Apple Rooftop

Yesterday marked the 39th anniversary of the famous 1969 rooftop performance by The Beatles from their Apple Headquarters in London. This impromptu gig on a cold winter day has become legendary. After all, it was technically The Beatles’ final live performance which ended up being cut short by police intervention.

The rooftop concert does not showcase The Beatles in their finest form. It is somewhat of a ragged performance, but in a sense, that is what makes it so great. It is an authentic and insightful look at the band (and keyboardist Billy Preston). There are no sleek overdubs. The Beatles were simply running through some tracks from the ongoing rehearsals that had taken place downstairs at Apple. It doesn’t get any better than when a group of talented musicians just plugs in and plays.

The rooftop performance wasn’t a highly tight affair playing-wise, but there were some spirited performances of tracks like “I’ve Got A Feeling,” “Get Back,” and “Don’t Let Me Down.” It amazes me that an official release of this famous gig has not appeared on some sort of Beatles archival project. It is certainly worthy from a musical and historical standpoint. The set list included:

1) Get Back
2) Get Back
3) Don’t Let Me Down
4) I’ve Got A Feeling
5) One After 909
6) Dig A Pony
7) I’ve Got A Feeling
8) Don’t Let Me Down
9) Get Back

By 1969, The Beatles were a fractured band. Their demise was inevitable. But through all the drama and personal tension between some members of the band, they were able to produce their final masterpiece with George Martin, “Abbey Road.”

However, prior to work on “Abbey Road,” a series of tension-filled rehearsals and the rooftop gig were recorded. In 1970, bits of this material were culled from the vaults to compile the controversial final Beatles’ album, “Let It Be.”

Up to that point, all official Beatles recording projects had mostly been of the highest production value. For the “Let It Be” album, the essence of the project was that it showed the band in a stripped down, live setting. This was also the first time where there seemed to be a lower standard from a performance standpoint. The performances weren’t as cohesive and lacked some of the energy from the past. Still, the finer moments on this underrated album such as the title track “Let It Be,” “The Long And Winding Road,” “I’ve Got A Feeling,” “Get Back,” and the beautiful “Across The Universe” are of very high quality and can stand alongside The Beatles’ best work.

Other than the segments found on “Let It Be” and “Anthology 3,” the bulk of the historic rooftop gig had been kept in the vaults for 30+ years. In 2003, Capitol reissued “Let It Be” as “Let It Be…Naked.” Initially, I thought it was a chance to hear some undoctored live tracks from the Apple rooftop. Unfortunately, the live material from the rooftop used was heavily edited in parts. The rooftop gig still had little representation from an official standpoint.

For almost 40 years, one of rock’s most famous concerts by arguably the biggest band of all time has remained in the vaults. The Beatles’ rooftop performance at Apple is a special and unique glance at one of the most influential bands ever. Happy belated birthday to this special moment in rock history, maybe something will happen with the tapes on the 40th anniversary. In the meantime, the legend will continue to grow.

If You Love These Blues

“I’m glad to have the chance to pass on what I have learned from listening to records, the radio and so many great bluesmen. You know, the blues is America’s musical legacy to the world and if you love these blues, man, play ‘em as you please…” – Michael Bloomfield, 1976

That is the opening narrative from the song “If You Love These Blues” from Michael Bloomfield’s “If You Love These Blues, Play ‘Em As You Please.” Bloomfield is a guitar legend. His impact and influence isn’t well known in popular culture, but it is there behind the scenes. After all, his lead guitar licks were an important part of Bob Dylan going “electric” at the 1965 Newport Folk Festival and on the classic album, “Highway 61 Revisited.”

As a young blues musician from Chicago, he initially was signed by legendary A&R man John Hammond Sr. to be a Columbia Records recording artist, and shortly after made a name for himself with his stunning guitar work in The Paul Butterfield Blues Band. Upon leaving Butterfield, he formed a new band called Electric Flag. While Electric Flag was supposed to be a musical vehicle in which an extensive list of musical influences could mesh - such as blues, jazz, rock, soul and world music – the band was mired in chaos and Bloomfield left before their first album was released. He quickly connected with his friend Al Kooper in the studio and was part of the legendary “Super Session” album. His dazzling playing and breathtaking solos from his days with Bob Dylan through his collaboration with Kooper all in a short period of four years garnered him a highly acclaimed reputation as one of the most talented and influential musicians and guitarists of his generation.

