I'd Rather Clean All The Bathrooms In the Schottenstein Center Than See Journey Play There - by Wal Ozello

Journey's coming to Columbus, Ohio on September 9 to play the Schottenstein Center. Tower of Power is opening for them.

You couldn't pay me enough money to be there.

Even if you're not a fan of Journey, even if you hate Journey and everything it ever stood for, let me put this in clear perspective for you.

Seeing Journey without Steve Perry is like seeing the Rolling Stones without Mick Jagger. Led Zepplin without Robert Plant. The Who without Roger Daltrey.

Heck... it's like seeing the Jackson 5 without Michael Jackson.

What makes it even more pathetic of a show, is their new lead singer is a sound-a-like.  As if you're tricking me into thinking it's really him. Who are you, Obi-wan Kenobi? You think you can do a Jedi mind trick on me?

Thank you Eddie Van Halen for finding a David Lee Roth replacement that was totally different. While Van Hagar wasn't anything like Van Halen, at least it was new, refreshing, and exciting to listen to.

But I digress... here's the whopper.  Journey thinks they are going to fill a huge arena (the OSU Basketball team plays there) and have people pay upwards to $90 to see them. Folks, the nose bleed seats are $72!

There's a lot of better ways you can spend that $72.  Go see a movie, buy a couple of CDs, visit Colin's Coffee (shameless plug for Colin's shop), come to my book signing at Colin's Coffee on Aug 16 from 10 am to Noon (shameless plug for my new book Revolution 1990), or even donate it to a homeless shelter.

But for the love of God, please don't feed Neal Schon's ego with it.

Wal Ozello is  a science fiction techno-thriller novelist and the author of Assignment 1989: The Time Travel Wars  and Revolution 1990. He's a resident of Upper Arlington, Ohio, a frequent customer at Colin's Coffee, and a long-time Steve Perry fan.

Learn more about Wal Ozello and other Pencilstorm contributors by clicking here

Ray Davies is the Best Songwriter: Exhibit I

We didn't forget about our semi-regular Sunday series systematically laying out the case why Ray Davies is the best songwriter ever in rock & roll, we just got busy. I put out a new tune, click here to listen, and with summer and gigs and the coffee shop and... anyway, let's get on with it.  Enjoy! - Colin G.

 

Click here for Ray Davies is the best songwriter exhibit H

 

The Kinks -  "Working at the Factory" written by Ray Davies

Sure, Think Visual isn't a masterpiece relative to other Kinks efforts, but as always, it has a number of gems scattered throughout. Considering this is TWENTY FIRST album released by The Kinks makes the it that much more impressive. Or put another way, has your favorite band released twenty- one records? That's what I thought. Get bent. Ray Davies is the best. 

The Kinks Working at the Factory

"Working At The Factory"
 

All my life, I've been a workin' man
When I was at school they said that's all you'll ever understand
No profession, I didn't figure in their plans
So they sent me down the factory to be a workin' man

All I lived for, all I lived for
All I lived for was to get out of the factory
Now I'm here seemingly free, but working at the factory

Then music came along and gave new life to me
And gave me hope back in 1963
The music came and set me free
From working at the factory

All I lived for, all I lived for
Was to get out of the factory
All I lived for, all I lived for
Was to get out of the factory

Never wanted to be like everybody else
But now there are so many like me sitting on the shelf
They sold us a dream but in reality
It was just another factory
I made the music, thought that it was mine
It made me free, but that was in another time
But then the corporations and the big combines
Turned musicians into factory workers on assembly lines

All we live for, all we live for
All we live for is to get out of the factory
We made the music to set ourselves free
From working at the factory

All my life I've put in a working day
Now it's sign the contract, get production on the way

Take the money, make the music pay
Working at the factory
All I lived for was to get out of the factory

Never wanted to be like everybody else
But now there are so many like me sitting on the shelf
They sold us a dream that in reality
Was just another factory

Working at the factory

 

Shadowbox Live Presents "Louder Than Love" (Grande Ballroom documentary) Sunday, July 20, 7 pm / Bonus Content by Mike Parks & Ricki C.

First the details, below that some great MC5 readin' from Ricki C. & Mike Parks. 

 

Shadowbox Live (503 S. Front Street, phone 416-7625) will present Louder Than Love, the acclaimed documentary about Detroit’s legendary Grande Ballroom this Sunday, July 20th, at 7 pm.  The Grande (pronounced Gran-DEE) was Detroit’s version of the Fillmore East and West, Chicago’s Kinetic Playground or the Boston Tea Party, the great rock & roll ballrooms of the 1960’s.  Produced & directed by filmmaker Tony D’Annunzio, Louder Than Love won Best Documentary Award at the Las Vegas Film Festival, Best Independent Standout Award at Hell's Half Mile Movie & Music Festival, and has had 16 consecutive sold-out screenings. 

