MUSHROOMS and OZZY…

   Recently, I read the article “Taking The Magic Out of Magic Mushrooms” (NYT 7/16/22) by Dr. Dana G. Smith a health and science writer and a former psychology researcher.Seems there has been clinical trials at NYU whereby large doses of psilocybin, the psychoactive ingredient in “magic mushrooms”, have been administered to patients dealing with anxiety and depression, especially those following a cancer diagnosis. The article describes in graphic detail what one patient experienced during his “trip”. That study found that psychedelic drugs like psilocybin are remarkably good at alleviating symptoms of depression and anxiety — even in many people who do not respond to currently prescribed medications.Hmmm…the article took me back to another time.

TICKETS TORN IN HALF: FEBRUARY 20, 1971:BLACK SABBATH/J.GEILS BAND/SIR LORD BALTIMORE:Three nights before I was out on a date viewing THE FACES, a snowy, cold night, overall a great show and date. Tonight I returned to FILLMORE EAST, orchestra seats toward the back of the hall, left side, to see a show with an acquaintance of mine, not necessarily a friend, but a nice guy nonetheless who had an extra ticket.  He called early afternoon asking if I wanted to go with him. Never one to say “No” away we went in my car. Taking my car was probably not the smartest move I’ve ever made but, hey, smart moves at 19 years of age isn’t the gold standard.This was a late show, scheduled for 11:30PM and since psychedelics were involved timing is of the essence. One could say in hindsight that taking psilocybin at a BLACK SABBATH show( my first and only) was probably my second mistake of the evening.

   The first act was SIR LORD BALTIMORE, a trio out of Brooklyn who had a drummer who was also their lead vocalist. Rumor has it that Bill Graham, after seeing this band perform that weekend decided that he had had enough. These guys were the pits, dreadful droning, a pathetic excuse for music.

  The J. GEILS BAND out of Boston was next, this their debut at FILLMORE EAST. I had wanted to see this band after hearing their record played many times by Bobby “Wizard” Wayne, the DJ on WCBS-FM. Most nights he played their stuff as often as he could. Strange occurrence seeing them tonight as lively as they were. The drummer had a few extra arms, the guitar player had greased back hair that shined brightly, and the singer moved like a gazelle. The harmonica player was huge, with hair exploding out of his head, almost touching the ceiling. The music was incredible, the visuals imagined, mere pleasant hallucinations. 

   Whew, while Geils was good, I still to this day did not know what to make of BLACK SABBATH except to say I was scared shitless the moment the lights dimmed. The music was unique, grinding, slow in pace, and very, very loud. The four piece ensemble was off to the right of the stage, seemed to be huddled together in close proximity. The rest of the stage looked empty to me. Then, the sound exploded from a wall of amplifiers. “N.I.B”, a song about Satan falling in love?, “War Pigs”, “Black Sabbath”, then the I AM IRON MAN intro to “Iron Man”…help me, what did I get myself in to?. I need to go home. I closed my eyes hoping it would end but alas, it did not. A few more tunes, a long guitar solo( he’s left handed) and the obligatory drum solo, whew…I was sweating profusely in February. Then, “Paranoid”, the place is going nuts, I’m shivering in my seat…”More, More”, the crowd is calling them back, me thinking,“Oh Lord, please make it stop, I’ll never do it again”… “Fairies Wear Boots”, Oh no, the singer is looking directly at me, pointing at me, taunting me, “Son, son, you’ve gone too far ‘Cause smokin’ and trippin’ is all that you do”. Finally, mercifully it ended.My partner for the evening loved it.

   Fortunately, I met a (sober) friend who needed a ride home so I tossed him my keys. My car was parked on a street by Astor Place, near “The Cube”. Some folks were having fun spinning it, sorta like my brain. After arriving home with the sunrise I went to bed but not immediately to sleep as the music was still ringing in my ears. 

   The next morning, more like early afternoon I was awaken by my mother’s voice calling up to my room informing me that a young lady, waiting in her car, wanted to speak with me. I thought, “What hell awaits me now?”…

to be continued…

JOHN MAYALL: “The Sun Is Shining Down”(Forty Below Records)

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John Mayall

   At 88 years old with countless recording dating back 60 years this collection of tunes by JOHN MAYALL is/was an adventure. 

