McCartney takes Hershey on magical mystery tour

By ALAN K. STOUT

MUSIC ON THE MENU

JULY 20, 2016

HERSHEY - When Paul McCartney walks on to a concert stage, one is immediately struck by just his mere presence. He is, without question, the world’s greatest living rock star. Bigger than Bruce. Bigger than Bono. Bigger than anyone. Of course having been a member of a little band called The Beatles has much to do with that, and when he puts a set-list together featuring not only songs from his time with the Fab Four, but also his work with Wings and his solo material, it can make for a remarkable night of music.

McCartney, at age 74, did just that on July 19 at Hersheypark Stadium. He delivered a whopping 38 songs, he had the crowd of 30,000 feeling both entertained and inspired, and he seemed to do it all with great ease. For Sir Paul, it was simply a day at the office.

McCartney opened the show with the mop-top era “A Hard Day’s Night” and followed with 2013’s “Save Us.” He then addressed the crowd for the first time.

“Good evening, Hershey,” he said, English accent intact. “I have a feeling we’re going to have a lot of fun here tonight. We’ve got some old songs, we’ve got some new songs, and we’ve got some in-between songs.” He then led his band into a fun rendition of “Can’t Buy Me Love.”

Other highlights early in the set included Wings’ “Let Me Roll It,” which ended with a fiery jam that included a few riffs of Jimi Hendrix’s “Foxy Lady.” He also offered fine performances of The Beatles’ “I’ve Got A Feeling” and “Here, There Everywhere” and 2012’s  “My Valentine,” which he dedicated to his wife, Nancy.  He also displayed great wit throughout the show.

“That was the big wardrobe change of the whole evening,” quipped McCartney after casually removing his sport coat. He also shared humorous stories about Jimi Hendrix, his songwriting partnership with John Lennon, and meeting various Russian dignitaries during a performance in Moscow.

“I wrote this one for Linda,” he said when introducing a soulful performance of “Maybe I’m Amazed.” He then offered “We Can Work It Out” and the harmony-laced and country-favored  “In Spite of All The Danger,” which he introduced as the very first song ever recorded by The Quarrymen, the pre-Beatles band that also featured John Lennon and George Harrison. A string of Beatles favorites followed: “You Won’t See Me,” “Love Me Do,” “And I Love Her” and “Blackbird,” which he sang alone atop an elevated stage.  

McCartney frequently changed instruments throughout the show, sometimes playing bass, sometimes guitar and sometimes piano. His  four-piece band was stellar and his staging was grand. Enormous video screens provided close-ups of the group throughout the night and also helped provide fitting images that perfectly accented various songs. Perhaps the most moving use of video occurred during McCartney’s performance of George Harrison’s “Something,” which he played on a ukulele that was given to him by Harrison. Throughout the number, wonderful candid photographs of McCartney and Harrison working in the studio  together were shown.

“Thank you, George,” he said, “for writing that beautiful song.”

McCartney also acknowledged Lennon, performing “Here Today,” a beautiful song written shortly after Lennon’s death that not only speaks honestly of their complicated friendship, but also of his love for the fallen Beatle. “If you want to say something nice to somebody, don’t delay,” he said. “It might be too late.” He also paid homage to Lennon by performing Beatles numbers such as the show’s opener, “A Hard Day’s Night” and “For The Benefit of Mr. Kite” that were originally sung by Lennon.

McCartney’s more recent material such as “Queenie Eye,” “New” and “FourFiveSeconds” was well-received, but numbers such as “Eleanor Rigby,” “Fool On The Hill,”  “Lady Madonna” and “Back In the U.S.S.R” were met with the loudest roars. “Ob-La-Di, Ob-La-Da” resulted in a full sing-a-along, “Live and Let Die” came with so much pyro you could feel the heat coming off the stage and a spirited performance of “Band On The Run” - one of McCartney’s most brilliantly arranged numbers – was perfectly on target. The set ended with and emotional performance of “Hey Jude” during which all 30,000 sang along. Encores included “Yesterday,” a roadhouse-rock style rendition of Wings’ “Hi, Hi, Hi” and “Birthday.” The show ended with “Golden Slumbers,” “Carry That Weight” and “The End.”

