HEADMASTER WETTON SCHOOLS THE SCHOOL OF ROCK AT WORLD CAFÉ LIVE MARCH 08, 2009.

by Jeff Boule in Concert Reviews, Editorials, Musician Reviews, Opinion Posts, Reviews

Well here is your intrepid blogger, deep inside enemy territory.  I mean crazy deep; I can count at least three laser-sight dots on my flak vest.  Firstly, I am sure I have bad-mouthed this venue, as it likes to jerk its customers around.  If I haven’t maybe I should now.  For one show they offer you luxurious accommodation at a particular price, and then for a next show, you pay that same price and get a barstool.  CRIPES!!  That was a shot close to my ear!  Next, I MUST address some recent King Crimson issues (Wetton was the bass player in the`70’s incarnation):  If you all think I am spewing sour grapes as I won’t be able to see the 40th Anniversary King Crimson shows alleged to be taking place on the west coast, I refer you to the August 2008 archive where my review of the August 16th Nokia Theatre performance in New York City lie in state for all to examine.  If my ramblings got the Brain and the Bald One to reconsider their heinous acts, so be it!  I would be open to ghost authoring the Bald One’s book.  He once referred to himself as dumb-as-a-shovel…  BAIL OUT!!!  That was a concussion bomb, about thirty feet away.  I need to interject that should I not make it out of this review alive, please scour the wooded areas of Mount Juliet, TN for my remains.  Lastly, I am inside the stomping ground of the Birdwoman, the pipeline to the Bald One.  If I fart, she tells The Bald One.  DUCK!!!!

We ducked inside the battlefield, yikes, it looks like a bomb went off in here, oh wait, several have.  But there seems to be a lull in the barrage, we are seeking seats at tables that have obstructed target capabilities.  I was then confronted by a field general, General Imdan, members of his company had the camouflage concept of moving us towards the back of the compound, which would deflect any and all attention away from me.  I can’t tell them they are in the crossfire; they have volunteered to take the front flank.  Recognizance is taking surveillance photos, so we were e-vac’ed towards the back.

We barely had time to eat our field rations, which were quite different for this particular venue, more “real” food and less ‘nouveau cuisine’, and I only had a slight moment to pen this intro as, before you know it, the show was a-ready to go.

We were witness to an older, more well behaved crowd (which is unusual for Philadelphia) orderly, taking their seats at “first-come-first-served” tables.  My companion has just reported hearing air strikes nearby…  Once the smoke clears, the crowd takes their seats at tables and all along the bar.  I can’t help but remember the acts I have seen here before: Robert Fripp twice, the first being the music and spoken word tour, how rare!!!  The venue was so intimate, when he struck the first note on his guitar you could hear the note before it was processed in his Soundscapes rack.  Then the second time was with The League of Crafty Guitarists.  Also Adrian Belew’s Power Trio played here and of course, I could not pass up seeing Todd Rundgren on the pre-release tour for his newest album.

This also prompts me to confess, I have not followed John Wetton since I learned of his joining Asia.  I adore the 1972-1974 incarnation of King Crimson.  Asia was definitely more interesting than most of the pop music MTV inflicted on us in the `80’s.

The Paul Green School Of Rock All Star band took the stage cacophonously at about 7:37, DST.  A student looking remarkably like another well-known sax player, Lou Marini, led the band. The ensemble was maneuvered through King Crimson’s “21st Century Schizoid Man”.  I may as well let it be known, I am different than your average King Crimson fan.  I am not a big fan of anything before 1971.  But this time I am prepared for your outbursts, your hate emails and comments, the dead animals in my snail mail box, go ahead, do your worst.  I just need to remind you all that at the top of this blog, under the headline, after the by-line, there exists the categories this blog resides under.  These categories clearly define that this diatribe is purely my OPINION.  My OPINION, it’s an EDITORIAL, an opinion post.

What is my opinion about “21st Century Schizoid Man”?  At least Wetton won’t have to perform it.

Next, I have to take a stand about reviewing the students.  Firstly, I have no level of reference when it comes to their previous works, secondly, they are still learning, developing, cutting their teeth as it were.  For me to attempt to uphold them to standards of the original recording artists is unfair.  So when they play by themselves, I will try to refrain from making comments.

One thing that will remain constant throughout the night is the ever-changing band lineup.  Students will walk on and take instruments from students walking off stage, some will bring new instruments, some will play one instrument for one song and another instrument for the next song.  Versatility is not lacking at this school, but some things are and they will be explored shortly.

