Rainy Day/Black Crowes 4.17.2013

Chicago is flooding.



That's about 2 blocks from our apartment. Oh, and nice honk, jackass.

Saw The Black Crowes last night at The Vic. Quite a good show, even if I admit I'm not as familiar with their catalog post, say, 1998. A truly solid band, and one that, in the main, can go off on long, impromptu jams without becoming dull.

And there was a lot of that. Again, most of it was really well executed, but there were a couple of points where I felt like the song had fallen apart, only to see them strap it all back together again. It was kind of mesmerizing in the sheer audacity of it. Not to say that some of the free-form noodling didn't get a little...stultifying. I usually enjoy this sort of thing, but there comes a point where a song's going on 10 minutes or so, and I begin to feel like the band is just looking back and forth at each other, thinking "are you gonna take it? Is it my turn to take it?" I'm just thinking "wrap it up."

Now, that's a criticism, but. please, don't take that as a slam of the entire show. I think every musician that tries this sort of jam knows that often, it's just not going to make it to "brilliant." The fact is, I'm talking about 2 songs out of an eighteen song set. The Crowes (who, despite interest, I hadn't seen until last night) know what they're doing, and they are masters of it. I was particularly impressed that vocalist Chris Robinson stayed on stage, engaged, during the long instrumental breaks. I've seen so many, far too many, lead singers who look at any solo as a chance to slip backstage for...whatever.

Robinson is, truly a consummate, magnetic frontman. He didn't talk much, a few "thank you"s here and there, but he clearly formed a bond with the audience. I was also struck by the wide demographic The Black Crowes play to. There was the bikers, the hippies and the aging frat boys, and the music spoke to all of them, in some way. That's pretty special. 

I was a little surprised that Rich Robinson mainly worked as a rhythm guitarist for most of the set, leaving the soloing and pyrotechnics, in the main, to new member Jackie Green. Again, I'd never seen them before, but I'd understood Rich to be the lead guitarist. That said, Rich took the lead vocal for a cover of The Velvet Underground's "Oh! Sweet Nuthin'" during the encore that was THE highlight of the show for me.

All-in all, a really solid show by a true rock and roll band. Although, man...I Missed "Soul Singing" by one night! Biggest disappointment for me, personally. 

Setlist:
Twice as Hard
Good Morning Captain
Feelin' Alright (Traffic cover)
My Morning Song - Stare It Cold - My Morning Song
Ballad in Urgency
Wiser Time
She Talks to Angels
Woah Mule
Title Song
Thorn in My Pride
Nonfiction
Remedy
Been a Long Time (Waitin' on Love)

Shine Along
Oh! Sweet Nothin' (Velvet Underground cover)
Boomer's Song (Ry Cooder cover)

Rush at The United Center 9.15.2012

Rush is the only band I know that takes an intermission, but as my friend Doug M. said on Saturday night, when a band plays with such precision and skill, you can give them fifteen minutes.

Rush has nothing to prove to anyone, ever again. The band is still going strong after thirty-eight years, since their first album in 1974 (longer if you go from their formation), has only had 5 members (one for only one performance), and has had an unchanging lineup since drummer Neil Peart joined bassist Geddy Lee and guitarist Alex Lifeson in the band (also in 1974). There is a consistency of skill, direction and vision in this band that few artists can match. Which isn't to say stagnant, far from it.

Three things were surprising on Saturday night.

The first being that for the first time in recent memory, there are significant changes to the setlist from night to night. On the past few tours, it was almost a given that the setlist that came out on the internet the night of the first show is, more or less, the exact setlist you'd see when the band reached your town. I see this as neither good nor bad, it's simply how Rush operates (operated?). With the extensive lighting and video effects that are part and parcel of their stage show, planning and synchronization are important. Much like a play performed by talented actors, the script doesn't change, but the commitment and the energy of each night would differ.

Second, I was surprised to see the band mine so much of the "synthesizer era" that encompassed most of the 80's. The first set relied heavily on this period, with synth-heavy numbers like Territories, The Big Money, and Grand Designs. While admittedly, not my "favorite" era of the band (I do love all facets of their career), it was very cool to see this period represented so strongly. Doug was in heaven, this being is favorite era of the band.

Third, for the first time, ever, Rush had additional musicians, in the fore of a string section, mainly for material from their latest (and excellent) album, Clockwork Angels, which comprised most of the second set. Being a fan of the new record, I was excited that they did nine of the albums twelve tracks. In order, as befits a concept album. I could see a few people getting the "thousand-yard stare" that sometimes accompanies new material at a "classic rock" show. Screw 'em. The band sounded terrific, the fans know this stuff, and it's at the same level of quality as every album they put out is....High.

Other changes were evident. Instead of one long drum solo, Peart took three shorter ones, incorporated into the numbers being played. It was interesting to see, instead of moving through various styles in a ten to fifteen minute solos, to attack one style aggressively, then slide back into the song. I am a fan of Peart's drum solos (and I don't, traditionally, like drum solos), but I thought this was a very, very cool variation on what the "expected" Rush show tropes are.

All-in-all, a great night. The band gave us our money's worth, and more. As long as they stay on the road, I will be making the time to see this band of consummate professionals play like few others can.

Set One
1. Subdivisions
2. The Big Money
3. Force Ten
4. Grand Designs
5. The Body Electric

6. Territories
7. The Analog Kid
8. Bravado
9. Where's My Thing? (with Drum Solo)
10. Far Cry

Set Two (with string section)
11. Caravan
12. Clockwork Angels
13. The Anarchist
14. Carnies
15. The Wreckers
16. Headlong Flight (with Drum Solo)
17. Halo Effect
18. Seven Cities of Gold
19. The Garden
20. Manhattan Project
21. Drum Solo (The Percussor)
22. Red Sector A
23. YYZ
24. The Spirit of Radio (no strings)

Encore:
25. Tom Sawyer
26. 2112 Part I: Overture
27. 2112 Part II: The Temples of Syrinx
28. 2112 Part VII: Grand Finale

Monday With The Boss - Part 17: Wrecking Ball

Springsteen is always good when he's angry.

Make no mistake, Wrecking Ball is an angry record. It's a rather blunt indictment of the environment of greed that led our country into the financial mess we're in right now. He's seeing the hard-working people of America getting swamped under a financial wave that can't be stopped, no matter how hard they work to stay on top of it. The dice are loaded in favor of the haves, who don't seem to give a fig what happens to the have nots.

Politics are politics, a "message" is all well and good, but Springsteen the songwriter is just too damn good to forget the catchy tunes. It's becoming a hallmark of Springsteen's work, the more he's trying to make a point, the more I actually enjoy the songs as songs. The tracks here, especially "Shackled and Drawn" and "Death to My Hometown," are so good at getting your toe tapping, your fist in the air, that you can't help but feel their power as rallying cries.

