A look back at the early days of MTV with author Greg Prato

By Peter Lindblad

What an insane notion it was. Playing music videos on television, 24 hours a day – who in the world was going to watch something like that? Might as well have a channel devoted just to cooking food …oh, wait. Never mind.

MTV came into being on Aug. 1, 1981. Doctored images of the Apollo 11 moon landing, with a flag sporting the MTV logo, ushered in a new age in music history, even if hardly anybody in the country took notice early on. After all, the only cable system in America that had it was in northern New Jersey, and viewers, who, ironically, got to see The Buggles’ “Video Killed the Radio Star” as MTV’s first video, initially numbered about a few thousand. Of course, things would change dramatically in the next few years.

Artists and their management teams would come to see MTV as the ultimate promotional tool to sell records. And stars such as Van Halen, Duran Duran, Men At Work, Judas Priest, Madonna and scores of others embraced the new medium, making entertaining, and oftentimes high-concept, video art to accompany their latest singles. And people – lots of them – did watch. Incredibly, viewers found it hard to turn away from MTV. They would sit in front of it for hours on end. They wanted their MTV, as Dire Straits would make abundantly clear in the biggest hit song of their career.

 MTV had turned the music industry on its collective head, and in Michael Jackson, it found its king. Nobody made better use of MTV’s potential than the man who created Thriller and became one of the biggest-selling artists of all-time. But somewhere along the way, MTV changed. No longer much of a music channel, MTV now caters to the lowest common denominator with some of the trashiest reality TV on the air.

Coming along to save us from what MTV has become is author Greg Prato, whose new book, “MTV Ruled the World: The Early Years of Music Video,” details the halcyon days of a television channel and its VJs that impacted pop culture in ways its creators couldn’t possibly have ever imagined. Prato talked about the book in a recent interview.

To read samples of the book and for information on how to order the book, visit http://stores.lulu.com/gregprato.

What were the expectations at the beginning for MTV? The channel’s use of Apollo 11 moon landing footage seems to indicate that there was a sense, even then, that it was going to change the world.

Greg Prato: I think that the people that were putting together the channel really had no idea that MTV was going to be as successful and eventually create as big a change in the music industry that it would. In fact, during MTV's first year or so, there was talk that it may be taken off the air, because it wasn't making enough money (in fact, it was losing money). It wasn't until 1983 (two  years after first going on the air) that the channel was a success financially. This is discussed in my book, as well as the subject of the Apollo moon landing footage, and how they almost weren't allowed to use it!

One of the sources interviewed for the book is Nina Blackwood, one of the original MTV VJs. How did she and the other VJs get hired for MTV? Does she remember if being a VJ came naturally to her or the others or did it seem like something completely foreign to them?

GP: Nina was living in Los Angeles at the time, and she read about job openings at a new music video channel in a trade paper. She was actually already hosting a local music television show, so she had some experience going into it beforehand. I also interviewed another original VJ for the book, Alan Hunter, who was an actor looking for work at the time. He happened to bump into MTV head Bob Pittman at a picnic in Central Park a few months before the channel was to be launched (Aug. 1, 1981) and got a tryout that way. It seems like it took a while for the VJs to get the hang of it, as Nina explained that at first they were told to follow scripted things to say, but after people thought they came off as too stiff, they were given more room to improvise.

What decisions went into the programming for MTV? Was there any real plan at the start or was the channel taking whatever videos it could get?

GP: At first, MTV played pretty much any videos that were given to them. They only had a limited amount of clips in their library and quite a few were repeated over the course of a day. Also, some record labels wanted MTV to pay them for use of their video clips at first. But when they realized it was such a great promotional tool for their artists, they were willing to hand over their clips to MTV. Early on, you certainly saw an awful lot of Rod Stewart, Pat Benatar, and Loverboy.

In talking to different artists for the book, how did they view MTV initially? Were some of them wary about this new medium? Did others embrace it early on?

GP: There is an entire chapter about this in “MTV Ruled the World” titled “Initial Impressions,” in which artists such as "Weird Al" Yankovic, Gerald Casale [of Devo], John Oates, Stewart Copeland, Marky Ramone, and Rob Halford (among others) discuss this. I think it took a while for people to fully understand the potential promotional power that MTV had, but just about everyone I spoke to said they were very intrigued by it initially. In fact, Halford talks about how he would just leave it on 24 hours a day whenever he was in a hotel room on tour around that time!

What do some of the VJs or other MTV people you interviewed remember about the launch and the planning for it? Behind the scenes, was it chaos?

GP: Yes, it was a mad dash to get everything in order before its Aug. 1, 1981 launch. And the night of the launch, they hit several technical difficulties, including the order of the VJs being jumbled up (Mark Goodman was supposed to be on first, but Alan Hunter's taped bits wound up being aired by mistake). Bob Pittman also talks about how there was a technical problem that would result in silence on the channel at various points that first night. I also interviewed a lot of "behind the scenes" people that worked for MTV for “MTV Ruled the World,” and they talked about how the set was being designed and finalized very close to the deadline, and how it was chaos leading up to the launch.

Did there come a point for everyone, or at least some of them, when it really hit them how big MTV was going to become?

GP: Yes, and there is a chapter in the book about this very thing, appropriately titled “Success!” Both Nina and Alan talk about when they would go to make promotional appearances in towns where MTV was being played (keep in mind, not all of the U.S. got MTV at the same time), and there would be mob scenes with hundreds of fans wanting to meet an MTV VJ. It was at that point that people who worked for MTV realized they had struck a nerve.

Do many of the people interviewed for the book lament what MTV has become? Are they nostalgic for what it used to be?

GP: Indeed. And guess what? Yes, you're right...there's another chapter in the book that tackles this very subject in the book! The chapter is titled “MTV Today.” The vast majority of the people who I interviewed are disappointed in what MTV has become – almost no music and all about horrible reality shows that aren't based in reality at all (just a bunch of poorly behaved idiots acting obnoxious). That said there are also a few of the interviewees who say that they think MTV is "as it should be" in 2010. I tend to wholeheartedly agree with the former opinion, however.

