Tag Archives: robert plant

Best Concerts of 2015

BestOf2015_Buddies2Once again my wife Artina and I had a wonderful year of travel and concerts, stoking our love of music and performance. It was another year that saw many acts from the 1970’s and 80’s coming back to town, along with several new bands we’ve followed over the last 25 years. Here is a list of the eleven best shows (one more than 10!) more or less ordered from best to less best, from where we sat:

Steven Wilson, San Francisco & London

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We were privileged to catch Steven on his Hand.Cannot.Erase. tour stop at the Warfield theater in San Francisco, and then again one the second night of his London show at the Royal Albert Hall. Both were spectacular, but the London show was special as Ninet Tayeb was on hand to sing a devastating, beautiful lead vocal for “Routine” and Wilson performed many Porcupine Tree classics including a song I’ve happily not been able to get out of my head “She’smovedon.” Wilson and his concert production team are adept at staging his work live, setting the mood with long dissonant ambient sounds, muted lighting and surrealistic imagery projected on a stunning high definition screen. As with earlier shows in the tour, 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 Royal Albert Hall. Even with all the finery, the primary focus remained on the band members and guest musicians demonstrating their virtuosic skills throughout.

Änglagård, Cruise To The Edge

Anglagard_BandSax_72dpiNot my wife’s favorite, as they can be very angular, but I’m working on her! I find this band from Sweden to be on the forefront of modern progressive rock. Taking cues from King Crimson, and European peers Shylock, SFF, and Ragnarok, this band manages to hit both beautiful and melancholy sounds in perfect harmony, calling in mind things like “Lark’s Tongues in Aspic” while being completely original. Their two sets on the cruise were a rare treat given their infrequent tours. Änglagård incorporated flute and acoustic instruments, putting Anna Holmgren (flute, saxophone, Mellotron, recorder, melodica) at center stage, Tord Lindman on guitar and occasional vocals, and the rest of the talented band all anchored by Johan Brand’s confident leads on Rickenbacker bass. Their live performances are more fluid and accessible than on record, as is true of the best bands.

Martin Barre, Cruise To The Edge
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This long time Jethro Tull guitarist led his crack band of blues-rockers through a roots-oriented show, focusing on new songs from his latest solo album, the excellent return to form Back To Steel. A follow-up morning gig featured more Tull classics including a very condensed version of a Tull epic they called “Thin As A Brick” after which Martin expressed the desire to carry on indefinitely, threatening to play the 1973 opus A Passion Play backwards! On the new album and in concert, vocalist and second guitarist Dan Crisp shines, bringing his own style to the new tracks, and the older Tull songs. Clearly, all members of the band, which included skilled drummer George Lindsay and veteran bassist Alan Thomson were in fine form. Martin looked happy and relaxed, joking that it was the first gig they played on coffee, and announcing, “Thank you for choosing us over porridge…were going to be the best breakfast you ever had!” Truer words…

Gryphon Fly Again

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Gryphon recorded 5 albums from 1971-1977, each with a slightly different contemporary take on traditional English folk music including medieval and Renaissance era sounds, and original compositions, which blended instruments like bassoon, crumhorn, recorders and mandolin, with modern electric bass, guitar, and keyboards. We had the rare opportunity to see their reunion show earlier this year, which was a consistent display of virtuosity from each of the skilled multi-instrumentalists. Drummer Dave Oberle and Brian Gulland occasionally sang in rich bass and baritone voices undiminished by their long absence from the stage. Dave’s work on drums and percussion, along with bass player Jon Davie anchored the songs with rumbling toms, and a thick and varied bottom end. Guitarist Graeme Taylor spent the evening seated with his acoustic guitar front and center, adding shimmering rhythms and leads to the music. Relative newcomer Graham Preskett filled in on all sorts of instruments including the only electronic keyboard, along with guitar, violin and winds. Founder Richard Harvey and Brian led with solo and dueling winds and traditional keyboards, each thrilling the audience with their display of talent. Richard’s lightening fast leads on recorders bring honor to a sometimes-maligned instrument. Brian’s skill on the bassoon is a fun listen – certainly something you won’t often hear elsewhere. And, you haven’t seen anything in progressive folk/rock until you witness two expert crumhorn players duel with rapid-fire counterpoint!