Shortly after, Bloomfield left the spotlight. He wasn’t a fan of the fame that was associated with his accomplishments and was also battling drug addiction. For the rest of his career, he mostly avoided becoming a mainstream and commercial artist. There were the occasional high-profile collaborations with other notable musicians such as Dr. John, John Hammond, Rik Grech and Carmine Appice; but none of them went anywhere. A lot of his recording activity during this period was done on smaller independent labels.

One surprisingly remarkable project from his low-key 70’s output, was of all things, an instructional album for Guitar Player Magazine. “If You Love These Blues, Play ‘Em As You Please” showcased a wide range of various electric and acoustic blues styles and it ultimately became one of Michael Bloomfield’s most revered projects of his entire career. One of the elements that makes this album such a fascinating listening experience (other than the spoken instructional references and descriptions by Bloomfield between tracks) is that there were no commercial ambitions behind it. This album was simply an exercise of love by a devoted blues fan. Bloomfield lets loose and just plays the blues. This is what he loved doing way before he hooked up with Dylan. You can hear it in the playing.

“If You Love These Blues, Play ‘Em As You Please” is a fantastic blues gem and an inspirational musical journey by a virtuoso musician. There are some obvious Michael Bloomfield excursions like “Super Session” and Paul Butterfield’s “East-West” that any music fan will appreciate, but “If You Love These Blues, Play ‘Em As You Please” is an essential Bloomfield project and listening experience for any fan of the blues.

Is The Circus In Town?

Has anyone attempted to purchase tickets to a children’s concert lately? While there are still some appropriately-priced events, there are also some mind-boggling prices too.

How about the bizarre Doodle Bops charging $70 for floor seats in some markets! Are you kidding me? I can see legends like Eric Clapton and Bruce Springsteen on the floor for $75. Three failed musicians/actors dressing up like puppets lip-synching. $70 for good seats, $20 to sit in the rafters. The whole idea behind children’s entertainment is be somewhat close to the action – not to sit in the stratosphere watching the gig on a jumbo-tron.

The notorious Wiggles are charging $40 (isn't that the price of a great Pearl Jam ticket?). These guys are a bunch of talentless hacks, with no songwriting ability, embarrassing lyrics (just because it is children's music doesn't mean there shouldn't be artistic standards), horrible vocals and ridiculous stage costumes. These buffoons are absolutely horrible. Add the Ticketmaster fees/charges plus parking and a ticket to The Wiggles becomes one expensive afternoon for the family. And as a bonus, one year olds have to pay to get in! Ticket brokers are charging over $150 for floor seats - who is buying these tickets? This is where parents have to draw the line.

Then you have a musical guy like Dan Zanes who once had a legitimate adult music career and decided to branch out and appeal to children. He keeps the musical value intact with some credibility, but he also keeps it fun. This is a guy you can take your kids to see for $20 in a small theater. That is more like it.

It is a bad sign when the insanity surrounding absurd concert ticket prices trickles down to children’s entertainment. Entertainment is supposed to be an escape. In the case of children’s entertainment, it is also supposed to be an opportunity for parents and loved ones to treat a child to a special event and to create a fun way of bonding. Shelling out hundreds of dollars for a pair of Wiggles tickets defeats the purpose. It isn’t a front row seat to the circus – although, The Wiggles are clowns and so are a lot of promoters and agents, so who knows…

*On a side note, one really good children's band is a group of four guys from New Orleans called The Imagination Movers. If you are looking to expose a child to good children's music that contains strong melodies, solid lyrics and good vocals - this band is worth checking out.

Roger Waters & Coachella

Roger Waters is headlining the closing night of the 2008 Coachella. That is somewhat a departure from the normal talent line-up usually associated with the festival. Waters’ Pink Floyd material has plenty of cross-over potential, particularly “Dark Side Of The Moon,” which he apparently will be performing.

How many times can the festival have the likes of Radiohead, Red Hot Chili Peppers and the Beastie Boys headline? At some point, it was inevitable that the festival would branch out. Still, it couldn’t go too “classic rock” or they would alienate a portion of its devoted audience and the festival would lose some of its alternative vibe and credibility. Even though there is somewhat of a cross-over appeal with Waters (mainly because of the great influence Pink Floyd’s music had on so many past and present performers of Coachella), it still seems sort of odd.

