Sound Waves

Demi Lovato - Disney's latest teen princess backs up her style with plenty of substance

2009-08-18T08:18:00.008-05:00

In the 60s, Motown Records used the slogan “The Sound of Young America” to tout its roster of fresh musical talent as well as the demographic of its target audience. Today that title would most accurately belong to Disney’s Hollywood Records label, which has become the prime launch pad for teenage musical talent aimed at an even younger teen market.

Miley Cyrus and the Jonas Brothers might be the best known artists on Hollywood’s roster, but singer, songwriter, and actress Demi Lovato, who will appear August 21 at the Hershey Park Star Pavilion in Hershey, Pa. and August 22 at the Trump Taj Mahal’s Etess Arena in Atlantic City, is rapidly establishing herself as a legitimate pop star.

Like other young stars in the Disney family, Lovato, who turns 17-years-old August 20, stars in her own Disney Channel sitcom, Sonny With a Chance. But unlike some of her peers, Lovato has always made it clear that music, not acting, is her “first passion.”

Born Demetria Devonne Lovato in Dallas, Texas, Lovato began her acting career at age six on the children's television series Barney and Friends. There she met Selena Gomez, her Disney Channel co-star with whom she remains best friends. Lovato appeared on several television shows and series before landing the role of Mitchie Torres in 2008’s Camp Rock opposite the Jonas Brothers.

For her 2008 debut album Don't Forget Lovato co-wrote several songs with the three Jonas Brothers. The result was rock-edged pop closer in style to Avril Lavigne than Miley Cyrus. Critics took note of the fact that Lovato co-wrote her own material, and her live performances confirmed that her sturdy voice was no studio creation. On stage, Lovato focused more on playing guitar and piano than her dance moves.

On her current CD, Here We Go Again, Lovato takes another step forward. Her singing voice has matured nicely, developing a gritty lower register that compliments her higher range. Although she has a tendency to succumb to the “breathy” delivery that seems fashionable among young female singers, Lovato’s phrasing is leagues ahead of that of most of her peers.

In “World of Chances” she sings “You’ve got a face for a smile, you know / A shame you waste it when you’re breaking me slowly / But I’ve got a world of chances for you…/ Chances that you’re burning through” and the heartbreak is palpable.

“I wanted to make an album that parents would enjoy listening to while their kids are playing it in the car with them,” Lovato said in a recent telephone interview. “It's nice because now people get to see what I'm all about. This album is more me and hopefully they like it.”

Here's Lovato in the music video for "Here We Go Again":

Here We Go Again features plenty of high-energy pop-rock tunes (notably the title track, “Solo,” and “Everything You’re Not”) for Lovato’s younger fans to bounce along with, but the most pleasant surprises on the album are the songs on which Lovato stretches out stylistically.

On “Every Time You Lie” she shows off her sassy side on a sultry, R&B-flavored kiss-off to an ex-boyfriend, then charms with her sweet, romantic side on “Falling Over Me.” On “Got Dynamite” Lovato channels her idol Kelly Clarkson with an edgy rocker that would fit comfortably on Clarkson’s latest album.

The aforementioned “World of Chances” is a mid-tempo ballad Lovato wrote with John Mayer that could be embraced by both Top-40 and Adult Contemporary radio. Lovato says collaborating with Mayer was “a dream come true.”

“One of the best parts about being in this industry is getting to meet and work with the people who have inspired you,” she says. “I was intimidated at first, but he’s such a down-to-earth guy that when we started writing I forgot who he was and just appreciated his music. He made it really comfortable.”

One of Lovato’s favorite songs on the album is “Stop The World,” which she co-wrote with Nick Jonas. “I put a lot of personal things into it,” she says. “The song is basically about like falling in love with someone you shouldn't fall in love with, which is what I tend to do.”

Another personal song is “Catch Me,” a pretty acoustic ballad with a string section, reminiscent of the Plain White T’s hit “Hey There Delilah.” Lovato calls the song, about the pleasures of falling in love, her “baby” since she wrote it alone in her room. She says she was thrilled when producer John Fields told her it was good enough to make the album.

Although she always intended Here We Go Again to be more personal and reflect her maturity, Lovato seems keenly aware that her core audience might not be ready to grow up too soon.

“You can’t do that overnight,” she says. “You don’t just wake up one day and say, ‘I don’t want to be teen star anymore. I want to be respected as an adult.’ I think it’s something that you start working on at an early age.

“Since I do want to have a long-lasting career, I want my fans to grow with me,” she adds. “So with the projects that I take on and the roles that I take, I ask myself if they are appropriate for younger audiences – ‘Is this something that is a little more mature, but not so much that it will scare my fans away?’”

With that in mind, a few songs written for Here We Go Again were left on the shelf, including one about her relationship with her estranged biological father entitled “For the Love of a Daughter,” which Lovato wrote with William Beckett from the emo-band The Academy Is.

“When I’m a little older, maybe my fans will be ready,” Lovato says. “But this album really expresses my writing and outlook right now.”

Lovato’s Hershey and Atlantic City shows are two of the final stops on her summer tour. She’s set to film Camp Rock 2 in September, followed by another season of Sonny With A Chance, and her third album after that. It’s a busy schedule, even for an energetic 17-year-old who hopes to attend Boston’s Berklee College of Music one day.

“I wish I had more time off or more time at home,” Lovato admits, “but you’ve got to work hard to get to where you want to be.”

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Ten Underappreciated Artists You Should Hear

2009-06-26T12:02:00.008-05:00

Lennon Murphy sounds as good as she looks

For every band, artist, or group that enjoys a successful career in music, there are literally dozens of others who fail to achieve that goal. Many of those fail not because of lack of talent, but because, as most music professionals will tell you, hits often have as much to do with luck and timing as with talent and ability.

Most music fans can think of one or two bands or artists that should have enjoyed more widespread success, but for whatever reason, did not. Here are ten artists and bands that you may not have heard of, but who are definitely worth hearing.

Danielle Brisebois: If you’re old enough to remember “All In The Family” and it’s spin-off “Archie Bunker’s Place,” you might remember child actress playing Archie’s niece, Stephanie. That child actress was Danielle Brisebois, who had a variety of stage and screen roles before turning her attention to music.

Even if you’ve never heard Brisebois, you probably have heard her music. Her songs have been recorded by Kelly Clarkson, Natasha Bedingfield, and Kylie Minogue, among others. Brisebois has released only three albums (one of which is mostly a compilation of the other two), but if you like upbeat, melodic, somewhat quirky pop-rock, both 1994’s Arrive All Over You and 1999’s Portable Life are well worth checking out.

Here's the official website for Danielle Brisebois: www.daniellebrisebois.com

Cock Robin: This duo, consisting of singer, songwriter, and multi-instrumentalist Peter Kingsbery and singer and keyboardist Anna LaCazio, have enjoyed chart-topping success in nearly every major country in the world except the United States. Here in the States, the band only cracked the Top-40 once, with the 1985 single, “When Your Heart Is Weak.” They released three albums in the 80s, but reunited in 2006 for I Don’t Want To Save The World.

At it’s best, Cock Robin’s melodic music has a dreamy, almost etherial quality. Fans of Coldplay’s first album might find draw similar pleasure from Cock Robin’s 1985 eponymous debut. Check out the band’s site here.

Here’s Cock Robin performing “Just Around the Corner”:

Donnie Iris – Iris is often mistakenly considered a “one-hit wonder” by casual fans. His best known song, “Love Is Like A Rock” was his only Top-10 hit, but “Ah! Leah!,” “My Girl,” and “Do You Compute?” also cracked the Top-40.

At their best, Iris and his band, The Cruisers combine the best elements of power-pop and arena rock – think Cheap Trick meets the Raspberries. Now in his 60’s, Iris has never stopped making music. His 2006 release, Elwood City, proves that he hasn’t lost his touch. Here's his official site.

Liz Larin: Singer-songwriter Liz Larin has been favorably compared to artists like Tori Amos, Sheryl Crow, and Liz Phair. She is one of the most celebrated musicians on the Detroit music scene. In recent years, "Detroit's Goddess of Rock," has dominated the Detroit Music Awards, beating competition from artists like the White Stripes and Eminem.

She was once signed to Atlantic Records, and her 1993 album, Test Your Faith is well-worth checking out. Since then, she has successfully gone the DIY route, releasing five albums on her on Bona Dea label since 2002, including her latest, the 2008 trio Stella 13, Blue Circus Life, and Luster Kraft. You can order them, or find out more about Larin at her official site.

Here’s Larin and her band performing a live version of “Better, Better”:

Lennon: Singer-songwriter Lennon Murphy had the bad luck of having her major label debut album, 5:30 Saturday Morning, released on September 11, 2001 – yes, that 9-11. Whether the stylistically ambitious album (which ranged from tender piano ballads, to hard-edged metal tunes) would have found an audience under different circumstances is hard to say. Lennon’s strong songwriting and vocals shine throughout, and garnered more than a fair share of critical acclaim.

Since going the independent route, Lennon has released three additional albums, and is working with a new metal band called Devil’s Gift. Here’s her official website.

Machan: Machan Taylor has been singing professionally since she was 17. Over the years she has performed live or in the studio with a wide variety of jazz, rock, and pop artists, including Hiroshima, Sting, Pat Benatar, Pink Floyd, Gov’t Mule, Aretha Franklin and Leonard Cohen, to name a few.

If you like breezy pop-jazz with a Brazilian vibe, both Machan’s 2004 self-titled debut and 2007’s Motion of Love should hit the mark. Smartly produced, arranged, and performed, both albums feature mostly original songs showcasing Machan’s silky vocals matched with exotic rhythms and warm melodies. It’s as tasty and refreshing as an ice cold tropical drink on a hot summer day. Check out Machan's site here.

Dan Reed: Over the course of only three albums released from 1988 to 1991, The Dan Reed Network developed a strong cult following that continues to today with Reed’s solo work. The multi-racial band took a rock-centered approach, but combined heavy elements of soul, funk, and R&B into its sound.

The group was even better live than on record, as evidenced by its 1997 Live At Last CD and DVD. The group disbanded in the mid-90s, but Reed has continued as a solo artist. He has a number of projects in the works, including a new album, Coming Up For Air. For the latest updates, visit Reed's official website.

Savatage: This Tampa, Florida based hard-rock outfit got caught between the “hair-band” trend of the late 80s and the grunge movement of the early 90s. While they might have looked like a lot of other metal groups at the time, they developed a unique sound that combined classical symphonic elements into their metal-hard rock sound. The band’s high-point was 1991’s Streets – A Rock Opera, a tale of fame, fall, and redemption that still holds up today.

Despite the tragic death of lead guitarist Criss Oliva, who was killed by a drunk driver in 1993, the band continued on. Several members of the band found success in the side project, the Trans-Siberian Orchestra. Ironically, TSO’s breakthrough hit, "Christmas Eve Sarajevo 12/24" was originally recorded by in 1995 by Savatage for its Dead Winter Dead CD. Both bands have found a way to co-exist however, and Savatage is currently planning a new album and tour. For more information, see www.savatage.com.

Spider/Shanghai: The band known as Spider recorded only two albums in the early 80s (now available on a single CD). After a slight change in line-up, the group returned as Shanghai for a self-titled album. Only one song, “New Romance (It’s a Mystery)” cracked the Top-40 for Spider, but several of the band’s songs were recorded by and became hits for other artists, including “Talk To Me” by Fiona, “Change” by John Waite, and “Better Be Good to Me” by Tina Turner.

A few band members went on to more famous careers. Keyboardist Holly Knight formed the band Device, and later had a solo career. She enjoyed her biggest success, however, writing or co-writing hits for artists including Pat Benatar ("Love Is A Battlefield”), Scandal (“The Warrior”), Heart (“Never”), Kiss (Hide Your Heart), and Aerosmith (“Rag Doll”). Drummer Anton Fig joined Paul Shaffer’s band on the David Letterman Show.

Here’s Spider performing “Everything Is Alright”:

Drew Weaver: I “discovered” Drew Weaver when I read an extremely positive review of his 1997 CD Unfaithful Kind in Billboard Magazine. The review called him “an undiscovered gem” and mentioned that Weaver was a Delaware resident.

I found him living in Historic New Castle, and he turned out to be an extremely cool, engaging, musically obsessed fellow. He worked for MBNA at the time, but he had been releasing records for at least ten years. He rarely did any local gigs, but he had toured through Europe with his band, The Alvarados, a few years earlier.

Weaver’s music is a unique blend of Tex-Mex and surf rock. He tells dark tales of down-on-their-luck characters who frequent shady establishments, drink too much, and engage in questionable behavior. He even wrote about some Delaware “landmarks” in his songs – check out “Route 13” on his El Mirage CD.

Weaver is based in San Clemente, California now, but he’s still making music. You can check him out here.

What underappreciated artists or bands would you add to this list? Share your thoughts by posting your comments below.

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'Almost Famous' or 'Nobody’s Perfect' – my life as a music journalist

2009-06-06T16:23:00.006-05:00

In the Cameron Crowe film “Almost Famous,” a teenage journalist lands his dream job and gets to tour with the fictional band Stillwater while covering the group for Rolling Stone magazine. The film is semi-autobiographical, as Crowe himself was a teenage writer for Rolling Stone.

Much of the material in the 2000 comedy-drama rings true. As a music journalist, I could relate to many of the situations. But as much as I’d like to believe that when I was starting out I was as calm and collected as the bright young writer portrayed in the movie, that’s not the case. A descriptive title for a film about my early experiences as a music journalist would be “Nobody’s Perfect.”

A recent article offered advice to bands and artists that use the web as a promotional tool. In the spirit of full disclosure, for Top-10 Tuesday, I’d like to fess-up to ten blunders, gaffs, and missteps I’ve made in my career as a music journalist.

In no particular order:

1) Lost Archives – I started my journalism career in the 80s, and had the opportunity to interview the local and national acts that performed in Delaware at venues like the Tally Ho and the Stone Balloon. I usually had my trusty tape recorder at my side when interviewing artists like the Hooters, the A’s, Huey Lewis, the Romantics, and Modern English. But being young and dumb, I would record over those tapes once the article was written.

A few years later it dawned on me that those interviews should have been preserved.

2) Name Recognition – I wrote a feature on the band Semisonic (of “Closing Time” fame) that appeared in both the News Journal and the Washington Times.

For some reason that I still can’t figure out, I referred to lead singer Dan Wilson (who I had interviewed) as “Dan Murphy” throughout the article. Nobody caught the mistake… except for the band’s publicist when I sent her copies of the feature.

3) Equipment Failure – Batteries die, microphones break, and tapes can tangle. I learned these lessons the hard way. On more than one occasion I left an interview thinking I had gotten great material, only to find out that what I really had was a tape full of hiss. On one occasion, Cheap Trick guitarist Rick Nielsen was kind enough to call me back (while he was at a skating rink with his daughter, no less) and “re-do” a telephone interview I had botched.

These days, I always go into important interview situations with my batteries fresh, and my audio-visual equipment well-tested.

4) Communication Breakdown – When I began my career, I typed my features using a typewriter, and turned in my stories on paper. These days, everything is emailed or uploaded electronically. It’s a quicker, more efficient, and all-around better method – unless you email the wrong file.

I once accidentally attached a sketchy, unfinished work-in-progress to an email instead of the completed article. Because the editor was up against deadline, the piece was sent to production without being proofread. When it was published, it read like a first-time writing effort from an incoherent, grammatically challenged high school freshman.

5) Swamped – My first “Sonicbids Sunday” profiles ran here last week. When I opened the press coverage opportunity on the site, I thought I might get a few dozen responses. To date, I’ve received nearly 300. About a third were picked for coverage, so expect “Sonicbids Sunday” to be a regular Examiner feature for some time to come.

6) How’s That Again? – Over the years I’ve had the pleasure of interviewing hundreds of artists from all over the world. I’ve dealt with all sorts of dialects and accents, but the two that proved the toughest to decipher were a trans-Atlantic telephone interview with Nick Marsh, the lead singer of 80’s British Goth-punk band Flesh for Lulu, and an in-person chat with reggae star Luciano.

The telephone interview was hampered by a bad telephone connection and Marsh’s heavy Brit accent. Luciano’s Jamaican dialect was also difficult to understand, especially since the interview took place in a noisy Philadelphia club. Somehow I was able to get through both with enough material for a feature.

7) Coming Attractions – I once made the mistake of letting a musician “preview” a feature before it was published. The guy was a “composer” related to someone at the publication I was writing for at the time. I was asked to interview him about his latest "project," which was a rock musical based on “The Hunchback of Notre Dame.”

As awful as that concept sounds, the finished product was worse. But in the article I was kind; I simply stuck to the facts and let the fellow speak his mind.

The mistake I made was obliging him when he asked if he could do a quick “fact check” before the piece was published. Instead of a “fact check,” he tried to do a re-write. Ever since, only my editors and I get to preview my work before it’s published.

8) Wiki-Wacky – Any high school freshman will tell you that you’re not supposed to use Wikipedia.com as a factual source. A few years back, I was writing a feature on Carlos Santana and wanted to use his full name in the piece.

Because I was on deadline, I grabbed it off of an article on Wikipedia, figuring that some fan would have spotted and corrected any error. I figured wrong. His publicist informed me, after the feature was published, that Santana’s full name is Carlos Humberto Santana de Barragan.

Years later, Wikipedia still lists Santana’s name incorrectly as Carlos Augusto Santana Alves.

9) Kiss Off – One of the perks of being a music journalist is that you sometimes get tickets, and better yet, backstage passes to shows. I was backstage at the Wachovia Center for Kiss’s Psycho Circus tour. I was having a great time, and I should have been satisfied with the fact that I got to hang out with Sebastian Bach, Bruce Kulick, and Tommy Thayer, who were also there before the show.

When the show ended, I got back stage again. I noticed that Kiss’s mic stands had been brought back from the stage and were sitting at the top of the entrance ramps. Still attached to each of the stands were several personalized guitar picks that the band tosses to the audience during the show. I figured, they were free then, so why not now? I headed up the ramp and began pulling a few picks from each stand.

When I turned around, a very large roadie was standing behind me. By the expression on his face, I knew he wasn’t happy with my impromptu souvenir shopping. I got out of there quickly – with a set of guitar picks in my pocket and only my ego a bit bruised.

10) You Can’t Get There From Here – In 1990 I did an interview with former Angel keyboardist Gregg Giuffria for his band House of Lords. The band was opening for Nelson (which was a weird pairing) at Upper Darby’s Tower Theatre.

My buddy and I had backstage passes and got to hang out with the band and crew after the show at the bar across the street. After a few hours, lead singer James Christian wanted to get back to the downtown Philadelphia hotel where the group was staying, but the band’s tour bus wasn’t scheduled to leave for another half hour. Out of the blue, the tour manager asked if I would mind dropping Christian off at his hotel.

"No problem," I said, failing to mention the fact that I’m known for my lousy sense of direction, and really didn’t know how to get from Upper Darby to downtown Philly. Once Christian was in my car, I mentioned as much, but he must have thought I was kidding.

Ten minutes later, as I circled back to the Tower after three failed attempts to find a familiar road, Christian looked at me and asked, “You guys really don’t know where you’re going, do you?”

Fortunately, the tour bus was still parked behind the Tower. Christian decided to hop out and wait for it. Ironically, House of Lords’ hit single at the time was a cover of Blind Faith’s “Can’t Find My Way Home.”

Here's the ideal life of a music journalist, as portrayed in the trailer for "Almost Famous":

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Sonicbids Sunday: Unsigned artists profiled

2009-05-24T19:37:00.008-05:00

The purest way to discover new artists has always been, and always will be live performance. Second to that, the Internet has provided a variety of interesting forums, from MySpace to YouTube, to individual artist sits.

One of those forums is a site called Sonicbids. At Sonicbids.com artists or bands can submit an electronic press kit, or EPK, to a variety of promoters, venues, and media outlets for consideration for anything from gigs, to publicity, to inclusion on a CD compilation, to a spot in a performance showcase. In my case, the artists are looking for press coverage.

One of the things I like most about Sonicbids is the wide variety of artists who participate. There are musicians and artists from every style and genre of music from all around the world represented. Many are quite good. So good in fact that I’m often surprised they are not already signed to a record contract. Some are what I call diamonds in the rough – artists who have talent but perhaps need seasoning or a good producer to make their music shine. Sure, a few of the artists leave you scratching your head, but those are the exception and not the rule.

Every Sunday, I’ll profile a few artists who recently found their way into my “Sonicbids Dropbox” (as it’s so cleverly called) that are definitely worth checking out.

Andy Hawk & The Train Wreck Endings, Tin Can Town – Hawk accurately describes his sound as “mid-'60s Bob Dylan singing with the Old '97s.” Tin Can Town serves up 13 whiskey-soaked slices of folk/blues Americana that recall a night spent with friends at a favorite watering hole. Some of the tunes lend themselves to spontaneous sing-alongs, others will have your toes tapping, and some will cause both.

This is Hamilton, Virginia-based Andy Hawk’s fifth album since 2004, and his second with his band, The Train Wreck Endings. Hawk might look like the high school English teacher he is by day, but judging by the quality of his singing and songwriting, music is much more than a part-time hobby. The Train Wreck Endings - Chuck Bordelon (bass), Steve DeVries (mandolin, banjo, harmonica, backing vocals) Branden Hickman (drums) and Gary Rudinsky (lead guitar, backing vocals) provide strong support throughout.

The album kicks off with “Think Too Much,” a bright, catchy tune driven by DeVries mandolin playing. Hawk pairs introspective lyrics about a lost relationship to a bouncy melody:

“It's 3 a.m. and I can't help but wonder what went wrong/
Though I fill my glass, it looks half-empty to me/
I'm misty eyed and true and tried, alone with all I fear/
I can't go back or forward while I'm here”

The title track is one of the album’s most “Dylan-esque” tracks, with Hawk relating a tale of small town life in a rough-around-the-edges vocal.

“Maybe Someday” is a contagious piece of pop perfection, with a hint of Rubber Soul Beatles added for good measure, while the equally catchy “Real Gone Girl” amps up the country flavor. Hawk again acknowledges his Beatles/Dylan influences on mid-tempo acoustic tracks like “Music From Another Room,” “I Never Thought To Ask,” and “Ferris Wheel” – the latter featuring a tasty guitar solo from Rudinsky. The album comes full circle thematically and returns to the bar for the closing track, the lighthearted “The Last Two In The Bar.”

There a few minor missteps on Tin Can Town – weak lyrics spoil “Good Night,” and “Pitchy & Time-Erratic Blues,” and the latter tune seems out-of-place stylistically on the album. But overall, Tin Can Town is a remarkably strong independent effort the compares favorably to major label releases in the genre. You can purchase a copy, as well as Andy Hawk’s other albums through iTunes, or at CD Baby.

Hawk’s performance schedule keeps him in Virginia. If you’re down that way, here are the currently scheduled dates:

June 7, 11:00 a.m. - Celebrate Fairfax Festival - Starr Hill Stage (Fairfax, VA)
June 12, 5:00 p.m. - King's Court Tavern (Leesburg, VA)
July 11, 9:00 p.m. - King's Court Tavern (Leesburg, VA)

For complete up-to-date information, visit Hawk’s website: www.andyhawk.com

Charles “Big Daddy” Stallings, Blues Evolution – If you didn’t know Baltimore-based Charles Stallings was a blues guy, all you’d have to do is take one look at the man. Smartly dressed, usually in black, a trademark red fedora (which, of course matches his Les Paul guitar and his point tip shoes) sits atop his large frame. Okay, he’s either a blues cat or an old-school rapper.

But Stallings is definitely a blues cat. He was born in Columbia, South Carolina and raised on a farm in Hobbsville, North Carolina, with his ten brothers and sisters. After moving to Baltimore, Stallings began performing in local R&B and Jazz bands, but always dreamed of recording with his own blues band.

Now he’s got one. He plays live with a seven-piece outfit that features core members Ronnie Jenkins (drums), Wayne Johns (guitar), Kelvin O'Neal (trumpet), and Joe "E Flat" Thomas (sax). They all appear on Blues Evolution, along with some notable guests, including keyboardist Bill Pratt, bassist Gail Parrish, and harp player Mark Wenner of the Nighthawks.

Blues Evolution plays like a live party album, opening with “Into Blues/Let’s Boogie” an extended instrumental in which the band gets to show off its considerable chops. Over the course of 15 tracks, Stallings and the band serve up just about every flavor of blues imaginable.

First up is some good ol’ dirty blues, “Going Down South,” which shows off Stallings strong vocals on a tune that may or may not be about the pleasures of travel and eating.

Wilmington gets name checked on the next track, “Blues Train Express,” which take the listener on a blues journey down the East Coast:

“Philadelphia, PA, where we’re not gonna stay/ Wilmington, Delaware – you wanna go, you gotta pay”

“Hard Times / Good Times” is a traditional slow blues, featuring Wenner wailing on the harmonica throughout.

Blues Evolution kicks into full-on party mode with the next track – “Blues Line Dance” – one of several tracks that applies the blues to some less traditional musical styles. On “Blues Line Dance,” the mash-up works well, especially when the horn section of Thomas and O’Neal drops in a little James Brown tribute. It’s not hard to imagine the song catching on and becoming another “Electric Boogie.”

“Cha Cha 3000” and “Hola Senorita” mix the blues with cha-cha and Latin styles respectively. “Hola Senorita” pushes the envelope a bit far and winds up sounding more like a parody, but the instrumental “Cha Cha 3000” brings the two divergent musical styles together surprisingly well.

Stallings seems to want Blues Evolution to be an album for blues fans and non-fans alike. For extra insurance, he throws in “Hand Dancin’” – a pretty good straight-ahead soul number. The album ends with “Thank-You Boogie,” in which Stallings calls out all the band members and guests that appear on the CD.

Blues Evolution has already received quite a bit of national attention, with reviews in Living Blues, Blues Review, and DownBeat Magazine, and has received enough airplay to reach the national blues radio charts. If Stallings and his band are as much fun live as they are on record (and I’ll bet they are), they must put on a heck of a party.

Here’s Stallings and his band performing live at the Surf Club in Bladensburg, MD on November 17, 2007:

You can purchase a copy of Blues Evolution, as well as Stallings’ first album, One Night Lover through iTunes, or at CD Baby.
Stallings performance schedule keeps him in Maryland. If you’re down that way, here are the currently scheduled dates:

May 29 - WEAA Spring Fundraiser Eubie Blake Cultural Center (Baltimore, MD)
May 31 - Chesapeake Bay Wine Fest - Terrapin Park (Stevenville, MD)
Jun 20 - City View Bar & Grill (Woodlawn, MD)
Jun 21 - Patterson Park Concert Series - 6-8 p.m. (Baltimore, MD)
Jun 27 - Bare Bones Grill & Brewery (Ellicott City, MD)
Jun 28 - Federal Hill Main Street Blues & Jazz Fest – 3 p.m. (Baltimore, MD)
Jul 4 - Blues Concert - Quiet Waters Park Concert Series – 6 p.m. (Annapolis, MD)

For complete up-to-date information, visit Stallings’ website: www.bigdaddystallings.com

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SINGER-SONGWRITER JARED COSTA PLAYS PHILADELPHIA'S TIN ANGEL THIS FRIIDAY, MAY 15

2009-05-11T08:25:00.015-05:00

Newtown, Pa. native Jared Costa performs a 10:00 p.m. show at Philadelphia’s Tin Angel on Friday, May 15. The 27-year-old singer-songwriter recently released his debut CD, Onwards and Upwards, a collection of 12 well-written songs in the bluesy folk-rock vein.

