Free McCartney Download

There's a tasty version of Macca banging out Wings' "Let Me Roll It" available for free at http://www.blogcatalog.com/blog/randomize-me/d1f2ebc1d8a6464b807e9dacb925b168
Click on the link or cut and paste. There's also quite a nice free video of "Highway" too.

Aerosmith: The Rise, Fall, Rise, Fall and Rise Again?

I still have a soft spot for Aerosmith. I think part of it is due to the fact that they were so inaccessible to young British rockers in the late 70's and early 80's. This made them feel exotic to those of us who had a penchant for all things American. In fact the band played only 5 shows in the UK from their formation through to their "comeback" in 1988. Being so huge in the US, they didn't need to play Europe.
Anyway, the word on the street is that Steven Tyler is to focus on "Brand Tyler" rather than his band which hasn't recorded a new album since 2001. I don't really want them to put out a new record anyway. You'd struggle to put together an EP of decent tracks from recordings they've released since 89's wonderful Pump album. That said, they are still one of the greatest live acts of all time. Without Tyler, they are not Aerosmith. Journey have proved you can survive with other singers at the helm, so the question is, can the Boys From Boston do the same?
Here's The Stoat's prediction. They'll part ways, realize the error and get back together in a few years. In the meantime Tyler will work on a solo record that will receive lukewarm reveiws from the critics and dabble in movie or TV projects the same way that Roger Daltrey has done. He'll then get bored and rethink his career.
Joe Perry will tour with his Project which will prove to be something only the real fans "get", making it commercially challenging, but great for us JPP fans all the same. But by doing this, he'll be able to groom his new young German Project vocalist, Hagen Grohe, for the job of Aerosmith frontman. Hagen hasn't quite got his frontman chops down yet, but he's certainly got the vocal dexterity and can even outscream Tyler. Hagen will join Aerosmith under Joe's mentorship and they'll tour the US next Summer. But the fans won't be as supportive as Journey's more mainstream Wal-Mart following.
And so in 2011, the Toxic Twins will reform, write some half decent songs, put out an exclusive through Target and make a fortune through the "Back In The Saddle '11" Tour.
Anyone fancy a wager?
The Stoat

Bad Company - (Almost) Rockin' Steady In London

My pal and fellow 70's rock nutter, Ziggy, saw Paul Rodgers play at Hammersmith last week, and got more than he expected. Here's his report live from London...


When I arrived, Paul Rodgers had already been on stage for ten minutes. Neither the dreadful weather nor Friday evening traffic was stopping anyone from attending this London “one-off” that had been promoted by Classic Rock magazine.
I entered during a stunning version of Ride On Pony, and then, for the first time live on stage Soon I Will Be Gone followed by The Stealer. The mention of “a new song written with Queen” had the female element of the audience screaming away. The song, which sounded as if it was called Take A Chance On Your Love doesn’t seem familiar, nor does it appear on The Cosmos Rocks, so this must have also been a first. Pretty much the rest of the set ran like a brilliantly performed Best of Free, with the exception of The Firm’s Satisfaction Guaranteed, You Are My Saving Grace and an incredible version of Run With The Pack.

Surprise of the Night Number One was a duet with a blonde lady (PR did mention her name twice but I didn’t get it) on Be My Friend that transformed the original plea of a lonely man into a sexually charged commitment to be a little more the just one’s friend.  Once again, the girls in the audience were screaming for more, including a seemingly out of place girl with a mohican in the front row.

A storming version of All Right Now signalled the end of the main set, and then Surprise of the Night Number Two; a guest appearance by Mick Ralphs. Given that Simon Kirke was drumming, this was the first time that a UK audience would have seen Bad Company on stage in around 20 years. Those who had seen Mott The Hoople’s incredible return to the stage at this very same venue barely a month ago will not be surprised to hear that Ralphs is in great form, as witnessed on the most incredible version of Can’t Get Enough. A final reading of Hendrix’s Angel left the audience wanting more, but probably wanting too much more, and unfortunately there were some boos when the house lights went on……I guess it did seem early at a few minutes before ten.

As always, Paul Rodgers delivers brilliantly, his voice is in perfect shape! As with the Mott shows the concert was recorded for a limited edition live album that can be ordered online (unlike the Mott show it wasn’t available for sale at the gig). It was such a great show I’m more then likely to order it.

