Jail Guitar Doors - Rock Out 5!

My welcome back to L.A. was extra great after having been gone since last May, as I got to go racing from LAX straight across town just in time to make it for the 5th annual Jail Guitar Doors ("The loudest charity on Planet Earth!") fundraiser show starring Moby and Wayne Kramer at the Ford Amphitheater!

My friends Brother Wayne and Margaret Kramer have been putting on this event every year to raise money for Jail Guitar Doors, and their exceptional programs that bring music to inmates in prison. After checking out the merch (there's even JGD coffee now!), and greeting several other annual JGD show fans, my brother Paul and I took our seats in the front row, ready to take in another great night of music put on by great people for an absolutely great cause.

A recording played to announce that we were sitting on what was once Tongva native lands, and then Brother Wayne came bounding down the steps to the stage, punching the air and riling up the crowd right off the bat. I was SO happy to see him looking so healthy and hale after he endured cancer treatment this last year, like he was way more energetic than just about everyone else the whole night. Phew. Kramer  thanked Dr. Bronner's (the soap people) for underwriting Jail Guitar Doors being able to provide programs for young people to get them into activities that will PREVENT them from ever entering the criminal justice system ... because once in, it's pretty damn hard to get out and resume a regular life. And then the world is better for everyone.

The evening was hosted by the Poet Laureate of Los Angeles, Luis Rodriguez, who sits on the board of Jail Guitar Doors. Rodriguez has done time, as did his father and son, and he wants that cycle ended. "I'm an O.G. when it comes to this work," he said, before sharing a beautiful poem that had the excellent line, "Use your given gifts. They are not stone." YES.

Rodriguez introduced the Soledad Jazz Workshop, a jazzy quintet founded at the Soledad State Prison in California. Mr. Jack Bowers was their teacher, and everyone playing so beautifully had also done time. Ron Melvin (alto sax) spoke after their first number, saying that, "Jail Guitar Doors believed in me until I could believe in myself." He added the important truth that, "Beauty can come from anywhere."

Trombone legend, Phil Ranelin, was featured on the song "All The Things We Are", and said it was written the same year he was born, 1939. He can still blow with the best of them, and we also got  the Miles Davis classic "All Blues". It was all really, really good, and the only reason I can think of that some people don't like jazz is that the songs are so long, and you start to feel left out of the jam conversation that the musicians have going together. So, you just close your eyes, listen, and it's all good. Real good.

Rodriguez came back out to recite a poem called "The Calling". He told of how he had turned his life around through poetry in jail, and said that, "You can't throw people away ... everyone is worth helping." That's really the point of the whole JGD organization. The poem gave me chills, and also the gratitude and relief that there really still are really good people out there. Thank God.

Rodriguez introduced Wayne Kramer and Friends, and Kramer ran back on stage, this time with his legendary Star Spangled guitar, yelling, "Alright, now we're gonna rock!" and he and his band went on to do just exactly that. "Shining Mr. Lincoln's Shoes" had Kramer running around extra-animated while Carl Restivo held things down on bass, Brock Avery kept the drum beat, and Benmont Tench (yes, from Tom Petty & The Heartbreakers Benmont Tench!) on the keys.

"Back When Dogs Could Talk" featured Kramer doing the funky chicken and also shouting out to all the workers of the world ... "My steel workers, my food service workers, my auto workers, my teachers ... you have earned the right to be known as the salt of the Earth! You are somebody!" It was awesome, and a fine example of why Kramer rules as a human being AND as a rock star both.

Kramer brought out my friend Jason Heath (lead JGD teacher and leader of The Greedy Souls) as well as the rapper Matre to join he and the band for a fired up version of "Jail Guitar Doors", the namesake song by The Clash. Everyone was feeling it, and frankly, their set was over way too soon, but it sure got the party going!

