Miscellenous Thoughts about technology and websites

Tech Column 2


While it’s self evident, it hadn’t dawned on me until recently that consumers of digital information are highly niched and want to be able to buffer, or hold, information until they are ready to process it. Traditional mass media vehicles such as newspapers, television and radio are learning how to set aside their content for later consumption. Buffering is an aspect of convenience that consumers have come to expect. For nearly twenty years I have hosted a three hour blues/ Americana radio program. By ‘podcasting’ Pacific Street Blues at www.podomatic.com listeners can tune in whenever they want as well as download the podcast for increased portability. No longer are consumers necessarily tied to the radio for a specific program at a specific time. It’s the same with newspapers. While the Omaha World Herald requires you to register in order to get full access to their content, The Wall Street Journal, for example, require readers to pay a fee for full access to their content. I recently signed up for access to ‘The Newcastle Evening Chronicle” on-line newspaper to read about events and stories in faraway Newcastle Upon Tyne, England. That they are able to get nearly $15 a month is incredible. So I get what I want, when I want it – interesting.

Another example of fantastic technology is a website, ‘www.tuned.mobi.com.’ Interestingly I haven’t been able to get the site to come up on anything other than a cellular telephone. The PC version is http://www.radiofeeds.co.uk/pda/ . This site allows listeners to tune into radio stations throughout the English speaking world including; Ireland, The United Kingdom, Australia and the United States. Admittedly there’s no longer any special with listening to radio throughout the world on the internet. Between ‘towered’ radio and internet only radio there are literally tens of thousands of choices. BUT, driving to work this morning I listened to Shannonside Northern Radio from Roscommon, Ireland (about midway between Dublin and Galway). The good news is that commercial Irish radio is as mundane as commercial American radio although news briefs on the lottery, a lorry wreck and Mrs. Fitzgerald’s broken fence was interesting. More so than music programming, I find call-in or talk radio the most interesting.

While not for everyone, another awesome music site for fan’s of rock music golden period is www.WolfgangsVault.com. The site is home to legendary rock promoter’s Bill Graham’s legacy and host live tapes from concerts he promoted as well as many of the now nearly mythical ‘King Biscuit Flower Hour’ series and a country music series called, ‘Silver Eagle.’ This is truly an amazing site which includes ‘Bitches Brew’ era recordings from Mile Davis, Led Zeppelin shows from 1969, Lou Reed concerts from ’73 to ’86, Vintage era Pink Floyd and more. There are interviews as well as original articles from ‘Cream Magazine’ as well as contemporary articles on today’s music. Listener’s are required to register and downloads of select concerts are also available. From obscure Yardbirds recordings to the band Kansas live at Omaha’s Civic Auditorium (July 21, 1982) – this site is a gold mine for musical exploration. There are rare and authorized merchandise, links to EBay auctions and an adjunct to look-up pending concert dates. This site has limited ability to broadcast on cellphones.


Wolfgang’s Vault now includes a vanguard music site called, ‘Daytrotter.’ In addition to editorial content regarding modern bands the site includes more than 800 songs that can be streamed or downloaded for use on your PC or portable listening device. The music you want, when you want it and at a price that’s hard to argue with (free).

What’s clear in all this is that using ‘free’ music as bait to build on-line traffic is not going to wane anytime in the near future. Much like the demise of CDs, one wonders if giving away music is wise. As CD stores have learned, if the perceived value of solid goods is eroded, if music becomes a commodity, then the value of “music” plummets. The increased niche listening habits coupled with the lowered perceived value seems to be spurring local music hubs.

Listen to the Pacific Street Blues podcast

Since 1989, twenty years ago, Pacific Street Blues has been broadcasting in the Omaha, Nebraska market.

Yeah, its a blues based radio program but we play Americana and other respectable forms of roots music as well as the sporadic archival Classic Rock track.

PS Blues is not for "purists" per se' but I reckon most folks over the age of 30 will enjoy it.
Your thoughts and input are appreciated at KIWRBlues@gmail.com.


Here's the link....
www.KIWRBlues.Podomatic.com


Thanks for listening...

