THE DADS ARE ALRIGHT

Last year I bounced along to Melbourne's Rod Laver Arena to see The Rolling Stones.

One song in I experienced a slight shudder of trepidation as I watched Mick and the boys ponce around like a bunch of tits playing Start Me Up, a song I've hated ever since it came out in 1981. Then, by the end, after countless guitar, shirt, coat, singer and cigarette changes, six or seven bouts of generous self-congratulation and two hours of watching them go comprehensively through the motions, I'd been thoroughly let down.

Let's not forget the appalling sound mix, and the fact it was, afterall, that most atrocious of musical experiences -- pause for vicious sneeeeeer -- a stadium concert.

It spoke volumes when the crowd went crackers over Ron Wood's plunking, pedestrian guitar solo during Can You Hear Me Knocking. I know it's an old moan, but I miss Mick Taylor.

The following day media music whores (Nui Te Koa and the other industry shills) in the daily blabs, no doubt concerned about being denied future access, rubbed the salt in when they raved about the show.

It was as if it was enough for the Stones just to grace us with their royal presence. Any actual musical contibution, or worse, effort, was an incidental bonus and we should just be thankful for the chance to shell out $350 for a chance to prostrate ourselves in their lustrous presence.

It was with the same sense of apprehension I approached The Who's concert at Vodaphone Arena last Saturday night. I needn't have worried. After a bit of early doors fine-tuning, the band, Roger Daltrey, long time personal hero, Pete Townshend, Zac Starkey, Simon Townshend (minus Woodrow), Pino Palladino and long time Townshend collaborator, Rabbit Bundrick mightn't have imbued every track with studio like precision, but, unlike the Stones, they couldn't be faulted for the effort and energy they injected into the show which started with ...

I Can't Explain requires a crisp staccato rhythm which is always going to prove problematic within the dubious acoustics of a giant basketball court / velodrome / Seventh Day Bike Riders stadium. And that proved to be the case here. They gave it their best shot but had the bass turned up so loud -- at this point resisting the painfully overworked "Turned up to 11" -- the floor was vibrating. The overall effect was a trifle cacophonous.

The Who have been around far too long not to recognise a misjudgement and made the appropriate correction for the next song, Substitute. Unfortunately, they overcorrected so that the song came across as uncharacteristically lightweight. Certainly there was none of the Live At Leeds impact live in Melbourne. I also detected a hint of motions being gone through.

The next song, Anyhow, Anyway, Anywhere has often suffered via negative comparisons with I Can't Explain. This time round the roles were reversed. By now the band/production crew had their act together, maybe even "warmed up" and they ripped into AAA with a tangible zest. Augmenting the elevated energy levels, they also stretched it out to about three times the normal length to signify that, far from phoning in the concert, they were here to play.

Another song that relies on it's studio precision in Baba O'Riley. The Who's Next opener is also one of the standout cuts on the double live soundtrack, The Kids Are Alright. So that I suspect the audience, few of who can have ever seen The Who live, would be expecting a similar (if not identical) delivery. Whilst the band certainly invested the song with 5000 odd foot of grunt, the reproduction was lacking and, for me at least, suffered as a result.

Behind Blue Eyes, also off of Who's Next, is a fairly straightforward slow-burner and should be fairly easy to reproduce in a concert environment. And it was. A fine, if slightly perfunctory effort.

Next came a recent release I didn't actually know. Real Good Looking Boy was an OK song, but in light of some of the songs they didn't play (see below), I would have preferred a (nother) substitute.

Who Are You followed. To be frank, I can't actually remember my impressions of it from the night. That's possibly a bad thing, I'm sure I'd remember if on the one hand, it was terrible, or on the other, fabulous. Guess it was somewhere in between.

The magic Quadrophenia bracket came next. I've covered it here, but in a words ... it rocked.

One album that rarely gains positive attention is 1982's It's Hard. For good reason. Mostly it's a by-the-numbers disappointment following Townshend's brilliant Empty Glass and the Who's grossly under-rated Face Dances, and contains a bare minimum number of good songs. One of those good ones though, the pumping, swirling, throbbing Eminence Front was next. And a terrific rendition it was too. Considering I've been humming it on and off ever since it must have been a highlight. Either that, or I'm going mad.

