GMVW # 47: "Stirring the Pot"

Gem Music Video of the Week # 47:  Stirring the Pot

Song: London Calling by The Clash

Covered Here By: Elvis Costello, Bruce Springsteen, others

(Songwriter: Joe Strummer)

November 27, 2008

There’s nothing wrong with anger in music, as long as it’s aimed at injustice.  Musical historians point to the 40’s and 50’s beatnik/folk scene as the genre where modern American music got angry in a unified way.  A number of folk songs at the time were written about injustices in America during the Great Depression and the Dust Bowl.  In the 60’s, the mantle shifted to Rock n Roll, which railed against Vietnam and all forms of dishonesty.  The commonality of many of these angry folk and rock songs was anti-establishment.

Nothing represented anger and anti-establishment quite like what came next however: Punk.  There was no mistaking the core emotions of Punk music.  Punk railed against everything the earlier genres did, and in an unprecedented way it also railed against its mentor: Rock n Roll itself.  To punk, the Rock n Roll gentry in the 70’s had come to represent everything rock music had rebelled against in the 60’s.  Punks saw rock stars as hypocritical fat cats living high on the hog, shuttled to concert venues in their private jets, wining and dining at lavish parties, being chauffeured in their Lamborghinis, and generally over indulging on all manner of high society from caviar to cigarettes (but well versed in etiquette).  They also saw this change in attitude reflected in the music.  Punk put a mirror right in the faces of these wayward souls.  The reaction was not immediate, but it did eventually play out, seeing as it’s hard to be a successful rock star today without a humanitarian cause and some form of sacrifice in lifestyle. You can look back at Punk as the jolt that brought these values back to center focus.

Punk may have started with the music of Patti Smith in the early 70’s, but it became a movement in Britain in the mid-70s. I recall Dad walking into the house one evening when I was still getting a leg up on this new ‘art’ form.  He looked over at Fred, Joe and I and said with a smile “Johnny Rotten!”  The Sex Pistols had just landed in the States for their first (and last) infamous (and aborted) American tour.  They caused quite a stir, making headlines much like the Beatles did when they landed here for the first time in 1963.  Dad was in the know.  Fred, Joe and I had some catching up to do. 

Fred and Joe did a faster job catching up than I.  It was not long before they were indoctrinating themselves in the music of The Clash.  The Clash were the heart and soul of Britain’s punk scene.  Unlike some other punk bands, they were articulate and very talented.  They have had a lasting impression.  Whenever someone asks me to mention concerts I’ve been to, the one show I usually get a ‘Wow!’ response is the Who/Clash concert I saw in Buffalo’s Rich Stadium 1982.  However, not everyone was caught up in the punk tide. I remember Fred talking Mom into staying up to watch The Clash on Saturday Night Live in the late 70’s.  The performance was a bit disjointed and Mom did her best to sit thru the short set.  She may have been thinking “I was just getting used to Creedence Clearwater Revival, and now this?” 

The lead singer and songwriter for The Clash was Joe Strummer.  His death in 2002 of an undiagnosed heart defect prompted the old and new guard to recognize his significant contribution to rock music at the Grammy awards several months later.  Bruce Springsteen, Elvis Costello, Steven Van Zandt and David Grohl covered The Clash song ‘London Calling’, this week’s Gem Video.  A ‘Gem Light’ is also included (if there is such a beast in Punk music): The Clash performing ‘Rock the Casbah’ in the well known made-for-MTV video.

Punk came along and shook things up a bit.  We all benefit from a little shaking up every so often.

-              Pete

“London calling, see we ain’t got no swing

 ‘Cept for the ring of that truncheon thing”

Gem Music Video: London Calling

http://www.youtube.com/watch?v=r1N27phf3ds

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

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About the Video: Played at the 2003 Grammys

Video Rating: 1

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Best Feedback: Fred

Good one.  No, a great one.

One of the strangest feelings I have ever had was at a Clash Concert at Cape Cod Civic center in the summer of 1983/4.  I was with Joe, Chopper, and a few others I can't recall.  We had floor "seats", which essentially meant that we were allowed into the open area in front of the stage.  We started towards the back, maybe 50 feet away, but as the band played, we found ourselves moving up, although I can't ever remember moving my feet.  It was 100 degrees+ and getting hotter, and within any 10 square foot area there easily could have been 15 people scrunched together.

