Bon Jovi on Soundstage: Another Side of 'Lost Highway'

Review by Anthony Kuzminski & Rob Grabowski
Writer’s note: I did not attend the soundstage taping but Rob Grabowski did and asked me to convey his experience in words, so here we go…

Bon Jovi came to Chicago and gave a unique and once in a lifetime performance which featured their most recent album, Lost Highway performed in its entirety. One of the reasons Bon Jovi has always been a significant live entity is because they reign over the concert stage. They can seduce and slam an audience with emotion in a way few acts can touch and this taping, the biggest in Soundstage history, was no different. Every Bon Jovi album sounds better in the live environment, it’s more organic and the concert stage allows the songs to breathe.

A taping like this is a unique from the perspective that it’s not really a concert but a taping. I have attended these before and they usually involve multiple takes of many songs so we can make sure everything is right, but Bon Jovi exceeded expectations in this department by only having to perform one of the new songs twice (“Whole Lotta Leavin’”) and this appeared to be due to technical difficulties and not the band. “Lost Highway” is the anthem on the new album and will hopefully be the next monster single for the band. “Summertime” was fun while the performance of the latest single, “(You Want To) Make A Memory” is turning into a sublime jewel with every performance I see. “Whole Lotta Leavin’” was sprawling and epic with the multiple musicians on stage, another version that far exceeded the album version. “We Got It Goin’ On”, a rather bland song on record, proved to be much more live and in fact was entertaining. “Seat Next To You” was endearing and refined, as was “Till We Ain’t Strangers Anymore” which found violinist Lorenza Ponce taking over for Leann Rimes and she did a splendid job. The biggest surprise of the evening was the heavy on guitars, “Everybody’s Broken” which I felt was a throw away track on my first listen. It’s amazing to see the songs have new life breathed into them in this natural setting. “One Step Closer” and “The Last Night” benefited greatly from the live perspective as I had skipped over these songs on my initial listens of the album but after these performances I’ll be heading back down the “Lost Highway” to rediscover them. “I Love This Town” gets better with each listen and the band’s playfulness on stage exudes through in the performance allowing the crowd to become seduced. The tour de force moment of the evening was “Any Other Day”. One of the best songs on the new album soars with every performance and could one day be one of the defining songs of the bands set list. The solos and jams towards the end of the song with Sambora, Bandiera and violinist Lorenza Ponce are nothing short of awe inspiring. It is performances like these that keep us coming back for more time and time again. As a bonus, the band ran through a few greatest hits, “It’s My Life” (run through a few times due to technical difficulties), “Wanted Dead Or Alive” and “Who Say’s You Can’t Go Home”.

What the Soundstage performance proved was Bon Jovi is a band that never should be counted down and out for the count. I wasn’t a fan of Lost Highway and found the album to be rather bland when I heard it last month. However, the band took to the Chicago stage with focus and proved to me, just like they have so often in the past, that they are a defining live band and can make me go back and rediscover songs I had initially dismissed. The official show on A&E will air on November 10th and the DVD of the show will be in stores three days later on November 13th. The only downside to this is that to those fans who felt Bon Jovi jumped the shark with Lost Highway, this date isn’t soon enough. All in all it was a fun and interesting evening. If nothing else, it has opened a new window for me and I plan to go through it to rediscover Lost Highway.

Writer notes: Well, if the performance was half as good as Rob said it was November can’t come soon enough. There’s nothing better when a live performance sucks you in and makes you reevaluate certain songs and albums.
xT

Bon Jovi: antiMusic Feedback and Response

On June 11th, I wrote a passionate plea and rant about concert ticket prices, focusing on Bon Jovi. I was also extremely emotional when I wrote this because I felt invested in the article. I write everything from the heart with great passion. I received upwards of fifty responses to this article, with only two of them being negative. For the most part, everyone agreed with me. A few weeks later, one of the websites I write for, antimusic.com published this aforementioned article. I’m not sure what happened, but in the last week this article has gained traction due to Google putting it upfront on its music headline page. Since this has happened, I’ve received dozens of emails and have been directed to three different Bon Jovi websites where a war is being fought over the article. I’m not even sure how to respond due to the hundreds of responses I have read. So I’ll start with the facts and try to give you my side of the story.

#1-I consider myself an enormous Bon Jovi fan

#2-I wrote the article from the heart and did not mean any disrespect to anyone, especially a group of musicians I deeply admire.

#3-It’s merely an article about a band I admire, but with whom I’m disappointed with their ticket prices. It’s not life or death…it’s just my opinion.

#4- This issue of ticket prices goes far beyond Bon Jovi, as it applies to all music acts (especially Aerosmith).

This article was written and initially published before any kind of announcement saying that these ticket prices would not be the norm for the 2008 tour. Now here is my question, what will the prices be? I hate to say it, but anything over $125 will probably be too much for me. I just won’t be able to afford to go. As much as I love Bon Jovi, I just can’t spend upwards of $300 for a pair of tickets. When I wrote this article my emotions bled through and in short, I WAS PISSED; plain and simple. I was deeply disenchanted by the prices, just the same as I was the year before when Bruce Springsteen released an album of Pete Seeger songs while simultaneously embracing the Katrina tragedy. Bruce did this to sell records and concert tickets (priced at $110 each) to line his own pockets and he did not give any tour or album proceeds to those who needed it in New Orleans. It is wrong to sell yourself as something (caring for those who are less fortunate) only to have it merely be a brilliant disguise. I saw two of these Springsteen performances and they were profound and prevailing. The pairing of Seeger’s lyrics with the dynamics of Springsteen’s in concert passion was something that could truly transform someone’s life. I only wonder how many future leaders of tomorrow missed out on Bruce’s 2006 Seeger tour because of the ticket price. It’s a shame because lives and destinies could have been changed over the course of an evening through music. I don’t want the same thing to happen to Bon Jovi.

