The 500 - #204 - Modern Times - Bob Dylan

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #204
Album Title: Modern Times
Artist: Bob Dylan

Genre: Folk Rock, Blues, Rockabilly, Americana
Recorded: Clinton Recording Studios, New York City, U.S.A.

Released: August, 2006
My age at release: 41
How familiar was I with it before this week: Not at all

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Workingman Blues #2

The opening act, sometimes called the warm-up or supporting act, is a performer or ensemble who entertains a crowd at a concert in advance of the feature act or "headliner".  This can be a challenging gig. Opening acts are typically given a smaller area on the stage on which to work, which can mean a reduced light show and less sound equipment. This is because they often need to perform in front of the headlining band's equipment. Add to this the sporadic arrival of a disinterested, unenthusiastic audience and it is easy to understand how this might be disheartening.

The first large rock concert I attended was in the summer of 1980 when Van Halen came to London, Ontario. I wrote about the experience in 2020 in the context of their debut record (#415). At the time, I didn't know about, or expect, an opening act and was delighted when Canadian punk/garage rock band Teenage Head hit the stage. Much to my surprise, the audience quickly turned hostile. People around me began to boo and jeer and some even launched pennies and disposable lighters at the Hamilton-based quartet. My excitement soured to confusion and then discomfort as my 15-year-old brain came to terms with the darker side of an eighties, teenage rock and roll crowd.

Frantic City - the 1980 record from Teenage Head.

Fortunately, things have improved for opening acts. Technological advancements allow for easier and shorter transitions between performances. A larger stage can be provided and opening acts are promoted as a feature of the evening's entertainment, with some even billed as "co-headliners". In fact, there have been times when I attended a performance because of the opening act. One such example was detailed in a 2019 post when I shared the story of attending a Coldplay concert in Toronto in order to see their supporting act, Manchester's Elbow.

My ticket stub from the 2009 Coldplay/Elbow concert in Toronto.

In November, 2006, I got a chance to see Bob Dylan in my hometown of London, Ontario, thanks to the typical generosity of my pal and former guest blogger Steve "Lumpy" Sullivan who secured tickets to a private box through his industry connections. We were intrigued about seeing Dylan, an Oscar, Grammy and Golden Globe winning member of multiple Halls of Fame. However, we were more excited about the opening act -- Foo Fighters.

My ticket stub from the 2006 Dylan/Foo Fighters concert in London, Ontario.

Dylan was promoting his thirty-second studio release, Modern Times, a record marketed as the third part of a conceptual trilogy which began with 1998's Time Out Of Mind (#410 on The 500) and Love & Theft (#385) from 2001. It was received well by critics and it debuted at #1 on the Billboard charts, making Dylan the oldest living person to achieve this feat. All three records were heralded as an artistic comeback for Dylan, who had struggled to find his musical identity throughout the '80s and '90s.

The Dylan Trilogy, Time Out Of Mind (1998), Love And Theft (2001)
and Modern Times (2006).

As well, Foo Fighters, the American rock band formed in Seattle in 1994, were touring in support of their upcoming release – a live, acoustic recording dubbed Skin and Bones. The original five-piece band comprised Dave Grohl, guitars and vocals; Pat Smear, lead guitar; Chris Shiflett, guitars; Nate Mendel, bass; and Taylor Hawkins, drums. They were joined on stage by Rami Jaffee, Petra Haden and Drew Hester (playing piano, violin and percussion respectively).

Foo Fighters - Acoustic line-up - five of eight members shown.

Despite being a massively successful stadium act, Foo Fighters shouldered a heavy load of criticism from music fans. Many found their brand of up-tempo hard rock a bit formulaic and repetitive. A friend once said to me: "Every song sounds the same and Grohl isn't a good singer -- if it wasn't for his success as a drummer with Nirvana (his legendary first band with three albums on The 500) we wouldn't have ever heard of them."

Nirvana (Grohl on left).

I disagree with that opinion. Grohl has written some terrific and radio-friendly hits (Best Of You, Everlong, Times Like These, Learn To Fly, Big Me). Furthermore, the band (particularly Grohl and the late Taylor Hawkins) brought incredible positivity, enthusiasm and joy to their performances - not to mention philanthropy. Grohl clearly loves what he does and the high-energy Foo shows are punctuated by his levity and unbridled passion. Grohl was, in my opinion, destined to be a rock star ... and he clearly loves every minute of it.

Lumpy, my wife, Angela, and I had passed on an opportunity to see Grohl and his Foo Fighters  in New York City the previous summer.  We were there with 40 friends and family for Angela’s and my wedding. Foo Fighters were playing at The Beacon Theatre, but we opted to attend an event called Rock and Roll Karaoke at Arlene's Grocery in the Lower East Side (a story I shared in a 2021 blog post). Consequently, when the final note of Everlong rang through the John Labatt Centre in London on that November evening in 2006, Lumpy and I were on our feet in riotous applause.

