THE HEARTBREAKERS NOT THE HEARTBREAKERS

THE HEARTBREAKERS NOT THE HEARTBREAKERS

Circa 1980 Johnny Thunders reunites with his mates Jerry Nolan or Ty Stix (drums) depending on which night, Billy Rath or some other guy on bass depending on which venue, and the ever present WALTER LURE, a story unto himself, to play a few local dates in and around NEW YORK CITY as THE HEARTBREAKERS, a name which they used since 1976.

Having seen them numerous times at MAX’S KANSAS CITY, IRVING PLAZA, The PEP LOUNGE and lesser known venues in the NYC area it came as a shock to see an ad advertising THE HEARTBREAKERS on a Spring 1980 Saturday night at MY FATHER’S PLACE in the quaint Long Island village of Roslyn, New York. Johnny was coming out of the City to visit The Tunnel people, as many Long Islanders were called when they visited clubs in Manhattan.

Recently I had surgery to repair a torn wrist so I wearing a shoulder sling and taking a few pain killing meds. I took an extra one when I arrived at the show, to avoid any pain if I got bumped into. (If you believe that I have a bridge to sell you) Alcohol was also consumed by our group. During one of my trips to the bar area I met Johnny Thunders who was seated at a rear table. He called me over asking about my injury and inquiring if the doctors recommended any meds. Laughing I told him that the pills were already working and I had none to spare.He smiled.

Back at our table, now with waitress service and the place starting to fill up, I noticed a table of about ten folks seated behind us. Young men with Izod golf shirts and young women dressed up a bit. Not the leather and lace attire usually seen at Max’s but hey, we are on Long Island. Due to the close proximity of the seating arrangement I overheard one guy say how much he loved Tom Petty and wonder how good his band would be without him. Bells went off in my head. These folks were expecting to see THE HEARTBREAKERS not THE HEARTBREAKERS. The dilemma is whether or not to slip them a hint that they might be a bit confused when this band of HEARTBREAKERS hit the stage. Not to mince words I told the speaker.

The dude was confused as was those in his crowd. So he posed the question to me: Should they stay or should they go? Laughingly I said I can’t answer that but be advised we are in for a long evening as JT and his HEARTBREAKERS are notoriously late. The guy got up seeking management. In a few moments they all vanished.

Johnny Thunders and his THE HEARTBREAKERS were late, very, very late and mostly, except Walter Lure, quite intoxicated. The set was amazing as always, that is, amazing that it occurred, amazing that Johnny could remain standing and amazing that we all had another great story to tell. God Bless THE HEARTBREAKERS, which ever one you choose.

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ONE OUT OF EVERY 40 SONGS IS A TOM PETTY TUNE…

ONE OUT OF EVERY 40 SONGS IS A TOM TUNE

Tom Petty and The Heartbreakers is a strange anomaly in the music business.The band was hitting the scene out of Gainesville, Florida as our great nation was celebrating The Bi-Centennial with 1976 being a year in flux, musically.  Check the BILLBOARD album charts and see how we the record buying public were all over the place: Chicago, Earth Wind and Fire, Bob Dylan’s DESIRE, Eagles Greatest Hits (71-76), Led Zeppelin’s PRESENCE, Wings,The Stones, FRAMPTON COMES ALIVE, FLEETWOOD MAC and Stevie Wonder’s amazing SONGS IN THE KEY OF LIVE. Who in their right mind would want to challenge that line up. Hey, I was enjoying shows by TODD RUNDREN who was morphing into UTOPIA at the time, Frank Zappa, Bowie, and The Stones of course.

Then 1977 has only two albums that control the charts for most of the year, HOTEL CALIFORNIA and Fleetwood Mac’s RUMOURS. 1978 was also stagnate in chart movement with RUMOURS continuing its long run at the top followed by two soundtracks SATURDAY NIGHT FEVER and GREASE. Billy Joel ends the year with his 52nd STREET.

So, How does TP and The Heartbreakers get into the mix?

