Photos by Joe Schaeffer Zebra‚ featuring Randy Jackson (guitar and vocals)‚ Felix Hanemann (bass‚ keyboards and vocals) and Guy Gelso (drums and vocals)‚ made a stop at the Coach House In San Juan Capistrano to celebrate the 40th anniversary of their self-titled debut album. VintageRock.com contributing photographer Joe Schaeffer was also there and generously offered to share a few photos he took.

By Shawn Perry The metrics surrounding Yes could confound even the savviest of analysts investigating the band’s history and its spiraling roster of members. Without playing favorites‚ in that analysis‚ you can’t ignore the vast contributions from Trevor Rabin‚ which came at a time when bands like Yes were edging toward extinction. Indeed‚ he was a tad younger than the other members of Yes. What he really brought to the band‚ however‚ was a keen ear and modern sensibility — as a guitarist‚ as a singer‚ as a songwriter‚ as a producer‚ as an all-around virtuoso whose capabilities exceeded the high standard of any progressive rock institution. Chances are if you’re reading this piece‚ you know what happened. On the strength of 90125 and Rabin’s “Owner Of A Lonely Heart‚” Yes sold millions of records and tore up the charts like never before. After 1994’s Talk — which he solely produced‚ mostly wrote‚ and played a multitude of instruments on — Rabin left the Yes fold. He released and toured behind his fourth solo record Can’t Look Away‚ then ventured off to Hollywood to become an in-demand film composer. As lucrative as film composing was and‚ in some respects‚ to continues to be‚ for Rabin‚ he was anxious to make another solo album. “I did an instrumental album (Jacaranda) in 2012‚” he told me during a lunchtime call. “I  really enjoyed it and it really got into my bones. I was so busy with film scoring I couldn’t breathe. Then the Hall of Fame thing happened‚ and Jon (Anderson) and Rick (Wakeman) and I said‚ ‘We should do some shows.’ I thought maybe we could do five or six shows and have some fun with it. Those five or six shows turned into 200 shows.” In the midst of forming a new band‚ Rabin would tell me‚ was the rather “silly idea” of changing the erstwhile name of “Anderson‚ Rabin‚ Wakeman” or‚ “ARW‚” if you’re into the whole brevity thing‚ to “Yes Featuring ARW”. It merely muddied the waters of an already tense situation between two camps attached to the Yes name. Without anything to move forward with‚ followed by the pandemic‚ the idea of continuing ARW in any form eventually faded away. For Rabin‚ it meant going onto the next big thing — making Rio‚ a solo album  with vocals. “I’d been promising myself for many decades that I’ve got to do another album after my last vocal album‚” he explains‚ adding that he was initially inspired by what he had started with ARW. “When that finished‚ which was great fun. I thought‚ ‘You know what? I’ve got to do an album. I’ve got all these ideas. It’s kind of bursting my pockets open. I need to get in the studio‚ I’ve got to do it. It just became clear that I needed to do a solo album.” During his time with ARW‚ Rabin was asked by Sony Inside Out Records to produce an album featuring the group. He wasn’t completely on board with the idea. “I was a little reluctant. I said with the most affection I can possibly say: ‘Yes is like a beached whale — It’s beautiful when it’s in the ocean but getting it in there is bloody hard.’” He kept his options open and sent a finished recording of Rio to Inside Out. Within days‚ he had a record deal. “It was just so simple and clean and peaceful.” Rabin remembers. “It was quite an amazing signing.” And quite an impressive package when you take view at all the working parts. Listening to Rio‚ you sense a culmination of everything there is to appreciate about Trevor Rabin’s talents. Songs like “Big Mistakes” and “Push” both have that big and no-holds-bar style Rabin brought to Yes in the 1980s. Yet there’s an even deeper dig on Rio‚ one that fleshes out Rabin’s gifts of musicality in full formation. His father was the first violinist with the Johannesburg Symphony Orchestra‚ so naturally Rabin began his music lessons early‚ starting on piano at age 5‚ then graduating to guitar at 12. His achievements at such a young age placed him in a pantheon of prodigies. Even his father was impressed with his son’s musical development. “He used to make the joke that I could read music before I could read English‚” Rabin quips. “Oklahoma‚” the third single from Rio‚ showcases Rabin’s skills as a musician‚ producer‚ arranger‚ and songwriter. It’s a stark commentary around the 1995 Oklahoma City bombing that lifts