Showing posts with label Bruce Springsteen. Show all posts
Showing posts with label Bruce Springsteen. Show all posts

The Headliners and Legends Auction 2018

The Headliners and Legends Auction
February 1, 2018

Backstage Auctions is proud to present an amazing collection of rock and pop memorabilia, including a highly impressive selection of artist signed guitars, RIAA-certified record awards, a large collection of autographed memorabilia, original Peter Max paintings, and a dazzling array of tour and promotional collectibles.

With over 50 signed guitars from - among others - Paul McCartney, Bob Dylan, The Rolling Stones, Bruce Springsteen, Fleetwood Mac, Eric Clapton, Eagles, Pearl Jam and U2, as well as a host of other great autographed memorabilia such as a Beach Boys surfboard, a Miles Davis print, Elton John Record Award and Queen posters, this auction truly is all about "Headliners and Legends".


This impressive collection of memorabilia comes from the estate of a well-known music industry executive who spent decades working for music retailers, record labels, and festivals. In the course of his nearly 50-year-long career, he worked with just about every artist and band from the 1970s on. He was involved with the Grammy organization, the Rock and Roll Hall of Fame, as well as various music-related charities. His broad collection reflects not only his true passion for music, but deep friendships forged over the years. A portion of the proceeds of the auction will be donated to the favorite charities of this well-loved industry icon.

The Headliners and Legends Auction will go LIVE with a preview of the entire catalog on February 9th, 2018 and bidding will begin on February 16th and close on February 25th, 2018.

For more about the auction, carve out some time to listen to Goldmine Magazine's interview with our very own Jacques van Gool. Pat Prince, Goldmine editor and Jacques talk about the auction highlights. Click here: Podcast Link


Sign up today for your All Access Auction Pass: Register Here



Rock 'n Pop Music Memorabilia Auction Highlights


By Patrick Prince - Editor of Goldmine Magazine

In April, Backstage Auctions presents its annual Rock & Pop Auction packed with many irresistible items for collectors. Make sure you mark your calendar for April 23 to May 1, 2016.

Backstage Auctions owner Jacques van Gool was on hand to explain to Goldmine the significance of this upcoming music auction.

GOLDMINE: Tell us about the highlights of the Rock & Pop auction.
JACQUES VAN GOOL: The auction as a whole is one big, glorious fest of collectibles! We are still processing collections but in the end I anticipate that we will have in the vicinity of 1,000 auction lots. As an auctioneer it’s always hard to point at your favorite child. There are obvious highlights, such as the Beatles’ album-used Vox organ or Johnny Cash’s album-used recorder. At the same time, one might find Paul Stanley’s stage-worn boots or an interview cassette with Glenn Frey the highlight of the auction. For me, I just look at the event in its entirety, and what I see is a spectacular celebration of Rock & Pop memorabilia.

GM: Many of our readers will be interested right away in The Beatles collection in this auction. Please detail it for us.
JVG: Indeed, it is a remarkable collection, coming from the estate of a former Florida-based DJ. Safe to say that this individual had a legitimate man-crush on The Beatles, as the collection alone consists of nearly 1,000 individual pieces, ranging from massive amounts of books, magazines, CDs, DVDs and current-day merchandise all the way to an impressive collection of 1960s memorabilia, vinyl and reels. Among the eye-poppers are a Beatles turntable, rare Vee-Jay records, a Butcher cover and a fantastic collection of Bag One artwork, including two original portfolios, five John Lennon signed lithographs, 1970 exhibition programs and many other official prints. 

John Lennon Bag One



GM: You mentioned that a Johnny Cash recorder.
JVG: That’s a good one, too! In the late 1960s, Johnny Cash bought an Ampex MM-1000 recorder for the recording of several of his albums. In the mid-1970s, Johnny then sold the recorder to the SmithLee Recording Studio in St. Louis, who subsequently sold it to a Kansas-based recording studio owner. It’s been in Kansas ever since. Not only does this 2-inch recorder (the “Rolls-Royce” of its time) come with the original paperwork from Johnny Cash, but the Kansas studio owner wrote Johnny and received a letter back confirming that, indeed, this was the recorder he used for a number of his own albums. Not only are working 2-inch recorders hard to find for those who want or need one, but to potentially own one with this level of music history is an exceptional opportunity. Heads-up though; this is a 700-pound behemoth, so proper space and reinforced floorboards are required.

Rare Pressing of David Bowie's "Heroes" Album 
GM: You also have Bowie memorabilia up for auction. Does a rock star’s death make memorabilia more sought after? Is that merely a mainstream assumption? Or does it depend?
JVG: Good question and I think it’s a little bit of everything you mentioned. Sure, there’s always the immediate wave of demand and with Bowie that was no exception. But in general, it’s just a small spike on the longevity chart of an artist’s overall degree of collectability. Bowie was already collectible and will remain collectible long after his death. The prices are a little higher now than usual and with time, let’s say a year or so from now, it’ll swing back to where it was. And yes, we do have some cool Bowie collectibles. The one piece that deserves upfront mention is that we have literally the only one existing multi-color vinyl pressing of “Heroes”, coming directly from the L.A.-based pressing plant that was commissioned by RCA Records at the time. 
KISS Paul Stanley Used Boots

GM: Is there a favorite lot that you are personally excited about?
JVG: Oh man, where do I begin? Maybe I stay close to home. It’s no secret that KISS was the band that made me a collector back in 1975, so I’ve always been partial to KISS collectibles. We’ve got some great stuff this time around, including record awards, vintage 1970s shirts, passes and cards, autographed items and so on. There’s even the original light board controller used to light up the massive KISS logo on the 1979 Dynasty tour. But of all pieces, it has to be the pair of Paul Stanley tour used boots. There’s just something magical about these crazy platform boots.

GM: Anything else you’d like to add about this upcoming auction? 
JVG: Yes, there are a couple things I would like to add. One is an amazing collection of Bruce Springsteen memorabilia that includes signed items, rare promotional material, vinyl, concert CDs, record awards, jackets, you name it. There is even of rare college magazine from the 1960s that published Bruce’s first poems. Bruce Springsteen collectors will be thrilled and impressed with the depth and width of everything.

Another fantastic collection features original Fillmore East negatives, mostly from the late 1960s. There are all the usual suspects, but I’m partial to the set of “The Wind in the Willows” negatives from 1967, featuring none other than Deborah Harry.

And speaking of 1967, remember the band The One Percent? Probably not, but it eventually morphed into Lynyrd Skynyrd and we will feature the original management contract for this band containing the signatures of the likes of Ronnie Van Zant and Gary Rossington ... and their parents! None of the band members was old enough to enter into a legal contract, hence all the parents’ signatures.

Fleetwood Mac Fully Signed Set List
We have a fantastic collection of original interview cassettes that comes from the private collection of a Japanese journalist who interviewed American and British rock stars for a host of Japanese magazines. These are intimate recordings with the very first lineup of the Red Hot Chili Peppers and an hour-long discussion at the Aspen home of Glenn Frey — great stuff.

I can go on and on. There are hundreds of fantastic concert shirts, tour itineraries, backstage passes and tickets, collectible vinyl, Alice Cooper-used stage and album props, more autographed items than one could hang on a wall and an equal number of impressive record awards. There are posters, promotional jackets, and just about everything else. 

This is hands down one of the most comprehensive Rock & Pop auctions we have ever done and we couldn’t be more proud. Come to our site when the auction preview goes live and feast your eyes on all this amazing music memorabilia and history.

A PREVIEW of the Rock & Pop Auction will be live on April 16, until its official opening. 

The auction will be open for bidding from April 23 to May 1. For more information, or to bid, visit:  www.backstageauctions.com. 

 — Patrick Prince - Editor / Goldmine Magazine 

Reposted from Goldmine with permission. All Images are property of Backstage Auctions. 

