Ozzy Osbourne: The Doctor Is In

The Doctor Is In
By: Jeb Wright - Classic Rock Revisited

Ozzy Osbourne continues to entertain people around the world as one of the top vocalists in Heavy Metal history. Now, Ozzy is back with two new projects, neither of which features him on center stage. The first, a book titled Trust me, I’m Dr. Ozzy, is an advice column where the Prince of Darkness listens to questions about kids, relationships, sex, drugs and anything else on his reader’s mind before giving them advice on what to do in their current situation. It is a hilarious book; however, Ozzy does the unexpected and comes across as actually caring what these people are going through. You get his over the top sense of humor but Ozzy also reveals he is much more in touch with humanity then one might expect.

The other project is a documentary by his son, Jack Osbourne, titled God Bless Ozzy Osbourne. Jack went behind the lens and delivered big with a behind the scenes look at who Ozzy really was, and is, and what it was like to grow up his son. At times this is humorous, but other times it is soul searchingly honest and emotional. Ozzy discusses the project in-depth in the interview that follows.

At the end of our time together, I took the opportunity to ask Dr. Ozzy for some advice with a personal problem I am currently facing. His answer was spot on, so much so that I’m hoisting a piece of pepperoni pizza in his honor as I type these words.

Jeb: Your new book is a collection of question and answers from your advice column that was in the Times in London and in Rolling Stone Magazine. What was your reaction when you were asked to do the column?

Ozzy: What happened was that I was asked to get this test on my DNA because of everything that I had done with drugs and alcohol, and the lifestyle I had led the last forty years. I did this thing called Genomics, which is where they take some of your blood and they go clear back in your bloodline and figure out where you came from, and what diseases and things you could be facing in your lifetime.

The Times in London said, “Why don’t you do a column since you’ve survived everything and give advice to people.” The column is really just common sense. I suddenly found myself relating to a lot of the people writing in. They wrote in about kids and marriage and all of this stuff. If I didn’t know what to say, or if it was serious, then I would tell them to go and see a doctor.

Jeb: When they did the DNA test, I heard they found you were part Neanderthal.

Ozzy: Yeah, yeah, that explains the thick part of my skull [laughter].

Jeb: Did you expect the results to be that in-depth?

Ozzy: I didn’t know what to expect. I did find out one thing that I didn’t like. Every morning, I like to get up and have a strong cup of coffee and I found out I’m allergic to coffee because of this test. I go, “Oh fuck.” I have one cup of good strong coffee a day but that’s it.

I can only decipher about a third of it [the test] because two thirds of it is a lot of technical jargon. It’s not a cheap test; it costs quite a lot of money. It is beyond my fucking brain, what they talk about. It is hard for me to digest information because it may as well all be in Latin.

Jeb: Did you have a lot of fun doing the column?

Ozzy: If it wasn’t fun then I wouldn’t have done it. I suppose people were expecting me to tell them to take a ton of acid, and an aspirin, and go to bed.

Jeb: I think the book has more charm because you’re so open about substance abuse.

Ozzy: I was talking to my wife just the other day about this; most of my old associates, people that I used to get stoned and drunk with, are dead and gone. There are a few stragglers but most are dead. The word moderation has never applied to Ozzy Osbourne. I never went out for a fucking drink; I went out to get fucking crippled. I would say, “I am going down to the local pup, darling. I’ll be back in a little while.” I would show back up three days later in a pair of fucking handcuffs.

Jeb: Now, at age 62, is moderation something you can achieve?

Ozzy: I can‘t drink and I can’t do drugs. I mean, I live in California and I could get a bag of mild marijuana from the doctor but who I am fucking kidding? I’d start out with a mild bag of marijuana and I’d end up with a fucking bag of crack. My mind runs away with the fantasy because one drink, or one joint, or one whatever doesn’t apply to me but my head still thinks it does. I will think about it and my head runs away with the thought.

Jeb: You have tried to quit for as long as I can remember. Why is it different now?

Ozzy: I got fed up with quitting. The first thing I stopped was tobacco, and don’t ask me how I did that. I have been in nearly every rehab around. I have been in rehab with heroin users and they say, “I can put the smack down but I can’t give up tobacco.” I put it down first. My voice would crack in concert and I felt like a soccer player kicking the fucking wall when he was not in the game.

To be honest with you, I was not having a good time. I would make all of these grandiose statements about how I was Mr. Sober, now. In the National Enquirer, the following day, you would see me on the floor in a bog covered in piss.

There is a lot more help these days than there used to be. It is a lot more openly spoken about then when I was a kid. My folks didn’t say, “He’s got a drinking problem.” You just didn’t talk about it. My drinking problem was that I couldn’t get e-fucking-nough. If I knew, and I honestly thought to myself, that I could drink moderately, then I would, but I know I can’t. I never ever did, I never ever will and I don’t want to.

Jeb: I think when someone like you tells people to stop doing drugs it comes across loud and clear. What was one of your favorite questions on drugs?

Ozzy: The one that I remember was this guy who had just come back from a doctor who had prescribed this medication that said on the bottle, “While taking this medication, do not drink alcohol.” This guy asks, “What should I do?” I said, “Well, if you’re a dummy, and you’re fucking nuts, then you will drink alcohol with the medication. If I were you, then I would do what it says on the bottle and not drink any alcohol.” Some people are fucking insane.

Jeb: Oh, come on, I imagine back in the day you would’ve drank with the medication.

Ozzy: I did. If they would have asked me that question ten years ago, then I would have been on drugs and drunk and I would’ve gone, “Dude, this is Ozzy, I’ve just taken this medication and I’m about to down a quart of vodka. Where is the nearest fucking hospital from where I am?”

Jeb: Were there any sex questions that were uncomfortable for you to answer?

Ozzy: The newspaper would get them all in and then just send through the funny things. One guy wrote in telling me that he was worried about his relationship because he used to have sex with his wife three to four times a week. He said, “Now, we are only doing it once a week. I’m 80 years old and I’m worried we are growing apart.” I said, “Stop complaining, man!” I mean fucking hell, he’s doing good.

Jeb: I want to talk about a project your son Jack did called God Bless Ozzy Osbourne. Tell me about how that came about.

Ozzy: He decided to go behind the camera, rather than in front of the camera. He wanted to start a production company and he said, “Would you mind if I did a documentary on you?” I said, “Just don’t make me look like something that I’m not. If I’m bad then say that I’m bad.” I didn’t want him to do one of these documentaries that say, “Look at me, I’m the wonderful one.” I’ve had my wonderful moments but I’ve also had my fucked up moments as well. I said, “Jack, you’ve got the freedom of the camera. Do the best job that you can.”

