By: David Schultz

Seventy years ago today, MGM released The Wizard Of Oz. While the film ranks as one of the most beloved of all-time, it gained a whole new following in the mid-Nineties when an uncharacteristically intrepid group of stoners, likely to lazy to turn off the TV while they blasted Dark Side Of The Moon, came across a startling number of coincidences between the images on the screen and the sound in their speakers. A cosmic version of getting your peanut butter in my chocolate or vice versa.

Although Roger Waters acts coy when asked about whether Floyd had any intent to coordinate its classic album with the film, the odds are improbably highly against it. Rather, what seems to have transpired is a fantastic sense of synchronicity that trumps anything The Police came up with in 1983.

To celebrate the 70th anniversary of the movie, let's watch it as no one ever intended.

IN A LESSER KNOWN BIT of stoner-synchronicity, someone put down the bong long enough to figure out that Floyd's "Echoes" matches up perfectly with the end of Stanley Kubrick's 2001. For those who can't get enough of nonsensical synchronization, check it out.

EVER SINCE IT WAS FILMED, it's been rumored that Cocksucker Blues, Robert Frank's documentary capturing the post Exile On Main Street, post Altamont Rolling Stones, is the best rock and roll documentary ever filmed. I say rumored because despite being commissioned the Stones, they quashed its release, finding it inappropriate and too revealing. Almost a quarter century later, the rock doc has leaked onto the Internet. Not being fluent in French, I think part 1 has been removed due to content issues but parts 2 through 9 remain extant, so this link takes you to part 2. If you're savvy enough to get that far, you can figure out the rest.

WHILE THE DEAL DOESN'T APPEAR to be written in stone, Robert Zemeckis and Disney in the process of navigating the obstacle of rights and clearances needed to remake Yellow Submarine, The Beatles 1968 animated feature film. Zemeckis has grand plans for the project: rather than re-animate, he wants to utilize the new 3D performance-capturing technology that he used on The Polar Express and Beowulf. While Help! and A Hard Days Night get regular airings on cable TV, screenings of Yellow Submarine, along with Let It Be and Magical Mystery Tour have become scarce to non-existent. If Zemeckis succeed in bringing his plan to fruition - he's targeting 2012 - let's hope it gets these buried Beatles movies back in circulation.

Labels: Beatles, Pink Floyd, The Rolling Stones

The Dead may be reuniting for Obama and Phish did reunite for their manager's wedding but those hoping for Pink Floyd, at least a version with both David Gilmour and Roger Waters, can put those dreams to bed. Gilmour has pretty much quashed all hopes of a true Floyd reunion. "There have been all sorts of farewell moments in people’s lives and careers which they have then rescinded," the AP quotes the guitarist as saying. "I think I can fairly categorically say that there won’t be a tour or an album again that I take part in."

Sounds like The Final Cut may be the disappointing final cut.

Labels: Pink Floyd

Three weeks ago, Trey Anastasio, Mike Gordon, Page McConnell and Jon Fishman appeared together at the WaMu Theater at Madison Square Garden to accept the Jammy Lifetime Achievement Award. Given the reception they received, it's no surprise that Phish reunion rumors are already flying with Anastasio's comments in Rolling Stone adding gasoline to the fire. With an upcoming album, Original Boardwalk Style, about to drop, Anastasio may just be using the Axl Rose strategy of promising Chinese Democracy when he really just wants to promote something else but his comments seem earnest and should provide grist for hopeful Phish phans rumor mill.

David Gilmour also seems to be willing to drink once more from Pink Floyd's well. The guitarist who scoffed at reunion talk after playing a one-off gig with Roger Waters at Live 8 seems to have reconsidered, claiming that while a true reunion won't happen soon, he hasn't ruled it out. "I haven’t absolutely said ‘no’ to the possibility," he told BBC 6Music before squashing any dreams of a full blown tour. "I think that in reality any sort of long-term thing together is not going to happen."

Going against the grain, Scottish rockers Simple Minds are doing more than offering reunion soundbites: they are actually getting back together. To celebrate their 30th anniversary, founding members Brian McGee, Derek Forbes and Mick McNeil will join Jim Kerr and Charlie Burchill to play at Nelson Mandela’s 90th birthday concert in London this June. The original lineup, forever remembered for recording The Breakfast Club anthem "Don't You (Forget About Me)" hasn't played together since splitting in 1991.

Labels: Phish, Pink Floyd, Simple Minds

Labels: Pink Floyd

Rapper Lupe Fiasco wants to do the seemingly impossible: reunite Pink Floyd. And, moreover, the ambitious hip-hopper wants them to reunite for his project.

Undaunted by history and statements made by key band members, Lupe thinks he can get it done:

"'American Terrorist' wasn't going to be on the album, because we heard Chick Corea doesn't like hip-hop," Fiasco told Billboard.com. "But we went the extra mile to make sure he heard the rest of the record and could see that there was no cursing, and that there was positivity. We were taking extra care with his work and not putting any garbage out there. It's that same approach with Floyd. I'm really serious!"

I'm sure he is. In fact, I may ask Pink Floyd to be on my next record. Ok, I don't make records, but if these guys are available I may have to start. Or, maybe I'll ring Paul and Ringo...yeah, that's the ticket.

Labels: Pink Floyd

By: David Schultz

Since leaving Pink Floyd more than two decades ago, Roger Waters has expended an enormous amount of energy asserting his rights to the music and legacy of Pink Floyd, often framing David Gilmour, the guitarist who replaced Syd Barrett early on in the band's career, as the usurper to his throne. Over the course of his battles, Waters has brought his former band mates into court over the use of the Pink Floyd name; toured in direct competition with them when he lost his case and even buried the hatchet for a day to perform a "Hell Froze Over" set at the Hyde Park Live 8 show. Waters continues to mark his territory on his recent tour, playing a fulfilling 2 1/2 hour show weighty with Pink Floyd classics. Last week, Waters' tour came through New York City for two sold-out shows at Madison Square Garden.

Even though Waters has a full slate of solo material, with the exception of "Perfect Sense Parts 1 and 2" from 1992's Amused To Death, he essentially put on a Pink Floyd show featuring Dark Side Of The Moon in its entirety. The heavily publicized and much anticipated Dark Side second set did not disappoint. With a curious smoke cloud developing over the allegedly smoke free arena, Waters faithfully and flawless reproduced Floyd's landmark album almost note for note. On songs like "Brain Damage/Eclipse" and "Time" it was pure auditory candy; for "On The Run," complete with trippy video effects, it was difficult to tell what was live and what was wasn't. Giving the psychedelic masterpiece an added bit of authenticity, an extra drum kit was brought on stage and Waters made a special point of bringing out Nick Mason to join the band. Waters freely roamed the stage during the instrumental portions while his band capably handled the beloved material. Ian Ritchie replicated Dark Side's jazzy and ethereal saxophone riffs on "Money" and "Us And Them" and Dave Kilminster expertly echoed David Gilmour's ingrained guitar solos. As it's not exactly dance material, the crowd sat enraptured in their own head space, erupting at the set's close.

