Onca Ray and the Green Tambourine
- Onca Ray and the Green Tambourine

- by Joe Curtis --

‘Onca Ray and the Green Tambourine’ is the self-titled second CD from this fine retro Brit/Pop band. (Recently they’ve changed the band’s name to Aliens From Planet Earth.) Ruth Taylor, a.k.a. Onca Ray, is group leader and composer of all the great tunes on this entertaining disc.

The CD opens with the ‘60s-sounding “Bell Bottoms and Belly Buttons”. The live, fun atmosphere conjured up in the lyrical images, vocals and harmonies, is an enjoyable time trip back to the ‘hippy dippy’ mid-‘60s. Taylor sings lead vocals on this tune, as well as throughout the CD. She also plays great rhythm and lead acoustic and electric guitar. J.J. White plays some scorching lead and rhythm guitar too. He also sings spirited background vocals. White was bassist in harp player Jerome Godboo’s band for years. (Godboo plays with Ronnie Hawkins and Jeff Healey.) Gregory Ray Tunis plays drums and sings background vocals. His energy and enthusiasm is indispensable. He’s also a Godboo alumnus, ever since they were in the Phantoms together in the ‘80s.

Most of the tunes Taylor writes contain an underlying message of hope. They’re a social commentary as well. “Plastic People” refers to insincerity, and metaphorically, credit cards. “I’m Missing You” is a simple but universal message, with a hard driving rhythm, complementing Taylor’s enchanting vocals. Paul Savoie’s bass lines provide some real punch to this highly enjoyable tune. Savoie’s cousin, guitarist Brian Pickard adds some hard-driving leads and rhythms to this and other tracks. “I Think of You” is an upbeat and fun tune with whimsical, romantic images, combined with sentimental background vocals. Tunis’ driving drum rhythms complement White’s energetic lead guitar licks here.

“Help Me” is a tune that comes across as a musical ‘plea’ for recognition. “Welcome to the Chaos, Kid” is another real rouser, along the lines of “Bell Bottoms and ..”. While track one is whimsical and fun, “Chaos .. “ is a hard driving, insightful look at the problems in the world. It possesses strong vocal harmonies, with a rhythm to match. “Cloudwalker” is the kind of tune you can catch a ‘buzz’ on, with only the strength of the music to get you there! It features some atmospheric and intriguingly mesmerizing harp playing, courtesy of Michael Titherington. His creative harp tones are an indispensable addition to other ‘Onca’ compositions, as well.

The final tune on this imaginatively created CD is entitled “Turn It Around”. It’s conveys a message of universal hope, whether it be in relationships or in the sometimes harsh conditions in the world. Listening to it gives me a feeling that no problem is insurmountable. Almost like we have “time .. time … time .. (to) turn it around” - in this ‘wonderful world’ we live in - (as the late, great Louis Armstrong once said, in a tune he sang.)

Artist: Ruth Taylor, a.k.a. ‘Onca Ray’,
(presently re-named ‘Aliens From Planet Earth’)
Label: Independent

CD Review: The Last Show @ the Elmo - MAINLINE

-- by Joe Curtis -

Mainline, (formerly McKenna, Mendelson Mainline), have come out with their first live CD, (and their first CD in decades), called ‘The Last Show @ the Elmo’. Mainline were and still are one of the finest and hardest driving blues bands. This CD captures their energy the way a great ‘live’ CD is supposed to.

Jim Zeppa, the band’s director and constant friend, says a few words appropriate to the closing of a true blues landmark, such as the El Mocambo was to the city of Toronto. From then on the blues take over in the best way possible - with Mainline giving it their all, and the audience responding likewise

All Mainline members are original except for harp guy Bob Adams, who has excellent technique and style. Mainline co-founder, Mike McKenna plays mouthwatering guitar licks, backed up by Tony Nolasco’s energized drumming and inspired vocals. Mike Harrison’s hypnotic bass lines I feel are the real heart of the band. Ted Purdy’s rhythm guitar and background vocals, complement the rest of the band, and help give it substance.

Mainline takes hold of the audience right from the start, with “Blind Girl”. Nolasco’s strong vocals and drumming, along with McKenna’s incredible leads, work well together. Harrison’s mesmerizing bass lines, groove with Adams’ playing harp like nobody’s business. “Beltmaker” is one of my favorite tunes on the CD. It features Purdy’s raw vocals, which along with some scorching leads by McKenna, are driven home by Nolasco’s uncompromising percussion technique.

“Mainline” is a self-titled and rousing blues tune, which features more of Nolasco’s superb vocals and driving drum beats. McKenna really outdoes himself on the guitar work here. His guitar idol is Muddy Waters - understandably his slide guitar riffs display hints of “Honey Bee” on “Mainline”; making it a real winner in my books.

”Wine, Women and Whiskey”, a Johnny Young composition, features Nolasco’s intoxicating vocals, along with Adams’ equally inspiring harp playing. Guaranteed to get the feet tappin’, the hands clappin’, and the dance floor packed - this one can send you there, and keep you there. “Get Down To” is given a heartfelt intro by Nolasco, who mentions old Mainline friend and alumnus Zeke Sheppard. He echoes the audience’s sentiment that Zeke “is in that ultimate blues band in the sky.” A rarity from the equally rare Mainline Blues album from 1969, is “Toilet Bowl Blues”. The new CD calls it “T.B. Blues” … same song, and just as rousing as it was when first performed in ’69. Adams’ strong, full harp tone complements Nolasco’s vocals well on this one. The humor, intended or otherwise in “T.B. .. “ is always an upbeat tune to ‘experience’.

A word or two should be mentioned regarding Mainline’s ‘Live @ .. ‘ cover art. It was designed by famed artist David Andoff, who designed the original Mainline posters and artwork back in ’69. He’s still active today designing CD and poster art, and continues to be well-respected for his artistic genius. The amorous ‘ape’ and turned-on ‘girl’ images in his poster art from the ‘free-love’ days of late ‘60’s hippy-dom, is still prevalent in the CD artwork and packaging on this fine blues CD today!

