Best Of 2022
(strictly for fun and heated argument)
By Peter Jesperson
1A. David Bowie – Toy: Box
Released January 7th, 2022, this is the one thing I listened to most, all year long. It’s a collection of recordings David Bowie made in the summer of 2000, immediately after he and his band came off a tour. Hence the supremely well-oiled performances of these largely overlooked songs from Bowie’s early years, 1964 – 1971. While that may sound less than essential, Toy: Box is actually of great value to any serious Bowie fan. Worth the price of admission for the singing alone, it’s some of the best he ever did. They don’t improve on the original recordings but they sure do breathe new, and sometimes different, life into them. This set is fantastic from start to finish. In particular, a stomping, swampy rearrangement of Bowie’s very first record, “Liza Jane,” a single released in 1964 - pre-name change - as Davie Jones And The King Bees. Toy was supposed to come out quickly in 2001 as a ‘surprise’ album but was shelved by Bowie’s then-label, EMI / Virgin, causing the artist to depart for Columbia Records, where he and his ISO imprint would remain for the rest of his life.
A fourteen-song version of Toy leaked to the public in 2011 and, with zero explanation in the liner notes that accompany this official release, two tracks from it aren’t included on Toy: Box. Both songs ended up coming out in altered form on 2002’s Heathen: “Uncle Floyd” (inspired by a low-budget American children’s TV show that Bowie was obsessed with) was revised and rerecorded under the title “Slip Away.” And “Afraid,” which used the same basic tracks but revised them with overdubs. I must admit, I’m a bit frustrated with the Bowie camp. There’s no one entity overseeing all the reissues, and it shows. They are often inconsistent, confusing, and redundant. There are too many photos and not enough historical / informative liner notes.
A total of sixteen different songs were recorded during the Toy sessions; seven had originally been on singles; three in stray sessions which ended up on the 1970 UK-only compilation, The World Of David Bowie; one had been on his first (self-titled) LP; and five were newly written (according to Bowie) “in the style of the other earlier material.” Interestingly, they kicked off the sessions with a recording of “Pictures Of Lily” for another project, the tribute album Substitute: The Songs of The Who.
1B. David Bowie – Divine Symmetry is a Hunky Dory-era box set, with one disc of Hunky Dory songwriting demos, plus four more discs of alternative versions, remixes, live recordings (some of which have been previously released), and a Blu-Ray audio disc repeating a few of the tracks in hi-res audio. The demos disc is the essential piece of this set, including a never-before-released song, “King Of The City,” which we’d previously only heard the title of. Not a major song but a damn good one. Also very exciting are two recordings made in February of 1971 in a San Francisco hotel room on Bowie’s first visit to the U.S. (while on a brief promo tour for The Man Who Sold The World) - a cover of The Velvets’ “Waiting For The Man,” and the newly written “Quicksand.” It’s clear the latter was already completely finished, this arrangement is almost exactly the same as the version Bowie would record for the album five months later. Many of the other tracks had been previously available but the audio source here is superior, and the package is stunning.
2A. Daniel Romano’s Outfit – La Luna
To refer to this album as ‘ambitious’ is a laughable understatement. I’m not even sure how to write about it. According to the Bandcamp page it consists of “a single massive song in 12 individual parts, plus pulse quickening overture and truly grand finale, La Luna is an unprecedented artistic achievement by one of contemporary music’s most ambitious and consistently surprising practitioners. Daniel Romano sets his visionary poetry to exuberant tune – it is epic, immaculately and extravagantly arranged, and truly cinematic.” It's Daniel Romano employing his remarkably talented and agile band of enablers, The Outfit, to take on a complex and lengthy composition. After 30+ listens, I’m still getting a handle on it (and I ain’t complaining).
(http://www.danielromanomusic.com)
2B. Carson McHone – Still Life
Outfit band member, Carson McHone, has had a career of her own for a decade now. The endorsement an artist gets simply from working with a truly artist-oriented label like Merge is an attention-getter she deserves. Carson is an extraordinary songwriter who presents confident, subtle, tightly focused, Americana-Rock flavored performances both on record and live, often decorated these days by Daniel Romano’s production and the aforementioned Outfit’s inspired instrumentation. This album (her 3rd) was a constant companion for me all year long.