Mr. Rodriguez came back and we did a call and response poem together, saying "Make this poem cry!" It did its job, because I definitely got choked up. No time for tears, however, as Rodriguez said, "And now, Moby!" and Moby came out with his band and back-up singers, who launched right into his great song, "Extreme Ways". Dressed casually in jeans and a hoodie, Moby rather resembled a much smaller Billy Corgan with a "Vegan For Life" neck tattoo.

The crowd loved the song, and let the band know. Moby said that he'd driven by the Ford Theater a thousand times, but had never been and didn't know it was so beautiful. "This is the most beautiful outdoor theater in Los Angeles, and that's saying something." We were all already feeling lucky for being there, but that jacked that sentiment up even more. A truly stunningly gorgeous evening, as the stage looked like an enchanted forest and beautiful letters from prisoners and photos were projected on the interior walls.

Moby said that the only thing he had in common with Jimi Hendrix was that they had both only had one #1 song in the U.S. ... then proceeded to play his. "South Side" sounded as good and as fresh as it ever did, and I have to admit, I didn't ever really know how good a guitar player Moby is. I always associate him with synthy sounding orchestral super produced tunes, and it was cool to see him pretty stripped down and really going for it live on guitar. He said he was a punk rock kid, "So I fetishize cover songs," and they did mostly covers from thereon out. Mindy James took lead vocals for a re-working of The Rolling Stones' "Gimme Shelter" that she absolutely belted out, and Moby shredded out the guitar solo.

Moby loves John Lee Hooker, so next we got "A Dark Cloud Is Coming" which was inspired by Hooker, and was very dark, bluesy, ominous, and pretty heavy. It felt right for a night about prison ... but then the next one was "20th Century Boy" from T. Rex ... and the whole band was smiling and clearly enjoying themselves while they played, so it felt like hope again. Benmont Tench was back to be Moby's keys player too, and you could tell he was having fun. There was a dude/douche next to me who kept making lame GIFs during the show, then nudging me to look at them. Don't do that. Thanks.

Neil Young's "Helpless" was dedicated to Moby's Mom, who he lost 15 years ago after a life of food stamps and welfare as a single mother. Laura Dawn took lead vocals, and I got choked up again thinking about my own Mom back home.  Moby's "L.A. song about astrophysics and weird celebrities" was next up, and "We Are All Made Of Stars" happened. I love that dang song, and his great "Natural Blues" was next, again featuring Mindy Jones in rad voice. A cover of Zeppelin's "Whole Lotta Love" found us witnessing a "primal, libidinous battle" between Jones and guitarist/backup singer, Daron Murphy on harmonica. Jones and Murphy traded licks, while Moby laid down on the stage to enjoy it, and an older woman danced like no one was watching in the aisle next to me. Good for her.

Next up was "The Mount Olympus of cover songs, the mother of all cover songs, we need you to come to Valhalla with us on this one" ... and it was "Stairway To Heaven". Murphy took lead vocals while the band whipped the audience into a frenzy - and an older man had now joined the dancing woman, and they were both going off, spins and all, until "We drank vegan grogg from the skulls of our enemies!" proclaimed Moby. And you better believe we DID.

The All Star finale brought everyone back out together, and we all sang "The Perfect Life" together - and loudly. It was super celebratory, meaningful, and again, hopeful. At one point in the song, they brought it all down to a whisper with every single performer flat on their backs on the stage, which brought the whole house rushing down to the front to try to see them.

Then they brought it all back up to a joyous conclusion, and the hope that a more perfect life might be within the grasp of both everyone there, and everyone that they were helping by being there. There was no Kicking Out The Jams this year, which I missed, but this finale was so good that you could let it slide. Another fantastic night of music for Jail Guitar Doors was complete ... but the work continues all year.

Please get involved however and whenever you can ... donate, volunteer, teach, spread the word! Jail Guitar Doors is changing lives for the much better, and we're all better for it. Thanks and LOVE to all involved with this exceptional organization!

All photos by Paul Gronner Photography

Celebrating 50 Years Of MC5 At The Ford Amphitheater - Kicking Out The Jams!