“Drive You” is, like its title suggests, a hard driving blues tune, with more than enough ‘gas in it’s blues tank’, to get you where your musical desires want to be ‘driven’. Adams’ harp playing, as always is superb. It’s supported by Purdy’s fine rhythm guitar work, complementing Nolasco’s raw vocals and driving drum beats. “Brain Damage” follows, played with all out abandon by the whole band. Nolasco dedicates it to Andoff; referring to him as “our artist then and now.” “I Am Normal”, follows “Brain Damage” and is accented with ‘apey’, ‘nutty’ utterances by the band, who really ham this one up to a ‘T’.

The final tune on this final night of ‘live’ music ever at the good old El Mocambo, is called “Going to Toronto”. The band decided to rename it “Going to the Elmo”, to commemorate this historic and very important event in Toronto’s musical history. “Going to .. “ seems to go into a ‘drugged stupor’ which adds atmosphere - then picks up the pace with riveting guitar riffs, to let the listener know that Mainline is indeed back -- with all the raw energy they had, as if they’ve never left.

I should mention one important fact -- that the Elmo downstairs, is now open for business again, booking acts under new ownership -- although the upstairs El Mocambo concert hall (where the Mainline concert was recorded), is no longer a venue, and is being used as a dance studio at this time. The new owner has beautifully restored the downstairs, and is booking local acts; ie: Brian Gladstone’s recent first-ever ‘Winterfolk’ folk festival. Added to this happy series of events, is a new book that’ll be coming out sometime this year about the El Mocambo. It’s entitled ‘Under the Neon Palm - The El Mocambo Story’. This book when available, as well as all Mainline-endorsed merchandise and CDs, can be purchased direct from Jim Zeppa, of Minor Miracles. Email: zeppa@istar.ca

Artist: Mainline
Label: Bullseye Records of Canada, Inc. # BLR-CD-4066
Website: http://www.bullseyecanada.com/artists/Mainline.htm
CD/Merchandise orders and info, email: zeppa@istar.ca

CD Review: Mike Williams LATE NIGHT WALK

-- by Joe Curtis --

Guitarist Mike Williams CD LATE NIGHT WALK is a joy to listen to again and again. It starts off with a Texas-style shuffle called “Muck Rakin’”, that features solos from various members of this great band - a sort of “musical band intro”. From Williams’ excellent lead guitar solos to the great organ and sax solos, LATE NIGHT WALK starts off with class and stays that way all the way through this highly entertaining and well put together CD.

“Let’s Talk About It” is a swingin’ 50’s style r&b/rock ‘n’ roll tune that moves along at breakneck speed, like a spirited Louis Jordan or Lionel Hampton number from decades gone by. Sugar Ray Norcia’s fantastic vocals are groovin’ ‘n’ swingin’ it all the way! Go Man Go! Bruce Katz’s piano solo on this one is out of this world good!

Just so you can catch your breath, the title tune “Late Night Walk” slows it right down with atmosphere, good taste, and lots of emotional appeal. Williams’ meaningful guitar solos are perfectly complimented by the soulful solos by Katz on his Hammond B3 organ. Jim Gwin’s discerning drumming provides just the right imaginative percussion to give this piece extra meaning. Williams searches his soul for just the right licks in his solos and plays them to perfection. The fullness of Katz’s B3 provides body to the whole tune. David “Fathead” Newman’s tenor sax soloing and backup on this tune in priceless! “Just Last Night” is an imaginative jazzy improv offering, with a little swing added in for good measure.

“Shining Bright” is a medium tempo swingin’ ditty that again features Norcia’s impeccable vocals, with lyrics that have a definite romantic theme to them. “The Voice of an Old Friend” is my favorite of all the tunes on this CD. It really shows what a great guitar player Williams is, with right-from-the-heart guitar soloing that transcends it’s earthly origins to take the listener to blues heaven. Katz’s B3 soloing adds to this with beauty and good taste, perfectly complimenting Williams’ guitar expertise. The beautiful atmosphere that comes from this tune can be left on repeat continuously without boredom. Williams’ guitar playing is like the voice of an old friend - good to hear and always welcome.

On “Lazy Boy” Katz plays his heart out on B3, followed by Newman’s wildly spirited jazzy sax soloing. Williams’ imaginative guitar soloing seems to talk to the listener, as does Danny Morris’ fine bass solo. Gwin’s short-but-sweet drum solos definitely talk back musically to the others’ superb soloing. What a great musical conversation.

Norcia’s vocals on “Got Me Once” are a real joy to listen to, as is Newman’s tenor sax soloing. Williams’ guitar soloing can really stir the heartstrings. Along with Gwin’s percussion technique, this tune’s upbeat nature and jazz harmonies makes it a real winner. The jazz/blues fusion here is perfection to say the least. “Laughing Through the Tears” features Newman’s excellent sax blowing, with fine backup by Katz’s B3, giving it body. Williams’ guitar licks are equally soft spoken and laid back, yet full of good taste and imagination. Katz’s B3 soloing is soulful and full of meaning and purpose. Again, Gwin’s drumming holds it all together with flair and good taste.

“Post Consumer Blues” is jazzy and full of atmosphere and personality. Newman’s sax soloing is in fine form. The jazzy intricacies he creates are intelligently put together and allow the listener’s taste to transcend to a higher level of appreciation and understanding of what good music is all about. Gwin’s drumming is right-in-the-pocket, as are Williams’ sweet guitar licks.

All in all, Mike Williams’ LATE NIGHT WALK is a well-conceived CD from beginning to end. It offers tempos, moods and atmosphere that will appeal to any and all discerning listeners of fine blues and jazz idioms. The players are a who’s who of the best, most imaginative around. The fact that they’re all together on the same CD makes it a very special occasion every time it’s played. That’s the perfect reason to sit back, put your feet up, and take a late night walk with your musical imagination, as all the gifted artists did on this excellent CD.

