Shine A Light/Rick Wright

I've been really enjoying the Stones' new DVD release, "Shine A Light", over the last few weeks. Filmed over two nights at New York's Beacon Theatre (a rather intimate setting for a Stones concert) back in the fall of '06 by famed director Martin Scorcese, "Shine A Light" captures Mick and the boys at the peak of their powers. The set list is an inspired mixture of under performed gems and essential warhorses including highlights like "Some Girls", "Far Away Eyes", "As Tears Go By" and Muddy Waters' "Champagne And Reefer", featuring a superb guest spot by Chicago's own Buddy Guy. Jack White of The White Stripes pops up for "Loving Cup" and does a good job of trading lines with Mick on the verses before singing a bit of harmony on the chorus. However the less said about Christina Aguilera's caterwauling on "Live With Me" the better. Jagger is in fine form throughout with Scorcese's unobtrusive camera crew documenting every last trademark strut and attention grabbing flick of the wrist. Jagger also dons a guitar for three songs ("Loving Cup", "Far Away Eyes" and "Some Girls"). The three guitar attack on "Some Girls" works particularly well with Jagger obviously enjoying himself as he digs into the strident rhythm part (just as he did on the original studio recording and much of the rest of the "Some Girls" LP) with Richards and Wood trading red hot leads behind him. Richards is at his best on "Exile"-era stomper "All Down The Line" and a tasty "Tumblin' Dice", not to mention the ubiquitous renditions of "Brown Sugar" and "Satisfaction". Wood steals the show with his lyrical slide playing on "Far Away Eyes" and "You Got The Silver", with both guitarists turning in a superb performance during the latter half of "Sympathy For The Devil", as per usual. As for Charlie Watts, he's never sounded better than he does right here, effortlessly propelling "the world's greatest rock and roll band" from behind his vintage Gretsch kit with his deceptively simple drumming. There is a few short but sweet vignettes inserted in between numbers dating back to the early sixties, but by and large this is a concert film and a masterfully executed one at that (as if anybody expected anything less with Scorcese at the helm). Bonus DVD footage includes an instrumental rehearsal of "Wild Horses" featuring some inspired Jagger harp playing, as well as live renditions of "Paint It Black", "Undercover Of The Night", "Little T&A" and "I'm Free". Absolutely essential viewing for any Stones fan and a good place to start for the uninitiated.





On a much sadder note, Rick Wright, longtime keyboardist and founding member of Pink Floyd passed away on Monday after a bout with cancer. Wright was an integral part of Floyd from day one and a fine musician in his own right. The early Floyd sound was largely built on the interaction between Syd Barrett's guitar and Wright's Farfisa organ in the studio and especially on the stage. Post-Barrett Wright composed such songs as the often overlooked gem "Remember A Day". In subsequent years he would often sing alongside David Gilmour, the blend of their two voices a huge component of the early seventies Floyd sound especially evident on classics like "Echoes" and "Time". It was also Wright who composed the music for "Great Gig In The Sky" and "Us And Them" on "Dark Side Of The Moon". A great document of just how immense Wright's contribution to Floyd really was is the "Live At Pompeii" DVD (which also highlights some top notch Nick Mason drumming). His contributions are also discussed throughout the "Classic Albums: Dark Side Of The Moon" DVD. Wright was eventually ousted from the band by Roger Waters during the making of "The Wall" due to his worsening substance abuse (according to Waters). He did appear on the subsequent tour but did not perform on the final Waters-era Floyd LP, "The Final Cut". After Waters left the band Wright was rehired by David Gilmour in time for 1987's "A Momentary Lapse Of Reason". By the time of 1994's "Division Bell" (for which he co-wrote five songs) he was once again considered a full fledged member. In 2005 Waters, Gilmour, Wright and Mason reunited for a historic one time only performance at London's Live 8. The following year Wright performed on Gilmour's solo album "On An Island" as well as joining his old bandmate for the highly acclaimed tour featuring many Floyd classics. You can visit Wright's wiki page for a more complete history as well as reflections from Gilmour, Waters and Mason upon hearing the news of his death. RIP Rick Wright, an often underrated talent and fine all around musician.