Just who was Kelakos?

Unknown '70s band reintroduces itself
By Peter Lindblad

Kelakos - Uncorked: Rare Tracks
From a Vintage '70s Band
Massachusetts was a dead end. Burning up the club circuit in the Bay State five and six nights a week wasn't getting '70s rockers Kelakos anywhere.

Going on the idea that location is everything, they relocated, thinking they were more likely to be discovered in New Jersey, given its proximity to record labels in New York City. They didn't fully realize what they were up against.

"At that time, it was really heavy music or it was disco," said Carl Canedy, the drummer for Kelakos. "It was right at the onset of disco, and we were neither."

Even worse, they were trespassing on the home turf of a man known as "The Boss," and they soon found out where they stood in the pecking order of the New Jersey music scene.

"When we played, we played a place called the Drift Inn," recalled Canedy. "It's in New Jersey, which was across the street from the Stone Pony. So, the first time we played the Drift Inn – I think we played Tuesday nights, we had a regular gig there, Tuesday nights at the Drift Inn in Asbury Park – and we were playing along, and it's a Tuesday night. There are people in the club, but not a ton of people – 75 people maybe. All of a sudden, they just start running out of the club, just running out of the club."

Needless to say, Kelakos was taken aback seeing an audience fleeing from their set as if someone had yelled, "Fire!" Bassist Lincoln Bloomfield Jr., for one, wasn't sure what to think.

"You see people talking, and suddenly, they run out of the club, and Linc leans forward to me and said, 'Wow, I guess these people just don't get us. This really sucks,'" recounted Canedy. "So the same thing happened two more times that we played there. It was crazy. We didn't know anyone, and finally, we just asked someone, 'What's going on?' And we found out what was happening was – which we were unaware of – that Springsteen was sitting in with Southside Johnny at the Stone Pony, and the word would be out in the club and people would run to see Bruce Springsteen, which seems so silly when they could have stayed and watched Kelakos (laughs)."

All the complications and frustrations involved in chasing the elusive dream of rock 'n' roll stardom eventually wore thin for Kelakos, which included Canedy, Bloomfield, singer/guitarist George Michael Kelakos Haberstroh and guitarist Mark Sisson. Incidents like the one at the Stone Pony didn't help.

"Those are the 'Spinal Tap' moments for the band, where we didn't know what was up and our feelings were pretty hurt the first couple of times until we found out," said Canedy. "But it was tough in New Jersey because of things like that."

Uncorked

The recent unveiling of Uncorked: Rare Tracks From a Vintage '70s Band aims to reintroduce the music of Kelakos to an audience that, in all likelihood, has never heard of them. A surprisingly diverse set that runs the gamut of Southern-fried boogie to prog-rock and Beatlesque psychedelia, as well as boasting compact jams of blues, country and rock ingredients born of that time, this 15-track effort never stays in one place too long, as evidenced by tracks such as "Gone Are The Days," "Boogie Bad Express," "How Did You Get So Crazy" and the ambitious epic "Frostbite Fantasy," as well as the never-before-released "In The Sun."

That willingness to explore may have cost them in the end.

"I think that's one of the things that may have been a downfall for us at the time," said Canedy. "You know, Linc, George and I were the songwriters ... we had no boundaries. It was the '70s. We had been influenced by The Beatles ... so we wrote what we wanted. We never looked at it as well, should we be grape jelly or should we be tomato soup? We were like, 'Screw it.' We'll just be like stew. We'll just have carrots and onions, and we'll do whatever we want to do. We had no label. We had no guidance."

Perhaps best known as the drummer for '80s metal bashers The Rods, Canedy also later made a name for himself as a producer, working on albums by the likes of Anthrax, Overkills, TT Quick, Exciter and Possessed, among others. Over the years, he's served as the archivist for both The Rods and Kelakos.

"I've maintained and stored all these tapes, these recordings for years," said Canedy. "And Linc and I were having a discussion one day. He was putting together his Pro Tools studio. And we were talking about the fact that in this day and age, transferring from analog to digital it just makes life easier because you don't have the studio costs and so on, which we obviously had in the old days."

Shipping off some transfers of the material to Bloomfield, Canedy waited for him to work on the mixes. The results were stunning.

"With each successive recording, the mixes just sounded ... we were like, wow!" said Canedy. "It was like blowing off the dust on a painting that was actually very nice."

Knowing full well the project would be a money pit, they carried on, and Canedy believes it was all worth it.

"When we recorded this, one of the things I remember saying was, 'Let's continue,'" said Canedy. "Even though we were spending a lot of money mixing, and we were concerned we were just never going to break even on the project, my thought was, 'Someday, we'll be glad we did this, we'll be proud of it. So let's make it as good as we can.' And I have to say, those words kind of came true, because now, at this point, for me having done so many things – produced so many albums and having been a part of The Rods and done so many projects – the Kelakos thing something that wasn't really on the radar ... we were proudest of this discography, and I'm really glad people get to hear this because it's really something to be proud of."

Trials and tribulations

Before Canedy came along, Bloomfield, Sisson and Haberstroh had formed a band as teenagers living in Cohasset, Mass.

Sisson had moved there from Seattle with his electric guitar, hooking up with Haberstroh, a singer who later took up the instrument as well. Since grade school, Bloomfield had played the sousaphone, but he learned electric bass, and the trio formed Emergency Exit, employing others on keyboards and drums and using that moniker throughout their high school and college years.

In the early '70s, they were rechristened The Criminals, their music inspired by artists such as Eric Clapton, Todd Rundgren, Jimi Hendrix, Cream, Johnny Winter, The Who and Led Zeppelin. Crisscrossing New England, performing at clubs and schools, the group went full-time in 1974.

Miles away, in upstate New York, Canedy was honing his talent as a drummer and making contacts with music industry professionals in places like Ithaca, Elmira, Cortland and others, before heading out to see what the rest of the world had to offer.

"I had left bands that were successful club bands," said Canedy. "I kind of wanted a band that was a national recording act. So I said, 'Well, I'll strike out and see if I can find this type of thing. And I'm just really looking to have a major label deal.' So I went to San Francisco. I went to L.A. I went to New York City, and really, just nothing was a fit for me. So, as a last resort, I said, 'I'm going to try Boston and see what's in Boston."

While there, Canedy sat in with a cover band, " ... a 10-piece horn band and show band, and the musicians were phenomenal. They were all Berklee, Boston, music grads. They were phenomenal musicians, and the guys taught me a lot. The horn players were great and helped me so much."

However, Canedy thought the band leader " ... was a jackass. He was a tyrant, and he wasn't very talented and he was, by far, the weakest link in the band."

Feeling miserable, and wondering if Boston was just another unfulfilling stop along the journey, Canedy eventually met his future bandmates, just as he was planning to move on. "And they came and said, 'Just come and stay with us for a few days and see what happens before going back," said Canedy.

That was 1974, and soon they began writing together. Taking the name Kelakos, in reference to George's family heritage, they made the ill-fated move to New Jersey a year later, barnstorming clubs throughout the central part of the state, the Jersey shore, New York and Long Island after finding that Massachusetts had little to offer them.

The next year, they decamped to Ithaca, N.Y., which became their headquarters. Between 1976-1978, Kelakos spent whatever time they could in the studio, working on 15 original songs.

In 1976, Kelakos released their first single, "There's a Feeling/Funky Day." Two years later, they had recorded an album's worth of material.

"We actually recorded the album over a period of time," explained Canedy. "And I think at that point we were playing five and six nights a week, and it was just a question of time factors, and we were paying $60 an hour for studio time. That was a lot of money back then for musicians not making a lot of money. And I also think it was getting the material together and ready to record."

Getting that single out gave Kelakos a sense of accomplishment.

