Could we Squeeze by?

How many times have you been watching a musician or group and a questions pops into your head that you'd love to have answered? And you can't, because there's separation of church and state (make that separation between musicians and ears with feet).

Well Friday night was the night for question-and-answer. Just about anything Park had on their minds was brought up with the musicians and then answered. But the first question of the night actually came from the artist. In this case, Glenn Tilbrook. And not really him, but the woman leading him up a crowded staircase after they arrived as the audience was starting to file into the Highline Ballroom.

"Could we squeeze by?" It was almost too precious. I was laughing so hard, I almost couldn't get out of the way to let the fomer-turned-once again sometime lead singer of Squeeze into his own gig. "Hey Glenn," I finally managed. "Hi," he replied affably.

The chain continued with other members of his band. And there's Stephen Large, the slim, affable and energetic keyboardist in Glenn's side band, The Fluffers. Earlier that week, I had been talking with a fellow fan who remarked that it was interesting that Stephen and bassist Lucy Shaw were married and wondered if they had met while playing with Glenn or if they previously knew each other.

I said hi to Stephen too and queried whether I could ask him a quick question. He said sure and I asked about him and Lucy. He said they had known each other before they got into the band. One question asked and ahn-swered (I'm affecting Glenn's Brit accent, hey, if he can call himself Hendrix's son, I can do that.)

So we're at the very front of the Highline stage and the gear is set up for the opening band, The Spring Standards. 'Ark notices a dollar bill taped to the guitarist's pedal and wonders why that is. Stay tuned...

The Spring Standards hit us like a breath of fresh air. To start off with, they're intriguingly set up at the front of the stage, and each of the three members (James, Heather and James) have a piece of the drum kit in addition to their other duties. I wonder if the name James is a precursor to being hired by Glenn ... Alternative band James (BORINGLY!) did the honors at Radio City last year. The two Jameses and Heather proved to be the opposite.

The Jamesi even switched guitars and positions on the stages during the show. Very multi-faceted this crew, whose music ran the gamut of possible influences. As 'Ark aptly put it, they didn't have any filler. Put even more simply, it's the best opening band Park has seen to date.

And we got to tell them so! Another of the burning questions that came up while watching them was how they got into each playing a different piece of the drum kit. As James (of the high hair) told me, it was very organic. They're campfire musicians used to just trying different things. Well, it all worked Friday. And ... wait for it ... the dollar bill was given to James (high hair again) by fluffer drummer Simon Hanson. He taped it to his pedal to remind him that the business isn't just all about money. (He and the other two didn't seem to need to be reminded it, as their infectious enthusiasm carried them along as much as the quality tuneage.)

Other James (dressed like a geography teacher -- his words -- for the New York show) kept that gag running by choosing to doodle a palm tree and a blazing sun on the vinyl he signed for us, admitting that frankly that was all the geography he could draw. All three of them were as gracious as they could be to hear nice words about their music, to make a sale, just to be engaged in conversation.

Even before Glenn and The Fluffers took the stage, the opening act seemed very complementary to Glenn and Co.'s style. With Squeeze taking a break, Glenn's crew has been on a brief 16-stop tour (reminds us of Lindsey Buckingham's own mini-tour, but pretty much there is not much that doesn't remind us of him one way or another right now). And they're rolling on all cylinders too, not surprising for a band that's been together for about six years. Glenn in particular looked in very good health and was a sharp-dressed man (minus the beard) in a black pinstripe suit with Fluffer t-shirt underneath it to boot.

The new songs got a real boost from being played live (as all the best ones do, when performed by quality musicians). During the tour, Glenn had different guests fill in for the Johnny Depp's album vocal. On this night it was Heather's turn to utter "Too Close to the Sun" every time Glenn nodded in her direction as The Fluffers manically interwove notes and chords around her.