Lemonheads at Abbey Pub

Just last week I once again went to see my beloved Lemonheads for both nights of their two day stand at Abbey Pub. Evan Dando and co. were back in town so soon after December's Double Door shows to celebrate the reissue of their seminal 1992 album "It's A Shame About Ray" which was recently re-released by Rhino Records. Both shows featured "Ray" performed in it's entirety along with a slew of other songs. This time around found the most excellent duo of Vess Ruhtenberg and Devon Ashley once again holding down the bass and drum duties respectively.

Thursday night's show kicked off with my buddy Thax Douglas reading his new poem Lemonheads No. 3 whislt a bemused looking Evan tuned up. From there the band launched into an overdriven take on the rarely performed "Ray" opener "Rockin' Stroll" and we were off and running with little fanfare. By the time of "Rudderless" things really started to gel and you could feel everybody up front really getting into it, myself most definitely included. That was followed by what was one of the best damn versions of "My Drug Buddy" I think I've ever heard and lord knows I've heard quite a few! "Turnpike Down" was great to, both bittersweet and "punchy" at the same time. The energy level really picked up during "Bit Part" and "Allison's Starting To Happen" with everyone boppin' up and down and singing along, and Evan looked pretty content at that point. After the "Ray" segment ended Evan launched his usual solo spot which featured classics like "Being Around" and of course "Outdoor Type". He did "Into Your Arms" in A with the capo up high on the neck of his guitar and did the same for "Skulls" both nights, which came complete with some rather trippy echo effects on the vocals. My favorite part of the night this time around was when the full band came back out. "Down About It", "Great Big No", "No Backbone" and "If I Could Talk I'd Tell You" all sounded killer and that new arrangement they worked up for "Style" over the last year or so was pretty damn epic. All in all an absolutely top notch show. Click here for Spin's review of that first night complete with some really nice pics.

I couldn't believe how crowded it was for the Friday night show. We're talking "packed"! Could barley move, let alone breathe and was surrounded by loud, pushy drunks up front. Evan arrived about ten minutes after showtime and walked straight onstage in his typically nonchalant manner, sporting some goofy sunglasses and clutching his backpack. He quickly picked up his guitar, plugged in and went straight into "Close Up The Honky Tonks" which was totally cool before starting the "Ray" set. A couple songs in I went upstairs to the balcony to get away from the strain of the crowd. Everything sounded great up there though. Crystal clear actually. I pushed my way back up front for the solo set which on this night featured mesmerizing takes on "Frying Pan", "Big Gay Heart" and "Ride With Me". "Big Gay Heart" sounded especially good and was definitely a crowd pleaser. When the band came back up they did a lot of the same songs as the previous night ("Down About It", "Great Big No" etc.) though this time "Stove" was played which was one song I really wanted to hear the previous night. So that was awesome and I was right on the side of the stage for that last part of the show which was totally cool. "Style" and "No Backbone" closed things out with "Style" once again being a highlight. All in all, another top notch showing from Evan, Vess and Devon. Posted below are some snapshots I took that second night including quite a few shots I took from the steps at the side of the stage. I also shot some video during "Frying Pan", "Big Gay Heart" and "Style".





















"Frying Pan"


"Big Gay Heart"


"Style" (from the stage steps!)


I feel really grateful that Mr. Dando has blessed us Chicago fans with so many memorable appearances in recent years and especially fortunate to have seen him four times in the last few months alone. For these are truly some of my all time, all time favorite songs. Some of the finest songs ever written in my not so humble opinion and whenever I get to see them performed live in such intimate settings it's a deeply personal, downright transcendent experience for me. I believe the phrase I'm looking for is "life affirming". All's I know is it sure helps keep me going. Wherever that may be....

