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  • Bob Gruen

    Posted March, 2010

     

    Bob Gruen @ MoMA Collage Exhibit © Mandi Newall

    Elvis. Aerosmith. Elton John. The Stones. Alice Cooper. Zeppelin. Lennon/Yoko. Dylan. Frampton.

    These artists and icons dominated my mind (besides girls) in my youth. Photo’s torn from my favorite rock magazines and posters purchased in the store (for the astronomical price of $1!) hung on my bedroom walls.

    The images are burned into the firmware of my mind. Their poses, grimaces and smiles frozen forever in their youth. The close that they were in the shots influenced how I dressed and looked. Jeans and jackets were purchased because of something similar Bob Dylan wore in a photo. Platform shoes? Thank you, Elton John. Hair? Thanks to a still shot of Mick Jagger in concert at Madison Square Garden, I started parting my longish hair in the middle, trying to feather it back just like Mick.

    What single thread runs through these memories? Many of the photos that hung on my walls, influenced my “look” and burned into my memory banks were taken by famous rock photographer, Bob Gruen.

    Gruen was destined for rock and roll. An avid fan of The Who in the sixties, they were the band that compelled him to join a crowd a half a million strong at a place called Yasgur’s Farm. There, he witnessed not only the band that he braved the crowds and eliments to see, but many other historic performances that made the Woodstock festival the stuff of legends.

    After Woodstock, Gruen eventually worked his way to the position of chief photographer for Rock Scene Magazine. This afforded him the coveted vantage point of creating candid photos of bands and artist on and off the stage. 

    Bob Gruen didn’t allow himself to be stuck in the seventies. His interest in the music scene allowed him to effortlessly go with the flow of changes in the sights and sounds of musical tastes. Gruen has covered almost every major act and artist the 70’s to today.

    I recently caught up with Bob Gruen, by phone, at his gallery in New York City. For some reason, I decided to start off the interview by asking Bob what career path he would’ve chosen had he not gone down the rock photographer path. As with his answer during the rest of our conversation, his answers are open, honest and transparent.

    “I have no idea. Well, the 60’s were a different time from now. Now, people really plan their future and their career. In the 60’s it was turn on, tune in and drop out. And that’s basically what I did. I wasn’t really thinking about a career. I didn’t really do very well in school and I didn’t have a major in college.

    “I had an older brother who was an overachiever who always got straight A’s and it kind of left me with not much will to succeed on that level – to compete on that level. So, I was living with a rock and roll band and having a good time. “

    So, the obvious question in your mind would be, why photography, so I asked.

    “Photography was always my hobby and I got pretty good at it. When the band got signed, they used my pictures for the publicity. I started meeting publicists for record companies and they started hiring me to take more and more pictures. It just worked out that way. 

    “I didn’t really have a plan to be a photographer in any specific sense – to be anything. A policeman, fireman, anything like that. I really didn’t have a plan. I was aimless.”

    Boy, weren’t we all!

    Having read his thoughts about attending Woodstock, I asked if he took any pictures while he was there.

    “I did, actually. I went as a fan of The Who and I like camping out. Me and a couple of friends went up there to have a good time. It’s funny, the pictures I took. I did take pictures of my friends inside our tent so I have some ‘head shots’ with a green tent behind them but they don’t show much of the festival. 

    “I did find a couple of dozen pictures of the festival that I took - a couple around my tent and a couple of the stage area. I didn’t take any of the acts. I wasn’t there to work in that sense. I hadn’t yet started getting into the music business yet.

    Last summer, a French magazine asked me to put down my memories from Woodstock. He (the editor) liked the idea that I was there as a fan and not working so I put together a story and put it up on my website (here.).

    I asked Bob if he attended the 40th anniversary festivities back in August of last year.

    “Not the 40th. No, we didn’t go – or the 30th. We went to, I think, the 25th. Not the one that turned into an overblown riot but the first reunion which turned into a drunken mess.  We left half way through it.

    “Actually, I went up the hill into Woodstock to see a real show. We saw The Fugs, with Alan Ginsberg, who were playing on the Saturday night of the festival. 

    All of us have stories of regrets and missed opportunities. I asked Gruen if there were any shots or gigs that got away from him that he regretted missing.

    “Oh, well, there are a lot of things I missed. I wish that I could have photographed Otis Redding but I started a little too late to connect with him. I met Jimi Hendrix once. He said, ‘We’ll meet again’ but he was wrong” he adds with a sad chuckle before concluding by saying, “But, other than that, I’ve pretty much met or photographed everybody that I wanted to.