I always loved the feel of sweat on my shirt
Stand back son and let a man work
Let a man work, is that so wrong
I woke up this morning shackled and drawn

I can also say that, after the detour into a more pop vein with Working on a Dream, Bruce's lyrics have come back to carrying weight. These songs are powerful, lyrically. Even with the "recycled" tracks here, "Wrecking Ball," "Land of Hope and Dreams," and "American Land," there's a renewed vigor to them as they sit in the midst of epic laments like "Jack of all Trades." This is Springsteen back where he belongs, as the chronicler and troubadour of the working class. A working class left behind.

So you use what you’ve got and you learn to make do
You take the old, you make it new
If I had me a gun, I’d find the bastards and shoot ’em on sight
I’m a jack of all trades, we’ll be all right
I’m a jack of all trades, we’ll be all right

The surprising part of Wrecking Ball is the musical evolution. Springsteen and producer Ron Aniello have brought in elements like drum loops and samples, and somehow used them to broaden the Springsteen sound. "Rocky Ground" is clearly the most experimental track here, and, while it's not my favorite, I certainly admire the embracing of divergent elements. Vocalist Michelle Moore almost full-out duets on the track, and provides a rap. You can bet there's a certain segment of the Springsteen fanbase livid over this track. Of course, that was my favorite part of Working on a Dream, as well. The exploration of new sounds.Your mileage may vary.

Now, no shells ripped the evening sky
No cities burning down
No army stormed the shores for which we’d die
No dictators were crowned
I awoke on a quiet night, I never heard a sound
The marauders raided in the dark
And brought death to my hometown
They brought death to my hometown

 I'm particularly jazzed about Tom Morello's (Rage Against the Machine) appearance on "Jack of All Trades" and "This Depression." I have loved every collaboration these two men have done together, especially the live version of "The Ghost of Tom Joad." Morello provides a appropriate guitar solo on each track, that also is distinctively him. It's lovely work.

We also have what, I would imagine, will be Clarence Clemons' final contribution to the Springsteen legacy, a terrific sax solo on "Land of Hope and Dreams." I found myself very emotional the first few times I listened to it. It's beautiful work, as always from the Big Man, and it does somewhat make the entire track feel like a tribute to him.

Well, I will provide for you
And I’ll stand by your side
You’ll need a good companion now
For this part of the ride
Leave behind your sorrows
Let this day be the last
Tomorrow there’ll be sunshine
And all this darkness past

The Special Edition CD also provides two bonus tracks "Swallowed Up (In the Belly of the Whale)" and yet another version of "American Land." I love that song, but after closing every show for the last two tours with it, I think I am done.

It's hard to tell where I'd place Wrecking Ball in the later-career Springsteen catalog. (I don't even bother trying to compare these records to the early albums...there's a genius there, a raw, unstoppable burst of musical release, that no artist 30 plus years into a career can match.) It's going to take a few more listens to get a handle on it, but it's got that same fire that The Rising and Magic had. A sense of purpose and drive. I think it's gonna be a keeper.

Favorite Tracks:

Shackled and Drawn

Jack of All Trades

Death to My Hometown

Wrecking Ball

Land of Hope and Dreams

Gigantour 2.10.2012

A few weeks ago I noticed that Megadeth's package tour, "Gigantour" was set to play the Aragon this past Friday night. The line-up was intriguing, with Megadeth headlining, of course, Lacuna Coil and Volbeat were on the bill. The band that really sparked some interest, however, was Motorhead.

I've seen Megadeth up close and personal, same with Volbeat, and Lacuna Coil was a non-starter, as far as I was concerned. However, I had never seen Motorhead, and, while the band tours constantly, I know Lemmy was in his 60's. How many more chances will I get?

Probably a few. The guy seems to have Keith Richards-level survival skills.

Anyway, going to the show was a relatively last-minute decision. The tickets weren't terrible, coming out to less than $20 for each band, and that seemed reasonable. The show was, overall, a good time, even if there were some major disappointments.

First up was Lacuna Coil. I had very little experience with this band, other than knowing they were in the Evanescence realm. Which is fair, same sort of vibe, female singer for the soaring melodic parts, and a guy for the more metal/rhythmic stuff. Either their set was amazingly short, or my tickets were wrong as to when the doors opened. My understanding was that doors were at 6:30, and when we got inside, maybe about 6:40, they were already playing, and wrapped up about 7:00.

Not a terrible band, but also not very distinctive. One of those groups who's technically pretty solid, but I didn't get a lot of energy or passion from. Of course, opening acts almost always get the shit end of the stick, and I often catch a whiff of desperation. No one is here to see you, probably, and you have to try to make the best of it. Lacuna Coil didn't impress, but they certainly didn't embarrass themselves.

The next act, Volbeat, I had seen before. My friend Shea is a booster of the group, introduced me to them, and took me to a show at the Bottom Lounge in Chicago's West Loop. I'm fond of the group, and each time I see them, I become more of a fan.

Their sound is a mash-up of metal and rockabilly, and was once described to me as "Johnny Cash fronting Metallica." That's REALLY simplistic, but not wholly inaccurate. It's cool that their songs can go from true downstroke metal riffage to something not wholly alien to a country tune. They're a band I could never call "one note," and somehow they also keep it all sounding unified. I'm also quite taken with Michael Poulsen's vocals, which are in that Cash-Baritone range. I like the way he attacks a vocal line, and there's a true sense of joy in their performances. They give a lot, in terms of energy, and pure positive attitude. A high point.

Next up was Motorhead, and their frontman, who has actually earned the right to be called "legendary," Lemmy Kilmister. Motorhead is no-frills rock. There was little on stage except large amplifier stacks, and some flashing lights. A couple of smokestacks erupted a couple times later in the show, but the band seemed unconcerned with flash, and more with volume.

Frankly, it was almost impossible to understand what Lemmy was saying most of the time, with his permanent rasp and deep accent. Guitarist Phil Campbell (who's been with the band 28 years) took turns with Lemmy thanking and encouraging the audience. The setlist was tight, with pretty much every song I wanted to hear, with the exception of "Deaf Forever," a personal favorite. In short it was a set very much like the band itself, concise, exciting and powerful. The only stumble I can point to is a drum solo that was ill-advised for a fairly short set (an hour and a half, at most).

As Motorhead left the stage, there was some sense we were waiting for the "main event." A large drape was pulled across the stage, and set up for the headliner was underway. I've seen Megadeth a couple times before, and they tend to give an impressive show.

Unfortunately, Friday night was not.

There were apparently some sort technical problems, which were obviously upsetting frontman Dave Mustaine, and maybe that was the undoing. Still, I found it extremely frustrating that the show stopped dead between each song. The stage would go dark, and the entire band would exit, regroup (I guess), then return to the stage for the next song. It left the evening with a hurkey-jerky sense of pacing. I'd get up to speed on a song, and then end up waiting for the next to start. A frustrating experience for an audience, and maybe for the band, as well.

