When Scott Weiland fell off the stage last week in Cincinnati (story and video here), it opened up a discussion about whether or not the Stone Temple Pilots’ frontman was singing live, and/or whether or not a backing vocal track was being used to ‘enhance’ his live sound; a the third option was outright lip synching.
During STP’s opening number, “Crackerman,” Weiland walked off the front of the stage and landed in the pit; he was out of sight and off stage for just over a minute, but he never missed a line in the song while he was down.
Since Weiland was nowhere to be seen and the stage audio continued without interruption, some speculated that a backing vocal track may have been used, as a fall of that nature should have resulted in some discomfort and distraction to the vocalist.
Weiland responded to the issue during Saturday’s show in Pittsburgh. "I would like to dispel a rumor swirling its way around the Interwebs,” he said, “that I am not singing these songs that I wrote. There has never been a time in the twenty-five-plus years that I have been singing with these guys, or a combination of these guys, or with other musicians, that I have not sang. So, whoever started that bullsh*t claim, like so many other bullsh*t claims, which is the problem with modern technology, and there are so many great things about it. But that is such a travesty. We are a rock and roll band…rock and roll bands perform live."
Stone Temple Pilots – Scott Weiland addresses lip-sync rumours First Niagara Pavilion - Burgettstown, PA – August 28, 2010
News from the far east that the upcoming reissue of 30th Anniversary editions of Ozzy Osbourne’s first two solo albums, 1980’s “Blizzard Of Ozz” and ‘81’s “Diary Of A Madman,” has been postponed.
According to cdjapan.co.jp, the discs were originally scheduled for Japanese release on October 13; the “30th Anniversary Legacy Edition” of “Blizzard” features a bonus disc with more than 10 tracks on it; “30th Anniversary” versions of the first two albums will also be available.
The revamped discs were to include bassist Bob Daisley and drummer Lee Kerslake’s original tracks, which were removed by Sharon Osbourne in 2002 as revenge for an ongoing court case – for full background details, read this.
No word yet from the Ozzy camp as to details surrounding the delay, but I suspect it may have something to do with sales conflict created for Epic Records by the October 5 release of the two-disc/4-sided vinyl “Tour Editions” of “Scream.”
The new edition features 7 unreleased tracks: three of the songs - “One More Time” and “Jump The Moon,” plus the never-before-released “Hand of The Enemy” - are from the “Scream” sessions. The other four songs are live tracks - “Bark at the Moon,” “Let Me Hear You Scream” and “No More Tears,” as well as the Black Sabbath classic, “Fairies Wear Boots" - recorded earlier this year in Folkestone and Birmingham in the U.K.
As mentioned last week, Carlos Santana had some special guests join him when he kicked off his annual residency at The Joint at the Hard Rock Hotel & Casino in Las Vegas.
India.Arie, Chris Daughtry and Gavin Rossdale joined Carlos for a special performance of “Supernatural Santana: A Trip Through the Hits” – billed as the first and only rock ‘n roll resident show in Vegas.
The three guests are featured on Santana’s classic rock covers set, “Guitar Heaven: The Greatest Guitar Classics Of All Time,” in stores September 21.
Here’s Daughtry joining Santana for a cover of the Def Leppard track, “Photograph.”
Santana featuring Chris Daughtry – Photograph The Joint, Hard Rock Hotel & Casino - Las Vegas, NV – August 25, 2010
As I mentioned in part 1, Journey’s success with their fourth album (the first with Steve Perry) – 1978's “Infinity” – placed them firmly in rock’s mainstream, thanks to radio-friendly songs and constant touring.
The spring of ’79 brought the follow-up - “Evolution” – and it made Journey arena rock superstars, eventually going triple platinum.
“Lovin’, Touchin’, Squeezin’” was the band’s first top 20 hit, while “Just The Same Way” and “Too Late” went into regular rotation on FM stations.
“Evolution” was released in April ’79; a month later, the band hosted The Midnight Special for the second time.
Alongside guests The Jacksons, Herbie Hancock and Anita Ward, Journey performed five songs: "Lovin’ You Is Easy," "Just The Same Way," "Lovin', Touchin', Squeezin," "City Of The Angels" and "Too Late" – they also jammed with Hancock on the Junior Walker/Motown classic, “(I’m A) Road Runner.”
Journey – The Midnight Special (program intro) The Midnight Special – aired May 18, 1979
Lynyrd Skynyrd are currently making the rounds on their “God & Guns” tour, and they stopped by Lopez Tonight on Thursday (26) to play one of their classics.