What lines from the book struck you as being particularly poignant or insightful about the impact MTV had on the music industry?

GP: Michael Jackson's videos for "Billie Jean," "Beat It," and "Thriller." Before those 3 videos, very few black artists were played on the channel, and MTV was getting criticized for it. But once Michael was played on the channel, then it opened the doors for a wider stylistic variety of artists – it wasn’t all about just rock n' roll anymore. Which is obviously a very good thing, as variety is the spice of life.

What did you learn about the early days of MTV that surprised you?

GP: I wasn't aware how much behind the scenes work it took to get MTV to play the Michael Jackson videos for “Thriller” – which if you think about it now, is quite funny, since Michael quickly became "the face of MTV," and probably more than any other artist, is the one you associate the most with '80s-era MTV. I also learned a lot about the behind-the-scenes filming of some of this era's most popular videos. I was lucky enough to interview such directors as Bob Giraldi (Michael's "Beat It," Lionel Richie's "Hello"), Steve Barron (Michael's "Billie Jean," Dire Straits' "Money for Nothing") and Pete Angelus (Van Halen's "Hot for Teacher" and David Lee Roth's "California Girls"), all of which had tons of great stories about what it was like on the sets of these videos and working with these artists.

What happened that caused the departures of some of those early VJs? Was there a point for them at which they could see things changing for MTV from its early mission?

J.J. Jackson, Nina Blackwood, Mark Goodman
Martha Quinn and Alan Hunter

GP: It seems like there were conflicting versions of this, as you'll discover in my book. Some people that I spoke to claim that MTV would take a stance that the VJs were the "face of the channel" one moment, and then the next moment, [they] would say that MTV was bigger than the VJs. Many of the VJs were also being offered other work at the height of MTV's initial wave of success (roles in movies, offers to host other TV shows) and had to turn them down at the behest of MTV. Also, the VJs realized the writing was on the wall at the first-ever “Video Music Awards” in 1984, when the VJs were not the event's hosts (Dan Aykroyd and Bette Midler were) and were only given small spots on the show. For me as a viewer, I always say that MTV started to lose its luster for me when the original VJs started to leave – around 1985-1986. It just wasn't the same, as then MTV's playlists got more formatted, video budgets become astronomical, and videos required musicians to act and recreate “Raiders of the Lost Ark.”

Click here for Information: MTV Ruled the World: The Early Years of Music Video

Vinny Appice: The John Lennon Connection

Vinny Appice: The John Lennon Connection
By Peter Lindblad

Going to high school was a drag for Vinny Appice. Absolute drudgery it was for the future Black Sabbath drummer, sitting in class listening to teachers drone on and on about subjects that bored him to death.

His only salvation was that in the evening hours the 16-year-old Appice could slip into a whole other world that was far beyond anything his classmates could imagine.

Holding down his end in a nine-piece rock band with full horns that also dabbled in funk and jazz, Appice was part of a group that was managed by the Record Plant Studios in New York City. It was called BOMF and Jimmy Iovine was their producer.

“So we used to rehearse upstairs at the Record Plant,” recalls Appice. “We had our room. And we’d be up there every night, like the boys’ club, hanging out. At night we’d rehearse and write songs.”

As it just so happened, at the time, Iovine was also working quite a bit with John Lennon in the same facility. Eventually, Appice would cross paths with the former Beatle.

“One night they needed handclaps, so Jimmy said, ‘Hey guys, come on down here. We need handclaps,’” said Appice. “All right. There were nine of us, so it was easy. And we get down there, and there’s John Lennon and Elton John in the control room, so we did handclaps on ‘Whatever Gets You through the Night’ for that song. Those handclaps are me and my band. So we left. We didn’t get to meet them, but I guess John said, ‘Who the heck is that? Who are those guys?’ We’d just done handclaps. ‘Oh … they rehearse upstairs. I’m producing them.’ That’s what Jimmy said. So, a couple of days later, [Lennon] came and hung out – came up to the rehearsal room, watched us play. He liked the band, and he’d come in. We’d smoke pot with him and shit. He actually always wanted coke, but I didn’t do that. But I always had good pot. And we smoked some joints with him, we played pool, we hung out.”

The story doesn’t end there. Later, Lennon would ask the band to back him during a TV performance, and they did three videos with Lennon, all of which appear on “The John Lennon Video Collection” released in 1994.

“So we played at The Hilton, the New York Hilton,” remembers Appice. “We had outfits made, we went to get fitted for them with him and a van… the whole week was us getting prepared for the show, hanging out with him. And then he asked us to do a bunch of videos, and we did that. And then … he produced the owner’s wife in the studio. She had eight songs to record. He was the producer. We were the band. So we worked with him as a producer, too, which was amazing. And we wound up playing live ‘Imagine’ and ‘Slipping and the Sliding.’ So we got to play that with him. So it was pretty cool. It was an amazing time.I was going to high school. I was doing that at night. I would hang out with him, and then the next day, I’d be in school, not paying attention.”

It being the 30^th anniversary of Lennon’s tragic death, Appice can’t help but think back to what was going on in his own life back when the world was still in mourning over what had happened. And again, Appice found himself linked to one of popular music’s biggest icons.

Black Sabbath was in the midst of its tour supporting Heaven and Hell, the doom-metal architects’ first LP with Ronnie James Dio taking the place of Ozzy Osbourne. Original drummer Bill Ward had left the band, and Appice was called to fill in without much time to rehearse for an outdoor show in Hawaii. If ever there was a trial by fire, this was it, but Appice held up his end of the bargain.

“Yeah, on the first tour, until I learned those songs, it was a bit mechanical for me until I got the parts right, and then didn’t have to think about it and play it with feel,” said Appice. “So yeah, it became better and better.”

