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On top of creating music since 1972, English rockers 10CC have given us songs that are timeless gifts; still easily recognizable and continuously drawing new fans. Sunday, August 31, the group takes the stage at Celebrity Theatre to play those hits, including “The Things We Do for Love” and “I’m Not in Love” along with several other tunes from their deep catalog…
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Amy Young
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Lovin’, touchin’, spendin’.
Photo-Illustration: Vulture; Photos: Rob Loud/Getty Images, Denise Truscello/Getty Images
As once prophesied, the wheel in the sky keeps turnin’ … out lawsuits for the current members of Journey. According to Bloomberg Law, keyboardist Jonathan Cain has sued co-founding guitarist Neal Schon for allegedly racking up an Anna Delvey–esque lifestyle of lavish spending that has made him an outlier within the band. Among the points of contention in the court filing: Schon has ignored a $1,500-per-night hotel-fee cap in favor of accommodations ten times the price, maxed out a credit card with a $1 million limit, excessively used private jets for travel, created an unnecessary security job for a close friend, and blocked efforts to pay debts and expenses associated with Journey’s ongoing summer tour. The lawsuit notes that this public animosity between Cain and Schon is “impacting the band’s reputation throughout the music industry” and “such negative publicity may potentially impact the band’s fan base.” Numerous crew members have also departed from the tour “because of such tensions.” (Meanwhile, Steve Perry is somewhere else minding his damn business.)
A similar lawsuit between the duo was waged in early 2023, when Cain alleged Schon’s spending problem was exacerbated by his wife — a woman who used to be a Real Housewife and once famously crashed a White House state dinner. At the time, it became so contentious that personal guards were hired to prevent the musicians from provoking each other when they weren’t performing. Maybe they just need to kick back and enjoy some peak TV.
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Devon Ivie
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Add co-founding vocalist/guitarist Patrick Simmons—the only constant member of the lineup since 1970—and Doobies fans would get to hear material from across the entire span of their career.
Well, COVID scuttled that launch, which began the next year and saw the Doobies play shows across the U.S., Australia, Japan, and back to the U.S. Now, they’ve announced a continuation of the party that will touch down in Houston June 30 at the Woodlands Pavilion.
So, the question must be asked: At what point does it just become more accurate to call it the 55th Anniversary Tour?
“Well, we’re definitely on to the next 50 years by now. And I like not having to work so hard with the three of us up there!” Simmons laughs via Zoom from his home in Hawaii on the island of Maui.
He’ll soon be jetting off to the UK where the Doobies are opening some shows for the Eagles before launching their own summer tour (bluesman Robert Cray will open in Houston).
“It’s nice to be able to do all the songs that people want to hear. We’ve done a song or two of Mike’s through the years when he hasn’t been with us. But it’s great to have the real guy right there!” Simmons says. “Having him is a huge bonus. We’re still here, still able to do it, and have a great band.”
Expect to hear the early, biker-bar-band hits (“Long Train’ Runnin’,” “Listen to the Music,” “Black Water,” “China Grove,” “Rockin’ Down the Highway”) along with the later R&B-tinged material (“What a Fool Believes,” “Minute by Minute,” “It Keeps You Runnin’” “Takin’ It to the Streets”) and some deeper cuts.
In 2022, Simmons and Johnston collaborated with music journalist Chris Epting on their memoir Long Train Runnin’: Our Story of the Doobie Brothers. And when a copy is held up to the Zoom camera, Simmons has an instant reaction.
“Oh, that one’s been banned! It’s not an, uh, complete summation of the band’s story, but it’s an approximation!” he laughs.
“We had contemplated doing a book through the years, but it’s hard to get started. We’re not novelists. Chris got things going. We told stories to him, he wrote it down, and gave it back to us. He really helped to shake our memories. We’d tell him a story and he’s go find a poster or photograph and bring it back, and that would open more memories. And then we rewrote more.”
Simmons adds that he and Johnston would have the same experience, but sometimes conflicting memories, which they’d toss back and forth from different angles.