Shadowbox Live plans to provide a true Grande Ballroom experience with the award-winning film interlaced with authentic light shows, original poster art and artists.

Legendary MC5 guitarist Wayne Kramer will join Shadowbox house band Bill Who? as they kick out the jams on tunes by not only The MC5, but also Led Zeppelin, The Who and more.

Some of the greatest bands in the world got their start or made their name at the Grande Ballroom in the late 60’s and early 70’s.  Louder Than Love is the greatest untold story in rock & roll history as revealed by the musicians, artists and people who lived it.

 

Schedule of Events:

4:00pm – Doors Open to the Backstage Bistro.  There will be a gallery and sale showcasing authentic rock art and photography

6:30pm – Doors Open to Shadowbox Live

7:00pm – Louder Than Love Begins

 

For ticket prices and more information on Louder Than Love, Sunday July 20th, please visit www.shadowboxlive.com.

 

 

The MC5 and The Grande Ballroom by Mike Parks 

 

The MC5/Grande Ballroom symbiotic relationship: linked together forever. 

Detroit and Ann Arbor in the late 1960’s were violent, high-voltage and dangerous.  The MC5 was the response, referred to as “The fathers of metal & punk,” but they were in a category by themselves. 

My involvement in the 5’s story happened by accident: a fork in the road.  To celebrate my expulsion the last day of my senior year of high school, my hitchhiking partner and fellow musician Phil Stokes and I decided to go to Chicago to a Spooky Tooth and Bo Diddley concert.  En route we were tossed off the Ohio turnpike by a patrolman who suggested we go to Detroit where we might find satisfaction. 

That night we ended up on the doorstep of the Grande Ballroom, where the MC5 were playing.  This was a pivotal moment.  After the show we met the sole member of the road crew who offered us a road gig and a floor to sleep on at the MC5’s Hill Street house.  We accepted and turned one night into a summer of electrifying shows. 

Fred “Sonic” Smith and Wayne Kramer were two of rockdom’s best dual guitarists – tight and damaging.  Rob Tyner was a fearless front-man.  The rhythm section of Dennis Thompson and Michael Davis: NUCLEAR.  Each live show outperformed the last, and obliterated the politics and bad management that surrounded them. 

The MC5 was like no other band. 

A True Testimonial.  - Mike Parks / July 17th, 2014

 

THE MC5 IN 1968 by Ricki C.

 

“I was 16 in 1968 the first time I heard The MC5
Rock & roll was, at that point, the only thing keeping me alive”

Ricki C. / “If All My Heroes Are Losers” / © 2000

 

I first heard of The MC5 sometime in 1968.  I can’t remember exactly how, it was just part of that Teenage Jungle Telegraph that existed back in those days.  There was no real Rock Press to speak of back then, Rolling Stone had just started publishing, and you could only buy it in head shops on campus, not in every Meijers and Kroger’s.  There was certainly no internet or YouTube.  If you wanted to see a band you had to GET IN YOUR CAR, DRIVE TO A VENUE AND PAY MONEY TO WATCH THEM.  (How very quaint.)  And there were no Smartphones, Spotify and Rhapsody: if you wanted to hear a band you had to go downtown to Marco Records or Lazarus and BUY A SLAB OF VINYL.  (Grandpa, what was vinyl?)

Anyway my rock & roll best friend Dave Blackburn and I somehow discovered The MC5 (I’m betting by some connection to The Who) and became Instant Raving Fans.  We were lower-middle class West Side boys – although attending a rather genteel Catholic high school, I must admit – who had mortal blows delivered to our beloved jagged-edge Power Rock & Roll by the Summer Of Love bands in 1967.  I mean, I’m sure Jefferson Airplane and The Grateful Dead meant well, but let’s face facts, they were hardly delivering the likes of “My Generation” or “Get Off My Cloud.”  (And indeed, it was during soundcheck at Detroit’s Grande Ballroom that The MC5 – who were opening that night for rather lightweight Boston folk-rockers The Beacon Street Union – first issued the timeless invocation “Kick out the jams, motherfuckers.”)

Dave & I and our West Side compadres were hippies for about 20 minutes, but even as early as ’68 we were looking for something a little wilder and a lot louder & harder, ya know?  And The MC5 and all the other Detroit bands fit that bill to a tee.  Plus they were only one state over from Ohio, so they played the Midwest like the local bands that they were.  (I saw the Bob Seger System at the Sugar Shack on 4th Street more times than I can count.)  