A singer-songwriter with an acoustic guitar is a tried and true pop music blueprint, but Costa distinguishes himself from the pack with memorable songs that not only sound good, but also have something to say.

On Onwards and Upwards, Costa keeps the arrangements clean and straightforward, accompanying himself on acoustic guitar, harmonica, and an occasional keyboard. The style and instrumentation invite the inevitable comparisons to the work of Bob Dylan, Leonard Cohen, and Atlantic City-era Bruce Springsteen.

While those might seem like lofty comparisons for a first album, Costa’s work is up to the task. Costa succeeds specifically because he doesn’t try to sound like the “second coming” of any famous predecessor, concerned more with sounding like the first coming of Jared Costa.

For example, Costa’s “Love” talks about the subject in the broader sense, as it applies to “our fellow man”:

“Well you can't look down on another man unless you intend on helping him up/And the Lord above says a window's always open whenever the door is shut/”

In a savvy move, Costa weaves a melody line from the classical piece “Canon In D” (the popular wedding ceremony choice) into the song to make his point. Costa’s music is further distinguished by his rich, soulful singing. On “Take It All” his voice glides smoothly from a deep whisper to an emotional wail; on “Love” it gets gritty and real.

Costa recently took the time to answer a few questions about his career and music.

Q: Your bio says that you played in a number of rock bands before deciding to go solo. Was that decision made primarily so that you can have more control over your music, or are there other things that appeal to you about the solo acoustic format?

A: It wasn't so much a conscious decision to go solo as it was a somewhat natural progression. I was always the primary songwriter in those bands. I would sit and write on my acoustic: putting together the melodies and arranging the music. Over time, I found I was accomplishing my vision for those songs as they were on my own - just the guitar and vocals. I do enjoy having the control and being able to really go in any direction I want to go with the music. I think the ability to really explore dynamics is what makes it so appealing. Energy and intimacy can be achieved all in a single transition.

Q: Is there anything you miss about the band format?

A: There are some aspects I miss and I may put some of my music into a band project in the future. In the meantime, I enjoy the positive aspects of a band with some of my very good friends in Crow vs. Lion, a band I play with that is fronted by longtime friend and amazing songwriter, Dan Gallagher. It gives me the opportunity to collaborate and to play several instruments: mandolin, banjo, guitar, keys, and harmonica. It's a lot of fun and gives me some ideas for my own music to be applied to a band dynamic.

Q: Your song “Love” incorporates a bit of the famous classical piece "Canon in D" by Pachelbel. Are you classically trained?

A: I am not trained in any way, actually. I taught myself how to play guitar, harmonica, and a few other instruments. Although, I do feel I am constantly taking things from those around me and I am very fortunate to have always had people around me that were willing to answer questions, give me guidance, or offer advice.

And of course, I enjoy music across the board. Classical music, in particular, has themes and melodies that really lend themselves to interpretation and imitation. "Canon in D" is certainly a favorite of mine and a great example of how I was influenced by and able to incorporate my appreciation for a classical piece into my own songwriting.

Q: What is the writing process like for you? Are you someone who has creative ideas all the time, or do you need to be in a certain mood to be able to write?

A: I try not to be too scientific about the creative process. You risk losing something if you become too rigid about something that I think has to come pretty natural. I am someone that tends to be creative throughout the day. So when I sit down to put pen to paper, I usually have a good idea about a concept or direction.

Q: Do you usually start out with lyrics or music first, or is it a mix?

A: I'd say most often I start with with music and melody based on a feeling or thought I'm having. Then, I put the lyrics to the melody. For me, it's rarely a finished product right away. A song usually needs to be explored and maybe even played live before it's completely finished. Even when a song is done, I'll play it differently on stage from time to time. In that respect, a song is always a work in progress.

Q: The music business has changed quite a bit in the years that I’ve been covering it. These days, artists can be discovered or build an audience through a variety of nontraditional methods, sites like Sonicbids and MySpace. However I still feel that the most direct, lasting, and purest method is still through live performance. Are there any performances of yours that remain particularly memorable?

A: I agree. Live performance is the most important avenue for connecting to your fans. For me, every show I do has something about it that is special to me.

One that stands out immediately is my recent CD release show at Puck in Doylestown, PA. It was just an experience I really cherished. I had some close friends and family there as well as some great folks coming to check it out. The venue really allows the artist to play to the room rather than at it.

Puck is one of the top sound stages I have ever played and the room has a great vibe. Things really clicked from the onset and I was able to hit an intensity and energy level that was exactly what every performer hopes to get out of playing a show. The audience was so responsive; I felt that I was actually just reciprocating their energy at times. And any time you get an encore call, you've done your job. It was the perfect way to celebrate the release of the album.

I could go on and on about many nights because there are so many that stand out. Honestly, every show I play has something memorable for me. I really do try to approach every show as a different entity. If you come out to see me on any given night, I am going to try to make it the best show I've ever played. It's more important that the show will be memorable for the audience and that's exactly my goal. (interview continues below video)

Here's Jarod Costa performing "No Revolution" / "All Along the Watchtower" live at Philadelphia's North Star Bar on December 2, 2008:

No Revolution/All Along the Watchtower-Live

Q: Along those lines, now that your music is available to the public, I was wondering if you’ve been surprised by how it’s been received. For example, have you ever had someone talk to you after a show about your music, or perhaps write to you and express an interpretation they had, or tell you how it affected them in a way that surprised you?

A: First of all, for me there is nothing better than someone coming up to me after a set, saying hello, telling me what they think, and just hanging out. Live performance is the apex of the creative experience. It's the fruition of the whole songwriting process. Not to say recording isn't important or fulfilling, but playing live gives you the connectivity and excitement that you can't replicate any other way. You can really emote what the song was intended for.

I have had a few interpretations and some feedback that struck a chord with me. Feedback from the record is important as well. I put a lot of time and effort into this album and not just because this is my first album, but because anything I do musically represents the best of me.

Origivation Magazine said the album was "iconic" in a recent issue. That was a huge compliment and an honor. I had someone call a song on the album inspiring and say it touched them profoundly. And I always enjoy listening to someone's interpretation of a song. I believe that interpretation is how people participate in the art of music. It's the experience coming full circle. In that way, it's as necessary as anything else in the songwriting process. It makes the artist and listener connect to create something special together.

***

For more information on Jared Costa, or to purchase a copy of Onwards and Upwards visit www.jaredcosta.com. Tickets for Friday’s Tin Angel show are available by calling (215) 928-0978, or on-line through Comcast Tix.

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B-52's READY TO DROP SOME 'FUN'

2009-05-08T08:54:00.005-05:00

Few experiences are quite as disconcerting for music fans as when they realize that the once seemingly ageless artists who created the soundtrack of their collective childhood are now deep into middle-age. When these former music icons – now bloated, balding, or gray – show up on some sad VH1 retrospective to recount tales of their heyday, it’s their fans who suddenly feel very old.

So when our long-standing musical heroes return to defy Father Time and live up to, or even surpass our expectations – recent examples being U2 or Bruce Springsteen – they are typically welcomed by fans with unbridled glee. Rock ‘n’ roll never forgets, indeed.

The latest band to successfully emerge from the time capsule (which is, ironically, the title of the group’s 1998 hits compilation) is the quirky pop-dance band the B-52’s. Touring in support of Funplex, the group’s first original album in over 16 years, the B-52’s are in the midst of a cross-country spring/summer tour.

Vocalists Fred Schneider and Kate Pierson are both Northern New Jersey natives, but the group, which also includes guitarist and composer Keith Strickland and vocalist Cindy Wilson, will always be associated with the Athens, Georgia new wave music scene they helped establish in the mid-to-late ’70s.

“We were the outsiders in Athens,” Schneider told Time Out London in 2007. “We'd go to parties and people would, like, bolt the door.”

With a sound that combined elements of punk, surf guitar, and early '60s go-go pop into a visually unique, kitschy mix, the B-52’s began winning over audiences with tracks like “Planet Claire,” “52 Girls,” and the group’s breakthrough hit, “Rock Lobster.” The interplay between the female harmonies of Pierson and Wilson (who wore large, beehive style wigs, aka B-52’s), and the half-sung, half-shouted vocal counters of Schneider became another of the group’s trademarks.

The group’s goofy/hip visual style combined with the off-the-wall nature of their song lyrics seemed to scream “FUN PARTY BAND,” but Schneider says that the group always took its work seriously.

“We're serious about what we do, even though a lot of it is humorous or whatever,” he said in an interview last year for AOL Sessions. “People say, ‘Oh you probably just throw things together.’ We don't. We spend a lot of time on songs. We've always been serious about wanting to do good songs, and if they make you laugh, great.”

Throughout the ’80s and into the ’90s, the B-52’s kept fans smiling, dancing, and partying with hits like “Private Idaho,” “Roam,” “Good Stuff,” and their biggest hit, “Love Shack.” The material on Funplex complements that repertoire perfectly. The album mostly avoids the double-edged sword of trying to sound either too retro or too trendy. A modern electronic-dance vibe filters through songs like “Pump,” “Juliet of the Spirits,” and “Love in the Year 3000,” but the band doesn’t overreach trying to update its sound to match current fashion.

“I wanted it to be more rock and more electronic – leaner, more focused and up-tempo and danceable,” Strickland said in a 2008 interview with MP3.com. “I also felt that if we are to release a new album after 16 years, then we've got to give it our all and do what we do best. I've always felt that what we do best is really high energy, up tempo, shameless dance floor party music. A lot of the dance music aesthetics have filtered into our sound, but I still feel like we still sound distinctively like the B-52’s.”

If you take the songs on Funplex at their word, the band, which now ranges in age from 51 to 61, still revels in dancing, partying, and making frequent visits to the proverbial “Love Shack.”

“Yeah,” Schneider says. “We are a bunch of oversexed middle-aged people. It’s pretty tongue-in-cheek, but I think every song except one is about sex.”

If nothing else, Funplex confirms – for both the band and its fans – that while you can’t avoid growing older, you don’t have to grow old.

“There's a maturity to [this record],” Wilson said in an interview with Atlanta Creative Loafing, “but we're not about to grow up. It’s still us, you know.”

***

TOUR DATES FOR THE B-52's:
Saturday, May 09, 2009 Atlantic City, NJ - House of Blues
Sunday, May 10, 2009 Morristown, NJ - Mayo Center for the Performing Arts
Wednesday May 13, 2009 Baltimore, MD - Rams Head Live
Thursday May 14, 2009 Red Bank, NJ - Count Basie Theatre
Saturday May 16, 2009 Boston, MA - House of Blues
Wednesday May 20, 2009 Kansas City, MO - Uptown Theater
Friday May 22, 2009 Little Rock, AR - Riverfront Park
Saturday May 23, 2009 Thackerville, OK - Winstar Casino
Sunday May 24, 2009 Norman, OK - Riverwind Casino
Wednesday June 17, 2009 Seattle, WA - Woodland Park Zoo
Friday June 19, 2009 Portland, OR - Oregon Zoo
Saturday June 20, 2009 West Wendover, NV - Peppermill Casino
Sunday June 21, 2009 Aspen, CO - Belly Up
Monday June 22, 2009 Denver, CO - Denver Botanic Gardens
Wednesday June 24, 2009 Tucson, AZ - Centennial Hall
Thursday June 25, 2009 Del Mar, CA - Del Mar Fairgrounds
Friday June 26, 2009 Agoura Hills, CA - The Canyon Club
Saturday June 27, 2009 Oakville, CA - Robert Mondaydavi Winery
Tuesday June 30, 2009 Saratoga, CA - Mountain Winery
Thursday July 02, 2009 Livermore, CA - Wente Vineyards
Saturday July 04, 2009 Albuquerque, NM - Isleta Casino and Resort
Sunday July 19, 2009 Costa Mesa, CA - Pacific Amphitheatre (Orange County Fair)
Saturday August 01, 2009 Hyannis, MA - Cape Cod Melody Tent
Sunday August 02, 2009 Cohasset, MA - South Shore Music Circus
Tuesday August 04, 2009 Altoona, PA - Railroaders Memorial Museum
Wednesday August 05, 2009 Bethlehem, PA - Musikfest
Friday August 07, 2009 Lincoln, RI - Twin River Events Center
Saturday August 08, 2009 Vienna, VA - Filene Center
Sunday August 09, 2009 Westhampton Beach, NY - Westhampton Beach Performing Arts Center
Wednesday August 12, 2009 Glen Allen, VA - Innsbrook Pavilion
Friday August 14, 2009 Mableton, GA - Mable House Amphitheatre
Saturday August 15, 2009 Saint Petersburg, FL - Tropicana Field
Thursday August 20, 2009 Clarkston, MI - DTE Energy Music Center
Friday August 21, 2009 Chicago, IL - House of Blues
Saturday August 22, 2009 Petoskey, MI - Odawa Casino Resort
Monday August 24, 2009 Green Bay, WI - Oneida Bingo & Casino
Sunday October 04, 2009 Austin, TX - Zilker Park

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GREEN DAY SET TO PLAY PHILADELPHIA SPECTRUM FOR THE FIRST & LAST TIME

2009-05-06T15:35:00.009-05:00

When the Bay Area-based punk-rock trio Green Day performs its first concert at Philadelphia’s Wachovia Spectrum on Tuesday, July 21, it will be the 930th different band to take the Spectrum stage in the venue’s 42-year history. It will also be the band’s final show at the Spectrum, as the building is scheduled to be razed later this year.

Green Day’s Philadelphia show will be part of a tour in support of the forthcoming album 21st Century Breakdown, which will be released worldwide by Reprise Records on Friday, May 15.

Tickets for Green Day's July 21 Philadelphia show, priced at $25 and $49.50, go on sale this Friday, May 8 at 10:00 a.m. They will be available at ComcastTIX.com, LiveNation.com, the Wachovia Complex Box Office, by phone at 800-298-4200 and at select ACME locations.

Singer-guitarist Billie Joe Armstrong, bassist Mike Dirnt, and drummer Tre Cool have been writing, arranging, and recording 21st Century Breakdown since early 2006 with producer Butch Vig, known for his work with Nirvana, Smashing Pumpkins, and his own band, Garbage. The first single from the album, “Know Your Enemy” is currently the No. 1 track at Alternative radio.

21st Century Breakdown is Green Day’s first studio album since 2004’s two-time Grammy Award-winning American Idiot, which debuted at No. 1 on the Billboard chart, spawned five hit singles, and went on to sell more than 12 million copies worldwide.

According to advance reports, 21st Century Breakdown is another full-fledged “punk-rock opera.” The musically and thematically ambitious 18-song set is divided into three acts, and tells the story of a young couple, Christian and Gloria, growing up in the early 21st century. It offers commentary on topics ranging from politics to religion, to war to love.

“The main message is trying to make sense out of desperate times and chaos,” Armstrong says in a Billboard Magazine interview.

To recreate the complex sound of 21st Century Breakdown and American Idiot in concert, the band is augmented on stage by guitarists Jason White and Jeff Matika, and keyboardist Jason Freese.

After the success of American Idiot, the notion of Green Day creating a three-part concept album doesn’t seem at all out-of-place. When I interviewed Mike Dirnt in 2003 in advance of Green Day’s first (and only) Delaware appearance, he hinted that the band’s next album (American Idiot) would be a “mini rock opera.” Given that most of the group’s material to that point consisted of three-chord punk rock anthems, I thought he was joking.

With the 1994 release of its major label debut CD, Dookie, Green Day became one of the first bands to successfully bring punk rock to the American mainstream. The songs “Longview” and “Basket Case” became MTV staples, “When I Come Around” hit the Top-40, and the album went on to sell over 12 million copies worldwide.

Some punk purists cried “sellout,” apparently preferring that the band continue to release albums on an obscure independent label. But Green Day paved the way for the commercial success of similar bands like Blink 182, Good Charlotte, and the Offspring. Ironically, Green Day’s biggest hit to date, “Good Riddance (Time Of Your Life),” is an acoustic ballad complete with a string arrangement.

Some fans prefer the raw, early version of the band, while others like the more commercial sound. Dirnt (his stage name is the sound a bass makes) says that with so many albums to choose from, it’s natural that some fans identify with one version of the band over another.

“Every fan is especially attached to one record more than the other ones,” he said. “Whether they got into us on our first record, or because of “Time of Your Life,” they consider that their Green Day record. We like to pull songs from the entire catalog when putting the set list together.”

Here’s Green Day performing “Boulevard of Broken Dreams” live:

Dirnt (born Mike Pritchard) and Armstrong formed their first band, Sweet Children, in Rodeo, California when they were 14 years old. By 1989, the group had added drummer Al Sobrante (born John Kiffmeyer) and changed its name to Green Day.

Later that year, they independently released their first EP, 1,000 Hours. Its success led to a contract with Lookout! Records, a local independent label. The band’s first full-length album, 39/Smooth, was released later that year. Shortly thereafter, Sobrante quit the band and was replaced with Tre Cool (born Frank Edwin Wright, III).

Throughout the early 90's, Green Day continued to cultivate a strong cult following. The underground success of their second album, 1992's Kerplunk, led to the band signing with Reprise Records.

Dirnt says that while Green Day grew out of the San Francisco Bay area punk scene, they’re don’t hesitate to explore other styles of music.

“In a lot of ways, the word 'punk' carries a stigma to it,” he says. “The music comes first, it’s not like we’re stuck in any ditches. Everybody has lots of different influences. We grew up listening to all kinds of things. I was addicted to Top-40 radio when I was a kid. When I first started getting into rock ‘n’ roll, I remember the first things I really liked were AC/DC’s Back In Black album, and Billie Joel’s ‘It’s Still Rock ‘n’ Roll To Me.’”

Rather than alienate punk purists, Dirnt says that Green Day’s forays into more commercial material have simply allowed them to broaden their audience.

“The range of people at our shows is really insane,” he says. “Most of our fans tend to be guys between 14 and 30, but we have kids as young as 6 up to people in their 50’s, and even older. Girls, women, punks, and college kids… the mix is just incredible.”

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KATHY MATTEA DIGS DEEP FOR 'COAL'

2009-04-23T09:44:00.008-05:00

In a telephone interview a few years ago, country-folk singer Kathy Mattea explained a difficult decision she had made.

"I began to realize that if I stayed, we would just be at war with each other," she said. "Life is too short to live that way - to stay because you're afraid of the unknown. I'd rather be free to go out there and see what else I can do. It was a very amicable parting."

No, Mattea was not relating the details of a marital break-up. She remains happily married to songwriter Jon Vezner, her husband of 21 years. She was speaking about a divorce of sorts, however – her decision to leave Mercury Records after 17 years as a recording artist with the label.

"When I recorded my last album [2000's The Innocent Years], I was trying to bring my own personal experience to my work on a new level," she says. "I felt really good about it and Mercury was thrilled when I turned it in."

Where Mattea’s and Mercury's views differed, however, was in how the album would be promoted and marketed. Despite receiving numerous critical accolades, the album fell short of reaching the audience and attaining the commercial success for which Mattea had hoped . She left Mercury without any future plans in mind.

"I was just willing to do the next right thing," she says. "If it was making records and selling them on the Internet, fine. If it was going to a smaller label, that would be fine too."Mattea signed with Narada Records for three albums – Roses (2002). Joy for Christmas Day (2003), and Right Out of Nowhere (2007). She took the independent route for her latest album, the Grammy nominated Coal, which was released last year on her own Captain Potato label.

Produced by Marty Stuart, Coal is a collection of classic mining and mountain songs in which Mattea pays tribute to the West Virginia coal-mining region where she was born. Notable guests on the album include Stewart, Patty Loveless, Fred Newell, and Tim and Mollie O'Brien. In a press release, Mattea says that she had first considered recording an album like Coal when she was 19 and heard the song “Dark as a Dungeon” for the first time.

Here's a video of Mattea performing a live version of "Coal Tattoo" from Coal:

The album remained an idea on the singer’s back-burner until the tragic Sago Mine Disaster, which killed twelve West Virginia miners in 2006, rekindled Mattea’s emotional and creative need to address the situation.

“Sago was the thing that brought it all back to the surface,” Mattea says. “When I was about nine, 78 miners were killed in the Farmington Disaster, near Fairmont in 1968. When Sago happened, I got catapulted back to that moment in my life and I thought, ‘I need to do something with this emotion, and maybe this album is the place to channel it’. And so I knew the time was right.”

Over the course of a career that began in 1984 with the release of her self-titled debut album, Mattea has enjoyed a fair share of commercial success. Of her 17 albums, six – including 1987's Untasted Honey, and 1993's Walking Away A Winner – have gone gold or platinum. Her number-one hits include "Goin' Gone," "Eighteen Wheels and a Dozen Roses," and "Burnin' Old Memories."

Despite her track record, the 49-year-old singer-songwriter says that her ultimate measure of success has little to do with the commercial aspects of the business.

"I made a conscious choice at a certain point in my career that instead of pursuing a career that had to do with feeding the machine of stardom, I really wanted to pursue a career that was centered more around the music," she says."I know that I'm not going to keep doing this forever. I really want to enjoy the time I choose to continue performing. Mostly, I just want to walk away with my heart full. That's how I can be on the road for over 25 years and still enjoy it. As long as I keep that as my criteria and my benchmark, the rest of it will fall into place."

----------------------------------------------------------------------------------

Kathy Mattea Tour Dates:

April
23 - College Park, MD - Clarice Smith PAC
24 - Princeton, WV - Chuck Mathena Center
25 - Clayton, NC - Clayton Center
27 - Madisonville, TN - Hiwassee College- Butcher Aud.

May
07 - Greenville, SC - The Handlebar
08 - Morganton, NC - Municipal Auditorium
09 - Frederick, MD - Weinberg Center
13 - Nashville, TN - Station Inn *Second Show Added!*
14 - Bowdon, GA - Copeland Hall
15 - Nashville, TN - Station Inn
*Private Show: Limited General Seating still available*
16 - Brookfield, WI - Wilson Center for the Arts
28 - (solo) Pittsburgh, PA- PA Presenters Conference- Keynote Speech

June
06 - Hammond, LA - Columbia Theater w/Marty Stuart
13 - (solo) Klamath Falls, OR - Oregon Institute of Technology
Commencement Speech
20 - Shakori Hills, NC- MountainAid Benefit Concert- Festival Grounds
25 - Arvada, CO - Arvada Center Amphitheater

July
04 - Ripley, WV 4th of July Celebration - Court House Square
11 - Harbor Springs, MI - Blissfest
18 - Ridgefield, CT - Ridgefield Playhouse
23 - Hillsdale, NY - Falcon Ridge Festival
26-31 - (solo) Swannanoa, NC - Warren Wilson College

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FREE MUSIC FROM THE DAVE MATTHEWS BAND

2009-04-15T10:23:00.005-05:00

Fans of the Dave Matthews Band that can't wait for the June 2nd release of the group’s new album, Big Whiskey and the Groogrux King, can sample a track for free starting today. Now through April 20, “Funny The Way It Is,” the lead single from the album, will be available for a free download at the band’s website, davematthewsband.com, or by clicking here.

Anyone who pre-orders the new CD at the band's website will also receive the group's upcoming live album, Live Trax 15, for free. Live Trax 15 was recorded at the group's August 9th, 2008 show at Alpine Valley Music Theatre in East Troy, Wisconsin. It was one of the most fan-requested shows for release from last year's summer tour.

Big Whiskey and the GrooGrux King, is the band's first studio album in four years, and the first the group has released since the death of saxophonist LeRoi Moore, who passed away last August while the group was on tour and midway through making the album.

"We knew that first of all, we had to finish this record that he was already in love with,” Matthews said in a press release. “So all of us went back in with the attitude 'We can't mess around with this one, because this one is an ode.’”

Here’s a video sampler from Big Whiskey and the Groogrux King:

"It's so powerful to have Roi here with us for one last time on an album," adds violin player Boyd Tinsley. Guitarist Tim Reynolds, trumpeter Rashawn Ross, and saxophonist Jeff Coffin also play on the album and will join the band on tour. You can also catch DMB on the morning of Friday, June 5th, when the band performs at New York’s Rockefeller Plaza on NBC's "Today" show. It will mark the first morning television appearance in the band's career.

Dave Matthews Band Tour Dates:

Apr. 14 - New York, NY - Madison Square Garden
Apr. 15 - East Rutherford, NJ - IZOD Center
Apr. 17 - Charlottesville, VA - John Paul Jones Arena
Apr. 18 - Charlottesville, VA - John Paul Jones Arena
Apr. 20 - Pelham, AL - Verizon Wireless Center
Apr. 22 - Raleigh, NC - TWC Music Pavilion
Apr. 24 - Charlotte, NC - Verizon Wireless Amphitheatre
Apr. 25 - Nashville, TN - Vanderbilt Stadium
Apr. 26 - New Orleans, LA - New Orleans Jazz & Heritage Festival
Apr. 28 - Alpharetta, GA - Verizon Wireless Amphitheatre at Encore Park
Apr. 29 - Alpharetta, GA - Verizon Wireless Amphitheatre at Encore Park
May 1 - The Woodlands, TX - The Cynthia Woods Mitchell Pavilion
May 2 - Dallas, TX - Superpages.com Center
May 5 - Albuquerque, NM - Journal Pavilion
May 6 - Phoenix, AZ - Cricket Wireless Pavilion
May 8 - Las Vegas, NV - MGM Grand Garden Arena
May 9 - Las Vegas, NV - MGM Grand Garden Arena
May 27 - Darien Center, NY - Darien Lake Performing Arts Center
May 29 - Boston, MA - TBA
May 30 - Boston, MA - TBA
June 5 - Hartford, CT - New England Dodge Music Center
June 6 - Hartford, CT - New England Dodge Music Center
Jun. 9 - Toronto, ON - Molson Amphitheatre
Jun. 10 - Montreal, QC - Parc Jean Drapeau
Jun. 12 - Saratoga Springs, NY - Saratoga Performing Arts Center
Jun. 13 - Saratoga Springs, NY - Saratoga Performing Arts Center
Jun. 16 - Cincinnati, OH - Riverbend Music Center
Jun. 17 - Maryland Heights, MO - Verizon Wireless Amphitheatre
Jun. 19 - Burgettstown, PA - Post-Gazette Pavilion
Jun. 20 - Burgettstown, PA - Post-Gazette Pavilion
Jul. 18 - East Troy, WI - Alpine Valley Music Theatre
Jul. 19 - East Troy, WI - Alpine Valley Music Theatre
Jul. 21 - Wantagh, NY - Nikon at Jones Beach Theater
Jul. 22 - Wantagh, NY - Nikon at Jones Beach Theater
Jul. 24 - Hershey, PA - Hersheypark Stadium
Jul. 25 - Detroit Lakes, MN - 10,000 Lakes Festival
Jul. 28 - Clarkston, MI - DTE Energy Center
Jul. 29 - Cleveland, OH - Blossom Music Center
Jul. 31 - Noblesville, IN - Verizon Wireless Music Center
Aug. 1 - Noblesville, IN - Verizon Wireless Music Center
Aug. 4 - Syracuse, NY - Alliance Bank Stadium
Aug. 5 - Bethel, NY - Bethel Woods Center for the Arts
Aug. 7 - Virginia Beach, VA - Verizon Wireless Virginia Beach Amphitheater
Aug. 8 - Bristow, VA - Nissan Pavilion
Aug. 12 - Tampa, FL - Ford Amphitheatre
Aug. 14 - West Palm Beach, FL - Cruzan Amphitheatre
Aug. 15 - West Palm Beach, FL - Cruzan Amphitheatre
Aug. 29 - San Francisco, CA - TBA
Aug. 30 - Fresno, CA - Save Mart Center
Sept. 1 - West Valley City, UT - USANA Amphitheatre
Sept. 4 - George, WA - The Gorge Amphitheatre
Sept. 5 - George, WA - The Gorge Amphitheatre
Sept. 6 - George, WA - The Gorge Amphitheatre
Sept. 12 - Chula Vista, CA - Cricket Wireless Amphitheatre
Sept. 13 - Irvine, CA - Verizon Wireless Amphitheater
Sept. 19 - Scranton, PA - Toyota Pavilion at Montage Mountain
Sept. 22 - Camden, NJ - Susquehanna Bank Center
Sept. 23 - Camden, NJ - Susquehanna Bank Center
Sept. 25 - Des Moines, IA - Principal Park
Sept. 26 - Tinley Park, IL - First Midwest Bank Amphitheatre
Sept. 29 - Little Rock, AR - Dickey-Stephens Park
Sept. 30 - Kansas City, MO - Sprint Center
Oct. 2 - Tulsa, OK - BOK Center

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THIN LIZZY: OUT OF THE VAULTS & "STILL DANGEROUS"

2009-04-06T15:58:00.011-05:00

With new albums by U2 and alt-country rocker Neko Case grabbing the lion’s share of media attention the week it was released, the “new” album by the Dublin, Ireland-based classic rock band Thin Lizzy – Still Dangerous: Live at the Tower Theatre Philadelphia 1977 (VH1 Classic Albums) – flew in a bit under the radar.

