Southside Gets Boxed!

There are literally hundreds of rock acts who never get the appreciation they deserve but over the last thirty-years no one has proven to be more under appreciated and undervalued than Southside Johnny and the Asbury Jukes. They are truly the world's greatest bar band. Hailing from New Jersey, they were always on the verge of stardom but always fell a little short.

Living in the Midwest, I don't often get to see Southside, but when I do it's a sweat stirring soulful experience. The first time I ever saw him was at the House of Blues in Chicago and Johnny and the Jukes played for over two-and-a-half hours delivering most of their hits to a drenched audience.

Southside has never gotten along with record companies despite some help from friends Bruce Springsteen, Steve Van Zandt and Jon Bon Jovi. Despite all of this, his catalog is impressive and the band has just released an extensive box set. This was news to me and it's a shame because it looks deeply impressive and was made with love and care with the fans in mind. Southside may never have received a Gold record, but his legacy will far outweigh others record sales. He's one of the most under appreciated acts around today, do yourself a favor and get some of his vintage r&b music here.

Jesse Malin: Street Fighting Man

Jesse Malin is one of the most under appreciated music acts today. Over the last four-years he has captured my heart and mind with three meticulously crafted albums. His most recent release, Glitter In The Gutter, hits stores today. Buy the CD, go to the live show and support him! You can check out upcoming appearances here and buy all of his Cd's here. In honor of Jesse's new disc, here is a review I wrote for Unrated Magazine in late 2004.
xT

Double Door
Chicago, IL
December 4, 2004

It's sweltering, sweaty and sticky within the Double Door club, located in the Chicago neighborhood of Wicker Park. The room is so searing, that when Jesse Malin comes to the front of the stage and is swinging his guitar back and forth, drops of sweat fly off him- and the neck of his six-string, at the crowd like a rainstorm on a hot summer night. This sweat is baptizing the 500-plus in attendance with the spirit and soul of rock 'n roll. Even the most cynical rock critics would have found the moment to be profound. It's moments like these that make me believe rock 'n roll is anything but dead.

In the last two years, Jesse Malin has emerged as one of my favorite artists in all of rock. In the 1990's he emerged in the punk band, D-Generation, which enjoyed critical acclaim and even opened for Kiss on a portion of their reunion tour back in '96. After he disbanded the group, he turned inward and wrote the most insightful music of his career. With the help of his friend Ryan Adams producing, he recorded his debut solo album, The Fine Art of Self Destruction. I remember on a cold winter day in early 2003 walking into the Virgin record store in downtown Chicago. Now, their prices are a perfect example of why P2P (Peer to Peer) networks are alive and well, $19 for a CD...before tax? However, one thing I love about Virgin is the listening stations. Every Tuesday I browse the wall looking over the new releases where major label and independents are equally represented. On this particular day, I walked by, and four little words made me grab Jesse's solo debut, "Produced by Ryan Adams". I had never heard of Jesse, but Ryan was slowly becoming one of my favorite artists. Heartbreaker, Gold and Demolition were in permanent rotation on my CD player. So I threw the headphones on and by the time I had gotten to the album's fourth song, "Wendy" I was en-route to the register to over pay for this disc. Close to two years later, with the exception of Springsteen's "The Rising", no other CD has logged more time in my CD player. There is such heart wrenching melodies on this disc, which I just cannot seem to get enough. It reminds me of what Melissa Etheridge said about Bruce Springsteen back when she did "Unplugged" a decade back...about how his music "made you dream". This is what I love about Jesse Malin. Sure, it's not as pioneering as snob music critics may want it to be, but the canvas that Jesse paints on is wide, vast and strikingly beautiful and serene. His melodic narratives about love and New York City hit home to me, because he's a man searching for something. He may not even know what it is, but because I am also on that journey, I connect. Sure, it's more hip to say you like Wilco more, but Jesse hits the gut with more force than the heroes from my hometown ever have.

Buddy Holly told me you can't save rock n' roll
It's only for the lonely boys and girls
-"Swinging Man" from 'The Heat'

People who REALLY love music, like me, are constantly searching for a pot of gold. Every time we walk into a record store, the search is on for a new friend. In life you encounter hundreds of individuals every year and if you are lucky, you find one or two who stand beside you. I feel this way about albums. This is more than just something to keep you entertained from point A to point B, its life or death. This is something that no record company executive has figured out. Not only will we pay for music, but we'll overpay when the hunger outweighs our common sense. Jesse is one of the few artists to emerge from the last half decade whom I will do this for.

Jesse is out in support of his sophomore effort, The Heat, an urban record still showcasing love found, lost and regained along with tales about his beloved New York City. While not the unqualified masterpiece that Fine Art is, it showcases his ever-widening palette of stories to tell. I like referring The Heat to Darkness on the Edge of Town, Bruce Springsteen's follow up to Born To Run. It does not quite touch the perfection of his previous release, but it's still one of the best albums to be released this year. In a short 18-month period, Jesse has proven he's an artist to be watched. Jesse's two albums are nearly perfect in their craftsmanship of songs, all of which showcase a level of emotion that is beyond exceptional. The Heat showcases his ongoing journey throughout life, one where he finds more questions than answers; therein lays the beauty of this album.

