To me, music does tend to reinvent itself anyway. It’s something like a massive solera system, where it all takes a similar path, filters out and ultimately pours out of the same cask — albeit with different nuances.

One of those albums is Television’s Marquee Moon and particularly the title track. It’s back on top of my playlist these days.

I’m actually not sure how it jumped onto the top of the stack again — although it does that every few years. I’ve been listening to a bit of Wilco lately and there’s something about their guitar work that reminds me of Tom Verlaine, Television’s frontman.

Either way, Marquee Moon was released in 1977, and was quickly dubbed one of the greatest guitar albums of all time by Rolling Stone magazine. It doesn’t have screaming licks. It’s simply melodic and beautiful — and inventive.

Were the rock gods less fickle, Verlaine and company would’ve enjoyed greater success, and shared in the acclaim that contemporaries like the Talking Heads, Blondie and others eventually enjoyed.

As we told you in our earlier profile of Verlaine, he did just fine elsewhere. He packed it up and headed to Europe, where he enjoys relative success and where he continues to live and perform.

But whatever his musical path, I’m grateful it started with Marquee Moon, the song and the album.

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There are so many really cool layers to this project, including an illustrated storybook by Chris Hingel and live projections of the artwork.

As you may have seen, we here at The Listening Room have been following the progression of this saga, posting pieces of the story over the past few weeks. Be sure to read on to see what’s happening next in this fantastical world Mr. Feldman has so artfully crafted for us. (Here’s the past posts if you need to catch up.)

But hold up! Before you start reading, you should also know that Feldman is trying to raise some money to support the printing of the hardcover storybooks. You can purchase tickets and pledge money towards to the books by visiting this Website.

Feldman says the style of music is influenced by classic rock, jam, jazz, progressive, Latin, world music, and much more. If you’ve ever heard Mercury Landing, then you know the boy’s not afraid to mix up styles!

The Green Emerald performance will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

THE GREEN EMERALD BAND consists of 7 all-star members involved in New York’s vibrant music scene:

Corey J. Feldman (Guitar/Vocals) – www.mercurylanding.com
Kat Rees – (Vocals) – www.myspace.com/katreesmusic
Dan Griffith (Guitar) – www.myspace.com/stiltsmusic
Matt Robbins (Keyboards) – www.myspace.com/mattrobbinsjazz
Nick Hundley (Bass Guitar) – www.myspace.com/linfinity – www.myspace.com/shilparay
John Adamski – (Drums) – www.juliusc.com
Devon Caesar (Narrator)

VII – “Prophets for Profit (Santa Fe)”

SPOKEN
The King had his prophets,
Who praised what he dreamed.
Their interpretation,
Was not what it seemed.
His dark and evil eyes,
Inspired such great fear,
They only said the words that,
King Hania liked to hear.

SONG V1
Your watery eyes are dripping numbers for the lottery.
The pottery that’s lumbering and slumbering,
It’s not her call, there’s nothing on the wall,
But a picture, and a flyer, and a fire alarm,
And a camera on an arm,
The table’s made of silt, yeah that fine weathered clay,
It may just harden Santa Fe.

V2
I sit here, I ponder, I write, and I stare.
I don’t even know, if I’m yet aware,
Of what, how, or who, is making me see,
The third person view like I’m on TV.

CHORUS
In a room between the King and the outside wind,
The music of the spheres is slightly thinned,
But thick enough to cut a slice away – Santa Fe.

V3
Prophets for profit, our thoughts equal gold.
We give the King his favorite words even as we’re told,
The sire’s desires to rule the world.
The prophets will get it right, in the end it’s they who fold.

CHORUS

Outro
(this part represents the King’s desire to take over specific places in the world)
Santa Fe, San Diego, San Francisco, Acapulco, Kansas City, Tallahassee, New York City, Santa Fe.

VIII – “Shapes on Drapes”

SPOKEN
These be the thoughts,
Of a princess so wise.
Her dreams would bring color,
To her dreary eyes.
The images her mind had forged,
Would make her see the light,
Reflected as both blue and red,
The goal had come in sight.

SONG
A girl walks in a room.
She stares at the drapes.
All she can decipher,
Are lots of different shapes.
The circles and the squares,
Each one caught her eye,
But something there was missing,
She thought that she could try,

To feel a fourth dimension,
A reflection in time.
In order to discover it,
There must be a crime,
To steal or covet anything,
To harm someone or kill,
To figure out the question true,
A prophecy fulfilled.

CHORUS
Circles, squares, and shapes galore,
But something made her want much more,
She sensed that something was in store,
It boiled to her very core.

V2
The girl looked at the drapes again,
The circles slightly glowing.
The squares were growing larger now,
She knew where this was going.
She reached out to the curtain,
Now emotions like a flood,
Squares and circles colored red,
Were painted by her blood.

She cringed a moment, thoughts had froze,
Did not know what to do.
Her finger had a diamond ring,
Which now was turning blue,
But bleeding underneath she ripped,
The ring right from her hand,
She jabbed her fist right through the window’s
Glass, which turned to sand.

CHORUS
Circles squares and shapes galore,
But something made her want much more,
She sensed that something was in store,
It boiled to her very core.

IX – “The King’s Jewel”

SPOKEN
Buried deep beneath,
A canyon cut so high,
King Hania found the Emerald.
This was not a lie.
And the Legend of Lord Artus,
Through many years was taught.
Passed down to the present,
It rang true with every thought.
The King had used the Emerald for its,
Power all to gain.
He didn’t know the question.
So the answer he would feign.
And very few would even dare,
To cross King Hania’s path,
For if you were to test him,
You would feel his wrath.

SONG

They all stared at their TV screens,
The King held up the jewel.
The Emerald was glimmering,
But they knew his intent was cruel.
He glared into the camera lens.
He didn’t even twitch.
He asked the jewel his question,
“Will our nation soon be rich?”

CHORUS (In the King’s mind)
It’s all so well timed in my head
Did you hear that thing I said?
It’s all so well timed in my head.
Instead of being something I didn’t see ahead.
It’s all so well timed in my head
Did you hear that thing I said?
It’s all in my head.

VERSE 2
Though the people heard the answer, “Yes!”
The truth was still concealed.
Many knew his claim was false,
And soon it’d be revealed.
Now he saw the wish in hand,
But he couldn’t speak the phrase.
The thing his mind just could not grasp,
It ended in a blaze.

CHORUS

BRIDGE
On the deserted plateaus of the higher southwest,
The bloodiest battle would determine who’s best.
For 48 hours not a soldier would rest,
Until the King would win or new royalty be blessed.
Battalions of the King were frightened to win or lose,
They knew they’d lost direction of which path they’d like to choose.
It was chosen for them, and they knew this to be true.
Their fate had left them empty, and there was nothing they could do.

V3
Covet all the mountains, the hills, and plateaus,
The ruins, canals, and lagoons.
Desire the poetry, the stories, and prose,
And all of the jewels of the moon, so he would,
Take all he pleases because he’s the King,
And his subjects would follow along.
“You’ll fight for your country, and you’ll bring,
Havoc to those who do wrong.”
But he didn’t have the question, and ignored the blank stare
He received from his stone, but he was still aware,
That his wish to rule the world could only come true
If he did without seeing… red… green… or blue.

Their usual suite of pyrotechnics and flair were on display in the form of laser beams in the dark and fireballs blasting during their epic 80’s song entitled “One”. A new feature to this tour was a set of large coffins that were suspended above the stage and would rotate up and down during certain songs off the new album. Metallica has always been a band which places a heavy emphasis on giving fans a great experience as well as delivering great music.

They played a really good mix of new and old tunes that had longtime fans as well as the newbie fans banging their heads and dancing. I pretty much expect to hear “Enter Sandman” “One” and “Master of Puppets” at every Metallica show. They played those songs very well. Especially “Puppets”, which is my all time fave Metallica song. I was surprised and excited to hear “Fade to Black” (power ballad from the 1984 album “Ride the Lighting”) live for the first time since I first saw them in concert. Frontman James Hetfield rotated between acoustic and electric guitars and perfectly delivered the vocals to do justice to a true Metallica classic.
Other classics “Dyer’s Eve”, “Trapped Under Ice” and “Last Caress” were a few more pleasant surprises that are not usually on the standard ‘Tallica setlist.

The rest of the band—lead guitarist Kirk Hammett, drummer Lars Ulrich, and bassist Rob Trujullio also delivered great performances without any noticeable missed notes or beats. Apparently the concert was on the same day as Kirk Hammett’s birthday as Hammett got doused with several cakes and pies when his band mates gave him an impromptu birthday celebration on stage at the end of the show.

When Hetfield asked the crowd how many people were there to see Metallica for the first time, I was pretty surprised to see a strong contingent of hands go up. It’s nice to see that even after all these years, Metallica is still getting new fans. And deservedly so.

Setlist:
That Was Just Your Life
The End of the Line
Creeping Death
The Shortest Straw
Fade to Black
Broken, Beat & Scarred
My Apocalypse
Sad But True
One
The Judas Kiss
Kirk Solo #1
The Day That Never Comes
Master Of Puppets
Dyers Eve
Kirk Solo #2
Nothing Else Matters
Enter Sandman
Encore Jam
Last Caress
Trapped Under Ice
Seek and Destroy

Time: 2 hours, 10 minutes

Date: Sunday November 15, 2009

Download the show

And with good reason. During a performing and recording career that spanned more than two decades, Gatton earned well-earned acclaim for his virtuoso guitar playing, which blended rockabilly, jazz and blues.

In short, he could just flat-out play.

Gatton had a head start with music: His father, Danny Gatton Sr., was a locally reknown guitarist who gave up music to raise a family — and school his son in the insturment. The younger Gatton needed little prodding.

By his teens, Gatton was playing in local bands around the family’s Washington, D.C., home.  He increasingly gained wide acclaim, playing with a variety of performers and jamming with prominent blues, jazz and rockabilly performers. In later years he would play behind noted performers that included rockabilly crooner Robert Gordon and Grammy Award-winning singer/songwriter Roger Miller.

But it was his solo work and performances that incresingly gained him acclaim — and respect — in the industry.

In all, Gatton released eight albums before his death in 1994, either as a solo artist or in various ensembles. An additional eight releases of his work were issued posthumously, all of which showcase his remarkable talent.

The tragedy of his death on Oct. 4, 1994, is magnified by the mystery surrounding it. Gatton locked himself in the garage of his Maryland home and shot himself. He left no note or obvious explanation. Friends later suggested he may have suffered from depression.

Months after his death, Gatton was honored at Tramps in New York City, with a three-day musical festival that included performances by musical giants like Les Paul and James Burton — with the proceeds going to Gatton’s wife and daughter.

In 2003, author Ralph Heibutzki also published a Gatton biography, titled “Unfinished Business: The Life and Times of Danny Gatton.” which details both the musical accomplishments of Gatton’s life as well as his lost promise.

If there is a silver lining to his death it is that Gatton left behind a substantial collection of music. Give him a listen. You won’t be disappointed.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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In his latest column for The Journal News, Phil talks about singer/songwriter Chip Taylor, a Yonkers native and brother to actor Jon Voight. The news here is Taylor’s latest release, which pays homage to his hometown – the city of hills.

Anyway, here’s Phil’s column about Yonkers boy Chip Taylor:

The story of Yonkers is worthy of a song

To be dismissive about the so-called “city of hills” is to forget that the hills come with deep valleys of disappointment. And that the story of Yonkers is the story of working people who are forever struggling up those steep slopes.

Somebody should write a song about this mythic place.

Actually a well-known somebody by the name of Chip Taylor wrote 11 songs about it and packaged them in a new two-CD record album aptly titled, “Yonkers NY.” (trainwreckrecords.com)

With dark humor, the singer-songwriter perfectly captured the gritty essence of Yonkers in the very first verse of the title track.

Born and raised in Yonkers, New York

It doesn’t matter if you’re tall or you’re short

Sooner or later you’ll be down on your luck

You’ll take a chance just to make a buck

Taylor grew up in the Yonkers of the 1950s when the factories still hummed on Nepperhan Avenue and Getty Square had a movie theater. He was the youngest of three boys. The oldest, Barry, became a geologist. The next in line, Jon, became Jon Voight, the famous movie actor. Yeah, that’s right — Taylor, whose real name is James Wesley Voight, is the uncle of Angelina Jolie.

Taylor achieved early success as a country songwriter for big-time artists. Fooling around one day at a music publishing company in New York, he wrote and recorded “Wild Thing.” When he got home to Yonkers that night, he picked up a guitar and sang it to his brother, Jon, who enthusiastically fell to the living-room floor and declared it was the best song he had ever heard.

In 1966, the primitive, punk-sounding rock tune was a huge hit for The Troggs, a British band, and has since been covered by Jimi Hendrix and many others.

From “Wild Thing,” Taylor went on to the next thing and next thing after that. His biography is extensive. So with “Yonkers NY,” it appears as if he has come full circle with a collection of autobiographical songs. It was a spontaneous creation, he told me.

“The reason is hard to explain because I’m a stream-of-consciousness writer, and I don’t really think that much about what I’m doing until the stuff starts to come out,” he said. “So I didn’t predetermine that I wanted to talk about Yonkers.”

The first to come out was “Charcoal Sky,” which is a beautiful little song about visiting the Nepperhan train station with his father and brothers.

Without that steam boys — there’d be no American dream.

“All of sudden,” Taylor continued, “I was back there and within a week I had written all these songs about my upbringing. So it’s something that I look back on and say, ‘Well I’m proud to talk about it and sing about it.’ “

Years ago, Loudon Wainwright III wrote “Westchester County,” a tongue-in-cheek tribute to country clubs and country day schools. Taylor’s world is one of pawn shops and gin rummy. Indeed, some of Taylor’s songs reflect Yonkers’ darker underside — the lure of street rackets.

“Yonkers people were mostly poor folks in those days,” he said. “If you get a way to get out, it’s very understandable. Not good, not right. But there would be temptations floating around Yonkers, you know, more than there would be in Scarsdale.”

He laughed and then added, “Those guys might get more involved in the corporate kind of stuff.”

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But, personally, it feels wrong to me, just like hearing Led Zeppelin on a Cadillac commercial or Bob Seger peddling pickup trucks. Now The Who are just the latest rockers to cash in.

And I guess that’s the way it works these days, when the height of musical integrity a rocker demonstrates is to refuse to lend their music and their likenesses to “Rock Band.”

Maybe I’m just too much of a purist.

Frankly, I don’t watch the halftime shows at the Super Bowl, parpticularly since they’ve become such a hyped-up separate event over the years. And this one seems particularly unappealing.

The Who – or rather Roger Daltrey and Pete Townsend – are a shadow of what they once were. Daltrey has lost nearly all of the vocal range he once had and Townsend’s “windmill” guitar playing just seems silly at his advanced age. Sorry, that’s just how I see it.

But that’s what rock has evolved into, and you can’t blame The Who for cashing in the way everyone else has by selling their music to video games and TV commercials.

So, hats off to The Who. But I won’t be watching.

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Last Saturday we posted our first Listening Room readers’ poll, and we asked you to submit your lists of the greatest guitar players of all time. And boy, did you ever respond.

In all, we received votes for more than 140 guitar players, and tallied those up based on the number of votes each received.

Topping the list was Jimi Hendrix, who won easily.

Hendrix was in very good company, of course. Here’s the top 15 guitarists as voted by you:

1 – Jimi Hendrix
2 – Jeff Beck
3 – Stevie Ray Vaughan
4 – Eric Clapton
5 – Carlos Santana
6 – Eddie Van Halen
7 – Duane Allman
8 – Django Reinhardt
9 – Tom Morello
10 – Mark Knopfler
11 – BB King
12 – John Frusciante
13 – Buddy Guy
14 – Derek Trucks
15 – Pete Townsend

Then we had a batch of guitarists who just missed the top tier:

• Stevie Vai
• Les Paul
• John McLaughlin
• Jorma Kaukonen
• Slash
• Gary Moore
• Jack White
• Jerry Garcia
• Trey Anastasio
• Wes Montgomery
• Kirk Hammett
• Prince
• Warren Haynes
• The Edge
• Tony Iommi

Then there’s the category we’ll call Honorable Mention: Guitar players who received multiple votes but fell just under the top two levels of vote getters:

• Jonny Greenwood
• Angus Young
• Richard Thompson
• Lee Ritenour
• Steve Morse
• Joe Satriani
• Alan Holdsworth
• Jimmy Page
• Chuck Berry
• Jimmy Herring
• Chet Atkins
• James Burton

Now, here are some observations: Considering how many names of guitar players were submitted, we were surprised that no one put any of these musicians on their lists (in alphabetical order):

Rick Derringer
Robben Ford
Peter Frampton
Robert Fripp
John Lee Hooker
Alvin Lee
John Mayer
Ronnie Montrose
Ted Nugent
Carl Perkins
Joe Perry
Randy Rhoads
Tom Verlaine

You can definitely add Elvin Bishop and Ry Cooder to that list as well. And we were equally surprised that these following guitarists didn’t get more votes (again, in alphabetical order):

Larry Carlton
Jonny Greenwood
Kirk Hammett
Eric Johnson
Jimmy Page
Les Paul
Joe Satriani
Richard Thompson
Stevie Vai
Jack White

Either way, thanks to all who participated. We hope you enjoyed it as much as we did. We’ll also be doing more readers’ polls in the coming weeks. We’ll pick a category in a week or two and put it out there.

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Last week we told you about Murali Coryell’s new album, Sugar Lips, and his performance at the Towne Crier Café in Pawling.

Now we add him to our growing list of Guitar Players You Should Know — where he firmly belongs.

Coryell comes from solid pedigree: He is the son of jazz-fusion guitar legend Larry Coryell, and the brother of jazz guitarist Julian Coryell.

He grew up surrounded by some of the biggest names in music, from Carlos Santana and Jimi Hendrix, to Miles Davis and Jack Bruce. Coryell says he initially shunned the music industry — how does one follow in such giant footsteps?

But when he discovered blues he found his own voice.

“I had to find  my own style,” Coryell told me last week. “Everybody, they kind of expect you to do what your dad does.”

“It was incredibly burdensome and pressured,” he said. “I remember being so stressed out with the pressures of all that and feeling like potentially you’re a failure if you don’t do this. But it was when I fell in love with the blues and decided like, you know what? This is something that regardless of whether I succeed or don’t succeed, I have to do this, and this I can do. It wasn’t this impossible thing.”

And he’s begun building his own legacy. Sugar Lips, his sixth album, is due for release in the coming days, and highlights both his accomplished guitar playing as well as a surprisingly soulful voice.

Of course, Murali Coryell doesn’t entirely shun his father’s fame. The elder Coryell joins him on the new album, as does blues great Joe Louis Walker, a longtime inspiration.

The results are solid, and for any fan of modern electric blues it’s as close to a must-have CD as you’ll come across.

After all, at this rate Coryell won’t stay under the radar for long.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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As we told you a few days ago, we’re doing a less-than-scientific list of our readers’ choices for the greatest guitar players of all time. We’re not asking for rankings: Every guitar player mentioned on your list counts as one vote. The player with the most votes at the end gets ranked by the Listening Room, and we’ll also give you a list of runners-up and honorable mentions based on your votes.

Anyway, send in your lists of 5 to 10 guitar players, in no particular order, and we’ll tally them up. Don’t worry about genre, past or present, alive or dead: They’re all guitar players in our book.

We’ll post the results on Thursday, and we’ll follow up with other polls.

We’ll take entries in the comments section below, on Twitter (https://twitter.com/jfitzgibbon or  http://twitter.com/dianacostello) or you can emai jfitzgib@lohud.com or dcostello@lohud.com.

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Nowhere is this more evident than with guitar players. Everyone has their favorites, across genres, styles and technique. Take Rolling Stone magazine’s list of the 100 greatest guitarist, which was compiled in 2003. There’s an argument at every entry.

Is Chuck Berry really a better guitar player than Eddie Van Halen? No, but he was a more influential guitar player. The one that fueled an argument at the office yesterday was Jack White vs. Slash. Is White more creative, influential and innovative than Slash? Of course. But is he techinically a better guitar player than Slash? Not close, in my view.