McCartney is a larger-than-life presence. He is the world’s biggest rock star. And when you watch him perform on stage, you are keenly aware that you are listening to a Bach or Beethoven of our times and that his music –perhaps more than any other music that has come from the rock era – will be the music that will far outlive all of us. The fact that he still tours frequently and plays for three hours a night is remarkable in itself. And anytime that you have the opportunity to see him, you should.

He is still quite Fab.

  

Billy Joel has them ‘feeling alright’ in Philly

                                                                                                                                                                                       (Photo provided)

Rock and Roll Hall of Famer dazzles crowd of 40,000 at Citizens Bank Park

REVIEW

By ALAN K. STOUT

MUSIC ON THE MENU

PHILADELPHIA – “It’s a pretty good crowd for Saturday … ”

So sang Billy Joel in Philadelphia on Saturday night at Citizens Bank Park during his signature song, “Piano Man.” And just as he sang those words, the large video screens that graced the stage showed images of the crowd of more than 40,000.

A pretty good crowd, indeed. But for Billy Joel and Philadelphia, that’s par for the course. The town has been one of his favorite stops for decades. If Billy plays, they will come. Always. And those that did on this warm July night certainly got what they came to see and hear. Joel’s two and a half hour set was loaded with the songs that have made him one of America’s most cherished artists. And whether it was with an edgier pop/rock number or a timeless ballad, he always brought the right touch to the ivories.

Joel opened the show with the epic “Miami 2017 (Seen the Lights Go Out on Broadway).” The sound of his piano alone was piercing and the images of New York City shown on the large video screens only enhanced the power of the song.  A zingy rendition of “My Life” – peppered with a section of Beethoven’s “Ode To Joy” – followed. 

“Good evening, Philadelphia!” said Joel. “It’s good to be back in the ‘City of Brotherly Love.’ I’ve been coming here since day one.” He then joked that, “I don’t have anything new,” referencing the fact that he has not released an album of new pop material since 1993. That didn’t seem to matter to his fans, as a gorgeous rendition of “Just The Way You Are,”  featuring some tasteful sax work from Mark Rivera, was met with a roar. Joel’s good humor surfaced again following the romantic number, which speaks of a life-long commitment, when he quipped, “And then we got divorced.”

The string of favorites continued with “The Entertainer,” “New York State of Mind” and “Angry Young Man,” which Joel had not performed live in seven years and during which he dazzled on the piano. Throughout the show, Joel kept a fly-swatter on stage and frequently took playful swings at swarming bugs. “We’ve got some mighty fine insects up here,” he said with a smile. “But don’t worry. I’m armed.”

Joel’s body of work is as diverse as it is good. Soft and moving numbers such as “And So It Goes” and “She’s Always A Woman” were among the show’s highlights, while “Don’t Ask Me Why” and “Movin' Out (Anthony's Song)” displayed his gift for pop/rock. Joel also connected well with the crowd. He asked if anyone in the audience was from the nearby Lehigh Valley before launching into “Allentown” and, as is his Philadelphia tradition,  he placed the dark “Captain Jack” in the middle of the set. Early in his career, Philly’s WMMR-FM was the first radio station in the nation to play the track, which Joel has not forgotten.

“We only do that song in this town anymore,” he said. “You’re sick and twisted people. But we like it.”

Joel also introduced “Sometimes A Fantasy” by revealing that the song was inspired by a girl from Philadelphia that he “had a thing for” back in the seventies. Later, however, he turned more serious:

“I guess I would be remiss if I didn’t mention what a horrible week it was in our nation,” he said. “If I had a gun, I’d shoot the TV. But we’ll get through this ….

“We just have to keep the faith.”

He then performed his 1984 hit, “Keeping The Faith.”

There was also a extended, soulful and jammy performance of “River of Dreams,” which briefly segued into a few verses of The Beatles’ “A Hard Day’s Night.”  And at 67, Joel remained in fine voice throughout the performance. In fact, his vocals only got stronger as the show progressed and songs such as “I Go To Extremes” and “Scenes From An Italian Restaurant” were delivered with zest. The set ended with “Piano Man” and the encore section of the show was lengthy: “We Didn’t Start The Fire,” “Uptown Girl,” “It’s Still Rock and Roll To Me,” “Big Shot,” “You May Be Right” – featuring a few fiery verses of Led Zeppelin’s “Rock and Roll” – and “Only The Good Die Young.”

