Category Archives: Rock Music

Great Album Retro Review: Abacab by Genesis

41sSESitKELI read an article reporting on the psychology behind why people tend to favor the first album they’ve heard by a musical artist over the rest of that artist’s output. It has to do with familiarity. Since it’s the first album you picked up, it’s probably the one you’ve listened to the most and so it’s your favorite. Makes sense.

I can think of a some albums that weren’t the first I’d owned by a particular band, but are my favorites (XTC’s Skylarking, for instance). However, when I give it some thought, there are plenty of favorite albums in my collection that fit in the “first heard” category. This month’s album is one of those.

It’s Abacab by the prog (becoming more pop) rock band Genesis. Released in 1981, it wasn’t my first exposure the UK band. I knew and liked the song Misunderstanding from their 1980 release Duke. That song had gotten a good deal more radio play than anything from the band’s previous nine albums. But I didn’t buy Duke.

When Abacab’s title single hit the radio, I was impressed enough to buy the album. So, my first Genesis album was the band’s eleventh! Abacab was more pop than their previous albums. The songs were simpler and more direct, which was intentional so as to stay fresh in their sound. Not being much of a prog rock fan, the poppier aspect was more attractive to me.

The tracks:

Abacab – Named for the sections (A, B, & C) that make up the song, when creating the song the band would move the sections around until they found the one configuration they liked, Abacab was one of those section configurations, but not the final one. Still they liked the way the letters made a “word” and used it for the album title. This song (and album) also had that big Phil Collins’ drum sound, a sound that would influence much of pop music through the 80s. As I said, I was really impressed with the song. Still am.

No Reply At All – Oh, boy! This song just jumped off the record for me. I loved the horns, provided by the horn section of the R&B giants Earth, Wind & Fire. There’s just something about a good jaunty horn section to boost a song. And the lyrics of a lonely guy pining for love struck a chord with my high school self.

Me And Sarah Jane – When I got to learn more about the history of this band and of Peter Gabriel, their original lead singer, I could hear more of their prog roots here and I can also hear why the band picked Collins as their new leader singer. There’s quite a lot of Gabriel’s sound in this song. A quieter song that builds and gets quiet and builds and gets quiet.

Keep It Dark – My favorite track on the album. I love the guitar riff and the lyrics of a man who had been abducted by a gang of thieves. Or were they aliens? The protagonist decides not let on exactly what happened to him. He decides to keep it dark. Great song.

Dodo/Lurker – This one is probably the most prog of any of the songs of the album. I enjoy the flow of the song as it makes time changes and discusses the plights of dodos and minxes.

Who Dunnit? – I don’t know about this one. I do like it. However, it feels a little like a throwaway song. On the other hand, the song also seems a bit tongue-in-cheek and shows the band to have a sense of humor. It’s also just plain weird. I don’t know about this one… But, I like it.

Man On The Corner – This one is a start out quiet and build until it’s hitting the ceiling song. It is a tried and true (and sometimes overdone – see Whitney Houston and Michael Bolton) style of song delivery. Genesis makes it work here. I think because the whole build up is so slow and the ceiling isn’t too high.

Like It Or Not – Another quiet song that builds well, but it still holds back just enough. I like that. Sometimes that holding back makes a song more powerful (don’t see Whitney Houston and Michael Bolton).

Another Record – The album started with a big drum sound and it ends with big drums. Yeah, I know, there were big drums pretty much the whole album, but this track sounds as though the drums are the lead instrument. The song is a little of an anticlimax – good, but not quite as powerful an ending as the album’s beginning.

Packing Peanuts!

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Great Album Retro Review: This Ain’t No Outerspace Ship By Love Tractor

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I’m going a little hipster here by looking at an album by one of the lesser known bands to come out of Athens, GA in the ’80s. Also, as this series continues, you will probably notice quite a few of my picks are from the ’80s. What can I say? I guess I’m stuck.

It was 1987 and my friend John, who was my cohort in the discovery of music that matters, not that crappy pop and hair metal getting all the radio airtime, found out about this band. They’re called Love Tractor. I hadn’t hear of them before John discovered this their fifth album: This Ain’t No Outerspace Ship.

I have to admit, I don’t know much of anything about their other musical output. I will try to remedy that, but I just love this album.

If you need an example of lilting guitars, this is it! Along with the lilting guitars is plenty of excellent melodies and hooks. This album just feels so good.