For those of you wondering why I am critical of Bon Jovi, it’s only because I want to see them exceed and become ever greater than they are today. The biggest obstacle in front of Bon Jovi as maintaining their legacy and I feel that it will be hurt by these high prices. I want to make something clear; Bon Jovi is a great band...a f’ing GREAT band. Bon Jovi is one of the preeminent live bands of all time and many people have their heads so far up their snooty asses they’ll never realize the command this band has over an audience. My goal as a writer is to change their minds, open their hearts and make them realize the error of their ways. My mission statement in writing is to always show the other side of the story. Recently I have had the webmaster for one of the biggest rock stars to ever walk this Earth, tell me that I constantly make him revisit certain artists and albums based on my writings. One of the albums this person recently re-discovered as a result of my writing is “These Days”. However, by pricing your tickets in a certain price bracket it makes these people even less likely to open their eyes, ears and minds to the music of Bon Jovi and this person even told me so. I’ve taken a number of non-fans to concerts over the years and they always walked away being impressed with the band. They usually turned to me and admitted they were wrong and judged a book by its cover. The only thing that could have brought about this change was the live experience. At $300 I can’t afford to see the show let alone take someone whom I feel would be moved by the performance.

In late 2004, I was fortunate enough to have someone from the Bon Jovi camp write to me and thank me for my review of the band’s box set. They told me I was the only person who “got it”. This past Saturday, I was blessed and fortunate to spend 2+ hours having drinks with this person. They were a true class act and we discussed everything under the sun; life, music, the Beatles, traveling, marriage and of course Bon Jovi. One thing I walked away from the discussion with is a better appreciation of what it takes for a band like Bon Jovi to stay on top. Personally, I’d rather see the band take a more laid back approach to their promotion, but that is my opinion. Jon Bon Jovi is a VERY smart guy and he knows exactly what he wants and this I respect profoundly. I wouldn’t go on American Idol or The View, but Jon wants his music heard and he’ll fight for it to the death. It makes sense, you spend so much time making an album and if no one hears it, does it even exist? I walked away from my conversation a bit more enlightened about the inner workings of promotion and can understand why the band does what it does from a promotional perspective, even if I don’t agree with it.

In regards to my “below the belt” comments about the band’s music in the previous article…yes some of it may have been uncalled for, but see paragraph #1 above…I am a fan and was pissed. I think “Crush” is a very good album, but must admit I find “Bounce” to be the weakest album in the band’s catalog. “Have A Nice Day” is a solid rock album that has some great moments and some not so great moments. “Lost Highway” is still too new for me to make up my mind on. The title track may be the greatest thing the band has ever put on record, but the last half of the album is entirely too slow and loses me. I just don’t feel the band has ever reached the musical heights they achieved with “These Days”. Hey, it’s just an opinion and we all have them. What’s important is that whether I enjoyed the albums or not, they all grew on me when I saw them live. The band took these simplistic tunes and made them soar to heights I never imagined possible. I want to continue to experience this without missing mortgage payments. Bon Jovi is a kick-ass band who deserves all of their success; I just hope that I can continue down the long and winding road with them. I’ve written other articles on the music industry from a business perspective which can be read here and here…but the reason I wrote in depth about Bon Jovi is because they still matter and I want to see them prove me wrong on everything I mentioned in my passionate plea for fair ticket prices. Until then, I’ll sit back and wait for those moments to (hopefully) materialize and inspire.

I am open to any and all feedback: feel free to write me directly: thescreendoor@gmail.com

Bon Jovi Review Links:
Soldier Field 2006 Review
Bon Jovi Box Set Review
Milwaukee Summerfest Review
My Proposal for a Future Bon Jovi "Best of" Package

Danny Gatton: The Best Ever?

I had drinks last night with a top notch music scholar and gentleman who loves music profoundly. We talked about all kinds of music and he mention a name I had never heard before; Danny Gatton. He told me that this man was the greatest guitar player of all time...of all time, no questions asked. I love it when I hear about someone I've never heard before and I get a chance to discover them! So I came home tonight and went on Youtube and I think you can see through my skull at this moment. How the hell did I not know of this guy before? Plus this was after watching some of the greatest living guitarists who currently are alive at Clapton's Crossroad Festival today.

Check out this blistering solo on one of my favorite songs of all time, "Sleepwalk" on youtube here.

All Danny Gatton Youtube Videos are here

Danny Gatton Wikipedia Entry

Danny Gatton Official Website

More Indy IV News from Comic-Con

Comic-Con had some super cool announcements this past weekend but none was greater than the coverage of the fourth Indiana Jones installment. I don't want to ruin any surprises so if you want to know what went down, click on this link.

If you want some spectacular images and info from the official website, go here.

BB King Is Still The King

I'm watching Eric Clapton's Crossroad Festival via MSN today from home...the link can be found here. So far the show has been stellar with BB King taking the cake with a sublime solo on "The Thrill Is Gone". He may be over 80 but no one plays the guitar quite like him. He's jamming with Robert Cray right now and it's soulful and sweet. Check it out!

KISS Performs As A Trio

It looks as if KISS had to perform last night without frontman Paul Stanley. He apparently was taken to a hospital right before showtime in San Jacinto, California. Paul apparently encouraged the rest of the band to go on without him since he was keenly aware of the fans who probably travelled far and wide to attend the show. So while there was no Paul, the show turned into a one of a kind experience with the band performing as a trio as they ran through a rather solid 14-song set. Personally, I think the band is charging too much money to only perform 14 songs, but on the other hand I give the band major props for not cancelling. I feel many artists and acts over the years have been entirely too selfish with dates that are cancelled. It's good to see a band step up and not leave their fans out in the cold. The only thing I wish is that they had performed a little longer, then they would have gone above and beyond really leaving an impression for those who saw the show.

