WHITESNAKE

 

This kickass rock band from the UK got my attention in junior high when I first heard the track, “Love Ain’t No Stranger,” on the radio. I loved that song! It had a Led Zeppelin vibe, starting slow and mellow, the grovelly vocals of David Coverdale soulfully singing, “Who knows where the cold wind blows…” Very poetic and Robert Plant like. Then the song kicks into high gear with the heartfelt scream, “Love Ain’t No Stranger!” Think the dynamics of Zep’s “Ramble On.” I’ll link the video here:

I loved that song so much that I went out and bought the album, titled “Slide It In.” From the provocative album cover to even more provocative (and downright naughty) lyrics, it resonated with my pubescent, sexually-frustrated self at age 15. It came out in January 1984 when I was starting my second semester of Sophomore year in high school. I opened the album, put it on my stereo console and rocked out to the first three tracks, wearing out the grooves on “Slide It In,” “Slow and Easy” (with their highly-charged, sexual lyrics) and Stranger, their radio hit.

Slide It In album cover

I was a big fan! Never saw them in concert, though. Loved their videos on MTV. They toured the U.S. in 1984, opening, first, for Dio, and then for Quiet Riot.

They didn’t put out another album for three years!

Work began on the album as soon as they finished touring in early 1985, but it was recorded piece-meal by ever-changing band members and even some legendary session players, like guitarist Dann Huff (source: Wikipedia). The final pieces were recording Coverdale’s vocals, delayed because of sinus issues and required surgery, and piecing together a whole new lineup for the band. He enlisted Rudy Sarzo, from Quiet Riot, and Dio’s lead guitarist Vivian Campbell, who he’d met on the ‘84 U.S. tour, and Ozzy’s drummer Tommy Aldridge, who had previously auditioned for the WS gig.

This was a whole new Whitesnake. None of them performed on the 1987 album, but all appeared in the subsequent music videos. That was my introduction to Aldridge, who is known for his crazy, curly locks and soloing without sticks! By the time the new album was released, Mar. 1987, I was living in Tallahassee and I purchased it on cd. I then recorded the album on cassette tape to play in my brown Chevelle Malibu at high levels through aftermarket Pioneer speakers. I wore that goddamn tape OUT! I loved it and so did America’s youth as the album shot to #2 on Billboard’s chart. The videos for multiple singles were MTV favorites that year.

“Still of the Night,” to this day is the rockinest, most badass Whitesnake song of all time. It was a total Zeppelin ripoff, especially the Kasmiresque bridge that quiets to a near replica of “Black Dog” before exploding into a soaring Vivian Campbell solo! Gone were the blues undertones of say “Ramble On,” replaced with the harder Zeppelin-like riffs that laid the foundation for hard rock and heavy metal. Coverdale openly admits they were shooting for the new hard rock sound of bands like Bon Jovi that appealed to American youths. It appealed to me! I thought that album was epic. I loved the callback to classic Zeppelin!

It would be my last Whitesnake purchase, and only the second of their albums I ever owned. I couldn’t see how they could top what they had already done. And by 1987, I was getting into religious music (CCM, as it was termed) and groups like Petra, Whitecross, Whiteheart and The Allies were making rock albums that captured my full attention. A great example, complete with Zeppelin ripoffs, is The Allies’ “Long Way From Paradise” album.

So that’s my story. I figured a break from politics, racism and sports was in order.

Rock on 🤘

#kickcancersass

Trying to get traction for the new hashtag:

#kickcancersass

Use it liberally and be sure to like my new page on Facebook.

A Man I'll Never Be

This song has always resonated with me...the lyrics, the melancholy in brad's voice that must have come from that deep, dark place where his demons were hidden...it's a shame that he's gone, but his memory lives on.

(Lyrics written by Tom Scholz)

If I said what's on my mind
You'd turn and walk away
Disappearing way back in your dreams
It's so hard to be unkind
So easy just to say
That everything is just the way it seems

You look up at me
And somewhere in your mind you see
A man I'll never be

If only I could find a way
I'd feel like I'm the man you believe I am
It's getting harder every day for me
To hide behind this dream you see
A man I'll never be

I can't get any stronger
I can't climb any higher
You'll never know just how hard I've tried
Cry a little longer
And hold a little tighter

Emotions can't be satisfied

You look up at me
And somewhere in your mind you still see
A man I'll never be

If only I could find a way
I'd feel like I'm the man you believe I am
And it gets harder every day for me
To hide behind this dream you see.........

I can't get any stronger
I can't climb any higher
You'll never know just how hard I've tried
Cry a little longer
And hold a little tighter
Emotions can't be satisfied

You look up at me
And somewhere in your mind you still see
A man I'll never be

If only I could find a way
I'd feel like I'm the man you believe I am
And it gets harder every day for me
I can't keep hidin this feeling

Thank you Tom Scholz for the great melody and rhyme, but thank you Brad Delp for pouring your heart and soul into the vocal performance! I feel you.