The tracks:

Cartoon Kiddies – This is my second favorite track on the album which is an ode to TV cartoons, most particularly Top Cat. Now, Top Cat wasn’t one of my favorites, but this song is a great kick off

Small Town – There’s just something about Mark Richmond’s vocals. There’s an ease to them as well as just the merest hint of snarl. Nothing threatening though. And his frequent forays into falsetto really work for me.

Chili Part Two – This song is more of an instrumental, which touches on the band’s roots as they started out an instrumental band, with a few bits of lyrics thrown in. And I find it so effective when the lyrics come rolling in – “Heeeeeere cooomes that feeeeliiing agaaaaiiin!”

Night Club Scene – The lilting guitars glide over the big ’80s drumbeat as this song opens. It’s a slower song that contains the line that gives the album its title. What does the song mean? I dunno.

Outside With Ma – For me, this is the weakest track on the album. That’s not to say it’s a bad song. It has a darker feel than the rest of the album. It also has a funky feel, which doesn’t quite work.

Rudolf Nureyev – Returning to their roots, this is the album’s first of two fully instrumental tracks. Plenty of lilt and I can almost see the dancer after whom it is named dancing gracefully along.

Beatle BootsHands down, my favorite song on the album! It just feels so good. It’s got a great ’80s dance vibe. The lyrics speak of an emotionally complicated woman who is both a hero and a mess. I love this song!

Amusement Park – This song sounds like Summer. It’s about hanging out and seeking thrills. “Meet me here. Meet me there.” Let’s go downtown, to the record store, and, of course, to that amusement park.

Party Train – A fun, rockin’ yet still funky cover of The Gap Band hit. Love Tractor makes it their own. And it’s pretty good.

We All Loved Each Other So Much – On the original vinyl release, this was the last track of the album. It was also the second fully instrumental track. It’s a quiet contemplative tune and, at just over seven minutes, the longest track on the album. Lilting to the very end.

Got To Give It Up – This bonus track is another funky cover song. This time the band covers the great dance party track by Marvin Gaye. Lots of falsetto and lots of fun. It’s a nice bonus.

Wanna give it a listen? Of course, you do! It’s available on iTunes and Spotify. Check it out!

Packing Peanuts!

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This Is XTC! This Is Pop!

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Andy Partridge simply hates rock documentaries. That’s what he tells us in the opening moments of a new rock documentary called XTC: This Is Pop, which began airing on Showtime in January 2018.

Andy Partridge is the leader of a rock/pop band called XTC and he finds himself taking part, a large part, in that very thing he hates: A rock documentary. And XTC fans are so glad he did.

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Andy Partridge

Placed in the One-Hit Wonder bin in the American music market, I’ve often stated that it is criminal that XTC never got as big as their contemporaries The Police. It’s about time the greater public learn about how good this band really is and this documentary will help. Musician Stewart Copeland of The Police and actor Harry Shearer, along with other musical artists and fans, are there to heap praise on this excellent band from Swindon, England. XTC may not have found a big audience, but they had a far reaching influence on many of the pop bands that followed them.

The documentary is as much about Partridge himself as it is about the band. And that’s a drawback, because we’re not given much of a backstory about the other members of the band: Colin Moulding, Dave Gregory, Terry Chambers, and Barry Andrews. Moulding, Gregory, and Chambers do contribute to the film (and the three of them all have an odd whispered, raspy tone to their voices).

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L to R: Partridge, Colin Moulding, Dave Gregory, Terry Chambers

Andrews is missing from the film. That may be due to the friction between him and Partridge while they were in the band together. Partridge’s attitude was – “This is my band!” Andrews wanted it to be his band. The friction led to Andrews leaving and then co-founding Shriekback. In later years, the two headstrong artists did work together on Partridge’s 2007 album of improvised instrumentals – Monstrance.

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Barry Andrews

As we learn about the band’s formation in the ’70s and growth through the ’80s, ’90s, and into the ’00s; going from glam to punk to rock to lush and beautiful pop, we also learn about Andy growing up an only child having a mother with OCD, his drug-addiction that began to develop when he was 13, and we get a deeper explanation of his crippling stage fright that turned XTC from a touring band into studio artists in 1982. The stage fright was a double-edged sword. It prevented XTC from breaking through just as they were on the verge of a major American tour. But, it gave the musicians a much, much larger “box of paints” to use to create such wonderful music.

