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 callaghanmichael-us by Dan Greenhaus Walking into Madison Square Garden on Tuesday, one could feel the sense of nostalgia in the air. The very sold out crowd was comprised of fans of all ages, however, with a median age in the 50s range, the audience could certainly be classified as "older." At the same time, flyers being distributed to crowd featured pictures of Cream in their 20s surrounded by psychedelic artwork reminiscent of art from the 1960's, reminding fans of exactly how old this band is. After all, Eric Clapton is 60 and he's the youngest of the three members. All of this, in conjunction with the fact that Cream in its heyday were only around for two years, lent to speculation about the quality of the ensuing shows, seemingly ignoring the fact that the three musicians were, at their peak, three of the finest musicians in the world, forming one of the best and most powerful bands in history. However, as soon as Ginger Baker, Jack Bruce and Eric Clapton took the stage and began playing, all doubts were put to rest. The shows in New York were, not surprisingly, nearly identical to the London shows, which is irrelevant if you hadn’t seen the London shows, as virtually all in attendance had not. The sole difference from the London shows was the insertion of "Tales of a Brave Ulysses," perhaps one of Cream’s most beloved songs, the Tuesday version of which was every bit as exciting one would hope it to be. Of course, that was not out of step with the rest of the concert’s energy, which ranged from soaring to mesmerizing. Say what you will about their age and "relevance," but the 2005 Cream rocked the Garden inciting more than a few standing ovations. After warming via with the first three or four songs, Cream proceeded to lay waste to the Garden with the middle section of their show, comprised of legendary tracks such as "N.S.U." "Sleepy Time Time," "Badge," "Politician," "Sweet Wine," "Deserted Cities of the Heart" and a version of "Stormy Monday" that, in addition to being in the same time and following the same chord progression as "Have You Ever Loved A Woman," featuring a blistering guitar solo from Clapton that elicited the loudest ovation of the night. It’s hard to describe the emotions pulsating through the crowd as a result of this portion of the show, but to say that many in attendance were overwhelmed would be an understatement. The band lost a little steam towards the end of the show (Jack Bruce’s hand cramped), with "White Room" being the least enjoyable song of the night as a result. As well, after a stunningly good drum solo from Ginger Baker (which rivals anything I’ve heard Neil Peart do) to close the show, the band returned to the stage for the obligatory "Sunshine of Your Love" encore, which suffered not only from the fatigue of the band members, but also as a result of Clapton’s use of his Strat, which he used all night and which does not pack the "oomph" necessary for a song such as this, as I found myself longing for the Gibson for the first time all night. Walking out of the venue, I found myself contemplating the show with less scrutiny than I have applied to a show before. Why? Because I had been so thoroughly impressed, entertained and flat out bowled over with what had transpired on the stage. For me, Cream was always third in line behind Floyd and Zeppelin for bands that helped shape my high school and college years, and helped form my opinions on music, and my eventual approach to the guitar. As a result, the opportunity to see the band on stage was, in and of itself, a momentous occasion. With expectations so high, it would have been easy for the band to have let me down. But they did anything but. They delivered, and then some. When they band got together, they called themselves Cream because they were, quite literally, the Cream of the crop. They may not be one of the best bands on earth anymore, but for one night, there wasn’t anyone else I would’ve rather seen. Cream Feb 19, 2022
 callaghanmichael-us By Jon Pareles For a project that's earnest, meticulous and politically sensitive, Paul Simon's ''Graceland'' show is also a lot of fun. It arrived Saturday at Radio City Music Hall for the first of five sold-out concerts, interspersing South African-derived songs from Mr. Simon's ''Graceland'' with the music of South Africans themselves. Apartheid is not forgotten, but the concert has more to do with the caroming wit of Mr. Simon's lyrics and the buoyant-sounding music of South Africa's black workers, a combination that keeps wriggling free of expectations. What makes the ''Graceland'' tour a milestone is the liveliest, gutsiest backup he has ever had. The band, featuring the South African guitarist Chikapa (Ray) Phiri, bounces and percolates and chatters, whether it's playing mbaqanga (township pop), other South African styles or African-American hybrids. (What seems to have attracted Mr. Simon to mbaqanga, along with the irresistible groove, is