Album Review Blue House's Shake Your Butt

Blue House & Sgt PepperThursday, November 10, 2005

Artist: Blue House
Title: Shake Your Butt

Over the past decade Blue House has become one of the area’s most popular live music acts. From my perspective much of this is due to the incessant marketing efforts of band leader, drummer, and vocalist Joe Putjender. However, it would remiss to discount the musicians in the band as being anything other than quite, quite good. Blue House is a polished horn-driven, pop-music, R n’ B six piece band that, on their latest album Shake Your Butt, appear to be exploring musical textures beyond the confines that generally restricts bands with less talented members. This is their fourth album and while the very nature of their genre prevents them from becoming a national touring act they are, nonetheless, exciting, tasty soloists, and dadgumit just plain fun!

On the track, “Sweet Jelly” or on, “du schoene tanzer” (beautiful dancer) the band spreads it wings and ventures into beautiful sound-scapes. Not to forgo, “who brought’em to the dance” they contrast these new sonic efforts with their traditional styles; boppin’ dance tunes and the now obligatory cheesy-schtick. Especially corny are the songs, suspiciously inspired by the band’s close relationship with KEZO FM powerhouse morning team Todd & Tyler, “Jenna’s Got a Harley” and “Shake Your Butt.” (*)

Blue House pays a proper homage to the late great John Lee Hooker, who made a career out of ripping off his own musical catalogue, with the not even vaguely disguised rip off Hooker’s “Boom Boom” on the song, “dog pound”... which includes a tasty interplay between saxophone players Stan Harper, Scott Vicroy, Joel Edwards and guitarist Wink. Not surprisingly the drums are up front and snappy as vocalist Putjender growls out his best Howlin’ Wolf imitation though much of the recording. And much like the Rollin’ Stones it often appears that the guitar reinforces the drive of Putjender’s drum with sharp chords and sassy solos.

Overall, this is a very strong album that stands up to repeated listening and worth your precious ear time.

In a recent conversation with Putjender we discussed using this talented vehicle to push the limits of local recordings by exploring well outside of the established ‘Blue House’ sound. Personally I hope they choose to take a musical left curve. On, ‘Shake Your Butt’ the band shows all the indications of having the ability to explore: this band has the ability to create a musical piece of art that few, if any, other local bands could produce. While I don’t intend to denigrate the band by making an overtly ridiculous comparison, I suggest that this band should consider making the equivalent of THEIR Sgt. Pepper’s album next.

***************************************************

(*) Speaking of Todd & Tyler, while their Pro-gambling, anti-Republican, anti-Nebraska football, redneck-philosophizing antagonistic routine can predicitably drone on, (love'ya guys!) our community owes a great deal to these two yobs. Instead of sitting comfortably in the catbird seat as the area’s top rated radio program, and complacency is the soup d’jour for commercial radio, Todd n' Tyler offer the power of their bully pulpit to promote local & traveling musicians to reach a massive audience that is otherwise out of reach and out of budget. These guys are 100% Pro-Omaha and they deserve our respect and gratitude for choosing to ‘put up’ and not ‘shut up.’ Specifically, Journal Broadcasting in general is leading the charge to tie back to local musical talent and, from these 'Tired Eyes' their efforts have not gone unnoticed nor unappreciated.

Album Review Susan Tedeschi's Hope & Desire

Blues Album of 2005Thursday, October 27, 2005

Artist: Susan Tedeschi
Album: Hope & Desire
Rating: Exceptional

It's not like me to gush over a new album; however, the latest effort by Bostonian Susan Tedeschi deserves that rare praise. Her latest album, Hope & Desire, is "all that and more." According to her official website, "Hope and Desire, Tedeschi's fourth album (actually it's her fifth) and her first for Verve Forecast...She puts a soulful, unmistakably personal spin on a heartfelt set of songs drawn from such diverse sources as Ray Charles ("Tired of My Tears"), the Rolling Stones ("You Got the Silver"), Bob Dylan ("Lord Protect My Child"), Aretha Franklin ("Share Your Love with Me"), Donny Hathaway ("Magnificent Sanctuary Band") and Fontella Bass ("Soul of A Man")" as well as "Security" by Otis Redding.

After her initial release on the Oarfin label, the self distribute, Better Days, Tedeschi was featured on the cover of Blues Revue magazine as an unsigned artist. A bold move for an unknown artist; however, album after album Tedeschi has delivered a vibrant interpretation of modern electric blues. While the physican comparisons to Bonnie Raitt are inevitable (redheaded female blues guitar player), Tedeschi's songwriting is inadequately noted in a genre where songs are so often the missing link of artistry. Recently the New West record label released a DVD/CD companion piece of Tedeschi as a part of their 'Live in Austin' series. While possibly not as electrifying a performer as most blues-rock fans might want, her cover of Stevie Wonder's, "Loves in Need of Love Today" is a show stopper.