off with a classical acoustic guitar sequence before flowering into an orchestral mesh of electric guitars‚ keyboards‚ strings‚ and an impassioned vocal. Ornamented in multi-layered sonic lushness‚ the theme‚ both on a personal and multilateral front‚ is a reminder of how this one event sent a disarming chill down the nation’s spine. “I turned on the TV and I saw the federal building and it made me feel sick.” Rabin remarks. The South African native who had seen racism and political strife in his own country had become an American citizen with an optimistic worldview. This act of  domestic terrorism wasn’t quite the open-armed welcome he was expecting. “I had a pit in my stomach‚ like‚ ‘Oh my God‚ if this can happen here‚ where else can it happen?’ It just led me having some ideas. At the time I thought there’s no way I’m doing a song now. It would be so callous and crass‚ even if it’s meant in the right way. It would come across as being opportunistic. I didn’t do anything for years. When I started this album‚ I thought‚ now’s the time. It’ll be more of a  commentary and a tribute to the people that survived and to the people who didn’t.” Of course‚ South Africa is still very much on Rabin’s mind as well. The country vibe of “Goodbye” comes from his early years‚ doing sessions. “Country’s huge in South Africa‚” he says. “I did session work for years in South Africa when you might be on a session in the morning with a full orchestra and difficult charts to read; then the afternoon‚ it’s just chord symbols and it’s a country song‚ and they just want that twang‚ the Telly thing with the B-Bender — total country stuff.” Another one that touches closer to home is “Egoli‚” heralded as a celebration of when Apartheid ended in South Africa and Nelson Mandela became president of the country in 1994. “My uncle was Mandela’s lawyer for 27 years. In South Africa‚ I played at the Princess Trust‚ which was for Mandela‚ and was lucky enough to go and have lunch with him‚ Prince Charles and…believe it or not…the Spice Girls‚” he adds with a slight chuckle. “When Mandela was led free‚ it was like a celebration. He did the most incredible job. Then he died‚ and people started forgetting what it was all about. Sadly‚ the country’s become a bit of kleptocracy‚” he pauses before changing course. “‘Egoli’ in Zulu means ‘City of Gold‚’ which is Johannesburg. I’m talking about what joy and what hope there was. and don’t let it slip away. Keep remembering what Madiba said.” Despite the absence of a fully realized ARW album‚ there were some songs in the works‚ including “Fragile‚” which was re-recorded and added to the deluxe edition of Rio. There are radio takes of the song with Anderson and Wakeman floating around on YouTube‚ but as far as producing other songs or making an album‚ that’s about as far as it got. “We were having so much fun on the road‚ and there was always talk of ‘we’ve got to do an album’. There was some stuff going between us‚ but nothing that was even put on tape. A second leg of the American tour came about‚ and our manager said‚ ‘You really should have a single or something. Otherwise‚ you’re just coming out again.’ I pulled out ‘Fragile‚’ which was a song I was going to use. I did a TV series with Sharon Stone‚ and that was going be used there. So I thought‚ it’s kind of a charming song. Maybe if Jon sang on it‚ and Rick did his thing on it‚ it would be legitimate to do it as an ARW thing. We played it on the radio a couple of times‚ but nothing happened with it.” Eventually‚ Anderson‚ Rabin‚ and Wakeman all returned to their own solo endeavors‚ effectively ending their brief union and any further squabbling about the Yes legacy. When it comes to his relationship with other members of Yes‚ past or present‚ Rabin doesn’t mince words. “Put it this way‚ Rick and I are real firm friends…and I have no desire to do anything with Steve.” He maintained a friendship with bassist Chris Squire right up until his passing. Rabin says Squire teased him about working on computers and scoring movies. “Chris’s thought was‚ ‘When are you going to stop this desk job? And come back to the band?’” Squire may be happy to know that his old friend is now “back in the business of rock.” With Rio finished and released‚ the big question now is what happens next? “Starting this album was like‚ ‘Oh my God‚ I’ve just woken up.’ This is the first one in a long time. I intend to keep on promoting the album. And hopefully‚ we’ll get on the road.” Just before saying our goodbyes‚ he adds in no certain terms: “The next thing definitely is not going be a film — it’s going to be another album.”