Camel’s Long Journey, Rambin’ Man Festival

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Founding guitarist Andrew Latimer’s shows a rare restraint, like contemporaries Eric Clapton and David Gilmour, wringing powerful emotion from every note, never crowding the measure. On top of this, he sings and plays flute, and these skills were all on display at the summer festival. He traded leads and harmonies with Colin Bass (who makes everything he does look easy, paired with Denis on drums) and shared solos with keyboard wizard Ton, who was in great form. Although this was a great show, the band was rushed offstage, seeming to be surprised at the shorter time they were allotted. Prior nights on this brief tour included a three track set from Dust and Dreams (1991) a keyboard instrumental, and “Long Goodbyes” from Stationary Traveller, (1984), one of our favorites, none of which they were able to play. The rush seemed unnecessary; the stage time allotted to the comparatively pedestrian Scorpions would have fit Camel’s entire set list. It was not an arrangement befitting one of Britain’s most talented musical outfits. Nonetheless Camel packed a punch during their truncated 80 minute set and made the trip to England special for us.

Alan Parsons at Club Nokia

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Alan Parsons and his supremely talented band played the Nokia Club in Los Angeles, performing in town for the first time in 6 years on June 11, 2015. The group was at the absolute top of their game, driving through a set list that included many of their hits recorded over the years as The Alan Parsons Project, and in particular highlighting one of their most popular albums, The Turn Of A Friendly Card (1980). Parsons and his musicians were all in a great spirit, reproducing the sound of the studio records with pinpoint accuracy but also with some improvisation, and room to demonstrate virtuosity. The band on this night were: Alastair Greene (guitar), Dan Tracey (guitar), Guy Erez (bass), Danny Thompson (drums), Tom Brooks (keyboards), Todd Cooper (lead vocals, saxophone, cowbell J), and long time vocalist P.J. Olsson who just nails the delicate, emotive vocals of songs like “Time” and “Old and Wise” –truly wonderful.

Robert Plant’s Still Got It!

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Robert Plant totally rocked the BottleRock festival in Napa California on May 30, 2015. We brought a dozen friends along for our birthday weekend, and went in with mixed expectations – knowing he would do some of his own material and of course some Led Zeppelin classics and generally just hoping to see this rock n’ roll legend perform at his best. From the start we were actually a bit shocked at how incredible the show was. Robert opened with “The Wanton Song” an old Zeppelin classic, performed pretty much as originally recorded. What followed was a mix of his solo work, covers, and Zeppelin songs, including “Black Dog”, “The Lemon Song”, “What Is and What Should Never Be” and others. During Robert’s rendition of “Going To California” a 20 something woman behind me started to cry and I realized what an impact Zeppelin’s music and Robert’s vocal prowess have meant to generations.

Dungen’s Groove

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Swedish band Dungen’s sound has softened a bit over the years since the debut in 2001. Since it’s music that’s hard to describe, it’s best to listen to a few tracks. Check out this video for “Akt Dit” which sports an intro and melody reminiscent of French duo Air. Or for an earlier more challenging psychedelic track try “Högdalstoppen” from the album Skit I Allt (2010). While the majority of songs are more pastoral and melodic, each show has at least one long instrumental “freak out” such as “Högdalstoppen.” Best to salve the dissonance with a typical follow up track such as “Satt Att Se” which sports a nice animated video. As if to confirm the difficulty one has describing their sound, front man Gustav Ejstes explains on their website that the 2010 album Skit I Allt “is about a certain feeling: you’re with your friends and mates, all hanging out till 6 in the morning. You’re the last one left at the party and you call this person that you want to be with. They’re asleep, but they still say, ‘Ah, fuck it, come over.’ It’s that feeling.”

