Big Wreck - Ghosts - Diamonds

Swelling up with a measured Page-Midnight Moonlight-like strum introducing the haunting melody line, Diamonds is all about mood and emotion. Haunting turns upbeat as the bright counter melody takes hold. A real classic English countryside vibe. As the track builds toward the chorus with all the nice chiming guitars, then various percussion, tabla, sticks and a sinewy eastern sounding slide guitar all coalesce to set up the change. 

Huge drums, almost military cadence and the plaintive slide line, now massive like only Ian can do, dominates!  The chorus is MEGA! The melody is reminiscent of Ian Anderson from Thick as Brick's Skate Away. It undulates while climbing triumphantly yet pulls up just short to tease the next verse. 

The lyrics speak of longing for a deeper relationship, or lost connection. An admission of weakness, a plea for understanding and a wonder at love's loyalty. All expressed with a loving, longing, yearning which is made manifest in the thick slide line.

The beat skips along and tumbles down as the chorus become immense. Like a diamond, whose quality only reveals itself as a refraction of pure light, the protagonist, in recent darkness acknowledges his separation from the source and longs for understanding. The melody beautifully embodies the sentiment. You WILL find yourself singing along.

The solo is pure Ian Thornley at his most magical slide best! If you liked the slide work in Albatross or Under the Lighthouse, this showcases it to a whole new level. Somehow the sound combines the Hibernian and Middle Eastern styles at once. Bagpipes and violins; BOY would I love to hear an orchestral arrangement of this!

A rousing, triumphant chorus concludes and then the coda walks us off in percussion and guitar chords droning on into the distance, setting up a reprise of the slide's haunting moan. Like a bestial bellow over a far away hillside the melody reverberates. It touches the heart like nothing Ian has done to date. This track is a classic beauty.

Diamonds

So I don’t have it all together

When was your first clue

What ever happened to

The part of me

That used to do?

I’m standing by the water’s edge

And leaning forward

I could use your hand

I’ll never ask again
But just this once

Could you pretend, oh

But lately there’s no give or take

With darkness in the way

The sparkling of a diamond

Has to vanish in the shade

It’s my way

And you stay with me still

So I don’t have it all together

All the reasons why

I’ve only just begun

To show you how

To come undone

The future seems a tad uncertain

One must watch their step

Don’t go too far
I’ve always tried to grow, alone

But not apart, oh

But lately there’s no give or take

With darkness in the way

The sparkling of a diamond

Has to vanish in the shade

It’s my way

And you stay with me still

Big Wreck - Ghosts - Come What May

Come What May, slashes where the Canadian single Ghosts, glides. Like bookends on the album's stylistic forays, they frame the range of approaches on this magnificent effort.

The opening sounds like a tighter, less bombastic Foo Fighters riff. Then it takes on a bit of the Police. Ian dabbled with a Police-ish feel on Tiny Pictures' Man Overboard, but it felt caught between Big Wreck's heavy pacing and that punk Police clip. CWM has finally figured out that formula. The chord progression is VERY Andy Summers. Even the that baseline has that Synchronicity feel. Big Wreck are again mining the very BEST of the 80's in this track. It is also one of those tracks that displays the lineage between the roots rock of Springsteen, the poly rhythms of the Police and the frenetic drive of the Foos.

When I first heard this I played it like 10 times in a row. It's so bouncy and energetic! Certainly the fastest Big Wreck track to date. It has an almost punk pace.

As spare and tight as the guitars are, the bass is full and meaty and drives the track. Chuck is channeling pure Stuart Copeland in both style and swing. It swells full in the chorus and an audience of Ian's joins in to "Throw myself in the river!" It gets sooo full that I can almost hear Sprinsteen's Roy Bittan piano chops banging out in the background!

That back and forth between tight and explosive only lays more distance between in the second section. The guitars go totally tight slash as Ian sings 

I'm fed up with the pace of saving face

I'm squeezing what I can't replace

Squeezing what he considers the precious parts of life… until they are missing pieces… again. Squeeze tight until it releases… and oh it does. The chorus is amazingly cathartic! The bass and drums pound it out and Ian throws in one of his great tumble down bumble bee accent runs that we all love. As we all long for deliverance and Ian pleads to be baptismally cleaned in the river… we are pleading for a signature solo to carry us off…. but not this time…. it's a sweet cup of Ian a cappella that would make the Beach Boys proud!  What a way to end a track!

Surprise! An 8 count and the chorus slams back in! So DAMNED EXHILARATING!

