I’m pretty sure my fellow blogger who posted this is from Australia. So I have some words he does not. When are we going to fn wake up in the US and follow Australia’s now long-ago example? Take the guns, give them voluntarily to be destroyed. Simple. Effective. Look at their murder stats – oh wait, there are hardly any to report. What soiled children we are. Peace out.
Steven Wilson brought his To The Bone tour to the Fillmore auditorium in San Francisco last week. It was another in a series of amazing concerts given by this gifted man and his amazing band.
To begin the show, as is the norm at Wilson’s events, a short film was used to “warm up” the audience. However, in past years, while the films have been haunting, melancholy bits of dirge, this year the content was thought provoking, and not exactly obtuse – a bit more Talking Heads, a bit less Dario Argento. Wilson is on a new bent these days, one where his music is more straightforward, a bit less melancholy, a bit more pop. Nonetheless, dramatic subject matter and skilled performances anchored the concert, and it was exceptional.
In order to punctuate his slightly altered musical direction, Wilson stopped between songs to say a few things about the difference between PROG and POP music. How “pop” was the original rock music, and how there should be no distain for pop, in comparison to it’s more complex, uptight brethren PROG:
“pop music has a very fine tradition… the greatest pop group of all time were The Beatles – you would not call them a rock band, you would call them a pop band. Second greatest pop band was Abba – does anyone here not like the Beatles and Abba? You see ergo everyone likes pop music. …Pop music is not SHIT!”
After this bit of pep, he asked the audience to dance (yes dance) to his new song, “Permanating,” a nice song in the pop genre, it must be agreed. Of the new songs, by the way, “People Who Eat Darkness” and “The Same Asylum As Before” were particularly muscular and memorable. “Pariah,” the particularly melodic song which features singer Ninet Tayeb on record, was played with her image singing her parts on the front and rear screens – a very effective use of the silk that drapes down in front of the band for part of the show. Its amazing really how such a seemingly unassuming, quiet man can command a stage and rock the s___ out of a venerable venue such as the Fillmore.
On this tour, the set list did not include stalwarts “The Raven Who Refused To Sing”and “Drive Home” and that was disappointing for this fan, but it’s clear that Wilson is leaning in a bit happier direction. It must be said that the set list was a nice combination of older Porcupine Tree and newer Wilson solo work.
As with earlier tours, the lighting techniques were clever and colorful. Sound was crisp and clear, reproduced by the top-notch audio system, which sounded amazing in the acoustic-friendly Fillmore. Even with all the finery, the primary focus remained on the band members demonstrating their virtuosic skills throughout. From the increasingly well-rehearsed touring band there were complex rhythms and solos from new guitar player Alex Hutchings, electronic textures and brisk synth leads from keyboard player Adam Holzman, and a deep, thunderous bottom end and vocal harmonies from Nick Beggs on basses, paired with skilled drummer Craig Blundell. It was plainly visible that each one of the musicians has become exceedingly adept and delivering this material. Steven delivered his poetic lyrics throughout in fine voice, alternating skillfully between guitar, bass, keys and samples. He displayed his wit and thoughtfulness between tracks as lead raconteur. These elements combined to make up a masterful set; an evening of dramatic, inspirational and at times emotionally overwhelming rock and pop music. Wilson remains at the top of the list of artists I’ve seen over these now forty years with his accomplished, expressive body of work and ability to so expressively present it all live in concert.
Astounding, and wonderful is this artist. Check him out!
Ban=ck in the day, a very very long time ago, we would have called LCD Soundsystem “totally bitchin!” They performed this year both at the Bill Graham auditorium in San Francisco, and just the other night at the Berkeley Greek Theater. Our night was the second of three sold-out shows, on Saturday April 28. The band delighted the anxiously awaiting crowd, once again taking their place a the top of the electro-funk pantheon, delivering an explosive concert consisting of 16 perfectly chosen tracks. Many of these tracks were played at their “farewell” concert 7 years ago at Madison Square Gardens, chronicled in the exceptional film Shut Up and Play the Hits(2011) and the live album Live at Madison Square Gardens. I cherish that film and as it perfectly captures how astoundingly great this band’s live shows had been. Fortunately at Berkeley they hewed closely to that winning formula, as they did for their “comeback” two summers ago at Golden Gate Park.
