John Lennon Is Alive In NoHo!

I never saw the Beatles in concert. I've seen Paul many times and Ringo a couple. I missed George's only US tour in the 70s and of course, John never played a show on the west coast. Very few people who are alive today ever saw John Lennon perform on stage. That's what makes Tim Piper's performance in "Just Imagine" so special, and a must-see for anyone who loves his music.

This is not a tribute concert. "Just Imagine" is a living autobiography of one of the greatest songwriters who ever lived. Piper, who's portrayed Lennon in various TV movies, grabs the audience's attention from the opening guitar riff of "Revolution" and holds it until the closing "All You Need Is Love." In between is an emotional performance that's never over the top but wholly authentic. For two hours, Tim Piper IS John Lennon.

The elephant in the room is quickly discarded with the opening video images of weeping fans in New York city the day after Lennon was murdered in December 1980. A smart way to deal with the tragedy that could follow this performance like a dark cloud. Suddenly, Piper appears in the audience, looking bewildered as he stumbles on stage to find himself surrounded by four amazing musicians.

With little fanfare the band plunges into "Revolution" followed by a clever White Album medley of "Glass Onion" and "Dear Prudence." The sound is perfect and so is Piper's voice as he moves from rocker to ballad, dark to light, harsh to sweet. In just three songs Piper captures the essence of John Lennon, a man known for his wit as well as his temper. Sitting at the piano, Piper begins to tell the Lennon story. How he was abandoned by both his father and his mother and her shocking death when he was a teenager.

In the audience I found it hard to hold back my emotions as Piper sang the gut-wrenching "Mother" followed by the sweetly acoustic "Julia." The anger and gentleness of this complex artist is a running theme throughout the performance. Its all about attention to detail and hard core fans will recognize the instrumental "Cry For A Shadow" performed by the band as Piper explains how the Beatles came together. He has a simple explanation for the decision to sack Pete Best for Ringo Starr. "Ringo wasn't a better drummer than Pete, but he was a better Beatle."

This segment is especially lively with a rocking version of "Money" as Piper explains how the Beatles "were raised in Liverpool but grew up in Hamburg." Then its on to America and the beginning of Beatlemania. Most of the songs are performed faithful to the originals but Piper knows when to throw in a twist or two. "A Hard Days Night" is played without the middle 8 because "that was Paul's part." Piper as Lennon calls his song writing partner a "talented bastard", explaining how songs like "We Can Work It Out" and "I've Got A Feeling" were true examples of their different personalities. Paul was the sweet olive oil and John was the vinegar and together they made a beautiful salad, drinking scotch and cokes while writing some of the greatest songs in pop music history.

The band behind Piper is called "Working Class Hero" and they really shine as the music gets more complex. Drummer Don Poncher makes one appreciate Ringo's stylings on "Strawberry Fields" while Greg Piper showcases McCartney's fluid bass lines on "Don't Let Me Down." Guitarist Don Butler and keyboardist Morely Bartnoff get a nice workout on "I Want You (She's So Heavy)" which is one of the show's musical highlights. Throughout the music the video screen behind the stage flashes images from each segment of Lennon's life, but this show is all about the music and the story of the man behind it.

After a brief intermission, Piper roams the crowd with acoustic guitar while taking requests. When he brings up Yoko Ono there are scattered hisses from the audience and Piper remarks: "I get a lot of that" and everyone laughs. The solo years are marked by a wrenching "Cold Turkey" and an uplifting "Instant Karma" as Piper explains Lennon's difficult transition from rock star to house husband. The LA Times review of the show complained that this "overwritten confessional can sap the momentum" of the show but I totally disagree. Piper keeps the stories short and they are what makes this performance completely different from the usual Beatle tribute shows. This one ends with a touching medley from Lennon's last album "Double Fantasy" which leaves the crowd wanting more.

And they get it with the song everyone is waiting for: "Imagine." For two hours I did not have to imagine that John Lennon was still alive. As the talented Tim Piper constantly reminded us, he lives on through his music, which will live forever.

