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The wild and deadly story behind the 1979 World Series of Rock

With Aerosmith, Ted Nugent, Journey, Thin Lizzy and AC/DC lined up to play, chaos reigned in the streets and backstage... and five people were shot

Not since Woodstock had the United States witnessed such a wild, momentous and ultimately deadly showcase of pure rock'n'roll excess. 

July 28, 1979 began as a glorious summer day, with some of the biggest bands on the planet assembling for a day-long rock festival in Cleveland, Ohio. By the day’s end however, the stadium grounds lay in shambles, the headliners ripped at each others’ throats and two people lay dead.

Hatched in Cleveland in 1974, the World Series of Rock (“WSOR”) was a series of day-long festivals spread throughout the summer. Talent-wise, it was a very big deal. Held in Cleveland Stadium — home to the Cleveland Indians — the event adopted a baseball theme, with each festival day representing one inning. 

1978 featured three innings, with headliners Rolling Stones , E.L.O. and Fleetwood Mac , respectively. The 1979 season kicked off on July 28, boasting an absolutely mouthwatering feast of powerhouse bands, all of whom were enjoying considerable radio play at the time: Boston’s legendary Aerosmith would headline, supported by Ted Nugent, Journey , Thin Lizzy and a heatseeking act from Australia called AC/DC .

The sirens of chaos sounded long before the first band took to the stage. On the eve of the festival, surging throngs of concertgoers amassed outside of the stadium with an eye towards claiming prime real estate when the doors opened in the morning. 

Unsurprisingly, Bacchanalian revelry ensued throughout the night and as the hours wore on, local criminal gangs targeted many of the fans who lined the stadium perimeter, unguarded and unprotected. Reports flooded in of gang violence, robberies and theft. In separate incidents, a jaw-dropping five people were shot — one fatally — imbuing the scene with bad vibes and chaotic urgency. It would not be the day’s only fatality.

Over at local station WMMS, Aerosmith turned up for an interview with DJ Denny Sanders. The band were in damage control mode, having cancelled a number of Cleveland gigs in the past (including the cancelation of a make-up gig for a previous cancelation). Aerosmith were badly behind schedule with the release of their forthcoming album, Night In The Ruts and by the tour was plagued with arguments and petty squabbles — troubles which were only amplified by the band’s prodigious appetite for booze and drugs. 

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Renowned Cleveland DJ John Gorman was in the studio that evening and recalled, “As I walked by the newsroom I heard an unusual commotion. Looking in I found Steven Tyler on top of a table and on all-fours, snorting a line of cocaine that looked long enough to be a mile marker, extending from one end of the table to another.”

From a talent perspective, the WSOR delivered a stunning roster of heavyweights. When the festival opened, perhaps the biggest shock of the day occurred at the very outset, when none other than the Scorpions took the stage as unbilled surprise openers. Supporting Lovedrive — their sixth studio outing and first featuring the now-classic lineup — this historic set marked the Scorpions’ United States debut.

Angus Young in the World Series of Rock concert at Cleveland Municipal Stadium, 1979. pic.twitter.com/Isx3tkPfWY June 27, 2017

No matter how big the band, at one point in their career, every band plays early, mid-day sets way at the bottom of the bill and in 1979, AC/DC were at that very juncture. At least in the States. 

They were, however, in rapid ascent on the back of the Highway To Hell album, and the Aussie rockers followed the Germans with an utterly scorching set that remains one of the WSOR’s all-time highlights. Thin Lizzy also emerged as one of the day’s highlights, unleashing a ferocious set of dual-fretted bangers, peaking with Jailbreak . Despite its rocky start, 1979’s first inning was shaping up to be one for the ages.

Over in the Aerosmith camp however, years of stress, bickering and drug-fuelled resentments had reached a tipping point. Backstage, Tom Hamilton’s wife Terry took a verbal swipe at Joe Perry’s wife Elyssa, who responded by hurling a glass of milk at Terry, launching the two into a fight. 

