song sung blue

Let me preface this story by saying I really dislike "tribute bands." While I certainly am a fan of live music, I draw the line at bands that feel it's okay to ride the coattails of an established and beloved (by some) act by imitating every last move, note and lyrical inflection for a few bucks (actually way more than a few bucks). Even if the object of "flattery" is a band I like, I feel angered by and embarrassed for the performers, as well as the actual band. A few years ago, Mrs. Pincus and I were given tickets to a Queen tribute band — the "ultimate" Queen tribute, if I recall correctly. We broke our promise of staying until the end of the show. I loved — loved — Queen in my youth and still hold a soft spot for them (except for my recent contempt for Brian May). However, I couldn't stomach any more of their "America's Got Talent" caliber of prefab presentation. A former co-worker regularly cajoled me to see a Genesis tribute band that plays almost monthly at a nearby venue. He constantly sang their praises, to which I constantly rebutted. "Not only wouldn't I go to see them," I would explain, "but the fact that they performed Wind and Wuthering in its entirety, my least favorite Genesis album, was absolutely not helping the argument." He eventually let up when the company let me go.

Let me also preface this story by saying that I will rarely turn down free tickets to anything. Case in point: my wife and I have seen Donnie and Marie, Tony Orlando and suffered through numerous bad experiences at the now-notorious (by way of this blog)  Movie Tavern — all for free. But, free is free and, as a good friend likes to remind us: "If it's free, it's for me." Words and sentiment couldn't ring truer.

Let me offer one final preface to this story. I love..... no wait..... let me rephrase that. I marvel at people's public behavior. I think since the advent and prevalence of social media in people's everyday lives, most folks have forgotten simple rules of public decorum. They have forgotten that there are other people in the world and sometimes their pursuit of a good time can impede on other's pursuit of a good time. Also, I believe that nobody owns a mirror anymore.

That said....

Free.

Mrs. Pincus obtained two tickets to Jay White's performance at the Xcite Center showroom in Parx Casino, a gambling venue just outside of Philadelphia. Parx's showroom has surprisingly attracted some fairly big names. Not the current superstars that could easily fill a stadium, but headliners in, what I would call, the "twilight" of their careers. Acts like Air Supply, John Fogarty and Reba McEntire — all recognizable, but perhaps no longer at the height of their popularity, yet still popular enough to fill a 1500-seat venue. Well, fill it three-quarters of the way anyway. Between the actual name acts, are scattered several "tribute" acts, including the noted Australian Pink Floyd Show, allegedly blessed by the remaining members of Pink Floyd (Hmm, there's one thing they can still agree on.) and the aforementioned Jay White. (I also saw ads for something called "Ian Anderson presents Fifty Years of Jethro Tull." I'm not quite sure in which category that show falls.)

Jay White calls himself "America's Diamond" and performs songs made famous by popular (dare I say "legendary") singer-songwriter Neil Diamond. (Technically, this moniker makes zero sense as the real Mr. Diamond was born in Brooklyn, New York... and you don't get more American than that, baby!) Not only does Jay White sing with a very, very close approximation of Neil Diamond's imitable Sprechgesang style, but he looks uncannily like Neil Diamond to boot. I can just imagine White marching into the office of a record executive and belting out a few tunes, only to be halted with suspect scrutiny. "Mr. White.... you're okay, but we already have a guy who sounds and looks like you." "Fuck it," I imagined White's growling retort, "I'll do a goddamn tribute show then!" And that's exactly where Jay White's career has brought him, playing such illustrious towns as Gulfport, Mississippi, Kokomo, Indiana and a week-long residency in Delavan, Wisconsin.

I was a little apprehensive about going to this show, but, as I said earlier, I won't turn down free tickets to pretty much anything. And this show had all the promise of "pretty much anything." Mrs. P and I had nothing to do and the venue was air-conditioned, so... what the heck! Besides, Neil Diamond has announced his retirement from the stage, giving Jay White the opportunity to perhaps fill a void that I was not aware needed filling.