So let’s start some new debate. What do our readers think? Let’s see if we can’t put together the Listening Room’s Greatest Guitar Players of All Time as determined by you, the reader.

We’ll take entries here in the comments section, on Twitter (https://twitter.com/jfitzgibbon or  http://twitter.com/dianacostello) or you can emai jfitzgib@lohud.com or dcostello@lohud.com.

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With an affinity for languages, he toyed with the idea of becoming a translator or an academic.

Anything, he thought, but to become a musician and toil in the shadow of his father’s greatness. Because Larry Coryell is a veritable legend, a founder of jazz-fusion guitar who counted Jimi Hendrix, BB King, Buddy Guy and others as contemporaries and friends.

It proved to be an inescapable legacy for Murali Coryell — and something he ultimately came to firmly embrace.

“It was incredibly burdensome and pressured,” he said this week. “I remember being so stressed out with the pressures of all that and feeling like potentially you’re a failure if you don’t do this.”

“But it was when I fell in love with the blues and decided like, ‘You know what? This is something that, regardless of whether I succeed or don’t succeed, I have to do this.’ It wasn’t this impossible thing.”

Murali Coryell has found his own niche in music. A talented blues guitarist in his own right, he is also gifted with a soulful voice he says was inspired by Motown vocalists like WilsonPickett, Sam Cooke and Otis Redding.

He’ll put those talents on display on Saturday, when he takes the stage at the Towne Crier Cafe in Pawling. The show comes 10 days before the scheduled release of Sugar Lips, his latest album and sixth overall since 1995.

“It just represents artistic growth,” Coryell says of the record. “I really kind of went for it and took a chance and it worked. It totally paid off.”
Sugar Lips represents several departures for Coryell. He shared songwriting duties for the first time, and he threw himself into the Nashville recording scene, “ a place I didn’t know before.”

But he was so committed to the project that the took out a second mortgage on his home in the outskirts of Woodstock to fund it.

The album is also deeply personal, paying homage to his recently deceased mother with the track ‘Mother’s Day,’ while also embracing the music he grew up surrounded with. And he grew up with plenty.

Carlos Santana and former Cream bassist Jack Bruce both lived with the Coryells when he was a youngster. Jimi Hendrix once held him backstage at the Filmore East when he was a baby.

“I remember Miles Davis gave me a $100 bill for my tenth birthday,” he recalled. “I didn’t even realize quite who they all were. I just knew they were really important when I was a kid. I just knew they were really important people.”

None more so than his father, who plays on Sugar Lips, as does blues great Joe Louis Walker, a significant musical influence and mentor for the younger Coryell.

Father and son, of course, have recorded together before. Coryell’s third album, in fact, was The Coryells, a collaboration with his father and younger brother, Julian Coryell, an accomplished jazz guitarist himself.

The family’s musical pedigree dates even farther back: Carol Bruce, Coryell’s grandmother, was a noted Broadway singer and actress.

“The bar was raised very high,” Coryell said. “I looked at that and  I said, ‘Okay, I have to try to do some great things here and make a mark.’ Carve your own thing.”

Now 40, Murali Coryell has become his own man, even as he remains very much his father’s son.

He credits blues music with providing the glue that brought those two concepts together — it became his “thing” within what is essentially the family business.

“For me, the trick and the key is to be able to be true to the spirit of the music while still trying to create something new,” he said. “Because if it’s not allowed to grow, then it’s just going to end up in a museum, and that’s not where it belongs. It’s living, breathing  music.”

Today, he’s far removed from the young man who feared his father’s musical greatness.

And Sugar Lips, with its polish and musical maturity, could very well push Murali Coryell closer to his own burgeoning legacy.

“I feel like I just did my best work and I’m proud of everything I’ve done before,” he said. “I feel like even my best stuff is ahead of me. It just feels really, really good to do what you love.”

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Yes, the name is ridiculous and the gimmick is ludicrous – something seemingly drawn from an unhealthy fascination with Styx’ “Mr. Roboto” or the Jet Jaguar character in the Godzilla B-movies.

But just listen to Buckethead play, because behind the mask is bonafied guitar genius.

(photo courtesy of last.fm.com)

Buckethead is the stage persona of Brian Carroll, a California-born guitar prodigy best known to mainstream audiences as the man who took over lead guitar for Guns N Roses in 2000.

But unbeknownst to many music fans is that Buckethead has a massive resume of solo recordings, collaborations and movie scores. He released his first solo effort, Bucketheadland, in 1992, and had his most commercially successful solo release in 1999 with Mosters & Robots.

In all, he’s recorded 28 solo albums – including three this year – and has appeared on dozens of other artists’ releases. In addition to his Buckethead solo work, he records under the name Death Cube K, an anagram of Buckethead.

He began playing at age 12, and quickly developed as an accomplished guitarist under the tutelage of several music teachers. He certainly took to the instrument, developing a playing style that blends classical guitar techniques with fusion, jazz and heavy metal.

In 1992, he launched his recording career with Praxis, the first of several bands and side projects that Buckethead has launched over the years, augmenting his solo work.

But he remains an elusive and mysterious figure, guarding his identity and appearance in any public forum. Reportedly, he once missed out on a chance to join Ozzy Osbourne’s band at Ozzfest because he refused to perform without his trademark bucket and mask.

And the Buckethead character is something he takes a long way. The story he’s built around the persona is as bizarre as the costume: That he grew up abused on a farm and was forced to live in a chicken coop.

The truth is more novel, according to noted music writer Kurt Loder, who profiled Buckethead in a 2002 piece in mtv.com:

Nobody much liked the 1988 fright flick “Halloween 4: The Return of Michael Myers.” After 10 years, this slasher franchise was pretty much played out. (Even though it’s still with us today!) But Brian Carroll was inspired by the film. He went right out after seeing it and bought a Michael Myers-like white mask. Then, that night, as he was eating from a bucketful of take-out fried chicken, another inspiration struck. He described it in a 1996 interview with Guitar Player magazine: “I was eating it, and I put the mask on and then the bucket on my head. I went to the mirror. I just said, ‘Buckethead. That’s Buckethead right there.’ It was just one of those things. After that, I wanted to be that thing all the time.”

Whatever the mystique, the man undoubtedly oozes talent. He’s not only mastered the guitar styles of his childhood guitar heroes, he’s taken it to the next level. His techno-laced shows are a multi-media experience; part concert, part performance art. And his prodigious touring and recording schedules have helped build a cult-like fan base.

And why not? Gimmick aside, Buckethead plays like no one else can.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Or even if it isn’t.

The California-born blues singer, songwriter, guitarist and storyteller is a bluesman of the old school. Don’t think his music’s dated — he’s as improvisational a musician as you’ll find. But he’s cut from the blues troubadour mold, and is as engaging a storyteller as he is a talented guitarist.

You don’t have to take it from me: See for yourself. The Grammy-winning bluesman, born Kevin Moore, is scheduled to perform at the Tarrytown Music Hall on Friday, and it’s certainly a Listening Room-recommended show.

As we told you in our profile of him earlier this year, Keb’ Mo’s been around for quite a while and won plenty of well-earned acclaim. It’s not too man years ago that he was playing small venues — he played the Bayou Restaurant in  Mount Vernon not too many years back.

Now he’s worked his way up, thanks to a remarkable stage show, a blend of traditional and modern blues, and an engaging stage personality that was, fortunately for him, rewarded with his Grammy Award honors.

Like I said, go see for yourself. You won’t be disappointed.

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Last night marked the first of a two-night stand at Madison Square Garden to commemorate the Rock Hall’s 25th anniversary. By all accounts it was a rousing success, with legendary performers like Bruce Springsteen, Stevie Wonder, Bonnie Raitt, John Fogerty and Crosby, Stills and Nash – and an army of others – sharing the stage.

The highlights included Springsteen sharing the stage with Rage Against the Machine and Audioslave guitar wiz Tom Morello (below), who we profiled for you here in the Listening Room this summer.

(photo by AP/Henry Ray Abrams)

The second show is tonight, and should be equally memorable.

Here’s Rolling Stone magazine’s rundown of last night’s show and highlights, part of the music sheets excellent curtain-to-curtain coverage of the event at the World’s Most Famous Arena:

• Jerry Lee Lewis reminds the crowd of rock & roll’s ’50s roots by settling in at a white baby grand for “Whole Lotta Shakin’ Goin’ On.”
• Crosby, Stills and Nash add another layer of perfect harmony when James Taylor joins in on “Love the One You’re With.” The capper: one of many awe-inspiring guitar solos by Stephen Stills.
• Bonnie Raitt joins CSN for her own “Love Has No Pride,” and later tells the press, “To go back in my catalog and do something I rarely do live was angelic for me.”
• CSN break into “Midnight Rider” by the Allman Brothers on the anniversary of Duane Allman’s death. It’s a poignant moment, followed by another: Jackson Browne hits the stage to perform “The Pretender.”
• Paul Simon invites David Crosby and Graham Nash back onstage for very special reason: to honor “a dear friend of mine” who “was the first person to ever have a benefit concert here at Madison Square Garden — it’s called the Concert for Bangladesh — and it’s a man who I really loved and admired greatly, George Harrison.” The song: “Here Comes the Sun.”
• Paul Simon shouts out a pair of New York City neighborhoods when he invites Dion DiMucci and Little Anthony and the Imperials to the stage.
• Paul Simon and Art Garfunkel’s voices mingle on “Bridge Over Troubled Water.” The pair throw their arms around each other at the conclusion of “The Boxer.” Will the U.S. see this reunion again? Garfunkel admits their recent shows together “were a lovely falling back together again” but they have “no such plans,” after their set.
• Stevie Wonder turns a technical difficulty into a hilarious quip: “Aw, shit … stuff happens, you know what I’m saying?” and changes his set before it even gets going to kick off with a cover of Bob Dylan’s “Blowin’ in the Wind.” He later pays homage to Michael Jackson with a stunning “The Way You Make Me Feel.”
• Smokey Robinson emerges for a loose, warm rendition of “Tracks of My Tears.” Moments later, John Legend arrives onstage to pay homage to Marvin Gaye with “Mercy, Mercy Me.” Not enough? B.B King is up next, earning Stevie’s praise as “the king of blues for every city in the world” with “The Thrill is Gone.”
• Sting strides onstage popping the bassline to “Higher Ground,” and the song morphs into “Roxanne” and back again.
• Two words: Jeff Beck. The guitar legend joins Wonder for “Superstition” and breaks into an otherworldly solo on the break, flinging his bare right hand at the strings and tapping away.
• Bruce Springsteen hits the stage with his famous plea, “Is there anybody alive out there?” He gives even himself a jolt with guest Sam Moore, who he praises as “one of the all time great bandleaders.”
• Springsteen welcomes John Fogerty for “Fortunate Son” and a pair of sweet covers: “Proud Mary” and “Pretty Woman.”
• The E Street Band make their own Wall of Sound as Darlene Love joins Bruce and the gang for “A Fine, Fine Boy” and “Da Doo Ron Ron.” “We’re in the Rock and Roll Hall of Fame now,” Springsteen exclaims.
• Tom Morello wah-s out a bone-crunching solo on a mind-blowing cover of “London Calling” with the E Street Band that nearly outdoes his earlier heroics on “The Ghost of Tom Joad.”
• Springsteen delivers a brief and hilarious speech about how New Jersey and Long Island were once a connected landmass as a way of introducing the night’s final very special guest: Billy Joel. E Street keeps cranking through “You May Be Right,” “Only the Good Die Young” and Joel’s hometown anthem “New York State of Mind.”
• Six hours after Tom Hanks took the stage to open the show, Springsteen brings the house down with “Born to Run” and reluctantly leaves after wringing the last possible “higher” out of “(Your Love Keeps Lifting Me) Higher and Higher.” “That’s rock & roll!” he exclaims.

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The story’s not true. The title came from a comment Allman made to a reporter when asked what he was contributing to the peace movement. His reply was “there ain’t no revolution, it’s evolution. But every time I’m in Georgia I eat a peach for peace.”

The ultimate tragedy is that Allman did, indeed, die in the wreck after striking a flat-bed lumber truck. That was 38 years ago today, when Allman, who was just shy of his 25th birthday, was at the pinnacle of his already brilliant career.

(photo courtesy of rollingstone.com)

The Allman Brothers Band had just released At the Filmore East, their legendary live album, when Duane was killed on Oct. 29, 1971. The prior year, Allman was invited into the studio by Eric Clapton, contributing to Derek and the Dominos classic album, Layla and Other Assorted Love Songs. The Clapton/Allman collaboration makes the album one of the most enduring rock masterpieces of all time.

Unfortunately, it was then, at the height of his success and acclaim, that Allman died.

When it was released in 1972, Eat a Peach included some of Duane Allman’s last recorded tracks, which had been put down in the studio during the early stages of the album. The band, of course, would go on with brother Greg Allman and guitarist Dickey Betts.

Fortunately, Duane Allman’s own work remains available to fans today. It certainly stands the test of time.

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Because while his kid brother may have stolen the spotlight, Jimmie Vaughan is as genuine a guitar icon as has ever come along in modern blues.

He is, in short, the real deal.

(photo courtesy of explorechicago.org)

The onetime co-founder of The Fabulous Thunderbirds and big brother to the legendary Stevie Ray Vaughan, Jimmie Vaughan has carved out an impressive career among the era’s greatest blues musicians.

He got his start in his hometown of Dallas, but relocated to the music hub in Austin with his band, Texas Storm, formed in 1969. The band even helped launch Stevie Ray’s career — he played bass for the Storm at one point.

The band quickly won over fans and critics alike, with Jimmie’s soulful blues leading the way. He developed a unique style, belting out traditional blues that often carried a hint of rockabilly, rhythm & blues and country.

His big break came when he formed The Fabulous Thunderbirds with singer Kim Wilson. They became the house band for blues club owner Clifford Antone, and started to make a name for itself as a gritty blues band.

The band would eventually release six albums, starting with their self-titled debut, The Fabulous Thunderbirds, in 1979. Their success continued to build, highlighted by the release Tuff Enuff in 1986, perhaps their most commercially successful album.

However, by 1989 Jimmie was running ragged after years on the road. That year, the TBirds released their sixth studio album, Powerful Stuff. It would be his last new release with the band.

“I had just burnt the candle at both ends too long and I just wanted to go home,” he told mnblues.com in a 2002 interview. “I wanted to get off the road.”

And he did – heading right into the studio. The break allowed Jimmie to finally record with his brother. The two teamed up for Family Style, their first full-length recording together. It would be their only joint effort: Before the album was even released Stevie Ray was killed in a helicopter crash after a Wisconsin blues show.

Jimmie Vaughan was devastated, but would continue to do what the Vaughan brothers always did best: Play blues. He released his first solo album, Strange Pleasure, in 1994, and would go on to record three others, the most recent being 2007’s On the Jimmy Reed Highway.

He continues to tour and even worked on a tribute album to his brother, who remains an iconic figure in the realm of electric blues. And Jimmie’s right there with him.

Because you shouldn’t sell big brother Jimmie Vaughan short — the man’s got chops.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Formed in 1983, The Flaming Lips cut their teeth playing Oklahoma City’s underground punk and new wave clubs, gradually  evolving into one of the most experimental and original bands on the national scene.

With 2002’s “Yoshimi Battles the Pink Robots,” they burned their way onto the airwaves with memorable trance tunes like “Do You Realize?,” their first single.  Since then, the Lips have won several Grammy Awards, including two for Best Rock Instrumental Performance.

“Embryonic” the group’s 12th album, follows up on 2006’s critically hailed “At War with the Mystics,” and was recorded in Fredonia, N.Y.,  and Oklahoma City.

The Lips are well-know on the concert circuit now for artsy and outrageous live performances that often include various pyrotechnics and other special effects — such as frontman Wayne Coyne singing from inside a clear plastic bubble lofted  above concertgoers on a sea of upraised hands.

The Okie eccentrics’ latest venture into the musical nethersphere does not disappoint. From the opening track, “Convinced of the Hex,” Coyne’s vocals ride high above an electric storm of ambient bleats, electronic honks and buzzy explosions, all somehow held together by airy melodies and wave upon wave of fuzzed-out guitar, deranged synthesizer and Kliph Scurlock’s crazed, propulsive drumming.

Coyne’s voice alternately soars, croons, pleads and intones over a wash of harmonies that lend the music an otherworldly beauty.

Clearly these guy’s are descendants of Meddle-era Pink Floyd, early ‘70s Amon Düül, The Moody Blues and San Francisco’s much darker Tuxedomoon during that band’s “Half Mute” days, circa 1980.  All with a megadose of Eno.

Interesting word combinations are as important to Coyne as droning chord changes, and his writing takes on a kind of trippy poetry with titles like “Gemini Syringes” and “Silver Trembling Hands.”

A little bit of whimsy goes a long way, though, and Coyne does sometimes overdo it — but so what? The passion is there and he’s having fun — and so will fans.

About midway through the CD, the Lips dig into “The Ego’s Last Stand” with some muscular guitar riffs that make you wish the band had injected more rhythm and blues into the mix.

Back in the early ‘80s when they were just gaining an audience, the other great underground band in Oklahoma City was The Fortune Tellers, led by the brothers Basile and Miho Kolliopoulos, two Greek expatriates who somehow managed to play the most snarling, overdriven electric blues and hypnotic R&B swamp-raunch this side of a Mississippi roadhouse (think Fat Possum records on ouzo and meth).

Well, The Fortune Tellers have recently reformed and Coyne & Crew could take a lesson in grit  from their Greek-Okie peers.

Maybe on their next galactic outing.

A special Halloween concert will be taking place from 7-9 p.m. Oct. 29 at Kenny’s Castaways in New York City to benefit Farm Sanctuary, an organization devoted to ending cruelty to farm animals.

On the bill are the musical acts HERE, Athena Reich, and Debra from Devi. Farm Sanctuary President and Co-founder Gene Baur will also be on hand throughout the night.

The show is 21+ and costs $10. Kenny’s is located at 157 Bleecker St., between Sullivan and Thompson Streets.

USA Today says gross revenue from some big tours are on a par with last year, while attendance at major shows is up slightly. The newspaper says fans may be going to concerts as an escape from their daily struggles, or avoiding expensive vacations and taking in music shows instead.

Whatever the reason, the top-10 list of highest-grossing shows for the year is led by country star Kenny Chesney, and includes both new up-and-coming performers like the Jonas Brothers as well as legendary artists like Paul McCartney.

(AP photo/Harry Scull Jr.)

It’s actually surprising what artists aren’t on this list. U2, for instance, is still on the road, so those numbers may not yet be complete. Then again, there are also some surprises.

Here’s USA Today’s top-10 list. Decide for yourself:

1 – Kenny Chesney – $57.6 million

2 – Elton John & Billy Joel – $55.8 million

3 – Beyonce – $41 million

4 – Jonas Brothers – $36.7 million

5 – Paul McCartney – $32 million

6 – Dave Matthews Band – $31.1 million

7 – Coldplay – $30 million

8 – Idols Live – $23 million

9 – Bruce Springsteen & the E Street Band – $22 million

10 – Fleetwood Mac – $21.1 million

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Although Carrack’s soulful vocals on “Tempted” forever linked him to the group’s legacy, he’s actually an accomplished and prominent musician, singer and songwriter in his own right.

So what have we lost and now found from Carrack?

That would be “I Need You,” a Motown-inspired love song off of Carrack’s second solo album, Suburban Voodoo, released in 1982.

To be honest, I don’t know how the song got in my head. But I ended up scouring the web for the music to it so I could learn to play it on the guitar.  Found the lyrics, but not the music, so I’ll have to do it by ear.

It’s just a catchy song. The video got some airplay on MTV at the time, and I still have the vinyl album.

Carrack, as I said, was farmiliar as the voice behind Squeeze’s “Tempted,” but he was already well-known for his time with Ace, having written that band’s debut hit, “How Long.” He also played with Roxy Music before landing in Squeeze.

He was also the voice of Mike + the Mechanics, the group put together by Genesis founding member Mike Rutherford.