As Tom and Joe attempted to separate the two, Steven railed at the men to reign in their wives. Similar blowouts among band members were not particularly out of the ordinary for Aerosmith. Guitarist Brad Whitford would later describe that period by saying, “Being in Aerosmith was like walking into a dog fight and both dogs bite you.”

Meanwhile, inside the stadium, Journey were finishing up a spectacular set. They had released Evolution in the spring and the single, Lovin', Touchin', Squeezin' had infiltrated the US top 20 – a first for the band. This was their second album with Steve Perry and it would go on to sell over three million copies. 

Ted Nugent had released State Of Shock earlier that year but he was still riding on the strength of 1978’s sizzling Double Live Gonzo and by all accounts, the Nuge turned in an electric show.

Finally it was time for the headliners. If they had hoped to earn back the goodwill of the people of Cleveland after their previously-cancelled shows, their efforts fell well short, with a set that was widely panned. Many reported that Steven couldn’t seem to remember lyrics and that Joe appeared wholly disinterested in the entire affair. For the band, it was an unqualified disaster. 

When they finished, Steven, admittedly very drunk, started back in on Joe. In his biography Walk This Way , Tom recalls, "We came offstage and went right into the trailer and we were freaked at Joe and started yelling at him. And then Joe's answer finally was, 'Well, maybe I should leave the band then.' And Steven said, 'Yeah, well, maybe you fuckin' should.' And the rest of us stood there, basically agreeing with Steven. And then Joe stormed out." 

He would not play with Aerosmith again until 1984.

Despite the ragtag performance, fans filing out had little idea that they had just witnessed the end of the classic Aerosmith lineup — for several years, anyway. Adding to the misfortunes, areas of the stadium had been badly vandalised and local news would later report that another fatality had occurred when a fan fell to his death after trying to scale the stadium wall.

The WSOR promoter rescheduled and eventually cancelled the second inning that year, amid concerns for safety. Grimly, on December 3, 1979, eleven people would be trampled to death at a Who concert only a few hours away in Cincinnati. The WSOR held its swan song the next year, with headliner Bob Seger supported by the J. Geils Band , Eddie Money and an up-and-coming outfit from England called Def Leppard .

9. World Series of Rock (1979) #10KonserMusikRockBerdarahDiDunia pic.twitter.com/aVg5FnCmG9 August 9, 2014

Hailing from San Diego, California, Joe Daly is an award-winning music journalist with over thirty years experience. Since 2010, Joe has been a regular contributor for Metal Hammer , penning cover features, news stories, album reviews and other content. Joe also writes for Classic Rock, Bass Player, Men’s Health and Outburn magazines. He has served as Music Editor for several online outlets and he has been a contributor for SPIN, the BBC and a frequent guest on several podcasts. When he’s not serenading his neighbours with black metal, Joe enjoys playing hockey, beating on his bass and fawning over his dogs.

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ROLLING STONES DATA

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The Rolling Stones’ 1978 U.S. Tour: A Back to Basics Rock Show

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About The Rolling Stones’ 1978 U.S. Tour

The Stones 1978 US tour took place during June and July following the release of the Some Girls album, a total of 25 shows, starting in Lakeland, Florida ( June 10 ) and closing down at the Oakland Coliseum on July 26 . Stripped rock’n’roll! This time maybe the tour employed a more pared-down, simple stage presentation than the one the Stones used during the Tour of the Americas ’75 and Tour of Europe ’76 as a result of the rise of the punk rock movement and its emphasis on music and attitude against lavish stage productions.

The fact that the tour was essentially a return to the band’s foundations in terms of both sound and appearance has led many fans to consider it to be among their best. A lot of songs from the then-newly released Some Girls LP were included, as well as a return to a mix of classic Stones numbers (“Tumbling Dice”, “Star Star”, “Happy”, “Street Fighting Man”, etc.) mixed with blues numbers, Chuck Berry covers ( “Sweet Little Sixteen” , “Let It Rock” ) or even Elvis Presleys “Hound Dog” .