Kudos to Sasha Frere-Jones for her insightful VILLAGE VOICE piece of October 3, 2017 describing the radio audience that TOM PETTY walked into circa 1977-1980. Her article helped me further understand the music business/radio dynamics of that time.

This period was one of a changing environment in radio. Within months stations started the labeling of artists, categories which did not exist before. And Program Directors were pigeon holing artists as well as attempting to define their specific audience’s tastes.  At this date we also witness the demise of free form radio hosts, my radio idols at the time, those willing to play anything and everything unconditionally. The pre Classic Rock format is slowing developing as stations were searching for identities, attempting to capture listeners by their tastes and grabbing the almighty advertising dollars.

 

Into this radio scene, albeit a confusing one, (1977) AMERICAN GIRL is released, a recording lost in the crossfire of the emerging “punk” rock and what Program Directors now defined as “rock”. How does one define this recording or better yet, WHY define it?

For me AMERICAN GIRL was a great record upon release, kinda catchy as they say and today it is still is a great listen. That Byrds Beatles genre which we were missing is somehow captured in  3 minutes and thirty five seconds: The twanging guitars, words that grab your attention. Quite a difference from RUMOURS, no disrespect intended, but hey, this AMERICAN GIRL record was different.

NY radio at this time, again in my opinion for my listening taste and again kudos to Sasha Frere-Jones for reminding me, had only two major players left.WPIX and WNEW. The PIX PENTHOUSE PARTY with Meg Griffin was a delight introducing newer music to us, not the standard Eagles or Frampton. Here at 101 FM we heard Talking Heads, The Clash, Elvis and Elvis Costello as well as the arrival of The B-52’s.

WNEW hitched its wagon to Springsteen (all day-everyday), Pink Floyd soon to all be labeled CLASSIC ROCK.

1979 we get DAMN THE TORPEDOES and Refugee which is another game changer.

So the question is: What’s your point?

According to data accumulated by FiveThirtyEight, Tom Petty and the Heartbreakers are the fifth biggest classic-rock group in the country, responsible for one out of every forty songs you hear on the radio.

That’s the point, TOM PETTY AND THE HEARTBREAKERS helped change the sounds which emulate out of that device Marconi made so many years ago.

Next up: TOM PETTY and THE HEARTBREAKERS versus THE HEARTBREAKERS

DAISY DUKES AND COWBOY BOOTS

Tags

#JasonAldean, #LasVegas59, #SNL, #TomPetty

 

Tom Petty died the other day in his house in Malibu, a long way in time and space from his origin in Gainesville Florida .Well actually he had succumbed to cardiac arrest in his  Californian home but pronounced dead the next day, October 2 in a hospital. We the public were still reeling from the tragedy the day before in Las Vegas where a gun man assassinated 59 of our concert going brethren. Then the other confusing news, Tom died, then he was placed on life support, ultimately it was reported Tom Petty left us, physically.

As typically done when a recording artist of some renown passes the radio stations play a few of his/her/ their hits. Even the 11 0’clock news plays a “going to commercial break” with a sound bite of the musician’s work. Record sales go through the roof, as noted in Tom’s case by VVN MUSIC NEWS reporting of AMAZON’S TOP SELLING ALBUMS by VETERAN ARTISTS listing 14 of the top 20 belonging to Tom solo, Heartbreakers,and/or Traveling Wilburys, and better yet, of the Top Ten Tom has the Top 9 spots only to be bested at 10 to Shania Twain’s new release.

After the reports on the shooting in Las Vegas and the reports on Tom Petty’s passing I was thinking about both incidents and the 60 folks (59+1) who passed away in a short period of time. Some were smiling , surrounded by friends, family and fellow concert audience members, the daisy dukes and cowboy boots crowd before a few seconds later tragedy struck for no apparent reason. One can not fathom how or why but it puts a fear in my heart. Those poor souls silenced.

Then Tom Petty dies.

A few nights later SNL at it’s 10PM re-run spot played the November 10, 1979 show starring BUCK HENRY and featuring “musical guests” Tom Petty and The Heartbreakers performing “Refugee” and “Don’t Do Me Like That”. I sit in front of the screen silently, but with a slight smile, nodding, yeah, Tom.