It was for Mustaine, anyway. The rest of the group, Bassist Dave Ellefson, Drummer Shawn Drover, and Guitarist Chris Broderick, seemed to be in top form, and handling whatever was going on with aplomb. I have to guess it was a vocals issue, because Mustaine's vocals were almost nonexistent in the mix. That's a major pet peeve for me. No, live vocals are almost never clear and pristine (especially with this type of intense music), but I hate it when you can't really even tell if the guy is singing, or not. It was that bad.

Not to mention the REALLY ill-considered idea to bring Cristina Scabbia, from Lacuna Coil, up to duet with Mustaine on "La Tout Le Monde," a song I love, that ended up being a disaster. Bad idea, badly executed.

What's frustrating about this is that the band was tight and executed a really great setlist. I have to chalk this up to a tech issue, I saw them in a much crappier venue, Sokol Hall in Omaha way back in the mid-90's, and they killed it. Sound was terrific, and the show cooked. I have to assume that something was just completely FUBAR'd on Friday.

Overall, a great night of metal. At the very least, I can now say I've seen Motorhead. On the flip side, I have to say I saw Lacuna Coil.

Setlists:

Lacuna Coil:

• Our Truth
• Upsidedown
• Fragile
• Kill the Light
• Trip the Darkness
• Spellbound 

Volbeat:

• A Warrior's Call
• Guitar Gangsters & Cadillac Blood
• The Human Instrument
• Sad Man's Tongue
• Hallelujah Goat
• Who They Are
• Fallen
• The Mirror and the Ripper
• Pool of Booze, Booze, Booza
• Still Counting
• Raining Blood (Slayer Cover - snippit, Intro Only)

Motorhead:

• Bomber
• Damage Case
• I know How to Die
• Stay Clean
• Over the Top
• The Chase is Better Than the Catch
• The One to Sing the Blues (Drum Solo)
• Going to Brazil
• Killed by Death
• Ace of Spades
• Overkill

Megadeth:

• Trust
• Wake Up Dead
• Hanger 18
• She-Wolf
• Foreclosure of a Dream
• Dawn Patrol
• Poison Was the Cure
• Head Crusher
• A Tout Le Monde (with Cristina Scabbia)
• Public Enemy No. 1
• Who's Life (Is it Anyways?)
• Guns, Drugs & Money
• Symphony of Destruction
• Peace Sells

Encore: 

• Holy Wars...The Punishment Due

The Weary Kind

I am tired.

The rehearsal schedule for The Copperhead has been rather intense. Long nights, 7-11 PM, and long days on the weekend. Plus, I'm trying (and doing pretty well) to keep up with my workout routine. Still, that means with travel time, I'm dealing with days that run from about 5:30 AM to 11:30 (or later) PM.

Makes me tired.

I mean, it's a good tired. I'm working, I'm focused, and I'm moving forward. That said, there are days when I feel really, really drug out.

Days like today.

I'm looking forward to the evening, and rehearsal, with a mixture of excitement and dread. Dread only because, man, doing this role kicks my ass. Excitement because, man, doing this role kicks my ass. On a pure technical level, it's huge. Four acts, large monologues to end the show, aging form 36 to 76, it's a lot to do.

We haven't run the whole show, yet. I'm sorta chomping at the bit to get there. Just to know. To know how far it's gonna run me down. I'm also dying to have our make-up team come in, and see what 76-year-old Milt Shanks is gonna look like.

I do think I've gotten myself off book...

**KNOCKING ON WOOD TO SAVE MY LIFE**

It's not perfect, but it's in good enough shape I think I can go without my script. I already did for Act 2 on Monday. Can't stop working on it, of course, but I made it. Tonight's our scheduled off book day, and I've gone through the play a couple of times a day for the last two. I think we're in good shape.

I did want to work on some music last night. I have been away from it for a while now. Just too busy, and my weekends are just...gone. Between rehearsal, laundry, groceries, etc...GONE. I try to pick up the Les Paul every day and do a few runs and licks, but I want to start moving forward on the CD again.

Slash - House of Blues Chicago 2.13.2011

Oh, my, do I love a good rock show. This was a great rock show.

I was truly just at the right age to really get hooked by Guns n' Roses when they first hit the scene. I can't recall when Appetite for Destruction was released, but I certainly, vividly recall the first time I saw the "Welcome to the Jungle" video on MTV. Yeah, when MTV played music videos, so you know I'm old.

I've long held that "grunge," and that Seattle scene that spawned it, would never have come to pass without those five guys in L.A. getting together to form what was one of the greatest Rock bands of all time, and certainly recording one of the greatest Hard Rock albums ever. You can argue that they grew into something too massive for their own good, especially in Axl's case, but that first record was the true kick in the pants that people usually claim for Grunge.

I mean, it made rock dirty and dangerous again. Yeah, sure you had the glam hair-metal acts, but they'd sorta de-evolved into something that was just safe and calculated. Yeah, they kept up the "party all the time" image, but when you're slathered in make-up, and wrapped in a sequined shirt...it kinda loses the impact.

Gn'R brought something that seemed all too real, just on the edge of destruction, with the naked aggression of Rose, and the seemingly casual drug use of the entire band. The depiction of L.A. as a place, not with a vage "party" around every corner, but an insidious place where your soul was at risk. I mean, compare "Welcome to the Jungle" to "I Want Action, " or some other such nonsense. G'NR was living L.A. life to the fullest, and giving us an inside view of how it would chew you up and spit you out.

Anyway, what's past is prologue.

Slash is a powerful, and important, guitarist. He's not a technical wizard like your Steve Vai's or Joe Satriani's, and not one to really push the instrument, like Eddie Van Halen used to be. He's a bread and butter rock guitarist, with a strong thread of the blues all through his work. I find his playing rather inspiring for that reason. It's more about feel and groove than flying all over the neck.

If you haven't heard his solo album, it's a grab-bag. These sort of "______ and friends" projects always are. The chemistry with each of the vocalists can vary widely. I did feel they hit the mark more often than not. For the tour, Slash picked Myles Kennedy as the touring vocalist. His main gig would be Alter Bridge, who I like quite a bit. It's a solid band, and Kennedy can certainly sing everything that was asked of him during the show.

The Chicago House of Blues is a pretty great venue. It's fairly large, but still feels pretty intimate, and the decor is really nice. Sound is also rarely a problem. The main floor does get a bit of a "trampoline" feel when the crowd gets going, which is a little eerie, but it's also kinda cool.

Opening acts were certainly interesting. We started out with The Fabulous Miss Wendy, who was just a bit too calculated. She seemed almost like a cartoon character, changing clothes on stage, a kinda odd guitar intro to the set. Maybe that's her shtick, but I got a bit bored with it. A Led Zeppelin cover with no vocals is just kinda...Meh. At first it was just sorta like watching a trainwreck, but that only amuses for so long. She's not a terrible guitarist, but I think the sex-kitten act (she's got a song called "Fucked-Up Bitch, for God's sake), just undercuts any sort of respect in that area.