...and then there's this guy.
(That's Jay White on the right.... or left.
I'm not sure.)

We drove the twenty or so minutes to Parx Casino and located the venue at the rear of the bustling gaming floor. We were a bit surprised by the configuration of the showroom. It was flat, not sloped at all, and was reminiscent of my elementary school auditorium, except the stage seemed to be built unnaturally high. (A Trip Advisor reviewer seems to agree with me.) The pre-show music piped in over the PA was a standard mix of songs that would appeal to the decidedly older crowd. (classic light rock and a smattering of country). Just before the lights dimmed, however, Lee Greenwood's chest-pounding, flag-waving, heart-stirring "God Bless the USA," came blasting through the venue speakers, offering just the right blend of nauseating, rabble-rousing, redneck faux-patriotism and faux-religion to an all-white audience, all of whom apparently had checked their handguns and MAGA hats at the door. A woman a few rows in front of us stood at her seat and dramatically waved her arms at the audience as though she were the choirmaster at a school recital. The room erupted in thunderous applause at the song's conclusion — a recording from thirty-three years ago by an artist who was not in the fucking room!

The crowd loved it... especially the old guy
 with the two-foot braid.

In the darkened theater, I could see a number of musicians filing in and tuning up. Still in the shadows, they launched into the opening bars of "Soolaimon," a popular, but lesser-known song from the Neil Diamond canon. Jay White, clad in a sparkly shirt and high-waisted tuxedo pants, his helmet of hair fashioned into the signature Neil Diamond 'do, strutted and posed and pointed his finger for the next ninety minutes, as he bounced around from "Cracklin' Rosie" to "Cherry Baby"  to "Holly Holy"... all executed with the dead-on precision of the respective recordings. The band was comprised of obviously talented musicians and White is definitely in possession of a strong set of pipes. But, there was still something that didn't sit right with me. While I do love and appreciate cover versions of songs, someone making a career out of someone else's act is no different than an artist duplicating the Mona Lisa or a writer plagiarizing Hemingway. If you have talent and creativity, then use it and be creative. Don't sell yourself short and take the lazy route. I know I was in the overwhelming minority. The crowd that evening, much like the audience gathered at the "Ultimate Queen Tribute," was eating it up like candy-coated candy. They thought they were actually seeing Neil Diamond at a fraction of the cost of a Neil Diamond concert ticket. They stood. They swayed. They sang, They cheered. One woman was welcomed stage-side while the pretend Mr. Diamond offered a personal and seductive serenade with "Girl, You'll Be a Woman Soon." It was greeted with palpable adoration. I found it embarrassing.

The evening closed with a participatory "Sweet Caroline" punctuated by the recent obligatory "so good so good so good" chorus that has ruined that song for me. Thank you Red Sox fans. I hate you even more. The last song was an epic rendition of "Coming to America" from the soundtrack of the 1980 version of "The Jazz Singer." My wife noted that if the crowd realized that this song was about a Jewish cantor emigrating to the United States, they may not be singing along with such gusto.

The house lights went on and the audience filed out — some still dancing as out of rhythm as they were clapping.  Jay White was in the lobby, cheerfully posing for pictures with his adoring fans. We passed.

If I learned anything from this experience, I realized that I know a lot of Neil Diamond songs. More than I thought.

www.joshpincusiscrying.com

up, up and away

Here we are in the final weeks of summer. Families are taking vacations before the kids have to return to school. Some will take quick jaunts to a nearby beach or lake resort, while others plan more elaborate trips to one of the many theme parks spread across the United States. I am reminded of my first vacation without my parents. In 1980, a year after my graduation from high school, some friends and I decided to scrimp and save to afford a trip to Walt Disney World in Florida. We were beside ourselves with excitement as the summer date approached. When we actually boarded the plane (my first plane trip), we were ecstatic. When we landed in the magical land called "Florida," we were like uncaged animals, ready to explore and, most likely, wreak as much havoc as we were able.