After three albums, Journey altered their focus from jazz-rock leanings to accessible, radio-friendly pop-rock with the addition of vocalist Steve Perry in the fall of 1977.
With Perry up front, Journey were quickly on the rise: following the release of “Infinity" in January ’78, the band did some warm-up dates around California in February; a few weeks later, they stopped by The Midnight Special to record their appearance as guest hosts, for broadcast later that spring.
It was the first of two occasions when Journey hosted the program: today, the April ’78 edition, and their May ’79 appearance, tomorrow.
Along with guests Eddie Money, Rita Coolidge and Al Jarreau, Journey performed five songs: "Wheel in the Sky," "Feeling That Way," "Anytime," "Patiently" and "La Do Da."
By the time the episode went to air in April, Journey were on the road with Montrose and rock n’ roll upstarts Van Halen as their opening acts.
“Infinity” went on to produce FM staples like “Wheel In The Sky,” “Lights” and “Anytime,” and gave the band their first platinum record.
U2 and NASA have released a commemorative video highlighting a year's worth of collaboration in space and on the Irish rock band's 360 Degree tour.
U2 approached NASA in 2009 with an idea to include a dialogue between the band and the crew of the International Space Station during U2's world tour. The astronauts of Expedition 20, the crew then living aboard the space station, agreed to participate and spoke with U2 several times before recording a video segment the band incorporated into its concerts.
The space station crew members were Michael Barratt of NASA, Frank De Winne of the European Space Agency, Bob Thirsk of the Canadian Space Agency, Koichi Wakata of the Japan Aerospace Exploration Agency, and Gennady Padalka and Roman Romanenko of the Russian Federal Space Agency.
"Working with U2 is atypical for NASA," said Bill Gerstenmaier, NASA's associate administrator for Space Operations. "By combining their world tour with the space station's out-of-this-world mission, more people -- and different people than our normal target audiences -- learned about the International Space Station and the important work we are doing in orbit."
Speaking onstage in Houston last year, Bono said, "These are the very best people in the world -- dedicated to figuring how our little planet exists in this cosmos we call home." De Winne and Romanenko attended U2's performance in Moscow on Wednesday and met with the band before the show.
U2.com created the video and presented it to NASA to document the collaboration between the band and the space agency.
Stevie Ray Vaughan: October 3, 1954 - August 27, 1990
Today marks the 20th Anniversary of the passing of one of music’s biggest and best: Stevie Ray Vaughan.
20 years. I can still remember it like it was yesterday.
On the morning of August 27, 1990, I was at my office when early media reports were starting to come in about an accident at Alpine Valley in East Troy, Wisconsin; no names were mentioned, just that it happened after the Eric Clapton show the night before. Updates throughout the morning changed to “members of Eric Clapton’s entourage,” and then the possibility that Clapton, himself, may have been on board the downed helicopter.
Just the chance that Clapton could have been gone was enough to consider, but by lunch time, the news was confirmed: Stevie Ray Vaughan and four others had died when, in poor weather conditions, their copter crashed into the side of a ski hill moments after takeoff, just before 1:00 a.m. local time.
VH1 Legends – Stevie Ray Vaughan
I had just seen Stevie the month before, on a double-bill with Joe Cocker, at Copps Coliseum in Hamilton, Ontario. The July 10 Copps show was still fresh in my mind; as I’m writing this, it gives me chills just thinking about how awesome he had played, just like it did the first time I saw him, five years earlier.
It was such a tragic end to a life reborn: Stevie had emerged from alcohol and drug problems as a reinvigorated soul. 1989’s “In Step” was, essentially, Stevie’s ‘comeback’ album, and it burned with the fire and passion of a musician who had something to prove – to himself, and to the world. As a fan, you couldn’t help being in his corner, just like I had been from the first record onwards.
My first SRV experience was seeing him open for Dire Straits at Toronto’s Varsity Arena in the summer of ‘85. With its MTV reference, “Money For Nothing” was omnipresent and Dire Straits were breaking big time with their new “Brothers In Arms” album: so big, that they had to play four consecutive nights to satisfy demand.
Stevie was touring in support of “Couldn’t Stand The Weather,” and I was awestruck: after hundreds of concerts, it remains the only time I have ever walked out after a show and said “If I ever learn to play guitar, I would want to play just like that.”