In fact this time the Stones performed in a variety of theaters, arenas, and stadiums—a practice they would continue for many of their upcoming tours—even sometimes going by an alias (for example, when in Lakeland, Florida, they were billed on the ticket as “The Great Southeast Stoned Out Wrestling Champions”) As for the instrument, Charlie Watts utilized a china cymbal as a crash for the first time on this tour, and it was also the first time he had used the renowned Gretsch drum set that he would carry with the Stones until his passing.

Among the opening bands, this time the Stones has a large number of artists, including Foreigner, Etta James, Journey, Atlanta Rhythm Section, Van Halen, Patti Smith, The Doobie Brothers, Southside Johnny and the Asbury Jukes, Eddie Money, Furry Lewis, April Wine and The Outlaws.

The group’s typical plan of performing in Europe every three years, which had begun in 1967, was broken when this US tour finally didn’t continue into Europe in the following year. After taking a year off from performing, Keith Richards decided to accompany Ronnie Wood on his 1979 solo US tour in support of his album Gimme Some Neck , which led to the formation of The New Barbarians . SEE MORE: The Rolling Stones live in Anaheim 1978 The Rolling Stones live i n Boulder 1978 The Rolling Stones live in  Oakland 1978 The Rolling Stones live in Tucson 1978 The Rolling Stones live in Buffalo 1978 The Rolling Stones live in Chicago 1978  The Rolling Stones live in  Atlanta 1978 The Rolling Stones live in  Fort Worth 1978 The Rolling Stones live in Houston 1978 The Rolling Stones live in  Detroit 1978

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From Out of Rolling Stone Time, the Surprise Rock Tour of 1979 Is Off the Ground and Flying High

Rolling Stones Time Doing It in Style

FIVE-THIRTY a.m., and every restaurant and bar in the Lake Geneva Playboy Resort is closed. Not a bunny in sight. Room service is sleeping, and Ron Wood is ready for dinner.

This is what's known as living on Rolling Stones Time, which is half a matter of swapping the a.m.'s and p.m.'s around and half a matter of embracing unreality. The best part about Rolling Stones Time is that, in America, the aureole of money convinces the rest of the world to adjust their clocks to yours.

And so the 24-hour cook in his condo around the corner is cooking capon. Wood's supply of champagne has been left on the jet, 60 limousine miles behind, but the tequila is torrential. Wood is bopping and singing along with a Clyde McPhatter tape and smoking cigarettes down so short they glow like rubies between his fingers. He is undismayed by the report that his lady has put the capon dinners to warm in the oven, plastic covers and all.

He corpedoes onto the sofa. "I wish somebody would invent drugs," he says, raising an innocent eyebrow. Five-forty.

Ron Wood, one of the Rolling Stones' two lead guitarists, is rich, 31 and captain of his fate. For the sake of promoting Wood's new solo album, and for the overwhelming joyous hell of it, some of the most respected names in contemporary music have tossed six weeks of their summer into the suprise tour of 1979 -- the New Barbarians (who roll into the Capital Centre on Saturday).

At the center of the storm are Wood and his Stones doppelganger, Keith Richards; jazz/rock bassist Stanley Clarke from Return to Forever; Faces keyboard whiz Ian "Mac" McLagen; sessions saxophonist Bobby keyes, and Meters drummer Joseph Modeliste -- known as "Ziggy" or "Ziggaboo."

Dropping in and out throughout the tour will be such friends as Rod Stewart, David Bowie, Ringo Starr, Bob Seger, Dickie Betts, Jimmy Page and -- expected in Los Angeles -- Bob Dylan, who wrote the single Wood has just released.