Tedeschi's newest has all the makings of being this year's most significant blues release. Susan Tedeschi is setting a foundation to be one of this generations finest modern electric blues performer with the missing link being her ability to cross over from the blues niche to the much wider rock spectrum. Her music contain melody lines that are more complicated than the standard I, IV, V chord progression of most blues and consequently her songs are more likely to stay with you upon repeated listening. The third song on the album, Bob Dylan's, "Lord Protect My Child" is haunting and beautiful. To date four offers have been made for her to play the Omaha market; which she has yet to do. I understand being a new mom with a husband that also travels (Derek Trucks - solo / Allman Brothers). Anymore Omaha's track record as a great live music town is well established and it's time that Tedeschi's management woke up.

Joe Bonamassa Interview/ Article

Joe Bonamssa interview - October '05Saturday, October 08, 2005

"The Finest in Rockin' Electric Blues"The Joe Bonamassa Group

Thursday, October 13th
Scottish Rites Hall ( An Intimiate Orpheum Style setting )20th & Douglas - -
Free parking SOUTH of the Hall

with - - - -
The Kris Lager Band & friends - featuring;
Matt Whipkey (Anonymous American)
Sarah Benck (and the Robbers)
Andrew Bailey (Jazz Holes)
Heidi Joy, and
Rollin' Brian Leichner

ARTICLE:

Mention names like Eric Clapton, The Rolling Stones, Led Zeppelin or Jeff Beck and you’re talking about the great blues-rock acts of the ‘60’s. Each of these English acts relied on turn-of-the-century American blues artists like Robert Johnson, Muddy Waters, and later on B. B. King. As Omaha’s music scene becomes a national magnet more up & coming national acts are finding the Welcome mat is out for them too. When The Joe Bonamassa Group headlined for thousands at the ‘05 Playing With Fire concert series he’d already developed a core that embraced the young blues-rocker sensation from upstate New York. By the time Bonamassa played his first area show, opening for B.B. King at Westfair in 2003 (at the age of 23), he’d already been guesting with BB on Kings tours for well over a decade.

Bonamassa’s career began at the age of 14 with Capitol Records band Bloodline. “I record that album when I was 15; it was a month before I got my drivers license. The band consisted of Waylon Kreiger, the son of The Doors Robbie Kreiger (guitar), the son of the original bass player for the Allman Brothers Berry Oakley Jr. and Aaron Davis - son of the great Miles Davis. I was enrolled in two schools at the time of my high school graduation; a school for kids in entertainment and my home town school. I had the option of getting a diploma from my home town High School so that morning we rolled up in the tour bus, I walked out, some people had thought I’d dropped out, but I got my diploma, got back on and drove to the next gig. We were playing all over the world. I didn’t have most of the childhood experiences that most kids have but I traded them for something that was pretty unique.”

When asked about coming back Bonamassa says, “I am so looking forward to getting back to Omaha. It’s been over a year! We had to go out with ‘The King’ (B.B. King) this summer: we had to pay homage to the King. I sat in with him a couple of nights ago, on the last night of the tour, and I’ll tell you what, that man sings so powerfully, he’s always in great spirits, always plays great, always very cordial to his band and to us: that night he had 75 - 80 people on the bus. That’s a testament to how appreciative he is of his fans.” King’s album, ‘Live at the Regal” is one of Bonamassa desert island discs. “Live at the Regal is my favorite album: I just had to wait for my vocal ability to catch up before I was going to record something by B. B. (King). It took awhile. My albums, ‘Blues Deluxe’ and ‘Had to Cry Today’ were back-to-back albums that are the most cohesive albums I have”

So when is the next record coming? “We start recording at the end of November and plan to have it out in March ‘06. But before that we’re going to release a DVD that we did at ‘Rock Palace’ (The Austin City Limits of Europe) in Germany.” It will be the second DVD and sixth album. “We recorded a live show and got the DVD back a month ago. We were watching it and we were blown away by it:. There were only 300 people at the (sold out) show in a tiny room: it’s very intimate. But for the next album I’d like to pull out the old rolodex of famous friends to see who is available and get them on the new album. On the last two albums people were just starting to get to know us and I think this next one will be, boom, here’s who we are and I thing people are going to really dig on it.”