Ziggy Rokita

Joe Perry Project At The Viper Room

On Tuesday night, I got to witness The Joe Perry Project at L.A’s intimate Viper Room. In the wake of a disasterous year for Aerosmith, Joe has not only rushed out a new album, but he’s playing a handful of dates which now look likely to turn into a full tour. What’s more, he’s playing under the JPP moniker, which hasn’t happened since 1983. Was it worth the wait? Absolutely.

The crowd was an interesting site in itself. There had clearly been a lot of pre-show lubrication of the tonsils, as peroxided tousle-haired Sunset Stripper refugees crashed around the room, mingling with the mostly forty something guy crowd. A couple of hammered blondes theatrically made out at the front of the stage just before the band came on, keeping the chaps rather alert and smiling. One of them had “I heart Joe F****n Perry” scrawled on her arm. And a brief tussle broke out when a respectable looking, big rather big guy started swaying, and fell into the crowd. O yes, Joe Perry was about to be in the house.

The Project graced the stage at about 9.45, opening with a strong rendition of Let The Music Do The Talking. A selection of tunes from the new album followed, to which the crowd responded warmly (by L.A. standards anyway!) despite the record just having been released that day. I think it’s interesting that there’s a song called No Surprise, but it’s not the track of the same title that was on Night in The Ruts. Perhaps Joe is having a nudge at his Aerosmith band mates, as Jimmy Crespo played on that song, rather than him? Anyway, the mighty East Coast West Coast followed and the audience lapped it up. It’s such a great song and truly deserved to be dusted off. Aerosmith numbers included a predictable Walk This Way, but a cool and groovy reggae version of Dream On. But the cut for me was undoubtedly the mighty Combination from the outstanding 1976 Rocks LP, still a personal favorite after all these years.

In fairness, it took a while for the band to generate a head of steam, but by the time it played Rockin’ Train from the first JPP release, the cylinders were firing. How many rock bands know how to play funk today? I can’t think of any at this moment, but back in the 70’s most of them would drop a funky track onto the vinyl. Maybe that’s it? Any fool can record a power chord and make it loud and powerful, irrespective of album format. But funky guitars sound soooo much better on a 33, than a CD or mp3. A little static and a wah-wah pedal goes a long way in my book.

The last song of the set was the Beatles’ Revolution. The band sounded great, but new vocalist, Hagen, struggled a little. It was the first time he’d had problems that night. On some songs he’d out-Tylered Tyler, reaching those shrill, bluesy screams with total ease. But the lower register didn’t suit him quite as well. Still, boy done good, and is clearly still in shock about being plucked from YouTube obscurity. Perhaps Joe is grooming him for what may be a new Aerosmith line-up? The swap-out of the singer certainly hasn’t done Journey any harm!

MVP award goes to bassist David Hull, the only former member of a JPP line-up other than the boss. I hate bass solos, but this guy is great – not overly technical – just pure feel and a wonderfully warm vintage amp sound.

No guest artists joined them onstage, which was a little disappointing since Slash and Tom Morello were in the house. I was lucky enough to see Jimmy Page on stage with Aerosmith at the Marquee in London many moons ago. They played Immigrant Song together and Joe sung Red House with the other JP playing heavy blues licks like none other, so this time I was all ready for some cool collaborations, but alas, they were none.

The band made a quick getaway after Revolution, and the lights were up. No encore. Come on Joe! How great would it have been to have heard Discount Dogs, No Substitute For Arrogance, Life At A Glance or South Station Blues? Or any number of deep Aerosmith cuts (Bright Light Fright anyone?) but hey, I’m not complaining!

The Project rocked, and Joe F****n Perry is still the coolest of the cool in my book, just as he was back in the day. Thank God some things in music never change.

.

Where Have All the Virtuosos Gone?

The interest in musicianship is undoubtedly there. The question is, where are today’s real live guitar heroes, keyboard wizards, bass masters and drum virtuosos? Sure, YouTube is the temple of the talented, as well as the not-so-talented, and is full of would be musical heroes ready to unfurl their capes and fly. So why aren’t these guys and gals household names? What’s different now than when we were in our formative music years?

If you remember growing up in the 60’s, 70’s or 80’s, the virtuoso was elevated and praised to the ends of the Earth. He was the super hero of millions, challenging conventional wisdom and inspiring those of us born with minimal or modest talent, to keep on searching for the lost chords or the perfect paradiddle.