Kansas Carry On…. In Valencia, California

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Kansas is now touring again, populated with the two original members Ehart and Williams and new members that have joined over many years. Original member Dave Hope (bass) left in 1983 and Billy Greer has played bass with the band since then. Robby Steinhardt (violin, vocals) retired almost 10 years ago in 2006 and David Ragsdale has been their violin player since that time, with Greer covering Steinhart’s vocal parts. Principal composer Kerry Livgren (guitars, keys) was in and out of the band until his final departure in 2000, and since then both Williams and Ragsdale cover his guitar parts. After Walsh’s retirement last year, the remaining players hired Ronnie Platt primarily to cover his vocal parts, along with some keys, and David Manion to supply primary keyboard parts and add some background vocals. The good news is, as seen carrying on this year, Kansas is definitely back and ready to roll.

Ty Segall’s Glam and Grind

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Ty Segall is a 27 year old indie rock wunderkind from San Francisco. Ty has released eight studio albums, beginning with 2008’s Ty Segall and continuing thru to 2014’s rocker Manipulator, building a solid fan base over these last seven years. In addition, he has released more than two-dozen singles and EP’s and played on as many albums by other indie bands. We caught up with him at the Great American Music Hall last January. From the first note it was clear that Ty’s punk roots remain strong. Hard core fans populated a mosh pit up front, slowing to rapt attention only during some of the new numbers, and building to a fever on the rest. The performance was energetic and unrelenting, as Ty, dressed in workman’s jump suit attacked both guitar and vocal leads with aplomb, recalling an early, angular Pete Townsend, though channeling less anger, more excitement (he is from California after all).

Blancmange Semi-Detached

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Blancmange recently completed a two-night live stint at The Red Gallery in London. We were fortunate to be over from San Francisco, to catch the first of these on Friday May 15, 2015. Blancmange last made it to my city by the bay way back in the early 1980’s when I felt similarly fortunate to catch a show at the Old Waldorf. There we witnessed Neil Arthur (vocals, haircut, quirky moves), Stephen Luscombe (keyboards) and David Rhodes (guitar, rhythm) play along with a reel to reel tape, backup singers, and a harried drummer who had occasional trouble keeping up with the pace of Stephen’s drum machine. It was a fantastic show – one of my favorite memories of 80’s era “new wave” concerts we attended in and around San Francisco. Blancmange is now primarily the vehicle for singer Neil Arthur and his current day electronic music. Founding partner Stephen Luscombe is said to be ill, unable to join on this album and live shows that follow. For the concert, long time guitarist and collaborator David Rhodes, was present once again. It was a fun show from these talented artists.

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David Gilmour, Heart, Of Montreal, Yes, Marillion, Three Friends, PFM, Moon Safari, Haken, Steeleye Span, Robin Trower, U.K., Mew, Billy Idol, Paula Frazier, Tempest, Midge Ur, Magma, Blue Oyster Cult, Simon Phillips and David Pack were all excellent as well – we feel blessed to have seen more than three dozen incredible artists perform in concert this year.

Honorable mention must go to Madonna, who brought her stage extravaganza to the bay area this year. Her shows are akin to Las Vegas productions, much like veteran diva Cher, complete with hi-def video, large band, dancers, and lots of props and production value. It was a fantastic show – the only pop oriented band of the year, owing to the fact that I am buried in 1970’s history at the moment, finishing a book on that era’s defining rock concerts. From here forward, we have a definite plan to put away the AARP card, and get out to hear more new bands. We are already set to include Beach House, Ra Ra Riot, Muse, and many more.

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I’m also happy to be learning more about how to take concert photos at these shows. Artina does some, and has a great eye, and I’m trying to catch up. Last several shows I’m using the “bridge camera” Lumix FZ-1000 and liking the results. Given I’ve been fortunate to meet some of the greatest photographers of the rock era this year, it’s been an inspiration!  Happy New Year to you and yours….. Doug

Led Zeppelin’s Presence

Led Zeppelin_DVD_Shot_72dpiLed Zeppelin, the mightiest rock band of the 1970’s, has been on my mind quite a bit lately. For one thing, guitarist Jimmy Page just recently finished the mammoth task of remastering and re-releasing deluxe versions of every Led Zeppelin album, each with an extra disc of demos and outtakes from the studio sessions. While it would have been nice to have that second disc full of live material from each album’s associated tour, the packages have been stellar with improved sound, informative essays, and captivating photos by band photographer Neal Preston and others. Some of the demos and alternate takes are of interest – two come immediately to mind, a gorgeous version of “The Rain Song” from Houses of the Holy and an unbelievably aggressive barnstorming early take on “Trampled Under Foot” from Physical Graffiti called “Brandy and Coke.”