But then, I'm not opening for Slash at a major venue, what the hell do I know?

After Miss Wendy, we got Brand New Sin. What I can say is that these guys worked hard, and they really seemed jazzed to be opening for such a major act. That positive energy did come across, and I appreciated it. The problem is, their songs just aren't that memorable. Aside form one track, "Dead Man Walking," nothing hit my ear in a "I want to buy that record" way. That may be simply a question of taste, I'll admit, and they seemed like such decent guys I wanted to want to buy an album. Just didn't feel it. Maybe next time, guys.

It was around 10 PM when Slash and crew hit the stage. They started right out with the first track on the solo album "Ghosts," which Ian Astbury (The Cult) had cut vocals for. I dig that song a lot, but I think they could've found a better track to open with, as I think a lot of the crowd didn't know it. That was a bit of a recurring problem during the night. They really dug into the entirety of Slash's career, with some relative obscure cuts from the Slash's Snakepit albums which, especially the second, aren't hugely known. They really did hit everything, Gn'R, Snakepit, Velvet Revolver, even an Alter Bridge number ("Rise Today") and a Lenny Kravitz track ("Always on the Run") Slash played on. It was cool to see all that music, with no ego about "who's song" it was.

Of course, there was a LOT of Gn'R. They played about half of Appetite for Destruction, and "Civil War," which is certainly one of the better post-Appetite tracks. The "Rocket Queen" -which I had NOT expected to hear - into "Civil War" section was, truly, the highlight of the night. Myles Kennedy really nailed all of this stuff, I've loved his voice on record for quite a while, and it held up live. I am excited to see him with Alter Bridge in May, mainly because all of the stuff on Sunday was really in his upper register, and he has such a cool lower pitch voice, I really wanted to hear it.

I, once again, found myself wishing that Velvet Revolver could land Myles as a replacement for Scott Weiland. Ah, well...I guess they're set on Corey Taylor. (SHHHH! Don't tell anyone...)

The band, as a whole, was just tight and right in the pocket. Bassist Todd Kerns even stepped up to do vocals for "We're All Gonna Die" from the solo album, which was originally cut with Iggy Pop.

There was one nice, big surprise when Rick Nielsen of Cheap Trick came on stage and joined the band for "Ain't That a Shame." Lots and lots of fun, Nielsen was his usual spastic self, all over the stage and egging the crowd on, throwing massive handfuls of picks. Pandemonium, Kennedy was laughing out loud during the entire affair.

It was a great time, but a long night. The band played for well over two hours, and by the time we walked back into our apartment, it was about 1:30 AM. Monday morning came awful quick, that's for sure.

Setlist:

1. Ghost

2. Mean Bone (Slash's Snakepit)

3. Nighttrain (Guns n' Roses)

4. Been There Lately (Slash's Snakepit)

5. Rocket Queen (Guns n' Roses)**

6. Civil War (Guns n' Roses)*

7. Nothing to Say

8. Back From Cali

9. Starlight

10. Always on the Run (Lenny Kravitz)

11. We're All Gonna Die

12. Ain't That a Shame (Cheap Trick-style w/Rick Nielsen)

13. Jizz Da Pit (Slash's Snakepit)

14. Just Like Anything (Slash's Snakepit)

15. Mr. Brownstone (Guns n' Roses)*

16. Sweet Child O' Mine (Guns n' Roses)*

17. Rise Today (Alter Bridge)

Encore

18. Slither (Velvet Revolver)

19. My Michelle (Guns n' Roses)

20. Paradise City (Guns n' Roses)*

* = Highlight number
** = Favorite number

The Sword at Metro 12.12.2010

Sometimes, what you need is just a total throw-down hard rock show. Sunday night was horrid, weather-wise, in Chicago. Bone-chilling cold, high winds, blowing snow, the full package of winter crap weather. Getting to the show was a pain in the ass. Walking from the Addison Red Line stop to the club was downright painful. Thankfully, I get aside some bucks to cab it home.

The openers were a Band from Columbus, OH called Mount Carmel. Pretty good, kind of an Allman Brothers vibe, with a bit more edge. Also a three-piece.My buddy Shea, who went with me, liked them enough to pick up a CD. I thought they were pretty good, not really pretentious, but lacking in a bit of stage presence.

Then followed Karma to Burn, which was an odd act. They played for a good hour, really intense, really heavy. Great live act. Trouble is, only two songs had vocals. Now, I'm all kinds of good with instrumental hard rock, love me some Joe Satriani, but the thing is...Satriani serves up catchy melodies on the guitar. Karma to Burn just lay out the stomp. It was like watching Metallica with no vocals, the melody wasn't exactly apparent. This sorta made everything kinda sound the same.

In a live environment, with this style, I'm actually OK with that. It's high-energy, the crowd was into it, and they really worked for it. I just couldn't imagine buying a CD with 10-12 songs that all sound the same, and don't even have lyrical content (on the main) to differentiate them. So, loved 'em live...can't imagine becoming a "fan."

Ah, but then...the main event.

I freakin' love The Sword.

It's a love that's really sprung from their latest record, Warp Riders. (Yes, I have written about this album a lot.) The first two albums, Age of Winters and Gods of the Earth were really good throwback heavy metal albums, I really enjoyed them. Each has what I would call classic tracks. However, the formula didn't gell on every track, but the latest release is where I think everything comes together for this band.

I read a brief interview with guitarist/vocalist/songwriter J.D. Cronise where, when asked if touring with bands like Metallica impacted the new record, his response was that it made him want to take the focus away from "being heavy" and more toward storytelling. This is so very, very obvious in the results. Yes, Warp Riders is heavy, but it's also lyrical, and it grooves. It's the exact sort of progression curve a band should have in the genre. As they move forward we're seeing more and more of what the band can do.

this is all to say, if they'd just got up there and played the new record front to back, I would've been over the moon. It is a concept record, after all, so it's a possibility. That did not happen, and we got a fine selection of tracks from the earlier albums.

When people ask me about The Sword, at some point, or another, I usually say "a throwback band." There are other acts that have gotten that label, Wolfmother comes immediately to mind. To me, the thing that sets The Sword apart from these other groups is a certain sense of authenticity. I mean, Wolfmother...I dug some tracks, the first album was pretty good, but it always struck me as a hipster's idea of what a 70's metal act was. Andrew Stockdale is talented, but there's just a little too much "cool" in the mix. The outfits are too thought out, too designer, and the hooks feel more than a little over-engineered to sound like off-the-cuff, "let's thrash" riffage.