For Waters, it is a no-brainer. Coachella is still one of the premier music festivals in North America and it is a chance to perform in front of thousands of music fans that are not necessarily avid listeners of his music or even Pink Floyd’s music. And you can also bet he is receiving a nice incentive-laden, seven figure guarantee for his appearance.

Still, I would never make the trek up to Indio simply to see Waters blow away the competition – and that is what he will do. No other performer on the festival’s bill will even come close to unleashing the power and magic Waters’ set will have. Nevertheless, festivals totally and completely suck. Yes, they can offer the opportunity to see a special show by an artist that isn’t currently touring, but I have never understood why anyone would want to spend 2-3 days of leaving their personal hygiene behind, using porta-toilets, getting heat-stroke, seeing loads of talentless bands, and being crammed onto a sweaty field to hear some tunes by one or two notable headliners. Thanks, but no thanks, I think I’ll pass. Trust me, the experience is overrated.

Playing The Beach Boys

The Beach Boys’ “Pet Sounds” is a pop masterpiece. It is an album with stunning musical collages and layers, breathtaking production, touching lyrics and a representation of a special era. The album is flawless. “I Just Wasn’t Made For These Times” has always been a highlight for me. It is a powerful song that represents a feeling of struggle, a desire for change, and a final result that doesn’t offer an obvious solution. Brian Wilson’s vocals are smooth, passionate perfection. The lyrics possess a message that many of us can relate to – who hasn’t felt like they weren’t made for “these times?”

Anyone familiar with Brian Wilson’s life during the “Pet Sounds” era knows the significance of the lyrics of “I Just Wasn’t Made For These Times.” Wilson was a very troubled soul and a dedicated musical genius. The ability he had to create and produce the colorful sounds along with being able to arrange the spectacular, dramatic vocal arrangements of The Beach Boys’ music is nothing short of amazing. His emotional problems ultimately got the best of him, which derailed the great lost album “SMiLE.”

Whenever a short period of time passes where I have not played The Beach Boys, I end up spinning dazzling musical pieces such as “Let’s Go Away For Awhile,” “Til’ I Die,” “Surf’s Up,” “Good Vibrations,” “Lonely Sea,” the backing track to “Sail On Sailor,” or “The Warmth Of The Sun” – and I am absolutely blown away. The music removes the listener from reality. And often when I get into the Beach Boys' zone, "I Just Wasn't Made For These Times" is part of the playlist.

Brian Wilson may not have felt he was made for the late-60's, but the music he created from that era is timeless. Carl Wilson once said The Beach Boys' music had a spiritual quality to it and that the sound did an indescribable thing to the environment. He couldn’t have summed it up any better.

I Just Wasn’t Made For These Times
(Brian Wilson/Tony Asher)

I keep looking for a place to fit
Where I can speak my mind
I've been trying hard to find the people
That I won't leave behind

They say I got brains
But they ain't doing me no good
I wish they could

Each time things start to happen again
I think I got something good goin' for myself
But what goes wrong

Sometimes I feel very sad
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)

I guess I just wasn't made for these times

Every time I get the inspiration
To go change things around
No one wants to help me look for places
Where new things might be found
Where can I turn when my fair weather friends cop out
What's it all about

Each time things start to happen again
I think I got something good goin' for myself
But what goes wrong

Sometimes I feel very sad
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)

I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times

The Rolling Stones

Does the news that The Rolling Stones are planning on releasing their next project on Universal mean anything? It is really more about the demise of EMI than anything else. EMI is crashing. It is losing The Rolling Stones.

The Rolling Stones mean something in name, but The Rolling Stones don’t represent sales. They haven’t released anything relevant since Tattoo You back in 1981. Voodoo Lounge and A Bigger Bang were hyped, but they are both completely forgettable. Yes, The Rolling Stones are still one of the biggest concert attractions in the world, but this isn’t because of their post-1981 work, it is because of their pre-1981 work which consists of their hits.

So what, The Stones are going to release the soundtrack to the upcoming Scorsese concert documentary on Universal. Does anyone think that project is going to move big units? If I want to spin some live music by The Stones, I’m going to break out “Get Yer Ya-Ya’s Out!” or an underground soundboard recording from 1972. The current Rolling Stones’ concert experience does not translate well onto album.

Is this Universal attempting to open the door to a longer-term relationship which could include the band’s post-1971 catalogue? There are certainly a few gems from that era such as “Sticky Fingers,” “Exile On Main Street” and “Some Girls.” But none of them move huge units on an annual basis. Having access to The Rolling Stones’ back catalogue is more about status than actual numbers. And are fans really going to want to purchase a new set of remasters that will most certainly be unleashed by whichever major label acquires the catalogue? I am fine with my EMI versions of The Rolling Stones post-1971 titles.