The 11 O’Clock nightly news is over and it’s time for SNL. Me, I’m expecting ALEC BALDWIN as #45 throwing rolls of paper towels into the audience. Nope, not tonight America. Jason Aldean, the performer who graced the stage when the gunman hit Las Vegas was the cold opener of Sat Night Live this week and after a heart wrenching intro he led the band with Tom Petty’s I WON’T BACK DOWN. Again, I sat at the screen silently but without a smile. God Bless Us All.

SUMMER OF LOVE @ 50

 

“If you’re going to San Francisco,be sure to wear some flowers in your hair…If you’re going to San Francisco, Summertime will be a love-in there”

So sang SCOTT McKENZIE, a true one hit wonder but what a hit it was. This so called “anthem” arrived on the airwaves May 13, 1967, and was used as an invitation “across the nation” to publicize the upcoming “charity” concerts baptized as THE MONTEREY INTERNATIONAL POP FESTIVAL June 16 to June 18, 1967. This 3 day event was organized by PAPA JOHN PHILLIPS who incidentally wrote the aforementioned tune, LOU ADLER who produced the tune, along with a host of others who planned this weekend showcase as a way to sanctify “rock” music, similar to the way the Monterey Jazz Festivals gave legitimacy to that genre.All proceeds would be given to charity. Artists were expected to play a 40 minute set without a fee, however their flights, accommodations, etc, would all be first class.

The song becomes an instant radio hit ,#4 on the BILLBOARD charts, and while estimates vary, thousands celebrate rock music that weekend in a fair grounds 120 miles south of San Francisco. Yet, the tune transcended its purpose. The imagery of the song encouraged thousands of listeners to attend the party which would become THE SUMMER OF LOVE in San Francisco.

HOW DO WE GET THERE? Well, not directional or travel arrangements wise but rather how did this LOVE thing happen?

The BEAT poets of NORTH BEACH, SAN FRANCISCO could be considered the fore fathers of the movement with their non-conformist attitudes while rejecting materialistic values.

Then there was the celebration entitled the HUMAN BE-IN at Golden Gate Park in January of 67, an idea of MICHAEL BOWEN the avant-garde artist and co-founder of THE ORACLE, a premier “underground” newspaper which announced the event. This Be-In inspired  the play HAIR: The American Tribal Love -Rock Musical by Rado and Ragni. Also, TIMOTHY LEARY asked the 30,000 attendees to “turn on,tune in,drop out”. 

The mainstream media picked up the story, highlighting Tim Leary, the drugs (LSD and mushrooms), the clothing and the music. These photos and images were shown on the nightly news. TIME magazine ran a cover story on THE HIPPIES and even CBS NEWS had a special report. This influx of “flower children” arrived to the 25 square block area of San Francisco with the cross streets , the intersection of it all HAIGHT-ASHBURY.

With psychedelic music and drugs prevalent, one could only predict that the future of THE HAIGHT would not be so rosy or happy. Homelessness, drug abuse, poverty became rampant. The BEE GEES even wrote a song, MASSACHUSETTS, in response to what was happening in SAN FRANCISCO, a ditty about someone who lost the vision, the hope, and was homesick.

Yet, the SUMMER OF LOVE despite its misgivings gave us a great soundtrack for that time and for years to come: THE WHO, JIMI HENDRIX, BIG BROTHER and THE HOLDING COMPANY, COUNTRY JOE and THE FISH,THE ELECTRIC FLAG,QUICKSILVER MESSENGER SERVICE,STEVE MILLER,MOBY GRAPE,HUGH MASEKELA,THE BYRDS,LAURA NYRO,JEFFERSON AIRPLANE,BOOKER T and THE MG’s,OTIS REDDING, THE BLUES PROJECT,BUFFALO SPRINGFIELD and the organizers of Monterey Pop THE MAMAS & THE PAPAS.