The caveat here is that I have, probably, taken for granted that I would want to play at the skill level of my guitar guru, Eddie Van Halen; EVH’s music is so ingrained in my DNA that I never really had to think about it, let alone utter the words. Like that old line VH used to use: “What is understood, need not be discussed” (quoting Sammy Hagar’s pal, Maui artist Loren Adams).
On both counts, playing like SRV and EVH is, and remains, a pipe dream. I wouldn’t pick up a guitar to teach myself how to play for almost another 10 years after that first SRV experience (about 5 years after his passing), and today - 15 years later - I’ve grown to appreciate that playing music is about finding your own way in your own time.
For those who never had the chance to experience SRV in person, it may be hard to properly explain the magnitude of the man’s presence, charisma, and guitar skills. There was something otherworldly about Stevie’s playing: he was “one with the instrument” in a way that very few ever could be. Jimi Hendrix and Van Halen are the only other two players, in my mind, that have so fully incorporated the instrument into their beings, that you’d swear the guitar was another appendage to their body – you can’t tell where the guitar ended and their body began.
Watch videos of Stevie in action (and/or Jimi or Eddie), and maybe you’ll look for, and begin to see, what I’m talking about: a certain fluidity of being that seems effortless, the result of years of devotion to an instrument - a lot of work goes on behind closed doors to make it “look” so easy. But it isn’t.
Stevie’s talent was so great, and so rare: he helped put the blues in the mainstream spotlight during his time, transcending music and culture like few before...and no one, since.
Stevie Ray Vaughan: October 3, 1954 - August 27, 1990
"'Darkness' was my 'samurai' record, stripped to the frame and ready to rumble…But the music that got left behind was substantial."
Bruce Springsteen
The new Bruce Springsteen documentary, “The Promise: The Making Of Darkness On The Edge Of Town,” sees its premiere at the Toronto International Film Festival next month, in advance of its DVD release on November 16.
The film documents the creation of the 1978 follow-up to “Born To Run,” which made Springsteen a household name. “Darkness” produced such Bruce standards as “Badlands,” “The Promised Land,” “Prove It All Night” and the title track.
Directed by Grammy- and Emmy Award-winning filmmaker Thom Zimny, the ninety-minute film combines never-before-seen footage of Springsteen and the E Street Band shot between 1976 and 1978—including home rehearsals and studio sessions—with new interviews with Springsteen, E Street Band members, manager Jon Landau, former-manager Mike Appel, and others closely involved in the making of the record.
In the first clip released from the film, you’ll see Bruce and Steven Van Zandt doing a unique version of “Sherry Darling” - a full band version showed up two years later on “The River.”
Bruce Springsteen – The Promise: The Making Of Darkness On The Edge Of Town (clip)
“The Promise: The Darkness On The Edge Of Town Story" will be released on November 16. A Deluxe Package comprises over six hours of film and more than two hours of audio across 3 CDs and 3 DVDs. The media contents are packaged within an 80-page notebook containing facsimiles from Springsteen's original notebooks from the recording sessions, which include alternate lyrics, song ideas, recording details, and personal notes in addition to a new essay by Springsteen and never-before-seen photographs.
The CDs feature a remastered version of “Darkness,” as well as “The Promise” - two discs of 21 previously unreleased songs from the sessions; Springsteen recorded almost 70 songs and pared things down to 10 for the original release. "The Promise" will also be available as a stand-alone 2 CD set.
The DVDs include more than four hours of live concert film from the Thrill Hill Vault, including the bootleg house cut (the footage that appeared on-screen at the concert) from a 1978 Houston show, and a 2009 performance of "Darkness on the Edge of Town" in its entirety from Asbury Park. The special performance in Asbury Park was shot in HD without an audience and successfully recreates the stark atmosphere of the original album.
This footage is not included in this package, but here's a version of "Darkness" from 2000.
Told you yesterday about some of the details surrounding the upcoming Keith Richards autobiography, “Life,” set for release on October 26.
Little, Brown & Company Publisher Michael Pietsch has released his thoughts on the book, along with our first glance at an excerpt from it.