Of course Squeeze hits ("Slap and Tickle", "Pulling Mussels from a Shell", "Up the Junction") and by now Glenn standards ("Unbreakable", "Parallel World") fared very well. On one of his solos, he wound up "Too Close to the Park and stepped on our newly acquired LP (no harm, no foul).

"Take Me I'm Yours" seemed to have the show wrapped on a high note, but Glenn brought "The Kids" -- as he put it and we now deem them -- back to the stage for the final encore. His new CD is named "Pandemonium Ensues" and it definitely seemed like that was on his mind. His first order of business was to declare that everyone had to switch instruments.

He played the drums and eventually got a hold of Lucy's bass, and then rang out the first few lines of "Rhiannon" -- we can NOT escape the Mac!!! Heather sang it most capably too. Then it was on to one of 'Ark's favorite songs "Funkytown." And lastly but so not leastly, the band's usual ode to Minnie Riperton's "Lovin' You."

There was a little variation on it this time. As Stephen plinked out the notes, the stage -- so up close and personal as to be surreal -- became a slow-motion view of the remaining musicians just tearing up the joint. They were mock-punching other out (Glenn particularly caused laughter by plunging face first into a wayward cymbal) and just wrecking the stage to the ever-sweet sounds of "Lovin' You." And then he started to sing and the band lined up behind him like chorus girls waving their arms slowly like the Rockettes (see above photo). When it came to "that high note," instead of sweetly going up an octave or four, they held a low piercing scream instead. Check out the video here -- the melee starts at about 2:25 of the way through. I can't even do it justice. Even the YouTube doesn't quite capture it.

Got that setlist too! This one right off of Stephen's keyboards and into my waiting arms.

While waiting to meet Glenn for the first time, The Kids came out and mixed and mingled with attendees. 'Ark went over to get his EP CD signed, and he mentioned that I had met Stevie Nicks earlier in the week and we both enjoyed her version of "Rhiannon." She looked across the room at where he was gesturing, I gave her the thumbs-up and she gave it right back to me. "Great job!" She seemed both happy and maybe a hint of relieved? She told 'Ark she messed it up a little bit, don't worry, even Stevie trips over her lyrics and she's known for "drownding in the sea of love" as well.

'Ark had this idea of telling the musicians that a live album of the proceedings could be called "Pandemonium Ensued." When we told Stephen the idea, he mustered up a little chuckle and not much more enthusiasm. But 'Ark thought it would be better received by Glenn and, boy, was he right. Glenn threw his head of tousled hair back and chuckled heartily. A more appreciative response there could not be.

With the Fluffers' tour in the books, I wanted to ask Glenn about whether he was going to do one of those wondrous acoustic shows again. And since it was the day for asking, I did! In a way not dissimilar from Mick Fleetwood's response during the Meet and Greet, he said he was not not planning one and added he wanted to do all of it. I told him we would be there in any form or fashion.

Getting a Nicks Fix

Time for another mid-week blog. This one is brought to you courtesy of my MiLB colleague Daren, Barnes & Noble and the indefatigable Miss Stevie Nicks. As we look up on the tote board, we see the Pai count is three-fifths of modern-era Fleetwood Mac accounted for autographs, two-fifths in face-to-face meetings.

We take up the action midday Tuesday. I knew Stevie Nicks would be doing her first-ever in-person signing at the Barnes & Noble in Union Square. She released a live CD and DVD on the same day, and already heard that people would be allowed to get only those signed (there went the Rumours cover with Mick and Stevie on it). Also heard that she was a bit squeamish about hundreds of people flashing photos in her face, so cameras were prohibited (but obviously snuck in by others despite her wishes as you can see here).

When I left for work at around 3, the 300-person seating capacity was just about filled. But then we got word that they would reseat those with people who waited in ... and wait for it EC fans ... the queue. Well I didn't really have time to wait in the queue. ;) I had to get to work for a meeting (which said colleague graciously offered to have happen an hour earlier so I could at least make an attempt at the signing).

