O.A.R. Live @ Dow Diamond July 17th, 2016

                                                            O.A.R Live @ Loons Stadium
                                                                    Midland Michigan



 

O.A.R. Of a Revolution

O.A.R. is the brainchild of a group of true believers who began their musical journey as teens in Rockville Maryland. As luck would have it, these fledgling musicians would continue their quest for the perfect sound while attending Ohio State University. The lineup consisted of Marc Roberge (vocals), Chris Culos (drums), Richard On (guitarist), Benj Gershman (bass) and Jerry DePizzo (sax, guitar).

In 1997 they recorded their first album entitled the Wanderer at Gizmo Recording Company and several of their songs like Black Rock and That Was a Crazy Game of Poker continue to be staples of their live performance. They never looked back and they never compromise their craft. Instead of bowing to the wishes  of the big companies Oar refused to use much marketing to bring in an audience. Instead OAR played as many shows as they could whether it was fraternities or sororities @ Ohio State or to anyone who cared to listen. It was ballsy for sure but they finally hit pay dirt with the fourth album entitled In Between Now and Then. They broke into the Billboard Charts at number 156 and they never looked back. They got a ton of airplay from MYV with such cool videos as Lay Down, Love and Memories and Heard the World. By 2006 they officially sold over 1.2 million albums.

With this continued success the band continued to evolve from reggae, ska and jam music to more rock and pop arrangements. The band always remained humble and attributed their success and popularity to the recording, trading and downloading their live performances. The band remained active releasing   their albums every few years.  In 2008 they released their All Sides LP on a USB wristband along with instant live recordings of the performances. They released Rain or Shine on January 2010. This band was on top of their game, more than prolific, they were incredible! They even returned to the studio in 2010 to record their 7^th studio album entitled KING and debuted at number 12 on the Billboard Hot 200. Several singles were released from the disc including Heaven, Gotta Be Wrong Sometimes.

In May 2016 Oar announced the release of a compilation album to align with the bands 20^th Anniversary, It is titled the XX Tour; An Evolution of a Revolution. Vanguard Records is releasing a two CD set in August to celebrate Oar’s legacy. It is a career spanning retrospective that includes their best known songs such as Peace, Heaven and Shattered.

OAR  is performing @ Dow Diamond on July 17^th @ 6pm. Featured guests include Vertical Horizon who hit pay dirt with the album Everything You Want which went on to sell two million copies; not too shabby, brother. Midland native Michael Robertson will open the show. His band is a well honed machine that takes music to a higher level; It simply breathtaking. They are an unusually gifted aggregation with each player and each vocalist commanding breathtaking skills. Robertson is a master songwriter, singer and guitarist who can go deep into the psyche whether its kidding in the square or laying it all out on the carpet. Be there!

The concert was delayed by about an hour due to the high winds. The Michael Robertson Band opened the show with a great rendition of Old Man with Honesty Elliot and Roscoe Selley lending harmonies and Robertson playing electric guitar with some tasty country licks. Highlights of their set include Blame it on You, Sale on Salvation (with the “won’t shoot liberals” lyric) and All of My Stories, a stoned masterpiece.

Vertical Horizon was a total surprise, Matt Scannell, the leader of the band was simply incredible. He seemed to channel Michael Stipe (REM) though his voice is much stronger. He has a great range going low and then soaring with a strong falsetto. The other band members provide delicious three part harmonies and the drummer is a Buddy Miles clone, a powerhouse; perfect timing, no missed cues. This band has it all with the speed, motion , perfect harmonies and a pinch of modesty. They did early hits such as Everything You Want and You’re a God. Radio friendly hits such as Best I Ever Had, I’m Still Here and We Are rocked the crowd. It was a triumphant set. Vertical Horizon is a great touring that should have a much stronger following.

O.A.R headlined the concert and they were simply breathtaking but no matter how you dice it up. The turnout was poor for such an incredible national act. They opened up with recorded sounds, words and music followed by a great song entitled Hey Girl. Syncopated drumming and a whaling organ set the tone. The lead singer, Marc Roberge is simply incredible and the harmonies are perfect! The band now has a trumpet player along with a saxophonist that brings more pizzazz to the show like its Mardi Gras time. The singer channels Paul Simon on some of the songs but the band has other ideas including soulful reggae splashes. The piano player colors the song with a trill that seems to cast a spell that is comforting. Highlights included Love and Memories, Anyway, Hey Girl, I Go Through, That was a Crazy Game of Poker and Heaven.

This was one of the best concerts I’ve seen in years, yet the attendance was dismal. I blamed it on Sunday night and the difficulty filling seats on an off night. Those who made the trek to Loons Stadium in Midland got there money’s worth and then some.