I look at The Sword, and they look EXACTLY like the hessian kids who used to gather at "cancer corner" 'round the back of my high school, and talk about how "fucking rad" the new Iron Maiden cassette was. If it was just the look, I might still be skeptical, but then there's the vibe that comes off the stage. They seem unaffected by the adoration that's heaped on them. Cronise, for example, almost seems embarrassed by the whole thing. As I left the venue, the bassist, Bryan Ritchie, was just standing there, hobnobbing with some guy about two feet from the fans shuffling out, and Cronice stepped out into view at the end of the hall. I threw the horns, and he kinda waved back...I immediately felt like an idiot.

See, CByrd? There are places where the horns work, and some they don't ;). In the hall after a show just makes you look like a meathead.

Thing is, that reaction, the sorta embarrassed, "oh, hey guys"? Makes me love that dude more than anything. Could it be an act? Sure, every band, every musician, has an act, I think. An image they cultivate, and use to keep the world away from their "real" selves. Still, it just feels like a bunch of guys that cut some tracks, and the heavy metal world came to them.

Anyway, yes...A throwback band. When you watch The Sword play, you get the sense that this is a group that could've come up in the 80's, or even the 70's, without much change. The first two albums felt very much like Black Sabbath, and Warp Riders peppers in a heaping helping of Thin Lizzy. It's a sense of hard-workin', blue collar hard rock. I dig that, and always have.

I guess as a last point, as a immediate, physical example of how much I enjoyed this show...My neck is stiff as a board, today. Total whiplash.

Heh heh...The metalheads know what I'm talking about.

Highlights:
Night City, Freya, Lawless Lands, (The Night the Sky Cried) Tears of Fire, How Heavy This Axe, Winter Wolves

Setlist: 

Acheron/Unearthing the Orb  

Tres Brujas  

Barael's Blade 

Arrows In The Dark 

How Heavy This Axe 

Lawless Lands 

Fire Lances Of The Ancient Hyperzephyrians 

The Chronomancer II: Nemesis 

The Horned Goddess 

Iron Swan 

Lords 

Night City 

Freya 

The Black River 

(The Night The Sky Cried) Tears Of Fire  

Encore: 

Winter's Wolves

The Frames - Vic Theatre - 11.23.2010

Saw The Frames at the Vic last night.

Generally a fun show. I can't say it was overwhelmingly great, or anything, that would be pushing it. There were definite high points, but there were also long sections where I really felt things dragging. The band hasn't played together in a long time, and frontman Glen Hansard kind of intimated the show was a work in progress right from the top.

The band is great, let's get that out of the way right from the top. There's a ton of talent in the group, and Hansard is an engaging, funny presence. He's also got a hell of a voice. There were a few screw-ups, which Glen seemed to revel in, but the music was played solidly, and with conviction. The main thought I have today, thinking back on the experience, was that I saw the tour too early.

The problem, at least in my opinion, and I'm sure to get hate mail for this, is that the setlist was not really organized well. The show was a bit herky-jerky and stop-start, we'd get through a stunning uptempo number, I'd be ready for the show to kick into full throttle, and the next song would undercut the momentum. It's a turn of events that's not only a bit annoying, but also exhausting. I just got tired, and despite the high energy of Hansard and everyone on stage, the song order started to work against them.

One factor in that, honestly, is that...God, I'm gonna hear it for this...a lot of The Frames songs sound, and develop, in very much the same way. There's a streak in Hansard's writing that plays out like this;

• Opening verses are low and intimate, almost conversational.
• The chorus kicks it up a notch.
• Second verse back to low and intimate.
• Second chorus Hansard goes into his SUPER-INTENSE EMOTIONAL WAIL.
• This carries through to the end of the song.

Now there's nothing good or bad about that. It's just the formula, hell, AC/DC has been writing the exact same song, over and over, for 30 years, and nobody complains. It's simply the way Hansard writes, and I admit, it shows off the strength and range of his voice exceedingly well.

The problem is, the strongest songs in the catalog reach outside of that formula, and when you hit one of those like the chills-inducing, utterly amazing song  Revelate, I am ready for more rocking...and it's back to the formula. Honestly, I cannot, for the life of me, understand why Revelate wasn't in the encore, or even ending the first set. Instead two more songs, that I can't help but sit there and think, "man, not as good as Revelate."

I know I'm harping on this one particular song, but it's Just. That. Good. It's one of those kind of songs that anyone would want to write. Some people go their whole lives trying to write a song like that.

Thing is, when you don't lay out your songs well, you end up climbing the same hill over and over again. There's no ebb and flow, no natural slide from higher energy to low. You'll get the audience absolutely with you, energy-wise, and if you pick the wrong song to follow, it's gone. Then, you have to work the audience back up to that point, all over again. This is why it becomes exhausting for an audience, you're wanting to float along with the band, but you keep crashing down, then back up, then down, then up.

also, if you're going to play new material, that we have no way of ever having heard before, aim for the middle of the main set. When you're wrapping up, we want to hear stuff we know, stuff we can sing along to, and, y'know, commune with the band.

A side rant here, and it's not just The Frames problem, it's amazingly widespread with bands, although last night was a really good example.

For God's sake, can we make an encore mean something again? I'm tired of "encores" that are almost as long as the main set. It's just a joke. I suppose the idea is to make you think you're getting to hear all these extra songs, but, damn it, we know you're going to come back. We know it's all a game, it's right there on the setlist.. Instead of playing for an hour, walking off for 3 minutes in darkness, and then playing another hour, just play 2 hours and give us a REAL 3-4 song encore.

Looking back over this, I know it seems really negative. I'll be honest, I've seen better shows, but I thought The Frames were quite good. I think Glen being upfront about the "work in progress" nature of the show both explains, and forgives a lot. I actually envy the people who'll catch the tail end of this tour, because I bet they'll work out the setlist kinks, and it'll be a barn-burner.

Highlights - God Bless Mom, Lay Me Down, Star Star, Revelate, Fitzcarraldo

Setlist:

• Headlong
• Seven Day Mile
• God Bless Mom
• The Stars Are Underground
• What Happens When the Heart Just Stops
• Finally
• Happy
• Lay Me Down
• Rent Day Blues (snippet of Rhinestone Cowboy sung) 
• Pavement Tune
• Star Star (with teases of Pure Imagination & Hotellounge)
• Revelate
• Friends and Foe
• People Get Ready

 Encore:

• Perfect Opening Line
• Santa Maria
• Disappointed
• Dance the Devil Back Into His Hole
• New Song (listed as "New Song" on setlist) 
• New Song (Joe on vocals, listed as "Joe" on setlist) 
• Fitzcarraldo
• The Auld Triangl

Short Week, and the Mind Wanders....

I'm actually dreading tomorrow, for no other reason but that I'm going to pick up my comics. This is a pretty big week. Last week, which I didn't get to pick up, was a big week. It means a rather large bill when I stroll in there tomorrow.

