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The Only Time I Saw Peter Tork Live

The first concert I ever bought my own ticket for was The Monkees’ 50th Anniversary Tour, which featured only Micky Dolenz and Peter Tork. Mike Nesmith was writing his autobiography Infinite Tuesday at the time, and therefore declined to travel with them. But even though he is about to tour with Micky for the second leg of The Mike & Micky Show tour, the 50th anniversary tour was really his last chance to play with all the other living members, rather than just one.

Peter Tork died today at the age of 77. On one hand, I’m heartbroken and hoped this day would never come. On the other, he lived one hell of a life, as a family man, as a musician, and as a Monkee. I feel very lucky that I got to see him in person once – on that last tour. Right now, I’m going to write out a review of that show in the setting of a few days after it happened, because I remember it clearly, and I didn’t write anything back then. Hope you enjoy, and Godspeed, Peter.

 

CONCERT REVIEW: Two original Monkees celebrate 50 years of Monkeeing around in Clearwater

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From Friday night: Original Monkees Micky Dolenz and Peter Tork proving that even minus two Monkees, they’ve still got it

Micky Dolenz and Peter Tork can still Monkee around after 50 years, and their concert at Ruth Eckerd Hall Friday night confirms that fact. Dolenz, 71, and Tork, 74, just kicked off Good Times: The 50th Anniversary Tour this week over in Fort Myers, and this is only the third date. It’s in celebration of not only their 50th anniversary, but also the release of a new album, properly entitled Good Times!, which releases May 27. The album will feature contributions from the two mentioned, as well as the quiet Monkee, Michael Nesmith, and even an archived vocal from the late, great Davy Jones, who died in 2012.

Nesmith is sitting out this tour, as he says he’s working on his autobiography that should release relatively soon. Hopefully, he’ll appear on select dates of this tour, because you only turn 50 once. But enough of that, how was the show?

Around 8:05, Micky and Peter came out from opposite sides of the stage, humorously attempting to embrace each other before kicking off the show with the Nesmith-penned tune, Listen To The Band, immediately followed by their first smash hit Last Train To Clarksville. Behind them was a jumbo screen that scrolled 50 years worth of video, mainly from their TV show that knocked them into mainstream. But some deep cuts were thrown in, too. One of the few Monkee songs that Tork sang lead on, Your Auntie Grizelda, as well as Saturday’s Child, which was played live for the first time on their 45th anniversary tour with Davy Jones in 2011.

As mentioned before, there is a new album releasing next week, so in honor of that, Micky sang leads on She Makes Me Laugh, the first single off of Good Times!, penned by Weezer’s Rivers Cuomo. On Friday, another new song, Me And Magdalena, dropped on iTunes, but there was no sign of that one at the show, nor their other new one, You Bring The Summer. But hey, for their first new song in 20 years, let alone being written by the biggest dork in rock history, it sounds pretty damn amazing.

During Randy Scouse Git, Micky wore the tablecloth poncho he wore in its music video 50 years ago, and banged on (possibly) the same drum. And For Pete’s Sake was thrown in, too. That was, for those who don’t know, the song that played while the credits to the TV show rolled in the second season. Originally, Peter wrote it, but Micky sang it. But here, Peter sang AND wrote it. Micky just needs a break sometimes, you know? At one point, he left the stage so Peter could deliver a banjo accompanied rendition of Jackie Wilson’s (Your Love Keeps Lifting Me) Higher and Higher. But he came back out to play a song they’ve “never done onstage before,” Let’s Dance On. “This was the first time we actually sat down together as a group and played, you know, Peter, the night before, had taught me how to hold the sticks!” Micky joked.

After a brief intermission, the duo stormed the stage once again with Mary, Mary, and a medley from their trip-of-a-movie from 1968, Head. Once again, during this part of the show, each of the two got incredible chances to prove that they’ve still got it. Micky broke into an almost-perfectly identical rendition of Goin’ Down, complete with the scat and all.  The reason I say almost perfect is because a woman in the front row sang the second verse for him. Look, even Micky knows that when you can sing those words that fast, you need a second or two in the spotlight. Peter also debuted (here, anyway) another song off of Good Times!, entitled Little Girl. It hasn’t been released yet, but it’s a real peaceful, folksy tune that totally fits Peter’s style – I liked it.

And surprisingly, Heart & Soul, off of The Monkees’ critical flop of an album, 1987’s Pool It!, made it to the setlist too. (No offense to fellow die-hards, by the way. Nothing to do with my opinion, just the facts.)

Yes, Daydream Believer was played, and yes, throughout the show, there was much mention of Davy. In the first half of the show, Shades Of Gray, off the revolutionary Headquarters album from 1967, was played live, with Davy’s isolated vocals playing over the speakers. Same went for Daydream Believer, except that one was better known than Shades Of Gray, which is now seen as more of a solemn deep (ish) cut. The former had the nearly sold-out crowd singing along to every word, with the thought in mind that Davy was, one way or another, with every single person in the room.