Dear friends,
The opportunity to publish an autobiography as enthralling as that of Keith Richards comes once in a lifetime—if you’re lucky! And lucky is what I’m feeling as I finish reading LIFE, the most exciting memoir I’ve ever had a hand in. Not only does it recount the essential rock ’n’ roll life—that would be plenty. It captures much more: Blasting past the constraints of postwar England; a passionate appetite for music, especially America’s heartfelt blues, R&B, country, and soul; how it felt to arrive in America with The Rolling Stones as torrents of change were unleashed. All those encounters and adventures we’ve heard of for decades—Redlands, Morocco, exile in France, Altamont—and the people—Mick Jagger, Brian Jones, Marianne Faithfull, Anita Pallenberg, Gram Parsons, Patti Hansen, Johnny Depp and more – are here in Keith’s own vivid memories.
The best news of all is how superbly written this book is. Working with James Fox (I hope you know his excellent White Mischief ), Keith Richards has created his story in a voice as intimate and unmistakable as if he were sitting across from you talking. And the man sitting there is experienced, opinionated, witty, learned, and utterly unrestrained. We are lucky to have this extraordinary book, and I cannot wait to share it with you.
Yours, Michael Pietsch Publisher
Here’s our first taste of Keith, in his own words…
We’d be working all night in the studio, we’d be down in this bunker all night and suddenly the dawn comes up and we’ve got this boat. Go down the steps through the cave to the dockside, let’s take the boat—Mandrax— to Italy for breakfast. Most days we used to go down to Menton on the border, an Italian town just inside France by some quirk of treaty making, or just beyond it to Italy proper for breakfast. No passport, right past Monte Carlo, just as the sun’s coming up, with music ringing in our ears. Take a cassette player and play something we’ve done while we’re going there, play that second mix. Then we’d play it to the Italians, see what they thought while we’re having breakfast. Pick up some fresh fish. If you hit the fishermen at the right time, you could get red snapper straight off the boats and take it home for lunch.
We’d just jump in, Bobby Keys, me, Mick, whoever was up for it. We liked the way the Italians cooked their eggs, and the bread. And that you had actually crossed a border, there was a sort of an extra sense of freedom about it. Pull into Monte Carlo for lunch. Have a chat with either Onassis’ lot or Niarchos’, who had the big, big yachts there. You could almost see the guns pointed at each other. That’s why we called it Main Street. When we first came up with the title it worked in American terms because everybody’s got a main street. But our Main Street was that Riviera strip. And we were exiles, so it rung perfectly true and said everything we needed to say.
Ozzy Osbourne has always talked about how fortunate he is to have worked with some highly-skilled guitarists: starting with Tony Iommi (and does it get any better than that?), that list includes Randy Rhoads, Brad Gillis, Jake E. Lee, Zakk Wylde, and his current sidekick, Gus G.
I’m not so sure Gus should get too comfortable in the new lineup.
There’s a new kid in town.
And he means business.
And he’s 10-years old.
Yuto Miyazawa is a 10-year old Japanese musical child prodigy; he was named "The Youngest Professional Guitarist" by the Guinness Book of World Records in August, 2008. In the tradition of Hendrix and Van Halen (who were almost never without a guitar in their hands), Yuto is mostly self-taught and reportedly plays all the time; he’s only had a handful of lessons.
In the spring of 2009, Miyazawa made headlines after playing “Crazy Train” on the Ellen DeGeneres Show; Ozzy even showed up to meet the young guitar whiz on the program. Obviously impressed, Ozzy recruited the (then) 9-year old to join him for his gig at BlizzCon 2009.
Sunday, August 26, 1990 – Stevie Ray Vaughan walks on stage at the Alpine Valley Music Theatre in East Troy, Wisconsin before a sold-out crowd of 30,000.
It would be his final show.
SRV had been on the road in support of “In Step,” since the album’s release in the spring of ’89. The original series of dates ran through October of ’89; SRV then did two months of shows on “The Fire Meets The Fury” tour with Jeff Beck, followed by an MTV Unplugged show recorded at the end of January ’90 with fellow axeman Joe Satriani.
The “In Step” tour resumed with more dates in May, and then SRV hooked up on a two-month, co-headlining tour with Joe Cocker, which started in June.
I saw the SRV/Cocker double-bill at the Copps Coliseum in Hamilton, Ontario on July 10, and it was truly an awesome evening full of music by both legends. Copps was my second live SRV experience (the first was five years earlier at Toronto’s Varsity Arena, when he opened for Dire Straits), and Stevie was on fire like never before.
On Friday, August 24, SRV played the Kalamazoo County Fair in Michigan, before joining Eric Clapton for two shows over the weekend at Alpine Valley. Sharing the Alpine bills with Clapton and SRV were The Robert Cray Band featuring The Memphis Horns.