Smartly arranging the set list, Waters touched on Floyd's major (and minor) periods. The Wish You Were Here run through "Shine On You Crazy Diamond," "Have A Cigar" and "Wish You Were Here" were causes for delight, but the Final Cut selections dragged and seriously paled in comparison. Succumbing to the irresistible urge to start the evening with a joyous so ya . . thought ya . . . might like to go to the show," Waters wryly opened with "In The Flesh" and "Mother." He returned to The Wall for the encore, finishing the night with "Another Brick In The Wall, Part II" and "Comfortably Numb." For "Another Brick In The Wall," Waters brought out a Harlem boys choir and danced in step with them while everyone sang along to Floyd's sole chart single; the audience blithely ignoring the wisdom of singing "we don't need no education" along with a group of school children. For the devotees, Waters honored the recently departed Syd Barrett with A Saucerful Of Secret's "Set Controls For the Heart Of The Sun" and during "Sheep" unleashed Floyd's most identifiable non adobe-related icon, the inflatable pig. In addition to the glowing red eyes, Waters added a slew of anti - Bush slogans to the puffed up porcine's rump.

Waters' band kept their end of the bargain but were given very little room to stretch; the audience yearning to hear the Floyd classics they grew up listening to and not modified or improvised arrangements. Every guitarist surely dreams of headlining Madison Square Garden, having the crowd hang on every note and receiving adoring applause at the close of every solo. Waters' guitarist, Dave Kilminster, had the opportunity to live out those fantasies, adroitly duplicating David Gilmour's solos from all phases of Floyd's career. While Kilminster deserved appreciation for his guitar skills, he seemed to portray a sense of knowledge that the vigorously raucous cheers were for the absent Gilmour's work.

Waters provided a little bit more than simple nostalgia. Strongly opposed to the ongoing hostilities in the Middle East, Waters unsubtly made that point crystal clear. After introducing "Leaving Beirut" as the "controversial song of the evening," Waters related that the song derived from an experience in Lebanon where an Arab family welcomed him into their home after their car broke down. Insuring that his message wouldn't be lost, he bludgeoned the audience over the head with it: showing a graphic novel depiction of the incident he had just described with the song's lyrics superimposed over the artwork. The song, which forgoes Waters' usually sharp songcraft in favor of a jazzy, noirish 50ish doo-wop beat, lives and dies on its politics. Coming so shortly after the 5th anniversary of the September 11th attacks, the song, which takes unveiled shots at George Bush and Tony Blair, received a mixed reaction, a smattering of cheers, some noticeable boos and quite a bit of general indifference from those who don't like politics mixed with their Floyd. Waters conveyed more powerful emotion later in the show, letting the words of "Bring The Boys Back Home" making a stronger, if not more subtle point.

Waters' own war over "Which One's Pink" may engender some bruised feelings and frayed nerves amongst the musicians who could lay claim to that title. However, as long as the battles are fought on stages with guitars for swords and drums as cannon, it will be Floyd's audiences who emerge as the winners.

Labels: Pink Floyd, Roger Waters

Looks like my list compilation was a bit premature. Planet Rock, a classic rock digital station in the UK, has put together a poll that puts David Gilmour's guitar solo in Pink Floyd's "Comfortably Numb" as the top solo of all time.

Two tracks from Guns' N' Roses ("Sweet Child O' Mine" & "November Rain"), Skynyrd's "Freebird" and Van Halen's "Eruption" rounded out the top five.

Complete Top Twenty:

Top 20
1 Pink Floyd - Comfortably Numb
2 Guns N' Roses - Sweet Child O' Mine
3 Lynyrd Skynyrd - Freebird
4 Van Halen - Eruption
5 Guns N' Roses - November Rain
6 Led Zeppelin - Stairway to Heaven
7 Dire Straits - Sultans of Swing
8 Jethro Tull - Aqualung
9 The Eagles - Hotel California
10 Deep Purple - Child In Time
11 Queen - Brighton Rock
12 Jimi Hendrix - All Along The Watchtower
13 Deep Purple - Highway Star
14 Wishbone Ash - Throw Down The Sword
15 Ozzy Osbourne - No More Tears
16 Cream - Crossroads
17 Guns N' Roses - Paradise City
18 Led Zeppelin - Since I've Been Loving You
19 Ten Years After - I'm Going Home (Woodstock)
20 Jimi Hendrix - Voodoo Chile

Labels: Guns N' Roses, Pink Floyd

After spending the summer touring Europe, Roger Waters will bring his tour to the United States for an eighteen city run that will start September 6 in Holmdel, NJ and finish five weeks later in Seattle, WA. Concert-goers with high hopes for a full-bore Pink Floyd reunion this summer will have to settle for separate David Gilmour and Roger Waters tours. Waters' reunion with former Pink Floyd band mates didn't amount to anything more than a one-off performance at Live 8 and wild speculation as to future performances.

Floyd fans will not be disappointed though. For his 2006 shows, Waters plans to use his first set as a solo career retrospective and the second to recreate Dark Side Of The Moon in its entirety. Floyd drummer Nick Mason will join Waters for a Bastille Day show in France but there are no plans at this time for him to appear at any other shows.

Labels: Pink Floyd, Roger Waters

A Pink Floyd reunion tour may not be in the cards for the near future, but it looks like Floyd fans in France can look forward to a Dark Side Of The Moon fix as Roger Waters seems set to return to the stage and perform the defining Pink Floyd album in its entirety. Currently billed as "The Musical Event of The Year," the only details available so far are that it will take place this summer, somewhere in France and will feature former Pink Floyd bandmate Nick Mason on drums.

With Waters and Mason playing Dark Side on one stage, Richard Wright will joining David Gilmour on his spring tour where Gilmour will likely dip into his Floyd catalog. While separate shows featuring Floyd members playing their classics may dredge up awkward memories, the 2006 shows will lack the acrimonious undercurrent of the "Which One's Pink" era.

A press conference is scheduled for 11:00 am, February 27, at which time Waters is expected to reveal more information about the upcoming show.

Labels: Pink Floyd, Roger Waters

While each week seems to bring word of a different reunion tour, there are some rumored reunions over which expectations should be drastically diminished.

After last summer's Live 8 performance with Roger Waters, Pink Floyd fans had reason to hope that a reunion tour would be in the offing. Although David Gilmour will be going on tour, the rest of Pink Floyd, including Roger Waters won't be joining him.