When I heard about how many people were out there, I almost didn't go, but Daren had made his effort on my behalf so off I raced after the meeting. I got my flier, got on the line out the door. People were still being brought in for standing room only on the fourth floor, they were to pay for two items at the register and that receipt gained them entrance to the Stevie level.

I was standing sort of perpendicular with the store, but a guard moved us parallel to it. When that happened, a man got ahead of me. Now I didn't think much of it at the time, 'cause well we were far away from the action. But he actually wound up being the last person able to purchase. The guard let five of us up to the register -- I was the first on this line. And there we stood for about 90 minutes waiting and hoping that this would happen.

I didn't have much hope, until the clerk -- poor thing forced to stand with us all that time and basically do nothing as we whined and questioned her about previous book signings to figure out our chances -- said that usually the fourth floor doesn't have the chairs in there and holds more for the signings.


Made some nice acquaintances on the line. Caustic Jenna was definitely a highlight. She had just been at the Izod show too, so we were trading comments about that one. Melissa had been to the Madison Square Garden show and the friend she had come with -- low and behold, another Gina! -- actually was stuck back at the door, the guard wouldn't let them both through together. There was a really sweet other woman as well, and I forget her name right now but she and her daughter have been sharing the Stevie love. She later said she would have bowed out at 6:30 if we hadn't kept her so occupied.

The most notable discussions were sordid mom tales (To even out the balance, I countered with my "best mom" story, saying if Mom lived in New York she woulda willingly sat upstairs all day for me) and life with "grey shirt" (a woman who actually had a receipt, but came back downstairs to try to buy another when the clerks were trying to convince her that she had a guaranteed autograph upstairs, and no guarantee if she was behind us).

So 90 minutes later, they let us purchase. And I got the magic receipt and up to the fourth floor I went. There was a looooong way to go. We got put in a couple different areas (one of which rearranged us so people who came after us actually wound up going before us ... sigh), but ultimately we did get seated in the main area. And the people just kept coming. They refilled the rows as soon as people went up for autographs. We got to watch "Grey Shirt" flitting around aimlessly a couple times, we did fear a little for Stevie when she got up there. But that moment seemed to pass without incident.

And then finally, our row got to stand and get in the line to the dais. It really sped up when it came to the big moment. You give your items to an assistant, who moves them over to Stevie. I started talking while she was signing. "How are you holding up?" I said. Her hand cramped a little and she hesitated, but said she was doing all right and just wanted to be able to sign for everyone. I said how much we all appreciated that and she said thanks for saying that. I added that I thought the band was playing fabulously right now. She grasped my hand in hers, made sure to make eye contact and said "Thanks very much, that means a lot to me."


















It was insanely sweet of her to be like that with everyone -- maybe 1,000 people. It made reflect on being a fan of hers ... back to 1982, when her special was on HBO and I cried because we couldn't get home for the start of it. (Don't bust my chops, there was no VCR back then, let alone a DVD!)

Oh, one tiny note, I've always sort of thought she had a remarkable resemblance to Carrie Fisher. That's really brought home in the above picture.

Mystery to Me

Wow, my last blog was "Perception vs. Reality" and that really has become a clarion call in the past few hours. This blog is named after both a Fleetwood Mac album and the questions that have arisen since I saw this particular video.



It makes me wonder if I've seen a ... well, "Mirage." (Yes, Fleetwood Mac album from the early '80s). If I was ... "Hypnotized" (pre-Buckingham Nicks song). I don't know what "I'm So Afraid" (with Buckingham Nicks) of in trying to figure it out. Well then again, I do. "I Don't Want to Know" (also with Buckingham Nicks) if it's something you don't want to know, ya know?

I'm definitely all over the actual video, being the person standing in front of the one who took it. Great shot of my watch! Now she's obviously a whole head taller than me -- that'll come in to play later. But what really got to me was the end, I have a reaction that I would say only occurred after the Lindsey moment. I'm about to break down.