As we continued to get closer to the stage, I started to get claustrophobic, but I had no-where to go.  There was no way I could get out of the crowd, and fights began to break out.  My only saving grace was that I was taller than most and I had to extend my neck up high to catch any oxygen.  Girls that had been having fun were crying and screaming as the band played on.  The only way out for most of the girls was to move to the stage and beg to be taken up by stage hands so that they could then exit out.  I was torn between wanting to do that and being strong, but soon saw that even the guys were trying to rush the stage to get out of the pit.  You could see the Band was getting freaked out and as they broke into Magnificent 7, Strummer took off his guitar strap, grabbed the neck with two hands and began swinging his guitar indiscriminately at the surging crowd like a police billy club. It became a game of survival for the next 20 minutes or so, and quite a surreal experience.  I can still see faces within inches of mine, and no one was smiling.  A big dude was getting very violent nearby and expressing it by pushing his way out very aggressively in the process hurting several others.  Many others took his lead and I finally got out after about 40 minutes of hell.

After I got out, I had an odd feeling of exhilaration;  I felt an accomplishment of survival.  There was no way I was going back in, but was glad I spent the time, and most grateful for being taller than most.  Funny thing was I thought that The Clash loved the experience as well.

Thanks for the memories.  By the way, I distinctly remember telling Dad that Jonny Rotten had a sidekick named Sid Vicious.  He LOVED that name even better, and I think in a way he wished he could have gotten into this Punk thing a little more.

/F

GMVW # 46: "Lullaby...with a Twist"

Gem Music Video of the Week # 46:  Lullaby....with a Twist

Song: I’ll Be Your Baby Tonight by Bob Dylan

Covered Here By: Kris Kristofferson

(Songwriter: Bob Dylan)

November 20, 2008

I don’t always seek to interpret a song.  Sometimes it’s good to leave well enough alone and just enjoy the music.  However, there are songs that demand an answer to the question “What exactly is this song about?”.  Take Don Mclean’s ‘American Pie’.  Few songs have been scrutinized as much as this one, with images flying at you left and right:  The jester; moss on a rolling stone; eight miles high and falling fast; broken church bells.  The meaning of this song seems pretty straight up though: America’s loss of innocence in the 60’s. 

What about songs that leave you hanging or better yet have more than one meaning?  Great lyricists can often find a way to avoid a one-shoe-fits-all context to their songs, putting the interpretation in the hands of the listener.  At first the song may appear to say one thing, but upon further review, something else comes through.  For example, ‘Margaritaville’ immediately brings up images of a tropical location, but Margaritaville can also represent a state of mind.  ‘Hotel California’ also has an initial sense of locale, but dig deeper and, as with ‘American Pie’, it is more likely about innocence lost (in this case on a personal level).  These are fairly easy conclusions to come to.  Other song lyrics can be a bit more difficult to interpret.  Yet, occasionally you make a gratifying diagnosis.  Two cases come to mind for me.

The first is this week’s Gem, ‘I’ll Be Your Baby Tonight’ by Bob Dylan. As much as anyone, Dylan keeps the meaning of his songs close to the vest, but a number of years ago, I recall having a eureka moment listening to this jaunty deep cut off the ‘John Wesley Harding’ album. Prior, I had assumed the song to be a straight-forward love song, but this conclusion was gnawing at me.  It was too simple for Dylan. Then, a light bulb:  Could it be about a baby singing to an

adult (if indeed this could happen)?  I replayed the song and listened closer to the lyrics.  Bingo!  I felt as if I had tapped into Dylan’s cone of silence.  Years later, I was reading a Dylan interview. Talking specifically about this song he stated (in a rare revealing manner) something along the lines “I suppose it could be from an infant’s point of view”.  The song was later to be a favorite when Charlotte had me up in the wee hours during her crib years.  Most other songs I would sing for her, but this lullaby-with-a-twist was from her to me (although I had to fill in on vocals).