U2 Rocks The World On You Tube

I wanted to go to the Rose Bowl to see U2. So did 100,000 other fans. I've been to the venue for the actual Rose Bowl football game and its always a traffic nightmare. You have to go early and leave early and I'm not paying the big bucks to see U2 and miss the encores! Fortunately on the day of the show I received notice that the concert was going to be broadcast live on You Tube. My Sunday started at 7am while I drank coffee and watched the thrilling Liverpool v Man United soccer match. Then came the NFL games, both on TV and the radio while riding my bike at the beach. Then it was playoff baseball, Sunday night football and finally around 9pm U2 hit the stage.

If I'd been at the Rose Bowl all day I would've been drinking beers and grilling up a storm. Thanks to You Tube and the band I caught the show at home eating popcorn and drinking rum and cokes. While the video quality varied throughout the two hour concert, the sound was consistently crisp and clean. U2 started out with three songs from their latest album "No Line On The Horizon." I love the record (see my earlier post from March) and enjoyed the live versions of "Breathe," "Magnificent" and the title track. Then came the hits. I always thought "Beautiful Day" was a bit lightweight but this version rocked hard and Bono threw in a snippet of "God Only Knows" for the SoCal Beach Boys fans like myself.

U2 didn't play "Still Haven't Found What I'm Looking For" when I last saw them in San Diego in 2005 but they did this time. Watching the crowd sing and Bono strut about the gigantic stage made me wish I was there. On You Tube I had a sense of the enormity of the now famous "Claw" stage but it was hard to appreciate the awesome structure on my computer screen. I saw enormous video screens and the bridges over the crowd that appeared out of nowhere. Bono and The Edge reminded me of Mick and Keith of the Stones as they pulled off an acoustic take of "Stuck In The Middle" like they were playing in an intimate club. Bono's voice had sounded a bit ragged on their Saturday Night Live appearance a few weeks ago but was in pristine shape on this cool evening. "Elevation" rocked and rolled as the crowd went crazy singing along. "The End Of The World" is another concert highlight that sounded better than ever but after that came my favorite: "The Unforgettable Fire," perhaps U2's "prettiest" song while challenging Bono's vocal range.

U2 was tearing it up as they hit their stride with "City of Blinding Lights" and "Vertigo." I was dancing around the house at 11pm on a Sunday night, so glad I didn't have to worry about the drive home. I was getting emails from friends all over, including Australia where it was Monday afternoon. It was truly a global experience from a truly global band.

My only quibble was the set closer: "Walk On." I like the tune but it was a let down after the driving force of the previous tunes. The encore, which I would have heard while racing to my car if I was there, did not disappoint. I knew they had to do "One" and "Where The Streets Have No Name" and "With Or Without You." Yet it was the last song, the best from the new album, "Moment of Surrender" that was the perfect nightcap on a long and fun day.

Thanks to U2 and You Tube, I saw an incredible show for free and so did 10 million other fans on seven continents, a You Tube record. However, I knew that to fully enjoy this "360 Tour" I really had to be there. So when I woke up on Monday and found out U2 had scheduled a show at Angels Stadium in Anaheim for June 6, 2010, I immediately booked a hotel room right next to the stadium. That way my friends and I can tailgate by the pool and walk to the show!

Of course, once U2 gets rolling, they keep thinking bigger and bigger. They will play a free concert in Berlin to help the city celebrate 20 years since the fall of the Berlin Wall. Music network MTV said the Irish rockers will perform in front of the Brandenburg Gate on Nov. 5 during the MTV Europe Music Awards. The show will be beamed into the awards ceremony at Berlin's O2 World arena. On October 30th they'll be at Madison Square Garden for the 25th anniversary concert for the Rock and Roll Hall Of Fame. I hope they find time to get some rest before next June!

The Greatest Album Ever! Abbey Road

On 09/09/09, The Beatles Rock Band game will be released, with the goal of introducing a whole new generation of video-playing kids to the greatest musical act in history. On the same day, the entire Beatles catalogue will be released in remastered CD format. with the goal of re-introducing the group's music in the digital age. The band has already graced the latest cover of Rolling Stone magazine and its starting to look like Beatlemania all over again.