Among the musicians who tried unsuccessfully to extricate themselves from commitments when the tour blew up were Jeff Beck, Willie Weeks, Lindsay Buckingham, Carl Palmer and David Crosby. Neil Young, an early enthusiast who gave the group its name, suddenly lost interest, as is his wont. It is, as one of the Columbia Records publicists describes it, "the Rolling Blunder Revue -- or maybe, the Rolling Wonder."

The band travels by chartered jet, sets up headquarters for a week at a time at luxury hotels, and spends money gloriously. That's how Wood planned it. "I wanted to do this in style."

In 1979, the rock tour has come of age. There is no trashing of the jet or the hotels. The wine on the plane is imported; so is the beer. Backstage the crew is served a hot prime-rob dinner, not barbecue and cold cuts. The hordes of groupies have given way to the steady girlfriends who travel with Wood and Richards. Monies are calculated every day and the books are open to band members all times, by Wood's order.

The helium-filled egos that bumped about the stages on earlier all-star tours are conspicuously absent. A stately, low-key consideration prevails. Mick Jagger, who has offered Wood advice on phrasing and the care of his voice, has discreetly stayed away from the tour's official opening night. In the same way, Wood has made sure that nobody thinks of the Barbarians as "the Ron Wood group -- like Delaney and Bonnie and Friends. The band is an entity of its own."

This tour is a kind of vacation from what these guys really do for a living -- writing, producing, working hour after hour in the studio. This is a chance to run wild, to experiment with a new style, to test out a future in a different line-up.

"Ah, it's great!" says Wood fervently. "It's only rock 'n' roll."

Rock chic has not hit Ann Arbor, Mich. In factno fashion of the past 10 years seems to have left much impression on this quintessential college town. The shops in the arcade and around the university green display University of Michigan shirts and pullovers, conservative sweaters, penguin knit shirts and suburban shirtwaists. Rhaki is popular: and shapeless, soft blue jeans, but no tight, lean, French jeans.

In Ann Arbor -- or "A," as the natives call it -- the Dettoit car syndrome is very strong. The 14,000-seat stadium the Barbarians have chosen for their tryout is named Chrysler Arena, which seems almost modest if you've seen the cars on disply in the lobby of Detroit Metro Airport.

The speed and make-do character of the tour is expressed in little ways backstage. Several of the equipment boxes are stenciled "Small Faces," a band Wood and McLagen shared with Rod Stewart years ago. A few have hastily painted "Ron Wood" signs; two say "Eagles." They are addressed Hollywood, Dallas, New York. One of the roadies is a jazz promoter, another a former California soundman working the spotlights as a favor.

Last pieces of the set are being spray-painted out in the parking lot. The stage is all red, covered with a fibrous material that looks less like an enchanted forest than a Japanese B movie version of moon rock. Spotlights are lined up on either side of the stage like cannons. All afternoon, while the sound is adjusted, one of the roadies beats the bass drum, blow after deafening blew. Unperturbed, two of the crew take a 30-minute break, napping in folding chairs.

By the time the Barbarians take to the stage at quarter to nine, 45 minutes after the scheduled starting time, the crowd is wired. Frisbees stoop and soar, even after the lights go down. The volume reverberates under the ribs like a cardiac convulsion. Much of the time the vocals are maudible, but nobody seems to mind. They are enchanted by Richards, leaning forward from the hips like a marionette, feet rolled in on the arches, guntar hanging pearly to his knees: and by Clarke, feet planted solidly, two-thirds leg. An hour and 15 minutes of purist. London-redneck rock 'n' roll and they are limply ecstatic. The omens are good.

As the choreography of such things go, there is one monent of sheer corps, do baller perfection. Within 30 seconds of the last chord, all five limos are loaded and moving out, in a manager's dream.

The jet, standing by in Ypsilanti, comes with three stewardesses, a polit and a handyman copilot. The main duties of the attendants are to straighten up between fights, restock the food and make drinks. Before everyone is on board, the favorite junk focds are laid out: M&Ms (plain and peanut), individual candy bars, pretzels and potato chips. The real food -- fried chicken, miniature pizzas, coid cuts and egg rolls -- will be delayed until after takeoff.