Carrack has spent the bulk of his time since as a session musician and collaborating with other artists, while maintaining his own solo career. He’s built quite a resume.

But somehow I keep humming that simple little tune in my head.

Listen to it yourself:

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As you could imagine, a lot of CDs grace my desk here at LoHud. And most of them are very good—the caliber of local musicians here in the Lower Hudson Valley really is astounding.

But there is something about Justin’s music that really strikes a chord.

Before his death, Justin had recorded six original songs under the name of his band, The Ivoryton Piano Factory. He planned to release his first album, “Permagrin,” but passed away before he could see it through.

His father, however, started the Justin Veatch Fund and committed to finish his son’s dream CD.

The result — “Permagrin: The Music of Justin Veatch by The Ivoryton Piano Factory and Friends” — is now available, with all proceeds going to support music scholarships for college-bound students pursuing a music education. The fund awarded its first scholarship in June.

There is undoubtedly a certain melancholy to Justin’s songs, which were salvaged from his home studio. The lyrics are powerful and mature: “Hey mom and dad, come look at this photograph. Even though it’s black and white there was so much color in our eyes.” (How could a parent hear that and not just melt inside?)

In addition to Justin’s own recordings, numerous other artists have contributed to the CD by covering his songs. There are 14 tracks in all on the disk.

Personally, I enjoy the originals best. Justin felt a strong connection to his music, and that comes across quite clearly in each of the songs. May he rest in peace…

Listen to some of the tracks on MySpace: http://www.myspace.com/theivorytonpianofactory

Just weeks after Hall of Fame rocker .html” target=”_blank”>New York Daily News is reporting that another famed Jersey rocker, Jon Bon Jovi, will open up the new stadium with his own show next year.

It certainly seems to make sense: If Bruce is the king of New Jersey rock, then Bon Jovi is certainly the prince.

(photo courtesy of the Associated Press/Jeff Zelevansky)

Obviously, the football Giants and Jets are still playing out the season at the old stadium. But Springsteen’s shows were slated to be the last performances there. And it was quite a send-off.

The NY tabloid says the Bon Jovi show will be sometime in the spring, but no confirmation or dates yet.

According to the Giants Stadium website, the new $1.4 billion field, which will have a capacity of 82,500, is due to be completed on Aug. 1, 2010, and will house both the Giants and Jets games for quite a few seasons to come.

No doubt Springsteen will hardly be a stranger to the new venue, and I’d bet a couple of dollars that if the Bon Jovi show gets off you could very well see the Boss pop up on stage at some point.

But first thigns first: Let’s see if the gig happens.

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The jam-crazed axeman for Soulive has delved into every musical genre from rock and jazz, to hip-hop, reggea and funk — and mastered all of them.

And the beauty of it is that he’s just getting warmed up.

(photo courtesy of nuvo.net)

Soulive grew out of a 1999 jam session, when brothers Alan and Neal Evans invited Krasno to their Woodstock, N.Y. home. The session was released later that year as the EP “Get Down!” The trio knew they were on to something special.

“The more we played together, the more we knew where we wanted to go with the music,” Krasno told LAist.com in a 2007 interview. “We wanted to fill in all these different influences. Over the years we threw in all the hip-hop stuff, and I mean we’ve gone everywhere with it.”

Soulive’s first full-length release, Turn It Out, came several months later. Then they hit the road.

The core of the band — Krasno on guitar, Alan Evans on drums and Neal Evans on keyboards — proved both its musical chemistry as well as its knack for improvisation and innovation. And something else was happening: Soulive was fast becoming one of the premier jam-based live acts.

In all, the band recorded eight albums — including this year’s Up Here — not counting a compilation release and a 2003 reissue of Turn It Out. They’ve also scored big gigs, including as the opening act for legendary rockers like the Rolling Stones and the Dave Matthews Band.

Krasno also continues to play with the band Lettuce, while he and the Evans brothers continue to push the envelope with Soulive. They’ve played with different lineups and different genres over the years, including the use of a horn section and the addition of reggea singer Toussaint.

Currently back to the original trio, Soulive remains a true collaboration. But Krasno remains its most intriguing component, with a masterful blend of playing styles that lends itself perfectly to Soulive’s jam-based performances.

There’s no telling what he’ll do next. But it’ll be a hell of a lot of fun to listen.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Corey J. Feldman, founder of the NYC-based band Mercury Landing, is in the process of creating a rock opera. Kindly, he has agreed to share a new piece of it each week with us here in the Listening Room.

“The Green Emerald,” as the opera has been named, is almost three years in the making. An illustrated storybook will also accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

Below we have the sixth installment, entitled “Wonder in Aliceland.” Click here for all previous entries. Enjoy!

VI – “Wonder in Aliceland”

These be the thoughts,
The shaded dreams he’d find,
Buried deep within,
King Hania’s inner mind.
He believed he was an idol,
For children all around,
As his face was seen on TV,
But the truth would soon be found.

SONG (starts with a chorus)

*Fly your dreams away from here,
Into a crystal sparkling sphere,
Of colored cubes a Rubik’s fable,
A fairy tale for kids on cable.

V1
Catch me with your camera,
Confront me with your lies,
I’ll give you something good to think on,
Which your thoughts will rise.
Images in front of me,
A box of colors I can’t see.
They say my blood is made of steel,
Of mercury I cannot feel.

*Fly your dreams away from here,
Into a crystal sparkling sphere,
Of colored cubes a Rubik’s fable,
A fairy tale for kids on cable.

Seek me with your spotlight,
Approach me with your blade.
Sense of something iridescent,
That the blacksmith made.
First impression lost in sand,
Then filtered through my holy hand,
To see myself in my reflection,
Sand is glass in introspection.

*Fly your dreams away from here,
Into a crystal sparkling sphere,
Of colored cubes a Rubik’s fable,
A fairy tale for kids on cable.

Amen to that. And the beauty of Johnny Winter is that he does his part to keep the blues alive. The legendary blues man has been cranking out electric blues for decades, and continues to bring his show on the road.

He’ll do just that on Saturday, when he takes the stage at the Irvington Town Hall Theater.

Winter, the older brother of multi-instrumentalist Edgar Winter, is all about guitar blues. He once said he’d just as soon spend the night watching acoustic blues as he would be playing it. Thankfully, he spends a lot of time playing it.

As we told you in our recent Listening Room profile of the ranchy-voiced guitar slinger, Winter grew up playing music with his kid brother. The two still tour as a unit, and still get as much of a kick out of their music as they did as kids.

Perhaps Johnny never got the acclaim that other blues guitarists got, but he’s certainly been true to his calling. And blues fans and music critics have been tuned in to his talent since the 1970s.

Our recommendation is to go out and give him a listen. He never disappoints on stage.

Check out the details at the Irvington Town Hall Theater website.

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And “Roadrunner” is just that.

Jonathan Richman’s catchy two-chord tune is rock and roll simplicity at its best — and has the staying power of any rock anthem.

This is one of those tunes you turn up when it comes on the radio. And that’s what happened: I was driving home after working late the other night and it came on, putting the melody into my head for the past three days.

Richman first recorded the song with the Modern Lovers in ’72, and released it in ‘75. It remains part of his repertoire on stage.

Don’t get me wrong, he’s done a heck of a lot more than the one song — he’s recorded over a dozen albums and he’s hardly a one-hit wonder. He also scored the soundtrack for the 1998 Farrelly Brothers hit flick, “There’s Something About Mary.” (He appears throughout the flick and that’s him getting shot at the very end).

But whatever his resume and his musical accomplishments, I just keep coming back to “Roadrunner.” It’s just one heck of a song.

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They were. Long before Black Sabbath and Led Zeppelin, Blue Cheer was putting together the genre that would come to be known as heavy metal. Along with bands like the MC5 and Dust, Cheer was cranking out loud, aggressive rock before anyone else.

Dickie Peterson was there from the start, banging out bass lines and singing for the band that went on to record 10 studio albums and release seven live ones, not to mention four compilation albums and a tribute release in 2000.

And he was still doing it, continuing to front the latest Blue Cheer lineup until his death Monday from liver cancer.

(photo courtesy of bluecheer.us)

Peterson co-founded Blue Cheer in 1966 with guitarist Leigh Stephens and drummer Eric Albronda, who was soon replaced by Paul Whaley.

The band’s lineup changes, from the start, were dizzying. But they solidified around Peterson, and established themselves as a power trio playing psychedelic, blues-based rock in the San Francisco area. They were brash, loud and new.

Their first album, Vincebus Eruptum, scored with a cover of “Summertime Blues,” and gave them enough momentum to release five more albums over three years before their popularity waned — for the time being.

Peterson also released two solo efforts, Child of the Darkness in 1998 and Tramp in 1999. Both are now rare.

But Blue Cheer was hardly done, and continued to resurface over the years with varying lineups. In 2007 they released their latest studio album, What Doesn’t Kill You…., and earlier this year they put out Blue Cheer Rocks Europe, a live performance DVD.

Whether or not Cheer will continue with another bass player, it’s hard to imagine it would be the same.

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He’s made up quite a bit of ground since.

(photo courtesy of Getty Images)

The lead guitarist for Jersey rockers My Chemical Romance has since carved a niche for himself, with a guitar style founded on the licks of his childhood rock idols — with his own flare thrown into the mix.

“My older brother was really who got me started,” Toro told epiphone.com in a 2004 interview. “He always had a ton of guitar magazines lying around and books like Pink Floyd and Metallica that had the tabs so I just started picking them up and trying to learn.”

Now its Toro who’s become standard fare in those same magazines.

A high school classmate of MCR frontman Gerard Way and bassist Mikey Way, Toro was part of the founding of the band in the days after the Sept. 11, 2001 terror attacks.

The band has gone on to wide acclaim and commercial success with three studio albums, including 2004’s breakthrough Three Cheers for Sweet Revenge — which yielded the video hit “Helena” — and a highly successful third album, Welcome to the Black Parade, in 2006.

The band is currently working on its fourth studio album, which is billed as a “back-to-basics” album that will wipe away some of the polished “goth” image and theme that the band has been known for.

“I think it will definitely be stripped down,” Gerard Way told NME earlier this year. “I think the band misses being a rock band.”

And that should play to Toro’s favor, likely highlighting his acrobatic guitar work.

Toro has already become a fanatic for getting the right sound. Perhaps surprisingly, he used to favor the Epiphone Les Paul model, although he can obviously now afford a collection of the high-end Gibson Les Paul that every burgeoning guitarist seems to covet.

“I play a lot of chords where there’s a lot of finger stretching and I use a lot of octaves and then add melody on top,” he told epiphone.com. “I always try to find a tone where you can hear e very single note going on and the Epiphone responds beautifully.”

It’s certainly hard to argue with the results.

So, whether or not MCR is your thing, rest assured their lead guitarists is the real deal. Personally, I’m anxious to hear Toro front-and-center in a stripped-down version of the band.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

Follow me on Twitter at https://twitter.com/jfitzgibbon

Corey J. Feldman, founder of the NYC-based band Mercury Landing, is in the process of creating a rock opera. Kindly, he has agreed to share a new piece of it each week with us here in the Listening Room.

“The Green Emerald,” as the opera has been named, is almost three years in the making. An illustrated storybook will also accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

Below we have the fifth installment, entitled “Hania and Aiyana.” Click here for all previous entries. Enjoy!

V– “Hania and Aiyana”

He rules Santa Fe,

*****

For thousands of years the stone stayed unturned,

But throughout the ages the beings, they yearned.

Even unknowing of its powerful force,

Their souls longed for some sense of pride to endorse.

But the King was a wall of terror and fear,

His face on the TV’s, his eyes they would peer,

Into the souls of his people divine,

He’d look to his prophets to show him a sign.

*The people would nod and politely agree,

To appease their sworn leader who’d signed some decree,

But all they could need can be found in the mind,

Without a true leader their thoughts were all blind.

And so came the savior, our Master of Zen.

She fought in two wars, her weapon a pen.

Though many had died from her sword and her gun,

Her writing inspired all except one.

The King of Santa Fe though his word was the law.

His absolute power was an absolute flaw,

This ruthless leader was met with respect,

But so many wished for someone else to elect.

*The people would nod and politely agree,
To appease their sworn leader who’d signed some decree,
But all they could need can be found in the mind,
Without a true leader their thoughts were all blind.

Aiyana sent her letters to battalions abroad,

And she’d covertly mention that the King was a fraud,

Cause everyone knew this fact to be true.

He’d get on TV telling all the people what to do, saying,

“Just because it’s blood doesn’t mean you show you’re weak,

Even if the situation seems it’s never been so bleak.

Say less than you should and you’ll find all that you seek,

Cause then you will have done it, and your life is at its peak.”

*The people would nod and politely agree,

To appease their sworn leader who’d signed some decree,

But all they could need can be found in the mind.

There’s one to look deep, and she’d surely find,

The key to unlocking the truth of the world.

She’d see through the fear the King plainly unfurled.
Aiyana, the warrior, her skills surpassed by none.

As a Master of Zen, she was the chosen one.

But then I noticed him singing along with a tape he was playing, and I recognized the music as Edith Piaf – the legendary singer whose unique vocal stylings made her France’s greatest songstress.

And it changed the cab ride. The cabbie turned off the meter and we drove around for 30 minutes while he explained the lyrics for song after song. He got teary-eyed, explaining how the songs reminded him of his childhood, his mother, his homeland. Then he dropped me off and didn’t charge me.

Such was the power of Edith Piaf, whose death was first made public on this day in 1963.

I can’t say I’m one of those Piaf fanatics, although I have come across more than my share, and in some surprising social settings and from a wide range of musical tastes. There was just something pleading and forlorn in her voice that seems to reach out to people, even now.

Piaf was once considered a traitor because she entertained German soldiers in occupied France during World Warr II. Only after the war did she reveal – and it has been partially confirmed – that she had been working with the French Resistance. It has been documented that she helped Jews escape their fates in Nazy Germany.

After the war she enjoyed wide success, even if her private life was occasionally troubled. Nonetheless, when she died on Oct. 10, 1963 of liver cancer – a fact made public a day later – it prompted one of the largest funeral processions that Paris had seen. Years later, the Edith Piaf Museum was established.

Such was the draw and mistique of Edith Piaf, that it reached all the way to a gruff Big Apple cabbie all those years later, and could move him to tears from the sheer beauty of it.

So, maybe I don’t get it. But you have to admire music that has that kind of power.

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The site’s “Cracking The Vault Day” on Nov. 3 will feature the release of performances by Santana, Jimi Hendrix, The Ramones, Miles Davis, Twisted Sister and others.

Let’s face it, it’s like the Library of Congress adding a new wing.

If you’re not familiar with the site, it’s time you introduced yourself.

Best known for its catalogue of thousands of live performances, Wolfgang’s Vault is named after legendary promoter Bill Graham, whose real name was Wolfgang Grajonca.

Founded in 2003, the site kicked off by offering Graham’s collection of music. It has since expanded to offer more than a dozen sets of recorded music, including from the famed “King Biscuit Flower Hour” and the historic Newport Jazz shows.

The company’s website offers the performances for download, in addition to selling a wide array of memorabilia and collectibles.

Rest assured the merchandise — as well as the music — comes from varying genres, so there’s something for everybody.

And to think the list is expanding. Good news for music buffs. Check them out at www.wolfgangsvault.com.

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With a growl of a voice and a mastery of electric blues, Winter is undoubtedly one of the premier guitar players of the modern era, ranked by Rolling Stome magazine as one of the “100 Greatest Guitarists of All Time.”

He’s earned his reputation by simply playing the hell out of his guitar.

The older brother of multi-instrumentalists Edgar Winter, Johnny took to the guitar at a young age and never let go. He grew up on southern blues, starting a recording career at just 15.

In 1968 he caught the attention of bluesman Mike Bloomfield, who invited the young guitarist to join him and Al Kooper at New York’s historic Filmore East. Before long, Winter inked a record deal with Columbia Records and began a recording career that has led to a resume of more than two dozen albums.

Due to his reputation as a sizzilng stage performer, he has also had a share of live albums, including 1971’s Johnny Winter And Live, the first album I heard him play on. The album included former McCoy’s guitarist Rick Derringer, and carried Winter’s hallmark song, “Rock and Roll Hoochiekoo” and a cover of the Rolling Stones’ “Jumping Jack Flash.”

Although often forgotten at the festival, Winter was among the performers at Woodstock, bringing him to a wider audience for the first time.

But he has never been the household name that other blues artists became, including Stevie Ray Vaughan, Jonny Lang and others who came in his wake. He has, however, maintained a loyal fan base and is widely heralded by elelctric blues purists and music critics.

These days, Winter still tours regularly as a solo act and with his kid brother, who continues to produce and record himself, and has been part of Ringo Starr’s All Star Band in recent years as well.

Johnny Winter, however, is best appreciated when he’s doing his own thing — standing center stage, guitar in hand and screaming into the mike. It just never gets old.

But don’t take my word for it. He’ll be at the Irvington Town Hall Theater on Oct. 24. Go see for yourself.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Corey J. Feldman, founder of the NYC-based band Mercury Landing, is in the process of creating a rock opera. Kindly, he has agreed to share a new piece of it each week with us here in the Listening Room.

“The Green Emerald,” as the opera has been named, is almost three years in the making. An illustrated storybook will also accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

Below we have the fourth installment, entitled “Ask the Wrong Question.” Click here for all previous entries. Enjoy!

IV – “Ask the Wrong Question”

With the trust of his people,

How it would stay.

*****

Throughout his whole life Lord Artus had hoped,

For a wish from the stone.  It was never received.

He tricked own kind to believe his little lie,

That the earth had the color, they just had to believe.

They left all their homes near a far away star,

To spray paint their eyes without leaving a scar.

They never suspected the Lord to betray,

Their race to a place where they shouldn’t stay.

One would save or strand them all,

And their hopes to see hues with their own eyes.

Many a millennia would pass on by as they,

Waited and yearned amidst their own cries.

Some of his friends found it hard to believe,

Lord Artus’ words were a spark to ignite,

An exodus from their home to earth,

For many whose color had just come to light.

This handful of people the Lord called his friends,

Left and went home without making amends.

They knew that his plan was all just a ruse,

For power on Earth, his power to choose,

A path for his people astray from their homes,

From their old gray star, where his friends sat alone.

They knew that Lord Artus would spend all his days,

Extracting a wish from the lyrical jewel,

But he’d never get it deceiving his race.

They’d turn on him, the ignorant fool.

*Ask the wrong question, repeat the wrong phrase.

The query is simple, look you in the face.

Get the wrong answer, or say the wrong word.

Solutions are simple, it’s something you’ve heard.

Greed will create more than 5000 years,

Of hopeful and hopeless spirits in flux,

As each and every man will face all his fears.

The stone laid unturned, and it would be the crux,

Of all human kind to find their own answer,

But first they would have to seek out the stone,

Which Artus would bury away from his people,

And for 5000 years it would sit there alone.

Lord Artus could not merely understand,

The joke that the stone was playing on him,

And so he died such a greedy man.

He buried the emerald, a choice on a whim.

He sentenced his brothers and sisters to Earth,

A prison where they would spend all of their days,

Forcing each man to judge his own worth without,

Knowing the colorless truth of their age.

*Ask the wrong question, repeat the wrong phrase.
The query is simple, look you in the face.
Get the wrong answer, or say the wrong word.
Solutions are simple, it’s something you’ve heard.

But she’s actually been belting out hits longer than that.

Before Lennox teamed up with former boyfriend Dave Stewart to form the Eurythmics, the duo was part of The Tourists, a U.K. pop group that scored in Britain but never popped up on the radar in the U.S.

The Tourists scored several hits in the British isles, and also charted in Australia. The band was together from 1977 to 1980, and their hits included a cover of Dusty Springfield’s “I Only Want To Be With You.”

When the band split, so did Lennox and Stewart — as a couple. But musically they decided to team up and take their music in a less pop-oriented direction, delving more into the emergin New Wave craze and the experimentation it brought with it.

The rest, as they say, was music history. The Eurythmics went on to score several international hits, and Lennox went on to a successful solo career as well, establishing herself as one of the most gifted singers and performers in modern music.