    Lots of changes have happened both in the music business and in the world of photography in general. I asked Bob what he viewed as the most positive changes in his line of work.

    “Oh, well, the ease of delivery. We don’t have to rush to dupe slides and hire messengers and ship things to England overnight. The idea of making multiple prints and rush and having to get them out to all the different magazines . . . now we just e-mail scans. It’s a lot easier.”

    And the biggest negative change in his line of work?

    “Photography has gotten so easy that there’s tens of millions of people doing it!

    “It used to be that a photographer had to be somewhat nerdy – to be a bit of a tech guy. You had to focus and know what F stops and speeds meant. You had to be able to develop and print film. All of those things have been automated. Now, you just pick up your phone and push one more button and whatever you’re looking at can be seen around the world. That’s quite an advance.”

    Gruen had voiced his displeasure with websites like Flikr. I wanted to know, though, if he saw the internet as more of a positive or a negative in his industry.

    “Well, it negatively affects the work because people tend to think that everything they see on the internet is ‘free’. Content is what I’ve sold all my life. Everybody think it’s free. It’s similar to the downloading of music files, people just take pictures and move them from one site to another and use them any way they want without even thinking that they have to pay for it. So, this tremendously cuts into the income when people aren’t paying for your work.

    I thought for sure that the proliferation of music videos and concert DVD’s over the years would have hurt the photography trade. Bob’s insights into this area set me straight on that perception.

    “People tend to watch videos on YouTube or whatever. You can’t put YouTube on your wall unless you have a big screen on your wall. It recently came up in an article. There was an exhibit recently at the Brooklyn Museum of Art called ‘Who Shot Rock’. It’s about Rock Photography. The reviewer wrote that he felt that video was the better way to review it. We all could’ve been up in arms about that. 

    “Video hardly captured the excitement of rock and roll at all. To capture one peak moment in a still photograph that says so much about the energy and excitement, the mood of an artist - you can only do that in a photograph – a photograph that you can put on a wall and it’s just there. You feel the inspiration. Not like having to turn on a TV or to operate the machinery or video. I don’t think that video cuts into the still. The appreciation is still photo. “

    As stated earlier, Bob Gruen isn’t stuck in the past. I was curious, however, what his thoughts of the past are. His answer is both philosophical and reflective.

    “I respect the past and I think people should learn from the past but I don’t dwell in the past. I don’t wish that I could go back to Max’s. It’s like we shouldn’t even go back to high school. Some people do but I certainly don’t. I look forward , looking for new experiences.

    Fast-forwarding to the present, I asked Bob what bands and artists command his attention today. His response is instant.

    “Greenday. There are a few others that I enjoy. I’ve seen Courtney Love. She’s a riveting performer. You can’t take your eyes off of her. But Greenday is certainly the top band of the land. They’re the most powerful and meaningful band around. And the most fun, especially if you’ve ever seen them live. They’re the most fun band around today.

    “There’s a group here in New York that I like called The Sex Slaves. They’re very blunt and also a lot of fun. But there’s not a lot. I was never somebody who ever sought to follow every single group that ever existed and have an encyclopedic knowledge of it. I just follow what I like. I’m a fan. I mostly follow my friends or people friends recommend. I’m not out every night on the prowl looking for a new band.

    “I’m a bit older now. Thirty years ago it was fun for me to sit on a bus with 22 year olds who are getting drunk but it’s not really the same any more for me.” With a laugh, he adds, “I’m a grandfather nowadays, I prefer to spend time with my family.

    With the mention of his family, I commented on the fact that his son, Khris, is pursuing a little bit different route in the music business than his.

    “Yeah, he’s just finishing up his third CD, which should be out soon. He’s got his fans and he’s getting more and more popular.  He started kind of late – somewhat intimidated by my reputation. Also, my ex-wife married Joe Beck, the jazz guitar player, who is a world famous musician. And I think that, rather than encouraging Khris, it kind of held him back a bit because he felt he couldn’t on that kind of level. And I’m very happy to see that he’s doing very well on his own and enjoying it a lot.

    In the course of the conversation, I mention the use of his photo of John Lennon that graces the cover of Philip Norman’s biography of the man. It brought to mind the many others Bob Gruen had known because of his line of work. I asked him who are some of the people that he misses either due to their death or retirement from active life and what is it that you miss about them?