(http://www.carsonmchonemusic.com)
2C. Julianna Riolino – All Blue
Another Outfit band member and an artist in her own right, Julianna Riolino is a powerhouse performer, musician, and songwriter. Her exuberance on record and onstage is a wondrous thing. On All Blue, her 2nd LP, she employs a few of the Romano / Outfit enablers, keeping the co-op aspect intact. She shares a similar confidence, focus and rootsy style with Carson, but has a bit of teenage pop in her writing and singing style that adds an appealing playfulness. I love the whole album, the song “Memory Of Blue” is my favorite.
(https://juliannariolinosings.bandcamp.com/album/all-blue)
3. The Unthanks – Sorrows Away
No record in 2022 filled me more with the wonder of music than Sorrows Away. Every time I put it on, I think: THIS is what it’s all about.” Sisters Rachel and Becky Unthank are the lead singers and their harmonic ability is striking. I’m not always on the side of skill and technical ability in my musical choices (non-professionals often outdo professionals IMO). Even though The Unthanks’ priorities are always depth of feeling and the art of it all, the virtuosity of their vocal expertise is a major part of their attraction to me. Rachel and Becky are like vocal scientists, driven by a noble desire to make the world a better place, striving for procedural breakthroughs and a cure for all that ails us. One of the many things that make them special is that they never lose the heart’s emotional thread. Their trademark adventurousness is a thing of great merit too. Over the years, The Unthanks have recorded cover songs by the likes of Robert Wyatt, Tom Waits, King Crimson, Antony & The Johnsons, and Molly Drake (Nick Drake’s mother). When was the last time you heard a ‘traditional folk’ group do something like that?! I’d say The Unthanks are one of the best current groups in the world these days, both on record and live. It’s pretty much Vocal Heaven if you ask me. Highly recommended to all discerning music fans!
(https://www.the-unthanks.com)
4. Fontaines DC - Skinty Fia
I just love the way these guys think, lyrically and musically-speaking. The songs are well thought out, serious stuff, and yet they never come off as full of themselves. And the Fontaines may have the best sounding guitars on record these days (hat’s off to producer Dan Carey)! I read a fan comment on a blog the other day that really summed it up for me: “Fontaines D.C are a once in a generation band. Music that will remind us of a time.”
5. Wet Leg – self-titled
Seduced by the “Chaise Longue” video like many others, I misjudged Wet Leg as a flash in the pan. I couldn’t have been more wrong. We would learn that the principles (Rhian Teasdale and Hester Chambers) have been doing music for nearly a decade, and it’s apparent in the songwriting. They’re big fun live too! Also produced by the very happening Brit, Dan Carey.
6. Joan Shelley – The Spur
Carefully written, delicate, haunting folk music from Louisville, Kentucky. Her voice transports me. The song “When The Light Is Dying” is one I play constantly, its spare string arrangement ices the cake. Special thanks to my pal Ryan Cameron for turning me onto her!
(http://www.joanshelley.net)
7. Halfway – On the Ghostline, with Hands of Lightning
One of my favorite bands on Planet Earth for many years now. Another meticulously well written, played, and recorded album. Produced by Malcolm Burn. Rock with an Americana slant.
8. Taylor Swift – Midnights
After the stellar run of albums she’s made over the last few years, and much as I like this record, it seems she’s gone back a step or two here. The songs are good but the album as a whole lacks cohesion. Like 2019’s Lover, it’s more of a straight pop record and I thought (hoped) she was growing beyond that.
9. John Mayall – The Sun Is Shining Down
British blues legend, John Mayall, is back with a spunky, soulful record that sports the talents of guest stars ranging from Mike Campbell (Petty’s Heartbreakers), Marcus King, Buddy Miller, and Scarlet Rivera. I’m no Mayall aficionado but I’m especially attached to the 1966 Bluesbreakers’ album and The Turning Point live album from ’69. I have great respect for his legacy and immeasurable influence. He’s approaching 40 albums in his discography and this one’s been nominated for a Grammy – how cool is that?! Big Congrats are due to the steadfast producer / label man Eric Corne and his 40 Below Records for their unflinching support of Mayall over his last four albums.
10. Death Cab For Cutie – Asphalt Meadows
These guys have been writing and recording songs that get stuck in my head for many years now, and with Asphalt Meadows, they show no sign of flagging yet. “Here To Forever” was on repeat since I got it in September. You can feel humanity in their work.