The full report for the show can be found here.
Set List:
01. Deuce
02. Cold Gin
03. Calling Dr. Love
04. Christine Sixteen
05. Nothin' to Lose (Eric on vocals)
06. I Love it Loud
07. Goin' Blind
08. Watchin' You
09. She
10. Parasite
11. God of Thunder
12. Let Me Go, Rock 'n Roll
13. Black Diamond (Eric on vocals)
14. Rock and Roll All Night

Lack Of U.S. Label Not Derailing Bryan Adams CD

I have always had a soft spot for Bryan Adams. His 80's output was rocking, rolling and all out fun. When he enetered the 1990's, with Mutt Lange at his side, he reinvented himself with a bigger than life sound and became to "go to" guy for movie ballads. While these movie ballads gave him his greatest sucess (all four of his number one songs were from films)...they were also his downfall. Eventually in America, no one really took him seriously which is sad because his 1998 album, On A Day Like Today (produced by Bob Rock) and his organic 2004 release Room Service find Adams in prime rocking form. Go back fifteen-years and both of these albums would be in the top-ten and he'd be rocking arenas around the country.

He still fills arenas and stadiums across the globe, so he does not often tour this side of the world and when he does it's usually one off gigs in clubs. It took him ten-years to make a return trip to Chicago after a trimphant 1994 show at the Rosemont Horizon. In fact, this 160-minute show was such a tour de force, that it is probably the defining reason I am still a fan. He's still a top notch live act and from every person I know who has met him, speaks of him in the highest terms.

Billboard Magazine printed an article earlier this week mentioning that he's working on a new album which excites me even if he doesn't have a US label at the moment. If he continues down the same path as he did with Room Service, then I look forward to his eventual return. I just wish he'd play Chicago more than once a decade.
xT

Billboard article can be found here.

Lack Of U.S. Label Not Derailing Bryan Adams CD

Bryan Adams is planning to release a new album this fall -- even though it doesn't have a title yet, or a label deal in the United States.

Nevertheless, Adams tells Billboard.com that he's been working on the 12-song set "for a couple of years, and it's coming out really well." Like his last studio outing, 2004's "Room Service," Adams has been recording his new songs in hotel rooms and other locales while he's on the road, a system that appeals to him most these days.

"I bring out an engineer, everything fits into a suitcase and we just record," says Adams, who's recorded tracks in Hungary, Denmark, Malta and other mostly European territories. "I have so much spare time during that day that it makes sense to utilize it to do something creative like that, as opposed to just sitting around the hotel and sightseeing or something."

Though he's waiting to release songs titles and other specifics about the album, Adams describes it as "quite a personal record" that was influenced by his travels. "It's inevitable that some of this is gonna wear off on you," he says. "You travel around and you think about the things you do when you're traveling (and) it's going to wear off on what you write about."

The Canadian native, who now lives in London, is signed to Universal in the U.K. He says his Vancouver-based manager Bruce Allen is negotiating with some U.S. labels, which Adams would prefer to releasing the album himself.

"I'm still interested in what a label can do, a network that's already set up," he explains. "All I'm really interested in is getting the music to the people. I don't even care about the money."

Adams will be bringing the music to the U.S. in early August and October, via a pair of short runs co-headlining with George Thorogood & the Destroyers. He first met Thorogood in the '80s at the Peabody Hotel in Memphis, joining a jam session at the bar that also included the Stax bass legend Donald "Duck" Dunn.

"It was a late-night drinking session, which I sort of stepped into," Adams recalls with a laugh. "We got up to jam and somebody said, 'Okay, 'Midnight Hour,' and Duck says, 'OK, we're doing it in the original key. Then George says, 'I don't care, I'm playing it in this key.' so they played the song in two different keys. And it worked!"

Mick Jagger: A "Best of" Collection Due This Fall?

Happy belated Birthday to Mick Jagger (who is a day older than my Dad....Happy B-day dad!). A few weeks back a article appeared that mentions that Mick Jagger has a "Best of" collection hitting stores this coming fall. The original article can be found here.

My thoughts? Hmmm, I actually like "Hits" collections as they allow the artist to sum up their experience up to that point. The downside is that the song selection is never quite as good as what is in my mind. Sir Mick was off to a shaky solo start with a few weak records, but in 1993, he shocked me with his stellar Wandering Spirit. He then surprised me even further eight-years later with the release of Goddess In The Doorway, an album that I do believe was worthy of Jan Wenner's Five-star review in Rolling Stone. And yes...I do realize that I am the only other person in the world who feels this way aside from Wenner.

What I like about Jagger solo recordings is that I believe this is where he does his most honest and open writing. I feel that when he writes with Keith, he's either trying to write a pop Stones song ("Mixed Emotions", "Don't Stop", "Start Me Up", "She's So Cold") or a song that embodies the Stones rich history ("Back of My Hand", "Out of Control", "Love Is Strong", "Sad, Sad, Sad"). On his solo discs, he reveals the true wizard of Oz. "Don't Tear Me Up", "Hang On To Me Tonight", "Visions of Paradise", "Too Far Gone" and "Don't Call Me Up" sound like cries of help to me more so than songs written for mass consumption. I love the Stones output from 1989 onward, but must admit, I think Mick's solo work alongside Keith's Talk Is Cheap are maybe the best pieces of music either has created in a quarter of a century.

Maybe this new "Hits"collection will make people take a second look at a solo career that has as many highs as it has had lows. Regardless, it should be an interesting collection when Rhino releases it later this fall.

Billboard Boxscore: 7/26/07 (more Police)

Welcome to this week’s spotlight on tour grosses focusing once again on The Police. The band has four of the top-ten concerts of the week for a combined total $10,982,548.00

Let’s put this in perspective, the average American works somewhere between 8 and 9 hours a day which does not include commuting. So the Police made approximately $11 million for less than 7.5 hours work. That is approximately $1,464,339.73 an hour. What kind of a messed up world do we live in where three musicians who only care about the almighty dollar are making millions of dollars an hour while school teachers have to fight for an annual 2% raise?