I must confess, when I was watching it in a theater in New York, part of me said, “Fuck, be careful what you ask for.” I’m not afraid to talk about the bad things I’ve done in my life. So many of us are the great and glorious and never talk about the things that we don’t want to talk about.

Jeb: Was it emotional for you to see you through your son’s eyes?

Ozzy: No, because when I was watching it, I was just watching a film. We’re a very close family. There were parts of it that kind of got me. There was a question that asked if I was a very good father and the answer was no. I thought about it and I suppose it was true because I was always fucked up, you know.

Jeb: I think that would be hard to take now that you’re not all fucked up.

Ozzy: But it’s the truth. I remember one time I was arguing with my son Jack and I said, “What the fuck is wrong with you? You’re always complaining about what I’m doing. You’ve never wanted for a damn fucking thing.” He said, “Oh yeah?” I said, “Name one fucking thing in your life that you’ve wanted that you haven’t got? If your bicycle broke, you got a new one. If you wanted to go somewhere you got to do it.” He said, “You want to know what I’ve never had? A father.” He stopped me dead in my fucking tracks. Alcoholics and drug addicts are self-centered people. We only care about ourselves.

Jeb: You can’t go back and do it again.

Ozzy: If you could buy love then people would be selling it in gold boxes.

Jeb: Are you at a place in your life where you can finally say that you’re happy and that you’re satisfied?

Ozzy: No.

Jeb: How can that be?

Ozzy: I’m a worrier. I will worry if I don’t have anything to worry about.

Jeb: From the outside looking in, it appears you’re doing great. You can tell that you are really in love with your family.

Ozzy: We do stupid things and we have rows but it’s a family. When we started filming The Osbournes T.V. series people would come into my house and go, “Is it always like this?” I was like, “What?” They would go, “Your son just put a fucking spike in his shoe and your daughter just bought a new party dress. Your wife is coming in with all these shopping bags and the fucking cat is on fire.” It was just how our life is. When we did the show, a lot of people ended up relating to us. We didn’t go Hollywood bullshit.

Jeb: My daughter, Cassidy, watched the show and said, “We are like The Osbournes but without the money and drugs.”

Ozzy: [Laughter] I love it.

Jeb: My last one is asking Dr. Ozzy for some advice. I need some help with an issue that I know you have struggled with. I have discovered a new authentic Mexican restaurant in town and I’m hooked on burritos. What do I do to get off the burritos?

Ozzy: Switch to pizza [laugher]!

Jeb: That’s perfect. I’m getting a pizza today.

Ozzy: I will do that with burritos. I will eat nothing but burritos for about a month and then I will go, “This is fucking boring.” A normal person wouldn’t eat burritos every day for six weeks. If they did then they would never eat one again for the rest of their life.

When I was doing that TV show people were noticing that I was eating these energy bars, and then they got them for me for free. Then, I was eating burritos all the time and I was given a lifetime supply and I never had to buy one when I went to the place to get one. Once they started giving them to me for free, I’ve never had one since. When it was free, I didn’t want it. I have no idea why I’m like that.

For more of Jeb Wright's interviews, reviews and news check out Classic Rock Revisited. 

Deep Purple "Phoenix Rising"

Deep Purple "Phoenix Rising" 
Eagle Vision
All Access Review: A - 

All was not well with Deep Purple when version Mark IV accepted a lucrative offer to jet off to Jakarta, Thailand, to play before a people hungry for just a little taste of big-time, arena-sized, hard rock. For starters, Mark IV had in its stable not one, but two, drug-crazed toxic twins in bassist/vocalist Glenn Hughes and guitar wunderkind Tommy Bolin, both of whom were being dragged to their own personal hells by severe addictions and free-for-all excess. That factor alone should have spelled doom for Mark IV, but there were other divisive issues, like the fact that keyboardist Jon Lord wasn’t completely onboard with the soulful, more groove-oriented direction of the newly constituted lineup, now down to two original members, Lord and drummer Ian Paice. The old guard was, somewhat reluctantly, ceding authority to the new one, and into the void of leadership stepped Hughes, Bolin and hairy vocal god David Coverdale, who had replaced Ian Gillan.

Their styles inevitably clashed. And Lord will tell anybody who cares to listen that 1975’s Come Taste the Band was really not a Deep Purple album. It was a Hughes-Coverdale-Bolin project, backed by two longtime Deep Purple veterans, as Lord explains in “Getting Tighter,” a frank and revealing 90-minute documentary packaged with the new DVD, “Phoenix Rising,” that delves, often uncomfortably, into Deep Purple’s troubled transition from the Ritchie Blackmore years into its short-lived, turmoil-filled Mark IV phase. It is accompanied by a true treasure, the lost, but incredibly well-filmed 30-minute “Rises Over Japan” concert footage that is now finally seeing the light of day. An electric performance sees Coverdale and company roaring through “Burn,” giving a smoldering rendition of “You Keep on Moving,” slinking around the funky “Love Child” and blazing through “Smoke on the Water” and the scorching closer “Highway Star,” which drives the audience nuts – after all Japan always has been, historically, a Deep Purple stronghold. It’s one of the very rare pieces of film that shows Bolin playing with Deep Purple, and for that, it is absolutely essential. The playing is muscular, Coverdale’s vocals are masculine and sexy, and the band seems invigorated, even if they know the end is near. But, then there’s that documentary, as strangely gripping as a car wreck.

Through gritted teeth, and trying to be as diplomatic as possible, Lord recounts those days of ruin in his own words in “Getting Tighter,” just as Hughes presents another perspective, one of a repentant wild man who has come to grips with the fact that his lurid appetites probably contributed to the fall of one of rock’s greatest groups. It’s a fascinating account of a period in Deep Purple’s existence that has, in some ways, been sort of brushed under the rug … with good reason. For all involved, it’s not a particularly pleasant episode – Coverdale would not even consent to take part in the film. These were, after all, the last days of Deep Purple – yes, different versions of the band would later reunite, but for all intents and purposes, this was it. And for Hughes, especially, that brief time he was with Deep Purple, as artistically gratifying as it may have been, was when his addiction took hold. 

Then, there was Jakarta, a tragic piece of history that would rank right up there with Altamont had it not happened in a place ignored by most of the world, like Thailand. Not pulling any punches, Lord and Hughes, the only Deep Purple members interviewed here, explain in detail what happened to Purple. From the notorious California Jam gig, where Blackmore memorably destroyed a TV camera in a complete onstage meltdown, on through Hughes’ recruitment, Mark III’s Stormbringer and Blackmore’s subsequent departure, and then trumpeting Bolin’s flamboyant arrival, the drugs and the Jakarta incident, followed by the almost anticlimactic breakup.