Come What May

Break off a little piece of happiness

No body gets hurt more or less

Whatever it takes to get you through

The night is gonna have to do

Under the weight of daily bread

You'd rather wake to cake instead

Would you believe a photograph

Was all it took and all that's left

Of missing pieces

I throw myself in the river

I need to wash my head and float away

'Cause I know that I'll be delivered

Everything cast adrift

Come what may

I'm fed up with the pace of saving face

I'm squeezing what I can't replace

Fiddled with the fire 'til I got burned

With all I've lost you'd think I'd learned

By missing pieces

I throw myself in the river

I need to wash my head and float away

'Cause I know that I'll be delivered

Everything cast adrift

Come what may

I throw myself in the river

I need to wash my head and float away

Because they told me that I'll be delivered

Everything cast adrift

Come what may

Big Wreck - Ghosts - I Digress

Since I've had the opportunity to hear these tracks in the making, it gives me pleasure to be able to share my written impressions with y'all (with Big Wreck's blessings - of course). I can't wait 'til we can ALL share our thoughts on this and all the others. I'll have MUCH more coming.... never been this excited!

Well, this was leaked on TSN's NHL this past weekend so I've been given the go to post up some description.

I Digress

It's not often you hear the phrase "I digress" in rock music. But that's why we dig Ian's writing so much. As he has many times before, maybe this time better than ever, he takes that Zep shadow and light approach to high conclusion. The song kicks off with a modern rock riff pinched like "Rest of the World" only tighter. Dueling with the crunch is a stabby pattern that made me think of Nuno Bettencourt from Extreme. Everything is like chiseled points of sound calling and responding as Ian sings of an internal battle that has been raging for a long time. We've got dueling guitars doing call and response with the bass while the drumming rolls over the top repeatedly.

Is it imagination or jealousy?

My intuition failing me?

I'm gonna throw up from so much pride!

As he elongates his "priiiide" he lays those long deep bent sweeping Pagian notes… lots of tension is building… As if all this thinking is driving him mad!

Now the song transitions into "classic" rock mode for a bar with some Who-ish chords and a standard 4-4 beat (is that cowbell?) but just for a taste to set up the bouncy Brit-Pop chorus..

He's never gonna know what we've been through

He'll never open you

As I digress, I need tenderness

As I digress

And I MEAN bounce! Davey's bass playing propels this section as Ian's Beach Boy best croons over the top! It sooo catchy and warm you just want it to stay… it feels like LOVE!

But don't get comfortable… you're about to DIGRESS! 

Don't let 'em iiinnnnn!

Now we've got the mania firing in all directions… this episode more frantic than the last…. 

Another walk through that dumb classic rock riffage as Ian lays it out…

Another idiot smiles and comments on your eyes

Whoever he is, he don't know yoouuuuu

And we're in love again… all chiming guitars and "oooohh-ooooo"s. It's such a schizophrenic song.

Back into the mayhem which has been turned up to a blistering pace. Davey is VERY Entwistle here Chuck Keeping doing fierce crescendos while POUNDING the beat! Out of this whirlwind stomps that Who inspired power chord that reminds me of  Ram Jam's "Old Black Betty". This section thumps up to the cliff and launches into this beautiful blue ocean sized vocal "YOUUUU!"

In midair it's caught by the pop section and lands softly in love… but wait… does mania win? In Big Wreck's world evidently it does. Love is the digression. 

As the hard beat lays the foundation, the cry of "DON"T LET EM IN!" wails out! Then they start the slow burn. Deliberate riffing plays under a long tortured solo that slithers up out of the mix. It undulates around and in between the riffing. Other guitars come up to support while still more make counterpoint. The layers build as the solo become more furious. The whole thing builds like a speed metal sprint while Ian plays triplets higher and higher, adding voice after voice. It seems like there must be 10 guitars cascading! Definitely born out of the extended Come Again road version with guitars locking in! THIS is a guitar wanking at it's BEST! 

Big Wreck - Ghosts - Hey Mama

Since I've had the opportunity to hear these tracks in the making, it gives me pleasure to be able to share my written impressions with y'all (with Big Wreck's blessings - of course). I can't wait 'til we can ALL share our thoughts on this and all the others. I'll have MUCH more coming.... never been this excited!

Yep, it's the one we all know, but on an incomparably different plane....