James Cotton at the Horseshoe Tavern on Friday, October 12, 2001

---by Joe Curtis---

James Cotton, and his awesome, rockin’ Blues band graced the stage of the Horseshoe Tavern on Queen St., east of Spadina, here in Toronto, on the evening of Friday, October 12, 2001. It was a beautiful and special musical experience from beginning to end. It was only a simple four piece band, but the effect was like an elaborate Blues orchestra, due to the imagination and versatility of the whole band. Besides James on his classic Blues harp riffs, was Darrell Nulisch on lead vocals and harp, Michael Williams on unbelievably cool Blues guitar/background vocals, and David Maxwell on rockin’ keyboards, all night long. (There was no drummer, and really no need for one.)

The Sidemen, featuring Paul Reddick played some smokin’ Blues, to get the crowd goin’ for James Cotton and his band. (Sort of a Blues appetizer). After this "appetizer", the crowd was starving for the main course of Blues "filet mignon". James and the boys delivered it up with all the stops pulled out, from the beginning to the ultimate livin’ Blues end. In both sets the other three members of the band came on first, with David’s Boogie Woogie keys, Michael’s bluesy guitar leads, and Darrell’s raw harp and vocals, rockin’ the crowd, getting them in the mood for James’ absolutely superb harp playing.

After two or three rockin’ tunes from the band at the beginning of both sets, James came out on stage like a king to his throng of eager Blues admirers. From the moment he started playing harp, until the last note, when he left the stage for the final time, the whole audience was transfixed by his presence, and the incredible spirit coming from his soul, as he played harp, entertaining as good as any Blues impresario will ever do. The only thing that would have made it better would have been if all our illustrious local harp players (Rotundo, Jerome, Suzie, del Junco, Raoul, Pickett, Tortoise, Jackson, and Walsh), had gotten up to jam some cool tunes with James.

Nevertheless, this was still Blues Heaven as good as it gets from beginning to end. James started his first set with a fantastic, long harp solo which received thunderous applause from the totally hooked crowd in attendance. Some slow Blues with raw vocals by Darrell was followed by some up tempo Blues featuring David on rockin’ keys. Some of my favorite songs of the evening were "Mojo", "Sweet Home Chicago", "Rocket 88", Willie Dixon’s "I’m Ready", "Hootchie Cootchie Man", and John Lee Hooker’s "Walk That Walk".

James really rocked "Mojo" like he did when he played it with Muddy Waters at Newport in 1960. Ike Turner’s "Rocket 88" moved along at a feverish pace, followed by "Sweet Home Chicago", in which James got up and did a little dance. The packed house of Blues enthusiasts really got off on that one. Michael Williams played some amazing Blues riffs on his guitar, rockin’ up the beginning of the second set, with David Maxwell’s Boogie Woogie piano riffs. "Sugar Coated Love" by Lazy Lester, sung with great feeling by Darrell, was reflective of all the good looking ladies at the Horseshoe that night.

Through most of this incredible concert, James Cotton didn’t sing at all. At one point (sitting only five or six feet from him, with my sister, Rose), I saw James looking forlornly at his near empty bottle of water, like a totally parched guy in the desert, so I instinctively hurried to the bar where Ted, the bartender (and drummer for the Royal Crowns), quickly poured me a huge glass of water with ice, for James. I hurried up to the stage and stretched up to give James the water. James took it, then said "What’s this?", in a booming voice, reminiscent of the voice of The Great Oz in The Wizard of Oz. I answered back, "Water!", rather weakly like the Scarecrow, in Oz. James echoed back, loudly, "Water-I want whiskey-I want ‘Jack Daniels’!!!", so I hurried back to the bar, where Ted quickly poured me a double of ‘Jack Daniels’, which I rushed to give to James. Around half way through the whiskey, James started to sing, for the first time that night (and I bet for the first time in a long time, publicly, from reports I’ve heard since then-he’s had a bad bout of throat cancer which is hopefully in remission).

James started his singing by passing the mic back and forth from Darrell to him, throughout "Hootchie Kootchie Man" (Darrell, I might add, did a remarkable job on vocals all night up ‘til then.) It was a beautiful sight to see and hear. An upbeat Blues rocker followed, with Darrell back on vocals, and James playing his harp like there was no tomorrow. At one point, while playing harp on this one, James leaned back in his chair and kicked his feet up in the air like a little kid, playing his first toy whistle. The happy, exuberant emotions that came from him at that point, completely overshadowed the great harp playing he was doing. It’s not so much James’ harp playing as it is his love for the Blues when he plays it, that’s his greatest universal appeal.

The last song of this unbelievably beautiful, bluesy evening, was a totally improvised and brand new Blues tune, by James, who sang all the vocals on this one. It was a slow, mournful Blues with lyrics dealing with the September 11/01 disaster in New York City (only a month after it happened). The song dealt with the buildings collapsing, the sad remorse for the victims there, uncertain speculation on whether President Bush was going to do enough for them, and when New York was going to be rebuilt. The impact of this song, newly unfolding before my eyes and ears, was recognized by me for it’s importance, so I got my pen and scribbled down every lyric, and in the next few days, will send it to James. It was sort of like the time The Guess Who sang "American Woman" for the first time, and luckily, someone had a tape recorder running, to save the song for posterity.

All in all, James Cotton and his band put on a Blues performance of Royal proportions that will be remembered by his very appreciative and enthusiastic audience, probably for the rest of their lives.

Ringo Starr and his All Starr Band at Casino Rama
/Thurs. July 26, 2001

--by Joe Curtis--

Seeing Ringo Starr this past Thursday, July 26, 2001, at Casino Rama, near Orillia, Ont., was the single most memorable music event I'll have the good fortune to experience this century--and probably only one of maybe five of the best musical events of my life. (That would include Led Zeppelin in Montreal in l975, and The Stones at R.P.M. in l993). The Beatles touched so many lives deeply for so many decades, that to be able to see one of the Fab Four in concert, right before my eyes, is truly a dream come true. I saw Paul McCartney and George Harrison in the mid-l970's at Maple Leaf Gardens, separately, in their own bands. George had Ravi Shankar on Sitar, with his band, as well as the "fifth" Beatle, Billy Preston, on keys. Paul, on a separate occasion, had his band, "Wings", accompany him, with his wife, Linda, on keys. Those two, were the single most important musical events of my life in the 1970's, and also in the last millenium, as a whole. To see Ringo Starr in person this past Thursday evening was truly a dream come true in every way.