Elsewhere Tim McGraw and Faith Hill have four shows in the top-ten as well with a very fair range or prices from $30-$95…and these two are on the high end of country acts. Tim and Faith will continue to have careers years from now because they’re not raping their fans and pulling them over hot coals. They’re respecting them, giving them an entertaining double package show and still making a tidy profit. Why don’t more acts have this mentality?

Excuse Me...Are You Ryan Adams?

Some experiences are so surreal that you can never put them into words. I met Bruce Springsteen in 2003 by complete chance and I wrote about it, but never published it because I couldn’t put the experience on paper. One person who did this recently with elegance is my friend Heather over at the I AM FUEL, YOU ARE FRIENDS blog. She not only caught a rather extraordinary performance the other night but she met him as well and he dished to her about some exciting upcoming news! Anyone who loves Ryan must check out Heather’s review which can be found here.

Prince-'Planet Earth'

One of the most passionate Prince fans on the planet is Ickmusic. It's a great blog filled with tons of mp3 goodies and I highly suggest you checking it out for Prince and Springsteen posts. It's one of a few blogs I read daily.

Since I still haven't made my mind up on the new Prince album, I'm going to link to his rather informative, honest and detailed review of Planet Earth. The only thing I take issue with in his review is that I think "Guitar" is a stupendous Prince track even if it does not break any new ground, it is an example of what Prince does best.

Read his review here.

Buy Planet Earth here.

KISS performes "All American Man" for the first time!

KISS rolled into Sault Ste Marie, Michigan last weekend for a mini-tour and to my great surprise, the band actually performed a song that had never been performed before; “All American Man” from the studio side of Alive II! KISS rarely pulls any rarities or treats out so this was rather shocking to see this song included in the set.

Bravewords reported this here.
Kissonline reported it here.

It’s about time KISS started shaking things up! Their one of the most legendary live bands ever, but over the last few years the quick tours done mostly to line pockets of the band and have left many fans crying “Judas”! The band sounds great live, but it’s time to give die-hard fans a treat! One of the reasons KISS can’t launch a full scale tour is because there isn’t a desire or need to see KISS at this time, especially at the prices they are charging. No promoter wants to pay them the money they are asking for. I look at this as a time where KISS could really dig deep and give fans more than a “Greatest Hits” KISS in makeup show which we are now well accustomed to. They need to rethink their strategy. Here is merely one of many ideas I have for this band:

Go out on tour in the Alive! costumes and tour theatres. Make it an event and perform EVERY song off the first three KISS albums and only songs from these albums. Perform in your top fifteen markets playing places with capacities ranging from 3,000-6,000. Go back to your roots and show the world KISS can still matter. Keep ticket prices fair and the word of mouth on these shows will allow you to launch a amphitheater tour next summer where you will perform to the largest North American crowds since 2000. The key is to tease people with something they have never seen before…and desperately want to see become a reality. Play theaters and create demand! Once the press and fans are buzzing with glee from these shows, put a summer tour on-sale playing further markets making KISS a wanted commodity once again.

Then and only then will KISS truly be delivering the goods to the fans.

Youtube video link

Jimmy Page to Reunite with Jeff Beck for Yardbirds Tour: Fact or Fiction?

Rolling Stone Magazine reported yesterday that this coming fall would see Jimmy Page and Jeff Beck tour with the Yardbirds for a reunion tour later this year. The full article can be found here.

But wait...the next day Jeff Beck's manager denied the rumors via Billboard Magazine. The full article is here.

So where does this leave the reunion. If it happens (with a large emphasis on "if"), it will probably only be Page in the band. I've never seen Page live in any form or fashion so I'd love to see him, but there's also a part of me that feels that this is a letdown after a potential rumored Zeppelin reunion. Who knows but I'll report back if anything emerges.

The New Pornographers Hit The Road

Some music is instantly contagious and some feels familiar but requires multiple listens to get under your skin. My friend Jeff turned me onto the New Pornographers back in 2003 upon the release of their second album, Electric Version. Since then they released Twin Cinema in 2005, an album that doesn't have any one undeniable hit on it, but it's an power pop album that absorbs me with every listen.

The band is ready to release their new album, Challengers, next month and it will be followed by a tour. I for one can't wait for the opportunity to catch this band in the flesh. I doubt that Neko Case will be on board for the tour, but she will be on the album. Below are a list of tour dates for the upcoming tour. Make a point to check them out for an evening full of power-pop architecture.

For those of you who have never heard of the band before, check out the links below:

The New Pornographers Wikipedia Entry
The New Pornographers Official Website
The New Pornographers Myspace Page

