Taking the Plunge

It turns out that good things can happen as soon as you commit to them happening.

After dilly dallying for the past several months, on Sunday I began to work in earnest on my next album, a forthcoming effort to be entitled The Palisades. For me I always have to overcome a bit of reluctance to start one of these things, as I know that saying yes to recording an album means saying no to a host of other things that interest me, and I know it’ll take the better part of the next nine months or so to complete the project.

There’s also the fact that of the eleven proposed tracks for the album, only four have been written in their entirety.  Most require another verse or two or a bridge or a better chorus, so the songs I’ve committed to recording might ultimately fall by the wayside in a few months. But for now I’ve chosen eleven out of approximately twenty-five (largely uncompleted) compositions that will provide an overarching theme: mainly that of relationships, something I’ve largely avoided in most of my past efforts.

What’s cool is that once you truly delve into completing something, good things happen.  On Day One of my pursuit, I noodled around on the keyboard downstairs on a track called “Why Can’t You Be More Like They Are” – a song I started well over a decade ago – and determined that it needed an interesting intro.  After about a half an hour I came up with a solid chord progression that will serve quite nicely, and lo and behold, after playing it several times I decided it would also do well as a bridge to the song.  Sure enough, about ten minutes later I had a brand new bridge for a song that heretofore had none.  I’ll have to let it percolate for a few weeks before I determine if the new material makes the cut, but if asked today I’d put money on it staying.

Which only goes to show that @@once you set your mind to DO something, you do in fact begin to DO it.@@

There’s a pile of paper on my ping-pong table that includes countless ideas for a novel I’d like to begin writing, but lately the prospect of actually sifting through the material and beginning to write has been such daunting one that I’ve pursued almost anything else I can think of: vacuuming, dusting, walking the dog, cleaning out the litter box – you name it.  All are preferable to delving into the creative work that needs to be done.

Which explains why I’m recording a new CD.  It’s basically a way to avoid writing the book!  But hey, at least I’ll end up with something more fulfilling than a temporarily clean house.  Once the CD is complete, I will – I WILL – tackle the novel.  And I’ve no doubt that once I commit to doing so, it’ll all fall into place in a more effortless way than I might now imagine.

After I complete the book, I might even commit to painting the family room. Even writing a book seems preferable to that.

29 Years Down the Line

Sometimes you can go back, at least for a moment.  Last Saturday I joined my high school colleagues and performed as our old 80s cover band, I ON U, before an audience of family, friends and classmates at Oscar’s Pub and Grill in Milwaukee, playing a ninety minute set that briefly transported us back three decades.  When the band last played together on May 16, 1986, Ronald Reagan was president, Whitney Houston ruled the airwaves, and we five musicians were headed for glory.  Our closing song was INXS’s “Don’t Change,” and ever since then this song has represented for me the end of something and the beginning of something else.  Back in 1986, the “something else” was life.  Fortunately the intervening twenty-nine years of living did nothing to hamper the enjoyment of the group on Saturday.

It began as a lark.  When my daughter and I visited Belmont University last January I called on guitarist Bill and his family to meet for lunch.  That we did, and sometime during the afternoon we put two and two together and realized that it was January 10, twenty-nine years to the day of I ON U’s first concert back in 1986.  Bill’s wife Anne took a photo of the two of us and posted on Facebook:

Part 1 of IonU reunion — at Taziki’s Mediterranean Cafe.  Bill and Paul just realized that today is the 29th anniversary of the first show!

Kevin, a high school classmate who remembers every person he’s ever met and is the consummate event planner, responded:

Is part two going to be Live Sept. 19th 2015 For Team Bryce and Al's Run/Walk for Children's Hospital??? Hmmmmmmmmm!!!!!! 

Kevin was referring to the team that for nine years has participated in the Brigg’s and Stratton Al’s Run and Walk for Milwaukee Children’s Hospital, which this year grew to 370 participants.

That set the wheels in motion, and within a few weeks singer Rob, drummer Jim and keyboardist Aaron were all on board, busily deciding on a set list, dusting off our old equipment and praying that muscle memory would take over.  Two rehearsals in June made it apparent that nothing had changed in twenty-nine years.  We still played well together, but what I really liked was the ease with which we were able to hang out.  For me, it was as if no time had passed at all. 