LED ZEPPELIN-MAY 30,1969@FILLMORE EAST

Tags

Eric Clapton, Fillmore East, Jeff Beck, Jimmy Page, John Bonham, John Paul Jones, Led Zeppelin, MICKIE MOST, PETER GRANT, Robert Plant, TERRY REID, Yardbirds

LED ZEPPELIN at FILLMORE EAST: MEMORIAL DAY WEEKEND MAY 30,1969

For those who only know of the power and popularity of Led Zeppelin of it’s latter days, let me take you back to before the very first album hit the stands.

Jimmy Page was one of the “three”, the triumvirate of rock guitarist gods who moseyed through a British band of some renown named THE YARDBIRDS. This band, legend states took their name from Charlie YARDBIRD Parker, was somewhat known in the USA, but much more popular in their homeland of Great Britain. Without giving the long history of the Yardbirds let say they got residency at CRAWDADDY when the spot was vacated by THE ROLLING STONES, a band on the move. Eric Clapton was the YARDBIRDS guitarist who as time moved on, after hit followed by another hit, became uncomfortable with the band veering far away from it’s blues roots by heading into a pop direction. Clapton leaves and suggest Jimmy Page take his spot. Page, who was the “go to studio guitarist” at the time, didn’t want to vacate that profitable role, so PAGE suggested JEFF BECK who took the gig.

With BECK’s influence the YARDBIRDS moved toward a psychedelic route with fuzz tones, feedback, and overall guitar virtuosity. By 1966 JEFF BECK was voted Melody Maker’s GUITARIST OF THE YEAR.When the bass player drops out of the band  JIMMY PAGE steps in that role for a spell. When a new bassist is recruited PAGE stays on playing guitar which offers a BECK/PAGE dual guitar attack approach. Beck gets sick, misses a few gigs, ultimately leaves the band to Page.With the lead singer Keith Relf’s alcoholism and the band not having any more hits, as well as with the rise of bands like CREAM and JIMI HENDRIX, soon the Yardbirds disappeared, leaving Jimmy Page with the name. To fulfill  some contractual commitments ,with a new manager PETER GRANT on board, the band hits the road as THE NEW YARDBIRDS.

Page had recruited TERRY REID as vocalist but he, with a new MICKIE MOST contract, could not leave. Reid suggested a friend, ROBERT PLANT who brought along his drummer friend JOHN BONHAM . Page called his studio buddy JOHN PAUL JONES for bass and keyboards and after a short tour of Scandinavia, the NEW YARDBIRDS hit the studio to record what would become LED ZEPPELIN’s debut.

The album is released January 12,1969 and some of the tunes hit the New York FM airwaves after the band’s now legendary performance as the opening act for IRON BUTTERFLY at FILLMORE EAST January 31 and February 1, 1969, this being Led Zeppelin’s first US tour.Legend has it, but I have not verified it, that after LED ZEPPELIN played their set the boys in Butterfly decided to just do one song, their hit IN A GADDA DA VIDA, an FM staple  at the time. The crowd cheered for more Led Zep so the British foursome hit the stage again to close out the night.

That leads me to May 30, 1969. A Friday holiday weekend night with me at FILLMORE EAST with a five dollar ticket awaiting to see LED ZEPPELIN in their first FILLMORE EAST headlining show. The underbill was WOODY HERMAN and His THUNDERING HERD, and DELANEY BONNIE AND FRIENDS. Too cool. The Friday early show which according to some who attended the other three shows, the set list I saw was a shortened one but impressive nonetheless.

From the opening howl of I CAN’T QUIT YOU, through the violin bow smacking strings on DAZED AND CONFUSED, acoustic WHITE SUMMER/BLACK MOUNTAIN SIDE, followed by BABE,I’M GONNA LEAVE YOU, YOU SHOOK ME, and the closer HOW MANY MORE TIMES, Led Zeppelin owned this audience. The encore was short, yet loud, COMMUNICATION BREAKDOWN. The performance bar was now set for this 17 year old youngster on his musical journey.