The Kids Are Alright

So last night I went to a screening of the infamous Who rockumentary "The Kids Are Alright" at Chicago's famed Music Box Theatre. My dear friend and sometimes bass player, Mr. Dara Sahebjami had bought the tickets and invited me along. The last time I went to the Music Box was back in the mid-nineties when my uncle took me to a viewing of "Citizen Kane" (I was going through a pretty big Orson Welles phase at the time) so I was lookin' forward to it. Last night's screening was hosted by Jim DeRogatis and Greg Kot of Sound Opinions fame, and afterwards they hosted a little Q and A. I had of course seen this film many times but never on the big screen before. The sound wasn't the greatest but it was still a cool experience nonetheless. The theatre was pretty well packed but judging by the crowd's reaction to some of the more comical scenes it was clear that a lot of the people in attendance had never seen the film before. This was confirmed by some of the comments I overheard outside after the screening. I must admit, I was kinda surprised by that. After all, I took this screening to be something of a celebration of one of the all time classic rockumentaries, and I just assumed most anybody there would already be well familiar with the film. That wasn't the case really and I guess I just found that to be a little disappointing, especially given the fact that much of this footage has popped up in numerous other documentaries and what not since the film's initial release in 1979. I guess sometimes I just forget that not everybody lives and breathes rock and roll the way I do. It just is what it is. Still, it was clear that most everybody who bothered to come out really enjoyed the film and I guess that's what really counts. Better late than never, as they say.

"The Kids Are Alright" was directed by one Jeff Stein. It's largely comprised of archival footage of the band in action dating back to the mid-sixties as well as performances that were specifically filmed for the movie, namely the infamous footage of "Baba O' Riley" and "Won't Get Fooled Again". These performances would unfortunately be Keith Moon's last with the band, as he passed away prior to the film's official release. In many ways "The Kids Are Alright" was something of a Moon tour de force and most definitely his swan song. His keen wit and infamous buffoonery are highlighted throughout the film's non-linear narrative, and when it comes to the performance footage itself it's nearly impossible to take your eyes off his thunderous, madcap drumming. The famous footage of "Baba O' Riley" and "Won't Get Fooled Again" finds an out of practice, out of shape Moon struggling to keep up in parts. Yet, he still attacks his drums with a tenacious verve that very few lesser drummers could conjure up. My personal favorite footage is of the band jammin' on "Barbara Ann" with Keith on the lead vocal (Keith was famously fond of surf music and The Beach Boys in particular). I've always enjoyed the montage of footage from the "Who Are You" sessions as well. Both scenes find Keith keeping his bandmates in stitches despite the dark road he was now traveling. It's almost heartbreaking to watch but given the turn of events that soon followed, a true treasure to have on film.

For a more complete history of The Who, I would highly recommend last year's critically acclaimed documentary "Amazing Journey: The Story Of The Who" which features extensive interviews with Daltrey and Townshend as well as plenty of archival footage of the late, great Entwistle and Moon. Officially sanctioned by the band as the "definitive Who anthology", it's one of the most comprehensive and downright entertaining rock documentaries I've ever had the pleasure to view.

Both "The Kids Are Alright" and "Amazing Journey: The Story Of The Who" are currently available on DVD.