True to its somewhat cumbersome but descriptive title, the ten-song collection was compiled from tapes discovered a few years ago “in the vaults” according to Thin Lizzy guitarist and album co-producer Scott Gorham.

“We pulled all these boxes down, and I didn’t even realize how many we had!” Gorham says in a press release. “One of the engineers was cataloging each reel, and one box came up marked `Philadelphia 2.’”

It turns out that the show was recorded for broadcast as part of the “King Biscuit Flower Hour” syndicated radio show. Thin Lizzy – at the time featuring the classic lineup of singer, songwriter, and bassist Phil Lynott, guitarist Brian Robertson, drummer Brian Downey, and Gorham – was touring the U.S. in support of its Bad Reputation album, which had been released a month earlier.

As part of that tour, Thin Lizzy played two consecutive nights at the Tower (which those of us in the Tri-State area know is located in Upper Darby, Pennsylvania - not Philadelphia). The tracks on Still Dangerous were recorded at the first show on October 20, 1977 (ironically the same night three members of Lynyrd Skynyrd and their road manager were killed in a tragic plane crash).

My guess is that some of you reading this were in the audience one of those nights (shoot me an email if you were). But even if you weren’t there – even if the only song you know from Thin Lizzy is “The Boys Are Back In Town” – this is a CD you should add to your collection.

Thin Lizzy never found the audience it deserved here in the States. Drug and alcohol abuse among the band members took its toll (Lynott died in 1986 at age 36). But the quality of Lynott’s songwriting, the band’s stellar musicianship, and Thin Lizzy’s continued influence on rock music can’t be denied.

Producer Glyn Johns (Led Zeppelin, Rolling Stones) came out of retirement to remix and remaster the album. The results sound remarkably good, especially considering the source tapes are over 30-years-old.

Purists might quibble that the entire 16-song set that was recorded that night (available for streaming at Wolfgang’s Vault ) should have been included on the CD. However, the 10 songs that are featured offer a nice mix of hits (“Jailbreak,” “The Boys Are Back In Town,” “Dancing In The Moonlight”), fan favorites (“Cowboy Song,” “Massacre” “Don’t Believe A Word”) and rarities (“Soldier Of Fortune” and “Opium Trail” – neither of which has ever appeared on a Thin Lizzy live album). The band’s pioneering twin lead guitar attack is in full force, and the concert setting only enhances the depth and variety of Lynott’s songwriting.

Here’s the complete track listing for Still Dangerous: Live at the Tower Theatre Philadelphia 1977:

1) Soldier Of Fortune

2) Jailbreak

3) Cowboy Song

4) The Boys Are Back In Town

5) Dancing In The Moonlight

6) Massacre

7) Opium Trail

8) Don’t Believe A Word

9) Baby Makes Me Cry

10) Me And The Boys

Enjoy this classic video of "Dancing In The Moonlight (It's Caught Me In Its Spotlight)":

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WEEZER - STILL 'RED' HOT

2009-03-30T22:37:00.005-05:00

Considering that most rock bands don’t last five years in the music business, you’d expect one that has thrived for more than 15 to stick to its proven formula for success. But on their latest self-titled release (a.k.a. The Red Album), the members of L.A.’s power-pop-rock band Weezer decided to shake things up a bit.

“One of my greatest challenges this time was to write songs that didn’t have the same old verse-chorus-bridge structure,” says singer, songwriter, and guitarist Rivers Cuomo in a press release for the album.

Beyond arrangements and song structures, a more obvious change can be found in the song credits. Weezer’s biggest hits from its previous five albums include “Buddy Holly,” “Say It Ain’t So,” “Undone (The Sweater Song),” “Hash Pipe,” “Island In The Sun” and “Beverly Hills” — all written and sung by Cuomo. On The Red Album, all four members of the band, which also includes guitarist Brian Bell, drummer Pat Wilson, and bassist Scott Shriner, contribute to the songwriting, and each takes a turn on lead vocals.

In an exclusive interview last September, Bell said that Cuomo’s decision to more fully involve the entire group in the creative process generated a sense of camaraderie that blossomed when the band regrouped for some unique live performances in the summer of 2008.

Dubbed “the Hootenanny Tour,” it allowed musically inclined fans to bring their acoustic guitars and other instruments to the shows and play along with their heroes on a set of Weezer originals and covers. The lucky participants were selected in advance via YouTube tryouts.

“It was more fun than I could possibly imagine,” Bell said. “We hadn’t played live for [more than two] years as a band, and it was a really good way to get our feet wet again. It really helped get a great vibe going within the band and was a great bonding experience between us.”

Much of the thrill for both the band and the fans stemmed from the interactive nature of the shows.

“We didn’t know what to expect,” Bell says. “We weren’t up on a stage. We were in the middle of the floor, and the people were between us. It was kind of frightening at first, but the energy was so positive, and the smiles on people’s faces were so welcoming and inviting that we all relaxed and had a great time.”

Here's "The Greatest Man That Ever Lived" from The Red Album:

Bell said that same sense of fun and rekindled excitement within the band was evident on the group’s recent tour.

“We’re utilizing everybody’s talents, the way that I always wanted to,” he said. “Along with playing bass, Scott has keyboards on his side of the stage. I also have some keyboards, as well as vocal responsibilities. Pat sings and plays guitar. Rivers plays some drums. It’s fun for all of us to show what we can do in addition to playing our usual instruments.”

Much of the media attention Weezer has received lately focuses on the more democratic nature of the group, largely because in the past Cuomo was perceived as a control freak — a view further propagated by the fact that he was uncomfortable with interviews and media attention in general. As James Montgomery wrote for MTV News, “[Weezer] was seen as his personal vehicle, operating on his personal schedule and subject to his personal whims.”

But Bell, who joined the group prior to the recording of the band’s self-titled 1994 debut (a.k.a. The Blue Album), says all members of the band have always had creative input in the recording process.

“We’ve always contributed things like introductions, suggestions of arrangements, the feel of songs, ideas for sounds,” he says. “Of course, Rivers is extremely talented and knows what he wants. I think he’s one of the best melodic writers of our time. If he has a melody and a song that he’s into, I try my best to see his dream through and make it a reality.”

Bell also believes that, as Cuomo has gotten older, he has become more comfortable with the non-musical aspects of the music business.

“There was a time when Rivers would give a number to the amount of interviews he was going to do for an album cycle,” Bell says. “It’s not his favorite thing to do. But I see him getting much, much, much better at it — really answering questions truthfully, and with some wit, and not letting it affect him so much.”

If nothing else, Cuomo finally seems comfortable in his own skin. While he’s always written from the perspective of someone out-of-step with the trendy and popular, his lyrics on The Red Album seem to embrace his inner geek.

“I’m ‘a do the things that I want to do / I ain’t got a thing to prove to you” he sings on “Pork and Beans.”

With a revitalized sense of purpose, it’s no surprise that Weezer is already making tentative plans to record its next album, currently penciled in for a late 2009 release.

“There are so many incarnations and periods of the band that it does feel fresh and new again,” Bell says. “I keep using the word ‘fresh,’ but it’s really true. I don’t feel burned out. In a way this feels like a first album for this band.”

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IDINA MENZEL - BROADWAY STAR SHINES AS A SINGER-SONGWRITER

2009-03-25T15:22:00.006-05:00

It can be a daunting task for an established Broadway musical actor or actress to cross over to a career as a mainstream pop singer. That’s especially true when the artist creates or defines a memorable stage role, and audiences begin to view the performer and the role as one and the same.

In a relatively brief twelve-year Broadway career, Idina Menzel has already created two landmark characters – the bi-sexual performance artist Maureen in Rent, and her Tony Award-winning role as Elphaba, the Wicked Witch of the West in Wicked. She’s also branched out to non-musical roles in television and film (most notably as Patrick Dempsey’s fiancé in Enchanted).

The 37-year-old Long Island native has been touring in support of her latest album (and Warner Brothers Records debut) I Stand.

Her character? Singer-songwriter Idina Menzel.

In her performances Menzel will certainly acknowledge her stage career, perhaps with renditions of Wicked’s “Defying Gravity,” or Rent’s “Take Me or Leave Me,” but concert-goers should expect the bulk of Menzel’s repertoire to be drawn from her own material.

Make no mistake – this is NOT a case of a Broadway singer simply “turning pop.” Menzel’s professional resume as singer-songwriter dates back to 1998, when she released her underrated debut album, Still I Can’t Be Still. The lively, wide-ranging mix of pop, rock, and soul showcased Menzel’s wonderful voice and knack for crafting memorable, somewhat quirky (in a good way) tunes, but failed to find a large audience.

Menzel was eventually dropped from her record label. She spent the next ten years establishing her stage career, but never abandoned her music. During that time she contributed to a few soundtracks and other albums, and in 2004 released a six-song EP entitled Here on the independent Zel Records label.

Menzel was signed to Warner Brothers Records, which released I Stand last year.

Menzel worked with Glen Ballard (Alanis Morissette, Shakira, Annie Lennox) who produced and co-wrote all but one of the songs on I Stand with Menzel. Featuring the singles “Brave,” “Gorgeous,” and the title track, the album is a strong mix of engaging, soulful pop and heartfelt ballads. Menzel’s powerful voice is in top form throughout, but the bigger surprise is the maturity of her songwriting.

Here's the "I Stand" lyric video:

In a press release, Ballard commented, “It's very rare when you have somebody with Idina's vocal skills who also writes so eloquently about what's important to her. I knew I was working with a first-rate writer. She has stories to tell and they're really worth hearing."

Menzel says she’s thrilled when fans dig deep into her lyrics and interpret her songs.

"Sometimes when people hear my new songs they take a completely different meaning from them than what I originally intended,” she says. “I just love that. As a songwriter, it means I've accomplished something bigger than myself."

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GOOD WORKS: Menzel has recorded a brand-new song called "Hope" in support of Major League Baseball and its ongoing programs to raise awareness, as well as funds for research through the new Stand Up To Cancer (SU2C) initiative. Idina's recording of "Hope" was selected as the signature title song for important, inspiring efforts throughout the baseball industry. The song release marks the launch of a series of forthcoming initiatives to be announced at a later date.

"Hope" — which was written by award-winning composer Paul Hampton and produced by Steve Lipson (Annie Lennox, Whitney Houston, Paul McCartney) — is available for purchase through iTunes® and other online retailers.

Proceeds from the sale of the track will go to benefit Stand Up To Cancer. Fans will also be able to get the info on downloading the new song by visiting http://www.idinamenzel.com/, as well as www.MLB.com/Hope.

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Upcoming tour dates for Idina Menzel:

Mar 25, 2009 Glenside/Philadelphia, PA - Keswick Theatre - Buy Tickets
Mar 27, 2009 Wilmington, DE - Grand Opera House - Buy Tickets
Mar 28, 2009 Greenvale, NY – Tilles Center Concert Hall - Buy Tickets

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METALLICA, KANYE WEST, PERRY FARRELL & TORI AMOS AT THIS YEAR'S SXSW MUSIC FESTIVAL

2009-03-24T07:04:00.009-05:00

Does the performance of a superstar act like Metallica help or hurt SWSW?

The South by Southwest Music Festival, or SXSW for short, is one of the biggest, most high-profile annual music festivals in the United States. The Austin, Texas event is one of three festivals (film and interactive media are the focus of the other two) hosted by Austin each year.

Originally geared to music industry professionals to showcase unsigned or up and coming talent on a national level, the twenty-three-year-old event is now a bona fide schmooze-fest for fans, media, and music industry insiders alike. It is the musical equivalent of France’s Cannes Film Festival, with a bit of Mardi Gras thrown in for good measure.

This year’s event ran from March 18 to 22 and featured more than 1,800 musical acts of all genres from around the globe performing on over eighty stages in downtown Austin. Traditionally, most of the performers at the Festival are up-and-coming acts for which an appearance at SXSW has provided early national exposure. For example, Lily Allen was one of the breakout performers at the 2007 Festival.

In recent years, however, more and more established acts have been making “surprise” appearances at SXSW. While their performances are welcomed and appreciated by the music fans in attendance, the presence of chart-topping stars naturally draws media and industry attention away from the newer artists SXSW was originally intended to spotlight.

This year’s Festival featured performances by superstar artists like Metallica, Kanye West, Perry Farrell, and Tori Amos. That was great for the fans, but perhaps not so great for Beach House, the Pepper Pots (pictured left), or any of the hundreds of other lesser-known artists that were trying to generate a buzz in Austin.

Here’s a YouTube video of Kanye West performing “Amazing” at this year’s SXSW (warning: graphic language):

The participation of a few established artists is beneficial to SXSW – it generates publicity, and fosters continued interest in the Festival and similar events around the country. But when it comes to superstars at SXSW, it's not a matter of the more the merrier. I hope that SXSW organizers will be wise enough to regulate the number of star performances in the future.

As it is, SXSW is the United States’ premier music event highlighting new or unknown artists. I’d hate to see it turn into just another red-carpet celebrity showcase.

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GEORGE THOROGOOD BACK HOME IN DELAWARE FOR A "GRAND" SHOW

2009-03-18T15:26:00.008-05:00

The self-proclaimed “World's Greatest Bar Band” – George Thorogood and the Delaware (yes, we’ll use the group’s full name here) Destroyers – return to their home state for a show at Wilmington, Delaware’s Grand Opera House on Monday, March 23 at 8:00 pm. Tickets are priced from $35 to $52. For more information, call the Grand box office at 302-652-6677.

It’s hard to believe, but it has been six years since Thorogood and the Destroyers performed in Delaware. They rocked Wilmington's Big Kahuna back in 2003.

I’ve never interviewed Thorogood, but through stories told by friends of friends, he always impressed me as a fairly unpretentious guy who charted his own course – as passionate about his semi-pro baseball team as he was about his music career.

The March 2009 issue of Delaware Today magazine features an article that chronicles Thorogood’s career, and what writer Matt Amis calls Thorogood’s “checkered relationship” with his home state. Maybe Thorogood did have a rough adolescence here, but by the early 80s, after he had become Delaware’s first bona fide rock star of the MTV age, Thorogood seemed to have reconciled with his past.

Even though he didn’t officially live here, he certainly was spending time in the area. On at least one occasion circa 1982-83, Thorogood showed up unannounced with his guitar at a now defunct Newark, Delaware bar and grill called the Crap Trap and played a set for open mic night.

Thorogood appears to have maintained that same unassuming personality trait to this day. Regarding his return to Delaware, Thorogood is quoted in the Delaware Today feature as saying, “I’m really looking forward like you wouldn’t believe…. I used to think the only way I’d get into the Grand Opera House is if they asked me to sweep the floor.”

Monday’s show at the Grand is going to be recorded for an upcoming live album. If it comes to fruition, it will be the first live album by a nationally known music artist ever recorded entirely in Delaware.

Give “Lonesome George” credit for remembering the First State. Thorogood is one of only a handful of nationally known music artists to mention or allude to Delaware in his songs. In addition to Thorogood’s “Delaware Slide,” the slim list includes “School Days” by Loudon Wainwright III, “Dover, Delaware” by Canadian folk-roots band the Duhks, Perry Como’s “Delaware,” and Fats Waller’s “(You’re A) Square From Delaware.”

Examples of live recordings originating in Delaware are even rarer. In fact, the only other occurrence that I can find of a live recording taking place in Delaware during the rock era is a track on Earthbound, a 1972 album by the British progressive rock band King Crimson. The album opens with a track called “21st Century Schizoid Man” that was recorded in Wilmington at the old State Armory (which used to be located at 10th and DuPont Streets) on February 11, 1972.

King Crimson was opening for the J. Giles Band that night.

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TOP-10 IRISH ARTISTS IN ROCK AND POP

2009-03-17T20:11:00.005-05:00

Irish musicians have played important roles and influenced every style of music imaginable – from classical, to jazz, to folk, to country. In honor of St. Patrick’s Day, here’s a list of ten notable Irish artists and bands in the pop and rock genres. The list is by no means meant to be definitive, just this Honorary Irishman’s humble opinion. In alphabetical order:

***

The Boomtown Rats – Led by future humanitarian Bob Geldof, these post-punk rockers never found a large audience in the States. Even their biggest worldwide hit, “I Don’t Like Mondays” fell short of the Top-40 here. Still, the group’s blend of epic, Springsteen-esque story-songs and punk attitude are worth checking out, especially on the group’s U.S. debut, A Tonic for the Troops.

***

Clannad / Enya – Clannad had been creating its unique combination of traditional Irish folk, Celtic, pop and new age music since the early 70s. It took ten years for the group to achieve international success, primarily through its work on various movie and television soundtracks. Eithne Ní Bhraonáin, better known as Enya, struck out on her own in the mid-80s and found even greater success creating ethereal, multi-layered vocal orchestrations that walked a fine line between pop and new age.

***

The Corrs – This three sisters and a brother act enjoyed a great deal of worldwide success in the ten year period between 1996 and 2006. The band’s sound, epitomized by hits like “Runaway” and “Breathless,” leaned heavily toward pop-rock, but contained a fair sprinkling of traditional Irish influences and instrumentation.

***

The Cranberries – This Limerick-based alternative rock band enjoyed plenty of airplay and chart success for most of the 90s on the basis of its two great strengths – sharp pop songwriting (typified by hits like “Linger,” “Dreams,” and “Salvation”), and the pure, powerful voice of lead singer Dolores O'Riordan.

***

Rory Gallagher – The late, great blues-rock guitarist Rory Gallagher died too young – he was only 47 when years of substance abuse finally caught up with him in 1995. Although his albums sold over 30 million copies worldwide, perhaps his most important and lasting contribution to music is evidenced by his acknowledged influence on guitarists like The Edge, Slash, Johnny Marr, Glenn Tipton, and Brian May.

***

House of Pain / Everlast – In the early 90s, white rappers were still a novelty, and legitimate white rappers were an even bigger rarity. Spittin’ lyrics in a full-on brogue, Everlast stepped to the plate not as a copycat, but as a “copy that.” With an even more successful solo career he demonstrated his range in a variety of musical genres.

***

Van Morrison – Morrison is the reigning monarch of Irish singer-songwriters. Fans might question whether this Rock and Roll Hall of Fame inductee should be recognized more for his exceptional songwriting or for his unique, soulful voice. Fortunately, there’s no need to rush a decision – at age 63, Morrison is still going strong.

***

The Pogues – Some reviews of Pogues concerts talk of shows of unparalleled power and elegance, others of performances marred by incoherent drunkenness. The focal point of contradiction is always Shane MacGowan — singer, songwriter, and enigmatic leader of the group — the man who's equally responsible for the Pogues' greatest achievements as well as its occasional downfalls.

***

Thin Lizzy – For my money, Thin Lizzy is one of the most underrated rock bands of all time. Lead singer Phil Lynott was a fine songwriter, and a charismatic front man. The group was one of the pioneers of the twin lead guitar sound, and a terrific live act.

***

U2 – Okay, Bono and the boys can get a bit pretentious at times, but as a band they’re still the current kings of the mountain. The group has been around long enough to be considered classic rock, but as evidenced by its new chart topping effort, No Line on the Horizon, the band is still taking chances – and finding a large audience in the process.

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Carrie Underwood Does Motley Crue on 'American Idol'

2009-03-13T20:26:00.012-05:00

My friends are usually very surprised to learn that I’ve never watched a full episode of “American Idol.” Knowing how much I love music and how I try to stay hip to new artists, they are astonished by my indifference to the show. Call me old-fashioned, but I still prefer musicians to work their way up the ladder – playing local clubs and bars and building their audience and reputation one fan at a time.

I’m sure the contestants who make it to the finalists round on the show have worked hard and are dedicated to their music. But by its very nature, the “American Idol” setup is flawed.

I’ve always maintained that being a music critic is much more time-consuming than reviewing theater, movies, television, or books. In every other case, only one viewing or reading is necessary to form an opinion. Music, on the other hand, must be listened to repeatedly before a valid opinion can be formed.

How many times has your opinion of an album changed the more you listened to it? Sometimes a CD that didn’t grab you for weeks ends up being one of your all-time favorites. On the other hand, music that has instant likability often loses its appeal and proves trite or shallow in the long run. But with “American Idol,” the whole point is to gauge the public’s instant, knee-jerk reaction.

Shouldn’t an artist’s songwriting ability also play a part when judging his or her overall talent? On “American Idol” it’s not even considered. Maybe the name of the show should be changed to “American Idol Cover Artist.”

There have been American idols chosen from the country and soul/R&B genres, but most are cast out of the same homogenous Top-40 pop-rock mold. If you are a fan of bluegrass, hip-hop, reggae, or jazz, don’t expect to see an “American Idol” winner representing your favorite style of music anytime soon.

All that being said, I did tune in the conclusion of the Wednesday, March 11 show. I wanted to hear how well country-pop ingénue Carrie Underwood could pull off a version of Mötley Crüe's “Home Sweet Home.” It was about what I expected - a country-rock-pop ballad that reminded me of Poison's "Every Rose Has Its Thorn."

The season-four winner recorded a cover of the metal band’s most famous power ballad to serve as the new swan song for voted-off contestants. If watched the show and you like what you heard, the song will be available as a digital single exclusively on iTunes through March 16. After that it will be released via other online music retail sites. A portion of the proceeds from sales of the single will benefit the Humane Society of the United States.

"American Idol" airs Tuesdays at 8 pm and Wednesdays at 9 pm on Fox.

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BMG Music Service Shutting Down

2009-03-11T00:03:00.008-05:00

Brick and mortar music stores aren’t the only outlets adversely affected by the digital download era. First the Columbia House Music Club bit the dust, now BMG Music Service is closing up shop.

Current members recently received an email informing them that the BMG Music Service is being discontinued as of June 30, 2009. They will have until May 31 to redeem certificates or make purchases on the club’s website - bmgmusic.com.

The closing marks the end of an era. For years, both Columbia House (originally known as the Columbia Record Club) and BMG Music Service (originally known as the RCA Music Club) provided music connoisseurs a way to start or add to their music collections in bulk, with their “6 for the price of one” or “Get 11 albums free” offers.

I can still remember as a young teenager getting my introductory shipment of a dozen or albums from Columbia House and thinking, “Wow, I’ve got every album I’ve always wanted.”

A few thousand albums later, I’m still working on that – but that’s another story.

The history of the record clubs starts with Columbia, which was founded in 1955 and was originally owned by CBS Records. RCA Records started up the RCA Music Service shortly thereafter. For most of the years the clubs were in competition with each other, CBS recordings were not available from the RCA club, and RCA recordings were unavailable through Columbia House.

The specifics of the offers changed over the years, but RCA always offered a better deal. With a smaller library of albums, RCA offered fewer “up front,” but required members to only buy one more to complete their membership commitment. Columbia House loaded you up on the front end (11, 12, or more albums), but the membership fulfillment commitment was 5 or 6 albums within three years.

Ahh, those were the days...

Sony acquired Columbia House in 1987 when they bought CBS Records; the same year, RCA was acquired by Bertelsmann Music Group, and its music club was renamed BMG Music Service.

The clubs have not totally vanished - Columbia House still runs a DVD club, and BMG is going to continue its yourmusic.com service, where CDs are sold at reduced prices. But I can’t help but feel that another piece of recent Americana is fading away.

Future generations of young music fans will never know the joy of opening a big box of CDs and thinking, “Wow, I’ve got every album I’ve always wanted.”

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RACING KITES FLYING HIGH WITH NEW EP

2009-03-09T21:31:00.006-05:00

New Jersey's Racing Kites headlines a show this Friday, March 13 at Wilmington, Delaware’s Harmony Grange showcasing five young, energetic pop-rock bands. Joining Racing Kites on the bill are suburban Philly’s The Skylife, The Dangerous Summer from Ellicott City, MD, Horrible Horrible Creatures from Chester County, PA, and Elkton, Maryland/Newark, Delaware-based Christian rockers Love Beyond Reason.

For Racing Kites, the gig is an early stop on a cross-country tour (see complete tour dates below) in support of its brand-new five song EP, Be My Runaway. It’s also a homecoming show for guitarist and backing vocalist Matt Federer, a native Delawarean who still resides here.

The band, which also includes singer-songwriter Alex Ziabko, drummer Rick Szpakowski, guitarist Matt Howard, and bassist Preston Rahbari, has been steadily gaining momentum and growing its fan base since forming three years ago. Racing Kites’ 2006 release, We Hold It All Together sold close to 2,000 CDs and 2,300 downloads on Itunes. Absolutepunk featured them as a “top band to know,” and last year Abercrombie & Fitch selected Racing Kites’ CD sampler to be played in its stores nationwide.

Be My Runaway should only further the group’s chances of landing a recording contract. These young 20-somethings play well-written, high-energy, melody driven pop-rock anthems in the Fall Out Boy, Cartel, All-American Rejects vein.

The title track is typical of the smart, clap-your-hands appeal of the five songs on Be My Runaway. Ziabko sings his young love tales with heart-on-his-sleeve sincerity – all the better to strike a chord with the band’s large contingent of female fans. Backing harmonies, sing-along choruses, and layers of power chords only add to the infectious nature of tunes like “All Night Is Alright,” “Takeover,” and “Tonight’s Attraction.” For a change of pace, there’s the bouncy, acoustic-based “My Everything.”

There’s nothing groundbreaking on Be My Runaway, but everything is done with a professional flair and style. Just as important, the guys all sound like they’re having a blast. Their sense of fun and excitement is contagious and should translate well to a packed house at the Harmony Grange this weekend.

Tickets for the 6 p.m. show are $10. Harmony Grange is located at 3201 Limestone Road in Wilmington. If you can’t make it to Friday’s show, Racing Kites will also perform a free acoustic show at Hot Topic at Wilmington's Concord Mall on Saturday, March 14 at 6 p.m.