Jul 29 2007
1:00P
Rogers Picnic
Toronto, Ontario
Sep 13 2007
8:00P
McPherson Ballroom
Victoria, British Columbia
Sep 14 2007
8:00P
Showbox
Seattle, Washington
Sep 15 2007
8:00P
Showbox
Seattle, Washington
Sep 16 2007
8:00P
Crystal Ballroom
Portland, Oregon
Sep 17 2007
8:00P
Warfield Theatre
San Francisco, California
Sep 18 2007
8:00P
House Of Blues
San Diego, California
Sep 19 2007
8:00P
Henry Fonda Theatre
Los Angeles, California
Sep 20 2007
8:00P
Henry Fonda Theatre
Los Angeles, California
Sep 21 2007
8:00P
Rialto Theatre
Tucson, Arizona
Sep 22 2007
8:00P
Sunshine Theater
Albuquerque, New Mexico
Sep 24 2007
8:00P
Boulder Theater
Boulder, Colorado
Sep 25 2007
8:00P
The Depot
Salt Lake City, Utah
Sep 26 2007
8:00P
The Egyptian Theatre
Boise, Idaho
Sep 28 2007
8:00P
Commordore Ballroom
Vancouver, British Columbia
Oct 11 2007
8:00P
Edmonton Event Centre
Edmonton, Alberta
Oct 12 2007
8:00P
MacEwan Ballroom (University of Calgary)
Calgary, Alberta
Oct 14 2007
8:00P
University Theatre (University of Montana)
Missoula, Montana
Oct 15 2007
8:00P
Garrick Centre at the Marlborough
Winnipeg, Manitoba
Oct 16 2007
8:00P
First Avenue
Minneapolis, Minnesota
Oct 17 2007
8:00P
Pabst Theatre
Milwaukee, Wisconsin
Oct 18 2007
8:00P
Metro
Chicago, Illinois
Oct 19 2007
8:00P
Metro
Chicago, Illinois
Oct 20 2007
8:00P
The Riviera Theatre
North Tonawanda, New York
Oct 22 2007
8:00P
Le National
Montreal, Quebec
Oct 23 2007
8:00P
The Roxy
Boston, Massachusetts
Oct 24 2007
8:00P
Webster Hall
New York, New York
Oct 25 2007
8:00P
Webster Hall
New York, New York
Oct 26 2007
8:00P
Trocadero
Philadelphia, Pennsylvania
Oct 27 2007
8:00P
9:30 Club
Washington DC
Oct 28 2007
10:00P
The Orange Peel
Asheville, North Carolina
Oct 30 2007
8:00P
Variety Playhouse
Atlanta, Georgia
Oct 31 2007
8:00P
HOB
New Orleans, Louisiana
Nov 1 2007
8:00P
Warehouse Live
Houston, Texas
Nov 2 2007
8:00P
House of Blues
Dallas, Texas
Nov 3 2007
8:00P
Fun Fun Fun Festival
Austin
Nov 4 2007
8:00P
Liberty Hall
Lawrence, Kansas
Nov 5 2007
8:00P
Gothic Theatre
Englewood, Colorado

The Police: Wrigley Field $$$$ Intake

Billboard Boxscore posted the final receipts for the Police shows from July 5th and 6th. The band performed to a total of 79,458 fans and these two shows brought in a collective total of $9,494,248.

This is an unreal amount of money, in fact it's sickening. The band played for less than four-hours over two nights and earned almost $10 million dollars. I wouldn't be as sensitive to the outrageous amount if the band had poured heart, soul and energy into each show (and performed for over two-hours). I can't imagine them ever touring again, so I guess they will have to rake it in while they can. I only wish they gave a rat's ass about their fans.

Memorable Moments in Music: Bruce Springsteen

My favorite blog on the planet (and the best one in my opinion) is my friend Heather's I AM FUEL, YOU ARE FRIENDS. Her writing is passionate, soulful and she has exquisite taste in music. She also writes about it without coming off snobbish in any way. She is someone who LOVES music...plain and simple. She has informative music posts daily and most have mp3's attached to them in which I have discoverd new musical worlds.

She's currently writing about Memorable Moments in Music for WXPN. On her blog today she has what may be the most inspirational piece of writing in the history of rock by Jon Landau. She also has mp3's from an essential Springsteen show from 1975. Do yourself a favor and go to her blog now!

Her Springsteen post and mp3's can be found here.

Bon Jovi: Open Highways and Hearts

Summerfest
Milwaukee, WI
July 5th, 2007
Photos by Rob Grabowski

In recent weeks and months I have received numerous emails asking me why I will write such polarizing reviews about Bon Jovi. I consider myself a fan (one of the biggest on the planet) but I also feel obligated to speak the truth and nothing but the truth. I love this band; when they succeed, I’ll praise them and when they disappoint me, I’ll make sure they know why they let me down. I had tickets for their recent Milwaukee show months ago, for their triumphant return to Summerfest (marking the band’s fourth appearance going back to 1985). My expectations for this show were low due specifically to the ridiculous ticket prices the band is charging for their upcoming ten-night stand in Newark, NJ. Despite my extreme hesitations, I’m happy to say that Bon Jovi engaged the Milwaukee crowd and performed a two-hour show that was nothing short of stupendous. Even songs that appeared tired (most notably “Bad Medicine” and “I’ll Sleep When I’m Dead”, the latter which should be retired indefinitely), the band brazenly punched their way through them absorbing the record breaking crowd. I’ve said this before and I’ll say it again, when Bon Jovi wants to be, they are one of the three or four best live bands on the planet; when they want to be. Tonight, with a little help from the jubilant Milwaukee crowd, they rose to the challenge and were one of these preeminent bands.