The band’s latest album American Dream (2017) was featured via 4 songs, “Call The Police,” “Tonight,” and “Emotional Haircut.” These are fab tracks from the new record which rates highly in their catalog, surprisingly fresh after a rather long career, certainly helped by a long break and time for Murray to D.J. it up a bit in his favorite clubs. Other than the four new ones, the staples were, rightfully so, on full display – beginning with set opener “You Wanted A Hit” and closing with “All My Friends,” a crowd-pleaser if ever there was.
As to staging, the band stays rather close together, surrounded by all manner of drums, percussion, electronic keyboards, and space for the bassist and drummer with lead man, vocalist, multi-instrumentalist James Murphy up front, and able to wander the small passages between. Crammed in with all that gear, the presentation seemed somehow intimate, despite the number of musicians. Lighting is simple but effective, a giant glitter ball hung top center stage. It was from start to finish, once again, one of the best concerts of the millennia thus far.
LCD Soundsystem, as described by writer and musician Nick Sylvester is “the sound of a man digging himself out of his own skull… an extremely smart and sensitive man wrestling his inner Klosterman” (by the way, Klosterman is a quirky American author and essayist who writes thoughtfully about American popular culture).This gets at the heart of why these confessional, observational songs speak to so many, songs like “Losing My Edge,” sporting these lyrics:
I’m losing my edge
I was there.
I was the first guy playing Daft Punk to the rock kids.
I played it at CBGB’s.
Everybody thought I was crazy.
On the studio albums, nearly everything you hear is played by Murphy – in concert he has a troupe of musicians, changing at times based on availability. The performance is incredibly tight, each musician playing his or her part with startling accuracy yet requisite live energy. The best of their songs start with a beat, sometimes laid down by a drum machine, but more often by precision-driven drummer Pat Mahoney, sometimes by a keyboard sequence triggered or played by Nancy Whang or Gavin Russom. As the song progresses, additional contrapuntal lines are drawn, the beat is intensified, bass, guitar or treated electronics are added, until the drone or melody comes clear and captivating, and Murphy adds vocals, working his rich baritone. Interlocking riffs are added or taken away to change the dynamics, which ultimately build into ecstatic abandon. This is the main recipe for the band, and it’s done wonders for space rock, afro funk, new wave and alt/indie bands past and present. The most frequent touch point I could think of was the Talking Heads, Remain in Light era work with Brian Eno – or more recently the kind of dynamics mastered by Arcade Fire. Murphy stirs it all up and makes something new and unique. It’s beautiful frenetic dance music that’s utterly irresistible.
The aforementioned film, Shut Up and Play the Hits(2011) directed by Dylan Southern and Will Lovelace, is as spectacular a concert movie as any in my collection. The entire three-and-a-half show is captured, along with interviews and a portrait of James Murphy as he prepares for the event, intended to be their last. The shoot is professional, multiple camera angles fixed and handheld, both close-up and long/wide angles provide viewers with a bird’s eye perspective, illuminating how the large band works together to create the whole.
The movie kicks off with three of their best songs “Dance Yrself Clean,” “Drunk Girls,” and “I Can Change.” At the end of those tracks, at 20 minutes into the film, you’ll know if this is a band for you – don’t be surprised if you’re singing “I Can Change” over and over again for days, such is it’s status as an electro-funk earworm! At the end of the film, as Murphy croons the slow burner “New York, I Love You But You’re Bringing Me Down” staring and smiling wistfully at the sell-out crowd while the balloons fall from the rafters, it’s impossible not to feel a bit sentimental, a bit of loss for their disbandment. Fortunately for the music world, Murphy and his collaborators are back. Let’s hope they remain, on record, and in lights.
Video: All My Friends (from Madison Square Gardens)
LCD Soundsystem (live band)
James Murphy – vocals, percussion, synthesizer, organ, keyboards, piano, kalimba
Tyler Pope – bass, samples, synthesizer, percussion, organ
Pat Mahoney – drums, synth pads, vocals
Nancy Whang – synthesizer, vocals, piano, organ, samples, Wurlitzer
Gavin Russom – synthesizer, percussion, piano, Wurlitzer, clavinet, vocals, vocoder
Matthew Thornley – guitar, percussion, percussion [electronic percussion], bass, synthesizer, electric piano, samples
Al Doyle – guitar, vocals, percussion, synthesizer, bass, clavinet, trumpet, organ, glockenspiel
And new touring member, Korey Richey – percussion, synths, piano, vocals
Depeche Mode are an enduring, genius band that formed in 1979 who still write, record and tour today. Their success in the 80’s and 90’s is legend. More recently, during the last 15 years, their work has become increasingly dark and experimental — still a single here or there, for instance last year’s “Where’s The Revolution” reward the faithful who seek a bit more dance than trance — it all comes off smashingly well in their most continuing concert tours, which sell out to global audiences.