In a joint statement: "Pink Floyd's David Gilmour, Nick Mason and Richard Wright are joined by Roger Waters in categorically stating that there is no truth in the recent news reports about a Pink Floyd tour planned for this Autumn. David Gilmour: 'Since Live 8 there are certain sections of the media that have deliberately misled fans and public by inventing stories and quotes about Pink Floyd touring: Nick, Richard, Roger and I are telling fans directly that this is not happening. We are also asking the various parties who are fabricating these stories to desist, if only for the sake of the fans.'"

Another arthouse rock reunion that seems increasingly unlikely is the Genesis reunion with original frontman Peter Gabriel. In spite of a Rolling Stone report that Gabriel thought a reunion would be imminent, it appears the band isn't as optimistic.

Although not denying the reunion rumor, Genesis did issue the following statement in the light of such speculation, "There are no decisions by Genesis to perform anywhere whatsoever at this time. This situation will not alter in the next twelve months."

Labels: Pink Floyd, Roger Waters

Don't Call It A Comeback – Even If It Is Appropriate
By: David Schultz

Just over a year ago, the Boston Red Sox impossibly overcame a 3-0 deficit by winning four straight games against the New York Yankees, completing the most improbable comeback in the history of sports. New Yorkers were on the happier end of a comeback this year, as late October saw Cream reuniting after a 38 year absence for a three night stand at Madison Square Garden. To honor the tradition of the extraordinary comeback, Earvolution presents the top 10 unpredictable, unlikely, implausible comebacks in music history.

10. Velvet Underground (1993)

In 1968, shortly after the release of their second album White Light, White Heat, John Cale walked away from the Velvet Underground, effectively ending the power struggles between himself and Lou Reed over the musical direction of the seminal band. In the 25 years that followed, Cale and Reed stubbornly refused to acknowledge each other's contributions to one of the most influential bands in rock history. When Andy Warhol died in 1988, Cale and Reed found common ground to work upon and recorded Songs For Drella, a tribute to their friend and mentor. Their renewed ability to work together laid the groundwork for the 1993 reformation of the original Velvet Underground with bassist Sterling Morrison and drummer Maureen Tucker. Sadly, the comeback lasted no longer then a few European shows. While most bands save the crowd favorites for the encores, the reunited Velvet Underground inverted the traditional scenario, using the encore slot to debut a new song "Coyote." Coming to bitter disagreements over the production of the band, Reed and Cale’s egos once again consumed their ability to work together. Just as quickly as they came back, the Velvet Underground disappeared.

The VU comeback is an example of the "Hell Freezes Over" comeback. As named and evidenced by The Eagles, this occurs when band members are able to put aside the differences that have kept them apart for years and reunite with a common purpose. Depending on the motivations of the band, that purpose may or may not include the desire to make obscene amounts of money.

9. Pink Floyd @ Live 8 (2005)

The animosity between Roger Waters and his former Pink Floyd band mates grew so great that Waters took David Gilmour, Nick Mason and Nick Wright to court to prevent them from touring and recording as Pink Floyd. Waters lost the suit resulting in two competing tours that begged the question of "Which one's Pink?" But yesterday's litigation can be resolved as tomorrow's reunion. Finding time during the preparations for this summer's worldwide Live 8 concerts, the ever-persuasive Bob Geldof convinced the most successful lineup of Pink Floyd to make an eagerly awaited and desired comeback. Unlike most "Hell Freezes Over" comebacks, Waters one-off set with Pink Floyd at the free Hyde Park show fell more in line with the event's message of compassion and brotherhood than the usual money-making motivations underlying most classic rock comebacks. Though all smiles on stage, Gilmour's seemingly forced smiles while sharing the stage with his former tormentor showed that while the hatchet may have buried, the grave may be shallow.

8. Gang Of Four (2005)

The Gang of Four's anti-establishment, anti-materialistic, proto-punk rock provided a perfect contrast to the overproduced stereo creations of the late seventies. Peaking with their second album, 1980s Entertainment, the Gang of Four burned bright, but burned quickly. Time has been kind to the Gang Of Four's reputation, cited as an influence by numerous bands the GO4 legend has grown to mythic proportions over the last two decades. Surprisingly, the stridently anti-materialistic rockers all managed to find success in the corporate world after leaving the band. Drummer Hugo Burnham founded his own management company, bassist Dave Allen found a career in digital audio services and lead singer Jon King became CEO of a corporate event management company. The surprising fact about a GO4 comeback is that all of the members left successful day jobs to return to their first love which made them little money the first time around. In 2005, the original lineup returned to the studio and rather than cut a series of new tracks, simply re-recorded the old. While unclear whether this makes a sly ironic comment on the unoriginality of new music or simply illustrates the band's newfound bourgeois laziness, the incredible success of the quartet's 2005 comeback leaves no such ambiguity.

7. Fleetwood Mac (1997)

A human resources manager's nightmare, the Rumours era lineup of Fleetwood Mac flagrantly flaunted the absence of a non-fraternization policy amongst rock bands. With Lindsey Buckingham and Stevie Nicks progressing through the death throes of their relationship and John and Christine McVie's marriage dissolving, the band channeled their angst into the music and produced one of the defining albums of the seventies. By the time Buckingham left the band in 1987, relationships had mended but without the sexual tension and Fleetwood Mac's magic had long expired. However, it didn't stop them from recording well into the 90s. To celebrate the 20th anniversary of Rumours (and to make gobs and gobs of cash), Buckingham and Nick rejoined the McVies and steadfast drummer Mick Fleetwood for an MTV reunion that paved the way for a successful US tour. The 1997 comeback didn't yield much new music, however, it did solidify Fleetwood Mac's position as one of the most successful bands of the baby boomer generation.

Fleetwood Mac's comeback typifies the "Return From Obscurity" comeback which could be best summed up by L.L. Cool J's quip "don't call it a comeback, I been here for years." L.L.'s quote bears much truth. The artist usually hadn't gone anywhere, the audiences just didn't care.

6. Loretta Lynn (2004)

Outside of country music circles, Loretta Lynn's career peaked in 1980 when Sissy Spacek won an Oscar for her portrayal of her in Coal Miner's Daughter. Even those in the know about country music would concede that her best music came during the sixties and seventies. Lynn's career would likely have remained stagnant were it not for Jack White and his contributions to her 2004 album Van Lear Rose. Bringing his own modern perspective to the mix, White produced, arranged and lent his voice to the outstanding "Portland, Oregon," bringing Lynn one of her greatest commercial and critical successes while resurrecting her career in the process. White Stripes fanatics and curious listeners received a pleasant surprise as the combination of White and Lynn produced either the most revved-up county album or the most countrified rock album in years. The bizarre sight of Lynn and White accepting their well-deserved Grammy award for Best Country Album provided the coup-de-grace for her "Return From Obscurity" comeback.