With the new group of musicians and Wetton, Paul Green also took the stage and offered a modest introduction during which he claims that “King Crimson is one of his favorite bands, and John Wetton is his favorite bass player.”  What else would he say on a night like this, “John Wetton is OK, but I like Tony Levin better”?  Blasphemy.

After some very brief chatter from a robust, shorthaired Wetton, he was joined on stage by three guitarists, a bass player and drummer.  Wetton had the largest amp on stage, so you know he was going to do some playing as well.  Wetton is most likely older than every member of the ensemble, and judging by the looks on these kids (just out of swaddling clothing) there exists the great possibility that their collective ages wouldn’t total Wetton’s age.  Not that Wetton is that old, these kids are that young.

They are giving us the ever-ominous “Red” from the King Crimson album of the same name.  It does seem to be going off without a hitch, but there are hints at sheer inexperience.  Let’s face it, Wetton has been playing these songs on and off for over thirty years, these kids had a week to take a crack at it.  They did the best they could with difficult material, and we will leave it at that.  Where are those acid flashbacks when you need them?!?!

After a rousing lecture regarding “devil’s intervals”, that is the formation of tri-tones, and how churches often forbade the playing of tri-tones during services as being the vehicle of the devil, devil’s music, the dose of devil music we are treated to is called “Lament” from King Crimson’s Starless And Bible Black.  With this comes the addition of a keyboardist and violinist to adorn the version.  The version may have needed adornment in terms of the expertise of the students, but Wetton’s voice was fantastic in its passion, clarity and resonance. But the kids got a tad lost trying to follow this complicated arrangement.  So picture the poor simpletons in the audience waiting for “I Talk To The Wind”, they must be so confused; spot the ones with the quizzical looks on their faces, while the predatory make them sign mortgage agreements in their stupors!!!

Then we were treated to a bit of English humour, as Wetton announced the next song with Monty Python’s tagline, “And Now For Something Completely Different…”  Asia’s “Days Like These” is presented in better form as this is obviously a composition of lesser difficulty.  This song even has a riff that reminds me of ELO’s “Do Ya”.  But on this version the solo ended quite harshly, with things falling apart all around.  The students recovered with a nice tight ending.

After more personnel changes, King Crimson’s “Easy Money” is offered from Lark’s Tongues In Aspic.  With a female drummer, this version is uncharacteristically tight, but they still need more seasoning.  Of course I expected the guitarists to have problems with Fripp’s insane lines, but I was surprised when this drummer kept up with Bill Bruford’s part, but for the other members to screw up backing vocals?

Where’s the good stuff?

We are forced to undergo more of that insipid, under-developed and questionably inspired music brought to you by the good kids from The Paul Green School of Rock.  We are subjected to Rush’s “Tom Sawyer” from their Moving Pictures LP.  I guess this stuff is the music at the projected end of the tangent.  From the extreme that is King Crimson, to the middle-of-the-road of Asia to the disgustingly commercial product of Rush.  At least they are being taught a vast curriculum.

Once I remember being taught that you should never play parts within a song outside of it’s originating key.  But still no flashbacks…

I repeat I am hesitant to review the students’ performances as they are just starting out and to evaluate them as they are developing is unfair.  I know I keep pointing out their shortcomings, and I want to reiterate, for these kids to play anywhere NEAR the original artists caliber is a feat in itself.  Let’s not forget to mention that they are onstage with one of Progressive Rock’s giants of journeymen, John Wetton.

SUDDENLY, A BARRAGE OF MACHINE-GUN FIRE RAVAGES THE ROOM, those who want me dead are starting to make a point.  General Imdan makes the heroic decision to attempt to draw fire away from me; he and his recon unit are some of the bravest people I have seen.  He makes a play toward the other side of the room, HE IS HIT!!! Damn you savages!!!  He is down, he isn’t moving, it should have been me!!!!

Nervously, and with head ever-turning to scope for possible shooters, I continue my observations in the field…

After another tune by PGSOR, Jethro Tull’s “Mother Goose” from their Aqualung album, Wetton returns to the stage for UK’s “In The Dead Of Night” (with all apologies to those who have fallen to make this review happen) from their self-titled album.  The performance itself is a tad scruffy, but the students step up in terms of better background vocals, and the lead guitarist did a good job with the Alan Holdsworth solo.

My field companion and I have taken refuge under a nearby table to avoid the gunfire.

