Andreas Vollenweider is the Swiss genius who gently plucks the electroacoustic harp with such feeling and with such beautiful tones, that he manages in just a few bars to conjure up everything good about the genre of music known as New Age. Next to brilliant keys composer Kit Watkins, he ranks top of the class in this, his chosen art.
Andreas hasn’t been to the states for a very long time, much less, in his native Europe as he’s long been working on new material, for which we are waiting with great expectations. Let’s hope he returns soon.
My wife Artina and I have been “on a tear” over the last decade catching bands and individual musicians in concert wherever the appear – locally in San Francisco or Los Angeles if possible, but if the closest a favorite band plays happens to be on the east coast, New York, Boston, Philly, etc. we will make the trip. We’ve done this for U2 (360 tour), Billy Crystal (one-man show), The Cure, PFM, and many others. We were fortunate over the last three years to have multiple reasons to go to the U.K. — home of my heart as it comes to music. We saw Simple Minds do their early album cuts at the Roundhouse, Kate Bush at the Odean for one of here 22 rare comeback performances, Stone Roses in the park, and, importantly my hero Rick Wakeman performing his masterwork Six Wives at the castle of Henry VIII, and his Arthurian Legend Redux at the O2. We even saw Artina’s favorite-ever singer/saxman Van Morrison in Lugano – what a blessing. It’s been expensive, certainly a luxury, and I owe it all to my last job at Splunk. I think we’ve “done it all” so to say – not sure as we peruse the list of bands we’ve loved, that another would draw us over the pond again.
Having said that (never say never – a lesson well learned from Sean Connery) I was looking through my hundreds of concert DVDs – yes I’m THAT guy) and slipped in the concert film of Andreas this morning. It’s brilliant, heartfelt, beautiful, as with all of his work. Then I checked his website, and it appears that, at least as of September last year, he plans a new release and tour. If he does that and does not come to the states, we will travel once again. If it is to be in Switzerland, which would not raise a complaint from this fan, then maybe an evening in Interlaken, Zermatt, or Lugano? Please Mr. Vollenweider!
The other main things to report, after I took quite a break from writing:
LCD Soundsystem, the brilliant, Talking-Heads-ish electro-indie band, sold three nights at the Greek Berkeley – gotta go
Steven Wilson is back at the Fillmore in May – his concerts are second-to-none
Bananarama plays in February, as does Robert Plant – certainly two ends of the musical spectrum!?!?
Best yet, the Dixie Dregs have reunited the original lineup, and are playing all over California in April – more on that to come
Jon Downes, editor of Gonzo Weekly interviewed me last week about my new book, Rockin’ the City of Angels. Here is the transcript, also up at GonzoWeekly.com:
Tell us about the book
When I was a teenager (way back in the 1970s), I was lucky enough to be able to attend dozens of rock concerts staged in Los Angeles, (aka the City of Angels). Rock music was life to me, and probably due to 7 years of piano lessons I was in love with prog rock. My collection of records and concert tickets included Genesis, Yes, Jethro Tull, and Pink Floyd, along with what I felt were the highest quality rock bands like Zep, The Who, Queen, and Kansas. Music patronage became a lifelong passion for me. The concerts at that time were becoming amazing spectacles, with elaborate theatrical productions. As the lyrics were often as important as the music to me, the fact that many bands dramatized the themes of certain songs, or even whole concept albums made for artful theater.
I wrote this book as a “love letter” to rock musicians of the ‘70s— focused ultimately on the concerts and the films that captured them. I used only photos of the bands live in concert – no portraits. I wanted to show and tell the story of these concert performances from the standpoint of a fan, hoping a reader would relate to a guy who might have been a few seats down the row at these shows, who might have raved about what we just saw on the way home.
As an example of a chapter, one covers the Genesis tour The Lamb Lies Down on Broadway. There are fantastic shots by Armando Gallo, a Melody-Maker cover showing Gabriel’s grotesque Slipperman costume, pages from the concert program, a ticket stub from the date at the Los Angeles Shrine auditorium, and sample frames from the film. The written material illuminates the album and tour, the special effects, and the film of the production’s slide show, which many fans might not realize exists (it’s on the 71-75 box set). This was a blueprint for all 36 bands covered.