Set to blaze the trail with their 17th studio album Sonic Mojo‚ Foghat is poised to release new music for their fans. Achieving eight gold records along with one platinum and one double platinum record‚ the band that burned up the airwaves in the 70s with the mega-hits “Slow Ride‚” “I Just Want to Make Love to You‚” and “Fool for the City” continues the spirit of the Foghat legacy. The current lineup features founding member Roger Earl on drums‚ guitarist Bryan Bassett‚ bassist and vocalist Rodney O’Quinn‚ and guitarist and lead vocalist Scott Holt. Sonic Mojo is a tasty mix of Texas boogie‚ country‚ and Delta blues. With the addition of rock-solid renditions of blues classics such as “Let Me Love You‚ Baby‚” and “How Many More Years‚” the album also showcases songs co-written by Savoy Brown founder‚ the late Kim Simmonds. From the launch‚ the posterior-shaking “She’s A Little Bit of Everything‚” (co-written with Simmonds) has an unpretentious attitude with breaks fit for a crowd rallying sing-along. A celebration of women‚ the song sets the pace making it a solid opener. The driving “I Don’t Appreciate You” keeps the album in full throttle. Written by all four members‚ the song departs from the usual Foghat blues style showing that after fifty years in the music business‚ the band isn’t afraid to try new things. “Drivin’ On‚” (also co- written by Simmonds) evokes an image filled with asphalt and revving engines à la ZZ Top. Bassett’s slide work is exquisite capturing Rod Price’s slide guitar style‚ which is an integral part of the Foghat sound. “Time Slips Away‚” marks the last contribution by Simmonds on the album. A hauntingly relatable song‚ it deals with the passage of time. As if Simmonds knew he would be leaving us‚ the song adds a mellow spot to the album — perhaps an area to shed a tear. Celebrating the Chess Records catalog with Willie Dixon’s “Let Me Love You Baby‚” Howlin Wolf’s “How Many More Years‚” and the Chuck Berry classic “Promise Land‚” Foghat pays homage to their heroes while putting their stamp on each song. Other highlights include “I Wish I’d Been There‚” a nod to Hank Williams written with Roger’s brother Colin Earl‚ and country singer Rodney Crowell’s “Song For The Life.” Throughout the record‚ the band is on fire. Bassett’s guitar work steadily weaves itself throughout each song while Holt’s soulful vocal delivery adds to each lyric. Holding down the rhythm section‚ Earl and O’Quinn are unstoppable‚ providing a solid backbeat.  Sonic Mojo is a testament to Foghat’s longevity delivering roots-driven rock n roll that satisfies. ~ Jason Young 

Even before Are You Experienced was released in the States‚ the buzz around the Jimi Hendrix Experience was ubiquitous. Their performance at the Monterey Pop Festival on June 18‚ 1967‚ caught everyone within earshot off-guard. They spent the next month playing gigs all over California before playing nine dates opening for The Monkees. After being tossed off the Monkees tour (it was bad fit)‚ they played more gigs in and around New York. Then‚ just before heading back to the UK‚ they were booked by John Phillips to open for The Mamas &; The Papas at the Hollywood Bowl. A recording of that 40-minute slot has now found its way to the marketplace with the no-nonsense title of Hollywood Bowl August 18‚ 1967. The Hollywood Bowl performance‚ taking place just five days before Are You Experienced made its appearance in U.S record stores‚ was the calm before the storm‚ in terms of the group’s success. They’d already made a splash in Europe‚ especially in the UK. However‚ they were still trying to find an audience in the States. Despite the impact they made at Monterey‚ they remained relatively unknown to the rest of the country. Even “Hey Joe” and “Purple Haze” failed in lighting up the singles chart. With everything going against their brand of psychedelic acid rock and the lack of enthusiasm from the 18.000 or so who were at the Hollywood Bowl for the Mamas and Papas‚ the Experience’s level of energy and commitment shines through on this recording. Opening with their take on “Sgt. Pepper’s Lonely Hearts Club Band‚” which they added to their set two days after the Beatles album by the same name was released‚ the Experience are merely warming up for more visceral material to come. Moving onto Howlin’ Wolf’s “Killing Floor‚” Hendrix’s spiraling leads take precedence‚ backed by the equally explosive rhythm of Mitch Mitchell’s incalculable drumming and Noel Redding’s booming bass lines.  “The Wind Cries Mary‚” dedicated to all the “Marys” in the audience‚ slows the pace‚ but the intensity is still stirring in the summer air. “Foxey Lady” ramps the mood back into overdrive before “Catfish Blues” pushes its sharp nose ahead for the next eight minutes. “Fire” does everything right to live up to its name‚ even as the background vocals are little awkward in the mix. Afterwards‚ Redding mentions the song is on the group’s new upcoming album. Hendrix dedicates Bob Dylan’s “Like A Rolling Stone” to “everyone” and keeps it steady and somber. If “Purple Haze” fell short of phasing the Hollywood Bowl audience‚ you’d like to think the provocative stab at “Wild Thing” closed the set on a high note. In the album’s liner notes‚ The Mamas &; The Papas vocalist Michelle Phillips recognizes that while their audience was unmoved by this new sound‚ the Jimi Hendrix Experience would eventually win over the masses. Ironically‚ Phillips also notes that the Hollywood Bowl show was the last hurrah for the Mamas &; Papas‚ which‚ in a way‚ is symbolic of a major shift toward what she calls “music theatre.” In the Summer of Love‚ a major sea change took place‚ and Hendrix was there to make a swift bottom turn. Of the countless Hendrix live recordings released‚ Hollywood Bowl August 18‚ 1967 may be one of the few with a true perspective. To hear their performance before an unappreciative audience is to hear a band ripe and ready for a challenge. Their hunger and desire to succeed was like the carrot and the stick. Once Are You Experienced made its roar heard in the United States‚ the Jimi Hendrix Experience‚ and Hendrix in particular‚ were in a much better place to dictate the terms. Hollywood Bowl August 18‚ 1967 is a flip of a coin‚ caught mid-air. We’re all on edge to see where it lands. Until then‚ the excitement of the act leads to one question: Will it yield a positive or negative effect? We all know what happened afterwards. It’s just a shame it didn’t last a little longer. ~ Shawn Perry 

It’s hard to believe the fabled 1962-1966 (AKA The Red Album) and 1967-1970 (AKA The Blue Album) double-LP compilations were released 50 years ago. These were the first post-breakup Beatles albums to fall off the Apple tree. Though the group had split up three years before and John Lennon‚ Paul McCartney‚ George Harrison‚ and Ringo Starr were thriving with their respective solo careers‚ there was still a hunger and demand for Fab Four music. And with the emergence of a new generation of rock fans in the 1970s‚ it only made sense to take the best of the best and package it up for the masses. Then and now (or is it “Now And Then”?)‚ the popularity and influence of the Beatles has yet to fade. After multiple remasterings and reissues‚ 2023 editions of 1962-1966 and 1967-1970 offer expanded tracklists‚ new stereo and Dolby Atmos mixes‚ and a new song called “Now And Then.” Chances are if you’re any kind of Beatles fan‚ you already have the songs. “Now And Then‚” included on 1967-1970‚ is one good reason to pick these up. The real catch‚ however‚ are the remixes. Thanks to Peter Jackson‚ who directed The Beatles: Get Back series‚ Giles Martin and his team were able to apply a little machine learning to the tracks‚ which resulted in a brighter and clearer listening experience never thought possible. 1962-1966 spans the years when the Beatles were splish-splashing their way through Beatlemania. Beginning with “Love Me Do” and rolling through such highlights as “She Loves You‚” “I Want To Hold Your Hand‚” “A Hard Day’s Night‚” “Help!