Ripple Theater - Last Days Here DVD; The History of Pentagram

If you have any interest in developing an addiction to crack and/or heroin, please watch this documentary about Pentagram mainman Bobby Liebling. I always knew Bobby was an insane drug addict but I had no idea of the depths of his insanity. Holy shit, this guy is nuts. Last Days Here is an extremely accurate portrayal of his manic lifestyle. Bobby is undoubtedly a talented and visionary musician. It took people decades to appreciate what Pentagram started doing back in 1971 (me included).

In most stories concerning obscure rock bands, the blame is usually dumped on the manager or record company. In the Pentagram story, it's all down to Bobby. He's alienated just about everybody he's ever played music with or tried to help his career. The movie starts with him looking frail, high and insane living in his parents house. Sean “Pellet” Pelletier is a Pentagram fanatic trying to help get his hero's life and career back in order. If there's a heaven, Sean will have a VIP pass. Musicians are a weird breed. There's a weird mix of insecurity and ego that forces someone to perform. Bobby makes Iggy Pop seem like an easy going guy who's a delight to work with. His elderly parents acknowledge that they've enabled their son's poor behavior but refuse to turn their back on him.

The history of Pentagram is long and confusing and some of the anecdotes are priceless. There are some hilarious/pathetic tales told by former member Joe Hasselvander about Bobby turning up so late for a show that he gets there in time for the end of the last song. And then there's the time he OD'd on stage. Still want to be in a band, kids? Murray Krugman, who was involved with Blue Oyster Cult and The Dictators, had big plans for Pentagram but Bobby blows it by mouthing off and ruining their chances. Former drummer Geof O’Keefe's version of that story is heartbreaking.

But for all the doom n gloom of this film, there is a happy ending. Bobby swears on camera to give up drugs and eventually gets clean. His relationship with on and off again girlfriend Hallie results in marriage and a baby. That's where the movie ends. Since the film was completed Bobby has been rewarded with a stable line up and the triumphant return of guitar hero Victor Griffin. Victor's been clean for a long time and he vows to split if Bobby fucks up. Last year they released the solid album Last Rites and I caught the band in NYC and was thrilled at how great Bobby sounded. His voice has not let him down and Victor played incredibly well. I'll get another chance to see Pentagram in September when they headline a festival in Brooklyn that features heavyweight support from Agnostic Front, Negative Approach and Poison Idea. If Bobby manages to stay clean then a sequel to this film would be pretty dull, but that would be fine with me.

--Woody

Rose Tattoo - Live From Boggo Road Jail 1993

 

Rose Tattoo playing live at an Australian prison in 1993 is all you need to know about this DVD, but I'm very happy to ramble on at length about it if you want to know more. Boggo Road Jail was shut down in 1993, a little over a century after it was constructed. It was the site of numerous hangings. There were hunger strikes and prison riots over the poor conditions. A concert featuring The Divinyls, Billy Thorpe & The Aztecs and Rose Tattoo was booked to celebrate the closing of this hell hole.

Rose Tattoo had broken up in the late 1980's but reformed in 1993 to do a tour with Guns N Roses in Australia. Judging by the performance on this DVD, they must have blown them off the stage every night. From the opening note of "Out Of This Place" (very appropriate song for a prison) Rose Tattoo come out storming. No bullshit, nothing fancy. Just pure rock n roll at it's best. I hadn't seen any of this footage before so I really didn't know what to expect. That was foolish because it's obvious that Rose Tattoo don't step on the stage unless they're going to destroy the place. The rhythm section of bassist Geordie Leech and drummer Paul De Marco isn't very pretty to look at, but jeezus, do they swing hard. The guitar team of Mick Cocks and Pete Wells are incredible. (Pete was the bassist in the killer proto-metal band Buffalo. Make sure you get a copy of Volcanic Rock if you don't already have it). It's so sad they both passed away too young from cancer. Mick's rhythm guitar is rock solid and Pete's slide playing gives the band such a unique sound. It really sounds like Johnny Winter sitting in with AC/DC. Then there's the powerhouse vocals of Angry Anderson. Covered in sweat from the first song he pours his heart out into the microphone.

"Bad Boy For Love," "Assault & Battery," and "Tramp" are pummeled out in rapid fire succession. The closest thing Rose Tattoo gets to a ballad is the bluesy "The Butcher & Fast Eddie," another great song to play in a prison yard. The pace picks back up for a great cover of "Street Fighting Man" followed by "Rock N Roll Outlaw," "One Of The Boys" and their anthem "Nice Boys (Don't Play Rock N Roll)." They encore with a very fast version of Freddy King's "Going Down" that has Billy Thorpe guesting on guitar and vocals.

This DVD left me feeling inspired and depressed at the same time. It's always inspiring to watch a great rock n roll band do what it does best, but it also made me sad that there's no one this good out there right now. It takes a lot of commitment to really boogie and most people don't want to put in the hours to rock this hard. Buy this pronto. Play it loud and proud.

--Woody

Frank Zappa: From Straight To Bizarre DVD

"Just what the world needs: Another record company." No, this is not the motto of Ripple Music, but the slogan that Frank Zappa used in 1968 to launch his record company Bizarre Records. Distributed through Warner Bros. because of a deal with Frank Sinatra's label Reprise, Bizarre and it's counterpart label Straight released some of the weirdest shit you've ever heard - Uncle Meat, Trout Mask Replica and Pretties For You are the three best known releases but there was a lotta other crazy stuff that's really hard to find.

If you like those records then you'll enjoy this DVD. If you don't, it will bore you to tears. It's about 2 hours long and pretty scholarly. Not surprising since it's narrated by and features interviews with British music journalists. American author/musician Billy James is also featured and has some interesting insights. He's worked on books with members of both Alice Cooper and Captain Beefheart. Although the commentary can be a bit dry at times, what makes it interesting is the first hand accounts from the artists themselves. I'm always interested in hearing Neal Smith and Dennis Dunaway talk about their time with the original Alice Cooper group. They both talk about how thrilled they were to get accepted into Zappa's orbit and confirm that due to a misunderstanding they went to Frank's house to audition for him at 9 o'clock in the morning, not 9 at night. They're also honest in their appraisal that they were unhappy with the way their debut album turned out but admire it's uniqueness.

The same goes for John "Dumbo" French and Bill "Zoot Horn Rollo" Harkleroad of Captain Beefheart's Magic Band. Their work on Trout Mask Replica remains truly one of a kind. Like it or not, there's no other album like it and it never would have happened if Zappa didn't give Beefheart complete creative freedom. They also confirm the legends surrounding it - most of it was done in a single 6 hour session; Beefheart insisted on putting cardboard over the cymbals, etc. Zappa even bailed them out of jail when the hungry musicians got busted for stealing food from a grocery store. Those guys were pretty freaky looking back then, it's no surprise they got caught.