11. Rayland Baxter – If I Were A Butterfly
This is exactly the kind of record I love. Uncategorizable, the reference points are so varied, it’s dizzying. It’s a record that creates its own reality. Rayland’s music conjures everything from The Beatles to Harry Nilsson, The Beach Boys, and Nick Lowe. One of the things that makes this album so unique and compelling is that there’s a real connection to the contemporary world of beat and hyper-rhythmic singing that gives an edge to an artist who sprung from a folky-leaning singer-songwriter background. In Rayland’s words: “It’s been a weird few years, but I think the big picture is for us to just exist and find love and be loved, and try to see that all the daily bullshit is simply bugs on the windshield.” If I Were A Butterfly is a little more scattered than his previous albums but overall a solid piece of work.
(https://www.raylandbaxter.com)
12. Freedy Johnston – Back On The Road To You
Freedy’s been releasing fine records since 1990 and, if I’m counting correctly, this is his 14th. A melodic master of poppy / folky / rocky songs, and this one’s a pure delight.
(http://www.freedyjohnston.com)
13. Junebird – self titled
The Houston-based Junebird are just getting started but the two main men – Steve Tagliere and Jason Bonilla - have been at it musically for some time, and the experience shows. I knew Steve from his time in LA, fronting the band, Gingersol. In Junebird they come at their art from the fan side, they’re excellent musicians, and the music has a heartfelt element that can’t be faked. It’s a thoughtful, pop-rock thing and I play it tons.
(https://www.junebirdmusic.com)
14. Tegan and Sara – Still Jealous
One of my favorite groups since their inception in the late 90s. Still Jealous is a stripped-down acoustic revisit to their 2004 breakout So Jealous, and it’s a terrific listen.
15. Parker Gispert – Golden Years
I was a late comer to Parker’s greatness with balls-to-the-wall Athens, GA band The Whigs, and have come to love all five of their records. Now Parker’s making solo records that are wonderful too, and here you can really hear what an excellent and varied songwriter he is.
(https://www.parkergispert.com)
16. Joe Fahey – Baker’s Cousin
I’ve always liked eclectic records best, something I learned from The Beatles. Joe Fahey makes eclectic records. Baker’s Cousin opens with a song that has echoes of Loudon Wainwright, then follows it with a track that could’ve been on an album by The Fall. Joe’s my kinda guy, and he’s been at it for a long time. That he makes records for the love / fun of it, as opposed to be chasing a career, makes them all the more fun to listen to. I wish we lived in the same city so I could see him play, bet he’s fabulous in a coffee house setting. Beautiful packaging on the CD too.
Reissues and Archival
The Beatles – Revolver - Special Edition (Super Deluxe): 63 tracks
The outtakes are a gas (who knew “Yellow Submarine” started as a sad Lennon ballad?!), the original mono master is startlingly great, plus something we never thought possible – a remix of the stereo album. Aided by the track separation technology Peter Jackson used for the 2021 Get Back documentary, Giles Martin was able to give us a new mix of what many believe is The Beatles finest hour. It doesn’t replace the original, but I love hearing a more proper stereo spread.
(https://www.thebeatles.com/announcing-revolver-special-editions)
Lou Reed – Words & Music – May 1965
Containing the first recordings of “Waiting For The Man,” “Heroin,” and “Pale Blue Eyes,” along with other originals, a cover of “Michael Row The Boat Ashore” and a snippet of “Don’t Think Twice It’s Alright,” the only word for this collection is REVELATORY. Lou and John Cale recorded these songs in a folky fashion in 1965 and Lou mailed the cassette to himself as a poor man’s way of copyrighting them. The envelope remained unopened for fifty years. The liner notes and lavish packaging add heft to the release.
Wire – Not About To Die - Studio Demos 1977 - 1978
One-upping the bootleggers again, Wire issue their own version. As Pitchfork wrote when this was released, “They’re giving an official release to an old bootleg they once wished never existed, but have come to recognize as a valuable snapshot of their evolution in its most dramatic phase.”
(https://pinkflag.greedbag.com/buy/not-about-to-die/preorder.html)
The Everly Brothers – Hey Doll Baby
Mixing tracks from their 50s-era Cadence recordings, to their later 60s stuff on Warner Bros. Records, and curated by Adria Petty (Tom Petty’s daughter), this was the last project Don Everly worked on before he died. Liner notes by Phil’s son, Jason help put everything in context. Even though I had all these recordings already, there’s no such thing as too many Everly Brothers records!