the way vocal lines add extra syllables just where American ears least expect it.) For vocals, Mr. Simon is joined by three South African women and by the remarkable 10-man Ladysmith Black Mambazo, South Africa's pre-eminent Zulu choir, which sings in resonant, cathedral-organ chords. In a tradition of competitive singing called iscathamiya, Zulu choruses do dance routines while they harmonize, and Ladysmith Black Mambazo, led by Joseph Shabalala, has great moves. Ladysmith's own unaccompanied selections, in Zulu, call for singing and pointing and soft-shoeing that might steal the show but for the language barrier. The choir also supplies harmonies, and Rockettes-defying footwork, for songs from ''Graceland.'' The concert features two musicians in political exile from South Africa, the singer Miriam Makeba (who was slightly hoarse on Saturday) and the flugelhornist Hugh Masekela. In the two-hour-plus concert, all the performers appeared together and in various combinations. Direct comments condemning apartheid were made only by Mr. Masekela and Ms. Makeba, clearly a conscious choice. Ms. Makeba sang ''Soweto Blues'' by Mr. Masekela, a bitter song about the 1976 uprising; Mr. Masekela performed a song about Nelson Mandela, the long imprisoned leader of the African National Congress, and the stark ''Stimela,'' depicting the train that brings mine workers into South Africa. (Mr. Masekela also had the show's dud, a pop-jazz ballad by Jon Lucien.) Mr. Simon, the only white performer, addressed racial issues more indirectly. Along with hints in the album's lyrics, on stage he segued his own ''Gumboots'' into ''Whispering Bells'' by the Del-Vikings, from 1957. Hundreds of other 1950's songs fit the three-chord pattern of ''Gumboots,'' but the Del-Vikings are remembered as a racially integrated group. The show ends on an earnest note, with a Ladysmith Black Mambazo hymn that prays for peace followed by ''God Bless Africa,'' identified as an African national anthem. But the band's limber mbaqanga and Ladysmith Black Mambazo's exuberant story-songs are also signs of the unquenchable spirit of the South African majority. Paul Simon / Ladysmith Black Mambazo / Hugh Masakela / Miriam Makeba Feb 19, 2022
 callaghanmichael-us By Dan Reilly The Gaslight Anthem's Radio City Music Hall concert had the vibe of a "hometown boys make good" story, but alas, like New York's NFL teams, the band's roots are actually across the Hudson in New Jersey, which frontman Brian Fallon repeatedly called out Thursday night. That's not to say that the Gaslight Anthem were spurning New Yorkers; rather, they were playing the biggest headlining show of their young careers, in front of many of their friends and relatives. Four years ago, they were hauling gear out of a ramshackle van to play afternoon gigs in front of a few dozen people at tiny spaces like ABC No Rio and Trash Bar. To put it in perspective, it took the Yeah Yeah Yeahs and the National nearly twice as long to make the leap to Radio City. Over the course of the 24-song set, the band drew from their entire catalog, kicking off the night with 'High Lonesome' from 2008's 'The '59 Sound.' In the past, the band has mainly played their songs louder and faster but without any breakdowns or drawn-out sections, but on Thursday, they took the opportunity to mix things up a bit. Songs were given extra intros and longer guitar solos, and Fallon even handed off guitar duties to an extra musician -- a guitar tech maybe? -- for three songs, allowing him to prowl the stage with the microphone and get his whole body into his singing. And luckily, some early sound issues were corrected after a few songs, bringing Alex Rosamilia's guitar back into the mix and letting Fallon be heard clearly. When he got back on guitar for 'The '59 Sound,' the entire crowd -- including all three balcony levels -- was singing in full force, and Fallon let the fans take most of the "ain't supposed to die on a Saturday night" lines. The longtime Gaslight devotees were the most vocal on 'I'da Called You Woody Joe,' their Joe Strummer tribute from their debut album 'Sink or Swim.' "This song is for my mom. I used to sit on the edge of the bed and say 'I want to be in a band.' Any self-respecting parent would let that go a while, but then they see you're serious and think you're Bob Dylan," Fallon said, introducing 'Blue Jeans and White T-Shirts.' 'Great Expectations' and 'We Did It When We Were Young' closed the regular set, with the quartet pausing to look out at Radio City's expanse, clearly in awe, before heading backstage. "What I have to say will come to me tomorrow. Give me your phone numbers, I'll call you then. There are no words -- seriously, thank you," Fallon said when the band returned. The encore consisted of seven songs, kicking off with 'American Slang,' the title track of their latest album. After charging versions of 'The Patient Ferris Wheel' and 'Say I Won't (Recognize),' the band slowed things down with 'Queen of Lower Chelsea' and 'Here's Looking at You, Kid,' letting fans catch their breath in the sweltering venue, which had the feeling of those tiny punk clubs they used to play. "This is the coolest thing we've ever done. I thought I was going to be a gas station attendant," Fallon said and led into the anthemic closer, 'The Backseat.' If anything summed up the night, it was a line from 'Here's Looking at You, Kid' -- "I'm famous now for all of these rock 'n' roll songs." Only this time, Fallon wasn't singing to an ex that spurned him; he and his bandmates were playing it for their families, friends and nearly 6,000 of their loyal fans. Rival Schools / Fake Problems / The Gaslight Anthem Feb 19, 2022