It’s a fascinating look at such an intriguing artist and his awesome band. However, clocking in at a mere hour and fifteen minutes, to quote XTC’s song All Of A Sudden, “there’s plenty missing in the middle.” There is barely any mention of XTC’s last two albums: Apple Venus Vol. 1 and Wasp Star: Apple Venus Vol. 2. And I would have liked to learn about the seven year strike the band went on, from 1992 until 1999, against their record label Virgin. But, as it is said in show business, always leave them wanting more.

Give it a watch. Your new favorite band is just waiting for you to find them.

Packing Peanuts!

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Great Album Retro Review: Quadrophenia By The Who

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I should say that I’m no musical expert. I’m not some music critic who can dive deeply into the artistry (or lack thereof) of a musician’s work and poetically explain its merits to the reader. But, I know what I like. So, with that in mind, I thought I’d start a (perhaps monthly) series of retro reviews of what are some of my favorite albums.

Here’s my plan: Pick an album, give a brief overview on why I think it’s great, and then give an even more briefer review of each song on that great album. Sound like a plan?

I’ll start with my favorite album by my favorite band: Quadrophenia by The Who.

Released in 1973, Quadrophenia is the second rock opera released by this seminal band. It is the follow up to their classic Who’s Next (1971) and the use of a synthesizer, introduced on Who’s Next, continues to play a large part in the band’s sound. Quadrophenia also continues with the harder rock style that would influence the heavy metal of the later 70s and 80s.

Quadrophenia is also the only Who album entirely composed by Pete Townshend. He had always been the main songwriter, with John Entwistle as the second songwriter of the band, but this one was all Pete. That may contribute to why it’s my favorite.

The story is about a teenager who is having an identity crisis. The main character, Jimmy, is a Mod (it was a British thing dealing with fashion, drugs, and a certain attitude) who is staring ahead at adulthood. And he’s scared. He doesn’t know who he is, what his life is about, where he’s headed. He doesn’t know why he should care.

Isn’t he a bit like you and me?

I know. Wrong band, but it still applies.

According to Townshend, Jimmy may be messed up, but he gets better.

This album helped me out as a young adult and I’ll always be grateful to Townshend and the boys for that.

Now the tracks! It’s a double album, so be prepared.

I Am The Sea – This isn’t really a song. It’s an intro using the sound of the sea crashing against the rocks, in which we can hear snippets of Jimmy’s four personalities. These  personalities are expressed through four theme songs, each of which also represents a member of the band, which are peppered throughout the album. This is the first time The Who had used sound effects on an album. The sound effects (crashing waves, rain, trains, birds, etc) were recorded by Townshend.

Sitting on one of the rocks, Jimmy is at a crisis point as he contemplates his life…

The Real Me – Damn! What a great song! It has the fantastic bass work of Entwistle, Roger Daltrey’s voice is in fine form, and Keith Moon is out of his mind. In fact, listen closely, you can hear Moon shouting as he plays, something The Who have included on several songs, beginning with Substitute. The song presents Jimmy’s self-perceived craziness, his anger, and his frustration. And it rocks!

Quadrophenia – The title track is the first of two instrumental songs on the album. The synthesizer comes into play as this song explores the musical themes we’ll be hearing as we listen to the rest of the album.

Cut My Hair – The lyrics set up the conflict Jimmy was having with himself and with his parents. Townshend works in lyrics from early Who and High Numbers (an early name for the band) songs to help bolster the Mod connection. He does this throughout the album. And great drums with Moon yelling as he plays.

The Punk And The Godfather – Fighting against the system is difficult, because the system has all the power. Again Townshend uses early Who lyrics, this time from their legendary hit My Generation.

I’m One – This is one of my favorite tracks on the album. Townshend takes on the lead vocals as Jimmy acknowledges his shortcomings, but declares he will overcome them. “You’ll all see!”

The Dirty Jobs – Townshend’s ode to the working man. Some nice use of violin (or is that synthesizer?) And, seriously, Moon ought to get a backing vocal credit for all the shouting he does on this song.

Helpless Dancer – Listed as Roger’s theme, this song continues the theme of working against the system. It’s the struggle of the common person against the power. Nice piano and acoustic guitar.

Is It In My Head? – Ever conscious of his band’s history, Townshend precedes this track with a snippet of The Kids Are Alright, another early song from The Who’s catalog. The song describes a particular low point for Jimmy as Daltrey sings about numbering all those who love the protagonist and “finds exactly what the trouble is.”

I’ve Had Enough – This is the moment Jimmy breaks from his life and hops on his Vespa scooter to revisit places that remind him of better times. And, for the first time since the intro, we hear the phrase “love reign o’er me” from the final song of the album.