The jet has been split into four continuous sitting areas, with little groups of two or three chairs to a sofa. Each section has a different decor, the bar being in blue-to-purple arches. "It's a wonder there's anything left of this jet," says Wood cheerfully. "Zeppelin had it last".

It's rough hop to Milwaukee and the next caravan of cars. One chauffeur is sent scrambling in the rain to each of the other cars looking for a joint. By the time the cars sweep into the Playboy club, all's right with the world.

"Do you have anything in the trunk, sir?" the chauffeur asks.

"A cheeseburger."

Ron Wood looks like a Frank Frazetta drawing: hawkfaced, mobilemouthed, with lines like gashes carved from his nose down beside his mouth. He wears two earrings in his left ear. His habit of incessantly roistering his hair up on end gives him the air of a warrior in plumed helmet. Wood is pleased with the analogy; he likes Frazetta's "muscular women and magical men."

He is wildly restless, intent for brief stretches on a spectrum of ideas. He loves mustical trivia. He slumps, he Iolls, he acts out the stories of his life with the Stones. His love of "camping" runs back to Rod Stewart ("You'd be amazed how many people thought me and Rod was poofs") and is a standard part of the Jagger act. He screws up his face as he recalls the Stones' appearance of this "Saturday Night Live" season when Jagger snuck up and kissed him on camera. "I kept my eyes closed and said -- that was no dream, that was reality!" Wood laughs helplessly.

He has been playing with the Stones for four years, and has his share of Line Illigible Richards were accosted in a hotel by Line Illigible "You must be Brian" Brian Jones who died in 1969. How Jagger got drunk and scrssored up his favorite shirt -- and Richards almost slugged Jagger. How in Toronto last week, the Canadian police kept running drug-sniffing does through the jet and their bags.

For all that, he says. "The Stones is the best working atmosphere I can imagine." Within a week of the Bar harians' last concert, he will be back in the studio with the Stones. But it never hurts, as he admits, to work in front of your own band. If the Rolling Stones ever disband, the barbarians would be retroactively bankable.

Five-forty-five. Rolling Stones Time is the next fog over from the Twilight Zone. Members of the entourage, in groups of two or three, are wandering through the drizzle in the endless driveways of the Playboy complex, ringing wrong doorbells. Hilarity takes hold; people begin jumping into puddles instead of dodging them, strut-jogging 100 yards or so. Out of the darkness, Wood zooms up, tequila bottle in hand, and asks, "Hey, can you show me where my house is?"

On and on, while the Sears conventioneers and the Singer sewing representatives and the little grayhaired ladies who drink strawberry daiquiris in the Bunny Hutch sleep, deliciously scandalized, in the naughtynice arms of their fake-fur bedcovers.

The tour publicist has fallen asleep too, on the couch. Wood forages in the cook's room and returns with an armload of bunker rations: tomatc soup cans, sandwich bread.

At one end of the room, Janis Joplin is wailing away on the cassette player; at the other, Randolph Scott stares heroically out of the television. Center ring, Wood is flipping cigarettes into the air and trying to catch them in his mouth. He misses three times, catches the lighter instead and then, with a careless sneer, whips it straight between his lips.Humphrey Bogart in sneakers.

So it's going on six and he's still winding down for dinner. His voice is fading and he's got three interviews tomorrow, which he'll postpone because he doesn't plan to get up before late afternoon. He's got 16 more giant arenas to play by May 21.

Ron Wood raises his glass to the world. "I could see this becoming an annual thing," he says. CAPTION: Picture 1, no caption; Picture 2, Ron Wood and Keith Richards: A chance to run wild. By Linda Wheeler -- The Washington Post; Picture 3, Ron Wood: Humphrey Bogart in sneakers.By Henry Diltz

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