How long has it taken to research and write?
At one level its taken 45 years of “field research,” record collecting, and study. But from the time I started writing and finding the photos it all took 2.5 years. I spent a lot of this time tracking down a selection of iconic photographs from around the world, sometimes digging through archives at agencies, others directly with the photographers of that day. I was fortunate to meet several of those photojournalists including Neal Preston, Armando Gallo, Neil Zlozower, and Lisa Tanner, who opened their archives for me at their studios or homes. I could not believe how many amazing shots exist that have never been seen by fans, shots that captured our musical heroes in their prime.
Another thing that took a lot of time was combing through more than 100 rock films from the decade, all part of my private collection. You and I know that TV appearances, professionally filmed 35mm movies—even celluloid left in the can for years, sometimes decades after light hit the film—are finally getting home video or streaming media release. I remember going to see many of these films at the local cinema that featured Led Zeppelin, Yes, AC/DC, Alice Cooper, Paul McCartney and Wings, and so many others. Now, just about every major band of the rock world can be seen performing live in one format or another, thanks to Eagle Rock Entertainment, Warner Home Video, and others who are helping to keep their legacies alive. I’m still that guy, the one who collects the high quality digital transfers available on media, rather than streaming them. Having said that, many of these films are available on streaming services like YouTube.
Were there any gigs you didn’t go to which you wished you had seen?
Oh yeah! For each band I had to select what I think in retrospect was their finest hour –the best album and concert, and the best film covering that band, hopefully for that same tour. In the case for instance of Jethro Tull, I had not seen the Passion Play tour, but I knew through older friends and research that it would have been for me their best, and that is my favorite Tull record after all. Same with Genesis’ Lamb tour, though tribute band The Musical Box recreated it professionally just recently.
In a few examples, I did not get to see the band in the ‘70s but instead did catch them later. Only three bands out of 36 eluded me completely. I was never inclined to see AC/DC (although I did enjoy the great film, Let There Be Rock!), and Happy The Man never toured the west coast (and, there is no film!). The worst mistake was missing the mighty Led Zeppelin. In the case of the Zep ‘77 tour, I loved Presence, and that was the concert to see, but I was instead booked to see Pink Floyd’s Animals concert just weeks before and budgets kept me from seeing more than one show every couple months.
What was the best gig you ever saw?
All of that is in the Genesis family – I will never forget the Wind & Wuthering tour in 1977, and the first time I saw Peter Gabriel solo at the Roxy Theater the next year. But number one was Gabriel’s tour for his 4th album (also dubbed Security) which came early in the ‘80s – it’s a bit of a cheat as I cover that show in this “70s” book, but it’s really for me, the epilogue of the ‘70s decade. He absolutely stunned the audience and finally emerged on his own at the level of performance he had achieved while in his former band. Armando Gallo’s unbelievable shots give a very good idea of the drama. As there is literally no film of this seminal tour, we examine the So movie, particularly those songs he performed in the same way as that prior tour (like “Lay Your Hands On Me”).
Others in the top tier include Paul McCartney’s Wings Over America tour, Queen’s News of the World tour during which Freddie held the audience in complete awe, Kansas Point on Know Return featuring Steve Walsh giving the most physical performance I’ve ever seen, Dixie Dregs with their stunning virtuosity, Camel, ELO – so many incredible shows I will never forget. For the Floyd, while Animals was spectacular, I suffered a bit of “bad vibe” that night in the gi-hugic Anaheim Stadium, and it was eventually to be Roger Water’s restaging of the Wall this decade that became the ultimate live experience of that band’s music for me.
How did you go about the picture research?
This was the most difficult part of the book’s production, hands down. Thank God for Google, but even with all the search engines in the world, it was amazingly difficult to find some of the photographers and shots that eventually did appear in the book. One snap alone, of Camel in concert with the London Symphony Orchestra on the night they recorded The Snow Goose together, took 7 months to find and it was sitting in the vaults at The Daily Mail, having also been recently unearthed by a researcher at PROG magazine (RIP). I never found shots of Ambrosia and Happy The Man until I actually reached a member from the band themselves, who had boxes “in the attic” with old shots and memorabilia. A lot of the shots in the book came from slides I was allowed to borrow and scan at Dickermans in San Francisco.
