SLIMMED-DOWN TUBES SPRING FROM NY ON WORLD TOUR – B.B. KING’S 05-31-09

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

(Photo by Lynn Vala)

If you are a bit longer-in-the-tooth as I am, you remember a time when MTV played music videos, those alleged promotional devices that were short-form movies scripted to coincide with the lyrics and tone of the song being promoted.  If you consider this time period (from 1981 to about 1992) when we were still recovering from the post-disco era, music that suddenly had images to accompany the sounds seemed like a logical place for this 7-piece-plus musical theater troupe of a band.  Since their inception through their last major release, they have been minimally a 7-piece.  TWO guitars, TWO keyboardists, bass, drums and vocals with occasionally added female vocals, dancers, roller skaters, actors, sometimes just the guys backstage would walk around on stage and it would be so heavily populated no one would notice.

But the lineup has been streamlined, most notably the absence of the late Vince Welnick and the non-participation of co-founder Bill “Sputnik” Spooner.  Spooner’s absence is easily explained.  He grew beyond the music.  Having more of a folk-rockabilly-50’s-rock sensibility so aptly displayed on his Mall To Mars CD.  The Welnick story is far more complicated.

Some of you who gravitate towards the Grateful Dead camp will recognize him as the long, curly red-haired guy who could fly on keyboards towards the end of GD.  He was touring in the shadow of Bruce Hornsby, who was popular at the time.  Don’t showcase the keyboardist of OBVIOUS SUPERIOR TALENT, put the focus on some one-hit-wonder-player-who-found-a-piano-sound-people-like.  I invite all infuriated Hornsby fans to OBJECTIVELY listen to Welnick’s work with The Tubes, Todd Rundgren and others, and THEN if you still think Hornsby’s better than Welnick, you can keep it to yourself as this IS an opinion review.

Welnick also played with other Dead alumni bands and configurations.  Weir was reputed to fire Welnick for having an out of control Xanax and anti-depressant habit.  Welnick was alleged to be depressed about the death of close friend and band-mate Jerry Garcia, Welnick’s recent bout with cancer and a fresh diagnosis of emphysema. Weir fired Welnick in a tour bus as Weir was intolerant of Welnick’s perceived “drug abuse”.  But because Weir had severed the last tie between Welnick and Garcia (that being the bands), Welnick became extremely depressed and brutally slashed a vein in his neck and bled to death.  I would love to say this is rumor or speculation, but I have this information from a highly reliable source.

I never found any use for the Grateful Dead, its members solo and off-shoot projects.  I find the music boring, repetitive, lacking in redeeming intellectual and mental value, and devoid of soul or feel.  Sugar Magnolia, my arse, boring.

This rippled through the Tubes, Rundgren’s and Grateful Dead’s respective camps.  The popular opinion then was, there can never be a true Tubes reunion.  Spooner, Cotton, they could all six get together and that one distinct element would be sorely lacking.  I met the man once and he was an affable, kind and engaging man.  Between his playing and personality, it is no wonder he is widely missed.

The five-piece configuration that performed at B.B. King’s in Times Square was, at least, four-fifths original members.  The Tubes today are: Fee Waybill – vocals and theatrics, Roger Steen – guitar and vocals, Rick Anderson – bass and vocals, Prairie Prince – drums, and the able newcomer is David Medd.  Now I know I set a somber introduction about former keyboardist Welnick, but I have some reassuring news: Medd not only was able to cover both Welnick’s and Cotton’s parts, he also added a large percentage of the backing vocals.  Between Steen covering Spooner’s parts, and Medd covering Welnick’s keys, vocal and the synth lines of Cotton, we have a very full-sounding slimmer, trimmer, more economically sound Tubes.

Upon arriving at BBK’s, we are sardined into uncomfortably close quarters.  Uncomfortable chairs and too-small tables, this is already unbearable.

Some warm-up act of undetermined origin, the Fun Puppets, were warbling away as we were shoehorned into our minute allotment of space.  Were it not for the absence of two people, the photos that accompany this entry would not be possible.  But the warm up act was a hybrid of garage-band-meets-southern-Vegas-rock.  YOW!  We are only exposed to a few of their efforts, but even if we were to have caught more, I doubt I could give it a fair judgment, the crowd were only interested in The Tubes.  Once this 60’s southern band end their set, they have to tear it down themselves with help from all kinds of crew, their roadies, the Tubes roadies, the venue’s security, maintenance, stage crew…

You might think New York City would be more cultured than that.  The music being played during their tear-down?  Billy Joel and  George Thorogood.  If I want to hear this junk, I can move back to Scranton.

An announcement interrupts Aretha Franklin to remind us that flash photography is not allowed.  Low.