Playing Saturday on a pitch-perfect day, I was focusing more on playing the correct notes on my non-native bass guitar (and sometimes succeeded!) than what was happening around me, but for a few seconds I glanced up into the cerulean sky and thought, “Well, this is pretty much perfect.”  And while playing the song “Abacab” by Genesis, keyboardist Aaron and I stood side by side and placed our four hands on the same Roland Juno-60 that we played back in the 80s, and I turned to him and said something like, “This is pretty cool, huh?”

It was, indeed. 

It was also great seeing our old classmates looking terrific in their late 40s.  What I really like about these mini reunions is that it no longer matters who knew who back in high school, who was the jock and who was the band nerd, who glided through school and who struggled, who was homecoming king and who was the class clown.  @@None of that shit matters any more.  All that matters is that we’re alive.  We’re here.@@  We’re doing the best we can with all that life has dealt us: all the joys and heartaches, the little victories and monumental losses, the struggles and disappointments, the friendships and celebrations.  All we really want for everyone at this point is to keep on keeping on, and it’s a good feeling.

As the band once again closed with INXS’s “Don’t Change,” my fingers slid to the F sharp to begin the song’s descent and I again felt that twinge: it was the end of something, just as it was twenty-nine years ago.  Back then it was the end of high school, the end of the band, the end of friendships.  On Saturday, it was the end of something else.  I can’t quite put my finger on it and maybe don’t even want to.  @@I think it might have something to do with ending that period in my life when I had more days ahead than behind me.@@  Something reminding me to embrace the moment, because none of this is going to last forever.

“Don’t change a thing for me,” says the song.  But change we will.

Introducing Block 37

With one gig and dozens of rehearsals under our belts (and five - count 'em - FIVE upcoming gigs scheduled) I figure it's high time to promote my latest band, Block 37, a five-piece act hell-bent on not boring you to death the way so many other bands do.  Seriously, I'm really excited about this venture for several reasons, three of which I'll highlight today.

1)  The band's mission to stay clear of classic rock and over-played hits and instead focus on fun, upbeat power pop gems, many of which you might have forgotten all about.  So yeah, we'll play some great tunes by bands you know like The Clash, The Cars, The Black Keys, White Stripes and the like, but then we'll perform that one tune that needs to be exercised from the recesses of your mind.  Songs like "Save it for Later" by The English Beat, "Here It Goes Again" from OK Go (which I just heard on an episode of Scrubs!), "Ah, Leah" by Donnie Iris, "A Million Miles Away" from the Plimsouls.  And Wilco.  And Elvis Costello.  Any Joe Jackson.  Vampire Weekend.  The Kings.  Fountains of Wayne.  The Knack. And, and, and...can you tell I'm really excited about our set list?

2)  So our current selection of songs is excellent, but what's really cool is we're learning new material all the time, which not only keeps us excited, it also means that our shows will constantly evolve so that you'll never get the same set list twice.  I've been in bands that are very reluctant to learn new material.  Not Block 37.  We are here to explore the vast soundscape of power pop gems from the last four decades.

3)  The musicianship of this band is ridiculous.  How Phil can remember all the lyrics to these tunes is beyond me, and Matt's spot-on guitar solos kills me.  Add to that a thumpin rock-solid rhythm section by Johnny and Doug, and it's a pleasure for me to add some keys to what's already a great sounding arrangement.

WHAT DO WE NEED FROM YOU?  First please go to our Facebook page and like us.  We're at 163 likes but we need more.  You can also check out our ever-changing website for news, videos and photos.

Second, come out to one of our shows!  As of this writing, you have five opportunities to hear Block 37 play:

Fri, July 31: Block 37 will be performing power pop gems for an evening gig at Phyllis's Musical Inn in Chicago, 10 to 1.

Sat, Aug 1: I'm back with Block 37 at Bono's in Lisle from 9:15 to 12:45 or thereabouts.

Sat, August 22: Block 37 is heading to Palos for a rip-roaring night of power pop favorites.  At Trio in Palos, 9 to really, really late.

Sat, August 29: My newest band, Block 37, will be performing at the Highland Avenue Block Party in Elmhurst Illinois.  Details to follow.

Fri, Septmber 18:Block 37 is back at our regular gig at Bono's in Lisle.  9:15 or so to the wee hours.

So come on out and see what all the hub-bub is about, help us grow, and with any luck, one day we'll play during daylight hours! 