"There was just a period of tome for us with that first single, but I remember getting the jukeboxes ... they were 45s, and I was so happy because we found a place that manufactured jukebox name tags, in the little pink and red or whatever they were," said Canedy. "I thought that was just so cool that we were able to get them in jukeboxes."

Gone Are The Days came out in 1978, with the title track and "How Did You Get So Crazy" pushed as singles. It didn't quite measure up to their raucous live shows.

"We were a pretty high-energy rock band," said Canedy. "George was a fiery soloist and a very charismatic guy. We were pretty intense live. Not everything on the album reflects that, because it was about songwriting on the album."

Perhaps knowing subconsciously that this was their one and only shot at fame and glory, Kelakos pulled out all the stops, even going so far as to add horns and strings.

"It was just crazy what we did in terms of no boundaries, musical boundaries," said Canedy. "We just went for it as if it as if it were Sgt. Pepper's."

Put up or shut up

There was a lot on the line, however, for Kelakos with that record. The club scene and endless touring throughout the Northeast hadn't led to a breakthrough or a major label deal. And perhaps, they were grasping at straws throughout the making of it.

"It was a lot of fun," said Canedy. "There was also pressure. I think we each kind of produced our own songs, because we didn't have a producer. So sometimes there was a little bit of a lack of direction or somebody really taking the reins, and that was a new experience for us. And I don't recall anything really bad. I think we had a lot of fun doing it. I think the tension really came from the financial aspect, because if someone was spending a lot of time on the minutiae – you know, little parts and things and really racking up the bills – I think everybody got a little tense about that. Overall, it was a fun experience. It was certainly interesting, and for me, having always been interested in production, I was able to watch a lot of times, and I learned a lot."

Canedy wasn't the only one getting an education. The engineers who worked on the record went on to do big things. Les Tyler, who worked on the 1976 single, operated various audio technology companies, including DBX. Alex Perialas, producer and owner of Pyramid Sound Studios in Ithaca, N.Y., would become an associate professor of Performance Studies at Ithaca College. And finally, there was Tony Volante, an engineer for Steely Dan's Donald Fagan who has worked for the cream of the crop as far as studios go, including Sound Lounge in New York City. That's where Volante is engaged in TV and movie post-production.

As for Kelakos, that album was a "pass/fail" test. If it had brought them the attention they needed to attract the labels, they might have kept going.

"When the band comes together, and they decide to do that original thing and are going to make that leap, I think it becomes a 'do or die' and I think, at some point, if you were to make it happen, then you could continue on," said Canedy. "But if you don't make it happen, you kind of realize it's pretty much the end of the road. Then you go back to playing clubs again. Are you going to be happy doing that? It's probably time to move on."

And that's just what they did, breaking up after a short tour of New York state.

"We had radio ads, and it was okay, but it was not a label," said Canedy. "And things are different now for people, looking at how the music business is today. Back then, it was a bottleneck. You had a major label deal or you couldn't get your music out. Today, you can get your music out, and of course, there's a lot of music out there. It's hard to rise above the noise that's out there, with all the product, but you can do it. Back then, no. If you didn't get that major label deal, it was going to be very tough to do anything, because it was tough to get distribution, tough to get promotion and without the approval of the record machine behind you, we were basically done. So we kind of realized, without the support, it wasn't going any further and it kind of wound down."

And so Kelakos scattered to the four winds, splitting amicably but knowing they'd come to the end of the road. All four continue to be involved in music and entertainment in one way or the other, but Kelakos will always be something they can look back on and be proud of what they accomplished. And now, maybe the rest of the world will discover what made them special as well. Visit  https://www.facebook.com/KelakosUncorked to learn more about them.

Picking through 'American Trash' with Jean Beauvoir

Former Crown of Thorns mates team up on new album
By Peter Lindblad

Beauvoir-Free - American Trash 2015
Names tend to get dropped all over the place when discussing the unique and fascinating careers of Jean Beauvoir and Micki Free.

Once upon a time, Free plied his craft in a reconfigured Shalamar, filling in after Jody Watley and Jeffrey Daniel left the glittery disco-driven soul/R&B outfit.

With Shalamar, Free earned three Grammy nominations, helping make "Dancing in the Sheets," from the Footloose soundtrack, a Top 20 hit in 1984 and actually nabbing a Grammy for 1985's "Don't Get Stopped in Beverly Hills," included in Beverly Hills Cop. Free and his striking looks later gained more recent fame when he was, at least in part, the subject of a famed "Dave Chapelle Show" sketch, with none other than Eddie Murphy's brother, Charlie Murphy, making mention of photogenic features.

And then there's Beauvoir, a former member of scandalous New York City punk provocateurs The Plasmatics – famed for their destructive, and often lewd, behavior and the shocking theatrics of Wendy O. Williams – and later a part of Steven Van Zandt's Disciples of Soul, before his song "Feel The Heat" caught the ear of Sylvester Stallone, was featured in the movie "Cobra" and became a Billboard Hot 100 hit.

Jean Beauvoir and
Micki Free
All that doesn't even begin to scratch the surface with these two, who've individually collaborated over the years with the likes of The Ramones, KISS, Debbie Harry, Billy Gibbons of ZZ Top, Carlos Santana, The Pretenders, Lionel Richie, Queen's Roger Taylor, former Yes guitarist Trevor Rabin and the list goes on and on and on. Not to mention that Beauvoir once served as musical director for Gary U.S. Bonds and sang lead with doo-wop legends The Flamingos.

Behind the scenes, both Beauvoir and Free have grown into powerful entertainment executives – Beauvoir having partnered with such industry heavyweights as Richard Branson, Ted Fields and Jimmy Iovine, and the aforementioned Little Steven of Bruce Springsteen's E Street Band, "The Sopranos" and "Little Stevens Underground" fame, among others, and Free, proud of his Native American heritage and making more gritty, bluesy rock concoctions these days, working with Hard Rock International and the Seminole Tribe of Florida.

Their paths crossed again in the early '90s when Beauvoir – conspicuous by his flowing blonde Mohawk hairstyle – and Free founded the melodic hard-rock combo Crown of Thorns, a much-beloved group that gained popularity throughout the world.

In 2003, they reconnected, both of them having moved back to Los Angeles. Reviving their partnership, they set about writing and recording a new album titled American Trash under the Beauvoir-Free moniker that's just about to be released via Frontiers Records. Big, soaring choruses that make your heart burst, powerful hooks, strong vocals and thick, tasty riffs are the stuff American Trash is made of, and it features some of the best songwriting they've ever done together or apart.

Beauvoir talked recently with the All Access blog about the new record, his creative partnership and friendship with Free and his incredibly diverse career. 

The new album is fantastic. Explain how you and Micki reconnected and decided to record together again. And what do you remember about meeting for the first time?
Jean Beauvoir: Thanks!!! After the split following the debut, we reconnected some years later finding ourselves living in the same neighborhood in LA. We started hanging out together and talked about recording or playing together again. We did a couple of gigs in the UK, Hard Rock Calling main stage with Springsteen, Aerosmith etc. It was fun! I mentioned to Frontiers that we were thinking about doing a new album, they were into it and so we made a deal.

I actually met Micki back in the '80s when he was with Shalamar. We'd run into each other hanging out at clubs in Paris, N.Y. and L.A. We each thought, "Yeah, that is cool! We should do something together someday."

Why do you think you and Micki work so well together? And how have you grown as songwriters?
JB: We have similar ways of thinking and we just have fun doing it. We take a real casual approach. We sit at my house with a couple of guitars, like we did at the beginning and it just flows. He'll play a riff, I immediately hear a melody and it turns into a song. I think the growing comes with the more you do it, the better you get.