Oh well...It's a hobby that, on occasion, is expensive. I am beyond overjoyed that both Marvel and DC have announced that they're going to roll back the $3.99 price point they started about a year, or so, ago. Yeah, it means the end of some great back-up features, but it also means titles like Ultimate Comics Spider-Man and Justice League of America, which jumped to the higher price with no additional content, will be back in a reasonable price range.

Tonight, CByrd and I will be heading to The Vic to see The Frames. I'm excited, frontman Glen Hansard, who's possibly more familiar from his side project The Swell Season, which sprung from the film Once, is a pretty dynamic stage presence. So much so that he pretty much runs over Swell Season partner Markéta Irglová, and the Swell Season backing band is...The Frames. So, if you see The Swell Season, you're essentially seeing The Frames, with Irglová adding a couple of numbers. 

I've commented on this unequal partnership before. It's not that I think Glen's doing anything on purpose, just that the lady seems ill-suited to commanding a large audience. Now that it seems, by some reports, that The Swell Season has run it's course, it'll be interesting to see what Markéta can/will do on her own.

Which really doesn't impact on The Frames, at all, other than that the two times I've seen The Swell Season, I felt that I might as well be watching a Frames show. It ought to be a good time. 

I'm also really looking forward to The Sword at Metro on December 12th. Their latest album, Warp Riders, has been seated pretty firmly as my favorite album this year. I've written about the album in the past, but the short form is that it's old-school hard rock/heavy metal, with Warp Riders being a step into a more concise and hooky form of songcraft. There's an almost Thin Lizzy kinda feel to the record, with groove and less sprawling guitar work.

The show was originally set for October 23rd, but the entire tour got canceled/postponed when drummer Trivett Wingo left the band, apparently because of panic attacks leading to a desire to get off the road. He's very upfront and frank about the decision in this interview. I have to say, I respect the guy pulling the eject button when he knew he wasn't going to be able to pull his share. The timing sucked, and he seems fully aware of that, too. I can't say I'm happy that I had to wait another month, or so, to see the band, but the whole thing's been handled as well as anybody could expect. Wingo going on record about his problems is brave, and appreciated by this fan.

That said, I am disappointed. I saw The Sword open for Metallica a couple of years back, and the band had a really nice, laid back, "hey, we're just dudes who put a band together" vibe. I also found Trivett magnetic on stage. His look is certainly not that of a typical metal drummer, but the dude can pound.

There wasn't a ton of super complex or what you might call "elegant" drumming going on, but he just wailed. I also found Warp Riders, and the, as I said, more groove-oriented sound really served up his work well. I'm still very excited for the show, but I'll miss seeing his work. 

This story might also give a glimpse of why a guy might want to get off the road. Jesus, Phil. I thought you were over that shit. I also must point out that the author of that blog seems like a bit of a douche, himself. 

In other "concert news," on an absolute whim, I bought tickets to see Slash at the Chicago House of Blues on February 13th. I've gotten some crap from people on this, which kind of amuses me. The real kicker, for me, was that Myles Kennedy would still be singing on that date. Kennedy is the vocalist for Alter Bridge, and I've written about my enjoyment of that band before, too. I saw too late that Alter Bridge is playing HOB on December 11th, and it looks to be sold out.

I just really dig Kennedy's voice, and the setlists for the Slash shows have included songs from every facet of his career, Guns N' Roses, Velvet Revolver, and solo stuff, as well as playing some stuff from Kennedy's catalog. That seems like an entertaining evening, to me. Plus, it's Slash, and one can't deny that he's been a vastly influential guitarist in the years since Appetite for Destruction broke.

I'm still working on the acoustic set for the Stage Left Fundraiser, as well as continuing to work on tracks for a new CD. It's funny, I'm sure everybody who plays an instrument has these thoughts, wherein, depending on the day, you either can't play at all, or it just flows, almost too easy. Sunday was the latter, for me. I had a drum track that just did not work, and it didn't take me long to see that I'd simply programmed it incorrectly. I fixed it, and things really started to run smoothly. The guitar scratch track is down, I'll need to move on to bass, and build it up again.

The I just started messing around, riffing. I was really enjoying everything I was coming up with. As I've said, time and again (boy I bet this blog bores people sometimes), the "concept" is sort of a 70's hard rock thing. So much of that was blues-based, Zeppelin, Aerosmith, etc. so I just started messing around with a 12-bar blues. I really enjoyed the riffs that were coming out, and the room for variation that I was giving myself. It was fun, and I think that you'll see/hear some version of it on the finished product...whenever that might emerge.

Oh, and I got an idea for an incredibly weird spoken-word piece on the train this morning. We'll see about that.

What I really need to do is keep on that acoustic...the days are ticking away.

Rush July, 5th 2010

Look, let's be honest. Rush is always going to take crap from a certain segment of the critical media. It's just the way it goes. There's a mindset in Rock that says you can't be "normal," or a musician that strives to become as proficient as possible at your instrument, and be relevant. That a raging heroin habit, and a simplistic tune slapped together from 3 chords is the height of achievement in the genre.

What can three reasonably well-balanced, incredibly talented, guys give us that can even stand up to the damaged psyche of a Kurt Cobain, or an Axl Rose. How can impeccable musicianship stand up to the raw energy of Johnny Rotten, or the anger of James Hetfield. How can a band that takes inspiration from science fiction, fantasy, and Ayn Rand, compare to the blues mainlining of Eric Clapton, or Jimmy Page.

Well, frankly, that's a bunch of crap.

I don't frankly care if some guy (Read: Jann Wenner) at Rolling Stone doesn't get them. I get them, and, while I appreciate RS liberally jerking off Bruce Springsteen on a regular basis, I don't need them, or anybody else, to validate that opinion. I know that the band I saw last night is one of the greatest bands, ever. How many other bands have a lineup that has been unchanged for over 35 years, still manage to release compelling music on a relatively regular basis, and write music that, over and over, connects with their audience, deeply, on both an intellectual and emotional level. To paraphrase Matt Stone from the recent Rush: Beyond the Lighted Stage documentary, "if you don't give it up for them now, you're just being an old dickhead."

Which isn't to say everything is perfect, all the time.



The 2010 Time Machine tour is a kind of "escape from the studio" outing. The band has recorded several tracks for a forthcoming album called Clockwork Angels, and, in an experimental move, decided if getting themselves to the "top playing shape" they find themselves in after a tour might drive the finishing of the album to better results. There are two new tracks that have been released from this project, "Caravan" and "BU2B," and both were played last night. Also, Rush has jumped on the "full album" craze sweeping most legacy acts these days, and are performing 1981's Moving Pictures in it's entirety (including "The Camera Eye," which has gone unplayed for 28 years).