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Racing Kites Tour Dates

March 12 Blairsville, PA The Corner Pocket

March 13 Wilmington, DE Harmony Grange

March 14 Wilmington, DE Hot Topic: instore

March 15 Winchester, VA ZeroPak

March 17 Wilmington, NC Soapbox

March 20 SXSW

March 21 SXSW

March 22 San Antonio, TX White Rabbit

March 25 Dallas, TX Live @Mokah

March 26 Rosewell, New Mexico The Unit Center

March 27 Tempe, AZ The Sets

March 28 Palm Springs, CA Ignition

March 30 San Francisco, CA Sub Mission Art Space

April 1 Tacoma, WA Viaduct

April 3 Palmdale, Ca The Crossing

April 4 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 5 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 17 LaCrosse, WI The warehouse

April 18 Mokena, IL The SoundLab

April 19 Morris, IL The Korova

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PAUL STANLEY: ROCK AND ROLL ARTIST

2009-02-26T11:44:00.006-05:00

Paul Stanley – singer, guitarist, and songwriter for the theatrical rock group Kiss – has been known as a rock and roll artist for years. However with his latest endeavor, that title has taken on a whole new meaning.

Last year Stanley’s paintings, not his music, accounted for over $2 million in sales.

Stanley regularly appears at exhibitions of his paintings at various Wentworth Gallery locations across the country.

Stanley, 57, had been an art major at the prestigious High School of Music and Art in New York City. As a teenager, music became his passion, but he never abandoned his love of visual art. Over the years as a member of Kiss, he has expressed his visual creativity at photo shoots, and in stage or album cover designs.

In 2000, while going through a divorce from his first wife, he started painting as a form of personal therapy.

“I turned to painting as a means of self-expression,” Stanley said in a telephone interview. “But what I’ve always found is that when I do something that pleases me, it usually finds an audience and takes on a life of its own.”

His first formal showing was in 2005. To date, he has completed approximately 50 pieces. His work is priced at between $1,000 for a print, to $60,000 for an original acrylic painting.

Stanley admits that his rock star status helped jump start his career as an artist.

“The truth is, my success allowed me to get my foot in the door,” he says. “But ultimately you’re going to be judged on your work. No one is going to buy one of my paintings because they like the way I sing ‘Love Gun.’”

Stanley says he hopes that his name recognition will attract people to exhibitions and museums who would otherwise feel out of place in an art gallery.

“I believe that everybody on the street should enjoy art in a way that perhaps they’re not doing because they’re intimidated by this notion that your opinion has to be educated for it to be valid,” Stanley says. “That’s absurd, because the truth of the matter is that a work of art is valid because you like it. You don’t have to know the reasons why you like a painting, anymore than you have to know why you like a hamburger.”

Most of Stanley’s paintings are bold, stream of conscience abstracts combining basic shapes with a variety of colors and textures. Critics have compared his style to that of Peter Max and LeRoy Neiman.

“The exciting for me is that this success has come so quickly that people actually get to see me develop [as an artist] in front of them,” Stanley says. “I really am a work in progress.”

Kiss is also still going strong. The band recently celebrated its 35th anniversary with it’s most successful tour of Europe ever, playing 30 shows to over a half-million people. The band is preparing for a summer 2009 U.S. tour, and has also begun working on a new studio album, its first since 1998’s Psycho Circus.

Stanley says the two careers can easily co-exist. “I don't bring guitars into my painting studio, and I don't bring paintbrushes on stage,” he says.

The only obvious tie-in between the Queens, New York native’s music and art are four portraits Stanley painted of the Kiss band members in their famous make-up. Stanley says he did it a “a tip-of-the-hat to the fans.”

Ironically, and much to Stanley’s delight, the Kiss portraits are the least popular in the collection. To Stanley, it’s further confirmation that the people acquiring his art are not acquiring it simply because of its Kiss connection.

In many ways, painting now provides the creative outlet that music once did for Stanley as a teenager.

“I find the great thing about art is that it’s very solitary,” he says. “It’s something you do by yourself without an audience. In music, the journey has been much longer. I think I’ve established my musical identity. In art, I’m still finding my way. There’s a newness to it that’s very exciting.”

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BLACK CROWS FLY IN THE FACE OF CONVENTION

2009-02-23T10:01:00.006-05:00

The Black Crowes has always been a band that marched — or should that be flew? — to the beat of its own drummer. Much has changed since brothers Chris and Rich Robinson formed the group — originally called Mr. Crowe’s Garden — in Atlanta, Ga. in 1984. Musical trends as well as bandmembers have come and gone, but the band’s independent spirit, and commitment to the creative vision of the Robinson brothers remains steadfast.

The band released Warpaint, its first studio album in seven years, in March 2008.

“Warpaint is a declaration of our soulful independence,” lead singer Chris Robinson said in a press release for the album. “The thing about the last three years has been, ‘How do we continue to be independent? How do we begin to exercise control and freedom over our own trip?’ That’s what the title is all about.”

“Every record was a great experience to get us to where we are today,” added guitarist Rich Robinson. “This is what we love to do, and we want to do it the best we can. That’s what’s in this [album].”

The band, which also includes original drummer Steve Gorman, bassist Sven Pipien, guitarist Luther Dickinson, and keyboardist Adam MacDougall — is performing a series of sold out shows at Levon Helms Barn in Woodstock, New York through March 7. The group will begin a European tour in the spring.

The long layoff between albums apparently didn’t hurt the band’s popularity. Warpaint entered the Billboard charts at No. 5, making it the group’s best debut since 1992’s The Southern Harmony and Musical Companion.

Since making its major-label debut in 1990, the Black Crowes has enjoyed both critical and commercial success, selling over 18 million albums. The band’s sound, typified by Warpaint’s lead single, “Goodbye Daughters of the Revolution,” mixes Southern-flavored, guitar-based rock, R&B, and a touch of ’60s psychedelia into a groove-heavy mix. The group's best known hits include “Jealous Again,” “Hard To Handle,” “She Talks To Angels” and “Remedy.”

The band has enjoyed its current success strictly on its own terms. Despite the long absence from the public eye, the group granted only a few press interviews to promote Warpaint, which was released on the band’s own label, Silver Arrow Records. The closed-door policy toward the press might be the result of an exchange with Maxim that started when the magazine published a lukewarm review of Warpaint in its March 2008 issue. The problem wasn’t so much the tone of the review, but the fact that the reviewer had only heard one track from the album before writing it. Maxim later admitted its blunder, and issued an apology to its readers (but not to the band).

A rocky relationship with the press is nothing new for the Crowes. In a 1995 interview for the Amorica album (infamous for its bikini bottom cover photo), Rich Robinson told me, “The things that are written about us always have to do with something other than music. People write about what we wear, what we say, what drugs we do, what drugs we don’t do, our album cover, anything other than the music.”

Music has always been the central focus for the Robinsons. They handle nearly all of the songwriting for the band, with Rich writing most of the music and Chris writing lyrics. Chris told me in a 1991 interview that having a songwriting partner that happens to be your brother has its advantages. “Musically there are a lot of unspoken things between us,” he said. “We know when something feels right and when something doesn’t. I’ve tried to write songs with other people and it’s just never felt right.”

And while the band never shunned commercial success, Chris Robinson maintains that even at the height of the band’s popularity, the Black Crowes flew its own course. “Even in our most commercially successful period,” he said, “there was nothing like us on any format. By the time grunge happened, Southern Harmony and Amorica didn’t fit into any part of popular music. We looked different, we sounded different, and we set up our culture a little different.”

Both Robinson brothers insist that their music, not commercial success, has always been their driving force.

“You could take it all away tomorrow and I’ll go back to Atlanta and start again,” Chris said. “You don’t kick the habit just like that. It’s your passion. This is the one vice I’m never going to get rid of."

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CHRIS BOTTI - THE ROCK STAR OF JAZZ

2009-02-20T08:54:00.015-05:00

By jazz musician standards, Chris Botti is a huge rock star.

The trumpet-playing Oregon native earns kudos from jazz critics for his virtuosity and his rich, distinctive tones, but it’s the familiarity of Botti’s romantic melodies and the accessibility of his arrangements that appeals to most fans.

Botti is gearing up for three weeks of radio station appearances starting February 28, 2009, followed by a spring/summer tour in conjunction with the airing of his PBS special and forthcoming album, Chris Botti in Boston.

Botti’s session work with artists like Paul Simon, Sting, Joni Mitchell and Aretha Franklin broadened his familiarity and appeal to pop audiences, while his cinematic good looks and Oprah’s stamp of approval helped shore up a large contingent of female fans.
But Botti is not simply the new millennium’s version of Kenny G.

“I think there’s a huge appetite for jazz-influenced music which is melodic, accessible and reins it in, but doesn’t dumb it down at all,” the 46-year-old Botti said in an interview for the Associated Press last year.

Take Botti’s 2007 release Italia, for example. The songs on Italia are drawn from sources ranging from classical opera, to standards, to the soundtracks of film composer Ennio Morricone. Guest on the album include Paula Cole, Andrea Bocelli, and, through the death-defying powers of studio magic, Dean Martin.

“I think in your mind, you want to have an approach that threads the sound together, even if it’s a very loose thread,” Botti said in an October 2008 telephone interview. “I mean, Italia is a very loose thread, but you just want to have something that you can hang your thoughts on.”

At the time of the interview, Botti was mixing tracks that were recorded last Sept. 18 and 19 during his performances with the Boston Pops Orchestra. Chris Botti in Boston is scheduled to be released on CD and DVD March 31, 2009.

Featuring guest appearances by John Mayer, Josh Groban, Aerosmith’s Steven Tyler, American Idol runner-up Katharine McPhee, classical cellist Yo-Yo Ma, and Sting, the shows with the Boston Pops were typical of the eclectic star-studded projects for which Botti has become known.

Botti’s touring band is a mix of old and new musicians. In addition to long-time bandmembers Billy Kilson (drums), Billy Childs (piano), and Mark Whitfield (guitar), violinist Lucia Micarelli, known for her work with Josh Groban and the Trans-Siberian Orchestra, recently joined the group.

“She comes in and does some of the more classical things that the audience really likes,” Botti says. “She’s a rock star to say the least. So it’s been really fun to have another voice that plays that way. We’re slowly but surely adding her to more songs.”

Botti says that growing up he admired jazz soloists who had crossed over into the rock world like David Sanborn, Steve Gadd, Michael Brecker and Richard Tee.

“All these guys were original sounding on their instrument,” he says, “but they also played with people like Paul Simon, James Taylor, and the Rolling Stones. They were musical and interesting to me, and they had something to say. I thought that [a similar career path] would be a great avenue for me.”

Through his work as a session musician, Botti not only had the opportunity to play with a number of music legends, he also gained valuable studio production experience.

“One of the reasons why I know my way around the studio is because of the training I received sitting in a room watching producers like Arif Mardin make a record,” Botti says. “I got the opportunity to work with every great producer of the last 20 or 30 years.”

Botti released his first solo album, First Wish, in 1995 at the age of 33. At the time, trumpeter Wynton Marsalis had burst upon the scene with an album of standards, but Botti knew he had to set his own course.

“That atmospheric quality is what I really loved about jazz,” he says. “On my earlier CDs I tried to marry that feel to the textures and melodies you might hear on a record by Peter Gabriel or Bryan Ferry.”

In the years since, Botti has stayed extremely busy. Not including Chris Botti in Boston, he’s released a total of 10 albums, as well as a live DVD. He’s produced and guest starred on numerous projects. He was the leader of the house band on "The Caroline Rhea Show" from 2002 to 2003, and he hosted a weekly radio show called "Chill with Chris Botti." He even did a brief acting stint on the daytime drama, "One Life To Live."

Botti already has tentative plans for his next studio album, which he expects to begin working on in June.

“What it’s going to be, I don’t know,” he says. “One of the great things about being successful is the ability to widen your palate and work with orchestras and great arrangers that are very flattering to the trumpet. That ability to make those kind of more classy records as far as the ingredients used — the players, the studios and the arrangers — is something that I don’t want to lose. The key is figuring out what’s the theme, what’s the vibe, what’s the main thread to the album — and that I don’t know yet.”

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All Roads Lead Back to Sting

Ask Chris Botti to name the person who has had the biggest influence on his life besides his parents, and he won’t hesitate to answer. “Sting,” he says. “He’s like a brother to me.” Sting hired Botti as the featured soloist on his 1999-2001 "Brand New Day Tour." The last performance of the tour occurred on Sept. 11, 2001. The date is memorable to Botti for more than the obvious reason.

After the show, Sting did Botti the biggest favor of his career. He fired him.

“Actually, he asked me to leave the band, and to become the opening act on his tour in the same breath,” Botti says. Shortly thereafter, a week of shows were booked at New York’s Beacon Theatre.

“I was opening for Sting,” Botti says. “At one of the shows there was some guy in the audience who listened to the show, then went out, bought my album, and sent it to Oprah.”

Oprah liked what she heard, and invited Botti to be a featured guest on her show. The appearance helped jump-start Botti’s career.

“Sting’s the guy that’s responsible for breaking the sound of my trumpet to the world,” says Botti. “All my roads lead back to Sting’s involvement in my career.”

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Chris Botti 2009 Tour Dates (as of February 2009):

March 2009
31 Mexico City, MEXICO Teatro la Ciudad

April 2009
04 Atlantic City, NJ Tropicana Hotel & Casino
08 Harrisburg, PA Whitaker Center TICKETS
11 Easton, PA State Theater TICKETS
16 Daytona Beach, FL Peabody Auditorium
18 TV APPEARANCE: CBS Saturday Morning Show
23 Sarasota, FL Van Wezel Performing Arts Hall TICKETS
24 Birmingham, AL BJCC Concert Hall w/ Alabama Symphony Orchestra TICKETS
25 West Palm Beach, FL Kravis Center TICKETS
26 Miami, FL Fillmore
28 Clearwater, FL Ruth Eckerd Hall TICKETS
29 Durham, NC Carolina Theatre of Durham
30 Charlotte, NC Blumenthal Performing Arts Center

May 2009
02 Columbus, OH Ohio Theatre
03 Ventura, CA Ventura Music Festival TICKETS
07 Tarrytown, NY Tarrytown Music Hall TICKETS
08 Great Barrington, MA The Mahaiwe Theatre
10 Chicago, IL Chicago Theatre TICKETS
13 Wilmington, DE Grand Opera House TICKETS
14 Englewood, NJ Bergen Performing Arts Center TICKETS
15 Red Bank, NJ Count Basie Theatre TICKETS
16 Utica, NY Stanley Theater TICKETS
21 Meridian, MS MSU Riley Center TICKETS
22 Atlanta, GA Symphony Hall
23 Atlanta, GA Symphony Hall
30 Cerritos, CA Cerritos Center for the Arts

June 2009
03 Boston, MA Symphony Hall w/ Boston Pops
04 New York, NY Beacon Theatre
06 Monterey, CA Monterey Conference Center-Sierra Ballroom

July 2009
02 Montreal, CANADA Montreal Jazz Festival
09 Los Angeles, CA The Greek Theatre
10 Sparks, NV John Ascuaga's Nugget-Celebrity Showroom
11 San Francisco, CA Davies Symphony Hall
12 San Francisco, CA Davies Symphony Hall

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STEPPIN' OUT WITH JOE JACKSON

2009-02-17T11:53:00.008-05:00

Joe Jackson’s name might not frequent the Top-40 or MTV like it did when hits like “Breaking Us In Two,” “Steppin’ Out,” “Is She Really Going Out With Him?” and “You Can’t Get What You Want (Till You Know What You Want)” made him a star more than 20 years ago, but these days the British singer-songwriter isn’t overly concerned with commercial success.

“I have no expectations at all about how my music will be received,” Jackson told the Toronto Star in March 2008. Truth be told, Jackson has never seemed concerned with the commercial aspects of the music business, preferring to follow his creative muse. Slapped with the new wave/punk label when his debut album, Look Sharp! was released in 1979, he disregarded expectations and explored swing (Jumpin’ Jive), jazz (Night and Day), and classical music genres (Symphony No. 1) on subsequent albums.

Jackson recently completed a U.S. tour in support of his latest album, Rain.

For both the album and tour, Jackson reunited with two-thirds of his original band — bassist Graham Maby and drummer Dave Houghton — who worked with Jackson on his first three albums - Look Sharp!, I’m the Man, and Beat Crazy.

“I’m having a lot of fun this tour, especially playing with two old friends,” Jackson said in a telephone interview in the midst of the tour, “and they’re playing better than ever.”

For the Rain album and tour, Jackson wanted to explore the piano-bass-drums trio format. “It’s something that I’ve wanted to do for a few years,” Jackson says. “I think it’s interesting how wide-ranging you can be using just the minimum of resources — just the trio.”

The material on Rain touches on nearly every musical style Jackson has explored in the past, with the bulk of the songs falling close to the pop/jazz flavor of Night and Day, his most popular album.

Jackson says he doesn’t mind playing his oldest hits for his fans. “You can get a bit fed up with playing the same songs over and over again,” he says, “but I think it’s important to give the audience some familiar landmarks, so to speak. We do quite a long show, so we do a lot of new stuff as well as old.”

In the first four years after being signed to A&M Records, Jackson released five albums and an EP. He kept up that prolific pace throughout the 1980s, but has made a conscious decision to slow down in recent years.

“I’m much less of a workaholic now than I was early on,” he says. “I think in the early part of my career, I made too many records and put out too much stuff that was just not as good as it could have been. I think now I’m a lot more particular. I think I’ve come a long way as a lyricist.”

Over the years, Jackson has branched out creatively. In 2000 he published a well-received memoir entitled A Cure for Gravity that he calls “one of the best things I’ve done.” A few years later, he became a bit of a social activist, campaigning against the public indoor smoking ban now in effect in many American and British cities. His most recent endeavor is "Stoker," a play he is co-writing about author Bram Stoker and his process of creating "Dracula."

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YES, INDEED

2009-02-13T14:16:00.008-05:00

In March 2008, members of the British progressive rock band Yes announced plans to celebrate the band's 40th anniversary with its first North American tour in five years. The tour was to feature the group's most commercially successful lineup: singer Jon Anderson, bassist Chris Squire, guitarist Steve Howe and drummer Alan White.

Unfortunately, shortly after the tour was announced, Anderson suffered a severe asthma attack and was diagnosed with acute respiratory failure. Doctors advised him to rest and not work for at least six months or risk further health complications.

Fans assumed they would have to wait at least another year for the tour, but Squire, Howe, and White were determined to carry on. Thus, the "In the Present" tour kicked off in December 2008 in Ontario. The tour was suspended last week after Chris Squire was rushed to the hospital suffering from a blood clot in his leg. He is currently recovering and the tour is scheduled to resume Tuesday, Feb 24 in San Diego at the House of Blues.

Filling in for Anderson on the tour is Benoit David, a Montreal native who fronts a Yes tribute band called Close to the Edge, named after one of Yes' most popular albums. David was discovered when Squire saw a clip of him performing on YouTube and called to offer him an audition.

“This isn't an attempt to replace Jon Anderson because, as we all know, that would be impossible,” Squire said in an earlier statement. “With Benoit, we are bringing in a talented singer so that we can go out and honor the music of Yes for the fans who have waited for the past four years to see us perform.”

The quartet is also joined by keyboardist Oliver Wakeman, the son of legendary Yes keyboardist Rick Wakeman, who, like Anderson, is not touring with the band for health reasons.

Prior to the rescheduling of the tour, I spoke with drummer Alan White by phone. Yes has earned a reputation for crowd-pleasing, virtuoso live performances, but White admitted that choosing a set list from nearly 20 studio albums worth of material can be difficult.

“I like to play the more obscure, crazy stuff," he said. "But the public sometimes demands to hear the stuff we've always done, so we have to do a mixture. The set list is being worked on right now. We're rehearsing some classic songs that personally I like to play, like 'Perpetual Change,' "Close to the Edge,' and 'Awaken.' It's going to be a great evening, I can tell you that."

The last studio album Yes released was Magnification in 2001. White said that at this stage of the band's career, it can tour with or without a new album to promote. However, he added that the group has been working on new material and fans can expect to hear at least one new song on the tour.

By the time White joined Yes in 1972, he had already amassed an impressive resume. While still in his teens, he had worked with Denny Laine, Ginger Baker, and Steve Winwood. In 1969, White received an invitation by John Lennon to drum for the Plastic Ono Band at a show in Toronto. This led to White's participation in recording sessions for Lennon's Imagine album, as well as his involvement in George Harrison's solo debut, All Things Must Pass.

"It was very, very cool," White said about working with Lennon and Harrison. "The one thing about that whole era was I was only 20 years old and I thought it was just a natural progression in the music industry. I thought, 'I guess this is what happens.' It was a very, very special time in my life, but at the time I was just a guy playing the drums that John really liked. Years later, I eventually realized what I had done, in terms of the history of music."

White is equally proud of the place Yes holds in music history, even if the music establishment is reluctant to acknowledge it.

"There's no reason in the world why this band shouldn't be in the Rock and Roll Hall of Fame," he says. "It's really quite surprising how many young fans the band has. I'm not sure whether or not it's brainwashing from their parents, but these kids know all of our music inside and out. I guess the legacy of the band has been pretty huge."

White has witnessed countless changes over his 40 years in the music business. But he says that at least one important aspect of the business has remained constant throughout.

"Playing has stayed the same," he says. "The basic root of everything is how people play together on stage, and the feeling you get performing and creating something that's really, really good. It's like that with Yes. Everybody in the band is very talented. It's a great feeling to perform with people that create such great music."

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REVEREND LOVE

2009-02-10T14:09:00.010-05:00

Al Green was born to preach. Even before he became an ordained Baptist minister, Green was spreading his gospel of love to music fans around the world with signature hits like “I’m Still In Love With You,” “Let’s Stay Together,” and “Sha-La-La (Make Me Happy).” His recent critically acclaimed Top-10 album, Lay It Down, introduced the soul legend to a new generation of fans.

Proving he can still hang with anyone, Green was a last minute replacement for Chris Brown at the 2009 Grammy Awards telecast, and wowed the crowd performing a duet version of his signature hit “Let’s Stay Together” with Justin Timberlake.

In a telephone interview earlier this year, it quickly became clear that you can take Al Green out of the church, but you can’t take the church out of Al Green. Like a preacher swept up in the middle of a fiery sermon, Green has a tendency to break into song in the middle of an answer, and often refers to himself in the third person. It made for an unusual, but entertaining interview.

Green also has a playful sense of humor. When asked if he follows any special regiment to keep his voice in such good shape, he answers, “Yeah I drink a whole bottle of lemonade!”

Green should be in a jovial mood these days. The 62-year-old soul legend is riding a wave of positive publicity in the wake of the May 2008 release of Lay It Down, which incredibly became the first album by the nine-time Grammy winner to debut in the Top-10 of Billboard’s Album Chart.

“I had never had that happen,” Green said. “I really was shocked, and everybody in the band was shocked. Even the album I’m Still in Love With You didn’t debut in the Top-10, and it sold a lot of records.”

From 1971 to 1976, Green did indeed sell a lot of records. He had 13 Top-40 hits, including “Here I Am (Come and Take Me),” “Call Me (Come Back Home),” and “You Ought to Be With Me,” as well as eight albums that reached the Top-30 on the charts.

Green abandoned secular music in the late-’70s, became an ordained minister, and took up residence at the Full Gospel Tabernacle Church, just outside Memphis, Tennessee. For nearly 25 years, Green recorded only gospel and Christmas music.

In 2003, Green signed with Blue Note Records and agreed to record secular music again. Lay It Down is Green’s third album in the past six years. On the previous two, I Can’t Stop (2003) and Everything’s OK (2005), Green reunited with Willie Mitchell, the producer behind Green’s hit albums. In an attempt to recapture, as well as update Green’s classic sound, the albums were recorded in the same studio used in the ‘70s, employing many of the same musicians from 30 years ago.

While both albums were well received critically, I Can’t Stop sold less than 300,000 copies, and Everything’s OK sold under 125,000. Hoping to generate more commercial appeal, Blue Note Records asked Ahmir “?uestlove” Thompson of the Philadelphia-based hip-hop group the Roots, and his associate James Poyser, to produce what would become Lay It Down.

Once Green agreed to the proposal, Thompson and Poyser began an intensive study of Green’s recordings. Thompson says his goal was to make the unofficial follow-up to The Belle Album, Green's last major critical success from the ’70s.

"Thing is, you really have to do your homework. I studied all of Al's music," Thompson told the Philadelphia Daily News. "I studied the engineering of every album. That's basically what we were trying to approximate and also get a mark of our own."

Contemporary artists Anthony Hamilton, Corinne Bailey Rae, and John Legend were brought in for guest appearances.

In the end, Lay It Down manages to sound like classic Al Green without sounding like it’s trying to recreate the past. But while Thompson says that was always the intention, Green maintains that initially the team envisioned a more modern sound.

“They wanted to play the music as hip-hop as they could,” Green says. “I told them to go right ahead, because I knew they wasn’t going to be able to do it. Because once you start wrapping the music around Al…. You gonna try to play it a different way, but when you get done with it, it’s gonna come out [sounding] like 1973, ’74, ’75, ’76, ’77….

“Eventually they just started playing it like we were singing it,” Green added. “That’s all you can do, really. With a song like ‘Take Your Time,’ or ‘Stay With Me (By The Sea),’ ain’t no sense in playing no Jimi Hendrix on it, or Miles Davis on it. You’ve got to play (singing) ‘Stay with me by the sea’ the way it goes, you know?

Green is in full preacher mode now.

“My name is Otis Redding,” he says, to illustrate the other cloth from which he’s cut. “And my name is David Ruffin… and Sam Cooke… and Jackie Wilson… and Wilson Pickett.”

Lay It Down was in production for over two years, but most of that time was spent working out the logistics of the participants. Green says the songs were written quickly, soon after entering the studio.

“What you’re getting is the cream, baby,” he says. “This is not something we had in a box for 4,000 years, this is something we just wrote this past February. Yeah, ‘Lay It Down’ I just laid it down.”

Green has been inducted into the Rock and Roll Hall of Fame, the Songwriters Hall of Fame, the Gospel Music Hall of Fame, and is the recipient of the Grammy Lifetime Achievement Award. On June 24, Green added to his long list of achievements when he was honored with a Lifetime Achievement Award at the BET Awards in Los Angeles. Three days later, he fulfilled a lifelong dream when he headlined Carnegie Hall for the first time.

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From The Pulpit:

Rev. Al Green is not shy about speaking his mind. Here’s a little fire and brimstone on a variety of topics.

Were you familiar with the Roots, Anthony Hamilton, Corinne Bailey Rae, or John Legend before working with them on "Lay It Down"?

“No, no, no, I was not. I saw the Roots on TV once in Trinidad. That was the only time I’d ever seen the Roots. I’d only heard the song that Corinne sang on the Oprah Winfrey Show. Something about ‘put your records on.’ I heard one song by John legend, but I can’t really think of what it was. I had heard a song by Anthony Hamilton, because I have two of his CDs, but I have never played one yet.

“I’m kind of reeling, man. I get a lot of music. I mean, record companies send me boxes of music, and I can’t play everything and stay sane at the same time. It’s just a lot of stuff.”

Do most visitors come to the Full Gospel Tabernacle Church to worship, or to see Al Green?