Squire's Death and Concert Memories

I was shocked upon hearing the news earlier this week of Yes bassist Chris Squire’s death at age 67.  I didn’t worship or even revere Squire – the last time I saw him perform, my main impression of him was that he could lose about fifty pounds and definitely lose the leather pants – but he was one of those guys back in the early 80s that inspired me and my love for music.  And as I read the details of his passing, it occurred to me that this is only the beginning.  If you’re a music fan of the old bands from the 60s and 70s, the next couple of decades are going to be rough.

I went through a mental list of all the performances I’ve seen since I saw Billy Squire at Summerfest in 1981 with my buddy John, followed by Crosby, Stills and Nash and Rush the following year.  The truth is that except for a few supporting members like Clarence Clemens and Danny Federici of the E Street Band, Howie Epstein of the Heartbreakers and two of the Wilson brothers of Beach Boys fame, the guys I’ve watched perform are still around and still performing, which is something I never fathomed.  When I saw Yes for the first time in 1984 I recall thinking that a whole fifteen years had passed since the band originated and that I was lucky to be seeing them before they call it a day.  Well, now more than double that period of time has passed, and lo and behold, Yes will be performing this August in Chicago.  Crazy.  I mean, who would have thought back in 1982 that in 2015 you could see The Who, Rush, Yes, Paul McCartney, Elton John, and CSN? Insane.

But here we are in 2015, and Squire’s passing has prompted me to try to recall all the concerts I’ve seen over the years.  Unlike some of my prolific concert-seeing buddies, I’ve never been a huge live music guy.  I see a few big concerts a year, maybe a small one every couple of years, and that’s about it.  And with me, I tend to see the same bands over and over (Rush, Rufus Wainwright, Bed Folds).  I’m happy to say that most of these guys are still around (I just remembered seeing Big Country in 1993, and sadly, Stuart Adamson is no longer with us).  It’ll be very sad to see more of these guys go, as more and more of my record collection turns into a sort of memorial to artists of yesterday.

Here’s my list.  Not included are the 12 or 13 times I saw Pat McCurdy, and many of the bands listed were opening acts or part of a larger event (Steve Miller in 1994, for example).

’80 – Off Broadway (from the back!  I didn’t realize kids got discounted tickets for lower grand stand seats).

’81 – Billy Squire

’82 – CSN, Rush

’83 – Beach Boys, Supertramp, Genesis

’84 – Yes, Bruce Springsteen, Spyro Gyra, Rod Stewart, Elton John

’85 – Jean Luc Ponty, The Tubes and Utopia, Til Tuesday and Tom Petty, Patrick Moraz and Bill Bruford, Supertramp

’86 – Leo Kottke, Marillion and Rush, GTR, Julian Lennon, The Moody Blues

’87 – Peter Gabriel, Paul Simon, Tom Petty

’88 – Sting, Bruce Hornsby

’89 – Elvis Costello, BoDeans, Violent Femmes and Cowboy Junkies and Edie Brickell, Joe Jackson

’90 – Innocence Mission, Billy Joel, Jimmy Buffet, Rush

’91 – Blake Babies (I think this year?), Elvis Costello, Al Stewart, The Guffs, Innocence Mission, Rush

’92 – Genesis, John Mellencamp, Indigo Girls, Randy Newman, Wallflowers and 10,000 Maniacs

’93 – Michelle Shocked, Da Da and Sting, Big Country, The Connells

’94 – Rush, Melissa Etheridge and Steve Miller and Natalie Merchant, The Pretenders

’95 – Van Morrison, They Might Be Giants, Elvis Costello

’96 – Wynton Marsalis, James Taylor

’97 – Bar Scott (I think this year?).  Generally lost in parenthood, Broadway plays and living in Allentown

‘98 – Lost in parenthood, Broadway plays and living in Allentown

‘99 – Bruce Springsteen, but generally lost in parenthood, Broadway plays and living in Allentown

’00 – Joe Jackson, but generally lost in parenthood, Broadway plays and living in Allentown

’01 – Eve 6, Joe Jackson, Paul Simon, Yes, Ben Folds

’02 – Harry Connick, Jr., Rush, Paul McCartney, Yes, Ben Folds

’03 – Joe Jackson, Leo Kottke, Tom Petty, The BoDeans, Steve Earle, Jackson Browne, Randy Newman

’04 – Yes, Rufus Wainwright and Ben Folds, Patti Austin, Harry Connick, Jr., Barenaked Ladies, Marc Cohn

’05 – Paul McCartney, James Taylor, Indigo Girls

’06 – um…what the heck was I doing?