After an encore of No Time and I’m A Believer, I think it’s safe to say everyone went home feeling nostalgic. It’ll probably be awhile until The Monkees tour again, considering the fact that even before they lost Davy, they seldom hit the road. The night was perfect for fans, old and new, to relive Monday nights in the 60s, or the MTV reruns of the 80s. Though maybe Papa Nez will finish his book soon, and do something else special with M and P to cap off 50 years.

After all, his voice on the new single that released Friday sounds incredible, so there’s no rush for anyone to hang it up yet.

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Concert Reviews

CONCERT REVIEW: The Zombies celebrate over 50 years of psychedelic harmonies at the Capitol Theatre

They were influences of Tom Petty, Todd Rundgren, and Alan Parsons. And 50+ years later, they’re still going.

The Zombies, in case you didn’t know, are actually one of the most influential bands of all time. Part of the British Invasion, their intended 1968 swan song Odessey and Oracle is listed at number 100 on Rolling Stone’s 500 Greatest Albums list. And while most of the original lineup is gone, the two remaining members, lead singer Colin Blunstone and keyboardist Rod Argent are keeping their legendary legacy alive.

Last year, the current band toured with what’s left of the original lineup to play Odessey and Oracle all the way through, in celebration of the album’s 50th anniversary. It was also promised to be the final tour to feature the original lineup, so their Rock And Roll Hall Of Fame induction later this year will probably be the last time we see them all together. That is, if all four show up.

The Zombies tend to rock Clearwater’s Capitol Theatre annually, and this year’s show was a celebration of primarily their hits. Following an opening act from future rock and roll icon Liz Brasher, The Zombies’ current lineup came out around 9:00 with their rowdy cover of Bo Diddley’s Road Runner. Then came their classic I Want You Back Again, which was revamped and slowed down on their recently released Still Got That Hunger album.

“This is basically going to be a 50 year history of The Zombies’ music.” Blunstone confirmed three songs in. Boy, was it. There were fans in the house that before tonight, probably didn’t know that these legends were still performing, let alone recording new material. Rod Argent pointed that out too, by dedicating the music off of Still Got That Hunger to a fan they met during the preshow meet and greet who said that he was a fan from long ago, and was so glad to find out they were still recording.

After a heartfelt salute to the mainstream musicians who gave Odessey and Oracle the reputation it has, including Zombies superfan Tom Petty, came a quartet of songs from the album. Appropriately, the opening track Care Of Cell 44 started, followed by the slow-going song that can be seen as a response to their Hall Of Fame induction, This Will Be Our Year. Later came the Rod Argent vocalized I Want Her She Wants Me, as well as their earworm Time Of The Season, which got everybody going. And there was not a soul in the house under the age of 30.

With all that said, an Argent hit, (not just Rod – the group he formed with former Zombie Chris White) Hold Your Head Up, was easily the highlight of the night. “Let me just clarify before we begin that the lyrics in the chorus are ‘hold your head up, woman,’ not ‘hold your head up, wo-oah!” he confirmed beforehand. The song lasted around eight minutes, and featured one of Rod’s many extensive, yet legendary keyboard solos heard that night.

The night to remember closed with their smash hit, 1964’s She’s Not There, along with God Gave Rock And Roll To You. Yeah, you read that right. The song KISS made famous again.

You can thank Argent for that. And also The Zombies for keeping it alive. No wonder they’re being inducted to the Hall Of Fame this year. It really took a long time to come.

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Concert Reviews

CONCERT REVIEW: Ed Sheeran, Snow Patrol, illuminate RayJay with rarities and raw talent

 

“After this tour, I won’t be playing in America for a very long time.” Modern-day heartthrob Ed Sheeran called out only two songs into his hour and a half long set. All I can say is if what Tampa was given Wednesday night, or even one of the other five times he’s been here, is what the rest of the world will be getting from the Thinking Out Loud performer, they’re in for one hell of a treat.

Last year, the opening act was You’re Beautiful sensation James Blunt. This year, however, is singer-songwriter Lauv (I Like Me Better), and Irish alt band Snow Patrol (Chasing Cars, Run). The latter, who just released a new album in May, haven’t been on tour since 2012, and their last opening act was an up and rising star named…Ed Sheeran. Surprise surprise.

After Lauv and Snow Patrol’s Gary Lightbody trilled out their hits, the jam-packed Raymond James Stadium screeched at the top of their lungs, as the headliner, wearing a short sleeved turquoise shirt under a white long-sleeved one and jeans, ran on up. With just his voice, his guitar, and some pedals, Castle On The Hill kicked everything off, with every word being sang right back to him by a few thousand teenagers. “Everything you’re going to hear tonight is completely live, coming from this guitar!” Ed called out following another song off his newish album, Divide, Eraser.