I've seen my friend Brother Wayne Kramer perform a lot of times, but never with his band, Motor City 5, better known as MC5. Until this past Friday night, when Kramer and his cronies performed the Kick Out The Jams album in its entirety for a Jail Guitar Doors benefit at the Ford Amphitheater - and it was something else!

Friday night L.A. traffic found us getting there just as Jason Heath and The Greedy Souls were opening the evening's night of rock and roll with a message. Heath and his band are also great friends of mine, so it was a treat to get to see them rock the Ford stage, with its beautiful outdoor setting and stars shining above.

JHTGS opened with "In Love With My Gun" and "Fair Fight" - both pretty topical at the moment. There was a full band along for this ride, complete with horns and female backup singers sounding great. They tore through "Dead Stars" and "Postcards From The Hanging" from their most recent album, But There's Nowhere To Go. I wrote the bio for that album, but haven't had the chance to see its songs performed live in quite a while, so this was awesome to see our pals up there giving it their all.

"Thunderstruck" is one of my favorites (and I recently learned it's about Matthew Shepard, the young guy man who was beaten to death almost exactly 20 years ago), and it sounded better than ever, as did "Turn On (The Radio)" featuring Jason Federici on keys, and everyone else ruling hard for the song that Heath said "Is about rock and roll changing the world. I don't know if it can, but we're gonna try". After that throwdown, I think they're on to something. Heath also reminded everyone that the evening was a benefit for the wonderful Jail Guitar Doors organization (founded by Billy Bragg in the UK, headed up by Wayne and Margaret Kramer here in the U.S.), and I thought of Franc Foster who died earlier this year.

I met Foster through one of these JGD shows, and became friends after writing about his travels from inmate to musical mentor to other prisoners. Foster's presence here on this night was sorely missed. When Heath and Co. played "Nowhere To Go" it got me thinking about how I really don't know where else to go in this crazy world. Where is cool to live? And if you find it, how long will we be able to survive with climate change about to make life on this planet extinct? Deep thoughts, but I snapped back in time to hear "Devil Ain't Talkin'", complete with horns, which I think always elevate everything. I love Jason Heath and The Greedy Souls and you should take any chance you get to see them jam together. Right on.

We went to mingle with some friends and missed half of Starcrawler, but heard it muffled from a distance. A photographer we know told us that she'll never shoot this band again because the singer kicked her camera into her face and she had to go to the hospital, so we weren't in any hurry to see some jerks.

We got back to our seats in time to see the female lead vocalist (Arrow de Wilde) spit up (fake) blood and smash another photographer's camera (she's darn lucky it wasn't Paul's). The punkish rock was o.k., but it seemed to me if it were really good, they wouldn't need such antics. Why be so destructive to people that are helping to promote you? It was a turn off. The crowd - leaning on the older side, as Kramer himself is now 70, and it IS the 50th anniversary of MC5 - was taken aback when de Wilde shouted, "Oh, C'mon, turn up your fucking hearing aids!" You heard an audible gasp, and I don't think this band won any new fans after that. And, it must be said, the crowd never sat down ONCE when MC5 took the stage - so there.

I gather that de Wilde is going for a female Iggy Pop type thing, but it came off as truly disturbed. When she staggered off to the side of the stage, looking all frantic and lost, I genuinely almost left my seat to go help her. She looked so fucked up it was almost scary, but I'm glad I didn't go to her aid, as I most likely would have been left covered with fake blood, which she spread over everyone as she ran out into the crowd and back off stage. The remaining musicians kept playing without her, with the guitarist playing off into the wings. Then they were done and we all kind of shrugged, and looked forward to the mighty MC5 (in this incarnation) taking the stage!

Kramer is the lone original Detroit guy left in the band, that now features Seattle guys (like Soundgarden's Kim Thayil and Pearl Jam's Matt Cameron), and Zen Guerilla frontman Marcus Durant singing lead. Fugazi drummer Brendan Canty, and Faith No More's bassist Billy Gould round the band out, making it a supergroup of expert rockers. Margaret Kramer made a speech on behalf of Jail Guitar Doors, and then it was time to ... KICK OUT THE JAMS!!

