Posts Tagged ‘gig’

25 Jul

Bob Dylan Shadow Kingdom stream event 18 July 2021

Posted by vintagerock in Bob Dylan. Tagged: , , , , , , .

DYLAN 0So this was another streaming event, this time by our old friend and troubadour Bob Dylan. I expected the event to be live, but it was clearly pre-recorded. However, this was not a disappointment and did not detract from the enjoyment of the concert, rather the pre-recorded setting of the event enabled a greater depth and atmosphere than would have been possible had it been a live performance. The streaming started late on Sunday night UK time and although I was really looking forward to it, I have to admit to wimping out and watching it the next morning.

Now I have seen Bob Dylan many times over the years, and in recent times his performances have sometimes been patchy. Don’t get me wrong, I have enjoyed each time I saw him in concert, but on occasion his voice was not so strong and I know many other people left disappointed. But this time was something very different.

DYLAN 3Picture the scene. A smoky bar somewhere in Marseille, Dylan surrounded by his musicians including guitars and double bass and performing in front of a small audience. Everyone in the audience was smoking very heavily (and it looked like genuine smoke, but I suspect it wasn’t, and I also suspect that they weren’t really sitting directly in front of Dylan). However the effect was great and looked genuine. Dylan was dressed well, sometimes there was a change of suit or jacket; sometimes he would be playing guitar or mouth harp, sometimes simply standing singing. Sometimes he would be centre stage, and for other songs he would be to the left. The credits told us that the bar was in Marseille, but this was actually fictitious. I’m sure that it was all recorded within studios in America; but nonetheless, as I have said earlier, the effect was authentic and absolutely excellent.

Dylan performed a selection of some of his older songs from the 1960s and 1970s, some better known than others. I must admit, to my shame, that there were several that I did not recognise. This, however, did not spoil my enjoyment of the performance. The show was billed as Dylan “revisiting” some of his old classic songs. And revisit them he did indeed.

DYLAN 2This was Bob Dylan, in my view, reborn. No more strange vocalising, no more “up singing”; this was Dylan with a strong, deep, emotional voice that in many ways returned to the form he was on in the late 1970s when I first saw him. This was Dylan performing, no more standing still, he would make small mannerisms with his hands; pointing and moving to emphasise the lyrics. When he sang classics (particularly the ones I recognised) such as “Forever Young” and “I’ll be your Baby Tonight” his voice was deep, twisting and turning and emotional. This took me back to the Dylan I saw in Blackbushe Aerodrome in 1978. Tremendous. I had tears in my eyes. The old Bob has returned, singing to us from his heart and his soul in a way that he has not achieved, in my view, for many years. You have to see it to understand. He really was that good, in my view.

DYLAN 1Dylan, at 80, remains a unique and indescribable presence in modern music. Long may the troubadour continue to sing to us and let’s hope the never-ending tour will soon resume so that we can witness the legend perform for us again. 

Set List: When I Paint My Masterpiece; Most Likely You Go Your Way And I’ll Go Mine; Queen Jane; Approximately; I’ll Be Your Baby Tonight; Just like Tom Thumb’s Blues; Tombstone Blues; To Be Alone With You; What Was It You Wanted; Forever Young; Pledging My Time; The Wicked Messenger; Watching the River Flow; It’s All over Now, Baby Blue.

10 Jul

Bell + Arc Sunderland Locarno 1971

Posted by vintagerock in Bell n Arc. Tagged: , , , , , .

bell 1

Now this recollection has a story about it. This took place in the early days of my starting to attend gigs at the local Mecca, the Sunderland Locarno ballroom. Now every Friday they had a great band on, and I with many friends, would congregate to see the latest and best live music. This particular band was not well-known, but nonetheless, were absolutely excellent live. But first to the story.

I was walking over the bridge on my way to the Mecca when I ran into a semi-familiar face, who will remain nameless (in order to protect the (perhaps not so) innocent). “Are you not going to the Mecca tonight?” I said to the person. “No” they replied, “I have already been and I have pinched the band’s wah wah pedal, so I am going home with it in case I get caught!” At this point, they opened their Levi denim jacket to reveal a Cry Baby wah wah pedal; which were state-of-the-art and very cool at the time. “Wow” (or something equivalent) was my response. They made me promise not to say anything, and I continued my way over the bridge and into the Mecca.

Sure enough, shortly after I arrived in the ballroom, I heard announcement over the PA speakers “someone has stolen the band’s wah wah pedal and they will not perform until it is returned!” Well of course, I knew it wasn’t going to be returned as it was hidden under their jacket and on its way back to their house. I told all my mates this, of course, and we all had a good laugh about it; wondering if the band would actually appear that night. After a significant wait, by which time they would be safely home with said pedal, and the band had obviously realised that it was not going to be returned, they finally took to the stage very late in the evening.