Jimi Hendrix did things with a guitar that still can’t be easily beaten today. Pete Townshend’s unconventional approach, experimentation and frustrations made him known the World over. Jeff Beck found a sound and style that was, and still is, totally his own. As the 60’s turned into the 70’s, London walls were daubed with the words “Clapton Is God”. The 70’s saw Jimmy Page and Richie Blackmore dazzle fans with their virtuosity. And at the end of the same decade, Eddie Van Halen’s “Eruption” decimated our fragile eardrums and blew our tiny minds. In the 80’s Edward’s legacy paved the way for Vai, Satriani, Bettancourt, Malmsteen and many more guitar slingers besides. And then…

And then it stopped. Bands still had good players, but few folks knew their names. Perhaps the hair metal bands with their posing and posturing killed our taste for an honest hero? Or maybe it was the Seattle sounds of Nirvana and Pearl Jam that relegated the role of virtuoso to the scrap heap? Rap certainly has had its effect by eliminating the entire need for talented players on most tracks. When rap re-discovered rock through collaborations by Run DMC and Aerosmith, and Public Enemy and Anthrax, there could have been hope for the return of the musical hero. But it wasn’t to be, as later rap/rock acts such as Linkin Park and Deftones, along with most of the Emo movement, just ignored the need to restore musicianship on its vacant pedastal.

It was a regression in rock. The noise had been brought without the ability to play well. And so differentiation became limited, and excitement levels fell along with sales. These guys were just like us. The played, sang, dressed and performed just a few notches above our own levels of minimal and modest talent.

This had negative impact all round. Unless they were superfans, no-one could name most of the individual members of a top 10 band. This was bad, not from an elitist “musicianship = good” stand point, but rather from a brand perspective. Back in the 70’s and 80’s, a band’s brand was made up of DNA that almost always included its members virtuosity, personalities, names and interests. This will never work in the same way again because it’s all laid out in front of us on the web. Folks don’t care what the guitarist is called and what his favorite licks are because there’s no mystery. Back in the day, it was often difficult to hear a record before buying it. And it was hard to find information or articles on many up and coming bands. Today it’s all there. All successful and sustainable heroes need to be shrouded in a degree of mystery, like Page and his once alleged fascination with occultist Alistair Crowley. Today, that’s just not possible. Our bands are transparent, their laundry is on the line, and at the end of the day, they are just made up of regular guys. The magic has dissolved.

There is no shortage of talent in the world, but it hasn’t risen to the top just yet. The media doesn’t care about virtuosity, so there’s no incentive for it to showcase such talent. There is a severe shortage of outlets for talented rising heroes. Radio doesn’t give a damn. It’s based on the “Don’t bore us – get to the chorus” mentality to generate ad sales. Same with TV for the most part. Maybe we need “So You Think You Can Shred” to spur the return of the rock hero? Naturally it’s all down to the web, but its fragmentation isn’t producing heroes at a rate of knots just yet.

So here we are today, waiting for a hero or two to emerge from the web abyss. Will they ever come back? I think, yes, without a doubt. And fairly soon.

In Europe, and to a lesser degree in the US, progressive rock is on a sharp rise. Never the most fashionable musical genre, prog never went away. As any self respecting owner of “Close To The Edge” will tell you, this, the genre of throwing daggers into keybopards, touring with costly 100+ piece symphony orchestras and always making sure that there’s a never-ending drum kit nearby at all times, is also clearly built on virtuosity. Radiohead has proved that it’s ok to create complex songs. Today’s prog is taking that philosophy and adding another layer – groundbreaking musicianship. And it’s emerging through the web and live shows, and very little else. It’s the vanguard of the new wave of heroes. Bands like Porcupine Tree and Dream Theater have huge, passionate followings, and grass roots bands from Finland to Oakland are following in their wake. The next Jeff Beck and the future Neal Peart will most likely emerge from this underground but highly active and talented scene.

So watch out. The return of the hero is nigh, and it’s coming on the crest of the prog new wave. So for those of us who remember prog’s heyday, is it time to dust off the Yes tour jacket, squeeze into that Van Der Graff Generator ’77 tour shirt and slap Aphrodite’s Child on the stereo? Well if that’s what it takes to return the guitar god to his throne, you can count me in (but please, do keep it to yourself).

Dying In The Digital Age

Most of us remember where we were the day Lennon died. And the day Freddie left us. And Kurt. And Stevie. (And for me, Alex Harvey, John Entwhistle and John Bonham).

I have pretty much the same memory of all of those days. Growing up in the World of selling music does that to you. You're quite devastated by the news of one of the greats leaving the coil, but you're also thinking about how you can fulfill your business obligation, and sell, sell, sell. As my old Guv, John T, used to say, "Time to rack 'em up".

