Nazareth / Trapeze / Krokus, May 13, 1981, El Paso County Coliseum, El Paso, TX

       After seeing country and western performers for the two previous shows, I was more than ready to see a rock and roll band when Scottish rockers Nazareth rolled into town on Wednesday, May 13, 1981.  I was in the habit of scouring the El Paso Times for any mention of upcoming concerts, and the moment I saw that Nazareth was coming, I knew I had to go.  Fortunately, my parents were very supportive of my love for live music and it wasn't a problem to get them to buy a ticket for me.  This time, however, I was going to the concert by myself.

     My Mom dropped me off at the El Paso County Coliseum at around six-thirty and I found my way to approximately the same seat I'd had for the Molly Hatchet show---to the left of the stage, in the front row, and back far enough to see the band.  I didn't have money for a t-shirt this time around, so I was in my seat for a good forty-five minutes before the first band took the stage at seven-thirty.  I didn't mind.  The recorded music blaring from the speakers kept me entertained, along with the antics of Simon, El Paso's crazed rock fan, who was, as usual, running around and hamming it up for the crowd.

       The first of the evening's three bands was Krokus, Swiss rockers who'd been around since 1974, but whom I had just discovered.  They were touring for their "Hardware" album and the song "Burning Bones" had been getting a fair amount of play on the local rock radio station, KLAQ---often referred to by listeners as "The Q."  Lead singer Mark Storace had a powerful screeching voice that was complimented by lead guitarist Fernando Von Arb's aggressively rhythmic riffs.  I liked them, though I found Von Arb's flamboyant habit of licking his guitar picks before throwing them into the audience a bit weird.

       Next to take the stage was Trapeze.  During the advertisement for the show that was being played on KLAQ, the announcer described Trapeze's appearance as "the return of Trapeze!"  I'd never heard of them, but I assumed from that statement that they'd been around for a while.  I found out after the show and as soon as I could get my birthday money to a record store to buy their latest album, "Hold On," that my assumption was correct.

Trapeze released their first album in 1970, and then, less than a year later released a tragically underappreciated yet undeniable classic album of seventies hard-rock: "Medusa."  Fronted by bassist and vocalist Glenn Hughes, who later went on to sing and play for Deep Purple, Black Sabbath, and Black Country Communion, and guitarist Mel Galley, who later played for Whitesnake, Trapeze crafted a heavy sound that flaunted elements of funk, soul, and British blues.  Glenn Hughes left Trapeze after three albums, but the band carried on and by the time they hit El Paso the lineup was a solid and efficient hard rock unit.

       Trapeze opened their set with the lights out, a soulful piano progression, and vocalist Pete Goalby's classically British seventies-rock pipes---in the neighborhood of Bad Company's Paul Rodgers--- belting out the words to the song "Don't Break My Heart."  After a verse, when the lights came up and the band launched itself into the song, Goalby stood in the center of the stage, holding his microphone stand out over the crowd, who responded with roaring enthusiasm.  It was a cool opening statement, and the band had no problem maintaining the support of the audience throughout the set.

   Bassist Pete Wright and drummer Steve Bray were a formidable rhythm section, ably supporting Goalby and founding guitarist Mel Galley, who played with power and funky momentum, especially on "Take Good Care" and "Hold On," both from the newest album.

     By the time Trapeze left the stage, they had definitely gained my respect, and judging by the reaction of the audience, I'd say there were many rock and roll fans satisfied with their music.  Their performance rates, to this day, as one of the most enjoyable surprises I've ever experienced at a rock concert.

       I don't know the reason, but there was a longer than normal delay between Trapeze and Nazareth's set.  I was beginning to worry about what my parents would have to say about picking me up from the show so late on a school night when the lights dimmed, the crowd cheered it's approval, and the first guitar notes of the ploddingly deliberate song "Telegram," along with a wash of bright lights and clouds of dry-ice, announced that Nazareth had taken the stage.

       I was fairly familiar with Nazareth's material, but I'd never heard "Telegram."  It was a dramatic and tense way to open the show, but the band soon switched gears and rocked the crowd with the propulsive "Razamanaz."

       As far as I'm  concerned, Nazareth were at the top of their game on this tour and the song selection and delivery drove the point home with emphasis.  Dan McCafferty's trademark gruff vocals were nearly dead-on perfect, as was the guitar interplay between veteran Manny Charlton and newcomer Billy Rankin.  Bassist Pete Agnew and drummer Darrell Sweet held down the rhythm section as admirably as could be expected, and new keyboardist John Locke---formerly of California rockers Spirit---added an unexpectedly melodic element to the Nazareth hard rock formula.

     Nazareth had a reputation as a formulaic hard rock band, but a careful study of their recorded output reveals an adventurous band covering songs by an eclectic group of songwriters, and these songs were played prominently on their current tour.  Joni Mitchell's "This Flight Tonight," recorded by Nazareth on their "Loud and Proud" album, was given a lively rendition, and Nils Lofgren's "Beggars Day," recorded for their album "Hair of the Dog" was played with menacing intensity.  Also, the band played a funky roadhouse version of Rick Danko's "Java Blues" and a party-ready sing-along of J.J. Cale's "Cocaine," which the band had just recorded on their album "The Fool Circle."  And of course, they played their biggest hit, which was originally an Everly Brothers tune written by Boudleaux Bryant, "Love Hurts."

     As far as their original songs, the band played spirited and rocking versions of "Expect No Mercy," and "Hair of the Dog," the latter of which featured singer McCafferty adding bagpipes to the mix.  It was an inspired bit of improvisation that drove an already cool song onto a sublime rock and roll plateau.

      The album "Malice in Wonderland," recorded in 1980, had the band experimenting with more subtle textures, thanks to the production of Steely Dan and Doobie Brothers veteran Jeff "Skunk" Baxter.  The album was a surprising success for Nazareth and the songs played in El Paso from that album were dramatically helped in rendering by sensitive keyboard work by John Locke, particularly the ballad "Hearts Grown Cold."  Other songs played from the album were the bouncy and poppy "Holiday" and the playful "Big Boy."

     The band had heard of Simon and bassist Pete Agnew introduced the song "Big Boy" by dedicating it to him.  Simon, who was characteristically near the front of the stage, responded by joyously throwing his jean jacket into the air.

     Nazareth were touring for their new album "The Fool Circle" and the song currently being played on the radio, "Dressed to Kill," was played near the middle of the show and received a positive response.  Also from the new album, Charlton's "Let Me Be Your Leader" was well taken.

       Finally, the band closed the night with a left-field cover of ZZ Top's "Tush," and left the stage triumphantly, with the audience on their feet, applauding and cheering a great show.

       I hurried outside to find my Dad waiting for me in his car, and I can't recall him being annoyed at the late hour.  He really went above and beyond the call of duty for me with regard to taking me to and picking me up at concerts, and I don't know that I've ever properly thanked him for it.

       Nazareth, Trapeze, and Krokus put together a cool show of classic hard rock, the memory of which still makes me smile.