For those unfamiliar with the Jakarta story, it’s a murky tale to be sure. Invited to play Jakarta as the first rock band from the U.K. or America to play Thailand, Deep Purple gladly accepted a big cash offer to do it. Met with incredible fanfare – oddly way-over-the-top as Hughes recalls riding with tanks and soldiers on a convoy through town, as the people lavished the band with an outpouring of affection – Deep Purple experienced corrupt promoters who tried to stiff them on their payment and stuff over 100,000 people into a 50,000-seat stadium. Then, there was the murder of one of the minders hired to care for Hughes and Bolin. Hughes was arrested for the crime, and the band was forced to play a second show while grieving terribly for its loss. Hughes openly describes the duress he was under and recounts how thuggish security guards turned the dogs loose on the crowd, as all hell broke loose and fans were mauled by the animals.

Not a pretty picture, is it? Well, neither is the guitar case of cocaine Lord says he saw. This is as ugly a story of rock ‘n’ roll excess as has ever been told, though there are bright spots. The amount of rare vintage concert footage, from various phases of Deep Purple’s life, is astounding, as are the interview pieces from yesterday with Bolin and Paice and the film of Deep Purple, and its entourage, actually in Jakarta, getting off the plane and setting up for those doomed shows. And for all of Lord’s reservations about Come Taste the Band, he does extol the virtues of Bolin’s thrilling musicianship and the album’s strengths as a rock record. For his part, through the self-flagellation, Hughes also seems to sincerely view the work on that record as one of the most artistically rewarding times of his life.

And so, what’s here is an amazing tale, one that’s far more than just a tawdry, sensationalized “Behind the Music” stumble into the gutter. But, questions remain, such as why no Coverdale? Why is he not a part of this? And why are Hughes and Lord the only ones talking? Couldn’t the filmmakers bring a broader perspective to the documentary? If “Phoenix Rising” – and its centerpiece “Getting Tighter” – comes up a bit a short, this is the reason. Ultimately, however, there is so much to love about this collection. The electronic press kit for Come Taste the Band in “Phoenix Rising” is a wonderfully detailed look at the record, complete with a track-by-track assessment by Hughes and Lord. And that’s not all. There is also a great reproduction of an old Record World magazine section devoted to Deep Purple that includes a wide array of interviews with band members and their associates, advertisements, photos … if the documentary wasn’t enough for you, this should seal the deal. Furthermore, there is a special two-disc DVD/CD package that will include an audio version of “Rises Over Japan.” Run, don’t walk, to get this.

-          Peter Lindblad

CD Review: Rainbow "Live in Germany 1976"

CD  Review: Rainbow "Live in Germany 1976"
Eagle Records
All Access Review: A-

Never one to be careful with his words – it’s been said, after all, that he infamously referred to the elements of funk and soul that Glenn Hughes and David Coverdale injected into the Mark IV version of Deep Purple as “shoeshine music,” not exactly the most politically correct of descriptions – guitar sorcerer Ritchie Blackmore had “creative differences” with just about everybody who was ever in Rainbow. Notorious for being difficult to work with, Blackmore burned bridges over and over with a series of firings that led to massive personnel overhauls in Rainbow – this after already having swum away from what he surely perceived as a sinking ship of dysfunction in the last incarnation of Deep Purple, born out by the cold public shoulder given to Purple’s last hurrah, at least before later reunions, Come Taste the Band.

Go all the way back to the messy birth of Rainbow, those sessions in Tampa Bay, Florida that yielded what was originally going to be Blackmore’s first solo salvo across Purple’s bow, a single with a version of the Steve Hammond-penned “Black Sheep of the Family” and “Sixteenth Century Greensleeves” on the B-side. Though still technically in Deep Purple at the time, Blackmore, his aspirations leaning toward a more classical interpretation of hard rock and heavy metal, had holed up with Dio in a hot, muggy place where retirees go to die with ace musicians like keyboardist Matthew Fischer of Procol Harum, ELO cellist Hugh McDowell, and Dio’s band mate in Elf, drummer Gary Driscoll . The results pleased Blackmore so much that he decided to make a solo album – just with a whole new cast of characters. Keeping Driscoll, Blackmore and Dio gathered up the remnants of Elf, aside from guitarist David Feinstein, and with bassist Craig Gruber and keyboardist Mickey Lee Soule, they crafted Ritchie Blackmore’s Rainbow, a medieval fantasy world of an album marred by bad sound and occasional lapses in musical judgment and taste.

Which brings us to 1976’s Rainbow Rising, a metal classic by any standard of measurement. Every bit the killing machine that Deep Purple was in its finest hour, the lineup that recorded Rising – none of whom were around for Ritchie Blackmore’s Rainbow, except, of course, Dio – barely harnessed its considerable horsepower on that great record. There was Tony Carey on keyboards, Jimmy Bain on bass and the all-powerful Cozy Powell on drums, and the combination was magical. But the thing about Blackmore, aside from his ability to mold and sculpt some of the most unforgettable riffs in rock history and reel off solos that fly closer to the sun than Icarus ever dreamed possible, is that he simply cannot compromise his artistic vision. It isn’t in his nature. And so, again, Blackmore issued pink slips to everybody, Dio being the only survivor in this purge. This time, however, Blackmore went a bit too far. Rainbow never again was this good.

But before the inglorious end of this version of Rainbow, a 1977 live album, Rainbow on Stage, was issued, and it was a lead balloon. It culled a patchwork of muted concert performances of the Rising crew, mostly from shows in Japan, with a couple tracks from shows in Germany. Lacking the fire and brimstone normally generated by the Rising gang when confronting an audience, it’s a lukewarm representation at best and it was missing one of the band’s greatest achievements, “Stargazer.” Thirty-four years later, the ghosts of Bain, Powell, Carey, Dio and Blackmore are avenged by Rainbow: Live in Germany 1976, a two-disc collection of long-lost performances of that revered lineup from their scorched-earth tour of German hamlets like Cologne, Munich, Dusseldorf and Mannheim.

Gathered from reels of tape found in vaults in London, as the brief liner notes here indicate, the eight songs – all except two eclipsing the 13:00 mark – that comprise this release all burn with intensity. Free to explore his every whim on the guitar, Blackmore gives a performance for the ages. Opening Disc 1 with a relatively compact 5:25 “Kill the King,” the band, propulsive and feeling its oats, comes out with guns blazing as Blackmore fires a hail of notes as arrows into the crowd and drives the band’s unstoppable momentum with motoring riffs. The bluesy, Zeppelin-esque stomper “Mistreated,” which Blackmore wrote with Coverdale, follows and is drenched in exotica. It’s a vision quest for Blackmore, where he emits quiet, meditative guitar codes for ancient astronauts before painting the sky with echoing, hallucinatory chords and epic runs across the expanse of the universe. Even more disarming is how Blackmore’s insistent, pulverizing riffs pound away in “Sixteenth Century Greensleeves,” while still managing to shoulder the melody like a muscle-bound steelworker carrying an I-beam as Carey, Powell and Bain construct the song’s sturdy framework with workmanlike attention to detail.