    “I miss Joe Strummer – being able to hang out with him and spend time with him. His shows were great. He was great. It was great fun. Whenever my wife and I would go out to dinner with Joe Strummer, we would have to remind each other to bring our sunglasses because we knew we weren’t coming back until after the sun was up. When you walk out of a bar at eight in the morning you NEED your sunglasses” he finishes with a laugh.

    “Of course, I miss John Lennon – hanging out with him. He was great. Every time I saw him, I felt that I learned something.   I miss a lot of people. I miss Johnny Thunders. Joey Ramone. But I make new friends. The Sex Slaves, Green Day. You move on. That’s the down side to living longer than your friends, missing them” he says with a chuckle.

    With so many accomplishments that he can point to, I asked Bob what he would like to achieve that he hasn’t already. His deadpan answer floored me.

    “Make a lot of money.”

    Say WHAT?! I thought rock photographers made a lot of money?

    “No, this is a VERY low budget operation! I don’t know if there was more than two or three times in my life when I started the month with enough money to finish it. I mean, I never had a cushion where I knew my bills were paid. I’ve always had to work every week to insure that I would have an income.

    “I think that people tend to think that if you hang out with Led Zeppelin or John Lennon that you have that kind of money – that you live on that kind of level rather than just visit. I visit. But then I come home to a small apartment in the Village. I don’t have a yacht. For many years I never even had a new car. Only recently, because my wife has an income and she shares with me am I able to lease a new car.

    “I’m doing much better than I used to. I’m at least leasing a new car rather than driving my old beaters. It’s a misconception that you live the high life and travel around and make a lot of money. Some photographers do. A few. Not many. 

    “Certain photographers working with a ‘boy band’ who sells dozens and dozens of pictures to every magazine around the world - if you have good access to them then you can make some good money. But, for most people shooting most bands, especially nowadays there are so many magazines and so many online so-called magazines that pay practically nothing because there are tens of thousands of people interested in photography since it got so easy. And many of them will just give away a picture for the credit.

    “So, though prices have increased ten-fold, payment for photographs haven’t increased much at all since the 70’s. If anything, it’s going down because of so many more people willing to just put it out there for credit.

    “And then other things like Corbis and Getty – the major photo agencies that are buying up the other smaller photo agencies in the world – they’re trying to own the content and so they’re purposely setting out to put photo agencies and photographers out of business by licensing photos at tremendously discounted rates. I mean, photos that we license for four or five hundred dollars, they license for five or ten dollars, literally that kind of difference. And to have to try and compete with those kinds of prices, we can’t. That’s the point: those kinds of companies want to put all of the other people out of business. They want to own all of the content for the future because content is king on the internet.”

    Wow! Who woulda thunk it?

    How about touring exhibits? I wanted to find out where I could see exhibitions featuring his art and if books were available featuring him.

    “I don’t really have a world-wide agent organizing that. I’m still pretty independent here. So, I only do a few exhibitions a year. I do have a some planned in June for London and, possibly, in the fall in Paris. My John Lennon book is going to come out in French next October in France. 

    “I just had a big collage piece of my work that was in the Museum of Modern Art over the last summer, but that’s over now. ‘Who Shot Rock’ is going to travel to five other museums. It may actually be down south there.

    “We’re also excited about getting the show together for the opening here in NY – I don’t even have the list of where it’s going. It closed here January 31st. But then I know that it’s going to travel to a few other places.

    “My website, BobGruen.com, directs people to most of the available things. My photos are available from several different galleries here in the states. There’s one in particular that does a lot of business online. My books, Clash is still in print but hard to get. John Lennon is still available. The New York Dolls book is available on Amazon or BarnesandNoble.com or whatever website people want to go to. 

    “The best collection of my work, called Rockers. Currently it’s only published in Brazil but it’s available on my website but it’s a little pricey because it’s heavy and we have to ship it. I think its $60 or $70 with the shipping. But that’s the biggest collection of my work.

    “I’m currently just beginning to work on a book that will be out in the fall 2011 that will be an American published collection of my work.”

    My time with Bob Gruen was quickly coming to a close and I had a couple of more questions that I just had to ask. One had to do with his thoughts about the artists’ he knew (other than Lennon) who are no longer with us.

    “Joe Strummer comes to mind first. I spent a lot of time with him. Joey Ramone. He was a wonderfully sweet guy. Johnny Thunders was a good friend.”