In the last eighteen months, I've been blessed to see Jesse a number of times in Chicago; at the Abbey Pub, Schuba's and most recently at the legendary Double Door night club, made famous by The Rolling Stones surprise club gig in September of '97. Jesse is a first rate performer however, he went from being virtuous to miraculous over his last two performances at the Double Door in August and December of this year. With two albums of material to select from, most of his shows run in the 70 to 80 minute range. On these particular evenings in August and December, I witnessed a man on a mission as he nearly forced himself into exhaustion with a 105-minute show each time. The August show found him opening with "Arrested", in December it was the soothing "Basement Home" yet both shows started out on fire and took two hours of drenching sweat to cool Jesse Malin off. One of the things I miss from seeing entertainers in arenas and sheds is seeing them fight for their lives. I won't lie, I occasionally see a performance by a bigger-than-life star that takes me to another level where I feel that money and sales don't matter, but it's not as common as I would like. Jesse gets out in front of that stage and plays his guitar with such zeal and passion; I was beyond inspired seeing such a resonating performance. This guy believes every word he says and wants to leave an indelible impression on the near capacity crowd. This guy was working the crowd like it was the last night of his life. Imagine Springsteen circa 1974, before "Born To Run" and stadium shows...I was not even born when Bruce was doing those shows, but I now know what it must have felt like after witnessing Jesse push himself to exhaustion at the Double Door.
The song that hooked me on Jesse that cold day at the Virgin record store was "Wendy", which is currently performed in the second or third slot of his current set. If there was ever a potential top ten hit made for radio, this is it. It's such a joyous song that you truly feel your body tingle with excitement when you hear it, let alone the feeling that overcomes your body as you witness Malin's stage prowess as he comes to the front and rocks out swinging his axe back and forth. The miraculous thing about seeing a Jesse in concert is his energy level is soaring, even if he only plays 80 minutes, I am more than satisfied.

Well then what can a poor boy do except to sing for a Rock'N'Roll Band
-Street Fighting Man-The Rolling Stones

No song during Malin's set suffers from being performed live they all ascend to higher levels over their studio counterparts; "Swinging Man", "Brooklyn", "Solitaire", "Queen of the Underworld", "Mona Lisa", "Riding On The Subway" and a commanding delivery of "Scars of Love" all showcased Malin as a riveting and sincere artist who is unleashing his deepest inner thoughts from within. Watching his small frame jerk back and forth you feel like you are witnessing an exorcism on stage. Besides the exhilarating performances is the storytelling which adds another dimension to this multi-faceted artist. Almost every song has a story, from opening for Johnny Thunders when he was a teen to going to a hooker when he was 12, to getting arrested in front of Madison Square Garden when he opened for Kiss in '96. Each story is unique, honest, charming and makes Jesse more than just someone you admire, but someone you relate to.

During the encores, he reached into his pocket of influences and gave us covers of "Hungry Heart" and "Everybody's Talkin" in August. At both the December and August shows he performed the raucous closer "Oliver's Army" and a dramatic cover of Neil Young's "Helpless". During the latter, Jesse made his way through the audience to the bar where he stood on top of it getting the crowd to sing along with him. He then had certain members of the audience sing the chorus with him, interacting with them making sure they feel part of the live experience. I see lots of shows, but there is something about Malin that just strikes me as whole-heartily genuine. It makes me feel hopeful that people still make music for me, the guy who struggles everyday, but at the end of it finds a reason to believe in something even when the light in our life may be dim.

After most shows, Jesse is widely available to talk to and give autographs. I was able to thank him for getting Bruce Springsteen to play the song, "The Wish" in December of 2003 during an annual charity show Bruce hosts in Asbury Park, NJ. It's a deeply personal song Bruce wrote for his mother but was only released in '98 on his box set "Tracks". Ironically, all performances of this song occurred before the song's proper release. Jesse was invited by Bruce to play and Bruce backed Jesse up on "Wendy" and "Queen of the Underworld". During one of the sound checks Jesse suggested Bruce play 'that Christmas song' he had for his mother. "The Wish" was only performed at these shows because of Jesse's suggestion to Bruce. I thanked Jesse for doing this and he just smiled and said "I thought it would be cool to hear once, can you believe that he did it all three nights"? At this moment, two good friends wanted to buy his new CD, "The Heat" but it sold out. Jesse, making sure they did not walk away disappointed, went behind the merchandise booth, grabbed a vinyl copy of "The Heat", autographed it, and gave it to them free of charge. Not only that, he brought me some pins and other merchandise and continued to talk as we talked about new music he loves, touring, New York and how Chicago has become one of his favorite cities to play. While speaking to him I realize this is a man who is exceedingly sincere in everything he does. I listen to his music on a recurring basis but felt at ease talking to him. Jesse will be one of those artists I follow closely for the remainder of my life and make sure I write about him every time he releases a CD or comes in concert, his music moves me deeply and I want as many people to know about him as possible, so they too can be moved like me.

While he may not be as popular as Jeff Tweedy, I'll take Jesse everyday of the week over Tweedy. I'm all for pushing the envelope, but the bottom line is that I want the music to move me. I want to feel safe, sexy and vulnerable all at the same time. Too much is made of finding new ways for rock 'n roll to reinvent itself. It does not have to reinvent itself so much as look in the mirror and be true. Jesse writes lyrics that are sincere which I can relate to. I play his Cd's to my girlfriend and love them or hate them; she knows why I love it. This man is longing to be heard...so am I.

Jesse Malin is a troubadour on the highway of life sucking it in and breathing it back out through pen and guitar. As a performer he is a man who is comfortable in his own shoes, but is forever demanding more from his audience. Whether it is on stage or on record Jesse will be in the music business for more than a quick buck but rather to unite, move and exercise demons within. The passion with which he performs is so haunting and affecting I can't see how anyone cannot be stirred by his unforgettable performances. He's more than a street fighting man, but a swinging man always out to rock your socks off and show that rock 'n roll is not dead...and far from it.