Peace

Bo White

Stevie Winwood and Steely Dan Join Forces @ DTE

DTE

Stevie Winwood

Meets Steely Dan

Wednesday June 7^th

2016

It’s not a stretch to imagine how good music can be when you are listening to the masters of popular music.  Whether it is jazz, blues or rock n’ roll Winwood, Becker and Fagan are masters of their craft. They cannot be readily put into one genre or another when they blend so many diverse elements seamlessly in an earthy brew of funk, jazz, blues or rock. They are master lyricists who can blend the cerebral with the whimsical. At first glance, teaming Stevie Winwood with Steely Dan may not be a good fit but when you dig deeper into their collective catalog it looks more like a perfect fit as both Winwood and Fagan can deliver the poignant lyrical themes with their distinctive vocals. Becker and Fagan learned from life on the road with Jay & the Americans. They earned $100 per show but then the tour manager cut their pay in half. It was as dastardly as it was instructive. Winwood joined the Spencer Davis Group at the tender age of 14 and by the end of 1965 Winwood help blast the band into orbit with a cool R&B single entitled Keep on Running followed by Somebody Help Me and the incredibleGimme Some Lovin’. Becker and Fagan in founded Steely Dan in 1972 and immediately enjoyed critical acclaim as well as commercial success with their first two albums Can’t Buy a Thrill and Countdown to Ecstasy. I absolutely loved Reelin’ in the Years and Do it Again. The rest is history or so they say…

But the truth is more complicated. Steely Dan toured only from 1972 to 1974 and by 1975 they became a bonafide studio band releasing records until 1981 and I gained even more respect for them when they entertained the idea of offering Howard Kaylan (of the Turtles)the job of lead vocalist for the band. Kaylan (Flo) would not agree to the terms unless they also hired his partner in crime Mark Volman (Eddie). It was another missed opportunity for the singers until they joined forces with Frank Zappa and the Mothers of Invention.

In 1967, Winwood helped create Traffic with Jim Capaldi, Dave Mason and Chris Wood. This writer was present during Traffic’s 1972 show in Detroit. It was a listless, drugged out performance. Winwood never addressed the fans or acknowledged our applause. He walked off stage and never returned. Capaldi came back and riffed on his drum kit but after several minutes he gave up and left the stage. We were stunned, there was no applause. We just stood up and walked out silently. The gig was immortalized by Traffic’s 1973 double LP album entitled On the Road. In 1997, I saw Stevie Winwood at the Royal Oak Music Theatre with my good friend Scott Seeburger. It was an incredible showcase of Winwood’s vast catalog of music that spanned his entire career. He was in great form, switching from guitar to keyboards; his singing was nuanced and powerful and he was still able to reach the higher registers of his voluptuous tenor.

I also attended a Steely Dan concert at DTE about 15years ago on a frigid September night. They performed several incredible jazzed up big band tunes and including the East St. Louis Toodle-Oo and Bodhisattva before the bitter cold swept in and convinced me to leave early….years later I’m back to DTE and excited to hear and see these legendary performers once again. I’m pumped!

Stevie Winwood started the show early before many of his avid fans assembled. It seemed curious that he started at 7pm, though all was forgiven when he opened with Pearly Queen from his Traffic catalog. It included a extended jam with syncopated percussion, flute, bongos and organ.It was simply exquisite. Stevie’s portion of the show was entitled No Retreats, No Regrets. Winwood was in good form. He is thin and he’s aged but he’s aged well.He has a stripped down 5 piece ensemble and they are all excellent; the polyrhythmic percussionist, drummer, guitarist, bass player and Winwood, a multi-instrumentalist who is at ease with guitar, organ or piano, anything. Can’t Find My Way Home from his Blind Faith era meanders a bit he and the band brings it home like a big band on steroids. The Low Spark of High Heeled Boys lifted the crowd to another planet with just the right amount of power and nuance. At this point in the show Stevie’s vocals are picking up steam and the band comes in with just the right amount of nuance and power. His guitar work is incredible. I forgot how Winwood can jam with the best, using bass strings and occasional e-string excursions. At this point in the show, Winwood addresses the audience, “We’re going to take an excursion back to the seventies.” He then proceeds to play Buddy Miles greatest song, Them Changes with a soulful, funked-up rhythm. Winwood’s organ serves to replace the funky horns of the original. This segues to a verse or two “You got me running; you got me hiding. The guitarist winds it up and lets it rip, incredible rapid fire riffs and the crowd loved it. Next is Higher Love from his solo LP (?). His voice is an incredible instrument and the rhythm section is working over time with perfect syncopation. At this point Winwood straps on his guitar and does a blistering guitar workout that pierces the night and explodes with power as Stevie sings “Please Mr. Fantasy.”Winwood ended his one hour set with soulful and off the hook rendition of Gimme Some Lovin’. Rolling Stone Magazine has Winwood listed as the 33^rd of all time best entertainers in music. Yes!

Steely Dan is another matter altogether. Billed as “The Dan That Knew Too Much Tour” the musicians were in a playful spirit. It was a big band extravaganza with eight musicians and three incredible female singers. Music and musicianship was the early emphasis in the show as illustrated by jazz motifs, rotating basslines and piano trills followed by the introduction of alto and soprano saxophones, trumpet, guitar and bass guitar. A trombone solo fed the syncopated poly-rhythmic beats laid out by the drummer. At times there were 13 musicians onstage including the founding members Walter Becker and Donald Fagen and they were able to recreate the studio sound perfectly. Black Cow opened the show and it was well received. Aja was up next, it’s a sweet ballad with nice harmonies but a bit drawn out. Fagen’s squeaky clavinet saved the day along with the explosive drumming and an incredible alto saxophone solo. DTE concert goers are notorious for being loud and sometimes obnoxious but on this night everybody was sitting down, providing a clearer view for everyone.