My recollection of the performance was Graham Bell’s powerful and soulful vocals soaring over a mix of rock, blues, pop and psychedelia. The backing band itself, were tremendous. John Turnbull and Nicky Gallagher were both already becoming local heroes and went on to provide the unforgettable rhythm and blues which is still The Blockheads. An excellent band, and a memorable evening, for several reasons!

bell 2

“Bell & Arc was a British pop group that existed from 1970 to 1972. It was formed when singer Graham Bell teamed up with the group Arc, whose original lineup was John Turnbull (guitar, vocals), Mickey Gallagher (keyboards, vocals), Tommy Duffy (bass), and Dave Trudex (drums). (Trudex was replaced by Rob Tait, who was then replaced by Alan White.) Arc made an album, Arc at This (1970), before joining with Bell and recording Bell and Arc (1971). The group then split. Turnbull and Gallagher later joined Ian Dury and the Blockheads.” (Artist Biography by William Ruhlmann)

I decided to treat myself to a copy of the Bell + Arc album, courtesy of eBay. The photographs are of the album which I bought and arrived the other day. Now I really must get round to playing it and see if I can remember any of the songs from that night (which, given my memory, is extremely unlikely).

4 Jul

The Nashville Teens and the Downliners Sect? Sunderland Polytechnic Wearmouth Hall 1971?

Posted by vintagerock in Downliners Sect, Nashville Teens. Tagged: , , , , , , , .

The_nashville_teens

Now this one is something of a conundrum. I will explain why shortly.

Every week, on a Saturday night in the early 70s my friends and I would venture down to the Saturday night dance at Sunderland Polytechnic in Wearmouth Hall, which was the students union building. We would never know which bands to expect; all would be revealed written in chalk on a blackboard in the entrance. So every Saturday was something of a great surprise. We would come along and see famous names written on the board: Arthur Brown, Screaming Lord Sutch, Shaking Stevens and the Sunsets, the Wild Angels, and many more. Some of these I have already blogged on; some I will write about in the weeks to come.

Well one Saturday night we came along and the names on the board were “The Nashville Teens” (who I had heard of) and the “Downliners Sect” (who I had vaguely heard something about).

“We were quite influenced by the Downliners Sect” – David Bowie referring to David Bowie and the King Bees in Q Magazine. “The first British R&B I heard was the Downliners Sect. It was at the Ken Colyer Club, they were really doing it then. I heard the Pretty Things later but the Downliners Sect were IT “- Van Morrison (Official site)

Now The Nashville Teens were a band from the 60s who had been in the charts with their big hit “Tobacco Road“, so I was quite excited about seeing them. And the Downliners Sect were a legendary rhythm and blues band, also from the 60s. Now here comes the conundrum. Everything I’ve read about the Downliners Sect tells me that they split up in the late 60s, around 1968, and didn’t reappear until the later 70s, reforming off the back of the pub rock and punk movement. But my memory tells me that I definitely saw a band called the Downliners Sect that night. Whether I did or not, and who the personnel were, is, as they say, lost in the mists of time and in my failing memory.

I recall, the Downliners Sect played a set of rhythm and blues standards and were quite good. But the main attraction for me was witnessing the legendary Nashville Teens and seeing them play “Tobacco Road”. I do remember thinking that all of the members, other than the singer (who was presumably the original singer Ray Phillips) looked quite young, had long hair, and looked a little out of place in a 60s band. Nonetheless, they played a great version of “Tobacco Road”.

So there we go. A good night was, as they say, had by all. But the conundrum remains in my mind. Such things drive me crazy every now and then; but then I realise there is nothing I can do about it. Unless someone out there can enlighten me?

“I was born in a trunk.
Mama died and my daddy got drunk.
Left me here to die alone
In the middle of Tobacco Road.” (John D Loudermilk, 1959).

Picture of the Nashville Teens courtesy of Pop Weekly, via Wikimedia Commons

28 Jun

Ducks Deluxe Marquee club London 20 June 1975

Posted by vintagerock in Ducks Deluxe. Tagged: , , , , , , .

ducks marqueeI am now at the point of adding entries to my blog, when I suddenly remember a concert from many years ago that I have yet to write about. This comes about for two reasons. Firstly, I created the blog by working systematically through my tickets and programmes. Secondly, however, this means that I missed concerts along the way if I did not have a ticket or a programme or a strong memory of the gig. So every now and then one pops into my mind. This gig, is one such example. Some of these are already listed briefly in a post entitled “Other Memories”. But now is the time to write about those other memories!

This gig was the night before a group of us went to see Elton John (with strong support from the Beach Boys and Eagles, among others) at Wembley Stadium. I drove down to London early with a friend in my small red MG Midget sports car and we were staying at a friend’s flat in Acton. He had just moved to London and we were keen to go down and see how he was getting on in the big city. He would regularly go to the Marquee Club, which made us very jealous, as it was a legendary venue from the 1960s onward. The image above, courtesy of Picachord via Wikimedia Commons, shows the site of the original club in Wardour Street. 