Ed didn’t only truck through the hits one by one. He gave shout-outs to his opening acts, of course. Same to the boyfriends and dads that didn’t want to be there, and “took the time on a Wednesday night to come out here.” Because in his book, even his haters deserve good recognition, or something like that. Especially Tampa.

Unfortunately, there was no I See Fire, which was the song he did for The Hobbit: The Desolation Of Smaug in 2013. Instead, for the first time this leg of the tour, he played Supermarket Flowers, a song he wrote about his grandmother, who passed away during the making of Divide. Apparently, many fans told him backstage before the show how much the song means to them. His tears during the song proved that he really loves his fans enough to take a request of something he seldom plays.

Oh, and there was also Justin Bieber’s Love Yourself, written by Sheeran. “I wrote this one on the tour bus when I was in Florida!”

Even with that oddity, just like his last Tampa show, last year at Amalie Arena, 2011’s Give Me Love made it in. But in a medley that included Lego House and Tenerife Sea, among others.

Of course, he couldn’t leave out his groundbreaking 2014 sophomore album, x. “If you don’t know the words to this song, you’re at the wrong concert.” he declared before leaping into a heartfelt rendition of Thinking Out Loud, which brought a wave of nostalgia. x’s other hit, Photograph immediately followed, followed by last year’s phone-illuminated Perfect, a song he did solo, with opera legend Andrea Bocelli, and Beyoncé.

The main set ended with an audience-assisted Sing, also off of x. A very generous encore was given shortly after, with Ed sporting a Bucs jersey with his name – A transposed Shape Of You, and a foot stomping, yet more obscure You Need Me, I Don’t Need You capped up one of the most epic shows of the year.

Ed’s well-loved around here, which is probably why this was his sixth show here since opening for Snow Patrol at Jannus Live in 2012. “Florida was the third place in the US I ever played!”

It’ll be three years until he comes back, so hopefully, it’ll also be one of the next.

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Concert Reviews

CONCERT REVIEW: Brian Wilson and company play Pet Sounds in Clearwater for the last time…maybe

“Hello, Clearwater!” former Beach Boy Brian Wilson exclaimed last night.

“Retirement” is not a word in the 76-year-old’s vocabulary. Drugs causing him to become schizoaffective nearly took his life, and a mercilessly abusive doctor nearly made him reach rock bottom. But here’s the thing about the sole founder of The Beach Boys: He loves music. He loves it enough to almost never be off the road, especially in the last five years aside from the making of his biopic Love And Mercy in 2014. In 2016, the year The Beach Boys’ legendary Pet Sounds album turned 50, Brian announced a tour to play the whole album all the way through, with fellow original Beach Boy, rhythm guitarist Al Jardine, and everyman Blondie Chaplin, a man who toured with The Beach Boys and The Rolling Stones, (of whom some of his walking actions imitated). He had played it on the road many times before, but this would be the last time, he claimed.

The guys already brought Pet Sounds to Tampa Bay in 2016, at St. Pete’s Mahaffey Theater, and back to Florida last year at Orlando’s Walt Disney Theater. Clearwater hasn’t had Brian here since his 2013 tour with Yardbird and legendary guitarist Jeff Beck, who was also in Tampa this year, with Paul Rodgers and Ann Wilson. Tonight wasn’t even the scheduled date for his arrival. The show was supposed to take place on May 18, but due to successful back surgery Brian needed in early May, he had to push the date forward. Of course, you have to put your health before your fans, and because my favorite composer did that, this was almost definitely not one of his final shows.

Around 9:00, following an acoustic, yet frenetic opening set from Irish-British duo Beat Root Revival, the entire band came out at the same time. Wilson is unfortunately immensely fragile, and therefore had to be assisted to his white piano.

The first part of the show, or at least everything before Wouldn’t It Be Nice, was a series of semi-hits. By that, I mean not songs that any old Joe in the street would know instantly, but the songs that a Beach Boys fan would think are overplayed, in comparison to others. California Girls opened the show, and later, a sing-along of “the first song Brian ever wrote for The Beach Boys,” Surfer Girl, and an all-in California Saga. “Cool, clear-water! I get it!” Al Jardine called out during the applause.

Two songs then came from Blondie Chaplin, and finally, the needle dropped on Pet Sounds. And it wasn’t only Brian’s band playing, either. An eight-piece orchestra (The Ruth Eckerd Hall Chamber Orchestra, as described in the band intros later on) joined in for the authentic strings on the album. Wouldn’t It Be Nice was crooned by Brian’s son-in-law Rob Bonfiglio, who has apparently replaced Jardine’s golden voiced son Matt. Not to say that’s a bad thing at all – both can hit those falsettos that Brian no longer can.