Buddy Holly

It was forty nine years ago today that one of early rock's greatest pioneers, the one and only Mr. Charles Hardin Holley, better known as Buddy Holly, met his premature fate in a snow covered, Iowa cornfield along with fellow recording artists and tour mates Ritchie Valens, J.P. Richardson aka "The Big Bopper" and Roger Peterson, the plane's pilot. Though Buddy was only around for a short time his innovations were many and his influence vast (The Beatles, The Stones, Bob Dylan, Eric Clapton etc. etc.). In addition to helping popularize the Fender Stratocaster amongst rock artists, Buddy, along with Chuck Berry, was one of rock music's first singer/songwriter/guitarists, largely rising to fame on the strength of original compositions like "That'll Be The Day" and the million selling 45 "Peggy Sue". He was also one of the very first rock artists to utilize Les Paul's early overdubbing techniques, synching two tape machines together to perform sublime harmonies with himself on outstanding original compositions like "Words Of Love", "Listen To Me" and "Wishing". If all this wasn't enough he was also one of the first rock artists to utilize full fledged orchestration on later recordings like the Paul Anka penned "It Doesn't Matter Anymore" and the self-penned "True Love Ways". One can only imagine what heights Buddy would have scaled had he not boarded that plane on that fateful night and continued to evolve as a writer, producer and arranger. Still, as it is his recorded legacy and it's subsequent impact on the British Invasion, as well as every generation since, is truly immeasurable.



For further reading on Buddy I would recommend Ellis Amburn's slighly controversial but truly exhaustive bio titled simply "Buddy Holly". Posted below are a handful of Buddy related links I've gathered including youtube links to his appearances on Ed Sullivan, backed by his legendary group The Crickets (featuring bassist Joe B. Mauldin, drummer Jerry Allison and eventually rhythm guitarist Niki Sullivan). At the time of his death Buddy was touring with a new backing group featuring Waylon Jennings on bass, Tommy Allsup on guitar and Carl "Goose" Bunch on drums.

Buddy Holly wikipedia entry
Buddy Holly Online
The Official Community Of Buddy Holly
buddyhollyarchives.com
"Oh Boy" live on Ed Sullivan
"That'll Be The Day" live on Ed Sullivan
"Peggy Sue" live on Ed Sullivan
recent footage of the crash site

Lemonheads at the Double Door

Earlier this week I went to go see my beloved Lemonheads two nights in a row at Chicago's famed Double Door and I'm pleased to report it was an absolute blast! This version of the group features Mr. Evan Dando being backed by Karl Alvarez (bass) and Bill Stevenson (drums) of the legendary punk group The Descendents (Stevenson wrote a couple of the tracks on the most recent Heads album and co-produced the album with Dando).

Tuesday night's show kicked off with Chicago poet laureate Thax Douglas reading the Lemonheads poem he wrote after last year's Double Door shows. After that Evan and company hit the stage and launched into a rousing version of "Hospital". What followed was an absolutely top notch show. Bill really kicked things into high gear during "No Backbone" and by the time they got to such Heads classics as "Confetti" and "Down About It" he and Karl were flexing like a well oiled machine. Powerful stuff indeed! I was right up in the front row, directly underneath Evan and got to be one of the people who strummed his guitar for "Down About It" which was pretty cool. After a good forty five minutes or so featuring a superb mixture of classic Heads tracks ("Bit Part", "Buddy", "Great Big No", "Ray" etc.) an excellent full band rendition of "My Idea" (from Evan's 2003 solo album "Baby I'm Bored") and a few tunes from last year's self-titled album ("Let's Just Laugh", "Black Gown" and "Steve's Boy"), Karl and Bill left the stage for Evan's solo interlude. The highlight of the entire set for me personally was probably his solo take on "Mallo Cup". That was really right on and to top it off he followed it up with "Don't Tell Yourself" (another personal fav of mine). When the band rejoined him they rocked out on "Pittsburgh" and "If I Could Talk I'd Tell You" before tearing the roof off the place with "Come Back D.A." and that was that.

As with most Dando/Lemonheads shows I've seen at Double Door there was really good vibes in the air amongst those of us gathered upfront. One drunk fella was so excited he kept hugging me. He eventually got kicked out but I didn't really mind him. I do recall at one point prior to him getting booted he grabbed my beer out of my hand and started chugging from it! I couldn't help but laugh.

Here's some pics from that first night....