    What about the other artist who he wasn’t quite as close to?

    “Quite a lot of my photos were just done as jobs. They were friendly but not necessarily friends. You’re pleased to see each other but you don’t go out to dinner with each other. Some of them you develop friendships with. As in any business where you work with a lot of people there’s certain people that you hit it off with and wind up being friends with.

    “I was lucky in that way to have a number of good friends.”

    I thought I was wrapping up the interview by commenting as to how I thought it said a lot about him with the fact that he was able to develop the relationship and friendship with John Lennon and Yoko and that he still has the relationship with Yoko. Only expecting a “thank you” for the compliment, Gruen, instead, takes the opportunity to defend his good friend, Yoko Ono.

    “You know, Yoko’s been very maligned in the newspapers and in the press. With her new album in the past year, she’s got quite a bit of positive press. But, when people ask me what kind of women Yoko is, I always say that she’s the kind of women that John Lennon could marry.”

    Since he opened the door to discussing Yoko Ono, I asked Bob what he thought the biggest misconception about her was.

    “The biggest misconception? That she doesn’t have a sense of humor. John said that she’s the most famous unknown artist in the world. Everybody knows who she is but nobody knows what she does. And I think with her new album out, she’s getting a lot of press, she’s getting a lot of attention. More people are getting to see her perform and starting to get an idea of what a wonderfully open and how much humor her work has.

    “She’s quite prolific. On her website,Imagine Peace, she answers 10 to 15 questions every week from people all over the world. They just write in questions and she comes up with almost zen-like answers. She’s got a Twitter feed that she updates every few hours with, again, zen-like conceptual art ideas. She’s just fascinating.”

    Soon after, we wrapped up our chat. While going through the rest of my hectic schedule on that January day, I reflected on the gems that Bob Gruen gave me in the way of stories and quotes. I also realized that Bob still influences us today. Long gone is our ability to squeeze into hip-hugging bell-bottom jeans and whose feet can handle wearing platform shoes? And I don’t even want to go down the path of discussing my hair. 

    No, those are pains we can do without. However, while Bob’s work from the past brings us smiles and memories, his work today is creating new impressions that will stay with us for the rest of our days.

    Thank you, Bob Gruen, for all that you’ve done and are doing.

  • FCA!35 Tour: An Evening With Peter Frampton

    fca35coverFCA!35 Tour: An Evening With Peter Frampton
    Peter Frampton
    Studio: Eagle Rock Entertainment
    Released: November 13, 2012
    Reviewed: November 18, 2012

    As a teenager in the seventies, one of the artists that I listened to (and envied) the most was Peter Frampton. Tunes from his record-breaking Frampton Comes Alive(17 million copies and still counting) dominated the airwaves and inspired many kids to try their hand and playing guitar. I would dare say that, today, many of us who were impacted by that album then are immediately transported back in time whenever we hear the opening notes and chords of our favorite songs from that album today.

    To commemorate the 35th anniversary of that landmark album, Frampton toured the world from 2011 to 2012 during the FCA! 35 Tour. Each stop on the tour was divided into two sets: a first set featuring Frampton Comes Alive! performed in its entirety and a second set including songs from throughout his career.

    The result is a wonder two disc set (DVD or Blu-ray), FCA! 35 Tour: An Evening With Peter Frampton, directed and produced by Pierre & François Lamoureux. (Also available is a 3 CD set entitled The Best of FCA! 35Tour) This musical treasure chest features two February 2012 shows - one performance in Milwaukee at the Pabst Theater and another in New York at the Beacon Theatre. The Best Of FCA! 35 Tour 3CD was executive produced by Zach Bair and Mark Fischer of Disc Live Network.

    The performances featured classics such as Show Me The Way and Do You Feel Like We Do as well as tracks from Frampton’s most recent albums Thank You Mr Churchill and the Grammy®-Award winning instrumental album Fingerprints.

    “I have tried to find the best musical performances from as many different countries and cities as possible,” says Frampton. “My MO in choosing these tracks was to make this CD as representative as possible of the entire year of shows. Maybe there’s one you were at, whether you’re from Europe or the US. I’m still going through the 116 versions of Do You Feelas I write this! I might never want to play it again, so you better pick this CD up just in case!”

    That’s okay, Peter. Rest assured that there is a countless army of us middle-aged men still playing air guitar to it.