As with Crown of Thorns, there’s a wonderful blend of meaty guitar riffs and melody. How did the making of this album hearken back to the days of Crown of Thorns for you and how did it differ? 
JB: That's always how I see things, good riffs and good melodies. That's the recipe in my eyes. From the first Crown Of Thorns record, to the other albums I did after Micki and to anything we do together or separately. We like good music, melodies and songs that move you, make you feel. So we try to make that happen whenever writing.

Where does the title American Trash come from?
JB: It has two meanings on this album. Not in a negative way, but we were hanging out together and the name came up. We feel in some ways we're outcasts – I from the Plasmatics, Micki always being a rebel and we both always kind of go against the grain. Also, in the song, it's an imaginary strip club. I was in Key West and went to see a cool rock and roll DJ named Rocko; he's a big rock fan and he told me, "Jean we need some great rock tracks for me and my DJ friends to play in the strip clubs across America!" It kind of inspired me and made us think of how those clubs and the girls have always been sisters to rockers and have been supporting rockers while they were trying to make it. We decided to write a song that would pay homage to them.

“Shotgun to the Heart” has great hooks and guitars that just sound mean. Tell me about how that song came together and what you like about it?
JB: It started with a cool riff from Micki for the verse and I just heard melodies right away. Usually from there, I hear a chorus that would complement musically and we add that in. From there, the lyrics just come from the vibe we feel. It just felt like "Shotgun to the Heart." I usually lay down a guide vocal that has certain sounds or syllables that come naturally. Then the lyrics come – "Shotgun To The Heart" was just right!

Two of my favorites are the title track and “Cold Dark December,” both of which have really funky grooves but I also really like the vocal treatments for both, even though they’re pretty different. How crucial are these elements to the Beauvoir-Free sound, and how much time did you spend on them in creating these two tracks in particular?
JB: Very cool! Our backgrounds have back beat and groove – where we come from, other styles of music we've played, so this comes naturally. I think that is part of our sound. We actually don't spend much time to get the initial song; that usually comes in 10-30 minutes to be honest, basic structure and melodies. Then the final production that I do and getting everything right takes two to three days for each song including vocals, backgrounds, getting the lyrics right etc.

Do you enjoy recording songs like the title track and “Whiplash,” which are heavier rockers, as opposed to a soaring ballad like “Just Breathe”? 
JB: I enjoy it all! I think it's great to have an album with balance and that takes you on a journey. Different subjects, an overview of life as we see it, personal or mirroring what we see happening around us. I always think that way when making albums.

Why did it make sense to position “Angels Cry” as the album opener? That song in particular seems to represent what the Beauvoir-Free sound is all about to me.
JB: It was not carefully thought out. I guess we felt the same that "Angels Cry" was the most representative and should open. It just came from a feeling.

“Never Give Up” seems like a very personal song. There must be a story behind that one. Talk about coming up with the lyrics for that one.
JB: Good call, that was very personal and I really feel those lyrics. It was late at night and the lyrics just came to me. It addresses everyday struggles and believing in yourself. Contrary to what many may feel, we all go through our ups and downs. I truly believe you have to work through them even if you hit bottom at times. I think this rings true for lots of people and a song like this is meant to inspire and make listeners feel that they're not alone in feeling this way. Never give up.

When the two of you get together to write and record, do you find you agree on most things or is there a creative tension, like it’s always been for a lot of the greats, that leads to great results?
JB: Actually, there's no tension. It really flows. There's a mutual respect and we both admire and are excited of each other's contributions. When Micki plays something, I always like it and immediately dig it and hear where it should go. When I finish a track and send it off to Micki, he always texts me back with excitement and positivity!

Jean Beauvoir and his trademark
blonde mohawk
Your musical history is absolutely fascinating. How did you go from being musical director of Gary U.S. Bonds to singing with The Flamingos and then becoming part of the NYC punk scene and joining The Plasmatics?
JB: Hell knows! Thank you!!! I know, pretty wide... Gary and the Flamingos came to me early in. It was great musical training and made me adaptable to all situations – serious school as a kid. Then I discovered punk, which due to my rebellious personality and desire to be groundbreaking and unique, it fit right in. I loved the rawness, power, anger and effect it had. The fans were amazing! Even with Gary, I would play my original songs between his sets and they would always rock. He really liked it and supported me. The Flamingos was great vocal training singing with one of the best vocal groups of all times. I learned a lot about harmony, vocal structures etc. – didn't get to use it much with the Plasmatics, but really came in handy later on in my career.

I remember living in a small town in northern Wisconsin and seeing the Plasmatics on TV, and just being completely blown away by what I was witnessing. How did you like the attention you were getting, and were the stage antics planned out or were they made up on the spur of the moment?
JB: I loved the attention. We couldn’t walk down the street without being mobbed. It was pretty exciting. All the TV exposure and press really made the band recognizable around the world. A lot was planned out. We rehearsed the show quite a bit – Actually more than I have ever rehearsed! It was like a day job! Eight hours or so everyday that we weren’t on tour.

How did you come to join up with Little Steven and in what ways has he impacted your career?
JB: After leaving the Plasmatics, I wanted a solo deal as an artist/singer. Actually I wanted to make my record my way playing everything. Every label turned me down and basically said, if I want to continue along the lines of the Plasmatics, they’d be into it, but musical singing etc. was not an option. I met Steven through my manager from Gary U.S. Bonds. Turns out he had organized the Gary U.S. Bonds [collaboration] with Bruce Springsteen and Steven producing. He thought we’d get along and suggested that they rehearse for Gary’s album in my N.Y. loft rehearsal space. Steven and I met and Steven loved what I was doing as an artist. I was really against playing in someone’s band at that point. I had offers from Prince, Billy Idol and so on, but I really wanted to be solo. Steven convinced me to join his band, the Disciples of Soul. He felt that doing that would give me the credibility that I needed, since Springsteen and The Plasmatics couldn’t be further opposites. He was right and was very helpful to me moving into my solo career.

How much did it mean to you to have Sylvester Stallone choose “Feel the Heat” for the movie “Cobra” and did it change the career path you were on in any way?
JB: It meant a lot! After leaving Steven, I met a manager Gary Kurfirst right before totally giving up. He told me he’d have me a deal within weeks. I went to Sweden where I had received a singles deal offer from ABBA’s company. He told me not to sign and then called me to say Richard Branson loved my demos and was offering me a deal, actually our own label imprint! I flew to London to meet Sir Richard Branson and sign. Shortly thereafter, Al Teller from Columbia offered me as well! Exciting times!!! Right before the release, Gary received a call from Stallone saying that he heard my song while editing his film in L.A. and wanted my song for the biggest film campaign in the history of film to date – “COBRA.” I was freaking and I can still remember going to Times Square, hearing my song loud as the trailer for the film. It was used in every commercial in the world and was amazing. The song became a big hit around the world because of this! Besides, I’m a big Stallone fan, so it was so very cool!

You’ve written with so many big names in the music industry, from KISS to the Ramones to Deborah Harry and Lionel Richie and The Pretenders. That really speaks to your versatility as a writer. Who were your favorite people to write with and what experience sticks out in your memory as being particularly special?
JB: I hate to sound diplomatic, but I loved it all. They are all so different, but masters of their own worlds. To be asked to contribute to greatness is incredibly fulfilling. Also, Nona Hendryx, N’SYNC, Doro Pesch. I had the opportunity to taste all genres and they were each the best at what they did. As time goes on, they’ve all become even more important and recognized – really glad to be a part of that!

Your entrepreneurial work is just as impressive as your musical exploits. Do you find the business side of your career just as gratifying as the creative side, and who has been especially inspirational in this aspect of your life?
JB: I don’t know if it’s as gratifying, but at times necessary – even though I do enjoy doing business that makes a difference, helping artists, breaking new ground like being involved in Lilyhammer that brought Norwegian talent to the US, [and] other TV shows that I’ve done which gave exposure to talent. I’m involved in a children’s TV show, books and film called “City Of Friends,” which is really great – incorporates music as well. I like doing new things, breaking new ground. That is fulfilling to me. People who have done that or do that are inspiring to me.