Several props are laid out beside Prince’s bass drum.  I see a straw hat, so “She’s A Beauty” will be on the set list.  Slowly and to great crowd approval, the band take the stage, and upon Prince’s count-in, we are treated to the opening strains of “Up From The Deep” which was not only the first song on their self-titled debut album, but also a Spooner-sung track.  So that’s how it’s going to be…

Steen fumbles his way through the vocals, especially the part where Spooner originally says “…that’s how I’ll have our guitar player, Roger Steen play it (listen to him)”.  He replaces himself with Prince and Prince makes a minor splash at the mention of his name.  Steen and Anderson are not on top of the riff of the initial break.  Still no Waybill yet.

Tubes Guitarist Roger Steen (Photo by Lynn Vala)

Waybill finally decides to show up after Steen and Co. whip out “Out Of The Business” from Outside/Inside.  Waybill is dressed in a tattered, torn, pockets inside-out jacket, overall disheveled, cigarette in hand (acceptable to smoke on stage as a prop), it is Waybill at this point who brings the tight to the stage.  Once Steen is free from the Vocalist-musical director role, he can focus on being the MD and keep the performance tight.  Tight right up until Waybill throws his torn jacket into the crowd along with his tie from his neck.  They close it out and run it right into “No Not Again” also from Outside… and a mighty tight version is offered.  Only a tad rushed and a little muddy in the mix, but Steen and Medd cover the backing vocals quite well.

Fee Waybill Enjoys An Adult Beverage During A Solo. (Photo By Lynn Vala)

Waybill addresses the crowd with many obscenities describing people sitting on lawn chairs on 7th Ave.  He then begins to introduce the band and when he comes to announcing Prince, he begins an anti-Rundgren tirade over stealing Prince from the band.  Whenever Prince plays with Rundgren, the Tubes employ Jonathon Mover who will be playing with them on and off throughout the evening!  So why not perform a Rundgren-produced Tubes tune, “I Want it All Now” from Remote Control?  Perhaps it was Waybill’s contempt that rushed this  song through, to the point where Mover’s guest double-bass drumming was far too overpowering at the end, to the distress of a nearby sub-woofer.

For the best deals on men's wear, it's got to be Howie Mandell's yard sale. (Photo by Lynn Vala)

After detailing how he bought a jacket at Howie Mandell’s yard sale, we are given “What Do You Want From Life?”.  During the first keyboard solo, Waybill announces “Rick ‘Village People’ Anderson on bass…”

Tubes Bassist Rick Anderson (L) And New Keyboardist David Medd. (Photo By Lynn Vala)

People repeatedly ask for Rundgren memorabilia when Waybill asks audience members what they want from life.  After protracting the audience participation segment, Waybill returns to the stage to deride Canada and finish the song.  Except he actually produces an autographed picture of Randolph Mantooth!

"Emergency" star Randolph Mantooth, sans autograph (Photo courtesy of NBC)

A surprise from the first of the trio of Capitol Records releases, Completion Backward Principal, we given “Amnesia”.  While very tight, and for those of you who know this song, it is all about the groove falling into proper order.  Bass plays three notes, and while it rests, the guitar hits a chord for five strikes.  But once we get into that same chorus, the low end begins to get over powering.

But by the end of the song it has a considerable dynamic build, from a sterile beginning to thunderous conclusion.  Waybill introduces “She’s A Beauty” from Outside/Inside with a tale of missed sexual opportunity in Shirley, Mass.  He dons the straw hat and red and white striped jacket.  Medd tipped it off by triggering the sequencer as Waybill continued his diatribe.  After a blistering solo from Steen and some inventive double drumming from Prince this song is brought to a close.

Waybill As The Recreation Of The "She's A Beauty" Video. (Photo By Lynn Vala)

“Turn Me On” from Remote Control was brought out and dusted off.  But with only two backing vocalists to carry out what was done by layers of tracks Rundgren had them put down on the recording, said vocals are a tad light.  But the riff before the rejoined guitar solo was note-for-note on the money.

At this point Waybill leaves the stage and returns the front man duties to Steen as he goes on to introduce a new version of “Sports Fans” which was originally from The Completion Backward Principle Video.  Waybill does finally return to the stage in a sports jersey, jockstrap (on the outside, of course) to bat wiffle balls into the audience.  The funniest part was when he hit a ball that ricocheted off the front of stage light bar that was suspended out front beyond the stage, it bounced back toward the stage but veered off center to plunk a woman one table in front of us square on the head!  The entire song arrangement and lyrics were rearranged to the point of unrecognizability.  Steen inserts an almost perfect go of the riff from “Helter Skelter” into a solo.The bridge is half-timed to stretch the solo and vocal outtro.  The second time around, the bass and drums 3-count the rhythm.