NEXT TIME: THE WHO/CHUCK BERRY/ALBERT KING

GREGG ALLMAN (1947-2017)

Tags

ALLMAN BROTHERS BAND, Elvin Bishop Group, Fillmore East, Gregg Allman, Johnny Winter

My journey as a fan of the Allman Brothers Band began on a cold March night in 1971. Awaiting the arrival of a friend I stood among a throng of people on the corner of Second Avenue and Sixth Street. In my pocket I was holding two tickets for the Johnny Winter late show at Fillmore East. It was a few minutes before eight, and my friend was late as we were to have met an hour ago to get a bite to eat. As the early show ticker holders slowly moved into the theatre, a guy whom I never saw before walked over to me and asked if I wanted his spare ticket for the early show. With my friend nowhere in sight, and it being extremely cold, I pocketed the ticket, but remained outside in hopes of seeing my friend show up.

At 8:30, now extremely cold, and with no crowd left outside, I entered the building. Ticket torn in half by the usher, and with program in my hand I walked to the upper balcony where I would sit. The opening act, The Elvin Bishop Group, was ending and the intermission began.

Walls of amplifiers, a Hammond B-3 organ and TWO sets of drums were taking their place on the stage. While a black and white cartoon played over the big screen located directly behind the equipment, I could hear the sounds of guitars tuning up. The house lights still dimmed and with the cartoon now over, a single spotlight hit the stage and a simple announcement was made, “Ladies and gentlemen, The Allman Brothers Band”. Not the headliners for that night but after playing for a bit over an hour, you could have fooled me.These guys were good.

After the first show ended, I finally met up with my friend. It was about 11:15 p.m. and he was a bit angry that I had taking the opportunity to see the first show leaving him alone and out in the cold. After he calmed down, we went to get something to eat. Sitting in the pizza shop across the street I told him about this incredible band I just saw. While at first he did not believe me as he was there to see the headliner Johnny Winter,  he changed his allegiance by 6:30 a.m. when we left the late show.

The late show started very late at about midnight. The first act ELVIN BISHOP GROUP  had to cut their sey short due to a bomb scare. The entire audience had to vacate the venue and then reenter a bit later. By 2 a.m. we were back in our seats entertained by a very short set from Johnny Winter. I was confused. I thought, due to the time and the scare, the “Brothers” would be cancelled. Thankfully I was wrong.

Same cartoon as the early show intermission, same equipment being set up, and then “thanks for waiting, we will make it up to those still here”. It was a different voice. No spotlight, and now a “1, 2, 3…” Statesboro Blues. The sun up when we left the theatre, with two ALLMAN BROTHERS BAND shows under my belt, knowing there would be more to come.

Here I am 46 years later, now with 47 ALLMAN BROTHERS BAND shows under my belt, and I hear the news that BROTHER GREGG ALLMAN passed away today. As my wife said, “You knew it was coming, he was very sick”. Yes, I knew but I was not ready, not ready to never hearing the live version of his bluesy vocals. Not ready to never see him behind a Hammond B-3, not ready to end the run. As he sang so many nights  “the road goes on forever”…but not tonight.

Rest in Peace, my Brother, thanks for all the great nights I watched you grace the stages.Thanks for all the wonderful music.Just….THANKS.

All prayers and thoughts go out to your family and friends at this time.

BOND THEMES

Tags

Chris Cornell, James Bond, music, RogerMoore, Shirley Bassey

It is such sad news that SIR ROGER MOORE passed away yesterday, May 23, 2017. While personally I find the original James Bond films with Sean Connery more to my liking and the James Bond of today more suspenseful than the Moore films, it appears that I am in the minority as Mr. Moore was voted “BEST BOND” in an Academy Awards poll, and in 2008 still had 62% of the votes.  My thanks to Sir Roger for keeping the franchise thriving.

Sir Roger, knighted by QUEEN ELIZABETH in 2003, played Bond seven times, starting with LIVE AND LET DIE in 1973 after Connery left the role. Sir Roger continued in the role with THE MAN WITH THE GOLDEN GUN (1974), THE SPY WHO LOVED ME (1977), MOONRAKER (1979), FOR YOUR EYES ONLY (1981), OCTOPUSSY (1983) and A VIEW TO A KILL (1985) when at 58 years of age Sir Roger announced his retirement from the role.