Hey Mama
I used to love this track called Hangman's Jury by Aerosmith. It starts out on a backwoods porch just harmonica and an old slide acoustic and progresses through a modern treatment, building instruments, vocals and power as it grows; acknowledging it's Rn'R roots while infusing it with raw power. Well, Hey Mama started out as a straight up Zep tribute back when it was a solo demo by Ian, leaked in '02. While the original demo had tons of heart (a fan favorite) it only hinted at what would become of this track.

THIS is the game changer IMHO. Many times a demo is infused with an immediacy that gives it life and then it gets mushed in rendering it to final. Full production robs it of it's original vibrancy and power. Well not so with this Mama! The rootsy guitar pattern, the droning background chords, the tasty mandolin echo the same Appalachian mountain music that inspired Zep originally. Ian rasps "Hey Mama, hear me holler! Hey Mama, watch me pray! I buried you out in the backyard, I hung you high in a tree, yeah that was ME". This is some creepy backwoods drama about to throw down. Shadowing the vocal lines the guit/mando/drone heaps layer upon layer until a MASSIVE stuttering drum beat kicks it to life.

So full, so powerful…. background vocals or effects laden guitar patterns fill in behind the lines "An empty house on a hillside, An empty boat on the sea" and it's bouncy, familiar and otherworldly all at once. Like when Jimmy Page played that boogie pattern in the beginning of Celebration Day on Zep III. It was just sooo from-another-planet yet firmly based in the delta blues. Mama continues this Celebration tradition in the BEST possible way. You can't help but dance along while the song goes on about betrayal and loss. Chuck's furious drumming and absolutely bouncy baseline (Dave McMillan channeling JPJ) gives this track a life not heard from Big Wreck since The Oaf. As a matter of fact, I think it out does The Oaf in it's pure Zep spirit!

As it hits it's stride "She forgot about forever, and I'm stuck in yesterday" what's that?… Beatle-esque Octopuss's Garden "la, la, las" or guitar lines? Whatever it is, it adds soo much body and mood! You cannot help but get up and just ROCK!

As Ian screams "HEAR ME HOLLAR!" the band does one of those Pagian throwaway breakdowns just to loosen your spine. At full bore now this track hums along until a clipped "I'm STUCK in YESTERDAY!" spews and the first hair-stand-on-end moment comes.

Big Wreck have uncovered the most amazing lost Zep riff of all time. It's a down turning, elevating BEAST of a riff! You will head-bang and rock to this reflexively. And it's delivered with all the majesty, mystery and MASS that it deserves. All you want to do is hear it MORE… LOUDER…. and then…. tease…. the band drops into this sweet little slide eddie… just because they can…. light and dark… tight but loose…. nice warm summer vocals and mandolins…. the baseline to walk us out…. but, what happened to that riff? Where's that confounded riff?… Ian's was "stuck with yesterday" but now he launches into a mega "I'M STUCK WITH TODAY!" over the top of… THAT MASSIVE RIFF!

This riff is such a behemoth. It's the culmination of years of distilling Zep's essence, of playing the Immigrant Song in shows, of exorcizing that Pagian possession that Ian sang of in Overemphasizing and Defined by what We Steal. It has the majestic power of Kashmir, but DRIVES like the Immigrant Song.

The power thrown by the whole band into this ending is indeed worthy. The riff stomps, grinds, moans and groans over furious badass bass and Bonham-righteous drum flourishes while Plant-like guitar wails on the high end. The final chord rings on in afterglow with feedback and vocal like the last heaves of Godzilla. THIS is what Big Wreck is all about. THIS is what every Zep tribute from Heart's Barracuda to Rival Sons Pressure and Time ascribes to be. THIS is the 2 million hit youtube song. THIS is what my best bud (1st generation Zep-fan) said "If they had survived, THIS is what Zeppelin would be playin'!" You can't ask for a better endorsement. 'Nuff Said.

I see Ghosts

It's with the bands blessing that I post this to fill in the blanks for the faithful over the next few days... tip of the iceberg peeps, trust me.

Ghosts

Over a stripped down structure, killer baseline, a throwback disco beat, Floyd's picking pattern insert a big Thornley/Sumner chorus and you've got Ghosts. It's nearest rhythmic relative is Floyd's "Young Lust". Most of The Wall was in reaction/answer to the Disco revolution that was happening at the time; the driving beat that gripped pop music in the late 70's. It was completely anathema to rockers, but Floyd made it not only palatable, but kind of stamped the rock over the top of the whole scene. It is with this "ghost" that Big Wreck choses to dance. Ian's, respect for, and recognition of, Sting and the Police's echo of the same Floydian "ghosts", permeates the melody.