“It was fun to remember stuff and laugh about it. We also had some more serious things. Not really sad stories, but there was some sadness there. It was the truth of what went down.”
The lineup for this tour will again include Simmons, Johnston, McDonald, John McFee (multiple instruments/vocals), and longtime touring members Marc Russo (sax), Ed Toth (drums), John Cowan (bass/vocals), and Marc Quiñones (percussion)
In 2020, and longtime snub was set right when the Doobies Brothers were finally inducted into the Rock and Roll Hall of Fame. But again, COVID reared its ugly head.
Instead of the usual lavish ceremony in New York or Cleveland with speeches, video reels, and live performances and jams, the “virtual” online ceremony featured a brief clip highlights of the band’s career, with short comments from Johnston, Simmons, and McDonald, filmed from their homes.
Nevertheless, Simmons takes a light approach to matters. “We’ll always remember not being there!” he chuckles.
“But it was a great moment. It’s something you certainly think about as an artist. We had hoped to be recognized, but thought maybe if we don’t get it now, we’ll get it after we’re dead! There are so many deserving artists out there, and I didn’t hold it against them. No offense to [Hall and Rolling Stone co-founder] Jann Wenner, but Jann never liked us! So, I wasn’t holding my breath for us to come in on our walkers. But Jann’s gone now!”
[Note: Last year, the Rock and Roll Hall of Fame removed Jann Wenner from its Board of Directors after he made some comments about Black and female artists during promotion for his book of interviewed The Masters that were widely criticized as both sexist and racist.}
Texas fans have always been very receptive to the Doobies throughout the years of touring, but there’s one Texas show that was a bit unique. In 2005, the Doobie Brothers played Willie Nelson’s Fourth of July picnic at the outdoor venue Billy Bob’s Texas in Fort Worth, where this writer covered the show for the Houston Press.
I got to chat briefly with both Simmons and Johnston backstage, and even made it onto Willie’s bus for a brief interview (where I recall trying not to wake up a slumbering David Allan Coe, fast asleep on his wife’s shoulders).
The writer backstage with Patrick Simmons during Willie Nelson’s Fourth of July Picnic in Forth Worth, 2005.
Photo by Mace Wilkerson
The lineup was unique in that Bob Dylan followed the Doobies’ set prior to Willie’s slot. And the notoriously prickly and security-conscious Dylan required that all press be removed from the pit as security forced an open path through the crowd to allow him to walk uninterrupted straight from his bus to the stage.
Simmons remembers the show well, with a mischievous glint.
“It was super-hot! But Dylan was totally insulated. Nobody could look at him or talk to him. He was surrounded by all these guys. We had just finished playing, and they cleared the stage and said nobody could go on there,” he recalls.
“So, I just walked up and some of his guys tried to get me off, and I said ‘Fuck you! I saw you on our stage!’ It’s everybody’s stage’” and he said ‘Well…just don’t let Bob see you!’”
Nelson’s sons Lukas and Micah, along with Simmons’ own son, also managed to sneak up there to watch Dylan’s set. “I don’t think anybody was going to tell Willie’s sons they couldn’t be on Willie’s stage! Sorry, Bob!”
The Doobies’ last studio effort was 2021’s Liberté, and they are working on new songs—with McDonald—for an upcoming release.
But their most recent effort concerns a location of more pertinent interest to Simmons. It’s about 36 miles from his home on the island of Maui, and that’s Lahaina.
Much of the city were destroyed in August 2023 by wildfires that ate everything in sight, killing more than 100 people and damaging or destroying more than 2,200 structures. It left many people homeless while levelling businesses and burning out cars.
The Doobie Brothers quickly released the benefit single “Lahaina,” written and sung by Simmons. Helping out the band were Fleetwood Mac drummer Mick Fleetwood (whose own Lahaina-based restaurant was destroyed) and Hawaiian musicians Jake Shimabukuro, and Henry Kapono. All proceeds benefit the People’s Fund of Maui.