Billy Joel is indeed a musical treasure. Whether it’s with his mastery of the ivories, his always on-target vocals, or his gift for storytelling as a songwriter, he remains a remarkable entertainer. At this show, he acknowledged that Philadelphia had always showed him much love over the past four decades and he expressed his thanks for that. The audience, in turn, cheered even louder, as if to thank him right back.

It was a pretty good crowd for a Saturday.

And it was a pretty horrible week in this country.

But the piano man did it again. He had them, as the song goes, forgetting about life for a while.  He had them feeling alright.


(Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, “Music On The Menu,” airs every Sunday night from 9-10 p.m. on The River. Reach him at musiconthemenu@comcast.net)   

 

Maximum Respect: A Benefit for George Wesley

 

Local Music Community Uniting to Support One of Its Own

 

 

By ALAN K. STOUT

MUSIC ON THE MENU
July 7 2016

 

A few months back, the people who organize the Electric City Music Conference and the Steamtown Music Awards dropped me a line. They were making plans for this year’s event, and they asked if I had any suggestions for the recipient of this year’s Lifetime Achievement Award. I’ve been covering music in NEPA for almost 25 years, and I was the recipient of that same award two years ago, so I guess that has earned me a vote. It is much appreciated.

My suggestion came quickly and easily: George Wesley.

Wesley is an icon within the musical community of NEPA. He is insanely talented, and he’s been making fine records for more than 30 years. He’s also always stayed true to his musical roots and ideals, and he’s done it all with grace and humility. I once introduced him on stage as “the coolest human being I have ever met in my life.” And within our own music scene, he has always been the reigning king of reggae.

Of course, the folks at the Steamtown Music Awards said that they, too, had Wesley in mind. And it was soon decided that he would be the one to receive the Lifetime Achievement Award on Sept. 15 in Scranton. Right around the same time this was first announced, just a few weeks ago, we also got word that Wesley is not well. He is battling cancer. And apparently, it hit him fast and hard. Immediately, the good people at Mountain Sky, a gorgeous outdoor venue north of Scranton, put together a two-day benefit show for Wesley. I was able to attend and, I must say, it was very well done and there was much love for Wesley there. Billed as “One Love: A Benefit for George Wesley,” it raised a significant amount of money. And on behalf of everyone who knows Wesley and cares about him, we all say thank you to Mountain Sky.

If there is one place, however, that is almost synonymous with Wesley, it is the River Street Jazz Café. It is Wesley’s home base. It is where he has held his CD release parties, his birthday parties and his anniversary parties, and where he has entertained thousands of people over the past 20-plus years. It is his room. And thus, shortly after the most recent benefit, a few of us who also know and care about Wesley began planning something for him there. And to say that it all came together quickly and easily would be an understatement. And that is simply because of how much people love and respect him.

“Maximum Respect: A Benefit for George Wesley” will take place on Friday, Sept. 2, at the River Street Jazz Café, 667 N. River St., in Plains. Artists confirmed to be performing are Mother Nature’s Sons, Strawberry Jam, Mike MiZ, Tom Flannery & The Shillelaghs, Bret Alexander & Eddie Appnel, Stingray, Bobby Clark and the Phyllis Hopkins Electric Trio. There will also be raffle items from SI Studios, Saturation Acres Recording Studio, Wayne’s World, Rock Street Music, Gallery of Sound, The Pennsylvania Blues Festival, The Pennsylvania Music Festival and photographer Jim Gavenus. More music and raffle items will likely be added. And as you would expect with any musical event that involves Wesley, there will be some jamming.

Whether you’re simply a fan of his music or someone who has gotten to know him personally, it seems everyone has a Wesley story. Some of mine are funny. Some are poignant. All are good. For me, more than anything, he has always just been there. I remember when I first started covering music in NEPA, one prominent club owner had a framed, painted portrait of Wesley hanging in his office. That was almost 25 years ago, but even then, he was legendary. I’ve interviewed Wesley many times over the years for newspapers, and for his last record a few years back, he invited me to his home for the interview. I play his music on my radio show all the time, he has been a guest on my show, and he has played at the live monthly music series I host several times, both at The Woodlands and at Breakers. He also played at the former “Concert for a Cause” several times and contributed songs to the annual album, and when I organized the “We All Shine On: A Tribute To John Lennon” event at the River Street Jazz Café, I asked Wesley to close the show. He did. And everyone else on the bill got up on stage with him at the end of the night and sang “Instant Karma.” It was, to this day, one of the coolest things I have ever seen.