 Hey Nineteen was perfect from the low key piano trill to Fagen’s shout out to Aretha Franklin and the Soul Survivors. At this point Becker walked over to the edge of the stage and said, “I remember the 70’s, I remember the song Brandy, You’re a Fine Girl. I think the 70’s were together ‘cos there was so much music then. Amen, Amen – that’s why I come here every year. One good tune – BAM; Another good tune – BAM; a third one – BAM. I was road hard and put up wet. Then we go back to our own domiciles at the beach. Tell me babe, is that great fucking music. We can go back to the room. I’ll give you a cigarette and a little bottle of something, a little line but I lost a little brain cells.” Then Fagen and the singers begin to sing;

The Cuervo Gold, the fine Colombian

make tonight a wonderful thing!

A trombone solo buys some time even though it drags just a bit before it collapses on itself just before an awesome one minute light show brightened the sky. Steely Dan has a great catalog of songs that deserve attention like Show Biz Kids, Fagen dropped a few lines from the song;

 Poor people sleeping by the shade of the night

Poor people sleeping when the stars come out at night

The band resurrected Dirty Work which was sung by Davis Palmer from the Can’t Buy a Thrill LP. In this incarnation of the song the three female singers each get a verse, surpassing the craft of the original vocalist with a more soulful sound.  During the latter part of the show I noticed that Fagen had a striking resemblance of Bernie Sanders…could this be a sign for enlightenment? Toward the end of the show Walter Becker takes on the lead vocal…he probably shouldn’t but he is a monster guitarist and can jam up and jelly tight with some tasty 12 bar blues. At the end of the night Becker proclaims, “This is the best band I’ve ever played with.”

maybe…but no more ganja for you

Bo White

Jordan Pries & Electric Kitsch

Celebrate Record Stores

Jordan Pries

 &

Electric Kitsch

 

I’ve known Jordan Pries for several years now. Initially I rode his heavy metal wave with Beast in the Field. His band played White’s at least a half dozen times and each show was successful from any angle through the looking glass. They had plenty of fans and the music was simply stunning, hard core and melodic. He was thoughtful and articulate, not just a raver in a rock & roll band. I made a few trips to Electric Kitsch, his record store and I was struck by his mild manner, gift for gab and his love for vinyl. As we made tentative steps toward friendship, I invited Jordan over to my home to sell him some vintage vinyl including the MC5, SRC, Manfred Man and the Spencer Davis Group. I was amazed at his vast knowledge of classic sixties rock & roll and his academic interest in the value of these long forgotten nuggets. Jordan knew I was gradually disengaging from my collection and helped me determine the value of my collection of 45’s, EPs and those wondrous long players, round black plastic with a hole in the middle. I loved the cover art, liner notes and the printed lyrics. I could pick up the cover and read it like a book scouring for any true hint about the character of my heroes. I see Jordan Pries as the keeper of the flame. Electric Kitsch is now in a class by itself, ready for the next big thing.

Celebrate The Record Store. Vinyl is alive and well!

Do you see record stores as an anachronism?
I really don't see them as being archaic, or old-fashioned, as some would say. Music is an art, people will constantly, and consistently be creating it. Record stores will always be an outlet for that art. Nothing is more satisfying than walking into a Record Store, searching for that lost treasure, or an discovering a new treasure. Records have been printed for over 100 years (in its current form), there is an endless supply of them. There isn't enough time to find them all, or listen to them all, which is why I think Record Stores will always be relevant. People will continue to search for them. Not only is this a record store, but it's a community. One of my favorite stories (names changed to hide identity) is this one: When we opened the store, even before we opened, this gentleman, we'll call him Jack, came around every day to say how excited he was about the store. Jack has been a regular patron since we opened. People who thought Jack moved away from Bay City years ago, had no idea he was still around! He was reunited with friends, more people started coming around, hanging out, communing at the local record store! How cool is that!?

 

Do you believe that record stores are being systematically wiped  out by digital downloads, internet mail orders, big box stores. (Think Walmart), supermarkets?)
I don't believe that these sources you mentioned can wipe out record stores. People, like me, and you, love the tangibility of objects. There is a feeling you get when you hold something, you can touch it, feel it, discover it. The ones who enjoy that feeling, are immune to the instant "gratification" the internet may provide. I am completely indifferent to YouTube, mail orders, eBay, etc... I don't even care they exist, and there are others who feel the same way.

 

 

Does it seem odd to you that so many major record chains are outside of the USA incl HMV, Virgin Megastores, FYE, Tower etc?
-I believe the US has always been behind Europe in the arts/music. It seems like they are more important overseas, and even in Canada. Certain countries actually give money to artists and musicians who are serious about what they do. It's promoted to an extant where artists can make a living at it. And I think that is why Europe is having success with record stores, festivals, etc... it's more mainstream, and considered important.

 

• In your view Why have so many US record stores (big and small) folded including Tower, Sam Goody have closed there doors and yet Rough Trade is expanding stores in London and New York?
-I believe there is a time, and place for everything. Some trends catch on quicker than others. Where there are trends, people gravitate to. New York and London have always been places for people to look for trends, they are places where people make things happen on a larger scale. That's why they are some of the most visited, revered cities in the world.

 When did you open your record store? Did you have other stores
We opened the doors at Electric Kitsch on June 22nd, 2012, and had no idea what we were doing, but did it anyway. It's our only store, but we're hoping to have a larger location in the future.