“I know people come for a thousand reasons to church. They mostly come to hear me sing ‘For The Good Times.’ I know that. I don’t care what reason they came for. Our thing is while they are there we get to tell them about the Lord and Savior Jesus Christ, and do a little bit of ‘Amazing Grace’ and let them know that that grace is for them.

“So I don’t care what reason you came. And then after that I send him back to Elvis’s place.”

On touring and performing at various House of Blues venues:

“The House of Blues is one of my favorite places to play, because we can get down in the House of Blues. There’s like 14 or 15 of us up there [on stage]. We’ve been together like six or seven years. So we know each other. Every time I twitch my foot they know what I’m doing.

“We can really have a good time. And when you come upon our hotel floor, you don’t hear no noise, no parties, no women, no hollering and tearing up the room and trashing the hotel…. We don’t have that kind of junk. You get a $5,000 fine if you do that junk in my band. I’ll fine your ass.”

On rap music:

"All our songs are about love – not machine guns, killing, war, drugs, gangs and sex. You gotta be able to invest 12 years in prison to be a rapper, or at least you been shot five or six times or committed some crime to be a rapper. ‘I was shot nine times right in the toe – now I can rap because I know what I’m talking about. I’ve been behind bars…’

“I just think that’s a poor illustration for our young children, 11, 12, and 13 years old. I mean, if you listen to that, or look at that stuff long enough in the videos with them big dog chains around their necks, and all them diamonds shining out of their mouth – you would think that’s how real life is.

“And I have to tell those children that that ain’t the way life is, baby. You ain’t going to be surrounded by a bunch of girls in two-piece bikinis dancin’ and wigglin’ all the time. You have to get up off your ass and go to work. Make sure you put that in your article. That’s coming from the Reverend.”

NICOLE ATKINS WALKS A FINE LINE BETWEEN MODERN AND RETRO

2009-02-09T10:06:00.007-05:00

Singer-songwriter Nicole Atkins has been riding a wave of positive press and publicity since the October 2007 release of her full-length major label debut album, Neptune City, which she named after the northern Jersey shore town in which she grew up. The album received positive reviews in publications like Entertainment Weekly, USA Today, and Spin, and Atkins was named one of the “Top 10 Artists to Watch” by Rolling Stone.

Atkins built national recognition performing with her band, The Sea on the late night TV circuit, including “The Late Show with David Letterman,” “Late Night with Conan O'Brien” and “The Late Late Show with Craig Ferguson.” They were also featured (playing themselves) in a television commercial for American Express as part of its “Are You A Cardmember?” campaign.

Atkins music sets introspective lyrics to Brill Building-style pop fused with lush, atmospheric layers. The 30-year-old Atkins calls her cinematic songs “pop-noir.”

“It took me a long time to find my sound,” she says. “When I first started writing songs, they were kind of country-ish. I was into that [sound], but I was also really into ’68 garage rock and psychedelic music. I could never figure out how to put together all the sounds I wanted into one. After many years of trial and error, it finally happened.”

Atkins sings in a traditional, melodic, retro style that may have been at least partly inspired by all the classic lounge singers she witnessed accompanying her parents on weekend trips to Atlantic City. Her sense of drama was kindled by her participation in school plays.

“I did a lot of musical theater growing up,” she says, “but I was always more drawn to singers like Roy Orbison, Scott Walker, or the Righteous Brothers – people that sang in a really dramatic way. Even the Beach Boys on Pet Sounds – things that just really have a soundscape.

“It’s a shame people don’t really sing with melody anymore,” Atkins adds. “All of my songs are really emotional. They’re stories. There might not be that many words to them, but it’s just the way that they’re sung, or the violin or piano lines underneath – that tell the whole story.”

Atkins and the Sea have been touring for over two years.

“We’ve been touring so much the shows have gotten pretty dialed in,” Atkins says. “It’s easy and fun for us now, whereas before we were just finding our footing.”

Atkins says the years she spent playing to audiences of 15 people taught her how to work a crowd. Even when playing to large crowds, she says she tries to create an intimate, interactive atmosphere.

“That’s what’s most fun about what I do – just being on stage and getting to live through all the experiences of the songs and interacting with the crowd, telling stories and jokes,” she says. “It should almost be like me and the people in the audience are at a party together and I’m the loudmouth in the room. I almost get more upset if one of my jokes bombs than if I flub a note on one of the songs.”

In concert, the band has no trouble recreating the lush sound of Neptune City, but Atkins says the energy level is turned up a few notches.

“Our live sound is pretty true to form, but it’s a lot more raw and rockin’,” she says.

After nearly two years on the road, Atkins says she’s looking forward to returning to the studio to record her next album.

“I’m excited to see what these 30 songs are going to turn into on a 14-song album,” she says. “There are some that are similar to Neptune City. Then there are some that are almost like dirty blues songs, in a Black Keys or Jon Spencer Blues Explosion-type way. That’s why I’m glad there are so many different styles and elements in my sound. We’re kind of free to take it where ever we want.”

The new album won’t be out until sometime later this year, but fans check out Nicole Atkins Digs Other People’s Songs, a four-song EP of cover tunes Atkins and The Sea recorded between legs of the current tour. It features songs by the Doors (“Crystal Ship”), the Mamas and the Papas (“ Dream A Little Dream”), the Church (“Under the Milky Way”), and Nada Surf (“Inside of Love”) and is available for download at Amazon.com.

“Yeah, I listen to a lot of different music,” Adkins says about the eclectic nature of the collection. And judging from the positive buzz surrounding her, other people dig Nicole Atkins’ songs, too.

“I worked really hard for seven years as a solo artist, and then one summer I made a demo that turned into these songs and got a band together,” Atkins says. “Everything just fell into place. It happened quick, but it was seven years in the making. Finally I had a cosmic bone thrown to me.”

WIN TICKETS TO 2009 ROCK AND ROLL HALL OF FAME INDUCTION CEREMONY

2009-02-06T10:51:00.004-05:00

This year’s Rock and Roll Hall of Fame Induction Ceremony will be taking place in Cleveland for the first time since 1997 and will be broadcast live on Fuse TV. Inductees include Run DMC, Metallica, Little Anthony & The Imperials, Jeff Beck and Bobby Womack.

To celebrate, there will be lots of exciting events that week including...

- Wednesday, April 1 - The Rock and Roll Hall of Fame and Museum will open the world's first exhibit devoted to the life and music of Bruce Springsteen.

- Thursday, April 2 - A free public concert will be held at Cleveland State University's Wolstein Center featuring performances by past Hall of Fame inductees.

- Saturday, April 4 - The public will be admitted to the Rock and Roll Hall of Fame and Museum for FREE all day.

Ceremony tickets have already sold out, but for a chance to win two free tickets two tickets to the April 4, 2009 ceremony at Cleveland's Public Hall, plus an overnight stay at the Hilton Garden Inn Cleveland Downtown, click HERE.

Good luck!

THE PRETENDERS RE-GROUP FOR "BREAK UP"

2009-02-05T13:24:00.009-05:00

When a veteran band releases a new album that captures the energy or spirit of its youth, it has become almost cliché to suggest that the band has “rediscovered its roots.” But when Chrissie Hynde of the Pretenders set out to write music for Break Up the Concrete, her group’s first album in six years, that’s just what she had in mind.

Touring in support of the album, the Pretenders play Philadelphia’s Electric Factory Friday, February 6.

In Hynde’s case the roots were both musical and geographical. The Akron, Ohio-born singer had lived mostly in England since the early 70s, but in 2007 she opened a vegan restaurant in her hometown and found herself spending more time stateside so that she could be near her parents.

While early Pretenders albums had been slightly influenced by British punk and new wave, most of the band’s body of work was in more of a traditional pop-rock vein, including hits like “Brass In Pocket,” “Talk of the Town,” “Back on the Chain Gang” “Middle of the Road,” “Don’t Get Me Wrong,” and “I’ll Stand By You.”

But Hynde wanted to explore a decidedly American sound on Break Up the Concrete.

“I had something of an epiphany when I took part in a tribute to Jerry Lee Lewis,” she said in an interview with MusicRadar.com. “Just to be on the same stage as Jerry Lee was a miracle. I guess it came off rather well, because the next day the guy who runs my record company called me up and asked me if I ever thought of making a country album, and of course my answer was ‘no.’”

While far from a “country album,” Break Up the Concrete does showcase a variety of musical styles deeply rooted in Americana. To achieve that sound, Hynde shook up the band’s studio line-up, adding Eric Heywood on pedal steel, and Jim Keltner on drums. In a recent telephone interview, original and touring Pretenders drummer Martin Chambers said he was fine with the arrangement.

“[Former guitarist] Adam [Seymour], Chrissie, [bassist] Nick Wilkinson and I had made a record, but Chrissie wasn’t happy with it,” Chambers said. “She [fired] Adam. Luckily, through a bass player friend of mine I knew James Walbourne and introduced James to Chrissie. They hit it off real good. It’s lit a fire underneath us again and I think it’s probably the best lineup since the original band.”

The original band formed in Hereford, England in 1978 and included Chambers, Hynde, guitarist James Honeyman-Scott and bassist Pete Farndon. After only two albums, both Honeyman-Scott and Farndon were dead. Both deaths were drug related.

“At the Rock and Roll Hall of Fame induction in 2005, Chrissie described us as a tribute band,” Chambers said. “I understand what she meant. We’re paying tribute to Jim and Pete all the time.”

Fans who come to Friday’s show at the Electric Factory can expect to hear new tracks like “Boots of Chinese Plastic” and “Love’s A Mystery,” interspersed with the band’s hits and fan favorites. Martin says they’ll sound just like fans remember them.

“Sometimes there’s a bit of a different arrangement going on, but the heart and guts of the thing are the same,” he says. “I will approach ‘Tattooed Love Boys’ or ‘Bad Boys Get Spanked’ exactly the same. I don’t play them any different than the way I played them back then.”

At 57, Martin admits he’s “feeling [his] age.” But even though it takes a physical toll on him, Martin says he won’t compromise his aggressive drumming style.

“I could sit there and tap away and make nice sounds like I do on the record,” he says, “but I want to be physical as well. That’s why I have my cymbals higher, so I’m leaning over and throwing myself around. It’s hard work, but it’s the way I want to play.”

As singer, songwriter, and guitarist, the Pretenders are Chrissie Hynde’s band. While fans regard Martin’s presence and powerful, visual drumming as vital elements of the group, these days Martin considers himself “a hired hand.”

“Chrissie’s got to carry the band,” Chambers says. “She’s the front person. I understand that. I’m not in competition with her. I’m there to make her sound good, and I’ve been doing that for 31 years.”

Martin prefers to remain positive and pragmatic when he contemplates his role in the group.

“I get to go on the road and be a rockstar for a couple of months,” he says. “You never know when something is at the end. As far as I’m concerned, every tour we do is a bonus for me. That’s the benefit of hindsight. It gives you an idea of how lucky you are. I’ve known many drummers I consider far better than me that are taxi drivers in Cardiff.”

BLACK EYED PEAS FLOAT TO THE TOP

2009-01-16T09:33:00.005-05:00

From their outward appearance and public persona, the Black Eyed Peas seem like the perfect embodiment of a fun-loving — albeit very successful — Top-40 group. The multi-racial quartet, known for its funky, flamboyant fashion sense, looks like it stepped from the pages of a “United Colors of Benetton” ad; and their infectious blend of hip-hop, pop, and funky R&B has struck gold with an equally diverse worldwide audience. Hits like “Let's Get It Started,” “Where Is the Love” and “Don't Phunk with My Heart” have helped the Peas' last two albums — 2003's Elephunk and 2005's Monkey Business — sell well over 10 million copies combined.

But the group paid its dues on the way to becoming international pop stars. Before they rose to the top of their game, the members of the Black Eyed Peas (William “will.i.am” Adams, Allen “apl.de.ap” Pineda, Jaime “Taboo” Gomez, and Stacy “Fergie” Ferguson) experienced what it's like to sink to the bottom of the show business barrel.

William Adams grew up in a predominantly Mexican neighborhood in the projects of East Los Angeles. He attended an all-black chuch, but was bused to the racially mixed Palisades High School. He says his exposure to people of various racial and cultural backgrounds has helped shaped his music.

Allen Pineda grew up in the Philippines. He moved to Los Angeles when he was 14. Even though he didn't speak English, he and Adams shared a love of hip-hop and soon became friends. The two teenagers started began rapping and performing together around Los Angeles Along with another friend, Dante Santiago, they formed a group called Atban Klann.

Adams' socially-concious lyrics and jazzy flow made Atban Klann a top attraction on L.A.'s alternative-rap scene in the early '90s. Their style was the polar opposite of hardcore, but gangsta godfather Eazy-E signed the group to his Ruthless Records label.

“I think Eazy-E saw all of the ‘conscious' rap groups like A Tribe Called Quest coming out then, and he wanted one for himself,” Pineda said in an interview with Entertainment Weekly.
Unfortunately, when Eazy-E died of an AIDS related illness in 1995, Atban Klann's album was shelved, and the group was dropped from the label.

Undaunted, Adams and Pineda reformed the group as the Black Eyed Pods, replacing Santiago with rapper Jaime Gomez, who they knew from their early club days. They also brought on singer Kim Hill as a steady background vocalist, and eventually changed the group's name to the Black Eyed Peas.

The group was signed to Interscope Records, and released its debut album, Behind the Front, in 1998. Underground hip-hop fans embraced the group, but radio and most record buyers did not. Their second album, Bridging the Gap, featured guest appearances by notables like Macy Gray, De La Soul, Jurassic 5, and Mos Def, but sold fewer copies than their debut.

After Bridging the Gap failed to find a wider audience, the group decided to take some time off. It was during their hiatus that the group nearly came apart at the seams.

Pineda received news from the Philippines that his brother had committed suicide. Around the same time, Pineda broke up with his girlfriend. He became increasingly depressed, and developed a crystal methamphetamine addiction. Gomez got hooked on the club scene, and started drinking heavily. Adams began philandering, and destroyed a nine-year relationship in the process. Hill quit the band. It took rehab and a few cold, hard reality checks to bring the group back from the brink.

The trio decided to put everything they had into their next album, which looked like it might be their last. During the recording sessions for the album that would become Elephunk, they needed a female vocalist to duet on a track called “Shut Up.” A mutual friend suggested Stacy Ferguson, whom they had met years before.

Ferguson had been a member of the moderately successful female pop trio Wild Orchid. She was unhappy with Wild Orchid's teenybopper image, however, and was looking for a project that reflected her musical tastes, which leaned more toward hip-hop and R&B. The Black Eyed Peas were a perfect fit.

Ferguson also shared something else with the members of the Black Eyed Peas. Like Pineda, she had recently recovered from an addiction to crystal meth.

She reached rock bottom after a two-year addiction, but says “a conversation with God,” her supportive family, and hypnotherapy gave her the strength to kick her addiction cold turkey.

Ferguson brought a visual balance to the Peas. With her pin-up worthy good looks and dance training, it was an easy decision to have her share the stage spotlight with the guys in the band. But Ferguson is no mere eye candy. Her vocal ability has allowed the Peas to explore an even wider gamut of musical styles.

Elephunk was a huge breakthrough album for the Black Eyed Peas, selling 7.5 million copies worldwide, and earning four Grammy nominations and one Grammy award. The follow-up, Monkey Business, did nearly as well, landing two Top-10 hits with the Grammy winning
“Don't Phunk with My Heart,” and “My Humps.”

With the success BEP has enjoyed over the past three years, Adams has become a sought after writer (John Legend's “Ordinary People”) and producer (Mary J. Blige, Nas). Ferguson has completed a solo album, the forthcoming The Dutchess, which features the Top-10 lead single, “London Bridge.” Pineda and Gomez are planning solo projects as well.

The sound of the Black Eyed Peas has changed drastically from the group's “underground” days. Even though their fans now number in the millions, some long-time supporters have accused the group of “selling out.” But the group members insist they always wanted to appeal to the largest possible audience. Having experienced the alternative, they prefer commercial success over someone's idea of artistic purity.

“I don't wanna be living at home with my mom and freestyling in the backyard 'cause I wanna be a purist,” Gomez said in an interview for Blender magazine. “Forget that sh--! I'm selling out? I'm selling out arenas, mother------!”

The Hit Man

2009-01-03T08:58:00.001-05:00

Kenneth “Babyface” Edmonds has been one of the biggest names in popular music for over 20 years. The multitalented singer, songwriter, and producer, has written, and/or produced dozens of Top-10 hits for some of music’s top stars, including Aretha Franklin (“Willing To Forgive”), Toni Braxton (“Another Sad Love Song,” “Breathe Again”), Whitney Houston (“I’m Your Baby Tonight” “Exhale (Shoop Shoop)” ), Boyz II Men (“End of the Road,” “I’ll Make Love to You”), Pink (“Most Girls”), Madonna (“Take A Bow”), and many others.

The 10-time Grammy winner has also enjoyed an extremely successful recording career with eleven albums of his own. Known primarily for his smooth, romantic ballads, his hits include “Whip Appeal,” “Every Time I Close My Eyes,” “It’s No Crime,” and “When Will I See You.”
Touring in support of his current Island Records release, Playlist, Edmonds recently performed at Atlantic City’s Borgata Casino Hotel.

Playlist marks a departure for Edmonds in both song selection and style. Of the album's 10 songs, only two are originals. The other eight are covers of songs that Edmonds says influenced him as he was growing up, including Eric Clapton’s “Wonderful Tonight,” James Taylor’s “Fire and Rain” and Dan Fogelberg’s “Longer.”

When Playlist was released in September 2007, some long-time fans were surprised to learn that Edmonds’ early mentors were soft-rock, rather than R&B, artists.

“I started listening to this music as a kid, probably around the seventh grade,” the 48-year-old Indianapolis native explained in a November 2007 interview with BET. “When we used to go to church, I would sneak out and listen to the car radio. Most of the R&B stations were playing church choirs, which I didn’t want to hear. But most of the other pop stations were playing stuff like James Taylor, Bread, the Beatles and Bob Dylan. I’d already started doodling with the acoustic guitar. Obviously, you couldn’t play James Brown on the acoustic guitar, so I started playing those pop songs.

“That pop music really talked to me, because they were romantic songs. I was a kid who was always in love; I was always trying to write pretty songs. That experience definitely influenced me to be a songwriter and to really emphasize melody.”

In an exclusive telephone interview with Atlantic City Weekly, Edmonds promised a “walk down memory lane” for fans attending shows on his current tour.

“It’s a combination of things, including songs from Playlist, my hit songs, as well as older songs from my other records,” he said. “I even do a medley of songs that I wrote and produced for other people. It’s a lot of fun. I think most people come with the perception that they’re coming to a romantic, mostly ballad driven show, not necessarily one with a lot of energy. But actually the show has a lot of energy, with the combination of things that I've done for myself as well as for others. The audiences have been very receptive, and we've had a good time.”

Edmonds began playing in local bands while still in high school. In his late teens he joined a funk group called Manchild, which signed a record deal in 1977 and released three albums. He earned his nickname while on a side gig as part of Bootsy Collins’ backing group.

After Manchild broke up, Antonio “L.A.” Reid asked Edmonds for help writing some material for a group he was putting together called the Deele.

“I joined the Deele initially as a writer,” Edmonds says. “I came on to help them with a few demos. It was after they got a record deal that L.A. asked me to be in the group.”

Although the Deele scored a few hits in the mid-to-late 80s (most notably “Shoot Em Up Movies” and “Two Occasions”), Edmonds and Reid began producing and writing for other artists on the side, landing hits with Pebbles’ “Girlfriend” and the Whispers’ “Rock Steady.” After the Deele's third album was released in 1988, the duo left the group to continue their outside activities full-time. They co-founded the LaFace record label in 1989.

Edmonds says his approach to songwriting doesn’t change, whether he’s writing for himself or for another artist.

“When I break it down, it's always about what is believable – either for myself or for another artist. It’s really all the same – you’re always looking for great melodies and a great story.”
He says sometimes, as was the case with his current single, “Not Going Nowhere,” the song comes together quickly.

“It flowed out like a conversation,” Edmonds says. “That’s happened to me before. I wrote ‘The Day’ when I found out I was going to be a father. It was five o'clock in the morning, and I got out of bed. I sat down at the piano, and it just came out of me.”

Early in his career, Edmonds demonstrated his versatility not only as a performer, but also as a songwriter and producer. Today he believes that early success has been a key to his longevity.

“There are a number of artists who came out at the same time that I did, and you don't really hear about them in the same way anymore,” he says. “It’s partly because I was a writer and producer for so many other artists and had success with it. Enough people in the industry knew about it, and that gave me a platform that wasn’t the norm. Because of that I ended up being able to stay in the game a lot longer.”

While he’s equally adept at performing, producing, and songwriting, if he were forced to pick just one full-time pursuit, Edmonds doesn’t hesitate.

“I believe I'd be a songwriter,” he says. “As a writer you’re able to touch a great number of people, and if you write the right song, it lives forever.”

WRAPPING UP THE SOUNDS OF THE SEASON - 2007

2007-12-14T20:15:00.000-05:00

Each year that great body of work known as "Holiday Music" grows, as contemporary artists offer new Yuletide tunes or try their hand at traditional favorites. Here's a round‑up of some of the notable new entries in the Christmas music cornucopia for 2007.

***

ARTIST: Mindy Smith
TITLE: My Holiday
LABEL: Vandguard
STYLE: Intimate, country flavored, alternative folk
TRY IT IF YOU LIKE: Dolly Parton’s Home For Christmas or Aimee Mann’s Another Drifter In The Snow
NOTABLE: Smith’s sweet, feathery voice charms familiar songs like “The Christmas Song,” “Away In A Manger,” and “Silver Bells.” An excellent songwriter, originals like the inspiring title track, the rocking “Come Around,” and especially the warm and cozy “Santa Will Find You” might become perennial favorites.
HIGH POINTS: Smith adds a backbeat and rock guitar to “I’ll Be Home For Christmas” for an unusual but effective version.
LOW POINT: Smith is a fine singer, but she’s not a vocal powerhouse.
GRADE: A-

***

ARTIST: Raul Malo
TITLE: Marshmallow World & Other Holiday Favorites

LABEL: New Door
STYLE: Americana Christmas
TRY IT IF YOU LIKE: Brian Setzer’s Christmas albums, or anything by the Mavericks
NOTABLE: Malo, lead singer of the Mavericks, lends his rich, warm vocals, and unique arrangements to a collection of both well known (“Jingle Bells, Silent Night, White Christmas) and obscure (Bobby Vee’s “Not So Merry Christmas”) holiday songs.
HIGH POINTS: Malo gets your feet tappin’ with fresh but familiar takes on “Jingle Bells” and “Feliz Navidad.”
LOW POINT: Turning “Silver Bells” into a tango/swing number was an ambitious idea, but it just doesn’t work.
GRADE: B+

***

ARTIST: Lonestar
TITLE: My Christmas List
LABEL: Cracker Barrel
STYLE: Harmonious, modern Country Christmas
TRY IT IF YOU LIKE: Lonestar’s This Christmas Time
NOTABLE: Songs feature Lonestar’s new lead singer, Cody Collins, who ably fills the role. The group’s trademark harmonies remain intact.
HIGH POINTS: A fine, prayerful “Silent Night,” a rockin’ “Up On The Housetop,” and the excellent title track – which revisits the theme of “A Grown-Up Christmas List.”
LOW POINT: Collection is only available at Cracker Barrel restaurants, or on the company website: http://www.crackerbarrel.com/
GRADE: B+

***

ARTIST: Rick Springfield
TITLE: Christmas With You
LABEL: Gomer
STYLE: Acoustic pop-rock
TRY IT IF YOU LIKE: James Taylor’s At Christmas
NOTABLE: Springfield’s collection is dominated by religious Christmas songs, presented in traditional, mostly acoustic arrangements. Title track is a well-written original update on the “I’ll Be Home For Christmas” theme.
HIGH POINTS: Excellent vocal arrangements highlight the traditional material. Springfield has fun with a surf-rock version of “Deck The Halls” and wears his Beatles influence on his sleeve with a string arrangement in “God Rest Ye Merry Gentlemen” that recalls the one in “Elenor Rigby.”
LOW POINT: Springfield and his band sound like a quartet version of the Trans-Siberian Orchestra on the electric guitar-driven “Carol of the Bells.” Overall, Springfield’s approach to the material is almost too conservative.
GRADE: B

***

ARTIST: Emmy Rossum
TITLE: “Carol of the Bells” (single)
LABEL: Geffen
STYLE: Classic vocal Christmas
TRY IT IF YOU LIKE: Enya’s version of “Silent Night”
NOTABLE: Rossum is the 21-year-old beauty best known for her role as Christine in the film version of “Phantom of the Opera.” This three-song single also includes “Oh Holy Night” and “Have Yourself A Merry Little Christmas.”
HIGH POINTS: Blessed with a lovely, powerful voice, Rossum’s performance is restrained and spot on. Her wonderful version of “Have Yourself A Merry Little Christmas” is one of the few that uses the song’s original, more melancholy lyrics. Judy Garland would be proud.
LOW POINT: This one will be hard to find in stores. Download it from Rhapsody or I-Tunes.
GRADE: A

***

ARTIST: Josh Groban
TITLE: Noel
LABEL: 143/Reprise
STYLE: Orchestrated, Classic Christmas
TRY IT IF YOU LIKE: Michael Bublé’s Let It Snow
NOTABLE: Groban’s big, powerful voice is well-suited for dramatic Christmas music. Guests include Brian McKnight, Faith Hill, and the Mormon Tabernacle Choir.
HIGH POINTS: A poignant “I’ll Be Home For Christmas” features actual audio messages home from troops stationed in Iraq. “Little Drummer Boy” starts quietly and builds to a dramatic conclusion. Brian McKnight duets nicely with Groban on “Angels We Have Heard On High.”
LOW POINT: Faith Hill has a tough time matching Groban’s vocals on “The First Noel.” New original song “Thankful” is cut from the same cloth as Groban’s Polar Express theme, “Believe.” Unfortunately it’s not as good.
GRADE: A-

***

ARTIST: Various
TITLE: Monster Ballads Xmas
LABEL: Razor & Tie
STYLE: Head-banging Holiday Rock
TRY IT IF YOU LIKE: Hair Metal
NOTABLE: Rockers like Skid Row, Queensryche, Winger, and Twisted Sister take on well-known holiday tunes and serve up a few Christmas originals in ’80s-metal style.
HIGH POINTS: Originals by Enuff Z’Nuff (“Happy Holiday”) and Billy Idol (“Christmas Love”) aren’t bad, and some of the songs (“Run Rudolph Run,” “Santa Claus Is Coming To Town”) are geared for rockin’ arrangements.
LOW POINT: Worst version of “Silent Night” (by Faster Pussycat) I’ve ever heard.
GRADE: C+

***

ARTIST: Various
TITLE: A Looney Tunes Sing-a-Long Christmas LABEL: Immergent
STYLE: Cartoon Christmas
TRY IT IF YOU LIKE: Christmas with the Chipmunks, Kidz Bop Christmas
NOTABLE: Bugs Bunny, Daffy Duck, Porky Pig and the rest of the Looney Tunes gang are joined by a chorus of kids to sing holiday favorites. Kids will love it, and any adult needing relief from the Chipmunks and Kidz Bop will welcome it.
HIGH POINTS: Some typical Looney Tunes high jinx keeps listeners smiling.
LOW POINT: The upbeat “Jingle Bells”-type material works fine, but it’s a bad idea to have Bugs Bunny and Elmer Fudd croon “Silent Night.”
GRADE: For kids: A

***

ARTIST: Patti LaBelle
TITLE: Miss Patti’s Christmas
LABEL: Def Soul Classics
STYLE: Soulful, R&B Holiday
TRY IT IF YOU LIKE: Aaron Neville’s A Soulful Christmas
NOTABLE: Lesser-known tracks (the gospel gem “Jesus, Oh What A Wonderful Child” the Richard Marx / Luther Vandross composition, “Every Year, Every Christmas”) and new originals dominate the collection.
HIGH POINTS: LaBelle remembers the reason for the season on a variety of religious and gospel-flavored songs, including the funky “Christmas Jam,” and “Holidays Mean More To Me.”
LOW POINT: The lack of familiar material might be off-putting for some. LaBelle’s tendency to over-sing is in full effect on an overblown, “Do You Hear What I Hear?”
GRADE: B

***

ARTIST: Hall and Oates
TITLE: Home For Christmas
LABEL: DKE / U-Watch
STYLE: Rock ’n’ Soul Holiday
TRY IT IF YOU LIKE: America’s Holiday Harmony
NOTABLE: Originally released last year, this is a fine collection of traditional (“Oh Holy Night,” “It Came Upon a Midnight Clear”) original (Hall’s title track and Oates’ “No Child Should Ever Cry On Christmas”), and a few lesser known covers (Robbie Robertson’s “Christmas Must Be Tonight”), all performed in the duo’s trademark Philly-soul style.
HIGH POINTS: The aforementioned originals are quite good, and Hall’s powerful take on “The First Noel” is one of the best modern arrangements of the song ever.
LOW POINT: A new version of “Jingle Bell Rock” isn’t quite as good as the one Hall and Oates had a hit with in the mid-80’s.
GRADE: A-

***

ARTIST: Michael Bublé
TITLE: Let It Snow
LABEL: 143 / Reprise
STYLE: Traditional vocal Christmas
TRY IT IF YOU LIKE: Christmas albums by Tony Bennett, Frank Sinatra, Perry Como
NOTABLE: Who says they don’t make them like they used to? This five-song EP is proof they do. Newest song on this retro collection is “A Grown-Up Christmas List.”
HIGH POINTS: Swinging version of the title track is Bublé at his best. Restrained production throughout showcases Bublé’s silky vocals nicely. LOW POINT: Should have been a full-length CD. GRADE: A-

***

ARTIST: KT Tunstall
TITLE: The KT Tunstall Holiday Collection
LABEL: EMI
STYLE: British Pop Christmas
TRY IT IF YOU LIKE: Cyndi Lauper’s Merry Christmas… Have A Nice Life
NOTABLE: This is one of four Christmas EP’s being sold exclusively at Target stores. Tunstall’s collection of modern pop features some obscure (for American audiences) hits by British artists.
HIGH POINTS: Tunstall’s duet with Ed Harcourt on “Fairytale of New York” is as good as the original. She also rescues Mud’s “Lonely This Christmas” from obscurity. Toy pianos work well on a lively “Sleigh Ride.”
LOW POINT: “2000 Miles” sounds too much like the Pretenders’ original.
GRADE: B+

City to City: Suzanne Vega Makes Her Atlantic City Debut

2007-11-29T13:16:00.000-05:00

It’s poetically appropriate that Suzanne Vega will make her Atlantic City debut as part of a tour supporting Beauty & Crime, her brilliant new album in which New York City plays a starring role. While the specifics are different, the paradox of a city in which, as Vega sings, “You were dazzled by her beauty and her crime” could refer to either town. The themes of change, rebirth, and even some of the characters (“Frank and Ava”) that Vega writes about on the album are common to both New York and Atlantic City.