They say it’s hard to do a benefit show on a Friday night because that’s a night most bands are out making their living. And that is true. But again, this one came together easily. So many of Wesley’s musician friends simply said, “We will be there.” That says a lot about how much they love him.

“Maximum Respect.” That has always been one of Wesley’s favorite expressions. When he says it to you, it is a great compliment. And on Sept. 2, that’s what we all hope NEPA will show him. Lord knows how many benefits he’s played over the years to help others in need. Probably hundreds. Now, it’s time for us to give back something to him. And when he picks up that big award of his in September, we all want him feeling better and knowing how much he means to us.

Maximum respect, George.

Maximum respect.

 

-----------------------------------------

Maximum Respect: A Benefit for George Wesley

Where: River Street Jazz Cafe, 667 N. River St., Plains Township

When: Friday, Sept. 2, 6 p.m. to 2 a.m.

Donation: $10

Info: 570-822-2992

On the web: facebook.com/musiconthemenu

 

 

Submitting your music to “Music on The Menu"

We answer the questions that we get the most often about the radio show

Dear artists,

Thank you for your interest in the “Music On The Menu” radio show, which airs every Sunday night from 9-10 p.m. on The River in Wilkes-Barre/Scranton/Bloomsburg/Hazleton.  It can be heard, throughout Northeastern Pennsylvania, on 100.7-FM, 103.5-FM and 104.9-FM. It can also be heard anywhere, worldwide, at www.105theriver.net or on the RadioBOLD phone app.  

Here are the answers to some of the most frequently asked questions about the show:


1. Does the show focus only on artists from Northeastern Pennsylvania?

Yes. For one hour a week, we put the classic rock and the timeless pop hits aside and we shine the light on the fine music being made right here in Northeastern Pennsylvania, particularly the Wilkes-Barre/Scranton/Hazleton region.


2. Is there a specific musical format for the show?

We’re pretty much a rock and roll show. Traditional rock. Roots-rock. Acoustic-based rock. Melodic modern-rock. We also play singer/songwriter/folk type material and pop music, as well as some country and some blues. Most people have a pretty good sense of whether or not a song has the potential to be played on the radio, especially on a commercial radio station.  If you think you’ve got a good catchy tune, feel free to send it our way. We look for great songs with great melodies and great production value.


3. How can an artist submit music for the show?

We are constantly adding new songs to the program. To have your music considered, please e-mail as a few mp3s as mp3 attachments. E-mailing us mp3s is the preferred way for you to send music to the show. You can e-mail mp3s to: 

musiconthemenu@comcast.net

If you submit songs by e-mail, please send no more than three tracks. And please be sure to include the song title with each file. Song files must be sent in the mp3 format as an mp3 attachment. Our production system at The River cannot accept any other file format. They must be mp3s. These days, we all often work on our smart-phones, where downloading is usually not possible. But if you send us tracks as mp3 attachments, we can listen to them right on a mobile device and then forward them right on to the radio studio to get them ready for airplay. An mp3 attachment - not a link to download mp3s - is the best way to submit songs.

Though it is not preferred, you can also send us a CD of your music. You may send CDs, with the song titles and track listings, to:

Alan K. Stout

Music On The Menu
105 The River
305 Roosevelt St.
Edwardsville, PA 18704

We’ve actually had people send us CDs without the track listings and song titles, so please be sure to do so. And if you have a brief bio, please send it as well. If we play your music, we'd also like to be able to tell our listeners a little bit about you. Please bear it mind that the fastest, easiest and best way to have your music added to the show is to e-mail us an mp3, rather than send a CD.   

That’s it. Those are the only two ways to submit music to the show. Either send us a few mp3s as mp3 attachments, or send us a CD. We will not usually be able to go onto YouTube to check out songs, or Spotify, or SoundCoud, or download music from a website such as Dropbox. We do 52 shows per year, we play hundreds of songs, and we receive many submissions each month. And so the best way for you have your music be given consideration for airplay is for you to send it to us directly as an mp3 attachment.  