The subtlety throughout the track, from the delicate picking pattern that swells behind the verses, to the tight funk slide that kicks it off, shows a willingness to explore other flavors. Live, a little Floyd was sprinkled into the intro to Big Wreck's Ladylike over the years and now it's fair game for it's own tune.

Ian sings of longing for home, being bound by ghosts. As a musician carves out his own ground, among the influences that shape him, what does he call his own? Especially when they're drawn from ones that still reverberate today. It is a familiar Big Wreck theme, like Defined, from TPAG. It's a musical journey, but a personal one too. How do we escape the Ghosts of our DNA, or familial patterns we've inherited? Dust and light. Flesh and Spirit. Always a depth in the lyric that we expect from Ian.

As I said before, this is some different territory for Big Wreck. Not different process-wise, because it mines 70's prog for inspiration, like many BW classics have, but different because Big Wreck has never so boldly taken on disco/funk. Even if it comes though a Pink Floyd filter. And WOW what results! The spare sections of Beat and Bass set up Ian's sexy Roy Buchanan toned solos. The authenticity with which Chuck Keeping and Dave McMillan groove through this track belie their rock roots. You'd think they was funked out forever!

The huge chorus is forever burned in my mind, like it will be in yours. Melody rules on this album! The lines change in the last chorus as Ian is wont to do. And if my scars were tattoos, I could hide them in plain view… well he's doing it. The ride out is pure funk jam. Clean tone, sinewy lines, loose jam like Control and You Caught My Eye from Albatross with some tasty interplay.

Scars or influence; they're in plain view, and I for one, hope his Ghosts never let him go.

The Masters...

I've been given a short leash.....

Get ready!

Mastering is done. And I have had the privilege of hearing them. This is not your father's Big Wreck… although it is! 

It sooo much more deep and wide than anything that they've done before. There's catchy as hell melodies and choruses that will NEVER leave you. There are pieces of demos that you all know and love, stepping into the spotlight and having their moment to shine. There are warm lush classic tones and hard as steel grinds that give you the shakes. There are songs that distill the essence of the greats and take them to new places. There's even a Foos Springsteen song that opens a whole new door. And there's a cover! A cover sooo sublime and tasty that you would think a guest superstar was called in. There's emotional pleading, frustration explained, deep questions and realizations. There are breakneck turns, furious runs, slide guitars, steel guitars, acoustic guitars and electric guitars twinned, tripled and quadrupled! There are guitar sounds that you've never heard both in your face and floating in the atmosphere. There are pianos, keyboards, bongos, tabla, and sticks and drones, and drums and drums and drums! And "Ohhh that baseline!"… over and over again you'll find yourself saying! There's amazing lyrics to ponder and pine over. There's the familiar path and the totally unexpected turn. New directions and vibes touched on in Albatross are mined extensively from the mother load of creativity that is Big Wreck. There's power upon power upon power and afterglow to still the beating heart. There are echos of progressive greats, and rock royalty. There are never-ending solos that lounge luxuriously forever and tightly spun triplets sprinkled throughout. There's confident muscle and delicate beauty everywhere. There are gorgeously structured pop chops on display alongside waveform level deconstructed power chords. All rendered in an ultimate beauty of an album who's production values are magnificent! Vocal harmonies loosed upon power pop sections that'll make you feel like you are in another era. Layer upon crystal clear layer wrap your mind and take you on an aural journey that's more like a body high. There are multiple levels from which to encounter every revolution taken. There isn't a band around that can deliver an experience with the genre jumping breadth of this CD without sacrificing the heart and soul of the band. NO-ONE will be able to touch this stuff live. This is the Big Wreck full potential FINALLY being realized.

As We Go so goes Oswego

It is the aptly named, yet vastly understated, K-Rock "Dysfunctional" Family BBQ held at the Oswego Speedway for the first time this year. It's 40 minutes north of Syracuse where K-Rock broadcasts from. It's a good 5 hour drive for us from Jersey, but I used to go to school a hundred years ago in Syracuse so I was not unfamiliar with the area. Beautifully scenic ride through upstate NY. Great tunes and almost no traffic.

We brought the laptop, since I do not have a smartphone and this was our only means of communication with The Big Chris, BW's Security/asst TM/overall good vibe generator! It was only messages through email or FB since his phone service would be out in the States. Bet made sure that the B&B we were staying at had wifi. Right before leaving, TBC asked if I could pick them up some stuff, since they were not sure of the lay of the land and had no rider. Of course I said "No problem!" … now I'm shoppin' for the band! Who would say no?!