Out of the blue, Warner Bros. contacted Sabbath about doing a song for the soundtrack to the animated sci-fi movie “Heavy Metal.” During a break in the tour, Sabbath, with Appice in tow, took the opportunity to record the song “Mob Rules.”

“We had a couple of days off, somewhere,” said Appice. “And on those days off, we went to John Lennon’s house in England, and he had a studio in there. Ringo owned it at the time, but it was where John [did] Imagine. And it was right after John got shot, too. And it was weird going there. We stayed there for three days, and that’s when we wrote ‘Mob Rules’ and we recorded it there. So after we finished everything and listened back, obviously, it was a really strong song, a good song, and it came together well, and it was really cool. Everybody that brought the band together was like, ‘Oh, this is going to work with Vinny.’ And that reinforced it a little bit for everybody that, yeah, this could work. It’s not just playing a tour and playing the parts that Bill played. That was a turning point for us, becoming more of a band.

The specter of Lennon seemed to haunt Appice. Lennon’s death, in October of 1980, had occurred just a couple months prior to Sabbath’s session at his former house.

“And years ago, I played with John Lennon. I used to work with him,” emphasized Appice. “It was weird winding up … I actually met Lennon and hung out with him and knew him somewhat and then he got shot and now we’re in his house and I got assigned his room. Because you stay in rooms there, and on the front of the room, it said ‘John and Yoko.’ So I got his room, but I didn’t stay in it. I was afraid. I was a kid. I don’t know if I’d stay in it now either with somebody who just got killed, but it was an amazing house. And it was amazing to be a part of anything Beatles. Very cool experience.”

Most recently, Appice was part of Heaven and Hell, the new name given the classic Dio-fronted Black Sabbath lineup. Fans can see and hear Heaven and Hell, for all intents and purposes done now after the death earlier this year of Ronnie James Dio, one more time on CD and DVD versions of Heaven and Hell’s “Neon Nights: 30 Years of Heaven and Hell” that capture the band’s fiery live performance at the Wacken Open Air Festival in Germany on July 30, 2009. 

CD / DVD Review: Heaven & Hell "Neon Nights: 30 Years of Heaven & Hell"

CD / DVD Review: Heaven & Hell "Neon Nights: 30 Years of Heaven & Hell"

Eagle Vision/Armoury Records

All Access Review: A-

Ozzy Osbourne was gone, and this time, he wasn’t coming back, at least not until the “all is forgotten” reunions that would, perhaps inevitably, come years later. Black Sabbath had moved on with Ronnie James Dio, but not everyone was ready to welcome the new vocal sorcerer with open arms.

As Dio remembers it, in an interview included with the new Heaven & Hell live DVD, crowds that came to the first shows featuring the reconstituted Sabbath lineup greeted him not with a pleasant “hello,” but with middle fingers pointed straight at him. Acceptance would come grudgingly, as fans started to realize that it was Dio who was helping usher in a period of restoration for Sabbath, the 1981 classic, fire-and-brimstone LP Heaven & Hell letting all know that a slumbering heavy-metal giant, wracked by substance abuse, personal problems and creative dissension, had awakened.

The world of metal is still in mourning Dio’s death, having lost one of its most spellbinding voices and imaginative lyricists earlier this year. On July 30, 2009, the Dio-period Sabbath, now christened Heaven & Hell, performed at the famed Wacken Open Air Festival in Germany, still riding high on the warm reception, from fans and critics alike, given their deliciously evil 2008 comeback album The Devil You Know. They had lost none of that old black magic, as the new “Neon Nights: 30 Years of Heaven & Hell” DVD and its companion CD so poignantly bears out.

Time stood still that night as Heaven & Hell, consisting of Dio, guitarist Tony Iommi, bassist Geezer Butler and drummer Vinny Appice, bulldozed and bludgeoned its way through a set of well-chosen numbers from their glorious, and somewhat underappreciated, past. From the opening instrumental “E5150,” only on the DVD version, Heaven & Hell crash headlong into the violent brutality of “Mob Rules,” before steering their ship straight into the massive rogue wave of riffs and melodic undertow that is “Children of the Sea,” making it sound as epic and majestic as ever, and coming out the other end on the shores of some distant land as rampaging marauders in an especially mean version of “I.”

It’s a breathless beginning, and it only gets better from there. A punishing “Bible Black” is followed by an even heavier “Time Machine” and their latest crushing missive from the depths of hell, “Fear,” with Dio giving it his all and Iommi roaming his way through a tight, fluid little solo that packs a big punch. All of this is captured in crystal-clear video and rich sound, cameras sweeping over and around the action like fighter jets, providing wide views of both the colorfully lit stage – with a giant fiery cow’s skull above the fray – and the endless throng of people gathered at Wacken to get a glimpse of a band that was not at all ready for the grave. The editing is smooth and seamless, putting to good use the wonderful variety of camera angles to emphasize the band’s still potent musicianship – Appice’s thundering drum solo and the beautifully framed close-ups on Iommi and Butler blazing away are not be taken lightly, especially true with the mesmerizing sonic adventure Iommi takes listeners on prior to the raging “Die Young” – and its flair for the dramatic.

As an epitaph, this is as good as it gets, even if it’s difficult to make out what Dio is saying between songs and you can’t help but miss perhaps the greatest achievement of this Sabbath lineup, “Sign of the Southern Cross.” They make up for it, though, with a soaring “Heaven & Hell” that stampedes to a wonderfully chaotic meltdown.

Choosing between the two, the DVD – and its 13 songs, compared to 11 on CD, both including a nice color booklet with a few photos and a well-written history of Dio’s time with Sabbath – is the way to go here, though the CD is an aurally magnificent recording. Actually seeing onscreen this timeless foursome, still breathing fire, live again and enjoying the moment, is priceless, and 30^th anniversary interviews with all four members, conducted by venerable metal media king Eddie Trunk, are full of great behind-the-scenes war stories from the past and the kind of wry humor that always comes as a surprise from four men known for some of the gloomiest, most horrifically doom-laden music ever conceived.