  What do/did you pay distributers for new vinyl releases
We pay what they charge! The cost is different from label-to-label, distributor-to-distributor. Going with smaller labels, and distributors will get you a better cost, but sometimes the convenience of a One-Stop (a large distributor carrying many, many titles) is key,, but you'll pay more 

Do you buy and sell you used records. What do you usually pay for used records?
We definitely buy, and sell used records. It's the bulk of our business, and usually the biggest money maker. Sometimes buying them is difficult, for many reasons. We'd love to give people as great of deals as we can, but many folks just don't understand that we to make money, and it can get frustrating. For the most part, we have to buy records at a low, low rate, unless it is something incredibly rare, and valuable. People also don't realize this: Say I buy a record for $1, but it's worth $10. Some might consider that a rotten deal. The thing is, now I have to sell it. It might sit for months, and months, and then maybe get marked down, and still not sell. So now I've been sitting on this record for five months, and while I only have $1 into it, is it even worth it, to sell for $6 or $7? Should I have bought it for even less? It's a really tough task, and it's delicate, because you can't explain the business and logistics to someone selling you records in ten seconds. The risk is all on me. If you want cash for your records, I can give you cash. But I can't pay you what I don't have, and usually record stores don't have much.

 What do you gauge their value you on?
There are several things, condition, and rarity. But sometimes you have to take into consideration what people want. If something is a hot seller, it doesn't matter how rare, or not rare it is, the price has to stay high. Take for instance Beatles, Zeppelin, Pink Floyd. While there millions, and millions of those records out there, everyone wants them. The demand must meet the price, which is why you see those records sell consistently for $25+, depending. 

 What do you pay for the purchase a big collection of vinyl – LPs,  78’s or 45’s
If someone is looking to get rid of the whole she-bang, the price has to be low. Record prices change day-to-day. You always have to buy for the lowest price possible, no matter what. In this area, the demand for 45s and 78s are so low, that I rarely buy them unless it's really sellable.

 

 It seems that vinyl records may be here to stay in contrast to CDs Do you agree? Why did CD/’s fall from grace?
I think the reason CDs have had their time is that CDs were marketed as "sounding better", and "lasting longer" than vinyl, and they don't, in any regard! They sound harsh, shrill, lifeless, terrible low end, and they actually start to break down. I almost get dissatisfaction when holding a CD. It's plastic, it's small, it seems like the cases are always broken, haha. Plus, there are just so many more records out there than CDs! 

How do you determine value of these products, memorabilia CDs, Vinyl 
There are a number of factors, internet sales, online databases, and the area you are in. I would say the cost of living in an area can also determine prices, and how many customers one store generates. 

Do you use eBay or Amazon or other online sources to buy or sell product?
-Sometimes one must use evilbay to get the most out of a particular product.  

Do you use media to promote your store?
Social media has played a large factor in promoting the store, especially Facebook. We can make updates, post pictures, events, and it goes out to thousands of people. However, word of mouth, to me, is still the best advertising.

Tell me about the influence of Record Day in April?
Record Store Day seems to have extreme pros and cons. On one hand, it's Christmas x 10 for Record Stores. On the other hand it, has turned record collecting into a piranha feeding frenzy for people who generally don't care about your store, making you want to pull out your own teeth. But I'll always participate.

What does Record Day mean to the collector?
Is this going to be anonymous? I don't think it's really for collector's, to be extremely ugly, and honest. It seems to be for people following a trend. I understand the hypocrisy behind that statement, because I own a record store that participates in the 'holiday". I like the idea behind it, getting people OUT to local record stores, supporting the small people, and businesses of the world. But there are always push-backs, too. People wanting to hoard all the releases, selling them on eBay, stores putting releases on eBay before RSD! It's almost a little too much.

Do repackaged records and boxed sets have value?
Yes, of course. For people who love music, that don't care about original pressings, imports, etc... that just want vinyl to listen to, they are wonderful. I own my represses simply because originals are too pricey, and I just want to listen to the darned thing. 

Do you make money on record day?
Record Store Day is the only "day" we make money.

 How much product do you sell? do you make money (ballpark) –
Total product, including tax for this past year was $5,885.18.

 Is it profitable?
Profit wasn't all that much, just over a grand, after all the expenses, food, drinks, paying out the bands that played, etc..

 Are you a vinyl history buff - can you speak to the history of  record stores as you know it and the ascendance of 12 inch and 45rpm records as well as the physical pleasure of holding a record and record cover in your hand?
I like to think that I am. I generally look for different things that most people don't look for. I would say 99% of music listeners just want to listen to what they're familiar with. For me, that's not good enough. I want weird percussion albums, Latin American Harp music, Turkish Psych, I want it all! I have a friend who hunts on YouTube for all these underground bands. For me, that does nothing, it's boring and it's trite. I want to have it in my hands. Anyone can go on YouTube and search "Mexican Psych", and find hundreds of videos. But that is hogwash as to holding the LP in your hand! I want the physicality of it. 

 Can you talk about the collecters thrill of finding an LP or 45 that that you’ve searched for years and finally found it?
I've definitely had those moments before! It's like finding that "great, white, whale", something you thought you'd never see, and then there it is, right in front of you! The most recent treasure was finding an absolutely mint copy of Edgar Broughton's "Sing, Brother, Sing", in the grossest garage I've ever been in. That was, like, a beacon of light, you know, when the choir starts singing!

Jordan Pries Electric Kitsch - Owner, collector, musician!