 callaghanmichael-us By Ben Ratliff, NY Times “Pet Sounds” is an excellent record, no doubt. But it had a crucial I factor. Brian Wilson wrote the album’s music, in 1965 and 1966, after hearing the Beatles’ “Rubber Soul” LP. He had a lot of self-importance to spread around. He was facing down old problems of self-image and a domineering father, trying to pull ahead in the race against the Beatles, wanting to win the sectarian war of ego within his own band. “Pet Sounds,” released on Capitol in 1966, was almost entirely his baby, and in Mr. Wilson’s current tour — which stopped at the Beacon Theater on Tuesday — he performs the entire thing in sequence, backed by a 10-piece band. (It’s not the first time: he toured “Pet Sounds” once previously, in 2002.) All the tour merchandise puts his own name in the album cover’s friendly, rounded type, against its Kelly green background, instead of “The Beach Boys.” Some of the songs from “Pet Sounds” — for argument’s sake let’s single out “I Just Wasn’t Made for These Times” and “You Still Believe in Me” — remain close to perfect. But the first half of Mr. Wilson’s show included some older songs, like “I Get Around,” that suggested some of the Beach Boys’ earlier work might be even closer to perfection. We’ve been trained to understand “Pet Sounds” and the Beach Boys hits that came before it so differently. We respect harmonic complexity and that “Pet Sounds” addresses premature middle-aged dread as opposed to teenage fun. And, at least until a few years ago, we had perhaps an even greater respect for the album format in and of itself, so “Pet Sounds” tends to be lazily recognized as perfect in its album-ness. Beneath the very, very good music on Tuesday lay something pretty bombastic: a birthday bash for a monument. The celebration got rolling after the show’s first half, which featured some minor and major Wilson, not just “I Get Around” and “In My Room” but “Add Some Music to Your Day” and “The Little Girl I Once Knew.” Performing “Pet Sounds,” the backup band replicated the Phil Spector-gone-Baroque arrangements of the album. The basis was bulk: sometimes four guitars at once (one played by the Beach Boy Al Jardine), two keyboards, seven singers, drums and percussion. On top of that various musicians doubled on saxophones, flutes, French horn, trumpet, vibraphone, and bass harmonica. (The bicycle-horn sound on “You Still Believe in Me” was done with an electronic keyboard.) In the dreamlike 40 minutes of “Pet Sounds,” Mr. Wilson showed no charisma; sitting behind his keyboard and reading lyrics from a screen, he seemed as authentically uncomfortable as ever. He sang well, but his voice has changed of course: the flowing lines of “Don’t Talk (Put Your Head on My Shoulder)” came out in a clipped staccato, and he couldn’t quite get his voice around its high pitches. In a few places he revealed postscript thoughts. Before starting “God Only Knows,” he mentioned that he considered it his greatest achievement as a songwriter. (When it finished, the crowd acted accordingly, standing up and roaring for a full minute.) Brian Wilson / Al Jardine Feb 19, 2022
 callaghanmichael-us By Mike Jahn, NY Times Blind Faith, the British rock group succeeding Cream, which became very popular in the last few years, played an impressive opening Saturday at Madison Square Garden. Blind Faith presents Eric Clapton on guitar, Ginger Baker on drums, Steve Winwood, guitar and keyboards, and Rick Grech, bass and electric violin. The group packed the Garden in its first United States appearance. As usual, the Garden sound system was bad, and the breaks between songs were punctuated by indignant shouts to that effect. Considering the acoustics and the size of the house, Blind Faith did rather well. Mr. Clapton and Mr. Baker play loosely structured, emotional music. Mr. Winwood leans toward tightly structured but soulful rock. Putting together such intensely individual artists as those three men is a risky business. Blind Faith emerges as more versatile and precise than either cream or the rival British group Traffic, but unfortunately not as exciting as either. Mr. Winwood's vocals were taut and effective as usual. Mr. Baker contributed an explosive, imaginative drum solo that was the emotional high point of the night. Also on the program were Delaney & Bonnie and Friends, an exciting soul-and-gospel group from Los Angeles. Blind Faith / Eric Clapton / Delaney & Bonnie / Free Feb 19, 2022