Wayne Kramer led the band on stage RUNNING to the mic stand, and they all tore into "Rambling Rose", and the entire crowd leaped to its collective feet - and stayed there until the last note was smashed. They went straight into "Kick Out The Jams" and everyone's phones were out trying to capture the energy, which was impossible unless you were there. People were going NUTS for this jam that was celebrating its 50th year of being kicked out. It was EXCITING in there, believe me. Especially when Kramer ripped out a guitar solo on his iconic star spangled axe. Phew!

"Come Together" was just as rocking, and "Motor City's Burning" showed that Durant is a very pale black man, tearing up his harmonica while giving the song its very Motown vibey soul. Bluesy and awesome, it was a real standout. Brother Wayne next did band intros, and shouted out everyone on stage, and said, "I'm so happy to be here tonight with you in L.A.!", and we were all so happy about it too. "Rama Lama" showed off everyone at their best, and even featured some ass shaking from Kramer, as well as a guitar battle between him and Thayil. SO good.

That this guy is now 70 is proof that rock and roll keeps one young at heart, and Kramer was pulling Townshend-like arm windmills on "Borderline" and cranking out more electric solos on "I Want You Right Now", which was awesome. "Starship" got very acid rocky, and it was clear that this one was written in the groovy late 60's.  They ended the song all pointing up, as if to ask the aliens to please take us now. To have mercy on us.

Not a person had yet sat down - in Los Angeles - and wouldn't for the remainder of the show. I've been at a LOT of shows in L.A. lately, and this never happens if there are seats. The once in a lifetime experience that this was (and that I kept hearing people say that) amped up the electricity in the venue, and people were going to be rocking for its entirety. RAD.

Kramer acknowledged his band mates that made this music together 50 years ago, then strapped on an acoustic guitar for "Shakin' Street", which ruled. The guy behind me said, "If they play 'Future/Now' I'll shit my pants!" - which they next DID play, and I was nervous to look behind me to see if he had actually shat himself, but I could hear that he was very happy by his shouts. Good for him!

"Please welcome our good friend, Duff McKagan!" shouted Kramer, and welcome the GNR legend we did. He joined the and for "Call Me Animal" and they just beat that song to a pulp. While they were all simply shredding, a trio of horn players walked on to the stage, and once again brought the energy even higher. Kramer introduced them at song's end as "The Parolee Horns!", and then introduced another special guest, Greg Dulli from The Afghan Whigs! Awesome.  Dulli TORE through a fast paced "Let Me Try" and "Skunk", and the place went wild. The guys on stage were getting a full cardio workout, and the audience was doing their best to keep up. Phew!

After that frenzy, Kramer took a moment to speak his mind. "I know our country's going through tough times. There's a rapist on the Supreme Court, there's a rapist in the White House ... but it is our right to exercise our power  - and we do that when we VOTE!" A "VOTE!" chant started up, as everyone was SO fed up at the SCOTUS news of the day, and Kramer continued, "We can save this world, but we gotta get to WORK. We're gonna let those bums in Washington know, WE'RE LOOKING AT YOU!" and they blazed through "Looking At You" just to show 'em.

Everyone came back up for a raucous run-through of "Sister Anne" for the final hard rocking All Star jam. Thayil's fingers were flying, and everyone was giving it their absolute all. The crowd ate it up and shouted for more, but there's a curfew. Kramer shouted, "Thank you all! You are terrific! See you next year, same time, same station ... GO VOTE!!!"

The musicians had a group bow together, and left the stage. They left everyone else standing there shaking their heads in amazement at what they had just seen. LOVING it. There was a little backstage soirée, and I got to catch up with my Justice Tour Alumni (a tour we did with Tom Morello a decade ago!) friends, all of whom I love so much. In dark times like these, it is reassuring that there are people who still believe in good, and still try to do something that matters in this world. Like bring music to inmates in order to create a better life for themselves. Like doing benefit shows just for the good in it. Like urging people to vote with their voices that people might listen to. Like simply caring. And if you can do all of that while rocking faces off - even better.