“The Marquee Club was a music venue first located at 165 Oxford Street in London, when it opened in 1958 with a range of jazz and skiffle acts. Its most famous period was from 1964 to 1988 at 90 Wardour Street in Soho, and it finally closed when at 105 Charing Cross Road in 1996, though the name has been revived unsuccessfully three times in the 21st century. It was always a small and relatively cheap club, located in the heart of the music industry in London’s West End, and used to launch the careers of generations of rock acts. It was a key venue for early performances by bands who were to achieve worldwide fame in the 1960s and remained a venue for young bands in the following decades. It was the location of the first-ever live performance by the Rolling Stones on 12 July 1962.” (Wikipedia, accessed 28 June 2021)

ducks1And so it was that I, and two friends (who shall remain nameless for reasons which will become obvious); one from Sunderland who had come down to London with me, and another who had recently moved to Acton, went along to savour the delights of the Marquee Club and the pub rock band Ducks Deluxe. I had heard of Ducks Deluxe, although I had never seen them before and I had also heard of the developing pub rock scene, which saw new rock, blues and country based bands playing small clubs and pubs across the capital. This was offering a welcome alternative to seeing our heroes and idols in massive arenas, such as Earls Court (where I had recently seen Led Zeppelin) and Wembley Stadium (where I was about to see Elton John, the following day). The pub rock genre took music back to the basics, back into the pubs and clubs, and back to the people.

I was quite surprised how small the Marquee Club was and how ordinary the entrance appeared. It was a small door and frontage in Wardour Street, Soho. Nevertheless, it was exciting to become part of the London scene, even if only, for one night. I was also surprised that the venue was far from packed. We arrived early to catch the support band and waited for Ducks Deluxe to take the stage. 

“One of the first pub rock bands, the Ducks played basic American-style blues and boogie with remarkable panache and thorough disregard for convention. They were hugely popular but their records sales did not compare with their live success. Nevertheless, they had a heavy influence on the English punk scene that was right around the corner before their members went on to found other far more prominent bands like Graham Parker & the Rumour, the Motors and the Tyla Gang.” (Ducks Deluxe site, accessed 28 June 2021)

I recall Ducks Deluxe performance as being a mix of country rock and rock ‘n’ roll, led by the guitarist Martin Belmont, who had been a roadie for Brinsley Schwarz. This was at the time of their second album Taxi To The Terminal Zone. However, I was not to see the full performance by Ducks Deluxe that evening. As the evening progressed, my friend who had come down to London with me, disappeared into the toilets. He was later to reappear, telling us that he was not feeling well and that he had taken a tablet which later, he admitted, was probably some (presumably bad) acid (that is, LSD). He soon became very unwell to the extent that we were concerned enough to call for an ambulance. The ambulance soon arrived and we were taken to a nearby hospital (I don’t recall which one). The doctors soon recognised the problem, and told us not to worry and that he would soon be okay. However, we spent the whole night in the hospital while he shouted for me, asking for help. By the time the morning came he was okay, discharged from hospital, and we made our way back to Acton for a few hours sleep before leaving for Wembley ducks2Stadium and the Elton John concert (a story which I have already blogged on).

And so, that was my introduction to the Marquee Club, pub rock and London nightlife. Quite fun looking back, although quite worrying at the time. Ducks Deluxe were, from what I saw, excellent. This was, in a way, the start of things to come for me. The following year I would see the Sex Pistols for the first time and my eyes would be opened to a new form of rock music, born out of the likes of Ducks Deluxe and the pub rock scene. “Nostalgia for an age yet to come” (Buzzcocks, 1978). Happy days.

20 Jun

Stan Webb and Chicken Shack The Cluny Newcastle 27 April 2018

Posted by vintagerock in Chicken Shack, Stan Webb. Tagged: , , , , , , , , .

Stan Webb is the Man! Although best known for their rendition of “I’d Rather Go Blind”, featuring Christine Perfectchicken tix (later McVie of Fleetwood Mac fame), the man behind Chicken Shack was, is, and always has been the great Stan Webb. Stan is, without question, one of the greatest and most underrated guitarists of all time. For me, he stands up there with the UK greats including Eric Clapton, Jeff Beck, Jimmy Page, Alvin Lee and Peter Green. His use of tone, dynamics and his dexterity on the fretboard is second to none. Stan understands, and feels, the blues just as much as any of the great old black bluesman. His reinterpretations of classics such as “Thrill Is Gone” and “If I Were a Carpenter” are excellent; he starts off quietly; with long, meandering guitars solos which lead into loud, heavy, introductions to the songs accompanied by Stan’s unique vocals.

Now celebrating over 50 years of Chicken Shack, Stan continues to play and tour and on this evening, graces the Newcastle Cluny with his presence. Entering the Cluny in a wheelchair is pretty straightforward; the staff turn up at the door, expecting me, and place a ramp over the step so I can enter the venue. My carer Jackie and I are then led through a small door at the side of the bar which takes us into the lower part of the concert room, not far from the stage. And with a great view of Stan and Chicken Shack.