5. Roy Orbison (1987)

Roy Orbison had his greatest success in the early sixties. By the mid-eighties, Orbison's considerable influence could still be felt but his career remained at a standstill. However, a strange combination of events reinvigorated Orbison's career and regenerated interest in his considerable accomplishments. In 1986, against Orbison's wishes, David Lynch had Dean Stockwell creepily lip-synch the haunting "In Dreams" into a worklight in one of the films most memorable scenes. After seeing the movie, Orbison and Lynch produced a video to promote the film that gave Orbison his first exposure on MTV. Soon thereafter, Orbison joined up with Bob Dylan, George Harrison, Tom Petty and Jeff Lynne to form The Traveling Wilburys, giving him the biggest mainstream exposure he'd enjoyed in decades. With his Wilbury mates lending a hand, Orbison recorded his final album Mystery Girl. Although released posthumously, Mystery Girl contributed to Orbison's "Return From Obscurity," allowing him to enjoy a deserved career renaissance before his death.

4. Meat Loaf (1993)

The mid-seventies saw Meat Loaf atop the rock world, riding the unparalleled success of his debut album Bat Out Of Hell. By the mid-eighties, with such spectacular flops as Midnight At The Lost And Found and Blind Before I Stop, Meat Loaf was well on his way to starring in his own Behind The Music special, that is if he could have found his way off of the “Where Are They Now” list. Though he remained a solid concert draw in England, in America Meat Loaf could only fill college gyms in cities where he once sold out arenas. Greeted with slight derision, Meat Loaf’s announced reunion with Jim Steinman on the creation of Bat Out Of Hell II: Back Into Hell barely registered outside of his loyal fans. That is, until he released it. The first single, "I'd Do Anything For Love (But I Won't Do That)" marked a return to the operatic, Broadway style songs that marked his earlier success and became Meat Loaf's first number one hit. Meat Loaf persevered for 16 years between the two Bat Out Of Hells, survived becoming a rock and roll punch line and avoided the label of one hit wonder.

Meat Loaf's comeback exemplifies the "Return To Credibility" comeback. This occurs when the artist avoids a spot in The Surreal Life house and rescues his career from becoming a joke. The best example of which came in 1989, when . . .

3. Donny Osmond (1989)

From 1975 through 1978, Donny Osmond and his sister Marie co-hosted the Donny & Marie Show, a show that ultimately came to singularly represent the absurdity and ridiculousness of the seventies style variety show. Once cancelled, Donny Osmond lost all credibility as a musical artist and his career was left in shambles. Osmond attempted a move to the Broadway stage; only to have his initial effort, Little Johnny Jones, close immediately after opening. By the late eighties, a Donny Osmond album had just as much chance of being a success as a Kevin Federline rap album. To no one's surprise, Osmond's 1988 self-titled album, his first in over 12 years, received absolutely no fanfare upon its release and went absolutely nowhere. However, radio stations started playing its lead single "Soldier Of Love," smartly withholding the identity of the artist. Only when the song had become a certifiable hit was it announced that the singer was in fact Donny Osmond. Osmond's renewed popularity lasted for about a year but during that time, Osmond's comeback gave music historians something to write about other than his dreadful variety show.

2. Nick Drake (2001)

Between 1969 and 1972, Nick Drake recorded three sparse emotional albums reminiscent of Van Morrison's Astral Weeks. Possessing little commercial appeal, Drake's albums were released to little acclaim and even scarcer sales. Over the next two decades, if Drake had any following at all, it could best be termed a cult following. In 2000, Volkswagen produced a beautifully riveting commercial featuring two couples more interested in driving under the stars than attending a party. Drake's "Pink Moon" provided the soundtrack for the commercial, which transcended mere advertising. Charmed and transfixed viewers sought out Drake's 1972 album Pink Moon, vaulting it back onto the charts with surprisingly brisk sales. Drake's implausible comeback is even more remarkable as Drake died more than 25 years before it occurred, having committed suicide in 1974. The sad lyrics that may have foretold his death provided a gorgeous, if not long overdue, epitaph to his unfortunately brief career.

Drake's "Return From The Dead" comeback is the toughest one of them all. It involves a career resuscitation of such proportion that it recalls Lazarus emerging from the grave to once again walk amongst the living.

1. Johnny Cash (2000)

Johnny Cash's improbable comeback involved much more than a reinventing of his persona. It quite literally involved a rise from his deathbed. In 1997, Johnny Cash was diagnosed with a Parkinson's syndrome-like debilitating degenerative nerve disorder. For the next three years, news of his deteriorating health brought on a death watch complete with tributes honoring the country legend and his musical legacy. However, news of Cash's impending death was exaggerated. Learning that his condition was misdiagnosed and consequently mistreated, Cash made a resurrection apropos to his lyrics. Returning to the studio under the watchful auspices of Rick Rubin, Cash emerged with a number of haunting and inspired recordings, including sparse but emotional covers of Depeche Mode's "Personal Jesus," U2's "One" and Nine Inch Nails' "Hurt." Cash's almost literal return from the dead culminated with numerous MTV Video Award nominations for "Hurt." Just before his death, Cash remarkably saw the greatest success of his career since the late sixties.

Labels: Gang Of Four, Johnny Cash, Meat Loaf, Pink Floyd, Velvet Underground

by David Schultz

In sitting down to compile this list, I had to first figure out what exactly constitutes an underrated album. It doesn't seem like it would simply be a great record that didn't sell well. In that case, the Velvet Underground's entire catalogue would be considered underrated but given the near unanimous critical approval those albums receive, they can't truly be considered underrated. Conversely, it also doesn't seem that it would be a poorly reviewed record that sold millions. I don't think under any set of criteria the Titanic soundtrack or any Spice Girls album could or should be called underrated. After much thought, the definition became simple: an underrated album is a record that discerning musical fans should have in their collection but for some reason the majority of them don’t.

So, in no particular order, here are the 20 most underrated albums:

George Harrison: All Things Must Pass (1970)

In the aftermath of the Beatles, John Lennon had classic albums like Imagine and Plastic Ono Band, Paul McCartney had Wings and Band On The Run and Ringo had . . . well, Ringo had Barbara Bach. The silent Beatle's solo career, like his stint in the most famously analyzed and studied of bands, was dwarfed by the attention paid to Lennon & McCartney. However, that is not to say that George does not deserve mention with his more acclaimed band mates. Harrison's first true solo effort is unquestionably his most triumphant. The three album set showcases the musical chops that weren't able to fully flourish with the Beatles. The record's success comes from its combination of White Album era songs like All Things Must Pass, fresher material like What Is Life and Wah Wah, Dylan covers and collaborations like I'd Have You Anytime and If Not For You and My Sweet Lord's inadvertently borrowed melody. It is the third album of the set though that is the icing on this cake. Foreshadowing the jamband scene by a good decade or two, the album's finale consists of George and the band, which consisted of Eric Clapton and Dave Mason on guitar, Billy Preston and Bobby Whitlock on keyboards and Ringo on drums, working out puzzlingly named extended grooves like I Remember Jeep and Thanks For The Pepperoni. An underrated album by the most underrated Beatle.