Jeff Simmons was signed to Zappa's label when he was a member of the band Easy Chair but they broke up before recording anything. Simmons wound up doing the soundtrack to a biker movie called Naked Angels and eventually put out the solo album Lucille Has Messed My Mind Up. These are some of the most obscure albums on the label but the two songs were later recorded by Zappa. "Wonderful Wino" turned up on 1976's Zoot Allures and "Lucille…" closed the first chapter of 1979's Joe's Garage trilogy.

Then there's the notorious Permanent Damage album by the G.T.O.'s. This might be even more difficult to listen to than Trout Mask Replica. The vocalists were all well known Hollywood groupies at the time that Zappa encouraged to write about their activities. Pamela Des Barres is the best known member but the other ladies were all linked to heavyweight musicians and actors. The years have not been kind to this record. Not even guest spots from Jeff Beck, Rod Stewart, Lowell George and assorted Mothers can make their out of tune wailing something you want to hear more than once or twice. The dialogue in between songs is still pretty funny.

Other artists that released albums through Bizarre and Straight were comedians Lenny Bruce and Lord Buckley. Zappa's manager Herb Cohen brought folk artists like Tim Buckley that are covered briefly. The Zappa family trust are very unwilling to work with outsiders so most of Zappa's own releases are not dealt with in detail. Too bad since Uncle Meat, Weasels Ripped My Flesh and Burnt Weeny Sandwich contain some of his greatest work. I'd love to hear stories about how he wrote the music and worked with the incredible Mothers of the late 60's. The label eventually ceased due to legal trouble with Herb Cohen and the amount of work that's required of dealing with running a record company but the Bizarre songs remain insane.


--Woody

Buy here: http://www.barnesandnoble.com/w/dvd-frank-zappa-from-straight-to-bizarre/23171108?ean=823564527291&itm=1&usri=823564527291

Ripple Theater - Ballad Of Mott The Hoople DVD

 

Against all odds, I've become a big fan of Mott The Hoople over the past few years. I always liked some of their songs but never bothered to explore their music in great depth because I never thought I'd really like it. I've never been a fan of Bob Dylan or the Rolling Stones and both of those artists are big parts of the Mott sound. They have an association with one of my all time least favorites, David Bowie. But for some reason I was drawn to them and started checking out their first few albums that were released on Island Records. Probably had something to do with the fact that I've always loved the Dictators version of Mott's "Moon Upstairs" on their live album Fuck 'Em If They Can't Take A Joke. The original version is on a great album called Brain Capers that's become a real favorite of mine. In 2009 I was a guest on the Ripple radio show and wound up talking a lot about the Mott reunion with Ripple friend Bob Vinyl and his cousin who went to England to see one of the shows. So when in 2011 it was announced that the Ballad Of Mott the Hoople documentary was being released on DVD I couldn't wait to check it out. It was a pain in the butt to actually find in a store but the incredible Vintage Vinyl in Fords, NJ had it in stock.

The story of Mott is pretty unique in the history of rock n roll. Named and molded by insane record producer Guy Stevens, Mott The Hoople recorded 4 albums for Island Records between 1969 and 1971. Guy was impressed when guitarist Mick Ralphs burst into his office demanding an audition after waiting around hanging around for a few days. Guy was even more impressed when they lugged a massive Hammond organ up a couple flights of stairs to play for him. My band practices on the 3rd floor of a walk up. I can verify that doing something like this requires a HUGE commitment to your art. They didn't have much commercial success but attracted a rabid following for their high energy stage shows. The band decided to break up but were encouraged by David Bowie to continue and he offered his services as producer and gave them their first hit "All The Young Dudes." Bowie's manager had Mott wear glammy clothes and they finally achieved success.

All of the band members are interviewed and their honesty is very refreshing. It was Mick Ralph's idea to go in a country rock direction on the album Wild Life and he says that he wound up apologizing to the band for this mistake (Mild Life is how they refer to it). Ian Hunter's especially blunt and delivers some great quotes. Roger Taylor of Queen talks about how they gave Mott a run for their money when they opened for them. Ian says "we never had any problem following them." Some of the band members talk about how once they became popular that Ian became the leader of the band and it was no longer a democracy. Hunter's reply is "the band was always a democracy. That was the problem." I also really like how the band all agreed that it was great that Bowie helped them out but they wanted to get out from his shadow immediately. They dumped Bowie's manager and declined working with him as a songwriter or producer. Turns out they were right. The follow up album to …Dudes simply titled Mott was a bigger hit and contained even better songs. I've always thought "All The Way From Memphis" was a much better song than "All The Young Dudes." Watching the live footage of the band in their prime (wish there was more of it) made me realize why I liked the band so much. Even in their glam clothes Mott The Hoople was a kick ass band. It's obvious they were all real rock n rollers and were very confident on stage but never resorted to Jagger-esque pantomime. Watching bassist Pete "Overend" Watts is hilarious. It's obvious Pete Way of UFO got a lot of inspiration from him and we all know Steve Harris of Iron Maiden patterned his onstage persona on Way.

This DVD should be required viewing for anyone in a rock band. When Mick Ralphs presents Ian Hunter with a bunch of songs that Ian feels he's not capable of singing, Ralphs departs to form Bad Company. There were probably some hard feelings at the time but both of them agree that it was the best thing to happen to each of them. Rather than compromise, they moved on and Ralphs works with Hunter off and on to this very day. Replacement guitarist Ariel Bender is also honest in the fact that he rejuvenated the band on stage but fell short in the studio when it came time to write material. The DVD ends when Hunter departs on his solo career with Mick Ronson. The rest of the band got in some new members and carried on simply as Mott but not much is mentioned about that here. There could easily be another documentary about that bands sad demise along with Ian Hunter's career ups and downs. If you don't know much about Mott The Hoople this documentary will be very enlightening and entertaining. Ian Hunter is touring again in 2012 and is playing right in my own neighborhood at the end of March. He's in his early 70's but word has it is still putting on great shows. For an even more Mott The Hoople madness, check out the new issue of Shindig Magazine for a massive article in the current issue with some killer photos.

--Woody

Ripple Theater - Barry Richards TV Collection Vol.1 featuring Tommy Bolin, Alice Cooper, Humble Pie, Bob Seger

In the 3 years I've been scribbling for Ripple I've received some very cool stuff - lots of great music, some cool feedback on my reviews (Captain Sensible commented on my review of Grand Funk's Live Album!) and the chance to bond with my fellow rock freaks out there. But this DVD/CD that I was just got in the mail might be one of the best perks I've ever received. If you're into kick ass classic rock don't even bother reading this review. Just go to the bottom of the page and click the link to order a copy. Trust me, you're gonna want this as soon as possible.