The calendar date I'm looking forward to is Oct. 1st. That's the 40th anniversary of the US release of the greatest album of all time: Abbey Road. This is a record that has everything: hit singles, various musical styles, and an ambitious song cycle. There's even a mystery tune, "Her Majesty" not listed on the original credits. Its like the Beatles knew their career together was coming to an end so they held nothing back during the sessions. Starting with what turned out to be one of the most famous album covers ever!

Not only did the cover inspire numerous imitations, but it was also the flash point for the "Paul Is Dead" rumors which began immediately after the album's release. The great thing about the crosswalk setting is that its an actual place where fans like myself can have their photo taken!
Abbey Road opens with two #1 hits: "Come Together" and "Something." The latter was George Harrison's first composition to reach the top of the charts. A beautiful love song, it features the exquisite bass playing of Paul McCartney which comes through quite clearly on the remastered version. Its followed by two McCartney compositions: the whimsical "Maxwell's Silver Hammer" and the R&B flavored "Oh Darling," one of Paul's greatest vocal performances. However the best McCartney tunes are found on side 2 which make up the heart of the closing medley.

What I love about Abbey Road is that all four Beatles get a share of the spotlight. Ringo Starr contributes the delightful "Octopus's Garden" but also one of the most distinctive drum solos in rock at the end of the record. John Lennon's "I Want You (She's So Heavy)" is a rare blues song for the Beatles, with a killer guitar riff that sounds like it came straight from their nights playing the Hamburg clubs in the early sixties.

Those are six great songs which give the listener NO IDEA of what's in store for the remainder of the album. The new remastered version should require that Abbey Road is actually flipped over like a vinyl record. Side One is great but Side Two is a completely different musical universe. You could start with Harrison's "Here Comes The Sun" and stop right there. This song captures everything The Beatles were all about: lyrical hope and optimism plus musical ingenuity. Everyone in the world seems to know this song but it was never released as a single! Not only does Abbey Road contain two of Harrison's greatest compositions but two of the most beloved tunes in pop music.

If you are fortunate to have seen The Beatles LOVE show in Las Vegas, you know the acapella version of John Lennon's "Because" is stunningly beautiful. The original found on Abbey Road is equally breathtaking. This is where The Beatles show off their three-part vocal harmonies and get you ready for the sixteen minute medley which closes the album. It features three of McCartney's most memorable compositions: "You Never Give Me Your Money,""She Came In Through The Bathroom Window" and "Golden Slumbers." Throughout the years I've discovered that "Money" is my favorite song on Abbey Road. When I hear Paul sing "Oh that magic feeling, nowhere to go," I know exactly what he means.

In later years Paul would say that the song "Carry That Weight" was a metaphor for the break-up the Beatles, that their legacy would be a tough load to bear. Yet the very last song on the very last Beatles album (remember "Let It Be" was recorded before but released after "Abbey Road") features the band in a joyous climax. Starting with Ringo's drum solo and then an instrumental with Paul, George and John wailing away on their guitars, the Beatles sound like a rock and roll band at the top of their game. That finale is called "The End" and concludes with one of the most quoted lyrics in musical history:

"And in the end, the love you take is equal to the love you make."

No one has said it better, no one has played it better, no one has made a better album than Abbey Road.

Moody Blues Belong In The Hall of Fame

In October the Rock and Roll Hall of Fame will honor itself with a 25th anniversary shindig at Madison Square Garden. The usual suspects will be performing: U2, Clapton, Springsteen, etc. Goody for them! They certainly deserve it. Yet there are so many other acts who should be in the Hall of Fame and the most glaring omission is the Moody Blues.

I recently saw the band entertain thousands of fans on a lovely summer night in the Sierra foothills. Lead singer Justin Hayward has aged quite well. He still has a mop of auburn hair and boyish looks and he still plays a mean guitar. There were a few notes he couldn't hit during the show but 99% of the time his voice sounded terrific, singing two decades of songs, most of which he wrote.