Pete Townshend: White City – A Novel (1985)

If this was a Who album instead of a Townshend solo album, it would rest comfortably with the classic rock mainstays of anyone's collection. Like most conscientious rockers in the late eighties, Townshend was against Apartheid and chose to combat it as only he could -- with his sarcastic wit and killer guitar licks. Using the structure that worked so brilliantly on Quadrophenia and Tommy, Townshend tells yet another story of alienation and oppression, this time set in a segregated county that is a thinly veiled South Africa. Townshend's voice is a perfect fit for the restrained fury of White City Fighting and Brilliant Blues. However, it lacks the power necessary to push other tracks like Give Blood and Secondhand Love into the pantheon of true arena rockers. Fortunately, Townshend knows that people aren't buying his albums to hear him sing and the album is peppered with his signature guitar. True Townshend junkies will not be disappointed with the album's last track Come To Mama. An added bonus: since the mid-eighties was a fertile period for rap, Pete unabashedly gives it a shot on Face The Face. White City pulls of the difficult task of possessing a sense of importance without becoming pretentious and it is without doubt, the most complete album of Townshend's solo career.

SideBar: The Most Underrated Concept Albums: There is always a bit of a stigma attached to the concept album. Oftentimes, it is not undeserved. Usually, the artist has come up with some idea that he feels is so important and so monumental that one song will not do the idea justice, hence the concept must be spread throughout the entire album. In this attempt, the limitations of the artist as a songwriter and/or musician are laid bare for all to see. As Styx taught us with Kilroy Was Here, there is nothing funnier or more embarrassing than an earnestly put forth concept album that defies logic and reason. Fortunately, Green Day's American Idiot revived interest in the concept album by conjuring up images of Quadrophenia and demonstrating that a wonderful work of art can be created when the concept is carried out successfully.

The top 5 underrated concept albums (again in no particular order: 1) The Lamb Lies Down On Broadway – Genesis (1974); 2) Joe's Garage – Frank Zappa (1979); 3) Southern Rock Opera – Drive By Truckers (2001); 4) White City – Pete Townshend; 5) Jethro Tull – A Passion Play.

Big Head Todd & The Monsters: Midnight Radio (1990)

Big Head Todd's true debut album should have made them superstars. With half of the tracks recorded live on stage and the other half recorded in basements and living rooms throughout their hometown of Boulder, Colorado, the band successfully channeled their laid back sound, which is reminiscent of John Hiatt at his finest, into their most intimate record. The resulting album is the perfect soundtrack for a late night summer drive on a wide open road with the convertible top down. The first 2/3 of the album presents the band in their finest element, rolling through amiable, jangling tunes like City On Fire, The Leaving Song and Dinner With Ivan. In subtle contrast, the album closes with a trio of achingly contemplative songs, Monument In Green, Ann Arbor Grandfather and Elvis, that showcase Todd Park Mohr's ability to captivate an audience with simply a guitar and naked emotion. The standout track on the album is undoubtedly Bittersweet. Even 15 years later, the intro to this song will make a live crowd explode and the brilliantly restrained guitar solo Mohr unleashes near the close of the song is quite possibly one of the more underrated solos in rock. Where some bands follow their astounding debut album into oblivion, this album shows why Big Head Todd is still recording and touring 15 years later.

Goo Goo Dolls: Hold Me Up (1991)

Before the Goo Goo Dolls began one of the most horrific descents into mediocrity and morphed into the sappy lite-rock charade of a rock band they are today, they were one of the best garage bands on the planet. I kid you not. Though it may be hard to believe now, this trio from Buffalo, New York used to be favorably compared to the Replacements. Spin magazine paid this album the highest compliment it could think of when it called Hold Me Up the album for the pathetic loser in all of us. Quite frankly, there is no better album to get you through an ugly break-up than this one. The album consists of mostly of three minute songs with Johnny Rzeznik's thrashing guitar dominating throughout. Knowing that the Goo Goo Dolls were capable of "fuck you" lyrics like Two Days In February's "I know you're living way out west/don't get me wrong I'm not impressed/ with you/ no more," three chord sonic assaults for the defeated like Laughing, There You Are and Just The Way You Are (absolutely no relation to the Billy Joel song) and kick-ass covers of the Plimsouls Million Miles Away and Prince's Never Take The Place Of Your Man, makes their MTV friendly, mopey soft rock like Isis and Name that much more maddening. Given what they became, Hold Me Up may go down as the most underrated album ever.

Stone Roses: Stone Roses (1989)

This was the album that brought the Manchester sound to the forefront of musical culture. Although bands like The Soup Dragons, Jesus Jones and Inspiral Carpets tried, none got it better than the Stone Roses. Starting with a fundamental base of psychedelia, the Roses mixed it with danceable funk (Fools Gold), cascading guitar riffs (Waterfall) or flat out U2 like pomposity (I Am The Resurrection). Immediately following Waterfall, the band reverses the audio track and creates a new song, Don’t Stop, over the reversed loop. The album also possesses a wicked sense of humor, calm soothing melodies come complete with some of the most frightening and threatening of lyrics. On Shoot You Down, Ian Brown, with the emotional range of a serial killer, gleefully describes that he'd "love to do it and you know you always had it coming." One of the album's highlights, an adaptation of Simon & Carbuncle’s Scarborough Fair that transforms the innocent ditty into an ominous ode to assassinating Queen Elizabeth. Oh yes, they could also play it straight (I Want to Be Adored). Sadly, this album is the only worthy testament to the greatness of The Stone Roses. Shortly after its release, the band became involved in numerous lawsuits that frustrated the release of their follow-up album for close to 5 years. By the time the pompously named Second Coming was released, the magic was gone. Indicative of the group’s importance, without the Roses at the forefront, the Manchester movement withered and died. Unlike the albums of their Manchester brethren, the Roses debut album holds up years later and deserves proper recognition.

Richard Thompson: Rumor and Sigh (1991)

Richard Thompson is one of those musicians that have been around forever and you've probably heard his name mentioned once or twice before but can never seem to recall why you recognize the name. Thompson was a founding member of the Fairport Convention and left the band with his wife Linda in 1971. Richard & Linda Thompson recorded a pair of wonderful albums, Shoot Out The Lights and I Want To See Bright Lights Tonight, which would be on this list but for the fact that the two albums are critical darlings. Without the angst and turmoil provided by his ex-wife, Thompson's solo career never skyrocketed. However, the karmic forces aligned when he recorded Rumor & Sigh. His songwriting, always sharp, is at its best here. There is swagger on Feel So Good, British charm on God Loves A Drunk and wizened confusion on Grey Walls and Read About Love. The album's masterpiece is the bizarrely romantic love story of James and Red Molly that centers on a 1952 Vincent Black Lightning. I defy anyone to listen to Thompson’s delivery of James' final words to Molly and not feel a chill down their spine as he gives her one last kiss and dies, but gives her his Vincent to ride.