   First the “was an adventure”.Back in January (28th,2022), I ordered as a package ($75.00) one color vinyl album autographed by Mayall along with a cd version also autographed by the 88 year old. The cd would be a birthday gift (March 18) for my friend who is a huge Mayall fan.Expecting swift delivery of both items on February 22nd I contacted the company asking about a possible delivery date. I was advised that due to a “vinyl shortage” the parcel would be delayed. My buddy’s birthday passes. April 29, I sent another request as to  “when?” and received this response, “Really sorry but the vinyl delays have been brutal. This will arrive toward the end of May. Thanks so much for your patience.”

   Me being oh, so tolerant, shot another e-mail about just sending the freaking cd, receiving no reply from the company. June 10th, ME: “any updates would be appreciated”.THEM: “Hi Michael. We’re at the mercy of the manufacturer…. The black arrived but the blue had to be repressed and is delayed until the end of June. Thanks for your patience”. July 5th: “Any update?”…“If you’re inquiring about the blue John Mayall vinyl, there was a problem with the pressing and it had to be repressed. It is delayed until early July. We’re very sorry about this and thank you for your patience and understanding”.

   I’m think JOHN MAYALL will be 89 by the time I get this in my grubby little hands.July 6: “Hi Michael. The vinyl is being delivered tomorrow and we will send orders out straight away. Really sorry about the wait”. And now, July 13th, here it is, arrived by mail, six months after placing the order. Thanks FORTY BELOW RECORDS, you guys are great (sarcasm).

   Okay, now the “is an adventure” part…I placed the blue vinyl on the turntable and cranked up the unit. The stylus hit the groove and, lo and behold, it played. I did have a moment where I thought, “What if it isn’t pressed correctly? Do I drive there and beat the shit out of someone?” Wait, wow… MELVIN TAYLOR singing and slinging on “Hungry and Ready” with MAYALL on harp.Great back beat supplied by (former BUDDY GUY bassist) GREG RZAB, drums JAY DAVENPORT and lead/rhythm guitar by CAROLYN WONDERLAND. and the horn section, WOW.This is good, very good.

“Can’t Take No More” featuring MARCUS KING is another gem. Then there is a fav of mine BUDDY MILLER playing a baritone guitar, followed by SCARLET RIVERA on a haunting violin “Got To Find A Better Way”, MIKE CAMPBELL  adds to “Chills and Thrills”…all in all these 10 songs are all gems, no clunkers here. Mayall’s vocals and keyboard playing, exceptional.

HIGHLY RECOMMEND this, not just for us old time MAYALL fans, this was well worth the wait…

to be continued…

TRIBUTE BANDS

   “SNOB”, usually directed at me by my friends, hopefully in a loving fashion. I’m the guy who will rate your record collection by searching out the “Donny Most’s Greatest Hits” at a party and proudly hold it up for everyone to see while announcing, “A true collector’s item, this guy has eclectic taste, a Donny Most album, now how many of you guys have this rarity?” I also judge your concert attendance, “Fuck The Doobie Brothers, they ain’t brothers and where’s JEFF “Skunk” Baxter, TIRAN PORTER?” “Who are these NEW brothers?”.

   A few months ago I posted my rant about BLOOD SWEAT and TEARS answering the question of a friend with tickets who tried to

entice me/my bride to attend the show with them.  I didn’t have the heart to tell them their evening would be a “Night of Blood, Sweat & Tears” music played by guys who were probably not born when the first/second album hit the stands as BS&T has no “original” members.

   Then, the pandemic…

   It has been a long time between shows, my last being March of 2020. Over 700 documented shows with countless bands from 1965 to 2020. I know what I liked but now, it has been far too long. So, to all my “friends” I beg forgiveness, call me, please, I will go see the “tribute band in full costume” you so like. I’d even say “yes” to the American Floyd band doing THE WALL, shit, I’m in for “1964: THE TRIBUTE”, should I wear my Ringo jacket?Please, call…

to be continued…

SUNDAYS WITH JOHN…

 Every Sunday for the past 24 plus years my cousin John aka “Johnny D From Brooklyn” faithfully called me, never missed, even when he was in Istanbul. During those Sunday calls which could last a few hours we shared our feelings and thoughts on a wide variety of subjects. Nothing was sacred and everything was profane (a Martin Buber thing). Yankees, Giants,Rangers, Knicks, Nets, music, friends, politics, books, and family, all topics which were open for discussion. Laughs abounded almost every week. Today, this Sunday it is approximately 20 weeks since I heard the sound of his voice. I miss him and his opinions. What would he think about The Supreme Court decision, gas prices, The Brooklyn Nets with and without The 3 (he knew I hated the get Harden trade), the hearings and what people are taking away from it (he grabbed the wheel??? WTF???? That’s what you heard?).Or “What if the teacher asking the team to pray was a Muslim?”….I miss him…