For Simmons, it was not only just important to help, but to connect with the land and its inhabitants.
“People come from all over the planet to experience the climate and peace of Hawaii, and it is a special place. Those of us who have come here and stayed, there’s a reason for that,” Simmons says.
“No matter what your beliefs are, the Hawaiians believe in the spirituality of nature and the place. That’s part of a reverence here that myself and most of the locals have. The ‘Aloha.’ We all feel, experience, appreciate it, and try to live it,” he says.
“I grew up in northern California. I took acid. I dropped out. I was a hippie—still am probably. And it’s a continuance of my beliefs from that era. It’s not something spoken. It’s something that you feel.”
He adds that visitors and tourists to Hawaii inevitably ended up in Lahaina, and the warmth and connection from business owners was palpable and a “charming way of existence.”
“That’s all gone now. But ‘Aloha’ is still here and that song was my attempt to keep that spirit alive for the people here and to spread that to further communities,” he sums up.
“People are still going through trials and tribulations here, and it will take a long time for those folks to recover. Chipping in a dollar or two or more will help immediately. It will come back around, but we have to work together.”
The Doobie Brothers play at 7 p.m. on Sunday, June 30, at the Cynthia Woods Mitchell Pavilion, 2005 Lake Robbins. For more information, call 281-364-3010 or visit WoodlandsCenter.org. Robert Cray opens. $35 and up.
For more information on the Doobie Brothers, visit TheDoobieBrothers.com.
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Bob Ruggiero
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Photo credit: Kevin Mazur/Getty Images courtesy Scoop Marketing
The Eagles said one last goodbye to Orlando this week
On a Monday night in Orlando, we were transported to a realm where timeless rock melodies reigned supreme when The Eagles brought their “The Long Goodbye Tour” to the Kia Center. From the moment attendees began to trickle into the venue, it was evident that this was no ordinary concert; it was a gathering of loyal fans spanning generations, reminiscent of a community rather than a mere audience, a testament to The Eagles’ remarkable 52-year legacy in the music industry.
Drawing devotees from all walks of life, the concert began with a notable deviation from the norm: Attendees were asked to refrain from using their cellphones to capture moments from both the opening act, Steely Dan, and The Eagles’ headlining performance. This policy, reportedly initiated by The Eagles themselves, was accompanied by another request for concertgoers to remain seated throughout the show, all in consideration of the aging demographic of their fanbase.
A juxtaposition of collectivism versus individualism ensued as security personnel enforced these rules. Witnessing the swift ejection of those who disregarded these guidelines, including a particularly memorable incident involving an obstinate fan in the second row, underscored the seriousness with which The Eagles’ wishes were upheld. It was definitely a lesson in respecting your elders, if nothing else.
Yet, far from feeling stifled, the Kia Center buzzed with an energy that was both serene and electric. Freed from the distractions of modern concert gimmicks and our cellphones, the audience was able to forge a profound connection with the music, relishing the ageless melodies of The Eagles in real time. In an era marked by chaos and uncertainty, this respite from the world felt like a gift, a two-hour escape to a space where only music mattered.
The Eagles reaffirmed their status as rock icons throughout the performance, effortlessly commanding the stage with a prowess that belied their decades-long career. Their hits resonated with renewed vigor, serving as a testament to the enduring power of their music.
The Eagles’ “The Long Goodbye Tour” was more than just a concert; it was a celebration of a legacy, a testament to the enduring bond between musicians and their fans. As the final chords echoed through the Kia Center, it was clear that The Eagles had delivered on their promise of a transcendent musical experience … for one last time.
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J.D. Casto
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And even when they’ve sworn up and down and even signed “legal” documents (see Mötley Crüe), faced debilitating health conditions (see Peter Frampton) or later changed lineups to tour again (see KISS), fans can have a degree of skepticism of promises of “the last time.”
But as musicians now reach into their 70s and even 80s, the “farewell” tag is more legit. Eagles (and yes, they are technically just “Eagles” without the “The”) have at least always had a sense of humor about such things.