As for the Tourists, it was her launching pad, and no doubt where she honed those skills.

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Well, the shows are getting under way, and so far so good. And, boy, do I envy all you Brits out there who are making it out to these shows.

Fortunately for us, one of our readers back then informed us that he would be attending the shows at the HMV Hammersmith Apollo and blogging on the whole experience.

The Mottober blog is part travelog, part music review, and all rock fan. So check it out.

Mott consisted of frontman Ian Hunter, guitarist Mick Ralphs, bassist Overend Watts, keyboard player Verden Allen and drummer Dale Griffin — all of them on board for the reunion shows.

For you other Mott fans out there, keep hoping they decide to reunite for some shows here in the U.S. The band may never have gotten the wide acclaim they deserved beyond “All the Young Dudes,” but keep in mind that they helped launch at least two other musical acts—Bad Company and Hunter as a solo artist.

Either way, check out John’s Mottober blog and enjoy.

If the link doesn’t work, try this: http://mottober.blogspot.com/

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I was on the Long Island Expressway coming home from the beach when the news came on the radio. It was late August, and I remember the initial relief was that Eric Clapton, first thought also killed, was not on the copter.

But then the news hit, and the lingering reality was that, tragically, Stevie Ray didn’t make it out of the crash.

And today, on what would have been his 55th birthday, he’s been on my mind and his music is in my ears.

I do count myself lucky that I was able to see Stevie Ray perform a few times. The first was a classic, over on the 42nd Street pier when they did shows there. He headlined and the Fabulous Thunderbirds, led by his big brother Jimmy Vaughan, opened the show for him.

The beauty of that show, and another at the Beacon Theater where Stevie just showed up, was that he ended up jamming with legends. At the pier, he ended the show with Steve Winwood, Johnny Copeland and Jimmy Vaughan on the stage. At the Beacon, it was Buddy Guy.

And you came to realize that he fit right in, because he had become a blues legend in his lifetime. And you almost knew it while you were watching it and listening to his music.

Granted, he’s not the first artist to die prematurely and to be greatly missed—heck, there’s an encyclopedia of them somewhere out there. But it makes it no less tragic.

Today you listen to guys like Chris Duarte, who we profiled for you recently, and you know Stevie’s alive and that his music has been taken to the next level. That’s how it’s supposed to be.

So, here’s wishing Stevie a happy birthday, wherever he’s plugging his guitar in these days.

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If you’ve ever had a chance to see him you know he puts on a fun show, and has not lost the voice that made him the talk of the music world in the late 1970s and early 1980s, when he was in his heyday.

Gordon started his career as the front man for the ‘70s New York City punk band Tuff Darts, then took his classic baritone voice into a solo career that produced fan favorites like “Rock Billy Boogie” and a cover of Billy Lee Riley’s “Red Hot.”

His throw-back rockabilly act was a success in the midst of the punk and New Wave eras, so give him credit for keeping it alive against an avalanche of more current music.  And he made it work as the top modern rockabilly guy before Brian Setzer and the Stray Cats.

Gordon ran into some bad luck in recent years, including a near-fatal mugging in the Big Apple, but recovered just fine and continues to play throughout the globe. Last time I saw him at the Turning Point a few years back he was accompanied by former Bob Dylan bassist Rob Stoner, who is as connected in the industry as you’re likely to find.

So this show is recommended, and the Turning Point is a very small club, so you’re never far from the music.

Check out their website for more information.

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It was also a departure for Lloyd, who first made a name for himself as the lead singer of the Stories with an impressively soulful voice. His best known performance was the Stories’ 1973 cover of the Hot Chocolate song, “Brother Louie,” which reached No. 1 on the Billboard charts.

When the Stories broke up, Lloyd went solo and began doing session work. His second solo album, the 1979 release Goose Bumps, fell into the New Wave/pop category — and landed him a hit with “Slip Away.”

The song was actually written by Rick Ocasek of the Cars, who appears on the album and sings backup on the song. It’s hard not to pick out the Cars-like sound in the song and, in fact, the Cars recorded the song themselves, as you’ll hear below.

It also put Lloyd on Billboard’s Top 40 at a time when up-tempo jingles were all the craze on the airwaves.

But “Slip Away,” while Lloyd’s highest rising solo hit, has hardly completed his post-Stories legacy. The Seattle-born Lloyd went on to sing for some of rock’s biggest names, adding vocals to top-selling studio albums by Foreigner, Peter Frampton and Billy Joel.

Now living in New York, he continues to take the stage, both with his own band and with Social Hero, a band fronted by his son, David.

Anyway, if you clicked the link above you heard Lloyd’s version of “Slip Away.” Now hear how the Cars handled the Ocasek tune:

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Because Mick Taylor never got the credit he deserves.

(courtesy of Fred the B-slinger/jimsatten.com)

Taylor’s jazz/blues guitar playing revitalized the Rolling Stones after he was hired to replace Brian Jones in 1969.

He already had made a name for himself as a teenager, having been asked to join John Mayall’s Bluesbreakers after Peter Green departed to form Fleetwood Mac.

When the Stones began to look for a replacement for the troubled Jones, Mick Jagger and Keith Richards asked Mayall for his advice. His advice was to hire the young Taylor.

During his years with the Stones, Taylor brought the band a level of finesse they had lacked — he appeared on some of the band’s most celebrated albums.

He first appeared on Let It Bleed, adding tracks to the album.

But he was a full-fledged Stone for classics like Sticky Fingers, Exile on  Main St. and It’s Only Rock and Roll, where his licks added depth to Keith Richards’ grittier sound.

But Taylor eventually ran out of gas. Whether it was tension with Richards or simple exhaustion from the band’s high-paced lifestyles, Taylor walked away in 1974.

His departure opened the way for Ron Wood to join the band — something that seemed fated to happen given his close relationship with Jagger and Richards.

As for Taylor, he went off into a solo career and some pretty impressive session work. In 1983 he played on Bob Dylan’s Infidels album, and went on tour with Dylan’s band.

In more recent years he has played Bluesbreakers reunions, taken the stage with the Grateful Dead and, in 2007, went on the road with Jimi Hendrix’ band as part of a tribute tour. He’s also maintained a solo career, including his latest studio album, A Stone’s Throw, in 2000.

In 2002, his 1995 live album, Coastin’ Home, was re-issued.

Taylor also continues to tour, and is due to kick off a European tour next month. So this is one Stone who’s not gathering moss.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Corey J. Feldman, founder of the NYC-based band Mercury Landing, is in the process of creating a rock opera. Kindly, he has agreed to share a new piece of it each week with us here in the Listening Room.

“The Green Emerald,” as the opera has been named, is almost three years in the making. An illustrated storybook will also accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

Below we have the third installment, entitled “Colors from the Shades.” Click here for all previous entries. Enjoy!

III – “Colors from the Shades”

The ancient humans,

Reveals red, green, and blue.

*****

Lord Artus, an ancient man,

Brought his vessel from afar,

To the moon of the planet Earth,

Cast third from a tiny star.

Lord Artus truly believed his eyes,

Could see color without the Green,

Emerald’s power, but no one else,

Believed those colors could be seen.

*Lord Artus said:

“Don’t you see the brown in all this gray that seems to fade.

If we stay here long enough, we’ll see the colors from the shades.”

Lord Artus had voyaged for many years,

To bring his people a rainbow of joy.

From the stark and gray moon, and facing his fears,

His outward ideas were suddenly coy.

Digging through dust for days on end,

Lord Artus did find his precious rock,

Then stood before each of his friends,

And wished for color, the secret still locked.

*Lord Artus said:

“Don’t you see the brown in all this gray that seems to fade.

If we stay here long enough, we’ll see the colors from the shades.”

“I see what you are saying,” they told him, “Maybe we should stay.
That gray could be a little brown, and maybe red some day.”

Lord Artus stood tall and tried to convince,

His people that their wish had surely come true.

The emerald had color to splash on their eyes,

And earth was its answer – red, green, and blue,

And earth was its answer – red, green, and blue,

And earth was its answer – red, green, and blue,

And earth was its answer – red, green, and blue,

And earth was its answer – red, green, and blue.

*Lord Artus said:

“Don’t you see the brown in all this gray that seems to fade.

If we stay here long enough, we’ll see the colors from the shades.”

“I see what you are saying,” they told him, “Maybe we should stay.
That gray could be a little brown, and maybe red some day.”

And that’s no surprise, because hit rockers Guns N Roses grew out of two of the best known and most successful West Coast glam bands of their day.L.A. Guns took its name from lead guitarist Tracii Guns, and featured bass player Ole Beich and drummer Rob Gardner. In the early ‘80s the band made quite a splash on the Sunset Strip, with Guns as the central attraction.

Meanwhile, another L.A. band was making some noise. Hollywood Rose featured a talented and energetic singer named Axl Rose, and its lineup included a young guitar player named Izzy Stradlin.

In 1985, with both bands splintering, their two stars decided to join forces. Rose and Guns lent their name to the project, forming Guns N’ Roses. The lineup was rounded out by Stradlin on guitar, Beich on bass and Gardner on drums.

But GNR didn’t solidify until Beich was fired and replaced by Duff McKagan on bass, and Guns, who was increasingly at odds with his bandmates, left the group. The band then reached out to a guitar player named Saul Hudson, who had played with McKagan on another local band, Road Crew.

Hudson, who is better known by his stage name “Slash,” helped cement the lineup — despite one final change which saw Gardner quit and replaced by Slash friend Steven Adler on drums.

The rest, as they say, is history. Guns N’ Roses went on to rock superstardom, and pretty much ran the table until it slowly began to break apart in the 1990s. Although they never officially disbanded, the members of the early lineup left over the years, with the exception of Rose. McKagan was the last to go, leaving in 1997.

Slash and McKagan went on to a new successful career with Velvet Revolver, while Rose continues to front GNR with a new lineup — despite a lengthy break to record the band’s latest album, Chinese Democracy.

As for Hollywood Rose, some of the band’s songs were later released. But L.A. Guns has been the more successful of the two bands that spawned GNR.

Tracii Guns returned, and later left, the band, which has recorded 15 albums over the years, including five live releases.

(NOTE: This is part of an occasional Listening Room series I’ll be doing on noted rockers and where they came from. JF)

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You might not recognize the name, but Vodden is the “Lucy” in the Beatles’ classic “Lucy In The Sky With Diamonds,” off their legendary Sgt. Pepper’s Lonely Hearts Club Band album.

She had been battling lupus.

The Listening Room last checked in on Vodden in June, when we told you off Vodden’s rekindled friendship with Julian Lennon.

Julian was just a gradeschooler when he came home with a drawing of Vodden. Asked by his Beatle father who the picture was of, Julian reportedly said Lucy in the sky with diamonds, which John Lennon always swore was the story behind the song — although some critics maintained it was a reference to L.S.D.

In June, Julian Lennon had heard of Vodden’s struggles with lupus and reached out.

And now comes word that Vodden lost the battle, so our condolences to her family.

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Well, you can indeed now hear the legendary folk singer/songwriter take a stab at the Holiday season.

I’m not exactly a Dylan-head, but I have tons of respect for the man and what he’s done in what was long ago established as a remarkable career. Dylan is as iconic a music figure as you’ll find.

But I have to admit I’m a little taken aback by this.

Check it out. My links are a bit off, so if the ones up top aren’t working do it through here:

http://www.youtube.com/watch?v=gundu1yLjWY

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A year ago this week music lost one of its great talents, Pink Floyd’s Richard Wright.

Like George Harrison, John Paul Jones, and Phil Lesh, Rick Wright is the unsung hero of his band. Because of this, one of rock’s greatest keyboardists, songwriters, and singers is not credited often enough for…being one of rock’s greatest keyboardists, songwriters, and singers.

The first person you will hear singing on Pink Floyd’s first song on their debut album is none other than Rick. The beautiful harmony you hear on Floyd’s masterpiece “Echoes” is Rick singing along with Dave Gilmour.  The closing moments of “Shine On You Crazy Diamond” are written by Rick, and he manages to take you somewhere you’ve never been before with his unique synthesizer notes.

Perhaps most importantly, half the songs written on The Dark Side of the Moon, one of the top-selling albums of all time, were co-written by Mr. Wright.  He may only sing lead vocals on one song and have limited solos, but the ambiance and feel of the album is his doing more than anyone else.  While Roger Waters provided brilliant and timeless lyrics, Rick gave them life and sound.

After the “Wish You Were Here album,” Rick’s songwriting with the band dwindled to nothing, and he released a solo album in 1978.  He would not contribute a song or a lead vocal until 1994’s “Division Bell,” where he co-wrote five out of the eleven tracks.  ”Wearing the Inside Out” featured him singing lead vocals on a Floyd album for the first time in 21 years.  It is one of the album’s best songs.

In 1996, he released another solo album called “Broken China.”  I urge anyone who is a fan of Pink Floyd to purchase this album.

After performing on two of the tracks on Dave Gilmour’s 2006 solo album On An Island, Rick joined Gilmour for the tour.  Although the ticket had Gilmour’s name, for all intents and purposes you were hearing half of Floyd, and Rick was the frontman on various songs.  At the show I attended at Radio City Music Hall, he received a tremendously loud and enduring applause after his name was announced. I read that he received this ovation at all the shows.

It is an awful feeling knowing Pink Floyd will never again perform as a whole due to Rick losing his battle with cancer.  We are lucky they reunited briefly in 2005 for the Live 8 show in London.  We are even luckier that we don’t live in the time of Mozart or Beethoven where their music could not be recorded, and Rick Wright’s music can never die.

Below are some interesting lesser-known Floyd songs that Rick had a hand it composing – enjoy.

Remember a Day
Paintbox
Summer ‘68
Burning Bridges
Pan Am Shuffle
Marooned

And, back then, loud was how I listened to all my music, so it was a perfect marriage.

The L.A. punk band first came to my attention with their first album, The Incredible Shrinking Dickies, in 1979. Since, as I have pointed out before, I love covers, I was immediately taken by their version of Black Sabbath’s “Paranoid.”

And wouldn’t you know it again, that the song popped up recently when it was used for the soundtrack for some cartoon video my son stumbled across while surfing the web. Chalk another one up for the Listening Room lost & found.

The band’s actually still around. They put together 15 albums and, despite a few splits here and there and a couple of lineup juggles, is pretty much cranking it out as far as I can tell.

In their day they were sort of a wiseass compliment to The Ramones, and marketed themselves as faster and louder than the more famous leather-jacketed New York City foursome. It worked, coming at a time when punk was kind of getting more polished and expanding.

So, dated though it might be, it’s still fun — as is their rendition of the Sabbath classic.

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Carlton, best known for his work with Steely Dan, has established himself as one of the most sought-after guitar players on the planet, with credits that include everybody from Michael Jackson and Quincy Jones to Joni Mitchell and Linda Ronstadt.

Unfortunately, the tour will take him out of the U.S. for a bit. The fortunate part is that he’s on the road, and will hopefully add some U.S. dates at the end of this year or early next year. At least one can  hope.

Carlton was one of our early profiles in the Listening Room’s “Guitar Players You Should Know” series. And with good reason — he’s been nominated for 18 Grammys and won three of them. Last year, Guitar Player magazine awarded him a lifetime achievement award.

Yeah, he’s that good, and even if jazz isn’t your thing.

Anyway, here are the announced tour dates, in case you find yourself in Europe over the next few months, or if one or our twitter readers out there happens to reside on the other side of the Atlantic.

• 9/26/09  Bosque River Stage / Mclennan Community College: Waco TX, USA
• 10/5-7/09 Cotton Club Japan, Tokyo Japan  Bill LaBounty with guest appearance by Larry Carlton
• 10/9/09  Blue Note, Nagoya Japan Larry Carlton with special guest Robben Ford
• 10/10-14/09  Blue Note, Tokyo Japan  Larry Carlton with special guest Robben Ford
• 10/28/09  Cosmopolite Scene: Oslo, Norway
• 10/29-30/09  Jazzclub Fasching: Stockholm, Sweden
• 10/31/09  ESPOO – Tapiolasali: Helsinki, Finland
• 11/1/09  Tampere Hall: Small Auditorium: Tampre Finland
• 11/2/09  ML Media-Liv: Turku, Finland
• 11/4/09  Amager Bio: Copenhagen, Denmark
• 11/6/09  Bluesgarage: Hannover, Germany
• 11/7/09  Ingolstadter Jazztage: Ingolstadt, Germany
• 11/8/09  Liveclub Tante JU: Dresden, Germany
• 11/9/09  Harmony: Bonn, Germany
• 11/10/09  Hirsch: Nürnberg, Germany
• 11/11/09  KUZ: Mainz, Germany
• 11/12/09  Columbia Fritz: Berlin, Germany
• 11/14/09  Kulturinitiative Rock: Winterbach, Germany
• 11/15/09  ENTR’POT: Audun le tiche, France
• 11/16/09 KiK Kultur im Kammgarn: Schaffhausen, Switzerland
• 11/18/09  Jam De Montpellier: Montpellier, France
• 11/19/09  Medoquine: Talence France
• 11/20/09  Festival Jazz Ozoir, Espace Horizon: Ozoir la Ferrière, France
• 11/21/09  TENDANCES COTE D’OPALE: Centre Georges Brassens: Saint-Martin Boulogne, France
• 11/22/09  Boerderij: Zoetermeer, Neatherlands

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Boy, did he show them.

Duarte has since earned top honors from Guitar Player magazine, being named its “Best New Talent” in 1995, and finished fourth in the “Best Blues Guitarist” category. And that was behind Eric Clapton, Buddy Guy and B.B. King.

Duarte is true to his Texas roots — he plays a jazzy version of Texas blues, following in the tradition of Stevie Ray Vaughan and Johnny “Clyde” Copleand. And he’s done it with impressive success.

He released his first album, Chris Duarte and the Bad Boys in 1987. But it wasn’t until 1994 that he landed a major label deal, releasing Texas Sugar/Strat Magik on Silverstone Records. It put him on the map, and started building up the fan base that he carries to this day.

The success was well earned. By his own account, Duarte had stumbled badly for years. By 1990, he had been without a band, and so hooked on drugs that he sold his ‘63 Strat to a pawnshop, leaving him with one guitar and a briefcase to his name.

Then he turned it around. By the summer of 1991, Duarte was back in the studio and working on his music. The anguish of the previous years fed his music, and made for a crisper and more soulful sound. Since the release of Texas Sugar/Strat Magik, Duarte and his various bandmates have released six other albums, the most recent, the album 396, which was released in January.

Now based in Atlanta, Duarte is nonetheless still all Texas with the guitar. Hopefully he’ll bring that up to the Big Apple sometime soon.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Here’s an example: Back in the late ‘70s and early ‘80s, when punk was turning into New Wave, there was tons of experimentation going on with music. Adam and the Ants were doing Antmusic, Ten Pole Tudor finished his brief stint with the Sex Pistols and was doing sing-along tunes with a Medieval bent, and the Stray Cats were doing rockabilly, of all things.

In the middle of all this I ended up buying an album by a British band named Japan. Released in 1978, the band’s debut had the frisky title of Adolescent Sex, and featured the oddest cover: Barbra Steisand’s “Don’t Rain On My Parade,” from the movie Funny Girl.

Wouldn’t you know it that the video — with all the makeup and big hair of the era — pops up on YouTube.

To be fair, the band was only obscure in the U.S., and enjoyed commercial success in Britain and, wouldn’t you know it, Japan.

Formed in 1974, Japan released a total of five albums before disbanding in 1981 due to friction between frontman David Sylvain and the rest of the group. They reformed in 1989 under the  name Rain Tree Crow, releasing a live album in 1991.

To their credit, the title track from Adolescent Sex was virtually a disco song at a time when punk and New Wave bands just didn’t do that sort of thing. So give them points for being ahead of their time, even if their look is something out of a cultural time capsule today.

It was weird stuff. Still, I’ve always loved odd and unusual covers, so the Streisand thing seems kinda cool.

See what you think.