About an hour into the trip, after fastidiously knocking off each item on my list of things to bring and do, leaving a bit later than expected due to double checking EVERYTHING, Bet asks the inevitable… "Did you bring the tickets?"…… um, no…" "F-it! We're not going back!" I assure her that we'll get in. She's skeptical, but a captive. This better come off or I'm in deep shit.

We arrive in Oswego and of course Bet hit it out of the park with the B&B again. It was a gorgeous historical home near the lake. A sweet, genteel couple Ole and Tammy got us settled and we were off to a local pub for dinner. After dinner, before the BW bus left TO for the gig, we contacted TBC and he was happy to hear that we had scoped the area and a Wallmart was nearby the Speedway. We got a good night sleep, got up early and awaited our mission from TBC…. and waited… and waited… and waited… (I forgot we were on musician time) at 11:30 we got the message to come on over. Remember, we have no tickets and once we leave, we have no way to contact TBC… we go dark.

So it's up to my bag of BS to get us into see the band. The Speedway is up on big hill and the parking area is a large grass field already filled with thousands of very purposeful tailgaters. 

I pull by the the first parking attendant and explain that "I'm with the band, and I need to bring them some stuff, and we need to park near the bus and… and… and…" She stares at me blankly and waves me up the chain to the next attendant. Three attendants later, we are told to pull over and wait for the head of security as he sorts out a problem, which we were evidently pulled over next to.

A group of very drunk, shirtless, skin-head-like thugs were chicken heading with some nerdy looking' college kids. The college kids were WAY in the minority in this crowd. This place was an anthropologist's dream. As the fight began to brew, security rolled up… along with local police… and Troopers… and border patrol! It was SUV's, golf carts and ATV's all over! After 10 minutes of stunted intimidation, a nice wobbly gentleman was escorted out. My only concern was that the head of security would be in a bad mood as I sang my tune.

He buys my story to a point and lets us park in the reserved area, but leaves it up to us to get in and contact the band. So far so good, and it's off to the main gate to talk our way in, no way to contact the band … with no tickets! In these situations, it can go either way depending on the mood of the people in charge. If we don't get in, I face the wrath of BETTY…. oh, you don't wanna know!

As they frisk all the miscreants, I mean… fans, Bet and I approach the gate to tell our tale once more. It pays to be sober, look un-intimidating, and… oh who am I kidding… to look OLD! At least they entertained our story, but wouldn't let us in without contacting the band. From the gate we could see the bus and TBC walking about but they were 100 yards away! 

After pointless cell phone calls to TBC… Bet and I decided to pitch using her as a hostage for security to let me go scout for the band. We threw in the camera, and they bought it. Bet watched from up on the hill as I made my way through, 1, 2, 3 security checkpoints. The head guy in a cart finally escorts me the last few yards behind the gate, up to the bus, suspiciously. Out pops Dave and he gives me a big hug. The Big Chris is next and security finally gives me the thumbs up. Into the bus, and I lay out my need for passes and the forgotten ticket drama. TBC tells me he's got no pull, so no passes! ARGH! But he does say that he will escort Betty in. Thank God, because the weight of the guilt I would feel, hanging with the band and watching the show with Betty just outside the gate would be too much for my fragile psyche to handle….. hehe!

Me and TBC and 2 security guys take the ride to get The Betty. Success! So hyped, I blurt out an offer to go to dinner after the show… TBC says, "Look, ya got this far… don't press your luck!" Bet shoots me a look. It's all good.

So the hugs and bus hang begin. Ian pops up with his pink pants and plaid shirt and I give him the "Oooh, rock star outfit!" Betty punches me to shut up. We give him the heads up on the scary, desperate crowd and the band setlist discussions begin. Everyone is so funny and genial. The band vibe is very positive and unserious, but professionally concerned nonetheless. It's a short set, with a rough crowd so I say go hard and go fast! 

I had time to pump Ian and Bri about the Crue experience. Many tales that I cannot tell… lets just say that it was a well run, professionally managed circus.. and the food was exquisite! In the end Nikki and Ian hit it off and Nikki invited him to do his radio show so we'll have to keep an eye open for that coming up. 