Bon Jovi: 52,612 Fans Can’t Be Wrong

The adrenaline is surging through 52,612 hyperactive Chicagoans as Bon Jovi tear through the classic sixties soul show stopper “Treat Her Right”. Saying the stadium is in a state of ecstasy is a gross understatement, however, the show has now passed the 150-minute mark and as the song reaches its conclusion, the band takes their bows and disappeared into the darkness. While most thought the evening was over, the band reemerged from the dusky shadows to Hugh McDonald’s fiery bass beat of “Keep The Faith”. If the band had come out and performed just about any song, the audience would have been in a transported state; however, by breaking curfew and resurrecting their preeminent live song for a finale, it took the show into the realm of greatness. Just as the band had not missed a beat, neither did the crowd as their hands simultaneously thrust into the air during the “Faith” chorus. The superlative performance hit on all cylinders as band and fans stay emerged as one and the extended jam at the end forged the bands virtuosity into the hearts and minds of all 52,612 in attendance.

Faith: you know you're gonna live thru the rain
Lord you got to keep the faith
-“Keep The Faith”

“What’s the deal with Bon Jovi?” That, ladies and gentlemen, is the most infamous and frequent question I get asked. Those of you who have been long time readers of mine can appreciate this comment as most of you can be put in two very clear and distinct categories; a) those who love Bon Jovi and b) those who hate Bon Jovi. To give a simple answer, I usually say that “Bon Jovi is my Beatles”. In no way am I comparing them to the Fab Four, but merely pointing out the importance of Bon Jovi and how they are largely responsible for my love of music. I have followed this band closely and more religiously than any other artist dating back to 1987. Now, I’m in a unique situation because I’m a writer and a fan. While I believe strongly in supporting artists, especially when the press picks fights with them for no apparent reason, I also believe a true fan is one who does not put blind faith in them either. It’s vital and important to question their motives, their business decisions and their music when it doesn’t live up to expectations. There is a difference between being objective and being critical. I attempt to always be objective. I wouldn’t be a good fan if I thought everything a particular artist did was brilliant and in short, while the rock n’ roll era has had its share of artists many deem “untouchable”, the truth is, no one is without fault…and that is OK. We’re human and prone to errors. In fact, I believe that some missteps are necessary in order to create career defining music. The key to salvation is to learn the error of our ways and redeem ourselves; only then can the failure truly be put into perspective.

Over the last three years, much to the chagrin of some fans, I have often questioned Bon Jovi’s business and artistic motives. I don’t do this out of spite, but objectively in the hopes they may read what I write and digest it because deep down I want to see them evolve as artists and succeed. There are no words to express how I feel about this band. They often are not taken seriously largely due to the band’s success and good looks. This is a shame, because at their core, I’d dare you to find me a better live band who works on the same worldwide scale. Only the Rolling Stones, U2 and Metallica can even come close. However, I felt the band has played it a little too safe since releasing “Crush”. Don’t get me wrong, they made a few solid albums and have performed many fine shows; I just felt the desire and fire within wasn’t as strong as it was back in 2000. In this writer’s eyes, I viewed the band as students who were sliding by with a solid B average when I knew they were capable of an A. They have achieved more success in the last six years than I even think Jon Bon Jovi ever imagined. When you have climbed to the top of the mountain and found a treasure of riches not once, not twice but multiple times…the hunger, fire and desire can’t be as intense as when you had nothing. However, just because the ‘fire inside’ doesn’t burn as brightly does not mean they can’t still seduce, slam, supercharge and spellbind an audience.

When the lights dimmed at Soldier Field this past July, with the alluring Chicago skyline in the background, the magical marriage of band and fan took over and even the tired and grumpy cynic in me began to go away. When the band opened the tour in November of 2005, they had not quite found their footing with the new material. This time around, Chicago witnessed a band who delivered a triumphant knockout. The band, minus Jon, took to the stage and built tension as they merely teased the audience with a building jam which led into Richie’s surging opening riff to “Last Man Standing”. Emerging from the far right of the stage was the blue-eyed rock god willing the entire audience into the palm of his hand with a million dollar smile as he made his way to the ellipse beyond the pit. As I turned around to see Jon’s back, what I witnessed was far more magical than any of the lyrics being sung; I saw the entire football stadium projecting anarchic zeal.