Given your history, your perspective on the current state of the music industry would be invaluable. Gene Simmons has talked about how “rock is dead” and how young rock artists simply don’t have a chance today. Do you agree or is there hope for a younger generation of rock musicians to experience the same success you have?
JB: I agree, they don’t have a chance. Only kidding!!! I think it’s different, definitely not as easy in some ways to get heard, but much easier in other ways. Back in the day, you had to be one of the chosen few by a major label to even have a chance of success. Now, bands can get their own fans, make their own music at home without the need of a big budget – do their own videos with an iPhone. The problem is, everyone can do it and there’s a lot of talent out there, so its really hard to shine amongst the millions all trying the same thing. So a young band still needs to differentiate somehow, so that the cream rises to the top. The other difference is that they have to do it themselves, without the same support as before.

Jean Beauvoir and Micki
Free reconnected when
both moved back to L.A. in 2003
Going back to American Trash, was there a point in the making of it where you felt that the old magic between you two had returned or was it always there from the beginning on work on it?
JB: Yeah, right away, we have a magic when we work together. It’s always there.

What would you like to listeners to come away with after listening to American Trash?
JB: Enjoy it, love it, take away the messages 'cause they’re for you. Use it to live your life.

Lastly, the blond Mohawk is such a distinctive look. How did you come up with it and do you think it’ll always be something that’s a part of your style?
JB: It’s been a part of me so long, that I actually never feel like myself without it. It came when I joined The Plasmatics. I had a white stripe before that, like a skunk! I shaved off the sides when I joined the band

It was natural to me and the blond hair at the time represented racelessness. I felt that you should be who you wanted to be, do what you wanna do ... self expression. I had lots of problems from people back then; they felt I was going against my roots. I’m glad to see that now all that thinking has changed – was nice to see the great Sly Stone sporting my blond Mohawk look at the Grammys and even happier to see that the press wrote the he was channeling Jean Beauvoir from The Plasmatics!

CD Review: Roger Taylor – Fun in Space/Strange Frontier

CD Review: Roger Taylor – Fun in Space
Omnivore Recordings
All Access Rating: A-

CD Review: Roger Taylor – Strange Frontier
Omnivore Recordings
All Access Rating: B

Roger Taylor - Fun In Space and Strange Frontier 2015
Somewhat overlooked in Queen, what with Freddie Mercury's flamboyance and Brian May's dazzling guitar tricks hogging the spotlight, drummer Roger Taylor put out some rather interesting solo work in the late '70s and early '80s to hardly any fanfare whatsoever.

His obligations with Queen prevented Taylor from doing much, if any, promotion for 1981's Fun In Space or 1984's Strange Frontier, and that certainly contributed to the relative anonymity of both releases – Fun In Space preceded by the 1977 single "I Wanna Testify," which also made very little noise, which is strange considering Taylor's rather sizable songwriting contributions to some of Queen's biggest hits, the divisive "Radio Ga Ga" among them.

Making them ripe for reassessment, Omnivore Recordings is reissuing both Taylor solo outings on March 24 as expanded CDs, along with various vinyl editions. Stripped of Queen's theatricality and bombast, Fun In Space and Strange Frontier are more humble and modest records, although Taylor's wild and intimate studio experimentation and clever, down-to-earth songwriting manage to sparkle through the airbrushed '80s-style production values.

Of the two, both very much a product of their synthesizer-washed times, Fun In Space – recorded in Montreux, Switzerland in the down time between Queen tours in 1980 – is livelier, more whimsical and eclectic, as Taylor produced it himself and performed everything, save for some keyboard work by engineer David Richards. The jazz-rock ease of "Future Management" is reminiscent of Steely Dan's lighter moods, albeit with a chorus that is sharp and cutting, and offers glistening contrast from the bustling, energetic shakedowns and shuffles of "No Violins" and "Let's Get Crazy," the latter a feverish rockabilly workout with "snap, crackle, pop" drumming from Taylor.

Strange and menacing shapes, skittering percussion and swells of synthesizer make a sonic lava lamp of "Fun In Space," while the galloping beats and silvery guitar of "Good Times Are Now" run fast and clean, the circling guitar hooks and grooves of "Airheads" are unexpectedly weird and nasty, and "My Country I & II" is an oddly melodic and entertaining mix of guitar jangle, swirling keyboards and drumming hydraulics. And all of this comes with a single version of "My Country" and bonus tracks "I Wanna Testify" – a tight, funky little number with doo-wop backing vocals that is utterly infectious – and a jagged, herky-jerky "Turn on the TV" that fades out with a solar-powered guitar solo.

Neatly arranged, with unexpected delights planted throughout, Fun In Space is a colorful surprise party, whereas the dated electro-pop environs of Strange Frontier – partly recorded in Munich while Queen made The Works – find Taylor in a dour and mostly somber mood, his overly dramatic and futuristic reading of Bob Dylan's "Masters of War" and the disjointed and chaotic "Abandonfire" lacking the fire and drive of the politically charged title track and "Man On Fire," where Taylor's frustration with modern living boils over.

On Fun In Space, Taylor seems playful, this mad scientist drawing inspiration from David Bowie's Let's Dance period, whereas on Strange Frontier, his muse is Bruce Springsteen, mixing introspection with grand socio-political statements but relying almost entirely on synths and electronic beats to deliver the messages, with less varied instrumentation. That's not to say that Strange Frontier is lacking for memorable melodies, the somnambulistic drift of both "Beautiful Dream" and "It's An Illusion" seeping into the subconscious like a cat burglar, and "I Cry For You" brimming with passion.

Padded with four throwaway remixes, two of them for Strange Frontier's closer "I Cry For You," and the extra track "Two Sharp Pencils (Get Bad)," Taylor's second solo outing at times seems forced. Even his cover of Springsteen's "Racing in the Street," while still imbued with blue-collar longing, comes off as mere imitation rather than a vigorous overhaul. On the other hand, Strange Frontier isn't without its charms, for all of its flaws. Taylor can have all the fun he wants right here on earth when he's adequately inspired.
– Peter Lindblad

CD Review: Nils Lofgren – Face The Music

CD Review: Nils Lofgren – Face The Music
Fantasy Records
All Access Rating: A

Nils Lofgren - Face The Music 2014
A massive undertaking, curated by none other than Nils Lofgren himself, Face The Music examines with painstaking care the remarkable consistency and craftsmanship of a 45-year solo career of long overshadowed by the masters he's served.

Going on 30 years now, Lofgren's been a part of Bruce Springsteen's E Street Band, and when he was a precocious 17-year-old unknown fronting the gutsy Washington, D.C., hard-rock combo Grin, Neil Young recruited him to play guitar and piano on Young's classic After The Gold Rush album, thereby starting a fruitful musical relationship between the two.

It was the opportunity of a lifetime, and Lofgren made the most of it, putting in long hours getting his parts down pat. That tireless work ethic, combined with the heart and soul of a poet, fueled Lofgren's solo artistry, and this is the comprehensive retrospective he's deserved for so long.

Nils Lofgren playing live
Spread across 10 discs – one a DVD of vintage live performances, with two others unearthing 40 previously unreleased songs and rarities – are 169 tracks, hand-picked with care by Lofgren from his albums with Grin and critically fawned-over solo efforts, some of them out of print for years, released between 1975 and 1992 for labels like A&M, MCA/Backstreets, CBS and Rykodisc. And, thankfully, he didn't ignore material he's been putting out on his own Cattle Track Road Records imprint since 1993.