The second song is The Beatles ‘Hey Jude’ (which should be its own Gem, but it fits this week’s theme).  Long ago, I concluded that the song was Paul McCartney singing about John Lennon.  Later, I read that the song was about Julian (Lennon’s son from his first marriage).  Ok, I could understand that, but the more I listened to the lyrics the more I liked the idea that the song was at the very least also about John. It just seemed appropriate.  Many years later, I read the must-have ‘Beatles Anthology’ book (a great Christmas gift from Dale).  One of my favorite lines was this quote from Lennon: 

“Hey Jude is one of his (McCartney’s) masterpieces.  He said it was written about Julian, my child.  He knew I was splitting with Cyn and leaving Julian.  He was driving over to say ‘hi’ to Julian.  He’d been like an uncle to him.  Paul was always good with kids.  And so he came up with ‘Hey Jude’.  But I always heard it as a song to me.  If you think about it, Yoko’s just come into the picture.  He’s saying ‘Hey, Jude – hey John’.  I know I’m sounding like one of those fans who read’s things into it, but you can hear it as a song to me.  The words ‘go out and get her’ – subconsciously he was saying ‘Go ahead, leave me’.  But on a conscious level, he didn’t want me to go ahead.  The angel inside him was saying, ‘Bless you’.  The devil in him didn’t like it at all, because he didn’t want to lose his partner.”

I agree with Lennon.  The song reveals McCartney’s genuine love for his songwriting partner.

Below are three links: The first is ‘I’ll Be Your Baby Tonight’ by Bob Dylan and sung here by Kris Kristofferson (with gusto!).  The second is ‘Hey Jude’.  The third is ‘Hotel California’ by The Eagles.  Below the links are the lyrics to ‘I’ll Be Your Baby Tonight’.

- Pete

Gem Music Video: I’ll Be Your Baby Tonight

http://www.youtube.com/watch?v=FmYwBOf-UAY

http://www.youtube.com/watch?v=YXG83p2nkHw

http://www.youtube.com/watch?v=ea0CDieb4yM&feature=related

Close your eyes, close the door,

You don't have to worry any more.

I'll be your baby tonight.

Shut the light, shut the shade,

You don't have to be afraid.

I'll be your baby tonight.

Well, that mockingbird's gonna sail away,

We're gonna forget it.

That big, fat moon is gonna shine like a spoon,

But we're gonna let it,

You won't regret it.

Kick your shoes off, do not fear,

Bring that bottle over here.

I'll be your baby tonight.

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About the Video:  Kristofferson performance at the Dylan Atlantic Records 30^th Anniversary Show

Video Rating: 1

GMVW # 45: "Another World"

Gem Music Video of the Week # 45:  Another World

Song:  Freddie’s Dead by Curtis Mayfield

(Songwriter: Curtis Mayfield)

November 13, 2008

For one summer during my college years in the early 80’s, I had a job making the smaller deliveries for a trucking company out of South Boston.  Dad and I stripped the seats out of the Chevy van (the one with the orange Hampton Beach ‘Blob Squad’ sticker on the back door), and I used the ample space to load a wide range of cargo for delivery to a wide range of locales.  My delivery area was primarily downtown Boston and points south.  I became familiar with the entire city in those days, including the lesser known sections of Mattapan, Jamaica Plain, Hyde Park, Dorchester and Roxbury.  At times I had to deliver in some pretty tough neighborhoods, yet as the summer progressed, I never ran into problems.  On the contrary, folks were always helpful when I needed assistance finding a street or an address. 

A number of the deliveries were to record stores.  Back in the early 80’s, most record stores were small and privately owned (the Strawberries chain being an exception).  It was great delivering to these places.  They all had their own style and musical emphasis.  I would often spend a little extra time looking through the albums and occasionally making a purchase.  In hindsight, I was laying witness to a soon-to-be extinct breed of independent and eccentric music stores which were at the time the primary outlets for old and new records. 