Stan treats us to an evening of the blues, with his usual guitar dynamics. Sometimes he will hold his hand to his ear in the style of the old folk singers.

I recall him opening with “Thrill Is Gone”, much to my delight and playing two of my favourites: “Poor Boy” which utilises the aforementioned guitar dynamics, building from a quiet start to a rousing, almost deafening climax and “Daughter of the Hillside”, a Chicken Shack favourite which is also quite loud. We were also treated to a great version of “Nightlife”, the B-side of “I’d Rather Go Blind”. Excellent. The rest of the set comprises a mix of blues classics. Stan closes, as he often does, with the Chicken Shack hit record from 1969 “I’d Rather Go Blind“. Another great evening with a classic rock and blues guitarist.

Set list (something like this!): The Thrill Is Gone; Going Up Going Down; You Shook Me; (You Are) The Sweetest Little Thing; Prisoner; Night Life; Poor Boy; Too Late to Cry; Doctor Brown; Daughter of the Hillside; Encore: I’d Rather Go Blind.

23 May

Peggy Seeger The Sage 22 October 2018

Posted by vintagerock in Peggy Seeger. Tagged: , , .

For this entry, my daughter Laura has written an account of her experience of the concert.

Although I was much more familiar with the music of her brother Pete, I was very much looking forward to seeing Peggy peggy tixSeeger in concert. Her track “I’m Gonna be an Engineer” had been a favourite in our house, featuring on a family play-list we’d created for my daughter. The obvious feminist messages of this track had sparked my interest and made me intrigued to hear more of Seeger’s output. So, when Dad told us of the up-coming Sage concert, both Dale and I were keen to go. Baby-sitter secured, Dale and I headed to the Sage where we met up with Dad and his carer Jackie.

As a political activist, who has spent most of her life campaigning, Peggy Seeger’s music speaks of working-class struggle, feminism, environmentalism, peace and social injustice. Her two-part set included tracks which focused heavily on such themes and reflected her political beliefs. Particularly striking was “Reclaim the Night”, a dark folk song examining sexual violence and consent which Peggy performed a-cappella. However, although the set had many sombre moments when such tracks were performed, Peggy managed to deliver these serious messages whilst still keeping the evening warm and full of charismatic banter.

Seeger created a friendly, light-hearted and good-humoured relationship with the crowd. She joked between tracks and encouraged the audience to speak up and sing along with the songs, unifying the crowd and giving the evening a traditional folk feel at times. Indeed, the Belfast review stated, “Seeger’s greatest asset is her uncanny ability to dissolve the gap between artist and audience.” (Belfast Review, 2017)

At the age of 83, Seeger treated us to stories about her fascinating life, mentioning her late husband Ewan MacColl and her brothers Mike and Peter. There was the sense that we were seeing a living legend perform.

peggy bookSeeger “saw folk music as inherently political” referring to it as “the expressions and artistry of people who are not in power.” (Freedman, 2017) It was evident from this concert that Seeger’s performance was not just a musical expression but more-over an externalising of a set of beliefs.

Peter adds: I knew of course, on the famous love affair between Ewan MacColl and Peggy Seeger, and how he wrote the song “The First Time Ever I Saw Your Face” about Peggy. I also knew that sometimes Peggy performs the song, and I was hoping that she would do so. I was a little disappointed that you did not sing it this time; however, this did not detract from a wonderful concert and a lovely evening spent with friends and family.

I bought a copy of Peggy’s book, which tells the story of her fascinating life. A rare opportunity to see a legend in concert.

Set List: I’ve been Wisconsin, I’ve Been a Bad Bad Girl, Buffalo Boy, Different Therefore Equal, Reclaim the Night, Brony on the Isle of ST Helena, Ballad of Accounting, Everything Changes, Concerning the Three Young Men, The Creel, Right to Life, Careless Love, Do You Believe in Me, We Don’t Talk Any More, The Joys of Living, Song of Choice, Donald’s in the White House,

17 Feb

The Who Wembley Stadium July 6, 2019

Posted by vintagerock in Kaiser Chiefs, Pearl Jam, The Who. Tagged: , , .

who tix 2019 2I have taken some time to write this account of my trip to see The Who at Wembley Stadium. There are a couple of reasons for this. Firstly, I wanted to describe something of the logistics of my trip, and secondly this was not a normal Who concert and it has taken me some time to decide my genuine opinion of the event. So here is the full story starting with the logistics of buying tickets.