There's not a cynical bone in his entire body of song, where honesty, passion and integrity mean as much as a keen pop sensibility and sparkling production. Stax Records, the British Invasion, countrified blues and elegant folk, early rock 'n' roll – Lofgren assimilates easily when visiting a variety of genres, his songwriting a natural extension of his influences. On top of that, as a guitar player, his economical approach, sure-footed fretwork and tasteful licks never seem needlessly ostentatious or flashy, and yet they never fail to make an impression.

It's easy to see why Springsteen took a shine to Lofgren, the two sharing an affinity for the simple truths and hopeful energy of Heartland rock, as "Girl in Motion" and a stylish live version of "Black Books" could have slipped right into Springsteen's Tunnel of Love without The Boss ever knowing. His version of the Del Shannon-penned "I Go to Pieces" has the rousing spirit of the Springsteen anthems, and gritty rockers "Across The Tracks" and "Secrets of the Streets" shove their hands in pockets full of solid hooks and blue-collar dreams as they wander around Asbury Park, just as the strains of the sublime "Valentine," immersed in soulful longing, escape from Memphis under the cover of night to help lovers everywhere negotiate treaties of raw emotions.

Nils Lofren and his guitar
From his days with Grin comes the summery mood-elevator "Everybody Misses The Sun," an ambling, exceedingly likable romp with a bright chorus and carnival atmosphere that imagines The Kinks' Ray Davies sitting in with The Grateful Dead. Altogether exuberant, "White Lies," with its acoustic guitar jangle, finds Lofgren working out steely guitar figures designed to ensnare listeners, while "I Came to Dance," from his solo days, embraces disco with unabashed joy and drags it into the street.

That's just a small sampling of this bounty, accompanied by a page-turner of a booklet, handwritten by Lofgren and jam-packed with photos, anecdotes, insight and reflections on a life in music. Get lost in it as Face The Music cycles through soft, introspective piano balladry ("Heaven's Answer to Blue"), bluesy slide guitar excursions ("World on a String"), zydeco-infused drinking songs ("Whatever Happened to Muscatel") and grizzled romantic pop contentment ("When You Are Loved"), as well as the usual tight, sharp blasts of well-chiseled, immaculately produced rock that's always been his bread and butter.

As an introduction to Lofgren's catalog, it's a bit overwhelming, but the Fantasy Records box set Face The Music is certainly worth the time spent slogging your way through it. And for devotees, there are surprises galore, as well as familiar highlights. Don't be afraid to Face The Music. This is the good stuff, and there's plenty of it.
– Peter Lindblad

Vanilla Fudge in Rock Hall? Cactus, too?

Carmine Appice thinks his bands aren't getting a fair shake
By Peter Lindblad

Carmine Appice 2013
Like so many others, Carmine Appice has a bone to pick with Rock and Roll Hall of Fame voters. 

And he's not shy about doing a little politicking for his own bands.

In a recent interview, the drumming guru, who just started his own record label, Rocker Records, made the case for both Vanilla Fudge and Cactus.

"Why neither one of them are ever even mentioned in the Rock and Roll Hall of Fame, I’ll never know, especially Vanilla Fudge," said Appice. "We took out everybody with us. Frank Zappa opened up for us. I mean, Cactus had Bruce Springsteen open up for us. You know what I mean? It’s just crazy."

Having Zappa and Springsteen as support acts is pretty impressive all right, but does that alone qualify Vanilla Fudge and Cactus as Hall of Fame material? Appice takes another tack in his fairly good-natured, but still passionate, argument.

"And then they worry that Alice Cooper didn’t get in (that was before he actually got in, of course)," said Appice. "Okay, they’re right. Alice Cooper should be in there. Certainly the freaking rap artists shouldn’t be in there. If they throw those kinds of acts in there, they should call it the Music Hall of Fame, not the Rock and Roll Hall of Fame. But then Jeff Beck is in there twice. I mean, the Yardbirds are in there. Why are the Yardbirds in there and Vanilla Fudge isn’t in there? The Yardbirds were never that big here. Is it because they spawned the three guitar players? Vanilla Fudge spawned me and Timmy (Bogert) (laughs)."

While there isn't a great push among rock fans to get Fudge or Cactus into the Rock Hall, like there is with other hard-rock heroes Deep Purple  or KISS, maybe they do merit strong consideration.

Mixing up a heavy psychedelic and soulful rock brew, Fudge re-imagined a host of popular songs in the late '60s, including The Supremes' hit "You Keep Me Hangin' On." Fudge's tripped-out version, with vocalist/keyboardist Mark Stein's baroque organ making the track a warped little aural funhouse, went all the way to No. 6 on the US Hot 100. That's also where their 1967 self-titled album landed on the US Top 200.

A weird sophomore effort, titled The Beat Goes On and filled with sound collages rather than actual songs, derailed Fudge, although the record went all the way to No. 17 on the charts. Fudge's third album, Renaissance, was more in line with their first album, and it did well, hitting No. 20. In all, the prolific Fudge, often cited as the missing link between psychedelia and heavy metal, put out five albums between 1966 and 1969, and in the process, probably helped paved the way for the stoner-metal movement.

Appice and Bogert, Fudge's bassist, left in 1970 to start Cactus, leaving Stein to forge onward with Fudge. Known as the "American Led Zeppelin," Cactus stuck around for only two years, but their brand of high-energy boogie-rock influenced a number of high-profile artists, including Van Halen, the Black Crowes, Montrose and the Black Keys. 

But it was Fudge that made Appice and Bogert, who later formed a trio with guitar god Jeff Beck called Beck, Bogert & Appice, household names. And it was Fudge that sparked a reaction by reworking Beatles' songs like "Eleanor Rigby" and "Ticket to Ride," not to mention Donovan's "Season of the Witch," with a thick, lugubrious kind of soul approach that was more glassy-eyed than blue-eyed.

They were not playing by anybody's rules.

"The Rascals were big at the time, and we sort of blew them away with what they were doing to the extreme," said Appice. "And it’s just like Led Zeppelin took everybody else who influenced them, from Hendrix to Vanilla Fudge to the Cream and everybody else, and took what they were doing – especially The Jeff Beck Group – to the extreme. And that’s why they were so big, but 'You Keep Me Hangin’ On,' it was such a shock, because nobody really did covers in those days. If they did, they were doing them the same way as the original. But the way we did it, we shocked so many people."

Count some of the biggest names in rock among those stunned by what Vanilla Fudge was doing.

"I remember reading things that Eric Clapton and George Harrison and Jimmy Page and Jeff Beck and all these people knew exactly where they were the first time they heard that, because it left such an impression on them," said Appice. "And why? Because it was a white group playing really heavy, but soulful – so heavy soul wasn’t really in yet. White, blue-eyed soul was cool. That was what The Rascals did and the Righteous Brothers did, but nobody did it heavy – with big amps and the big drums, the powerful drum sounds."

These days, both bands are back touring, and Appice's new label is just itching to put some Cactus and Vanilla Fudge product that Appice has just sitting around collecting dust. Visit www.rocker-records.com for more information.

And stay tuned for more from our interview with one of the greatest drummers in the history of rock 'n' roll.


Finding Joe Grushecky 'Somewhere East of Eden'

By Peter Lindblad


Joe Grushecky released Somewhere East of Eden
in fall 2013
Blue-collar through and through, just like his home city of Pittsburgh, Joe Grushecky is concerned about the soul-crushing struggles of the common man, just like his mentor, Bruce Springsteen.

A teacher who works and lives in the rougher part of the Steel City, Grushecky writes about people he encounters every day, whether they be kids from the wrong side of the tracks ("Who Cares About Those Kids") or Iraq war veterans trying to cope with regular life Stateside and the nightmarish memories of battle.

Grushecky lives to tell their stories, from the point of view of a man who is no stranger to hard-luck stories and a greying observer of the human condition in all its tattered and flawed beauty.