It’s a long way from Rogers and Martense Streets in Brooklyn to the Gates of Heaven. Slainte…

C’mon Over To 14th Street, Ya Dig…

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music

   SYLVAIN SYLVAIN once a member of the notorious NEW YORK DOLLS had a song “14th Street” recorded with his post-Dolls band THE CRIMINALS. If memory serves me that very tune was played by THE DOLLS during their last breaths of fame, along with the Gamble/Huff song “There’s Gonna Be A Showdown” which has a reference to 14th Street, maybe not our’s but maybe, yes. Fourteenth Street runs across the borough from the East Side to the West Side and is considered the demarcation point separating lower Manhattan from mid-town Manhattan.  This may not mean much to some but at one point most “hipsters” would never considering having any thing to do with things happening much further north of 14th.

   The area around 14th is a trip, a history lesson unto itself. I’ll start with the make up of the area: all streets north of 14th are in traditional “grid” formation, avenues running north/south, streets east/west while south of 14th, well, not so much. “Fourteenth” borders in some form or fashion the East Village, The West Village, Chelsea, Alphabet City, Gramercy and is a major hub for subways and PATH trains.

   Over the years I had many opportunities to enjoy the outdoor markets, hawkers, vendors, bars, restaurants and venues surrounding 14th Street, many times being over served by the bar staff. One of my all time favorite haunts was the original ENRICO and PAGLIERE’S at 64 West 11th Street off of Sixth Avenue, with its wrought iron  basement entrance connecting three beautiful brownstones.Compared to 14th, 11th was quiet and pristine, a residential area. By the time I attended “EandP’s” it was part of a Longchamp’s chain but I had to go after being told every night at about 11 PM by John ZACHERLE on WNEW-FM it was thee place for “good Italian food with all your can drink wine and beer”. What more does a young man need? All you can drink, I’m in. For those who care there is a sad story about the longtime hostess Mrs. Josephine Pagliere who died at age 95. Check it out at NYT:2/7/76.

   GLANCY’S, a corner pub on 14th, across from the Academy of Music/Palladium was another haunt that over served the under served masses. I learned early on “in a crowded bar, tip the bar keep immediately with a nice chunk of change” and you will never need to search for him or him for you. GLANCY’S was one such place. The EMERALD INN around the corner was usually not so crowded but was frequented by the “men in blue” while off duty, many times while still in uniform.

   There was TAD’S STEAK HOUSE, a cheap, cafeteria style (red trays) eating hall. Did I say cheap? Mushrooms and onions are additional charges, and dessert is yummy green jello. This was a wondrous spot where you stood in line while your steak is being either lightly touched to the huge flames in front of you or being burned beyond recognition, your choice. Not a place to impress a date.

   LUCHOW’S German Restaurant was at 110 East 14th. It was the place to go if you had a date you wanted to impress. This is not the place to go if you were heading to see THE ALLMAN BROTHERS BAND with a few guys. LUCHOW’S food was incredible. For the ALLMAN BROTHERS crowd, have some fun over at HORN and HARDART where you are entertained by watching stoned out hippies trying to get food/drink out of the vending machines.

   For pre-show/post show fun there was JULIAN’S POOL HALL’s staircase entrance to the left of the ACADEMY/PALLADIUM. Bring plenty of expendable cash to lose to all the hustlers awaiting fresh meat or to hawk some heavy drugs.

   UNION SQUARE has a long distinguished history but to us it was the standard meeting place, the place to gather, to meet up, to have a smoke before dinner and a show. Most subways and a PATH train stopped at the Union Square station so its locale was of great importance  Contrary to popular belief, even though UNION SQUARE was the site of the first LABOR DAY PARADE (1882), UNION SQUARE was not named for its ties to union activity but rather it was named as the “union of Bloomingdale Road (now Broadway) and Eastern Post Road (now extinct)”. Surrounding THE SQUARE was S. KLEIN’S DEPARTMENT STORE, to the north was ANDY WARHOL’S “The Factory” (The Decker Building) which later relocated to 860 Broadway at Union.

   IRVING (Washington Irving) PLAZA was around the corner, and directly across from Union Square on Park Avenue South was MAX’S KANSAS CITY where I would religiously stop by for a few cocktails and regularly for some entertainment, either in the bar  watching the weirdos or upstairs at the showcase to see my beloved HEARTBREAKERS.