Many fans of the band continue to follow and patronize the act, yet typically consider their “golden age” to stretch 1981-1997, now 20 years ago. These were triumphant times the band spent on the write/record/tour train, resulting in legendary albums from Speak and Spell(1981) to Ultra(1977). This is when DM could easily be compared to “The Beatles of the 80’s” — really “80s/90s”. As many will already know, the band began with their first album largely hemmed by Vince Clark, who left the year it was released, and was replaced by deft player Alan Wilder, who joined singer David Gahan and third keys-man Andrew Fletcher making the long running foursome. Alan left in 1995 before the last “core period” release Ultra.
But at the early stage in 1981, with Clarke going away to do Yaz, Martin Gore became principal songwriter and instead of that being a challenge, the band’s output matured by leaps and bounds. The third record Construction Time Again(1983), which found Alan increasingly taking a role as lead player and soundscape creator is a masterwork. This album was a breakthrough in terms of ambition and maturity, though just one successful single, “Everything Counts” emerged. The record as a whole covered territory sonically and lyrically that became the trademark for these hard working musicians. Global popularity built steadily after this from Some Great Rewardto Black Celebration, Music for the Masses, Violator, Songs of Faith and Devotionand on. At the end of two decades, after the new-millennia “backward look” Exciter(2001), the band took increasing sonic risks, releasing 4 additional records and 5 world tours in the last 15 years. These live shows became louder and noisier – much more like rock ‘n roll in many parts, more focused on drums, bass and guitar than on 3 men at their synths – a different and new sound and style for this millennia.
Enter tribute genius band Strangelove. What these stellar musicians and performers so is lovingly recreate the DM live experience, focusing on their shows from 1981 to 1997 – basically, the version of the band we all grew to love — all synth, maybe a few found objects, no “bass player” and definitely no drummer. Just four guys and three keyboard rigs, and four part harmonies all fronted by one of the most charismatic lead singers born to this world. Each member of Strangelove recreates not just the music but also the persona of their role:
Brent “Counterfeit Martin” (Martin Gore)
Leo “Ultra Dave” (Dave Gahan)
Julian “Oscar Wilder” (Alan Wilder)
James “In The Fletch” (Andrew Fletcher)
Taken in parts or as a whole, I had multiple moments, regularly, where I felt like I was seeing the actual band live, despite each of these talented musicians infusing the proceedings with some of their own obvious talents. Critically, maybe most importantly, Brent’s vocal interpretation of warble-then-sustain (or vice-versa) Martin Gore is dead on, and Leo’s growling baritone representing Dave Gahan is note perfect, accentuated by moves both dressed and undressed that echo everything great about Dave as one of the world’s greatest front-men. It’s an unbelievable collection of talent which will, for all, preserve the early DM experience while allowing for the original band to continue stretching into experimental territory. And, finally, there is something about a show featuring all synth — pure synth, which bubbles and pops out of high-definition speaker systems in such clear form while we watch and dance.
I talked to Brent after the show and in follow up discussions:
1) Brent did you specifically agree to focus on 1981-1999 in order to represent the four piece synth led version of the band?
We do represent all eras of the Depeche Mode canon. Depending on the scale and locale of the show we’re performing, we bring in different stage set pieces and costume changes that reflect key points in their evolution. That said, there is a deliberate focus on what are perceived as the halcyon days from ‘86-‘93, as this era represents the sweet-spot where many lifelong fans of Depeche Mode were first introduced to them. Our project also proudly features a 1:1 analog for every member of the classic lineup. The project was very much cast with this in mind.
2) Though Alan did play some drums, very tastefully by the way, on his last tour, for “Songs of Faith and Devotion”, did you make a conscious choice to avoid this?