After the band’s initial breakup in 1980, singer/drummer Don Henley famously said they’d reunite “when hell froze over.” Hence, their 1994 live reunion record was called…Hell Freezes Over.
“For the record, we never broke up. We just took a 14-year vacation,” co-founder Glenn Frey quips on the disc. Then in 2003, the embarked on the tongue-in-cheekily titled “Farewell 1 Tour” and a decade later the “History of the Eagles” tour.
But the current trek, titled “The Long Goodbye” which began last year and stretches (at least for now) to this summer will likely be the last time the band goes on the road. So, this was likely Houston’s last chance to see the group.
At this point, reviewing an Eagles concert is almost bulletproof as the group has finely-honed a show that is the definition of crowd pleasing with a hit-after-hit setlist. All played by precise and talented musicians, bathed in the warm glow of nostalgia.
When the deepest cut is the “In the City,” you know you’re not going to get “The Greeks Don’t Want No Freaks,” “Journey of the Sorcerer” or anything from Long Road Out of Eden.
And that was more than perfectly fine on this Friday night as Eagles soared aloft with original member Don Henley, and classic lineup members Joe Walsh (guitar/vocals) and Timothy B. Schmit (bass/vocals) leading the flight pattern.
The all-killer-no-filler set opened with the glorious six-man harmony and guitar/bass work on “Seven Bridges Road,” often used back in the day as a vocal warm up for the group. It was the perfect kick off to two hours of great—and often moving—music.
Henley proved an amiable host, thanking fans for their decades long support. “We’ve been playing this music for 52 years,” he said to applause. Then promised a show with “no flashing lights, no confetti cannons, no butt-waving choreography. Just a bunch of guys with guitars.” And that was all that was needed (though occasional graphics and live stage video on the large screen behind added rather than detracted from the music).
As has been for several years, singer/guitarist Glenn Frey’s sizable hole caused by his 2016 death has been filled by his son Deacon Frey and country artist Vince Gill (both on vocals/guitar).
Frey did his father proud, with his Travis Tritt-grit voice illuminating his dad’s “Take It Easy,” “Peaceful Easy Feeling,” and “Already Gone.” And while his stage presence is minimal and he sings with his eyes closed, the sunglasses on top of his head were likely a subtle tribute to his father, who often wore them the same way in photos.
And then there’s Vince Gill. He’s a super talent and a nice enough guy with his own career, but…he’s just not a good fit for the Eagles.
No one expected he or Deacon to replicate the brash, cocksuredness of Glenn Frey in his delivery. But Gill’s singing on his share of the material was just too…clean, pristine. Even robotic.
There was no vocal accusation in “Lyin’ Eyes,” no wistful regret in “Tequila Sunrise,” and no romantic yearning in “Take it To the Limit.” Songs which called for a spark were delivered with safety. Though he did acquit himself well on “New Kid in Town.”
Of the main Threeagles, Joe Walsh sounds—and acts—exactly like the Joe Walsh you want. He brought the big rock star energy—along with non-Eagles hits like the highlights “Funk #49” from the James Gang and a raucous “Rocky Mountain Way.”
But his best moment came with The Long Run track “In the City.” Walsh projected passion looking out on that horizon for something better, no matter if it’s the billionth time he’s sung it. And yes, I did wish for some movie footage from the end of The Warriors (when the song is memorably heard) when he was doing it!
The former substance abuser who used to literally use a chainsaw to cut passageways in hotel walls (as he chronicles in “Life’s Been Good”) also had fun with his reputation, delivering lines like a practiced standup comic. “I’ve been here often before” he told the audience. “Police reports tell me that I had a good time.”
Vocally, some interesting things went on with Henley and Schmit. The former seemed too often sing in a cleaner, higher register, losing some of his trademark bottom grit from the records and tours. He utterly commanded a swampy, dirtier arrangement on “Witchy Woman” and drove his solo hit “The Boys of Summer.”