And so you'd be begging the label, placing orders, transferring inventory, buying from "one stops", bartering windows and promising the World just to get hold of whatever stock you could. It was panic stations. Because the labels could rarely predict when an act would shuffle off, and so product had to be manufactured and distributed while the passing was still present in the media. And all the while, you were thinking, "how long will the sad news turn into sales"? Because, while it was bad news not to be able to offer a "Best Of" by the recently deceased, it was potentially worse to have 23,000 copies of Queen's "Hot Space" sitting in the back room, if someone on the team screwed up.

I went through this in the UK and the US for over 20 years. And they said that running music stores was easy. Yeah, right.

Michael Jackson sold 1.1 MILLION albums in the second week after his death. Not only that but this was a 37% increase on the 800,000 he sold the previous week. Sales went up! Now there's a rarity.

This is a first. While the media would have us think that it's because he's the undisputed King of Pop even after popping his clogs, it's because he's the first top flight artist to die in the digital age. There are three reasons why this is important.

For the first time, inventory is inexhaustible. It's impossible to run out. Or to overstock.

And then there's the viral component. Who do you think has been buying MJ's catalog? Well, clearly they are iTunes users, and probably didn't already have Thriller. So I believe that a large proportion has to be Millennials, today's texting, Twittering networkers. And it's kids. Young kids. I've heard stories of 6 year olds buying Thriller in the last couple of weeks. Which has got to be good. Although it will make for duller bar conversations in 10 years time.....Q:"what was the first album you bought?" A: "Thriller" when I was 6!" Ditto. Ditto. Ditto.

Finally, the media has stuck with the MJ story for nearly a month. That's incredible! What happened to it's interest in Swine Flu or even the Iranian protests? It shows how shallow our media is, but it also demonstrates that it can still have a huge impact on music sales. And most importantly, it shows that music is still very important in people's lives, whether or not the artist is still of our World.

Is there a job creation opportunity here for the industry? Perhaps labels should think about employing some Reaper-esque backroom boys to plan how best to leverage the inevitable passings of Macca, The Boss, Madge and Bono?

Wilco in Berkeley

Setlist: Wilco (the Song), Muzzle of Bees, A Shot in the Arm, I Am Trying To Break Your Heart, Bull Black Nova, At Least that's What You Said, Radio Cure, Deeper Down, You Are My Face, California Stars, One Wing, Impossible Germany, Can't Stand It, Jesus Etc, Handshake Drugs, Hate It Here, Walken, I'm The Man Who Loves You. Encores: You Never Know, The Late Greats, Box Full Of Letters, Misunderstood, Spiders (Kidsmoke), Hoodoo Voodoo

The World needs more Wilcos.

The better half and the Stoat drove down to Berkeley last night to see an old favorite, Wilco. We've probably seen them about ten times over the years, and even though they morph their style they never fail to impress. They played a mixed bag last night. The new stuff was really good and went down well, and classics such as "Shot in the Arm", "I am Trying to Break Your Heart" and "Handshake Drugs" were excellent. They're getting slicker in their maturity but I think that it adds to their ability to command large crowds.

Talking of which. Wilco have an amazingly diverse audience. They are one of the few bands that students, jam band fans, rockers, alt country dudes and indie folks can all relate to on a deep level. And yet, there's nothing fake about them. They are as true to their music as any act I can think of. They don't compromise or pander. They are true artists, who have something to say, and who are very relateable. Wilco should be a poster child for the music industry. They represent what is great about music today and deserve total respect for their approach.

9/10

New Sounds Worth a Spin

Elvis Costello - Secret, Profane and Sugarcane

I think that most of us would agree that Elvis can be a bit hit and miss. Personally, I think that like Ryan Adams, he could use a little moderation from time to time and release a few less albums. Well, this album is a strong one. Available through Starbucks' Hear Music label, it's Elvis in full-on Americana mode. Guest artists include the angelic Emmylou Harris and the very talented Jim Lauderdale. Production is handled by T Bone Burnett and although his style can dominate a recoding in a Jeff Lynne-esque manner, his abilities complement rather than overpower on this occassion.

Goes well with coffee in bed on a Sunday morning.

7/10

Michael Jackson : Human After All

Was it a heart attack or was it the lack of love and guidance that killed the King of Pop?

A lot has been written in the past couple of days, but I think that Bob Lefsetz said it well in his blog post yesterday (see my favorite blogs on the left side of this page). Basically, he writes that as a kid, MJ was under severe pressure from his parents to be successful. And that, like all kids, all he really wanted was to be loved. But the fear of failure drove his early success and by that time, the lack of love in his life led to him looking for it any way he could. And we all know where that led.