    You can order your copies of both the DVD/Blu-ray and CD of FCA! 35 Tour: An Evening With Peter Frampton by clicking on the icons on the right side of this page.

  • Leslie West Discusses Soundcheck Hendrix, and More

    Posted March 2016

    Photo by Justin Borucki

         

    One of the most talked about performances at Woodstock (but didn’t’ get to make it on the movie) is the eleven song set by Mountain. At the time, the band was mostly noted for it’s cover of the Jack Bruce tune, Theme for an Imaginary Western, as well as blistering guitar solos by the bands founder, Leslie West.

    In the years that followed, the band continued to blaze musical trails, ultimately releasing eight studio and three live albums. It’s signature hit became “Mississippi Queen” that has been heard all over the world and used in movies, TV shows and commercials. 

    Leslie West also simultaneously launched a successful solo career, marked by fifteen solo albums – sixteen when you include his new monumental effort, “Soundcheck.” It was for “Soundcheck” that I recently contacted West by phone. In fact, I called him on the 45th anniversary of the passing of Jimi Hendrix. I was curious about your thoughts about him.

    “Well, it was really sad. He died at almost 28 years old. I’ve since become friends with his sister, Janie. She came through New York recently – within the last year. They’re doing a documentary on the Atlanta Pop Festival – with Jimi there. They were interviewing people that played it. She’s such a sweetheart.”

    Circling back to Jimi himself, West continued:

    “Too bad he’s not still around. I have very fond memories. I played with him at a club in New York at, like, one in the morning. Just me and him. Him playing bass and me playing guitar. In fact, on MoutainRockBand.com – our website – there’s a picture of Hendrix playing bass and me playing guitar that night. It’s not the greatest picture but you can certainly see that it’s him and me. 

    “He went WAY before his time. Yeah, that wasn’t a happy day.”

    Bringing the conversation to Leslie’s new CD, I asked him how many solo records this mad for him.

    “I think it’s sixteen solo albums, believe it or not. I think. Somebody wrote that the other day. I started to count them but I feel really tired so I’m not going to start to count. Ha! Ha! The good thing is this one I’m really proud of. The sound is great and I’ve got some good people playing on it.”

    When he says, “some good people,” West is referring to people such as Queen’s Brian May, Peter Frampton, Bonnie Bramlett, Jack Bruce and Joe Franco (via some resurrected studio tapes). When I said that having such a stellar group of artists willing to play on his album certain said a lot about the respect he has amongst such big names, Leslie said:

    “On the ‘Going Down’ track with Brian May, a friend of mine was producing at the time and he got us all together. So, when I was doing this album, nobody had ever heard it, I don’t think. The song was written by Don Nix. Don sang it originally. But when we listened to the masters of it, he didn’t use Brian’s solo. Somebody else finished producing it even though my friend started it. 

    “So, when me and my engineer heard it, I was playing the solo on the first half of the song. There was a break and then Brian played the solo on the second half on out. We put it together and it was great! We’ve got Max Milton playing the intro on piano. I get really excited. That’s probably my favorite guitar song to jam on of all time.”

    As we talked about the songs on the album, I mentioned how unique his treatment of the old song, “You Are My Sunshine,” was in its contrary delivery.

         

    Photo by Justin Borucki

    With a chuckle, Leslie shared the background to that version.

    “I gotta give credit to Sons of Anarchy because I heard somebody doing it on there. Instead of the major key that the sounds so happy, it was in a minor key. I said, ‘Boy, I think I can really do a very, very ‘funerally’ – funeral dirge – some kind of sad version of it.’ 

    “I called Peter Frampton because I’d done something with Peter the year before. I said, ‘Peter, I’ve got a version of ‘You Are My Sunshine’ that I’d love for you to play with me.’ I sent it to him. It really came out great. I’m really proud of it. Between the two of us – I think I started out playing the first solo and he played the second one. After the break in the middle, he plays the first solo and I play the last solo and we play the last line together.

    “I’ve known Peter forty-five years – something like that. Even though we’d toured together, we’d never actually played together. He had this tour last year called ‘Frampton’s Circus’. He invited me to play a couple of shows on it. It was the first time we had ever played together. Now we’ve played together twice.”

    After working with them on this record, are there any more plans to collaborate with any of these people in the future?

    “Well, there’s a young guitar player – Jim Cook – a blues player. He’s going to be opening for me in New York when I play B.B. King’s. I play a track on his album. I think the kid’s gonna be something special. I’m looking forward to that.”