-Peter Lindblad

DVD Review: Jackson Brown "Going Home"

DVD Review: Jackson Brown "Going Home"
Eagle Vision
All Access Review:  B+

In the basement of his house, there are stacks of unopened boxes everywhere. Jackson Browne walks through it in one of the scenes from “Going Home,” saying into a camera he’s always had a place like this in just about every place he’s ever lived – be it a garage or even an otherwise empty living room. Somewhat sheepishly, the legendary artist admits he’s just never been able to figure out what to do with it all, and so there this stuff sits, closed up to the world and a mystery to it owner.

As for Browne, the singer-songwriter is an open book in “Going Home,” a scrapbook of memories and live performance clips – some of it fantastic vintage material – that makes up the recently reissued video biography that the Disney Channel originally broadcast in 1994. A long time in coming, this re-release is a beautifully edited, heartfelt look at the career of one of the most enduring artists to emerge from the Seventies singer-songwriter boom.

The concert material, both from Browne’s glorious past (the rousing closer “Running On Empty”) and his more recent 1990s’ resurgence, is seamlessly and artfully melded together, especially on the classic “Doctor My Eyes,” for a nostalgic and timeless document of his ability to recreate his richest songs in a live setting. A horde of rare home-movie footage, from little pieces of backstage and rehearsal room jams to snippets of private conversation and a piece that shows Browne with Graham Nash and Bonnie Raitt on an airplane talking about the horrors of nuclear waste dumping, fleshes out the tale and reveal much about Browne’s offstage personality. Going further afield, a variety of interviews with David Crosby, David Lindley, Don Henley and others, including Browne himself, dig deeply into Browne’s politics and his artistry. And all of it is pieced together so professionally that it doesn’t feel as fragmented or awkward as it could, which is sometimes the case with such documentaries.

The glue that holds everything together is the richly filmed 23-song concert – featuring cuts like “World in Motion,” “All Along the Watchtower,” “The Pretender,” and a host of others, culled mostly from 1993’s I’m Alive album – from the Nineties that is a simply magical, nuanced performance that speaks to that hauntingly melodic quality that pervades Browne’s best work. Watching Browne and Lindley play “Lives in the Balance” with Crosby and Nash is at first a funny little interlude of friends joking around, but then it grows into something that is particularly moving and inspiring, and the wonderful interplay of vocals is mesmerizing.

What we get from “Going Home” is the good stuff. The bad, in particular the troubling domestic violence episode between Browne and Daryl Hanna that happened around the time of this film, is not addressed here, and perhaps this is not the venue for that sordid affair, though it feels like an opportunity was missed to put that matter into perspective. Still, this is a celebration of Browne the songwriter and the activist, the poet who articulates matters of the heart with great sincerity, humanity and passion, and the friend, the band mate and the performer who is as smart as anybody in the room and an artist of inestimable talent.

-         Peter Lindblad

A Tribute to Ronnie James Dio from Vinny Appice

Famed drummer also unveils new Kill Devil Hill project and reveals what’s in his memorabilia collection


By Peter Lindblad

Tributes for Ronnie James Dio have been pouring in since the iconic heavy metal singer’s death back in May. The sense of loss throughout the metal community is still palpable, and even now, one of his closest friends and musical conspirators can hardly believe he’s gone.

“He was a leader, a father figure, a brother, musician … it was like he was going to live forever,” said Vinny Appice, who served as drummer for Black Sabbath during the Dio years and subsequently followed Dio when the singer left Sabbath in the acrimonious aftermath of Live Evil to form his own project, the hugely successful fantasy-metal outfit Dio.

Sabbath was in a state of flux when Vinny Appice joined the band in 1980. One year earlier, following the unceremonious dismissal of Ozzy Osbourne, Dio was plugged in to replace the legendary wild man as the band’s singer. Beset with personal problems of his own, bassist Geezer Butler exiled himself from Sabbath during the lion’s share of the writing sessions for Heaven and Hell, the band’s first album with Dio, with Geoff Nicholls of Quartz at the ready just in case Butler wasn’t coming back – he would eventually become Sabbath’s keyboardist, however. And then there’s the fuzzy evidence of the involvement of former Elf and Rainbow bassist Craig Gruber in Sabbath during the whole Heaven and Hell period; he left when Butler returned.

As for Appice, he had to fill the shoes of none other than Bill Ward as Sabbath’s drummer in the middle of the band’s tour backing Heaven and Hell. He had to learn the songs on the fly as Sabbath was preparing for a huge outdoor show in Hawaii. As time went on, Appice and Dio grew close, understandable considering their similar East Coast backgrounds.

“We’d always say, ‘I’ll kick you in the ass.’ He’d kick me in the ass onstage. We had the same New York attitude,” said Appice.

On the other hand, Butler and Iommi were British, born and bred. And when arguments erupted over the making of Live Evil, it was Iommi and Butler on one side and the Americans, Appice and Dio, on the other. So, when Dio left Sabbath, it was only natural that Appice would go with him, even though, according to Appice, he didn’t really take sides in the dispute and had gotten along with everybody in Sabbath.

In Dio, Appice saw something special, and it wasn’t just that magnificent voice.

“First of all, it’s just the way he sang, you know,” said Appice, when asked what it was that made Dio such a unique talent. “I’ve never been around anybody who sang like that – just soul and heart, you know. The way he sounded, the sound of his voice, and then he was just totally into his music – totally loved it. And it was just nice to be around somebody so strong. He was a great leader, and just an incredible voice. It made you feel secure. You know, if I stay with this guy, nothing’s going to happen. That’s why his death was a shock. Man, this is one of the strongest persons I’ve ever met in my life. He was a leader, a father figure, a brother, musician … it was like he was going to live forever. Or if he got sick, he’ll beat it. And that’s why it’s a shock. Man, he went down. He had so many qualities. It was so easy to be drawn to him.”