5:15 – This classic rock radio standard is fantastic. The horn fills provided by Entwistle give this song an extra punch right into your ears. It starts with the sound effects of Jimmy at the train station at the beginning of his journey to find himself. This one kicks ass!

Sea And Sand – Jimmy arrives at the beach on which he had participated in the riots between gangs of Mods and Rockers. A time of triumphant fun, but now he’s thinking of his hypocritical parents, his unrequited love, and his failure to be a leader in his gang. Lyrically Townshend again draws upon early Who and High Numbers songs.

Drowned – This was a sleeper track for me. It just didn’t grab me at first, but after multiple listens it became a stand out track. That rolling piano provided by English session musician Chris Stainton (he also plays piano on The Dirty Jobs and 5:15) is infectious. It’s a rollicking song about Jimmy contemplating drowning himself. I love it!

Bell Boy – Adding to Jimmy’s feelings of depression is this song in which he discovers his hero, a Mod leader in the days of the riots, is now a lowly bell boy, resigned to the job to earn a living. Well, what are ya gonna do? Gotta pay the rent. The song features Moon’s wonderful Cockney vocals as Jimmy’s fallen hero. Keith was never much of a singer, but he doesn’t do too badly on this his theme song on the album.

Doctor Jimmy – This is John’s theme and it’s my least favorite track. I still like it, but it’s a bit too long. The song is filled with blustery bravado as Jimmy tries desperately to convince himself that he is strong, but his self-doubt continues to plague him.

The Rock – We’re back on the rock surrounded by the crashing sea for this excellent instrumental. Will Jimmy give into despair? Will he take his own life? Is he going to be OK?

Love Reign O’er Me – Of course, Pete reserved this song to be his theme. Daltrey’s vocals are at their peak on this cathartic song, in which Jimmy has a break through. He realizes he needs to allow himself to love and to be loved. He is worthy. What do you know? The kid’s going to be alright.

After all, love is all you need.

I know! Wrong band, but it still applies.

Packing Peanuts!

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Pods Looking Back 2: Another List Of My Favorite Nostalgic Podcasts

A year ago I recommended a few podcasts that have a nostalgic theme to them. (Click here to get that list.) Since new podcasts are always popping up, I thought I should list a few more as suggestions for your listening pleasure.

These are podcasts and the rules of terrestrial radio do not apply. These shows may have adult language and themes, so you should check them out first before sharing them with your kids or more sensitive folks.

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The Dollop with Dave Anthony and Gareth Reynolds The hosts are comedians who dive deep into an historical topic and mine whatever comedy gold can be found. Dave is the “historian” who finds the topics and gives the information to Gareth, who doesn’t know what each show’s topic is until they start recording. The two will then riff to their hearts’ content. Some of the show are absolutely hilarious.

They get very bawdy as they work their way through each show’s topic. The Dollop has over 300 hundred episodes and I’ve just started listening to it, so I have a long way to go to catch up, but I find it very entertaining and informative.

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My Favorite Murder Odds are pretty good that, if you’re familiar with podcasts at all, you’ve heard about this one. Hosts Karen Kilgariff and Georgia Hardstark are two comedians who discovered that they both really like murder stories. They decided to do a podcast discussing various real life murders. Their first show dropped in January, 2016 and the podcast has taken the world by storm. Combining their regular shows with their “minisodes” Karen and Georgia are closing in on 180 episodes.

It is a comedic show about murder, but the hosts are careful to respect the victims and the families and friends. They also try to give sound advice on preventing oneself from being a victim. It’s a very funny podcast with a big heart that reminds us to “stay sexy and don’t get murdered!”

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Friendly Fire In my first podcast suggestions blog I recommended The Greatest Generation podcast. It’s a podcast about the television series Star Trek: The Next Generation. However, they have gone through all that classic sci-fi program’s episodes and they have since moved on to discussing Star Trek: Deep Space Nine. (I still recommend it!) Well, the hosts of The Greatest Generation, Adam Pranica and Benjamin Harrison, have teamed up with John Roderick to examine war movies.

Each week they examine a different war movie (and who doesn’t like war movies?) for its accuracy and cinematic value, and they manage to get some laughs along the way. Although, so far, most of their reviewed films have been WWII-based, they will cover other wars. They’ve talked about Saving Private Ryan, of course, but they’ve also reviewed Master & Commander: From The Far Side Of The World, First Blood (yes, they considered that a war movie), and they will be watching Braveheart for an upcoming installment.

