There was an onslaught of music out of the U.K. in the 1960’s known as the British Invasion. This term, at least for me, conjurs up thoughts of Mop tops and close vocal harmonies, The Beatles and The Kinks, mopeds and go-go boots. But the British Invas ion also proved to America that you don’t have to live here to sing the blues. The Rolling Stones were covering Willie Dixon, Led Zeppelin plugged into Howlin’ Wolf and a new style of rock was born. Somewhere in this maze rock music became an art: a synth esis of popular styles of music with an added edge. Pop ditties about holding hands and meeting at the sweet shop for a milk shake began to take a back seat to songs of posterity, protest and soul-searching. The music reflected these moods lyrically and h armonically. Electronic elements were introduced into recording and production pricking up listeners’ ears, creating sounds that seemed out of this world. From this mountain of rock sparkled some rare gems that seemed to be way ahead of any trend set by p reviously adopted musical styles. Enter Pink Floyd. Pink Floyd was considered to be a progressive band from its inception in 1965. The band experimented with sound effects, lyrical themes and spacey light shows. Albums like Ummagumma, M eddle and the landmark Dark Side of the Moon explored the ensemble sound that would distinguish Pink Floyd from any other band to come out of England, or anywhere else. It is widely known by now that Syd Barrett, the band’s first lead songwriter, named th e band after one of his blues recordings out of Georgia Pink Anderson and Floyd Council. He seemed to have as much respect for this emotional, tell-it-like-it-is style of music as some of the other Brits that were enamored with it. Although they would nev er really be labled a blues band, it is apparent that Pink Floyd started out blue.

This January, I was indeed pleased to hear that there would a group now known as Blue Floyd was going to tour. Blue Floyd is Allman Brothers Band alumnus and Gov’t Mule bassist Alan Woody, Woody’s Gov’t Mule band mate & drummer Matt Abts, ex-Black Cro wes guitarist Marc Ford, Johnny Neel on keyboards & harmonica and Berry Oakley, Jr. on bass. The first show I attended was Blue Floyd’s first early show at New York City’s The Bottom Line and the house was filled. I was front and center in my cramped litt le seat. Camera crews surrounded the front of the stage. The show was being video taped for a NYC cable channel called Metro Guide that provides the metropolitan area with cultural events calenders and programming. The band took the stage and at first, Fo rd and Oakley seemed uncomfortable with the surroundings. It took until about the third song for the guys to find their groove. Most of the songs were undeniably recognizable and not all that different from the Floyd versions. That is, until “Set the Cont rols for the Heart of the Sun” from the 1968 release “Saucerful of Secrets”. The more familiar live version can be heard on Floyd’s “Ummagumma”. Oakley claimed vocals on many of the songs including “Comfortably Numb” an d “Have A Cigar”which at times, seemed to have obstructed his bass playing. No matter. Neel picked up the slack with some churning piano playing and roaring vocals on “Money”. The exploration of blues to the music of Pink Floyd was starting to take shape . Marc Ford wailed on slide guitar. I know David Gilmore of Pink Floyd has nothing on Ford’s sliding. That’s a fact. Oakley came alive on a classic from The Wall, “Young Lust”. I always loved this rocker and predicted Blue Floyd would choose this tune. It was the perfect avenue for Oakley to show his roots. His loose “four-on-the-floor” bass line was driving right through to Abts bass pedal. Matt Abts’ awesome chops had me hypnotized during most of the set, which may be why I can’t quite remember what hap pened after his solo. Woody showed his colors on “Lust” as well and led us into a swarming intro to “Shine On You Crazy Diamond”. Blue Floyd deviated from the original Floyd songs most on “Another Brick in the Wall, Pt. I.” The melody was almost unrecogn izable due to Neel’s honkey tonk piano stylings on this arrangement until the anthematic chorus. The Bottom Line’s pristine atmosphere even intimidated these pros at first but its raised stage permitted the sit down audience to really see these guys from a nice vantage point.

From the start the show at Wetlands on January 31st did not feel like Friday night’s performance. Wetlands is always much darker and smokier than The Bottom Line. Wait…there is NO SMOKING inside the Bottom Line! Rumors were flying that Blue Floyd wo uld treat us all to a little film later on in the show. The band even changed its more urban tinged wardrobe from Friday night to the more comfortable flannel, tee shirts and jeans. The first set included many of the same songs from Friday night’s show w ith a few exceptions. Blue Floyd blasted right into “Key Space” and “One of these Days” stretching the unlimited ability of this ensemble of bluesmen. Already lauded as a fine bass player, Woody’s guitar work blended nicel y with Ford’s lead guitar work, most notably on “Interstellar”. “Hey You” and “Another Brick in the Wall, Pt. II” were pulled from “The Wall” album to round out the first set. A sheet was taped up as a backdrop to the band for the second set. You all pro bably know this by now but in case you don’t, I’ll oblige. When the lion from the MGM Studios logo roars for the third time at the beginning of the film “The Wizard of Oz”, hit play on your Pink Floyd “Dark Side of the Moon” CD. There will be a similarity between the events in the film and the songs. At Wetlands, the film began but Blue Floyd deviated from playing the complete “Dark Side…” album. Instead, Blue Floyd experimented with other songs and the synchronicity was almost as astonishing as the “Dark Side…”/”…Oz” ritual.

The most impressive display was Matt Abts’ “Key > Drum Jam > Drums”. Abts’ bombastic rhythms assisted the Tin Man as he tried to loosen up and walk after Dorothy oiled his joints. Unbelievable. “Money” featured guest War ren Haynes on guitar tonight. This song doesn’t need much tweaking to be bluesy but the Blue Floyd combination with a dash of Haynes brought this killer jam to a climax that finally subsided into “Us and Them” and the reverent “Breathe”. Blue Floyd manag ed to play out the rest of “The Wizard of Oz” with surprising energy.

If you didn’t get to see Blue Floyd, I’m sorry for you but all hope is not completely lost. Log onto www.bluefloyd.com and do yourself a major favor. Follow the link to CD Archive and order yourself one of the live CD’s available. Also be sure to check out Gov’t Mule’s latest CD on Capricorn Records, “Life Before Insanity”. Go to www.mule.net for up to date Mule info or call the hotline number (212) 803-5459.