I wrote this story nearly ten years ago about a trip that happened nearly three decades earlier, but it certainly could have happened last week — or on any trip to any family vacation destination that involves rides, souvenirs and ungrateful children. That pretty much covers everywhere.

Just prior to turning nineteen, I went to Walt Disney World with three of my friends. This was my first vacation without my parents. I told about this trip in a previous blog post. My first day in Walt Disney's Magic Kingdom was great. After spending a fun but exhausting day, my friends and I headed back to our hotel. Somnolent, we slogged the length of the sparsely-lit Main Street USA towards the Monorail that would take us to the parking lot. Just before we exited, I purchased a Mickey Mouse-head balloon for fifty cents (remember, this was 1980). There I was, eighteen-years old, springing toward the Monorail with a balloon string in my fist and a wide grin across my face. 

We waited on the platform, in the thick and shifting throng, for the next Monorail to arrive. The sleek transport snaked into the station. It came to a silent stop and the hydraulic doors opened with a hiss. The individual cabins were fitted with futuristic bench seats, upholstered in undentable teal plastic. They were not unlike the back seat of my father's 1968 Dodge Dart. They seated approximately ten passengers. My friends, my balloon and I chose an empty cabin and slid across the seat to accommodate everyone. A young couple and their son joined our cabin and occupied the bench seat opposite us. The boy was about nine or ten and he had a balloon, too. The balloon looked more age appropriate for him than it did me. 

The doors to the Monorail shushed back into place and we began moving. I sat, holding my balloon and smiled at the young boy across from me as he held his balloon. Suddenly, without warning, his balloon burst. BANG! It hadn't touched anything. It hadn't bumped the low ceiling. It just spontaneously burst — BANG! We were all startled, but even more so, when the boy, just as spontaneously, erupted into a spewing fountain of inconsolable cries and tears. His parents tried unsuccessfully to comfort him. Instantly, I spoke up and offered my balloon to the boy. "Here," I said, "you can have mine." His parents looked at me with expressions of relief and gratitude as I relinquished my balloon. His mom wrapped one arm around the boy's shoulders and gestured to me with her other arm — her hand palm up and extended in my direction. "What do you say to the nice man?," she prompted her son. The boy looked up at the balloon. Then, he looked at me with no expression on his small face. 

"I wanted a red one.," he said.

www.joshpincusiscrying.com

my melancholy blues

Not Queen.

I loved Queen, the rock band that shook up radio playlists in 1974 with unique instrumentation and elaborate harmonies on their hit Killer Queen, brought opera to the mainstream, followed it up by reviving the rockabilly genre, then made a left toward funk and disco. Not bad for an art student, an astrophysicist, a dental student and an electronics engineer who stumbled into super stardom.

I saw Queen several times when I was in high school, at the height of adoration for the band. In 1977, I caught one of the coveted carnations tossed to the audience by charismatic front man Freddie Mercury during the encore of the band's Philadelphia date on the News of the World tour. I took my soon-to-be wife and my mother (um, those are two separate people) to see what would be Queen's final US tour in 1982. My mom, a long-time Queen fan experiencing her first concert, was brought to emotional tears. My almost-wife, an unwavering Dead Head, was also brought to tears — but for different reasons.

Freddie Mercury had kept his AIDS diagnosis a secret until the day before his passing in 1991. In Spring 1992, a crowd of 72,000 mourning fans packed London's Wembley Stadium for a star-studded show honoring the late singer. It was the last time the surviving members — guitarist Brian May, drummer Roger Taylor and bassist John Deacon — would perform together onstage. 