   Lastly, there was the ACADEMY OF MUSIC, later THE PALLADIUM. We saw many bands there. It wasn’t FILLMORE EAST but it would do for major bands coming into town for a few years.

THERE’S GONNA BE A SHOWDOWN (Gamble/Huff)

Say man, they tell me you think you’re pretty good

Don’t you know you’re in my neighborhood

They tell me you’re pretty fast on your feet

You best be at the dance hall down on 14th street, you hear

ME@70…

“May you always be courageous, stand upright and be strong. May you stay forever young.”- Bob Dylan, ‘Forever Young’

   Today, January 24, 2022 I feel I am still that 16 years old snot nosed kid but now I come with 54 years of additional experiences.When my Mom was still with us I would send her flowers every year on my birth date. Some years the package was delivered to her at work, which was tough for her to explain to co-workers, flowers with the word “Thanks” nothing else written on the card.Then, there was Dad whom I learned a lot from. Pop who would say, when we needed to have “that” long discussion for any indiscretions I might have provoked, “excuses and promises don’t make it for me, Michael” so I got used to working hard to deliver on things I promised. Since that time my hair has changed color, my face has added a few wrinkles, and my bones ache most mornings when I arise but hell, I’m ready for anything the day throws at me. Well, not sky diving as I am still afraid of heights and while I’m at it I’m not particularly fond of the deep water either. I never back down, never give up and am stubborn as a mule. I am loyal to a fault. If you need someone to hold your drink while you want to do something stupid, I’m your guy. And, YES, I am a snob when it comes to “your taste” in music. I still play “A Love Supreme” as often as possible, shook Albert King’s huge hand, had Duane Allman bum a Marlboro Red off of me March of 71, and sang on Todd Rundgren’s “Sons Of 1984”. I’ve had three careers(38 years) all in one school district (custodian, teacher/coach, administrator), am happily married (49 years this anniversary) to a girl I met in first grade, we have two wonderful boys (men), and are proud grandparents. I have a fabulous extended family and miss my brother every day. So, THANK YOU for all the kind words and warm wishes for my 70th completed trip around the sun. And to the cast of knuckleheads, vagabonds, cronies, and sidekicks who joined me on some of my past escapades, We did have fun, didn’t we? With more to come, hopefully. 

  Most importantly, today, my birth date, THANK YOU, Mom and Dad. Look down and smile, I’m still your knucklehead.

IN THE BLINK OF AN EYE

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music, PattiSmith

IN THE BLINK OF AN EYE: 1977,DECEMBER 30: THE PATTI SMITH GROUP with RICHARD HELL and THE VOID OIDS/THE ERASERS at the newly re-named “CBGB’s Theatre” on Second Avenue, the old Anderson Theatre. My brother and I, with a growing angry crowd, spent a very cold night outside waiting to get in. I had my usual pack of Marlboro Reds and we shared a bottle or two of wine. After an unusual delay the doors finally opened to find the theatre had limited if any heat, poor(no )plumbing and limited services, none. The usher led us to a nasty looking broken seat but it was close to the stage on the right. WE, my brother and I were primed and ready to go. The ERASERS a band we saw a few times at CBGB’s and MAX’s opened and did not disappoint. Funny note: you could see frost coming from the singers mouth, it was so cold in this freaking dirt hole. Then RICHARD HELL and The V.O’s hit the stage with “Blank Generation”. This is going great, but I’m still freezing. Then the PATTI SMITH GROUP ripped it up opening with The Velvet’s “We’Re Gonna Have A Real Good Time Together”, “Ask The Angels’,”Kimberly”(my bro’s fav), “We Three”. “Till Victory”, we are rocking now, this place is nuts. Then, a Ronette’s cover, “Be My Baby”,”Pumping My Heart”,Patti slows the pace with “Ghost Dance” and I’m getting so excited knowing this is going to be a blast as we get closer to the end except for all the NYPD officers and NYFD uniforms suddenly walking about the place. Patti addresses the crowd talking about a new song she recorded and then she introduces BRUCE SPRINGSTEEN who joins the band to perform “Because The Night”. This is followed by “25th Floor” and then the crowd, we, collectively sing HAPPY BIRTHDAY to our host, Patti Smith. But something is amiss as the NYPD and NYFD are now on the stage, not joining in the chorus. As we conclude the birthday song the NYFD closed the place down by announcing the numerous fire code violations. Patti, the diplomat, beseeched the courtesy of one more song, really two “Radio Ethiopia’ and “RnR N” if everyone promised to leave in an orderly fashion, which we did, slowly. She invited everyone to meet her over to CBGB’s to continue the party which was a mob scene so we headed home as my brother had a doctor’s appointment the next day.