‚” “Tomorrow Never Knows‚” and 32 other favorites‚ you’ll feel like the band is right in your living room. The infectious energy and youthful exuberance that catapulted the Beatles to international fame are feverishly inherent in these mixes. 1967-1970 covers the studio years when the band became more experimental. “Strawberry Fields Forever‚” “Lucy in the Sky with Diamonds‚” “Penny Lane” and especially “I Am The Walrus” are reborn along with 33 other sonically charged marvels. The addition of “Dear Prudence‚” “Glass Onion‚” and “Hey Bulldog” certainly add more punch‚ but the aforementioned “Now And Then” may be the single biggest reason to own this set. Even though it’s not from the time period and can be had as a standalone single‚ its inclusion neatly bookends the Beatles’ entire career. If you follow the Beatles with any regularity‚ you’ll hear a lot of different opinions about these sets. Some fans are happy with what they have‚ others say they’re covered because they have all the studio albums. On a wider plane‚ there are those who will speculate Apple Corp. is scrambling to keep the Beatles gravy train rolling‚ and those who are screaming for a Rubber Soul box set. With MAL technology at his disposal‚ Giles Martin may have a few other tricks up his sleeve. Are there more “new” Beatles songs in the works? Doubtful. More reissues and packings planned? Likely. Is there still a demand? No question whatsoever. Until then‚ it’s all about the Red and Blue. ~ Shawn Perry   

Bridge Of Sighs‚ the 1974 masterpiece by British guitarist Robin Trower‚ stands as a timeless statement to the power and allure of blues-infused rock. Trower‚ who previously played guitar for Procol Harum‚ emerged as a formidable solo artist with this release‚ showcasing his prowess as a guitarist and songwriter. The album’s title track‚ “Bridge of Sighs‚” immediately captivates listeners with Trower’s emotive and soulful guitar work‚ creating an atmospheric soundscape that perfectly complements the lyrical themes of introspection and yearning. Trower’s blues influences are palpable throughout the album‚ as seen in tracks like “Too Rolling Stoned” and “Day Of The Eagle.” His guitar playing is often compared to that of Jimi Hendrix‚ yet Trower’s distinctive style sets him apart‚ blending intricate phrasing with a deep emotional resonance. Accompanied by the solid rhythm section of bassist James Dewar and drummer Reg Isidore‚ Trower crafts a sonic experience that transcends the boundaries of traditional blues-rock‚ embracing a fusion of genres that resonates with fans across generations. The album’s production‚ handled by Matthew Fisher‚ contributes to its enduring appeal. The sound is rich and immersive‚ allowing Trower’s guitar to take center stage while maintaining a perfect balance with the supporting instruments. Dewar’s vocals‚ soaking in introspective and poetic lyrical content‚ adds another layer to the album’s depth‚ exploring themes of love‚ loss‚ and the complexities of the human experience. Bridge Of Sighs remains a milestone in Trower’s career and a cornerstone of 1970s rock. The lasting impact of Bridge Of Sighs extends beyond its initial reception‚ solidifying its status as a classic in the rock music canon. The album’s influence can be heard in subsequent generations of guitarists who cite Robin Trower as a significant inspiration. Trower’s ability to blend blues‚ rock‚ and a touch of psychedelia in a seamless manner has left an indelible mark on the genre. The emotional depth and technical finesse displayed throughout the album continue to resonate with listeners‚ making Bridge Of Sighs not just a product of its time but a timeless work that continues to garner appreciation from both devoted fans and new audiences discovering its magic decades later. In the pantheon of rock albums‚ Bridge of Sighs stands as a shining example of artistic vision and musical prowess‚ ensuring its place in the hearts of rock enthusiasts for years to come. ~ Bartholomew Alsayer 