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Du You Remember? A Podcast About Husker Du And, finally, I’m recommending this podcast to anyone who is a fan of alternative music. It’s just five installments (with two extras, one a short introduction to the series, the other a tribute to drummer/singer/songwriter Grant Hart) and it is a fascinating look at one of alternative rock’s founding bands.

Husker Du came from St. Paul, MN in the late 70s and created their own tremendous presence in the 80s hardcore/punk/underground music scene. The podcast has interviews with all three members (Hart, Bob Mould, and Greg Norton) done just prior to Hart’s untimely death in September, 2017. The band members and others who worked with them or were fans and friends tell the story of the music scene in the 80s, how Husker Du was formed, how they embraced the “do it yourself” ethic, their rise and abrupt fall, and how very important they were to the music world. Without Husker Du, there would have been no Pixies, no Nirvana, no Green Day.

It’s all good stuff!

Packing Peanuts!

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Pat DiNizio 1955-2017

Guest blogger Michael Noble returns with a memory of The Smithereens and patient persistence as a tribute to lead singer Pat DiNizio, who the world lost to cancer earlier this week.

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It was naturally sad to hear of the passing Pat Dinizio this week, lead singer for the moderately successful power pop band The Smithereens. I was a fan of their brand of music: Crunching, driving guitars, catchy, hook-laden singles with the occasional melancholy tear-jerker thrown in for good measure. And, oh…what a voice DiNizio possessed. Instantly identifiable every time…at least to my ears.

He will be missed.

Shortly after hearing the news, my mind went a couple places. First, I knew what my work night music menu consisted of – a healthy helping of The Smithereens’ catalog. And then my nostalgia kicked in and I remembered one of the times I went to see them live.

It was 30-some odd years ago. It was a friend’s birthday and it was just the two of us for a night on the town. I knew The Smithereens were playing the world famous Roxy in Hollywood and that, I’d decided, was our destination. I heard the show was sold out, but that never stopped me for going anywhere. Somehow, I would get us into the show.

We arrived and were promptly told by the box office the place was filled to capacity with no tickets left. We hung out anyway, my friend firing questions at me. Yes, we were going to wait it out; someone was bound to come by with extra tickets or some such so we could go inside. He was doubtful, commenting it was not the manner in which he thought his birthday evening would go. Me? I was my usual cheery happy-go-lucky and confident self.

20 minutes into the opening act, a staffer came out for a smoke. He saw us saunter our way over. “Waiting for someone he asked?” he asked. I told him yes, someone with a couple tickets to spare. He chuckled and walked off, puffing away.

Half an hour more passed. I could hear the opening act firing up their final tune of the night and, afterward, out came that same staffer for another smoke. “Still no one with tickets, huh?”

I shrugged.

“The place is packed. Matter of fact, the fire marshal came by earlier to check us out, make sure we weren’t violating any fire codes by having too many people in the place. And we were right on cue, not a person more in the joint than we’re allowed. I hate that damned fire marshal, always coming around and checking on us…”

He took a drag of his cigarette.

“You know what? Screw him and his fire codes. You want in? Follow me…”

And that is how we got into the show, on a lark.

At some point into The Smithereens’ set, I turned and noted to my friend, “Not a bad birthday after all, huh?”

Thanks for the memory, Pat and comrades. Rest in peace.

Thank you, Michael. You can read more of his writing at hotchka.com.

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The Start of My Greatest Love of 35 Years

Writer’s note: Pulled from the archives of my personal blog at dimland.com, comes this story of my discovering my favorite band. Look. It’s been since July since I’ve written anything Who related. I was having withdrawal symptoms. OK? The following has been revised and updated, but the song remains the same. Song remains the same? That’s Led Zeppelin. We’re not talking about them.

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Press photo from thewho.info

This was a life changing concert for me. I know that sounds dramatic, but it is true. Seeing this show got me big into The Who and that led me to punk rock which led me to even more interesting and varied styles of music. In those days, I was listening to mostly crap. Journey, Styx, Foreigner, Boston, yuck! (Although, I must admit I have a soft spot for a lot of that crap today.) The Who changed that.

I wasn’t much of a Who fan at the time. I knew the band existed. I knew a few of their songs. (It turns out I knew quite a few, actually.) I knew Pete Townshend had some solo stuff out. I liked their new single Athena which was getting some radio play. At best, I thought they were OK and not much else.