Bassist John Lodge played with a youthful enthusiasm and drummer Graeme Edge let fellow percussionist Gordon Marshall handle most of the skin pounding. Smart decision since Marshall is a fantastic drummer and engaging showman. Surrounded by other talented musicians the Moody Blues put on one of the best shows I've seen in a long time. Opening with "The Voice" the concert touched on the familiar: "Questions,""Nights In White Satin""Ride My See-Saw" and the obscure: "Driftwood" and "Are You Sitting Comfortably?" I had completely forgotten about the last one, an English ballad with King Arthur imagery, and it sounded wonderful in the open air of the Ironstone Winery amphitheater.

The unexpected highlight was "Isn't Life Strange." This powerful tune from 1972 went from quiet verse to thundering crescendo leading into the chorus. Fit for a Philharmonic Orchestra, its hard to believe this beautiful song was once a Top 30 hit in the USA!

I think every person who buys a ticket goes to their show hoping to hear one or two specific songs. The Moody Blues played my wish list back to back! "The Story In Your Eyes" had an edge to it when Hayward and Lodge strutted the stage in rock star fashion. Then came "Your Wildest Dreams," one of those songs that can make you cry or make you smile. I think I did a little of both. I couldn't help but think about the terrific video which won the Billboard Video Of The Year award in 1986.

Think about it!

The Moody Blues started in 1965 with the Top 10 single "Go Now," (featuring Denny Laine who would later join with Paul McCartney and Wings). That song was featured in one of the first music videos ever made! (Called promotional films back then.) Over twenty years later they won an award for best video, slugging it out with the pretty hair bands half their age on MTV.

And they're not in the Hall Of Fame?

Their first album with Hayward was 1967's Days Of Future Passed recorded with the London Festival Orchestra. It reached #3 in the US and spawned two massive hits: "Tuesday Afternoon" and "Nights In White Satin." How many high school proms have used "Nights" for their theme? How many other songs with a poem at the end of it were played on Top 40 radio? Imagine selling your new record company on an expensive concept album when you only had one hit and the guy who sang it had left the band! The Moodys did all that and Days was a commercial and artistic success.

And they're not in the Hall Of Fame?

From 1967 to 1988 the Moody Blues stayed on the charts and hit number one in the US with two classic albums: Seventh Sojourn and Long Distance Voyager. During that time they were one of the first bands to start their own record label: Threshold. Let's not forget the positive themes that run throughout the band's extensive catalogue. Like their contemporaries The Beatles, the Moody Blues (and especially Hayward) chose to focus on uplifting and insightful lyrics, disdaining the decadent rock and roll party imagery. They can rock hard if needed, but their success has shown that art and good times are a pleasing combination. Over forty years of touring and the Moodys sound better than they did in 1973 when I first saw them.

And they're not in the Hall Of Fame?

Let's take a look at who has been inducted, starting with the opening act at Ironstone: Dave Mason. I have no qualms with this great guitarist getting the honor. He wrote "Feeling Alright" - one of the greatest rock anthems ever - and of course he made it in as a founding member of Traffic. That's one of my favorite bands of all time. Yet they only recorded a handful of albums and their commercial success was limited at best.

Who else? Percy Sledge? For one hit? The Ronettes? They didn't perform or write their hits! Miles Davis? He made one kinda rock album! The Ventures and Duane Eddy? Instrumental acts...I mean really? Del Shannon? Who knows anything but "Runaway" by this guy?

How about bands who were so talented they changed the face of music by exploring unknown technology and still sold records and packed arenas? Does YES and Emerson, Lake & Palmer come to mind? Or Procul Harum? What about the good time bands who have been touring for decades and still selling out shows? Are you telling me CHICAGO isn't in the Rock Hall of Fame? With all those hits and terrific musicianship?

Those four bands should be in the Hall of Fame.

But The Moody Blues have to be.

No "questions" asked.

Michael Jackson Memories

I wasn't going to write about Michael Jackson. I mean, my god, what else is there to say? Personally I saw him in concert twice and both were extravaganzas. Even more, as a white DJ in the eighties, I loved the way he could put all people from all colors on the dance floor at the same time. The only other solo artist who could do that was Phil Collins. Go figure!

Suddenly-on the 7th day after his shocking death-two incidents made me put aside my review of the Clapton/Winwood concert I saw at the MGM Grand (should be my next installment) to write this epitaph.