In rock n’ roll‚ a rockstar’s look can be almost as recognizable as their music. If you check out our “100 Greatest Rock Musicians (Plus 50 Honorable Mentions) &; Their Hits” post‚ it’s clear that many legends became well-known not just for their songs but their signature styles that have remained iconic to this day. An essential accessory for many musicians was a pair of sunglasses‚ which provided both function and fashion on and off stage. Whether it was for vanity‚ privacy‚ or due to vision issues‚ shades helped with all three. Here are five rock legends who rock sunglasses: Slash Photo credit: Wikimedia Commons licensed under CC BY-SA 3.0 Slash’s status as a guitar-playing legend is undoubted‚ but he’s well-known for his signature style. The top hat‚ sleeveless or graphic tee‚ and leather jacket have been staples in his look for ages. But it’s his sunglasses that give him a cool and mysterious edge‚ and you’ll rarely see him without them. The Guns N’ Roses guitarist often wears Ray-Ban sunglasses on and off stage. Their Aviators style is just as iconic as Slash is‚ a fitting pair of shades for this rock legend. He’s often worn them in black‚ but has branched out to polarized lenses for more flair. His style isn’t purely for coolness or vanity; the hat and shades help make him ease his nerves when he performs on stage. Bono Photo credit: Wikimedia Commons licensed under CC BY-SA 2.0 Irish rock band U2 were a critical face of rock in the mid-1980s to the early 2000s. During the 90s‚ the band’s frontman Bono garnered attention for his ever-present sunglasses. Frameless wraparound styles or round glasses with tinted lenses were his go-to‚ usually from brands like Emporio Armani and Bvlgari. He’s been wearing sunglasses for decades‚ not just for fashion‚ but for health reasons as well. Bono often wears sunglasses as he has glaucoma‚ an eye condition that makes his eyes sensitive to light. The tinted lenses protect him against harsh lights and flashes‚ common for rockstars of his status. Jeff Lynne Photo credit: Wikimedia Commons licensed under CC BY-SA 4.0 Jeff Lynne’s illustrious career is unmatched by many. He’s most famous for being the co-founder and leader of the Electric Light Orchestra (ELO)‚ but his collaborations and producing work have made him a legend in the music industry. Sunglasses have become synonymous with his image; they’re constant companions whether he’s performing on stage or at a red carpet event. He’s often seen wearing an Aviator-style pair of shades with a double bridge and dark lenses with a gradient. Unlike some icons on this list‚ he doesn’t wear sunglasses due to a condition. Rather‚ they help him preserve some privacy. Joey Ramone Photo credit: Wikimedia Commons licensed under CC BY-SA 3.0 The Ramones may not have invented punk rock‚ but they were revolutionary‚ inspiring countless acts with their music. Lead singer Joey Ramone has been hailed as a godfather of punk‚ a title which many in the industry still honor him with even after his passing in 2001. Besides his gnarly vocals‚ the shaggy mop-top hair‚ leather jacket‚ and ripped jeans combination he and the rest of the Ramones often wore practically became the uniform for punk and rock acts of the time. Joey Ramone also added a pair of thin-framed round eyeglasses and sunglasses in various tints to his look. His bad eyesight made them essential‚ but he always maintained coolness despite it. Billy Gibbons Photo credit: Wikimedia Commons licensed under CC BY-SA 4.0 Sunglasses-wearing rock legends cannot be discussed without the mention of ZZ Top’s Billy Gibbons. His and Dusty Hill’s matching long beards‚ hats‚ and sunglasses may have seemed gimmicky to some‚ but it helped them stand out—along with their hard rock and blues fusion sound. Billy Gibbons often sported flat top or Wayfarer-style shades. Black frames and dark lenses give him a classic and timeless look‚ but never a boring one.