Our own “Alan” performer, Julian Shah-Tayler (aka: Oskar Wilder) is an adept multi-instrumentalist and is easily up to the task of performing live drums for a segment of our set. That said, we would likely limit that to a live presentation that focused primarily on Songs of Faith and Devotion, and adhere to that visually, as well as in the set list and instrumentation. A native of London, via Leeds; Julian’s from the very popular UK outfit “Whitey”, that had quite a bit of momentum a handful of years ago. For larger shows in US we’ve brought in Terri Nunn/Berlin’s drummer Chris Olivas and he’s a our “fifth member”. An interesting footnote — I’ve produced a couple of original music projects, and brought in Depeche Mode drummer Christian Eigner. He did a fantastic job!
3) How many “Dave’s” have you employed, Leo is fantastic!
I began developing a project as music director and performing in the “Martin Gore” capacity in 2006, in what was an early iteration of what eventually became Strangelove-The Depeche Mode Experience. Since that time I’ve worked with two other vocalists before finding our current singer, Leo Luganskiy (aka: Ultra-Dave). When we first heard him we immediately knew our worldwide search was over. His vocal timbre is uncannily like Gahan’s. He’s the total package, and at just 30 years old, more accurately represents the timeframe we referenced above.
4) When you study Martin’s lyrics, do you pick up bits of humor or even a track you think is overtly happy from this maestro of all things dark and lonely? (I might say “But Not Tonight”)
Of course we have poured over the lyrics quite a bit, in the course of the thousands of hours involved in recreating their studio work to present it in a live setting. There’s quite a range of emotion on display; and quite an evolution from their early work to the open cynicism in evidence on their latest release, “Spirit”. A certain line in “But Not Tonight” often elicits chuckles from the audience. Other lyrics gain newfound relevance in our modern times (“People Are People”, “New Dress” immediately come to mind)
5) Are there any songs you omit because they are too challenging to you or to audience for any reason? (I am thinking lack of singles on my favorite Construction Time Again)
We don’t omit any songs because of performing challenges, but rather, based on what we know the audience response is likely to be. For instance, there are no current plans to work up “Black Day” or Christmas Island” since few would care and others that are familiar would still likely be bored and go grab a pint. An immersive album listening experience is very different from a live presentation and there are matters of set programming flow and energy level to take into account.
6) Playing a few from Speak and Spell, do you see a real difference in the structure when Vince wrote and played as lead?
The chief difference to us was the naivety and spunk the young lads had at that point. Obviously, with Vince as primary writer at that point, the songs have a different feel. We do a few tracks from SAS and they’re still a lot of fun to perform live.
7) Can Londoners expect any surprises that we don’t see in the states?
The biggest surprise, (even though it’s listed on the poster) is that we’re having “Scant Regard” open for us. This is a new project by Will Crewdson, the London-based guitarist/writer/producer best known for his work with the London band Rachel Stamp, Concrete Blonde’s Johnette Napolitano, Flesh for Lulu, Adam Ant, The Selecter and Bow Wow Wow. He may bring a special guest to sit in…
8) What does Depeche Mode think of your project-
We’ve had quite a bit of interaction with several people within the DM camp. I’ve had a few conversations with Martin about our project and he’s very gracious and generous with regard to helping us out. I’ve had a couple of screwdriver-ish conversations with him about particular synths/samplers used on specific songs. Alan Wilder has also provided us with original tour samplesets (the custom-made keyboard sounds they employed in making the records). Their manager Jonathan Kessler politely tolerates us, I think in part, because they understand that we keep fans sated while they’re on their tour/album cycle hiatus. At a recent “Spirit” press conference Dave took the piss out of Martin for spending hours watching OUR performance videos!
Londoners and those close or far by via tube/train – do NOT MISS THIS SHOW. Diego
Facebook event for London gig.
All Photos (C) Animus-Art Photography
Instagram : @animusartphotography
Thank you, B!!
Fleetwood Mac is one of the most popular and successful bands of the last four decades. Their mega-hit albums Fleetwood Mac (1975), Rumors (1977), their masterpiece, Tusk (1979), and follow-up Mirage (1982) were staples of the FM airwaves in Southern California where I grew up. Each member of the band came with a public persona that seemed real, not something manufactured by the music press, where they appeared frequently. Many of my friends hung their posters, and followed their exploits closely, particularly due to their very personal, confessional lyrics and their appeal as representatives of who we were at that point in the 70’s.