    Having worked on all of the Mountain and solo records that he has – as well as appearing on many of his friends’ projects – I asked West how “Soundcheck” was different for him.

    “It’s not so much different than the last one I did, ‘Still Climbing,” because that was only two years ago. The machines and everything else – every two weeks there are new things to try out. We’re pretty much on ProTools. The secret to making a good album is a good engineer. I can just play and Mike can edit where I need editing. Putting songs together is a lot easier now that it used to be years ago.”

    As a “calling card” for the entire record, Leslie offered his choice of song:

    “The first cut, ‘Left by The Roadside to Die’. It starts with a synthesizer. I actually played that part on the guitar and had my keyboard player start to play it. So, right off the bat, I guess you’d expect to hear a guitar from me. This, at least, you hear that synthesizer come on and then I start playing some slide and it gets heavy. It shows some different phases of what I can do in one song. I would hope that would get you to listen to the rest of the album!”

    The best of the best guitarist are sought after by the various guitar manufacturers. It’s no surprise that Leslie West has a signature line through Dean Guitars. When asked how that line was doing, he said:

    “Great. We ran about five models. From very expensive, to the middle, to very inexpensive so everybody can play it. Even the less expensive ones have great graphics on it. The newest model is the Leslie West Peace guitar. It has my logo. The logo looks like a peace sign but, if you look closely, one of the lines on the circle is left out so it looks like an LW. It’s a black guitar with a silver peace sign on it. It looks great! It’s been a lot of fun. I mean, I feel sorry for Jimi Hendrix. He’s dead and he never had a model while he was alive.”

    Photo by Justin Borucki

         

    Jimi Hendrix came up in the conversation about signature guitars when West started talking about what a Hendrix signature model might be.

    “They were upside down Stratocasters. They weren’t left-handed. He would take a regular Strat and just re-string it. A guy like Albert King, he used to turn the guitar upside down and play it backwards. I don’t know how the hell he did that! He had the big Flying V and just turned it upside down so, where the fat E string would be, he had the little, thin E, first! I wondered how he stretched the strings that far. 

    “The first gig we ever did was with Albert King. Fillmore West. Mountain’s first gig. I watched him play. I had been trying to develop my vibrato and stretch the strings. I wanted to stretch them as much as he could. When I found out that he was doing it from the opposite way, it made it a lot easier. I didn’t see that until I watched him. I wished that I had saw him before. It would’ve made my life a lot easier and simpler!”

    Circling back around to Hendrix, again, Leslie said:

    “Yeah, if Jimi was still around, I kinda know what his Strat would be like.”

    Our conversation turned to another great, legendary guitarist – one who recently passed away and who, like West, played at Woodstock: Johnny Winter.

    “I was on Johnny’s last album. ‘Long Tall Sally’. And Johnny played on my last album on the song, ‘Busted, Disgusted or Dead’. My engineer mixed Johnny’s last album and got a Grammy for it. We (Johnny) were pretty close. I actually helped Johnny get himself straightened out, drug wise. He didn’t die from drugs, man. He just died of natural causes. He wasn’t doing to well, health-wise. Neither was I, but, somehow, I’m still around!”

    That last comment gave me the opportunity to ask Leslie how he was doing. As some of you may not know, West has had some serious health problems over the last several years – including the loss of a leg - so I asked how he was doing. His initial remark blindsided me.

    “I was going to ask you, Randy: Did you find it (his leg)?” 

    Then, on a more serious note, he added:

    “My balance is terrible and I haven’t been able to use the prosthetic so I have to sit in a chair to play, unfortunately. But it hasn’t stopped me from playing. That’s a good thing. In rehab, they put me in the parallel bars with the prosthetic leg and made me put the guitar on. I put the guitar on and they wanted to see how long I could stand and play the guitar without falling. I didn’t last thirty seconds. 

         

    Photo by Justin Borucki

    “I said, ‘You know, this isn’t going to work on stage. I don’t want to be worrying about falling when I’m trying to play.’ Even though you have a prosthetic, it feels like an alien to you.”

    Then, after sharing more about his adjustment to losing his leg, he said:

    “Life is precious, Randy. Thank God for the guitar, right?”

    I know you have many more years of work left in you but when you finally do go to that great gig in the sky, how do you want to be remembered and what do you hope your legacy will be?