Obligatorily, Asia’s “Only Time Will Tell” is presented and it started a bit sloppy as some of the band members were trying to get themselves ready for the song as the keyboardist started the opening riff before they were composed and prepared for the song. The background vocals were amiss, the lead guitarist could not closely uphold Steve Howe’s original lead melodies, and the drummer (who must have thought himself a new Eric Slick as he was dressed as dapper as Slick is reputed to do with The Bald One) who was having trouble not only keeping the band together, but in keeping the time in general.

For a change, Wetton puts on a 12-string guitar for King Crimson’s “Exiles” from Lark’s Tongues In Aspic.  The vocals of a younger Wetton come back to haunt him as at the top of the lyrics, he strains his voice a bit, but regardless the band holds it together!  Perhaps responsible for the newfound togetherness of the band was the replacement female bass player, not knowing her name, she had long brown hair worn well past her waist, and played a left-handed Fender-style Jazz Bass.  Along with competent bass, she also was the best versed at backing vocals.  She harmonized with Wetton quite well on this take.  Unable to attain a list of the players names before publication, I will have to settle for calling her a phenomenal player with a bright future should she choose to pursue it. She may be the next Julie Slick out of PGSOR, she is that good.  She was seemingly the only female on stage with a sense of presence, confidence or acumen. But no matter the completeness of the part, the whole fell completely apart at the end of the song, which is a shame as it was a really beautiful rendition.

At this point we are offered an intermission.  Did they really work that hard???  Silence canceling music is pumped through the house PA as sycophantic friends of Paul Green line up to press flesh and pucker up.  I find it interesting as to why a musician would want to associate themselves at the cost of their professional reputation?  In my mind, Wetton is lowering himself by not giving these songs the representation without mutilation they deserve.

Suddenly, we notice a small army of angry looking gentlemen all wearing In The Court Of The Crimson King T-shirts, carrying baseball bats, aluminum ones no less!!  My companion pulls the old “kiss-on-the-lips” disguise as the macho patrol marched by us in unison wearing their black Doc Martins… Wait a minute, they aren’t guys at all!!!

At about 8:45 the musicians return to the stage with Wetton, but the house sound had different ideas.  It seemed that the house PA was unwilling to succumb to silence as the sound person had disappeared!  After several failed chants of “sound guy, sound guy, sound guy”, he returned and our patience was rewarded with “Lark Tongues In Aspic Part II” (I’m pretty sure you can figure out which album this is from).  As deduced, the guitarists had a tough time with Belew and Fripp’s parts (I assume they did the newer version from the incarnation with Belew as there was no violinist) and while they did have a rather fetching young female violinist available for this tune, she was not enlisted to play this song.  Once the band got going, things quickly turned into audio quicksand.  Even with a crazy-inspired solo, things got indistinguishable quickly.  The ending just fell to pieces as Wetton assumed a look on his face as if to say, “What’s all this, then?”

Asia’s “Don’t Cry” was next, and it is a tight version, the lead ‘slide’ guitar was either flat or off time (sometimes both at once).  It struck me as if this and LTIA PT 2 were arranged for dummies.  When the solo from the break to the end change before the outtro chorus failed to manifest itself properly, things went a-stray.

Put this in its coffin.

The special treat of the evening was what Wetton described as a virgin song to playing on stage, “One More Red Nightmare” from Red, which was the album that was King Crimson’s last to feature Wetton in the band.  There was a tour, which yielded the live USA album.  USA did not have “One More Red Nightmare” on the disc, and I am not sure if it was included in their set list.  But after that tour, Robert Fripp unceremoniously disbanded King Crimson and Wetton never got the chance to perform this song on any stage, until now!  Quite the bonus for us audients!!  What was disappointing was, Wetton for the most part just stood around…

HUH???

One more Red live track… “Fallen Angel”.  Wetton again straps up the 12-string as the anticipation was high for this track.  The band was certainly anticipating this piece as Wetton performed it beautifully both vocally and on the guitar, and the band surprisingly upheld him.  For once performances were matched.

Wetton departs for another break and we are left to suffer another PGSOR cover.  This time they hack-up KC’s “Three of A Perfect Pair” (from the album of the same name).  This version is what the track would have sounded like if Belew and Levin hadn’t reached puberty yet, pre-pubescent vocals.  In that spirit of not attacking those who are merely starting out in the music business, I won’t even mention what the guitar solo sounded like.  Sorry, it gets by me from time-to-time.