His high point came near the end of the show, though, bringing extra emotion to the already emotionally charged “Desperado.” And despite it being a punchline on an episode of Seinfeld, its theme of looking back on life and romantic regrets rang even truer to the gray hairs both onstage and in the audience.
Schmit had a bit of vocal warble but delivered with signature tune “I Can’t Tell You Why” (though, tellingly, Gill took the higher-than-high registered “Take it To the Limit,” formerly a showcase for the late Randy Meisner).
The vocal comments are absolutely not a criticism of either man—who can both still sing their asses off at 76. And no one expects men in their senior years to sound the same as their decades younger selves. In fact, it’s more of a credit that they’ve adapted to the March of Time.
Longtime touring guitarist Smith was the evening’s unsung hero, handling much of the heavy lifting while solos from Scott Crago (drums), Will Hollis (keyboards) and Michael Thompson (piano) rounded out the stage performances.
Finally, show closer “Heartache Tonight” was a foot-stomping, hand clapping end to the proceedings, with cameras turned to the crowd for the song’s duration. But no heartache here—it was all smiles reflected back from the audience to the audience.
On paper, the snarky, intricated, jazz-inflected music of Steely Dan might seem an odd choice to open for the country rock Eagles, but it really makes perfect sense.
As our own Tom Richards pointed out in his show preview, they’ve namechecked each other in songs (even if the Dan’s tribute tinged with sarcasm), and they’re both managed by super agent Irving Azoff. And of course, they both have lots of hits.
Though Donald Fagen (vocals/keyboards) and the late Walter Becker (guitar) were the taskmaster leaders and nominally the group’s only constants, “Steely Dan” was always more of a studio concoction for the pair’s exacting taste. 1980’s two-years-in-the-making Gaucho reportedly required the services of more than 40 different players.
So truthfully, Becker’s 2017 death didn’t really affect the live show, seeing as how Jon Herington has done most of the guitar work for the past two-plus plus decades. And he was on fire again tonight, ripping out the solos on “Kid Charlemagne,” “Bodhisattva” and of course “Reelin’ in the Years” in their hour-long set.
Fagen has long overcome the stage fright and general low keyness that helped keep Steely Dan from touring during most of the ‘70s, though in this century they’re practically road dogs.
Twelve other musicians besides Fagen were on stage, and they’re all worth mentioning by name because they’re all crack players: Jon Herington and Adam Rogers (guitars), Freddie Washington (bass), Keith Carlock (drums), Jim Beard (keyboards), the horn section of Michael Leonhart (trumpet), Jim Pugh (trombone), and Roger Rosenberg and Walt Weiskopf (saxophones).
I wasn’t the only one in the crowd who commented that Weiskopf was a near doppelganger of new Houston Mayor John Whitmire.
Vincent Ruggiero (aka Classic Rock Kid) reps Steely Dan in his T, but his fave childhood group was the Eagles.
Photo by Bob Ruggiero
And of course, the “Danettes”—Catherine Russell, Carolyn Leonhart and La Tanya Hall provided backing vocals. They handled “Dirty Work” more than nicely on their own, flipping the gender travails of the original tune.
Other highlights included a smoldering “Aja” (with Carlock standing out), a frenetic “Kid Charlemagne,” and a lively, joyous “Peg.” The 76-year-old Fagen has lost some of his vocal strength, but the Danettes beefed up the sound singing harmony on several tunes.
All in all, it was a wonderful show of two great bands, near-faultless playing and delivery, and lots of memories. And “Hotel California” can still give you goosebumps.
In “Kid Charlemagne,” Donald Fagen’s drug-dealing narrator (based on real-life Grateful Dead acid guru Owsley Stanley III) famously asks “Is there gas in the car?”
Well, the musical automobiles known as the Eagles and Steely Dan still have plenty of gas in their cars. Even if their vehicles have about reached the end of the road.
Overheard in the Crowd
“Today, I found out what a bodhisattva was!” – Vincent Ruggiero, aka Classic Rock Kid.