Todd Rundgren Live @ The Fillmore in Deroit

 

 

 

 

 

 

 

A Wizard

A True Star

                                    December 9^thLive @ the Fillmore

Todd Rundgren

 

 

Todd Rundgren may be one of the most misunderstood icons in modern rock music. In a career that spans 50 years Rundgren is known as a producer as well as an artist. At age 16 he developed a passion for music and memorized Gilbert & Sullivan songs. He knew their entire libretto and became an outcast at the very same time he began to dig guitar-based rockers like the Beatles, Stones, and theYardbirds as well as the cool Philly sounds of The O’Jays and Delfonics. His first stab at fame was with Woody’s Truck Stop, it was a gig that lasted about eight months. By 1967 Rundgren formed the Nazz as way to open Pandora’s Box and become America’s answer to the Beatles. Along the way he had a spectacular alpha dog hit entitled Open My Eyes. It was covered by Roy Wood & the Move  and every other bar band across the stretch of the globe. Pretty soon he caught the eye of Albert Grossman who built Bearsville Studios near Woodstock and managed the careers of Bob Dylan, The Band, Janis Joplin and others. At the time I didn’t care a hoot about al this and that but I dug this quirky little song entitled We Gotta Get You a Woman. It was deliriously stupid in a cool man-cave way. Nobody took it seriously because it was off the hook. I loved it! But when Todd’s 1971 masterpiece Something Anything hit the stores I was there, it was a stoned masterwork for the Todd-O-Matic . It contained Hello It’s Me, I Saw the Light, Couldn’t I Just Tell You and a whole box of other gems. And just as I thought Rundgren hit his power-pop stride, he switched gears with a Wizard, A True Star (one of Rolling Stone’s list of the 500 greatest albums of all time). It was psychedelic and soulful and totally whacked. I loved it. During this time Todd toured as a one man show followed by a full band treatment. He also took his new band Utopia on the road. I was lucky to see both versions though I never quite got into Utopia’s long and drawn instrumental excursions. When I mentioned this to the owner of my favorite record store, he simply stated that I did not understand more progressive music. He was probably right. Rundgren was known as an in-demand producer turning the knobs, bringing in big monitors, limiters, compressors even the kitchen sink. But one of his most amazing accomplishments was helping Grand Funk to become more serious about songwriting and musical craft. It was total genius to bring Donny Brewer out from behind the drum kit to lend another voice to the saga . We’re an America Band, Walk Like a Man, Some Kind a Wonderful were stone gems that kept the Grand Funk name up front up to this day on oldies stations across the planet. But now I’m on the cusp of seeing my hero Todd Rundgren one more time at the Fillmore in Detroit, can we still be friends?

                                                                 

 

                                                                          

 

 

A full house greeted Todd Rundgren as walked onto the stage. It was a true love fest between the artist and his disciples. The show opened with an immaculate reading of I Saw the Light. Rundgren was in good voice though he sings at a lower key that when he first released it. Back then, he sounded like a brassy Carole King, now his baritone is strong and convincing and there is no chance for any cool falsetto. The background harmonies were heavenly with all five of the musicians adding their vocal parts. The crowd was ecstatic.

The band consisted Kasim Sulton (bass, vocals), John Ferenzik (keyboards, vocals), Jesse Gress (guitar, vocals), Prairie Prince (drums, shades) and Todd Rundgren. It was an economical outfit who could do more with less, a small band with a big band cluster of sounds. Rundgren tipped his hat to his Philly roots with a powerful execution of Open My Eyes, the great power pop chestnut by the Nazz, it was one of the highlights of 1968.

Rundgren enjoyed bantering with the crowd especially with his version of kidding on the square, mocking his own long career in the business;

“This is the walking dead star for those that have been in a coma for 45 year.  Do you think something is wrong with Detroit; nothing is wrong with Detroit! If these songs are what you hoped for, a greatest hits list, then the show is already half over!”

The next song was a popular track on Something/Anything entitled, It Wouldn’t Have Made Any Difference. Todd sang without his guitar, the tempo was slowed down, soulful and passionate. It’s about love gone wrong.

Buffalo Grass is an incredible rocker about truth revealed. It has a big throbbing bassline, keyboard trills and syncopated rhythms that sound like Buffalo crossing the trails. It got real, aided by an existential guitar workout with an exquisite interplay between Rundgren and Gress. This segued into Can We Still Be Friends from the Hermit of Mink Hollow LP…the piano led trip was followed by brilliant accapella harmonies.

Todd continued the rap;

“Now we are actively defying the 45 year old coma…and I just did the setlist back stage. Who is here for Trump... President Sphincter Head.”

Todd changes course with a rap about sex police, the separation of church and state and getting the fundamentalists.”Who you think your messing with sweet clean and guilty.” It was all done tongue in cheek. At one point Todd intoned, “This is the Kasim Sulton Show.“

Fascist Christ is down in the playlist but it strikes a chord with Rundgren’s devotees. Todd does a bit of accapella singing “Old time religion, it’s good enough for me” and gets the crowd worked up and singing along.

Bang the Drum is a goof but it’s a durable and loveable ode to childhood memories, using music to drift away from the boredom of the classroom. Rundgren has sung it at several of Ringo Starr’s All Starr Band concerts, they remain good friends to this day..

Prairie Prince deserves special mention, he’s a superb drummer and a founding member of the Tubes and a founding member of Journey and he’s performed with Todd Rundgren on many occasions. Tonight he was in great form, dressed up in white cardboard glasses tinted with a pink lens. It was his alternate rebellion; like a woman dressed to the nines but she’s wearing boxer shorts underneath.