(https://everlybrothers.com/collections/all)
Supergrass – self-titled (3rd album)
This, so called X-Ray album, featured their biggest stateside hit, “Pumping On Your Stereo,” the so-called ‘X-Ray Album,’ and it’s a transitional album, a bridge from the formative beginnings to their more sophisticated later work. Beautifully put-together with a potpourri of terrific bonus tracks and liner notes.
(https://www.supergrass.com/supergrass-x-ray-reissue)
Alex Chilton – Feudalist Tarts (w/bonus tracks)
The 1985 six-song EP expanded with five bonus tracks, this is a perfect snapshot of what Alex was up to in his post-Big Star career. Mixing songs he wrote with covers by Slim Harpo, Carla Thomas, and Porter Wagoner, Alex’s unorthodox approach to music is spotlighted. “No Sex,” recorded when AIDS was prevalent, is surely one of Alex’s boldest compositions. And I’ll never get over how proud I was (am!) that Alex recorded “Thank You John.” Originally recorded for Atlantic Records by New Orleans singer Willie Tee (nee Turbinton), it’s a tune I turned Alex onto one of the many times he stayed at my place in Minneapolis.
(http://www.bar-none.com/alex-chilton)
Janis Joplin & Jorma Kaukonen – The Legendary Typewriter Tape: 6/25/64 Jorma’s House
A recording so intimate, you almost feel like you’re intruding by listening. Just two new friends rehearsing in Jorma’s apartment in Santa Clara, CA for a coffee-house gig. Janis is such a natural at Bessie Smith-style blues, it’s remarkable. The brief, seven-song recording is relaxed and pure, and it’s a joy to listen to. And Jorma’s wife, Margareta, typing (apparently, a letter to a friend) in the background only adds to the down-home ambience of the whole thing.
(https://omnivorerecordings.com/shop/legendary-typewriter-tapes/)
Paul Butterfield Blues Band – The Original Lost Elektra Sessions (circa Winter 1964)
Originally released in 1995, I’m a latecomer. It was the result of an obsession with guitarist Mike Bloomfield, but the Butterfield records he played on have become endlessly fascinating to me.
(https://www.amazon.com/Original-Lost-Elektra-Sessions-Butterfield/dp/B000003473)
The Creation – Action Painting
Inspired by Daniel Romano’s Outfit recently referencing The Creation song “Making Time” in their live shows, I discovered this 2017 UK 2-CD Creation compilation of tracks recorded between 1966-1968. Yeah, they sounded so much like The Who at times it was almost funny … but, man, do they ever do it well!
(https://www.amazon.com/Action-Painting-2CD-Book-Creation/dp/B01N259NM1)
The Replacements – Live At Riot Fest - Toronto
The first of the 2000-teens Replacements’ reunion shows. Great performance, weak mastering, and drab packaging.
(https://cobrasiderecords.com/collections/top-sellers/products/replacements-live-at-riot-fest-toronto)
The Bleeding Hearts – Riches To Rags
Frontman Mike Leonard put the Bleeding Hearts together, invited founding Replacements’ member Bob Stinson in, and made a solid rock ‘n’ roll album. These are the last recordings Bob played on.
(http://www.bar-none.com/bleeding-hearts)
The Left Banke – Strangers On A Train
A well-researched collection of unreleased tracks by the legendary Baroque Rock band from New England. Back in 1967, The Left Banke were one of the first bands outside of The Beatles and The Rolling Stones that I bought a full-length album by, and it still sounds brilliant to me today.
(https://omnivorerecordings.com/shop/the-strangers-on-a-train/)
Singles
Phoebe Bridgers – “Sidelines”
Written for the TV adaptation of Sally Rooney’s novel Conversations With Friends. As always, her singing reduces me to a puddle on the floor.
Phoebe Bridgers – “So Much Wine”
A cover of a song by The Handsome Family.
Excellent performances / recordings. These’ll have to do while we wait for her next LP.
(https://phoebebridgers.bandcamp.com)
Ancient Shapes – “Bird With an Iron Head” / “Imaginary Agony” / “(I’m) Against The Wind” (split single on Sub Pop Records with Weird Nightmare)
It’s either a 3-part song or 3 songs run together, who knows?! A Daniel Romano side-project, brilliant!
(https://ancientshapes.bandcamp.com/music)
Eisley – Raise Your Glass (digital DL) single
(https://maxbemis.bandcamp.com/track/raise-your-glass)
- Sherri (DuPree) Bemis heads up the band these days and keeps the bar set high.