As usual with Rush live, there's a strong visual element. The set is decked out in a "Steampunk" style, Alex Lifeson has newly designed amplifier cabinets in the style, and the Chicken Rotisseries that backed Geddy Lee on the Snakes and Arrows tour have been replaced with an Jules Verne-style "time machine." (Lee no longer uses on-stage amps and cabinets, plugging his bass directly into the PA system. This has led to a string of whimsical replacements, like a washer and dryer set.) As usual, there's also a lot of video presentations, from amusing skits featuring the band to open both of the two sets, to a really hilarious closing film featuring Jason Segel and Paul Rudd reprising their Rush-worshiping characters from I Love you, Man. There's also video material for many of the songs, and amusing Monty Python-like animations preceding each Moving Pictures track, incorporating elements from the album cover. The show looks great.

It sounds great, too. As usual, the sound was impeccable. However, the first few songs of the first set seemed a little clunky to my ears. Which, I suppose is to be expected. This was only the fourth date of the tour, and elements are getting worked out. Although the opening Number, "Spirit of Radio," was pretty damn tight. It's been a staple of the last few tours, so that's really not surprising. It didn't take long for the guys to get right in the groove, and things really started to click with the instrumental "Leave That Thing Alone!" This led into an amazing, thematically unified run to end the first set, "Faithless," "BU2B," "Freewill," "Marathon," and "Subdivisions." I found myself very emotional as "Marathon" led into "Subdivisions," being two of my favorite Rush tracks, and ones that I connect with on a direct, emotional level (take that, Jann Wenner!).

After a short break, and the intro film, the second set commenced with the full performance of Moving Pictures. It was exciting to hear the full album, but I got the impression that Geddy was a little bored. He's made a few comments that indicate he might not be overly found of tracks like "The Camera Eye," and I felt that a little. The show round out with another new track, "Caravan," Neil Peart's always-expected, always-amazing drum solo (and I can't stand drum solos 98% of the time), and selection of more popular tracks (Selections from "2112," "Closer to the Heart," Working Man," "La Villa Strangiato").

All-in-all, a three hour show that never seemed dull or ponderous, and, literally, left me wanting more. There's not many of your young, "relevant" bands out there that can pull that off, so you hipsters can suck it. I'll admit, I would like to see them switch up the setlist more often, but I'm probably spoiled by Springsteen. Once the first show setlist gets out on a Rush tour, you know exactly what they'll be playing for the entire run. That wasn't that big an issue pre-internet, but now that it's up for the whole world to see 10 minutes after the first show ends...you kinda wish for more surprises. Although, for the video synch and effects matching, I understand why things need to stay pretty constant.

One last note; I write as a fan of this band. Your mileage may vary, but I find only the most close minded can completely dismiss the work Lee, Lifeson and Peart do on that stage.

Setlist
Video Intro (The Real History of Rush Part 1)
The Spirit of Radio
Time Stand Still
Presto
Stick It Out
Workin' Them Angels
Leave That Thing Alone!
Faithless
BU2B
Freewill
Marathon
Subdivisions
(-Intermission-)
Video Intro (The Real History of Rush Part 2)
Tom Sawyer
Red Barchetta
YYZ
Limelight
The Camera Eye
Witch Hunt
Vital Signs
Caravan
Drum Solo (Love For Sale)
Closer to the Heart (with new 12-string acoustic intro)
2112 (Overture/Temples of Syrinx)
Far Cry
Encore:
La Villa Strangiato (with polka intro)
Working Man (reggae intro)
Video Outro (I Still Love You Man)


The masters at work (From the Snakes and Arrows tour)

I also leave you with the news that I will be offline for the rest of this week. So, this is your only blog post until next Monday. Also, apologies for the silence on Thursday and Friday, I got hit with a nasty, nasty cold, and I just didn't feel up to it.

Them Crooked Vultures 5.18.2010

Aragon Ballroom - Chicago, IL

I dearly wanted to see this band. I am a huge fan of the album. It was my favorite from last year.

I almost missed out, as Tuesday night's show was their last US appearance. The band made mention of this, as their first gig was at Metro, here in Chicago, on the Sunday night that ended last year's Lollapalooza festival. They made a point to call Chicago their home town. It was a figurative statement, of course, but the sentiment was nice, and the crowd responded.

Blurry cell phone picture:

The opening act was Alberta Cross, and they had a nice, kinda Stones-y vibe. Interesting presence on stage, and some decent tunes. I may download the disk.

I got to the Aragon

Aside from some seriously jagbaggy kids in the crowd that apparently thought being a dick could get you up front (buddy, try pulling that at a Slayer show, which you seemed to think was the vibe, as Dr. Ezvian would say "you'll be dead!"), it was an amazing experience.

I've always felt Them Crooked Vultures had a explicit Cream-like vibe. Heavy, but rooted in groove and blues. Three guys who had notoriety from previous groups. Never moreso than on the track "Scumbag Blues," which, to me, sounds exactly like a modern Cream track. (Granted, Josh Homme is no Clapton.)

I made it to about 3 people back from the rail, directly in front of Homme and utility player Alain Johannes. I had a great view of both of them, and living legend John Paul Jones on the other side of the stage. I could see Dave Grohl behind the drums, but one of my gripes about the Aragon is that the stage is extremely high for as close as you can get to it. My view to the drums was not clear.

They began the show with "No One Loves Me, and Neither Do I," same as the CD. It's a great opening track, and establishes the Vultures sound pretty solidly. The first five numbers were a pretty powerful opening gate rush, "Gunman" (which is probably my favorite track from the CD), "Scumbag Blues," "Dead End Friends," and "Elephants." I was seriously beginning to wonder how they were going to maintain the drive opening that way.

It was a volley of powerful tracks, and with the limited material that is part and parcel of touring with only one album's worth of material, it crossed my mind that the uptempo, powerful numbers might run out before the energy did. It was a pretty silly fear, as even the most languid tracks, "Interlude with Ludes," for example, gained magnetic energy from the personalities on stage.

To whit; Josh Homme is one hell of a frontman. Loose, cool, a bit arrogant, and more than willing to push the envelope on looking little silly. For example the aforementioned "Interlude With Ludes," it's probably one of my least favorite albums tracks. However, it springs to a weird, sexual life when Homme is standing on top of the stacks grinding like a stripper as he sings. Not to mention watching John Paul Jones pull out the keytar for that number.

Yes, that's right, I saw a member of Led Zeppelin play a keytar.

It might have been my favorite number of the show.

I was also extremely excited to hear new music. Two new tracks, "Highway One" (Featuring Jones on a wicked-cool electric mandolin), and "You Can't Possibly Begin to Imagine" (Jones on electric violin), really made my night. Both were well within the Vultures sound, but also showed new directions. When you have a multi-instrumentalist like John Paul Jones, I say you use him, and those new tracks certainly did. Made me pine for a second album sooner, rather than later.

Although, it'd be nice to hear something about the new tracks, like a title, during the show. I had to look up the names on the internet when I got home. Next time, I guess.

The band is extremely tight, in general. Jones and Grohl were right in the pocket together, and clearly having a great time. Jones got extended bass jam time on "Gunman," and it was truly fantastic. He and Grohl were playing off each other, improvising, and still holding the song together. The fact that the crowd was really happy to be seeing a living legend like Jones play had to add too it, every bass lick during that jam got a huge scream.