As so many people were, be they fans or fellow musicians who idolized Dio. Not surprisingly, Appice has wonderful memories of his days with Sabbath, Dio and Heaven and Hell. And, as expected, over the years, Appice has accumulated many prized mementos from those halcyon days.

“Obviously, I got gold and platinum records,” said Appice. “And then I got different things that were given to the band, one from Madison Square Garden in 1980 [that marked how the band] sold a million dollars worth of tickets, cool stuff. Years ago, you used to get a lot of swag; there were Black Sabbath bags that only the band had, Black Sabbath robes … it was like that kind of stuff, some old posters, not a lot. And Dio, I got a lot of the same kind of stuff, plaques and different things like that. There are some pictures, but that’s about it. Not a whole bunch of stuff.”

What are the pieces that mean the most to him?

“Well, all the gold records,” says Appice. “So, all the gold records and platinum records; those are priceless."

As has been reported recently, Appice has a new project going called Kill Devil Hill with former Pantera bassist Rex Brown “ … and two unknown guys – Dewey Bragg on vocals and Mark Zavon on guitar. And this stuff kicks butt. Right now it’s called Kill Devil Hill, but we might change the name, so we’re working on that right at this moment and it’ll be out next year. So there’s a lot more stuff coming along.”

And Appice isn’t closing the door on his days with Sabbath’s survivors. “We might continue. Who knows?”

Official Website Vinny Appice 

  

DVD Review: The Rolling Stones "Ladies And Gentlemen...The Rolling Stones"

DVD Review:  The Rolling Stones "Ladies And Gentlemen...The Rolling Stones"
Eagle Vision
All Access Review:  A

The shock and horror of Altamont had subsided, and to avoid a tax hell in England, the Rolling Stones had reluctantly taken their rock and roll circus to France. And somehow, in that crumbling palace of sin and dissolution known as Nellcote villa, where Keith Richards lived and did an obscene amount of drugs and parties went deep into the night, as did the occasional recording session, the Stones created a masterpiece, Exile on Main Street.

As the recently released documentary “Stones in Exile” so eloquently illustrates, the hazy, elegantly wasted atmosphere was hardly conducive to focused, intense work. Indeed, the Stones took their own sweet time in finishing the album, and by all rights, considering the environment, Exile on Main Street, a double album of all things, should have been a mess. And it was … but what a glorious mess it was.

Released to lukewarm reviews initially, the fabled Exile … would, as everyone knows, become one of the most revered albums in rock history, but then came the supporting tour. By Mick Jagger’s own admission, the far-flung band, spread out all over France, wasn’t always on its game every night. They could be sloppy and uninspired, but by the time they got to Texas, the Stones had transformed, once again, into the raucous, energized and tight-as-a-corset unit that made them one of rock’s greatest ever live acts.

Filmed over four nights in the Lone Star State in 1972, “Ladies And Gentlemen … The Rolling Stones” was original released theatrically for limited engagements in 1974. Few eyes have seen it since. Hidden from the public for 35 years, “Ladies And Gentlemen … The Rolling Stones” is an absolute treasure, a beautifully shot concert film – the colors rich and dark, and the camera angles varied and placed just right – that captures the Stones at the height of their live prowess. If previous shows on the Exile tour didn’t exactly set the world on fire, the performances here are the work of gleeful arsonists, the Stones blazing from the onset through such spirited numbers as “Brown Sugar” and “Bitch.” 

Cameras hone in on the flashy Jagger as he prances and crows with undisguised enthusiasm for the material, and he never lets up, even when sharing the spotlight with Richards on a rip-roaring, horn-splashed version of “Happy.” And his deliciously mischievous drawl wraps around every word of the acoustically tangled country gold of “Sweet Virginia” and “Dead Flowers” with equal doses of pleasure and pain.

In sharp contrast to Jagger’s attention-grabbing histrionics, Mick Taylor stands in stony silence off to one side, fluidly wringing out guitar leads that curl up and around Richards’ rhythmic stabs like ivy, while drummer Charlie Watts and bassist Bill Wyman set a quick pace for every song, handling their melodic contours with grace and toughness. An absolutely joyous “All Down the Line” chugs into the evil blues of “Midnight Rambler” like a runaway train, and the Stones inject a shot of adrenaline into Chuck Berry’s “Bye Bye Johnny” to name just a few of the many highlights here. And though the absence of the soaring female backing vocals on the recorded version of “Gimme Shelter” might be missed here, the band’s electrically charged performance will make you forget they were ever there. Every song is pure dynamite, the playing dynamic and forceful and Jagger rallying the troops with that trademark herky-jerky vim and vigor is a total delight.

An “Old Grey Whistle Test” interview with Jagger that’s included with the DVD isn’t very interesting, except as a piece of nostalgia from the period. Jagger’s 2010 interview about the film serves as a better companion piece, as do tour rehearsals from Montreux that find the band working through “Shake Your Hips,” “Tumbling Dice” and “Blueberry Jam.”

A deluxe edition box set of “Ladies And Gentlemen … The Rolling Stones” is also out. It includes additional bonus material and memorabilia. But if that’s a little out of your price range, this DVD is an essential historical document all on its own. 

-         Peter Lindblad

The Rolling Stones Official Site 

Eagle Rock Official Site

CD Review: Rory Gallagher "The Beat Club Sessions"

CD Review: Rory Gallagher "The Beat Club Sessions" 
Eagle Rock / Capo
All Access Review:  B+

No stranger to cameras and lights, Rory Gallagher was a regular on the German TV show “Beat Club” in the early ‘70s, appearing four times over a span of two years, once with his band Taste in 1970 and three others in 1971-72 to showcase material from his brilliant first two solo albums. Listening to The Beat Club Sessions, it’s easy to see why he was asked back time and time again.