Led Zeppelin_PresenceCover_72dpiThe last one of these remasters I purchased was the epic Zeppelin album, Presence, originally released way back in 1976. The record is packed with arguably the best guitar riffs and leads of Page’s long career. It starts with the loose but driven opener “Achilles Last Stand,” a long piece that sounds spontaneous and free, played with the abandon of a train that’s about to come off the tracks, fueled by some of drummer John Bonham’s most amazing fills on record. The highlight for this patron was the scorching, progressive rocker “For Your Life” during which Page makes impressive use of his Stratocaster’s tremolo arm, and Robert Plant’s vocals match ascending chord structures with a power that sounds as if he is, in fact, fighting for his own life. The rest of the album is similarly impressive, a lesson in rock perfection from each of the four artists, Page/Plant/Jones/Bonham. This is the album and tour I will be covering in my book next year.

Led Zeppelin_OGWTWhile researching the book project, I’ve been reflecting on the concert films of the 1970’s, some of which will be explored in the text. There weren’t many proper concert films released to theaters back in that decade, in fact besides getting to the concerts themselves, there were more chances at that time to see our favorite bands on television specials, such as Don Krishner’s Rock Concert and The Midnight Special in the states, The Old Grey Whistle Test and Top of the Pops in the U.K., and Musikladen in Germany. The only concert films I recall hitting the cinemas were as follows: Yessongs for Yes, Trick of the Tail/White Rock for Genesis/Wakeman, Welcome to my Nightmare for Alice Cooper, and The Song Remains the Same for Zeppelin. There were more, what do you recall?

I saw The Song Remains the Same at my local theater upon it’s release, and frankly was, and have remained, a bit let down by the movie. Professionally filmed at the famous Madison Square Gardens in 1973, the picture is crisp and colorful. It’s the performance that I feel lacks something, not a monumental miss, just not what I believe were some of their best nights, despite being a milestone moment for the band. For years, I regretted not being able to catch Zep live in Los Angeles before Bonham’s untimely passing, and pined for a better chance to see what rabid fans proclaimed were the most incredible live performances of the era.

Led Zeppelin_DVD_Cover_72dpiFinally in 2003 all debate as to the power and majesty of the mighty Zeppelin in concert were put to rest, with the release of their self-titled Led Zeppelin DVD. It’s a stunning treasure chest containing more than 5 hours of interviews, televised clips and 35mm films capturing the band live throughout their career. First up, there are rare black and white clips of the group as they debuted on Danish television, along with two additional early performances. Viewers are then treated to a pristine footage from the tour supporting Led Zeppelin II in 1970 at the Royal Albert Hall in London, shot using two 16mm cameras. The next disc begins with a pastiche of bootleg videos for “The Immigrant Song,” followed by additional footage of the 1973 Madison Square Garden concert, clips that are also now available on the expanded DVD version of The Song Remains the Same. A favorite from this added footage is “Misty Mountain Hop,” one of Zep’s most buoyant songs, often played consummately by the longtime Zep fans Heart in years since.

The real gem of this set is footage of the band at Earls Court in London supporting Physical Graffiti in 1975, including a rare look at the group’s acoustic set featuring “That’s The Way” from the third album. Best yet is what must be their most spectacular moment, a perfect, emotionally draining rendition of the bluesy lament “In My Time of Dying” followed by a cranked-up, frenetic version of “Trampled Under Foot” featuring Jones’ funky clavichord riffs. Between these two Physical Graffiti classics, we are able to witness first-rate performances from each band member. As if all this wasn’t enough, the collection ends with seven tracks from an intense outdoor performance at Knebworth in 1979, their last before Bonham’s death and the group’s subsequent split. That night, the band played the two tracks they had been doing from Presence after it’s release, “Achilles Last Stand,” and “Nobody’s Fault But Mine” along with their undisputed Physical Graffiti classic “Kashmir.” Instead of finding the band on the decline, this stands as absolute evidence of their continued relevance.

