Posts Tagged ‘Waddy Wachtel’

Keith Richards Kevin Mazur Crop

To celebrate the birthday of legendary Rolling Stones guitarist Keith Richards and the late renowned rock saxophonist Bobby Keys. The melding of these two musical minds seemed to be ordained by the gods as they were born on the exact same day December 18th, 1943 — worlds away from each other in the UK and Texas.

Bobby Keys came into the world on that day near Lubbock, Texas and began his musical career at 15 playing with another famed son of Lubbock, Buddy Holly. Bobby first met The Rolling Stones in 1964 at the San Antonio Teen Fair as a member of Bobby Vee’s band. Keys would later rekindle his relationship with the legendary rockers and go on to lay down sax work on the Stones’ stellar records of the late 1960s and ’70s, most notably the iconic sax solo on “Brown Sugar” and the extended run on “Can’t You Hear Me Knocking” as well as on a number of songs from the Stones’ landmark 1972 double LP, Exile On Main St.

Keith and Bobby Keys would become fast friends and Richards relates a number of musical, and extra-musical, adventures they had in his candid 2010 autobiography, “Life”. So it was only natural when Keith Richards formed his solo project the X-Pensive Winos in the late 1980s, Bobby was at his side on sax.

On February 13th, 1993, Richards, Keys and the X-Pensive Winos — also consisting of vocalists Sarah Dash and Babi (Bobby) Floyd, drummer Steve Jordan, bassist Jerome Smith, keyboardist Ivan Neville and guitarist Waddy Wachtel — performed the first of two shows at the Orpheum Theatre in Boston to support their 1992 album, Main Offender. The set, which opened with Eddie Cochran’s “Somethin’ Else,” included songs from Main Offender like “Wicked As It Seems” and “999” as well as tracks off their 1988 debut album, Talk Is Cheap, including “Whip It Up” and “I Could Have Stood You Up.” The concert also saw Keith doing Rolling Stones classics like “Time Is On My Side” and a grungy slowed down version of “Gimme Shelter.” Richards would deliver his signature Stones song, “Happy,” as the penultimate number of the evening ahead of closer “Take It So Hard” from Talk Is Cheap.

Setlist: Something Else, Wicked As It Seems, Gimme Shelter, 999, Running Too Deep, Locked Away, Time Is On My Side, Will But You Won’t, Words Of Wonder, Hate It When You Leave, Before They Make Me Run, Eileen, Bodytalks, Whip It Up, I Could Have Stood You Up, Happy, Take It So Hard#

Warren Zevon’s self-titled 1976 album announced he was one of the most striking talents to emerge from the Los Angeles soft rock singer/songwriter community, and Linda Ronstadt (a shrewd judge of talent if a sometimes questionable interpreter) recorded three of its songs on two of her biggest-selling albums, which doubtlessly earned Zevon bigger royalty checks than the album itself ever did.

His own breakthrough album from the songwriter’s songwriter from LA. Warren Zevon had been knocking around since the late ‘60s, but with the championing of Jackson Browne, the Eagles and Linda Ronstadt (who recorded a bunch of his tunes) and subsequently the patronage of David Geffen at Asylum Records, he finally connected in a big way. The fact that it was with “Werewolves of London”, the most throwaway song he’d recorded for the label at that point didn’t matter; it was still a great song, and a great entre to Zevon’s weird and violent world. The title track, “Lawyers, Guns & Money”, “Accidentally Like a Martyr” and the seriously wacko “Roland the Headless Thompson Gunner” are the stuff of genius. Oh, and did you know “Werewolves…” (which peaked at #11 in Australia and was Zevon’s only charting single) features the rhythm section of John McVie and Mick Fleetwood?.

The tracks “Excitable Boy” and “Werewolves of London” were considered macabrely humorous by critics. The historical “Veracruz” dramatizes the United States occupation of Veracruz, and likewise “Roland the Headless Thompson Gunner” is a fictionalization of a mercenary in Africa. “Lawyers, Guns and Money” is a tongue-in-cheek tale of a young American man’s adventures in Cold War era Latin America. In addition, there are two ballads about life and relationships (“Accidentally Like a Martyr” and “Tenderness on the Block”), as well as a dance tune (“Nighttime in the Switching Yard”).