While the band began life as a British blues act in 1967, numerous personnel changes resulted in a cross-pond partnership of both British and American musicians that together had global appeal. Peter Green, Bob Welch, Danny Kirwan – many guitarists and members rotated in and out of this ever-changing band in the early years. In 1975, desperate to save the band after many drug and alcohol fueled hard times, core members Mick Fleetwood (drums), John McVie (bass) and his wife Christine McVie (keyboards, vocals) recruited Lindsey Buckingham (guitar, vocals) and his then girlfriend Stevie Nicks (vocals) to join the already well-honed trio. There had already been nine Fleetwood Mac albums. The rest as they say is history. Or is it?
The Mac continued to release material and tour on and off again with or without Lindsay and Christine though to 2015. We saw them with the entire classic lineup and that I assumed would be the last time.
Then several things apparently happened, which led to the sacking of Lindsay Buckingham last week:
- Lindsay reports that the Mac will record a new album for 2015, and stage a last tour (yeah, right!)
- Stevie reports that she is reluctant to work on new material, lest it cloud memories of the old, and why do it anyway?
- Lindsay/Christine report that they recorded many songs, none of them with Stevie.
- Lindsay / Christine release an album and tour in 2017, just last year!
- In 2018, in April it is announced that Lindsay has been “sacked” from the group, and the next tour due planned to kick off this year (2018). The reason given – arguments of the set list (the set list, really?!?!)
- It is joyfully announced by the way that Split Enz / Crowded House / solo genius from down under, Neil Finn will join the band for the new tour, and will be accompanied by Mike Campbell of Tom Petty fame!!!!
For many fans this will erroneously be considered bad news. The Mac without Lindsay, didn’t they try that after Tango in the Night, to disastrous results?
Yes, and no. Well at least, they did not have the new secret weapon – they did not fill the guitarist/singer role with a star or stars adequate to the task. Enter Neil Finn, who is easily the greatest musician, along with brother Tim, to work in and outside of New Zealand…. basically ever. I would consider them The Beatles of ANZ. Neil’s work is not nearly as well known as the Mac. Neither Split Enz, Crowded House, Finn, nor Neil Finn played to stadiums outside ANZ to my knowledge. Here in the states, the typical venues for anything Neil Finn would fit 2,500-5,000 patrons. No “sheds,” basketball arenas or much less stadiums for the genius from down under. It’s the same story for his brother Tim Finn, the greatest tenor vocalist of the 80’s.
All that will change for Neil with the Mac, as long as the publicity is done right and they get fans to the shows. Here it will likely be the Oracle or SAP arenas, particularly if fans “get it” and the publicity is well handled – that is important. So far, there are good words coming out of the camp, with some expressions of excitement.
But listen people – this should not be hard — Neil Finn is a major songwriter, vocal talent, and in fact an amazing guitarist. If all you know from him is “I Got You,” or “One Step Ahead” with his brother in the Enz, or “Don’t Dream It’s Over” and “Something So Strong” from the debut Crowded House album, you are sadly out of touch with this, one of the world’s greatest songwriting and performing talents – you have some catching up to do! Try Crowded House albums Together Alone(1993) and incredibly, the more recent Intriguer(2010). How about his solo work, Try Whistling This, it is achingly gorgeous. Compare the newer Housesong “Amsterdam” to anything off the new Buckingham/McVie album, as pleasant as it is, and it is a stellar album by the way. But again, check it against new lead man Neil Finn, and hear the difference.
You can easily imagine, if your ears are tuned, Neil will clearly grace anything the band wants to do which covers Buckingham, Green, Welch or any of the talented crew that have joined and left the Mac’s lineup. Reportedly, unshackled by a picky approach to the set list, there will be surprises. Why not go back and do “Hypnotized” along with other early gems? Finn can nail all of them.
Now, add to this that we are not only getting Neil Finn. On top of that we will have Mike Campbell, the long time guitarist from Tom Petty and the Heartbreakers. Anyone who saw Tom perform, rest his dear soul, knows what an amazing lead player Mike is. Now this is getting exciting, concert fans.
See this lineup – maybe the last you say? No, more likely just another chapter. But, the Mac lives on, above and below the equator, and we are all better for it.
p.s. fans of all things Lindsay, of course he will do a solo tour, so…. peace.
Once in awhile you see a concert that truly surprises and delights your senses to the core –- one that’s ear and eye candy for the hungry musician inside you. Recently, on March 22, 2018, Carl Palmer’s ELP Legacy played in a small club in Redwood City, California, and this was one of those very amazing occasions.