This moment happened before the thank yous, and before late tonight, I would have sworn up and down that I got thanked after them. This video changed my mind.

It also reminded me of another fact. Although 'ark saw the blown kiss, I didn't remember it and that was because I had turned around after the "Thank You" in amazement. I was looking for someone else it could have been for. But no one was at my eyeline and, well, the man's eyes are pretty intense. I know he was talking to me. I froze for a second in a way I've only done twice in my lifetime and that's another reason why I know it was me. I did it when Rick Springfield looked at me and even earlier than that, the first time I met my "Guiding Light" fave Terrell Anthony.

So what about the blown kiss? As you can see on the video, the kiss is a bit off camera but comes into view around the time he points to the person holding the camera. It coulda been a general one, it coulda been for her. Hell, maybe it even is really part mine. But I know it wasn't part of the "thank you" package.

THEN he goes away and then the band thank yous are done. What sort of boggles my mind is that both 'ark and I totally got this wrong. I think it might have been the way he saw the kiss. I wanted to see it, so in my mind's eye, I did. We got a picture in our heads of the thank you happening after the band did theirs. It's related to the girls who were behind us after this photographer left, and not at all interesting so I won't go into further detail. But now as sure I was before that it initially happened that way, that's how sure I am now that it was the reverse.

So strange. It's got me "Mystified."

Perception vs. reality

I had this week all planned out to the letter. Used my powers of deductive reasoning culled from years of Dell logic problem solving to figure out when Eric Clapton would be able to join the Allman Brothers Band during their Beacon run and then played chicken to get an I Love All Access package for Fleetwood Mac at an auction for a third of what the other patrons paid for theirs.

And still, with that knowledge of what could happen, well I couldn't even fathom what it would be like when the weekend came to pass. Except maybe the worst-case scenario.

So we're off to the Beacon on Friday night and the band was in a slow jammy state of mind for the first set, starting off with Oteil's solo take on "Little Martha" to a montage of photos of the still very much-missed Duane Allman, whom this year's run is dedicated to. That segued into "Mountain Jam" and the likes of "Trouble No More," "Midnight Rider" and "Ain't Wastin' Time No More" before wrapping up with "Mountain Jam." It was a very laid-back ambience. Maybe that's for the best since we needed to be well-rested for the second set.

"Melissa" started off the second set, which cranked to an at-that-point evening high with "No One Left to Run With." But the Brothers DO have someone left to run with, someone kind of obvious, yet someone they had not played with in public in the four decades of their existence.

And with a this-man-needs-no-introduction introduction, EC joined the band on stage. They started off with "Key to the Highway," just enabling everyone to settle in. "Stormy Monday" was an unexpected setlist selection and the solos were masterful all the way around. Then came "Dreams," and anyone who knows Eric knows that he can just soak up the ambience in any environment and then deliver a masterful solo in that vein. Absolutely done here.



Then the killer punch to me ... "Why Does Love Got to Be So Sad." In particular, the guitar exchanges between Eric and Derek Trucks -- with EC now not Derek's boss (like on his solo tour), but his peer. It was dazzling the way they mixed and mingled guitar lines -- as potent as Duane did all those years ago on the Derek and the Dominos album that ultimately gave Derek his name. Like Eric and George Harrison on "While My Guitar Gently Weeps."



Speaking of weeping, when that ended, I wasn't nearly ready for the power of "Little Wing," so there was weeping to be sure. And then the BIG surprise "In Memory of Elizabeth Reed." Another ABB song that EC immersed himself in so completely, providing mesmerizing bits within the context of the very prized slice of Allman history. Went along so well with what Derek and Warren Haynes and Gregg Allman and co. were doing.



And the band got to repay the favor on the encore -- "Layla." I was expecting it to sort of soar, with the intertwining lines on "Why Does Love Got to Be So Sad" intimated that it might, but the Allmans have developed their own blissful take on it -- simple but majestic. Derek took off solo for the instrumental segment and didn't really need to relinquish the reins.