Thanks and LOVE to all the Jail Guitar Doors friends and family who made this momentous night possible. As for those jams? They done kicked 'em OUT!

 MC50th is touring now!

*Photos by Paul Gronner Photography

Jane's Addiction Live at the John Anson Ford Amphitheatre

Jane's Addiction last played at the John Anson Ford Amphitheater 23 years ago, and returned to that same stage last night (and tonight), looking and sounding as fresh as they ever did. The first thing I heard when I found my spot in the little, tiny, super-intimate Ford venue was a guy nearby saying, "Well, this is a pretty great spot for a rad show!" And boy, was he right. The Ford is all nestled into a Hollywood hillside, surrounded by trees, the crescent moon, and stars. And on this night, a bunch of lasers and smoke and serious rock and roll.


The night had two opening bands, Boys and IO Echo, both bands fronted by women that sound straight from the 1980s (Boys even did a Pat Benatar "Love Is A Battlefield" cover). I was happy to see some ladies on the rock scene, and they did a good job of engaging the crowd, earning some appreciative hoots and hollers. This not easy with a crowd that was clearly there to see their beloved Jane's. Speaking of the crowd, it was an interesting one to observe ... surprising amounts of grey hair, but also a lot of the usual young Hollywood Hipster variety, and one new friend even admitted, vaguely embarrassed, that he'd never heard Jane's music before. Blasphemy! His mind was about to be blown.

That would prove not that hard to do, considering the beauty of the night and the venue. I went over with two of my friends that I first saw Jane's Addiction with at the very first Lalapalooza in 1991, Tony and Brandon. We were as excited to see them today as we were then, and even though time and circumstance have blessed me to now actually know the Farrell family, the thrill doesn't go away at all when the lights go down and you hear those familiar chords ring out. WOOOOOO!

Pink Floyd's "Shine On You Crazy Diamond" came on, the lights went down, people stood and screamed before one thing happened, on anticipation alone. Then Perry strolled out in a sharp suit and Dave, Stephen and Chris Chaney took their places, and they immediately tore the place up with "Whores". People were going crazy (It helped that the Ford generously lets people bring in their own booze - yep). Perry's face was one giant grin from start to finish, and the fans reflected that back to him all night long. "WE'RE HOME, LA! And we're throwing a party, you know why? Just because!" With that they threw down "Just Because", and already the guy beside me (who had painted the Jane's banner hanging alongside the venue and had never heard their tunes) had his arms in the air, screaming. Pretty sure he's ordering up all the Jane's catalog today.


While the boys in the band were down front kicking out the jams, the girls (led by Mrs. Farrell, Etty) of the Jane's world were climbing around up above among the trees and rocks, looking like the sexiest wood nymph fairies ever. The whole scenario was dream-like, with lights and smoke and props and cool ... one felt fully transported through the music and the visual feast - and I was totally sober.

Perry shouted out to some L.A. towns ("Venice!!!") and said, "I LOVE living in L.A. - you all make me feel so good, I could just float over Los Angeles", and as fluid as his dance antics are, you believed that he could. A bottle of red wine was now in Perry's hand, and he swigged liberally from it as they blew up "Ain't No Right" and "Ted, Just Admit It" in a back to back beat down. Perry screaming "Sex Is Violence!" while Etty and Stephanie rocked on the sideways rocking chair in S & M style outfits was pure, classic Jane's. By the way, it should be noted ... those ladies are damn fine DANCERS. It's easy to get distracted by the sexy get-ups and props, but they have serious, classically trained MOVES. Super fun to watch. Stephen Perkins particularly brought it on this one, per usual. After that one, Perry said how they'd previously played the Ford in 1988, "But Dave doesn't remember it". At that show, Axl Rose approached Perry and said, "You're a real artist, Man." Perry laughed and said, "I don't think I said anything back." Again, classic.