On the 26th - following Cray’s opening set - Stevie and Double Trouble members Tommy Shannon (bass), Chris Layton (drums) and Reese Wynans on keyboards, took to the stage. The set started off in high gear with “Collins’ Shuffle” (an Albert Collins cover).
From “The House Is Rockin’,” onward, SRV played a remarkable show. Late in the set, big brother Jimmie joined him for a rocking version of Freddie King’s“Goin’ Down.” The final song that Stevie would play with Double Trouble was Jimi Hendrix's classic, “Voodoo Chile (Slight Return).”
By all accounts, it was Stevie’s night, with his energy, presence, and skillful playing filling the Wisconsin night. “Stevie just smoked,” said brother Jimmie in an interview with Guitar World. “It was one of those gigs where you see someone play, and you can’t believe what you’re hearing. Stevie was unreal. He was just on another plane, and we all knew it.”
“It was one of the most incredible sets I ever heard Stevie play," said Buddy Guy. “I had goose bumps."
“Those shows were just great fun, really exciting,” said bassist Tommy Shannon. “They were sort of the culmination of all the good times we’d been having for the last year or two. And as good as we had been playing, those two shows were just unreal.”
Stevie Ray Vaughan & Double Trouble
Alpine Valley Music Theatre - East Troy, Wisconsin – August 26, 1990
01. Collins' Shuffle (Albert Collins cover)
02. The House Is Rockin'
03. Tightrope
04. The Things (That) I Used to Do (Guitar Slim cover)
05. Let Me Love You Baby (Willie Dixon cover)
06. Leave My Girl Alone (Buddy Guy cover)
07. Pride And Joy
08. Wall Of Denial
09. Riviera Paradise
10. Superstition (Stevie Wonder cover)
11. Couldn't Stand the Weather
12. Goin' Down (with guest Jimmie Vaughan) (Freddie King cover)
13. Crossfire Play Video
14. Voodoo Chile (Slight Return) (Jimi Hendrix cover)
Clapton was up next, playing in support of the “Journeyman” record. Eric started with “Pretending,” and closed with “Sunshine Of Your Love.”
For his final encore, Clapton introduced his guests:
“I’d like to bring out, to join me – in truth – the best guitar players in the entire world: Buddy Guy…Stevie Ray Vaughan…Robert Cray…Jimmie Vaughan.”
Tomorrow: a personal remembrance of the late, great Stevie Ray Vaughan.
"People say 'why don't you give it up?' I don't think they quite understand. I'm not doing it just for the money, or for you. I'm doing it for me."
Music fans can circle October 26 on their calendar: Keith Richards’ autobiography, “Life,” hits stores.
Here’s the promo blurb from publishers Little, Brown & Company:
The long-awaited autobiography of the guitarist, songwriter, singer, and founding member of the Rolling Stones.
Ladies and gentleman: Keith Richards.
With the Rolling Stones, Keith Richards created the songs that roused the world, and he lived the original rock and roll life.
Now, at last, the man himself tells his story of life in the crossfire hurricane. Listening obsessively to Chuck Berry and Muddy Waters records, learning guitar and forming a band with Mick Jagger and Brian Jones. The Rolling Stones' first fame and the notorious drug busts that led to his enduring image an outlaw folk hero. Creating immortal riffs like the ones in "Jumping Jack Flash" and "Honky Tonk Women." Falling in love with Anita Pallenberg and the death of Brian Jones. Tax exile in France, wildfire tours of the US, isolation and addiction. Falling in love with Patti Hansen. Bitter estrangement from Jagger and subsequent reconciliation. Marriage, family, solo albums and Xpensive Winos, and the road that goes on forever.
With his trademark disarming honesty. Keith Richard brings us the story of a life we have all longed to know more of, unfettered, fearless, and true.
Keith put the book together with author James Fox; the two have known each other since the early ‘70s, when Fox was a journalist for the Sunday Times in London. Fox’s books include the international bestseller “White Mischief.”
Keith's pal, Johnny Depp, will be the voice behind the audiobook version of "Life."
The week “Life” is released, Richards will be giving a talk and book signing in the Celeste Bartos Auditorium at the New York Library's main branch on 5th Avenue.
Most rock bands don’t age particularly well, but don’t ever count Pearl Jam on that list.