The band can’t help but get better and better. “We’re out about 200 - 240 days a years. Crowds are starting to get bigger and more people are discovering us. It’s all beginning to happen for us, especially in Europe. We did over 100 shows this summer alone!” say Bonamassa. “We have a very loyal fan base and those folks have been talking. The word of mouth is beginning to spread. We usually do about 1000 people a night on our own in theatres and ‘everybody knows my name’ now, it’s very cool.”

Don’t you find that the blues audience tends to be older and seem reluctant to give new young artists a chance? “There’s a group of us out there Kenny Wayne Shepherd, Jonny Lang, North Mississippi All Stars, Derek Trucks, Mato (of Indigenous) and a few others; a bunch of great, young players out there now.” Is the problem radio? “A lot of the blues mainstream radio who believe that blues-rock is not really blues, but it is. If you listen to B.B. King he’s got a ton of blues-rock songs in there. We did a song last year, ‘Never Make Your Move Too Soon’ which is a rock track with B.B. singing on it. I think the problem is there’s a sort of a battle being underscored between purists and people that want to see the music sorta morph & change. You’re not going to master the Masters; there’s only one Muddy Waters and one Robert Johnson but it’s okay to try and take all those influences and put them together and make something of your own. I mean Clapton did it in the ‘60’s, the Rolling Stones, Zeppelin, Paul Kossoff (Free / Backstreet Crawler), Jethro Tull, Jeff Beck. They all did something cool and it was based on the I, IV, V chord progression. It’s the blues.” When you play live you delve into some archival classic rock licks in the middle of an extended solo. “Yeah, we play everything from (Jethro) Tull to Starship Trooper from Yes. And it’s kinda weird, in the middle of a blues show, but I’m a firm believer that anyone that likes the blues remembers Yes. They went and saw King Crimson and it’s some of the stuff that I love too. We try to mix it up so it’s never the same changes over and over again. We never want the audience saying ‘I’ve heard this’ for the first three songs and then the next eight are the same-old, same-old. I always want people to be challenged and surprised by what we give’em in a live show.

Bonamassa was on the DVD about Atlantic Record producer Tom Dowd (Allman Brothers, John Coltrane, Otis Redding, Lynyrd Skynyrd, Ray Charles, Derek & the Dominos, Eric Clapton, Cream, Thelonious Monk, Aretha Franklin) “If you listen to Classic Rock radio at all you hear Tom’s work 20X a day. I am so proud that my first solo album, ‘A New Day Yesterday’ was the last full album that Tom ever produced. It was so great to get to know Tom; to be his friend for the last 3 years of his life. He was such a wonderful human being. The people who know Dowd worship him but those that don’t, once they watch his DVD, ‘Tom Down & the Language of Music’ find he was a very interesting man.” As a physicists on the Manhattan Project (the development of the Atomic Bomb) to developing the eight track recording process along with Les Paul. Dowd was instrumental in the development of the modern recording process, R n’B, and Southern Rock. “After Tom’s work on the Manhattan Project he was sworn to secrecy. So when he went back to Columbia University he sat through the classroom lectures knowing that he’d proven much of what was being taught was wrong but he had to get a job somewhere. So he started working in a recording studio as an Asst Engineer for Atlantic Records.”

The Joe Bonamass Group appears in concert, Thursday, October 13th at the Scottish Rites Hall, 20th & Douglas Streets in Omaha. Ticket are avaiable at www.etix.com or Homer's Music Stores. Opening will be the Kris Lager Band & Friends including; Matt Whipkey, Sarah Benck, Andrew Bailey, Heidi Joy, and Rollin' Brian Leichner. Joe Bonamassa with www.Bluezine.com artist of the year in '05. Bonamassa's album. Blues Deluxe was album of year in 2004 for KIWR's Pacific Street Blues' Rick Galusha (who wrote this article).

KIOS' fm Mike Jacobs Celebrates 11 "blue" years on the radio

KIOS Jacobs celebrates 11 blue years

Tuesday, October 04, 2005

Mike Jacobs KIOS celebrates 11 years of ‘Blues in the Afternoon. Yes, the blues is still alive and well in Omaha! Over that last eleven years, every Monday except one,(since October 4, 1994), from 2:00 until 3:30 p.m., Mike Jacobs has returned to the same studio where he had earned his High School diploma . Mike goes in to play albums and share his love of an American folk art with listeners throughout most of Eastern Nebraska and Western Iowa. “Our (KIOS fm) mission is to encourage student involvement and education (in the broadcasting industry)” says the Jacobs. But when it comes to his love for blues and jazz, “They are going to have to carry me out of here in a casket” say the thirty-nine year old ‘84 graduate of Tech High School (their last graduating class). “I know I never want to give this up.”