Before my accident, buying tickets was very different, and much easier. I would go to my computer; a few clicks and I had my tickets! Ticket buying is very different now that I need a wheelchair space. I have to locate the accessible phone line and phone that number, only to be put into a queue, listening to music until I finally get through to an operator. I am then allocated my spot in the stadium and a free ticket for my carer. Sometimes I could be in the queue for over one hour, hoping to get tickets. This is admittedly much easier than queueing for tickets which I did many times in the 1970s. I once queued 28 hours outside Newcastle City Hall to buy tickets for the Rolling Stones!

Tickets for major rock bands have always been relatively expensive. In recent days they have reached exorbitant rates. The Stones can charge up to £1000 for prime seats and Who tickets are much more reasonable at £200 a pop. However this was still expensive for The Who and they received some bad press as a result.

One fan wrote: “The Who charging circa £230 for front block at Wembley is disgusting. All they’re doing is ripping off their loyal fans that have probably seen them many a time. Plus to make the pitch all seating when they know everyone will stand is obscene. Just comes to pure greed.” Another aggrieved fan raged: “The Who are asking £79 plus postage for the worst seats in Wembley, and £212 for the best. Talk about taking the p***.” https://www.nme.com/features/why-are-artists-and-concert-promoters-whacking-up-their-ticket-prices-2454221

The logistics of travelling to a major gig have changed since being in a wheelchair. I need to plan ahead carefully. I book an accessible taxi to the train station, accessible seats on the train and two hotel rooms (one disabled room for me, one twin room for my carers). I take two carers with me, for different shifts during the night. Booking the train involves phoning the accessible travel line and then another number to book train tickets. I need to arrive at the station early and look for the friendly guys with a ramp who assist me on to the train.

whp pixSome nifty manoeuvres around a tight corner take me to my seat accompanied by my entourage of carers. A small bottle of red, a bacon sandwich and I am set up for the journey direct from Sunderland to King’s Cross station, courtesy of Grand Central trains. Then onward to the tubes and we are on our way to Wembley. Now what I never realised, until I was in a wheelchair myself, is that not every tube station is wheelchair accessible so you have to choose a route that enables you to change tubes at a station which is accessible. Luckily the line from King’s Cross to Wembley Park is completely accessible, so all sorted. Then we check into our Premier Inn, which is only a few minutes walk from Wembley Stadium me in my accessible room, and my carers situated only a room or two a way.

We have a short rest, a bite to eat and then we make our way to the stadium. Being mean, or on meagre income (choose whichever you wish) we are situated towards the back of the stadium in the cheap seats looking right down onto the stage. Nonetheless we have a reasonably good view of the proceedings. We catch the end of Eddie Vedder’s set, having missed the Kaiser Chiefs. At the point at which we enter, Eddie is in full throttle, the crowd loving it.

Now I have seen the Who many times, having watched in disbelief a crazed Pete Townshend smashing his guitar in 1973, the return of the band after the passing of drummer Keith Moon, and more recently after the loss of bassist John Entwistle. Today two original members of the band remain: guitarist Pete Townshend, and vocalist Roger Daltrey. However, the soul of the 1960s mod band continues. This was a special concert; the Who were to perform with a full orchestra. They opened with songs from their 1969 rock opera Tommy, followed by “Who Are You” and some new tracks. The orchestra left the stage and the band moved into familiar territory, playing early hits “Substitute”, “The Seeker”, an acoustic version of “Won’t Get Fooled Again”. The orchestra returned to support the band in a segment from Quadrophenia. They finished with “Baba O’Reilly” and no encore. A different show, but still enjoyable. We took a short walk to our hotel.who prog 2019

Reflecting back on the concert after some time, I remember the distance between ourselves and the band, and the fact that the stadium was far from full. What I could see was The Who surrounded by an orchestra in a massive, cavernous stadium. There was little atmosphere. The sound was good and comparatively clear given the nature of the venue and the band performed well. I’ve seen The Who with an orchestra before, performing Quadrophenia at the Royal Albert Hall and it worked quite well. However, this time it didn’t quite gel and I long to hear the old rock band that is so familiar to me. As a concert this was good but not great; however for me, these days any chance to see The Who live is worth taking.

A few drinks at the hotel bar, a restful evening and up in the morning to take a somewhat torturous trip around the tube network (one of the lines was closed). We were back home for mid-afternoon, none the worse for our adventure.

As I write this, I’ve just heard that The Who have cancelled their 2021 concert tour as a result of Covid. I was to see them at Newcastle Arena in a months time. We live in strange times. Let’s hope it isn’t too long before I can experience The Who in concert again. And many thanks to my great carers Alison and Joanne who supported me during my adventure.

Setlist

With Orchestra: Overture; 1921; Amazing Journey; Sparks; Pinball Wizard; We’re Not Gonna Take It; Who Are You; Eminence Front; Imagine a Man; Hero Ground Zero; Join Together.

Band Only: Substitute; The Seeker; Won’t Get Fooled Again (acoustic; Roger & Pete only); Behind Blue Eyes.