The first impression of Ringo I got when I saw him for the first time, as the concert started with "Act Naturally", a 1965 Beatles tune, I was saying to myself, "Here's the guy I saw go through the 'Tunnel of Love' in a Beatles cartoon in 1965, when I was just a little kid--Wow!!!--Unbelievable!!!" After a couple of songs, however, the focal point changed to whoever was doing the lead in presenting any particular song at the time, and focusing in on whoever, (regardless of name), was rockin' the best at any given moment. I realized, "Hey...they're all rockin' so cool--this is a band (with the emphasis on band, not individuals)...a real good band...rockin' and enjoyin' it to the fullest, 'cause they just like to play, have fun, enjoy their audience, and instill that same appreciation in their audience, for the band." This very aptly named All Starr Band gave a truly magnificent performance--and performance it was!!!

Ringo's All Starr Band was comprised of Ringo Starr (ex-Beatle), a truly amazing drummer/front man/showman extraordinaire; beautiful Sheila E.(ex-"Prince"), sharing the spotlight with Ringo, on a full set of drums of her own, to the right of Ringo, as well as sharing vocals; Roger Hodgson, vocalist/guitarist/keyboardist for legendary mid-'70's, early '80's super-super-group, Supertramp (sounding just as good as he did back then); Greg Lake, on bass, of King Crimson, and Emerson, Lake and Palmer; Ian Hunter, vocalist/guitarist for Mott the Hoople; Howard Jones, on keys, (unknown to me); and Mark Ramirez, (also unknown to me), who played sax, marimbas, guitar, bass and keys. What a stellar lineup! The musical stature of the individual musicians, combined in a group format, doing each others' songs, thoroughly enjoying each others' musical company, and the audience they were playing to, in equal measure.

Greg Lake did a magnificent job on bass and vocals, on "In the Court of the Crimson King", from his King Crimson days, as well as "Lucky Man" and "Welcome Back My Friends To The Show That Never Ends", from his days with Emerson, Lake and Palmer. His performance was just as fresh and alive as it was when he was here with E L and P, in late 1977 at Maple Leaf Gardens. The same can be said of Roger Hodgson, whose renditions of some of the songs made famous by his band, Supertramp, really were so youthful in their delivery, that it was easy to believe that it was still the mid-'70's-early'80's. Some of the all time classic Supertramp songs Roger treated the audience to were "The Logical Song", and "Take the Long Way Home", which brought back some very fond musical memories of the old days when Supertramp ruled the airwaves and the hearts of their fans. Many of those fans and hearts were present that evening, judging by the thunderous applause after each of his numbers.

Aside from Ringo's unforgettable musical contributions on this very special evening, Ian Hunter, singing Mott the Hoople's all time classic, "All The Young Dudes", was breathtaking, unbelievable, and a real musical dream come true for me. I missed seeing Mott in their heyday in the mid-'70's, in concert, so seeing Ian do my favourite tune of theirs that night, had a very special meaning for me, and filled in a big gap for me, musically. The fantastic back-up vocal harmonies by the rest of the group on this one, totally enhanced it for me.

The real sex appeal of the evening came from the radiantly beautiful, and extremely happy Sheila E. For most of this very special evening, she was playing her own rockin' drum set, just to the right of Ringo, behind the rest of the band. Sheila and Ringo were rockin' on the skins to the ultimate. Watching Ringo and Sheila at the same time, sometimes in total unison, other times hitting different parts of the drums with different types of sticks than each other, illustrated beautiful musical diversity and imagination. Pete Best, the original Beatles drummer, before Ringo, utilized this double-drum effect with his brother on the second drum kit, at The El Mocambo a year and a half ago, to great effect.

Sheila took center stage at one point during the evening, with a mini drum kit,(basically a snare drum and a cymbal on a stand.) She sang a beautiful, sweet Rock ballad. This contrasted with a super rockin' drum solo at the end of it, with drum sticks bangin' and rockin' with total disregard of anything that could hold her back from doin' her thang--totally breathtaking, to say the least!!! Howard Jones contributed some amazing keyboard wizardry to the show that night, playing some of his own tunes, and adding Synthesizer and harpsichord to the usual keys, unlocking some wild applause from the audience.
The man of the hour, Ringo Starr, was the ultimate showman, whether on drums, or out front on vocals. He sometimes played a star-shaped tambourine, and gently beat it with a drum stick, to get some cool effects and stage presence. The songs he did while at center front stage, had the feeling of being at an English Music Hall, early in the 20th century, with the audience singing along in a rousing manner. Ringo seemed to enjoy the audience this way, just like as if he was in a neighbourhood pub, singing with his best friends. The most memorable of these rousers was the unforgettable "Yellow Submarine", from the movie of the same name, which I saw when it first came out, at the Odeon Danforth. We all sang along with Ringo on this one!

The novelty "No No Song", ("No, no,...I don't smoke it no more--tired wakin' up on the floor!") almost had me on the floor with hysterics. Throughout this delightful evening, Ringo's natural sense of humour instilled infectious laughter in the receptive audience. Added to this was Ringo's still youthful appearance, (no grey hair on top, or in his short-trimmed beard), looking only like a young 47! (maybe it helped, being the conductor on the talking Thomas the Steam Engine for a while!) I guess it couldn't hurt, Ringo having a beautiful, vivacious wife like Barbara Bach, as well, to keep him young!
Ringo's rockinest song of the whole night had to be "Boys", from his early and highly pleasurable rockin' 'n rollin' days as a young Beatle in Liverpool. Sheila was smiling radiantly all through this terrific tune, looking absolutely beautiful, while contributing sensuous background vocals to Ringo's lead ones. The classic "It Don't Come Easy", had Ringo out front, singing to a rockin' crowd.