After graduating from the Omaha Public School’s broadcasting program Jacob’s attending UNO and was an instrumental voice on the inter-campus station KBLZ. From there Jacobs graduated to commercial radio including a weekend stint at KKCD. These days the man behind “that” voice works full-time with Omaha’s National Public Radio affiliate KIOS (91.5 fm) that is owned and operated by Omaha’s school system. His show, Blues in the Afternoon’ celebrated its eleventh year on Monday, October 3rd.

When asked what he tries to accomplish with the music that gets aired, the youthful middle aged deejay chimes in, “I don’t think the price of CDs is going to come down anytime soon and my show allows fans to hear some of the album before they go out and spend their hard earned money. During the show I try to touch as many blues bases as possible; from R.L. Burnside to Marcia Ball to Kansas City jump and of course our acoustic set. When it makes sense I also try to feature an album so the listener gets a real feel for the album. I suppose I look at an album as a body of art.” It also sounds like relaxed education process so listeners get a chance to keep up with the flood of albums in the market. Chicago based Alligator Records owner Bruce Iglauer recently went on record as saying that Whites are incapable of playing blues. “Oh I don’t know about that. Sure. Yes, anybody can play the blues! Europeans really love the blues, I think (blues) will make in-roads into China over the next ten years. The blues are a global experience and everyone is invited to join in...sometimes whether they want to or not!” laughs Jacobs.

But what about the students? “This is really why we are here. We usually have about a dozen students in the program. I help with production, pronunciation and programming issues. The students are required to create a show about a significant jazz artist that is worthy to air on the station.” Jacobs goes on to discuss that it is important to help kids learn about their culture and feel a sense of pride even if jazz & blues are not what they are listening to at this stage in their lives. Jacobs proudly notes, “We did have one young kid that did a show on (jazz saxophonist) Coleman Hawkins. Afterwards he told me it was some of the best stuff he‘d ever heard; so I got him a list of essential Coleman’s recordings. It was cool to turn a kid onto something great like that.”

“My favorite living blues player is probably Buddy Guy” a contemplative Jacob’s finally says when asked. “But I love the old guard such as Muddy Waters, Howlin’ Wolf, Otis Rush and Magic Sam. Right now I am especially enjoying Kansas City’s Jay McShann “ Whether it’s on his blues show or the Wednesday & Friday afternoon Jazz programs Jacobs lends the power KIOS’ audience to local artists. “We’ve had Dave Stryker and Karyn Allison as well as Luigi Waitts, Preston Love, and Jorge Nila on the air live. I’d like to do more of that in the future” says Mike. “Interviews sound better in the studio (than over the telephone).”Local blues artist Kris Lager says, ‘Blues in the Afternoon’ is a show I have to catch every week. Mike’s one of the wells I can go to discover great music... I really love that show.” Jacobs makes it a point to talk about local acts, “I really enjoy Sarah Benck & the Robbers, Matt Whipkey & Anonymous American have a future in front of them and The Tijuana Gigolos - who I saw open for Link Wray at the Zoo Bar. You can really feel the area’s music scene is healthy.”

Like so many blues fans today young Mike Jacobs came to the blues through rock & roll. “I loved the Rolling Stones, Clapton, Allman Brothers, and Janis Joplin. A couple of weeks ago I played ‘Back of My Hand’ off the newest Rolling Stones album. It was an appropriate blues track. I’d read the album credits and see a song was written by C. Burnett. Who’s that?, Oh, Howlin’ Wolf, and off I would go to find about more about this Howlin’ Wolf character. The Stones were great about that.” When asked about the heritage of so-called spotlight programming in Omaha’s radio market Jacob’s lights up, “I can remember working with Steve Sleeper. I was working over-nights and he would come in on Sunday mornings to do his show, ‘Jazz Brunch.’ I remember when Steve was on the original KQ98 (along with Mike Cody, Paxton West, and Kevin Casaria). It was a golden period in radio. Today the playlists (on commercial radio) are so tight and the medium is so competitive that there are a lot of dissatisfied listeners.” Is the ‘art’ of radio is dead? Jacobs thinks for a moment and says, “I can’t say that but there are more and more people looking for vibrant, intelligent alternatives. I try to have a good show that is entertaining. I know when it’s good, all the songs fit together, time flies by and things are just groovin’. And the emails or phone calls come in.”