About thirty minutes later, Dylan and his four-piece band hit the stage, opening with his 1965 hit, Maggie's Farm. It was one of a handful Dylan songs with which I was familiar – at the time. However, it was unrecognizable. Dylan had taken up an unusual arrangement which deceptively hid the original melody. He was positioned at a piano, stage left, and faced his band -- Doug Lancio, guitar; Tony Garnier, bass; Jim Keltner, drums; and Bob Britt, guitar. He  remained there for the entire 16-song set, never once playing guitar or singing at centre stage or even addressing the audience. Would "Hello, London" be too much to ask?

Dylan and his band -- if we got a wave from Dylan, I missed it.

Don't get me wrong. The musicianship was incredible and I was entertained, but his interaction with the audience was disappointing. In retrospect, I would have enjoyed the show much more now that I am familiar with more of his songs -- many from the aforementioned trilogy.

Comparing the two groups revealed a weird juxtaposition -- the somber, seemingly dour Dylan contrasting starkly with the high-energy, ebullient Grohl who punctuated his set with London-centric jokes and amusing stories and anecdotes - including one about his guitarist, Nate Mendel, encountering Bolognese sauce at the catering table and assuming it had bologna in it.

I am still not sure why the two acts were paired together. Throughout the show, Grohl made it clear that he and his band were delighted to be opening for "a legend". In an interview on VH1 Storytellers, Grohl  said Dylan was a fan of the  band, particularly their song Everlong. I suppose that is the difference. The Foo Fighters are entertainers first and musicians second. Dylan is pure musician.

The 500 - #245 - All Killer, No Filler, The Anthology - Jerry Lee Lewis

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #245
Album Title: All Killer, No Filler, The Anthology
Artist: Jerry Lee Lewis
Genre: Rock, Country, Rockabilly
Recorded: Multiple studios from 1958 - 1990
Released: May, 1993
My age at release: 27
How familiar was I with it before this week: A little

Is it on the 2020 list? Yes, at #325, dropping 80 spots since 2012
Song I am putting on my Spotify Playlist: Great Balls Of Fire

I have an idea for a podcast whose title would share the name of this record – All Killer, No Filler. Each week, I would invite a guest to discuss their favourite record on which every track is, in their opinion, top calibre without any inferior songs.

My plan was to take a three-day course this past summer tentatively offered by the Elementary Teachers Federation of Ontario (ETFO) in London, Ontario. The presenters, Chey Cheney and Pawan Wander (who go by Chey and Pav), are middle school teachers from Toronto who have been the hosts of an education podcast for several years. Initially called The Staffroom Podcast, it was recently rebranded as The Chey and Pav Show. Their latest episode, #129, is here.

Teachers & Podcasters Chey Cheney (l) and Pawan (Pav) Wander.

Their early-July session promised participants the opportunity to learn about podcasting, the equipment required and how to integrate it into a middle school classroom. In anticipation of the workshop, I approached my principal about acquiring the necessary digital tools and equipment. Alas, my good intentions were scuttled when, despite my best efforts to promote it to London-based educators, lack of interest resulted in the event being cancelled. (I could understand why - the session was the first week of July, scant days after the previous school year ended and teachers needed some time to recharge).

Promotional photo for last summer's ETFO 3-Day workshops.

Regardless, I am steadfast in my plan to obtain some podcasting equipment and initiate a new opportunity to students at our school. Eventually, perhaps in retirement, I will launch my All Killer, No Filler podcast and start recruiting friends as guests to discuss their favourite perfect records.

Speaking of All Killer, this week's record was actually released in non-digital format as a boxset anthology spanning rockabilly pioneer Jerry Lee Lewis' (nicknamed The Killer) expansive career. It features 42 tracks, with 27 of them hit songs that include his manic Great Balls Of Fire, plus Whole Lotta Shakin' Goin' On and Breathless.

Prior to my research this week, everything I knew about Jerry Lee I learned watching the 1989 biopic, Great Balls Of Fire, starring Dennis Quaid.

The film documents Lee's meteoric rise to superstardom and his equally rapid decline when the media learned that, at 22, he had married his 13-year-old cousin -- the daughter of his bass player, no less. It was his third marriage of an eventual seven...and his child bride, Myra Gale Lewis (nee Brown) later penned a book on which the film was based.

It is impractical, in a format like this, to do justice to the importance of Lewis as an architect of Rock and Roll and his wild, fascinating life. Last year, director Ethan Coen (Fargo, Miller's Crossing) released a documentary called Jerry Lee Lewis: Trouble In Mind, which I have yet to see, but I am sure will more vividly highlight the singer/pianist's tumultuous existence.

Seemingly indestructible, (unlike his torched pianos -- although that may be a bit of fiction), Lewis survived alcoholism, multiple bouts of cancer and a stroke before passing away in October, 2022. He was the last surviving member of the inaugural class entering the Rock and Roll Hall of Fame, which included Elvis Presley, James Brown, Little Richard, Fats Domino, Ray Charles, Chuck Berry, Sam Cooke, the Everly Brothers and Buddy Holly. Despite his many flaws, his impact on the genre is undeniable.

My favourite bit of trivia, however, is that professional wrestler Ric Flair developed his famous catchphrase, “Woooo”! in 1974 after he heard Lewis roar, “Goodness gracious, great balls of fire… Woo!”