As most readers will know, Emerson Lake & Palmer was the preeminent “progressive rock super group” that emerged at the beginning of the 1970’s, reigning supreme until a few misfortunes befell the band and they essentially “lost the plot.” Keith Emerson started his career as the keyboard wunderkind of The Nice, growing into a keys juggernaut, favoring multi-tracked equipment of every kind, blended into an aggressively beautiful noise that was frequently overwhelming to anyone remotely familiar with what it takes to play the piano. Greg Lake had already proven his skills as melodious baritone and bassist of King Crimson on their first two massively influential and stunning albums In the Court of the Crimson King(1969), and In the Wake of Poseidon(1970). Carl Palmer, drums and percussion, the only remaining living member of the trio, got his start with none other than Arthur Brown and then Atomic Rooster. The guys banded together in 1970, Greg added guitar to his skill set, and the game was, as they say, on.
The group released a series of increasingly complex, multi-layered progressive rock albums, beginning with the self-titled debut in 1970, and continuing with the brilliant follow up Tarkus(1971), then Pictures at an Exhibition(1971), Trilogy(1972), and their undisputed masterpiece, Brain Salad Surgery(1973). Following extensive touring for this 1973 release, which included a stop that was recorded in Long Beach California (Welcome Back My Friends to the Show That Never Ends – Ladies and Gentlemen 1974), followed within days by a headlining spot at California Jam (also featuring Deep Purple headlining an adjacent evening), the band took a long break to rest and recoup.
The last really exceptional work by this amazing trio was then undertaken – Works Volume 1and Works Volume 2(1977) — oddly sold separately and one of four total LP sides devoted to each band member — allowing them to “stretch their wings” (or “ego-up” depending on how one saw the band’s work). As is well publicized, the band then “lost their shirts” mounting a tour to support Works, which featured a symphony orchestra. The massively expensive tour was a ballsy move that cost them a fortune and set the band back on their heels. When they returned in 1978 with an ill conceived follow up, the attempt-to-be-commercial Love Beach, it was time to disband, just as “punk” music had already seen it’s sad and stupid one-year-long stint as the music of the times!
Though the band reunited, recorded, and toured with new material, there was no way to match the 1970’s era brilliance of what one could argue was the biggest prog rock band of the decade – challenging as they did Yes, Genesis, Gentle Giant, Jethro Tull and Pink Floyd (uh huh, among others) for the top spot. It should be noted that Black Moon(1992) was an exception to the lesser rule, and that album plus tour, which followed, was really the last chance to see the band in good form. In addition, while Palmer managed to stay fit and fluid working with Asia, ELP and others in the years to follow, Emerson and Lake suffered declining heath and physical abilities. Sadly, both passed away in 2016.
Carl Palmer has been out now several times with his own band, the ELP Legacy, to give honor to his fallen brethren, to stay fit, in top musical shape, and rightfully remind all of us that he is most certainly one of the world’s top drummers, and now absolutely the greatest drummer remaining from the progressive rock era. Always possessing a muscular ability, coupled with occasional deft gentle touch, always with military snare at the ready, Palmer played a mean kit, backed by dual gongs and well tuned toms. For Brain Salad Surgery, he innovated a synthesized drum kit that, once triggered used sequencer technology to create an electronic orchestra for the drums, as evidenced on the track “Toccata.” It was and is simply an unmatched, violently brilliant work of sonic wonder. (Apologies to Phil Collins, Bill Bruford, Neil Peart, and a few others that vied for the top spot, Carl had or at least has it now!)
Palmer plays a great set list of selections from the 70s, and does so instrumentally, with ace guitarist Paul Bielatowicz, and bass/stick player Simon Fitzpatrick. No keyboards you say, blasphemy? No, Paul and Simon cover all of Keith Emerson’s keys, at least the ones that mattered, unbelievably. These two younger musicians have no idea how good they are – it’s uncanny to watch them just nail this material with aplomb, supported and driven of course by master of ceremonies, the ever talented Palmer. As an example, when they do “Lucky Man” Simon plays bass on the stick with his left hand, while soloing the moog lead with his right at the bottom synthesized end of said stick. Awe-inspiring. Truly. By the time Palmer launches into “Fanfare for the Common Man” within which he slips a 10-minute drum solo, you will be absolutely convinced of your good fortune in catching the man and the living legend, Carl Palmer. I promise, welcome back.
A bit of film, ending with said drum solo!!!