One of these routine stops was to an all black R&B music store on

Washington Street

in Roxbury.  The store was located under the old elevated orange line.  It was one of those tough neighborhoods and also tough to find a parking spot.  I often had to park on a side street and dolly the delivery a block or so.  One particular week near the end of the summer, I was in the store waiting for the owner to sign off on the delivery when another delivery guy ran in and told me my van was being broken into.  I sprinted outside and down the side street where I spied the rear van door forced open and several boxes missing.  I looked around for a moment and then ran further down the street in search of the perpetrator.  It did not take long:  Several homes down, I found a guy sitting on a stack of boxed albums on a porch at the top of a set of stairs.  I walked up to him and demanded my cargo back.  He stayed seated on the boxes and we stared at each other for a few moments. Finally he stood up but loomed over me as I picked up the stack and walked away.  I’m sure he was contemplating his options.  Lucky for me, he chose the right one (later, when I told Dad about the day’s events, he stopped me at the part about the confrontation, poured a double scotch, drank a sample, and then allowed me to finish the story).

The memory of the event stuck with me for some time.  What I remembered mostly was the look on the guys face when I demanded the property back:  It was a look of desperation and guilt.  I have also since reflected on the likelihood that my encounter was with someone who to that point had an entirely different life experience than I.  Other than my job that summer, my only insight into his world was my reading Eliott Liebow’s “Tally’s Corner”, watching a few movies about gang violence, and frequenting the Western Front in Cambridge.  For the most part his life was foreign to me.  For a moment though, and in a very unusual way, I had made a connection. It opened my eyes somewhat to the unique struggles of inner city black America. 

I’ve been sitting on this week’s gem selection for a while, so when Dave broached the subject of urban plight last week, I figured it was as good a time as any to toss it out.  The song, ‘Freddie’s Dead’ by Curtis Mayfield, is from the Gordon Parks Jr. movie, Superfly.  Curtis Mayfield performed all the songs for the soundtrack.  The movie itself does not stand up to the meaning and depth of Mayfield’s songs on the soundtrack, which are songs of despair regarding the drug culture of urban black America in the mid-70’s (the movie somewhat glorified it).  Mayfield was an uncommon singing voice in America at the time (along with Marvin Gaye and Stevie Wonder), crying out against the crime and violence happening in the inner city.  The song itself is about an easily-manipulated but good-willed guy who finds himself in the wrong place at the wrong time. 

In 1990, Curtis Mayfield was paralyzed from the neck down when stage lighting crashed down on him during an outdoor concert in Brooklyn.  It was a tragic end to the career of a man Bob Dylan has referred to as ‘One of the Greats’.

“Everybody’s misused him; ripped him up and abused him”

- Pete

Gem Music Video: Freddie’s Dead

http://www.youtube.com/watch?v=Z9nwcpGZE6A

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About the Video:  Live in studio, starts with a close up of Mayfield plucking at his guitar

Video Rating: 1

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Best Feedback: Becca

Excellent choice...one of my old favorites...until now I'd only ever heard the studio recording.

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And: Steve

Great story Pete.

Ever thought of writing a book?

I turn 47 on Monday. Isn't life amazing!

Cheers

Steve

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And: Fred

I have never heard that song but certainly am close to the title....that was used against me (in jest) for many years.

 I also remember when you had that delivery route.  Pretty crazy stuff...but I also remember you were the first to see the new Who Album (was it Eminence Front?)

GMVW # 44: "Home is where the Heart Is"

Gem Music Video of the Week # 44:  Home is where the Heart Is

Song:  Philadelphia Freedom by Elton John

(Songwriters Bernie Taupin and Elton John)

November 6, 2008

Ending a business trip to South Carolina last Thursday, I found myself in another nightmare of a commute home.  On the tarmac and ready to go, the pilot reported that one of the engines was not working.  The plane returned to the terminal and everyone got off.  It was strongly suggested that we all look for alternative flights.  The best option for me was a 4 hour layover in Philadelphia, which would get me home after midnight.  Yahoo!  Accepting my fate, I begrudgingly took the ticket.  Several hours later, the plane landed in the City of Brotherly Love, and I found myself with 4 hours to kill.