Deacon has since retired from the music business to a very non-public life, however Taylor and May have attempted to rekindle the magic of Queen's halcyon days. With May at the forefront, they recruited one-time Free and Bad Company vocalist Paul Rogers to fill Freddie Mercury's shoes (or ballet slippers, in this case). While Rogers' husky voice is typical "rock & roll," it is hardly in the same ball park as Mercury's five octave range. But that didn't deter Brian May from cashing in on the Queen legacy sans Freddie. He latched on to American Idol runner-up Adam Lambert to take on Freddie's vocal acrobatics, touting the young singer with the cringe-inducing blessing: "Freddie would have approved." (I commented at length on my current feelings for Mr. May nearly three years ago.) Needless to say, as far as I am concerned, there is no longer a band called "Queen," nor will there ever be.

Around the time that Mercury and company were telling the world that they were the champions, Broadway was alight with a show called Beatlemania. This multimedia production, billed as "not the Beatles but an incredible simulation," was a meticulous recreation of musical moments from the illustrious career of the Fab Four. It was an exciting and, for the time, unique undertaking, as well as a treat for those who had never seen the Beatles in concert (which was many, since the Beatles ceased live concerts in 1966). The four members of the cast talked like the Beatles, dressed like the Beatles, moved like the Beatles and, yes, sang like the Beatles. It was spectacular, if not a bit eerie. The production, which ran for over 1000 performances, spawned a new show business phenomena — the tribute band.

When I was younger, my friends and I would frequent any number of dive bars in our area. Besides cheap beer, these places would feature a band offering their interpretations of the hits of the day. In addition, some bands would do an entire set of the songs of one band. There was Witness, who did a Jethro Tull set.  There was the all-girl band Rapture, giving their best approximation of Blondie and, of course, local legends Crystal Ship famous for their Doors show. (Crystal Ship are famously mocked by The Dead Milkmen in the spoken intro of their song "Bitchin' Camaro.") These were just a bunch of guys playing songs by their favorite popular bands. But, more recently, tribute bands are big business. They tour regularly and get themselves booked into larger venues. Some even are officially sanctioned by the band to which they offer tribute. With clever (?) names like The Musical Box (a Genesis tribute), Strutter (a KISS tribute) and The Iron Maidens (an all-female tribute to guess who?) and some not-so-clever names like Australian Pink Floyd and 2U, these bands draw a loyal following of both the tribute and actual band.

Yesterday, my wife called me at work to tell me that her cousins Diahann and Heath (remember them?) were offering us tickets to see a Queen tribute show at The Borgata in Atlantic City. Mrs. P would pick me up near my office after work and we'd drive to the shore for dinner (again, complements of Diahann and Heath) before heading to the show. I did a quick Google search for this particular Queen tribute and discovered an officially endorsed tribute called "The Queen Extravaganza" starring one Marc Martell. The project, produced by Queen drummer Roger Taylor, was described as "much-buzzed-about" and has received much praise. Martell was commended as sounding "as if Freddie (Mercury) was in the room." However, further investigation revealed that the show we would be seeing was not that show. It appears that Mr. Martell has split with the official version, and taken his own rogue band in a similar direction, calling themselves "The Ultimate Queen Celebration." Ultimate, indeed.

After dinner, we entered the sparsely-populated venue a few minutes before showtime and were ushered to our eighth row seats. Mrs. P and I glanced around the room and assessed that the majority of the crowd had at least ten years on us... or perhaps they had all just led hard lives. Soon the lights dimmed and stage smoke enveloped the racked guitars and drum kit. In the dark, a man in our row screamed at the top of his nicotine-roughened voice: "Freddie's in the house!" Mrs. P and I exchanged surprised looks and Mrs. P whispered, "These people think they're at a Queen concert." On second thought, she may not have said "people." She may have said "idiots." Other folks were screaming wildly, bopping their heads and throwing up the "devil horns" (The same ones that KISS's Gene Simmons wants to trademark). The band members emerged from the violet-lit smoke, strapped on their instruments and launched into "Tie Your Mother Down," the lead-off track from Queen's 1976 effort A Day at the Races. Marc Martell, the alleged second coming of Freddie Mercury, stepped to the front of the stage and belted out the song's opening lines: 

"Get your party gown
Get your pigtail down
Get your heart beatin' baby" 

Was he good? He was okay. Was he Freddie Mercury? Not. Even. Close. Bud.