Thundering out of the gate with 1991’s “Ten,” PJ were in danger of peaking too early while caught in the crossfire of the whole grunge thing. A stellar debut by any standards, “Ten” spoke to a generation: among the classic tracks, the single “Jeremy” was ubiquitous in the early 90s, its companion video so perfectly crafted that its success caused the band to pull away from making videos for many years.
By their own admission, PJ could have imploded at any time in those early days, crushed by the weight of expectations that only extraordinary success can bring. Instead, the band closed camp, battled their demons and kept their head down, placing the focus solely on their music.
Twenty years later and, like fine wine, PJ have aged extremely well – continuing to matter to their fans by developing a communal spirit, delivering consistently compelling music, and killer live shows where no two setlists are alike.
Keeping the focus on their music means there’s no big celebration planned, but there are a couple of shows on the schedule that sync up - almost to the day – that PJ played their first show as Mookie Blaylock, at the Off Ramp club in Seattle on October 22, 1991.
“The only thing we've got going on in October is Bridge School, which is really special," guitarist Stone Gossard told Billboard while out promoting his side-band, Brad. "So that's our 20th anniversary, which is fitting. It's perfect: not too blown up. It's not about us, it about all those kids that are on stage with you and about Neil Young and his commitment, his influence."
The concerts are a benefit for the Bridge School, which develops and uses advanced technologies to aid in the instruction of children with disabilities. Young's involvement stems, at least partially, from the fact that both of his sons have cerebral palsy and his daughter, like Young himself, has epilepsy.
You can help support the Bridge School with your donation here.
PJ are the only act confirmed, so far, for this year's shows, scheduled for October 23 and 24 in Mountain View, California; it will be their eighth Bridge appearance.
Popped in a few times on the broadcast last night to see how Bret Michaels would do as co-host of the Miss Universe pageant; yes, it was a slow night at hennemusic.
Considering the importance (sarcasm mode on) of the event and, from the few minutes I saw, it looked like Bret made out fine, co-hosting with Natalie Morales from NBC’s “The Today Show.”
Michaels was decked out in a tux, sporting his trademark headband, to boot.
Caught the final few segments to see how things turned out, and had a few laughs. I see pageant co-owner Donald Trump saved a few bucks by playing the role of pre-recorded tv announcer, making sure to get in all his plugs for the show’s sponsors as the program went in and out of commercial breaks.
Down to the top five, each contestant was asked a question by one of the judges. And the judges? The “esteemed” (*cough*) panel included Criss Angel, William Baldwin and Chazz Palminteri, among others. Really?
The first four questions went ok, but I knew Miss Philippines – who had huge audience support - blew any chance of winning when her answer made her look like a real rocket scientist (and maybe that is her day job, I don’t know).
Miss Universe 2010 – Q&A session Featuring Miss Philippines Mandalay Bay Resort & Casino – Las Vegas, NV – August 23, 2010
After that, I wasn’t surprised she ended up 5th out of 5. The winner was Jimena Navarrete, Miss Mexico.
Miss Universe 2010 - Winner selection Bret Michaels co-hosts event Mandalay Bay Resort & Casino – Las Vegas, NV – August 23, 2010
U2 have unveiled another new song on their 360° World Tour.
“Every Breaking Wave” premiered last Saturday (21) at the band’s show in Helsinki.
“No one’s heard that before, including the two of us,” said Bono, after he and The Edge finished the quiet song.
The track was reportedly planned for “No Line On The Horizon,” but didn’t make the final cut; it may be included in a future U2 release, and there’s a bunch on the horizon.
Bono recently told Rolling Stone that U2 have as many as four records ready to go. “We have “Songs of Ascent,” which is the meditative work that was meant to complement “No Line on the Horizon.” We've got a rock album. We also have a club-sounding album. And then we have the Spider-Man (musical) stuff.”
Recalling opening night of this leg in Turin a few weeks back – where the band played 3 new songs (click here for more info and to see/hear them) - playing new music on the road thrills Bono. “The idea was to make the crowd the spectacle – for us to be in the middle of this community and be able to play a new song if we want. People actually see it happening, because there is nothing else on stage. You can't hide.”
Bono says the concept challenges both the performers and the fans. “So now is the throwdown: "Oh, really? Let's see you play some new songs. How about three?" he continued. “Sure, people can say, ""Oh, I didn't think that was any good." But if I was a U2 fan, that's what I would want. I would want to watch a new song develop. We may discover it's not what we thought it was, and it may never see the light of day.