The first hour of the show was seamless as the band segued effortlessly from one song to the next “You Give Love A Bad Name”, “Story of My Life”, “Runaway”, “In These Arms” and “Captain Crash & The Beauty Queen From Mars”. Old or new, the songs appeared to resonate with everyone as no momentum was lost from hits of yesterday into the songs of today. There were rumors circling at the end of the European tour of a rift between the band members which was yet another reason I did not look forward to this show. Would they call it in delivering a standard performance that elevated only the guy who has spent ten hours drinking? The dual harmony of Jon Bon Jovi and Richie Sambora’s vocals epitomized what can occur when this band stands as one. They are individually enormous talents but together, they are colossal and indefatigable. The playful interaction between the charismatic front man and the soulful shredder were on full display for everyone to see proving that the rumors of tension were just that…rumors. I’ve seen this band enough over the years to know when it’s forced and when it’s pure, genuine and real. Tonight was as real as it gets. Six songs into the show, the stadium was rocking harder and louder than any of the times I’ve seen the Rolling Stones perform there and let me tell you, the Stones have never gone easy on me. As the band tore through the deep cut “Complicated”, I realized that the bands catalog is better than anyone gives it credit for. Not everyone who straps on a guitar is going to forge a new and novel sound that makes critics wet themselves. Music is all about connection. I don‘t care if you feel connected to Jagger’s swaying hips, Toby Keith’s southern attitude, Bono’s message and meaning or the aura of Marilyn Manson. Deep inside each of us there is a loner who feels connected to a particular artist and on this particular night, 52,612 people felt that connection. .
Over the last few tours, certain concert staples have grown tiresome, but the band reinvigorated them once again with some fresh arrangements. Sometimes it’s the little things that count…the brief pause before a chorus kicks in, an extended solo, a reprise or even a cover version thrown in the middle of the song. “I’ll Sleep When I’m Dead” featured a double shot of the latter as the band ripped through “Dancing In The Streets” and a thrusting “Jumpin’ Jack Flash”. These two brief moments gave an otherwise bland concert staple a fresh burst of energy. “Shout” was briefly reprised for the stadium leg, however, it was there more as a teaser than a "be all end all" portion of the show. “Born To Be My Baby” also featured an aggressive arrangement as the band teased the audience holding back right before the final chorus and then giving a raucous reprise at the end. Teasing the audience and building anticipation by holding a note may seem like a no brainier, but you would be surprised how few acts actually do this. The box set treasure “The Radio Saved My Life Tonight” proved the band can take a largely unknown song to the crowd, perform it with conviction and make the audience embrace it like a long lost friend whom you haven’t seen in years. The acts that can accomplish this in a live environment are few and far between.

The radio saved my life tonight
That old song that the DJ played made me feel alright
I made it home by my dashboard light
The radio saved my life tonight
-“The Radio Saved My Life Tonight”

On paper the song selection may appear to be unimpressive, but the vitality with which the material was performed and the vivacious response of the crowd was a marriage made in heaven. While more adventurous material from the “These Days” album and songs like “Next 100 Years” and “Dry County” were left on the sidelines, there were no idle moments. Even the bluesy ballad, “I’ll Be There For You”, proved to be a gut wrenching, soul extending moment no one could forget. Sambora’s vocals are a hidden secret weapon and I’m still waiting for him to show up either handling lead vocal duties or sharing them with Jon on a future Bon Jovi album. This was a song that hit on all cylinders…the singing, the way his hands gently stroked the frets on his guitar and the sight of a sold out stadium completely enraptured was something I’m sure Muddy Waters was watching from up above the Chicago skyline and smiling down on. Artists find solace in their art and if they’re lucky it transforms and heals the frustration, disillusionment and pain that life brings. On this particular evening Mr. Sambora had 52,612 fans right there with him.

Two new songs, “Have A Nice Day” and “Who Says You Can’t Go Home” have become centerpieces of the main set as they are able to encapture beautifully why Bon Jovi is still a relevant force in the music industry. The album’s title track for the entire tour was one of the evening’s defining moments and at Soldier Field it was no different. “Who Says You Can’t Go Home” was equally as powerful as it’s now become a full fledged anthem for the band. The entire stadium sang along with every word proving that this band is still capable of creating hit songs twenty-years after “Slippery When Wet”. During the main set closer of “Livin’ On A Prayer”, the stadium was shaking…literally. The only song I have ever seen receive such a resounding roar was “Where The Streets Have No Name” on U2’s ZOO TV and Popmart world tours. Not even “Satisfaction” or “Born To Run” took off the way “Prayer” did on this night. I’ve always despised stadium shows. There are no advantages to them; however, Bon Jovi proved that a gig does not have to be small or intimate to be extraordinary (Please note: This is not an endorsement of stadium tours in the future). As if the main set was not full of glorious harmonies, the encore took the evening to unprecedented heights with the blazing “Just Older”, “Wanted Dead or Alive” (with one of the most astounding guitar solos of the rock era), “Blood On Blood”, “It’s My Life” and “Someday I’ll Be Saturday Night”. No song lost momentum, as they seductively finessed the audience into a blissfully magical state.

People may snicker at Bon Jovi and not take them seriously, but their songs still resonate. Bon Jovi may not be everyone’s Beatles, but their material connects deeply with their audience and this is why, when they choose to be, they are the liveliest, most entertaining, energetic and fun live band on the planet. What Bon Jovi has always been able to do better than anyone else is connect the music to the fan and the fan to the music. As cliché ridden as these songs are they provide hope, comfort and faith to millions around the world and that is nothing to be ashamed of. When the last note was struck last July at Soldier Field, I had nothing left to give the band and I knew they had nothing left to give me. They came, they saw 52,612 faces and well…I think you know how the story ends…

I’ve seen a million faces and I’ve rocked them all
-“Wanted Dead Or Alive”

Bon Jovi's "Lost Highway"

In my rearview mirror

My life is getting clearer

The sunset sighs and slowly disappears
These trinkets once were treasure

Life changes like the weather

You grow up, grow old, or you hit the road 'round here

So I drive (drive drive)

Watching white lines passing by

My plastic dashboard Jesus

Waiting there to greet us

I was sent an mp3 of the latest Bon Jovi song “Lost Highway” from their upcoming Nashville record last week. There have been numerous debates on the net as to the credibility of this upcoming record. Personally, I have no issue with any artist pushing the envelope and attempting to expand their sonic and artistic landscapes as long as they stay true to who they are. My question behind Bon Jovi’s motives were whether or not they would have even attempted a project like this if Carrie Underwood and the Rascal Flats had not sold seven-million records (combined) last year. It smelled like “sell-out” to me and even worse, I was afraid the album would feel forced. Either way, I always view every song and album with an open mind and lately, I’ve surprisingly been playing the hell out of “Lost Highway”.