Random Notebook Dump
I really, really want the sexy, black-clad Danettes to just follow me around during the day like a literal Greek Chorus and sultrily sing life-affirming admonitions to me. “You WILL finish your PROJECT on TIME, BOB!” or “They WON’T turn off your CABLE if you pay MOST of the bill this MONTH, BOB!”
Random Notebook Dump II
A golden, once-in-a-lifetime opportunity was missed to pay tribute to the recently-deceased Mojo Nixon by the Eagles not playing one of his signature tunes, “Don Henley Must Die.”
Setlists
Eagles
Seven Bridges Road
Take It Easy
One of These Nights
Lyin’ Eyes
Take It To the Limit
Witchy Woman
Peaceful Easy Feeling
Tequila Sunrise
In the City
I Can’t Tell You Why
New Kid in Town
Life’s Been Good
Already Gone
The Boys of Summer
Funk #49
Life in the Fast Lane
Encore
Hotel California
Rocky Mountain Way
Desperado
Heartache Tonight
Steely Dan
Phantom Raiders (instrumental)
Josie
Hey Nineteen
Aja
Kid Charlemagne
Dirty Work
Black Cow
Bodhisattva
Peg
My Old School
Reelin’ in the Years
A Man Ain’t Supposed to Cry (instrumental)
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Bob Ruggiero
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“Now And Then” is the last Beatles song — written and sung by John Lennon, developed and worked on by Paul McCartney, George Harrison, and Ringo Starr, and now finally finished by Paul and Ringo over four decades later.
The track will be released worldwide on November 2 and is one of the most anticipated releases of the band’s long and endlessly eventful history.
Tune in to The Beatles Channel (Ch. 18) on November 2 at 10am ET to hear “Now And Then” at the top of the hour, the moment it’s released.
The song will continue to be played multiple times throughout the day November 2–5 on The Beatles Channel as well as on Classic Vinyl, Classic Rewind, Deep Tracks, The Spectrum, The Blend, 60s Gold, and 70s on 7.
Preorder/pre-save “Now And Then”/”Love Me Do” double A-side single.
The Beatles’ 1962-1966 (The Red Album) and 1967-1970 (The Blue Album) collections will be released in 2023 Edition packages on November 10. Featuring expanded tracklists, the albums have been mixed in stereo and Dolby Atmos.
Tune in to The Beatles Channel (Ch. 18) to hear exclusive Celebrity Track-By-Track Album Specials for The Red Album and The Blue Album starting on November 10 at 11am ET and continuing through November 12 multiple times throughout the weekend. These exclusive album specials will also be available on the SiriusXM app starting November 10.
Preorder/pre-save 1962-1966 (The Red Album) and 1967-1970 (The Blue Album) 2023 Editions.
The Now And Then – The Last Beatles Song documentary film, written and directed by Oliver Murray, debuted November 1 on The Beatles’ YouTube channel. This 12-minute film tells the story behind the last Beatles song and features exclusive footage and commentary from Paul, Ringo, George, Sean Ono Lennon, and Peter Jackson.
In the late 1970s, John Lennon recorded a demo featuring his vocals and piano at his home in New York’s Dakota Building. In 1994, Yoko Ono Lennon shared John’s recording with Paul McCartney, George Harrison, and Ringo Starr.
While Paul, George, and Ringo recorded new parts for “Now And Then” with producer Jeff Lynne, the technology at the time couldn’t separate John’s vocals and piano, making it impossible to create a clear mix of the song. The track was shelved with the hope that one day it might be revisited.
In 2021, The Beatles: Get Back docuseries directed by Peter Jackson was released. The docuseries utilized groundbreaking audio restoration technology to de-mix the film’s mono soundtrack, isolating individual voices and instruments within The Beatles’ conversations. Peter Jackson and his sound team, led by Emile de la Rey, applied this groundbreaking technique to John’s original home recording of “Now And Then.” They successfully separated his vocals from the piano, preserving the clarity of his original performance.