Back in the early 1970's Barry Richards presented a low-budget TV show that featured rock bands playing live. Shit, just having good quality footage of Alice Cooper doing "Eighteen" and "Black Juju" from 1971 is worth whatever they're charging for this. And then there's the smokin' version of "Rollin' Stone" by Humble Pie back when Frampton was still in the band. So good! There's Zephyr featuring a very young Tommy Bolin (Racer, have you ordered your copy yet?) playing a gorgeous Les Paul. This is also back when Bob Seger used to rock hard so you get 3 killer jams including a burning "Ramblin' Gamblin' Man." Bob's really going for it rocking a red, white & blue Gibson Firebird (paint job probably inspired by Wayne Kramer's American flag Strat he played with the MC5) and a drummer with an insane drum kit. There's also some very cool footage of the Byrds backing up Fats Domino and an interview with Little Richard. But the best part for me is excellent performance from Muddy Waters.

The audio CD is also very cool. There are 2 interviews Barry did with the Beatles in 1964 that collectors will love to have. Dr. John also gets interviewed and turns in a great 10 minute version of "Gris Gris." Alice Cooper freaks like me will love the radio concert ad Barry did in 73 as well as the 16 minute interview with Alice and Flo & Eddie.

This review is kinda short because after the first viewing I was pretty dumbfounded. I could write some more but I'd rather go watch this thing again. The booklet has lots of cool photos and interesting liner notes from DC area native Joe Hasselvander of Pentagram and Raven. That guy certainly knows his rock n roll. This is mandatory viewing, don't snooze on it. The cover says it's Volume 1, hopefully there's a lot more of this coming out soon.


--Woody

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Ripple Theater - Lemmy: 49% Motherf**ker, 51% Son of a Bitch DVD

Ever since people stopped buying rock records in decent quantities, there’s been an increase in quality documentaries on classic artists like The Ramones and Rush as well as rescuing a band like Anvil from obscurity. Given the subject matter, it seemed like Lemmy: 49% Motherf**ker, 51% Son of a Bitch would be the ultimate portrait of rocks favorite ugly son but unfortunately this one falls pretty short of expectation. While definitely worth watching, the overwhelming feeling I’m left with is “what happened? How did they not get the job done?”

Granted, I’m a bigger Motorhead fan than most Motorhead fans. Motorhead’s music changed my life the first time I shoplifted Iron Fist from Caldors back in 1982, and when I saw them for the first time in 1983 my ears rang for 8 days afterwards. To this day, all live performances are measured against that high energy volume overkilldose. It’s obvious the filmmakers are fans but not stone deaf forever Motorheadbangers. They have stated many times that the movie is about Lemmy and not a history of Motorhead but we all know that those two things are one and the same.

Some of the better parts of the film are about Lemmy’s days before Motorhead, including a great segment about the Rockin’ Vicars, the band he played guitar for in the mid-1960’s. They managed to track down some of his band mates and even legendary producer Shel Talmy (The Who, The Kinks) who make it clear that Lemmy was pretty much the same guy back then that he is now. The section on Hawkwind is also good. Lemmy repeats his often told tale of how he got fired from the legendary space rock band, but you also get to hear Dave Brock and Nik Turner’s side of the story, too. Even the Amazonian dancer Stacia gets some screen time. Unfortunately, there isn’t that much discussion of Hawkwind’s groundbreaking music. No one mentions that everyone should own a copy of Space Ritual and there’s no information about the classic albums Lemmy made with them.

The formation of Motorhead takes up about 120 seconds of screen time. Guitarist Fast Eddie Clarke is on and off the screen way too quickly. Philthy Animal Taylor apparently did not want to be interviewed for the movie and he’s barely mentioned. Again, there’s hardly a word on the incredible run of albums that line up made. Wurzel, Pete Gill and Brian Robertson are written out of the script. Mikkey Dee and Phil Campbell wind up looking like mere sidemen of a band that they’re equal partners in.

Way too much screen time is spent on pointless interviews with Billy Bob Thorton, Jarvis Cocker and the bass player from New Order. Who fucking cares what these clowns have to say about Lemmy? The usual VH1 talking heads like Scott Ian, Dee Snider, Dave Navarro and Henry Rollins have some good stories and there are interviews with all the members of Metallica except, surprisingly, Lars Ulrich. Dee has one of the funniest lines in the movie where he talks about not having seen Lemmy for a long time and goes backstage and it’s all the same roadies that he knew from ten years before. Dave Vanian and Captain Sensible of The Damned share some great tales from the insanity they participated in with Lemmy in the late 70’s. 

One thing that the filmmakers get right is showing just how dedicated Lemmy is to his music. This is someone that has literally sacrificed everything for rock n roll. He’s had some moderate success but lives in a rent controlled 2 bedroom apartment with his enormous World War II collection when he’s not on tour or at the Rainbow Bar & Grill in LA. He has one son that he has a good relationship with and another one he’s never met. When he’s not playing music, he’s reading or gambling but always drinking.

Luckily the DVD helps correct some of the problems with the feature film. It’s worth picking up just for the full interview with Fast Eddie Clarke. It’s up to him to tell the real story of how the band started and he’s the only one to mention original guitarist Larry Wallis by name. Eddie also gives insight into how Motorhead got their signature sound – speedy music played by guys on speed. He claims that speed is a great drug to take when you’re playing music since you don’t have to leave the stage every 20 minutes to re-up. His story on how they wrote their signature song “Overkill” is hilarious and inspiring.

Other cool extras include extended interviews with Lemmy and individual features on Phil Campbell and Mikkey Dee. The movie could have used more of this and less ass kissing testimonials. Any movie about Lemmy is worth watching, and this one definitely is, but it should have been so much better.


--Woody


Buy here DVD: Lemmy: 49% Motherf**ker, 51% Son Of A Bitch 
Buy here Blu-ray: Lemmy: 49% Motherf**ker, 51% Son of a Bitch [Blu-ray] 



 

Ripple Theater - A History Lesson Part 1 – Punk Rock in Los Angeles in 1984

It raw.  It’s very rough.  The live footage is ragged and that’s about the best compliment you can pay it.   And truthfully, I wouldn’t have it any other way.

There just aren’t too many video documents of the underground punk scene in LA in the early ‘80’s, and as such this “history lesson” is nearly indispensable.  With live footage and interviews from members of The Meat Puppets, Redd Kross, The Minutemen, and Twisted Roots, we get a celebratory cross-section of the underground scene in all it’s grimy, gritty, unwashed glory.

Again, from a musical standpoint, don’t go expecting surround 5.1 dolby here.  The footage is ample and exciting, but it’s rough.  Shot on low-budget gear with a no-budget production, expect feedback, distortion, fuzz, and all around noise.  Now, none of that is to say that its not what the bands actually sounded like at the time.  But on your DVD player and killer surround, just be prepared.