Carl Palmer (drums, percussion, gongs, amazingly great humor and attitude)
Paul Bielatowicz (guitars)
Simon Fitzpatrick (bass/stick)
p.s. Only thing that bugged me? Even though many of us in the crowd are getting “up there’ in years, when did we Americans become so lazy? No one, and I mean no one, stood up between songs to do a standing ovation – it was like they were sitting on their arses, expecting to be entertained. Three of the best musicians I’ve ever seen play live (and believe me, I’ve seen ‘em all) gave a master class on bass, drums, and guitars, and no one can stand up? Damn. Just sayin’ Over and out.
The new book by Neal Preston, Exhilarated and Exhausted, is finally here, available at Amazon, and it is his masterpiece. At 336 pages from Reel Art Press, favoring rich black & white photography on white or black border, the book is a stunning collection of Neal’s best work taken from the 1960’s through the present day. While the focus is on the classic rock bands on the 1970’s, a few shots from the 80’s and beyond are included (Red Hot Chili Peppers, Pearl Jam, Eddie Van Halen, Michael Jackson, Guns and Roses, and a few others). That means at least 200 shots from this famous photographer laid out among his stories in this highest quality hardbound keepsake.
What is really key about this collection are musings and recollections of Neal himself. There is absolutely no substitute for having the man who crouched into those pits in front of stages around the world tell his story in first person narrative, full of witty and wise anecdotes gleaned from a life on the road, a hard life, but one that in Neal’s case rewarded then and now, as evidenced by this exceptional book.
I first met Neal over the phone about three years ago. I had purchased a print of his classic black and white shot of Led Zeppelin’s Robert Plant between songs on a giant outdoor stage. It’s the one where Robert holds a dove in his right hand, and a beer and cigarette in his left, peaceful smile on his face – you know the one – nearly every kid in high school had a similar (but not Neal’s shot) color printed poster on their wall. We framed it for my wife’s best friend and one of my closest as well. San Francisco Art Exchange passed on my digits, as I wanted to talk to Neal, and was also looking to license some shots for my own book. (by the way a bit of advice he gave me which I regrettably did not use? more B&W shots than color, Doug!)
I will never forget the phone ringing, and Neal on the other end saying something like “yeah, this is Neal, who are you? What is this idea about a book?” He proceeded to regale me honestly and without bluster as to his experiences, cramming in as many stories as he could in what ended up being a 2-hour call with some guy he never met (with numerous protestations that he “had to go, but just one more”). I felt truly lucky, knowing as I did then who Neal was, knowing already about his friendship with Cameron, as I devoured the “extras” on Crowe’s Almost Famous blue-ray release. So yeah, having that kind of time with someone also famous, who shared his passion and introspection without hesitation, was awesome. That’s what this book is, in print, forever.
At the time of our second meeting, Neal was about to stage a gallery exhibit for the lighting design crowd in Las Vegas. He had done a rare show in Germany with several of the same prints on display, and they printed a book of sorts, with many of those photos. But, there was a paltry few paragraphs written by Neal himself. Too few, I told him directly.
Not so here. We learn that Neal and Cameron met at a Humble Pie show in 72. We learn that Cameron hired Neal as the photographer for his first piece in Rolling Stone, about the band Yes (where are those shots!!!). Then we get a master class from Neal about the art, seat and tears that go into being a professional photographer. Neal writes his many stories in melodious voice, drawing us into his circle, sharing asides that make us feel that we are in the pit or in the first row at least, right beside him, seeing through his eyes. I’ve tried to do this – it’s hard – really, really hard to write with that kind of immediacy and even urgency. Neal nails it here.
Section titles such as humble musings on being lucky “The Greatest Job in the World,” “The Inner Sanctum,” (It’s a hot zone back there… think Chernobyl with guitars”), “Rock Tour Tension,” and “Bob Dylan Called Me A Leech” frame the stories. Each artist is given a page or more, and maybe some musings, and it’s all very much infectious. For example, when Neal shares his passion for all things Greg Allman, even if you are not a fan, you become one. One of my favorite bits is his advice for aspiring photographers: “I don’t care what kind of pictures you shoot or aspire to shoot…you’re gonna have highs and lows so you have to take the good with the bad.” See, he didn’t have to do that – he did not have to be generous in sharing what he knows and speaking to those of us who relate to what he does. But he does and it works – all of it. As we used to say, “go for it.” My highest recommendation.