After the show, Park and visiting Doc Proc tried to make sense of what we just watched. The most obvious comparison was to the "Blind Faith" reunion with Steve Winwood last year. It's a little bit apples and oranges, but when you get down to the crux of it for me, Derek and the Dominos was my fave era in EC history. So if you're going to perform material at that high level, well it's like being in the original Fillmore East when that music was at its peak.



And for that reason, I would say that is the strongest performance that I've ever seen.

So the issue becomes, you have a show the next day. It's a show that you've seen once and that doesn't really alter in the way guitar solos tend to completely change the mood of a Clapton show.

But there were enticements expected to spice up the proceedings, notably the pre-show meet and greet with band founder Mick Fleetwood. The show was taking place at the ... snort ... Izod Center, which I prefer to call the former Continental Airlines Arena. Now all but obliterated by the hideousness which is to become Xanadu -- high def. remains a XanaDON'T! -- I hadn't been there for a couple of years, after spending at least a couple days a week there in the Devils' final season at the arena.




















We got treated like royalty from the moment we got there. Free drinks, ability to purchase merchandise at a table in the room and very attentive service. Then we were off to the stage! Standing on the stage looking out, the arena looked very small. I set down my stuff just to the right of Lindsey Buckingham's pedals. 'ark was apoplectic. See?

Mick came out, started talking and signing for everyone. 'Ark's "condition" manifested itself at my expense as he winkingly claimed that I was a nouveau Mac fan culled from Buckingham and Nicks' arrival. Everyone -- including Mick -- laughed. I doth protested. Everyone -- including Mick -- laughed. Since my question involved Mick bringing his sultry eponymous blues band to "the mainland" and I also referenced "Oh Well," an early Mac hit that was the highlight of the Pittsburgh show for me, 'Ark said I shouldn't worry that Mick really got the wrong impression. Sigh. That isn't over.

But there wasn't time to dwell. Mick said his good-byes and we went back to the pre-show party for catered food (I had chicken, 'Ark had three helpings of ziti) and a trivia contest. 'Ark warned that I get competitive, and yeah, I was a little. When a multiple choice question asked where Mick first heard of Lindsey and Stevie, I didn't only provide the answer: d.) a studio but went for bonus credit by adding "Frozen Love" was the song being played at that time. With only one answer wrong (dang!), we tied for the win and each got a John McVie guitar pick, sweet!

Oh yeah, we still have a show to go to! Our tickets had us in the second row. We all had five-star access laminated passes and walked to our seats, feeling green eyes upon us. There we also got a pink wristband, this meant we could go up to the stage whenever we wanted and would never be told to sit down by beret-throwing party poopers behind us.



The lights go down and we position ourselves right at the foot of Lindsey's monitor! Stood there all bloody night too. Well 'ark stood. I boogied, clapped, whooped, hollered, cheered, whirling dervished, et al. (The video clips are examples of my work, gleaned from a fan on the other side of the stage. I'm the tiny dancer. Mark's orange shirt pops into view as well.) I loved "Monday Morning," "Go Insane," "Second Hand News" and "Oh Well" as much as in Pittsburgh and was blown away to see Lindsey's intricate guitar work on "Big Love" and "Never Going Back Again" a couple of feet from my face.



Stevie was even in better voice on "Gypsy," "Rhiannon," "Storms" and "Gold Dust Woman." John's bass spirited us all along, particularly on "Dreams" and "The Chain," and Mick was just smiling and pounding the crap out of his drums throughout. I even liked "Say You Love Me" -- a definitive Christine song.



OK, the pieces de resistance. Lindsey rocking out to "Stand Back," singing song lyrics when he wasn't in front of the mic. On "World Turning," in which Mick's drum solo ends with Lindsey vocal loops from the song, he mimicked his own voice "Iiiiiiii" several times in the darkness at stage left. As "Tusk" ended, he leaned close to the audience in the center. We could see two women just aching to reach out and touch him. As if an animal in a zoo. Guess that's appropriate with "Tusk." Finally one did and then the other, and he didn't recoil in horror but smiled broadly.