(Please note that we often pre-record shows up to two weeks prior to the time they air, so it may sometimes take us 2-3 weeks to add your music to the show after it its received.)

Those are the three questions that we get the most. We hope you find the answers helpful. "Music On The Menu," which is now in its 22nd year, is the longest-running, most highly-rated radio show of its kind on a commercial radio station in NEPA. We thank you again for your interest in the program. It has always been our pleasure to provide the many talented artists from NEPA with some well-deserved airplay. And we absolutely love adding new music to the show. Thank you for thinking of us!

We look forward to hearing your music.

Thank you,

Alan K. Stout
105 The River
Music On The Menu

musiconthemenu@comcast.net

To read Alan's press bio, click the link: 

https://musiconthemenu.blogspot.com/2018/06/alan-k_13.html

Frehley takes Kirby on guitar-fueled rocket ride

Former KISS guitarist, battling illness, soldiers on with fiery performance

By ALAN K. STOUT
MUSIC ON THE MENU
April 17, 2016

WILKES-BARRE - One day after his knockout performance on Friday night at the F.M. Kirby Center, Ace Frehley was trending on social media around the globe, with everyone from TMZ to Rolling Stone magazine noting that the former KISS guitarist was in Wilkes-Barre, Pennsylvania. Frehley, it was widely reported, was taken to Wilkes-Barre General Hospital immediately after Friday’s show -  a show that he cut short by two songs – and was being treated for dehydration and exhaustion. And with that breaking news, the more than 1,000 fans that were at the concert suddenly knew why there were no encores. And if some were originally miffed at the beloved Spaceman, all was then understood and forgiven.

Considering Frehley, who will turn 65 next week, had just recently flown to Los Angeles to shoot a music video with former bandmate Paul Stanley, and had just played three shows in New York, and had spent several hours on Friday afternoon signing hundreds of copies of his new album for his fans at a Wilkes-Barre record store, his fatigue would seem to be quite justified. And considering all of those factors, his performance was thus even more impressive.


Frehley opened the show with “Rip It Out,” the opening track from his milestone 1978 solo album, and followed with, “Toys,” a Zeppelin-esque  number featured on his 2014 “Space Invader” CD.  


“Wilkes-Barre! It’s nice to be back!” shouted Frehley before tearing into a torrid performance of 1977’s “Rocket Ride.” And for Frehley, it was indeed a return to Northeastern Pennsylvania. He had performed solo in the region in 1985 and 1987, twice in 1995, and with KISS in 1975 and 2000. And, interestingly, he had performed at the F.M. Kirby Center – then known as The Paramount Theater – with KISS, twice, in 1974. For his ninth visit to the area, he peppered his set with songs from his time with KISS and from his solo catalog.  There was a riffy rendition of “Strange Ways,” a pounding performance of “Snowblind” and a fiery offering of “Love Gun,” sung by drummer Scot Coogan.


Frehley’s latest solo album, “Origins Vol. 1,”  which was released on Friday, features covers of some of his all-time favorite artists, including Jimi Hendrix, The Rolling Stones, Led Zeppelin and Free. At the show, he performed Thin Lizzy’s “Emerald,” which is featured on the album. “Parasite,” originally recorded by KISS, but sung by Gene Simmons, also appears on the album. Frehley not only rocked it - his way - on the record, but also placed the song in Friday’s set. He followed with a funky rendition of “New York Groove” and a gritty performance of 1989’s “2 Young 2 Die,” sung by guitarist Richie Scarlett. There was also a dazzling bass solo by Chris Wyse.


Of course, the most anticipated solo of the night came from Frehley, who tore it up on his trademark smoking Les Paul following a bombastic performance of “Shock Me.”  He closed the show with “Cold Gin.”

With the house lights dimmed, the crowd wanted more. Chants of “Ace! Ace! Ace!” filled the theater. But after quite a few minutes, the lights were on and house music filled the air. Show over. Frehley, who had been ending his concerts with “Detroit Rock City” and “Deuce,” did not return. Clearly, the audience was confused and disappointed, but what we now know is that Frehley was barely able to finish the set, and that shortly after leaving the stage, he was on his way to a hospital. And so, after entertaining his fans for 42 years, Frehley gets a pass on no encores. If anything, the Rock and Roll Hall of Famer – who will celebrate 10 years of sobriety this year – may have earned even more respect from his audience. The man was tired and not feeling well. It had been a long week and a particularly long day. Yet, just minutes before heading to Wilkes-Barre General, he was singing “Cold Gin” with plenty of zest.