The crowd of boomers joined in on side A’s ending, the Jardine voiced Sloop John B, and then the record flipped. As you’d probably expect, God Only Knows, often called the best song of the 1960s (some may say of all time) got a thirty second standing ovation. That doesn’t seem like long, but it was long enough for Brian. “Please be seated,” he requested so he could know when to begin the non-melancholy, LSD inspired I Know There’s An Answer. Finally, during Pet Sounds’ crushing finale, Caroline, No, Brian was helped off mid-song, just to walk out once again during the band introductions that kicked off the encore. Now THAT got the crowd on their feet.

And all but one were played in the original key, too. The antagonist of God Only Knows legend-wise, Good Vibrations, kicked it off, going into Help Me, Rhonda, sung by Jardine. And of course, there were bigger ones that even non-fans know. Barbara Ann, Surfin’ USA, and Fun, Fun, Fun. And it indeed was all fun, fun, fun and games until the last number: Love And Mercy, one of, if not, the most adored pieces by Brian, post-Beach Boys.

I think a good chunk of the folks who came out to see Pet Sounds live one last time (whatever) only came to see Brian because he’s a living legend. You know something? I don’t know about anybody else, but if Brian comes back here again, (you know he will) you have to either not be a fan, or crazy, to sit it out. Also, The Beach Boys with Mike Love are going to rock Ruth Eckerd in a more corporate way in February, and anyone going to that show, but not Brian’s solely because of his condition, should really rethink their love for the band.

And not to mention Brian’s coming back next month for a Christmas show in Sarasota. On one hand, he should take it easy. On the other hand, God only knows where we’d be without him.

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Concert Reviews

CONCERT REVIEW: Bob Dylan throws in classics and deepish cuts without communication

“I’m a worried man, I got a worried mind, no one in front of me and no one behind,” Bob Dylan croaked as his sold-out show at Ruth Eckerd Hall Saturday night began. Not a camera was in sight. All around the venue, there were warnings about how if one took any video or photos, it would be grounds for removal from the venue. And most folks sneaking in a photo or two were demanded by security every ten minutes to put it away.

But enough about that. How was the show?

Dylan has been on the road pretty much his whole life, and with “his band” on his Never Ending Tour, which, since its start 30 years ago, has changed in just about every way imaginable. The lights went down around 8:05, and Bob and the band hit the stage to kick off with 2000’s Things Have Changed, immediately followed by an unrecognizable, yet heartfelt It Ain’t Me, Babe.

In between every song, the lights onstage would go down for some secretive Dylan reason. He didn’t stop to talk to the audience. Not even at the end. And almost each time they came back on, the man was still sitting at the piano. That was the cool part of this show: Bob didn’t pick up a guitar once. And he only stood up from the piano twice. During Scarlet Town and once again later on in his set.

Unlike a normal 21st century Dylan show, the classics actually had a great presence in the setlist. New arrangements of Highway 61 Revisited, Simple Twist Of Fate, and When I Paint My Masterpiece, just to name a few. Also included were more recently recorded songs that had far different arrangements than the originals. A heartbreaking rendition of Trying To Get To Heaven, and a nearly identical ride through the 1997 lament Love Sick.

Speaking of identical to the original recording, Like A Rolling Stone made it into the rotation, for the first time in about six years. Yep, he’s played it literally over a thousand times in 50 years, and it replaced 1975’s Tangled Up In Blue at the tail end of the most recent leg of the tour. While both are genius, it’s not a Dylan show without the former. I mean, how would you feel if you went to see Paul McCartney, and he didn’t play Hey Jude?

Following an all-in Gotta Serve Somebody, the legend and his band snuck behind the grey-orange curtain, and after a minute, firmly walked out once again. Dylan remained behind the piano for his very generous encore of 1963’s Blowin’ In The Wind, and 1965’s Ballad Of A Thin Man. You could tell what they were, just by each song’s iconic opening lyrics.

Oh, and we got a bow at the end, rather than just a nod.

These days, Dylan does Dylan, because he knows he can. What does he care if his fans complain? With a Nobel Prize, a Rock And Roll Hall Of Fame induction, and a career spanning over 55 years, he could retire now, and his fans wouldn’t complain.

That said, he’s also one of the last folk-rockers that still plays, now that Paul Simon‘s retired, among many others. But anyway, long live Dylan. Period.

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Concert Reviews

CONCERT REVIEW: Paul Simon gets Tampa feelin’ groovy one last time

Halfway through Paul Simon’s last ever show in Tampa Friday night, he made it very clear that something was very different about his stage. A man (no, not Art Garfunkel) who played with him live and in the studio for over 30 years was not present.

In December of last year, guitarist Vincent Nguini passed away. He was present on Paul’s brief US tour last summer for maybe four or five dates, before heading home to receive treatment for an unspecified illness.

Nguini’s unfortunate passing was a key reason to why the genius behind Graceland announced Homeward Bound: The Farewell Tour in an open letter back in February. He had kicked the idea around for the last few years, but two new albums (one of which released Friday) and two tours proved that it was probably blasphemy.