The only way The Rolling Stones will move some big units will be if the band finally issues some archival material. There have been some attempts in the past, most recently in 2002, but nothing ever surfaces. They don’t even have an official release of BBC material. There is next to nothing archival on the shelves by The Stones other than 1975’s “Metamorphosis.” If the band released a few titles reminiscent of The Beatles’ Anthologies, you can bet some units would move. Tie it in with a huge marketing campaign highlighting the first vintage release of unreleased archival material from the vaults, and there will be a vibe. Other than the stunning, but short “Get Yer Ya-Ya’s Out!” release, there still is not a premier live album in the band’s catalogue.

Mick Jagger does not embrace his past work with any real passion. He downplays the older recordings and has publicly made it clear on many occasions that he has little interest in vault releases. Well, if The Rolling Stones are looking for a big payday for their back catalogue, they may want to make a deal for a vault release. Granted, The Rolling Stones do not move units like Led Zeppelin, but ask Led Zeppelin and Warner Music Group about how much money was made with the band’s first real vault releases back in 2002 with “DVD” and “How The West Was Won.” A lot of units were moved and there was a real vibe out in consumer land because of the rare occurrence of a vault release from one of rock’s greatest bands.

The Rolling Stones can get a taste of that if they play their cards right. If I am a label, I make archival releases a part of the deal. There are only so many hits packages that can move – and unless the new label makes a deal with ABKCO, a lot of the band’s huge hits from the 60’s will be off limits for future hits packages.

At the end of the day, this deal means nothing. It is simply the transfer of a big name from one label to another. There is no substance behind it. EMI doesn’t really lose anything here; it just solidifies the perception that Guy Hands' operation is falling apart. The Rolling Stones gain a headline and maybe an advance.

Cactus

I saw a discussion about Cactus on a message board the other day. Anyone familiar with Cactus knows they were one of the heaviest and most explosive rock bands of the early 1970’s. Still, they never really attained headliner status. They recorded some forgettable studio albums; but their live shows were raucous, dynamic displays of musical energy.

Anyway, there isn’t much of a huge difference between the live and studio material. Cactus was a heavy boogie band; plain and simple. I have always labeled them as a glorified garage band. That is not intended to be a knock on the band. They could play. There was no nonsense about their approach; they plugged in and floored it. Carmine Appice and Tim Bogert were a premier rhythm section and Jim McCarty was a powerful guitarist. Rusty Day was a limited vocalist at best, but fortunately for him, the band’s material didn’t require Day to push any vocal boundaries.

Cactus’ material was a collage of heavy R&B and blues riffs, searing lead guitar licks, and intense boogie jams courtesy of the thundering rhythm section. Their live shows were over the top with volume and intense jamming. The studio work wasn’t much different. If anything, the songs were shorter in length, the band played a little tighter, and with the ability to play at a lower level in the studio, the band was able to pull off some more delicate musical passages within certain tracks. Whether Cactus was in the studio or on stage, the energy and power of their approach was the same.

Had Jeff Beck not been in a severe car accident in 1969, Cactus most likely would never have formed. Beck, Appice and Bogert had plans to create a rock band, but when his car accident left him out of commission for an indefinite period of time, Appice and Bogert went looking for another gig. While in the process of forming Cactus, the duo secured the vocal services of former Amboy Duke singer Rusty Day. Shortly thereafter, Day was able to reach out to Jim McCarty who had recently split from The Buddy Miles Express. With McCarty available and interested, one of rock’s most powerful line-ups was born.

Ultimately, Cactus would have a short shelf life. While the high quality of their musicianship was undeniable, the band was never able to come up with material that could propel them to the next level. By 1971, the band’s line-up began to change with the addition of second guitarist Ron Leejack. In 1972, McCarty and Day left the band and guitarist Werner Fritzschings, keyboardist Duane Hitchings, and vocalist Peter French came aboard Cactus, which by then was a sinking ship. There was the occasional musical highlight found with the post-McCarty/Day line-up, but the magic was gone. Cactus disbanded in mid-1972.