Dio sings the transcendent Disc One closer “Catch a Rainbow” beautifully, letting Blackmore reveal intimate little eddies of sonic mystery and wonderment before the epic build-up comes on a like a sudden storm and whips up gale force winds of sound, with his aerial guitar acrobatics diving and rising like some sort of flying dragon. It’s magnificent to behold, as are the furious, demonic grooves Blackmore and company push and prod in an absolutely gripping “Man on a Silver Mountain” tour de force. Carey channels his inner Keith Emerson in the dancing keyboards that introduce “Stargazer,” another massive, powerful undertaking that clocks in at 17:10 and takes all kinds of strange, but utterly beguiling, twists and turns, while never losing the plot. All of which sets the stage for the rhythmically dynamic, thundering canon of “Still I’m Sad” and “Do You Close Your Eyes,” played at top speed and full of balled-up energy that simply explodes at Blackmore’s command. His soloing has never been as wild or as carefree, while still retaining the precision, care and blinding speed that has made him a legend.

An exhausting listen that leaves one breathless and satisfied, like the best concerts do, Rainbow Live in Germany 1976 provides an ironclad argument for Blackmore to not mess with a good thing. The chemistry between these musicians is obvious, and Dio wails as if he’s chained and held aloft above a hot bonfire of guitars, bass, keyboards and drums that never turn to ash. Simply put, this the live album Rainbow should have put out in 1977, but … well, better late than never I suppose.

-          Peter Lindblad

Backstage Auctions Rolls Out a Different Type of Auction

Summer Classic Rock 'n Roll Auction
Auction Dates: September 17th - 25th

By Pat Prince

Backstage Auction’s “Summer Classic” auction, September 17-25, will be unique for a rock ‘n’ roll auction house that typically handles consignments from only those involved in the recording industry. The sole collection for the “Summer Classic” auction is that of a private collector.

Uncle Ted's favorite Indian boots.

“This is the first, and likely only, exception we are making to our standard model,” says Backstage Auctions owner Jacques Van Gool. “We pretty much knew where these items in this auction came from. This is a collection that came from a private collector who has been a buyer from Backstage Auctions, literally, from the very first auction. And he never skipped a beat — every single auction we put up, he bought. So the one thing that I did know is that a lot of the things still have the original certificate of authenticity. I know where they came from, so I’m very comfortable. And items that we found that didn’t come from us, we had the signatures verified by a third party to make sure the signatures are authentic.”

He continues: “When you have an individual who has been so incredibly loyal to you, literally from the first day you been in business, you build a personal relationship with them— which is what we had. And he sadly passed away and his family did not know where to go. And we just felt — and it’s hard to put into exact words — but if he knows that we are taking care of this, then I would like to believe that that would make him happy.”

Also, this may be one of Backstage Auction’s most eclectic auctions yet. “The fact that he was so diverse and eclectic of a collector means that you’re probably going to find something from anyone who was somebody in rock ‘n’ roll. He wasn’t discriminating towards either a particular artist or a particular musical genre or a particular type of item — from ticket stubs to videos — everything you can think of. But he did have a couple favorites.”

One of those favorites is Ted Nugent. According to Van Gool, twenty-five percent of the entire collection is made up of Nugent-abilia. “There’s a tremendous amount of Ted Nugent stuff,” says Van Gool. “I mean, it’s impressive. The rarest vinyl you can think of. A CD collection that is just over-the-top. Then there’s also the personal stuff, like one of Ted’s most favorite outfits that actually used to hang in the Rock and Roll Hall of Fame, which is a pair of his Indian boots that he used to wear for years and years. There has to be over a thousand photos where you can find Ted wearing those particular boots. And there are Gold and Platinum record awards (RIAA) that were all issued to Ted Nugent. These were his personal record awards, including one issued to his mother.”

1965 Pandora & The Males "Kiddie A Go Go"

He goes on: “One of the things I thought was so cool is that we came across a 7” of Pandora & the Males’ “Kiddie A Go Go” from 1965. We had set it aside because no one here had recognized what it was. Finally, when we started doing research on it, we found that Kiddie A Go Go (aka, Mulqueens Kiddie A Go Go) was a pre-teen dance show from 1965, Chicago — which was basically a cross between American Bandstand and the Mouseketeers. They had some pretty interesting artists on the show, but they also had their own house band which was Pandora (Elaine Mulqueen) and a backup band, The Males. And the soundtrack for the show was “Kiddie A Go Go.” Well, Ted Nugent was the guitar player of The Males. And this little 7” is the very first recording that includes Ted Nugent. To me, something like that, is super awesome. Yeah, it’s great to have a “Double Live Gonzo” signed album hanging on your wall, and, yeah, we have that, and it’s cool to have, but then you have something like Pandora & The Males 7” from 1965 … I get excited about that kind of stuff.”

For many, it may be hard to imagine the Motor City Madman, who is about as polarizing a personality as one can ever imagine, as the guitar player for a pre-teen dance show’s house band. Whether it has to do with his opinions or his politics, controversy attaches itself easily to Ted Nugent. But Van Gool makes it clear that it isn’t his job to be the judge of such issues. “As an auctioneer we have never looked at which artist we like for their life views or their political views because it is irrelevant. You only can look at what their contributions are to the history of music, and how relevant they are to collectors. Nugent, without question, is very relevant. But I think that, as opposed to a lot of artists, there’s no denying that the world of Nugent is a little more black and white. You either really really like him or you really really don’t.”

Long Life To The Queen

But, as stated above, you don’t have to be a Nugent fan to be attracted to this auction. There will be plenty of other artists — over 1000 auction lots to chose from and the foundation of it is probably the vinyl record collection. “I mean, we’re talking about thousands and thousands of records here,” says Van Gool. “But what makes this so interesting is that just about every vinyl lot will include some really unusual, special releases. We found a very solid number of import vinyl — British pressings, German pressings, Japanese pressings. Then we found a significant number of broadcast vinyl. Back in the ‘70s, companies like Westwood One would make these broadcast specials, print them on vinyl and distribute them to radio stations around the nation. Westwood One had their Superstar Concert Series and those were legitimate live recordings. Westwood One also had a DJ named Mary Turner and a series called Off The Record. Mostly interviews, there are also some studio sessions and live sessions.”

Also included in this record collection is much sought after bootleg vinyl. “Usually in vinyl collections you’ll come across these releases,” says Van Gool. “They’re mostly from the ‘70s. And back in those days they would press like a 1000 copies, and yeah, you know, the audio quality is probably not the greatest but 30-40 years later these albums have become real collectible. It’s almost more fun to complete a bootleg collection of your favorite artist.”