At this point, the band left the stage after almost two hours of non-stop musical revelry. They came on for an encore, singing two songs, the last of which was "With a Little Help From My Friends", totally appropriate, considering all the friends Ringo had on stage, helping this evening be a great success, as well as the countless friends in the audience of every age imaginable, who will never forget the beautiful musical experience they were part of that evening.

Rolling Stones at SARStock
- The Concert That Brought Toronto Back It’s Life,
Wed. July 30, 2003

-- by Joe Curtis --

The word SARS can leave chills in the hearts of many who hear it -- a disease that’s brought death and fear to many. Toronto, Ontario was the hub of the disease’s activity. Many in Toronto feared for their safety in its wake. Thousands from outside Toronto, and internationally, were afraid to come to Toronto on visits or business; dreading that they’d catch SARS, and take it back home to their friends and family. The World Health Organization deemed Toronto an unsafe place to visit. SARStock, a concert for Toronto, starring the Rolling Stones and others, helped put that fear and stigma to rest for good.

I attended this concert, along with 450,000 other groovin’ music fans, at Downsview, Ont. (a suburb of Toronto), on Wed. July 30, 2003. It was great being a part of living history, as well as witnessing an event that told the whole world that yes, Toronto is now a safe place to visit and live/work in. Music fans from all over the world converged on Downsview that day, mostly in their late teens to mid-20s. Groovin’ and enjoyin’ the day, was what was happening. For the most part everyone got along with each other in a friendly, upbeat and respectful way. The fears of massive amount of eager music fans crushing and trampling each other, with little regard for each others’ rights, never happened! When I arrived at the concert with my girlfriend, ‘M’, we traversed the crowd from the far south end of the concert, at Wilson Ave., (where the yummy Ribfest was) -- then gradually over a period of hours, getting closer to the massive stage, where we were only 20 people from it, all through the Stones’ incredible 90 min. performance.

One of the main things I remember from that historic day, were young people movin’ ‘n groovin’ on the ‘friendship train’. I was so happy to see my positive predictions of this monumental and historic event happily come true! I only saw 3 incidents where there was a heated verbal debate … lasting only 30 seconds to a minute and a half each. Each time it dealt with someone accidentally stepping on or bumping into someone else. All of those few incidents ended with no violence -- and one of the persons involved moving on into the ‘sea’ of people there. This was just the opposite of what was said would happen, prior to SARStock! A few topless girls showed off to the approval of hundreds of thousands of guys, on the giant screens, and sometimes right in front of me a few times. (A major bonus for attending live, instead of watching selected segments on TV).

When ‘M’ and I arrived, we were happy to see a Ribfest going on at the south end of the gig. I’ve happily attended many of these BBQ extravaganzas in the past. One of the vendors, Mr. Tibbs, provided some mouthwatering ribs, chicken and steak - a feast we gratefully and voraciously devoured, along with some cold water and pop. Another vendor provided some steak sandwiches, which due to the rush to feed the many hungry fans, weren’t cooked enough for us, so we had to reluctantly discard them.

Not a problem in getting food, water or beer at Sarstock, unlike what was anticipated beforehand. We were allowed to bring our own cooler bags and two sealed bottles of water each, to the event, which was a wise move on the part of the promoters of the event. Security when entering the field, scanned with magnetic bars, but were friendly and congenial, and non-threatening to fans. Lineups for food were short, compared to other Ribfest/music events I’ve attended. The only lineups that were longer, were for the beer - natch! No problem getting cold drinks and keeping them cold while watching the concert, if you brought your own cooler bags.

Toronto’s own super-funny guy Mike Bullard, introduced Blues Brothers Dan Ackroyd and Jim Belushi to the stage. They performed one of their new tunes, and did a couple of others, complete with their zany stage antics. They put on a great show as would be expected. (Bullard and Ackroyd were both excellent MC’s at this spectacular event). Bullard was very comical as usual - lots of jokes, and lots of laughs.

Added to this humour, was Canadian actress/comedienne Catherine O’Hara’s hilarious, ribald jokes she single-handedly delivered to this very receptive crowd. Catherine’s jokes went over very well with the huge audience, as they laughed uproariously at every one of her delightful stories and one-liners. The subject matter was risque at times, and was just what the 450,000 fans needed to hear, so they could laugh off the heat of this warm and sunny July day. (Actually, it was pretty nice weather, from what I remember - sunny and comfortably warm). Catherine’s sister, singer Mary Margaret O’hara, told me later, that she and Catherine (as well as a few others backstage) got together and penned these very funny jokes, within minutes of Catherine’s witty delivery of them to the fans.

Earlier around noon, parachutists dropped down from the sky, forming acrobatic circles while floating to the ground. Added to this excitement a few hours later, was a CF-18 jet, that encircled the whole concert, then ‘waved’ its wings as it flew off. At least one set of speakers had their circuit breakers blow, from the sound of the jet’s departure. The crowd near the speaker outage chanted, “turn the speakers back on” -- which the great techies did half-way into the Isley Brothers’ set. The Isleys were exciting and energetic - I’m glad they were there! Performing some of their many hits like “Shout”, etc., they proved that they still have what it takes to entertain a crowd of this monumental proportion! The Isleys were a major bonus to the show!!! The Stones themselves, have been their fans since the early days of their careers!

Next up was the Guess Who, who started rockin’ it up awesomely with “American Woman”. Singer Burton Cummings mesmerized the crowd; as did guitarist extraordinaire Randy Bachman, along with the rest of the Guess Who - Donnie McDougall on rhythm guitar, Bill Wallace on bass, and Garry Peterson on drums. From hard-hitting tunes like “American Woman” to “No Time”, and others, the Guess Who held their own and wowed the crowd like nobody’s business. Bachman was sure “takin’ care of business” with his awesome lead guitar riffs, as only he can -- the crowd was enthralled. When he played B.T.O’s “Takin’ Care of Business”, the crowd ‘took care of’ their contribution, with cheers of approval!!!

