Tag Archives: King Biscuit

Blast From The Past: Badfinger

So I got a little nostalgic this week. Sue me!

It happens whenever you start moving and refiling albums and you slow to a crawl because you read the liner notes, slap an old favorite onto the player, get lost in the moment. So forgive the back to back memory posts.

I remember thinking – like many did – that Badfinger was another Beatle prank. Surely “Come And Get It” was Paul, probably playing all the parts, trying to balance the scales because he wasn’t really dead. But no, Badfinger was a real band, and a great one. and tragic beyond words.

The BBC disc that came out years later really gave a nice glimpse into what was and what might have been, and were the rock graveyard not littered with so many casualties, maybe the current generation would look back and realize how much was lost. But Badfinger is likely just a footnote in the current scene; even older fans have had their pain numbed enough to cast them aside.

Not me. Here’s a review from that archive disc from 2000

Culled from two concerts at pivotal points in their career, BBC is remarkable in that the obvious hit singles are nowhere to be found. Instead, listeners will be surprised at just how talented Pete Ham and Joey Molland were as guitar players. Both shows were recorded at the Paris Theatre in London, with seven tracks from each included (along with “Come And Get It” from a 1970 show on Top Of The Pops as a bonus track).

The first half of the disc features two shimmering acoustic numbers in “We’re For The Dark” and “Sweet Tuesday Morning,” which are counterbalanced against two Dave Mason covers(!). Badfinger as…jam band? You bet. “Only You Know And I Know” and “Feelin’ Alright” get a serious thrashing, the latter track a nine minute indulgence of funk, soul and harmonic pop. Kicking off the set with a rocking rendition of “Better Days,” and arguably at the height of their popularity, the band is confident and tight.

The second show, recorded fourteen months later (October 1973) finds the band in their post-Apple, pre-Warner Brothers era. Although continuing to feature strong harmonies and solid musicianship, Badfinger dabbled in harder, more guitar oriented rock and roll. Look no further than the two versions of “Suitcase” – in 1972 it chugged along, but the 1973 version is far more powerful. “Constitution” boasts some blistering axe work complete with wah-wah workout, and this live version of “I Can’t Take It” might be the most intense track the band ever recorded.

At the time, new songs like “Matted Spam” showed a taste of things to come…or so we thought. Tragically, Pete Ham took his life only a year and a half later, and eight years later, Tom Evans followed. Those not familiar with the band would be well advised to pick up “Without You: The Tragic Story Of Badfinger“; author Dan Matovina also wrote the liner notes for this release. Later this year, VH-1 will also recall their tale with an episode of “Behind The Music.”

Fuel 2000 has plans to mine the vaults and release or reissue many classic titles from the BBC vaults. In tandem with the King Biscuit releases, a new generation can finally savor what the elders among us enjoyed (and took for granted) as a weekly staple of our rock and roll lives.

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Blast From The Past: Rick Derringer

I’ve been a fan of Rick Derringer‘s music as long as he’s been making it. I played The McCoys singles to death, devoured every album he made with Edgar and Johnny Winter, defended every solo album against a horde of haters, and air-guitared to every axe duel he had with Danny Johnson on those Derringer albums. Now 62, he’s spent the better part of the last two decades recording blues and smooth jazz records and being a vocal supporter of Christian and Conservative issues, although he still tours and cranks out the classics (albeit sometimes with slightly altered lyrics).

His omission from the hallowed halls in Cleveland is an injustice; his body of work as a recording artist and producer and performer is proof positive of an amazing legacy. Iconic songs like “Rock and Roll Hootchie Koo“, “Still Alive And Well” and “Hang On Sloopy” will continue to make kides jump out of seats long after he’s gone. And while I would love for him to crank out one more great rock’n’roll album, I’d happily settle for that country album he said he would make not long after All American Boy was released…

Cheap Tequila

I thought of him today for two reasons; I was playing the album whose review you will find below, and I saw that he will be a featured player in Ringo Starr‘s 2010 All Starr Band, which should do wonders to remind people that he is still out there playing with spirit and fire. Ringo has always been generous with the spotlight, and I’m sure those three songs mentioned above will ring out from summertime stages.

Here’s a link to the tour dates from Rick’s site.

Bear in mind that the review below was written ten years ago (almost to the day) for Consumable Online. A lot has changed since then – that great new label folded, Live In Cleveland did get released, and it’s now been an astonishing forty-five years that Rick Derringer has been rocking the world. Take a bow, Mr. Derringer.

He may not be in Cleveland’s Rock And Roll Hall Of Fame, but Rick Derringer was enshrined in mine years ago. From teen idol to third Winter Brother to guitar god to pop guy to blues man, Derringer has strapped on that guitar, hit the stage and kicked ass. Unfortunately, previous concert documents have not effectively captured what live audiences have enjoyed for so long. Derringer Live was good but spotty, and the King Biscuit release featured his last, weakest band lineup and too many guest stars. Only the radio promo Live In Cleveland  (there’s irony for you!) came close, but if the legitimate release has never made it to CD, don’t hold your breath for the promotional disc. A travesty.

Now that’s changed, thanks to Phoenix Media Group. With thousands of hours of live music tapes and radio  broadcasts at their disposal, the Phoenix Gems imprint will be used to get some classic (and in some cases, unheard) concerts out to the public. The first four releases feature The Tubes, Omar And The Howlers, Spirit, and this Derringer concert from late 1998 in Boston. Live At The Paradise Theater was the same show (and perhaps the same master tape) that was supposed to be released in 1998 under the Archive Alive label, but was shelved when the King Biscuit disc hit the market two months before. The sound quality is phenomenal, and if all Phoenix Media‘s shows are this crisp and clear, the market for live concerts just changed dramatically.

The first Derringer band, with axe whiz Danny Johnson, was more riff and jam oriented. After Johnson left, Derringer kept bassist Kenny Aaronson and brought in drummer Myron Grombacher. Recording as a trio (with some help from old pal Dan Hartman), If I Weren’t So Romantic, I’d Shoot You found Rick steering his band towards shorter, single oriented material. Needing a second guitarist for the road, he selected Neil Geraldo (who, with Grombacher, would anchor Pat Benatar‘s band for years afterwards). Although the band was only together briefly, Geraldo plays some great barrelhouse piano and trades leads on guitar, Grombacher is tireless, and Aaronson is an inventive, fluid anchor on bass. Sure, there’s the requisite speed-noodling on “Rock And Roll Hoochie Koo” and “Beyond The Universe,” and this talented group kept up with Derringer step for step.

What makes this disc really special are the moments when they absolutely rip through Derringer’s best mid-career songs. “Teenage Love Affair,” “Let Me In” (always Derringer’s best vocal) and the Chinn-Chapman hit “It Ain’t Funny” are on fire, while the finale of “Roll With Me,” “Back In The U.S.A.” and “Long Tall Sally” contain Derringer’s best work since the Roadwork album with Edgar Winter. The band was hot that night. Rick Derringer shows no signs of slowing down after over 35 years of rocking the world. Let this CD hold you over until he rocks your town again.

Ricky wiki

Some clips from the 2008 Derringer reunion tour.

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