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Gov’t Mule will be playing the New Year’s Eve show at the Beacon Theater, marking their return for the gig that they’ve headlined since 2002 — missing only last year since then because of the renovations to the historic venue.

And keep in mind that they first played the show at the Beacon as an opening act for the Black Crowes in 1996.

Frankly, what is shocking is that Gov’t Mule frontman/lead guitarist Warren Haynes has time to do the New Year’s show. In addition to Mule, Haynes plays with the Allman Brothers Band, the reformed Dead and Phil Lesh & Friends — in addition to his own solo work.

In fact, Haynes is now one of the most featured artists at the Beacon Theater.

Anyhow, keep in mind that the man can flat-out play, and Gov’t Mule is probably the best vehicle for his talents and music. They’re regular attractions at festivals throughout the nation and are currently preparing a European tour.

Of course, they’ll be back in time for New Year’s. You should make it a point to be there too.

They’ll be doing two shows, on Dec. 30 and Dec. 31.

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Frampton was just 18 when he teamed up with rock screecher Steve Marriott to form Humble Pie.

Their partnership lasted five years, long enough to produce more than a dozen classic singles, including “I Don’t Need No Doctor,” “30 Days in the Hole,” and “Shine On,” which Frampton would later record as a solo artist.

Frampton (above, second from left) had been playing with a band called The Herd when he joined Marriott in Humble Pie. Marriott had recently left the Small Faces, where he was replaced by Rod Stewart and Ronnie Wood.

Pie was rounded out by bass player Greg Ridley and drummer Jerry Shirley, who also played in later incarnations of the band.

Marriott was unquestionably the spark behind the band, and so it essentially died with him in 1991, when he was killed in a fire at his home. In 2003, Ridley also died, due to complications from pneumonia.

Frampton, of course, enjoyed an immensely successful run after leaving Humble Pie. His 1975 double-live album, Frampton Comes Alive was one of the top selling records of the decade. Despite some less stellar follow-up releases — and some questionable career decisions — he recovered well enough.

He’s released more than a dozen albums and has gone on to both solo and session work with some of music’s biggest names, and even toured with Ringo Starr’s All-Star Band for several years.

And he did not forget his former partner in music, performing at a tribute concert with other former Humble Pie bandmates following Marriott’s death.

They did, after all, put out some pretty memorable music.

(NOTE: This is part of an occasional Listening Room series I’ll be doing on noted rockers and where they came from. JF)

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The word from contactmusic.com is that guitarist Ronnie Wood, keyboard wiz Ian McLagan and drummer Kenney Jones will nonetheless reunite and put the legendary rock band back together.

Couple that with Mott the Hoople’s planned reunion in London next month and you’re looking at a pretty amazing end to the year for classic rock buffs.

The Faces started out as the Small Faces, with Wood, McLagan and Jones in the lineup with frontman Steve Marriott. When Marriott went off and formed Humble Pie – later joined by a young Peter Frampton – the Small Faces regrouped.

Wood and Stewart left the Jeff Beck Group and signed on for what became The Faces. Lane later left and was replaced by Japanese-born bassist Tetsu Yamauchi.

The Faces had a pretty successful run, scoring with hits like “Stay With Me” before splintering themselves — the band was killed by Stewart’s burgeoning solo career and Wood’s decision to spend more and more time with the Rolling Stones, where he eventually joined full-time to replace Mick Taylor.

In 1979, Jones joined The Who to replace Keith Moon, while McLagan reportedly turned down an offer to join as well, opting instead to tour with the Stones alongside Wood.

Over the years several of the members played together, and the full original lineup played together in 1986. Another reunion show in the late 1990s lacked Lane, who was diagnosed with multiple sclerosis and died in 1997.

Last year, word leaked that the four remaining members would reunite in a more official sense, and reportedly even practiced together in anticipation. But Stewart eventually soured on the idea and, despite Wood’s repeated prodding, has moved on with his own highly successful solo career.

Well, for now at least. We’ll hope he changes his mind.

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Corey J. Feldman, founder of the NYC-based band Mercury Landing, is in the process of creating a rock opera. Kindly, he has agreed to share a new piece of it each week with us here in the Listening Room.

“The Green Emerald,” as the opera has been named, is almost three years in the making. An illustrated storybook will also accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

Below we have the second installment, entitled “The Green Emerald.” Click here for all previous entries. Enjoy!

(Note: Italics are spoken word intros; one asterisk designates the chorus.)

II – “The Green Emerald”

It was 5000 years,

Before the evil King.

When an ancient race of humans,

Had another song to sing.

Their eyes were robbed of color.

Their souls were full of pride.

They searched out the Green Emerald.

Heads high with every stride,

On the path to a small moon,

Of a planet known as Earth.

It’s where the stone had rested,

Soon after its birth but,

To ask the right question,

Is a task of the wise,

For it’s only true wisdom that brings,

Hues to sullen eyes.

*****

They were a long way from home,

Without a color to be seen.

Stranded all alone they’d find,

A stone they saw as green.

*These travelers of stars so gray,

Colorblind they’d live for love.

But found no help in their drained shade,

They needed color from above, above, above.

They found the jewel not far from Earth,

Shining and glowing under dust.

So thick with gray before its birth,

It didn’t know whom it could trust.

Alive and dead the stone would choose,

The path of the righteous, yet ignorant fools.

Unless some power found the stone,

And knew its secret to the throne.

*These travelers of stars so gray,

Colorblind they’d live for love.

But found no help in their drained shade,

They needed color from above, above, above.

They found the jewel not far from Earth,

Shining and glowing under dust.

So thick with gray before its birth,

It didn’t know whom it could trust.

The dawn and dusk of time were etched.

Into this stone, through space it stretched.

Ask the right question just one time and,

Splash all those colors into your minds.

So goes the legend of the jewel,

That many have seeked, all but one a fool.

A princess born to an evil man,

A ruthless king with a sinister plan.

*These travelers of stars so gray,

Colorblind they’d live for love.

But found no help in their drained shade,

They needed color from above, above, above.

They found the jewel not far from Earth,

Shining and glowing under dust.

So thick with gray before its birth,

It didn’t know whom it could trust.

In that vein, since Feb. 25 the Listening Room has gone where the guitar players have taken us. That was when we started doing our weekly series, “Guitar Players You Should Know.”

Hopefully you’ve enjoyed it, and hopefully you’ve joined us in our deep-seeded love affair with the guitar — if you weren’t already there.

Our series started with Stevie Vai and last week we gave you our most recent, Frank Marino — a total of 30 guitarists who fly just under the mainstream radar or have never gotten the acclaim they’ve richly deserved.

There’s been one bass player, several posthumous profiles, a few up-and-coming stars, and some forgotten or overlooked guitar wizards. But they’re all masters at their craft. We hope you agree.

Anyway, worry not. We have quite a stack of future profiles to give you. This week we’re simply taking a break and re-capping the profiles we’ve done so far, in case you missed any.

For those of you who have been loyal readers, as well as those who are just now finding us, we thank you and hope you enjoy what we give you.

And please don’t be shy to nominate a guitar player you feel gets a raw deal.

See you next week. Here’s our list so far:

• Stevie Vai

• Ronnie Montrose

• Jonny Lang

• Robben Ford

• Keb’ Mo

• Marc Bolan

• Steve Morse

• Michael Schenker

• Marcus Miller

• Larry Carlton

• Elvin Bishop

• Jonny Greenwood

• Tommy Bolin

• Scott Gorham & Brian Robertson

• Jean-Paul Bourelly

• Billy Gibbons

• Mick Ronson

• Adam Fulara

• Gary Moore

• Roy Buchanan

• Uli Jon Roth

• Ry Cooder

• John Frusicante

• Dan Auerbach

• Tom Verlaine

• Joey Santiago

• Tom Morello

• Rory Gallagher

• Frank Marino

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The band will first play the Garden on Oct. 30, as part of the Rock and Roll Hall of Fame 25th anniversary bash.

Then they’re back on Nov. 14 and 15 for two sold out shows at the ‘world’s most famous arena.’ It’s their first return to the NY Metro area since the start of the year, when their tour included two shows at the Prudential Center in Jersey.

If you missed them then, don’t miss them now.

(photo courtesy of AP/Jeff Christensen)

Metallica, touring behind their latest, Death Magnetic, kicked off the new leg of the tour in San Rafael, Cal., on Friday, and followed up with two sets in Nashville —including last night’s show, which got highmarks from Rolling Stone.

Rest assured, this band has aged, but they haven’t slowed down much. They simply put on a great show, and are at the stage of their Hall of Fame careers where the shows are virtual greatest hits revue. And there are always surprises, such as the out-of-left-field riff we told you about after the Prudential show on Feb. 1.

However you slice it, they’re still great live, and they won’t be around forever. So, get out and see them.

Here’s a rundown of their stops on the tour.

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He bridged the great literary circles dominated by Allen Ginsberg and William S. Burroughs, and the New York City punk music scene with Patti Smith and the Velvet Underground. He also became a fixture in the Big Apple art world, working for Andy Warhol and Larry Rivers.

Carroll was seemingly always at work on something. In fact, the word is that he was at his desk writing on Friday, when he died of a heart attack — as was announced to the world yesterday.

(photo courtesy of nyrocks.com)

Carroll first made a splash as a scholastic basketball star, an achievement that formed the basis for his 1978 book, the Basketball Diaries. The book, later made into a feature film starring Leonardo DiCaprio, is Carroll’s memoir of his teen years, when he led a double life as a basketball star while moonlighting as a heroin addict and male prostitute.

But Carroll’s poety and writing would eventually be his salvation. He showed an early talent for the written word, coming to the attention of internationally reknown authors and poets.

In the late ‘70s, Carroll sought to clean himself up on the West Coast, and fell in with Patti Smith, who convinced him to delve into music. Carroll joined the Bay Area band Amsterdam as its frontman. The band was soon renamed The  Jim Carroll Band. They made a splash in 1980 with the release of Catholic Boy. The album spawned Carroll’s biggest hit, “People Who Died.”

The song was reissued when the Basketball Diaries hit the big screen — with Carroll also making an appearance in the movie.

Although not in the public eye in recent years, Carroll continued to write and publish, and also continued to work as an artist.

It may be too soon to know for sure, but I would bet that there will be a pretty star-studded memorial sometime soon. And I would bet Carroll would love to add a verse to “People Who Died” for himself. It’s the kind of thing he’d probably get a kick out of.

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“The Green Emerald,” as the opera has been named, is almost three years in the making, and we here on the blog will be getting a weekly glimpse into each of the 13 songs in the project.

An illustrated storybook is also in the making to accompany the performance of the opera, which will take place at 8 p.m Dec. 4th and 5th at the Bowery Poetry Club, located at 308 Bowery in Manhattan.

We kick things off this week with song one, “The Prologue.” As you will see, it’s already shaping up to be quite the tale! So away we go…

I – “The Prologue”

Here is the Green Emerald,

Its journey like a maze.

Timeless in its essence,

Inscribed it spoke this phrase:

“Created by the Universe:

Just wish upon this stone.

You must ask the question true,

Its power stands alone.”

The Legend of the Emerald,

Was known through all the Earth.

The rumors said that it contained,

The truth of humans’ birth.

Though traveled far and wide it did,

The stone fell in the hands of an,

Evil King whose many thoughts,

Conspired evil plans.

Ephemeral, we’re fading fast.

The Emerald was found to last,

Above the King and his whole clan,

The stone had always known his plan.

All his life he worked but all for naught,

The knighted fighters he had taught,

The zen of martial arts, but they’d quit,

Or rebel against his lack of wit.

****

“They will bow to me.

Soon they will see,

The error of their ways.

They will know my gaze.

They will fear my reign!

They will know my name!

They will think that they are free.

I will fulfill the prophecy.

The prophets foretold of my strength,

Enduring a timeless spacious length.

They will fear my reign!

They will know my name!”

****

Power now was all to see,

The cost in lives was far from free.

The Emerald could see the past,

The vision there would never last.

Guitar wizard Stevie Vai will be will be receiving an honorary Doctor of Music degree from California’s Musicians Institute as part of the school’s graduation ceremonies next week, contactmusic.com reports.

Well, if anybody deserves a doctorate for the guitar it’s Vai.

(Courtesy of vai.com)

The honors are part of a big month for Vai, who will also be releasing Where the Wild Things Are later this month, a musical documentary featuring Vai.

If you’re not familiar with his work, just consider that he was just a mere kid when he impressed Frank Zappa enough to bring him on board — and Zappa was not a man who had patience for subpar musicians.

So, it’s not surprise Vai would now be honored with a degree.

And there’s reason we at he Listening Room kicked off our “Guitar Players You Should Know” series with Vai way back in February.

Congrats Stevie.

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A couple of years later I saw Marino and MR at the Jersey Meadowlands, part of a four-band stadium show headlined by Aerosmith. It was heady stuff.

Marino, once rumored to think himself the reincarnation of Jimi Hendrix, was a leading force in what I’d call ‘Power Blues” — ramped up traditional blues marked by fast riffs and raunchy power chords, kinda like Hendrix and Alvin Lee, louder and on speed.

Marino’s made a career of it, and boy can he pull it off.

(Photo courtesy of Jerry Fielden)

The first thought on Frank Marino was that he is so remarkably fast.

He’s also clearly a Hendrix aficionado, although Marino always denied the ‘reincarnation’ claim. But he did cover Purple Haze, All Along the Watchtower and other tunes Hendrix either wrote or recorded.

Marino also wrote thinly veiled Hendrix homages like “World Anthem,” which seemed inspired by Jimi’s rendition of the “Star Spangeled Banner” at the  Monterey Pop Festival.

There is still a clear and defined uniqueness to Marino. His deep grounding in the blues sets him apart from others of the power blues genre, and he was sort of the bluesier counterpart to another ‘70s guitar slinger, Ted Nugent.

In addition to 15 of his own albums, Marino has appeared on the soundtracks of Cal Jam II — where he was a featured performer — as well as the second release in the Guitar Speak series and on a Stevie Ray Vaughan tribute release.

Born in Montreal, Marino took Mahogany Rush — a title derived from his LSD trips — to the peak of his fame in the 1970s, when his dazzling play and guitar acrobatics made him a popular concert draw.

But, as with many road warriors, Marino grew weary and called in quits in 1993 after 13 albums and more than 20 years of touring. (He wrote his first album at 16).

Instead, he started a side business building computers. In 1997 he released a greatest hits collection, then got the itch.

In 2000, Eye of the Storm became Marino’s first album in a decade, followed by a new live release three years later.

Today, Marino continues to tour either as a solo artist or with a reformed Mahogany Rush, while putting the computer business in his wife’s hands.

And Frank gets to do what he does best.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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As loyal Listening Room readers know, we post a guitar player profile every Wednesday as part of our “Guitar Players You Should Know” series. Wouldn’t you know it that this week’s installment was due to be guitar master Richard Thompson.

Until, of course, CNN came up with this feature and interview today, hailing Thompson as “the greatest guitarist you’ve never heard of.”

Looks like I’ll have to re-tool and move down the list.

(courtesy of Paste magazine)

But no hard feelings. Thompson is, indeed, one of the most remarkable guitar players out there and the attention he gets from the CNN piece is well deserved.

Thompson broke in with Fairport Convention in the late 1960s, and later went on to record with his ex-wife, Linda Thompson, for nearly a decade before going solo in 1983.

He has dozens of albums to his credit and has long been regarded as one of the premier guitarists in the business by colleagues and insiders. His accolades include a lifetime achievement award from BBC Radio.His songs have been recorded by legendary artists like Bonnie Raitt, REM, Elvis Costello and David Gilmour.

But don’t take our word on it — go see him yourself at the Tarrytown Music Hall on Oct. 8, when Thompson is scheduled to make a stop on his Rich & Loud tour with Loudon Wainwright III, another under-appreciated musical talent.

As for our Listening Room profile, no worries. There’s plenty of material — and more than enough unheralded guitar players — to keep us going for some time.

We’ll see who we come up with tomorrow.

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But according to Spin magazine’s review of their D.C. show, which launched the band’s world tour, fans may soon forget that DuVall wasn’t there all along.

The Washington state rockers were part of the grunge movement that swept through the music world, led by Nirvana, Pearl Jam and Soundgarden. But Alice kinda did its own thing.

Founded by guitarist Jerry Cantrell and singer Layne Staley, Alice in Chains recorded three albums through 1995, but was largely plagued by inconsistent performing and recording schedules due to Staley’s ongoing problems with substance abuse.

The band took an extended hiatus in 1996. Staley withdrew to his Seattle home and, after completing material for his second solo album, was found from an overdose in 2002.

In 2005, the band performing reunion shows here and there, and ultimately fell in with DuVall on vocals. They released their fourth studio album this year, and are now touring behind it.

And if Spin is on the mark, it’ll be some show when Alice makes its way to Irving Plaza in the Big Apple on Tuesday, where they’re scheduled to play a sold out show.

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Unfortunately you’re going to have to fly to London to be part of it.

(photo courtesy of Jorgen Angel Photography)

Bolan, the brainchild behind legendary rockers T.Rex, died in a car wreck on Sept. 16, 1977. He was two weeks shy of his 30th birthday, so he would’ve turned 62 on Sept. 30.

Known as one of the founders of the British Glam Rock movement with David Bowie, Bolan has retained a large and loyal following to this day. They’ve even launched an online Rock and Roll Hall of Fame ballot to try and get the singer/songwriter inducted posthumously.

As we told you in our own profile earlier this year, Bolan also an underrated guitar player.

Now fans are also planning a series of events to mark his untimely death:

• Wednesday, Sept. 16 — Memorial gathering at 2 p.m. at Golders Green Crematorium.

• Wednesday, Sept. 16 — Music and DJ at 6 p.m. at The White Swan in London.

• Friday, Sept. 18 — TRextasy Anniversary show at The Standard in London.

• Saturday, Sept. 19 — TooREX Anniversary show at The Half Moon in London.

• Friday, Sept. 25 — Tribute Night show at Finnegans Wake in London.

• Saturday, Sept. 26 — Tribute Night show at Fiddler’s Elbow in London.

• Saturday, Sept. 26 — Birmingham Bop at the Aston Social Club in London.

Personally, I wish to heck I could make the trip and stay around for the Mott the Hoople reunion show. If only life was that kind to me.

Anyway, check out some of the shows if you find your way to London this month.

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It was emblematic of the respect Gallagher earned among his peers — he was among the first choices to replace Mick Taylor in the Rolling Stones, and no less of a rock icon than Queen’s Brian May credited Gallagher with molding his own guitar style.

“So these couple of kids come up, who’s me and my mate, and say ‘How do you get your sound Mr. Gallagher?’ and he sits and tells us,” May said following Gallagher’s death in 1995. “So I owe Rory Gallagher my sound.”

So why haven’t most of you heard of him?
(photo courtesy of www.stratocaster.name)

Gallagher was George Thorogood ten years earlier – but with a meaner slide guitar and a deeper grounding in traditional blues.

He was the driving force behind the emergence of the Irish rock movement, long before Thin Lizzy, the Boomtown Rats and U2 burst on the scene, and as a contemporary with legendary singer Van Morrison.

He was also part of a breed of 1970s blues guitarists who merged traditional blues with hard rock, a class of musicians that also included Pat Travers and Frank Marino. And Gallagher made it work, both by covering ramped up versions of classic blues tunes and with his own blues-based original material.

He burst on the scene with Taste, a band he founded in 1967. Alongside Morrison’s band, Them, Taste began to draw attention to the Emerald Isle. In 1970, Taste split and Gallagher went solo, quickly drawing attention through his playing and his high-energy live performaces.

In all, Gallagher would record 14 solo albums, three of them live.

The Stones invited him to Holland in 1974 for a recording session following the departure of guitarist Mick Taylor, who was instead ultimately replaced by former Faces guitar player Ron Wood.

Gallager, for his part, would remain a solo artist, gaining increasing acclaim from fans and growing respect and admiration from musical colleagues.

But if he had a vice, it was the bottle. After years of heavy drinking, Gallagher began to suffer from ill health by the early 1990s. In January, 1995, while on tour in The Netherlands, Gallagher fell ill and had to be hospitalized.