First: I turned over my calendar for the month of July and Michael Jackson ("Off The Wall" era) was staring at me! I have a nice Rolling Stone magazine "Decades of Rock" wall calendar for 2009. It started with The Who and The Dead and now its the King of Pop! I'd never looked through the entire calendar so I had no idea that his haunting visage would be with me for the next 31 days.

Second: Speaking of Rolling Stone magazine, I received a year's subscription for free when I bought the calendar back in January. If you have the latest issue with the Jonas Brothers on the cover (I know, pathetic right?) then you may have read an article on page 19 entitled "Michael Jackson's Troubled Comeback". Pretty much describes everything that would happen in the coming weeks except for his ultimate demise.

I was doubtful about the singer's ability to perform 50 dates in the UK. The Rolling Stone article said it would be his last chance at redemption. The promoter-AEG Live-had already advanced Jackson $5 million to pay off a major debt. Now AEG has to pay back all those ticket holders. Just like they paid David Beckham millions to play soccer in L.A, another complete failure. Amazing this company is still in business!

When I saw Jackson, he was in his prime. December 1984 at Dodger Stadium with his brothers The Jacksons. The "Victory" tour was actually the unofficial "Thriller" tour for MJ and the first chance to hear those songs live in concert. I had great seats from the newspaper I was writing for and regret not bringing my camera. I'd heard security would be tight and absolutely no cameras but when I arrived with my fiance' in tow we breezed through the ticket line. In time to hear "Beat It""Billie Jean" and my favorite "Human Nature" plus the rarely performed "Heartbreak Hotel." Taught me its always worth it to try and get the camera in, usually you succeed.

In the late Eighties one could always see Michael Jackson in the spectacular 3D Movie Captain EO showing around the clock at Disneyland. I saw it about five times and loved the song "We Are Here To Change The World" which was unreleased at the time. This is how big MJ was after Thriller: Francis Ford Coppola directed Captain EO and George Lucas produced it.
I always wondered why Jackson did not follow up with another big screen endeavor.

The next time I saw MJ live was with a new girlfriend at the LA Sports Arena in January 1989. Notable for his co-vocalist on the sappy ballad "I Can't Stop Loving You"- the then unknown Sheryl Crow! The 15,000 seat Sports Arena was one of the smallest venues of the BAD tour and it was great to hear "The Way You Make Me Feel" in such an intimate setting. On that night my chance for romance was quashed when a semi-major earthquake hit LA during the concert. We didn't feel it while the show was on-not even Mother Nature could stop a Michael Jackson concert!

Unfortunately, something else could stop his life. Rest In Peace, MJ...

Travis: The Band That Never...But Should Have!

Have you ever gone to see a band for the first time and come away so blown away you bought every CD and DVD by the group you just saw? That's what happened to me when I chanced upon the band Travis in Las Vegas on a Thanksgiving Friday in 2007. Unlike most of my buddies who go to Sin City only to drink, gamble and eat, I like to see a concert whenever I'm in town. Las Vegas has the best venues in the country for seeing live shows, from the MGM Grand Arena (I'll be there June 27th for the Clapton/Winwood extravaganza) to the Colosseum at Caesars Palace. There are no luxury boxes taking up prime real estate and you don't have to worry about parking. Plus its nice to get away from the tables and slots for a few hours.

On that cold November night I decided at the last minute to walk over to the Hard Rock Casino to see a band I knew very little about. Part of the appeal was the $30 ticket-much cheaper than the Elvis or Beatles tribute shows I was considering-and part of it was The Joint at the Hard Rock, a wonderful place to see a show. After buying a ticket I ended up winning $50 playing deuces wild on a video poker machine while waiting for show time. I had a feeling it was going to be a great evening.

It turned out I was wrong. "Great" does not even begin to describe the performance I saw that night. The show opened with the "Rocky" theme blaring from the PA system. A spotlight hit the crowd and I turned to see the band jogging through the audience while "high-fiving" the members, including myself. When Travis made it to the stage they ripped off their faux-boxing apparel and tore into the song "Selfish Jean." First time a band had won me over before they even played a note!