Prior to Wednesday's show Thax introduced me to Evan (who was very cool) and we took a pic together. I had on one of my old Lemonheads T's (the green "happy cow T") and Evan said something about it being the "happiest/cheesiest" Heads T ever. LOL! I also had just bought a limited edition yellow vinyl version of the self-titled album. I joked "should I be a complete dork and hold this up" at which point he took it from me and held it up himself. Taking that pic was probably one of the happiest moments of my entire life and it turned out really well.

As far as the show itself goes, it started off in much the same way with Thax reading a new Lemonheads poem he had just written entitled "Lemonheads No. 2", except this time Evan indulged in a bit of free form jammin' before launching into "Hospital". The vibe in the air wasn't as intense as the previous night (probably due to the fact that there wasn't as many people there) but I for one quite dug the more casual vibe and I fully expected the second night to be the "looser" of the two shows anyway. The first half of the set featured many of the same songs as the previous night but Evan's solo set was completely different (aside from the long time concert staple "Outdoor Type"). He had hinted at the classic Black Flag song "Nervous Breakdown" a few times before finally playing a segment. After that he sang a Dando-fied segment of Christina Aguilera's "Beautiful" that was well, beautiful, before playing through some outstanding renditons of "Kitchen" (which I got on video), "Frying Pan", "Favorite T" and "Ride With Me". I was standing in the front row, directly underneath him for the second night in a row and when it came time for the solo set I was pretty much on cloud nine. There's one moment in particular that sticks out in my head where I was leaning against his vocal monitor watchin' him finger the intricate chord voicings for "Favorite T". It's hard for me to fully explain but it was just very, very cool. Once the band rejoined him they took things up a notch with "Pittsburgh" and "Into Your Arms" before ending the set with another primal, ear splitting take on "Come Back D.A.". In addition to meeting Evan with Thax before the show I may have also been sitting next to Karl. I wasn't sure if it was him or not though so I didn't say anything. I did however briefly chat with Bill after the show who seems like a really genuine and gracious guy.

All in all, I had the time of my life at these shows. Tuesday's show was probably the stronger musically, but Wednesday had some great moments to. In fact, I enjoyed it every bit as much, if not more so. It was just a really fulfilling experience for me in every way....

Evan Dando and Thax Douglas


a very happy me with Evan


Thax reading "Lemonheads No. 2"


Evan and his "favorite T"














"Kitchen"


Next up for Evan is another new Lemonheads album to be recorded once again with Bill at his Blasting Room Studios in Colorado. The sessions are set to begin in January after this three week mini-tour wraps up. In addition to Bill and Karl's involvement, Evan's other most recent touring band of Devon Ashley and Vess Ruhtenberg (whom I saw backing Evan last year at Double Door) may be involved as well.

Also on tap for the new year is Rhino Records deluxe reissue of "It's A Shame About Ray" which will feature b-sides, never before released demos for the landmark album and a bonus DVD. That set is scheduled for release in March.

SFTD: Art and Rock and Roll Since 1967

Last week I attended MCA Chicago's new exhibit "Sympathy For The Devil: Art and Rock and Roll Since 1967", a massive undertaking which takes up two of the museum's three floors. The exhibit is meant to shine a light on the symbiotic relationship between contemporary art and rock music that has flourished for the last forty years.

Although many early rockers including John Lennon, Pete Townshend and Eric Clapton had attended art school the real roots of this cultural cross pollination probably has it's basis in Andy Warhol's infamous Exploding Plastic Inevitable show, a series of multimedia "happenings" built around the streetwise sounds of the Velvet Underground. So it's only appropriate you're greeted upon arrival by the multi-sensory overload of the EPI in the form of some of Warhol's "screen tests" (minimalist film portraits of Velvet Underground members Nico, Lou Reed, John Cale, Sterling Morrison and Maureen "Moe" Tucker) whilst Ronald Nameth's film "Andy Warhol's Exploding Plastic Inevitable" is simultaneously projected on a nearby wall. Nameth's film was shot here in Chicago during the EPI's residency at Poor Richard's in June of '67 and features Velvet Underground performing in a hail of strobes and other psychedelic effects whilst some of the very "screen tests" on display are projected behind the band. The barrage of images and searing VU soundtrack perfectly encapsulate what Warhol's' vision for the EPI was all about.