Somewhere East of Eden, released in October, is Grushecky's latest solo album, and it's a gritty, tuneful mix of raucous R&B and blues-flavored rock that brings a lunchpail to work. Recorded in Weirton, West Virginia, at longtime co-producer Rick Witkowski's Studio L, Somewhere East of Eden is Grushecky's 17th solo effort. Out on the Schoolhouse Records label and distributed by Warner Bros. Records Nashville, it boasts rowdy blues bashers like "I Can Hear the Devil Knocking" and "John the Revelator," but when Grushecky turns soulful on "Save the Last Dance for Me," there's not a dry eye in the place.

A true rock 'n' roll veteran with plenty of recordings to his credit, Grushecky was once a member of of the Iron City Houserockers, before going solo and getting the chance to work with The Boss. Springsteen not only produced Grushecky's 1995 solo album American Babylon, but he also co-wrote a couple of songs, contributed guitar on the record and even served a touring guitarist with the band.

Outside of music, Grushecky is known for his charitable endeavors, having served as an executive board member of the Light of Day Foundation, an organization that helped raise over a million dollars worldwide to fight Parkinson;s Disease at the 40+ Annual Light of Day Concerts in the U.S., Canada and Europe.

Grushecky talked about his new record and his career in an e-mail interview recently.

What is the significance of the title Somewhere East of Eden and how does it relate to the Iraq War veteran who is the subject of the song? 
Joe Grushecky: I got the basic idea from an article I read about a returning vet. A lot of the details were verbatim from the article. “East of Eden” is one of my all time favorite books. The Garden of Eden was said to be in the Fertile Crescent of Iraq. As I read the veteran’s story he struck me that he was returning home from Somewhere East of Eden. That thought and phrase inspired me to write the song.

How would you describe the music for the "Somewhere East of Eden" LP? It seems to have a blue-collar quality to it.
JG: I’ve been tagged blue-collar my whole career. I think it stems from the fact that I write about the life around me which is distinctly from a working man’s point of view. I get up 4:30 every day and go to work! The music is my take on all the stuff I’ve listened to all these years.

This is your 17th solo album, and you decided to seek aid from fans to make it. Is it inspiring to you to see such tangible support from people who admire your work, and do you think this is the way many music artists are going to fund their projects in the future?
JG: It is the only way guys like me can reach a greater audience. I really enjoyed the process after being somewhat skeptical at first. We would not be doing this interview if not for the pledge drive enabling me to get a good publicist.

You were going to embark on recording an acoustic album of old R&B and soul stuff. What's the status of that project and how did it spark the creation of the new record? 
JG: I love learning and singing, so I was just going about my business recording old songs that I always loved. I did not have a coherent group of songs that fit together until I wrote  “Somewhere East Of Eden.” I used a solo stripped-down approach on “John the Revelator” and “Save The Last Dance For Me.” Playing those great old songs inspired me to write good ones of my own.

How does the Pittsburgh area and the lives of its people affect your writing? A lot of this record seems to highlight the struggles of ordinary people in your community.
JG: Well, I write about what I know. I am in the community working everyday in an economically disadvantaged area. It was easy to weave the fabric of that into these songs. I have always written about Pittsburgh. It is a unique city with a lot of character. Everything about it, including the music, was rough and tumble when I was growing up and a lot of that rubbed off on me.

Joe Grushecky playing live
For those who don't know about the Iron City Houserockers, what is the band's story and what happened to it?
JG: We started out in my basement and got signed by Steve Popovich to Cleveland International Records. He was a legendary record guy. We did four albums to great critical acclaim. We worked with great producers, including Steve Cropper, Mick Ronson, Ian Hunter, and Steve Van Zandt. We were the pride of Pittsburgh and a killer live band. We never had anything resembling a major radio song. We lasted until guys started to bail out to pursue other careers besides music.

How long have you and your producer, Rick Witkowski, been working together and why does the creative relationship you have together work so well?
JG: Rick and I are great friends, and we have different strengths that complement each other. He likes the Beatles and pop. I like the Stones and blues.

Bruce Springsteen produced your 1995 album, American Babylon, and even co-wrote a couple of songs and played on the record. What do you recall about the experience and what is he like to work with? Was it a transformative period for you?
JG: Bruce helped us at a critical time. We were pretty much dead in the water as far as our recording careers were going. I will always be grateful to him. He is one of the all-time bests. He is an extremely proficient musician. He can play anything and play it well. It was like playing baseball with Roberto Clemente. 

How have you changed or developed as an artist since American Babylon?
JG: I like to think I keep getting better. Sometimes I think I’m just starting to get the knack of it.

You work as a teacher and play on the weekends from the sound of it. Do the two interests impact each other in some ways?
JG: It is two completely different worlds! The teaching has allowed me to pursue my music by providing me with health benefits and a steady income. I have always worked in very poor schools so I’m not getting rich by any stretch of the imagination, but I never really had to play anything I didn’t want to.

What are your hopes for Somewhere East of Eden

JG: I hope as many people as possible listen to it.

DVD Review: Bruce Springsteen - Bruce Springsteen and I

DVD Review: Bruce Springsteen - Bruce Springsteen and I
Eagle Entertainment
All Access Rating: B+

Bruce Springsteen - Bruce Springsteen and I 2013
The fans have spoken, or at least some of them have. In a documentary titled "Bruce Springsteen and I," now out on DVD, Blu-ray and digital formats after its theatrical release this summer, that explores the intense devotion of The Boss's fanatical following, people from all walks of life share unfiltered stories of life-changing encounters with the artist and attempt to put into words what his music has meant to them.

A charming, modest little film that's often funny, incredibly uplifting and sometimes a bit strange, "Bruce Springsteen and I" fails to shed new light on the man or his music. Then again, that doesn't seem to be what the moviemakers intended. Instead, it's a heartfelt, smartly articulated mash note to someone whose penetrating lyrics, affecting songcraft and ability to shape powerful stories has profoundly affected how his audience views themselves and those around them. 

So what if, when asked to paint a portrait of Springsteen in three words, an endless stream of respondents reply with the usual descriptors "passionate," "sincere," "honest"  and "one of us." They manage to sum up Springsteen's artistic vision pretty well. And they rightly tout the communal vibe of the Springsteen fan base as something unique, stemming from Springsteen's ability to connect deeply and spiritually with a fandom made up of just about every demographic under the sun. 

Interspersed with electrically charged unseen performance footage of a younger Bruce and band hitting all the right emotional notes in live versions of "Born in the USA," "Thunder Road," "Born to Run," "The River" and "I'm On Fire" and more rock 'n' roll evangelizing, these testimonials, some brief and some more detailed and eloquent, are patched together rather effectively in a sort of collection of video quotes that mostly praise not only his workingman's poetry, but also his humanity and generosity of spirit. 

But, it's not enough for them to just say it. It falls to the filmmakers to actually show it, and they do, capturing Springsteen's genuine warmth and willingness to leave the safety of the stage and meet fans on their level. There's a scene where a busker on a street corner unexpectedly gets his chance to play Springsteen classics with the man himself, as Springsteen jokes, while working out chords, that the street performer knows his songs better than he does. 

In another sequence, the man known as the "Philly Elvis," dressed up as The King in full rhinestone-studded regalia, talks of Springsteen inviting him onstage to sing "All Shook Up" and then forgetting the words. Without telling the rest of the band, he segued into "Blue Suede Shoes," and Springsteen's band doesn't skip a beat. As jovial as ever, Springsteen, laughing and smiling, exhorts the crowd to give it up for "the 'Philly Elvis,' everybody" after it's done.

Although his songs can bring a man in his car to tears and give a college-educated female truck driver a reason for doing her job day after day, some aren't so enamored. One man, the husband of a particularly fervent Springsteen lover, wishes he wouldn't play so long in concert and lists other complaints. He and his wife later come face to face with Springsteen in a collection of scenes showing Bruce visiting and laughing it up with some of the real stars of "Bruce Springsteen and I," the devotees who make their kids listen to Springsteen's lyrics or manage to dance onstage with Bruce like Courtney Cox did in the video for "Dancing in the Dark." 