1979 KISS World Tour Vintage T-Shirt

Apart from the vinyl, it doesn’t stop there. There are hundreds of signed items, over 300 concert t-shirts (mostly officially licensed), ticket stubs, backstage passes, guitar picks, drum sticks, photos, posters, promo items, reels, CDs, DVDs and videos, books and over 1000 magazines (first assorted by artist, then by genre and then by title). There is even an entire lot of Goldmine magazines.

It may all seem a bit overwhelming but one thing’s for sure, rock ‘n’ roll collectors, this is one auction not to miss.

The auction will feature rare memorabilia from KISS, Pink Floyd, Rush, Rolling Stones, The Beatles, Led Zeppelin, Queen, AC/DC, Van Halen, The Who, Jimi Hendrix, Aerosmith, Fleetwood Mac, Grateful Dead, Janis Joplin, The Doors, Pretenders, YES...and these are just a few of the highlighted artists. 

Register Today:   VIP All Access Auction Pass

A special thanks to Pat Prince for writing such an awesome piece on our auction. Pat you ROCK our world!

DVD Review: Neil Young - Here we are in the Years: Neil Young’s Music Box

Here we are in the Years: Neil Young’s Music Box
Sexy Intellectual
All Access Review: B-

Drawing parallels between Buffalo Springfield’s raucous “Mr. Soul,” penned by Neil Young, and the Rolling Stones’ “Satisfaction” doesn’t require a great leap of imagination, nor does one have to strain to hear the sad echoes of Roy Orbison in the tender melancholy of Young’s heartbreaking “Birds.” Anybody who fancies himself an amateur musicologist could make similar connections. To construct a sort of family tree of the complex musical influences that, when combined, drove Young to become the multi-faceted, challenging and utterly compelling artist he’s been for decades takes a more skillful hand, especially when doing it as a documentary film.

In the case of “Here we are in the Years: Neil Young’s Music Box,” the filmmakers, to their detriment, often allow the hardcore musicology to get in the way of a good story. A detailed, studious survey of Young’s career and all its fascinating twists and turns, “Here we are in the Years” offers up an in-depth examination of the impact of genres as diverse early rock ‘n’ roll, surf instrumentals, the Beatles and the Stones, country and folk, punk and new wave, electronic and grunge on Young’s work. Much of it involves weaving together the thoughts of critics, Young biographers, authors, musicologists and fellow musicians with live footage and snippets of old interviews with Young taken from other sources. As with many similar DVDs from Sexy Intellectual, Young is not involved personally in the project, and the film does not have the blessing of Young’s management or record label.

His lack of participation isn’t a distraction, however. There are plenty of Young to go around – in performance clips (the MTV Awards with Pearl Jam, concert pieces from his tour for Trans, the “Heart of Gold” concert film and a televised Buffalo Springfield jam on “Mr. Soul” to name a few) and a very small part of an interview Young did in 2007 with the BBC. What “Here we are in the Years” leans on is a clutch of talking-head interviews with the likes of writers Greg Prato, Anthony DeCurtis and Richie Unterberger. It traces Young’s career from the very beginning, starting with the rock ‘n’ roll pioneers like Elvis, Jerry Lee Lewis and Little Richard he idolized on through to his preoccupation with, of all people, Kraftwerk.

That open-mindedness and willingness to pay attention to, and incorporate, elements of what was happening in contemporary music – punk rock was something Young found a kinship with, even as colleagues like Stephen Stills, David Crosby and Graham Nash turned their backs on it – probably helped Young stay young, or at least artistically relevant. And even though efforts like the electronic immersion of Trans and the rockabilly-fueled Everybody’s Rockin’ were both part of Young’s early ‘80s malaise, they were signals of Young’s intentions to try his hand at just about everything, and give this film credit for delving into the stories behind these failures with as much relish as does the triumphs, like Harvest, After The Gold Rush, On The Beach and Sleeps With Angels.

There’s a lot of territory to cover, and “Here we are in the Years” does its level best to traverse it all. The thought-provoking analysis, delivered honestly and without a hint of cynicism, hits the mark consistently, and the history provided here is as deep and well-researched as can be, given the constraints of film running time. Much insight is given into Young’s dalliance with electronic music and his grandfatherly relationship with grunge icons, such as Pearl Jam, is explored with great intellectual curiosity, as is his abiding love of the folk duo Ian & Sylvia and the theory that Bert Jansch and his brand of depressed, gloomy British folk weighed heavy on Young’s more folk-oriented material.

But, there’s a limit to the amount of serious, almost academic discussion of Young’s influences a viewer can take. This is master’s class in Young and his art, his lyrics, his guitar playing, his politics and his songwriting. From the undeniably British narration – quiet, unassuming and intellectual – to the all-business attitudes of the commentators gathered here, “Here we are in the Years” is a death march to the end. With one eye watching the clock to see how much running time is left and a finger on the fast-forward button, it’s not always easy to stay awake for the whole thing. The more dedicated Young scholars will go for extra credit and review the extended interviews and digital biographies included among the extras. The C students among us who want to go play our Harvest records or try to copy the wild, noise-drenched solos Young plays with Crazy Horse will ditch school and try to avoid the truant officer.

-          Peter Lindblad

CD Review: WhoCares: Ian Gillan, Tony Iommi & Friends

WhoCares: Ian Gillan, Tony Iommi & Friends

Armoury Records

All Access Review: B

Across the WhoCares marquee, in big, bold letters, read the names Ian Gillan and Tony Iommi, icons of a bygone time in rock history. Any pairing of the groundbreaking Black Sabbath guitarist and, for all intents and purposes, the voice of Deep Purple — with apologies to David Coverdale and Glenn Hughes — is bound to raise a few eyebrows, just as it did in 1983 when Gillan joined Sabbath for heavy metal's version of "Plan 9 From Outer Space," the laughably awful LP Born Again and its "Spinal Tap"-like supporting tour.

Long considered the worst album in Black Sabbath's otherwise awe-inspiring monolith of a catalog, Born Again was a debacle — Gillan's hairy-chested bluesy vocals ill-suited for Sabbath's trademark gloom and doom, a problem made even worse by lackluster songwriting. Even the album cover, that demonic infant born with devil horns, fangs for teeth and sharp claws, proved to be comic fodder. And yet, here we, almost 30 years later, with Gillan and Iommi back together to rewrite the wrongs of the past — or at least trying to get by with a little help from their friends — and make some money for charity. Again into the abyss, the two legends gain a measure of redemption with the WhoCares project, whose purpose is to raise money for the music school of Gyumari, Armenia, an area still struggling to recover from the devastation wrought by a horrendous earthquake in 1998.

