioned Bisse Und  Küsse from 1983.

Fieber (fever) is from the breakthrough Irgendwo In Deutschland. The album gained further popularity in the wake of Maahn’s performance at Rockpalast and remained in the German LP charts for nine months. Fieber, the tune with the Springsteen vibe I noted in the introduction, became a major hit.

Another great tune is Ich Wart’ Auf Dich (I’m waiting for you).  Maahn recorded it for Kleine Helden (little heroes), the follow-on to Irgendwo In Deutschland released in 1986. Here is an extended version, or “maxi” as they called it in Germany at the time.

Next up: The title track of the Third Language album from 1988. It has a similar vibe to Ich Wart’ Auf Dich.

In 1991, Wolf Maahn released his seventh solo album Maahnsinn. The title’s similarity to the German word “Wahnsinn” (madness) is probably not a coincidence. Here’s Wenn Der Regen Kommt (when the rain is coming).

In Deinem Bett (in your bed) is a tune from Soul Maahn, Maahn’s 10th studio release from 1999.

In 2004, Wolf Maahn released his 11th studio album, Zauberstrassen (magic streets). Here is the catchy Schatzjäger (treasure hunter).

Kind Der Sterne (child of the stars) was a single from 2007. The song was also included on Maahn’s double live album Direkt Ins Blut 2 (directly into the bloodstream 2) – (Un)plugged, which appeared the same year.

March 2010 saw Maahn’s 12th studio release Vereinigte Staaten (United States). It was the first full album with all new material since Zauberstrassen. Here is the groovy Kannst Du Sehen (can you see) – love that tune!

The last track I’d like to highlight is from Wolf Maahn’s most recent studio release Sensible Daten (sensitive data), which came out in September 2015: Zoll Achtung! (attention customs!), another groovy tune.

After a 40-year-plus career (including Food Band), Wolf Maahn continues to do what a full bread music artist does: Rock on! His tour calendar for the remainder of the year shows a bunch of upcoming gigs in Germany solo and together with a backing band. In addition to being a music artist, the versatile Maahn has also worked as a producer, film score composer and actor over the years. While at age 63 it’s fair to say he’s a mature rocker, I don’t get the impression Maahn is thinking retirement any time soon. After all, compared to Paul McCartney and Mick Jagger, he’s still a baby!

Sources: Wikipedia, Wolf Maahn 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

John Fogerty Teases New Song With Billy Gibbons

“Holy Grail” on Fogerty’s setlist for Blues And Bayous Tour with ZZ Top and to be included on next solo album

Collaborating with ZZ Top’s Billy Gibbons “is like the holy grail,” John Fogerty told Billboard just ahead of the Blues And Bayous summer tour with ZZ Top that kicked of in Atlantic City last night. He also used the occasion to tease a new song appropriately called Holy Grail, which he cut with Gibbons in late February when they got together to announce the tour and recorded a promo for it. It’s got a nice La Grange vibe to it. Here’s a snippet.

Apparently, it was a bit of a challenge to get the rocker into the can in time for the tour, Fogerty noted in the above Billboard interview. “Billy was really busy during this time, and I think I might have grabbed the reins at some point because…I was starting to feel the deadline for the tour coming.” John Fogerty “grabbing the reins” is completely unheard of!

Further commenting on the new tune, Fogerty said, “It just occurred to me that standing on a stage somewhere playing guitar with Billy Gibbons, that’s gonna be the Holy Grail…I wanted to write a song about the Holy Grail, but of course I’m not so specific in the song.” Makes sense. Holy Grail is set for digital release on June 8. Fogerty is also planning to include the tune on his next solo album he hopes to release by the end of the year.

Added Gibbons: “It’s not an overstatement to say that writing a song with John Fogerty is a genuine bonus. It’s fair to say that John and I are both pumped about our collaboration and we think this new one called ‘Holy Grail’ holds true with some great storytelling and some solid guitarist movin’ the number right along. It begs a shout of, ‘Turn it up!'” Yep, it surely does!

Well, I got a ticket to see these guys this evening at PNC Bank Arts Center in Holmdel, NJ – needless to add I’m pumped as well! Their setlists from last night are already available on Setlist.fm here and here and look awesome. The only wrinkle is the weather forecast that currently predicts a 50% chance of thunderstorms. Oh well, I guess I might actually end up seeing the rain coming down on a sunny day and a bad moon rising – but hey, that’s rock & roll!

Sources: Billboard, Ultimate Classic Rock, Atlantic City Weekly, Setlist.fm, YouTube