However, once you get past the broad generalities, it's clear that the town that permeates the songs of Beauty & Crime is Manhattan. Vega, who performs Saturday, December 1 in the Club Harlem Ballroom at the House of Blues, has always been known for her succinct narrative songwriting style. Throughout Beauty & Crime a variety of New York City locations (West End Avenue, Ludlow Street, Ground Zero) serve as backdrops to her songs.

In a recent telephone interview for Atlantic City Weekly, Vega joked that she could offer a bus tour of all the locations mentioned on Beauty & Crime. She says the song “New York Is A Woman” was inspired by conversations she’s had with first-time visitors to the Big Apple.

“I have a lot of conversations with first-time visitors and sometimes I'm even there with them when they're in New York for the first time,” she said. “The guys from DNA (the British producers who worked with Vega on the hit remix of “Tom's Diner”) came to New York to do some work with me on some other projects. They had never been to New York, and they were flipping out. It was a lot of fun to watch their reactions. Everyone's always impressed by the steam that comes out of the sidewalks, and everyone seems to say the same thing – that it's just like what they've seen in the movies and on television.”

Vega was born in Santa Monica, California, but her family moved to New York City when she was two and a half. She started writing poems when she was nine, and wrote her first song when she was 14. She taught herself to play the guitar, and studied dance at New York's High School of Performing Arts.

While majoring in English literature at Barnard College, she started performing in clubs and coffehouses on New York’s Lower East Side. In 1984 she was signed to A&M Records, and released her self-titled debut album a year later. Featuring the modest hit, “Marlene On The Wall,” it was warmly received by both critics and fans.

Vega hit her stride when her 1987 sophomore effort, Solitude Standing, garnered critical and commercial success worldwide. The album featured two unlikely hit singles – the a capella version of "Tom's Diner," (which was an even bigger hit again in 1990 in DNA’s club remix version) and "Luka,” a disarmingly catchy, uptempo song about, and written from the point of view of a battered child. The song raised awareness of a social issue in a way that hadn’t been done in pop music since the 60s. “Luka” became an international hit, and it’s video an MTV staple.

Released last July, Beauty & Crime is Vega’s seventh album overall, and her first since 2001’s Songs In Red and Gray. Six years is a long time between albums, but the 48-year-old Vega kept herself busy in the interim.

In addition to touring, Vega hosted the public radio series “American Mavericks,” wrote an occasional piece for the New York Times, and participated in “The Vigil Project,” a collection inspired by the events of September 11, 2001. She changed managers and record labels; and went from adjusting to single life (she was divorced from producer Mitchell Froom in 1998) to re-adjusting to married life (she married lawyer and poet Paul Mills in 2006).

When it came time to record Beauty & Crime, Vega says she had a very specific idea of how she wanted the album to sound.

“I try to make each record exciting and a step in a new direction,” she says. “I didn’t want to do just a regular old folk album [with] guitar and your basic four-piece backup band. I couldn't help but think that strings would be really gorgeous on some of the songs, like ‘Pornographer’s Dream,’ which just seemed made for that kind of lush sound.”

British producer Jimmy Hogarth helped Vega balance traditional and modern elements during the recording process.

“The album was recorded using analog equipment, and then fed digitally so that we could have the technology of cutting and pasting, but maintain the warm sound of the analog recording,” Vega says.

Many of the songs on Beauty & Crime are based on Vega’s real-life experiences: “Bound” is a love song for her husband; “As You Are Now” is a dedication to her daughter; “Zephyr & I” revisits old haunts with an old friend; and “Ludlow Street” mourns the loss of her brother. Vega says that knowing the back-story of a song can enhance a listener’s appreciation of it, but she believes her best work can also stand on its own.

“In a song like ‘Angel’s Doorway,’ I don't think you have to know that it's my cousin, but it helps to know that it's about a cop,” she says. “A song like ‘Luka’ works regardless of whether you know it's about child abuse or not. It was a hit before people knew what it was about, and then people started talking about what it was about. So the best songs will work no matter. You shouldn't have to have the Cliffs Notes on it to know what's going on. But to get the full benefit of the song, sometimes it really does help.”

Vega says that over the years she’s become a more deliberate songwriter. When writing for an album, she considers how a song will translate to live performance.

“I record once every few years, but I'm constantly touring and constantly performing,” Vega says. “It's much more useful to me if the song works live, because if I can make it work live, I know I can make it work in the studio. If I can only make it work in the studio, then it's less useful to me. I also like a show to be entertaining, and so I try to make sure there's enough up-tempo, major key songs, because I tend to write minor key songs. If I'm singing too many sad songs in A-minor, I'll say, ‘Lets see if I can write a song in A-major. Or let's see if I can do a whole song with just major chords.’ I like to have a balance.”

Fans who come to the House of Blues on Saturday can expect a well-balanced show of both old and new material.

“I do want to play a lot of the new album because I don't know how else people are hearing it,” Vega says. “It's not something that Top-40 radio is going to jump all over, so I really want to make sure that the audience does get a chance to hear it. But I'm also playing quite a bit of older material – ‘Luka,’ ‘Tom's Diner,’ ‘The Queen and the Soldier,’ ‘Gypsy,’ ‘Caramel,’ ‘Marlene on the Wall”… so it's a really nice range of songs.”

Linda Eder - Back to the Beach

2007-11-27T12:56:00.001-05:00

There was a time when singer and Broadway star Linda Eder could stroll down Atlantic City's Boardwalk on a crowded summer evening and go unnoticed. In fact, it happened on a fairly regular basis in the mid 1980s. Back then, Eder was a recent transplant from Minneapolis, building a reputation and fan base performing her show four times a night, six nights a week at Harrah's.

In the years since, Eder's celebrity profile has risen considerably. In 1987, she tried out for the television talent show Star Search, and won a spot on the first episode of that show's 1988 season. She proved unbeatable for an unprecedented 12-week run. The Star Search appearances led to a record contract and her big break; she was cast as Lucy in a new musical version of Jekyll & Hyde.

The show debuted in 1990 at the Alley Theatre in Houston, Texas. In April 1997, Jekyll & Hyde made its way to Broadway. That year, Eder was nominated and won a Theater World Award for her performance as Lucy. Since then, she's appeared on stage in Beauty and the Beast, The Civil War and Camille Claudel, and has released eight solo albums, including her most recent, 2005's By Myself: The Songs of Judy Garland.

Eder has performed in Atlantic City numerous times since her lounge act days. While she considers herself a mid-level celebrity at best, her days of going unnoticed in a crowd have passed. In February 2006, she returned to perform two shows with singer and pianist Michael Feinstein at the Atlantic City Hilton.

"It's a new show — an idea that we've wanted to do for a while," Eder said at the time in an interview for Atlantic City Weekly. "We put it together last year and did five shows to try it out. It was so much fun, and the response was fantastic, so we've got a lot more booked."

Eder and Feinstein are on stage together for the entire show, with the exception of two short solo segments where each performs two or three songs apiece. The duo is accompanied by Eder's seven-piece touring band, under the direction of John Oddo.

Touted as an evening of "masterpieces from the American songbook," the show includes songs by legends like Irving Berlin and Duke Ellington, as well as more contemporary artists.

"It's everything from Steve and Eydie, to Sonny and Cher, to Joni Mitchell, to more current material," Eder says. "My definition of a standard is anything that is written well enough so that it stays around as the years go on. New standards are being created all the time."
Eder says she enjoys the variety afforded by successful careers as both a stage performer and recording artist. At this point in her life, however, family considerations have kept her from committing to another Broadway show.

"I want to do it again, but I'm not in a big rush," she says. "It's a wonderful experience and great fun, but it's also the most work. I know the hours that it involves. I have a six-and-a-half year-old son who's now in school, and I know that if I were in a show on Broadway, I really wouldn't see him that much. So I'm very tempered by that.

"There is a piece in the works being especially written for me that I really like, so we'll see…. We're progressing with that, but it would be at least two years before it would be ready to come to New York."

Train Keeps Rollin' On

2007-11-16T10:57:00.000-05:00

Train has been one of the most successful bands of the last 10 years. The five-piece group, which formed in San Francisco in 1994, has enjoyed a string of melodic, acoustic-based rock hits that began with 1998's "Meet Virginia," and includes radio favorites like "Drops Of Jupiter," "Calling All Angels" and "When I Look To The Sky."

The band's fourth studio album, For Me, It's You was released by Columbia Records in January, 2006. If you've heard the single "Cab" playing on the radio, you can probably still hear its catchy chorus — "The days are better, the nights are still so lonely / Sometimes I think I'm the only cab on the road" — playing in your head.

In a telephone interview, guitarist Jimmy Stafford said that while the band is proud of its chart success, singles don't tell the group's whole story. He wants fans to know that Train can, and does, rock.

"Typically the songs that end up making it on the radio are the ballads, or the more pop-oriented material," Stafford said. "But when we play live, you get to hear the rest of our stuff. When you add in the live setting, and the adrenaline of the band and the crowd, the material comes off with a lot more energy than it does on the record."

In a separate interview, lead singer Pat Monahan (who released a solo album entitled Last of Seven in September 2007) said that Howard Stern is a big Train fan.

"Not because he loves [ballads like] 'Drops of Jupiter' or 'When I Look To The Sky,' but because he knows that beyond all the songs that people hear on the radio, we're a great rock band," says Monahan. "I think you have to see us live to really appreciate us."

In concert Train has never been a group of stool-sitters or shoe-gazers. The band — which includes drummer Scott Underwood, keyboardist Brandon Bush, and bassist Johnny Colt — is known for wearing its classic rock influences on its sleeve, from its big stage production values, right down to the Aerosmith and Led Zeppelin covers that have been featured in Train's setlist for years.

"We're not insulted by comparisons to classic rock bands," Monahan says. "You're talking about a bunch of guys whose lives changed when they saw classic rock bands. I love being the band that carries that torch, because if you ever saw Aerosmith or Van Halen in concert, your life was different when you walked out of that building."

For Me, It's You has been the most critically acclaimed Train album since the band's self-titled debut. It's also the group's most diverse collection yet. Like its predecessors, it contains its share of reflective ballads (including the poignant "Always Remember" and the single, "Give Myself To You"), but it also captures the band's harder edge on tracks like "Am I Reaching You Now," the catchy "All I Hear," and an energetic cover of Bob Mould's "If I Can't Change Your Mind." Train even shows its soulful side on "I'm Not Waiting In Line" and the title track.

Monahan believes the band was revitalized when Colt (formerly of the Black Crowes) and Bush joined three years ago (replacing guitarist Rob Hotchkiss and bassist Charlie Colin) for the My Private Nation tour. That tour was recorded for 2004's Alive At Last CD. For Me, It's You is the first studio album for the current line-up.

"When we went into the studio to work with [producer] Brendan [O'Brien], we didn't know that we were going to make a complete record," Monahan says. "We were just planning to record a few songs. We wanted to see where we were musically. After about six hours of recording, Brendan pulled me aside and said, 'Man, this is the best it's ever been. Let's make a record.'"

The band had approximately 40 songs to pick from. Band manager Jon Landau chose the 13 that make up For Me, It's You.

"Jon could tell that there was a very clear distinction among the songs that made sense together," Monahan says. "He would call it 'focus.' This album has focus."

The album was recorded in only eight weeks, in a collaborative spirit that Monahan says had been missing from the group for some time.

"We're just a higher-level band now," he says. "We've got a bunch of guys that really mean business. We are more confident. One of the things that bothered me a bit about the My Private Nation record is that everything from the artwork to the songs was a reflection of where the band members were personally," he says. "I think it was more of an album by five individuals than it was by a band. Now the band is healthy, and this is a real band album."

While For Me, It's You has yet to match the platinum sales levels of Train's prior studio albums, Monahan feels true success can only be measured over time.

"There aren't a lot of bands left from the days when 'Meet Virginia' first became a hit," he says. "I've been telling people since our first album came out that we weren't always going to be the fashionable, hot item. But we are going to be around for a long time, so you just have to get used to us."

Mode Music

2007-11-15T13:31:00.000-05:00

British band Depeche Mode took its name from a headline in a Paris magazine. French for "fast fashion," its choice suggests that the band hoped to have an immediate, if short-lived, impact on the music scene. But after 25 years as one of the world's top techno-rock groups, Depeche Mode has proven itself to be anything but a flash-in-the-pan act.

The group - guitarist/keyboardist and primary songwriter Martin Gore, lead vocalist Dave Gahan, and keyboardist Andy Fletcher - has sold over 50 million records and played to over 10 million fans worldwide. Along the way, they've survived personnel changes, substance abuse, a suicide attempt, and the ever-fickle tastes of the music-buying public. Depeche Mode's 11th studio album, Playing the Angel, was released in October 2005, and was been hailed by both critics and fans as one of the band's best.

Playing the Angel received favorable comparisons to earlier Depeche Mode albums like 1990's Violator, and with good reason. The new album is not only similar in style to classic Depeche Mode; it's also similar in sound. Gore credits producer Ben Hillier with helping the band connect to its past.

"Ben is on the Internet every day hunting down old analogue synthesizers," Gore said in a recorded interview released to the media. "He brought a whole array [to the recording studio], so that was one of the things that helped define the sound of the record. The predominant sound [on the album] was from the analogue synths, which gave us a kind of direction, and which I think references old Depeche Mode stuff more."

Then there was the persistent rumor (bandied back and forth on various fan Web sites) that Playing the Angel would be Depeche Mode's final album and tour, hence the allusions to the band's history. Of course, that same rumor has been floated out ever since the release of 1993's Songs of Faith & Devotion, when four-year gaps between new Depeche Mode albums became the norm.

"I think you feel after every album it might be the last, and after every tour it might be the last," Fletcher says, "but … I think we're still making good records and still performing well, so it's quite natural that we've made another one, but you never know how much longer this is going on. We're getting old now."

Getting old[er] together is something Fletcher, Gore, and especially Gahan should welcome, considering the rocky road they've traveled together. The roots of Depeche Mode go back to Basildon, England in 1976, when keyboardists Vince Clarke and Fletcher formed a band called No Romance in China. It lasted only a few years, and by 1979 Clarke had formed French Look, another duo featuring Gore. Fletcher rejoined, and the trio renamed itself Composition of Sound. Initially, Clarke handled lead vocals, but in 1980 Gahan came on board as the lead vocalist and completed the lineup.

With Gahan's arrival, the band underwent its most significant transformation. They abandoned all instruments except for synthesizers, creating a slick, techno-based sound to showcase Clarke's catchy melodies. The final name change, to Depeche Mode, capped the group's stylistic makeover. The band met with quick success. "Just Can't Get Enough," the third single from their debut album, became a Top Ten U.K. hit. But just as Depeche Mode seemed poised for a major commercial breakthrough, principal songwriter Clarke left the band.

Gore took over as the band's songwriter, and keyboardist Alan Wilder was recruited to fill the void created by Clarke's departure. Gore's penchant for darker subject matter meshed well with the group's increasingly ominous instrumental textures, and laid the groundwork for the band's trademark industrial sound.

With albums like 1986's atmospheric Black Celebration and 1987's Music for the Masses Depeche Mode was hitting its creative and commercial stride. It reached a peak in 1990, when the band released Violator, a Top 10 smash which spawned the hits "Enjoy the Silence," "Policy of Truth," and "Personal Jesus."

The planets seemed to be lining up in the best possible way for Depeche Mode. Rock radio had shifted away from the heavy metal and grunge sounds that had dominated the late '80s, and began embracing alternative rock. Depeche Mode's 1993 release, Songs of Faith & Devotion, debuted at No. 1 on both British and American album charts.

Then, at the height of the group's success, things began to fall apart. Wilder left the band in 1995. Shortly thereafter, Gahan slashed his wrists in a failed suicide attempt. A year later, he nearly died of a heroin overdose. Fortunately, he later entered a drug rehabilitation clinic to battle his addiction. He has been sober ever since.

Perhaps the residue that remains from his experience is what Gahan uses to give voice to the dark subjects explored in many Depeche Mode songs. Appropriately, Playing the Angel is subtitled "Pain and Suffering in Various Tempos."

Ironically, while their songs focus on the negative, Gore, Fletcher, and Gahan say the group is the happiest it's been in years.

"We're very, very privileged 25 years on," Fletcher says. "We still think we're making great records. We still think we're a good group, and it's a very privileged position to be in. So will there be more Depeche Mode albums? Probably."

Tower of Power Rocks On

2007-11-14T14:30:00.000-05:00

With a career spanning 39 years and 21 albums, the Bay-area soul-funk band Tower of Power is a true musical institution.

In fact, founding member Emilio Castillo who plays tenor sax and sings background and lead vocals, compares the group to an institution of higher learning.

The ten-man group includes original members Castillo, and baritone saxophonist Stephen “Doc” Kupka. Notable alumni include saxophonist Richard Elliot, trumpeter Lee Thornburg, Saturday Night Live musical director Lenny Pickett, and saxophonist Steven Eugene Grove (Euge Groove).

“It's kind of like a college – people come in and they're really good players and they leave even greater, and along the way we help each other out,” he said last week in a recent telephone interview. “Afterwards, it's always a source of pride to say [they] played with us.”

It's also a source of pride to Castillo to name some of the artists that he and Kupka, as the Tower of Power horns, have toured and recorded with. The list includes the Monkees, Santana, Elton John, John Lee Hooker, Rod Stewart, Jefferson Starship, Heart, Spyro Gyra, Aerosmith, P. Diddy, and many others.

When asked to list some of his favorites, Castillo says, “I'm very proud of the work we did with Little Feat. And certainly, Huey Lewis and the News…. I [toured] almost four years with them in the ’80s. They were an excellent musical group and we saw eye to eye musically, and Huey promoted my band at every turn. He was pretty responsible for getting us back on track in our career. I also enjoyed playing with the Rolling Stones, and the Eurythmics.”

Tower of Power is about halfway through recording its latest album, a collection of covers of both well-known and obscure soul classics. Because of exposure on the Internet and through first-generation fans, Castillo says the band's audience is getting younger, especially in Europe and Japan.

After nearly 40 years, Castillo says he still loves what he does.

“We stay at nice hotels, eat great food, play really nice places, and we travel all over the world…. I'm totally blessed. I love the job.”

Irish Kisses

2007-11-13T14:33:00.000-05:00

Along with the leprechaun and the unicorn, the Pogues are creatures of Irish myth and legend. Unlike the diminutive, bearded pranksters and the horny, winged horses however, the Irish folk/punk pioneers really do exist.

As anyone familiar with the band's volatile Guinness and whiskey-soaked history will tell you, it's best not to look too far ahead when the subject is the Pogues. The Pogues' recent fall U.S. tour consisted of only 11 dates on the West Coast. The band's management knows better than to keep the group on the road for too long. In the past, marathon tours led to alcohol abuse, which led to infighting, which led to a breakup.

As to the band's current state of health, different storytellers tell different stories. Some reviews of Pogues concerts talk of shows of unparalleled power and elegance, others of performances marred by incoherent drunkenness. Guitarist Philip Chevron is currently on "medical leave" and not performing with the group. The focal point of contradiction is always Shane MacGowan — singer, songwriter, and enigmatic leader of the group — the man who's equally responsible for the Pogues' greatest achievements as well as its occasional downfalls.

MacGowan is considered by many critics to be one of the greatest rock lyricists to ever live, but recent profiles portray him as a blathering old drunk whose talent has long since been sidelined due to drugs and alcohol. As the very least, he is an intriguing figure, a man who at 49-years-old apparently enjoys embodying all the excessive clichés of the drunken Irish romantic/philosopher/poet.

MacGowan's drinking is mentioned in, if not the focus of, nearly every article and review ever written about the Pogues. One wonders if it could all be a ruse — the mischievous MacGowan playing the part, and delighting in how many people fall for it. There's no doubt that alcohol and drugs were a problem for MacGowan in his youth, but recently he's argued that tales of his ongoing inebriation are exaggerated.

"It's a story," MacGowan said in a November 2004 interview for British newspaper The Guardian. "Every time I pick up a drink there's a photographer and it becomes, 'Oh look, Shane's pissed again.'"

Still, he doesn't always fight preconceptions — in the 2006 Johnny Depp film, The Libertine, MacGowan has a bit part playing a drunken minstrel.

Amidst the boozy distractions, it's easy to forget the music — vivid, politically charged lyrics set to a unique blend of punk rock and traditional Irish folk — that established the Pogues in the first place.

By the early '80s, MacGowan and his friend Peter "Spider" Stacy (tin whistle) had been kicking around London's punk scene for a few years, achieving moderate success in various bands. In 1981, they joined with James Fearnley (accordion) to form Pogue Mahone, which is an Anglicization of a Gaelic phrase that translates to "kiss my ass." The trio began playing traditional Irish tunes in London pubs and streets, eventually adding Jeremy "Jem" Finer (banjo, guitar), Andrew David Ranken (drums), and Cait O'Riordan (bass) to round out the band.

The group began performing more and more of MacGowan's original songs, and used traditional instruments like the mandolin, concertina, dulcimer, and bodhran to further distinguish its sound. The unique combination of Irish folk instruments played with punk attitude clicked, and the band soon earned a reputation as an exciting live act.

Shortening their name to the Pogues, the group released an independent single, "Dark Streets of London," in early 1984 and supported the Clash on a summer tour. Later that year, they signed with Stiff Records and released their critically acclaimed debut Red Roses for Me.

Early in 1985, the band added guitarist Philip Chevron and recorded Rum Sodomy and the Lash with producer Elvis Costello. The album was an underground success and helped broaden the Pogues' fan base in the U.S., where they were becoming college radio staples.

By 1988, O'Riordan, who had left the band to marry Costello, was replaced by Darryl Hunt, and banjoist Terry Woods had joined the group. The Pogues signed to Island Records and released the Steve Lillywhite-produced If I Should Fall From Grace With God. The album remains the group's best-selling, and contains their only bona fide hit single, "Fairytale of New York," a melancholy Christmas themed duet featuring the late Kirsty MacColl.

The Pogues recorded two more albums (1989's Peace and Love and 1990's Hell's Ditch), but the drinking and drugging of MacGowan, Stacy, and other band members was taking its toll on the group. Depending on which version you believe, MacGowan was either fired or quit the band in 1991.

The group carried on, with Stacy taking over vocal duties. Two post-MacGowan albums met a lukewarm response, and other members fell away from the group. MacGowan formed another band, the Popes, with which he released three albums. In 1999 singer Sinead O'Connor reported MacGowan to the police for snorting heroin. It was a wake-up call that helped him kick his habit.

The classic eight-man line-up of the Pogues reunited in 2001. While there's been no new music from the group, they've matured enough to stay together for six years, even if just for the occasional tour.

For his part, MacGowan says he still enjoys performing, and despite the rocky road he's traveled, he has no regrets.

"I like the pay. I like performing on stage. I'm a poser," he says. "I took a 10-year break and it is exciting again. I mean, you are as young as you feel. I don't wish I had done anything different."

The Police: Back on the Beat

2007-11-12T13:54:00.000-05:00

“Well, if the Grand Canyon were to rejoin itself, maybe there would be a possibility. We got back together for my wedding. It made me firm in my belief that it’s best to let sleeping dogs lie.”

— Sting in a July 2000 Webchat for JAM, on the possibility of the Police reuniting for a tour.

“We started 30 years ago, so it would be nice to do something to celebrate. We don’t quite know what, but we’re talking about it. I’m very proud of the band we were in.”

— Sting, 2007

The Police, featuring lead singer and bassist Sting, drummer Stewart Copeland and guitarist Andy Summers were one of the true supergroups of the 1980s. From their punk-pop origins, the trio became one of the most popular and critically acclaimed bands of the decade. Their hits include “Roxanne,” “Message in a Bottle,” “Every Breath You Take,” “Every Little Thing She Does Is Magic,” “Don’t Stand So Close To Me” and “King of Pain.”