They were a cover band. A band doing other band's songs. Mr. Martell was making a half-hearted attempt at imitating some of Freddie Mercury's signature stage moves, while incorporating some of his own gestures. (Having seen the real Queen, I am very familiar with Freddie's faux ballet, stiff-finger punches in the air and microphone balancing.) The band was average, with the lead guitarist copying Brian May's well-known solos, but not his expression. Actually, he looked as though he had better things to do.

They delivered song after song, feigning excitement with each one. I physically winced at the opening strains of Sheer Heart Attack's "Now I'm Here," one of my favorite songs in the Queen canon. 

Not Queen.

Each new number — "Killer Queen," "Save Me," "Love of My Life," "Play the Game" — merely served as a sad reminder of how good Queen was. I silently reminisced about how much I once loved this band and how I still smile when I hear one of their hits and what a welcome shot of nostalgia it is to hear one of their more obscure songs. But, by Queen — not a cover band. Freddie Mercury oozed a certain amount of arrogance and pomposity, but it was earned. He was beloved by fans worldwide. When he greeted a local audience with "Hello Filthy-delphia! How are you motherfuckers?," it was received with reverence and esteem — especially when it was intoned with his upper-crust British accent. When Marc Martell, with the tiniest bit of smugness, shouted: "How are we, New Jersey?," it was met with a smattering of light applause. This was Queen karaoke by some guys playing rock & roll dress-up.

After a while, I was embarrassed. For the band and for the audience.

I don't know what would have made it better. Would I have appreciated it more if it was closer to Beatlemania, with the band members actually dressing like and imitating the members of Queen? I really don't know. I think that would have made it too close to the stage show We Will Rock You, the Ben Elton-penned Queen musical in the Mamma Mia vein. My son and I saw this ill-conceived debacle in Las Vegas and I hated it. I mean I really hated it. So, I don't know.

Was "The Ultimate Queen Celebration." an interesting evening? Oh sure. Hey, I got a blog post out of it. It also made me want to listen to my old Queen albums — something I haven't done in, literally, years.

The band wasn't bad. The performance wasn't horrible. But, most importantly, it wasn't Queen.

This is:

Queen.

Look, Diahann, I didn't even mention the pretzels.

www.joshpincusiscrying.com

gettin' down here with the people

It was a typical Saturday night, but it turned out to be anything but typical.

I picked my son up around 5 o'clock, just after he finished his on-air shift at the radio station where he works. We had plans to go to a concert in Delaware, just over the Pennsylvania border. We had plenty of time, so we hopped on the subway and headed to a new restaurant we had heard about to grab dinner. Pretty typical so far.

After dinner, we jumped back on the westbound subway to get my car and make our way down to the show. I punched the address of the venue into the GPS on my phone and we were off. After crossing the state boundary, I carefully followed the mechanical-voiced instructions though uncharted rural Delaware thoroughfares until we arrived at our destination, which, in this case, was the Arden Gild Hall. Again, pretty typical.

It was our first time at Arden Gild, a rustic looking compound comprised of several utility buildings and a large main structure that, once inside, my son observed that it looked like a "hunting lodge for rich weirdos." The room was slowly filling up and the weather had just turned to a more seasonal clime for our area. Actually, the temperature was inching towards the higher numbers on the scale. We spotted a few members of both the warm-up act (Scantron) and the headliner (Low Cut Connie), both of whom we've seen numerous times before. As a matter of fact, the bands actually share a few members. My son and I chatted with James and Larry, the Connie boys' guitarist and drummer respectively, and then moved closer to the stage as the lights dimmed and the first band played the opening notes of their first song. Still, nothing out of the ordinary.