You Better You Bet has always been a favourite among the MMM rockey jockey types on commercial radio. That doesn't necessarily discount it from being a good song, just over-played. No problems here though ... I think. Like Who Are You I can't seem to put my finger on whether it rocked or not.

The Kids Are Alright was drawn out from it's tight, punchy original form into a longer version with a flaccid, preachy, new-agey refrain about how good the kiddies really are. Leastwise, that was my initial impression. The more I think about it, the more I find myself of the opinion that, in the tradition of some of Townshends more self-indulgent excellence ** through the late seventies and early eighties, it probably wasn't all that bad.

** On the surface that might seem like a contradiction, but it's not intended as such. Long term Pete devotees will know what I mean. Hey! Don't snigger. This is my blog, I can be self-indulgent too.

On live at Leeds it's introduced as a "Long drawn out version", but here in Crimewave, Braxtoria My Generation underwent no such musical extrusion. While not as compact as the Smothers Brothers TV version from The Kids Are Alright, it was kept to a standard-ish length, but rocked all the same.

Probably the song most anticipated was always going to be Won't Get Fooled Again. Once again, like Baba O'Riley, it's another highlight from The Kids Are Alright. On Sunday morning I watched the movie again on the new DVD release and still ... STILL! ... after 25 years and way more than 25 viewings, get goosebumps when I see the unbridled ecstasy on the faces in the crowd at the Kilburn State Theatre as the song crashes to it's massive conclusion. On Saturday night they didn't let us down either. The original extended format -- as opposed to the criminally misconceived abridged version -- of the song delivered in all it's pomp was the show's closer which meant there was no way in the wide world rock the stomping, screaming, chanting crowd weren't going to wreck the Vodaphone Arena if the band didn't come back for an encore.

And comeback for an encore they did. Hun concert reviewer James Wigney suggests "Drowned from the Tommy concept album was the highlight of the show". If, and here I extrapolate from Wigger's willy polishing, he means Tommy's Pinball Wizard/See Me, Feel Me/Sparks medley was the highlight then I almost agree. If, on the other hand, he means the Quadrophenia medley was the highlight, I also almost agree. No matter how ... ahem ... conclusively I depict it, the encore was a belter. I've often thought that strange considering the three Tommy tracks come from such a poorly produced and shallow album, and yet have long been a highlight of Who concerts whereas the Quadrophenia tracks, which come from a far superior, or should I say, "justifiably famed and acclaimed song cycle", are much less often played live. But that's just me.

All in all a fine show given it was conducted in an impact diluting fuckin' sports arena. I would have liked it to go a little longer and add one or two ... or ten ... songs.

Certainly they didn't play my two favourite tracks. Pure & Easy, as I've mentioned before, is their BEST song. Well, my favourite anyway. A Quick One, done as done at the Rock n Roll Circus where they bitch-slapped The Stones, would have been simply marvellous. Chuck in However Much I Booze from The Who By Numbers which has long been a huge favourite.

Why stop there? Love Ain't For Keeping from Who's Next. Guitar And Pen from Who Are You. For bull moose concert karaoke you can't go past Long Live Rock. And as a bonus, let's chuck in some of Pete's solo stuff. The rip-roaring White City Fighting from White City (A Novel). Street In The City, Keep Me Turning and My Baba Gives It Away from Rough Mix. Keep On Working and Gonna Get Ya from Empty Glass. Bugger it! How about the whole second side. Now I'm being greedy.

And the greediousness doesn't stop there. Not that it's ever likely to eventuate, but for the priviledge of hearing The Who play live and with extra precision, I'm prepared to shell $5,000 for them to play all the above mention songs in the intimacy a Melbourne pub/club of my choosing, say The Corner Hotel. I'm sure 200 people of the same mind would agree. It also might mean Pete and Roger can cut down on the generic cockney stadium patter and genuinely interact with the audience. At least at Phone Dome, Pete -- as has always been his wont -- was capable of taking the piss out of it / himself.

Long Live Rock!

Down at the Astoria the scene was changing,
Bingo and rock were pushing out X-rating,
We were the first band to vomit in the bar,
And find the distance to the stage too far,
Meanwhile it's getting late at ten o'clock,
Rock is dead they say,
Long live rock.