Still,  the live footage is exciting and captures the energy of the bands, the passion they brought to their music, the pure punk spirit.  A special nod has to go to the live footage of the Minutemen and the much-missed D Boon, standing larger than life as he presides over his chaotic guitar parts and sputtered vocals.  This footage alone makes the set priceless.

With the sound quality being so rough, the real gems here are the interviews, learning how D Boon would randomly place scattered lyrical notes around the apartment for his bandmates to find and turn into songs, learning how the bands interacted, loved each other or hated each other, banded to be a part of the SST scene or shunned it.    Anyone who was a part of the scene, or remembers it, or is just curious will learn lots here. 


I was lucky enough to be a radio DJ in Los Angeles back in the day and remember this stuff coming into the station straight off the street.  There was a palpable buzz when ever the new Minutemen record came in.  I dug on Redd Kross and the rest of the Enigma stuff.  The Meat Puppets blew minds.   Bands like that just didn't come around everyday.

No matter how you look at it, it was a vibrant and exciting scene that gave rise to some majorly revered legends who’ve contined to inspire bands today. 

--Racer

buy here: History Lesson Part 1: Punk Rock In Los Angeles In 1984

Ripple Theater - UFO/MSG Rockpalast DVD's

Are you ready to rock? Hot n ready? Armed and ready? Then you are ready to for these two new kick ass DVD’s to rock your television into the ground. Rockpalast (Rock Palace) is a German music TV show that’s been around since 1974 and they’re starting to release some of their historic concerts. Yours truly has already drooled all over the ZZ Top and Thin Lizzy releases here on Ripple but this double dose of primo heavy rock is a major cause for celebration.

First up is UFO live, loud, proud and drunk in Dortmund, Germany from November 1980. True, that means no Michael Schenker or Paul Raymond but the excellent Paul Chapman is on lead guitar and this is the tour supporting the solid No Place To Run album. Starting off with the high energy “Lettin’ Go” UFO comes out blazing. Chapman doesn’t have the charisma of Michael Schenker but his fiery playing is terrific and it gives Pete Way an excuse to jump around even more than usual. Watching vintage Pete Way in action, it’s obvious what a big influence he was on Steve Harris and Nikki Sixx, not only in his playing but for his awesome stripey jumpsuits. Andy Parker is one of the most underrated drummers in rock. He’s hard hitter with a huge sound and never overplays. Neil Carter does a fine job on rhythm guitar and keyboards and mainly stays out of the way. Phil Mogg is in excellent voice and his tipsy in between song banter is always entertaining. There are some great shots of the crowd. Some 13 year old little shit loves flipping the bird to the camera every time it gets near him. Classic.

The entire UFO concert is great but does drag a bit in the middle with a few too many slower songs like “No Place To Run,” “Making Moves,” and “Love To Love” all in a row. Luckily they wake everyone up with their blistering cover of “Mystery Train,” one of the highlights from the No Place To Run album. Old favorites like “Only You Can Rock Me,” “Lights Out,” “Doctor Doctor,” and of course “Rock Bottom” kick major ass. Chapman really scorches on “Rock Bottom” and proves he was probably the only guy who could replace Schenker in this classic band. (Lots of people forget that he actually played side by side with him in the short lived twin axe attack UFO line up of 1974).

Watching UFO in 1980 is the perfect warm up for the Michael Schenker Group 1981 live show. What a band! You get Paul Raymond on guitar & keyboards, Chris Glen from the Sensational Alex Harvey Band on bass and Cozy Powell on powerhouse drums. The only weak link, unfortunately, is vocalist Gary Barden. He sounds good on the opening number “Armed & Ready” but not long after that it’s obvious his voice is pretty shot. He’s not really a great frontman, either. Despite a lot of cracked notes, Schenker rescues the concert with superb playing. On a good night there are few guitarists that can come close to his tough yet melodic playing. It’s incredible what that guy can do with just a Gibson Flying V, a wah-wah pedal and FOUR STACKS of 50 watt Marshall amps.

In 1981, only the first MSG album was out so the best songs from that like “Cry For the Nations,” “Victim of Illusions” and “Into The Arena” get played alongside UFO standards “Natural Thing,” “Doctor Doctor” and “Lights Out.” It’s a lot of fun to compare these versions with the ones on the UFO DVD. Schenker and Phil Mogg never got along too well but they did make a great team. As much as I love Andy Parker, it’s too bad they never built a super UFO with Mogg, Schenker, Chapman, Cozy, Paul Raymond and Pete Way. These 2 DVD’s is the closest we’ll ever get. Get a 15 pack of Strohs and tell the old lady to hit the road when you bring these home. Tell me your ready to ROCK!!

 --Woody

Buy here:  UFO - Rockpalast: Hardrock Legends Vol. 1
buy here CD: Rockpalast: Hardrock Legends 1
buy here mp3: Rockpalast: Hardrock Legends Vol. 1

Buy here: Michael Schenker Group - Rockpalast: Hardrock Legends Vol. 2
Buy here CD: Rockpalast: Hard Rock Legends Vol. 2
Buy here mp3: Rockpalast: Hardrock Legends Vol. 2

Ripple Theater – The Rolling Stones – Ladies and Gentlemen The Rolling Stones

If you’re a Rolling Stones fan, you know this film.  Shot over four nights in Texas during the Exile on Mainstreet tour in 1972, Ladies and Gentlemen the Rolling Stones was originally released in cinemas for limited engagements in 1974.  Since then, the film has remained largely unseen, never released on DVD.  A problem that has finally been rectified with this, the official DVD release of this Rolling Stones classic.

While not held in the same esteem as Give me Shelter, or as wondrously sought after as Cocksucker Blues, Ladies and Gentlemen is a real treasure, revealing the Stones at the absolute peak of their early ‘70’s prowess.  With a wealth of great material to choose from, and the inclusion of several deeper catalog cuts, these shows pull back the curtain on a band on a terror, tearing it up and having a blast doing so; shedding light on the Stones in the midst of all their ‘70’s power and excess.   Simply put, you just won’t find the Stones looking or sounding any better on film than they do here.

Director Rollin Binzer spent over a year editing footage for the film.  It was a tough time for the band; they couldn’t get into three countries because of their drug bust, they’d survived the death of Brian Jones and the trouble at Altamont. Binzer distilled the backstage action away and left only the best of four performances (two matinees and two evening shows) from the band’s June ’72 swing through Houston and Fort Worth, Texas.  What was left behind was pure rock and roll, showing the Stones doing what made them the greatest rock ‘n’ roll band in the world.