    “When the time comes, and they cover me with dirt and grass, to all my critics that didn’t like the way I played, they can kiss my big . . . “

    I’ll leave it to you to figure out what else he said. 

  • Ringo's All Starr Band 2010

    Posted June, 2010

    This month will witness the latest tour and incarnation (the 11th, to be exact) of Ringo and His All Starr Band. This will be one of those special and rare opportunities to see the “lovable Beatle” performing many of the hits from his impressive solo work as well as from the Beatles’ extensive catalog. Ringo also will be sharing the spotlight with each of All Starr band mates as they sing some of their hits, as well.

    Ringo kicked off his first All Starr band back in the summer of 1989. The band consisted ofClarence Clemons (Bruce Springsteen’s E Street Band, the Jerry Garcia Band and the Grateful Dead), the late Rick Danko (The Band),Levon Helm (also of The Band),Dr. John, legendary session drummer,Jim Keltner (who worked on many of the greatest classic rock albums ever recorded),Nils Lofgren (Neil Young, E Street Band), the late Billy Preston and the incomparableJoe Walsh.

    Over the next twenty years, other big names such asBurton Cummings, Dave Edmunds,Randy Bachman, the lateJohn Entwistle,Peter Frampton,Todd Rundgren,Billy Squier,Greg Lake andEric Carmen, to name just a few, joined Ringo band of merry men, delighting audiences everywhere. Who wouldn’t want to see Ringo perform not only the great Beatles tunes but his many great songs from his long solo career? I mean, really! Who wouldn’t?

    The eleventh All Starr Band is made up of another impressive group of some of the best artists in rock and roll history. The multi-talentedEdgar Winter returns for his third tour of duty with Ringo as well asGary Wright for his second stint. On their maiden voyage with Ringo areRick Derringer (Hang On Sloopy, Rock and Roll Hootchie Koo),Richard Page (Mr. Mister),Wally Palmar (the Romantics) andGregg Bissonette (Maynard Ferguson, David Lee Roth, Carlos Santana, Toto).

    This tour is, in part, in support of Starr’s 15th solo album entitled Y Not that features ten great new tunes crafted, sung in the signature Ringo Starr style. You can read more on Y Not byclicking here to read the Boomerocity review of the album.

    To find out more about the latest All Starr Band tour, I tracked down Rick Derringer and Gary Wright. I chatted by with Derringer first, as he was in route to a sound check before a show with Pat Travers. Derringer shares that, “ . . .basically, Ringo’s agent has been a big fan and he tried to do it a couple of years ago but, for whatever reason, it didn’t happen. This year, they had the slot to fill and I was the perfect guy to do it.”

    After breaking my heart by telling me that Dallas isn’t on the tour’s list of stops, I asked Rick what he thought can people expect from a show from the tour?

    “Well, they get to hear all the songs that Ringo sang with the Beatles and all of his solo hits. And then, everybody in the band is required to have had at least two hits that they’ve sung. So, you get to hear two songs from Gary Wright and two from Edgar Winter; two from Wally and the Romantics and two from the guy who sang lead from Mr. Mister and two from me! It’s a big show.”

    Having watched Derringer perform several times, I can personally tell you that you’re in for a real treat that you’ll not want to miss.

    Duringmy recent interview with Gary Wright, I asked him what it meant to him, from a career fulfillment standpoint, to be part of Ringo’s All-Starr Band not just once but twice.

    “Let me preface it by saying that I was a huge Beatles fan. I saw them when they first appeared at Carnegie Hall in New York in 1962 – whenever that was. I was a huge Beatle fan. I played on all of George Harrison’s solo albums and to have been a close friend of his and I met Ringo through George because he played on George’s first solo album, All Things Must Pass. So, I’ve known Ringo over the years. All of a sudden, out of the blue, to get a call two years ago to join him – well, first of all, I was overjoyed. 

    “He’s a great drummer – a fantastic drummer. He’s got an incredible feel. And, he’s a wonderful, wonderful human being! He’s giving; he’s very kind; he’s funny; he’s just a great person to be around. He treats the musicians really wonderfully. And, it’s a joy! It’s like touring at its best. It can’t hardly get any better than that!”

    In discussing Ringo’s line-up for this tour, each band member is mentioned with accolades by Gary: Edgar Winter as a great keyboardist; Rick Derringer and his phenomenal guitar work, Gary goes on by adding, “ . . . Richard Page from Mr. Mister – he’s got great songs like Kyrie, Eléison and Broken Wing. And Wally Palmer from (The Romantics’) Talking In My Sleep and That’s What I Like About You – they’re all great songs.