A two-song digital single, WhoCares features the tracks "Out of My Mind" and "Holy Water," the former an epic, heavy-duty collision of the thick, crushing riffage of Iommi and HIM guitarist Mikko "Linde" Lindstrom, the insistent, surging keyboard swells of Gillan's old Deep Purple mate Jon Lord and the monstrously huge rhythmic wrecking ball swung over and over by Iron Maiden drummer Nicko McBrain and former Metallica bassist Jason Newsted. As for Gillan, he doesn't sound as out of place here as he did on Born Again. There's a seething undertone of menacing madness in his vocals that rises and falls with every pummeling sonic wave, with a seething Gillan dramatically expressing the scrambled thoughts of a man losing his grip on sanity as nightmarish imagery flashes in his brain. Unexpectedly, Gillan seems to have picked up on that undefinable "it" that made Ozzy Osbourne's vocals work so well with Iommi's unique hammer-of-the-gods guitar work.

"Holy Water," though, is more tailored to what Gillan does best. The star power dimming on "Holy Water" — as the supergroup of "Out of My Mind" gives way to less prominent musicians, like guitar duo Steve Morris and Michael Lee, drummer Randy Clarke, bassist Rodney Appleby and keyboardist Jesse O'Brien — Gillan gives a more reflective, contemplative performance, finding solace and comfort in that "Holy Water" that drowns so many alcoholics. An exotic, dreamy, Middle Eastern intro, perfect for a movie about the politics of that war-torn region starring George Clooney, wafts through the air until smashing headlong into a powerful, bluesy train of Hammond organ, noisy guitars and steely bass and drums that slows in the verses, riding on golden rails of acoustic guitar, and then chugs full-steam ahead toward its destination. It's a song that looks ahead, while still managing to seem full of regret and haunted by a troubled past. And Gillan perfectly captures that combination of hopeful yearning and  twinges of repressed pain in thoughtful singing that can only come with years of bold living.

Still, neither track would ever approach the proto-metal classics that Gillan and Iommi recorded with Purple or Sabbath. There's a slow, but strong, current that pulls "Out of My Mind" along that is magnificent to behold,and while able to roll along through one's mind like the Danube, the song labors and meanders to the finish, despite some beautifully drawn twin guitar work from Iommi and Lindstrom near the end. And while there is character, grace and guts in "Holy Water," it's a fairly bland offering that lacks a memorable melody and doesn't seem to notice it is traveling down a road to nowhere. Still, with Iommi and Gillan both drifting outside their comfort zones, the pair seem energized by their reunion and willing to explore new horizons, even as they bask, somewhat, in the glories of their respective histories.

The enhanced CD is fleshed out with a 30-minute, behind-the-scenes documentary of the recording sessions — plus a video for "Out of My Mind" — and it offers interesting insight into the project, inspired by Iommi and Gillan's trips to Armenia to see the damage and recovery for themselves. In a way it perhaps mirrors the motivation Iommi and Gillan might have had in trying to fulfill the potential they saw in their partnership the first time they joined forces back in 1983.

-Peter Lindblad

CD Review: ZZ Top - Live in Germany

CD Review: ZZ Top -  Live in Germany
Eagle Rock
All Access Review: A+

The tread on ZZ Top’s tires was showing a lot of wear by the time that little ol’ band from Texas put out 1976’s uninspired burr under the saddle Tejas. Compared with the thick, rubbery, insatiably delicious blues-rock boogie of Tres Hombres and Fandango, from 1973 and 1975, respectively, the bald and flat Tejas rolled along almost completely on its rims until being sent out to that album scrap yard where disappointing records go to be dismantled for parts. As for ZZ Top, it was time to go back to the shop for a tune-up.

Lying low for three years, the durable trio of Frank Beard, Billy Gibbons and Dusty Hill triumphantly returned in 1979 with the nitro-burning funny car Deguello, as rowdy and raunchy a record as ZZ Top would ever make. Their propulsive rhythms and Gibbons’ growling guitar licks never sounded so lean or mean as they did on Deguello, with the bubbling hot bluesy stew “I Thank You” and the snarling pit bull of a single “Cheap Sunglasses” leading the charge. It was a strutting, vice-ridden tour de force that would set the stage for the even more lusty and powerful Eliminator in 1983, an album that would transform ZZ Top into the toughest rock-and-roll outlaws on the planet.

But, let’s not get ahead of ourselves. Already bad and nationwide, having poured its whiskey-soaked, boogie-rock down America’s gullet and gotten the country blind drunk on its shots of its heavy-duty, Chicago-by-way-of-Texas blues moonshine, ZZ Top set out to search Europe for some accommodating “Tush” and new fans thirsty for their brand of barroom rock, at the behest of Warner Bros. And they found it all on the famed TV show “Rockpalast.” In 1980, ZZ Top roared into the Grugahalle in Essen, Germany, and raised more than a little hell, the live mayhem caught on camera for the acclaimed “Double Down Live” DVD released in 2009. Here, is the musical documentation of that unforgettable night and it is street-legal, complete with vintage concert photos of the band and informative liner notes from “Rockpalast” executive producer Peter Ruechel that tell the fascinating story behind this historic performance.

Riding in to the sound of spaghetti-western horns of the intro “El Deguello,” ZZ Top launches into a wicked, side-winding version of “I Thank You,” one of nine Deguello tracks in the concert set, and follows up with the rugged, earthy grooves of a brass-knuckled “Waitin’ For The Bus” that kicks like a mule. Hill’s bass registers 7.0 on the Richter scale throughout Live in Germany, but on “Jesus Just Left Chicago,” it simmers slowly and seductively, until reaching a boil during Gibbons’ fuel-injected solo, just one of seemingly a thousand sharp, stinging leads the guitar legend clawed his way through that night so long ago. Going deeper into the catalog, ZZ Top rumbles and rages through “Precious and Grace” and “Manic Mechanic,” before working out the kind of sweaty, nasty grooves usually found in strip joints in “Lowdown in the Street” and the radiation burn of “Cheap Sunglasses.”

And Gibbons and company are just warming up, their earthy, gritty aesthetic sounding so dynamic and full of vitality. On “Heard it on the X,” ZZ Top presses the accelerator to the floor and simply runs over the clapping, cheering crowd, prior to cooking up a steaming hell broth of boogie-based blues and proto-metal on “Arrested for Driving While Blind.” Many of ZZ Top’s most salacious hits are set on fire in this scorched-earth, 16-track set, including a riotous “Beer Drinkers & Hell Raisers” and a down-and-dirty medley of “La Grange/Sloppy Drunk/Bar-B-Q,” where Gibbons wrings every bit of sinful, aggressive energy his guitar can muster out of those hot-wired six strings. It’s the highlight of an incredibly exhausting thrill ride that concludes with tasty, swaggering takes on Elmore James’ “Dust My Broom” and Elvis’ “Jailhouse Rock,” before driving the bruising, brawling closer “Tush,” in all its tawdry glory, straight into a house of ill repute. Confident, lively and full of testosterone, ZZ Top’s Live in Germany is a sensational concert album, maybe one of the best ever. It never lets up, not for a minute, and in the end, it’s a full-blown package of dynamite that will blow you to kingdom come. Don’t worry, you’ll die happy.