1972 was also and interesting time for the band and for rock music in general.  Bolan, Bowie, Iggy, and Eno had flamboyantly burst onto the scene, and it shows. Jagger, in particular is riotously glammed out, with purple sequins around his eyes, a pinkie ring and a spangled, Ossie Clark jumpsuits or decked out with scarves and sachets.  At one time Keith Richards appears wearing what can only be described as a scarf-cape.  Certainly an unusual appearance for the band, and one that works in direct contrast to their set of muscular, rootsy rock and roll.   But haven’t said that, the band rarely looked better.  Jagger as always is a dynamite, captivating frontman, a force of motion, while Richards looks stunningly healthy, energetic and definitely into the music.  Even Charlie Watts, the normally stoic backbeat of the band shows signs of animation and life.  This is a band having fun, and it shows.

After the blast off of “Brown Sugar”, “Bitch”, and “Gimme Shelter,” the Stones jump into an inspired version of “Dead Flowers,” bringing to light the incredible work of Mick Taylor.  While a totally subdued stage presence (I don’t think either he or Bill Wyman move one inch the entire DVD) Taylor was a brilliant guitarist and his solos and slide leads bring a depth and earthiness to the Stones that they never had before or since.  In my opinion, he’s the best pure guitarist the band ever had and it shows.  His performances on each track with his work on “Love in Vain,” worthy of leaving the audience breathless.

At the same time, you can almost get an inkling for why Taylor left the band.  With Jagger and Richards being the dynamic creative and visual force of the band, there really was little room for Taylor to stretch out.  His stage presence seems to suggest more than shyness, but simply there not being enough room in the band for three pillars.  Rarely do Jagger or Richards so much as look his way.  Instead he stays in the background (not even the front of the stage) working his magic slowly and deliberately on his slide.

“Happy” jumps in with more passion and force than I’d ever imagined it, with Richards doing a fantastic job taking over lead vocal with some terrific harmonizing with Jagger.  Horns blaring, Charlie Watts smiling, Jagger preening; what more could you want?

“You Can’t Always Get What You Want,” is epic followed immediately by “All Down the Line” with some of Taylor’s most ear-catching slide work.  “Midnight Rambler,” here is perfect as are the concluding frenzy of “Jumpin’ Jack Flash,” and “Street Fighting Man.”  Definitely a shot of the Stones a their peak.

But just as interesting as the concert film are the bonus features, or more specifically, one bonus features;  a three song rehearsal for the tour filmed in Switzerland.  Gone are the flashy jumpsuits and sequins, in it’s place are five musicians gathered in a circle working out the kinks on “Shake Your Hips,” “Tumbling Dice,” and the rootsy “Bluesberry Jam.”  Jack Daniels bottles open on the piano, drink glasses scattered about, Keith Richards playing while sitting on an amp, Mick Jagger without the flamboyant dances, standing stationary marveling at the musicians, Charlie Watt’s eyes closed in near ecstasy as the band locks onto the groove.  This is a rare peak at the band behind closed doors and well worth the addition.

If you’re a new Stones fan or an old one, this is concert footage you’ll certainly love.  And to make it even better, we got one copy of the DVD to giveaway for free to the first waverider who drops us a line asking for it.  Either leave a comment or send an email to our contact address and we’ll get the Stones heading out your way.

--Racer

Buy here: Ladies & Gentlemen The Rolling Stones
Ladies & Gentlemen: The Rolling Stones [Blu-ray]
Ladies & Gentlemen: The Rolling Stones- Deluxe Edition 3DVD Numbered Box Set

Opeth - In Live Concert at The Royal Albert Hall

No matter how hard I try, how many fancy words I string together, to try and describe Opeth’s In Live Concert at The Royal Albert Hall, I fear I simply won’t do this package it’s due justice. To aptly describe this majestic release, I would have to channel the essence of James Michener, who’s thousand page epics have a tendency to sprawl across hundreds, nay . . . thousands of years of a subjects existence, depicting the great land movements, the tectonic shifts and violent volcanic episodes that formed the environment that the subject may call home. I would then have to detail out every last bit of emotion and nuance from the main character(s), so rich in detail that you would feel that you’ve just spent the last century walking in their shoes. Then, I’d weave such an intricate tapestry of words that you would swear that you could taste the dust of a country road on your tongue, feel the bitter cold of a Chesapeake winter, or smell the floral scents of perfume on a maidens breast . . . or, in the case of Opeth, the stinging taste of battery acid on your tongue, the sweltering heat of an enclosed venue, or the ripening smell of the bodies struggling within said venue.

I can use all of those nifty adjectives that we writers like to use so much. Awesome. Amazing. Fantastic. Astonishing. Yeah, they all work because they do express some amount of excitement about that which they are describing. But in the case of In Live Concert at The Royal Albert Hall, they’re simply not adequate enough descriptors. A four disc vinyl set with two DVD’s will never adequately be described by one word, especially a set as painstakingly detailed as this particular issue. This set deserves . . . no, requires a tome of words to form a shadow of what is actually going on. The set will require another volume to add color.

For Opeth’s twentieth anniversary, Mikael Akerfeldt and company decided to do a short tour, hitting a few venues that harbor an image of class and respect, and then release the subsequent recordings in a package that would be represent the band and cater to the record collecting masses (of those of us who are still out here.) The two album set is all recorded live and spans the full career of Opeth, paying homage to many of the members of the band who have since moved on, and spotlighting with special attention their breakout album, Blackwater Park, by performing it in its entirety. The packaging on this set draws me back to those glorious days of the 1970’s, an era when rock n’ roll, progressive music, whatever, paid close attention to the visual marketing of the album art, the imagery, the overall sensation of buying a record and vegging for hours with the music as the soundtrack to the visual stimuli that the artist had created . . . a phenomenon that was inhibited by the CD revolution and completely lost in the digital age. This particular box set includes a concert poster and a twenty page book with “Awesome. Amazing. Fantastic. Astonishing” photos from the concert at The Royal Albert Hall . . . all serious eye candy to lose oneself while the vinyl does its glorious dance on the turntable.

However, the imagery really means nothing if the musical quality isn’t there. Let’s face it. We all have those great pieces of vinyl where the album art is infinitely superior than the musical quality . . . Meatloaf, I’m looking at you. In the case of In Live Concert at The Royal Albert Hall, the musical quality is sharp, loud, and clearer than just about any live recording I’ve heard, and the performances are a testament to the physical and mental abilities of these five musicians. I’ve said it before, with the advent of Pro Tools and all of the various technical studio tricks, recording ten minute epics that shift moods, musical styles, tempos, and time signatures is cool, but it’s almost too easy. Maybe I’ve become jaded. But to pull off that feat live, without a net, as they say . . . that, my friends, is what being a musician is all about! To put this latest live adventure into perspective, imagine that Opeth is playing all of Blackwater Park, which they do, without fucking up the parts and transitions (coz’ you should know that there are plenty of those lying around) and then follow it up with an additional eight songs that touch on every variation of the bands creativity, every stylistic change, every musical nuance from the last twenty years. Breath taking.