December 31: We, my brother, his date, my wife, and I had tickets for NEW YEAR’s EVE at My Father’s Place in Roslyn featuring ROBERT GORDON. Earlier in the day my brother had a procedure in North Shore Hospital. At about 6pm he called me to tell me he had cancer and had to stay for testing.In the blink of an eye…everything changes…

IN THE HOUSE AND ON THE TURN TABLE: Jethro Tull

JETHRO TULL: “My God…or How I developed a dislike for a great band…”

“This Was” JETHRO TULL: released (US)February 1969 Even with it’s unusual cover photo and liner notes so hard to visually decipher, I loved Jethro Tull’s first lp “This Was”. The music was incredible. Blues,folk, jazz, and rock all thrown together in a mix which made my 17 year old ears perk right up. The calendar had just turned to 1969(February) and this album was a fine addition to my ever expanding collection. I remember going to TSS which had a great record department to purchase “This Was” and “Fleetwood Mac” (Peter Green’s Fleetwood Mac). From that afternoon, both pieces of vinyl found heavy rotation on the turntable in my upstairs bedroom.

So, here we are going into Spring of 69 and a new “favorite” guitarist joins my ever expanding list, MICK ABRAHAMS. Excitement filled the air in my tiny room every time that LP was played. CLIVE BUNKER on the kit, GLENN CORNICK on the bass, the flute and vocals of Ian (and Mick vocals) that album was a joy to listen to. Alas, my neighbor saw JETHRO TULL at STONY BROOK UNIVERSITY and again at FILLMORE EAST with JEFF BECK (July 69) and broke the news to me that MICK ABRAHAMS was out and a new guitarist was in, MARTIN BARRE. Geez, I was disappointed but my neighbor (3 years older than I) whom I considered to have had impeccable taste in the music told me the new guy was good.

“Stand Up” JETHRO TULL: released September 1969STAND UP is released in September 69, the second JETHRO TULL album, the first with MARTIN BARRE. It’s a bit different and I found listening to it quite enjoyable, but it wasn’t “This Was”.

NOVEMBER 1969: At one of the notorious weekend parties at a friend’s house, with TIME WAS being played in the background someone suggests we, the group, get tickets to see JETHRO TULL. I threw in my 11 bucks for two seats.

December, 1970 FILLMORE EAST:FAT MATTRESS up first, a band which was basically Noel Redding the ex-bassist for Hendrix’s Experience now playing lead guitar and fronting the group.They were terrible. (The band disbanded a few weeks later, with Noel walking out during the American tour) .GRAND FUNK RAILROAD was loud, very loud, fast and did I mention loud. There was a hair flowing lead guitarist running about on the stage. Geez, these schmoes got an encore and then another encore…WHAT? The Fillmore East crowd begging for multiple encores? Grand What? It was unusual even with my limited concert experience to see a support band called back more than once. Then, JETHRO TULL hits the stage with NOTHING IS EASY, a great opening tune. “Bouree”, “A New Day Yesterday, “My Sunday Feeling”, “Fat Man”, “Dharma For One” , “For A Thousand Mothers” along with a tune or two to which I was unfamiliar. Overall, a nice set by a band I was willing to see again.

April 70  Jethro Tull’s third album “Benefit” is released and I add it to my collection but overall was not too impressed with it.

May 1970: On a train with a large group of 12 friends we are off to the FILLMORE EAST late show featuring JETHRO TULL, supported by JOHN SEBASTIAN and CLOUDS, a strange mix of artists for his May 22 bill. CLOUDS a power trio from Scotland who shared management with Jethro Tull landed the opening slot and proceeded to assault our ears with their loud music, if that’s what it could be called. They were followed by JOHN SEBASTIAN, complete in his stoned out Woodstock tie dye outfit playing acoustic guitar, and harmonica. From a power trio to a stoned acoustic singer, we were mesmerized. Now, throw in JETHRO TULL as the closer. JETHRO TULL was now a five piece outfit, adding John Evans on piano, and the band was playing tunes from the recently released BENEFIT album along with the traditional STAND UP songs and a new one with a long diatribe introduction by IAN ANDERSON, “My God”. I pined for the THIS WAS era tunes and the only one they played this night was DHARMA FOR ONE(15 plus minutes) which is the drum solo.”Nothing Is Easy”,”My God”,”To Cry You A Song”, “With You There To Help Me”, “Sossity…”,”Reason For Waiting”, “Dharma For One”, “We Used To Know”, and “For A Thousand Mothers”.