From there the visitor encounters drawings, paintings and photographs by a diverse batch of acclaimed artists who've all influenced or been influenced by rock music in some way or another, including familiar names like Raymond Pettibon and Mike Kelley, artists I originally became aware of through their association with Sonic Youth (when reading a recent interview with exhibit curator Dominic Molon I learned that he too became interested in these artists via Sonic Youth and other like minded bands). One of the exhibit's stand out pieces is a vivid video recreation of Gerhard Richter's burning candle painting that Sonic Youth used for the cover of "Daydream Nation" by artist Jay Heikes. Other highlights include the gloriously deranged Parliament-Funkadelic album covers on display, designed by Chicago's own Pedro Bell, and Christian Marclay's installation "1,476 Records" which features hundreds of vinyl albums spread out across the gallery floor. I was also taken by Rirkit Tiravanija's conceptual piece "Untitled 1996 (Rehearsal Studio No. 6 Silent Version)" which basically consists of a makeshift rehearsal/recording studio erected in the middle of the gallery. Musicians are encouraged to participate in the ongoing venture but must call ahead to schedule a block of free studio time.

It's hard to believe that this is the very first exhibit of it's kind. As somebody who's always been interested in rock musicians who draw from other art forms as well as artists of all stripes inspired by the freedom and the directness of rock itself, it seems a no brainer. But perhaps what really makes "Sympathy For The Devil" tick is it's less than obvious approach. If you're expecting a bunch of famous album covers on display you will be disappointed. But if you're interested in the so-called "art rock" of artists like Velvet Underground, Sonic Youth, Patti Smith, Television, Talking Heads etc., as well as how rock music as a whole fits into the larger cultural landscape then this is the exhibit for you. And while the show isn't entirely devoted to New York based proto and post punkers (just witness Rodney Graham's massive and most excellent, reverse negative Black Sabbath portrait) that particular movement does make up a good chunk of the featured content. The exhibit will continue to run until January 6th.

Clapton- The Autobiography

On October 9th Eric Clapton's heavily anticipated autobiography was finally published. Since then the book has received a steady stream of rave reviews and I figured it's 'bout time I threw my own hat in the ring. As a devoted Clapton fan I was of course looking forward to the book's publication and expected it to be a good read, but having read the lion's share of the major interviews he's done over the last forty years I figured there probably wouldn't be a whole lot in there I hadn't already stumbled upon one way or another. I really couldn't have been more wrong. Clapton has been quite forthcoming in the vast majority of the post-recovery interviews he's granted in recent years, but never has he delved into his past demons with such unadorned honesty and cathartic detail as he does here. He's truly putting himself out there "warts and all" and the end result is a very compelling read.

According to Clapton the first draft was written with the assistance of Christopher Symon Sykes, but he felt there was too much "finger pointing" going on and he needed to take more responsibility for his years of drug and drink fueled excess, so he set about re-writing the manuscript on his own during downtime on last year's world tour. It's that absolutely personal touch that makes "Clapton- The Autobiography" so compelling. His many musical accomplishments from his time with The Yardbirds and John Mayall on through Cream, Blind Faith and Derek and The Dominos are all touched upon (as are his relationships with other rock icons such as The Beatles, The Stones and Dylan). But the real meat of the book is this man's personal journey, often complicated and sometimes tragic. It's all there. The confusing early childhood in which his grandparents were thought to be his parents and his real mother his sister. The initial rise to success which found a young Clapton still struggling to find his identity. The budding friendship with George Harrison that eventually resulted in rock's most infamous love triangle. The tempestuous relationship with Pattie Boyd that followed. The drinking, the drugs, the womanizing and of course the horrific death of his young son Conor. It's all dealt with in soul searching honesty, and more often then not, the kind of outright bluntness you hope for when such a revered figure sits down to pen his memoirs.