Traveling Wilburys: Volume 1 (1988)

In 1988, George Harrison started work on a new album with producer Jeff Lynne in Bob Dylan's garage. Over the course of the recording sessions, neighbors Tom Petty and Roy Orbison drifted over and common interests being what they were, they all started recording together. Adopting pseudonyms and declaring themselves all Wilbury brothers, they recorded an album that brought out the best in all of them. The Wilbury songs expressed fragility (Handle With Care), reflection (End Of The Line) and a sense of humor (the Springsteen "homage" Tweeter & The Monkey Man). The alter-egos seemed to give the Wilburys, especially Dylan, the freedom to relax and the songs possess a freewheeling sense of fun often missing in their "real-life" recordings. The spontaneous feeling prevails throughout the album, which is also notable for being one of Roy Orbison's last recordings before his death. Given the star power here, it is amazing that the Wilburys aren't a staple of what's left of classic rock radio.

SideBar: The Most Underrated Benefit Show: Farm Aid 1985. At some point during his unintelligible set closing the Live Aid show in Philadelphia, Bob Dylan told the crowd that he thought it would be nice if we gave a million dollars or two to the American farmers to help pay off the mortgages on their farms. As might have been expected, this pissed off Bob Geldof to no extent. However, it caused John Mellencamp, Willie Nelson and Neil Young to coordinate Farm Aid, the first major follow-up to Live Aid. Taking place on September 22, 1985 in Champaign, Illinois, without heavy promotion and without even a major TV deal, (the fledgling Nashville Network had no penetration back then), Farm Aid boasted a pretty serious line-up. In addition to the founding musicians, Billy Joel, Tom Petty and Lou Reed appeared as did the major country musicians of the time including Alabama, Johnny Cash, Waylon Jennings and the Charlie Daniels Band. Of course, Bob Dylan lent a hand and more satisfyingly played a relatively coherent set. Don Henley, who was huge at the time following the release of Building The Perfect Beast, closed the show with a set that eschewed Eagle classics and featured The Boys of Summer and Sunset Grill. Most noteworthy from the show was Van Halen's first public performance with new lead singer Sammy Hagar. Unfortunately, the conclusion of their set was only seen and heard by the live crowd as radio and TV abruptly cut away when Hagar uttered a curse word from the stage. Hagar did however, leave both breasts covered.

Allman Brothers Band: Back Where It All Begins (1994)

After a seven year hiatus, the ABB reformed in 1989 with Warren Haynes and Allan Woody joining Gregg Allman, Dicky Betts and the rest. Back Where It All Begins is the last studio album of this version of the band as Haynes and Woody left soon thereafter to devote their time to their side project, Gov't Mule. Without doubt, this album ranks with the strongest of post-Duane, ABB studio albums. Most notably, the album contains the first appearance of the Warren Haynes classic Soulshine, which if recorded in a different era would be one of the rock classics of all time. Gregg Allman invests it with the withered soul that illustrates the magic that occurs when a song and singer are perfectly matched. There are also the instrumental heavy Southern rock jams that the Allmans are known for. The title track and Sailing Across The Devil's Sea are not only highlights of the album but mark the high point of the Allman Brothers version 2.0. Given that the Allmans back catalog is filled with some extraordinarily groundbreaking recordings, Back Where It All Begins, coming as it did in the nineties, is unfairly overlooked

Robert Randolph & The Family Band: Live at the Wetlands (2002)

This album has the potential to come off this list at some point in time as Randolph has the potential to be one of the saviors of rock and roll. Not only does this record capture one of the final performances at the Wetlands, the jamband Mecca of New York City, it also captures one of the most exciting musicians of the 21st century in the relatively fledgling stages of his development. Robert Randolph has been accurately described as the Jimi Hendrix of the pedal steel guitar and this Live at the Wetlands is proof that the comparison is far from gratuitous. Wetlands features long extended jams that give the band, especially Randolph, the opportunity to show off their chops. Ted's Jam breathlessly kick starts the album, building up to crescendos usually found in a band's encore rather than their opener. The band's gospel origins are evident in the soulful Pressing My Way and the rollicking Tears Of Joy, but they come front and center on the penultimate I Don't Know What You Come To Do. With a chorus right out of revival meeting, Randolph with the persuasion of Baptist minister, declares that that he's come to clap his hands and stomp his feet and the crowd is right there with him. This album, capturing Randolph in his infancy, could be his Beatles in Hamburg – so it may not be underrated for long.

Ted Hawkins: The Next Hundred Years (1994)

Ted Hawkins spent the majority of his life as an obscure but talented singer and guitar player. Although he had a bit of a break in the late 60's, his career evaporated in a haze of heroin and multiple stints in jail. By the early 90's, Hawkins had become one of the many street musicians that populate Venice Beach, California. Remarkably, Hawkins became one of the most popular buskers with people coming from miles around and waiting hours to hear him play. Michael Penn (a/k/a Mr. Aimee Mann) was one of those people and in 1993 he persuaded executives from Geffen Records to get Hawkins off the street and into the studio. Hawkins finally relented and the resulting album, The Next Hundred Years, is astounding. Primarily accompanying himself on guitar, Hawkins invests original songs like The Good And The Bad and Big Things and covers of There Stands The Glass and Biloxi with an aged and knowing voice. With the exception of some strings added post production, this album is purely Hawkins and his guitar – and it is absolutely fantastic. Upon its release in late 1994, the album received extraordinary reviews but relatively little airplay. With his guitar in tow, Hawkins went around the country doing radio interviews and studio performances, mainly on free form radio and miraculously, the album slowly started to sell. Tragically, within weeks of the albums release, Hawkins died and he never got to enjoy the well deserved adulation he received for his wonderful album.

Dread Zeppelin: Un - Led - Ed (1990)

As the name would imply, Dread Zeppelin was a band that played nothing but reggae versions of Led Zeppelin songs. Interesting concept, eh? Oh yes, their lead singer was an Elvis impersonator named Tortelvis. Long before studio technicians were mashing up songs, Dread Zeppelin was mashing up genres in an acid fueled blender with tongue firmly in musical cheek. However, the joke carries through the entire album – and carries well. In the past decade there have been reggae homages to Bob Dylan and the Grateful Dead, but none show the same reverence for their subject as Dread Zeppelin. From the introductory Black Dog, which includes a nice segue into Hound Dog, through a version of Your Time Is Gonna Come that stands comparison to the original to the closing drum beat of Moby Dick, the album stands on its own as a "reggae" classic and not as a one-off joke. Given the bizarre concept, Un-Led-Ed is an easy album to overlook and underrate.