JULY 17, 1970: RANDALL’S ISLAND FESTIVAL: Tull played the identical set as of the FILLMORE EAST show a few weeks ago.

August 3, 1970: WOLLMAN SKATING RINK in Central Park, JETHRO TULL is supported by HAYSTACKS BALBOA  a band playing their very first major venue gig, and it showed.  JETHRO TULL open up with “To Cry You A Song” followed by the almost identical introduction to “My God” as Anderson did in May. Ian Anderson tried to entertain the crowd with dialogs between some songs but I found this nonsense to show him as a weird dude and getting weirder by the moment. That night I lost all momentum to follow this band any further. ”With You There To Help Me”, “A Song For Jeffrey”,”Sossity, You’re A Woman” (loved it), the obligatory “Dharma For One” (about 15 minutes) and the traditional closer, “For A Thousand Mothers”.

April 29, 1971; JETHRO TULL @ New Paltz It was Spring Break and TULL was one of the major acts performing in the gym. The sound was muffled, the nonsense between tunes unbearable, and it was hotter than hell in the hall.

May 5,1971: JETHRO TULL at FILLMORE EAST, from a cancelled show last month.Yuck.

May 71 AQUALUNG released and Tull goes to MSG, I did purchase the lp, gave it a few spins and traded it away. Didn’t even consider buying a ticket for The Garden show.

May 72 THICK AS A BRICK: Nope/done

2020: Ian Anderson is still going and I only have the first two Tull records in my collection but did add an incredible THIS WAS (live) recorded by MICK ABRAHAMS THIS WAS BAND. Also, filed away are the two BLODWIN PIG records.

TICKETS TORN IN HALF: “A CELEBRATION: 50 YEARS OF THE ALLMAN BROTHERS BAND” as performed by THE BROTHERS, March 10,2020 @ Madison Square Garden,NYC

TICKETS TORN IN HALF: “A CELEBRATION: 50 YEARS OF THE ALLMAN BROTHERS BAND” as performed by THE BROTHERS,
March 10,2020 @ Madison Square Garden,NYC

A Golden Anniversary is a great way for couples to celebrate a half century of loving companionship. But, golden anniversary record releases are a different story, compounding that a “50 Year Celebration” of a band’s music might be difficult to pull off. The Stones, sure, they are still somewhat relevant, Herman’s Hermits, not so much. Yet when it was announced that THE BROTHERS, surviving members of the various incarnations of the ALLMAN BROTHERS BAND sans DICKEY BETTS would be performing at MADISON SQUARE GARDEN aka THE WORLD’S MOST FAMOUS ARENA, I was in for the “celebration” from the get-go.
This ALLMAN BROTHERS obsession for me goes back 49 years and 47 shows ago to March 13,1971 when my college radio station partner and I got tickets from Columbia Records to see JOHNNY WINTER AND. Well, the review for WINTER went out the door the minute I heard the twin guitar approach with dual drummers of the ALLMAN BROTHERS BAND. The vocalist was amazing. The late show even better than the early show.Magical. Hence, that night’s performances became an integral part of one of the greatest live recordings LIVE AT FILLMORE EAST.
So many years later,March 10, 2020,with a group of different players but somehow the music performed this night touched me almost as much as it did in ’71.
The pre-show discussions overheard though out the sold out house included “Why just THE BROTHERS? Who owns “the name” ALLMAN’s?”, “What will they play?”, “Who will sing vocals?”, “Where’s Dickey?’”,“Who will sing Blue Sky” and of course , “Will we catch this Corona thing?”
Remembering a snippet from an old BUTCH TRUCK interview of yesteryear, Butch stated that he envisioned a time when the music of THE ALLMAN BROTHERS would tour ala the DUKE ELLINGTON ORCHESTRA without any original members.Hmmmm.So here it is.