More and more public radio fills a listener need and keeps an artform out front. “I don’t know that the blues has died. It’s coming back in terms of programming. The Blues Society of Omaha has about 1,000 members now and with the opening of live music venues such as Mick’s Tavern in Benson or Sokol Auditorium you could say the blues is ‘still alive and well’ in Omaha: that rumours of its death have been greatly exaggerated he repeats.”

Album Review Rolling Stones Bigger Band

Rollings Stones MUCH Bigger BangSaturday, September 17, 2005

Artist: The Rolling Stones
Title: The Bigger Bang

Once again the Rolling Stones thumb their noses at the conventional wisdom of the established Anti-Establishment.

When they began in 1962 the Rolling Stones thwarted conventional wisdom by playing American blues rather than the Trad Jazz or Skiffle that was popular with English kids at the time. By juxtaposing their career path against that of the more accepted Beatles during the 60’s the Stones extended the life of their band. With the release of their latest studio effort, The Bigger Bang’ the Rolling Stones have, as best I can figure, 24 studio albums, 8 official live albums, numerous boxset, and (at least) 18 domestic Greatest Hits packages. While the rest of the world was coming off the bliss of Woodstock, in 1969 the Stones suffered through the death of founder Brian Jones (guitar), the murder of a fan (Meredith Hunter), during their free concert at Oakland’s Altamont Speedway (and captured in the film, Gimme Shelter), the eminent firing of manager Allen B. Klein, a shift from “pop” to a rootsy-blues band, and replacement guitar player Mick Taylor. Any one of these could have easily broken up the band; inexplicably the Rolling Stones not only survived but went on to record some of their best known material.

With the 1972 release of, ‘Exile on Main Street’ conventional wisdom trashed the double album.

In 2004 Rolling Stone magazine placed ‘Exile on Main Street’ in the Top Ten best Rock albums.

In 2005 critics besmirch the band who’s youngest member, Ron Wood, is 58 years old. Sixteen years ago, with the 1989 release of their ‘Steel Wheels’ album conventional wisdom joked about the “steel wheelchairs tour.” Yet this same caste of critics praised Muddy Waters, while in his late 60’s for his trilogy of Blue Sky recordings with Johnny Winter. Evidently conventional wisdom says it’s okay for a African American blues act to be active into their seventh decade but Englishmen need to fade away. I’m nor even going to pretend to give an unbias review of the latest Stones album, ‘The Bigger Bang.’ I have featured three tracks on PS Blues for the last month. “Rough Justice” was probably written by Mick Jagger and harkens back to “Sad, Sad, Sad” from the Steel Wheels album. After the lackluster Bridges to Babylon album the band hasn’t rocked this hard in the studio since the release of the irresprisable ‘91 anti-war anthem, “High Wire.” “Back of My Hand” is a blues track and exhibits the Stones in one of their strong suits.

When they released the blues track, “Honest I Do,” for the ‘Hope Floats’ soundtrack, some called for a blues album by the band. In fact lead singer Mick Jagger recorded a serious blues solo album with the band, The Red Devils, although to date it is available only as a bootleg. Finally, “Streets of Love,” is a typical post-86 Jagger ballad ala’ the “Voodoo Lounge” album. With the (struggling) sobriety of guitarist Ronnie Wood it’s clear he’s giving the band a new level of energy by getting them to play songs long forgotten in venues much too small and keeping them on stage.

Throughout their 40+ year career the Stones have successfully ignored conventional wisdom.

The only difference is they are now thumbing their nose at the ‘Established Anti-Establishment’ and may God bless’em for doing so. As Keith said on opening night of the, Bridges to Babylon’ tour, “Any day above ground is a good day.”

Incidentally, conventional wisdom berates the band for the plethora of Greatest Hits packages. Twelve or 66% of their domestic Hits albums came out on the ABKCO label, owned by former manager and industry bad guy Allen B. Klein (company), AFTER the band had left Klein and the Decca label.

So much for conventional wisdom.