“Lost Highway” may not be deemed cool by any critic and it may not find the band pushing boundaries, but it moved me. This is a sincere song written from their hearts and somehow it sounds effortless and does not feel forced. Something snob critics so often overlook is how music makes you feel. I love the Arcade Fire and think Wilco is one of the most important rock bands today, but there is something to be said when music riddled with cliches is done well. For my money, no other band does this as effortlessly as Bon Jovi. I’ve found myself in recent months at a crossroads in my life and when I heard this song, it put my mind at ease. Somehow it was as comforting as a friend putting their arm around me telling me, “It’s going to be ok”. Songs like this are rare and wondrous where they literally transport you, your mind, your hopes and dreams.

Despite the presence of a banjo and violin, “Lost Highway” is not a radical departure for Bon Jovi. There is something about hearing a song that truly takes you to another place and makes you feel good. There is so much extraordinary music on the landscape today but how much of it makes the hairs on the back of your neck move? “Lost Highway” may be simplistic but it’s also showcases what Bon Jovi does best; writing songs with catchy chorus’ and big hooks accompanied by first rate production. Arcade Fire and Wilco may very well make better albums than Bon Jovi in 2007 but neither of them has a song as harmonious or inherent “Lost Highway”.

I finally found my way

Said goodbye to yesterday

Hit the gas, there ain't no brakes on this lost highway

It Was 20 Years Ago Today...The Joshua Tree by U2

...look for an in depth look back at the album that catapulted U2 into the stratosphere on this blog in the coming weeks. This album holds significant personal meaning for me as well as I began my love affair with music in March of 1987. In the meantime, check out the @u2 Podcast dedicated to The Joshua Tree.

'Pop' Goes U2...Ten Years On

Ten years ago today (March 4, 1997) U2 released their most controversial and cult album of their career. What many people were expecting was a return to form after the experimental nature of Achtung Baby, Zooropa and Passengers. Each of the previous three albums found the band pushing the envelope in ways few artists in the history of music ever have.

I picked up Pop on the day it was released and loved it upon initial listens and something that many people tend to forget and overlook is that I remember most publications giving it very favorable reviews up its release (Rolling Stones and Entertainment Weekly were two publications that come to mind). I remember thinking it was a much stronger effort than Zooropa, however, within a few months most people's opinions changed and the backlash began. The tour in support of the album received a lot of flack as well...however, over time, I have come to revisit this album quite often and have changed my pinion on it numerous times. While this is by no means a masterpiece, it is a much deeper and introspective album than anyone ever gives it credit for. The problem with the album was the band pushed the envelope too far. Attempting to create a rock album mixing dance elements proved to be a struggle and at the end of the day, it didn't quite work.

Most casual fans dismiss this album immediately and in my mind, they are wrong for doing so. The lyrics on this album are profound and need to be revisited. There is so much more going on here and I can't think of a more spiritual album where the narrators are speaking to God in one form or another.If you take out the booklet and read the lyrics, you'll find Bono at his most spiritual and introspective, specifically on "Mofo", "Gone", "If God Will Send His Angels" and "Please". "Please" was performed acoustically by the band at many of the post 9/11 concerts in 2001 and it demonstrated how potent and relevant it could be. The comparisons to "Sunday Bloody Sunday" are well deserved as the lyrics during the 2001 performances send chills down my spine.

September, streets capsizing
Spilling over down the drains
Shards of glass, splinters like rain
But you could only feel your own pain
October, talk getting nowhere
November... December... remember
Are we just starting again?

The hypnotic grooves of "Do You Feel Loved" warrant repeat listens as well and the song sadly was dropped after the first six Popmart shows. Then there is the album's closer, "Wake Up Dead Man". This song dates back to the bands Berlin sessions for Achtung Baby in 1990 and it finally made it to an album seven years later. It's a bleak portrait of a man begging for the savior to return to Earth and save us. It's an incredibly powerful poetic verse that I believe was lost on many. However, the song was resurrected for many shows on the bands "Elevation" tour in 2001.

"Mofo" is arguably the most misunderstood track on the album. It opened each and every show on the Popmart tour, yet most never bothered to read the lyrics and instead let the dance and techno grooves get in the way. There has always been talk about the band properly finishing this album by either re-recording it or remixing it. There are those who are desperate to see this happen and others who never want to see it come to fruition. I'm in the middle. While it would be nice to see the band give these songs their proper credit, we all know how slow they are to work on individual songs let alone entire albums. Plus, the band did remix three of these songs ("Discotheque", "Staring At The Sun" & "Gone") for their The Best of 1990-2000 record and none of them deeply impressed me. My advice to the band is to continue to perform these songs in concert. If they continue to reinvent these songs in a live setting the band will demand people to hear this material. I can see "Mofo" being radically reworked in a straightforward rock arrangement and I believe that if certain songs were paired with classic U2 hits, many of these songs would find a new audience.


By no means is Pop a perfect album. In fact, I would say that "The Playboy Mansion" is the worse song the band ever committed to tape and by positioning the second half of the album with the quieter songs, it alienates many from listening to it all the way through. However, this is an album that I believe over time, specifically because of its lyrics, will find a new audience and be looked at decades from now as a cult gem.

I plan on writing a more detailed piece on Pop in the near future, but until then, I highly suggest you check out the podcast the people at @U2 have created in honor of the album's anniversary. The great podcast can be downloaded here. Until then dust this album off, add it to your Ipod and "please" give it another chance.