Ironically, earlier in the night, Frehley had performed the fan-favorite, “Rock Soldiers.” It is a term that he sometimes uses to describe his fans.


On Friday night in Wilkes-Barre, he was one.  




(Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His music-related stories appear in The Electric City. His weekly radio show, “Music On The Menu,” airs every Sunday night from 9-10 p.m. on 105 The River. Reach him at musiconthemenu@comcast.net)   

‘The Million Dollar Quartet’ brings a whole lotta shakin’ to The Kirby

Musical adaptation of one of rock’s most legendary moments entertains and enlightens 

By ALAN K. STOUT

MUSIC ON THE MENU

March 20, 2016 

REVIEW

WILKES-BARRE –  Throughout the history of rock music, there have been, from time to time, brief musical explosions which took place within a certain geographic area and had a lasting impact on both music and pop culture. The aftershock of “The British Invasion” of the ‘60s - which gave us The Beatles, The Rolling Stones, The Who and Led Zeppelin – is still felt to this day. The folk scene of Greenwich Village in the ‘60s helped propel singer/songwriters onto the charts throughout the ‘70s, the Motown sound of Detroit helped change the sound of soul and in San Francisco, psychedelics helped produce a jam-based and expansive sound that continues to find new audiences. In the ’80s, on the Sunset Strip of Los Angeles, hard-rock music rose from the streets and blasted across America. And in the ‘90s, in Seattle, grunge felt like a mini-revolution.

All of those movements mattered. All gave us great music. And all had a lasting impact.

But none of them probably ever would have occurred were it not for what happened in Memphis in the mid-‘50s. It was there, some say, that rock and roll was truly born. And much of it happened at Sun Studio, a small recording facility on Union Avenue where the likes of Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins made their first records. Its owner, Sam Phillips, who had also supported blues artists such as B.B. King and Howlin’ Wolf, was always looking for something new. And when Presley gave him “That’s All Right” and Perkins gave him “Blue Suede Shoes,” he’d found it.

He had found rock and roll.  

And that, more than anything, is what is celebrated in “The Million Dollar Quartet,” an at-times dazzling Broadway musical that visited the F.M. Kirby Center on Friday. The production is based on the true events of December 4, 1956 when Presley, Cash, Perkins and Lewis all found themselves hanging out at Sun Studio on the same day and in turn held a fairly lengthy and impromptu jam session. When listening to the actual recording of that session, it’s clear that it was all done just for fun and for the love of music. Perkins and Cash had already scored national hits, Lewis was a young artist on the rise and Presley - back home in Memphis for the Christmas holiday - was already the reigning king of the charts. There was a good-natured camaraderie and mutual respect between the four young men and there were quite a few laughs as they toiled around with everything from blues and gospel numbers to a few Christmas songs.

The musical production, however, takes that camaraderie and spices in a bit of drama. There is a touch of sibling-like rivalry between the characters in the play, and though that may or may not have actually existed, it does help provide some insight into what each character was likely going through at the time. Presley, who had left Sun to sign with the much larger RCA Records, missed working with Phillips. Cash already felt that he was ready to move on to a bigger label and Perkins, who had suffered a brief career setback due to an auto accident, was trying to sustain momentum. Lewis was up and coming, offbeat and full of energy and felt that his talents could easily make him the next Elvis. And at the center of it all was Philips, who knew that letting Presley go the RCA was the right financial decision but didn’t want to lose any more of his young stars.  

That’s the storyline of “The Million Dollar Quartet.” And it’s a good one. But what really made the show shine was the music. Some numbers featured, such as “Peace In The Valley” and “Down By The Riverside” were actually performed by the quartet on 12/4/56. And in the spirit of artistic license – and in helping demonstrate what an incredible impact that the four musicians had on pop music - other numbers were also included, including  “Blue Suede Shoes,” “That’s All Right,” “I Walk the Line,” “See You Later, Alligator,” “Whole Lotta Shakin' Goin' On,” "Folsom Prison Blues" “Great Balls of Fire,” "Ring of Fire" and “Hound Dog."