What is your next project?
Well, this book was so expensive to produce that I have to sell all the copies I ordered during this year. Provided that happens, I will move to the next decade, sliding into the ‘80s with late ‘70s punk, then covering the era of New Wave music, including bands like Depeche Mode, The Cocteau Twins, Japan, Echo & The Bunnymen and so many others that were part of the second “British invasion!” I’m really looking forward to that as I’ve not seen any great ‘80s genre books that include what for me were the best bands of that decade with any kind of stunning photography.
Thank you to Jon Downes and his long time support of my work at GonzoWeekly.com
Dixie Dregs was an American band formed in the early 1970s by guitarist Steve Morse and bassist Andy West. Their music was almost exclusively instrumental, fusing rock, country, and a bit of jazz into a potent brew that was designed to showcase each band member’s virtuosity. Their core compositions were typically rooted in traditional country & western, most frequently upbeat and exciting. Their live shows were absolutely fantastic. One of their signature and most entertaining feats in concert was a game of “musical chairs” where each musician would trade off soloing in round-robin fashion, taking leads for ever decreasing measures until each would play just one note, passing from one to the next at lightning speed in an amazing display of talent. Musicians came and went from the Dixie Dregs, all of them exceptional, and founder Steve Morse has always been at the helm.
After two early albums, the band was signed to Capricorn Records and released their most progressive album What If (1978), produced by Ken Scott, featuring Morse and West joined by Rod Morgenstein (drums), Mark Parrish (keyboards), and Allen Sloan (violin). After completing their first tour that year, they combined a few of the live recordings and several new pieces to create their most popular Grammy nominated album, 1979’s Night of the Living Dregs. The opening track “Punk Sandwich,” is a perfect introduction to the band for any fan or casual listener. Rapid-fire guitar and violin leads backed by electric organ bridge the tuneful melody. The second track “Country House Shuffle” leads off with a drum solo that demonstrates Morgenstein’s apt skills. The second half of the record is punctuated by the live track “The Bash” which demonstrates one of the country-western jams that featured their signature round-robin solos. I caught the band live on this tour at some small venue in the San Fernando Valley north of Los Angeles and it was a spectacular show from the first note to the last.
The band signed with Arista at the end of the 70s, and released an excellent follow up album, Dregs of the Earth (1980) with the talented T. Lavitz replacing departed Mark Parrish on keys. I was fortunate to see this tour as well at the Roxy Theater in Los Angeles, and recall being surprised that Lavitz was able to meet the challenge set by their former keys wizard. It was another exceptional concert experience.
Widespread success eluded the Dixie Dregs, though they managed to build a core following of eager admirers. As the eighties wore on, the group hoped to expand their audience by changing their name to The Dregs, after which they released Unsung Heroes (1981) and Industry Standard (1982) the latter with guest vocalists. Soon after they disbanded but have continued to stage concerts sporadically to this day. Steve Morse plied his axe during a short solo career, and also took on lead guitar duties in years since with Kansas and then Deep Purple.
Fortunately, there is an excellent film of the Dixie Dregs in their prime on the tour supporting What If. This is available on DVD titled Live at the Montreux Jazz Festival 1978, featuring a nearly complete set from which the live half of Night of the Living Dregs was taken. The 60 minute long concert includes fourteen choice songs, captured at 144:1 aspect ratio, preserved with a fine clear image and respectable sound considering the era. The only complaint would be that there are not enough clear shots of guitarist Steve Morse, and the ones that are presented suffer from an awkward angle. By contrast there are too many shots of violinist Alan Sloan. With a group of musicians this balanced it would have been better to afford nearly equal time to each. Also there are few perspective shots that capture the entire group across the stage, something that would be helpful on those collaborative jams. Nonetheless, the footage is excellent, and it is a rare document of this important band. The DVD is rounded out by a couple of television appearances, one at “Don Kirshner’s Rock Concert” and a second as The Dregs on “American Bandstand,” which includes a moment of conversation with host Dick Clark. Highly recommended.