Bon Jovi: Saturday Night in the Windy City

In honor of Jon Bon Jovi’s 45th Birthday, here is a review of the band’s incredible Chicago show from four years ago. It’s funny, people often ask artists why they won’t play certain songs off their early albums and now I can see why. As I looked over the article below, I must admit, while it’s an incredibly passionate article, it’s also semi embarrassing to read. I feel my writing has come a long way since then and it was long before I had an occasional editor (thanks Sandy). Either way, I can’t think of a better way to give props to the New Jersey rocker. I was hoping to finally post my thoughts on the band’s Soldier Field gig from last July, but time has gotten away from me and hopefully I’ll get that review up in the next ten days. I must give special props to my photo buddy Rob Grabowski who shot all of the pictures seen below at the actual United Center gig. Enjoy…
xT

March 1, 2003
The United Center
Chicago, IL

All I know is what I've been sold

You can read my life like a fortune told

I've seen the dream, there's no land of Oz

But I got my brain and I got a heart

And courage built I won't let go

What we need right now is ....soul-

"I Believe"

On a frosty Saturday evening in Chicago, I find myself waiting in an immense line outside of the Metro club, spitting distance from the place Sammy Sosa and my beloved Cubbies call home 6 months out of the year. As I stand in this line, two things become very evident to me; one being that I'm the oldest one there and the other that I am the only one without artwork tattooed on their body or a piercing displayed in all its glory for everyone to see. My reason for waiting in frigid temperatures is two-fold. I was there to see a meteoric alternative metal band, Escape From Earth, ready to make its assault on the world, and to see a friend and mentor from out of town.

My friend appears shortly after 7pm as I had made my way inside the legendary Chicago club. We exchange pleasantries, catch up and wait for Escape From Earth. As we wait, we talk about the tattoos and piercings that are moving and shaking in front of us, and Chicago as a rock town. I am telling my friend about the legendary bands that have started out at the Metro and acts that have played there on their rise to the top, including Pearl Jam, The Smashing Pumpkins and dozens others. My friend looks at me, smiles and says "This town is always rocking, isn't it?", I smile back and respond, "ALWAYS". The time arrives when the band makes their way to the stage and the crowd becomes restless. As soon as the band begins playing, the audience is in sync with them, jumping up and down to the ferocious and intense grooves the band has unleashed. I have spent the better part of my life seeing big acts in big arenas. It had been a while since I've been to clubs to see up and coming bands and rarely have I seen an unsigned band get this kind of a feedback. I am reminded of the bliss, escape and emancipation music gives to us throughout life. As great as the show is, I need to leave three songs into their set. I grab my friend by the shoulder, tell him goodbye, and give him a handshake and hug and leave. This is a person whose friendship has been a gift from God, a mentor, friend and someone I admire immeasurably. I rarely get to see him and I have more love and admiration for him than there is words in the English language. So why was I leaving? There would be only one thing that could tear me away from spending time with my mentor; it's to rendezvous with a sensation so great that it only occurs every few years; experiencing Bon Jovi live in the Windy City.

I have traveled far and wide watching this band perform. Just that previous week I had put 1000 miles on my car as I made my way throughout the Midwest to catch a few of their shows. Along the way I brought some friends along for the rock 'n roll sacrament. However, the Chicago shows are always distinctive. The bands response to the crowds here is organic and sexual. They feed off of the crowd like a vampire feeds on blood. Just a few days shy of ten years ago, Bon Jovi arrived in Chicago on March 5, 1993 during the Keep The Faith tour, which was a struggle at the beginning, not so much because of ticket sales, but because of the bands perception in the media. They were seen as failures because their album did not light up the charts the way their previous ones had. While many shows sold out, the fact there was no need for multiple nights was seen as a disappointment. All of this built up to that night in Chicago where apparently the local promoter made light of all of these matters. What happened next was something I don't think anyone anywhere will ever witness again...a multi-platinum band fighting for their survival, their music and their lives. The performance they gave on that night, and for the remainder of the tour, was one of desire and need to not only survive, but also to conquer. There was a determination that the band had, which is usually only showcased in up and coming bands, never by a band that at the time had sold close to forty million albums. Their power, hunger, intensity and desire that night was as powerful as the performance Escape From Earth gave at the Metro a decade later.

Seven years later, the band returned to Chicago for an industry gig at the House of Blues. In the record industry mergers of the late 90's, Bon Jovi found themselves on a new label, with new people holding the bands future in their hands. To this day I don't know if they picked Chicago because of its convenient location for both East Coast and West Coast industry people or if it was because of the crowd the band knew they would have. I found myself in front of the stage and when the band took the stage, I don't think I have ever seen so many women cling to me the way they did that night. They held onto me, climbed me and shook me just to be a very precious inch closer to these five guys from Jersey, "Lay Your Hands On Me" was more than just a song in their set, it was MY theme song for the evening. Ninety minutes later the crowd was chanting, in unison, for another song to be performed to no avail. However, the record execs took note...Bon Jovi still had it. Six month later, the band rolled into the Rosemont Horizon. There was an electricity and fever in the air unlike anything I had really seen before or since (a few choice Springsteen and U2 concerts have come close). It was their first proper show in Chicago in half a decade and it became evident that it would be worth the wait. On this night, the crowd was so loud that you at times were not sure what the band was saying in between songs. As the band were getting ready to leave the stage, a sound so loud and big was made that the band gave notice to the crew to turn all of the monitors back on...they would not be going home just yet. The band and crowd were so in sync on these particular nights; it's almost as if the band had been hosting a party for those who were part of a secret society.
Bon Jovi's ability to connect with such a wide audience is a feat in itself. When most bands gain a larger audience, a certain edge is lost, whereas I feel that the bigger Bon Jovi's audience...the better. The chanting chorus' and the intensity of the roars of the crowd in Chicago are unlike anything I have ever witnessed anywhere else in this world. Only when U2 strolls into Chicago do I see this fevered devotion. The Chicago crowds will give any New Jersey crowd a run for their money. I'm not saying Jersey crowds aren't good, but hometown crowds never quite to seem to appreciate bands as much as other places.