The Guess Who; Rush; and AC/DC only appeared an inch high from where we were standing. The huge TV screens at SARStock depicted the stage performances clear as a bell, and were impressive themselves - allowing us to view these great bands ‘much larger than life’.

Rush was one of my favorite local bands in ‘73/’74. (Always big crowds and lineups whenever they played clubs - premonitions of their later super-success in the music biz!) They played mine and many other local high schools, and some of the best rock clubs in Toronto back then - namely the Abby Road, and a little place called the Meet Market, in the lower level of the Colonial Tavern. (Muddy Waters, Willie Dixon and other blues greats played the main room at the Colonial back then - So did Rush, just before making it big). I was at that gig, and they were awesome then! I hadn’t seen them live since those times, so it was an extreme pleasure to see them rockin’ at SARStock. The tunes they performed that day, helped me appreciate and enjoy where they’re at musically these days.

Rush started with “Tom Sawyer”, and “Closer to the Heart” - two of their many hits! Interspersed with these, were some moody, atmospheric pieces, which were conceptual, imaginative -- and enjoyable! The crowd loved all their stuff. They played their own version of the Stones’ “Paint It Black”, just before their excellent encore, “The Spirit of Radio”. (Should have been renamed, “The Spirit of SARStock”!) It was great to see Rush has such a huge fan base that ‘rushed out’ to party with these super Canadian rock icons, who’ve admirably held their own musically, literally for decades! ** As a sidenote, I’d like to say that I recently saw Lifeson playing guitar in The Dexters, with ‘Toronto Sound’ guitar icon Domenic Troiano. This was at the Orbit Room’s “Soul In the City 3” event, (along with ‘voted best in the world’ B3 player, Joey De Francesco). Lifeson’s guitar work at that special performance, with long-time friend Troiano (ex-Mandala/Guess Who/Joe Walsh), was a major musical highlight that night. Lifeson co-owns the Orbit Room with old friend (since the club days) Tim Notter -- who hosted the Orbit’s anxiously anticipated annual event at former Toronto movie palace, the Capitol Theatre.

AC/DC were a delightful surprise for me at SARStock -- I became an instant fan of theirs. They rocked the socks off the whole place, and the crowd went nuts over them, justifiably. AC/DC’s vocalist, Brian Johnson was all smiles while he was singing some of their all-time hits, like “Hell’s Bells”, and “Highway to Hell”. It was obvious Brian loved the crowd, and really got off on being at this event. The crowd felt the same way, and showed it on every tune their royal ‘hellness’ performed! Angus Young’s guitar playing was incredible! For me, the blues he did, “You Shook Me All Night Long”, was the best part of their awesome set. At one point in the concert, Angus held his guitar up to the audience like Moses with his staff, all the while playing some hypnotic lead riffs with the same hand! The band’s stage presence soared when he did that! Angus had a good feel for the audience, and vice versa.

AC/DC are very much a party band - in fact their whole set was a non-stop hard-drivin’, rockin party -- as exciting as the crowd was huge!!! Phil Rudd’s drumming was energetic and hard-driving throughout AC/DC’s all-too-short set. Malcolm Young, (Angus’ brother), played some strong guitar rhythms, while Cliff Williams’ powerful bass lines provided the punch that proves AC/DC really have what it takes to dazzle half a million rock fans! I’m glad they were there. Many I talked to who attended SARStock, told me AC/DC were their favorite band performing that night.

While the crowd was in a relaxed mood prior to the Stones’ performance; we traversed the throngs of fans, to the point where we were standing only 20 people from the stage, right of center, just minutes before the Stones came on. From this spectacular bird’s eye view, we enjoyed the rest of the concert, from probably the ‘best seats in the house’.

The Stones started their set with so much energy it wasn’t funny. They played with as much vitality as if they were only in their mid-‘20s. Very reassuring to me, that rock can retain its strength of purpose and performance quality for so many decades; and remain fresh like it was in the beginning! “Start Me Up” opened up this very historic set for the Stones. It sure ‘started me up’ - and the rest of the 450,000 in attendance, I could see from where we were standing! Mick Jagger’s energetic gymnastics on stage were just as good as they were when I saw the Stones at Rich Stadium in Buffalo, NY, U.S.A., in ’75. (I was just as close then too, when I saw them in Buffalo, NY, among 60,00 other Stones fans!) Jagger, the ‘ageless wonder’ rocked up SARStock real well, and the mystified crowd took it all in, with double helpings.

Keith Richards’ guitar playing was superb throughout. He just bangs away at his axe instinctively and expertly, in a right-from-the-soul way, that transcends the physical - Richards truly is a guitar master, in the very real sense of the word! (Practice does pay off … decades of it). It showed here! In an interview I saw once on TV, I vividly remember Richards saying, “Silence is the canvas, and music is the paint on that canvas.” His guitar playing at Downsview that night, and the performances of all members of the Rolling Stones then, sure ‘painted’ a beautiful and vitally energetic picture of rock ‘n roll that rocks the way it’s supposed to, from beginning to end! I guess you can tell I really enjoyed this gig - including every awesome band who participated in it!

Lisa Fischer’s beautiful background vocals are always a joy to see at a Stones concert. She sang her heart out on every tune. I’m just glad I was close enough to see how radiant her smiling face was in person. She’s been a major asset to the Stones’ lineup for at least a decade now! Backup singer, Bernard Fowler added his amazing harmonies to Lisa’s -- as did Blondie Chaplin, who also played some cool guitar licks at one point in the proceedings.

A special treat for the audience happened when Justin Timberlake (who performed earlier with his own band), joined Mick on vocals for a unique version of "Miss You", that was not-to-be-missed! Justin appeared a little nervous singing with Jagger, but hung in there, and it went over well with the audience.

