I like the idea. Besides, personally, it would be kind of cool for me to trace the written path of the last 18 years. Some of it is already lurking out there online; a lot of it exists in the pages of magazines like Metal Edge. Some of it is in CD booklets and box set liner notes, and most recently an actual book.
My first attempt at music journalism was Prime Choice. Michael Jenkins and I had grand ideas that it would be like Rolling Stone, but with the anti-establishment, music-loving integrity that magazine had lost years before. We knew nothing about publishing, but the camaraderie of loving music was the only thing we thought we needed to be print media moguls.
I was an ex-English major college dropout, laid off from retail management. Michael quit his job at Strawberries Records & Tapes to sell advertising. Together, with an Apple II computer, financed at an ungodly interest rate, our plan was entertainment media domination. There was no way we could fail.
The Prime Choice story is better saved for another blog, or maybe even another book, but getting back to the idea of an archive, it was the publication for which I wrote my very first review. It had plenty of cliche music review phrases, providing very little substance beyond a recitation of what songs were played. Throw in an aversion to commas that resulted in a few run-on sentences, some transparent attempts to come across as an industry insider, and you'll certainly ask yourself: this guy actually went on to become an author and get paid as a professional music journalist? Shit, I could do this.
Which is exactly what I thought when I started writing about music.
Tesla
Providence Civic Center
May 4, 1992
Just for the record, there weren't any explosions or laser light displays at this show. No trampolines or trapeze bars. Come to think of it, I didn't notice any bungee jumping going on either. Nope. Just five good ol' boys and a wall of Marshalls jacked to 10. No carnival theatrics, no bullshit.
The evening began unceremoniously as guitarist Frank Hannon strolled out in full view of the house lights. Fellow guitarist Tommy Skeoch—his hair pulled up in reminiscence of Belushi's Saturday Night Live samurai skits—hobbled out moments later (his left leg in a brace, the result of daredevilry during a tour break) to trade bursts of guitar fire until, one by one, the rest of the group wandered onstage. The crowd was up and Tesla was off and running with "Cumin' Atcha Live" From their first LP, Mechanical Resonance.
Songs from the band's recent Psychotic Supper album provided the framework for much of the show, including "Had Enough," "Change in the Weather," and the Steve Clark-dedicated "Song & Emotion." And, of course, "Call It What You Want" and "What You Give." Given their recent radio and MTV support, the inclusion of these two songs wasn't surprising; the absence of "Edison′s Medicine" was. Since it was the first single from the album, not to mention a strong song, I was pretty sure it would have been included in the set.
Jeff Keith's voice was an anomaly. Why this man didn't lose his voice, I'll never understand. For nearly two hours, he maintained his distinctive harshness without sacrificing any delivery power. Absolutely amazing. Following a full throttle, blood-curdling scream that closed "Time," he announced: "It's time to play y'all a little acoustic shit, man," and he easily down-shifted his voice for an acoustic set that began with "The Way It Is."
Perhaps the release of Five Man Acoustical Jam and the subsequent popularity of its single, "Signs," offered Tesla the security to perform live acoustically, something even the mighty Zeppelin never seemed comfortable enough with to attempt in America. In any case, for a crowd that had settled down—it almost seemed like people were getting restless—the acoustic set brought people to their feet, clapping and singing along with "Signs," of course, and an inspired version of "Paradise," featuring bassist Brian Wheat on keyboards.
Considering that most arenas were initially designed with sporting events in mind and not music, Tesla′s sound could have easily been at the mercy of the rafters of the Providence Civic Center. Their sound crew deserved a well-earned round of drinks (no, I didn't offer) for versatility. Troy Luccketta′s drums consistently rattled filling, while the acoustic set rang crystal clear.
Rather than presumptuously wasting time waiting for screams of adulation before the encore, Jeff Keith refreshingly stated: "Ya either wanna hear more, or ya don't," and hinted that they were "gonna jam on somethin' in E," and surprise—Steve Miller's "The Joker." The real surprise came when Frank Hannon assumed lead vocals on an incredible cover of Peter Frampton′s "Do You Feel Like I Do," complete with voice box. "Gettin′ Better" closed the show and a stomping, screaming audience was left with Jeff Keith′s unorthodox farewell: "We'll see ya round like a donut."
Originally published in Prime Choice, Volume 1, Issue 1 — May/June 1992
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