Peter Lindblad

Artist Official Page: ZZ Top

CD Review: Iggy Pop's Roadkill Rising: The Bootleg Collection 1977 - 2009

CD REVIEW: Iggy Pop's Roadkill Rising: The Bootleg Collection 1977 - 2009
Shout! Factory 
All Access Review: A

Pleading for quiet, Iggy Pop is having no luck convincing the crowd of mangy curs at Bookie’s in Detroit in 1980 to settle down and stop screaming. Worked into a frothy, rabies-infected lather, the audience, pressing dangerously against the stage, wants blood. They demand that Iggy and the band punch them in the mouth with the kind of grimy psychedelia and brass-knuckled garage rock his old band, The Stooges, used to dish out with violent glee. Iggy, on the other hand, is intent on serenading them with a soft, jazzy old standard, “One For My Baby (And One More For The Road)” written by Harold Arlen and Johnny Mercer and popularized by Frank Sinatra, of all people.

In the end, the stubborn and confrontational Iggy, spewing a stream of expletives amid entreaties for sanity, reason and safety, gets his way, and unexpectedly, he croons the song with great reverence. It’s one of the most disarming moments on the sprawling new four-CD, 66-track collection of unreleased Iggy Pop live recordings Roadkill Rising, setting them up for the kill that is the brawling, propulsive, furious ball of energy “Take Care of Me” from 1980’s Pop solo effort Soldier.

Spanning four decades of Iggy’s solo years, Roadkill Rising bulges with more than four hours of well-chosen concert audio – more than 60 tracks in all of Stooges and Iggy solo material, and a clutch of interesting covers – from some 20 different shows, like the four-song snippet from the show at Bookie’s, with its sweaty, intimate atmosphere, that includes a creeping version of “Nightclubbing” or Iggy’s performance at the huge Glastonbury Festival in England, where the classic Stooges’ growler “Down On The Street” is burned and beaten to within an inch of its life and “Real Cool Time” whips around in a cyclone of riffage.

Another in a series of “official” bootleg collections from Shout! Factory, which has featured artists like Emerson, Lake & Palmer and Todd Rundgren, Roadkill Rising might just be the cream of the crop. Stooges’ material such as “I Wanna Be Your Dog” and “Loose,” from Disc 2’s 1987 gig at New York City’s Club 1018, jump out of the speakers like a mugger from the shadows, while Iggy’s “Kill City” is a muscular, turbo-charged thrill ride and covers of the “Batman Theme” and “Hang on Sloopy” are fun-filled rock-and-roll romps that celebrate rock-and-roll’s past. Disc 1 sees Iggy digging into The Stooges’ past with seething takes on “Raw Power,” “1969,” “Search And Destroy” and “Gimme Danger,” and Disc 3 – from the ‘90s – presents a rousing survey of Iggy’s best-known solo work, with “Lust for Life,” “China Girl,” “Butt Town,” “Candy” and “The Passenger” rumbling menacingly and snarling with anger.

Iggy’s fingerprints are all over these recordings. Like other artists in the series, Iggy not only has given the collection his stamp of approval, but he’s also been involved in the remastering. And the sonic quality, tough, full-bodied and electric, of Roadkill Rising is pure Iggy. There’s nothing weak sounding or lethargic. Take “Corruption,” “Howl” and “The Jerk” from Disc 3’s 2001 Bizarre Festival performance in Germany.  The guitar wrangling is viciously clear, the stomping bass is thick and powerful and the drums hit like wrecking balls – as they all do throughout Roadkill Rising. Even comments, such as “Iggy is God” and other less complimentary utterances, from the peanut-gallery crowd come through loud and clear. The only drawback the set has is its packaging. Although the comic-book artwork is cool and the accompanying booklet features vintage photos, it lacks liner notes about how these bootlegs were found or even chosen for this collection. A minor complaint, though, as Roadkill Rising is a must-have for Iggy completists or anybody with a healthy respect for ballsy, take-no-prisoners rock and roll.

Peter Lindblad  

Artist Official Page: Iggy Pop

Shout! Factory Link: Roadkill Rising: The Bootleg Collection 1977 - 2009

Rock and Roll Limited Edition Lithographs

THE BEATLES, ROLLING STONES & BON JOVI LIMITED EDITION LITHOGRAPHS

In the mid 1990s, the music memorabilia community responded with excitement to the release of a most impressive series of a strictly limited quantity, museum-quality lithographs, featuring works of the worlds' best known graphic artists, such as Giger, Van Hamersveld, Volmer, Dean, Warhol and others. Combined, they produced rocks' most memorable album art for the Beatles, the Rolling Stones, Yes, Eagles, Genesis, The Who, ELP and many more. Available for a limited time only, these fully authorized works-of-arts sold out quickly (worldwide) and have since become highly collectible. 



Currently in the Backstage Auctions Store, a selection of Bon Jovi, Rolling Stones and The Beatles lithographs are available for direct purchase. The limited edition lithographs range in price from $35.00 - $150.00. 

"These are truly beautiful pieces of artwork and look absolutely stunning framed and displayed. We recently sold an entire set of Rolling Stones lithographs to a customer that was had them framed and then hung in their media room at home," says Backstage Auctions owner, Jacques van Gool. "And make no mistake,  these fine pieces of art will not break the piggy bank - they are all moderately priced."


The entire collection can be view by clicking on this link: Limited Edition Lithographs

ONE OF KIND FIND: CHRIS CORNELL CUSTOM MADE GUITAR

SOUNDGARDEN CHRIS CORNELL'S SILVER CUSTOM GRETSCH GUITAR

There are lots of cool and collectible guitars in the world - but rarely do you find an opportunity to actually own one as cool and significant as THIS silver (pre-Fender) Gretsch 6128 DuoJet with Bigsby that belonged to none other than Chris Cornell of Soundgarden. !!! Yes, you read that correctly. THE Soundgarden, one of the pioneering bands at the epicenter of the "Seattle sound" known as Grunge that emerged from the Great Northwest in the early 1990s. Soundgarden were - beyond question - at the forefront of that movement, along with the likes of Nirvana, Pearl Jam and Alice In Chains, and this Gretsch DuoJet was undeniably involved in the creation of that sound. 