No-one will understand how Michael truly thought things through in his own head. But you've got to think that he must have been incredibly dependent on the people around him in order to function. Quincy Jones obviously had a huge impact on his musical career, and seemingly kept him on a positive track. But who else was there for him when he needed the support? At the end of the day, he was an artist, and everyone else was a hired hand. But that said, other major acts have been guided positively by strong management, label heads, A&R gurus and the like.

Take Aerosmith, a personal favorite since 1977. Now there was an act who lived in its own bubble. Too much too soon. We all know the tales of the Toxic Twins, but let's face it. This is FIVE out of control guys, not just one. And although they never again created music as glorious as their six 1970's studio albums, they went on to become the biggest selling American rock band of all time, and are still one of the biggest concert draws. The point is that when Tim Collins became manager in the early 80's, he did what managers are supposed to do. He recognized their emotional needs. He saw need to change their sense of reality, not just for commercial success, but for the benefit of their survival. He managed them away from assured self destruction and pointed them in the direction of their second phase of fame. How easy do you think that could have been?

So back to Michael. Where was his Tim Collins? Where was the support for him? Where was the love when he needed it as much in his adult life as much as his childhood? The music industry has never been a caring space. But perhaps it should be? Perhaps this is the missing link in the artist management and liaison arena? Who knows, a more human-centric, caring industry could genuinely put the needs of the artists and the fans first, and God-forbid, it may result in more revenue. For the artists, by truly mentally nurturing them. And for the fans, through lower ticketing fees, reasonable catalog pricing, fair merchandise prices and the like.

But as it stands, the music industry is a hard place. There's no room for emotion any more. And the lack of caring attitudes in lieu of nickle and diming everyone throughout the chain only breeds contempt from fans and artists alike.

While Michael Jackson can't be defended for some of his personal actions, it was the lack of recognition of his emotional needs from the industry around him led to much of his mental confusion and his limited reality. The industry and the media were always happy to take from him, but out of all those talented executives and managers, was there no-one who could have saved him?

In an age when the artist manager is replacing the label exec as the power of the industry, there needs to be a consideration for the emotional needs of our musical talent. The qualifications to handle artists' careers need to include a large scoop of psychology along with the ability to give a solid dose of love to the talent.

Like all artists, Michael was only human after all.

Respecting The Pretty Things

I guess I still haven't got over seeing the Pretty Things in Aylesbury in the UK a couple of weeks ago. I'd always appreciated them but never seen them before. I was not disappointed.

These guys are getting on, for sure. But they're true performers, players and artists. This is the band that wrote the first true rock opera, "SF Sorrow". This is the act that inspired Bowie to succeed. Not only that but he named the classic "Oh You Pretty Things" after them and performed not one but two of their numbers on the "Pinups" record. This is the band that had more changes in style than the Beatles and the Clash. They were greats who deserve some serious revisitation.

Check out the YouTube clips on this page, especially a clip featuring Arthur Brown and the one and only David Gilmour.

Why Are So Many Folks Countryphobes?

Went to the CMT Awards in Nashville last night. I've been consulting to CMT since January. We were asked to help them redefine the brand and are in town to present the conclusions. So we hit the awards last night and had a great experience (not just because they're a client!)

Country is huge, and even though its sales are falling (down 15% in 08), its allure is on the rise. Why?

Well country represents so much that other parts of the industry have forgotten.

1. It's about entertainment, not just music.

2. There's still a huge work ethic in achieving success

3. American Idol has benefitted country by reconnecting it with the mainstream and bringing it to a younger audience

4. It fulfills its promise of delivering fun and good times and therefore has a strong value proposition

5. It's the only genre that still produces new stars who have the potential for enduring careers.

6. The values associated with country are becoming increasingly appealing to almost everyone - simplicity, trust, outdoors living, honesty, authenticity

And all of this was evident at last nights awards, resulting a positive, fun, and good time spirit of optimism with only a little of the jingoistic religious and political jive.

Jason Aldean and Keith Urban rocked. Sugarland and the B-52's tore up "Love Shack". Taylor and Def Leppard nailed "Pour Some Sugar On Me'. All crossover, yes, but what's the problem with that if it draws a bigger audience and helps to keep the importance of music alive?