Though his final show in Queens, NY is still a few weeks away, Simon’s final stop in Tampa, felt like his first stop here. In 60+ years, Paul is not very familiar with Tampa, as his last time in the area was in 2011 at Ruth Eckerd Hall. But him and Garfunkel did bring their reunion tour with surprise guests The Everly Brothers to the same venue in late 2003. If at least some fans at the farewell show hadn’t seen the reunion tour, that’s an honest shocker.

Simon’s 9-piece band, with the 6 members of yMusic hit the stage around 8:15, and the man came slowly walking out in an orange t-shirt and purple blazer. After plucking the opening chords to the Simon & Garfunkel classic, America, and swaying to 1973’s 50 Ways To Leave Your Lover, he told a humorous Tampa story, about a time he was asked to throw the first pitch at a Yankees spring training game held here. Apparently, some of the players were betting on how many times the ball would bounce in the event of a celebrity such as Paul threw the first pitch. “The only person that bet on me was Tino Martinez!” he closed the story with.

He then granted permission to get up and dance “if we felt the urge to,” but to “keep in mind the couple behind you may disagree with your urge.”

While only five Simon & Garfunkel songs were played in the two-and-a-half hour musical odyssey, he hardly missed a moment in his solo career. As he’s done in most shows over the years, Mother And Child Reunion and Me And Julio Down By The Schoolyard, off his first proper solo album, were blasted back-to-back. Graceland’s follow-up, The Rhythm Of The Saints was not snubbed either. Four tracks, one of which was a recently revamped song, Can’t Run But, made the cut for the first time on tour in nearly 20 years.

“I’ve been writing songs since I was twelve years old,” he bragged before proceeding to emphasize his life of songwriting. Or at least up until he broke up with Artie, because he didn’t want to continue going on and on.

Some songs on this tour haven’t appeared on many, or any, tours before this one. With the release of In The Blue Light the day of the show, in which Simon revisits obscure songs he penned that he felt had an impact on him, there had to be some tunes off of there. And three, one mentioned before, made it. The Joan Baez inspired Rene And Georgette Magritte With Their Dog After The War, which has not been played since 1984, and never played on tour, featured the breathtaking talents of yMusic, of whom came forward to the carpet Simon stood on to surround him. And 2011’s Questions For The Angels, of which the new version was previewed during last summer’s mini US tour, was very unfamiliar to the crowd, except for one of the very few die-hards in the house.

There was also 1973’s Kodachrome during Simon’s final of two encores, and a newer version of the legendary Bridge over Troubled Water, which was later dedicated to the Queen Of Soul, Aretha Franklin. “Very seldom do I sing it,” he began. And an emotional Homeward Bound featured a montage of photos from Paul’s 60+ year career on the screen behind him.

That’s the major difference about this tour from any other he’s done before. Normally, Paul plays smaller, intimate venues. But this time around, he wanted to give everyone in town a chance to say goodbye to him. And also, there’s normally not a big screen behind him, showing neither graphics nor a magnified view of himself. So while some of his shows (including this one) were not sold out, I think it’s safe to say that this is a dazzling way to go out on top.

The show closed with a trio of his most beautiful songs. A devastating rendition of The Boxer brought tears to the eyes of boomers, Gen-X’ers, and millennials. Before the highlight of the night, The Sound Of Silence tore the house down, the 1973 lament American Tune, featured just Simon and his trademark acoustic guitar. “Strange times, huh?” he asked, swiping the opening chord.

“Don’t give up.”

For the age of 76, those are pretty solid final remarks to Tampa Bay. That’s the closest he came to mentioning politics. (other then getting booed when mentioning the first pitch for Yankees)

Even with Bob Dylan on the way to Clearwater next month, Simon’s advice has some serious significance, especially for the music lovers. Many of the great singer-songwriters have either died or retired, so we’re losing people to see live. Not to say there aren’t any left, but regardless of what anyone says, never again will there be anyone with the same potential and love for music owned by Aretha Franklin, Joan Baez, Elton John, and in any case, especially here, the genius, sharp-wit; and underrated musical skills of Paul Simon.

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Concert Reviews

CONCERT REVIEW: Weezer, Pixies unite alt fans in Tampa

In the last few years, Tampa has had some insane alternative acts. Scott Stapp of Creed and the Foo Fighters this year, and last year Green Day, Soundgarden, and before its tragic cancellation, Linkin Park. And later this year, we will have the Dave Matthews BandThe Smashing Pumpkins’ reunion tour, and Snow Patrol opening for Ed Sheeran. But to pump us for all that, there was an insanely special show at Tampa’s Midflorida Credit Union Amphitheatre. Two groups that have played to extensive crowds over the years, and that have jammed together before, but never toured.