From the vaults come 90 minutes of sensational unreleased live material from those shows, all pulled together for this latest testament to Gallagher’s mastery of blues guitar. Intended as a companion piece to the two-DVD “Ghost Blues” package Eagle also released in September that is purported to be the first complete and fully authorized documentary of Gallagher’s life and career, The Beat Club Sessions provides a taste of Gallagher’s inestimable live prowess and a remarkable look at how the Irish guitar gunslinger reinvigorated favorites from his small, but magnificent catalog on stage.

And what a flavorful sampler this is, from the propulsive, double-barreled blast of “Laundromat” and “Hands Up” to intricate and wistful acoustic readings of “Just the Smile” and “I Don’t Know Where I’m Going” – every piece is powerful, beautifully played and joyously articulated. The slow stomp and slide guitar frenzy of “I Could’ve Had Religion” brings to life the ghosts of the Delta blues heroes Gallagher worshipped, and “Used To Be” smolders with intensity, with Gallagher’s slashing solo a stiletto across the neck and his coal-fired band playing with verve and passion, the trio closing the song with a raucous meltdown of pounding drums, thumping bass and soaring six-string magic.

There’s a hard edge to Gallagher’s playing here, and he’s at his sharpest on a dynamic, serrated version of “Messin’ with the Kid” that serves as the live collection’s blistering finale. Handling “Crest of a Wave” with a more melodic touch, Gallagher reveals a less bombastic, more fluid and artful aspect of his instrumental genius. If only the package had more to it.

The liner notes are too short to be sweet and more detailed historical context for Gallagher’s performances on “Beat Club” would have made this essential. Perhaps “Ghost Blues” will fill in the cracks.


-Peter Lindblad

DVD Review: Rush "Classic Albums: 2112 & Moving Pictures"

DVD Review: Rush - "Classic Albums: 2112 and Moving Pictures"
Eagle Vision
All Access Review: B

Perhaps predictably, Rush took a lot of heat for throwing in their lot with Ayn Rand as they did on 1976’s 2112. Her controversial writings were viewed by many as promoting a selfishly individualistic philosophy that sanctioned greed and scoffed at the notion of a common good.

Drummer/lyricist Neil Peart and the rest of Rush looked at Rand and saw something different in works like “Anthem” and “The Fountainhead.” In Rand, they found something of an intellectual freedom fighter, a warrior of strong mental fortitude in the fight against repressive totalitarianism and mind control. What they had, in essence, was an ally.

Influenced by the writings of Rand and those of science fiction writer Samuel R. Delaney as well, Peart constructed for Side 1 of 2112 an epic futuristic tale of a world where technology reigns supreme and art – music especially – is crushed under the heels of priests who knew, implicitly, what was best for the people. And yet, somehow, as told in this latest installment of Eagle Vision’s Classic Albums series, Rush was demonized for it. Critics went so far as to call them right-wing extremists and even Neo-Nazi sympathizers, when all Rush wanted to do was say a little something about staying true to yourself and your artistic vision.

2112 was the epitome of transitional records. On one side, there’s a conceptual suite, at once angry and piercingly loud, but also contemplative and melodic, pieced together in defiance of record company mandates to be more commercial. Once the rebellion had ended in the crashing chaos of “Oracle: The,” which Peart sees as the cavalry coming to save the day, Rush moves on to the shorter, more compact songs – the ones Mercury Records wanted more of, particularly after the weird and incomprehensible Caress of Steel – that make up Side 2.

Exploring the exotic, drug-fueled nature of “A Passage to Bangkok” and the contrasting lightness and dark shadows of imagination in “The Twilight Zone,” the DVD goes into great detail in telling the story of 2112. Peart, guitarist Alex Lifeson and bassist Geddy Lee all end up sharing fascinating memories of the making of 2112, with producer Terry Brown also revealing much about the studio process. Context and insight provided by esteemed music writer David Fricke and Foo Fighters drummer Taylor Hawkins flesh out the history of Rush’s break-though record, while Mercury promotions man Cliff Burnstein explains how tough it was for him to sell a conceptual record, or at least half of one, to a label that wanted no part of that.

What feels ham-fisted is how the film segues into Moving Pictures. In a sense, it tries too hard to find a connection between the two landmark records. History has shown that 2112 and Moving Pictures are clearly the most important works in Rush’s catalog, but, maybe due to time constraints or the lack of supporting material, the filmmakers gloss over how the band evolved between those works. And where they artfully lay the foundation and backdrop for 2112, less attention is given to what led up to Moving Pictures, though passing mention is made of Rush’s interest in New Wave and Punk and how that helped inform the record. The Moving Pictures segment is salvaged, however, by the deep, expansive analysis of “Tom Sawyer,” “Limelight,” “YYZ” and “Red Barchetta.”

While “2112 & Moving Pictures Classic Albums” does much to celebrate Rush’s musicianship and the complexity of their compositions, perhaps the film bit off more than it could chew here. Maybe separating the stories behind both records would have made for fuller, richer and more satisfying storytelling. Still, if you’re a Rush fan and these two records are among your favorites, there is much here to enjoy, especially the interviews. Candid, open and refreshingly defiant, Peart, Lifeson and Lee are engaging subjects, and watching them, up close, work through some of the most interesting parts of these great songs on their instruments is an absolute pleasure.

-Peter Lindblad 

Links: 

Eagle Vision

Rush

Riff This! Rock Gods' Guitars Hit Auction Block

KIP WINGER PERSONAL CONCERT USED WARWICK BASS GUITAR

Kip Winger Warwick Bass

The bass guitar that Kip offered up - an authentic Warwick Corvette ProLine - left us speechless.......and we're sure it will make your head spin as well. Ever since the start of the 2002 Summer tour with Poison, Kip has played this very guitar extensively. For eight years, it has been his most trusted sidekick, as is easily evidenced by the countless photos and videos. Better yet, Kip walked off stage with it after the most recent Blackwood Creek show in Denver.