With Orchestra: Ball and Chain; The Real Me; I’m One; The Punk and the Godfather (with Eddie Vedder)   ; 5:15; Drowned; The Rock; Love, Reign O’er Me; Baba O’Riley

 

 

12 Jan

David Bowie: A Celebration; Orchestrated by Mike Garson. 10 January 2021

Posted by vintagerock in David Bowie, Mike Garson. Tagged: , , , , .

bowie 1Yet another streaming event. Well it is all that is available the moment. This one was a bit different. We were promised a 3 hour extravaganza celebrating David Bowie’s birthday and featuring artists from around the world all performing together through the power of modern technology. The whole event was orchestrated and planned by Mike Garson, David Bowie‘s piano player from around 1973 and then throughout his career. The artists ranged from those who names I recognised: Duran Duran, Macy Gray, Boy George, Rick Wakeman, Ian Hunter, Ian Astbury, Joe Elliot, Adam Lambert and Peter Frampton and many others who were less familiar to me (probably because they are more recent and up-to-date than my old guy musical tastes and knowledge). We were also promised a band consisting of musicians who accompanied David Bowie throughout his career: Earl Slick, Carlos Alomar, Tony Visconti, Tony Levin and many others.

The event was originally set to be screened at 2 AM UK time on 9 January (it was being streamed from Los Angeles). So I set my alarm for 1:45 AM and woke up ready, excited and intrigued, for the ongoing proceedings. Unfortunately, after a short delay of a few minutes Mike Garson appeared only to tell us that thebowie mike g event was postponed by one day, due to difficulties relating to Covid. “We’ve been working around the clock for months putting together an amazing show for you. Due to the difficulties in the world and the situation with COVID in Los Angeles, we’ve had to move the show 24 hours to tomorrow at the same time. Hang in there with us – just for one day.” So back to sleep I went.

Now the deal was that you had a 24-hour slot in which to view the three-hour event, so this time I decided not to rise at the early hour of 2 AM. Rather, I settled for watching the event later in the day on Sunday 10 January.

The event itself exceeded all of my expectations. It really made the most of modern technology, seamlessly drawing together artists from all over the world; some live, some I suspect recorded, all on different screens yet all playing together. Fantastic. Mike Garson took us through the whole event, introducing each artist and the song and played piano on all, but one (I will explain this later) of the songs.

bowie duranThe concert started with Duran Duran playing “Five Years”, the opening track of Ziggy Stardust and one of my favourite Bowie songs. I suspect this choice of opener paid tribute to the fact that Bowie sadly passed away almost five years to the day, a few days after his birthday. Now I have lost touch with Duran Duran. It is many years since I have seen them and I used to be a fan in the 80s, back in the day. I was pleasantly surprised how well they delivered, no nailed, this classic track; Simon Le Bon almost spitting out the vocals. A great opener. But there was more to follow. An electric version of “Moonage Daydream”, followed by Billy Corgan of the Smashing Pumpkins meandering around the screen in his own TV, lost in a “Space Oddity”. An excellent version of “The Man Who Sold the World”. Gary Barlow punching above his weight throughout “Fame “. And so it went on. Bowie classic after classic, mixed with some less familiar tunes, Mike Garson constantly present on a grand piano. Macy Gray popped up on a screen to the left singing one of my Bowie favourites “Changes”, doing it full justice. A tribute to Mick Ronson and his wonderful version of “Slaughter on 10th Avenue” performed by Kevin Armstrong, bringing back memories of seeing Ronson perform it on his solo tour, in Newcastle City Hall many years ago. bowie joBowie fan, and Def Leopard front man, Joe Elliott sang “Ziggy Stardust” paying tribute to a hero of his youth, as he often does. Ricky Gervais popped up for a moment to introduce “Little Fat Man” harking back to Bowie’s performance of that song on his TV show Extras.

Actor Gary Oldman performed a highly emotional version of “I Can’t Read”, soon followed by a great rocking version of “Suffragette City” performed by none other than Peter Frampton. Ian Astbury of the Cult performed “Lazarus” and then Mike Garson handed over his piano stool to Rick Wakeman who appeared in a virtual box delivering the introduction and wonderful background to “Life on Mars” as he did on the original version so many years ago; the song being performed by new voice Youngblood. Boy George delivered a highly theatrical performance of a trio of classics: “Lady Grilling Soul”, “Time”, “Aladdin Sane”. Then my hero Ian Hunter appeared to the left of the screen and performed his tribute to Bowie “Dandy”, followed by “All the Young Dudes” (of course). Current Queen front man and star in his ownbowie ian h right, Adam Lambert, performed an appropriately dramatic version of “Star man”. I can’t claim to recognise the name Bernard Fowler, but I did recognise the man as a long time singer for the Rolling Stones. He performed a number of songs during the show, and closed the event with a powerful rendition of “Heroes”. A fitting end to an incredible event. One which finally realised the potential of streaming and modern technology. An excellent tribute to a genius who I feel so privileged to have seen in performance several times. David if you were watching somewhere out there I’m sure you would have approved. Mike Garson is to be applauded for doing a wonderful job in putting together an excellent event. After the show the team behind A Bowie Celebration tweeted: “Thank you David. And our thanks to you all for coming together in a world where that has been so difficult. This couldn’t have been done without you, the amazing Bowie alumni family, our special guests and wonderful behind the scenes team at @rollinglivepro.” I even bought a signed copy of Mike Garson’s book! I will post an image of it here when it arrives.