Labrys – Gimme Something (digital DL) single
Labrys – Can’t Win (digital DL) single
Labrys – Forever (digital DL) single
A side-project by Penny Pitchlynn from the band Broncho. She’s got it goin’ on, no question!
(https://labrys.bandcamp.com/music)
Live (in LA except as otherwise noted)
January
- 30 – The Beatles – I-Max Rooftop Concert Theatrical Debut – Universal Cinema
February
- 24 - Little Hag – The Echo
March
- 1 – Sierra Farrell – The Troubadour
- 3 – Kacy & Clayton / The Cactus Blossoms – The Roxy
- 29 – Del Amitri – The Roxy
April
- 30 – Guy Webster Photo Exhibit – RPM Gallery, Glendale
May
- 6 – Paul McCartney – Oakland Arena (Oakland, CA)
- 12 / 13 – Supergrass – No Vacancy / The Wiltern
June
- 1 – Curtiss A & Dark Click – The Schooner (Minneapolis)
- 14 / 16 – Bob Dylan – The Pantages
- 20 – Leonard Cohen film – Hallelujah – The Grammy Museum
July
- 10 – Mark Eitzel / Parthenon Huxley – Wild Honey Backyard Amphitheater
- 16 – Near Beer – The Moroccan
- 22 – High On Stress – The Redwood Bar
- 28 - NRBQ – Zebulon
- 31 - Thomas Walsh (front man of Irish band Pugwash) – Wild Honey Backyard Amphitheater
August
- 2 – The Everyday Visuals – Remo Music Studios
September
- 9 – Elle Belle – Hyperion Public
- 13 – Fontaines D.C. – The Grammy Museum
- 25 – The Grandmothers Of Invention / Mushroom – Wild Honey Backyard Amphitheater
- 29 – Dope Lemon – The Regent Theater
October
- 6 – Daniel Romano’s Outfit / Carson McHone – Zebulon
November
- 1 – The Who – The Hollywood Bowl
- 5 – Big Star Tribute – 50th Anniversary of #1 Record – The Alex Theater
- 15 – Tegan & Sara – The Henry Fonda Theater
December
- 1 – Neil Young film – Harvest Time - Noho 7
In The Must Mention Category
Daniel Romano’s Outfit – Live At Lee’s
In May, Daniel Romano’s Outfit played a hometown show in Toronto prior to going on tour for several months. They recorded, filmed, mixed and edited the show for no specific purpose. Fast-forward to July and the band is on tour in Europe. Two of the band members come down with Covid, need to isolate for ten days, and consequently cause a loss of crucial income. Live at Lee’s to the rescue! It was quickly made available for purchase or rental for a limited time, and helped get the band through their lockdown. The quality of the program visually and sound-wise is astonishing. We still watch it repeatedly. The live show we saw at Zebulon in LA in October was equally astounding. I kid you not, the last four or five times I’ve seen Daniel Romano and band, I’ve walked out of the venue thinking, “That was one of the best rock shows I’ve ever seen.” I swear, the energy those five people expend on stage could power several rocket ships. Here’s hoping they officially release the film someday.
The Beatles I-Max Rooftop film – Universal Cinemas LA - January 30th
In January of 2022, still concerned Covid-wise about being in a sold-out movie theater, we rolled the dice, wore masks, and attended. It was historic - 53 years to the day from when the performance took place. In a live 20-minute prelude, director, Peter Jackson, was on camera all the way from his home in Wellington, New Zealand discussing the film. It was quite incredible, to see on the big screen, and to hear on a gigantic sound system. The band is so visibly excited about how well they’re playing together, it was beyond heartwarming. Autry often gives Jennifer and I a hard time when we get all teary-eyed and sentimental about anything, but even he was moved to tears by one particular moment – when McCartney looks over his shoulder, sees the police coming out of the stairwell for the first time, and lets out an impish, ecstatic “Whooo!”
Paul McCartney & Band – Oakland Arena – May 6th
McCartney’s LA date was booked on May 13th, which was a problem for us. It was the same night as a rescheduled Supergrass show at The Wiltern (for which we still had tickets). At first, Jennifer, Autry & I panicked. Then we thought – Hey, what if we travel to see McCartney in a smaller venue? The LA show was at SoFi Stadium (capacity 56, 000). The Oakland Arena five hours north of us was only 19,000 capacity – done deal! We got good seats on the raised, stage-left side and made the trek. McCartney would turn 80 the next month and though he’s certainly lost some of the high end of his vocal range, he can still play and sing his ass off for two and a half hours, and his band never flags.