I sort of figured out that I was in his peripheral vision pretty much all night, when he looked down at his guitar strings, well, I was right below him jamming away. We had the simultaneous pogo going on during the chorus of "Go Your Own Way." But then ... the second verse of "Don't Stop," when Stevie's singing and he was looking at me from across his monitor ... he scrunches up his face at me in a way that I mirrored. I looked at 'ark, he was laughing heartily. That's in the above clip, and the moment comes right before the chorus, about 1:20 into the song. You can't see the face, but you can definitely see the lean, haha.

And after "Silver Springs," Lindsey looks out at the tens of thousands and thanks everyone for coming. And then ... and then, no joke... he came over near me said "Thank YOU" and blew a kiss to me. I half-smiled and then froze. Then turned around to make sure he was talking to me. Then I looked over at 'ark and he was all "Yes, that was for you!" Then my face crumpled and tears welled in my eyes. Being the considerate b/f he is, 'ark laughed at me. But I was gone. Gone, but aware enough to snag Lindsey's setlist, anyway!

But now what? We seriously have no idea. Not even about perceiving a particular direction.

Addendum to the story: Once our pro photos came over, I recalled that I forgot to add that Mick was helping me wear my scarf in our photo, and that our hostess was very intrigued by my vintage Mac rings. (See below)

Three concerts, two wins, one long road trip

Park packed a LOT into three days -- Van Morrison performing the entire Astral Weeks album (and more!), the Devils avenging a shutout to the Panthers, Chris Duarte burning up Mexicali, Brodeur and the boys recording their second shutout in three games and Fleetwood Mac opening their tour on all cylinders. A little snowstorm couldn't touch that.

The fun started Friday unassumingly when I went to snare Jack Bruce tix at BB's and was treated to the sight of Robert Cray tuning up for his gig that night. We probably would have been at that show, but Van Morrison was dipping into the archives for my favorite trend, the complete album show.

He actually started the evening with a whole other set though, and as the last time I saw him was a pretty brief show one New Year's Eve many moons ago, I was knocked out by Van singing his way through all of it and not giving away his vocals like he did back then.

Van is always reinventing the song with his bit of a rambling vocal style akin to an R&B Bob Dylan, and he just kept hitting them out of the park -- from a striking "And It Stoned Me" to an unexpected and top-notch "Comfortably Numb" to "Common One," which found him trading lyrics with his main sideman -- to the point that it cracked the Man up.

After the first set and a short break, Van and the band (with strings, minus some backup singers and guitarists) brought the elegant, soulful "Astral Weeks" to life. I came in to it knowing the album and 'ark hadn't before hearing it the week before, but it didn't matter either way as both of us wound up completely enthralled.

Next day, the Devils were playing early, so we figured we could fit it in to the busy schedule. In the teams' last meeting in Florida, the Panthers blanked the Devs, 4-0. This was complete reversal, the Devils looked totally sharp and Florida totally not. It helped that the Panthers' starting goalie couldn't play, so Craig Anderssson had to man the net for the whole 7-2 shellacking.

That night we went to Mexicali Live, and Chris Duarte just scorched the place like an electric jalapeno. He's got a wide array of interests and the guitar arsenal to back it up, so he can deliver Hendrix as well as alternative Soul Coughing -- spinning it through his unique filter. Like 'ark says it's a crime that this guy ain't as well known as regional counterparts like Stevie Ray Vaughan and frequent Clapton sideman Doyle Bramhall II.

Between sets, he didn't disappear either. He sat at his merch table and posed for photos and appreciatively listened to babbling fan comments. I blathered to him something about how 'ark told me I'd really like him because Hendrix was a big influence of his. He had just come off a scintillating take on "Third Stone," but Chris said he'd try to work some Jimi in. Then he thought a second, chuckled and said, "Well I just did that, didn't I?"