Philadelphia.  It was not long before I realized I was in a city that had just the night before experienced its first sporting event championship in 25 years.  The Phillies were World Champs, and the atmosphere of victory was palpable.  A ticket agent yelled out something about the Phillies that got cheers.  Winning tee-shirts were being worn all around.  Local newspapers were completely sold out.  News programs on the TV were dominated with the celebration. I thought any moment The Music Man would come marching around the corner with a crowd in his wake. 

This championship was huge for this city, not the least of reasons being Boston.  Boston and Philly have always had a steady sports rivalry.  Both East Coast cities have a team in all 4 major sports, and Philadelphia could not take much more of Boston’s winning ways.  In years past, it was always just a matter of time before Philly reacted to a Boston championship:  The Broad Street Bullies (Flyers) began winning in the mid-70’s, soon after the Big Bad Bruins hoisted a few Stanley Cups; Dr. J, Moses Malone and the 76ers (“4, 4, 4!”) reacted to Larry Bird’s first championship with the Celtics (Malone’s declaration of 3 playoff sweeps actually sounded more like “Fo, Fo, Fo”); and the Philadelphia Eagles stepped up their game just enough to be the Patriots 3rd Super Bowl conquest several years ago.  So, with last week’s championship, kudos to the Phillies, but their fans must keep in mind, if it was the Sox they were facing (especially with Manny), it would have been another year of waiting. 

Anyhow, the excitement got me thinking about regional pride and songs about places.  There are so many great songs about cities, states, and countries.  Longtime friend Phil had many of them ready in the wings when we were kids playing Monopoly.  If he owned Indiana Ave and you landed on it, Phil would break out into song: "Indiana wants me, Lord I can't go back there".  If you landed on his Kentucky Ave property, it was "My Old Kentucky Home", Tennessee Ave would result in the 'Tennessee Waltz'.  Many others I have long since blocked out.

When Joe moved to San Francisco for a few years, I had no problem finding a slew of songs about that city, and put them on tape for his listening pleasure.  Bob Dylan, who DJs the fantastic ‘Theme Time Radio Hour’ program on XM radio’s Deep Cuts, did a show on California last year, and the songs he played and discussed were varied and memorable.  Among the list were  Al  Jolson’s ‘California Hear I Come’; Joni Mitchell’s ‘California’; Pierce Webb’s ‘California Blues’; Geraint Watkins with ‘Go West’; Dionne Warwick singing ‘Do You Know the Way to San Jose’; Sir Douglas Quartet’s ‘Mendocino’; Jesse Fuller’s ‘San Francisco Bay Blues’; and Dorothy Shay singing ‘I’ve Been to Hollywood’. 

As for Philadelphia, the city has 3 great songs that come immediately to mind: Neil Young’s ‘Philadelphia’; Bruce Springsteen’s ‘Streets of Philadelphia’, and this week’s Gem, Elton John’s ‘Philadelphia Freedom’.  The song was written by Bernie Taupin in 1975, and is at least partially a tribute to this country and its then 200th Anniversary (Philadelphia being one of the central cities to our Independence).  Other interpretations of the song are as a tribute to Billie Jean King and the professional tennis team she formed (Philadelphia Freedom), as well as Elton John’s sexual orientation.  Regardless of the meaning, there is no denying the pop strength of this song.   The song is also appropriate for the mood in Philadelphia over the past few days: A city with a large black population and a city that voted 84% (the full range of ethnicities) for Obama.  Enjoy the flashback to mid-70’s Soul Train and crank it up!

Gem Music Video: Philadelphia Freedom

http://www.youtube.com/watch?v=bkMXnk16kiE

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About the Video: mid-70’s Soul Train

Video Rating: 2

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Best Feedback:  Amy

Pete!  Another Gem - another Friday - they go hand in hand for me now.I sent this one off to Julie Snell, who went off to college w/ a full scholarship to Tyler School of Art in Philly - fell in love, and never came home!  She now works for the Pennsylvania Horticultural Society in charge of Philly's gardens all over the city.
xoA

GMVW # 43: "Guitar and Pen: A Who Review"

Gem Music Video of the Week # 43:  Guitar and Pen: A Who Review

Song:  Baba O’Riley by The Who

(Songwriter: Pete Townshend)

October 30, 2008

I’ve always wanted to do a concert review, so here goes…..