Rundgren starts another rap near the end of the show, “Yes, I was from Philly”, then shifts to a 12 bar blues, followed by a funked up big bottom soul music reminiscent of Sly & the Family Stone. Rundgren’s guitar work is phenomenal, I forgot just how powerful he was and how form and technique give way to his uncommon harmonics. He can play it soft and cool as well as hard and wet. He is truly a heavy metal rocker, an unappreciated  guitar god!

Todd funks up the show with the spectacular Sometimes I Don’t Know How to Feel. It is an ode to revelation and conquering fear. The next big treat was Todd’s homage to soul music. He conjures up the colorful images of soul music in the sixties; lots of color and big bad afros.  He recalls the days when The Impressions, Miracles and Marvin Gaye created these incredible harmonies and big messages about freedom. Todd created a winning triumvirate of soul music that included I’m So Proud, Ooo Baby Baby and I Want You. He finished up the night with two of his greatest songs, Couldn’t I Just Tell You and Hello It’s Me. He also encored an anti-war epoch with the lyric, “I Won’t Go to War.” It was filled with rage, anger and truth. The night was a flawed masterpiece, a triumph that incorporated good vibes, great songs and social consciousness. It was perfect!

                                                                                                                                                    

 Peace & Love

Bo White



The Rolling Stones Live @ Comerica Park

                                                                        

The Rolling Stones

July 8^th, 2015

Live in Detroit

By Bo White

 

After all my years of attending concerts I’ve come to the conclusion that my concert days are coming to an end. Don’t get me wrong I love the music and the songs but I don’t like people, especially concert goers and I’ll tell you why; these nincompoops stand up during the entire show and block my view of everything including the screens , sing every effin’ lyric of every song, stink of beer and cigarettes, smoke marijuana but won’t share. Then there are all those yuppie dinks, walking tall, shoulders back like they have a stick up their collective butts. They are smug and self-righteous and never actually listen to the music; instead they talk about driving the Rover over to their summer residence in Charlevoix.  But really now, I’m not here to gripe to you about my curmudgeon-like approach to life; It’s just my fear of losing my passion for rock & roll and my ongoing battle with father time. It’s this inevitable I will grow old. But until I take my last breath, I will live it to the hilt. This brings me back to rock & roll. The Rolling Stones will be performing in Detroit in a huge stadium made for professional baseball. Back in 1972 I bought four $10 dollar tickets to see the Rolling Stones at Cobo Arena. They had just released Exile on Main Street and they were on the top of their game. I was enjoying a busy summer. I helped roof and repair city school buildings in Saginaw, got up a 5am, got to work at 6:30am and patched roofs till 4:30pm. Then I would hit the clubs; visit with semi-automatic girlfriends and take in all the Dionysian delights a young man might covet. After a month of serious debauchery, alcohol and weed I came down with a serious attack of mononucleosis. It knocked me down for the count. It took me a good five months to heal and an entire year to regain my strength; my friends Garno & the Nabber visited me while I was convalescing. When I asked about the concert, they said “It was the best show EVER!!! I meekly smiled and mumbled insincere thanks. From that day on I made a promise that someday I would see the Rolling Stones. I want to dig Satisfaction in all its fuzzbox glory and hear those deep cuts that kick it out. Just listen to Keith Richards guitar work and his open tuning technique that worked so well on Can’t You Hear Me Knocking, Brown Sugar and others

Ladies & Gentlemen…The Rolling Stones

The setlist was tight, just what I expected, hits mixed in with deep cuts. Before the show opened up, the fans had an opportunity to pick one of four or five songs. The song that got the most votes was added to the setlist. I picked Rocks Off and it made the list, it proved to the fans favorite. The band was tight and Mick Jagger proved to be a charming front man. He came prepared, held his hand, palm up as he pointed to the exact spot in the the southern mitten of Detroit. He won the crowd over by mentioning Bob Seger and Kid Rock and congratulated the Detroit Tigers on their regional championships for the past five years. The dude did his homework.

                                                                  

The show opened with a collage of images of the stones through the stages of their long career. Then the band walked onto the stage with a roaring approval by the fans. Jumpin’ Jack Flash opened the show. This was a high energy set with the four long time members of the Stones taking the stage hostage. Jagger’s soulful baritone was powerful. He sang and danced and mugged for the crowd. He’s a showman who possesses an improbable stamina. 70 years and counting and Jagger still has the gris gris. Ronnie Wood’s slide was incredible, he worked his craft with an easy aplomb. Charlie Watts is an incredible jazz drummer who happens to play rock & roll. He does that hesitation beat and holds his sticks properly like we were taught in junior high school. Next up was a spirited It’s Only Rock & Roll, a hard rocker with a heavy beat and great slide work by Ronnie Wood. Jagger changed the lyric to “you think you’re the only girl in Detroit town.” By and large all those golden rock solid chestnuts were faithfully rendered for the masses. And we loved them for it. It brought me right back to when Satisfaction and Honk Tonk Women carried me over the edge of civility and into more urgent carnal desires. Jagger pumped up the crowd over and over again. He needed only to shout out , “Hi Detroit Michiganders and we were all his, hot and ready!