Long live rock, I need it every night,
Long live rock, come on and join the line,
Long live rock, be it dead or alive.

People walk in sideways pretending that they're leaving,
We put on our makeup and work out all the lead-ins,
Jack is in the alley selling tickets made in Hong Kong,
Promoter's in the pay box wondering where the band's gone,
Back in the pub the governor stops the clock,
Rock is dead, they say,
Long live rock.

Long live rock, I need it every night,
Long live rock, come on and join the line,
Long live rock, be it dead or alive.

Landslide, rocks are falling,
Falling down 'round our very heads,
We tried but you were yawning,
Look again, rock is dead, rock is dead, rock is dead.

The place is really jumping to the high-watt amps,
'Til a 20-inch cymbal fell and cut the lamps,
In the blackout they dance right into the aisle,
And as the doors fly open even the promoter smiles,
Someone takes his pants off and the rafters knock,
Rock is dead, they say,
Long live rock, long live rock, long live rock.

Long live rock, long live rock, long live rock,
Long live rock, long live rock, long live rock.

Long live rock, I need it every night,
Long live rock, come on and join the line,
Long live rock, be it dead or alive.

PS: Wise cracks about Pete's recent problems will not be appreciated.

Comments

[John R]

F***ing A, Tony. I wish I'd been there - or that they'd come to WA. You're right about the Stones, too, though when I saw them in the 1980s they were going through the motions then, as well. Fact is, they've been living on memories since the mid-1970s I feel, and if we're honest, have sucked big time ever since Angie. The Who, though, well, that's a whole nother thing ... the greatest rock and roll band in the entire fucking universe!

[Rob de Santos]

Interesting, Tony. I saw both bands during their most recent US tours... and had the opposite experience. The Stones were on and much better than the tour 3 yrs earlier. The (almost) Who were pathetic, board, and going thru the motions. Go figure.

[Big Ramifications]

>>>PS: Wise cracks about Pete's recent problems will not be appreciated.

Well I'm fresh outa ideas then.

:)

[PB]

The bastards didn't play brisbane- we pathetic provincials don't rate anymore. I saw them in London years ago (live Aid, I vaguely recall) and they blasted everyone.
I've got the live at Albert Hall dvd, and the old sods still seem to have it- just got a burned US version of Kids are Alright which I haven't viewed yet- need the place to myself to crank the cerwin vegas and give it justice. Still one of my favourite bands of all time- good review.

[Amanda]

You have never heard Start Me Up until you've heard The Folksmen's version ...

[Tony.T]

To be perfectly honset, John, I've NEVER like Angie. And I like plenty of stuff of Some Girls and Black and Blue. I just wish they'd get out of stadiums (stadia?) and get serious. Or perhaps they just don't have what it takes anymore?

Rob, is that the one where Entwhistle died? And I can imagine them going through the motions after listening to the appalling Who's Last double live LP. What a shocker!

Nice work, Big. That's got a touch of the "I'm not allowed to comment, so I make ABSOLUTELY no comment."

Bicks, so guy and yelled out during a song break, "Why didn't cha fuckin' play Brisbane?" The Kids Are Alright is the BEST EVER rockumentary.

You're right, Amanda, I've never heard of Start Me Up by The Folksmen. I've also never heard of The Folksmen.

[Rob de Santos]

Yea, Tony, that was the one. Maybe Entwhistle croaking had some effect because they were awful during that tour.

By contrast, the Stones seemed really sharp, and enjoying themselves. Seems to me that one of the problems these days is that these mega-tours go on for 2 yrs at a pop covering the globe. (This world tour is now in month 22 and I saw them in their 2nd stop.) And I'd bet that after a certain point, they just show up, play, and collect the check. Let's face it, the Stones make no money off anything they have recorded in the past 15+ yrs. It's all licensing, royalties from really old stuff, and concert gigs.

[Big Ramifications]

>>>Nice work, Big. That's got a touch of the "I'm not allowed to comment, so I make ABSOLUTELY no comment.

No comment.

[Tony.T]

I just wish they'd get down to business and rock out all proper like. Enough with the la dee da personas. Time to punch on.