On to Pittsburgh about seven hours away. We were getting regular text updates from the best sister-turned-fanatical hockey fan (I know, MY fault) going. Brodeur delivered his second shutout in three days in a 3-0 blanking of the Filthy Flyers! No way his ego is going to suffer for that one, right?

Of course we had the tunes cranked and were treated to a gorgeous sunset through the mountains while listening to Eric Clapton and Steve Winwood lift not only the roof off the Garden but the whole damn building during "Voodoo Chile" last February.

We had been toying with the idea of partaking of Le Big Mac -- ya know, Mac Attack and what not -- and were pretty much powerless when a sign popped up for the world's largest Big Mac. So we stopped there and shot this gargantuan burger in the city it was first created in. Of course, neither of us actually had a Royale with Cheese.

On to the show. When I had looked at the map back when I bought the tickets, it led me to believe we'd be about half an arena away, albeit in some nice club seats. But in actuality, the stage was a couple sections in front of the end of the ice and the seats were really spectacular.

As Unleashed has been billed as a "hits" show, I have to admit I was a little concerned on how it was going to play out. Completely unfounded. I might have known all the songs, but at the tour opener, the band just let it rip.

Starting with "Monday Morning" and "The Chain," they ran through a substantial chunk of the back history. Just coming off their own brief tours, Lindsey and Mick were ON. Lindsey's vocals were searing, and sort of pointed out a bit of Stevie's shortcomings. Not surprising she can't hit some of the power notes anymore, but she was just dazzling on "Gold Dust Woman" and one of the set's big surprises, the ballad "Storms" off of "Tusk."

Lindsey sped up "Go Insane," so it was more akin to the original version than the lengthened version he did on the band's last tour in 2003. "Second Hand News" benefited from Stevie's vocals, but we sort of prefer "Never Going Back Again" with just Lindsey.

Another big surprise, and my personal favorite of the night, was "Oh Well" -- a big hit for the band before the Buckingham Nicks era. 'Ark was pretty amused, he referred to me as a "whirling dervish" during the song. I had suffered a stiff neck for a couple days, and I think it helped work the kink out ... but 'ark fretted it could have ended up the other way with me in traction the next day.

Stevie and Lindsey performed "Landslide" on their own, and Stevie disarmingly missed her vocal cue because the audience was soaking it up. Speaking of that, "Stand Back" brought me back to the days of dancing in front of the TV and I got up to boogie with a couple of neighboring Chiffonheads (that's what the fans who are totally there to see and emulate Stevie are called).

That apparently was the last straw for the sourpuss sitting behind us. He had been kind of a pain through the whole show, imploring the girls (tiny little rail things, were they that bothersome?) to sit down starting with the second number. Usually fans just sort of come to an unspoken arrangement, we'll sit for long periods of time and get up when the music really moves us. 'ark had been eyeing him from the beginning, ready to defend my dancing honor, apparently.

So "Stand Back" ends and "Go Your Own Way" starts, and that's pretty much the international signal for anyone who is able to get up and dance to do just that. Sourpuss had had enough by the end of the song, he actually grabbed the crocheted beret off Chiffonhead No. 1's head and tossed it and then stormed out. Incredible, seriously.

(That's my camera phone view. Objects are much closer than they appear.) Ultimately, it didn't bother the rest of us, though. We stood the rest of the show for the anthemic "Don't Stop" (OK, we do miss Christine McVie, particularly on this and "Say You Love Me") and "World Turning." The band even came back for a second encore ... "Silver Springs," sigh. I have NO idea how Stevie can deliver the vocal chops needed in that number at the tail end of the set, but she did.

With the heavily scheduled front end of vacation over, we set out for Virginia with news of the serious snowfall blanketing the country. Luckily, all we really ran across was a light dusting and some flurries. And the journey came full circle too, as we picked up Van Morrison's Astral Weeks Live CD and listened to it on the final leg.