Exile on Main Street garnered several songs, it is truly one of the greatest Stones LPs . I loved Keith Richards vocal performances on Happy and Before They Make Me Run. The Sticky Fingers was represented by a lusty version of Brown Sugar and Bitch, gotta hand it to Jagger, he sustained a high energy level throughout the 2 and ½ hour show. He even delivered an incredible falsetto on Moonlight Mile, a song about sadness, regret and redemption. Jagger is becoming a singer!

He may not be a singer per se but he is an expressive vocalist. He danced around the stage all night and never let up. He’s aged well! The Ronnie Wood/Keith Richards alliance is what makes the music jump, scream and electrify. Charlie Watts tightened it up.  Honky Tonk Women is truly a masterpiece of carnal delights. Jagger was up for the task and he delivered. The background singers were part of most of the songs. Gimme Shelter was a highlight. Mick sang the lyrics like a man possessed…rape, murder is just a shout a way; love, sisters is just a kiss away, a perfect dichotomy with really no resolution. A true masterpiece!

The encores included You Can’t Always Get What You Want (with members of the Oakland University Choir). It was incredible!

 

 

 

The Stones ended their performance with a raucous and sloppy (I Can’t Get No) Satisfaction, it was the perfect foil to the digital age!

At the very end of the show, following the encores, the symbol of the Rolling Stones big red tongue morphed into the Detroit Tigers logo! This was followed by an incredible fireworks display; it was totally unexpected but it was the perfect end to an incredible night of music.

P.S. Rolling Stones tee-shirts cost $50 in the stadium, $20 outside the stadium and $10 down the block down

  

Record Stores - Electric Kitsch and Jordan Pries

 

 

 

Celebrate Record Stores

Jordan Pries

 &

Electric Kitsch

 

I’ve known Jordan Pries for several years now. Initially I rode his heavy metal wave with Beast in the Field. His band played White’s at least a half dozen times and each show was successful from any angle through the looking glass. They had plenty of fans and the music was simply stunning, hard core and melodic. He was thoughtful and articulate, not just a raver in a rock & roll band. I made a few trips to Electric Kitsch, his record store and I was struck by his mild manner, gift for gab and his love for vinyl. As we made tentative steps toward friendship, I invited Jordan over to my home to sell him some vintage vinyl including the MC5, SRC, Manfred Man and the Spencer Davis Group. I was amazed at his vast knowledge of classic sixties rock & roll and his academic interest in the value of these long forgotten nuggets. Jordan knew I was gradually disengaging from my collection and helped me determine the value of my collection of 45’s, EPs and those wondrous long players, round black plastic with a hole in the middle. I loved the cover art, liner notes and the printed lyrics. I could pick up the cover and read it like a book scouring for any true hint about the character of my heroes. I see Jordan Pries as the keeper of the flame. Electric Kitsch is now in a class by itself, ready for the next big thing.

Celebrate The Record Store. Vinyl is alive and well!

Do you see record stores as an anachronism?
I really don't see them as being archaic, or old-fashioned, as some would say. Music is an art, people will constantly, and consistently be creating it. Record stores will always be an outlet for that art. Nothing is more satisfying than walking into a Record Store, searching for that lost treasure, or an discovering a new treasure. Records have been printed for over 100 years (in its current form), there is an endless supply of them. There isn't enough time to find them all, or listen to them all, which is why I think Record Stores will always be relevant. People will continue to search for them. Not only is this a record store, but it's a community. One of my favorite stories (names changed to hide identity) is this one: When we opened the store, even before we opened, this gentleman, we'll call him Jack, came around every day to say how excited he was about the store. Jack has been a regular patron since we opened. People who thought Jack moved away from Bay City years ago, had no idea he was still around! He was reunited with friends, more people started coming around, hanging out, communing at the local record store! How cool is that!?

 

Do you believe that record stores are being systematically wiped  out by digital downloads, internet mail orders, big box stores. (Think Walmart), supermarkets?)
I don't believe that these sources you mentioned can wipe out record stores. People, like me, and you, love the tangibility of objects. There is a feeling you get when you hold something, you can touch it, feel it, discover it. The ones who enjoy that feeling, are immune to the instant "gratification" the internet may provide. I am completely indifferent to YouTube, mail orders, eBay, etc... I don't even care they exist, and there are others who feel the same way.

 

 

Does it seem odd to you that so many major record chains are outside of the USA incl HMV, Virgin Megastores, FYE, Tower etc?
-I believe the US has always been behind Europe in the arts/music. It seems like they are more important overseas, and even in Canada. Certain countries actually give money to artists and musicians who are serious about what they do. It's promoted to an extant where artists can make a living at it. And I think that is why Europe is having success with record stores, festivals, etc... it's more mainstream, and considered important.

 

• In your view Why have so many US record stores (big and small) folded including Tower, Sam Goody have closed there doors and yet Rough Trade is expanding stores in London and New York?
-I believe there is a time, and place for everything. Some trends catch on quicker than others. Where there are trends, people gravitate to. New York and London have always been places for people to look for trends, they are places where people make things happen on a larger scale. That's why they are some of the most visited, revered cities in the world.

 When did you open your record store? Did you have other stores
We opened the doors at Electric Kitsch on June 22nd, 2012, and had no idea what we were doing, but did it anyway. It's our only store, but we're hoping to have a larger location in the future.