The show that followed had me mesmerized by some songs that I recognized ("Writing to Reach You,""Why Does It Always Rain On Me") and a tune that instantly became one of my all time favorites: "Driftwood." Throughout the evening lead singer Fran Healey told amusing and touching little stories before singing the shit out of every number on the set list. I immediately identified with fellow bassist Dougie Payne who was the epitome of rock and roll cool, swaying to the beat while grinning at the crowd. Guitarist Andy Dunlop stood on top of his amp during his solo on "All I Wanna Do Is Rock" while drummer Neil Primrose never missed a beat.

By the end of the show I was at the lip of the stage acting like a teenager at his first concert. When the band gathered to perform an all-acoustic "Flowers In The Window" I was singing along to a song I'd never heard before and when it was over I practically skipped back to my hotel room. It had been so long since I'd been blown away by a band I'd never seen before and in the following weeks I discovered it wasn't a fluke. Travis has put together an impressive catalogue of albums that I never get tired of and their two in-concert DVDs always amaze those friends of mine who know nothing about this quartet from Scotland.

So that's the big question. Here's a band that's had huge success in Europe with monster singles like "Sing" and "Turn" and CDs like "The Man Who" winning Best Album at the 2000 BRIT awards. So why haven't they found success in the USA? Well they have if one considers their live shows. Travis has a loyal following in the States and can draw at least a couple thousand fans wherever they perform. Those fans get to see one of the best live acts in rock and roll, and those fans go out and tell their friends about Travis and bring them to the next show. That's the way it used to be in the music biz-bands built their audience by the strength of their touring chops and the word spread organically. A far cry from the lip-synching pop stars who are here today and gone tomorrow.

It doesn't matter how many records they sell. Travis has been around for a decade and should be around for at least another one. I'm happy to report the band sounds better than ever on their latest tour. I took a friend to the show at The Wiltern Theatre in LA this past April and he couldn't believe the energy coming from the stage and the crowd. Travis had a new album to promote-"Ode To J. Smith-" and though I've never heard one of its songs on the radio, the crowd seemed to know every word. Plus, the band has branched out a bit, especially on the title track which is heavy on synthesized effects and dramatic crescendos. Yet Healey still had time for a lovely solo take on "Sarah" from the new album, showcasing his knack for melancholy sweetness and gorgeous melodies. That's why I own every Travis recording I can get my hands on.

That's why I'm already looking forward to their next show.

Travis has a wonderful, interactive website at www.travisonline.com

U2: Respect The Hype!

U2 can't get a break. They release a terrific new album,
go on David Letterman for a week, and host three nights of
radio shows to promote their record. Then the bloggers and
pundits accuse them of HYPE and overkill.

What are they supposed to do? Who the hell knows how to reach
music listeners today? Everything is so fragmented, from the
internet to a million cable TV channels. Do kids even listen to
terrestrial radio anymore?

I do. We have a fine new station in LA called 100.3 FM The Sound.
They are playing NO LINE ON THE HORIZON and talking about
the band . Even moldy old KLOS FM aired all three nights of the
U2 radio shows. It reminded of the old days when a band came to
town and everyone talked about it. Now the buzz is on the internet,
where an act can go from hero to has-been in an hour.

I love everything about the new U2 record.
The kind of album you can play coming home from a funeral as well
as heading out to spring break. I've done both.

"Unknown Caller", "Magnificence", "Moment of Surrender" and"I'll Go Crazy" are instant classics. When Bono and The Edge sing "I did not notice the passers by and they did not notice me" on "Surrender" I get chills down my spine.

Other tracks take some time to appreciate: the gorgeous "White As Snow" and the mysterious "Breathe" are like black and white foreign films, with beauty hidden among
layers of sadness. This is an old fashioned album, meant to be listened to as a whole,
while each song reveals itself to the listener.

I bought the album on iTunes and received two bonus tracks. The remixes of "Get On Your Boots" and the title track, both of which exceed the originals! The second "Boots" is a techno-pop joy which emphasizes the catchy chorus. The accompanying booklet is a treat for the eyes.

I loved watching them on Letterman all week long. The salutes to The Beatles and the Ramones were touching, and the new songs sounded terrific. Some called it over-exposure, five nights of U2 which cost absolutely nothing. I called it the entertainment bargain of the year.