Now, what does this have to do with music one might ask? BOND has everything to do with music. After Shirley Bassey’s incredible version of GOLDFINGER which soared up the charts in 1964, most artists begged for a shot at “the title”. And here they are for better or worse, in chronological order as to see who was popular at the time. Interesting to note Shirley Bassey returned for a grand total of 3 and Chris Cornell passed away a few days before Sir Roger.

1962: DR.NO The James Bond Theme by The John Barry Orchestra

1963: FROM RUSSIA WITH LOVE: From Russia With Love by Matt Monro

1964: GOLDFINGER: Goldfinger by Shirley Bassey

1965: THUNDERBALL:Thunderball by Tom Jones

1967: YOU ONLY LIVE TWICE: You Only Live Twice-Nancy Sinatra

1967:CASINO ROYALE:Casino Royale-Herb Albert and The Tijuana Brass

1969:ON HER MAJESTY’S SECRET SERVICE: We Have All The Time IN The World-Louis Armstrong

1972: DIAMONDS ARE FOREVER:Diamonds Are Forever- Shirley Bassey

1973:LIVE AND LET DIE: Live And Let Die-Paul McCartney and Wings

1974:THE MAN WITH THE GOLDEN GUN: The Man With The Golden Gun:Lulu

1977:THE SPY WHO LOVED ME: Nobody Does It Better-Carly Simon

1979:MOONRAKER:Moonraker-Shirley Bassey

1981:FOR YOUR EYES ONLY-For Your Eyes Only-Sheena Easton

1983:OCTOPUSSY: All Time High-Rita Coolidge

1983:NEVER SAY NEVER AGAIN: Never Say Never Again-Lani Hall

1985:A VIEW TO A KILL: A View To A Kill-Duran Duran

1987:THE LIVING DAYLIGHTS: The Living Daylights-a-ha

1989:LICENSE TO KILL: License To Kill-Gladys Knight

1995:GOLDEN EYE: Golden Eye-Tina Turner

1997:TOMORROW NEVER DIES:Tomorrow Never Dies-Sheryl Crow

1999:THE WORLD IS NOT ENOUGH:The World Is Not Enough-Garbage

2002:DIE ANOTHER DAY:Die Another Day-Madonna

2006:CASINO ROYALE:You Know My Name-Chris Cornell

2008:QUANTUM OF SOLACE: Another Way To Die-Jack White & Alicia Keys

2012:SKYFALL:Skyfall-Adele

2015:SPECTRE:The Writing’s On The Wall-Sam Smith

Dreaming The Beatles

Dreaming The Beatles is my current read. Written by Rob Sheffield, I am amazed at how each new chapter grabs my interest, makes me think back to a time moons ago, and ultimately  has me pulling up the music to verify my feelings about the music. Nice job Rob. Particularly, the juxtaposition of RUBBER SOUL and REVOLVER, which like Rob would be my two favorite collection song, and how the “chaps from Liverpool” developed as artists in the recording studio during that period. Experimentation aside, each Beatle brought a unique mindset to the sessions, and as Sheffield states, “you keep changing, letting your perspective get altered by time and drugs….and IMAGINATION”.#BEATLES,#SHEFFIELD,#RUBBERSOUL,#REVOLVER.

It’s always about the music.

A new blog from me and as it states it’s” always about the music”, hence the address as “in tune and in time”, which some musicians tend to forget. Playing “in tune’ especially with today’s gadgets is relatively easy. Plug the tuner in, or use the battery operated one, and bingo…Yes or no, Green to go.Playing “in time’ is a different animal altogether. In the current issue of GUITAR WORLD(Nov. 2014) Billy Gibbons of ZZ TOP fame and Jeff Beck are discussing their careers, guitars and of coursetheir love of cars. While mentioning Jeff Beck’s ability to wander into “uncharted wilderness” while playing , Gibbons also emphasises that experience as one which is”in tune and in time” which should be a rock solid element for all players.

Short and sweet, but… tomorrow is another day.