Skip Robinson, who plays Presley in the production, did a fine job of capturing both his unpretentiousness and his charisma. Jason Cohen was fabulous as the cocky and quirky Lewis and Evan Buckley Harris gave Cash the inner-strength and decency for which he was known. Christopher Wren often tore it up on the guitar as Perkins and Matthew Scott, as Phillips, was terrific as the proud papa that feared he was losing his musical family yet also took pride when his boys moved on to bigger and better things. At one point in the musical - when Phillips is informed by both Cash and Perkins that they will soon be moving on to Columbia Records - he is initially crushed, but he then quickly ponders the possibilities and potential of another young kid from Texas that he had just signed to Sun: Roy Orbison.

The man had an eye for talent.

Jackey Good, who plays Presley’s girlfriend, Dyanne, also had a few moments to shine, including a fine performance of “Fever.”

In addition to solid acting, “The Million Dollar Quartet” was also very much a concert. In addition to Robinson, Cohen, Harris and Wren, the band also featured Jody Alan Lee on bass and Jon Rossi on drums. It all made for a tight and powerful musical unit which gave the ‘50s classics a fresh energy. Simply put: the band rocked. And the entire ensemble sang flawlessly.

One of the musical's most memorable moments occurred when Robinson, Cohen, Harris and Wren - while all sitting around the piano - froze in the exact same pose captured in the most famous photo that was snapped on 12/4/56. While the four held the position, the actual photo of Presley, Lewis, Cash and Perkins appeared on a large video screen above the stage. 

That alone brought a roar from the crowd.

Interestingly, for many years, the events that happened at Sun Studio on December 4, 1956 were probably not as well known as they should have been. Even today, there is a perception by some that the musical adaptation of what happened that day never actually occurred, and that the play is more of a “What if?” fictional account of what could have happened if Presley, Cash, Perkins and Lewis ever perched themselves around the same microphone. A “dream concert,” if you will. But it did happen. And though “The Million Dollar Quartet” expands upon it in many ways, the most important thing is that it celebrates it. It re-shines the light on four of rock’s most important figures at one of the most crucial points in their respective careers and it reminds us of how Sam Phillips and Sun Records helped make it all happen.

It reminds us that almost everything in rock that happened afterwards – from Liverpool to L.A – first got its start in Memphis.

(Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music on The Menu," airs every Sunday from 9-10 p.m. on 105 The River. Reach him at musiconthemenu@comcast.net)

A Don Henley story … and a few more

(click image to enlarge)

By ALAN K. STOUT

MUSIC ON THE MENU 

February 1, 2016 

One of the cool things about being a writer in your 40s is that, when you’ve been doing it for 23 years, you’ve got some miles on you and you’ve got some stories to tell. And I do have quite a few. My aunt told me once that I should write them all down in a book. She thought my kids might enjoy reading them some day. I don’t know if I’ll ever have time for that, but maybe. I have learned, especially lately, that people seem to enjoy hearing cool stories about rock musicians. But for some reason, when you tell them - at least for me - you kind feel like a name-dropper, and so you tend to just keep them to yourself. Even my family and closest friends probably don’t know most of them because I just don’t talk about them.

A few years ago, however, I read a marvelous book called “Cornflakes with John Lennon,” which was written by a music journalist from the Los Angeles Times. He shared his stories - stories of his meetings with Elvis, and Springsteen, and Elton John, and Lennon – and I just loved it. And so I'm thinking maybe I should share a few of mine from time to time.

Here are two short ones:

* I once saw Alice Cooper sneak a candy bar to a kid behind his parents' back, but also tell the kid not to eat it until after dinner. It was 1996. The kid's parents were big fans. We were hanging out on Alice's tour bus. And all I could think was, "That's pretty funny. To some, back in the  '70s, this guy was 'Public Enemy Number 1.' He was the devil. And here he is acting like a sweet old uncle to this little kid."

* I was the very first person that Steven Tyler spoke with, just minutes after learning that Aerosmith had earned its first No.1 single with "I Don't Want To Miss A Thing." 

"Not but 20 seconds ago, it went to No. 1 in America," said Tyler. "I am freaking.  I can't wait to go outside and smoke a cigar." 