To quote Kip; "Man, this really has been one of my all-time favorites. Originally, it had a green finish but I painted it black right after the tour with Poison. It's been with me ever since and anyone who's been to a Winger show in the last 8 years, here or overseas, has seen me playing it. During the last show, the front pick-up crapped out on me and I intended to have it repaired. But now that it's going in the auction, I'll let the future owner decide what he or she wants to do."

The bass does indeed show the type of wear one would expect from extensive use. There's the usual (minor) dents, scratches and even some missing paint chips but in all fairness, the guitar wouldn't have character without it. And speaking of this particular model - which ranks among the elite in the vast line of Warwick bass guitars - this rather pricey instrument trademarks are its well-balanced attack and starting transient, with a consistently clear deep bass register, a warm gently growling mid-range and pleasant soft highs. The Corvette ProLine's body consists of two pieces of hard, Flamed Maple. A Wenge fingerboard is glued to the five-piece Ovangkol neck, which slots neatly into the body and is secured by four bolts in individual recessed metal bushes. Kip replaced the standard MEC pick-ups with two EMG pick-ups. It has gorgeous gold hardware and comes in the original "Rockbag" soft travel case, which has some light damage across the bottom but is overall in excellent condition.

Warwick basses has endorsed the greatest bass players over the years such as Jack Bruce, John Entwistle, Adam Clayton, Bootsy Collins and Robert Trujullio. It is no surprise to see Kip playing this majestic and exquisite instrument. Kip signed the bass on the back, which makes this without question the single most exclusive and desirable Kip Winger collectibles one could ever own.

Included is a Certificate of Authenticity, signed by Kip Winger.

Auction Link: Lot 1189

MINISTRY AL JOURGENSEN FAMOUS 'BUCK SATAN #1" GUITAR

Al Jourgensen Buck Satan # 1

Each auction has it's 'crown jewels' and as far as the Al Jourgensen collection goes, this very one might just be it. Offered here is Al's infamous "Buck Satan # 1" Ibanez custom made guitar, which he used extensively for touring and recording between 1996 and 2006. This guitar can be seen in many concert photos, as well as in the 'Lay Lady Lay' video.

Equally impressive is the fact that this prototype guitar is only of ONLY two ever made by Ibanez, exclusively for Al Jourgensen. The second one, aptly titled Buck Satan # 2, is also offered in the auction.

The guitar features mother-of-pearl inlay around the entire side of the body, silver hardware, 2 Humbucker pick-ups and 2 tone/ volume knobs.

The E-string is broken but is included in the original guitar case, which further contains a pack of D'Addario string and the original guitar strap. The guitar shows moderate surface wear but is overall in excellent condition.

Not only is this an amazing collectible for guitar collectors - after all, no other Ibanez of this kind is in circulation - but this is also the very first time that Al has offered a guitar from his private collection in public.

You wanted a 'Holy Grail' item.....well, this is it!

Included is a Certificate of Authenticity, signed by Al Jourgensen of Ministry.

Auction Link:  Lot 1026

MINISTRY AL JOURGENSEN RARE 'BUCK SATAN # 2" GUITAR

Al Jourgensen Buck Satan # 2

Equally rare as its bigger brother - the Buck Satan # 1 - is this amazingly stunning and flat-out super-cool 'Buck Satan # 2' guitar, which was exclusively designed as a prototype for Al Jourgensen by Ibanez.

Al passionately loved this guitar and used it extensively on the road. It was used between 1996 and 2006 on tours such as 'Sphinc Tour' (1996), 'Clitour-US' (1999), 'Evil Doer Tour' (2004) and the 'Masterba-Tour' (2006).

The guitar features mother-of-pearl inlay around the entire side of the body, silver hardware, 2 Humbucker pick-ups and 2 tone/ volume knobs. It comes in the original case and shows moderate surface wear from stage and studio use. Overall however, this true museum piece is in excellent condition.

Not only is this an amazing collectible for guitar collectors - after all, no other Ibanez of this kind is in circulation - but this is also the very first time that Al has offered a guitar from his private collection in public. Will you be one of the very, very lucky few?

Included is a Certificate of Authenticity, signed by Al Jourgensen of Ministry.

Item Link: Lot 1027

ANDY LAROCQUE KING DIAMOND ALBUM USED GUITAR

Andy Larocque Guitar

Known for his signature guitar style of incorporating neoclassical elements into his playing, Andy LaRocque career began in the early days of the N.W.O.B.H.M. as the lead guitarist for metal horror band King Diamond, with whom he has been a member since 1985.

In addition to over two decades of touring and sharing stages around the world with Metal's most outstanding musicians, Andy has produced and engineered top metal bands like Falconer and Evergrey. Bands like Death, At The Gates, In Flames and Dimmu Borgir have called upon Andy as a guest musician to deliver a dose of fierce, lightning fast, heavy guitar. His peerless and influential playing style is admired by so many and without a doubt has earned him a place in the immortal ranks of heavy metal's finest!

Andy is also a Grammy nominated artist for the song "Never Ending Hill" from the King Diamond album "Give me Your Soul...Please" (2007).

Featured here is a most remarkable guitar that will appeal to King Diamond fans, as well as guitar aficionados; Andy's very own Caparison TAT II, which was used during the recording of "Give Me Your Soul....Please".

Caparison Guitars is a Japan-based manufacturer of high-end custom shop electric guitars and endorses a growing numbers of top guitarists and "shredders". The TAT II is an arch top 'Soloist' type guitar that features neck-thru maple construction, 24-fret ebony fingerboard with abalone inlays, alder body wings, Schaller bridge, bound neck & headstock, and a unique one-of-a-kind ' Eastern Red Sunset' finish. The TAT II has a custom made Humbucker (Caparison) and 2 single coil pick-ups with a push/push coil tap switch. This along with the 3-way toggle gives you six distinct tones. Even unplugged, the guitar sounds very loud!