U2 – Every Breaking Wave (unreleased) Olympic Stadium – Helsinki, Finland – August 21, 2010
Randy Rhoads’ 1974 Les Paul Custom is not only one of the most iconic guitars in rock history, it is one of the most requested among customers, according to the folks at Gibson guitars.
To borrow a line from The Kinks: “give the people what they want.”
And Gibson will, as they have just announced an upcoming release of the legendary axe.
Randy’s Les Paul was used on the landmark albums “Blizzard Of Ozz” (1980) and “Diary Of A Madman” (1981), Ozzy Osbourne’s first two solo releases. At the time, Rhoads was considered the hottest new player on the scene, tearing up stages everywhere as Ozzy’s guitarist and, before that, as a member of Quiet Riot. Sadly, Rhoads’ life was cut short by a plane crash while on tour in the spring of ’82 (see here for the full story).
Ozzy will be re-releasing his first two solo albums (featuring Rhoads) this fall, following years of controversy over tampering with the music by his wife, and manager, Sharon. See here and here for details.
It’s unfortunate that The Boomtown Rats’ history will always be overshadowed by lead singer Bob Geldof’s profile and charity work, but don’t let that stop you from checking them out: they were a solid band that broke new ground for Irish rock – and new wave music in general.
The Boomtown Rats were Geldof, Johnny Fingers on keyboards, guitarist Garry Roberts, bassist Pete Briquette and drummer Simon Crowe.
Rock Trivia: Originally known as “The Nightlife Thugs,” the band changed their name to The Boomtown Rats after a gang that Geldof read about in Woody Guthrie’s autobiography, “Bound For Glory.”
The Rats’ 1977 self-titled debut was a suitably trashy affair, with guitars raging and a healthy does of punk rock attitude. The first single, “Lookin’ After Number One,” made an immediate impact: it hit #2 on the Irish charts and was the first of 9 straight singles by the band to go Top 40 in the UK, earning them the status of being the first new wave band to appear on Top Of The Pops (August ’77).
Check out the video for “Number One” – it’s one continuous shot by a single camera: no edits required.
The Boomtown Rats – Looking After Number One (1977)
At a time when the Irish (and world) charts were topped by acts like Carly Simon, Boney M, David Soul(“Hutch” of TV’s “Starsky & Hutch”) and The Carpenters, The Rats must have sounded like a breath of fresh air.
It was the band’s second album, 1978’s “A Tonic For The Troops,” that turned things up ten notches, putting The Rats in the spotlight just three years after forming in Dun Laoghaire, Ireland.
Although clearly still largely rooted in punk, The Rats’ polished their studio sound on “Tonic” with the help of producer “Mutt” Lange, delivering three hit singles: “Like Clockwork,” “She’s So Modern” and “Rat Trap.”
In November ’77, The Sex Pistols hit #1 on the album charts in their homeland, thanks to headline-making stunts, growing support for punk amongst disenfranchised British youth, and a killer album.
The rock n’ roll door had been kicked open: a year later, “Rat Trap” made history as the first rock song by an Irish band to hit #1 in the UK and – most importantly – the first new wave song to top the British charts, which it did for 2 weeks in November ’78.
And talk about fresh air: “Rat Trap” knocked “Summer Nights” from the Grease soundtrack - by John Travolta & Olivia Newton John – out of the #1 slot after a ghastly 7 weeks at the top.
In pure punk style, The Rats celebrated this fact when they appeared on Top Of The Pops: before launching into the song, the band members flashed teen magazine pictures of Travolta before yawning and tearing them up on national tv.
I tell ya, the Ozzy promo machine is in full gear these days; you can’t swing a cat (bat?) without getting some Ozzy news.
Lately, there’s been a run of stories about the new disc, “Scream,” talk of a possible Black Sabbath reunion (as far as 2 years away, based on schedules), Ozzy wanting to do a blues album and, of course, Ozzfest is up and running (including my story about a UFO sighting on opening night in San Bernardino, California on August 14.).
A trailer – not the video – but a trailer, for the latest single, “Life Won’t Wait,” has surfaced.
Ozzy’s son, Jack, is directing the new video, shot mostly at Ozzy’s home as well as locations around L.A.
While we await for the actual video, here’s what’s it’s all about:
“Big in Japan” often comes to mind when thinking about Cheap Trick’s 1978 breakthrough with their “At Budokan” live album, recorded at the Tokyo venue that April.
Originally intended as a Japanese-only release, “Budokan” hit the Asian market in October; it quickly began selling so many import copies in the US that it was released there just four months later, in February ’79, selling millions and making Cheap Trick international superstars.