And hey, who could blame him? At that point, the band had already been around for 25 years. They'd had plenty of big hits before, but the guy had literally just found out he had his very first No. 1. I said, "Congratulations." He said, "Thank you." Every time I hear that tune, I think of that. If you're a fan, the whole interview is up on YouTube. We talked for quite awhile about all-things Aerosmith and he really let it fly on a few topics. Just Google my name and Steven Tyler and it should pop right up.

My daughter, who turns nine next week, recently came across some of my work on the web. I guess she Googled her Dad. And suddenly, she thought I was pretty cool. We got to talking about music, and she told me her third-grade teacher loves Billy Joel. I told her I’d seen him play live a few times, and that I’d interviewed him once. She seemed have a hard time getting her head around that. I said, "Just Google my name and Billy Joel and you can listen to it." It’s not that big a deal to me. I did it 20 years ago. But people, even my little girl, seem to like hearing about such things. And I think the main reason is because they like to hear firsthand stories from people that have had nice experiences with such talented artists, and they like learning that despite their great fame, many such artists remain quite grounded.  

(We all love hearing those stories of Elvis visiting a car lot, observing someone he didn't even know checking out a car that they could not afford, and buying it for them on the spot.)  

It took me a long time to realize that. And so now, from time to time, I may share a tale or two.  A few weeks ago, upon his death, I was asked to share some of my David Bowie stories on a few radio stations. You can hear them here:

https://www.youtube.com/watch?v=NIfH7crBMKQ

And here's one about Don Henley ...

Like many of us, since the passing of Glenn Frey, I’ve been listening to my Eagles albums quite a bit. I also watched “The History of The Eagles” documentary the other night. Four hours long and worth every minute. Such a great story.

I saw The Eagles twice. And I always really loved some of Don Henley’s solo work. “The Boys of Summer” and “The End of The Innocence” are, in my opinion, two of the best songs of the ‘80s, and so when Henley came to Montage in 2000, I was happy about the opportunity to interview him. I usually did phone interviews in the day, in the newsroom, but I think he may have been out west when we set up the interview, so his publicist asked if we could do it about 8 p.m. That was fine. And so Don Henley, the man who co-wrote most of the songs on “The Eagles Greatest Hits” - the biggest selling album of the 20th century – called me at my old apartment in Kingston.

That alone was pretty cool. I am sitting in my apartment, talking about music with Don Henley.

The story ran in the paper a few days before the show, and before he even came to town, he'd already read it online, or on the national wire, and I guess he really liked it. (All I did was tell his story in my own way and quote him accurately, so I assume he'd had some bad experiences with the press.) I later met him in person before the show and he was very appreciative of the article, which surprised me because, well, you know ... he's pretty huge and he had been written about thousands of times. At one point, he said to me:

 "Are you also covering or reviewing the show tonight?" 

I told him that I was.

"Well, is this a conflict of interest for you, being back here with me before the show?" he said with a semi-smile. 

I smiled.

"I'm not worried about that," I said. "I'm sure you're going to give a nice show, and I look forward to writing about it. And if I had the chance to come back here and shake your hand, and thank you for your time for the interview, I was going to do it." 

He said he was glad that I did, and we chatted for a bit more. I gave him a printed copy of the story, and he signed one for me, “To Alan – with gratitude. Don Henley.”

That one is a keeper.

A week or so later I opened my mail and found the letter seen above.

I am, in case you didn't know it, a "pocket of decency."

Sadly, the nickname never stuck, but if you'd like, you can still call me "Pocket.”

Looking back on that now, Henley didn’t have to do any of that. He didn’t have to do the interview, during which he was remarkably candid. He didn’t have to take a few minutes to chat before the show. The article was already published. And he certainly didn’t have to also write a follow-up letter to a guy from Wilkes-Barre.

I listen to “Hotel California” these days, or “One of These Nights,” or “Best of My Love,” and I think, “That one was pretty cool. That one was special.”

I highly doubt, with Frey’s passing, that The Eagles will ever play again. But again, I’ve been spinning them a lot lately. And I've been reminded that they were pretty special, too. And I am grateful to have had such a nice experience with one of them. 

(Alan K. Stout has covered rock and pop music in NEPA since 1992. His weekly radio show, “Music On The Menu,” airs every Sunday from 9-10 p.m. on 105 The River.)