I could go through every song and wax poetic about their deeper meaning to my every heartbeat, but that got old the second I thought about it. Instead, you really need to listen for yourselves. In particular, “Bleak,” “Blackwater Park,” “Advent,” “The Moor,” “Harlequin Forest,” and set closer “The Lotus Eater” jump to mind as the moments that I felt the greatest shiver of someone walking on my grave, of staring into the mesmerizing gaze of a thousand succubi, or breathing in the noxious and intoxicating fumes of Hades. I can’t help but marvel at the performances of these musicians, the rich textures that they apply with their respective instruments, and the overall exhilarating physical sensation that I get when I hear the sounds and tones spew from my speakers and bathe me in their brilliance.

After basking in the sonic splendor of the aforementioned four discs, I made my way to the Ripple Theater and dropped in the DVD’s. “Awesome. Amazing. Fantastic. Astonishing.” I honestly don’t think I breathed for something like four hours. Mouth agape, I stared . . . completely transfixed on the visual performance of this concert. The band must have used something like 3,000 cameras (a slight exaggeration) for this production. We had the standard center stage angle, left stage angle, right stage angle . . . got a little creative with the behind the band, over-the-shoulder angle, some nice crowd angles and then a few nice shots of the drummers foot (always a fan of the drummers foot work) . . . and then there were the camera angles where I swear I could count the musicians’ nose hair. The visuals were cool, nothing interstellar like a band mascot running out on stage and catching fire (as cool as that always is), just clean and concise images that help separate Opeth from any other band on the face of the planet. I found the stage presence of the various band members intriguing. Martin Mendez with his hair whipping from side to side, Fredrik Akesson dropping into the classic metal headbanging pose, the relaxed, almost bored look of drummer Martin Axenrot, and maniacal glare and eccentric demeanor of keyboardist Per Wiberg . . . and, of course, the stalwart center figure of Mikael Akerfeldt . . . they all just had that look!  

When watching this, note the guitar issues that the band has during particular songs. With a simple wave of his hand, Mikael Akerfeldt signaled to his guitar tech, and without panic, without stepping away from the mic, continues belting out his trademark death growl with the same sincerity as we’ve grown to become accustomed . . . guitar tech switches out guitars in mid vocal line and BAM! He disappears and the show goes on. I give a nod of respect to the professionalism that Akerfeldt shows here because I’ve seen the opposite from bands in the past, people become flustered, they freeze or start throwing tantrums, ultimately making the show suffer. Not here, not with Opeth. The best part though is in the second set closer, “The Lotus Eater,” as guitarist Fredrik Akesson has his own set of technical issues with his gear. In listening to the LP version, it simply sounds like the band has an extended quiet passage going on in the song, kind of like they’re playing with the crowd a bit . . . as if this was a planned break. Seeing what actually happened fills in the gaps from the pure audio portion, but I think it’s interesting how the mind goes places based on the information it’s given.

Yeah, I spent more money than I could really afford on this production, but food is overrated anyway. Hey! It’s not like anyone’s ever really starved to death, right? In truth, based on how much I want to listen to this album, and spend four-plus hours glued to my television watching this performance, how excited I get when I start talking about this album to people, how many words I just wrote as tribute on this release, hell . . . I’d spend the money all over again. If you’re an Opeth fan and you’re on the fence about this album for any reason, then I would hope that these words have acted a gentle nudge to knock you off the fence. If you’re new to Opeth and are looking for a jumping off point to get into this band, this is the place to do it. You get Blackwater Park in its entirety and select choices from every album before and since, with performances that capture the band at the height of its creative brilliance. If you don’t like Opeth and have no interest in the band whatsoever, I thank you for reading this far though I’m confused why you would have spent your time doing so.  -  Pope    

FYI – this release does come in numerous formats, so don’t feel that because I wrote about the vinyl edition that you have no other choices. Rock on! 

--Pope

buy here: Opeth - In Live Concert At The Royal Albert Hall (2DVD/3CD)
buy here: DVD Opeth - In Live Concert At The Royal Albert Hall (2DVD)
buy here: mp3: In Live Concert At The Royal Albert Hall

www.opeth.com

Ripple Theater - Johnny Winter - Live Through The '80s DVD

You’d be forgiven for thinking that a DVD titled Johnny Winter Live Through The ‘80s wouldn’t be all that great, but you’re wrong. Johnny Winter went through a bit of a rebirth in the 1980’s thanks to the popularity of Stevie Ray Vaughan and a new contract with Chicago blues label Alligator Records. Both of these helped introduce Johnny to a new audience and got some youngsters showing up at his concerts. I should know, since I was one of them. Even during the peak of my snotty thrash metal high school powers, I still loved blues and classic rock. A friend and I went to see Johnny at the Beacon Theater in NYC, early 1985 and were blown away by the frail, shirtless Texan’s incredible energy and fiery playing. (His brother Edgar opened the show and did a great set that included a truly bizarre hip hop version of “Frankenstein.”)

This DVD really brought me back to that great night at the Beacon 25 years ago. Starting off in Toronto, 1983 there’s a kick ass version of “Unseen Eye” and 3 other smokers. Johnny’s leading a powerful trio with John Paris on bass & harmonica and drummer Bobby Torello. In 1984, Tom Compton takes over on drums and there’s footage from 3 different concerts – 1 from Europe and 1 in the US. The playing is tight but loose and production is primo. The band really rips it up on songs like “Mad Dog” and his frenzied take on Dylan’s “Highway 61.” After a semi-embarrassing music video for the song “Don’t Take Advantage Of Me” (it was the 80’s, all videos sucked) there’s an electronic press kit Alligator Records put together with a cool interview with Johnny. After that, it’s right back to the boogie with more footage from Europe in 1987 and 88.

Back in the 80’s Johnny stopped using his gorgeous Gibson Firebird guitars in exchange for butt-ugly Steinberger guitars. Despite their cosmetic unfortunateness, Johnny still makes them sound great. Proof that good guitar tone is all in the hands and not in the gear. If you’re a blues-rock lover you’ll definitely want to pick this up and give your TV speakers a work out.

--Woody

Buy here: Winter, Johnny - Live Through The 80's

and go back and explore more: Live Through the 70's

Ripple Theater - Cactus - Live, Loud & Proud DVD

You can’t kill the boogie. Boogie will never die! Cactus broke up in 1972 but in 2006 original members Carmine Appice, Tim Bogert and Jim McCarty recruited powerhouse vocalist Jimmy Kunes and harmonica player Randy Pratt to resurrect the band and bring the power of the boogie pack to the people.

Captured live n nasty on their 2006-07 tour, this disc finds Cactus to still be a potent force to be reckoned with. Carmine proves once again that he’s the best rock drummer around and Tim’s bass playing is equally powerful. Guitarist Jim McCarty simply blazes. It’s such a shame more people don’t know how great he is. These three muthers can really burn! Add Jimmy’s raspy, soulful vocals and Randy’s honking harmonica and you’ve got a blues party that you can put to use.