I think I was aware the band would be in town that October weekend 35 years ago. I was even in downtown St. Paul the afternoon of the day of the first show of a two day stop in Minnesota. In fact, I had been right there by the St. Paul Civic Center where the concerts were going to be held. I had been downtown to pick up my comic books from a little comic shop that was less than a block away from where rock greatness would be experienced by fans that night and the next.

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Of course, I had no plans to attend either of the concerts. I had only been to one concert before and hadn’t yet been bitten by any kind of music bug.

My bus stop was located directly in front of the Civic Center (now the site of the Xcel Center, home of the Minnesota Wild). I have a vague recollection of seeing The Who’s name listed on the marquee.

My bus arrived to take me home. I took my seat, not giving the world’s greatest rock band a second thought. A couple stops later and on hopped a young pothead and a few of his friends, also potheads. I knew that young pothead, he and I worked together back then.

He spotted me.

“Hey, man! Are you going to The Who concert tonight?”

“Uh, no. I’ll be reading my comic books when I get home.”

“Dude! Really?! Aw, man!”

“Sorry.”

When I got home, my mom had an urgent message from my friend John. I was to call him right away!

John had bought three tickets to that night’s show. He had no one to go with. Why he bought three John doesn’t even know. He was able to get a mutual friend on board, but he needed a third. Luckily, he didn’t find anyone else before I was able to call him back.

I made a quick call to work to let them know I might be a little late. I worked the graveyard shift on the weekends and it was always very slow the first hour or so of the shift. The boss said it would be no problem. After all, this was The Who’s North American Farewell Tour, I was willing to risk being a little late, because they would never tour again. Right?

It was on this tour that The Clash opened for The Who at Shea Stadium in New York City. We didn’t get The Clash. We got T-Bone Burnett. We had no idea who he was. He was kinda weird. He did a guitar solo consisting of him plucking one note at one part of the stage, then walking to another part of the stage to pluck another note. He did several notes that way. We weren’t really digging this guy and his band. John and I have talked about being disappointed that we didn’t get The Clash at our show. Burnett would go on to be better know as a record producer and for his work in film scores and soundtracks. At the time, though, it was, “Who is this guy?”

I did learn in doing research for this blog that it is very likely Mick Ronson was part of Burnett’s band. Ronson played guitar for David Bowie in the Ziggy Stardust era. So it turns out the headliners weren’t the only legends we saw that night. We just didn’t know it.

Speaking of legends, there was that headlining act: The greatest rock ‘n’ roll band in the world – The Who. This was supposed to be their last tour. Despite the band’s impending retirement, they did have a new album to promote. The album was It’s Hard. Not a perfect album. It’s no Quadrophenia or Who’s Next. And it lacks the maniacal spontaneity of the late Keith Moon on drums, but it’s not as bad as it is said to be.

The show was loud. Very loud! Possibly the loudest concert I have ever attended. At least, one of the loudest. It certainly was the loudest then, but it was also only the second concert I had been to. It was a sold out show packed with boisterous Who fans. I couldn’t help but get caught up in the euphoria of the event. I found myself cheering and whistling as loud as I could. And I was cheering for Pete Townshend in particular. I can’t explain (wink) why, but I felt a connection to Townshend form that night and it has never broken.

They played most of their biggest hits (all of which I knew – much to my surprise) and a few songs from their new album. They didn’t play Athena or any of Pete’s solo stuff. I had wondered if they might. They did close the with a cover of Twist & Shout, which most people remember as a Beatles song, but their version was a cover as well. Also, this tour had Roger Daltrey playing guitar on a few numbers, most notable was Eminence Front. He hadn’t played guitar with the band since before he took over as lead singer way back when they were called The Detours.

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Their light show featured three sets of spotlights. One set on either side of the stage and one at the back of the main floor. Aimed straight up, each set of three spotlights would twirl around and open and close, casting bright white beams of light to the heavens… Well, the ceiling anyway.

Another fun feature of the show was the glow sticks that were sold to fans. People starting tossing the green glowing objects high over the crowd. They looked pretty cool as they sailed overhead. Then someone had the brilliant idea to take a lighter (a must fan item at concerts) and melt a hole in the plastic, then hurl the now leaking tube into the air. Cascading down were all these green glowing droplets. So fun!

The whole event was the talk of the school on Monday and my life had changed. I became obsessed with The Who and Pete Townshend. I bought all their albums and bought and read books about them and their history. I was all about The Who from then on.

And it all began on October 2, 1982, because a friend had an extra ticket.

Packing Peanuts!

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