Cactus’ studio work isn’t bad; it’s just that their live work is a better representation of what they were all about. Whenever I’m in the mood to jam to some Cactus; I break out the live stuff. Cactus isn’t one of my favorite bands by a long stretch, but there is no doubt that the original line-up of the band would have blown most of its contemporaries off of the stage. They weren’t the biggest band, the best band, the best looking band, and they weren’t necessarily gifted songwriters – but, Cactus was a great rock band.

*Most of the band’s studio output is still available, in fact, Wounded Bird reissued some titles in 2007. Rhino Handmade’s “Barely Contained – The Studio Sessions” is worth seeking out for a thorough overview. Rhino Handmade’s “Fully Unleashed/The Live Gigs” and “Fully Unleashed/The Live Gigs - Volume II” are must-have live compilations. The 1971 show from Memphis found on the first volume is worth the price of admission alone. The fact that these titles are limited editions is baffling – how are future generations of fans supposed to enjoy these recordings?

Happy Birthday To Elvis

Elvis Presley would have turned 73 today. It is amazing that Elvis passed away 30 years ago. His image, music and reputation are just as vibrant today as they ever were. This isn't due to coffee mugs sold at Graceland or pathetic impersonators in cheap jumpsuits strolling around second-rate casinos in Las Vegas.

This is a man that changed popular culture. He helped shape and revolutionize Rock N’ Roll. He was and still is an inspiration to millions. His music continues to have meaning and influence.

Happy Birthday to The King. His music continues to age gracefully.

Album Sales Down...

The numbers are coming in. Album music sales dipped by at least 15% in 2007, meanwhile digital music sales rose by over 50%. Is anyone shocked by this news? This trend has been going on for awhile. But what does it really mean?

Casual music consumers no longer have many easy ways of obtaining CDs. The aisles at Best Buy, Wal-Mart, Borders are all pretty thin with overpriced titles usually consisting mostly of hits compilations and top 40 material. Most that are computer savvy in the slightest have embraced downloading tracks. It is easy enough, isn’t it? Millions of consumers have iPods. Why not just download the music while paying bills or surfing the net? Casual consumers have it made. They can simply select their favorite hits of the day and find some of the older classics with the touch of a button or click of the mouse. So, of course digital downloads continue to be on the rise. The primary buyers of downloads are casual music consumers.

For the devoted music fans and collectors, well, things have become much more complicated and dire. The devoted, hardcore fans are not fans of the download for the most part. If they do download anything, it is usually via P2P as a trade. But for the most part, devoted fans are still purchasing physical product, whether it is new factory sealed or used. Vinyl has even made a reappearance as a top format choice among many consumers.

Devoted fans still want physical product. Many are loading up on their purchases in preperation for the moment when the CD is gone and no physical replacement is available. This reality is coming sooner than most think. I know plenty of fellow music collectors that have been in high-volume-purchase mode for the past couple of years preparing for the inevitable day when product is gone.

The one thing that should not be forgotten is the market created by devoted music fans and collectors. This market is filled with individuals that live for music. They support it on all levels and consistently spend a lot of money on product. This market isn’t enough to sustain an entire record industry, but it is a market that needs to be taken care of by the record labels. The labels have lost their stronghold on casual consumers, but the moment the labels completely disassociate themselves from the hardcore fan-base is when their fate is permanently sealed.

Product is part of the music experience. The artwork and liner notes add value. I was jamming to The Byrd’s Legacy Edition of “Sweetheart Of The Rodeo” over the weekend. Not only is it a milestone and legendary album, but the story behind it is such a fascinating and important footnote in music history. The story is told through great liner notes and photos found in the Legacy Edition. This story won’t be found on iTunes if a music fan decides to explore “Sweetheart Of The Rodeo” through a download. iTunes is the modern day cassette tape – a no-frills way of hearing music. So much is lost through downloading.

Now, one could make the argument that all consumers have to do is download the tracks and search for the stories online. Well, that could work, but it isn’t quite the same as owning the music and story in a physical form. Ultimately, that may be the only way of doing it though, because the CD is on the way out. But, will casual consumers even know to look for the story? In many cases, this crucial piece of the picture will sadly go unnoticed.

Album sales will continue to plummet over the next couple of years. The percentage of sales will continue to drop because casual music consumers no longer support the CD as they once did, the prices continue to stay way too high, there are few options of where one can actually purchase CDs, and the quality of music continues to be at a low level. Downloads will continue to be on the rise, as discussed above. Still, there doesn’t seem to be any answers. The future for music sales looks bleak. It is only going to get worse before it improves.