Much wit and humor was in evidence for the entire show. Homme has many snappy lines, usually revolving on his current state of drunkenness. He was swigging from a vodka bottle the entire set. Real? Not? I didn't really care, it was part of the show, the way these three personalities (and Johannes, who got a nice guitar solo spot) merge together and play off each other. Homme as the hard-core bad-boy rocker, Grohl as the goofy, good-time guy, and Jones as the elder statesman, it was just nice to see a band that came from different places and put their strengths together to make an awesome sound. I certainly find it cooler than a band who seems to have chosen a "style" that they all stick to.

Oh, and Dave...Josh is right. The picture on this shirt;

Makes you look like a child molester.

Setlist

No One Loves Me, and Neither Do I
Gunman
Scumbag Blues
Dead End Friends
Elephants
Highway One
New Fang
Bandoliers
Interlude With Ludes
Mind Eraser, No Chaser
Caligulove
You Can't Possibly Begin to Imagine
Spinning in Daffodils
Reptiles
Warsaw or The First Breath You Take After You Give Up

Chickenfoot - Chicago Theatre -8/7/2009

Fantastic show, fantastic band.

Ok, first off. Chad Smith was out on stage about a half hour before the opening act, checking out the theatre, and hob-nobbing with the folks in front. Gave me a big laugh. Folks realizing who it was and trying to rush down there.

I was in the handicapped section to start. (Hey, I just asked what was left, and they sold it to me.) About 10 minutes before the opening act, the house manager comes up and asks if I'm alone. I say sure, she asks if she can move me "a little closer."

I say yes, and I'm led down to about the 20th row. Nice.

The opening act was great, Davy Knowles and Back Door Slam. Dave F, you would've went crazy for these guys, right up your alley. The only complaint I have is that the mix seemed to be in a frequency that went right through my head. I had a few moments when Knowles' guitar was downright painful.

So, after that, the lights go out and a tons of lights, a giant, lighted version of the "Chickenfoot" symbol, and a huge "Chickenfoot" banner lower into position. Chad Smith comes out, and just stands behind his kit for a minute, arms crossed, and surveying the crowd....then sat down and started banging away.

Look, let me get right to this. Chad Smith made this show for me. I've never seen the Chili Peppers, so I have no idea if this is his "normal" routine. Sammy Hagar, when introducing him called him the "craziest guy I know," and he lived up to that. First off, great drummer, and I can only compare it to Keith Moon, just wild, total abandon in his playing, all over the kit, but always in the pocket. He must also hit HARD, about 30 seconds into the first song, I see a broken stick come flying into the crowd.

Honestly, it was raining sticks all night. He must've thrown 30 or 35 sticks into the crowd. In some songs it seemed like every measure, a stick would go flying into the air. Then another one out, without missing a beat. It was hard to fathom how he could do all that, keep the beat, and never run out of sticks. I mean, he must've had piles of sticks behind his kit.

Plus, the dude is funny. You could see him playing with the audience the whole show, making faces, interacting directly to people in front. Totally entertaining guy. Smith also gets the line of the night, "Why are you people upstairs not standing up? We're working our balls off up here! You, in the orange shirt! Yeah YOU! Stand UP!"

Sammy was obviously having a ton of fun, and Mike Anthony was Mike Anthony. Love him to death, a stand up guy, and he was obvioulsy unleashed as far as what he was playing, and being able to hear him. Satriani was more reserved, but that's also the place that seems to be carved out for him in the group, as he's obviously the most reserved one up there.

What did come through, in spades, was that these four guys were having a ball playing together. They were not trying to trade on past glories, other than the fact of who they are, which they can't do anything about. They basically played the who album, then "Bad Motor Scooter" and "Highway Star" for an encore. No Van Halen (which would've been easy to do), no Hagar solo stuff, no Satriani solo stuff, no Chili Peppers. Though, man...it would be funny to see Sammy sing "Give it Away," or something. LOL.

Sammy directly addressed the issue at one point, thanking the crowd for coming out even when they knew that they were going to get 100% new songs. He then went on to say that he felt Chickenfoot wasn't a "supegroup," but a cult band. Now, I don'tknow about that, but I get the sentiment.

All in all, a really, really fun show. A band very much worth seeing.

Oh, the joys of last-minute decisions...

Chickenfoot is playing the Chicago Theatre tonight. This, if you do not know, is the "supergroup" cosisting of Sammy Hagar (vocals), Joe Satriani (guitar), Michael Anthony (bass), and Chad Smith (drums). The debut self-titled album came out in June.

Of course I picked it up. I love Satch, and, "hip" or not, I always preferred Van Halen with Sammy over Roth. I know, I know...It's not like I DISLIKE the Roth stuff, I just felt like Sammy was a much better, and versitile singer. That Van Halen's ability to do different sorts of things increased. I like bands that are versitile.

Anyway, Chickenfoot...

I think there's only maybe 3 clunkers on the album. The opening track ("Avenida Revolution") had me worried, as it's probably the worst on the disk. (why you would open the album that way...no friggin' clue) The rest is good, solid, melodic hard rock. It's entertaining and fun, no more, no less, and they all sound like they're having a great time.

Satch isn't all over the place like on his solo stuff, which some people have complained about. Thing is...of course he isn't, he's playing behind a vocalist! I really appreciated hearing Satch play in the pocket, instead of being the main show. Hagar sounds fantastic, for a guy as old as he is, his voice is still sharp as hell. Anthony gets to actually play for probably the first time in his career, and Smith turns out to be a incredibly powerful hard rock drummer.

I read somewhere, and I think it's pretty apt, "Van Halen went and got a better guitarist and drummer, and changed their name to Chickenfoot." (and yeah, I think Satch and Smith are much sharper than the Van Halen brothers at this moment) I would MUCH rather see this band than VH, and their nostalgia-rama, now. Especially at one third the ticket price.

So, I dropped by the theatre today, to see if anything was left. Of course, I know from having a friend in ticketing (ha-ha) that they almost always have some house seats left. Especially for one person. I'm in the handicapped seating area, back of the main floor, but pretty much dead center. Bonus points for buying direct from the box office, no Ticketmaster charges!

What I also realized just a bit ago is that this is the first time I'll get to see Joe Satriani play live, so that's cool.

I dunno, I thought about going to see the GI Joe movie, or having dinner (which I still may), but I wanted to get out and do something cool. CByrd's out of town this weekend, so I'm not stuck in that "what will both of us like to do?" mode. Not like she wouldn't go to this show with me, but, yknow, I don't like to make her see stuff she's not excited about.

So, anyway...Have a weekend everybody. Avoid Grant Park, that Lollapalooza's a bitch for traffic. Which reminds me, I'll have to ride the train out of downtown with those people....