This is 8 minutes of pure percussive mayhem!!!

I first took notice of this drummer while listening to Army of Anyone's debut (and only) release. On the hit single "Goodbye," Luzier breaks into a mini-solo during the last minute of the song. His fills mezmerized me. To this day, I cannot duplicate a couple of them.

Anyway, on the above video he starts out with the mini-solo from "Goodbye," then breaks into flurry of pedal and stick fills that will blow your mind! After which, he shows off his chops by playing the rims of his toms, leading back into another flurry of fills...I couldn't tell you what notes, exactly--maybe 64ths?--as he is going too freaking fast. I think he is my new fave!

Legendary Les Paul dead at 94

The music world today lost one of its key innovators from the modern era. Les Paul, legendary guitarist and musician, died in New York at the age of 94. Paul was a "brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians.”[1] It has been said that his solid body guitar (like those pictured above) "made the sound of rock and roll possible.”[2] And while I'm not a guitarist, I can appreciate the contributions he made to the genres of music I love the most, namely blues, rock and jazz.

Many of my favorite guitarists sport various Les Paul models, including Neal Schon of Journey (pictured, left). Your favorite rock, blues or jazz god certainly has one in his collection. Paul's significant influence in the music biz over the last 80 years cannot be overstated, but you can find links below to support that claim.[3]

I am just thankful that he used his God-given talent to make a mark on the world, to inspire and influence thousands of artists and to leave a lasting musical legacy.

A few other bloggers have begun to buzz about today's sad news, leaving a tribute to the greatness that was Les Paul:

http://www.brooklynvegan.com/archives/2009/08/les_paul_rip.html
(this blog includes several video clips)
http://www.markmcguigan.com/2009/08/13/les-paul-1915-2009/
http://althouse.blogspot.com/2009/08/les-paul-was-born-in-wah-kiss-ah.html

If you're so inclined, you can sample an audio clip of The Les Paul Show, Episode 1, from AllMusic.com. Whatever you do, please leave a comment here or on my Facebook page to share your Les Paul memories.

REST IN PEACE, MR. PAUL

Les Paul

June 9, 1915 – August 13, 2009

Links:

1. AllMusic.com (written by by Richard S. Ginell) - http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hifqxqr5ldhe~T1

2. Wikipedia link - http://en.wikipedia.org/wiki/Les_Paul

3. Official Les Paul Website - http://www.lespaulonline.com/

Musical Memories Part Two: Prog Rock to Metal

If it wasn’t apparent in part one of this series, I idolized my uncle Greg. Beyond his musical influences—his record collection, his drumset, his monster stereo system—he had cool cars, pretty girlfriends, basketball skills, pornography, alcohol…What more could a pubescent teenager ask for? He fueled my rock-n-roll fantasies.

I can remember cruising the town square in Princeton, windows down in Greg’s “Smoky and the Bandit” Firebird TransAm, Boston 8-Track blaring through the night sky. It was like having an older brother away at college who’d take me out partying and let me do all the things I wanted to do. It was sex, drugs and rock-n-roll…well, sort of. Substitute pornography for actual sex and liquor for drugs and, well, you get the picture.

We used to wear out the 8-Track player in his TransAm. Boston’s debut album, Styx The Grand Illusion, the Cars’ debut album and various mix tapes were our cruising music. When he traded up for a white TransAm, we added Billy Squier, Sammy Hagar, Loverboy and more Journey and Foreigner to the soundtrack of our teens. Only this time, the 8-Track player had given way to the cassette.

I had another musical mentor, but he was a grade school and high school classmate who lived down the street from me. Steve Mascari had two older siblings. He cut his teeth on his brother and sister’s massive record collection. Steve was also a budding musician who usually had instruments in his basement on Winston Drive. He broadened my musical horizons, introducing me to the music of The Who, The Police, Yes, Genesis and a Canadian trio who was just beginning to get heavy rotation on FM radio. No doubt, there will be an entire entry devoted to my favorite band of all time, Rush. Steve and I met in fifth grade at Saint Matthews. It was the only year I attended that school, but he and I became musical buds. From then on, most of my relationships were dependent upon a mutual love of all things rock. Steve’s influences ran more along the prog-rock vein of the 1970’s. His siblings had the older Styx albums, The Who, Rush, Genesis, Kansas, Yes and the like. I learned to appreciate concept albums, epic songs that could take up an entire side or an entire album, multiple time signature changes, keyboard solos (well, sort of) and sophisticated drum solos. My jaw nearly dropped when I first heard Neil Peart’s solo on the live version of YYZ (Exit…Stage Left)…yes at Steve’s house.