Since this was a one-off show, the stage was bare aside from the band’s equipment, which I found refreshing. There were no gimmicks, toys or pits full of fans trying to grab band members…just a lot of adrenaline and rock n’ roll. In my book there is no better way to see any band. Kicking off with the one-two punch of “Livin’ on a Prayer” and “You Give Love A Bad Name” the band rolled through the next two-hours like seasoned pros giving the Milwaukee audience a largely greatest hits set flavored with seven new songs from the band’s latest album, ‘Lost Highway’. The hits were irresistible; “Runaway”, “Born To Be My Baby”, “It’s My Life”, “Someday I’ll Be Saturday Night”, “Who Says You Can’t Go Home” and “Wanted Dead or Alive” all sounded as fresh as the day they were recorded specifically because of the band’s aggression and resolve. I was near the front of the stage and as I peered over my shoulder during all of the aforementioned hits, you saw close to thirty-thousand pairs of hands in the air, a sight almost greater than the tight, fit and healthy looking band on stage. The Milwaukee crowd was completely drunk on Bon Jovi and the band in turn ate it up.
What was a one-off gig to support the new album turned into a superlative show due to the partnership of band and fan. There were no Ticketmaster auctions or ridiculously priced seats and it showed. The front of the crowd knew the new songs inside and out. As a result of their infectious enthusiasm, the rest of the crowd followed their lead during the rip roaring title track, “Lost Highway” by surging their arms into the air during the chorus. The first chorus found only the front of the house participating, but by the second chorus, the entire amphitheater was reaching for the sky. “Whole Lotta Leavin’” was equally victorious as it showed the band at their most cathartic and featured some great acoustic guitar work from sideman Bobby Bandiera. The latest single “(You Want To) Make A Memory” becomes more alluring with every performance and listen. This may potentially be a hidden gem years from now and I only hope the band continues to make it evolve. “I Love This Town” will be a future anthem anywhere they play and even the ridiculousness of “We Got It Goin’ On” went over well (although I still find it to be the most thwarting song Bon Jovi has ever committed to tape). Aside from one stinker, the rest of the new material ascended to new heights with “Any Other Day” taking the cake. A simplistic song on the first listen, the band demonstrated why they are a driving force in concert with Bobby Bandiera playing a gorgeous solo followed by an equally languid one from Richie Sambora (who looked excellent and alert the entire night). As they segued from solo to solo, violinist Lorenza Ponce performed an extended solo leaving the audiences mouths agape. An already good song was elevated to a new apex. This is what was missing from Unplugged but in Milwaukee the band fused all of these elements together for an explosive reaction.

This was one of the five-best crowds I have been a part of in the last few years with only Pearl Jam coming close to the level of fanaticism on display in Milwaukee. It was exhilarating but nerve-racking at the same time. The fanaticism of the crowd made it crystal clear to me that Bon Jovi does not need money guarantees from AEG, auctioned off seats, pits for radio winners, or even high definition screens. This band is so spectacular live, that if they give the same energy into every show as they did this one, they would sell out anywhere they play. Bon Jovi doesn’t need to perform on American Idol, The View or even the Today Show, they just need to hit the road and leave the audience in a spellbinding trance. This is what they do best. They don’t need to ever have a concert ticket over $100. Don’t follow the lead of the Police and Rolling Stones, but follow the lead of Dave Matthews and Pearl Jam; respect your fans, give 110% every night and don’t take care of the suits first. If you do this, the riches and more importantly, respect will follow. All that mattered in Milwaukee were the band and the fans. Sadly, this may be one of the last times I may witness the magic this band has to offer as they are choosing to sell the best seats to their upcoming shows to those who have $750 for a pair of tickets. The roar of the crowd will not be as load and deafening if it was filled with a bunch of suits. The rich get richer mentality is not a road to longevity, respecting your fans is. The Summerfest Bon Jovi show was filled with soul instead of sponsors.
The extra-long encore was seducing. The band performed the Leonard Cohen song, “Hallelujah” which was far better than on Unplugged. I only wish Richie Sambora helped Jon harmonize on this one. Despite it being a good performance, it can’t hold a candle to the Jeff Buckley or Leonard Cohen versions (which Jon gave a plug to). But if a few dozen people left the show in search of either of these artists, then Jon Bon Jovi has done his job. The new song, “The Last Night” proved to be more than meets the eye. It’s at the end of a terribly long mid-tempo group of songs on ‘Lost Highway’ and I initially overlooked it and did not fully appreciate its harmonies. The finale of “Twist and Shout” was not planned and while it’s not the first time the band has done this, they get bonus points for going above and beyond the call of duty. The crowd deserved an extra song and they got it.
During the penultimate anthem, “Wanted Dead or Alive”, I watched the light reflect off Jon and Richie and to the left of the stage their silhouettes graced a wall as they brought the song to its climax. Amidst the darkness of the amphitheater there was inner light shimmering from these two artists. Despite what people may say about Bon Jovi, they bring enlightenment, hope and optimism to millions of people across the world. People who are backed into a corner and feel hopeless find solace in the band’s music and performances. I only hope that these lost souls riding down life’s highways are not shut out from seeing performances like the one in Milwaukee because of ticket prices.
All pics courtesy of Rob Grabowski.

Guns N' Roses: Revolutionary Illusions

A few weeks back I had the great privledge to be invited by the talented and passionate Talking Metal hosts to contribute to their website. When asked to contribute a my inaugural article, I had to think long and hard about it. While sitting in LAX for six hours waiting for a flight home to Chicago, the GN'R song "Locomotive" came on my Ipod shuffle. I immediately began typing and the final article is now up on the Talking Metal site for your reading pleasure.

This will be the first in a series of articles I will be writing for Talking Metal, so check it out. If you haven't listened to any of the Podcasts, do yourself a favor and download a few, they're highly informative and are the definitive podcast for hard rock fans.

Thanks to Mark and John for allowing me to become part of the Talking Metal family!

My Guns N' Roses article can be found here.

Feedback on the article is already happening here.

Michael Franti & Spearhead Tour Update!

Michael Franti and Spearhead have just announced a new batch of tour dates for the fall and sadly, I have a conflicting engagement when they hit Chicago. I will sadly not even be able to swing the Milwaukee or Madison shows either. If you haven’t seen Franti before, add him to your list of essential live performers to see before you die. He’s the modern day Bob Marley and I dare you to define the genre of music he belongs to. He’s part hip-hop, rock, reggae and soul. His performances are uplifting, spiritual and inspiring. To see my full review from last year’s House of Blues show, click here.

To see the full list of dates on his Myspace page, go here.