And then in February 1969 the first MC5 album – Kick Out The Jams – was released and OUR FUCKING BRAINS EXPLODED!  Really, I can’t overestimate to you the effect that album had on our teenage psyches.  From the very first moments of Brother J.C. Crawford’s intro straight through to the last outer-space noises of “Starship” this record is one for the ages.  (Is it the Greatest Live Rock & Roll Record of All Time?  It was until the expanded version of The Who’s “Live At Leeds” was released in the CD era.  And some nights at my house even now, 45 years later, the original vinyl edition of “Kick Out The Jams” still kicks Pete & the boys’ asses.)

Okay, okay, okay, I promised I’d keep this at 500 words, we’re rapidly headed for 900 and I could go on like this all night, so let me just say this: The MC5 were one of the five greatest bands EVER on this planet.  They kicked out a truly fearsome noise, they had killer stage outfits and they did unison dance steps, like a punk/metal Temptations or Four Tops (they were from Motown after all).  In some ways they were like James Brown backed by The Who, and what more could you ask for in a rock & roll band?  The MC5 never made it big because they were just too loud, too smart, too uncompromising, too political, just flat-out too bad-ass to play The Great American Entertainment Game and become Big Stars.  (It’s widely held that The MC5 were the target/inspiration for The Beatles couplet:  “And if you go carryin’ pictures of Chairman Mao / You ain’t gonna make it with anyone anyhow” in the song “Revolution.”  For a West Side boy like me, those whiny limey bastards putting down my Midwest crew was just too hard to stomach.)  (sidenote – It was only five years from The Beatles on the Ed Sullivan Show to The MC5 at the Grande, five years from “I Want To Hold Your Hand” to “Kick Out The Jams.”  Where have we gone in the last five years in what is today laughingly referred to as rock & roll: from Mumford & Sons to Imagine Dragons?  God help us.)

The MC5 were, in many ways, their own worst enemies: they refused to play by the rules, refused to keep their mouths shut, made their fair share of bad decisions, managed to alienate both the Straight AND the Hip Worlds (The Velvet Underground in particular) and eventually tumbled down into Street Drug Hell.  Does any of that make me love them less?  No, it just makes me respect them more: because we were all lower middle-class boys and we were all supposed to be in this together.  Kick out the jams, motherfuckers.

(ps. The MC5 is not in The Rock & Roll Hall Of Fame.  And that is why I do not go there.) – Ricki C. / July 15th, 2014. 

 


Mick Jagger Introduces Monty Python. "The Best One Died Years Ago."

Though almost a million people have already seen this clip of Mick Jagger (and Charlie Watts) introducing Monty Python via video, I just saw it recently so maybe you missed it, too. Thanks to Steve Quinn for recommendation. Good stuff. Enjoy! - Colin

Subscribe to the Official Monty Python Channel here - http://smarturl.it/SubscribeToPython Mick Jagger introduces the Monty Python Live (mostly) Press Conference Welcome to the official Monty Python YouTube channel. This is the place to find top quality classic Python videos, as well as some special stuff that you'll only find here - such as interviews and behind-the-scenes footage from our live shows.

The infamous Pet Shop (sometimes known as the Dead Parrot sketch) scene originally performed by Monty Python in Monty Python's Flying Circus.


Attention Families: Colin Gawel and The Lonely Bones @ Goodale Park Sunday July 13th, 12:30pm

Colin Gawel and The Lonely Bones are happy to once again be part of the Goodale Park music series. It is the PERFECT event for family fun. The band will be performing at the gazebo in Goodale Park from 12:30-2pm on Sunday July 13th. Admission is free and you can pack a cooler or hit up a food truck for your dining pleasure. They are the only band performing so plenty of parking and space will be available to all. 

Also, Colin just released a brand new song, "Podcast". Click here to visit colingawel.com and give it a spin. You will be glad you did. 

KISS / Def Leppard Opening Night by Nick Jezierny


I made a last-second decision to drive five hours to Salt Lake City, Utah, from Boise, Idaho, to see Kiss and Def Leppard open their tour. My original plan was to buy a cheap lawn seat and take in the show. It would be my ninth time seeing Kiss and my maiden voyage seeing Def Leppard, and with the ability to work in Salt Lake, I wouldn’t have to drive back immediately after the concert to be at work on time.