The lights dim precisely at a very professional 7:30 pm with a slight moment or two to plug in, tune up and hit the opener of THE ALLMAN BROTHERS BAND debut album, the SPENCER DAVIS tune “Don’t Want You No More” which tonight just like on the album morphed into “It’s Not My Cross To Bear” complete with a portrait of Gregg on the screen AND his lead vocals looped in with guitarist/vocalist WARREN HAYNES. The applause at the end of the selection(s) was deafening, but not as loud as the whoops and yells when we heard Warren say, “ 1,2,3” the intro to the BLIND WILLIE MCTELL song “Statesboro Blues”,a signature tune for the original band. DICKEY BETT’S penned tune “Revival” from the second lp was next, followed by “Trouble No More”, “Don’t Keep Me Wondering”, “Black Hearted Woman”, “Dreams”(fav of mine), and a smoking “Hot ‘lanta”. CHUCK LEAVELL, a member of the post-Duane ensemble was introduced for “Come and Go Blues”,”Soulshine”,” Stand Back”, and ultimately “Jessica” complete with his amazing piano solo closed out the first set.
With that said, my buddies commented that if the evening was over at this point the ticket price of over $200.00 was well worth it.

For set two the core of founding member Jaimoe(drums), Derek Trucks(guitar), Warren Haynes, Marc Quinones (longest tenured member on various percussion),Oteil Burbridge (bass), former member Chuck Leavell, once again shared the stage with WIDESPREAD PANIC’s drummer, brother of Derek, DUANE TRUCKS and keyboardist REESE WYNANS, a former member of STEVIE RAY VAUGHN’s band. The audience knew that at some point we would hear the familiar riff from the improvisation of a DONAVAN melody renamed “Mountain Jam” but never expected it to start the second set. This 20 minute exchange set the tone for the next few selections as each musician was given a chance to step out into the spotlight.DEREK TRUCKS utilized DUANE ALLMAN’s legendary 1957 LES PAUL GOLD TOP, the same guitar which was used during the recording of the first two ALLMAN lps as well as during the LAYLA sessions, the guitar which recently sold for $1.25 million, one of the top five most expensive guitars ever sold (according to Stringjoy). To further answer the question posed about DICKEY BETTS’ absence, CHUCK LEAVELL sang the next tune, “Blue Sky” (complete with a Franklin’s Tower tease) as did most of the 20,000 plus folks in attendance.Warren Haynes provided the vocals and guitar solo for a smoking hot version of a latter day ABB song ,“Desdemonia”.
Chuck Leavell’s piano introduction to “Ain’t Wasting Time No More” was met with cheers becoming an almost mandatory sing and dance along. It was party time in The Garden. Phones were out recording the event, beers were being raised toasting our great fortune. Smiles abounded. Chuck took his leave after this number. As long as everyone was standing, “Every Hungry Woman” kept the crowd enthusiasm going.
Warren strapped on an acoustic guitar,and with that the opening chords of “Melissa” changed the mood immediately. Derek’s beautiful electric exchange help calm the mood even further. The crowd was listening to each word, each note. This somber song made me reflect on how GREGG ALLMAN’s vocals will be forever missed but Warren was doing a yeoman’s job tonight. The applause for “Melissa” seemed to last forever.Gregg was smiling down on us.
A deep breath was taken by the band, a slight interchange, a few tuning notes and soon we were deep “In Memory of Elizabeth Reed”, followed by the Bo Diddley beat of “No One To Run With” and concluding with “One Way Out”.
The band returned to the stage with a short word or two from JAIMOE and as most in the crowd were yelling for “Whipping Post’ as the encore, the band with Chuck Leavell hit the notes for “Midnight Rider”.Beautifully done. Then, Oteil stepped forward and his thundering bass led us through “Whipping Post” complete with a “Les Brers In A minor” thrown in for good measure.The band meet at mid-stage, took a few bows, a few photos and the house light rose. #48 in the books.

TICKETS TORN IN HALF:July 12,1969:BLIND FAITH/DELANEY,BONNIE and FRIENDS/FREE @ Madison Square Garden, NYC.

TICKETS TORN IN HALF:July 12,1969:BLIND FAITH/DELANEY,BONNIE and FRIENDS/FREE @ Madison Square Garden, NYC.

But as they sang on ever popular TV show LAUGH IN “what’s the news across the nation”, well, Warren Burger becomes CHIEF JUSTICE of THE SUPREME COURT and two weeks later he votes with the majority in ROE v WADE, establishing a woman’s right to an abortion. In late June I read an article about the STONEWALL RIOTS, a confrontation between gay rights activists and the NYPD outside the gay bar STONEWALL INN located in Greenwich Village. Sexuality, or the way folks thought about sexuality was changing right in front of our eyes, Women’s Rights, Gay Rights.

JULY 12,1969 BLIND FAITH
For some strange reason in the late sixties record companies coined the phrase SUPER GROUP, as in CREAM the first and then BLIND FAITH the most notable. TIME magazine even wrote about the “supergroup” as a “potent but short-lived rock phenomenon” which was an “amalgam formed by the talented malcontents of other bands.” The article acknowledged that groups such as Cream and Blind Faith “played enormous arenas and made megabucks, and sometimes megamusic”.Harsh words but somewhat true especially in the case of BLIND FAITH, JULY 12,1969 at MADISON SQUARE GARDEN.