In April of that year, he had a successful liver transplant. But post-surgery complications ultimately took his life on June 14.

While he never achieved the mainstream success he coveted, Gallagher’s death shook the rock world, and struck deep among his contemporaries.

“Rory’s death really upset me,” Jimmy Page recalled. “I heard about it just before we went on stage, and it put a damper on the evening. I can’t say I knew him that well, but I remember meeting him in our offices once, and we spent an hour talking. He was such a nice guy and a great player.”

Several posthumous releases kept Gallagher’s music and legacy alive, including a complete box set released last year.

Do yourself a favor: Give him a listen.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Forbert, best known for his 1980 hit “Romeo’s Tune,” will be swinging by the northern ‘burbs as part of the East Coast leg of a tour that kicked on in California earlier this month.

(AP photo/Mark Humphrey)

Forbert may have fallen off the mainstream radar in recent years, but make no mistake — he continues to tour and record and now has some two dozen recordings out there. His latest, The Time and the Place, was released in March and has gotten critical acclaim.

The Mississippi-born artist hit the big time with his 1979 release, Jackrabbit Slim, which yielded “Romeo’s Tune.” The song hit the top 20 on the Billboard charts and put Forbert on the map.

A few record-label squabbles posed something of a drawback. But Forbert is still at it and is easily one of the most acclaimed American songwriters of the past three decades.

Now you a have two chances to see for yourself.

Check the Towne Crier Cafe and Turning Point websites for more details.

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But, in fact, police are now reviewing the initial findings in the ‘accidental’ 1969 death of Brian Jones, the founder of The Rolling Stones and the troubled musical genius behind their early success.

Jones (far left) was found dead in a swimming pool in England in July, 1969. His death was ruled ‘without incident,’ in part due to his chronic substance abuse and increasingly unstable behavior. At 27, he was proving himself to be in a downward spiral and increasingly unable to contribute to the band.

But Jones’ death was clearly a musical tragedy given his accomplishments as a songwriter and musician – even if he melted down towards the end. In his 1979 book, ‘Up and Down with the Rolling Stones,’ band insider Tony Sanchez noted that Jones was so out of control that he once destroyed a treasure trove of brililant music on his reel-to-reel tape deck while heavily intoxicated.

Those scenes were, unfortunately, becoming more commonplace before he died.

Now the cops think his death may be a homicide, something fans have been theorizing about for decades. Maybe now we’ll find out? They’re just not giving many details on the new evidence.

Anyway, here’s how the BBC covered the story:

Police are reviewing the investigation into the death of The Rolling Stones’ guitarist Brian Jones after the emergence of new evidence.

Detectives in Sussex are re-examining the case from 40 years ago after being handed relevant new documents, reports BBC News.

Jones (far left) was found dead, aged 27, in July 1969 at the bottom of a private swimming pool at Cotchford Farm in Hartfield, East Sussex. A verdict of death by misadventure was recorded at the time, although some fans have since claimed he was murdered.

A spokesperson for the police said it was too early to say whether a new investigation will be launched, but they will look at the “new papers”.

James Marshall Hendrix was fresh out of an unimpressive stint in the 101st Airborne when he headed to Tennessee with his guitar, where he played gigs for Jackie Wilson and Sam Cooke.

But it wasn’t until he headed to Harlem in 1964, winning an amateur contest at the Apollo Theater, that he started gaining more and more attention for his musical abilities – and was soon hired by the Isley Brothers. With his fame growing in prominent music circles, Hendrix ended up in Atlanta as part of a traveling circuit of musicians, and was hired to record and perform with Little Richard.

By the end of 1965, Hendrix had parted ways with Little Richard, supposedly after missing the tour bus. But he continued to be in demand as a session and stage guitarist, rejoining briefly with the Isley Brothers while picking up playing jobs here and there.

But Hendrix was growing, and so was his list of friends. After rubbing elbows with the likes of Eric Clapton, Keith Richards and Pete Townsend, Hendrix put together the Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell.

The band initially got a lukewarm reception in the states, but took off in Europe, where Hendrix toured and gained increasing attention and acclaim.

However, he would not be in obscurity long in the states. The 1967 Monterey International Pop Festival in California turned into something of a coming-out party for Hendrix, who wowed the music world with his performance and guitar-burning antics.

When the Woodstock Music & Art Festival came along two years later, Hendrix was the last performer to take the stage – and the main reason many stayed around at all.

By then, he was miles away from Little Richard, Sam Cooke and his Motown past.

(NOTE: This is part of an occasional Listening Room series I’ll be doing on noted rockers and where they came from. JF)

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Due for release Oct. 27, The Trouble With Flying will be launched on the heels of an accompanying web project that includes a travel memoir, photo exhibit and song lyrics — all of them the culmination of a cross-country road trip this year that fueled much of the material on the album and prompted its very title.

The Trouble With Flying follows the 2007 debut release, sunshyness, by Orba Squara, the musical alter ego of New York City artist and musician Mitch Davis.

Known for his creative bent, Davis has an affinity for natural, free-flowing music, often produced with instruments bought at flea markets or odd shops, or presented as gifts by friends.

His first album, sunshyness, gained him both critical acclaim and a fiscal boost — Apple computers selected his son, “Perfect Timing (This Morning)” as the theme for its international TV iPhone campaign, while other corporate giants tapped the album as well.

The new album includes a collaboration with pop rocker Billy Squier, who became a friend and fan after meeting Davis backstage. Squier provides vocals and guitar on Orba Squara’s tune “Tell Me” on the album.

According to Davis, The Trouble With Flying was less of a conscious effort than his debut record, and instead “just happened.” While nearly the entire album was recorded in his own New York City studio, Davis says he allowed himself more effects and amplification while maintaining an air of spontaneity.

The album is also the musical backdrop to The Trouble With Flying web project, which presents the record as multimedia road trip presentation. Found at www.orbasquara.com. the site includes footage, photos and memoirs from a 10-day trek to Portland earlier this year.

The road trip led to the album’s title, which highlights the sights and sounds missed while flying high overhead rather than by traveling on the ground.

So, get busy. There’s a lot to immerse yourself in before the new album gets released.

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When he did take up the guitar full-time, the Harvard-educated, Grammy-winning Morello made the most of the instrument, creating a unique metal-based style that turned Rage Against the Machine and Audioslave into both critical and popular successes.

Morello left Harvard in 1986 and moved to L.A., where he even helped form another premier rock band – he introduced former classmate and bandmate Adam Jones to the future members of Jones’ band Tool.

But Morello was in L.A. to do his own thing, and he soon did. In 1991, he signed up with rapper Zack de la Rocha and began putting together Rage Against the Machine. After adding drummer Brad Wilk and bassist Tim Commerford, the band played its way into a record deal.

Over 10 years, RATM released four studio albums and developed a loyal following, with Morello’s guitar work grounding the band’s music and their outspoken political commentary gaining more converts.

However, the band splintered in 2000, with de la Rocha calling it quits. Not deterred, Morello and his remaining bandmates joined forces with singer Chris Cornell, who had left Soundgarden. From that union came Audioslave, Morell’s second significant – and successful – band.

Audioslave recorded three albums, beginning with 2002’s self-titled debut. The band was a new direction for Morello, mixing classic and alternative rock, and showing the guitarists versatility in style. (That versatility became much more evident in more recent years, with Morello’s work as the Nighwatchman – the folk-alter ego he performs under as a solo act.)

Audioslave’s successful run, which included a historic concert in Cuba, ended with Cornell’s departure in 2007 over personality conflicts within the band. Not one to be rattled, Morello and his bandmates simply reunited with de la Rocha and reformed RATM.

Morello also has been involved in a number of side projects, including Street Sweeper Social Club.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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But the final decision to end the Fab Four is best marked sometime in September, 1969. And this appears to be the news hook for Mikal Gilmore’s analysis of the event for the cover of Rolling Stone magazine’s current issue.

While some may question the need to rehash the whole thing 40 years later, Gilmore’s account of the Beatles’ end is in fact intriguing and a worthwhile read for music buffs.

Gilmore’s piece is something of an expansion of Michael Lindsay-Hogg’s 1970 documentary ‘Let It Be,’ which captures the tension within the band, even as their music was at its best.

Obviously, the band’s breakup was outwardly dramatic. But, as Gilmore recounts, it had more to do with internal turmoil – a musical parting of the ways between John Lennon and Paul McCartney, conflicting business decisions, simple jealousies – than it did with Yoko Ono’s intrusion into the band.

It would be unfair to say that Gilmore breaks new ground. But he certainly compiled a cohesive re-telling of the drama that slowly unfolded within the Beatles.

That’s what makes it a worthy read.

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Before you become skeptical about the aging foursome, keep in mind that anything they’ve touched for decades has turned into gold.

The gand’s clownish makeup and excessive stage shows turned off some critics when they came out of New York City in the 1970s. In the midst of the punk era, Kiss took it in a different direction.

Their first three albums were moderately successful, but it was their fourth, Kiss Alive, that propelled them into international stardom. Their merchandising was through the roof, but it worked.

After various lineup changes and an ‘unmasking,’ the band later reformed with all four original members – Gene Simmons, Paul Standly, Ace Frehley and Peter Criss.

Now only Simmons and Stanley – the band’s core from the start – remain. But they’ve done it before and cashed in. This time they’re going on the road with Eric Singer and Tommy Thayer for their Kiss/35 North American Tour, which will kick off Setp. 25 at Cobo Arena in Detroit – the locale for the taping of the highly successful Kiss Alive.

They’ll also be playing Madison Square Garden in their hometown on Oct. 10 before moving on and wrapping up the tour in early December.

These won’t be easy tickets, so start making the calls.

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But long before the California-born rocker made a splash as a solo artist or fronting Van Halen, he was a teen-aged front man for Montrose, a hard rock band put together by guitar wiz Ronnie Montrose.

(photo courtesy of redrocker.com)

Hagar (front right) was barely out of his teens when Montrose picked him to front the band in 1973. Montrose had already made a name for himself by playing with Edgar Winter and Van Morrison.

In Montrose, Hagar would front a solid band that included Bill Church on bass and Denny Carmassi on drums – both of whom would follow Hagar into his solo career in 1976, The band produced two albums, Montrose and Paper Money, and their tunes included ‘Bad Motor Scooter,’ which Hagar wrote and would continue to play live for years to come.

After splitting with Montrose, Hagar launched a moderately successful solo career, which included the hit ‘I Can’t Drive 55.’

Hagar did a few side projects, including forming a band with former Journey guitarist Neil Schon, ex-Santana drummer Michael Shrieve and bassist Kenny Aaronson, who played with Dust, Richard Hell and others.

But in 1985 he hit the big stage for good when he replaced David Lee Roth in Van Halen, reviving that band during an 11-year run that re-established Van Halen as rock icons.

He left Valen in 1996 and again did some side projects before joining Joe Satriani and former Van Halen bandmate Michael Anthony on bass. And, frankly, it seems like Hagar is nowhere near retirement, so it’s a matter of time before he adds to career resume.

Which, of course, begins as a 19-year-old front man for Ronnie Montrose.

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But it was as Joe Strummer that Mellor would make his mark, co-founding The Clash and taking the punk pioneers on a 10-year run that established them as a Hall of Fame act.

He would’ve turned 57 today.

(photo courtesy of Andy Butterton/AP)

Strummer founded The Clash in 1976 with guitarist Mick Jones and bass player Paul Simonon. Terry Chimes was the band’s original drummer, but was soon replaced by Topper Headon, who became the band’s regular drummer for the rest of its run.

Fittingly, the band’s first gig was as the opening act for short-lived punk icons, the Sex Pistols.

Tension within The Clash was commonplace, but the creativity it yielded is unquestionable. The band’s 1979 release, London Calling, is still considered by many critics as one of the greatest rock albums of all time.

Following the band’s demise, Strummer worked on various side and solo projects, including songs for the movies ‘Sid & Nancy,’ and he starred alongside Ed Harris in ‘Walker.’ He also worked with bandmate Mick Jones on Jones’ project, Big Audio Dynamite.

In 1999 Strummer formed The Mescaleros, which recorded and toured until his death from a heart ailment in December, 2002.

Quite few tributes followed, and Strummer has risen to near iconic status for many fans since his death. Not sure what he would’ve been doing for his birthday today if he was still around, but it’s a safe bet it would be pretty loud.

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It wasn’t long before they started jamming on campus, and things began to happen.

By 1986, Thompson had renamed himself Black Francis and the two school chums decided to form a band — Francis would be on vocals and guitar, and Santiago on lead guitar.

The Pixies would become one of the more significant alternative bands of their time, and Santiago, with his self-described “angular and bent” guitar style, would lead the way.

(photo courtesy of flickr.com)

Born in the Phillipines, Santiago’s family fled political turmoil on the island nation in 1972 and relocated to Yonkers briefly, before moving north to Massachusetts.

There, Santiago delved into music at a young age.

“I noticed that my oldest brother had a classical guitar hung up on the wall as a decoration,” Santiago told Film Score Magazine in 2003. “I took it down and learned how to tune it. He also had the Velvet Underground’s ‘Loaded’ on his turntable. I played it and learned the song ‘Rock and Roll.’ It had this soaring guitar at the breaks. Very simple. Very effective. That hooked me.”

It would prove a fateful turn of events, and would begin to bear fruit years later, when the Pixies burst on the scene with their first album, the 1987 release Come on Pilgrim.

But despite the acclaim they garnered, the Pixies would only last five years, recording five albums that culminated with their 1991 release, Trompe Le Monde. In fact, Santiago was essentially an outside contributor by then.

A hectic schedule and tension within the band officially broke up the Pixies by 1993. Santiago and his wife, musician Linda Mallari retreated from the scene — only to have Black Francis pull them back in.

Santiago and Francis, who again renamed himself, this time to Frank Black, remained close. Between 1993 and 2004, Santiago contributed to six of Black’s albums.

In 2004, he also teamed up with Mallari to form The Martinis, with the husband-and-wife team releasing Smitten, their first of two albums, that same year.

But the Pixies weren’t done just yet. Black soon brought the Pixies back together, and the reunited group produced a song for the hit movie, Shrek 2. When the producers rejected it, they released the song, ‘Bam Thwok,’ as a single.

In 2006, Santiago scored for keeps, writing the soundtrack for the documentary, Radiant City.

Meanwhile, the Pixies announced this year that they’ll hit the road again in the fall for a 20th anniversary commemoration of their 1989 release, Doolittle.

Rest assured Santiago will be front and center. It just wouldn’t be the Pixies otherwise.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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But the 20-year-old crooner is already a sensation on MySpace, and is now due to release his debut album, Speak, on Sept. 22. It could make quite a splash.

(photo courtesy of jercoons.com)

Coon has already released a single from the upcoming album. TItled “Legs,” the catchy tune has already started to catch on on YouTube, and could start to get some serious airplay outside Vermont, where Coons is already the number three artist on MySpace.

Think Jason Mraz and John Mayer, and you have a good sense of Coon’s genre. I also liken his music a bit to up-and-coming Midwest pianist/songwriter John McLaughlin. Coons has the same vocal and musical talent, and a similar penchant for impressive songwriting.

We’ll see how he fares, but I think there’s a good chance you’ll be hearing from him.

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The critically acclaimed British singer/songwriter is set to release his eighth album, go back on tour, put out a limited edition CD — and kick off the whole thing with an appearance on David Letterman.

Seems like he’s picking up right where he left off.

(Courtesy of davidgray.com)

Gray came out of Manchester with designs on going to art school. But he delved into the music business and began to make noise in the U.K. folk-rock scene with his first album in 1993.

He certainly built a following in England, but he was far from done. The release of his 1999 album, White Ladder, propelled him into the international music scene. The album scored several chart hits in the U.K. and U.S., including “Babylon.”

Gray continued to tour and record to wide acclaim and commercial success before taking a break.

Now he’s back. His next album, the self-produced Draw the Line, is due in stores on Sept. 22. The album will include the track “Fugitive,” which will be Gray’s first single release from the album.

Gray will begin promoting the album with a Letterman appearance on Sept. 25, and will also release a deluxe edition of Draw the Line. It will include a 20-page illustrated booklet and an eight-song bonus live CD recorded at the Roundhouse Theatre in London.

Finally, Gray is hitting the road again. To date, a dozen dates have been confirmed:

Aug. 15 — Mountain Music Fest, Redmond, Wash.
Oct. 23 — Wang Theater, Boston, MA
Oct. 24 — WaMu Theater, New York?City
Oct. 26 — Massey Hall, Toronto
Oct. 27 — Tower Theater, Upper Darby, PA
Oct. 29 — Chicago Auditorium Theater, Chicago, IL
Oct. 30 — Orpheum Theater, Minneapolis, MN
Nov. 1 — Paramount Theater, Denver, CO
Nov. 2 — Kingsbury Hall, Salt Lake City, UT
Nov. 4 — Arlene Schnizer Concert Hall, Portland, OR
Nov. 7 — Paramount Theater, Oakland, CA
Nov. 9 — Orpheum Theater, Los Angeles, CA

So, good news for Gray fans on several fronts. And if his past work is any indication, he should be making a splash for some time to come. Stay tuned.

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So jump in fast – tickets go on sale at 10 a.m. tomorrow.

(photo courtesy of The Telegraph of London)

Morrison played the WaMu at the end of February, part of a tour that saw him performing his 1968 classic album Astral Weeks. The two-night stand sold out quickly, despite the hefty ticket prices.

The October show won’t be cheap either: Tickets range from $90 to $350. But fans who caught the February show gave it high marks, and were impressed by Morrison’s musical fluency and ease with a variety of musical instruments.

Let’s face it, this man is moret han just a highly acclaimed singer.

The show will be Oct. 25. Check out the box office for details.

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In fact, only a handful of bands can claim to have spawned as many noteworthy performers as their 1960s pop/rock combo, The Mynah Birds – even if you never heard of them.

In all, the short-lived Canadian band included Young, James and future members of Steppenwolf and Buffalo Springfield, as well as rocker Bruce Cockburn.

To be fair, Young and James only played together briefly. And keep in mind that James was only in Canada because he was AWOL from the U.S. Navy. So, their partnership was temporary, and ended abruptly when James was carted off to jail – much to the surprise of his bandmates.

Originaly known as the Sailorboys, the band had changed its name to the Mynah Birds in the mid-1960’s, when James showed up and took over as frontman. Cockburn was a member of a later version of the group, after James’ and Young’s departures.

But they were around long enough to come up with a hit single in 1966, called “It’s My Time.”

Among the other members, Young and Mynah Bird bandmate Bruce Campbell later formed Buffalo Springfield, while band members Goldie McJohn and Nick St. Nicholas joined forces in Steppenwolf.

James, of course, went on to “Super Freak” fame and more than his share of scrapes with the law. He died in 2004 due to a series of health complications, no doubt helped along by years of abusing his body.

After Buffalo Springfield, Young went on to join Crosby, Stills, Nash & Young and later went on to a hugely successful solo career, earning himself Dylanesque musical immortality.

But make no mistake: They have the Mynah Birds on their resume.

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Back to the tribute to George, his cover of “My Sweet Lord” will command your attention as you will be enthralled with the sound of this classic song. Same goes for his cover of “Long, Long, Long.” I just keep hitting the rewind button on this tune and fly away.

Here is a taste of the EP below as James does his best for the classic “Behind That Locked Door” off of George’s masterpiece “All Things Must Pass.” If you want to “mellow” out look no further than this six song EP. (By the way, his name is “Yim Yames” for this EP).

On the eve of the historic rock festival’s 40th anniversary, MetroMix took a look at 10 lost acts from the 1969 event, which was officially called the Woodstock Music & Arts Festival.

Among the band’s listed on the list are the Keef Hartley Band. Hartley (above) was best known for being the guy who replaced Ringo Starr on drums in Rory Storm and the Hurricanes, Ringo’s band before he fled to join a bunch of kids from Liverpool — The Beatles.

Granted, there are people on this list that really weren’t lost — just overshadowed by the likes of Jimi Hendix, The Who and Crosby, Stills, Nash and Young. I would count Mountain, Ten Years After and Country Joe McDonald on that list.