One of my favorite parts of this great evening, happened when Keith Richards took over lead vocals, put his guitar down, and sang Hoagie Carmichael’s romantic “The Nearness of You”. Richards is a big fan of trumpet player Chet Baker, who decades earlier, recorded a beautiful version of “Nearness…” (Toronto’s Chris Whiteley plays trumpet and sings a beautiful version of “Nearness …” on his ‘ballads and blues’ CD, which I frequently play). Richards also sang a great version of “Happy”, which made me as well as most in attendance, very happy to hear.

The pace changed dramatically with Richards back on guitar, and the Stones rockin’ this mammoth field of music fans with “Sympathy For the Devil”. This was my personal favorite Stones song that night. In the mid-‘70s, they were no longer doing that song, due to the Altamont incident. I’m glad to see they’re performing it again. It’s a mesmerizing composition!

Angus joined Keith on guitar, to play a rousing version of “Rock Me Baby”. They played incredible riffs off each other on this classic blues rocker, which was a rare experience to see and hear. Mick’s raw, bluesy vocals, helped “Rock Me Baby” excel to the max!

Two major Stones mainstays, “Honky Tonk Women”, and “(I Can’t Get No) Satisfaction” were performed after that; which really got the adrenalin flowing in the crowd, as well as onstage. At times, huge flames shot up from near the speaker cabinets onstage, which we could feel from where we were standing. Stunning surprises like that added some excitement to this already ecstatic performance. The fireworks the Stones entertain with at some of their indoor concerts never cease to delight me, too.

The encore of this fabulous day and night at Downsview, was “Jumpin’ Jack Flash”. The whole band got into it with all their ‘Stonesy’ hearts! Jagger’s vocals were as good and enjoyable as they ever were; while he was walking back and forth and jumpin’ around the huge SARStock stage. Keith’s and Ron Wood’s guitar work were a much-needed boost for the soul, as was Charlie Watts’ ever-confident in-the-pocket drums wizardry! Darrell’s bass playing was at it’s pumpin’ best too! The colossal crowd cheered loudly at the end of the Stones’ impeccable and faultless performance -- which was appropriate and highly deserving!!! They and all the other performers deserve a big THANK YOU for helping to promote Toronto as a safe and healthy place to be again! I’m sure this writer’s appreciation reflects that of the rest of Toronto!

Most of us wish the Stones had kept on rockin’ Downsview, along with the other very cool bands that took part in this out-of-this-world, astounding musical event! However, I feel I can speak for most who attended, that “Jack Flash” was an incredible finale to one of the most enjoyable highlights in our musical lives viewing concerts anywhere, anytime! I’m sure it was for all the performers, too!

The crowd was peaceful when leaving the event too -- no stampeding whatsoever, from what I observed. Security personnel at the event, were friendly, just like neighbors! (At least that was my personal experience with them!) Oh yeah … By the way -- Nobody at SARStock caught SARS!!! So yes … Toronto is now a safe place to visit, work in, and live in again. The threat of SARS is gone, here and hopefully elsewhere in the world.

Most importantly, I hope it’s remembered that 450,000 people of various ages, races and socio-economic backgrounds (and religions) were able to co-exist in peace with one another at this event. This was due mainly to a strong mutual respect on the part of everyone who attended - fans and performers alike. SARStock truly reflected an honest desire to party and enjoy the music in the best and BIGGEST way possible!!! I wish it was always like this! Maybe one day it will be!!!!!

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SARStock Setlists:

ROLLING STONES

Start Me Up,
Brown Sugar,
You Got Me Rocking,
Tumbling Dice,
Don't Stop,
Ruby Tuesday,
You Can't Always Get What You Want,
It's Only Rock'n Roll,
Miss You (with Justin Timberlake),
The Nearness Of You, (Keith on vocals)
Happy, (Keith on vocals)
Sympathy For The Devil,
Rock Me Baby (with Angus Young),
Honky Tonk Women,
Satisfaction,
Encore: Jumping Jack Flash

AC/DC:

Hell Ain't A Bad Place To Be
Back In Black
Dirty Deeds Done Dirt Cheap
Thunderstruck
If You Want Blood
Hells Bells (no Bell)
The Jack (incl. Strip / Canadian flag styled shorts)
T.N.T.
You Shook Me All Night Long
Whole Lotta Rosie
Let There Be Rock
HighwayTo Hell


RUSH:

Tom Sawyer,
Limelight,
Dreamline,
YYZ,
Freewill,
Closer To The Heart,
Paint It Black (instrumental cover of Stones tune),
The Spirit Of Radio.


Musicians Playing With The Rolling Stones Presently, In Alphabetical Order

Blondie Chaplin: Back-up Singer/Musician

Michael Davis: Trombone

Lisa Fischer: Back-up Singer

Bernard Fowler: Back-up Singer
Place of Birth: Long Island City, New York, USA

Darrell Jones: Bass/Vocals
Date of Birth: December 18th, 1943

Ian McLagan: Keyboards

Kenneth Smith: Trumpet With the Stones since 1994

Andy Snitzer: Saxophone

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Rolling Stones Dinner Menu,
from Four Seasons Hotel, Toronto,
July 29, 2003

The menu:

Potato and Leek “Vichyssoise” Ratte Potato Salad, Sevruga Caviar Spaghettini with Truffle Foam Salad of Organic Micro Greens and David Wood’s Goat Cheese, Vegetable Chips and Salsa VerdeRoulade of Ahi Tuna and Dungeness Crab Artichokes and Pear Tomato, Tarragon, Chive Vinaigrette Cold Smoked Arctic Char Salad of Grilled Prawns and Avocado, Sour Cream Vinaigrette Lobster “Hot and Cold” - Lobster and Sweet Pea Risotto, Salad of Lobster, Haricot Vert and Fennel, Lobster Mayonnaise Ballotine of Rabbit, Pistachio and Apricots, Foie Gras Terrine and Salad Mache, Hazelnut Vinaigrette