Aug 11 2007
12:00A
Regina Folk Festival at Victoria Park
Regina, Saskatchewan
Aug 12 2007
6:00P
Edmonton Folk Festival
Edmonton, Alberta
Aug 16 2007
6:00P
Twilight Concert Series
Salt Lake City, Utah
Aug 17 2007
8:00P
The Salmon Arm Roots and Blues Festival
Salmon Arm, British Columbia
Aug 18 2007
8:00P
The Big Time Out at Cumberland Village Park
Cumberland, British Columbia
Aug 19 2007
8:00P
Malkin Bowl - Stanley Park
Vancouver, British Columbia
Aug 31 2007
12:00A
Sun Valley Labor Day Weekend Festival
Sun Valley, Idaho
Sep 2 2007
12:00A
Jazz Aspen Snowmass
Snowmass Village, Colorado
Sep 8 2007
11:00A
911 Power to the Peaceful Festival at Golden Gate Park
San Francisco, California
Sep 28 2007
8:00P
Rave
Milwaukee, Wisconsin
Sep 29 2007
8:00P
Vic Theatre
Chicago, Illinois
Sep 30 2007
8:00P
Orpheum
Madison, Wisconsin
Oct 3 2007
8:00P
Fillmore at the TLA
Phladelphia, Pennsylvania
Oct 4 2007
6:30P
State Theatre
Ithaca, New York
Oct 5 2007
6:30P
The Roxy
Boston, Massachusetts
Oct 6 2007
8:00P
Nokia Theatre (Times Square)
New York City, New York
Oct 7 2007
7:00P
Calvin Theatre
Northampton, Massachusetts
Oct 11 2007
8:00P
Toad's Place
Richmond, Virginia
Oct 12 2007
8:00P
Lincoln Theatre
Raleigh, North Carolina
Oct 13 2007
8:00P
Freebird Live
Jacksonville, Florida
Oct 17 2007
7:00P
Neighborhood Theatre
Charlotte, North Carolina
Oct 18 2007
8:00P
Brown Theatre
Louisville, Kentucky
Oct 21 2007
12:00A
Lake Eden Arts Festival (Michael Franti solo)
Black Mountain, North Carolina
Jan 4 2008
12:00A
Jam Cruise 6
Ft. Lauderdale, Florida

How much the Police are making at every show

For those of you who were less than thrilled with some of the recent Police shows, get ready to be disgusted a little more when you click on this link. It looks as if an average arena show (less than 20,000 people) is bringing the band 1.6 million for less than two-hours work. Divide that by three and you have a pretty good pay day (actually I am not sure if things are being split evenly, which I doubt).

Anyway, I'll keep you posted when the stadium shows begin to have their grosses tallied and reported. It's amazing how much money this band is making for so little effot and work.

Photo: Louisville Courier Journal

Bob Rock Interview Posted

BWBK (Brave Words & Bloody Knuckles) the definitive hard rock website for news has posted a short but sweet interview with the great Bob Rock. For those of you who don't know who Bob Rock is, he's the man behind mixing and engineering Bon Jovi's Slippery When Wet and New Jersey. When he broke through to be a producer in his own right and is the man responsible for Motley Crue's Dr. Feelgood and Metallica's Black album. Bob has also done some exceptional work on under appreciated albums by Bryan Adams, Blue Murder, American Hi-Fi, Joan Jett, The Cult and David Lee Roth. For a full detailed listing of everything he's done check out the Wikipedia listing here.

Bob has reunited with his original band, the Payola$. In the interview Bob gives some rather interesting answers in regards to his new projects and working with Metallica, Bon Jovi and Motley Crue. If you're a fan of any of the bands, this quick interview is a essential read. You can find the interview here.

The Police: In Violation of Sucking

Chicago, IL-Wrigley Field
July 6th, 2007
One of the most anticipated reunion tours that many thought would never happen (including me) is currently in full swing; the Police. It’s been twenty-one years since they performed live and twenty-three years since they did a full scale tour. Even though the secondary ticket market was full of last minute deals far below face value, it did not derail the excitement for these reunion shows. On their Chicago stop alone, they sold 80,000 tickets at astounding prices over two-nights at the home of the Chicago Cubs, Wrigley Field. When the band hit the stage rolling into “Message in the Bottle”, they appeared completely poised, professional and had an elated crowd ready to be rocked. One problem; the rock was seriously missing. Before you begin to send me hate emails, let me explain myself. It was a gorgeous summer night in Chicago and Sting, Andy Summers and Stewart Copeland all performed like the proficient and skillful musicians they are, but the chemistry between the three left a wide open void they never filled. Each member has improved their craft as musicians with age, but finding a way to merge three unique personalities into a once great band failed. The ticket may say “The Police” but this was anything but three solo artists who were all mentally on different planets. Once again, great musicians do not always make great bands.

The entire evening was a scattered affair with a poorly sequenced set list (not enough fast-paced numbers) and virtually no emotion was exhibited by the band. As a result the emotional reactions from the crowd were non-existent, whom appeared jaded to the majority of the show except for the radio friendly hits. Ironically the band, most notably Sting, did little to warrant our applause or reactions. Many of the song arrangements performed throughout the evening were eerily similar to solo Sting renditions such as “Don’t Stand So Close To Me” and “Truth Hits Everybody” which were lacking in tempo and focus and appeared to be rushed almost as if the band was reluctantly performing them. Sadly the Police catalog has been Stingified for too long and this was a missed opportunity for the band to reclaim these songs and make them their own once again. Alas, they only showed up to collect a paycheck.

The evening was not a complete loss as there were highlights which included “Synchronicity II”, “Driven To Tears” and “Bed’s Too Big Without You”. Each performance was stellar and showed the potential of what this band was capable of when they put their minds to it. The other main focal point was the drumming of the magnificent Stewart Copeland, the most charismatic person on stage and the MVP of the evening. His subtle drumming on “Driven To Tears”, “Wrapped Around Your Finger” and “King of Pain” was purely sublime as he showed us how these songs should be performed live. As multi-talented as the members of Sting’s bands have been over the years, none of them play with the zeal inside Copeland. Watching him on stage was the preeminent part of the evening as his focused and rhythmatic hands proved to be spellbinding, even when the arrangement of the song fell flat as it did on “Invisible Sun”. Herein lays the main crux of my issue with the show; should the drummer ever be the most charismatic person on stage? (Don Henley and Phil Collins do not count).