Hey man I'm alive I'm takin' each day and night at a time

Yeah I'm down, but I know I'll get by

Hey hey hey hey, man gotta live my life

Like I ain't got nothin' but this roll of the dice

I'm feelin' like a Monday, but someday I'll be Saturday night

-"Someday I'll Be Saturday Night"

I left the Metro and ran to my car, took it straight up Ashland Avenue faster than any NASCAR racer, parked my car and walked into the United Center. I catch up with a few friends and take my seat. I am sitting 4th row center waiting to see Bon Jovi walk on stage and make their presence known in this great city. I have seen Bon Jovi numerous times, including three times on this current tour. So why is this show so important? Anyone who has ever seen them in Chicago knows the answer...because the crowd and band has a certain clairvoyant quality between them and there are no words that can explain the energy and power that Bon Jovi has when they hit the Windy City. As the lights go out and the band members arrive on stage one by one, Richie Sambora makes his way to the front to blast out the lead riff to "Bounce", it is evident that tonight's show will be just as good and maybe surpass their performances here in Chicago in 1993 and 2000.
The set list speaks for itself, some old ("Living On A Prayer"), some new ("Everyday", "Hook Me Up") and some for fun ("Raise Your Hands", "Rock 'N Roll Music"). The crowd stood on their feet, jumping up and down non-stop for the entire two hour and forty minute experience. Tonight was also special as being the day before Jon Bon Jovi's birthday. The band planned a surprise and after the main set, rushed back out on stage, in silver and gold hats and jackets, performing a rendition of the Beatles "Birthday". Jon Bon Jovi slowly emerged from the stage smiling at the surprise the band had given him, but there were more to come. A birthday cake was brought out where a Marilyn Monroe look-a-like popped out and sang "Happy Birthday" to him JFK style.

After the last song had been played, the band stood there, basking in the glow of the roars from the crowd. They hugged and bowed after the third and final encore of the evening. It's at moments like these where you see the indisputable love and admiration they have for each other. You look around you for those that have surrounded you over the last few hours. Many "get it" just like you, they understand the passion and promise that the band gives. Not only that, but you have just experienced something dreamlike.

After the marathon show, the house lights went on and everyone walked out of the arena one by one, I saw more smiles and gleaming faces than I had seen in a long time. In fact, the last time I saw that many people glowing after a show was the two Paul McCartney shows last year. People have a look on their face that they not only had a remarkable experience, but also saw a truly extraordinary performance. I have seen some truly amazing music over the last few years. I have had my mind, body and soul baptized and blessed by Gabriel, Springsteen and U2. I witnessed the Stones substantiate why they may be the world's greatest rock 'n roll band, the Who proved why their songs will stand for generations to come, Dave Matthews defined why he will be the top concert attraction for years to come by giving a sense of community at concerts that has probably only ever been evident at a Dead show, last but not least, the future or rock has been shown to me in the form of Kid Rock and No Doubt who work crowds the way the best performers from the 70's and 80's did. However, no crowd has been as loud, vocal or dominant in the way the crowds are at a Bon Jovi show, especially in Chicago.
As the band descended into the darkness, the satellite dishes lit up with credits and footage of the band. Its mostly just footage of the band screwing around during the recording of Bounce, yet NO ONE dared leave the arena. Why? Mainly because they wanted that buzz to stay with them, they wanted that hold onto that feeling for just a few more seconds. What feeling-the feeling of "Saturday Night"; being young, excited, optimistic, hopeful and being in love. The feeling that there truly is good in this world and no matter what happens; we can rise above the trials and tribulations we deal with in our daily lives. They're hoping that one day, they too will be "Saturday Night". When those days come that feel like Monday's, they'll reach into their collective memory and think back to that moment where they could FEEL it and it will be Saturday night all over again. For a little short of three hours on March 1, 2003 I and 16,000 other faithful believers were "Saturday Night".

I'm gonna hold you 'til your hurt is gone

Be the shoulder that you're leaning on

I'll be standing here

For the next 100 years

-"Next 100 Years"

Jon Bon Jovi is part medicine man, miracle man, and healer of the faith...a preacher who sings to the masses and makes them believe. We believe so much that the power with which he reigns over the stage is unlike anything I have ever seen. For my money, only Bono can give him a run for his money in the type of connection he makes with the audience. He may not bring tons of originality to the table but that does not matter; this is rock 'n roll, where those who have embraced its past do things best. Like Springsteen before him, he promises redemption of your mind, body and soul. There will be those who say I am being too poetic for a band like Bon Jovi. What matters most in rock 'n roll is the ability to lift spirits, excite your soul and touch your heart. Bon Jovi does just this, and as a band they are as powerful as any live entity out there today. These five men were born and placed on this Earth by God to grace the concert stage. Say whatever else you want about them, but it is here where they silence their critics and prove their worth. They have defined who they are with these performances. They are at a place in their careers where they should not have to do anything else for the rest of their careers, except give their audience 110% every time they go out. One can only hope that their shows this summer will be just as stimulating and enterprising.