To put BLIND FAITH in context, the week they performed at THE GARDEN, the song “IN THE YEAR 2525” by Zager and Evans was a Number 1 hit across the nation. Lord help us. So for what in today’s economic standards would be a meager $6.50 but was costly in ‘69 I ventured out to see the American debut of BLIND FAITH the “newest” SUPER GROUP featuring Eric Clapton (guitar/vocals) and Ginger Baker(drums) from the aforementioned “supergroup” CREAM, Ric Grech (bass and violin) from FAMILY and Steve Winwood(vocals, guitar,keyboards) from TRAFFIC, on a bill with FREE, and DELANEY,BONNIE and FRIENDS. All to be showcased on a revolving stage set in the middle of the cavernous arena; which in hindsight, having the stage located where it was… was not a good idea.

A few of my thoughts on the performance are a bit cloudy, musically that is, especially the BLIND FAITH portion of the show as their first lp was still days away from hitting the shops and most of their live material that night was unfamiliar to the attending audience, especially me. It was believed that their musicianship when blended together should have perked up our ears, as these members were already “musical legends”. In hindsight one could say that these guys as a band hit the road a bit too early. Add to that, the sound system used that evening was atrocious.

The English group FREE kicked off their American career with an enthusiast set to which the audience responded in kind, some even positive. Most of their tunes were unfamiliar to this crowd as would be BLIND FAITH’s set.

This night was my second shot at seeing DB and F in only a month’s time. Again the sound system hindered their funky proselytizing but from where I sat they worked and wooed the crowd to its feet.They were a band on the rise.

Blind Faith on the other hand was dead in the water from the opening tune.They appeared underrehearsed, seemingly uncomfortable with each other on stage and then there was the poor sound system to deal with. About 18,000 people awaiting to hear songs they were unfamiliar with didn’t add anything positive to the mix. It was truly a “blind faith” on our part for showing up as only one song had been released by this “super group”. Being familiar with Traffic and Cream I was anticipating a blend of both from this outfit and Blind Faith did their Cream/Traffic thing as expected until tensions in the crowd grew and the show was ended by the NYPD. Ginger Baker the drummer, left his throne, walked to the edge of the stage where he hit a security guard (NYPD) who allegedly “manhandled” a girl. Show or the musical portion of the show anyway was over, now the dramatics began as the security team attempted to get the “supergroup” through the crowd surrounding the circular stage in the center of Madison Square Garden. From what I remember the NYPD who were slighted by Mr. Baker did little to control the crowd hindering the security attempt to exit the band.

Despite all this drama and a poor sound equipment, overall, this show was a great concert experience for my young concert days. Yes, sometimes the crowd IS the show as it was tonight and yes, sometimes the undercard (Free and DB&F) is better than the head liner.

The BLIND FAITH set list is from a bootleg which has circulated for some time:

Had To Cry Today
Can’t Find My Way Home
Sleeping In The Ground
Well All Right
In The Presence Of The Lord
Sea Of Joy
Do What You Like
Means To An End

Blind Faith: Madison Square Garden, July 14, 1969 Review

Blind Faith Group Sings

New York Times, July 14th 1969

By Mike Jahn

Blind Faith, the British rock group succeeding Cream, which became very popular in the last few years, played an impressive opening Saturday at Madison Square Garden. 

Blind Faith presents Eric Clapton on guitar, Ginger Baker on drums, Steve Winwood, guitar and keyboards, and Rick Grech, bass and electric violin. 

The group packed the Garden in its first United States appearance. As usual, the Garden sound system was bad, and the breaks between songs were punctuated by indignant shouts to that effect. Considering the acoustics and the size of the house, Blind Faith did rather well.

Mr. Clapton and Mr. Baker play loosely structured, emotional music. Mr. Winwood leans toward tightly structured but soulful rock. Putting together such intensely individual artists as those three men is a risky business. Blind Faith emerges as more versatile and precise than either cream or the rival British group Traffic, but unfortunately not as exciting as either.

Mr. Winwood’s vocals were taut and effective as usual. Mr. Baker contributed an explosive, imaginative drum solo that was the emotional high point of the night.

Also on the program were Delaney & Bonnie and Friends, an exciting soul-and-gospel group from Los Angeles.