Last Friday nite I went to see the Who at the Boston Garden with cousin Becca, Mac, and Pete Callahan.  I’ve seen plenty of Who shows over the years, so in terms of witnessing something new, this I no longer expect.  I now go to these shows to simply take in whatever is tossed my way.  On this nite, as with all previous shows over the years, I was not disappointed.  The Who continued to do what they do best: A live event that hits the ground running and that does not stop until all energy has been sufficiently tapped. 

For the 3rd time, I attended a Who show expecting it would be my last (which will one day be the Who’s choice, not mine).  This has been the case ever since John Entwistle died.  The original 4-piece band has been whittled down to ‘The Two’.  For the first time since that 2002 post-Entwistle tour, however, the entire six-piece ensemble on stage was on equal footing.  Where the last two tours, the Who were presented as Pete Townshend and Roger Daltrey, along with a supporting cast, this time everyone was front and center (including John ‘Rabbit’ Bundrick on keyboards, Zak Starkey on drums, Pino Palladino on bass, and brother Simon Townshend on rhythm guitar), and all rose to the honor. 

As with most Who shows, a bulk of the music on this nite came from 4 distinct periods in Who history: The early years, ‘Tommy’, ‘Who’s Next’, and ‘Quadrophenia’.  I always hope to hear more songs from albums like ‘Who By Numbers’, ‘Who Are You’, and even ‘Face Dances’, which does happen, but infrequently.  Townshend and Daltrey seem to be convinced that the crowd is looking for songs from these 4 periods, and so I accept that and take in these great songs that I have witnessed so often, while enjoying the occasional surprise. 

We settled into our seats, which was the best vantage point I’ve had at any Who show (a stone’s throw from Townshend’s side of the stage… thanks Mac!).  The warm up band, ‘Inward Eye’ wrapped up their set (a young hard-rock brother trio from Winnipeg Manitoba) and then the Who took the stage.  Here’s a run through the set list, along with commentary and snippets of some of the best lyrics from each song:

I Can’t Explain:  It’s amazing that the band’s first single (1965) could still be such a superb rock song to hear live.  It was clear Zak Starkey was going to have a good nite:  “Dizzy in the head and I’m feeling bad”.

The Seeker:  A single from the early 70’s.  I thought of my brother Joe, who loves this song.  It was clear Roger Daltrey was going to have a good nite:  “I asked Bobby Dylan, I asked the Beatles, I asked Timothy Leary, but he couldn’t help me either”.

Anyway, Anyhow, Anywhere: Another early single.  Townshend played a little feedback near the end of the song, and it was clear he was going to have a good nite:  “I get along anyway out there, Anyway, Anyhow, Anywhere…….”

Fragments:  A song from their 2005 Endless Wire album: Lot’s of synthesizer. 

Well done. “Are we breathing out or breathing in”.

Who Are You: This song is about an encounter Townshend had with 2 members of the ‘Sex Pistols’ at a bar in New York.  Towshend lashed out at them after they stated they enjoyed the Who’s music (he wanted them to rebel against it).  I thought of Dad, who gets a kick out of this song.  It’s always very well performed, as it was this nite: “Eleven Hours in the Tin Pan, God there’s got to be another way!”

Behind Blue Eyes:  Off of ‘Who’s Next’.  All 4 original members of the Who had blue eyes, which is not solely what this song is about, but intriguing when you listen to the lyrics.  One of the best performances of the night:  “And if I swallow anything evil, put your finger down my throat”.

Real Good Looking Boy: I recalled listening to this song for the first time in a small music store in downtown Baltimore 3 years ago.  First new Who song in many a year.  It hit me like a ton of bricks (both then and now): “Wise men say, only fools, only fools rush in”.