Jimmy Cliff: The Harder They Come (1973)

Reggae 101 involves the purchase of Bob Marley's Legend, listening too it numerous times, getting a brightly colored Marley T-shirt and then declaring that Jah Love, you are a fan of reggae. The upper level course in reggae involves the soundtrack to The Harder They Come. Although the lions share of acclaim for reggae's widespread success rightly goes to Marley, it is Jimmy's The Harder They Come that first brought reggae music to the forefront of the collective musical consciousness. The 1972 film, which is reggae's Citizen Kane, was primarily responsible for introducing reggae to the U.S. and tilled the soil for the release of Marley's debut album, Catch A Fire. In addition to The Harder They Come, the soundtrack has other classics like Many Rivers To Cross and Sitting In Limbo. The album contains Toots & The Maytals brilliant renditions of Pressure Drop and Sweet & Dandy as well as Desmond Dekker's take on Shanty Town. Even though the Rivers Of Babylon in this collection isn't sung by Cliff, the Melodians do it justice. Sadly, there seems to be room for only one legend leaving Jimmy Cliff to remain reggae's unsung hero.

Pink Floyd: Meddle & Animals (1971/1977)

Meddle and Animals get grouped together in one selection as they are the most underrated albums of a group whose ubiquitous catalog can be found in just about everyone's CD collection. Pink Floyd are played on classic rock radio with the same frequency as The Beatles, Led Zeppelin and The Who. However, if your only exposure to Floyd came from the radio, you wouldn't be faulted if you thought Pink Floyd's entire career consisted of Dark Side Of The Moon, Wish You Were Here and The Wall. With Meddle, the band introduced the trippy aural psychedelic sound that would soon become the band's trademark. The songs vary considerably: menacing guitars on One Of These Days, airy flowing riffs on Fearless and San Tropez and standard blues on Seamus, an ode to an old hound. Foreshadowing Dark Side by at least two years, the album closes with the 18 minute-plus opus Echoes that ranks with the greatest Floyd has to offer. In 1977, two years after Wish You Were Here, Floyd's returned to the realm of long extended tracks with Animals. The band's paeans to Dogs, Pigs and Sheep marked Floyd's last true trip to the psychedelic realm they are renowned for. Are these albums truly underrated? Well, the Rolling Stone Encyclopedia of Rock & Roll omits discussion of Meddle and unfairly relegates Animal's significance to the inclusion of inflatable pigs in their stage show.

Tin Machine: Tin Machine (1989)

This is the one album that would be impossible to overrate. It didn't sell well and was reviled by practically every music critic. Critics hated his album – not just disliked it, but hated it – like it kidnapped their mother or killed their dog – or both. For those who don't remember, in 1989 David Bowie renounced his solo career and formed a band with guitarist Reeves Gabriel and Soupy Sales' two kids. The eponymously titled album that followed was a dark, gloomy and downbeat affair. After releasing a handful of chirpy and insubstantial records in the 80's, (Let's Dance, Blue Jean) the heavy guitars was a drastic change for Bowie. Bowie fans should always be prepared to expect the unexpected from the thin white Duke, but no one seemed willing to accept Bowie as part of a band, especially this band. But here's the thing, looking back on this album, the simple fact is it wasn't that bad - in fact, I will stand alone on the island and proclaim that it was actually pretty damn good. In the 70's Bowie had an edge to him that vanished sometime in the 80's. Save for a misguided cover of Lennon's Working Class Hero, which was a grand idea but somewhat failed in its execution, this album gave Bowie the roughest non-glam edge he'd had in his career. Underappreciated in its time, it deserves a better legacy.

Sting: Dream of the Blue Turtles (1985)

This album is the actual point where Sting moves from post-punk god to adult contemporary mainstay. Disconcertingly, he did it with style. Moving 180 degrees from the Police, Sting did so in daring fashion by gathering a band of accomplished jazz musicians that included keyboardist Kenny Kirkland, drummer Omar Hakim and saxophonist Branford Marsalis, long before Jay Leno "discovered" him. The songs on Blue Turtles are a bit heavier than the breezier fluff Sting has churned out over the past 20 years but they work and are eminently listenable due to the expert musicianship involved. Plus, you can't hate a song like Shadows In The Rain that starts with a howling "Woke up in my clothes again this morning/Don't know exactly where I've been." It is easy to diminish Sting's solo legacy as the car commercial fodder but his first foray into jazz fusion worked extraordinarily well. Good trivia note here as well, Eddy Grant, of Electric Avenue fame, contributes conga drums to Consider Me Gone.

Van Morrison: A Night In San Francisco (1994)

A night at a Van Morrison show nowadays is a risky proposition. For usually $70-$80, Van will make you show up early, cut off beer service when he takes the stage and most nights, play for just over an hour. Even worse, he will consciously omit any of his hits and force the audience to sit through plodding versions of sub-par recent compositions or covers from the 30s. However, that wasn't always the case. A Night In San Francisco captures everything that is great about Van Morrison. Without being a "play the hits" show (for that listen to It's Too Late To Stop Now), Van shows why he is "the Man." With a band that is likely more at home than a jazz club than an arena hall, Morrison rolls through a couple of his classics but also ventures into the slipstream with long extended versions of songs that move from James Brown and Sly & The Family Stone soul classics through blues staples like Stormy Monday and Good Morning Little Schoolgirl and even includes a hip rendition of My Funny Valentine. Without question, this is the best Van Morrison album in the past 25 years.

The Kinks: One For The Road (1980)

If this list was created in the mid-eighties, there is no way this album would be included as it was the biggest live album of that time. Well, with the exception of Frampton Comes Alive. Capturing the Kinks in the heyday of their live performances, it is the rare live album that provides the hits along with other lesser known favorites without ever hitting a down note. In between definitive and iconic versions of Lola and Celluloid Heroes there are raucous readings of Low Budget, Superman and National Health. Even more amazing, Ray and Dave Davies get through the entire album without once attempting to physically assault each other. The Kinks are often overlooked in any discussion of the British Invasion, which is a shame. Although the CD version is an edited version, it is still a worthy reminder of why the Kinks were the Prince of the Punks.

Elton John: 11-17-70 (1971)

It may be hard to believe nowadays, but Elton John was once the biggest rock and roll star in the world and at the time it was well deserved. This album, which shows why Elton deserved such status, comes from a November 17, 1970 concert that took place at a recording studio in New York and was broadcast live on WABC-FM. Although released after Tumbleweed Connection, it was recorded beforehand and contains rough but amazing versions of Burn Down The Mission and Amoreena. From the moment, he bangs out the intro to Bad Side Of The Moon to start the show, it is evident this is not your parents' Elton John. As an added treat, Elton breezes through a honky-tonk rendition of the Stone's Honky Tonk Woman and manages to slide in and out of the Beatles' Get Back. This is an Elton John that most don't remember existed, stripped of the flamboyant costumes and snarky anti-paparazzi behavior, Elton was truly one of the great rock pianists of all time.