Nerd rock quartet Weezer and early alt-rockers the Pixies kicked off their co-headlining summer tour on June 22 in West Palm Beach, and they decided to bring night two of the co-headlining tour to Tampa. Weezer has not been to Tampa since their co-headlining tour with Panic! At The Disco in 2016, and the Pixies haven’t been around for longer. Their last time here was in 2015 to headline what would be the final Big Guava Music Festival, also at the Amp. The sold out show was full of millennials who grew up with, or currently listen to, one or both of the groups. Maybe a few boomers out of the 10,000+ people were present, either just to get out a bit, or to simply rock out.

After opening act The Wombats warmed some folks up, the Pixies came onstage around 8:00, and it was not a Pixies show you’d expect. Their setlist did not feature too many hits, besides Where Is My Mind? However, that didn’t mean that some of the songs played weren’t recognizable. About three songs in, lead singer Black Francis began belting out the lyrics to Cactus, off of Surfer Rosa. I, personally, had heard that song somewhere before. But where? Then as a lifelong David Bowie fan, it hit me. Bowie did a cover of that song on his 2002 Heathen album, and it was in the regular setlist rotation on the last two tours he did in his life.

The Pixies didn’t mess around either. There was no communication with the crowd, outfit/set changes, or anything like that. They just ripped through their 20 song setlist, one song after another. Once the legends had taken their bows, it was already dark, and a black curtain was immediately draped down the center of the stage. Being on the side, I could sorta see what was happening. Only sorta.

Around 9:40, there was not a soul who was away from their seat. Everyone began to rise, as Weezer, fronted by rock’s biggest dork, Rivers Cuomo, opened with their early smash hit, Buddy Holly, immediately followed by tons of hits – – the somewhat rapped hit Beverly Hills, the head-banging Hash Pipe, and the first track from their first album, My Name Is Jonas. Perhaps the highlight of the first half of the show was getting a semi-rarity off the Blue Album, In The Garage, which hasn’t been played in Tampa in 13 years. Oh, and Pinkerton’s El Scorcho was a great touch as well.

Following a cover of The Turtles’ Happy Together (I know your reaction, that’s what I said too.) crossed with Longview by Green Day, Cuomo literally scootered to the audience, dressed in a Hawaiian shirt and a captain’s hat. His destination? Two Palapa umbrellas in the stands. “You’re kicking butt, Tampa!” he called out, to which a millennial-composed roar nearly blew him away. He had his acoustic guitar with him, of which he appropriately strummed an unplugged version of Island In The Sun, which had everyone in the venue belting out the words loud enough to outdo Rivers’ killer vocals. “I’m ready to rock with my acoustic and electric guitar.” he declared after the song ended.

“Anyway, here’s Wonderwall.”

You know what happened. Deep down you know that there were people laughing their butts off, and people who were singing along.

After Rivers changed into a studded leather jacket, a few more non-hits and newer songs off their new album Pacific Daydream, lead guitarist Brian Bell moved over to the synths to tap out that iconic opening to Toto’s Africa. If you didn’t know, right now, Weezer is in the music spotlight in a sense, after a 15 year old fan created a Twitter account to get the band to do a cover of the 1982 Toto hit, which has been an Internet meme of recent years. When Weezer saw the account, they got to work, and five days before it released, they trolled that fan. Another Toto hit, Rosanna, which unfortunately was not played at the show, released out of the blue with only a brief teaser announcement.

After their encore, which finished with Say It Ain’t So, also off the Blue Album, I think it’s safe to say that everyone went home either happy or drunk. Some folks discovered something new and were blown away by an act they didn’t attend for. My concert buddy that night was telling me afterward how he had seen so many shows at the amphitheater since it opened, but had never seen it so full of fans. And this is coming from a guy who saw Nine Inch Nails here a few years ago.

Maybe Weezer will co-headline with them sometime. Maybe they’ll release another request from a Twitter account. Hell, maybe they’ll release the long (and I mean LONG) awaited Black Album. After a brief time supporting the Foo Fighters in Australia, making it back to the Top 100, and touring with some of the godfathers/godmother of alternative this year alone, the future is wide open for those badass nerds.

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Concert Reviews

CONCERT REVIEW: Nesmith and Dolenz Monkee around without screens in Denver

Before this month, there were only two full shows somewhat like this, along with a three minute one-off. It was announced earlier this year that two of the three living members of The Monkees, wool cap Michael Nesmith, and singing drummer Micky Dolenz would hit the road together. Just the two of them, (with the backing band, of course) for the first time ever. The other living member, bassist Peter Tork is not involved with this tour at all, as he’s focusing on his own band, Shoe Suede Blues, and is likely planning a tour with them to promote their recently released Relax Your Mind.