Baba O’Riley:  This song doesn’t really belong to the Who anymore… along with “Won’t Get Fooled Again” it belongs to these times, and was once more brilliantly performed:  “Don’t cry, don’t raise your eye…”

Gettin in Tune:  The first surprise of the night, a deep cut off the ‘Who’s Next’ album.  One of several songs Townshend has written about how he writes music (the other that comes to mind is ‘Guitar and Pen’):  “I’m getting a little tired of having to say do you come here often”

Eminence Front:  Always an appropriate song to play (about people ignoring their problems and putting up a front).  Townshend’s one contribution of the evening as lead vocalist: “Won’t you come and join the party dressed to kill”

Sister Disco: The second surprise song of the nite and one of my all time favorites, about a fictional character,  ‘Disco’ dying on a hospital bed and ‘Rock’ faithfully sitting by the bedside.  Townshend plucked away expertly at the acoustic guitar closing notes (which has always suggested to me that good music will carry on). “Goodbye, goodbye Sister Disco, now I go, I go where the music fits my soul.  And I, I will never let go, I’ll never let go, ‘Til the echo of the street fight has dissolved”.

Sea and Sand: Start of a 3-song Quadrophenia set, encapsulating this concept album.  “My Dad couldn’t stand on 2 feet, as he lectured about morality”

5:15: Zak again played phenomenally on the drums.  The song is about strange happenings on the London commuter rail: “Sadly ecstatic that their heroes are news”.

Love Reign O’er Me:  Daltrey belted this one out without a hitch: “On a dry and dusty road, the nite’s we spend apart alone, I need to get back home to cool, cool rain!”

My Generation:  Pino Palladino’s bass lines would have done Entwistle proud.  It’s the only song where Towshend always appears embarrassed to perform live:  “People try to put us down, just because we get around”

Won’t Get Fooled Again:  I thought of the Who’s performance of this song at the Concert for New York (after 911).  The Who stole that show with their set that nite, particularly with this song:  “I move myself and my family aside if we happen to be left half alive”.

Pinball Wizard:  Start of a 3-song ‘Tommy’ set.  Townshend no longer looks for Entwistle to blast the opening bass line.  “Ever since I was a young boy, I played the silver ball, from Soho down to Brighton, I must have played them all”

Amazing Journey:  Some experimenting with a jam session, leading into Sparks.  Very well done.  “Sickness will surely take the mind where minds can’t usually go”.

Sparks: …..Zak again!  Wow!  Thought it was Moon.  No lyrics here (all instrumental).  Townshend looked all of his younger Woodstock-days self on guitar: The Bird Man in action.

See Me Feel Me:  I longed for the Entwistle backing vocals to kick in like they used to….not to be.  I sang them myself as best I could.  Still a great song to hear live, though:  “Listening to You, I get the Music”

Tea and Theatre:  Off the ‘Endless Wire’ album: A melancholy reflective song, which seems to be at least partially about the 2 surviving members of the Who.  Daltrey holds a cup of tea in his hand: “Will you have some tea, after theatre with me?”

It was a great show and was enjoyed with some great company.  Since no Gem music video list should go without Baba O’Riley, I take the opportunity to present it here as this week’s Gem.  The footage is from the last live show Keith Moon played with the Who (1978).  I’ve also included the same song showing the Who at the Concert for New York in 2001, which was the last live event Enwistle performed with the Who.  Finally, I’ve included a great tribute to the Who from Adam Sandler at this year’s VH1 Rock Honors the Who show.

- Pete

Gem Video: Baba O’riley. 

http://www.youtube.com/watch?v=hKUBTX9kKEo

Concert for NY version:

http://www.youtube.com/watch?v=cG_uDDEnzC4

Adam Sandler

http://www.youtube.com/watch?v=-amJe_ee7pI&feature=related

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About the video:  clip from the Kid’s Are Alright movie

Video Rating: 1

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Best Feedback: Joe

Pete will never forget who got him his first Who Album.  I think it was Pete's birthday some time in the late 70's...I was probably in Framingham at Strawberry's where I stopped many times up thru High School to build up a huge music collection...Warren Zevon, Clash, Joe Jackson, the Police, Talking Heads, AC/DC, U2, Bruce Springsteen, and many more were in my growing collection.  After an 8 Keg Party my freshman year at BC in my apartment in

Cleveland Circle

, my great collection disappeared...I suspect some Brighton thugs who crashed the party...I will never know.  Anyways - I had no idea the monster I created when I got Pete his first Who album.  The Monster lives on....or maybe it's the Monster in my pants that does a nasty dance.

Joe