My musical tastes were expanding. I even learned that headbanging would play a part in my future, thanks to Steve’s parents and their introduction of cable TV to my world. In the early 80’s, we could spend mindless hours watching MTV on American Cablevision in the Mascari basement. After granting access to the extensive album collection at their house, the Mascari’s now offered MTV, Little Caesar’s pizza and rides to high school. Yes, those were the good ol’ days.

Prior to my exposure to MTV, the only hard rock/metal I had been exposed to was music by AC/DC and Ozzy Osbourne. That reminds me of another darker influence on my life…the high school youth group at Central Baptist Church in Broad Ripple (now Trinity at Westfield and Central). The rabble-rousers there, most of whom were a few years older than me, listened to REO Speedwagon’s Hi-InFidelity, AC/DC’s Back In Black and whatever else would set their parent’s ears ablaze. I befriended one of the few kids my age and Owen introduced me to Ozzy’s Blizzard of Oz album. I was shocked, thrilled and mesmerized by that music. He hung with some hippie wannabe’s who also listened to Hendrix and Black Sabbath. That was my earliest exposure to the darker, heavier side of rock-n-roll, but we’ll explore that some more in part three of this continuing saga.

For now, I’ll leave you with this musical memory. Some of my first actual purchases of rock music came compliments of the Columbia House Record Club. Yes, I licked stamps and taped my penny to the reply card! In return, I received by mail my first three cassette tapes—Genesis Abacab, The Police Synchronicity, and Triumph Allied Forces. After that came many trips to Peaches in Broad Ripple and Karma Records. I don’t know how many albums and mix tapes I amassed during high school, but my job at Little Caesars hardly covered my expensive hobby. And there were concerts, too, but we’ll visit all those memories next time. Until then, keep bangin’ your head and…Rock on!

Musical Memories Part One: The Music That Shaped Me

Recorded music was always a standard at our house and my parents were children of the 50’s and 60’s, so that music was usually Rock ‘n Roll. My parents were fans of three- and four-part harmony, so the Beach Boys and the Beatles were king (no offense Elvis)! Mom also loved the harmonious vocals of the Mamas and Papas, the Carpenters and the smooth crooner Johnny Mathis, to name a few. Those were the records I cut my teeth on, so to speak.

Thankfully, my parents never got into disco, and there is a stretch of the mid-to-late 70’s where we listened to mostly Christian artists, Keith Green, 2nd Chapter of Acts, The Archers and The Imperials…but I digress.

My early childhood was spent listening to Meet the Beatles, Rubber Soul, Magical Mystery Tour and Sgt. Pepper’s Lonely Hearts Club Band. In fact, my neighborhood pal Mike Moffet cut a guitar out of a cardboard box and would jam along to Sgt. Peppers ad nauseum. I often accompanied on air drums, yet even I at 8-years-old was better than Ringo.

As I got older and learned of the “secret death of Paul McCartney,” Mike Myers and I would scour dad’s Beatles collection for “clues,” even attempting to play certain records backwards to find “hidden messages.”

My parents bought me a record player for my 6th birthday. It was my favorite present. The bike they bought me sat unused for many years, but that record player was nearly worn out by my 8th birthday. Some of my first 45” singles included Heart’s “Magic Man,” Boston’s “More Than A Feeling,” Manfred Mann's "Blinded By The Light" and Starlight Vocal Band’s “Afternoon Delight.” The latter is the funniest considering my age and naiveté about anything sexual.

As disco was dying a slow, painful death during my junior high years, I was heavily influenced by an uncle, only four years my senior, who had begun amassing a collection of rock albums by Led Zeppelin, Journey, Foreigner, Toto and Styx. These were the musical influences that shaped me through my adolescence. Ah, the good ol’ days!

Toto, Foreigner and Journey were the bands that provided a soundtrack to my early attempts at drumming. Yes, the uncle who helped shape my musical tastes at decibels unsafe for veteran baggage handlers also had a drumset in his basement. I tried like hell to keep up with drum gods Jeff Porcaro and Steve Smith, but “Hot Blooded” was more my speed in those days.

Steve Smith was the drummer for Journey at the height of their career in the early 80’s. And just when I was getting familiar with FM standards “Wheel In The Sky,” “Anyway You Want It” and “Lovin’ Touchin’ Squeezin’,” Journey released a live album that blew me away. It was right about that time I was allowed to go to my first rock concert at IU’s Assembly Hall. You guessed it, Journey was the headliner. They were on tour with a new keyboard player who sported a crimson red baby grand on loan from IU’s School of Music, no doubt. They were playing new songs from their Escape album, like “Stone In Love” and “Don’t Stop Believin’.” It was a dreamlike experience for a novice rocker and prepubescent 8th grader to be sure.