We talked about the shifting sands of the music biz, and the struggle to make a living today. Bri shared some small tour realities that were staggering; so opposite of what they experienced watching the Crue operation. It ain't pretty, but they're grateful for the chance to play. The convo shifted to Myles Kennedy, the hardest working man in showbiz, since James Brown passed. I asked Ian if he had the chance to ask Myles about the Zep tryout. He lights up like a little kid! "ARE YOU KIDDING ME!? As soon as I got him alone at dinner, I was 'Oh my God, So what was it like!'" Two little kids talkin' about their musical idols. Myles says they jammed for hours. Says it was wonderful! Still has no idea why it didn't happen. I forgot to ask Ian if there was a recording. So cool!

We had about an hour to hang, catch up and then it was time for the band to warm up. Vocal cords and fingers flailing about so Bet and I were ejected into the crowd.

Usually, even though I'm a grandpa and sober I like to "mix it up" with some of the fans. I try to see echoes of my former self in the crowd, look for other music fans, talk history or future music; just about anything to engage an exceedingly insular generation. Sad to say, after watching the goings on at this shindig, I did not even want to make eye contact with anyone. Any conversation could turn ugly on a dime… and I'm not the shy wallflower… I've been known to make a wise remark that might be taken the wrong way. Better to dummy up.  

We saw at least 4 all out brawls between very determined, angry girls. These were no girly cat fights either. Plastered, hair grabbing punchers rolling about on the hot macadam with equally drunk friends trying to intervene. The guys represented as well. Wiry little thugs throwing down at a sideways glance… all the violence kept security on their toes. 

I think that only a small portion of the crowd cared about the music at all. The bands ran the gamut but leaned on the hard. They for the most part fed the beast. All BW's fretting over the sound and the setlist would be lost on this mob for certain. But that's just how professionally dedicated to the show the guys and crew are.

We worked our way to the band area, next to the soundboard. Betty wanted to be down front, but up close to the crowd she thought better of it. Ian told us that good old "Charlie Fukin' Fergusen" was at the board (I only know him from Ian's stage banter on one of the many bootleg BW shows I have). He was furiously working the board against all odds - He's a MASTER!

Despite a woefully bad setup by the local promoter, Bobby (Tour Manager), Bruce (Guitars and ALL), Karen (Stage Monitors) and Charlie (Floor/House Sound) muscled their way through and delivered a near flawless show! Amazing to see what goes on behind the scenes. The crowd surged. Bet and I held our breath and BW hit the stage. The energy was high as the "Head Together" chant washed us. Inhale blazed out; the crowd was jacked and so began the crowd surfing, shoving and beer spilling!

Sure enough, a pit evolved. By That Song some of the people began paying attention and singing along. However, that did little to slow the growing chaos of the pit. Next up was Albatross. Surely that would tranquilize. NAH! Even after Ian, who dealt with the crowd like the pro he is, urged them to be careful… That beautiful intro…. MOSH…. heartfelt verse… MOSH… tasty slide solo…. MOSH… soaring final vocal run… MOSH HARDER!

After a bit it was like F-it! If you can't beat 'em, join 'em. They launch into, you guessed it, Fallin' to Pieces". It was massive! But like  gasoline on a fire! It grew bigger and more violent! Security swept through 2-3 times to carry out the wounded and unruly (not sure how you can sort out either). And the band played on.

They nailed the landing with the Oaf and just like that it was over. We escaped unscathed over to the bus area to say our goodbyes. A couple of the more coherent fans stood by the bus and had Chuck and Ian chat them up and took some pix. I should have told them about the FB group… missed opportunity. 

Not wanting to overstay our welcome, Bet waves bye and Ian waves us back in. So it was back to the bus to talk post show wrap-up and the plans for ROTR. They are all so professionally focussed and always concerned with perfecting their performance even though the mass majority of the mob would never notice. I know I sound like a snob, but really this Oswego crowd saddened me. It's a weird world; 'nuff said.

We stayed aboard for an hour or so, as TBC tended to some of the more needy (dehydrated/injured/inebriated) who crashed near the bus. The man's a prince. We took some pix, gave thanks, and the boys were off to see Volbeat (who's crew they all knew).

So the old folks were off. Back to our genteel hosts at the B&B, who wanted to know all about the concert. We were kinda speechless. Then we were off to Syracuse for a nice courtyard dinner downtown. What a day of contrasts.

Let me just say in closing; I'm perpetually amazed at the BW camp's hospitality and grace. I cannot wait for the Sarnia show and some REAL BW fans! Hopefully as a headliner, they'll go back to their extended setlist. Bet and I REALLY love our little rock & roll adventures. We don't have much money but we do seem to have good friends and lots of laughs. FU Pete! I'm glad I didn't die before I got old.