bowie stones singerThe reviews in the press were almost all extremely positive. “In almost impossible circumstances, Garson pulled off a herculean task, doing Bowie proud, at a distance.”(Mark Beaumont in The Independent). “All that was missing was the star himself and the global audience, who were surely out there, singing in their homes.” (Dave Simpson in The Guardian).

Setlist: Five Years (Duran Duran); Moonage Daydream (Lena Hall and Lzzy Hale); Space Oddity (Billy Corgan); The Man Who Sold the World (Perry Farrell and Etty Lau Farrell); Bring Me the Disco King (Anna Calvi); Fame (Gary Barlow); Young Americans (Corey Glover); Can You Hear Me (Gail Ann Dorsey); Sweet Thing / Candidate / Sweet Thing (Bernard Fowler) ; Let’s Dance (Charlie Sexton); Lady Stardust (Judith Hill); Changes (Macy Gray);  Slaughter on Tenth Avenue (Kevin Armstrong); Conversation Piece (Catherine Russell); Rebel Rebelbowie rick w (Charlie Sexton); Win / Ziggy Stardust (Joe Elliott); Quicksand (Taylor Momsen); DJ / Blue Jean (Charlie Sexton); Where Are We Now? (Michael C. Hall); Rock ‘n’ Roll Suicide (Dave Navarro, Taylor Hawkins, Chris Chaney); Little Fat Man (Corey Taylor; introduced by Ricky Gervais); Hang On to Yourself (Corey Taylor, Dave Navarro, Taylor Hawkins, Chris Chaney); I Can’t Read (Gary Oldman); The Jean Genie (Jesse Malin); Strangers When We Meet (Gail Ann Dorsey); Suffragette City (Peter Frampton); Fantastic Voyage (Trent Reznor and Atticus Ross); Fashion     (Trent Reznor, Atticus Ross, Mariqueen Maandig); Lazarus (Ian Astbury); Life on Mars? (YUNGBLUD and Rick Wakeman); Lady Grinning Soul / Time / Aladdin Sane (Boy George and Charlie Sexton);  Dandy /All the Young Dudes (Ian Hunter); Starman (Adam Lambert); Under Pressure (Judith Hill and Andra Day); Heroes (Bernard Fowler); Ashes to Ashes (Instrumental over credits).

5 Jan

Patti Smith Birthday live stream 30 December 2020

Posted by vintagerock in Patti Smith. Tagged: , , , , , .

patti4An invitation from Patti Smith dropped into my mailbox:

“The winter solstice filled me with new energy, I hope for you as well. I am writing to thank you for your support, and spending time with Tony, my daughter Jesse Paris and I on Black Friday. We hope to feel your presence again on my birthday, Wednesday, December 30th. There will be the full band beneath a full moon.”

How could I resist? Celebrating Patti’s 74th birthday with herself and her band in the comfort of my own room. Excellent! There was one small drawback, however. This time the concert was at 9 PM Eastern Standard Time (USA) which was 2 AM UK Greenwich Mean Time. Still a man has to do what a man has to do; so I pressed the button and bought a ticket.

patti7

So it was that, last Wednesday, both Alexa and my nightshift carer Jackie were given precise instructions to wake me up at 1:45 AM so that I was ready for the start of Patti’s concert. The plan worked precisely and I was awake, remarkably refreshed, ready for the show. This time Patti was accompanied by her band including long time member Lenny Kaye, who had also celebrated his 74th birthday only a few days earlier. A small tot of whiskey surprisingly helped keep me awake and was an ideal accompaniment for the early morning (or late evening, depending on your perspective) concert.

patti8

The set was a collection of Patti Smith favourites from throughout her career. She started with “Grateful” dedicated to Jerry Garcia, followed by “Kimberly”. Then we were transported right back to the start with a wonderful “Free Money”, building up to its majestic climax, Patti’s voice sounding as strong and unique as ever. “My Blakean Year” was followed by a short poetry reading. Then it was back to familiar Patti Smith territory, with a number of favourites including “Dancing Barefoot” which she dedicated to her late husband Fred “Sonic” Smith; both of their children performing with her.

patti6

The set climaxed with a great rendition of her collaboration with Bruce Springsteen, “Because the Night”, which she also dedicated to Fred “Sonic” Smith. Hughes in Billboard (2018) declared “Because the Night” “a layered tribute for Fred and Patti’s love, as well as the family and art that came from it.” (Billboard, Hughes, 2018) Then it was time to sing “Happy Birthday” to the great lady herself, complete with birthday cake. I noticed that she blew out the candles with a fan; I guess really blowing them out is not acceptable in the Covid world; it is strange how things have changed in so many little ways. Finally, a lovely hours entertainment closed with “People Have the Power” and a reference to the new political regime in the USA. 3 AM and it was time to go back to sleep. Happy Birthday Patti.