Perry spoke about the fancy threads he was wearing (and soaking through with the sweat of a consummate entertainer), and said, "But back in the day, I used to just steal shit!" So of course they launched into a fiery, "Been Caught Stealing", that pleased the crowd to no end. Shirtless, perfectly preserved Dave blazed, both on his guitar and on the smoke that his guitar tech came out to light for him, mid-song. Badass.


Jane's Addiction is releasing their new album, The Great Escape Artist, on October 18th (!!!), and they played a new track from it next, "End To The Lies". There was a bit of the lull in the crowd typical of people not yet knowing the words and biding time 'til they hear their next old favorite tune, but it has all the makings of being a future classic. Perry's voice is so inimitable that everything he sings sounds epic and familiar. I cannot wait to hear the whole album of new jams, based on this one alone. At song's end, Perry said, "I love that guitar shit" and vocally imitated the metal slide sound of Dave's guitar, cracking people up. I totally agree with him, by the way.


Sweet lasers began to swirl and Perry said, "We kick ass all over the world, but we can't wait to get back to L.A. - and we let 'em know, L.A.! Fuck yeah!" That brought screams that only intensified when they began "Ocean Size" - which is exactly how big that song felt. SO good. Right from there, the place turned all black and red, and the ominous opening strains of "3 Days" began. Etty and Stephanie were bound and gagged and gyrating all over the stage, acting out the story of those 3 Days of song lore. Dave had a blistering solo, and Stephen had an extendo drum session that had fan guys slapping fives. Literally every single camera phone was out and capturing (or trying to - you really had to be there) the scenery. Here's a video that I snaked off of YouTube that gives you a little feel:



Perry recently had knee surgery, but you would sure never know it. He was just NON-stop: dancing like a marionette let loose off his strings, strutting, posing, jumping, ruling. The big anthem-y one off the new album, "Irresistible Force" featured lasers and pictures in the smoke, and every marking of a Jane's hit. From that we went right into a medley of L.A. tunes - The Doors' "L.A. Woman - The Germs' "Lexicon Devil" - X's "Nausea" - that was a total highlight until "Mountain Song" came next and easily topped it. Girls popped out of a box on the side of the theater, but I don't even know if many people noticed them grinding around, so transfixed were they by Perry's own moves. My friend said, "I was Perry-lyzed" - meaning he didn't notice much else. Most everyone there would understand.


While slapping and shaking hands all night with people down front, Perry said, "We're under the stars! I fucking love living here, it's a dream!" There was a guy down front from Israel, and Perry said, "We want to hang out with you in Israel. AND the Palestinians. We want peace in the Middle East!" (He gave the guy his bottle of wine at show's end, saying, "L'Chaim!" Rad.)

"Stop" was next, and it was crazy, and no one wanted it to stop. Every voice sang along the "Hum, along with me, hum along with the t.v., Whoa-oh-oh-oh ..." part, making Perry smile as confetti fell down on everyone, looking like snow in the laser lights. So so good.

After a short departure, which the audience filled with chanting and clapping for more, the band came back on to set up for an encore. Perry spoke about how now days he has to "get up at 7 a.m. to help my kids put on their underwear. That part sucks." And how he hopes they grow up ok living in Los Angeles ..."Uncle Dave is gonna have a little talk with them", which cracked them and us up. (For the record, they are wonderful kids, and are going to be epic adults, I assure you).


All the guys lined up at the front of the stage, with Dave now on acoustic guitar, and Stephen now on congas and steel drum - which we knew meant "Jane Says". It did. Once again, the entire amphitheater sang along to every single note. When the guys stood at the stage's edge at the end and received the crowd's adulation, they were shining back the beaming faces of everyone there. From the guy that has never missed an L.A. Jane's show, to the guy that had never even heard their music before, everyone there was equally thrilled. We yelled for more, and everyone has their own personal favorites they still wanted to hear, but no one there could have asked for a more beautiful night outside, under the moon and the stars, with their friends and the music they love.


As Perry said, "It's like a dream". A really, really good one.


*THANK YOU, ETTY! xxx.