The main narrative of the book is Clapton's infamous struggles with drugs and alcohol addiction, which reached it's peak in the seventies and lasted well into the eighties. Some of the stories are downright shocking (such as when a despondent Clapton sat alone in his room with a bottle of vodka, a gram of coke and a shotgun contemplating suicide) but never sensationalized. He also spends a lot of time discussing his failed relationships and life long problems with the opposite sex that surely had their roots in his complicated relationship with his mother. Clapton did eventually get clean after a second trip to rehab in 1987 and was only three years sober when young Conor fell to his death in 1990, but he never relapsed. Instead it only strengthened his resolve never to drink again and since then he's devoted much time and money to helping others achieve sobriety.

Clapton makes it abundantly clear that music, particularly the blues based music that serves as his foundation, has always been and always will be his personal salvation. And despite the darkness that plagued much of his thirties and forties, he did eventually achieve the inner peace he always sought when he met his young wife Melia, who's since birthed him three daughters. It becomes readily apparent when reading the last chapter just how much this young family means to the man. Yet, despite that happy ending, you still get a sense of the old restlessness that remains deep down in his soul. And that's ok. For that restlessness is probably a big part of what makes Eric Clapton "Eric Clapton"- rock icon, loving father, survivor.

What follows are a few choice quotes for your reading pleasure....

On the infamous "Clapton Is God" graffiti that started popping up around London circa 1965-

"There's something about word of mouth that you cannot undo. In truth, I felt grateful about it because it gave me status, and, even better, it was the kind of status nobody could tamper with. After all, you can't muck around with graffiti. It comes from the street."

On falling in love with Pattie Boyd-

"I think initially I was motivated by a mixture of lust and envy, but it all changed once I got to know her. I had first set eyes on Pattie backstage at the Saville Theatre in London after a Cream concert, and had thought then that she was unusually beautiful. This impression was strengthened by spending time with her. I remember thinking that her beauty was also internal. It wasn't just the way she looked, although she was definitely the most beautiful woman I had ever seen. It was deeper. It came from within her, too. It was just the way she was, and that captivated me. I had never met a woman who was so complete, and I was overwhelmed."

On his alcoholism during the mid to late seventies-

"I wasn't too concerned about what people thought; I was drunk most of the time and having fun, fooling around and playing with the guys. Brandy was my drink of choice, but I couldn't drink it neat. Like most alcoholics I have met since, I didn't like the taste of alcohol, so I would mix it with something sweet, like ginger ale or Seven-Up. I drank round the clock, and it didn't matter to me whether or not there was a show that night, because I was always convinced I could handle it. Many times, of course, I couldn't, in which case I'd just wander off the stage and somebody, usually Roger (Forrester), would have to try and persuade me to go back on."

On the multi-platinum success of the "Unplugged" album-

"Russ (Titleman) produced the album of the show and Roger (Forrester) was like an expectant father hovering over the project, while I was fairly dismissive, saying that I thought we ought to put it out as a limited edition. I just wasn't that enamored with it, and as much as I'd enjoyed playing all the songs, I didn't think it was that great to listen to. When it came out, it was the biggest-selling album of my entire career, which goes to show what I know about marketing. It was also the cheapest to produce and required the least amount of preparation and work. But if you want to know what it actually cost me, go to Ripley, and visit the grave of my son. I think that's also why it was such a popular record; I believe people wanted to show their support for me, and those who couldn't find any other way bought the album."

On his life now-

"My family continues to bring me joy and happiness on a daily basis, and if I were anything but an alcoholic, I would gladly say that they are the number one priority in my life. But this cannot be, because I know I would lose it all if I did not put my sobriety at the top of that list. I continue to attend twelve-step meetings and stay in touch with as many recovering people as I can. Staying sober and helping others to achieve sobriety will always be the single most important proposition of my life."