 lilmikesf I think Tav Falco , (or someone else from Memphis) came thru and was a special guest between bands 1/2 Japanese / Death Camp 2000 / No Trend / Nuclear Crayons / Mission For Christ Feb 19, 2022
 callaghanmichael-us At their much-anticipated tour kickoff, however, Burt Bacharach and Elvis Costello proved beyond the shadow of a doubt that smart, sophisticated pop music still has the power to enthrall. Optimists often say that pop music doesn’t have to aim for the lowest common denominator to connect with a large audience, but few artists seem willing to put that theory to the test. At their much-anticipated tour kickoff, however, Burt Bacharach and Elvis Costello proved beyond the shadow of a doubt that smart, sophisticated pop music still has the power to enthrall. The pair — accompanied by a 26-piece orchestra and four outstanding background singers — played off each other with remarkable comfort, given that this was the first full-scale performance they’d ever given together. With Bacharach an animated presence at a piano placed centerstage and Costello in credibly sophisticated crooner mode, the show’s pace was both smooth and easy. An air of playfulness wafted through the proceedings, from Costello’s a capella pre-curtain jaunt through “Baby, It’s You” to an encore take on “Little Red Book” that split the difference between Bacharach’s original arrangement and the psychedelic remake by ’60s icons Love. Most of the set was, of course, drawn from “Painted From Memory,” the collaborative disc Mercury released last month. Despite occasional descents into melodrama, virtually all of the songs eclipsed their recorded editions. Most effective were the least-adorned numbers, particularly the moody “My Thief” and the album’s title track (which came wrapped in a radiant Johnny Mandel arrange-ment). A half-dozen songs in, Costello departed, making way for Bacharach to conduct a thoroughly splendid, satisfyingly extensive survey of his catalog — dipping deep enough to bring forth snippets of such memory-jogging nuggets as “The Man Who Shot Liberty Valance” and “Trains and Boats and Planes” as well as complete versions of “Alfie” and “Say a Little Prayer for You.” Costello played it relatively close to the vest in his surprisingly brief solo turn, adding tasteful but superfluous orchestrations to a handful of his better-known songs. “Accidents Will Happen” took on its cloak of swooping strings with ease, while “Alison” seemed a little less comfortable in the new drag. Then again, the singer seemed more eager to interpret the vintage Bacharach songs that peppered the set than in reconfiguring his own past work. Caressing the melodies of “I Just Don’t Know What to Do With Myself” and “Anyone Who Had a Heart” gently, rather than bulldozing them (as he has been known to do), Costello demonstrated a newfound finesse that –combined with his partner’s casual counterpoint — made for a near-perfect evening. Elvis Costello / burt bacharach Feb 19, 2022
 callaghanmichael-us Youtube video from their concert in London 16 days after the show we attended. Elvis Costello / burt bacharach Feb 19, 2022
 pat okelley I was there! B One of the best experiences of my life. Eddy yelling at the crowd with a microphone on top of the Lakewood amphitheater at the Lollapalooza 92 Atlanta festival. He was wearing an army helmet. I saw him get up there a couple times with friends I guess his bandmates or other band guys. He was using a megaphone first. And I think no one could hear them so then he went and got a microphone. He was yelling at all the people that were lighting fires all over the lawn dancing around them singing them. He was yelling at him to put the fires out. 🤣🤣🤣😁 Crazy times. Incredible music. Wild people. Gen X officially hit mainstream after this tour. Lollapalooza 1992 Feb 19, 2022
 MILOCAMPO https://archive.org/details/fIREHOSE1992-02-19 fIREHOSE / Run Westy Run Feb 19, 2022
 jessdlid!! steal dealing with post concert depression with this one Pale Waves / Bitters Feb 19, 2022
 jessdlid!! crying this was so so good Rina Sawayama Feb 19, 2022
 jessdlid!! those were some insane vocals Nothing But Thieves / Yonaka / Airways / The Florentinas Feb 19, 2022
 jessdlid!! i was a hot mess after this Inhaler / Wet Leg / Dylan Fraser Feb 19, 2022
 jessdlid!! i would relive this night a million times over Wolf Alice Feb 19, 2022
 jessdlid!! lol the pic is of me and the band but u cant see any of us so we could be anyone ig Beabadoobee Feb 19, 2022
 jessdlid!! sweatiest gig ever, loved every second Blossoms / The Magic Gang / The Lathums Feb 19, 2022
 jessdlid!! embarrassing i basically followed them on tour aw The 1975 / beabadoobee Feb 19, 2022
 jessdlid!! fcking best night of my life The 1975 / Beabadoobee Feb 19, 2022
 jessdlid!! went with my mum and we had a blast!! The 1975 / beabadoobee Feb 19, 2022