Although there was no official breakup, the band had not toured since March 1984. On Saturday, Nov. 3, thousands of fans will pack Boardwalk Hall to welcome the Police back to Atlantic City for only the second time in the group’s history (their other concert here was in 1984). Tickets range from $50 to $350. Fiction Plane (featuring Sting’s son, Joe Sumner) will be the opening act.

“The reunion they said would never happen” is a line often used to hype the reunion tours of supergroups. However, the “they” is usually not a member of the band itself. Before this year, Sting’s stock response to reunion questions was, “What would be the point?”

It wasn’t that Sting, who was born Gordon Sumner, felt the Police had done everything artistically that they could do. Simply put, Sting was disliked by his bandmates, and vice versa.

Things were especially testy between Sting and Copeland, who were rumored to have come to blows on more than one occasion. During the making of Synchronicity, the band’s fifth and final studio album, things got so bad that Sting would record his parts during the day and Copeland would record the drum parts at night. Remarkably, not only was the album completed, but it went on to become the group’s first No. 1 album in the United States, and its biggest seller worldwide.

Over the years friction between the band members subsided and they became, if not friendly, at least less adversarial. The trio performed an impromptu set at Sting’s wedding to Trudie Styler in 1992, and played a three-song set at their Rock and Roll Hall of Fame induction ceremony in 2003. Today, Copeland says the stories of constant fighting are overblown.

“We used to read in the papers about how we were fighting all the time,” he said in a recent interview for the New York Post. “I don’t know what we were doing, but it wasn’t fighting. When we did argue, it wasn’t about petty stuff, it was about the music, because we’re passionate about what we do.”

Copeland formed the Police in England in 1977 along with Sting and original guitarist Henry Padovani. Copeland and Sting had strong backgrounds in jazz, but Copeland envisioned a power trio to join the burgeoning London punk scene. Padovani lacked musical skills, but he brought punk credibility to the group.

Sumner joined shortly thereafter, and the Police performed briefly as a quartet. After an attempted recording session exposed Padovani’s weakness as a guitarist, he was asked to leave the band. The group decided to continue as a trio.

Realizing that they were too old to play straight out punk rock, they developed a sound that combined the energy of punk with a strong reggae influence and even some jazz overtones. Over the years, even as the group became a commercial success, it never abandoned its experimental nature.

Early this year, when it was announced that the reunion tour would take place, there was much speculation as to whether the trio could actually pull it off. Thus far, the tour has received almost unanimously positive reviews.

To their credit, Sting (56), Copeland (55), and Summers (64) are all in great shape, both physically and musically. Rather than a lot of bells, whistles, and backing musicians, the tour features just the three musicians performing on an uncluttered, half-circle stage. The trio plays all the hits in a generous, 20-song set. While some arrangements have been updated, most of the songs sound just like you remember them.

While some critics have dismissed the Police reunion as an attempt by the aging trio to cash in on their legacy, most fans are happy to have the chance to see the group perform at least one more time. Other bands notorious for internal fighting have let bygones be bygones. If the Eagles, Kiss, and three-fourths of Van Halen can do it, why not the Police?

___________________________________________________________

The Police Files: Things You May Not Know:

• Copeland chose the name, “the Police” because his father was a CIA officer and his mother served in the British intelligence.

• Stewart Copeland’s brother Miles Copeland, who managed the Police, also started I.R.S. Records in the ’80s, home to the Go-Go’s, R.E.M., Squeeze, and others.

• Sting got his nickname while he was a member of a group called the Phoenix Jazzmen. He once performed wearing a black and yellow jersey with hooped stripes, and bandmate Gordon Solomon told him he looked, “like a bumblebee.”

• Sting’s love for literature found its way into his lyrics: “Don’t Stand So Close to Me” includes a reference to Nabokov’s Lolita, and “Tea in the Sahara” includes a line about The Sheltering Sky, the title of a Paul Bowles novel. Ghost in the Machine is a book by political writer Arthur Koestler; “Synchronicity” a well-known essay by Carl Jung.

• Each of the band’s five album covers featured some representation of the three members’ faces, from the straightforward portraits on Outlandos d’Amour, Reggatta de Blanc and Zenyatta Mondatta, to the three colored stripes on the cover of Synchronicity. The cryptic cover of Ghost in the Machine is actually digital clock-style depictions of the three faces, with spiky-haired Sting in the middle.

• After one of the early reunion concerts in Vancouver, British Columbia, Copeland posted a satiric review trashing the show on his Web site (http://www.stewartcopeland.net/). For example, Copeland about one of Sting’s mistimed stage moves, “The mighty Sting momentarily looks like a petulant pansy instead of the god of rock.” Many in the media took Copeland’s post seriously, and predicted that tempers were already flaring among the band members.

• Prior to the reunion tour, the last official shows performed by the Police took place in June 1986, when the band reunited to play three concerts for the Amnesty International.

• The bleached-blonde hair sported by the trio on the cover of their debut album, Outlandos d’Amour was not a marketing ploy. The band members all dyed their hair blonde so they could do a Wrigley Doublemint Gum commercial.

Macy Gray's "Big" Return

2007-11-09T11:44:00.000-05:00

Before Macy Gray released her current album, Big, earlier this year, more than a few music industry insiders had closed the book on her music career. The singer, best known for the Grammy Award winning hit “I Try,” had not released an album since 2003’s commercially disappointing The Trouble With Being Myself, and had since parted ways with her record company.

Four years between albums is a lifetime in the music business. But Gray, who performed at Atlantic City's Borgata Music Box along with opening act the Brand New Heavies in September, says she always knew she would rebound.

“I was definitely confident [that I would wind up on another major label],” Gray said in a telephone interview in advance of the Borgata show. “I thought about my next album a lot. [The break between albums] gave me time to figure out what I was going to do next, and how I was going to do it.”

While the time away from music allowed her to further pursue her acting career (she’s appeared in such films as Training Day, Domino, Shadowboxer, and Idlewild), and start her own clothing lines (the high-end Natalie Hinds Collection for women, SNAC for men’s fashion, and HUMPS, for “voluptuous women”) she eventually signed with will.i.am Records, headed by and named for Black Eyed Peas leader and in-demand producer William James Adams Jr.

Soon after, Gray recorded Big with an elite group of producers and guest artists, including will.i.am, Ron Fair, Justin Timberlake, Fergie, and Natalie Cole. Released in March 2007, and featuring the singles “Finally Made Me Happy,” “Shoo Be Doo,” and “What I Gotta Do,” Big has become Gray’s most critically acclaimed and most commercially successful album since her 1999 debut, On How Life Is.

Born Natalie Renee McIntyre in Canton, Ohio, Gray studied piano at an early age, but never envisioned herself as a performer, much less a singer. She moved to Los Angeles to attend USC’s film school in the hope of becoming a screenwriter. While there, she became friends with a group of musicians who convinced her to try her hand at songwriting, and eventually, singing.
“I was shy about doing music because kids used to make fun of my voice when I was younger,” Gray said in a 1996 interview for the All Music Guide.

“Squeaky,” “raspy,” “scratchy,” and about a dozen similar adjectives — none of which begin to do it justice — have been used to describe Gray’s distinctive, soulful voice. Gray has heard them all, and recently added her own description to the mix.

“You know what? I think my voice is better now than it has ever been,” she said in an interview for You Magazine. “It sounds like raspberries — like ripe raspberries — and I like raspberries a lot.”

Gray says the songs on Big came together in a variety of ways.

“Every song is different,” she says. “On some songs I had an idea and I would sing it to my piano player. I always come up with a hook line and a melody first, then put it together. With people like Will and Justin, they build the track first, and then they come up with the hook. Everybody does it a different way.”

Lyrically, the album covers familiar territory.

“It’s always ... talking about life and love and all the things that everybody goes through,” Gray says.

While Big boasts its share of old-school instrumentation and lush production, executive producers will.i.am and Ron Fair manage to add a modern edge to the proceedings while maintaining Gray’s distinctive, somewhat retro sound.

“Musically, there are a lot of beats. At the same time, there’s a lot of production on it, a lot of strings, horns, keyboards. So it’s a really built album,” Gray says. “It varies from one song to another. I wanted it to be different from everything else that’s out there. So we took our chances.”

The approach seems to have worked. Besides overwhelmingly positive press, Big has already attracted a more diverse audience than Gray’s previous albums.

“Up until now my audience was mostly white females,” Gray says. “On my first couple of albums I didn’t really have a black audience. I wasn’t embraced by black radio at all. But for this album [my audience has been] very mixed — I get a lot of black people, a lot of guys, even a couple of kids.”

Fans at Gray’s Borgata show witnessed a performance that appealed to the eyes as well as the ears. Gray and her eight-piece band performed nearly all of Big, as well as over a half-dozen songs from her first three albums in a highly polished, 75-minute set.

“Besides the music, there are a lot of visual dynamics going on. The set list has a storyline,” Gray says. “We crafted every minute of our show. We don’t have revolving stages and a bunch of dancers. It’s just me and my band, but I think it’s just as much a show as anybody else’s. It’s pretty hot. You have to see it.”

Counting Crows' Appeal Soars With Critics and Fans Alike

2007-11-08T13:29:00.000-05:00

Generally speaking, rock stars don’t enjoy giving interviews. Most consider them a necessary inconvenience that helps sell CDs and concert tickets.

There are exceptions, however. Case in point — Adam Duritz, lead singer, songwriter, and founder of the San Francisco Bay area-based rock band Counting Crows, which performed two sold-out shows at Atlantic City's Borgata Music Box September 7 & 8, 2007.

“I actually kind of like talking about [the band and the music],” Duritz admitted in telephone interview prior to the show. “My willingness to say the truth has gotten me in a lot of trouble, but I’m more than willing to get into it again with you today.”

Having interviewed more than a few artists who offer little more than well rehearsed responses to even the most innocuous questions, Duritz’s honesty is refreshing. For Counting Crow’s fans, it’s part of the group’s appeal. Duritz has a reputation for expressing what’s on his mind at any given moment — whether in an interview or on stage. As a result, no two Counting Crows shows are exactly the same, as lyrics and arrangements are often changed mid-song.

“I never think of the recorded version [of a song] ever,” Duritz explained. “I sing the song like I’m feeling the song, which doesn’t mean it won’t be just like the recorded version. I just think of it as ‘this song is happening right now.’ I think that’s why our concerts are emotional. We could play the same set list three nights in a row and it will be a completely different show all three nights.”

The band, which also includes Dave Bryson (guitar), Jim Bogios (drums), Charles Gillingham (keyboards), David Immergluck (guitar), Dan Vickrey (guitar), and Millard Powers (bass), completed a summer tour in 2007. Along with supporting acts Live and Collective Soul, they played in minor league baseball parks across the country. Duritz says the tour provided the opportunity to visit smaller towns that many bands overlook.

“I think bands make a huge mistake in their careers by forgetting that America is made up of a lot more than just 10 major cities,” he says. “You can have a hit and sell a lot of records from the radio or MTV, but you keep a fan by what you do live.”

From the start, Counting Crows earned a reputation for great live performances. The band enjoyed success with its 1993 debut album August and Everything After, and the hits “Mr. Jones” and “Round Here.” Subsequent hits include a Top-10 cover of Joni Mitchell’s “Big Yellow Taxi” and “Accidentally In Love,” from Shrek 2. A live album, New Amsterdam: Live at Heineken Music Hall 2003, was released last year. In all, the band has sold over 20 million records worldwide.

Duritz says this summer’s tour allowed him to push the limits of what his band was able to do musically. He continually kept the group from becoming complacent by adding new songs (from the recently recorded Saturday Nights, Sunday Mornings — due in November) and rarely-played older songs to the set, often after only one rehearsal.

“I think we’ve added like 18 or 20 songs this summer that we haven’t been playing in recent years,” Duritz says. “It’s made the band fearless. I wanted them to get used to the idea that there is nothing they can’t do — and also that there is no such thing as an excuse. If you have a gig that night, you’d better go out there and be great.”

Duritz admits his approach caused some conflict and frustration in the band, but he believes the group is stronger as a result.

“When you aren’t sure what songs are going to be played, you’re forced to be involved,” he says. “As a result, we’ve gotten great this summer — to the point where friends of mine who have seen us a million times are shocked by how good we are.”

Duritz says that his on-the-edge approach to performing has also been a source of misperception regarding his on-stage sobriety.

“I want a Counting Crows show to be like walking a tight rope,” he says. “I’m always jumping on risers, walking around, and balancing on things — just because I like the sensation that I might fall — literally. I have reviewers all the time writing about how I’m drunk on stage. I’m not high, I’m just gone. If I’m on stage, I’m gone. It is a popular perception that I’m wasted on stage. It’s mostly not the case. And for this past tour, it was never the case.”

“I’m not promising anything for Atlantic City,” he adds. “That’s a fun town.”

The Classic Soul of Ryan Shaw

2007-11-07T13:40:00.000-05:00

A few weeks ago I happened to hear a song called "Do the 45" playing on Internet radio. I thought I was listening to an obscure soul classic from Wilson Pickett, Junior Walker, Sam and Dave, or some lesser-known soul artist of the same era.

I was only half right.

"Do the 45" is an obscure soul classic originally done by a group called the Sharpees in 1966. But the version I heard was recorded over 40 years later by a soul prodigy named Ryan Shaw. If it weren't for the improvements in sound recording that have been achieved over the past 40 years, Shaw's version could pass for an undiscovered chestnut.

That's a compliment.

Of the 12 slices of retro-soul featured on Ryan Shaw's debut CD, This Is Ryan Shaw, nine are covers of lesser-known hits originally made famous 30 to 40 years ago by Wilson Pickett, Jackie Wilson, Bobby Womack, and others. The remaining three are original songs written or co-written by Shaw. If you're not well versed in your vintage soul, however, you might have a hard time figuring out which are originals and which are covers.

That's also a complement.

Since the release of This Is Ryan Shaw earlier this year, the 26-year-old Decatur, Georgia native has received his fair share of media attention. The press is fascinated by his retro-sound. Critics write about his powerful and mature singing style. Reviewers praise his dynamic stage presence. But what is mentioned most often, in article after article, is the fact that Shaw never heard Wilson Pickett, Jackie Wilson, Bobby Womack, Donny Hathaway – or any other secular music – until he was 18.

Shaw, who performs Thursday, November 8 at Collingswood, New Jersery’s Scottish Rite Auditorium opening for the Derek Trucks Band, grew up in a deeply religious Pentecostal family. Music was an important part of his life from an early age, but it was strictly gospel music played in church, not the pop, soul, hip-hop, rock or R&B played on radio and MTV. He began singing in church at the age of five, and later formed a family group with his four brothers called the Shaw Boys. Shaw's early musical influences all came from the gospel world – singers like Darryl Coley, Keith Brooks, James Moore, and the Pace Sisters.

The first time he heard music that wasn’t gospel was when he left home for college. After briefly attending Georgia State University, he successfully auditioned for the gospel musical A Good Man Is Hard to Find (Part II). In 1998, he joined the cast of I Know I've Been Changed, written and directed by Tyler Perry (Diary of a Mad Black Woman). Shaw moved to New York with the production and performed to sold-out crowds at the Beacon Theater.

After the closing of I Know I've Been Changed, Ryan joined the resident cast of the Motown Café on West 57th Street where he performed Detroit soul favorites by the Four Tops and Marvin Gaye. Later he found another steady gig with a group that he says played “just about anything from the Fifties and Sixties that you could dance to – Frank Sinatra and Nat King Cole, Stax and Motown, Dion & the Belmonts, you name it.”

In a recent telephone interview, Shaw said that he gravitated toward soul music from the 60’s and early 70’s because many of those artists also started out singing gospel music.

“Those singers came out of the church, so I’ve been singing like them my whole life,” he said. “We all sang the same music growing up. I just didn’t know about their secular side. But it’s all based on traditional gospel music. It wasn’t a big switch for me, or anything I had to study. When I heard Wilson Pickett, and Sam and Dave – I said, ‘that was the same song I sang in church last Sunday, only with different words.’”

When he first decided to pursue a career in music, he considered becoming a gospel artist.

“Being born and raised in the church, you think that’s your only option,” Shaw says. “I’ve considered it. Even when I was first signed to the label, they talked about doing a gospel album. My third album might be a gospel album, I’m not sure.”

Shaw says the follow-up to This Is Ryan Shaw won’t be a gospel album, but it won’t be another collection dominated by covers, either.

“The next one is going to be pretty much all original,” he says. “The purpose of the first album was to establish me as a singer; hopefully the next album will establish me as a writer and as a more complete artist. There’s a possibility that there might be a few covers that I really love on the album, but they’ll be even more obscure than the stuff I covered on the first record.”

Since his album’s release last March, Shaw has toured the country as both a headliner and a support act. He’s opened for a variety of R&B, jazz, and blues artists, including John Legend, Buddy Guy, Joss Stone, and Los Lonely Boys. He’s even appeared at Lollapalooza.

Shaw says that even though “it’s more work to win over an audience when you’re opening for somebody,” he hasn’t met an audience yet that he couldn’t win over.

“There hasn’t been a bad show yet,” he says. “I think the strangest one was when we opened up for [jazz instrumental group] Bela Fleck and the Flecktones. Their crowd is a different group of people, but they still love real music. When I first came out, it was like blank faces and crickets chirping. But halfway through the second song, they were with me. By the end of the show, they were going crazy.”

Shaw acknowledges that given the strong musical statement he made with his debut album, the industry has already labeled him as a soul singer. While he’s comfortable with the label, he’d like to establish a career in which he’s known as a singer who can handle any style of music.

“You go back to someone like Aretha Franklin – Aretha did two or three jazz albums, then she did the Rock Steady album, she did a little bit of everything. People just loved her. It wasn’t about the song, it was Aretha. No matter what Aretha was doing, people loved her and they knew what she brought to the table.”

“I think a great song is a great song whether it’s sung by a country artist, or a soul artist, or a rock ‘n’ roll artist,” he adds. “I think people love real music. I think what attracts people to what I do is my interpretation of it all. Not necessarily the song, but what I bring to the table.”

"Girl Power" Concert In Wildwood, NJ

2007-11-05T12:21:00.000-05:00

Since opening in 1986, the Rock and Roll Hall of Fame has inducted only a handful of the influential girl groups of the 1950s and ’60s. On Saturday, July 7, 2007 original members of three of those groups — the Supremes, the Ronettes, and the Shirelles (“Will You Love Me Tomorrow?”) — performed along with the Angels (“My Boyfriend’s Back”) and the Dixie Cups (“Chapel of Love”) at the Girl Power concert at the Oceanfront Arena at the Wildwoods Convention Center.

In exclusive telephone interviews, Mary Wilson of the Supremes, and Nedra Talley Ross of the Ronettes talked about their careers, how the Girl Power concert came together, and recalled stories of performing in and around Atlantic City in the early ’60s.

Mary Wilson has the distinction of being the only Supreme who remained in the group from its beginning in 1959, when it was known as the Primettes, until it was dissolved in 1977. As a member of the Supremes, Wilson (along with Florence Ballard, Diana Ross, and later, Cindy Birdsong) enjoyed 12 U.S. No. 1 hits, including “Where Did Our Love Go,” “Stop! In the Name of Love” and “Baby Love.”

Wilson has never stopped performing, averaging over 100 appearances each year. Most recently, she has been playing a series of intimate club shows she dubbed “Mary Wilson Up Close.”

Wilson says the idea for the Girl Power show originated back in 2002 while she was working on a project that honored 12 different girl groups of the ’50s and ’60s, including the Ronettes, the Shirelles, the Angels, and the Dixie Cups, with commemorative postage stamps.

“We had the unveiling of the stamp collection at the Rock and Roll Hall of Fame Museum in Cleveland,” Wilson says. “So we had all the groups there, all the girls there, and we had a weekend of tremendous fun. We did a small concert where we did a few songs. We said it would be so great if we could do this more often, and since I had organized that particular event, everyone said, ‘OK Mary, you do it.’”

Original Ronette Nedra Talley Ross said the idea moved forward for her two years ago, when the Ronettes were inducted into the Vocal Group Hall of Fame at a ceremony held in Wildwood. Ross said that performances by the inductees that weekend turned into a friendly competition between the boy groups and girl groups, and made Ross realize that the time was right to take the show on the road.

“I think everyone’s at this stage in our lives where we’re like, ‘If you’re going to do it, do it now,’” she said.

While they had fewer hits than the Supremes, the Ronettes, featuring Ross and her cousins, Estelle Bennett and Veronica “Ronnie” Bennett (later Spector), may have had an even bigger stylistic influence on music. The multiracial New York City natives were young, stylish, and sexy. They wore long, matching hairstyles, heavy eye makeup and slit skirts. And they sang to the boys (“Be My Baby,” “Baby, I Love You”) instead of about them.

The Ronettes became known as the first “bad girls of rock ‘n’ roll,” which is ironic considering Ross walked away from the group in 1966 to become a wife and mother, and has been happily married for over 40 years. Today she is heavily involved with Pat Robertson’s Christian Broadcasting Network.

Ross says that at the time she didn’t realize how revolutionary the Ronettes were.

“But I did know that we were making an impression,” she says. “We stood out, because we weren’t the black group, we weren’t the white group — people didn’t know what we were, but everyone could relate to us and claim us as their own. We all dressed alike. We all had long hair. We wore skirts with slits, because we danced. People thought we were wearing the slits just to be sexy, but the truth was, the slits allowed us to dance.”

While the involvement of producer Phil Spector has often overshadowed the group, the Ronettes are finally being recognized for their contributions to popular music. In addition to being inducted into the Rock and Roll Hall of Fame last March, the group was honored by the Library of Congress when “Be My Baby” was added to the National Recording Registry the same month.

For the Wildwood show, Ross will sing lead, performing with daughter Heather Ross and two backing singers. It won’t be the first time Ross has sung lead for the Ronettes. When the group was signed as the opening act on the Beatles’ final U.S. tour in 1966, an insecure Phil Spector wouldn’t let Ronnie go on the road with the Fab Four, so Nedra took over lead vocals and another cousin, Elaine, was brought in to sing Nedra’s part.

Both Wilson and Ross recalled performing in Atlantic City in the early ’60s. Ross’s story involves local music legend and Atlantic City Weekly columnist, Jerry Blavat:

“Coming from New York City ... we regarded ourselves as good dancers,” she says. “We had just done Dick Clark’s American Bandstand, and it was fine, but it didn’t have what we considered great dancers. ... And then we went to do the Jerry Blavat Show, and all these kids — with Jerry leading the way as the host — had routines. They could really dance! We were like ‘Oh my gosh, they’re tearing it up!’ That show had a vitality that I’ll always remember. It really stuck in my head.”

Wilson remembers performing with Dick Clark’s Caravan of Stars tour at the Steel Pier.

“One of the things I’ll always remember about Atlantic City, was when we played the Steel Pier, there was only one way in and one way out,” she says. “At the end of the show, when we wanted to get back to the hotel, we’d have to walk all the way back through the Steel Pier. Many times we’d have to run because we’d have so many fans chasing us. We were like Pied Pipers — by the time we got to the entrance, we’d have hundreds of people following us.”

Besides her solo career, Wilson is involved in a wide variety of charitable and humanitarian causes. She says she would welcome a Supremes reunion with Diana Ross and Cindy Birdsong (original Florence Ballard died in 1976).

“If it were to come about in the right way, I would be more than willing to do it. In fact, I hope it will happen,” she says. “But I believe those things should happen with the best intentions, and everyone involved should want to do it. ... Now that we’re a lot older, and we’ve gone through our own personal trials and triumphs, maybe the time is right.”

CD REVIEWS

2007-11-01T14:00:00.000-05:00

Secret Journey; Omar Akram (Real Music) – Fans of smooth jazz and new age music may already be familiar with the music of Omar Akram, who was known simply as Omar on his first two albums, 2002’s Opal Fire and 2004’s Free As A Bird. On his new release, Secret Journey, Akram continues to explore exotic musical textures, weaving strong melodies around multi-cultural rhythms and once again challenging the notion that new age and smooth jazz are best suited for elevators and long naps.

In fact, Akram might be the perfect artist for those who appreciate the soothing, uplifting aspects of the genre, but find themselves frustrated and bored when the music meanders for too long, or abandons all rhythmic foundations. Akram is a skilled composer, and has learned to anchor his melodies, whether soaring (as in lead track “Run Away With Me”) or tranquil (as in “Shimmering Star”), to distinctive rhythms.

Secret Journey also benefits from its unifying theme. In addition to the title track, all of the tunes were inspired by what might be seen or felt on a special trip. The approach allows Akram to incorporate exotic musical flavors from around the world. The son of a U.N. diplomat, Akram spent decades living around the globe, soaking up musical influences from far flung locales such as Afghanistan, Cuba, France, Switzerland and the Czech Republic.

“I look around me and see people who are bored, restless, stagnant,” he explains, “and I know they often take ‘secret journeys’ in their mind as they daydream about other places they could be. The lucky ones get to take an actual trip where they escape from the pressures of their lives. They see new places and have uncommon experiences. I like to think the music on my album can serve as the soundtrack for their journey, whether it is a mental or a physical trip. Everyone needs to get away sometime.”

Akram is accompanied by a group of world-class musicians, including keyboardist Gregg Karukas, and guitarist Ramon Stagnaro, who shins especially bright on the standout track, “Passage of the Heart.”

Secret Journey is a wonderful album with tremendous cross-over potential. Like the work of Kenny G, Kitaro, John Tesh, it will appeal to both devotees of the genre as well as to those who would rarely listen to new age or smooth jazz. Both camps will find many pleasures on this Secret Journey.

Seal With A "Kiss"

2007-07-11T09:14:00.001-05:00

Seal, the British-born singer-songwriter of Brazilian and Nigerian heritage, burst on the music scene in 1991 with a self-titled album that presented a unique fusion of soul, folk, pop, dance and rock, and immediately brought him success on both sides of the Atlantic. Although he’s only released three albums since — six, if you count two live recordings and a 2004 hits collection — Seal continues to attract a large and intensely loyal international following.

Despite his relatively sparse recording output, the 44-year-old singer, whose real name is Sealhenry Olusegun Olumide Adeola Samuel, has managed to remain in the public eye. He’s released enough new music to remind listeners of his distinctive soulful voice, including a Grammy-nominated cover of Burt Bacharach’s “Walk On By” on Best 1991 – 2004, and the song, “A Father’s Way” (from the film The Pursuit of Happyness), which received a 2006 Golden Globe nomination for Best Original Song.

With a lean, muscular 6’4” frame, Seal’s sheer physical presence has always been enough for him to garner media attention. Growing up in the image-conscious MTV era, Seal has been savvy enough to take advantage of it. He might have gone into modeling, but was initially discouraged by the facial scars he carries as a result of a childhood bout with lupus. But when he decided on a performing career, Seal became convinced that the half-moon scars under his eyes were an omen of future stardom.

“I got really depressed about [the scars] at first, as you can understand,” he said in an interview with Rob Tannenbaum of Rolling Stone magazine. “Now I really like them. If I could design something, I don’t think I could do it better.”

He did design the rest of his look, which at one time featured long dreadlocks, but now sports a clean-shaven head.

“True beauty is internal and eternal — it doesn’t matter what’s only skin deep,” he has said.

Apparently, his view of female beauty tends to be more traditional. Seal dated supermodel Tyra Banks in the mid-90s, and married supermodel Heidi Klum in 2005. The couple has two children.