  What do/did you pay distributers for new vinyl releases
We pay what they charge! The cost is different from label-to-label, distributor-to-distributor. Going with smaller labels, and distributors will get you a better cost, but sometimes the convenience of a One-Stop (a large distributor carrying many, many titles) is key,, but you'll pay more 

Do you buy and sell you used records. What do you usually pay for used records?
We definitely buy, and sell used records. It's the bulk of our business, and usually the biggest money maker. Sometimes buying them is difficult, for many reasons. We'd love to give people as great of deals as we can, but many folks just don't understand that we to make money, and it can get frustrating. For the most part, we have to buy records at a low, low rate, unless it is something incredibly rare, and valuable. People also don't realize this: Say I buy a record for $1, but it's worth $10. Some might consider that a rotten deal. The thing is, now I have to sell it. It might sit for months, and months, and then maybe get marked down, and still not sell. So now I've been sitting on this record for five months, and while I only have $1 into it, is it even worth it, to sell for $6 or $7? Should I have bought it for even less? It's a really tough task, and it's delicate, because you can't explain the business and logistics to someone selling you records in ten seconds. The risk is all on me. If you want cash for your records, I can give you cash. But I can't pay you what I don't have, and usually record stores don't have much.

 What do you gauge their value you on?
There are several things, condition, and rarity. But sometimes you have to take into consideration what people want. If something is a hot seller, it doesn't matter how rare, or not rare it is, the price has to stay high. Take for instance Beatles, Zeppelin, Pink Floyd. While there millions, and millions of those records out there, everyone wants them. The demand must meet the price, which is why you see those records sell consistently for $25+, depending. 

 What do you pay for the purchase a big collection of vinyl – LPs,  78’s or 45’s
If someone is looking to get rid of the whole she-bang, the price has to be low. Record prices change day-to-day. You always have to buy for the lowest price possible, no matter what. In this area, the demand for 45s and 78s are so low, that I rarely buy them unless it's really sellable.

 

 It seems that vinyl records may be here to stay in contrast to CDs Do you agree? Why did CD/’s fall from grace?
I think the reason CDs have had their time is that CDs were marketed as "sounding better", and "lasting longer" than vinyl, and they don't, in any regard! They sound harsh, shrill, lifeless, terrible low end, and they actually start to break down. I almost get dissatisfaction when holding a CD. It's plastic, it's small, it seems like the cases are always broken, haha. Plus, there are just so many more records out there than CDs! 

How do you determine value of these products, memorabilia CDs, Vinyl 
There are a number of factors, internet sales, online databases, and the area you are in. I would say the cost of living in an area can also determine prices, and how many customers one store generates. 

Do you use eBay or Amazon or other online sources to buy or sell product?
-Sometimes one must use evilbay to get the most out of a particular product.  

Do you use media to promote your store?
Social media has played a large factor in promoting the store, especially Facebook. We can make updates, post pictures, events, and it goes out to thousands of people. However, word of mouth, to me, is still the best advertising.

Tell me about the influence of Record Day in April?
Record Store Day seems to have extreme pros and cons. On one hand, it's Christmas x 10 for Record Stores. On the other hand it, has turned record collecting into a piranha feeding frenzy for people who generally don't care about your store, making you want to pull out your own teeth. But I'll always participate.

What does Record Day mean to the collector?
Is this going to be anonymous? I don't think it's really for collector's, to be extremely ugly, and honest. It seems to be for people following a trend. I understand the hypocrisy behind that statement, because I own a record store that participates in the 'holiday". I like the idea behind it, getting people OUT to local record stores, supporting the small people, and businesses of the world. But there are always push-backs, too. People wanting to hoard all the releases, selling them on eBay, stores putting releases on eBay before RSD! It's almost a little too much.

Do repackaged records and boxed sets have value?
Yes, of course. For people who love music, that don't care about original pressings, imports, etc... that just want vinyl to listen to, they are wonderful. I own my represses simply because originals are too pricey, and I just want to listen to the darned thing. 

Do you make money on record day?
Record Store Day is the only "day" we make money.

 How much product do you sell? do you make money (ballpark) –
Total product, including tax for this past year was $5,885.18.

 Is it profitable?
Profit wasn't all that much, just over a grand, after all the expenses, food, drinks, paying out the bands that played, etc..

 Are you a vinyl history buff - can you speak to the history of  record stores as you know it and the ascendance of 12 inch and 45rpm records as well as the physical pleasure of holding a record and record cover in your hand?
I like to think that I am. I generally look for different things that most people don't look for. I would say 99% of music listeners just want to listen to what they're familiar with. For me, that's not good enough. I want weird percussion albums, Latin American Harp music, Turkish Psych, I want it all! I have a friend who hunts on YouTube for all these underground bands. For me, that does nothing, it's boring and it's trite. I want to have it in my hands. Anyone can go on YouTube and search "Mexican Psych", and find hundreds of videos. But that is hogwash as to holding the LP in your hand! I want the physicality of it. 

 Can you talk about the collecters thrill of finding an LP or 45 that that you’ve searched for years and finally found it?
I've definitely had those moments before! It's like finding that "great, white, whale", something you thought you'd never see, and then there it is, right in front of you! The most recent treasure was finding an absolutely mint copy of Edgar Broughton's "Sing, Brother, Sing", in the grossest garage I've ever been in. That was, like, a beacon of light, you know, when the choir starts singing!

Jordan Pries Electric Kitsch - Owner, collector, musician!