Setlist: Grateful; Kimberly; Free Money; My Blakean Year; Poem; Ghost Dance; Dancing Barefoot; We Three; Beneath the Southern Cross; Because the Night; Happy Birthday to You; People Have the Power

Live Birthday Performance with her band: Patti Smith, Lenny Kaye, Tony Shanahan, Jay Dee Daugherty, Jesse Paris Smith and Jackson Smith

21 Dec

SARAH BRIGHTMAN: A CHRISTMAS SYMPHONY Live stream concert 20 Dec 2020

Posted by vintagerock in Sarah Brightman. Tagged: , , , , , .

SARAH TIX

So here I am “going” to my second live streaming concert! This could become a habit until I can venture out into the real gig world again (please bring on that day soon). Now I have always had a fancy for seeing Sarah Brightman. She is a sort of guilty pleasure who I almost went to see in London couple of times, but “bottled out”, with some regret now. The concert was advertised as below. Plus you could buy a package which included the concert, a programme and a ticket (yet to be delivered from the USA). How could I resist? After all, this is almost like a real concert; I get a programme and a ticket for my collection (and to display on here when they arrive). What’s not to like? I am IN!

SARAH 2

SARAH BRIGHTMAN lights up the holidays with her first-ever livestream concert event SARAH BRIGHTMAN: A CHRISTMAS SYMPHONY!
Join SARAH as she transforms the historical Christ Church Spitalfields in London and welcomes viewers worldwide into her intimate winter wonderland on December 20th
Together with orchestra, chorister from Trinity College, SARAH has invited special guests Aled Jones, choir Gregorian to join her, and will be reuniting with Andrew Lloyd Webber for a memorable performance of a holiday classic! Curl up with your family and a hot toddy or two, and enjoy what promises to be an unforgettable Christmas spectacle at home with SARAH BRIGHTMAN!

SARAH 4

One thing about streamed events. You have to be careful to remember that they are happening! I almost forgot. I was busy answering emails (as I do most of my time!) Then suddenly I realised that I should be watching Sarah Brightman. We switched over quickly and joined the concert a few minutes late. However this was not a problem, because at the end I could switch to a recording and watch the few minutes I missed.

The setting was a lovely old church in London with Sarah surrounded by wonderful, appropriate Christmas lighting and an orchestra. She started with “Ave Maria”, followed by “Silent Night”; lovely if perhaps a little too traditional for me. She was then joined by Aled Jones to sing “Walking in the Air” which was also quite exquisite. This was followed by “Pie Jesu” with a chorister named Leo and then an ABBA song “Happy New Year” which I am not familiar with; followed by another unfamiliar song “Colder Than Winter”.

SARAH 1

Sarah was then joined by long-term friend Andrew Lloyd Webber for a performance of an old Andrew Lloyd Webber/Tim Rice song “Christmas Dream”. Great! The next song sounded familiar; after some thought and some googling I realised it was “Hymn” by none other than Barclay James Harvest; a song I have seen them perform many times before; shame on me for not remembering it. Lovely. Sarah’s voice is exquisite, angelic and very fitting to the mood, Christmas and the surroundings. This was followed by another old Christmas favourite from the late great Greg Lake: “I Believe in Father Christmas”. Sarah then left us while the orchestra played a piece, and she made one of many costume changes into another lovely dress.

We were close to the end at this point and Sarah continued with “Amazing Grace”, “Happy Christmas (War Is Over)” by John Lennon and Yoko Ono. The closer was none other than Roy Wood’s “I Wish It Could Be Christmas Every Day”. All in all a lovely Christmas concert. But, as I observed last time I attended a streaming event, it can never be the same as a live concert experience. I must admit I was quite impressed by Sarah Brightman and I still remain tempted to go and see her should she return to the UK for a concert in the future. Will I attend another streaming event? I have none planned at the moment, but if anything interesting turns up I may well do so.

sarah 5

Set list: Ave Maria: Silent night: Walking in the air (The Snowman) Aled Jones plus chorister Leo: Pie Jesu plus chorister Leo:  Arrival (ABBA): Colder than Winter (Vince Gill); Christmas Dream with Andrew Lloyd Webber; A Coventry Carol with Gregorian; Hymn (Barclay James Harvest); I Believe in Father Christmas (Greg Lake); Orchestral Musical interlude; Amazing Grace; Happy Christmas (War is over) (Lennon and Ono); I Wish it could be Christmas every day (Roy Wood)

« Older Entries
Newer Entries »