Seal began his performing career singing in London clubs and bars. He joined an English funk band called Push, which was successful enough to tour Japan in the mid-’80s. From there, Seal took advantage of his time abroad, immersing himself in a variety of musical cultures, and perhaps influencing his own eclectic style of pop music. While in Asia, he joined a Thailand-based blues band. After a short time with that group, he traveled throughout India on his own.

When he returned to England, Seal started collaborating with artists on the local dance music scene. He wrote and independently recorded a song called “Killer” with keyboardist Adamski. Its balance of dance and rock, coupled with Seal’s emotional singing and lyrics, took it to the top of the U.K. charts.

The song caught the attention of producer Trevor Horn (Tina Turner, Pet Shop Boys, Yes), who signed Seal to his ZTT label and produced his eponymous debut in 1991. The album was positively received by both critics and fans, and the singles “Crazy,” “Future Love Paradise” and a new version of “Killer” all performed well on the charts.

But it was Seal’s second album, also self-titled, that established him as one of pop music’s top artists of the ’90s. The 1994 album was also produced by Horn, and featured guest appearances by Joni Mitchell and Jeff Beck. It included the singles “Prayer for the Dying” and “Newborn Friend,” and received a Grammy nomination for Album of the Year. A third single, “Kiss From a Rose,” performed modestly when initially released, but later became a worldwide smash hit when it was featured in the film Batman Forever. “Kiss From a Rose” went on to win Grammys for Record of the Year and Song of the Year in 1996, and became Seal’s best known song.

Sales of 1998’s Human Being failed to match those of Seal’s first two albums, and the singer went through a difficult period, both personally and professionally. He had a falling out with Horn and left ZTT Records for Warner Brothers.

Seal returned to form for 2003’s Seal IV. Again produced by Horn, the album was a critical and commercial success, and included the singles “Get It Together,” “Waiting For You” and “Love’s Divine.”

In blog posts on Seal.com, his official Web site, Seal has talked about his new album (no, it's not called Seal V - it's called System) which hits the streets November 13, 2007. He says it will reflect a return to his roots as a club singer. Some of the song titles include “Amazing,” “System,” “Wedding Day” and “The Right Life.”

Hoping for a fresh sound, the album will be produced by Stuart Price, known for his work with Madonna, No Doubt, and Coldplay.

“The new record is really shaping up and is turning out to be much of a dance record,” Seal said in a recent post. “Over the years I’ve somehow become more known for my ballads, which I also love doing, but dance music has always been close to my heart. Make no mistake, there will also be a killer ballad or three on this record, but at this point in my life I really want to make something that is more dance-directed.”

ROLL OVER BEETHOVEN: THE EAST VILLAGE OPERA COMPANY BRINGS CLASSIC ARIAS INTO THE 21ST CENTURY

2007-05-01T12:21:00.000-05:00

Since the late ’60s, dozens of bands have recorded rock operas – from grandiose concept albums like the Who’s “Tommy,” to stage musicals like Andrew Lloyd Webber’s “Jesus Christ Superstar,” to the recent work of the Trans Siberian Orchestra. While the music usually rocked, it often had little to do with true opera.

The same can’t be said of the East Village Opera Company, which might be the first band to perform real opera that rocks.

On its self-titled Decca Records debut, the eleven-piece group uses electric guitars, bass, drums, and keyboards combined with a string quartet, and two lead vocalists to breathe new life into classic arias like “Habanera,” “Un Bel Di,” and “La Donna E Mobile.”

Keyboardist and arranger Peter Kiesewalter believes that today’s rock and yesterday’s opera share many similarities.

“These opera composers were just the rock stars of their time,” he said in an October 2005 interview for the News Journal. “They were often poorly behaved guys that infuriated a lot of people and really pushed the envelope of what was happening in popular music.”

While opera may be considered highbrow music today, Kiesewalter says that wasn’t the case 200 years ago.

“It really wasn’t for the upper classes, it was for everyday people,” he says. “It was music that people would sing in the streets the day after a premiere. It was the pop music of its day.”

The Ottawa, Canada native is a classically trained instrumentalist who considers himself “a rock guy” at heart. He put himself through school playing everything from Top-40 to rock to country to big band music. Eventually he moved to New York, where he became the music director and arranger of “The Downtown Messiah,” an annual presentation of Handel’s “Messiah.”

In 2001 he was hired by director Derek Diorio to write the musical score for “The Kiss of Debt,” an independent film featuring Tyley Ross as an aspiring opera singer. “The director told me that he wanted Tyley to sing fifteen opera arias in the movie, and I could arrange them anyway I wanted, as long as I didn’t do them traditionally,” Kiesewalter explained. “So I was given carte blanche to do whatever I wanted.”

A low-budget comedy with a very limited release, “The Kiss of Debt” never found an audience. Kiesewalter and Ross didn’t want their collaborative musical effort to suffer the same fate.

“At the end of the process, we decided to put the music out on an independent CD,” Kiesewalter says. “We thought nothing much would come of it, but the response right off the bat was a bit overwhelming.”

With success of the independent release, “La Donna,” Kiesewalter and Ross began drafting a permanent roster of musicians for live performances. The group established a home base at an East Village club called Joe’s Pub. The 2005 road trek marked the first time the group toured extensively.

“With eleven people in the band, it’s economically stupid, but I just couldn’t think of another way to break it down and make it cost effective,” Kiesewalter says. “We’ve been asked if we could go out as a four or five piece, and turn the string quartet into a synthesizer, but I just couldn’t do it. No matter how great the sample is, you just don’t get same the dynamic, or breath of expression that you do with real strings.”

The eclectic nature of the group’s music attracts an equally diverse audience, from rockers and hipsters, to working professionals and college students. Kiesewalter says a large number of traditional opera fans have embraced the group’s approach.

“A fair amount of older people who are subscribers to the Met, or traditional opera fans are definitely digging it,” he says. “I’m sure there are some horrified purists out there, but it’s good to know that some of the real fans are coming out and agreeing that the classic arts need a drastic reinvention in order for them to survive. We’re not trying to replace the originals, but I think for something to remain viable, it needs to be reexamined and turned on its head.

“If Mozart or Puccini were alive today, there’s no doubt in my mind that they’d be using microphones, and Pro-Tools, and samplers, and drums and electric guitars. We try to imagine what the composer would be doing with his music if he were alive today.”

While the East Village Opera Company does take a few liberties in its repertoire – like blending the keyboard and drum opening of the Who’s “Won’t Get Fooled Again” into the “Overture” from “Le Nozze di Figaro” – the group adheres to musical tradition more often not. For example, the overwhelming majority of the material is sung in the original Italian or French.

“The lyrics just don’t translate gracefully into English,” Kiesewalter says. “It’s like going to see Shakespeare in Swahili. It does not have a flow, and it sounds extremely corny. The language of this poetry is so much a part of the aria. We were very adamant about sticking to the original text, and also to sing the aria in its entirely. When artists contemporize these songs, they’ll often do the most recognizable bit. In our approach, we do every section of the tune from start to finish, not just the most recognizable eight or sixteen bars.”

However, the group felt it was important to use material that would be familiar not only to opera buffs, but to the average well-rounded music fan as well.

“We weren’t shy about choosing the obvious greatest hits from the opera repertoire. The fact that we’re doing something that’s recognizable gives us context,” Kiesewalter says. “If people recognize the tune, then it defines what we do that much stronger than an unknown aria. It immediately puts a context and a framework around what we’ve done with it.”

Kiesewalter says that given the theatrical nature of the music, he’s looking forward to performing on larger stages. “With Tyley’s stage background, and the dynamics of the music, there’s never a dull moment,” he says. “We really haven’t worked out anything in terms of ’70s arena rock stage antics, but we embrace the pomposity of that style of rock much like we embrace the pomposity of opera.”

Christina Aguilera Gets Back To Basics in Atlantic City

2007-04-01T18:54:00.002-05:00

The show that Grammy award-winning pop diva Christina Aguilera brought to Atlantic City’s Boardwalk Hall on Saturday, March 31 might have been part of her Back to Basics Tour, but like the 2006 double-album it’s named after, there was nothing “basic” about it. The ninety-minute, hi-tech spectacle featured 15 costume changes, a supporting cast of 20 dancers and musicians, over 600 lights, and an array of Cirque du Soleil-inspired acrobatics and special effects.

In a recent teleconference interview to promote the tour, Aguilera said that she feels presenting anything less would be shortchanging her audience.

"Nowadays, I don't think it would be fair to my audience to just kind of sit on the stage with a mike,” Aguilera said. “If I play an arena, I want my audience to be able to look around and enjoy a show from all aspects. I think it's only fair to my audience to fill up the space and to give them a real show.”

Aguilera’s luck crapped out the last time she was scheduled to perform at Boardwalk Hall. In August 2003, the Justified & Stripped Tour, featuring Aguilera and Justin Timberlake, was derailed in Atlantic City when a lighting grid collapsed prior to the show. No one was hurt, but the accident caused over $1 million in damage to the show’s lighting, sound and video equipment, and forced the cancellation of several dates on the tour.

Much of the current show’s staging is inspired by the vintage jazz, big band, soul and blues themes the 26-year-old singer explores on the critically acclaimed Back to Basics album. Artistically, it’s Aguilera’s most impressive album yet – eons beyond the corporate pop of her self-titled debut, and even more ambitious than 2002’s Stripped.

“I always just do what I feel,” Aguilera says. “With my first album, I kind of had to play by the rules and go accordingly to what my label wanted me to do. A few million records sold later, I was able to do what I wanted with Stripped, which was kind of my own interpretation of my coming-of-age record. It was the first time that I felt that I could really be myself, write my own material, and express myself as the woman that I'd grown into at that point.

“While I was on tour with Stripped, I started diving deeper into this place of inspiration. Blues, soul, and jazz music were always an inspiration for me, and I really felt that it was time to dive into that world, getting to know it better.”

Aguilera has always had an affinity for jazz and blues standards. A native of Staten Island, she began performing in local talent shows while growing up in suburban Pittsburgh. At 9-years-old, she appeared on Star Search singing Etta James’ “A Sunday Kind of Love,” but lost the competition.

“There's a lot of sadness in old music and in blues. It originates from pain and I think that's really beautiful,” Aguilera says. “I talk openly about my past and what I've gone through – abuse being something that was very real in my household, and a lot of chaos growing up as a child. I think that I naturally just gravitated towards music that I could really feel on a deep level – and that meant sadness. I was able to connect with that at a really young age.”

In 1992 she joined the cast of the Disney Channel’s The New Mickey Mouse Club. Her co-stars included Britney Spears, Justin Timberlake, and JC Chasez. In 1998 Aguilera recorded the song “Reflection” for Disney's animated film “Mulan.” It led to a record deal with RCA and the release of her self-titled debut album in 1999. The album hit #1 on the strength of the single, “Genie In A Bottle” and its follow-up, “What A Girl Wants.”

With remarkable ease, Aguilera’s public persona has evolved from a Britney pop clone, to a “Dirrty” party girl, to a retro-chic diva. Like Bette Midler in the ’70s, and Madonna in the ’80s and ’90s, Aguilera admits she enjoys reinventing herself on every album.

“I do get bored easily and not only is it important for me to challenge myself and evolve as an artist, but it's important for me personally,” she says. “I think that life is all about changing and trying to continue your growth as a person. I'm not the same person that I was on Stripped, and I wasn't the same person on Stripped that I was when I first came out. To me, it's just a constant evolution.”

As part of that growth process, Aguilera says that she would like to branch out into acting.

“Movies and film is something that I do intend on doing,” she says. “Like music, it's another art form and I want to take it seriously. So I've been reading scripts, but I really want to make sure it’s the right role. If I want to act, I want to do just that. I don't want to play myself as a singer.”
Music will remain her first love, however. Aguilera says she already has ideas for the direction her next album will take.

“I can't give away what [it is] because there always has to be that element of surprise,” she says. “But I am extremely driven and it'll always be inside of me to keep that focus on the next thing. It's not really about knowing exactly where the next album will be five years from now, 10 years from now, or the third or fifth album from now, but it's more about just keeping my focus and keeping the ultimate game plan of bettering myself and constantly evolving and changing and seeing what the next ‘me’ has to offer.”

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Tom Jones Sheds His Lounge Singer Image

2007-03-27T13:26:00.000-05:00

Tom Jones has always had an image problem. Even as far back as the late ’60s, when early hits like "It’s Not Unusual," "Delilah," "Help Yourself," and "What’s New Pussycat" sold millions of records, younger fans who knew Jones mainly from his ABC television variety show saw him as a throwback to the Dean Martin/Frank Sinatra-style singers their parents liked.

The hits kept coming in the ’70s, but the singer, whose on-stage gyrations would elicit screams (and sometimes undergarments) from the females in his audience, couldn’t shake the Las Vegas lounge singer label. Then, sometime in the ’80s, a funny thing happened — Tom Jones became cool.

Perhaps it was because Jones, born Thomas John Woodward in Pontypridd, South Wales, never took himself or his overwrought persona too seriously. Or maybe it had more to do with his undeniably powerful voice and a musical repertoire that included pop, rock, soul, R&B and country. In Britain, contemporary artists had started acknowledging Jones as an influence. "It’s Not Unusual" was re-released and became a hit again. In 1988, he collaborated with British techno-pop group The Art of Noise on a cover of Prince’s "Kiss." The song became Jones’s first worldwide Top 40 hit in more than 10 years, and the accompanying video won the “Breakthrough Video” MTV Award.

At age 66, Jones is still dealing with image problems. He may be older, but he’s far from an oldies act. These days, he has a harder time convincing American record companies than fans of that fact.

“With me and other entertainers of my age, unless you’ve been selling records continuously, record companies in this country are frightened to take a chance with you,” Jones says.

As an example, he points to his 1999 British release, Reload, a collection of collaborations with artists like Robbie Williams, the Pretenders, Barenaked Ladies, Van Morrison, and Simply Red covering songs like "Burning Down the House," "Lust for Life," and "Never Tear Us Apart." The Reload album sold more than 5 million copies worldwide, but was never released in the United States.

“I thought we were bound to do a deal with an American company, because it had been successful everywhere else,” Jones says. But still they came up with excuses. I was told that there were too many European artists who were not known in the States on the album. We did have offers, but they weren’t good enough. We didn’t feel that they were going to put enough effort behind the CD, and we just didn’t want to put it out for the sake of putting it out.”

As a compromise, Universal Records released Reloaded: Greatest Hits in 2003, a 19-song retrospective that included six tracks from Reload, and a mix of old and newer hits.

“Universal got behind it because of the classic hits that are on there, so I think it was a good way to introduce some of the newer things that I’d recorded that a lot of the American listeners hadn’t heard,” Jones says.

Jones continues to record albums that American fans have to buy as imports. His most recent are 2002’s Mr. Jones, which was produced by the Fugees’ Wyclef Jean, and 2004's Tom Jones and Jools Holland, a blues collection featuring the ex-Squeeze keyboard player. Recent releases by Paul Anka and Neil Diamond aside, among his contemporaries Jones’ continued productivity is a rarity.

He’s also forward-thinking when it comes to performing. He still sings his most popular older hits, but rather than live comfortably in the past, Jones usually showcases more recent material in his shows. He’s also not afraid to take risks. Name another 66-year-old performer with the gumption to open a show rapping to a bona fide hip-hop track (“Tom Jones International”) and look comfortable and sound good doing it.

“I like a lot of modern music,” he says. “I like a lot of new producers. So it’s something that I listen to. When I hear a great-sounding record, I want to know who produced it. That’s why I want to work with modern producers. That’s why I did a CD with Wyclef Jean.”

The Mr. Jones sessions also marked the first time in his 40-year career that Jones co-wrote some of his material.

“I need suggestions,” he admits. With Wyclef, he would suggest something, and then bring it out of me. He would say, ‘I’ve got an idea for a groove, an idea for a song.’ Then he would explain the concept to me and ask me to put it into words.”

Jones believes the key to his success is that he has never tried to emulate another singer, no matter what style of music he sings.

“I’ve been influenced by a lot of singers, but I’ve never tried to copy anybody,” he says. “When "It’s Not Unusual" first came out, it was being played in this country on black radio stations, because they thought I was black. I wasn’t trying to sound like any of the great blues or soul singers. I was doing it in my own way.” Because of his eclectic taste in music, Jones has always enjoyed working with other artists.

“When I had my TV show on ABC in the late ’60s, early ’70s, ABC realized that I could do all kinds of music, and I could do duets with all styles of music artists,” he says. “ABC was pushing for more middle-of-the-road people, and I was always pushing for rock singers. I got my way, because the TV show was successful. So the idea of doing collaborations with different artists started then.”

Jones says that R&B singer Usher and rap star Nelly have expressed an interest in working with him. “It could happen,” he says. “I could do a CD like Reload with American artists. Who knows, it might even get a record company interested.”

Steel Pulse Shares Positive Vibrations

2007-03-08T16:48:00.000-05:00

The British roots reggae band Steel Pulse may have been named after a popular racehorse, but the group has modeled its career after a marathon runner. Now into its thirty-second year, Steel Pulse remains one of the most popular and critically acclaimed reggae bands in the world. Even David Hinds, the group’s founder, singer, guitarist, and songwriter, marvels at his band’s longevity.

“A lot of the people that attend a Steel Pulse concert these days are half my age,” he said in a March 2007 interview for Atlantic City Weekly. “The songs that they’re groovin’ on were written before they were even an itch in their dad’s pants.”

Local fans will have a chance to groove to the rhythms of Steel Pulse this Saturday, March 10, at 9 p.m., when the band performs in Trump Marina’s Grand Cayman room. Tickets are $28.30.

The Atlantic City date is the last stop on a five-week U.S. tour that saw the band spending nearly all of February here in the States. The timing that brought Steel Pulse to the U.S. during Black History Month may have been coincidental, but it was very appropriate for a group known for its socially conscious lyrics and its involvement in social justice issues.

With its infectious riddims, reggae’s music might sound upbeat, but its lyrics often give voice to the struggling and downtrodden. Some fans gravitate to the music of Steel Pulse because of its ties to traditional Rastafarian beliefs, or because of the political message in its lyrics. Then there are those who simply like its catchy, tropical sound. Hinds says he welcomes fans who enjoy his music no matter what their reason.

“When someone says, ‘I don’t really like reggae music, but you guys are alright.’ I really feel good about that,” he says. “There are styles of music that I wouldn’t normally go out and buy, but when I hear a particular band that I find exceptional, I usually find that they are the cream of the crop in that particular style. So it’s gratifying when someone views us in that way.”

Steel Pulse has released over a dozen albums of original material since 1975. The group has been nominated six times, and won a Grammy award for its Babylon The Bandit album. Steel Pulse became the first reggae band ever to perform at the White House when it appeared at Bill Clinton’s 1993 inaugural celebration.

The history of Steel Pulse is also not without its bumps in the road. In the late 80’s, the group embraced the fashionable synth-pop dance sound too eagerly, and lost credibility with some of its core audience. Over the years, original members have left the band, leaving only Hinds and keyboard player Selwyn Brown from the original group.

But Hinds believes the current line-up, with includes long-time members Clifford 'Moonie' Pusey on lead guitar, Alvin Ewen on bass, Sidney Mills on keyboards, and Conrad Kelly on drums, is the best ever.

The band’s most recent album, 2004’s African Holocaust, was hailed by fans and critics alike as a return to the unabashed political and social commentary of classic Steel Pulse albums like True Democracy and Babylon The Bandit – and as one of the strongest of the band’s career.

Hinds says the band would like to record a new album, but is tied up in tour commitments for the foreseeable future. One thing he won’t do is rush the process.

“I don’t like putting out an album for the hell of it,” he says. “I’d like to think that when I put something out it’s got quality, it’s got substance, and ultimately it has longevity.”

He feels that after over 30 years in the public eye, it becomes more difficult to create albums that meet the high expectations of fans.

“When you put out something that really makes a big impression, whatever you follow it up with usually fails by comparison,” Hinds says.

It doesn’t help that Steel Pulse’s brand of music isn’t currently fashionable. Today, reggae bands that focus on social or political issues in their lyrics are a rarity.

“When we started out, we shared a vision with other bands,” he says. “There were a lot of other bands saying the same things we were saying. It was almost like an art movement – where one artist draws on another’s ideas, and one supports the other. But when you find that you’re venturing into areas that no one else is venturing into, it becomes difficult to sustain. You realize there’s no one else that’s doing what you’re doing.”

“For example, we did a song on African Holocaust called ‘Global Warning,’ which is about trees being cut down, and the environment – it’s really about the global warming issue that Al Gore is at the helm of right now. We were singing about that over three years ago. No other reggae band is going to pick up a subject like that.”

Fashionable or not, Steel Pulse’s commitment to social issues transcends its music. Later this month the band will travel to Ghana to participate in observances marking 50 years since that country gained independence from European colonialism. The trip is also the first step in the band’s support of United Front For Africa (UFFA), a charitable organization that hopes to raise money to purchase everything from mosquito nets to computers for children in Africa.

Hines is looking forward to Saturday’s show at Trump Marina. He says the last show of a tour is always special, plus he’s likely to have a few family friends in attendance.

“My mother and father lived in Atlantic City for the good part of 10 years,” he says. “They lived there until 1994. To this day my mom calls now and again and says ‘I understand you’re playing Atlantic City. Could you call so-and-so, who’s an old friend of mine, and make sure her daughter gets into the show?’

“I’ve got relatives everywhere it seems. Everyone claims to be David Hinds’ cousin… and I don’t know them from a can of paint.”

The Pussycat Dolls Offer More Than Meets The Eye

2007-03-06T13:19:00.000-05:00

Take six beautiful women, dress them in lingerie and pin-up costumes, and have them sing lines like “Don’t cha wish your girlfriend was hot like me,” or “I’m telling you to loosen up my buttons, baby” choreographed to flirty burlesque moves. Now call the group the Pussycat Dolls and expect any self-respecting music critic to take them seriously.

Okay, count me in.

Truth be told, those who would make the mistake of dismissing the group and its debut album, PCD on face value would miss out on one of the catchiest, most enjoyable, and yes, most diverse albums released in the last year. Hip-Hop, soul, pop, R&B – even big-band swing and jazz are represented.

The group, currently on tour opening for Christina Aguilera, has been together about three years, but the Pussycat Dolls have existed for over ten. The Dolls were founded by choreographer Robin Antin in 1995, as a campy, burlesque dance revue based at the Viper Room, Johnny Depp’s club on L.A.’s Sunset Strip. The revue quickly became a phenomenon as celebs like Aguilera, Pamela Anderson, Britney Spears, Carmen Electra, and Gwen Stefani joined the show as guest stars and became a Pussycat Doll for a night.

The concept was taken to the next level when the current line-up – Nicole Scherzinger, Carmit Bachar, Ashley Roberts, Jessica Sutta, Melody Thornton, and Kimberly Wyatt was recruited specifically as a singing group. Matched with an A-list of writers and producers, they recorded PCD over the course of a year, and released the album in September 2005.

Nicole Scherzinger handles all the lead vocals on PCD; and some have suggested that the other Dolls merely serve as eye candy. But in an August 2006 interview, Melody Thornton said that in their live show, each of the Dolls takes a turn on lead vocals.

“In the live show we all trade off lead vocals from time to time,” she said. “For example, there’s a section in the show where Carmit and I split verses singing “Fever” that’s a throwback to what we used to do on the Sunset Strip.”

The Pussycat Dolls might play up their sex appeal, but ironically the majority of the group’s fans are younger females.

“Overall, I think the album is definitely about female empowerment,” Thornton says. “As much as we hear that younger females are all jealous of each other, every time a female group comes out with a strong voice, we just jump all over it, because we need that. We need somebody to look up to.”

The promoters behind the Pussycat Dolls are determined to keep the phenomenon going. The Pussycat Dolls Lounge opened in April 2005 inside Caesar's Palace in Las Vegas, featuring a different roster of performers. Currently, there’s a Pussycat Dolls line of makeup. A line of clothing, lingerie, perfume, videogames, TV and movie projects, and other lounges are also being discussed.

The current single, “Wait A Minute” is the fifth pulled from PCD, and Thornton says more will probably follow. She can currently be heard on Jibbs new single, “Go Too Far.”

The group will eventually record a follow-up, Thornton says, but on the heels of such a successful debut, they want to take their time “and make sure that the ‘sophomore jinx’ isn’t an issue.”

30 Years Later, KC and the Sunshine Band Still Going Strong

2007-03-05T13:37:00.000-05:00

If, back in 1977, you would have told the average disco-hating rock fan that KC and the Sunshine Band would still be drawing crowds in 30 years, they would have thought you were crazy. But here we are, 30 years later, and while many of the rock bands of the late ‘70s are only a memory, KC and the Sunshine Band are still going strong.

Songs like “That's The Way (I Like It),” “Get Down Tonight,” “I'm Your Boogie Man” and “(Shake, Shake, Shake) Shake Your Booty,” have sold more than 100 million records, and earned KC and the Sunshine Band numerous awards. The group's upbeat sound, which blends R&B, funk, pop, island and Latin influences, has helped it maintain a large, loyal following of old fans and new for over 30 years.

Harry Wayne Casey (KC) has a simple explanation for his band's enduring popularity. “It's just music that lifts you up,” he said in a December 2006 interview for Atlantic City Weekly. “When you listen to it today, it still sounds fresh, and it sounds as exciting as it did 30 years ago. A lot of people come to me and tell me that my music has gotten them through a bad experience, or a bad day, or something negative they were dealing with.”

While it's become synonymous with the disco era, the music of KC and the Sunshine Band was filling dance floors four years before 1977's Saturday Night Fever brought the disco craze to America.

“I pulled from different types of sounds that I liked in music,” Casey says, explaining the origin of the group's unique sound. “I saw this Junkanoo band in the Bahamas, and the sound was just so infectious, I thought it would be great to translate that into a pop record. I always liked horns and percussion ... it all blended into one sound that became mine.”

From 1973 to 1983, K.C. and the Sunshine Band enjoyed a string of hits that also included, “Keep It Comin' Love,” “Please Don't Go,” and “Give It Up.” In 1982, Casey was involved in a nearly fatal car accident. He spent almost a year in traction and developed an addiction to painkillers. Two years later, his father died. Depressed and without a record contract, Casey began a cocaine addiction that lasted nearly 10 years.

After beating his habit, he got the urge to perform again. He recorded an album called Oh Yeah that was released in 1993 on ZYX Records. He reformed the Sunshine Band, bringing back some of the original members, including percussionist Fermin Goytisolo, who's still touring with the group.

With a schedule that averages 100 shows a year, Casey says he doesn't have much time to work on new material. That doesn't stop him from attracting new fans however. KC and the Sunshine Band has been sampled by contemporary artists like 50 Cent, R. Kelly, and Snoop Dogg, and a new generation has gotten to know the group's songs through their use in dozens of movies, television shows, and commercials.

In the last few years, Casey has dug into his archives and released two albums, In A Mellow Mood and I'll Be There For You.

Casey, who still lives in the Miami area, says he loves coming to Atlantic City, and has performed here almost every New Year's Eve for the last six years. His most vivid memory of Atlantic City didn't happen on stage, however.

“One year the fire alarm went off in the middle of the night,” he says. “It was freezing outside and we all had to get out of the hotel and stand out in the cold.”

The incident had no effect on his show the next day. After all, a guy who's used to shakin' his booty every night can handle a little shiver in Atlantic City.