SEAFOOD

Butter Poached Lobster, Pecorino Cheese Sauce, Asparagus, Morels and Fava Beans, Parpadelle NoodlesCitrus Seared Halibut, Parsley Ravioli, Sweet Peas and Wild Leeks, Horseradish Vin BlancPan-Seared Scallops and Braised Veal Cheek, Oyster Mushrooms, Swiss Chard, English Mustard SauceRoast Skate Wing, Manila Clams, Chorizo Sausage, Tomato and Baby Spinach, Saffron NageEuropean Sea Bass, Braised Artichokes, Radicchio and Haricot Vert, Gremolata, Sherry Veal Jus

MAIN COURSE

Canada West Lamb Rack “Divided” - Thyme Roasted Chop and Poached Loin, Fennel Purée Lamb JusRoast Veal Tenderloin, and Veal Sweetbreads, Artichokes, Sorrel and Zucchini, Madeira Jus with ThymePan Seared Duck Breast, Fricassee of Baby Vegetables, Fondant Potato, Cherry Infused Duck Broth Poached Beef Tenderloin, Seared Foie Gras, Maxim Potato, Baby Spinach, Red Wine Jus

CD Review - Canned Heat -- ‘Friends In the Can’

-- by Joe Curtis --

Canned Heat have been one of the leading exponents of American party blues, ever since their early beginnings at Woodstock, ’69 - and before that at Topanga Corral -- oh so live!!! The ‘Heat’s’ cool new CD, ’Friends In the Can’, starts off innocently enough with a very ”Let’s Work Together”-sounding ”Same Old Games” - but softly executed, while relaxing and entertaining all at the same time. Stanley Behrens’ vocals are easy to take, as is the rhythm section, in this familiar sounding yet moving number.

Then just when you think the mood’s set, the ’Heat’ jump right out at ya with the ballistically ‘beserk’ ”Bad Trouble”; featuring some tantalizing slide guitar courtesy of special guest guitarist, Roy Rogers. Rogers perfectly complements Dallas Hodge’s rousing vocals and lead guitar licks, while John Paulus’ heavy duty rhythm guitar adds the right kinda ‘trouble’ to make ”Bad Trouble”, one of the most compelling blues tunes I’ve ever heard!

As we’re getting our bluesy breath again (after that so ’bad trouble’), we’re relaxed with some very fine ground ”Black Coffee”. A peaceful flowing arrangement like this is just what the blues doctor ordered! Then some blues/rock in the form of ”Getaway”. It features Corey Stevens’ upbeat vocals and lead guitar, along with Hodge’s powerful rhythm guitar.

One of my fave ’Heat’ tunes is ”Let’s Work Together”. It’s featured ’in the can’ so-to-speak, in a rousing rendition, led to bluesy wonderment by Hodge’s vocals - gotta love ’em! Long-time ’Heat’ alumnus Larry Taylor’s bass lines reb up my blues motor, every time I hear them. Very cool that Larry’s on this excellent CD. Paulus’ slide guitar helps make ”Let’s…” a big winner like no other -- as does Harvey Mandel’s solid guitar rhythms.

“1, 2, 3, Here We Go Again”, (Same Old Blues), is slow ’n sexy in all the right places! It sure can hit your libido in the best way, well-crafted blues always will! Hodge says it all with, ”Pass over the Jack Daniels, Baby, and sit a spell” -- well chosen lyrics, and so appropriate, as are Paulus’ truly indispensable guitar licks. They go well together like cream ’n coffee, (right outta the can)!

“That Fat Cat” is sure to please any jazz-influenced blues lover in the crowd. Paulus’ inspired leads, go well with Greg Kage’s vivid story-telling lyrics. Behrens adds a nice touch here on congas!

Walter Trout’s vocals on ”Home To You”, are entrancing! Pulsatingly addictive lyrics, such as -- “ya know I’ve had enough playin’ this game, all I want is to get myself home to you” -- sum up why relationships happen in the first place - and last! Trout screams his vocals out with wild abandon - ingeniously blending with Kage’s hypnotic bass lines.

We get a real treat in ”Never Get Out of These Blues Alive”, featuring the incomparable, iconic vocals of Taj Mahal himself! Kage’s bass lines are captivating once again - he really outdoes himself on harp! John Lee Hooker conveys some blues wisdom near the end of this tune, sharing fond memories of his time with the Heat; when he recorded the classic boogie album ’Hooker ’n Heat’, with them.

This too-good-to-be-true JL Hooker dissertation, is an ingenious lead-in to his vocals on ”Little Wheel” -- ”lettin’ it roll wit ya baby all over town”. Henry Vestine’s sweet blues guitar licks here, pay tribute to the greatness of ’the Hook’ as no others can! So do Larry Taylor’s rousin’ ’n rockin’ bass lines, and Fito de la Parra’s groovin’ drum expertise - they’ve all got it together - oh yeah!

Just so I’ll never want to take this impeccably put together CD outta it’s player … the Heat whip up yet another version of the immortal Wilbert Harrison’s ”Let’s.Work.Together” … (The first of two well-chosen bonus blues tracks included here). Blues this good could stop a war dead in it’s tracks! Robert Lucas’ vocals really outdo themselves on ”Let’s…”. as do his slithery slide guitar licks. Larry Taylor’s bass lines, again shine their ‘blues magic’, on ”Let’s…” -- added to with zest by the energizing effect of Mandel’s rousing rhythm guitar playing.

‘In The Can ends its fine selection of tunes with yet another bonus track -- another remix of ”Getaway” - this is the version slotted, to go out as a single. Its upbeat emotions add a lift that sparks yet another highly enjoyable listen to this very fine Canned Heat, ’Friends In The Can’ CD. Thanks guys! May the spirit of the boogie be forever on ya!!!!!!

Artist: Canned Heat
Album: ‘Friends In the Can’
Label: fuel 2000 records
Canned Heat website: www.cannedheatmusic.com