The power, passion and devotion of the band are undivided and united. They stand as five seasoned veterans who are the strongest five piece live band in the world. Call it ego, or excessiveness, but Jon Bon Jovi and his four Jersey compatriots brought smiles to each and every one of those 16,000 people. Some laughed, some cried, some sang and all danced like there was no tomorrow. These fans wanted more than an evening of fun, they needed to believe in something more, even if it was for only a few precious hours. They wanted a feeling of being safe, a distraction from heavier issues weighing down on us, yet strong enough to remind us that we are blessed to be living in this country and for all of the things in our life. Through the numbing media, I often wonder if any of us are truly alive? How often do we truly deep down feel great emotion, or better yet, show it or display it. What tingles our sensations...the media, newspapers or news outlets? Not for this soul, but music, film and friends whom I am blessed to have. Whether I am remain single, married, or choose a life of solidarity, I will always have partners in crime, a muse, a group of friends who inspire me. Even though I don't know them personally, March 1st was spent with 16,000 fiends...and 5 guys from Jersey, who opened their world to us. They offer escape and optimism. They told us to go the distance, keep the faith, to believe, and when the going gets tough...live on our prayers, each and everyday, undivided.

They may never be seen as rock poets in the same light as Dylan and Bruce or be as revolutionary as Zeppelin or the Ramones were but they will stand, past, present and future...one of the best damn live rock bands on the planet. Their music may not be as daring and sexy as the Clash, Bowie or Aerosmith, but all of that is irrelevant when the lights go down and tens of thousands rise to their feet for a sense of community. I love this band, always have and always will. They were one of the inaugural bands to usher in my love of music back in 1987 along with U2, Motley Crue, Springsteen, Huey Lewis and dozens others. Somehow, a connection was made with Bon Jovi back then. I can remember each and every show I have seen with them with greater detail than any other act I have followed over the last fifteen years. . I have bought each and every album on the day it has come out and in some cases, go to great lengths to do so. I have bought dozens of albums and concert tickets for friends in the hope that one line of one song would move them in the same way their catalog and their live performances have stirred me. I stand on the pulpit shouting loudly that it's unlikely you'll see a concert anywhere or anytime as powerful as the ones put on by Bon Jovi.

As I am leaving the show, one image returns to my mind. One thing I love about being really close to the stage is to turn around during the sing-a-longs and to see the reaction of the crowd. I remember looking way up into the third level and at the very top, I could see a small light lit. Under the dim light, I saw the shadows of two girls, dancing and jumping up and down together...in jubilation and excitement. To me, that sums up the entire Bon Jovi live experience. Seeing a crowd of thousands of people singing together not one, but several songs is a dreamlike experience and is not as common as people think. In fact, the only concert I've been to in the last few years that had as many sing-a-longs was Paul McCartney's tour last year.

Music is more than just entertainment, it's the ties that bind, a connection to this insane world that we walk through daily trying to make sense of. At the end of the day, we can feel the things that are real. On that cold night in March, everything in the vast and wide arena of the usually banal United Center was REAL. We shuffle through life in haste, rushing growing up, becoming an adult, having our own families and yet, often we do not stop and smell the roses. Whether it is U2, Bruce or Bon Jovi, I have always felt an immense bond to their music and especially to their live performances. Its nights like these where you sit back and see that music brings can create and vast and wide community, one that these five guys from Jersey created.

So often do we not appreciate life's simplicities; looking at the way a young child discovers a new thought process, the way the sun can shine down on a spring day, the beauty and complexity of a Van Gogh painting or the pure enjoyment that a rock concert or music in general can bring you, the way a perfectly blue sky looks while driving through the north shore of Chicago and the beautiful life that walks on this earth. As I stood in the United Center, I watched this band enjoy life and in the process, witnessed them doing what they truly love to do. I've seen them enough times to know when they enjoy themselves and when they don't, on that frigid Chicago night, they performed like it would be their last performance ever. Their ability to obtain a level of success and still be driven to play their hearts out for 16,000 people is unlike anything I have ever seen. To quote Bruce Springsteen, "It ain't no sin to be glad you're alive" and I can guarantee that those 16,000 felt more alive on March 1st than they had in a long time. Let's just hope that took that energy back home with them and continued to share it with the ones they love. The crowd's reaction is a testament to the bands ability to lift and heal spirits, like the best rock 'n roll. It was fun, emotional and uplifting.

While rock n' roll may not be able to save the world, it may be able to save lives one by one. In turn, we will try to salvage our souls with the inspiration these great musicians give us, the feeling of love, hope and faith. So as the faithful of the windy city exited the United Center and slowly reentered the real world, they will hopefully keep that ambiance with them. There may be days where we feel more like Monday's than Saturday's, but hopefully we all take something away from inspired performances like these, and try attain that level of ecstasy and spirituality, maybe not today or tomorrow, but someday...as long as we all strive to be "Saturday Night".

Some day I'll be Saturday night
I'll be back on my feet, I'll be doin' alright

It may not be tomorrow baby, that's OK

I ain't goin' down, gonna find a way

-"Someday I'll Be Saturday Night"

Setlist:
Bounce
You Give Love A Bad Name
Wild In the Streets
Livin' On A Prayer
Everyday
Undivided
Runaway
Just Older
Keep the Faith
Wanted Dead Or Alive
The Distance
It's My Life
Misunderstood
Right Side of Wrong
I'll Be There For You (Richie on vocals)
Hook Me Up
Someday I'll Be Saturday Night
Raise Your Hands
I'll Sleep When I'm Dead
Born To Be My Baby

Encore 1:
Happy Birthday (Richie on vocals)
Happy Birthday Jon (Marilyn Monroe impersonator on vocals)
Happy Birthday (audience on vocals)
Always
In These Arms
Bad Medicine/Shout

Encore 2:
Rock & Roll Music
Twist & Shout