When the lights were dimmed at the Paramount Theatre in Denver Tuesday night, Mike, wearing a white overcoat, sparkling dress shoes, and a purple t-shirt, and Micky, wearing a long black coat, his typical black cowboy hat, and sunglasses with red lenses, kicked off with Good Clean Fun, followed by the smash hit Last Train To Clarksville. “Welcome to the Mike and Micky show!” Micky exclaimed after the latter song. A ecstatic roar from the crowd of baby boomer and gen-X Monkeemaniacs was given, and later from some of the die-hard fans in the theater.

This tour was advertised to be very different from a normal Monkee show. And different, it was. Unlike their 50th anniversary tour two years ago, and many tours before, there were no big screens. Not every hit was played either, and while there were some humorous exchanges between the two, this is not a tour that celebrates equal amounts of the TV show and the music. This tour is mainly about the music. Instead of a big screen showing photos and clips from the last 52 years, there was a huge white curtain draped over the backstage area that served as the background. The curtain had the logo of the tour, and some of the lights shone on it, so it wasn’t boring at all.

When Nez is onstage, yes, you will hear Nez songs. After all, this is his first full-fledged outing as a part of The Monkees since 2014. Deep cuts galore were played. Some of which included the opening track off of Headquarters, You Told Me, the First National Band (Nez’s post-Monkees group, which by the way, has done and will do some reunion shows this year) classic Nine Times Blue, and the never-before-this-tour-played “missing link” St. Matthew. “What album was that on, do you guys know?” Nez asked, and got a response from an audience member. “Fifty winks two?”

There were also tunes off of the newest album, Good Times!, which features all four Monkees participating in some way. The jammin’ Birth Of An Accidental Hipster descended into St. Matthew, and the impeccable harmonies of Mike and Micky on Me & Magdalena wrapped up the first set. Twenty minutes later, the two, and Nez’ son Christian walked back on.

“We’re gonna spend some time in acoustic land!” Mike announced, as him and Micky sat on stools. A new-ish arrangement of Papa Gene’s Blues was up first, followed by a head-bopping acoustic Randy Scouse Git, and that was when the backing band made their way back to the stage, almost one by one. The highlight of the night, to me anyway, was when Nez walked offstage for a moment (“I love this song, I’m gonna leave [Micky] with it onstage. Okay, bye!” so Micky could strum and sing (and flub just a little bit on) I’ll Spend My Life With You, the second track off of Headquarters. Not many people knew that one, but on a personal note, that’s my favorite Monkees song, so finally hearing that one live really added to the thrill that while Nez may not have been onstage at that moment, he was still on the tour, and would come back out any minute.

Following another recent live debut, Auntie’s Municipal Court, and Micky’s paced scat-and-all trademark Goin’ Down, came a tear-jerking rendition of Daydream Believer, the only song played on this tour that was originally sung by the late Davy Jones. This is also the first full-fledged Monkees tour since 2014 where the surviving Monkees are singing. In 2012 and 2013, Micky would call a member of the audience up onstage to “help” him sing it. Him and Mike sang it in 2014, but on the tour before this one, the band played, but Davy’s isolated vocals sang.

Yes, there was an encore. Listen To The Band was first. It started with Nez and his Gretsch, followed by Micky, and slowly yet suddenly the backing band. The show closed the way it always has, with I’m A Believer, and I think it’s safe to say that everybody went home happy.

Right now, the tour runs until the end of the month, and there are a whole load of places in the United States that will not get to experience it. We can only hope that Nez and Micky are enjoying themselves on this tour, and that they’ll do it again next year. This is the first one like this, so why not?

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Concert Reviews

CONCERT REVIEW: John Fogerty stops the rain with help from ZZ Top

“Clearwater. That’s a funny name, now ain’t it?” John Fogerty began.

About 75 percent of the audience at Coachman Park on Saturday night were not only fans of John’s career. It was who he was opening for, ZZ Top, that they were also hyped about. See, the two are co-headlining on the Blues And Bayous Tour together this month. And while it’s a limited run, it’s the show of a lifetime to say the least.

Ten minutes after a 30 minute opening set from country artist Ryan Kinder, Fogerty and company kicked off with the CCR classic Travelin’ Band, followed by a non-transposed version of Hey Tonight. Along with CCR hits came solo songs, such as his recent collaboration with Brad Pitt, Love And War, (“I know there are a lot of vets out here tonight. These veterans are not being treated so well in this country right now.”) the twangy Old Man Down The Road, and of course, Centerfield, of which John literally strummed a baseball bat on. A BASEBALL BAT.

Among those hits that were by CCR included Born On The Bayou, which was complete with a bayou background on the big screen, a crowd-rising, shortened version of Down On The Corner, and Have You Ever Seen The Rain, dedicated to John’s 16 year old daughter (“Kelsey is a rainbow in my life, and this song has a rainbow in it.”) Following a flag-draped Fortunate Son on his plaid electric, John ran (yes. RAN.) back out to play two more songs he knew he couldn’t skip over. The legendary Bad Moon Rising was first, and that had everyone in the park bolting out the words, whether they were there for ZZ, John, or both. Finally came Proud Mary, the highlight of the night to me, which also had every fan exploding into song.