Still workin' beautifully, Big.

[Big Ramifications]

Bit harsh Tony.

What I *could * have said was, "well I’m not allowed to make any wise cracks so I won’t mention the fact that Pete [insert wisecrack here]."

But because I’m such a top fella I didn’t.

Shoot, I didn’t even mention it in my hypothetical example above!

:)

[Rob Schaap]

The Who DO last just like most don't, I find. Driving home from buying X-Box games this very day, the loinfruit (9 and 12) and I sat silently through a host of perfectly presentable sixties toons before spontaneously bursting into song when 'Dogs' came on.

That said, for sheer rocking-out, I find it hard to believe the tragically late, supremely great, Rory Gallagher and that thumping outfit of his needed bow to anyone. 100%.

[Tony.T]

I wasn't being sarcastic, Big. Well, maybe a little bit. I thought your poke at the issue combined with a little side-step / dummy-sell combo was rather well done.

Rob. Which game did the loiners buy for you? Yes, that's right. You can't fool me. I know who the game was REALLY for.

You know something? I never heard of (not that I can remember) a Who song called Dogs so I googled it. What album's it off? I suppose it's a single, but it's not on Meaty, Beaty, Big & Bouncy. So is it on some latter compilation?

And I'm impressed your young'un'sters knew it.

I used to be a big RG fan. However, my buying his first six or so albums by about 1980 coincided with him disappearing off the scene. Big piss-head in the end. Sad that. The guy could play. I've got his Taste stuff too. And my brother's got all the original release LPs.

Dogs

The first time we met you were a kennel maid,
You gave me a tip I got my fore cards paid
You were holding a greyhound in trap number one,
Your white coat was shining in the afternoon sun.

Now we're both together,
We're never gonna break apart, no no,
'Cause we're a happy couple you and me,
With a greyhound at either knee.

I'll have ten shillings to win on Camera Flash, young man,
What dog's that, it's a deuce, look at it.

There was nothing in my life bigger than beer,
There was nothing in my life bigger than beer,
'Ceptin' you, little darling,
'Ceptin' you, little darling,
We're a happy couple you and me,
With a greyhound at either knee.

We go to the dog track on Saturday night,
We put all our money on a dog that we like,
a kiss in a car door and off we ride
take all our tickets and a starry sky

There was nothing in my life bigger than beer,
There was nothing in my life bigger than beer,
'Ceptin' you, little darling,
'Ceptin' you, little darling,
We're a happy couple you and me,
With a baby on either knee.

Yes it's you little darling,
Yes it's you little darling,
Now it's you little darling,
Now it's you.

Girl, where's me wage packet?????,
Ah I'll put twenty-five knicker please on Gallop Printer,
Oh, I hope the wife don't find out,
Yes, it's sure to win, isn't it,
Yes, I know, it's a good dog, I saw it run at White City,
Just last week, broke the record, Gallop Printer,
Nice dog, yes, lovely form, lovely buttocks.

[Rob Schaap]

No mystery in the kids knowing 'Dogs', Tone. I used to be a great one for making party tapes back when the cassette transformed the world, and took the art so far as to fashion tapes for the inevitable moment when those lads who missed out at the party were left alone in the company of their fellow beta-males. Having much experience of being among their number, I realised the great need would be for air-guitar epics and anthems that would sound good under the strain of loud but spectacularly poor choiring. 'Eloise' and 'Dogs' were always the singalong anthems, and it is through those tapes my lads would later introduce themselves to music. Dogs was released as a single in Britain around '68 or '69 (mustabeen, as I'm sure John Peel gave it a spin while I was shortwaving for the latest on Apollo Eleven) , and can still be had on '30 Years of Maximum R&B'.

Indeed must be had.

[Tony.T]

Thanks Rob. Consider '30 Years of Maximum R&B' ordered.

In the meantime ...

http://karaob.w.interia.pl/Barry%20Ryan-Eloise.kar

[Tony.T]

Oh. And a few of my big time boozy sing-a-long numbers would be Let It Loose by The Stones, American Trilogy by Elvis, Long Journey by Michael Hurley and Rock and Roll by The Velvet Underground.