Andy received this guitar from the owner of Caparison in 2002 and will include the personal letter and original documents. Most recently, Andy used the guitar for composing some of the upcoming King Diamond material.

In all, this is a top-tier instrument with great history and provenance. The guitar will be shipped directly from Andy's recording studio in Sweden.

Included is a Certificate of Authenticity, signed by Andy LaRocque.

Auction Link: Lot 1234

JOHN 5 CONCERT USED & SIGNED BROKEN GUITAR WITH CAST

John 5 Fender Telecaster & Foot Cast

Pete Townsend started it, Paul Stanley perfected it and John 5 has taken it to a new level! Yup, we're talking about the art of smashing guitars. Where Townshend's were unpredictable and spontaneous, Stanley's were highly choreographed and intended as a fan souvenir. Our man John 5 however doesn't simply smash his guitar....he beats the living daylight out of it with the same aggression, passion and madness he bends his strings and shreds his way through the night.

During several shows on the summer 2010 tour, Rob Zombie would challenge John 5 to a bet, with the livelihood of his guitar at stake. John would lose the bet and consequently smash it, much to the joy of the audience (and Rob). Now, before y'all get carried away, John wouldn't smash his own J5 Fender Telecaster but would instead reach for the more economically priced Squier model.

Since pitching a broken guitar (or parts thereof) into the audience has because a bit hazardous (people do get injured in the fights that break out over getting a piece of it), John would instead toss the scraps to his tech and that was pretty much the end of it. On rare occasions the body or neck would stay somewhat intact and the few that survived were offered by John to his fans.

However, he saved a special one for a special event and that's what we have up for grabs in this fantastic lot. On the eve of the August 3, 2010 show in Raleigh, North Carolina, John broke his foot and initially feared that he wouldn't be able to do the show. A quick trip to the hospital and a cast later, John was good to go. For John 5 fans you know that "taking it easy on stage" would prove to be a challenge, but he managed to do the full show, including the "smashing of the guitar", which is the one featured here. The guitar is broken in several places but is complete and was signed by John on the chrome pick guard.

Agreed, this by itself would be a prestigious memento for any collector. After all, John 5 is one of today's absolute premier guitar players; period! Owning one of his very few 'battle axes' is plenty reason to draw envy and admiration but why stop here? To make this lot unparalleled, John has added the cast for his broken foot that he got prior to the Raleigh show and supported him for the remainder of the tour. The cast too has been signed.

Whether you're a John 5 admirer or a guitar aficionado, you're not going to find anything like this ever again. Talk 'bout a true one-of-a-kind item....it doesn't get any more authentic than this!

Auction Link:  Lot 1241

PANTERA FULLY SIGNED DIMEBAG WASHBURN GUITAR

Pantera Fully Signed Guitar

If there ever was a 'Holy Grail' Pantera collectible, then it is this amazing, fully-signed Washburn 'Dime Slime' guitar! Out of appreciation for all the years of hard work, support and tremendous successes, all four Pantera band members signed this killer Dimebag signature model Washburn guitar for their manager Walter O'Brien back in 1998.

The signatures read;

* Dimebag; "To Waltino O.B.! Light It Up, Watch It Go, But Don't Make Me Hot. Ya' Boy, Dimebag, CFH '98"
* Rex: "Walt - Here's To Good Times, Love Bro - Rex"
* Phil: "Walt, May We All Die In The South (O.K., Not Really!) P.'98"
* Vinnie: "Thanks For Everything!! Vinnie Paul 1998 X"

The guitar (serial # S97117040) is in absolute mint condition and comes complete with a Dimebag guitar pick, a Dimebag signature guitar strap, a sealed pack of 12 Dimebag signature guitar picks in the original packaging and a brand new 'Dime Cry Baby From Hell" wah pedal (in the original box, complete with inserts).

Also included is a clear display case (with black backing), which measures 50 x 20 x 7 inches. The case is optional as its significant weight will ass substantially to the cost of shipping.

All together, you'll be hard pressed to find a more prestigious Pantera collectible than this!!

Included is a Certificate of Authenticity, signed by former Pantera manager Walter O'Brien.

Auction Link: Lot 1140

MINISTRY AL JOURGENSEN CUSTOM 'COFFIN' SCHECHTER GUITAR

Al Jourgensen Coffin Guitar 

Designed by Al Jourgensen himself, Schechter guitars made a half-dozen 'Coffin' guitars exclusively for the 2008 Final World Tour (also known as the C-U-LaTour). The guitars were made in three colors; black (of course), white and cherry red.

Al took the black and red guitars on the road with him, leaving the red one back in El Paso for studio work. The cherry red guitar as featured in this lot was used by Al for recordings over the past 2 years. Judging from the height of the bridge - which is slightly elevated - Al most recently used it for "slide" work.

The guitar, which is also signed by Al on the back, has gold hardware, mother-of-pearl inlays and Gibson 500T Humbucker pick-ups. It comes in the original case and is in pristine condition.

Al's gracious decision to offer one of his only six in existence beloved 'Coffins' to the public, which makes this one of the most prestigious Ministry collectibles to own. Naturally, for guitar aficionados this guitar is equally thrilling, knowing that you will own this high-end piece of art, of which only two in this color were ever made....and only one will ever belong to anyone else than Al Jourgensen.

Included is a Certificate of Authenticity, signed by Al Jourgensen of Ministry.

Auction Link: Lot 1029

The Rock Gods 'n Metal Monsters Auction also features additional instruments and gear, including artist used keyboards, speakers, mic stands, drums and complete drum kits, percussion items, flight cases and more. Check out the complete collection of auction items in the Instruments & Equipment category at Backstage Auctions.

Auction ends on Sunday, November 7th. Rock on Over to the Auction Tab and register for your VIP All Access Pass.