One of my favorite parts of collecting live music is listening to shows from early in a band’s career. In yesterday’s Pullin’ Tubes, Ace featured a video of Phish playing Run Like An Antelope from 1987. While Phish wasn’t ready to conquer the world at that time you can tell the band had a special sound. I love listening to the progression of music from different phases of artist’s careers. This week’s Grousing The Aisles looks at early gigs by some of my favorite bands:
I can’t believe I’ve been writing this column for over three months and I have yet to mention John Cipollina. Cipollina is one of the better guitar players ever to hail from San Francisco. He got his start with the Quicksilver Messenger Service before going on to play with The Dinosaurs, Gary Duncan’s Revival, and finally Zero. With Zero Cipollina surprised everyone by taking a secondary role to an unknown guitarist, Steve Kimock. In listening to this early Zero show, you can see why Cipollina gave Kimock the lead role. Check out the Tangled Hangers for an example of Kimock’s chops and songwriting abilities. Other highlights include Cipollina’s understated playing on covers of Little Wing, Gomorrah, and Higher Ground. Sadly Cipollina passed away in 1989, but the band played on for nearly a decade.
Read on for more downloads from God Street Wine, Jimi Hendrix, Blues Traveler, and The Flecktones
On a Boston night, where the hometown New England Patriots were in the process of losing the AFC championship, the Wood Brothers were bringing their unique blend of folksy, jazzed out Americana to a small crowd at Club Passim.
Richard Patrick, the man at the forefront of the rock band Filter for the past ten years has enlisted with bassist Robert DeLeo and guitarist Dean DeLeo –the brothers and musical architects behind Stone Temple Pilots. Add veteran drummer Ray Luzier, formerly of the David Lee Roth band and you have Army of Anyone. Together, the sum is even greater than its parts and the proof is in their self-titled debut album.
Two words best describe the quartet’s sound – groove and hook. Albarn’s tinkery piano chops, combined with his suave British crooning, joined at the hip with Simonon’s dub bass lines, make The Good, The Bad & The Queen an identifiable weapon.