Others, like Sweetwater, actually got acclaim for being overlooked in the buzz following the festival.

But most of these are really forgotten. Consider the names Tim Hardin, Bert Sommer, Quill and the Incredible String Band, which most people would be shocked were on stage at Woodstock.

They were. So, read a bit more about them on MetroMix.

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(Photo courtesy of Richard Drew/AP.)

The New York Times reports that Paul died of complications from pneumonia at White Plains Hospital.

A pioneer of musical invention, Paul developed an electric guitar that gave rise to the next generation of rock and roll. Pete Townsend of The Who, Steve Howe of Yes and Jimmy Page of Led Zeppelin are among those who made the Les Paul guitar their signature instrument.

Paul also introduced multi-track recording, which enabled artists to record different tracks at different times and then mix them into a finished recording.

The upside is that he got that and more in England, where his innovative and critically acclaimed music has been accepted by fans for what it is: pure genius.

(photo courtesy of pitchfork.com)

Verlaine was one of the founding members of the New York City punk movement. A regular at the Big Apple’s historic CBGB’s club in the 1970s, Verlaine teamed with old school chum Richard Hell to spearhead a new direction for popular music.

While CBGB’s mates the Ramones took a minimalistic approach to punk, Verlaine delved into the more creative realms shared by contemporaries like the Talking Heads, Blondie and Willy DeVille.

After founding the Neon Boys with Hell – later of Richard Hell and the Voidoids – the two formed Television. Although short-lived, the band’s two releases marked a hallmark in American music. The band combined the dual guitar work of Verlain, born Thomas Miller, and fellow guitarist Richard Lloyd. It was magical.

Television’s first release, Marquee Moon, was dubbed by Rolling Stone magazine as “one of the all-time classic guitar albums.”

Initially released in 1977, the album was re-released in 2003, with Spin magazine noting that the album was “the first punk jam album and a thing of swooning, brawny loveliness.”

The band’s second album, Adventure, also won critical acclaim, but again failed to gain the band commercial success.

After Television broke up in 1978, Verlaine released his first solo album, Tom Verlaine. Again, he proved to be a master at critical acclaim, but lacked the large-core following in the U.S.

However, his popularity in England prompted Verlaine to relocate to the U.K.

Verlaine continues to tour and record there, where Television remains a highly respected innovator of American punk and eventual New Wave music.

Verlaine’s latest solo release, Songs and Other Things, released in 2006, did well in the U.K., even if he’s all but forgotten in the U.S. to all but a small core group of loyal fans.

He remains a cult icon for afficionados of the 1970s punk craze who have come to appreciate Verlaine’s continued innovation and the evolution of his music.

Too bad most music fans didn’t get it. It’s not too late to jump on board now.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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Now don’t get me wrong. I don’t do this often. It’s just that I recently returned from a nice little vacation that included some historic musical experiences and I’m still riding high on the thrill of it all.

I started off strong with AC/DC at the Meadowlands in New Jersey. The concert took place on Friday, Aug. 31, which if you think back was a day of thunderous storms. Armed with a poncho and waterproof hiking boots, however, I saw this as only adding to the excitement of what was quite possibly AC/DC’s final show.

I took the day off so we could get there nice and early, and after blasting tunes while drinking cheap beers and Jack Daniels in the pouring rain, we were ready to rock out to one of the most insanely energetic bands to ever command the stage.

Seriously, these guys give it all they’ve got every time. And the fans give it right back. That’s part of the magic of an AC/DC show — the raw energy that’s exchanged at every turn. For an awesome review of the show that I can’t even attempt to top, check out Errol’s Weekly Music Update. I definitely consider myself lucky to have been part of the experience that night. Thank you — as always — Brian, Angus, Malcolm, Cliff and Phil.

After a stop at Burger King on the way home (it was gluttonous and glorious), we didn’t end up getting home until around 3 a.m. And I had to be up at 4:30 a.m. to make it to the airport for a flight to Colorado. I don’t know how, but after a quick nap I was up and at ‘em. After all, I was on my way to see Phish at Red Rocks with one of my best friends in the world. What could be better??

Drove down to LaGuardia Airport, no problem. Parked, no problem. Went to check in, problem. Big problem.

The gate was closed, and no one was saying why. I was told to move to the other side of the terminal, and so I did. When I got there, I was told to move to the other side of the terminal, and so I did. Repeat. Repeat again. It was like a pinball game, with all the travelers as balls. To tell you the truth, I was too tired to even care. I just wanted to sleep. I grabbed a turkey sandwich (even though it was only 6 a.m.) and became part of the herd.

Turns out there was a bomb scare and they closed the airport. Great. Wonderful. We all were shepherded like cattle outside, not really knowing what was going on. I actually ran into an old college friend, though, which was awesome, so I was cool. Here we are:

After sitting in the street for a while and catching up, we decided to go to my car, which was nearby, for a nap. Zzzzz. Ah, that was nice. Woke up like an hour later to a text message from my friend in San Fran (who I would be meeting in Colorado) saying the airport was open again. Sweet.

It was obviously a mess inside and lots of flights were being canceled, including several to Denver, which was where I was heading. My flight, thankfully, was still on. Originally scheduled for 7:30 a.m., we didn’t take off until close to 2 p.m., but at least I was airborne.

After landing in Denver, I met up with my friend Jamie (of previous LoHud blog fame) and we headed in our sporty rental car to the Holiday Inn. The original game plan had been to hit up Red Rocks Saturday night to try to score tickets in the lot, but at this point it was too late and I was too exhausted. So we opted to just grab a good meal in Denver (which turned out to be REALLY good) and then head over to Cervantes Masterpiece Ballroom to see Conspirator with Break Science opening. Aside from the fact that these acts were raging (which I’ll get to), it turns out this was a smart move. The next day in the Phish lot we heard people were asking for between $300 and $500 per ticket. Really, people?? Come on. Face value was $60.

Anyways, I literally jumped on my friend when she told me Break Science was opening that night because I had just met and interviewed drummer Adam Deitch a few days earlier in Katonah.

We were literally among the first three people to enter the venue, which immediately reminded my of the Wetlands Preserve in New York City — at least in terms of overall vibe. Layout wise the two places couldn’t be more different, but between the psychedelic bathroom murals, old wooden floor, and heady atmosphere, I immediately felt like I was back home at the shut-down Tribeca Mecca.

Sure I was exhausted by this point, but the second the music started I came back to life. Break Science is just Deitch on drums and Borahm Lee mixing beats on keys and laptop, but the sound is heavy and extremely danceable. The crowd was still sparse when they started, but people were throwing down hard, myself and Jamie included.

Once the Phish show let out and all the heads miraculously made it safely to Cervantes, the party kicked into hyper-gear with Conspirator laying it down. Conspirator features the Disco Biscuits’ Aron Magner and Marc Brownstein, plus Lane Shaw of Pnuma on drums and David Murphy from STS9 joined in, too. I have no idea what those guys are doing behind those laptops, but it sent the place into a tailspin. The club was packed and everyone was raging tribal style. We left at about 2:30 a.m. or so and there was no sign that things were slowing down at all.

Let me just say I don’t know the last time I was so happy to go to bed. Slept like a baby, waking up refreshed and ready for Phish!

After sipping some Fat Tire poolside in the early afternoon, Jamie and I trekked up to Red Rocks to party a bit in the lot. (What’s Phish tour without hitting up the lot scene, right?) Of course we met some amazing people — the spirit of broseph ran strong — and I even ate my first bite of chocolate covered bacon. Yes, you heard me right. Think about it for a minute. The salty-sweet-savory goodness was remarkable, even if at first a bit confounding…

This was the final show of a four-night run for the band, and people who had seen other shows were raving about the performances. We were psyched, to put it mildly. The venue is nothing short of spectacular, with big red rock formations all around the natural amphitheater. Seating is general admission, and we picked a spot dead center for the first set.

Couldn’t have been happier to hear them open with “Roses Are Free,” a Ween cover that was one of the first songs that attracted me to Phish back in high school. (I admit I was originally a huge hater of all things hippie, and therefore Phish, at that time. Smashing Pumpkins, Alice in Chains and The Doors were more my speed back then…) Anyways, tons of amazing memories instantly flushed my mind as the first words were sang and I had a serious case of perma-grin for the rest of the night.

Personally was quite overjoyed to hear many of the songs played that night, though if you look at the set lists for all four shows you will see you pretty much couldn’t go wrong in terms of song selection. That’s the thing with Phish. Jamie and I would look at the set lists from the earlier shows, ooh and ahh over what songs they had played and how we WISHED we could have been there to hear them, but then start thinking about all the other great tunes in the band’s repertoire that were still in store and get just as excited. Gotta love a band that can do that.

Oh yeah! Almost forgot to mention that Bill Kreutzmann of the Grateful Dead joined the band during much of the second set. As awesome as this may appear on paper, it was actually a bit controversial among fans. I enjoyed it, as did the people around me, but some of my friends have gone so far as to say “Bill Kreutzmann ruined my night.” The general consensus among my friends is that they prefer their Phish without guests. I can certainly appreciate that. And at times agree. But I enjoyed the appearance.

Once the show was out, people generally shuffled down the trail and into the parking lots without any problems. Police were out and about in their cars, being pretty funny as they moved the crowd along. “Come on, people,” one cop said through his speaker as lights flashed. “The flee market is shut down. We’ve been here four nights, we’re tired, and we want to go home.” I chuckled. Much sympathy goes out to anyone who has to maintain some semblance of order when the circus comes to town!

Next morning, what could be more perfect than a tour of the Coors Brewing Company? Um, nothing?

Tasty — and free — samples of Blue Moon, Killians, Coors Light and Molson tapped off the trip. Awesome.

Flying home was uneventful (thank God) but I was bummed to be back. I’ve wanted to move to Colorado for years (basically to be a ski/snowboard bum…) and this trip just confirmed that desire. Hopefully we won’t have to wait another 13 years for Phish to get back to Red Rocks. (We were well behaved this time, weren’t we??) If it happens again, don’t be the only one left on the block. Come on, sing it with me now: Come hide with the herd; and float with the flock! (Cheesy, sorry, but I just love that song!)

Then this comes along this week:

(photo courtesy of Dan Garson)

According to USA Today this morning, Dan Garson, a 17-year-old from New Haven, Conn., hitched to the 1969 festival with camera in hand. He was shooting the pics for his high school newspaper.

Garson apparently ran some of the photos in the paper. But quite a few of them were stashed in a cardboard box and stuck in his parents’ basement, all but forgotten.

They’ve surfaced now.

Being a teenager, Garson’s images were outside the norm: He didn’t hang with the press, so got candid shots that differed from the traditional images. It’s quite a cool view of the festival.

You can check out the photos through this USA Today link.

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That’s quite a scoop for the Peekskill theater, and a very nice treat for fans in the nothern ‘burbs.

(photo courtesy of the Associated Press/Damian Dovarganes)

The East L.A. band has been around since the mid-1970’s. But most of us first heard of them after the release of their 1984 album, How Will the Wolf Survive?

The album was their first major label release, and established them as a versatile and talented band that could pull off everything from traditional rock and blues to Tejana music.

They’ve put out well over a dozen albums in all, and have appeared on numerous soundtracks, including La Bamba.

Word is they’re currently working on a collection of Disney covers that is due out next month. Whatever. Anything these guys touch is solid gold, as their three Grammy awards would indicate.

So their date in Peekskill is a pleasant development. Get more details from the Paramount through this link.

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Zanes was barely out of his teens when he and bass player and college pal Tom Lloyd formed The Del Fuegos, enlisting Zane’s kid brother, Warren, on guitar and drummer Brent Giessmann.

They would soon make quite a splash.

The Del Fuegos threw itself into the Boston club circuit, increasingly drawing fans to their stripped-down rock and enthusiastic live performances. In 1984, they released their first album, The Longest Day, prompting Rolling Stone magazine to declare them the best new band of the year.

In all, they recorded four albums, scoring a moderately successful hit, “Don’t Run Wild,” along the way. After their final release, 1989’s Smoking in the Fields, the band finally called it quits. Warren Zanes had left the band prior to the album, and the radio airplay the band coveted — and deserved — remained ellusive.

Zanes withdrew to his own music, and began a solo project that evolved into his only solo album, Cool Down Time, released in 1995.

But the birth of his daughter changed things. Zanes grew frustrated over what he deemed to be a lack of quality children’s music. So he began playing his own. Rather than do jingles and sing-a-longs, he delved into his own roots and focused on blues, bluegrass and traditional folk music.

Tapping musical celebrities that both he and wife Paula Greif, a prominent video producer, had come to befriend, Zanes recorded with artists like Sheryl Crow, Suzanne Vega and former Bad Company drummer Simon Kirke and released Rocket Ship Beach in 2000. It was the first six albums of children’s music, all of them drawing on traditional music for both kids and their parents.

It proved a succesful formula. One of his releases, Catch That Train, won the 2007 Grammy Award for best children’s album. The follow up release, Nueva York, has also garnered critical acclaim and has made Zanes a regular on children’s television.

It’s certainly a long way from the smokey Boston bars where Zanes got his start. But turning in his Stratocaster for a banjo seems to have worked out quite well for this former rocker.

(NOTE: This is part of an occasional Listening Room series I’ll be doing on noted rockers and where they came from. JF)

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So came word today from his official website that New York City punk pioneer Willy DeVille died yesterday after a brief bout with pancreatic cancer. DeVille was 58.

DeVille’s band, Mink DeVille, was a house band at the famed CBGB’s during the 1970s, during the birth of the Big Apple punk scene. He later launched a solo career that, despite a loyal following, never garnered him mainstream success.

It’s truly a shame. DeVille was very much a brilliant musical innovator who deserved better.

Here’s the Associated Press story on his death:

Founder of punk’s Mink DeVille dies at 58

NEW YORK — Willy DeVille, who founded the punk group Mink DeVille and was known for his blend of R&B, blues, Dixieland and traditional French Cajun ballads, has died, his publicist said Friday. He was 58.
The Oscar-nominated songwriter died at New York’s Cabrini Hospital on Thursday of pancreatic cancer, said Carol Kaye at Kayos Productions.
“The rock world has lost another one of its influential pioneers,” Kaye said.
Mink DeVille, for which DeVille was the principal songwriter, was billed as one of the most original groups on the New York punk scene after an appearance at the legendary CBGB club in Greenwich Village in the 1970s.
In 1977, the band recorded “Cabretta,” a rock and roll/rhythm and blues album with renowned producer Jack Nitzsche. Its featured song, “Spanish Stroll,” was a Top 20 hit in Britain. It was followed by the album “Return to Magenta.”
Better known in Europe than in the United States, DeVille went solo in 1980 with “Le Chat Bleu.” Recorded in Paris and influenced by his admiration for siren Edith Piaf, the album featured “This Must Be the Night” and “Just to Walk That Little Girl Home.”
His “Storybook Love,” featured in the 1987 movie “The Princess Bride,” was nominated for an Academy Award.
“Throughout his career, his musical gumbo was always layered with his deliciously gravelly soul-drenched vocals,” Kaye said.
DeVille also spent time in New Orleans and recorded his “Victory Mixture” album with Dr. John, Eddie Bo, Allen Toussaint and others.
His other albums include the soulful “Coupe de Grace” and “Where Angels Fear to Tread.” In 1985, “Sportin’ Life” featured the European hit song “Italian Shoes.”
Born in Stamford, Conn., he is survived by his wife, Nina.

The station, at 90.7 FM, is licensed to Fordham University.

Among the features will be interviews with Woodstock promoter Michael Lang, along with musicians that include Grace Slick, Richie Havens, Bob Weir and others who were on hand for the upstate New York event that kicked off on Aug. 15, 1969.

Here’s a breakdown of the schedule as announced by the station:

WFUV (90.7 FM, wfuv.org) will celebrate the 40th anniversary of the Woodstock Music & Arts Festival with special programs and features from August 14th-16th.  The tributes start on Friday with music from Woodstock in the spotlight throughout the day. From 2 to 4 p.m., WFUV will offer the special “Woodstock 40 Years On,” featuring interviews with rockers like Grace Slick, Mickey Hartand, Richie Havens, as well as never-before-heard audio recorded during the festival.  The special will get behind-the-scenes stories from Eddie Kramer (who engineered the original gathering) and Woodstock’s promoter, Michael Lang, plus reminiscences from Bob Weir, Robbie Robertson, Leslie West, Arlo Guthrie and the musings of Wavy Gravy and more.  At 7:40 AM and 4:45 PM on Friday, Pete Fornatale, author of “Back to the Garden: The Story of Woodstock,” looks back on the festival in the daily feature Take Five.
The celebration continues all weekend long on the station’s FUV Music web stream and HD channel, with special features and music.  The festival will also be remembered on Pete Fornatale’s own show, Mixed Bag, on Saturday from 4:00-8:00 PM.  Capping off the festivities on August 16th from 8:00-11:00 AM, will be Sunday Breakfast, as host John Platt chats with Richie Havens, Joe Cocker, Country McDonald and others about their Woodstock memories.

Mott the band went on to rock and roll immortality with a variety of different lineups over the years, even if those original bandmates only made it through three years together.

Until now.

The original members of Mott the Hoople are reuniting for a five-night stint at the HMV Hammersmith Apollo in London. Initially set for a two-night appearance in October, the gigs have been in such high demand that three nights were added.

The band was formed in 1969, with record exec Guy Stevens getting credit for picking the name.

Mott consisted of frontman Ian Hunter, guitarist Mick Ralphs, bassist Overend Watts, keyboard player Verden Allen and drummer Dale Griffin — all of them on board for the reunion shows.

The band had a slow start. While their debut album, Mott the Hoope, gained some acclaim in 1969, follow up releases did not fare as well. In 1972, David Bowie offered Mott a song to keep them from disbanding.

They turned down Suffragette City, which ultimately made it onto Bowie’s hit album Ziggy Stardust.

Instead, the band recorded another Bowie tune, “All the Young Dudes,” which became their featured song on a 1972 album by the same name. The song shot up the charts and brought the band international acclaim. Their follow-up album, 1973’s Mott, scored with another hit, “All The Way From Memphis.”

But the band began to splinter. Ralphs left the same year and formed Bad Company. He was replaced by Ariel Bender, and later by Bowie guitarist Mick Ronson. They continued with varying lineups until calling it quits several years later.

Ralphs went on to great success with Bad Company, while Hunter launched a successful solo career that continues to this day.

Who knows if the Hammersmith shows will lead to a wider reunion, but you hope they do a New York gig at some point.

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Here’s a few worth spotlighting.

For starters, the Towne Crier in  Pawling will be hosting Richie Havens on Aug. 21. Havens, who spoke to The LIstening Room in March, is as legendary a folk music troubadour as there is. WIth the 40th anniversary of Woodstock upon us, a Havens show would be a fitting way to mark the occasion.

After all, Havens was the opening act at the historic festival in upstate N.Y., in case you missed the memo.

On Aug. 29, zydeco great C.J. Chenier (below) will take the stage at the Towne Crier with his Red Hot Louisiana Band. We may be just a few years removed from the zydeco craze, but there are few performers in the genre who can  put on a show like Chenier, who is the son of Clifton Chenier, the father of modern zydeco.

Farther south the Tarrytown Music Hall will be presenting its fair share of big acts.

Joan Osborne returns to the historic Main Street theater on Sept. 25.

Anyone who thinks Osborne is mostly about “One of Us,” her 1995 hit song, has something to learn. She’s a remarkably soulful singer and accomplished songwriter with an impressive vocal range.

Then on Oct. 7, the Music Hall will host hit rockers Blues Traveler (below). Not sure how much one needs to pump them up. They’re simply a fun band with an impressive resume of hits to keep even the most mainstream music fan on their feet.

Not to be outdone, the Irvington Town Hall Theater in neighboring Irvington has a roster of big-name artists slated to take the stage in October. First up will be the Marshall Tucker Band, with the legendary country rock mavens scheduled to play the theater on Oct. 16.