Old classics like “Let Me Swim” and “One Way Or Another” sit nicely alongside songs from their reunion album Cactus V like “Muscle and Soul” and their personal anthem “Cactus Music.” Everyone gets a chance to shine but a real highlight is when Jim and Carmine play a killer duet before setting up Carmine’s epic drum solo in their radical reworking of Howlin Wolf’s “Evil.” Tim shows all the bass players how it should be done on “Oleo.” The climax of the show is an ultra-speedy “Parchman Farm” that slays.

Bonus materials include a cool jam session with Warren Haynes, Joe Bonamassa and Pat Travers with Jim and Pat playing really nicely together. There are also some interesting interviews with the band where they talk about how they really were intent on blowing everyone away. Their version of “Parchman Farm” was in direct response to the type of thing Ten Years After was doing with “I’m Going Home” but Cactus wanted to make it even more extreme. Everyone needs more Cactus in their life so check out this DVD and make sure to turn it up.  -- Woody

Buy here: Cactus - Live, Loud & Proud

Ripple Theater – Rush – Beyond The Lighted Stage

“The band you know. The story you don’t”

Well, that’s not totally true. I guess that statement depends on just how big a Rush fan one is. Take me, for instance. I own darn near every album, seen the band live around four times since the late 80’s, watched the live DVD’s through all of the various bonus features, and have read at least two books on the history of the band and three of the four Neil Peart travelogue’s . . . (deep inhale) so the informative content of Beyond the Lighted Stage wasn’t all that knew for me. However, spending three hours or so watching one of the bands that has been a constant musical companion through life is always time well spent. Watching the trio in various situations was like hanging out with old friends, a group of people who I know on an intimate level though have never personally met. It was almost like I was catching up with my college chums over a nice meal and a few glasses of wine.

Beyond the Lighted Stage is brought to us by the wonderful production team of the Banger Brothers, the same group that brought us last year’s fantastic Iron Maiden documentary, Flight 666. If you’re one of the folks who’s spent the time immersing themselves in that epic piece of film, then you should have an idea of the production quality of this one. The team of Scott McFadyen and Sam Dunn takes us through the rich history of Rush, starting with the childhood of both Geddy Lee and Alex Lifeson, the musical development of both kids and their eventual meeting with original Rush drummer, John Rutsey, and eventually the addition of “the new guy,” Neil Peart. Broken up into numerous chapters, the early portion of the documentary introduces us to the parents of the members of the band, which I feel helps give the band that extra human element. Due to this bands god-like reverence from its fans, it’s easy to forget that these guys are flesh and blood, emotional animals like the rest of us, and the inclusion of the family members is a nice, heart-warming touch that acts a subtle reminder that Rush is made up of real life people.

The rest of the documentary runs through the band's meandering and weaving rise to fame. They didn’t do it the easy way, never achieved the chart success of their peers, or had the super-nova explosion of fame. Rush started by playing music that they loved listening to and created their own success without sacrificing their integrity or ideals. I can’t think of any other band, especially coming up in the 70’s that the same thing can be said about. As Gene Simmons says in one of his many interview snippets about the band, “They’re fearless.” The band never shied away from something that they were told couldn’t be done. They never took the easy path in creating their art when the more difficult path was available . . . and more interesting. They never conformed to the ever changing world in which we live in, and based on the band’s continued success, especially in the way of touring, Rush can kinda’ sit back and nod the heads in approval as to how everything turned out.

Beyond the Lighted Stage is filled with great commentary from a number of artists who hold the band in reverence like so many fans around the world. As already mentioned, Gene Simmons adds his two cents, Sebastian Bach, Kirk Hammett (Metallica,) Trent Reznor (Nine Inch Nails,) Taylor Hawkins (Foo Fighters,) and Vinnie Paul (Pantera) are but a few who have been touched by Rush in one way or another, and though we may not hear the direct influence in each of these bands’ sounds, the indirect influence is just as important in creating the music of tomorrow. The Jack Black segments are pretty damn funny, especially when he starts singing . . . good comedy. Oh . . . and speaking of comedy, make sure you throw in disc 2 and watch the segment of the lads eating dinner. Damn! I knew these guys had a sense of humor, but after a few consumed bottles of wine, Lifeson’s banter had me damn near in tears. Watching this portion of the film is the highest highlight for me because it’s the moment where the members of Rush are suddenly vulnerable human beings, enjoying some time that only a life-long friendship can create.

One other must see moment on this disc, specifically disc 2, is the performance of "Cygnus X-1." I’ve said it for the past twenty-five years, Alex Lifeson is the most underrated rock guitarist out there, and this performance is one of those moments that has me shaking my head and wondering why he isn’t mentioned in the same breath as his peers. His emotional attack and dynamic approach on this song is otherworldly . . . the volume swells, the bizarre chord changes, the lightening fast scale runs, the palm muted riffing . . . seriously, breath taking!

Beyond the Lighted Stage is an excellent documentary on a band that has been doing what they’ve been doing for almost forty years. The video has humor, it’s informative, highly entertaining . . . it’s everything one could ask for in a documentary. With that being said, there’s no way that three hours of edited video footage is going to give you the most comprehensive information on Rush. For the casual fan or those who want to learn a little more about Rush, the documentary is perfect. For the Rush fans who wake up with "YYZ" rattling in their heads coz’ that’s just how brilliant the song is, then Beyond the Lighted Stage is simply a must have to complete the collection. My advice for those who want to know more about the band is this: Purchase and watch said documentary, then run out and purchase and read Contents Under Pressure written by Martin Popoff and Rush: Chemistry by Jon Collins. Both books go into an insane amount of detail about the history of the band, the recording of each album, the trials and tribulations of the subsequent tours, and the philosophical and personal conflicts within in the band. And, of course, you can’t really know the band unless you listen to the music, so . . . go out and buy all of the albums and spin ‘em ‘til your head explodes.  -  Pope

Buy here:  Rush - Beyond the Lighted Stage [2 DVD]
Rush: Beyond the Lighted Stage [Blu-ray]

www.rushbeyondthelightedstage.com

www.rush.com

Ripple News - New Free DVD Out Now, Loaded with rare Video Footage, Interviews and More

Bringing forth a mighty brand of blues-rock in the early 1970s, Free was a critical piece of foundation in hard rock’s roots. Just released on March 23, Eagle Rock Entertainment celebrated their career with the release of the Free Forever 2DVD set.

One of the most heralded bands of the 1970s, Free Forever amasses archival video footage, interviews, audio, memorabilia, and other bits of the band’s history to create the ultimate fan package. Featuring the powerhouse combination of a young Paul Rodgers’ gravelly vocals, Simon Kirke’s solid drums, Paul Kossoff’s infamous guitar leads, and Andy Fraser’s groove-infused bass lines, Free laid the foundation for a blues-rock revolution.