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While bootleg audio and video of Led Zeppelin performing live abound, including notably some of these performances in their entirety, I prefer to support artists by collecting official releases on media, and in this case, there were painstaking efforts to clean up previously unseen footage by Page and team. Until additional film is released, this two-disc collection is the best footage available of this seminal band, and comes highly recommended.

Led Zeppelin DVD Track-list:

Disc 1

Communication Breakdown / Dazed and Confused / We’re Gonna Groove / I Can’t Quit You Baby / Dazed And Confused / White Summer / What Is And What Should Never Be / How Many More Times / Moby Dick / Whole Lotta Love / Communication Breakdown / C’mon Everybody / Something Else / Bring It On Home

Disc 2

Immigrant Song / Black Dog / Misty Mountain Hop / Since I’ve Been Loving You / The Ocean / Going To California / That’s The Way / Bron-Y-Aur Stomp / In My Time Of Dying / Trampled Underfoot / Stairway To Heaven / Rock And Roll / Nobody’s Fault But Mine / Sick Again / Achilles Last Stand / In The Evening / Kashmir / Whole Lotta Love

Robert Plant Bottles Rock

Plant1_72DPIRobert Plant totally rocked the BottleRock festival in Napa California on May 30, 2015. We brought a dozen friends along for our birthday weekend, and went in with mixed expectations – knowing he would do some of his own material and of course some Led Zeppelin classics and generally just hoping to see this rock n’ roll legend perform at his best.

Plant_BR_72DPIFrom the start we were actually a bit shocked at how incredible the show was. Robert opened with “The Wanton Song” an old Zeppelin classic, performed pretty much as originally recorded. What followed was a mix of his solo work, covers, and Zeppelin songs, including “Black Dog”, “The Lemon Song”, “What Is and What Should Never Be” and others. During Robert’s rendition of “Going To California” a 20 something woman behind me started to cry and I realized what an impact Zeppelin’s music and Robert’s vocal prowess have meant to generations.

Plant_lullaby_coverBut much of what we appreciated was actually Robert’s new work. He and band messed with the structure of those old Zep tunes, interspersing them with similarly dark and dramatic songs from his new album lullaby and… The Ceaseless Roar, an aptly named record that explores America’s roots music. They performed “Turn It Up”, “Rainbow” and “Little Maggie” (check out Little Maggie here) from that new album and proceeded to flavor covers and old songs alike with the same type of instrumentation and song structure; a mix of delta blues, Appalachian folk and other forms which often meandered about and around verse and chorus via virtuosic instrumentals. To further underline his inspirations, Robert covered Willie Dixon, Howlin’ Wolf, Bukka White, Muddy Waters and other American blues masters. Robert spoke glowingly about these artists and his quest to explore their music, adding to the sense of historical occasion. It all made for a thoroughly enjoyable brew of rock-‘n-roots that wove a path between atmospheric dark and light tones.

Plant3_72DPIThe musicianship was first rate (his excellent band is dubbed “The Sensational Space Shifters”) and Robert’s voice was warm and pliant, as he has most definitely worked out how to preserve his given instrument – hitting some of the high notes required to replicate bits of his early 20’s Zep work while still having the mid range, growl and soft tones for his new work and covers. I listened trying to imagine him doing more Zeppelin reunion shows and couldn’t see it – as much as old fans might fawn, at this stage of life it would seem a shame to see Robert locked into a Zeppelin hits tour, during which he would be expected to sound as much like the old records as possible. We will spin our 2007 Celebration DVD instead – my guess is it’s not going to happen again. Instead Robert was able to bend and weave through selected tunes in a confident, skilled voice, changing key and pitch to suit. With so many classic rock vocalists unable to perform later in life in any compelling way, it was an absolute joy to hear Robert sounding so good and looking truly happy – that made the show everything we hoped it could be and more.

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