Waybill Portrays The Uberultimate Sports Fan For The Song Of The Same Name. (Photo By Lynn Vala)

Steen reintroduces Waybill as ‘Fee B Brown’ as the next song is arranged a la James Brown.  Until ‘Brown’ takes the stage, Steen solos and continues to glance backstage at ‘Brown’s’ progress with his costume change.  It took a while for him to don a faux grease pompadour, glitter sleeved jacket on a polyester suit.  He mimics falling and Anderson helps him up and introduces him.  The song they are performing is foriegn to me.  “Can’t Stand Your Love” or “Never Hit The Ground.”  Never heard it before, new to me.  My research has proved fruitless.

Elvis Waybill? (Photo By Lynn Vala)

A guitar break leads into a version of “Sex Machine”.  This melds into “Tip Of My Tongue” from Outside/Inside.  It is a good version for a five-piece (I once covered this in a five piece with horns, it was a job).  It is during this song that Prairie Prince is given a solo break.  A revamped staccato break is inserted before the chorus and guitar solo.  After a blistering solo Steen, a vocal break is inserted before the rocking outro.

Another surprise, from Now is “This Town”.  Waybill is back with a fedora and raincoat.  This was another of those big-band-to-five-piece arrangements that just didn’t work.  As much as I love this song, this version was lacking.

“No Way Out”, also from Remote Control missed the old Mike Cotton synth sequencer.  Korg Tritons are not ARP 2600’s.  A prolonged intro waiting for Waybill’s costume change into a television carcass on his head!  A snappy solo with wah before the 2nd chorus.  Again only two or three backing vocalists pale in comparison to Rundgren’s choir-like backing vocal arrangement.  Funny, Waybill twirls the carcass around his neck during the solo.

Prince and Anderson power through every song.

ATROCITY OF ATROCITIES!!!  Waybill singing a Sputnick vocal!  I remain in hell, without despair.  I want to make sure Waybill sees me flipping him the bird.  This was one of their big hits from their MTV heyday.

But not without Spooner will this amount to anything.  For this being a scaled back band, this version was overblown.  Waybill reintroduces Steen and leaves, again.  After an extended solo and RNR cliché ending.

A raised mic stand is put on stage.  We know Waybill will shortly be portraying the legendary, banned in several cities, wait for it…

QUAY LEWD!!! (Photo by Lynn Vala)

A ten-foot tall (or so it appears) Quay Lewd takes the stage.  I think the song they are playing is called “Angry Itch”…?  A medley is formed by running this mystery tune into “Boy Crazy” from their debut album The Tubes.  This is a reverent version.  Medd is doing quite well filling in for the late Welnick and Cotton.

The pillar of this band’s career is next.  “White Punks On Dope” also from the self titled debut.  Just about every audience member is singing along.  During the rests, the band lean out towards the audience and listen to the audience performance.

Basic interactive 101.

During the single note repeated beat break, Anderson shoves a can of beer in Lewd’s hand.  Lewd guzzles and passes out and falls down during the vocal choir ascension part.  It takes him several humorous tries to get back on his 12” platform silver boots.

The outtro becomes intolerably loud, fortunately the burn-out ending comes right away.  As Anderson leads Lewd away, Lewd announces that he’s taking Rick back to his dressing room right now.

After a brief rest, the band return to the stage, Medd even dances his way back on as Anderson announces that he (Medd) has magic feet.

An amped-up version of “I Saw Her Standing There” by Beatles.  This version featured a shirtless Waybill.  Nobody needs to see that.

“I Was A Punk Before You Were A Punk” is a surprise audible to an audience member’s request.  This is a little heard Tubes tune, with a most memorable chorus lyric “You want some more action, I’ll put your a** in traction.”  This version was one of the better ones (of the few) I have heard.

Then, Tubes give the people what they want.  The song everybody is waiting for (I’m waiting for ANYTHING from Love Bomb) “Talk To Ya Later”, from Completion Backward Princeiple.  This was an anemic version, slow, sloppy and way too loud.  Medd’s soloing was consummate.  Towards the end, Steen and Medd do speedy solos together.  The tempo slows down a bit but rushes back up as all Waybill can do is clap his hands in time.  They bring this behemothth in only slightly scathed.

The End (Photo by Lynn Vala)

Waybill declares it was an awesome night in New York City and claims that a meet and greet will follow.  Do I dare?  Should I pull another Rundgren NYE?  What would I talk to the band about?  You know what?  I can’t wait for that.  I know that I would get too angry towards Waybill for his repeated Rundgren bashing (on stage and off) and his less than sanctimonious treatment of Spooner’s songs.  This would get ugly.  I could avoid him and talk to Medd, or Steen, Anderson is a nice guy I hear.  Prince will be sick of my face about now.  The club employees make it difficult to want to stay around anyhow.  Besides, I am too sad.  I miss Vince.