DVD Review: Taste – What's Going On: Live At The Isle Of Wight 1970

DVD Review: Taste – What's Going On: Live At The Isle of Wight 1970
Eagle Rock Entertainment
All Access Rating: A

Taste - What's Going On: Live
at the Isle of Wight 1970 2015

The simmering tension had finally boiled over. In a van, on their way to play the 1970 Isle of Wight Festival, Irish guitar hero Rory Gallagher and his two bandmates, drummer John Wilson and bassist Richard McCracken, decided that Taste was done. Somehow, they'd just have to smile and muddle through the biggest gig of their lives as if nothing had happened.

Or, they could go out in a blaze of glory, which the bluesy rock 'n' roll outfit did, burning the place to the ground with an electrifying set that won over an apathetic daytime crowd that practically yawned at their introduction. They were so good, in fact, that they decided afterward to carry on, however briefly. Soon, though, Taste would ultimately reach the end of their rope.

The thrilling action was filmed by Academy Award winning Director Murray Lerner, whose spontaneous cinematic instincts, an eye for action and drama and a gutsy appreciation for the raw, combustible energy burning uncontrollably in front of him threw gasoline on an already raging fire. And it serves as the centerpiece of a new DVD from Eagle Rock Entertainment named "What's Going On: Live At The Isle Of Wight 1970," containing all the tracks from the 1971 Polydor LP and a few more, as the trio stomps all over "Sinner Boy" and "Catfish Blues" in riveting fashion. At one point, as Taste is storming through the heavy blues of "Sugar Mama," Gallagher pumps his fist at Wilson, who reacts enthusiastically by pushing harder and more violently. Seeing Gallagher's slide-guitar work in "Gambling Blues" is a revelation, his soulful soloing a mixture of finesse and daring skill that's simply breathtaking. And when they launch into "Same Old Story," Taste's engine roars to life, their muscle and barely harnessed intensity coalescing into a rip-roaring show of strength and unity.

Preceding this tour de force is an unflinching, well-constructed documentary on Taste that doesn't succumb to banal sentimentality, and yet it speaks in awed wonder of their uncanny musical brilliance. From Taste's origins in Cork, Ireland, through management-inspired lineup changes, financial disputes, touring with Blind Faith and that fateful drive to the Isle Of Wight Festival, the tale of Taste is told with warm memories and genuine honesty, reflecting – through insightful interviews with, among others, Queen's Brian May, U2's The Edge, Bob Geldof and Rory's brother Donel, who also served as the band's road manager – on what made the volatile chemistry of Taste work and how Rory and his sublime talent transcended the sectarian unrest of his native land.

Bonus footage of Taste performing three songs on the German TV series "Beat Club" and videos for "I'll Remember," "What's Going On" and "Born On The Wrong Side Of Time" only enhance the value of a nostalgic package augmented by concise, informative liner notes and great photography. One little Taste is all one needs to be hooked on Rory and company forever.
– Peter Lindblad

CD Review: Bon Jovi – What about Now

CD Review: Bon Jovi – What about Now

Island

All Access Review: C

Bon Jovi - What about Now

To some extent, Bon Jovi has always lived in Bruce Springsteen’s shadow, except perhaps when it comes to album sales. Springsteen gets all the critical acclaim, while still managing to sell loads of records. Springsteen has been called the “new Bob Dylan.” He’s New Jersey’s favorite son, the voice of the common man, an honest-to-goodness poet who can, in gritty, powerful language, pen a tense murder ballad or capture the heartbreaking emotions stirred by a factory closing in a rust-belt town.

Bon Jovi, on the other hand, would be the answer to this bathroom-wall, fill-in-the-blank sentence, “For a good time, call _____.” That’s not exactly fair, but with Jon’s good looks, his band’s hair-metal past and little in the way of literary ambition, Bon Jovi has found themselves in the cross hairs of “serious” music critics for years, these pale shut-ins having unloaded a steady barrage of stinging barbs in their direction that has continued unabated. But, really, is there that big a difference between Springsteen’s “Rosalita (Come out Tonight)” and “Livin’ On a Prayer?” Unabashedly romantic and exuberant, these escapist, all-we-have-is-each-other anthems about young love and breaking free of impoverished circumstances by getting out of Dodge are life-affirming sing-a-longs, with great big hooks and the kind of blind optimism that destroys dreamers.

So why is Bon Jovi targeted for abuse, while Springsteen has been elevated to sainthood? Indulging in easy platitudes has never helped him gain favor with music scribes, but it’s probably more because of albums like What about Now, which finds the entire band sliding into adult-contemporary blandness and spouting artless clichés, such as, “If you want to start a fire, it only takes a spark,” from the overly earnest title track. His heart in the right place, Bon Jovi has never played it safer musically or lyrically, standing up for the hungry, the restless and those who are down for the count in what amounts to an inspirational sermon of a title track, throwing his support behind the faithful and the teachers, and anybody else who needs the healing power of Bon Jovi to walk again.

On this newest record of bighearted anthems and simple sincerity, Bon Jovi almost begs for artistic credibility and then abandons the pretense in tracks like “Army of One,” where undying solidarity is pledged for the troops and Bon Jovi repeats the words “never give up” over and over again – both fine sentiments, but ones also voiced at every sporting event held in America. Yes, it’s gratifying seeing Bon Jovi develop a social consciousness, but every song on What about Now seems to have a tear-jerking “Oprah” moment, and after song after song of this, the LP loses its ability to be affecting in any way. There’s less insipid socio-political commentary on local TV morning shows. Say what you will about the pop-metal superficiality of Slippery When Wet, but it was never a crashing bore like What about Now, a record that is only happy to carry the weight of the world on its shoulders, even as the air just seems to go out of the deflated “I’m With You” and “Amen.”

And there are not-so-subtle sonic deviations, too, as Bon Jovi’s sound has come to resemble U2 more than say Poison, with heady, starry-eyed tracks like “Room at the End of the World” and “That’s What the Water Made Me” aiming for the glorious heavens of chiming guitars that Bono and The Edge see when their rockets’ red glare spreads across a night sky. And then there’s the Heartland folk and rather likable, dog-eared country of their beguiling Lost Highway record of 2007 that manifests itself in the sobering, underdog drama of this record’s “The Fighter” – so quiet and genteel, but pretty, nonetheless, with its well-arranged mix of strings and horns – off their latest LP.  

Where’s the fun? Where are the wild hearts and sly grins of their youth? Has maturity sapped these cheery rogues of their ability to raise a little PG-13 hell? Jon Bon Jovi is far more serious and concerned about what’s going on his America than ever, living in hope while offering a helping hand to the downtrodden in the uplifting “Because We Can” or holding onto what’s good in an otherwise nasty, brutish life as the rushing melodic flood and the twinkling golden guitars of “Beautiful World” crash over the levees. These are stirring pop songs, played with panache, especially with the all-too-infrequent guitar supernovas of Richie Sambora – seemingly on the outs now with the group – blowing up here and there. And “Pictures of You” is a charming, sincere ode to true love, while “What’s Left of Me” is a rousing piece of faded Americana.

Does Bon Jovi deserve more credit for growing up a little? Is it too cynical to question Bon Jovi’s motives on What about Now? Probably, but in this era where taking issue with any of the causes Bon Jovi advances here would be tantamount to treason, it’s not such a bad thing to ask critically if they have gone a bit overboard in trying to save the world on What about Now. 

–   Peter Lindblad