Now, to answer one of John’s questions about eight songs in. “Say, who’s that bearded fella that’s wandering around backstage?”

Why, that would be Billy F. Gibbons himself.

Our first glimpse at ZZ Top was about twenty minutes into Fogerty’s set, when Billy joined him to jam to their upcoming collaboration song, Holy Grail, which officially releases June 8. But around 9:30, Billy came back out, along with his old buddies Dusty Hill and Frank Beard, and kicked off with Got Me Under Pressure.

Most of the fans there that night were in attendance for ZZ. And Fogerty was seen by many as just a nice little addition to the show, which was totally proven wrong many a time. “Let’s hear it again for the great John Fogerty!” Billy called out once or twice during his set. But while neither acts were “nice additions,” like John before them, ZZ’s set was full of wall-to-wall hits such as a frenetic ride through Gimme All Your Lovin’, and a sing-along of I’m Bad, I’m Nationwide. And of course, you can’t forget their signature hits: Y’know, Sharp Dressed Man, Tush, La Grange, Legs. (which featured fluffy guitars. Yes, literally fluffy.) All of those were played, along with a cover of Jailhouse Rock serving as the encore.

We really got lucky this time with ZZ Top. Apparently, their last few shows in the Tampa area have either been postponed or cancelled. But this time, they just wouldn’t have it. And Fogerty hasn’t been to the area since he brought his 1969 Tour to the Amphitheater three years ago.

In rock and roll terms, this tour is the real deal. A man who wrote, played, and sang some of the most beloved songs of the late 60s and early 70s, and a Texas trio who in nearly 50 years have never had a lineup change, or even an added member onstage, excluding one-off special guests. “We’ve been comin’ here for the last…five decades! Same three guys, too.” Billy recalled near the end of his set.

Here’s to another five from both acts.

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Concert Reviews

CONCERT REVIEW: Little Steven brings soul and blues to Clearwater

“Welcome to our teacher appreciation tour.” began Little Steven van Zandt, right hand man of Bruce Springsteen, Silvio Dante on The Sopranos, and frontman of The Disciples Of Soul. “I’m making it up to all the teachers for all the hell I gave ’em in high school.”

Even if that were the case, I would have forgiven him from the second he walked out onstage at Clearwater’s Capitol Theatre Saturday night.

The prime point to this tour is to salute elementary, middle, and high school teachers across the world, and to promote the TeachRock foundation. TeachRock was a big help in giving teachers in the area a killer deal, too – – Come to a two hour seminar about music education, and you get a free ticket to the show that night. Most teachers, and their guests, were closer to the stage than I was, and I was closer than I had ever been at a proper concert before. (row 11) As folks started walking into the venue, music played on Van Zandt’s SiriusXM show, Little Steven’s Underground Garage blared through the speakers, and at 8:16, about thirteen musicians and three dancers made their way to the stage, followed by their fearless leader. 748 people were ready for a night of classic soul and blues, starting way back in 1967 with a Jersey-styled rendition of Arthur Conley’s Sweet Soul Music. “Do ya like good music?!” he called out. All of us gave a roar of approval back at him.

Stevie has a relatively new solo album out, his first in eighteen years. Every song off of Soulfire, which released last May, was played throughout the show, while mixed in with his earlier songs as well. New songs included a ten minute rendition of the James Brown penned Down And Out In New York City, which was half solos from the woodwind and brass section of the band. Also off the album were original tunes, such as the Civil Rights inspired The City Weeps Tonight.

Yes, most of these songs were covers, but there were quite a few written by Stevie. Angel Eyes, off of 1982’s Men Without Women was not transposed at all, and the only change was a long guitar solo from the man, like many of the songs had. Also played was a Southside Johnny song written, and recorded with Bruce Springsteen, Until The Good Is Gone. That song also appeared on Men Without Women.

Speaking of Springsteen, you’re probably wondering, “Did he play any songs from E-Street?” No, he didn’t.

Understandably, a good chunk of the crowd (including myself, for the most part.) were in attendance solely to honor his incredible career as the right hand man of one of rock’s most legendary musicians and songwriters. But whenever Little Steven tours by himself, you’re almost always gonna hear soul and blues music. He recalled parts of his life that involved Bruce, and played songs that they recorded together on Disciples albums, but nothing from Bruce’s personal career, with and without E-Street.

The Disciples played for nearly two and a half hours, half of an E-Street show. But that’s because this was very different from one. The setlist didn’t totally transform from the previous show in Orlando the night before, and there was only a lick of politics, (“We are in a dark time, but don’t worry, it’s only temporary.”) But like his partner, he knew how, and when, to communicate with his fans. “We can leave our differences outside and walk the sacred grounds of music tonight.” Stevie proclaimed in the middle of a song during a brief lecture.

Well, he sure wasn’t wrong.