Same with the radio shows which aired three nights in a row. The first was an interview that showed they are intelligent blokes with a good sense of humor. When asked what bands made them take notice, they said Nirvana, Oasis, Kings of Leon, Interpol. The Killers and the Fleet Foxes! I like knowing those kind of things. The next night each member was asked to play DJ.
Larry picked The Ramones "I Wanna Be Sedated" and joked that being in U2 "sometimes you want to be sedated." The Edge picked "Brown Eyed Girl" commenting that Van Morrison "started Irish rock and roll." Bono played "Hallelujah" by Leonard Cohen and urged everyone to go see the legend on his current tour. "Best live show I've ever seen" and you know he's seen a few.

On the final night they performed live in Boston and took questions from the crowd and Larry Mullen Jr. had this to say when asked about giving advice to a band starting out today.

"It's about writing songs and being creative. Part of that is the kind of unity you can create in a band that you can't get as an individual. You need to have a certain kind of democracy where everyone feels a stake in what you do. It's about your respect for the individual members of the band."

U2 is band who respects each other and its audience.
I loved it when it was TWO WEEKS OF U2 EVERYWHERE!
Because U2 lives up to the HYPE.

Bruce Springsteen: Sell Out or Still The Boss?

Bruce Springsteen has been in the news lately. You probably know he played a four song set at halftime of the Super Bowl. One of the songs he played -"Working on a Dream"- is the title of his latest album. He's about to start another US tour and there's already been a flap with Ticketmaster's handling of the shows. He stunned his long-time fans by releasing a greatest hits CD exclusively at Wal Mart and he later called the deal a "mistake." So there's lots to talk about.
Did he sell out by playing the Super Bowl? Did he spit on the independent record stores by making a deal with a retailing giant? Is the former working class hero now only in it for the money?

I have my own thoughts about The Boss since I've seen him live in concert more than ten times.
In 1975, I worked his show as student help at UCSB, the same week he was on Time and Newsweek (I have both covers framed), met him after the show and he gave me a busted harmonica which I still have. Still the only performer in all my 25 years of working shows that ever came out to thank the local crew after the gig.

I'm sure he does not do this anymore.
I bet he doesn't tour in a van and eat pizza at the Motel 6 after the gig.

Point is, people change, even our heroes. We expect their song writing to mature, so why not their lives?

For example, I'm happy that Paul McCartney is one of the wealthiest men in the world. He deserves to be considering how much joy he has brought this planet. I know he didn't write those songs for the money, but the fact he's made a ton of dough does not bother me at all. Sure, his last great album was 1997's Flaming Pie (and it is a great record) but I would rather have him continue to record than retire.

He won't be around forever.
Same with Bruce.

About twenty years after meeting The Boss in Santa Barbara, I toasted him with a Heineken at the Sony Grammy party after he won for Streets Of Philadelphia. Basically the same shy guy with a wife this time, Bruce seemed so happy to have been shown a little respect by his peers.

He grew up working class (and if you've been to Asbury, you know it's not a pretty place, despite being on the shore!) so he sang about the working class. Now he's paid his dues (could anyone else play 4 hour shows night after night, year after year?) and he sings about 9/11 and the country he was born in. He lives in a big house with his big family and probably wants to make sure they won't have to worry about their financial future. I don't remember him ever pretending to be the same exact guy he was when he sang "Born To Run." Thank goodness.

He didn't get paid for all those shows he did for John Kerry and later Obama. He did them because he thought it would be best for this country if those men were elected. And he took a big hit in popularity from long-time Republicans in his fan base. Neil Young wondered why he was one of the few artists who protested Bush and the war. Well Bruce did it his own way.

But the reason I STILL LOVE SPRINGSTEEN: he won't play the god-forsaken Staples Center in Los Angeles! I was there on opening night when he begged the people to come out of their luxury boxes. Since then he's played the run-down Sports Arena where despite its lack of modern plumbing, there's not a bad seat in the house. I don't care what he's charging this time around, as long as he doesn't play the soulless Staples, a barn if there ever was one. Now that's taking a stand!