British rockers The Struts’ fourth full length studio album Pretty Vicious is the band’s first album since their previous effort Strange Days‚ released in 2020. Unlike the previous album that was recorded in a mere 10 days due to the restrictions from the pandemic‚ the Struts were able to spend some quality time working on and recording this new album. The result is an album that highly showcases the maturity and talent of the band. The album opens with “Too Good at Raising Hell‚” which is also a single and video. It features a catchy opening riff from guitarist Adam Slack. The track is pure rock n’ roll in the tradition of the Rolling Stones with lyrics that celebrate the band’s enthusiastic escapades. “Sex so good‚ make the neighbors smoke a cigarette but I’m still bored to death.” This is followed by the title track with lead vocalist Luke Spiller delivering a diverse vocal performance. Spiller experiments with different vocal styles on this album to showcase his talents. One of the album’s highlights is “Rockstar.” It’s a highly energetic track that will undoubtedly be featured in the band’s live set. It features a great performance by the rhythm section of bassist Jed Elliot and drummer Gethin Davies. This is followed by “Remember the Name‚” another great rock tune with a catchy guitar riff. This band definitely has a knack for writing songs with a classic rock feel. “Bad Decisions” is a slow-paced ballad that features a stunning vocal from Spiller. Once again‚ Spiller displays his range. The man can compose introspective lyrics with a lot of passion. There are also some great pop tunes like “Hands on Me” and “Better Love‚” which show this band is not shy about featuring their pop side. The album closes with an extreme surprise for this fan with a cover of “Somebody Someday” by Ian Hunter. Originally titled “Irene Wilde‚” the band for some strange reason‚ changed the title of the song. Their version is flawless‚ and the band delivers one of their best performances on this track. Pretty Vicious is definitely a much-needed album for the Struts as it features the band at full strength and fortunately‚ they had a good amount of time to work on this album. The production and writing are at their best. The Struts are touring America and‚ in my humble opinion‚ they are one of the best live acts I’ve seen in decades. With this album and tour‚ I can only hope that the Struts receive the extreme success and accolades they so rightfully deserve. ~ JoJo Anthony 

Man‚ did Keith Emerson‚ Carl Palmer and Greg Lake make it hard for their fans during the 1980s. Breaking up my beloved Emerson‚ Lake and Palmer at the tail end of the 70s‚ the trio would not play all together throughout the MTV-fueled decade‚ but surely tease us in various almost-but-not-quite incarnations. Palmer and Lake would get together for a few Asia dates in Japan when John Wetton stepped away. Emerson‚ Lake and Cozy Powell would form a band‚ put out an album and then tour. Then‚ Emerson and Palmer joined up with bassist and vocalist Robert Berry to form 3‚ releasing To The Power Of Three during their short existence. Later on‚ a couple 3 live albums were also released — Live Boston 88 and Rockin’ The Ritz: NYC 1988‚ which I happened to attend. Now‚ Rockin’ The Ritz: NYC 1988 is coming to vinyl. In addition to To The Power Three songs‚ we get some ELP notables as well as covers. Opening with the infamous taped intro of “Fanfare For The Common Man‚” the crowd pretty much goes nuts (yes‚ I can hear myself). This quicker-than-usual version sees Emerson availing himself of a few different keyboard sounds. “Desde La Vida‚” from To the Power of Three‚ has Emerson’s original Moog kicking off a suite of songs with spacey hits. Palmer’s snare-to-tom attack in the middle with Emerson’s piano runs makes you really miss ELP. Things slow down for “You Do‚ Or You Don’t‚” a ballad showcasing Berry’s fine singing with  Jennifer Steele‚ the backing vocalist 3 employed for the show. Guitarist Paul Keller was also present to add some extra punch to the live sound. There is the kinetic piano work out of “Creole Dance‚” which any ELP fan will have heard plenty before‚ and the set ends with some big and ballsy pairings. First‚ we get a medley of “America‚” “Rondo‚” “Carl Palmer Drum Solo‚” and “Fugue In D Minor Bmv 565‚” which is familiar territory for ELP heads. Palmer’s blistering snare part of his solo is as impressive as always‚ although I have to say his bass drum sounds a bit thin. After some crowd “Hey Hey Heys‚” 3 ends with “Eight Miles High‚” a cover of the Byrds hit they feature on their studio album. A shaky “Peter Gunn” is clipped on at the end here and although Berry and Palmer have a fun call-and-response mid-way‚ the band loses its footing somewhat. The only other time I saw the 3 lineup was when they represented ELP at the  Atlantic Records 40th Anniversary Concert‚ held at Madison Square Garden in 1988. Rockin’ The Ritz: NYC 1988 is a sweet reminder of not only a show I was at but of a blip of a moment in time when we almost had the Father‚ Son and Holy Greg together‚ which we wouldn’t enjoy in full until 1992. ~ Ralph Greco‚ Jr. 

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