I’d be remiss if I didn’t say a bit more about the influence of Keith Green in my musical past. His piano-driven pop/rock was my introduction to “Jesus music” and really was very good. Well, his first two albums produced by Bill Maxwell, who is also an accomplished drummer and added his chops to those albums, were very good. Then, Keith got kinda full of himself and took over and the albums went downhill. That, and his career was cut short by a tragic plane crash in Texas. Still, his first album For Those Who Have Ears To Hear molded my softer side and helped give me an appreciation for piano as a percussive force in rock music.

My next entry on this topic will delve more into my evolving musical tastes through high school and my passion for darker music that aligned well with my testosterone-driven teenage angst. Until then, keep your feet on the ground…just kidding. Rock on!

Rush Encore

Wow, what a once-in-a-lifetime experience! I was privileged to see Rush twice on their North American tour, this time compliments of my good friend Joe Copple. Joe and I went to high school together and camped out for Rush tickets at Market Square Arena in 1986. Three of the four Rush concerts I've seen were with Joe. I blogged about the experience last summer here.

And while this was the pretty much the same show, it was the last stop on their Snakes and Arrows tour--a concert that had to be rescheduled from June. And let me just say that Verizon Wireless Music Center is one of the best venues around. The show was complimented by perfect weather! Oh, and did I mention that the tickets were free?!?!?! Thank you Joe!

We sat in the same section about 10 rows further back from the stage. The Canadian trio put on one helluva show! The end of their second set was an unbelievable trip into their storied past covering Spirit of Radio, 2112 (Overture and Temples of Syrinx) and Tom Sawyer. Then, during the extended encore they played YYZ, one of my favorite all-time Rush instrumentals.

Other songs of note were Passage to Bangkok, Witch Hunt and Natural Science, songs you don't typically hear at a modern-day Rush concert. Of course they sprinkled in plenty of tunes from the current album, including Working Them Angels and Far Cry. It was an excellent show.

The thing I can't understand is how this phenomenal, four decade band has been excluded from the Rock-N-Roll Hall of Fame. It defies logic. With 24 gold and 14 platinum records (RIAA searchable Database Recording Industry of America July 29, 2007) and more than 30 years of recording and touring the globe, I'm dumfounded why Alex, Geddy and Neil are not fixtures in the Cleveland museum. Please take a moment to sign the petition to get these legendary musicians (each a virtuoso on his own instrument) into the hall. If you need any further motivation, please watch this video:

Neil Peart has always been one of my absolute favorite rock drummers and a big reason why I took up drumming at an early age. Even if you don't care for the progressive rock stylings of Rush, you have to admire their individual talents and their longevity...rivaled only by the Rolling Stones.

I only hope I get to see them again before they call it quits. Rush ROCKS!!!

Thanks again to Joe Copple for the complimentary tickets!

All the World's Indeed a Stage...

…and we are merely players, performers and portrayers, each another’s audience outside the gilded cage. (“Limelight,” lyrics by Neil Peart)



Rush took to the stage at Verizon Wireless Music Center last night in Noblesville (Indianapolis), Indiana. The concert marked my third live Rush experience, the best one by far.

The Canadian prog rock trio opened with “Limelight” (Moving Pictures, 1981), a standard on classic rock radio, and didn’t wrap for nearly three hours. There was a 30-minute intermission, but when the band retook the stage, they played some of their newest material with a renewed vigor, surprising for the aging rockers.

And the set list did NOT disappoint. They played B-sides like “Entre Nous,” “Freewill” (Permanent Waves, 1978) and “Witch Hunt,” my favorite song from the Moving Pictures album. Of course, the set was ripe with new material from the 2007 Snakes and Arrows release and crowd favorites, “Tom Sawyer,” “Spirit of Radio” and “Subdivisions.”

The second set included a new instrumental, “Malignant Narcissisim,” from which Neil Peart launched into an incredible drum solo that included his trademark snare rolls, cowbells, synthesized drums and vibraphone, all on a rotating stage. He finished it off with a jazz segment augmented by a video honoring such drumming legends as Buddy Rich. He once again proved that age has not slowed him down one iota.

In fact, Neil, Geddy and Alex all play virtually flawless, but I wouldn’t expect any less from the seasoned vets of rock. Geddy’s basswork now dominates much of the performance as the group has gotten away from their highly synthesized past. He only played a lone keyboard a handful of times. The rest of the show was balls-out, gritty, guitar-driven, rhythm-centric rock.

Verizon is a great outdoor venue and we had great seats to complement the outstanding weather. What made it an absolutely perfect night was sharing it with some old friends, one of whom camped out at Market Square Arena with me for tickets to the 1986 show. All these years later, and Rush just keeps getting better with age. I hope this wasn’t the band’s last tour.



(Click here for a complete Rush discography.)