Blues Brothers: Briefcase Full of Blues (1978)

If you want to know what keeps this album out of the comedy discount bin, just check out the picture of the band that comes with the album. When Dan Akyroyd and John Belushi created their labor of love to blues and soul music, they gathered musicians that would lend credibility to the effort. In Steve Cropper, Duck Dunn, Matt Murphy. Lou Marini, Bones Malone you have some of the musicians that created the Stax/Volt sound that defined the music the Blues Brothers revered. Recorded live before a surprised audience who came to see Steve Martin at the Universal Ampitheater, the album succeeds because Akyroyd and Belushi were serious about this effort, willing to walk off of Saturday Night Live when the two projects conflicted. Letting the music take the forefront, Briefcase Full of Blues revived interest in classics like Soul Man, B Movie Boxcar Blues and Hey Bartender. Even though Belushi delved deep into the Jake Blues persona, his comedic timing couldn't be contained on I Don't Know, a hidden classic from this album. The movie with soundtrack that came afterwards are worthy ventures in their own rights but never would have occurred if this album was not rock solid. John Belushi and Dan Akyroyd will long be remembered for their comedic roles, but this album should not be overlooked as part of their rich legacy.

Body Count: Body Count (1992)

This album never had a chance. With in weeks of its release, the controversy over its last track, Cop Killer, overshadowed any honest rational consideration of its musical merits. The album didn't charter any new musical territory, that accolade goes to Living Colour, but it did blend rap with heavy metal long before Kid Rock discovered the recipe. Plus, Body Count did it with a harder grittier edge. Originating as a side project, Ice-T rapping in front of a heavy metal band was something new and unique. Before the controversy broke, Body Count had been touring the country as part of the original Lollapalooza to some acclaim. There Goes The Neighborhood and Body Count – it was a song, the band, the album – created funky metal right about the same time Rage Against The Machine was ready to break. References to police shootings aside, the album possesses a sense of humor with its sly take on black culture working its way into white America's as well as Ice-T's touching ode to his Evil Dick.

If this list causes any of you to go out and purchase, download or acquire in any manner whatsoever even one of the albums listed above and you enjoy it, then I can only inappropriately quote Bob Geldof when I say "don't tell me this doesn't work, don't let anybody tell you this doesn't work."

Labels: Allman Brothers Band, Big Head Todd and The Monsters, Body Count, Dread Zeppelin, Elton John, George Harrison, Goo Goo Dolls, Jimmy Cliff, Pete Townshend, Pink Floyd, Richard Thompson, Robert Randolph, Sting, Stone Roses, Ted Hawkins, The Blues Brothers, The Family Band, The Kinks, Tin Machine, Traveling Wilburys, Van Morrison

Well we saw some amazing performances at the Live 8 concerts: the Sgt. Pepper collaboration with Paul McCartney and U2, Will Smith gettin' jiggy with it like no one else can, the Pink Floyd reunion, Jay-Z and Linkin' Park mashing it up, Stevie Wonder and friends, Green Day's Queen tribute and many many more. Even Madonna brought her A game.

Sprinkled among the terrific performances the organizers disseminated concise and cogent educational points about debt relief, fair trade and medical realities of children born in the poorest countries. But, the most educational and in my opinion action-inspiring moment, came when Madonna was clearly moved and had to visibly fight back the tears when she embraced Birhan Woldu, who appeared as a child close to death in videos at the original Live Aid concerts. Woldu, now a beautiful young woman, is a living testament to how we can impact peoples lives for the better when we act in a smart and compassionate manner.

The real stars of the day though were the people who came out to all the shows or participated online. Around the world, millions attended the concerts and signed the One campaign's petition to world leaders asking for action. The celebrities themselves recognize that it is the people who have the power to affect change by educating themselves and putting pressure on the politicians to take some simple steps that can yield enormous and worthy results. Not everyone can be saved, but if the people who were touched by the shows take their new knowledge and call, write, visit, fax, or email their leaders then more children like Birhan Woldu can have a fair shot at living a full and healthy life.

The Live 8 events have already gotten the attention of key world leaders. Commenting on the music and art communities' involvement with these issues, British Prime Minister Tony Blair said:

It is interesting that the so-called sort of rock stars have got behind this because they have approached it in a very practical and responsible way. Bob Geldof was part of the Commission for Africa which was the report that took as many months to write with representatives from the wealthy countries and African countries, and we put it all together. He hasn't simply gone out there and paraded his conscience and said it is terrible, now do something about it. He probably knows as much about this problem as anybody else in the world at the moment. And he has worked at it, and the others, Bono and people, are serious about it, and they are not grandstanding either. They are not just out there saying give us perfection and if you don't you have failed. They are saying look here are practical things that we can do, now let us try and mobilise support behind it.

Blair makes a key point. Celebrities are often criticized for commenting on social issues. Its as if some people view celebrities as having lost their right to speak out once they become famous. But, in this case there is no question that those involved at the top, Geldof and Bono in particular, have spent time on the ground in Africa, have studied the history, have thought about the economics of the situation and are presenting very practical and affordable solutions, which will return a tangible benefit.

Of course, Bono couldn't resist a little theatre as he juxtaposed the stark differences in the lives of the G8 leaders and those who's lives they can save.

"So this is our moment. This is our time. This is our chance to stand up for what's right," Bono said. "Next week, eight of the most powerful men in the world will meet on a golf course in Scotland. The stakes are high. This is our moment. We can make history by making poverty history."

The conversation on tackling poverty issues continues this week as world leaders converge on Scotland to discuss various proposals at the G8 Summit. We know that politicians are good at talking. But, as Tony Blair said himself, action matters: "if you take HIV Aids or malaria, or TB or polio, yes it is perfectly obvious that where action is taken, results are made."

So, here's hoping the other G8 participants heard the message shouted loud and clear yesterday and act, not as politicians, but as leaders and make history by helping to improve and extend the lives of millions of children around the world.

Labels: Pink Floyd

Just like the reunion of Plant and Page for Live Aid in 1985, Live 8 will deliver some rock and roll history, and hopefully alter world history as well. David Gilmour and Roger Waters, along with Nick Mason and Richard Wright will play together as Pink Floyd for the first time since 1981. This year is also the 30th anniversary of Pink Floyd's "Wish You Were Here" - one of the all time great rock albums - so a reunion at this time makes sense on many levels. Members of the band also made history when they played a show among the ruins of the the demolished Berlin Wall in 1990.

Labels: Pink Floyd