Like those flashbacks…

The next Wetton-less tune is an estrogen filled Yes song, Tempus Fugit.  Two young ladies were vocalists, joined by the other female singer was also that quality bass player, and all equated to gorgeous three-part harmonies.

Wetton returns and gives props to the kids, thanks to more usual suspects, and we get “Rendezvous 6:02” from UK’s Danger Money.  The band seemed quite comfortable with this song aptly led by that same longhaired bassist/vocalist.  Everything she did, she exhibited an air of confidence and competence, and things did seem to hold together better with her or the rather large young man who played guitar and sang (most notably on the Wetton-less King Crimson cover “Three Of A Perfect Pair”).  Additionally, our Rapunzel-haired bassist harmonized with Wetton extraordinarily well.

After turning down a request for “Starless” (by KC), we are treated to “Nightwatch”.  This sounds nice until one of the students starts the backing vocal line a few measures too soon.  But when it came to the ending of the song, Wetton does put extra emphasis on that final line, and that vocal was shining!

Also, at this point I guess I should mention that the Paul Green School Of Rock does little towards teaching these kids about stage presence.  Many of the females as well as some of the males simply stood on stage like mannequins.

The sound of marching feet, here comes the T-shirt patrol again, flashlights beaming, baseball bats pound the ground inches from my face concealed again by my companion.

My companion, my best thing to ever happen to me, she is always there for me, I will miss her when I am hauled away to 101…

“Fracture” by KC from Starless And Bible Black is next.  The opening riff was represented quite well, but ever the pessimist I, I remain waiting for the bottom to drop out.  Pleasantly surprising to most of the audience, the power chord section exploded from the stage.  But as my pessimistic fears alarmed me earlier, once the band got into the more complicated arrangement section where higher degrees of difficulty prevailed, all of Wetton’s coaching couldn’t keep this together until the rejoining verse.  Even at that point, there was a dissonance that could not be reconciled.  It was not the dissonance the song was seeking.  But when they reconvene for the heavy outtro, they are out of tune, but the part is tight, and Wetton still has the knack for playing those 30+ year old bass riffs and runs with refined ease.  But I will say this, the ending of “Fracture” was incredibly tight.

One thing that I and presumably the rest of the audience did not need to see was a certain bass player, who looked like a preppy Jimi Hendrix, revealing certain areas of his posterior for all to see.  Yup, the full moon shone bright in the lower level of the World Café Live that night…

I presume social skills are not on the curriculum at the School Of Rock.

The next song is KC’s “Book of Saturday” from Larks Tongues….  After a meaningless introduction by Paul Green, we are treated to a very close version.  For those who are unfamiliar, this is a ballad and with minimalist instrumentation.  Counter melodic in nature, the cascading guitar lines against the opposing violin line make for an almost butterfly-like intermingling, delicate with a purpose.

The finale is from the movie “40 Year Old Virgin”.  Actually it is Asia’s breakthrough hit “Heat Of The Moment” from their self-titled debut album.  This version was quite good, replete with backing vocals, which were passable.  This reasonably close version is brought to a close only to be reprised for inaudible introductions to the individual members of the School of Rock All Stars.  I am attempting to contact the school to gain a firm list of these talented kids, and to give them their credit.  However, it is getting close to deadline and I have not heard anything regarding my second inquiry.  If this sentence is still in this review, that means I did not get a timely reply from The School of Rock.

But it also means I got out of there alive; made my way to the car.  A couple of close scrapes, and the loss of a couple compadres around me, but I escaped enemy territory for the most part unscathed.  Moments of silence for those lost in combat, but they gave their lives so that I may continue to report on all things Crimson, AS THEY HAPPEN!!!  Many of the artists I have reviewed have commented that I am fair and balanced.  Through all the sniper fire, hand grenades, dead animals in my soup pots, and militant Bald One fans, I intend to stay that way!!!
If this review has intrigued you as it has revitalized my interest in John Wetton, I hope it has at least sparked an interest in this prolific, gifted and versatile musician.  If you are fortunate to have Wetton coming to a city near you, with Asia, solo, or even with The School Of Rock, I recommend attending.  Even with an inexperienced band, Wetton puts on a phenomenal show.  This is made even more remarkable by the fact that just as recently as December 2006 Wetton suffered heart ailments and did have open heart surgery.  I will be plundering PREX’s John Wetton bin, but I just can’t bring myself to buying Asia, that is, again.

It just doesn’t get weird enough for me.