If the setup to Trick’s Japanese success began with their 1977 self-titled debut, the second album, “In Color,” kicked things up a notch or two – producing regional hits there with “I Want You To Want Me” and “Clock Strikes Ten” (which hit #1).
The home run was delivered with Trick’s third album, “Heaven Tonight,” released in May of ‘78.
“Heaven” was released about the same time Trick played the Budokan shows, where fan reaction was reminiscent of Beatlemania.
The teen anthem, “Surrender,” was the lead single and the first Trick song to chart in the US, where it reached #62.
Following the Japanese shows, Cheap Trick spent much of the year on the road in the States, opening for bands like Aerosmith, The Cars, Uriah Heep and AC/DC.
Fall saw them tape a performance for The Midnight Special, which aired in late November - Ted Nugent was the guest host; other acts included REO Speedwagon, AC/DC, Thin Lizzy, Golden Earring and Aerosmith.
Cheap Trick performed two songs: “Surrender,” and the killer album track, “California Man,” written by Roy Wood (the final release by The Move in April ‘72; a month later, they changed their name to the Electric Light Orchestra).
New vinyl out next Tuesday (24) from the Conan O’Brien / Jack White session recorded back in June (see original story here).
“Conan O’Brien Live At Third Man” will feature a duet with White on Eddie Cochran’s “Twenty Flight Rock.” A unique single, “And They Call Me Mad?” will also be released: the A-side is a comedy narrative by Conan riffing on the Frankenstein legend, while the B-side is O’Brien being interviewed by White himself.
In addition to the regular release, 150 limited edition Tri-color 45s of the 7” were pressed. 100 copies will be sold only at Third Man Records shop in Nashville beginning at 12 noon on Tuesday, August 24th at a price of $100 a piece, with all proceeds going to ReTune Nashville - a charity that helps musicians affected by the flood this past summer in Tennessee. The remaining 50 copies will be inserted in random mail-order to Third Man customers.
Here’s a taste of Conan doing “Twenty Flight Rock” at soundcheck this spring:
Conan O’Brien – Twenty Flight Rock (partial) Filmed at soundcheck Gibson Theatre, Los Angeles – April 24, 2010
O’Brien’s June 10 stop at White’s Third Man Records in Nashville was part of his “Legally Prohibited From Being Funny On Television Tour,” which saw the comedian take his show on the road – literally.
The opportunity to tour followed the NBC debacle which saw O’Brien get – and then lose – the coveted Tonight Show gig thanks to horrible long-term decision-making by NBC head Jeff Zucker, and Jay Leno sucking at 10pm (I’ve boycotted Leno ever since; can anyone explain how, and why, Jay wields so much power, anyway…or is it just that Zucker’s a sucker?). Thankfully, Conan will be back with his new show on TBS this fall.
Conan O’Brien – TBS promo (August, 2010)
The White Stripes – Pitching in at NBC The Tonight Show With Conan O’Brien – April 25, 2003
It took a while for Tom Petty & The Heartbreakers’ self-titled debut to click, following its release in November of 1976. Opening for acts like Bob Seger, The Runaways and Roger McGuinn put Petty and the band in front of large crowds, giving them the opportunity to shine.
The album’s first single, “Breakdown,” didn’t gain much attention, and record sales were slow. Petty’s big break came as the opening act on a UK tour for Nils Lofgren in May ‘77 – a British-only single of “Anything That’s Rock ‘N’ Roll” hit Top 40 while the band was out with Lofgren, and the group went from openers to headlining their own shows there. The second US single, “American Girl,” failed to chart but did edge into the Top 40 in Britain by summer’s end (it would go on to become an FM rock radio staple Stateside and elsewhere).
Following Petty's British success, his label rereleased “Breakdown” in the States in ’77 and, this time, it worked: the song reached the Top 40 and, by year’s end, the band had played more than 200 shows across the U.S., Europe and the U.K.
Building on their success, Petty released his second album, “You’re Gonna Get It,” in May of ’78; the following month, the band appeared on The Midnight Special.
Guest host for the show was Crystal Gale; alongside guests Chuck Mangione and Eddie Rabbitt, Petty and crew played three songs: “American Girl,” “I Need To Know” (the first single from the new album) and “Listen To Her Heart.”
Stone Temple Pilots - Big Bang Baby - Thank You 
The White Stripes - Elephant - Seven Nation Army