I love Willie, Waylon, Kris, George and the rest, and they have their esteemed place in country and in music. But the new generation deserve some credit and applause for their contribution. Love her or not, Taylor, Kenny and Brad are stars. Big Ones with futures ahead of them, and the power to sell music irrespective of format. Good for them. They deserve our appreciation for keeping the art going.

My favorite comments of the night came from Urban and Paisley. On accepting an award for "Start a Band", the former gave the advice "Learn guitar kids - the real thing!" To which Paisley added "Rock band never got anybody a date - never".

Well said gentlemen.

Music City Vinyl

Just got into Nashville to discover an excellent record store near the hotel called Great Escape. Full of hidden gems, this place is clearly run by folks who care and who have the love for vinyl. 

I picked up Speedy Keen's Y'Know What I Mean from 1975 for $2.99. It seemed the proper thing to do as Island Records are celebrating their anniversary. Also bought the first Procol Harum release on Deram and Gene Clark's Two Sides to Every Story, which I've never heard. The one that I'm most excited about is the 1973 Sharks album featuring Free's Andy Fraser. 

Under the racks, they have all kinds of goodies including a few crates of 99 cent 78s which clearly hadn't been touched for a while. I spent 10 bucks and bought a mixture of Frank (no-one has lived like Frank Sinatra), Gene Autry and Benny Goodman. The best finds were Al Jolson singng Swanee and a beaten up copy of the Everly Brothers' Wake Up Little Susie on the Cadence label. Tasty!

Music worth a look from the last couple of months

Tinted Windows - Tinted Windows

A collaboration between members of Cheap Trick (Bun E.), The Smashing Pumpkins (Iha), Fountains of Wayne and Hanson. You get what it says on the packet. A collection of great hooks, harmonies and upbeat three minute singles. Guaranteed to get you into a good state of mind when battling rush hour. 8/10

http://www.youtube.com/watch?v=U-7y1UxNkHM

 

Yusuf - Roadsinger

Lovely songs from a legend. Better than the acclaimed comeback record from a few years back. Beautifully produced and perfect with a nice Zinfandel. Also, if he does a full tour, be sure to go. First hand reports from the LA and London (where he was joined by U2) shows have been amazing. 7/10

Two Buck Vinyl

Great vinyl albums purchased for $2 or less in May 2009

Top 3:

Robert Palmer - Sneakin' Sally Through The Alley

Family - Bandstand

Faces - A Nod's As Good As A Wink To A Blind Horse                                

Other nice finds:

Moody Blues - Caught Live + 5

Scott Walker - Scott Two

Ten Years After - Cricklewood Green

Ace - Five a Side

Uncovered at:

Back Door Disc, Cotati, CA

The Last Record Store, Santa Rosa, CA

Amoeba, Hollywood, CA

Rockaway Records, Silverlake, CA

Minstrel Tales: The Groundhogs’ Tony McPhee

London June 1^st 2009

While in London and heading for a great man’s funeral, I saw an ad in the Guradian. Under a cloud of sadness, it seemed like a little ray of sunshine. The Pretty Things, The Groundhogs and the Edgar Broughton Band.

So three days later, the Stoat and CK headed from Brighton to Aylesbury Friars for an evening of early 70’s Brit rock, and during the first intermission, we get to meet The Groundhogs’ Tony McPhee. 

So CK asks Tony do you by any chance remember playing the now defunct Glasgow Apollo in 1972 with Stray? Funny you should say that, replies McPhee, yeah, I do, and ‘ere’s why.

Back in ’72, Stray are opening for the Groundhogs, and decide to include some rather primitive pyrotechnics during their set. The crowd love it, and Tony and the boys are also impressed as they watch from the wings. Stray finish to rapturous applause and yet more uncontrolled explosions, and leave the stage triumphant. 

During the interval beers flow and then the Groundhogs hit the stage. Now this was the period in which McFee had started to introduce keyboards into the group’s sound. So on he goes, a bit tiddled and determined to top the support act’s performance. He’s pretty new to the whole keyboard thing, but undeterred. The crowd erupts as Tony approaches the keyboard setup for the opening number.

And then he stops. Every one of the instrument’s keys is black. The soot and smoke from Stray’s gunpowder-fuelled experiments is inch-deep. He can’t figure out the ivories from the ebonies. He’s not amused, but the boys in Stray think this is the highlight of the tour.

So, I see CK yesterday, and he tells me that he’s just checked out if the Groundhogs are playing more dates soon. It turns out that they’re touring the UK this Summer with….Stray. Wonder if there’ll be any keyboards or pyrotechnics this time around.