The Gretsch 6128 (DuoJet) is a solid body electric guitar manufactured since the mid 1950s. Made of a chambered mahogany body, the DuoJet model 6128 is one of Gretsch's most sought after guitars. The difference between the DuoJet and comparable guitars, is in its configuration variations. While it shares the same two pickup, single cutaway style of the popular Gibson Les Paul guitar, the 6128 DuoJet models have more controls for shaping the tonality of the instrument. 

The DuoJet has been popular with anyone from Chet Atkins to David Gilmour, and is still in demand to this day. The most famous example of a DuoJet being played was by George Harrison during the Beatles' early days in Hamburg, and first few albums. In fact, he used that exact guitar on the cover for his 1987 "come back" masterpiece, "Cloud Nine." Clearly these guitars have impacted all types of music and players - including Chris Cornell and Soundgarden! 

Soundgarden achieved their biggest commercial success with the release of their 1994 album "Superunknown," spawning mega-hits "Black Hole Sun" and "Spoonman" which won Grammy Awards and helped Soundgarden reach mainstream popularity. In 1995, the album was nominated for the Grammy Award for Best Rock Album. 

The album has been certified five times platinum by the RIAA in the United States and remains Soundgarden's most successful album. In 2003, the album was ranked number 336 on Rolling Stone magazine's list of the 500 greatest albums of all time! Their follow-up album "Down on the Upside," their last studio album to date, produced a few successful singles as well. The video to one of these singles, "Pretty Noose Live" shows Chris Cornell playing the Gretsch as offered here. In addition to this video there are numerous pictures and videos floating around of him playing it, and you can rest assured knowing that there is no other single guitar on the planet that will match this one.

Specs: 
Gretsch 6128 DuoJet: 
* Custom Silver Finish 
* Solid Body 
* Two Humbucking Pickups 
* Bigsby Tremolo 
* Silver Pick Guard 
* Two Volume/Tonal Controls 
* Neck/Bridge Pickup Switch 
* White Pearl Fret Inlays 
* White Pearl Gretsch and Horseshoe Inlay in Headstock 
* Chrome Hardware 
* Serial Number: 9411129.301 (11/1994) 



For more information on how to acquire this super rare and unique guitar, visit our website for more information: CHRIS CORNELL SILVER CUSTOM GRETSCH GUITAR







Here is an awesome clip of Chris playing the guitar: http://www.youtube.com/watch?v=f8nkHrv_4Mg (Pretty Noose Live 1996)

DVD Review: David Byrne "Ride, Rise, Roar"

DVD Review: David Byrne "Ride, Rise, Roar"
Eagle Vision
All Access Review: A-

The iconic "big suit" David Byrne wore to arty, and somewhat comic, effect in the classic Talking Heads concert film "Stop Making Sense" is nowhere to be found on the idiosyncratic artist's newest performance documentary "Ride, Rise, Roar." In that exquisitely tailored, yet enormous, the rail-thin Byrne seemed like he was drowning in colorless fabric. It wouldn't have fit anybody, let alone the stick-like frame of Byrne, and yet, it told us much about contemporary living.

To anybody paying attention, it was hardly a great leap of imagination to make a connection between that suit, so devoid of personality in and of itself and yet so strangely compelling to look at, and how the frenetic, soul-stealing activity of modern life and work can swallow a person whole. And yet, there was nothing obvious or ham-handed about Byrne's unforgettable theatricality. As outsized as that suit was, the statement Byrne made with it was subtle and small, just a little tweak at the self-important business man wanting to become a master of the universe and losing himself in the process. Then again, to Byrne, maybe it was just a funny-looking, clown-ish get-up, a way to get a laugh — not bloody likely, though.

Whatever the case, it's Byrne's ability to dissect the human condition and all its mundane preoccupations, its underlying tensions, as if the world were a biology class's fetal pig — be it through enigmatic lyrics or his own strangely compelling visual artistry, and do so with a sly wit and a scientist's curiosity — that's made Byrne such a consistently interesting figure in pop music and other arenas.

"Ride, Rise, Roar" only adds to the mythology. Though not one inclined to revisit the past often, in 2008, Byrne did re-connect with Brian Eno for the LP Everything That Happens Will Happen Today, his first collaboration with Eno since 1981's My Life in the Bush of Ghosts. Informed by a decidedly un-ironic love of gospel music and its effervescent hopefulness, plus a healthy interest in electronica, Everything That Happens Will Happen Today was a triumph of man and machine. Then came the tour, the 2008-09 celebration of the music Eno and Byrne have made together over the years, starting with Eno's production and writing work with the Talking Heads, when they were a new wave, art-punk oddity that somehow forged a connection with the masses through the power of nerdy funk.

Wanting to make the experience more of a dazzling show, Byrne dreamed up an unlikely marriage of pop music and modern dance — reflecting his growing interest in the interpretive power of group movement — that could have been a train wreck. Unbelievably, it worked. The tour received glowing reviews, and "Ride, Rise, Roar" shows why. Decked out all in angelic white, the band and the small cadre of darting, twirling dancers — not the usual posse of break-dancing, hip-hop athletes you see on MTV — have a synergistic bond that adds spiritual weight and uplifting joy to performance segments that are thrilling, thought-provoking and full of boundless energy.

Cringe if you must at the thought of combining "interpretive dance" with the straightforward ethics of a traditional rock concert, but be prepared also for a visceral religious experience that mixes Talking Heads classics with selections from other Byrne-Eno works, including, of course, Everything That Happens Will Happen Today. It is beautifully shot by filmmaker David Hillman Curtis, with multiple camera angles and instinctual editing making the action even more intense and profound.

Though there's an awkwardness to the choreography surrounding Byrne in an otherwise electric version of "Once In A Lifetime," the concept comes together in the reflective "Life Is Long," with dancers wheeling fluidly and expressively across the stage on office chairs. Wonderfully abstract and moody, "I Feel My Stuff" shifts from jazzy, jungle-like atmospherics to sinewy, driving rock and then back again, the deceptively tricky choreography growing more and more anarchic. Taking on Talking Heads' favorites "Burning Down The House," "Road to Nowhere" and "Life During Wartime," Byrne and company attack them with an intoxicating, wild-eyed fervor and a snake-handler's belief that every note they're playing and every mapped-out dance step they take is full of meaning.

Sprinkled in between the concert footage are black-and-white, behind-the-scenes segments that reveal much about Byrne's creative process and how the experimental choreography developed. It's a fascinating look at an art form that doesn't get a lot of exposure, and the part where Byrne and Eno share a moment describing what influenced them musically on their latest collaboration offers fresh theories on inspiration and how they've channeled it into their more recent creations.

Boldly innovative, "Ride, Rise, Roar" gives "Stop Making Sense" a run for its money. Once again, Byrne's artistic sensibilities win out, and this grand experiment captures the best of what pop music and dance can accomplish when boundaries are pushed to the limits of imagination.

— Peter Lindblad