After a brief intermission, my son and I moved even closer to the stage. Scantron burst onto the stage with the same high-energy, high-octane bravura they displayed a week ago on the tiny stage at Kung Fu Necktie. Performing this time as a trio (with a supplemental keyboardist), the band ripped through a raucous playlist that included garage rockers and odes to James' Delaware roots. Scantron concluded their set and crew began setting up for Low Cut Connie's show-closing set. I talked with my son and a photographer friend of his. Soon our conversation was joined by a lovely couple we have met at many a Connie show, who just happen to be the parents of Low Cut Connie's charismatic frontman Adam Weiner. So far, so typical.

Suddenly, a strange feeling fuzzed up my head and my vision. Things started to get atypical.

As the stage crew adjusted mic stands, arranged guitar stands and placed the venerable "Shondra" (Adam's trusty, road-worn piano) in her usual spot at the front of the stage, my peripheral vision began to close in creating the effect of standing in a darkened tunnel. My head began to swim. I removed my denim jacket and tied it around my waist. I leaned toward my son and asked him if he could get me a bottle of water. He took several steps towards the bar at the back of the venue, but stopped to grab a folding chair for me. He could tell I was a little "off." He didn't have time to unfold the chair as I fell unconscious into his arms. Adam's father jumped from his chair and rushed to my aid, helping my son to lower me to the floor. I don't remember any of this. I only remember opening my eyes to see a dozen or so faces peering down on me from my prone position. My shirt was drenched in my own perspiration. Two women, crouched on either side of me, identified themselves as nurses. One grasped my wrist as she searched for a pulse, while the other started in with a barrage of questions — "What's your name?," "How old are you?" (My son later informed me that I got that one wrong.) The one that momentarily jolted me back to my senses was "Who's the president?" I remember scowling and cautioning my interrogator not to get me started.

My son and Adam's dad hoisted me into a folding chair. Someone placed a wet towel on my neck. I felt better, but only for a few minutes because I passed out a second time. Meanwhile, the venue's announcer was backstage, informing the band that "some guy with bright orange hair passed out in front of the stage." Adam interrupted his pre-show rituals to exclaim, "I know that guy." When I came around the second time, Adam was kneeling on the floor in front of me, grasping my sweaty palms in his hands. The rest of the band was at the edge of the stage, gazing down on me, along with nearly everyone else in place. I looked up to see my son on his cellphone.

"Who are you calling?," I asked.

"911.," he replied. He was calm and in control.

Soon, the crowd parted for two EMTs who helped me on to a gurney and wheeled me out to a waiting ambulance. As they shoved me backwards into the vehicle, my head reeled. My son announced, "I guess this is a good time to call Mom." He punched in my home phone number and slowly, coolly and calmly explained the situation to my wife, who was an hour away in Philadelphia. As I was whisked off to the hospital, with my son in the ambulance's passenger seat and my wife frantically dressing then speeding south on I-95, I could imagine the chatter among the people at the concert venue.

"I wonder what that guy was on?"

"Wow! I think that guy died!"

"I never saw anyone with that color hair before!"

Within minutes, I was in a small room in the emergency department of Christiana Care Hospital in Wilmington. An attentive team of technicians, nurses and doctors dutifully poked and prodded me. They asked me the same questions several times over. They took my blood pressure a million times and extracted many vials of blood from my left arm. A bag of some magic rejuvenating fluid was attached to my right arm via a tube and I began to feel much better. A short time later, my wife arrived at the emergency room, blotting tears from her eyes. She made me promise that I wouldn't die.

I would find out later that Adam and his pals dedicated the evening's performance to me. (Appreciated, but how embarrassing!) The next day, my Twitter feed lit up with well wishes and concern from a sampling of people I met at the show. (Appreciated, but how embarrassing!) My son stated that, while we can never show our faces at Arden Gild again, I better not pull that shit in September, when Low Cut Connie makes a return trip to Union Transfer in Philadelphia. "I go to Union Transfer a lot," he explained, "I want to be able to go there again." (How very embarrassing!)

I'm just happy that this didn't turn out to be Low Cut Connie's "Gimme Shelter."

www.joshpincusiscrying.com