    “The thing about the Ringo show is that it’s hit after hit after hit and the audience loves it, which is good. It’s like those old doo-wop shows from the 50’s when there’d be ten artists on the bill and each group would come up and sing one, two or three of their big songs and everyone would people would go crazy. It’s that identity factor that people love to hear their favorite artist.”

    Ringo’s All Starr Tour kicks off June 24th in Niagra Falls, Ontario, and concludes at the Greek Theatre in Los Angeles on August 7th. Click here to see if the boys are coming to a city near year. If they are within a couple of hours driving distance or a good, quick flight from where you live, I would highly encourage you to take this opportunity to catch Ringo and the boys in concert.

    While you’re at it, why not pick up or download Y Not? If you’re waffling about buying it, again, you can read the Boomerocity review of ithere.

  • Thank You Mr. Churchhill

    churchill coverThank You Mr. Churchill
    Peter Frampton
    Label: New Door Records
    Reviewed: July, 2010

    Thank You Mr. Churchill is 15th solo project by rock icon, Peter Frampton. I was promised a review copy of the disc but it must have been lost in the mail. Being the unabashed Frampton fan that I am, I ultimately broke down and bought my own copy. It was money well spent.

    As for interviewing Mr. Frampton, while he is on my short list of “must have” interviews and over a year of trying, it hasn’t yet happened. I am certain it will. Until then, I’ll tell you, the sites small but growing international readership, about his latest project.

    Like the majority of his fan base, I didn’t discover Frampton until cuts from Frampton Comes Alive dominated the airwaves after its release. And while thatis THE best live album ever recorded, I must say that Peter has done nothing but push his axe skills to ever levels of excellence. Thank You Mr. Churchill proves this beyond a shadow of a doubt.

    The disc opens with the title song which is half autobiographical and half peace message. Like many of the Boomer generations rock heroes, Frampton was a child of World War II and tips his hat in thanks to the late British Prime Minister for “making sure that I was born.” With Frampton and our generation finding our world at war on many fronts, the song segues into sharing his dream, and ours, that the world will wage peace instead of war.

    If my “Spidey Sense” hasn’t failed me, I do believe that the second cut, Solution, is Frampton’s musical rebuttal to the negative press he occasionally gets from journalists, bloggers, and members of his Facebook network. As a member of his Facebook network, I have seen people post very nasty and immature statements regarding Peter’s work. It would appear that those people are suffering from a terminal case of Rectal/Cranial Inversion. Okay, so they don’t particularly care for Frampton’s current work. Must they be so sophomoric?

    Back t to Solution.

    Musically, the tune is a great, pulsating rocker that serves up crisp and sizzling guitar solos that have got to part his audiences hair right down the middle when he performs it in concert.

    One of my two favorites cuts on this album is Road To The Sun. Not only is this a great, by the numbers rock tune with phenomenal guitar work, the vocalist is Peter’s son, Julian. The dude’s got some pipes that will, without a doubt, help catapult him into rock greatness in his own right if he plays his cards right.

    The other favorite tune of mine on this disc is the sentimental Vaudeville Nanna And The Banjolele. I guess I love this song because, like I find myself doing a lot these days, Peter reflects on his childhood and his dreaming of getting his first guitar. He clearly misses his loved ones who have passes away and conveys that loss perfectly in this tune.

    Suite Liberte is a seven and a half minute instrumental that beautifully showcases Frampton’s versatility on the guitar. Be prepared to hit the repeat button on this one. I Want It Back will have the crowd on its feet and dancing in the aisles.

    If you’ve read my more recent CD reviews, you’ll know that I won’t spill all of the beans about a disc. Thank You Mr. Churchill is no exception. There other songs that I didn’t mention are equally great in their own way. You’ll definitely want this CD in your music library – whether you’re an existing Frampton fan or just learning about the guy.

    As for the detractors of this project, you really need to put your head in a better place. It’s a dark and ugly place where it is now. Besides, you’re missing out on a great CD.

Featured Photo

 

 

george lynch

Our Featured Photo by Boomerocity friend and famed rock photographer, Rob Shanahan (robshanahan.com), is of Dokken's George Lynch! Check out more of Rob's work at RobShanahan.com!

 

 

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