The lawn seats were sold out when I got to the Usana Ampitheatre, so I purchased the $89 ticket toward the back of the lower bowl. Well, that seat turned out to be right behind a light pole, so I walked back up to the ticket office and my only other option was a $159 ticket. I bit, and I was in the 8th row, second seat in from the aisle. This proved to be very handy for easier access to the $9/24 oz. cans of beer (note: Utah beer is lower alcohol, so I don’t feel bad for the five cans I consumed) and also a great view of the stage. I also took a cab to and from the show.

Def Leppard impressed me. I’ve heard that Joe Elliott’s voice was shot, but that wasn’t the case. I thought he sounded great. Did he hit the truly high notes on “Foolin’” or “Bringing On The Heartbreak?” No, but he held his own in a big way. Who knows if he can keep that up over the full tour, but he shined on Opening Night.

The band took the stage as The Who’s “Won’t Get Fooled Again” was blaring through the sound system, and as a nice touch, they played the final verse of the tune before running right into “Let It Go."

Vivian Campbell, Phil Collen and RIck Savage were energetic and provided some oomph on the backing vocals throughout. Hard to believe that it’s the same Vivian Campbell that I saw back in August of 1984 performing with Dio. The long hair is gone, but his flashy playing remains.

The highlight of the set for me “Bringing On The Heartbreak,” which started out as an acoustic number. Midway through, the band swapped guitars and finished the song with a rousing electrical version that went right into “Switch 625.” This was surprising to me as it was the only “non-hit” performed. It’s an instrumental where neither guitarist was a part of the original.  (Steve Clark and Peter Tom Willis were on the “High N Dry” album.)

The band’s visual show was solid. Throughout the songs, images from videos past flashed on the screen. The crowd got a real kick of the old band photos that kept showing up on the stage, which showed just how young these boys were when they started.

Most of the set-list was from “Hysteria,” and the two-song encore was “Rock of Ages” and “Photograph.”

As for Kiss, it was a typical Kiss show. All of the same tricks — breathing fire, spitting blood, Paul gliding out to sing to the people in back, Gene “flying” to the rafters, the big drum riser and Tommy Thayer shooting pyro from guitar — made appearances. The only old trick that didn’t surface was the classic Ace Frehley smoking guitar.

Though it was predictable, I most definitely enjoyed it. I guess I viewed this as my farewell tour. I last saw Kiss in 2001 on the “farewell tour” and figured that was it. No, Kiss showed they can still deliver a solid show. I just wish some of the old tricks would be freshened up or retired. Judging by the reaction of the jam-packed crowd, I was in the minority. People were eating this up.

Kiss only played 13 songs. There was no encore as Paul said they were trying to beat the 11 p.m. curfew. It was the first time I’ve seen Kiss where “Deuce” wasn’t a part of the setlist. We got “Hide Your Heart,” which was the biggest surprise to me. Nothing from “Monster” or “Sonic Boom,” so it was strictly a case of the old stuff.

Paul didn’t sound very good. It was almost as if he had a sore throat. He only sang six songs (King of the Nighttime World, Hide Your Heart, Shout it Out Loud, Makin’ Love, Psycho Circus and Detroit Rock City). Just watch the video clip below and you’ll hear what I’m talking about.

Gene also sang six songs (Cold Gin, War Machine, Christine Sixteen, I Love It Loud, Let Me Go Rock N Roll and Rock and Roll All Nite). Drummer Eric Singer handled the vocals on “Black Diamond.”

I’m curious to see how the tour progresses. Will set lists change? With a catalog of 200-plus songs, Kiss can’t play everything. I was overall pleased with the mix I got to see. They probably could have snuck in a 14th song had Paul not asked the crowd to scream the chorus of “Hide Your Heart” a million times. Seriously, I hate when bands do this. I’m paying (in this case $159, plus beers, plus cabs) to hear the band sing, not the audience.

There also were no solos (by either band). It was a night about the hits and seeing two legendary bands in one night. That’s what made this show a success in my eyes.

FYI - Kobra and The Lotus opened up. I hadn’t heard of them. They did a killer cover of “Barracuda” among their six-song set.

 

Nick Jezierny is a former sports journalist who has worked at newspapers in Ohio (including the Columbus Dispatch), Texas and Idaho. He used to review CDs, too. He now lives in Boise, Idaho, and has to drive to big cities to see bands that routinely pass over Idaho on their way from Salt Lake City to Portland or Seattle.

Here's KISS performing "King of the Night Time World" at the opening show of their 40th Anniversary Tour in Salt Lake City, Utah. Filmed by Keith Leroux for KISSONLINE.