Supergrass Reunion Shows - May 12 & 13
Our heroes, Supergrass, made good on two reunion shows that had been Covid-cancelled in 2021. The first night they played a “secret show” at No Vacancy, a strange old (built in 1904) Victorian house in Hollywood (capacity maybe 75?) that we were told had once been a Speakeasy. It couldn’t have been more thrilling, mysterious even. You entered and went upstairs to a 2nd floor room, where a scantily clad woman lounging on a bed welcomes you. She then pulls a lever and the bed retracts, revealing a stairway that goes back downstairs, where there’s a bar and an outdoor patio. The band performed on the back porch! We were practically delirious to see them in a such a setting, and so up close. It was fun to observe the VIPs in attendance. Dave Grohl was sitting on the floor, right next to drummer Danny Goffey, watching in admiration. As was Beck. It was a short, but fantastic set. The second night, they played the gorgeous art-deco Wiltern Theater (1,850 capacity). They did not disappoint. And, thanks to our pal Chris Trovero, Autry got to go back stage to meet them!
Curtiss A & Dark Click – The Schooner (Minneapolis) June 1st
Getting to catch one of Curtiss A and Dark Click’s monthly sets at The Schooner is one of the best things about coming back to Minneapolis for me (I always time my trips to be there the first Wednesday of the month). What makes it even more special is always seeing so many old friends. This time we got to bring our boy, Autry. To watch him watch Curt for the first time was indescribably cool for me … Autry was riveted for the entire three hours (just like I was when I first saw Curt 49 years ago)!
Bob Dylan – The Pantages Theater - June 14th & 16th
It was exciting enough to see Dylan touring a brilliant album like Rough And Rowdy Ways, but getting to bring Autry to his first Dylan shows was positively thrilling. He and I went two nights, Jennifer joined us for one. What made it even more special was how incredibly clear and well Dylan sang. I’ve seen Dylan live 30 – 40 times and have never heard the words sung so audibly. So many veteran artists that are still out there touring fall back on their best known material. But not Bob Dylan. He did nine out of ten songs from Rough And Rowdy Ways in a seventeen song set list. It weren’t no oldies show. The best known older songs were “Most Likely You Go Your Way (and I’ll Go Mine)” and “I’ll Be Your Baby Tonight.” As we were exiting the theater, Autry said, “That was everything I hoped my first Dylan show would be.” A major rite of passage.
The Fontaines D.C. – The Grammy Museum – September 13th
The first two times the Fontaines came to LA I didn’t get to see them. The first time, the power went out in the venue they were scheduled to play and the show was cancelled (I found out the next day they’d played unannounced at a tiny club at 12:30 a.m.!). The 2nd time, I’d been exposed to someone with Covid so did the responsible thing and stayed home. This time they were doing an interview and short performance. Jennifer and I got there early and grabbed a good spot in the 200-seat Clive Davis Theater. The interview with three of the band members (Grian Chatten, Conor Deegan and Conor Curley) was excellent and the 6-song performance was powerful and loud, unquestionably the most rockin’ thing we’d ever seen in The Grammy Museum!
Big Star - # 1 Record - 50th Anniversary Tribute Concert – The Alex Theater, Glendale November 5th
This was the best of all the Big Star tribute shows to date. #1 Record has always been my favorite of the three albums, and this line-up did such a remarkable job, I could hardly believe my ears. Jody Stephens and Chris Stamey, along with Paul Rock and the fine folks at the Wild Honey organization put it all together and it was breathtaking. From the stunning vocals by Brett Harris to the spot-on guitar playing of Audley Freed, and knockout performances by Pat Sansone (his solo take on “I’m In Love With A Girl” moved me greatly), Jon Auer, and Mike Mills among many others. Justice was done to the magnificent songs. Maybe the most startling of all was to hear a near-perfect version of one of the weirdest songs ever written - “Kanga Roo.” Jennifer, Autry and I were speechless afterwards, walking out of the theater. And there were so many of our friends and associates in attendance who all clearly felt the same, it made the whole experience even more special.
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RIP: Todd McBride, Wilko Johnson, Jerry Lee Lewis, Alan White, Christine McVie, Jerry Allison, Loretta Lynn, Terry Hall, Dino Danelli, Kim Simmonds, Jet Black, Keith Levene, Mimi Parker