This set features live performances from the Beat Club in Germany and UK’s Granada TV. The second disc boasts full audio from their set at the legendary 1970 Isle of Wight festival (which also featured Jimi Hendrix, The Who, and The Doors), littered with a collection of band photos, posters, artwork, and unearthed video footage of tracks “Be My Friend,” “Mr. Big,” and “All Right Now.” Bonus features include original and brand new edits of these Isle of Wight videos with split-screen views. Interviews and special feature “The Freelist,” which contains a Top of the Pops appearance, Australian interviews, and other bits, is also included.



Buy here: Forever

Ripple Theater - The Zombies - Odessey & Oracle {Revisited} DVD

In the summer of 1984, I found myself abroad, living and studying at Cambridge University.  Wandering the streets one day, past pubs and cricket fields, walking over the river Cam, I stumbled upon the only true record store I chanced upon the whole time I lived in the city.  And it was glorious, mind-numbingly glorious.   The racks were full, stacked full, of glorious British vinyl of the sort I just never saw in the States.  Given that it was 1984, of course there were tons of fantastic post-punk, goth, and Frankie Goes to Hollywood LP's, EP's and singles, but what caught my eye more than anything else was the section devoted to the Zombies.  Sure, I'd heard of the Zombies before, and probably even knew somewhere in the back of my mind that they sang that ultimate psych-pop hymn of the late sixties, "Time of the Season," but in truth, I really had no idea who they were.  Glancing across the covers of all this archival British vinyl, I was entranced by this quintet of impeccibly clean cut guys with the horrific moniker.  That moment started my love affair with the band that has lasted now over 25 years.

Stepped aside as a mere footnote back in their day, history has proven the Zombies to one of the most influential, gorgeously melodic groups of all time.  Way, way ahead of their time, their combinaton of lush, layered harmonies, stunningly gorgeous melodies, Colin Blunstone's breathy vocals, and Rod Argent's influence of jazz and classical piano was just far too adventurous for their era.  Now that has all changed.  No other band besides the Beatles and the Beach Boys could claim to bring such a level of melodic sophistication to their music.  And of their entire career, their one true album, Odessey & Oracle is without a doubt an all-time classic of sublime psychedelic pop.  Released after the band had already broken up, the album was a total flop in it's day.  Only the posthumous release of "Time of the Season," kept the album in the music-lovers consciousness.  Since then, as time has past and our ears have matured, Odessey & Oracle has rightfully be garnered a new respect and is now held in the same esteem, nearly the same breath as Sgt Pepper and Pet Sounds as a masterpieces of dreamy, devastatingly gorgeous melodic pop.

Captured live on DVD at the Sheppard's Bush Empire, London 2008, Odessey & Oracle {Revisited} finds the four remaining Zombies (Rod Argent, Colin Blunstone, Chris White, Hugh Grundy) joined by the Zombies Touring band (featuring Jim Rodford, former member of Argent) for an absolutely spellbinding concert re-creation of Odessey & Oracle performed live and in it's entirety.  I gotta admit, I got totally caught up in the emotion of the moment with this show.  When Rod Argent (ever so graceful and humble) announces that, since the band broke up before the album was released, they'd never had the chance to perform these songs live, and that we were witnessing the very first time the band ever could play this album, I got goose-bumps up and down my spine.  Now granted, I'm a Zombies fan, but the thought of watching a band perform an all-time classic album, for the first time, after being apart for 40 years is pretty damn special.

None of this would matter of course if the band didn't sound so fantastic.  I swear, fantastic.  My wife, walking in and out of the room while I fanboy-ed out on the show, stopped mid-step at one point, stared at the TV and said, "My God, their voices sound so angelic."  And with those words she captured the entire essence of the Zombies.  Definitively British, their music at its best is a dream-like journey through phases of pastoral British history, all wrapped up and gently floating upon those melodies.  Always those melodies.

No fan of the Zombies should miss this.  From the get-go, the lads (sixty-plus year-old lads) take the stage and claim it as their own.  Starting off with three songs from their earliest recording history "I Love You," "Sticks and Stones," and Can't Nobody Love You," the band is tight, Rod is energetic (and looking remarkably fit) and Colin show's that his voice has lost none of its heavenly texture.  They go through a brief set from Colin's solo career, before ending Part One with a rousing rendition of "Hold Your Head Up," the rock standard from Argent's self-named band.  And it's lost none of it's power over the years.

As enjoyable as Part One is, the real meat of the concert is the first-ever performance of Odessey & Oracle in it's entirety, and let me tell you, it's remarkable.  The stuff legends deservedly are made from.  Taken as a whole, the entire artistic vision of the album is nearly too beautiful to comprehend.   A grand, sweeping, swirling ride across oceans of melodic bliss, angelic soaring harmonies, and musical exploration.  Never before had the true grandness of their mastery of melody been so clear for me.  I'd call them the British Beach Boys based on the glory of their craft, but in truth, I like the Zombies so much more.  They carry so much more depth to their enchantment, a mix of major and minor chords, an entire universe of moods and tones.  For an album I've loved for years, watching them perform made it seem as if I was hearing the album again for the very first time.

There's not a weak track on this masterpiece, but the live renditions of "Care of Cell 44," "Maybe After He's Gone," "Hung Up on a Dream" and "Changes" are breath-stealers.  It's so hard to imagine them sounding so produced, so tight, so remarkably glorious after all these years.  Meanwhile, songs like "Brief Candles" and "Beachwood Park" spring to life with an entirely new intensity and somber beauty.  Chris White's vocal performance on "Butcher's Tale" reaches so deep into the terror that a young soldier feels lost on the battlefield that it can nearly pull a tear from your eye.  Backed by Rod Argent on a 1890's organ, it's a song of infinite and remarkable power.  A brutal combination of mesmerizing melody and stark terror.  Truly a remarkable song.

No true Zombies fan, however, would fail to admit that the highlight of the show is to see the original band tearing through a perfect rendition of "Time of the Season," which hasn't dated itself at all, and still reigns as one of the hallmark psych-pop songs of the era.  Seeing the joy on the guys faces as they play this, and every song on the album, just warms the heart.  It's their moment and they seize it, every second of it.

The show ends with two triumphant encores, "Tell Her No," and a heartstopping version of "She's Not There."  Two more magical moments in what can only be described as a magical night.  A night where both the band and the music proved themselves to be ageless.   A triumphant performance of a truly seminal work.

Personally, I don't like music DVD's. I listen to music, I don't watch it.  But this one will never leave my side.  Timeless.  Absolutely timeless.

--Racer

Buy here:  Zombies - Odessey and Oracle: The 40th Anniversary Concert