Finally, veteran blues guitarist Johnny Winter will be at the Irvington venue on Oct. 24. Winter, brother of musician/songwriter Edgar Winter, is pure blues guitar. He’s one of the premier electric blues players in the world and, for a kicker, was also a performer at the Woodstock festival in 1969.

So, if you don’t make it to the Richie Havens show you get one last shot to commemorate the anniversary.

Just a thought. But keep in mind that these are far from the only shows in the northern ‘burbs. We’ve just given you a few highlights, so scan the local venues for something that fits your fancy if these aren’t doing it for you.

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The Black Keys frontman still listens to his dad’s vinyl records, and has a penchant for analog recording equipment and vaccuum-tube amplifiers.

It works. In both his music with the Ohio rockers and in his solo material, the 30-year-old guitarist is turning his raunchy, blues-based style into growing critical acclaim.

(courtesy of the Delaware News Journal)

Auerbach grew up in Akron, in a family of bluegrass musicians.

Raised on his father’s records and the music around him, he developed into an accomplished guitar player in his own right, and began playing with local bands in his teens before branching out.

In 2001, he teamed up with drummer Pat Carney to form The Black Keys. The band drew on traditional rock and blues, which Auerbach delivered with a grungy quality that complimented his often gruff vocals. But their music often went well beyond traditional blues-based rock.

“I don’t think anything we do is traditional in any way,” Auerbach told an interviewer from That Other Paper in 2006. “We’re kind of forward-thinking, I guess, although we like to keep it raw.”

“Having half the band not being much of a fan of blues helps to keep it a little bit different too,” he said.

It didn’t take long for The Black Keys to draw attention, and in 2002 they released their first album, The Big Come Up. By the end of last year, when they released their fifth recording, Attack and Release, The Black Keys — and Auerbach, were firmly on the map.

Earlier this year Auerbach released his own work away from the band. His first solo album, Keep It Hid, released in February, allowed Auerbach to branch out, and play with his uncle, guitarist James Quine. It also gained him new found — and well earned — acclaim.

He’ll have to get used to that part of the business. Chances are there’s plenty more to come.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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RIley may never have hit the mainstream, but he was a respected and accomplished performer and songwriter within the music world.

His most noteworthy tunes included “Red Hot” and “Flying Saucers Rock and Roll,” both later recorded by crooner Robert Gordon.

Here’s the story CMT put out today:

• Rockabilly Pioneer Billy Lee Riley Dead at 75
His Recordings of “Flying Saucers Rock and Roll” and “Red Hot” Helped Define the Genre
By Calvin Gilbert
Rockabilly pioneer Billy Lee Riley, a key figure at Sun Records in Memphis, Tenn., died Sunday (Aug. 2) in Jonesboro, Ark., at age 75 following a lengthy illness. He’s best known for his 1957 single, “Flying Saucers Rock and Roll,” and its follow-up “Red Hot.”
Although Riley never attained the mainstream success achieved by several of his contemporaries at Sam Phillips’ legendary record label, he was a major at Sun alongside Elvis Presley, Jerry Lee Lewis, Carl Perkins, Johnny Cash, Roy Orbison and others.
Born Oct. 5, 1933, to a family of sharecroppers in Pocahontas, Ark., Riley was exposed to blues music at an early age through the guitar playing of black musicians who also worked on the farms. After serving the U.S. Army, he recorded “Trouble Bound,” a single released on Sun in 1956. After scoring a hit with “Flying Saucers Rock and Roll,” he recorded “Red Hot” with a band that included Lewis on piano. The song was written by Billy Emerson, a member of Ike Turner’s band that also recorded at Sun.
However, just as “Red Hot” began to gain momentum at radio and retail, Phillips shifted his promotional efforts to Lewis’ “Great Balls of Fire.” Despite the setback, Riley’s version of “Red Hot” is widely regarded as one of the prime recordings of the rockabilly era.
Because of the success of “Flying Saucers Rock and Roll,” Riley named his band the Little Green Men. Riley found that his versatility on guitar, bass, harmonica and drums was a major asset. His musical group, which included guitarist Roland Janes and drummer J.M. Van Eaton, worked extensively as the Sun Studio house band.
Riley moved to Los Angeles in the early ‘60s and played on sessions for the Beach Boys, Herb Alpert, Dean Martin, Sammy Davis Jr. and many others. He returned to Arkansas in the early ‘70s and began a construction business. In 1977, Robert Gordon teamed with Link Wray & His Ray Men to score a moderate hit nationally with their version of “Red Hot.” The attention prompted Riley to return to the concert stage and recording studio.
He continued to record in the ‘90s, releasing a series of albums including Blue Collar Blues for Hightone Records and the Grammy-nominated Hot Damn! for Capricorn Records. His most recent album, Hillbilly Rockin’ Man, was released in 2003.
Riley had dealt with a series of health problems, including heart surgery and hip replacement surgery. He was diagnosed with colon cancer in May and made his final performance in June at the Rock and Soul Museum in Memphis. He died at St. Bernards Medical Center in Jonesboro.
Funeral plans remained incomplete Monday morning (Aug. 3), but a memorial concert is scheduled for Aug. 30 in Newport, Ark.

Well, not the real Depp fans.

The award-winning actor has a long affiliation with the music biz, far beyond his singing performances in movies that included “Cry Baby” early in his career and “Sweeney Todd” in more recent years.

Depp has taken the stage with legendary artists like Iggy Pop, and co-founded his own band in the 1990s. The band, P, featured Depp on guitar and bass, and included Butthole Surfers singer Gibby Haynes. The band’s only album, released in 1995, also featured performances by Red Hot Chili Peppers bassist Flea, an occasional bassist with P on stage as well.

The P album, despite being re-released in 2007, did not draw much attention, despite the celebrity status of its members. Still, Depp seems to pop up on stage here and there and seems repeatedly drawn to the music biz — including in his acting career.

One recent rumor has him being considered to protray recently deceased pop icon Michael Jackson.

He won’t need his guitar for that one.

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And it certainly produced classic music: Leon Russell’s “Young Blood” and cover of “Jumping Jack Flash,” Ringo’s “It Don’t Come Easy,” along with appearances by Bob Dylan, Eric Clapton and Billy Preston.

Organized by former Beatle George Harrison and Bengali sitar player and composer Ravi Shankar, the event drew 40,000 people to Madison Square Garden on Aug. 1, 1971—38 years ago this weekend.

The concert was released on vinyl later that year, and a documentary film followed in 1972. It was a music event back then, and I remember the multi-album set being an oddity at the time. That was not just for its sheer size, but for the mix of music on it.

The concert ultimately raised more than $240,000 for UNICEF, although it took some time to make its way over. Album sales and the more recent DVD release still benefit the George Harrison fund at UNICEF.

And in later years the idea of a social-cause concert caught fire. Bob Geldoff, formerly of the Boomtown Rats, and Ultravox’s Midge Ure organized the “Band Aid” benefit record in 1984, soon to be copied by the “We are the World” recording. Both went to famine relief.

Also throw into the mix the other Band Aid concerts, Farm Aid and the 1970s No Nukes concerts.

But first came Bangladesh.

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Years before the Australian pop group started charting with hits like “Don’t Dream It’s Over” and “Something So Strong,” Crowded House founder Neil Finn was one of the driving forces behind Split Enz, the New Zealand rock band co-founded by his older brother, Tim Finn.

When Split Enz disbanded in 1984, Neil Finn and drummer Paul Hester formed their own band, which evolved into the hit-making Crowded House.

Crowded House certainly achieved more chart success than Split Enz had. But Enz definitely held its own in the New Wave era and during the emergence of music videos.

Split Enz was actually formed in 1971, and quickly enjoyed success in their native New Zealand, ultimately moving into the Australian music scene and working their way up. The band gained a following there as well and eventually moved onto London, where a lineup change reinvigorated the band.

Then they hit on success. Split Enz was front and center in the New Wave craze, and scored hits with “I Got You” and “HIstory Never Repeates” in 1980 and 1981. Their follow up tune, “Six Months in a Leaky Boat,” was a hit MTV video single as well.

It was on Split Enz last tour that Neil Finn and Hester settled on a new group, which became Crowded House. In 1996, Crowded House itself split, but reformed years later and are still making the rounds. Neil and Tim Finn have also done their own thing, The Finn Brothers, over the years.

(NOTE: This is part of an occasional Listening Room series I’ll be doing on noted rockers and where they came from. JF)

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The importance of the show is that, with singer Brian Johnson mulling retirement, it may be their last tour.

(photo courtesy of ACDC.com)

Johnson, 61, has led the Aussie rockers to a legendary career atop the music world. Johnson stepped into the frontman role in 1980, after the death of singer Bon Scott. Scott’s death nearly ended the band, but Angus and Malcolm Young decided to move ahead with Johnson.

Good move.

The band says their return to the continent kicked off Tuesday with a show at Gillette Stadium in Foxborough, Mass. Now they’re in our neighborhood.

But Johnson has recently made noise about retiring from the band. That would surely doom AC-DC, as it would seem an unlikely move to come up with a new singer at this stage of their careers.

Sad as it would be, there really is little else for AC-DC to accomplish. Except, of course, to give fans a few more nights of high voltage rock n roll. They’ll certainly do that tonight at the Meadowlands.

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But we have a few follow-up notes.

First off, a Listening Room reader was kind enough to share with us photos from Green Day’s Monday night show at MSG. It’s a pretty good collection which you can view here, and includes a shot of the setlist (below).

Speaking of setlists, here’s the one from Tuesday night’s show:

1. 1. Song of the Century
   2. 21st Century Breakdown
   3. Know Your Enemy
   4. Murder City
   5. East Jesus Nowhere
   6. Holiday
   7. The Static Age
   8. Before the Lobotomy
   9. Are We the Waiting
   10. St. Jimmy
   11. Boulevard Of Broken Dreams
   12. A Quick One (While He’s Away) (The Who cover)
   13. Hitchin’ A Ride
   14. Welcome To Paradise
   15. Stop, Drop, and Roll (Foxboro Hot Tubs cover)
   16. Eye Of The Tiger (Survivor cover)
   17. F.O.D.
   18. When I Come Around
   19. Going To Pasalacqua
   20. Stuart and the Ave.
   21. Who Wrote Holden Caulfield?
   22. Iron Man (Black Sabbath cover)
   23. Brain Stew
   24. Jaded
   25. Knowledge (Operation Ivy cover)
   26. Basket Case
   27. She
   28. King For A Day
   29. Shout (The Isley Brothers cover)
   30. Earth Angel/Christie Road/I’ll Be There
   31. 21 Guns
   32. American Eulogy
   Encore:
   33. American Idiot
   34. Jesus Of Suburbia
   35. Minority
   36. Macy’s Day Parade
   37. Say I Love You
   38. Good Riddance (Time Of Your Life)

Well, as we pointed out the Green Day version was a bonus track the band put out. We thought you might want to give it a listen yourselves. So, here goes:

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But anyways, the fact remains that what happened last night in the basement of the renovated library was nothing short of magical. Yep, I’m going to go that far. Magical. I warned you guys to get out and see it, didn’t I? Don’t blame me if you let the rain keep you away!

Sure the library basement isn’t intrinsically as appealing as the sculpture garden of the Katonah Museum of Art, where the concert would have taken place if it weren’t for the rain, but still, the interconnected vibe that more than 200 people created in such a close space lent something special to the music.

And don’t just take my word for it.

Nigel Hall, keys and vocals, at one point took the time to comment on the positive energy he felt flowing between the crowd and the band. He said something to the effect that it was awesome playing to a crowd that was actually listening, and not just smoking, drinking, and talking over the notes. Amen to that, right?!

“The whole vibe here was really nice,” he said afterward. “I actually get more nervous playing to a small crowd like this. More nervous than even playing a place like Tiger Stadium.” (He recently played with Robert Randolph and the Family Band there, opening for Lynyrd Skynyrd. Not too shabby!)

Bringing the funk along with Hall were Adam Deitch on drums, Chris Loftlin on bass, and Adam “Shmeeans” Smirnoff on guitar. John Scofield, guitar legend and fellow Katonah resident who organizes the Shades of Jazz series, also joined the jam, sending the audience of friends and neighbors into an uproar.

Unfortunately Soulive guitarist Eric Krasno wasn’t able to make the performance as scheduled, since he unexpectedly got stuck in Pittsburgh. That was definitely too bad, because having seen Krasno for years now, I am more than confident that the crowd would have been blown away by his sweet jazz stylins. (Maybe we can take a rain check on that appearance, Eric? Katonah would love to have you! Have your people call my people. Oh wait… I don’t have people… Maybe call Sco? He’s got mad people!)

With Krasno, the group is known as Chapter 2. Without him, they improvized and adopted the name Chapter 11. Pretty befitting of the times, huh? The moniker got an honest chuckle out of the crowd.

“I will go anywhere on the face of God’s green Earth to play with these guys,” said Loftlin, who also serves as musical director for Brian McKnight and Wayne Brady. “These are my brothers. I grew up playing with these guys and they’re rock stars now.”

Despite being swarmed by a bunch of eager — and comparatively younger — fans after the show, Deitch laughed when I asked how it felt to be a rock star. He said it takes a lot of hard work to get to the point where you’re making music people respect, and for him, that work entails digging through piles and piles of vinyl funk records. Most of the influences come from the 60s and 70s, and Deitch said he’s studied artists like The Meters, Tower of Power, Cold Blood, and Herbie Hancock until he felt he could truly embody the spirit of the music.

“It’s playing along with the records not just once and saying ‘OK, I know that,’ but coming back to it, maybe even years later,” said Deitch, who has risen to prominence with the band Lettuce. “To the kids that missed the funk in the 70s, we’re trying to have them catch that funk like it’s new music, not just ‘that old stuff.’”

If you missed out last night, fear not. Scofield has another session planned for Aug. 12, this time with pianist Dena DeRose’s trio.

Proceeds from the events benefit the Katonah Museum of Art. Admission is $10 for members, $20 for non-members. Adding to the awesomeness? Captain Lawrence beer (straight from Pleasantville!) and wine flow freely for patrons. If it doesn’t rain, plan on picnicing in the museum’s sculpture garden during the concert.

“For some reason things like this can happen up here,” Scofield said of the Shades of Jazz series. “You just have to know who to ask and ask them. There’s an audience for it and that’s why it happens. I hope it just grows and grows.”

Me, too!

What to make of Green Day?

The Oakland, Calif., trio-turned-ensemble is far removed from the days of Dookie, their second overall but first major label album, and the one that most of us first heard them on.

They’ve since given us soulful ballads, increasing political and social commentary, and even crafted a coming musical stage version of their 2004 hit album, American Idiot — hardly befitting the green-haired punks we first got attached to.

So, what’s wrong with growing up? Because that’s what this band has done. One listen to their latest, 21st Century Breakdown, and it’s quickly evident that they’ve mastered the catchy hook, the pop-metal turnaround, and the all-important sing-along chorus. Green Day just makes good music, even if it now pops up in movie soundtracks.

Take last night’s show at Madison Square Garden, the last of their two-night set at MSG.

(photo courtesy of greenday.com)

Obviously, the band delivered the obligatory songs on their set list — a virtual greatest hits from a band with plenty to spare. But this is also a band that knows how to pay homage.

Amid the hits last night they also performed Pete Townsend’s eight-minute 1966 mini rock opera, “A Quick One While He’s Away,” which Townsend has often described as “Tommy’s parent” referring to his eventual and classic rock opera. It’s a bonus track on some editions of 21st Century.

But where did that come from?

There were also playfull moments where Green Day frontman Billie Joe Armstrong led the band into classic rock riffs and flirted with tunes as varied as Black Sabbath’s “Iron Man” and cliche hits of old like Survivor’s “Eye of the Tiger.”

Here’s the point: These guys still love what they do, and still can improvise on stage. On Monday night they had thrown in a medley that included Led Zeppelin’s “Thank You” and Skynyrd’s “Sweet Home Alabama.”

So while the set list is necessarily scripted, Green Day can still go outside the box. Yes, the pyrotechnics are over the top, with everything from confetti cannons to fire balls and repeated colorful explosions overhead and surrounding Tre Cool’s drum kit.

But the music is solid and you get the genuine sense that these guys still love what they do. And that’s important to be convincing on stage.

Green Day has also carved its niche with a heavy focus on audience participation, repeatedly giving fans a chance to share the stage and even enlisting three would-be musicians from the crowd to take over drum, bass and guitar duties.

So, with Billie Joe pushing 40 this isn’t the young brash band that brought us “Basket Case.” This is a rock band that has honed their skills and learned how to write and play music with greater effect. And they can still deliver with the same swagger they started out with.

Go see these guys.

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It was no doubt a shock for the young guitar player from Queens, N.Y. But it also opened the way for Frusciante to replace Hillel in the Red Hot Chili Peppers - and launch his career as one of rock’s most impressive guitarists.

Frusciante grew up idolizing Jimmy Page, Jimi Hendrix and the other icons of his craft. Years later, when he joined the Chili Peppers, it was his raunchy guitar style that transformed the hit band into something new and unique – a remarkable blend of metal and funk.

Unconformable fully mimicking Hillel’s funkier style, Frusciante was urged to be himself. It worked.

His entry into the band actually began with is friendship with drummer D.H. Peligro, formerly of the Dead Kennedys. Peligro had befriended other musicians, including an energetic bass player named Michael Balzary, who became better known as Flea.

So it was that Hillel’s death, and Flea’s recommendation, landed Frusciante the gig with the Chili Peppers, who had essentially disbanded after Hillel’s death. Now they moved forward.

His first album with the band, 1989’s Mother’s Milk, fared well. But it was the follow-up release, 1991’s Blood Sugar Sex Magik, that put the Chili Peppers, and Frusciante, firmly on the radar.

Coming of age as a rock idol took its toll, and Frusciante admittedly delved increasingly deeper into drug addiction while he continued playing and touring with the band. In 1992, just one year after riding to the top of the charts, Frusciante walked away.

He released the first of his solo albums, Niandra Lades and Usually Just a T-Shirt, in 1994. While his solo work would come to win critical acclaim, he fell deeper into depression and drug addiction.

Determined to regain his health, Frusciante finally checked into a rehabilitation clinic and emerged free of drugs in 1998, one year after completing his impressive, yet disjointed, second solo album.

Meanwhile, the Peppers were in disarray. The band fired guitarist Dave Navarro and were ready to call it quits. It was Flea who suggested a reunion with Frisciante, insisting it was the only way to safe the band. Frusciante quickly accepted.

It paid off immediately. The release of Californication in 1999 put the band back on top, with a rejuvenated Frusciante guiding the way. His second run with the Chili Peppers also saw him as a more mature guitar player, drawing on a wider array of influences.

The band ultimately went on hiatus in recent years – but this time Frusciante has made good use of his time. He continues to record and perform, releasing his latest solo album, the Empyrean, this year.

And he’s also earned the acclaim of both fans and colleagues, coming in at number 18 on Rolling Stone’s list of the 100 Greatest Guitarists.

Not bad for a kid from Queens who wanted to be a rock star.

(NOTE: This is part of my ongoing series of reports on guitar players who fly under the mainstream radar. Keep checking The Listening Room for future installments of guitar players you should know – JF)

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This is a performance not to be missed. I promise, if you dig funky jazz fusion (or even if you don’t think you do) be sure to make it to the Katonah Museum of Art’s Sculpture Garden by 6:30 p.m. tomorrow.

Curated by legendary guitarist John Scofield, this is the second show in the Shades of Jazz concert series.

The featured artist tomorrow is a band named Lettuce, which is a funk-jazz ensemble featuring drummer Adam Deitch; saxophonist Sam Kininger; guitarist Eric Krasno and keyboardist Neal Evans, both of the band Soulive; and other all-star musicians.

The band will get a 90-minute set and then Scofield will join them for a jam session at the end.

Tickets are $10 for members and $20 for non-members. Complimentary wine and beer are provided, and attendees traditionally bring picnic dinners, lawn chairs and blankets. Sounds just about perfect, huh?

The third and final performance of the Shades of Jazz series is August 12, with pianist Dena DeRose.

The Katonah Museum of Art is located at 134 Jay Street/Route 22 in Katonah. For more information call 914-232-9555.