’07 – Rufus Wainwright, Roger Clyne and the Peacemakers

’08 – Randy Newman, Yes

’09 – Steely Dan

’10 – Company of Thieves, Craig Ferguson, Rufus Wainwright

’11 – Yes, Weird Al Yankovic, Rufus Wainwright, Paul Simon, Sting

’12 – The Hush Sound, James Taylor, Rufus Wainwright, Bruce Springsteen, Rush, Joe Jackson, Ben Folds Five

’13 – Sara Bareilles, Rush, Barenaked Ladies, Ben Folds Five, Paul McCartney, A Silent Film

’14 – Roger Hodgson, Devo and Arcade Fire, Jackson Browne, James Taylor

’15 – The Who, Rufus Wainwright, Graham Parker, Rush

Rush's Last Stand

Watching Rush last Friday at the United Center in Chicago for what will likely be the last time, I was torn between the tale of two sets: one predictable and lackluster, and one that left me wishing the band would stick around for another tour or two.  The trio performed a reverse chronological set, but rather than mining deep into their catalog during the first half, they relied heavily on songs that were mainstays of their concerts for years (and they also skipped too many stops along the way).  The second set helped redeem the evening, and if this is truly the band’s last stand, it was an impressive way to end a forty plus year run.

One can forgive Rush for wanting to play three songs from their highly regarded last studio effort, Clockwork Angels, and though “Far Cry,” off of Snakes and Arrows was an uninspired choice since they just performed it two years ago, it’s still a great track.  So far so good.  However, the inclusion of “The Main Monkey Business” off the same album was a complete waste of time – an uninspiring instrumental that pales in comparison to some of the band’s other work.

Then Rush did what they often do, relying on what I refer to as the “first-track syndrome.”  Literally every other track of the first set (and the first of the second set) was taken from the first track of one of their albums, so instead of getting a surprise or two, we instead heard songs that have been performed numerous times in the past:  “One Little Victory,” “Animate,” “Roll the Bones,” “Distant Early Warning” and “Subdivisions.”  How much better would the concert have been if Rush had instead performed “Ceiling Unlimited,” “Between Sun and Moon,” “The Big Wheel,” “Kid Gloves” and “Digital Man”?  On alternating concerts, Rush has been performing “How it Is” from Vapor Trails and “Between the Wheels” from Grace Under Pressure, and both would have been better choices the night I saw them.

On a night that could have showcased each album of the band’s career, the most glaring error of the evening was skipping entirely the albums Test for Echo, Presto and Hold Your Fire.  Ignoring Power Windows made sense since the last tour highlighted five songs from that effort, but leapfrogging over the other three was unfortunate, especially since these are all strong albums that could have offered some interesting selections.

Then the band came out for the second set, and though I would have preferred a few additional surprises, the truth is that it was incredible from start to finish.  I also got lucky and got to see them perform both “Natural Science” and “Jacob’s Ladder,” whereas on other nights they’ve substituted the former for “The Camera Eye” or for nothing at all.  My second set went as follows:

Tom Sawyer

YYZ

The Spirit of Radio

Natural Science

Jacob’s Ladder

Hemispheres, Part 1: Prelude

Cygnus X-1, Part 1 and 3

Closer to the Heart

Xanadu

2112: Overture, The Temples of Syrinx, Presentation, Grand Finale

Lakeside Park

Anthem

What You’re Doing

Working Man

Geddy Lee had to screech his way through much of the latter part of the set, and I would have been just as happy hearing an instrumental medley, but overall he did a pretty solid job with the tunes.  The big surprises were “Jacob’s Ladder,” which hadn’t been performed live since 1980, and “Lakeside Park” and “What You’re Doing,” which hadn’t been played since 1978 and 1977, respectively.  It was also very cool hearing the first part of “Hemispheres” for the first time since the Counterparts tour.

Visually, the concert was appealing in that the band’s crew gradually simplified the stage, so that what started as an intricate steam punk theme slowly evolved into a simple stage with a few amps on chairs and a screen backdrop make to look like a gymnasium, a sort of Benjamin Button for the stage, if not for the performers themselves. 

As always, the band employed a great number of prerecorded tracks triggered via foot pedals, from backing vocals to keyboards and sound effects.  I’ve learned to accept this over the years, though it detracts from the musicianship of the band.  I would have much prefer to see three guys on stage playing everything live.  Nonetheless, the band will largely be known for its solid live performing, and last Friday’s show was no exception.  I bid Rush a fond farewell.