Joyous, insightful and moving at times, this document of "Bruce Springsteen and I" comes with bonus material consisting of Springsteen's glorious 2012 Hyde Park performance, including "Because the Night," made famous by Patti Smith, and "Shackled & Drawn" and "We Are Alive." That's the one where he and Paul McCartney essentially told the authorities complaining about the noise to shove it and get in on the celebration, as they tear through Beatles' classics "Twist and Shout" and "I Saw Her Standing There" with unbridled enthusiasm.

If it wasn't for the odd, racy and somewhat disturbing slice of erotic fan fiction a very hot and bothered redhead reads in this piece, "Bruce Springsteen and I" would be an almost perfect tribute to The Boss. As it is, it will give you even more of a reason to love Bruce, forever a friend of the common man and an artist who understands the fans better than they understand themselves. http://www.eagle-rock.com/
- Peter Lindblad





Kiss, Led Zeppelin to Headline Rock and Roll Summer Classic Auction



September 1, 2013
Houston, Texas

The Rock and Roll Summer Classic Auction

Backstage Auctions is proud to present the annual Classic Rock and Roll Auction featuring over 500 auction lots which - for the most part - will be dominated by an A-list of Classic Rock bands, including KISS, Led Zeppelin, Boston, Styx, Pink Floyd, Beach Boys, The Beatles, Rolling Stones, Bruce Springsteen, David Bowie and The Who. And those are just headliners, there are plenty of classic rock bands and artists that are featured in the complete line up.

Collectors and fans will have access to autographed items, artist worn attire, RIAA record awards, rare concert posters and handbills, collectible vinyl, lots of backstage passes, unique photos, slides and negatives, amazing vintage concert t-shirts, great promotional items, tour programs and so much more.



"Any auction that features collectibles from this list of artists is a celebration of music in itself and we couldn't be more excited about hosting this event" comments Backstage Auctions owner Jacques van Gool. "The diversity in artists, type of collectibles and price range makes this auction accessible and fun for every collector. We pride ourselves in offering exclusive items and this event certainly reflects that. But we also make sure that every collector can participate and with a huge offering of auction lots that start as low as $25.00 we are confident that no one will walk away empty handed".

And when it comes to unique pieces of music history, the auction will feature a John Bonham owned and worn hat, which comes with photos and letter from the Bonham family. And that is just one of over 20 great Led Zeppelin lots.

 
There is a Robert Plant issued RIAA award, an exceedingly rare concert shirt from 1973, amazing collections of promotional CDs, broadcast only shows, ephemera as well as promotional goodies, including a most desirable Led Zeppelin blimp!

Rivaling the attention that Led Zeppelin will receive is the band with fans so loyal and dedicated that they call themselves 'The Army'...or better yet, the Kiss Army! With 210 amazing lots, Kiss certainly dominates this auction in size but then again, it wouldn't be Kiss if it wasn't larger than life. With consignments from a host of reputable inner-circle people, fans and collectors can quench their relentless thirst for top-of-the-line Kiss collectibles that include recording reels, rare vinyl and CDs, autographed items, amazing photo collections, artist worn attire, ephemera and much more. Among the highlights is a stunning acetate featuring an early demo version of the ultimate Kiss anthem 'Rock 'n Roll All Nite'.



Equally impressive are the collections of American arena rockers Styx and Boston, which both contain a wide range of autographed memorabilia, unique vinyl, exclusive promotional and radio broadcast CDs and assorted ephemera.





Collectors who are less band specific and more interest in certain types of collectibles will not be disappointed either.

There's an amazing collection of over 20 original 1968 - 1971 Fillmore East concert programs featuring the likes of The Who, Frank Zappa, Deep Purple, and many others. It even includes the very last program before Bill Graham closed the doors in New York.



The auction will feature great promotional items such as the infamous Led Zeppelin blow-up "Zeppelin", a Pink Floyd blow-up chair and a Alice Cooper toy-gun.



We managed to find great concert shirts and exclusive crew jackets, including Kiss 1977 L.A. Forum, Robert Plant & Jimmy Page 1995 U.S. Tour, Michael Jackson and Bruce Springsteen tour jackets.






There is a most unique collection of mid 1960s autographed items, photos, transparencies and negatives, which all came from the archives of a fan club agency in Los Angeles. Most of it is concentrated around the Beach Boys and Sonny & Cher but will also include other artists. It even includes a very personal letter from Brian Wilson to a fan.



And speaking of original photos, slides and negatives, collectors will have plenty to feast their eyes on. There are stunning collections with photos from renowned concert photographers Chip Rock, Robert Alford and Julian Baum. Noteworthy are the two lots with color slides from the 1975 Rolling Stones Tour of the  Americas, which include several sensational shots.



Not to be overlooked are the many posters and handbills, including vintage Thin Lizzy, ZZ Top, Kiss, Deep Purple and the immortal Stevie Ray Vaughan.


If you are in the market for record awards, you will be in for a treat; there are RIAA award for Kiss, Led Zeppelin, Aerosmith, The Beatles and Michael Jackson, as well as Canadian awards for Nickelback and Default.


Autographs remain in high demand and this auction has no shortage of signed mementos, from drumheads to posters and from photos to CDs and records. The list is long - and impressive - and spans 5 decades of Rock and Roll, that includes Led Zeppelin, Kiss, Pete Best, The Monkees, Carl Perkins, Dr. John, Styx, Boston, Kansas, Heart, Cheap Trick, Jethro Tull, Peter Frampton, Johnny Winter, ZZ Top, Ozzy Osbourne, Aerosmith and many, many others.


If you have the space for it, we once again have some great instruments and gear; from a Prince tambourine to Kiss concert used cabinets, to The Who drum sticks and even a complete Piper drum kit.




One final category that deserves attention is that of concert tickets and passes, of which the auction offers literally thousands, going back to the early 1970s. From small artist specific lots to bigger bulk lots; it's all there. But none bigger and more breath-taking than a book with over 500 backstage passes dated between 1981 and 1983. Hands down one of the most stunning single passes collections we have ever come across!


Because there is so much to see and digest, the auction will start with a preview week, beginning Saturday August 31. The auction will start Saturday,  September 7 and will end Sunday, September 15.

For more information about the auction, please visit Backstage Auctions and register for your free VIP All Access Pass.

Backstage Auctions: The 2013 Rock and Roll Summer Classic Auction



Backstage Auctions is a boutique online auction house specializing in authentic rock memorabilia representing a long list of notable and very talented musicians, producers and managers in the music industry since 2003. Exclusive online auction events have featured the private collections of legendary producer Eddie Kramer (Hendrix, Zeppelin, Kiss) and since then, we have represented Scott Ian & Charlie Benante (Anthrax), Page Hamilton (Helmet), John Tempesta (Exodus, Testament, The Cult), John 5 (Zombie, Marilyn Manson),  Ted Nugent, Howard Kaylan (The Turtles), Ross Valory (Journey) and Michael Shrieve (Santana), Rudy Sarzo (Quiet Riot, White Snake), Graham Bonnet (Rainbow, Alcatrazz), Al Jourgensen (Ministry), Johny Barbata (Jefferson Starship), Kip Winger (Winger) as well as managers of legendary bands such as The Grateful Dead, Jefferson Airplane, KISS, Journey, Joe Walsh, Ringo Starr and His All Starr Band, Motley Crue, Pantera, White Zombie and more. Backstage Auctions works closely with each of their clients and incorporates their personal stories and memories throughout the online auction event. The end result is a unique, historical and unforgettable journey spanning decades of music history.

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