The following year, Paul and Ringo took on the task of completing “Now And Then.” The song now includes John Lennon’s vocals, electric and acoustic guitar recorded by George Harrison in 1995, Ringo Starr’s new drum part, and bass, guitar, and piano from Paul McCartney. Paul added a slide guitar solo inspired by George, and both he and Ringo contributed backing vocals to the chorus.
In Los Angeles, Paul supervised a recording session at Capitol Studios to add a quintessential Beatles string arrangement written by Giles Martin, Paul, and Ben Foster. Paul and Giles also included backing vocals from the original recordings of “Here, There And Everywhere,” “Eleanor Rigby,” and “Because,” masterfully woven into the new song. The final track was produced by Paul McCartney and Giles Martin and mixed by Spike Stent.
Paul McCartney shared, “There it was, John’s voice, crystal clear. It’s quite emotional. And we all play on it, it’s a genuine Beatles recording. In 2023 to still be working on Beatles music, and about to release a new song the public haven’t heard, I think it’s an exciting thing.”
Ringo Starr said, “It was the closest we’ll ever come to having him back in the room, so it was very emotional for all of us. It was like John was there, you know. It’s far out.”
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Jackie Kolgraf
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Celebrates the 50th Anniversary of Their 1973 “We’re An American Band” Platinum Selling Single and Album
NASHVILLE, Tenn., May 2, 2023 (Newswire.com)
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Multi-platinum selling iconic group GRAND FUNK RAILROAD announced today additional tour dates to their highly anticipated upcoming ‘The American Band Tour,’ in honor of the 50th anniversary of their 1973 “We’re An American Band” platinum-selling single and album. New dates include performances in New York, Ohio, Arizona, Kentucky, North Carolina, Oklahoma, Minnesota, Georgia, Pennsylvania, Utah, Nevada, Indiana, South Carolina, Missouri, Alabama, Louisiana, California, South Dakota, New Jersey, Michigan, and Mississippi.
One of rock’s most definitive anthems, founding member Don Brewer (vocals and drums) was the soul writer and vocalist on “We’re An American Band,” which went all the way to #1 on the Billboard ‘Hot 100’ chart on Sept. 29, 1973.
“‘We’re An American Band’ came to me when we were flying from town-to-town on our ‘Phoenix Tour’ in 1972,” said Brewer of writing the song. “We were being sued by our former manager, Terry Knight, and he was trying to stop us from performing. The line, ‘We’re comin’ to your town, we’ll help you party it down,’ came to me first, and I wrote the song around that line, taking snippets of things going on during the tour at that time – like staying up all night with Freddy King playing poker, four young chiquitas in Omaha, sweet, sweet Connie in Little Rock, and, finally, the declaration, ‘We’re An American Band,’ because it sounds great and sings well.”
As part of this year’s itinerary, the legendary rock & roll powerhouse will be the “special guests” of Kid Rock for two hometown shows in Michigan at Little Caesars Arena on Friday, July 14, and Saturday, July 15. See GRAND FUNK RAILROAD’s full tour itinerary below.
ABOUT GRAND FUNK RAILROAD:
Known as “The American Band,” the high-energy five-piece group includes original founding members Don Brewer (vocals and drums, writer and singer of the multi-million selling hit, “We’re an American Band”) and bassist Mel Schacher, “The God of Thunder.” Joining Don and Mel are true “All Stars.” Singer Max Carl is a rock veteran from 38 Special. Max penned and sang 38’s biggest hit “Second Chance” and was co-founder of California’s legendary Jack Mack and the Heart Attack. Don refers to Max as “the best blue-eyed soul singer on the planet.” Lead guitarist Bruce Kulick is best known for his 12 years with KISS and has credits with Michael Bolton, Meatloaf and Billy Squier. (KISS members Gene Simmons and Paul Stanley were influenced early on by Grand Funk.) Keyboardist Tim Cashion has a master’s degree in music from the University of Miami. Affectionately called “Dr. Tim”, his credits include stints with Bob Seger and the Silver Bullet Band and English soul man Robert Palmer.
Source: Grand Funk Railroad
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