Andy Summers was poised and proficient the entire show and it was a pleasure to watch him suavely move his hands across his six strings screening off his virtuosic talent for the 40,000 in attendance. Sting’s bass playing was far more focused than it has been in recent years because with three members on stage you can’t hide anything. His musical endowment shined on “When The World Is Running Down”, “Can’t Stand Losing You” and on one of the few highlights of the night “So Lonely”. I think this is what made the evening so polarizing is that there shimmers of potential greatness but the band never gelled taking it to that next level. While each member is a better musician than they were twenty-one years ago, they no longer have a desire to tap into their shared past allowing them to leave the crowd in a breathtaking emotional abandon. They weren’t as bad as the title of this review suggests, but they weren’t good either and are not worthy of their extreme ticket prices ($110-$275).

The band appeared to be in sync with one another during the impressive encores, unfortunately, for me it was a too little too late. When the show ended at 10:10, I was appalled to the see the band didn’t even play two-hours, all the more astonishing considering that Sting never broke a sweat. In the end, while it was a gorgeous night and seeing these songs performed by the Police and not hired guns was refreshing, the show overall was a largely dissatisfying experience. Many people I have spoken to claimed to love the show but when I asked them if they would pay to see it again, 100% of them told me “no” and none of these individuals witnessed the Police during their heyday and have only experienced these songs live through Sting concerts. Don’t expect this reunion to last, this is merely a quick money grab that is leaving the fans in the dust and is shaping up to be the most disappointing reunion tour ever. This is a shame because they had the potential to take the crowd to another level with these eclectic songs and immense talents proving to us that they best days were in front of them rather than behind. All this tour is proving to be is a reminder of what a great band this once was and how sad it is to see them be a mere shadows of their former selves. If you have seen the Police during their commercial peak two-decades back and are holding tickets to an upcoming show, I highly suggest selling them and not ruining the memories you have of this once great band.

Set List:
Message in a Bottle
Synchronicity II
Walking On The Moon
Voices Inside My Head
When The World Is Running Down
Don't Stand So Close To Me
Driven To Tears
Truth Hits Everybody
Bed's Too Big Without You
Every Little Thing She Does Is Magic
Wrapped Around Your Finger
De Do Do Do De Da Da Da
Invisible Sun
Walking In Your Footsteps
Can't Stand Losing You
Roxanne
King Of Pain
So Lonely
Every Breath You Take
Next To You

Birthday Greetings-Life on Planet Rock

One year ago today, author and journalist Lonn Friend released his first book, Life on Planet Rock. Some of you may know this, but many may not, I was heavily involved with the book from its inception right up until it went to the presses (literally...the day before my wedding Lonn was showing me the pictures to be included and I spotted an incorrect date attached to a picture of him and Steven Tyler). Lonn’s book gives a fascinating in depth look into the late 1980’s and early 1990’s as Lonn headed RIP Magazine for Larry Flynt. The book has enjoyed modest sales over the last year and is continuing to sell well. If you haven’t picked a copy up yet, go here.

The experience of being involved with this book was challenging, fun and maddening all at the same time and remains one of the most fulfilling experiences of my life. Writing an article on something I was so closely involved in has proved to be challenging but I’ll get something out in the next few weeks. In the meantime, if you didn’t catch Lonn’s podcast on Talking Metal from last year, go here and download episode #87. It’s an essential listen!

He can also be heard on the Right To Rock Podcast this week found here.

Lastly, he has an excellent blog post today celebrating the one-year anniversary which can be found here.

Live Earth: Message Blurred

I haven't posted on Live Earth for a number of reasons, the most specific one being that I don't think it really warrants a lot of coverage. While the artist roster was impressive, the performances I witnessed didn't really make me think any differently about any of the acts. In fact, the one and only performance I thoroughly enjoyed was Keith Urban. This guy has a ton of talent and should not be underestimated.

As for the Police finale, I'm finishing up my Police review from Wrigley Field now and you'll see my thoughts on their reunion shortly.

For those of you wondering about my thoughts on Bon Jovi, I thought their set was solid (although it would be nice if they stopped playing "It's My Life" for a while). My main issue with the performance was the fact that Jon Bon Jovi said NOTHING about the cause of event (another reason why these shows didn't have the impact they should have). i will say that Bon Jovi may have had the strongest set of the entire show and being in front of a home town crowd didn't hurt. One last thing, thank you for NOT playing "You Give Love A Bad Name".

Ryan Adams: Revitalized and Reborn

Victory Gardens Biograph Theater
Chicago, IL
June 19, 2007

I'm always in need, and it's hard to be reciprocating
-“Everybody Knows”
If you have ever seen a Ryan Adams concert, you probably have a renowned story to tell. Whether it’s a good one or bad one is the question at hand. Ryan’s live performances over the years have been polarizing. If you were to rank concerts on a scale of 1 to 10 (1 being bad and 10 being great) you would find most people rank Ryan's shows at these two extremes. I've seen him three times and each time I felt like it was watching Jesus Christ nail himself to the cross. The most disheartening incident occurred six months after the release of ‘Gold’ in March of 2002. I was hoping to see this magnanimously endowed artist elevate and exhaust me in a way the preeminent Bruce Springsteen shows always have. Unfortunately, Ryan self imploded on stage performing a mind numbing 160-minute set that peaked 45-minutes in. Aside from a cover of “Brown Sugar”, the final two hours consisted of lingering drawn out jams and curtailed poetry readings that alienated the entire crowd. I remember turning to my friend Jeff about 90-minutes in and we both wanted to leave, but we were hoping a flash of brilliance was right around the corner. Seventy-minutes later we left without ever seeing that moment of brilliance come to light. It was a demoralizing experience to see someone whose music opened doors for me only to have the artist shut the door on me during the live performance. I never wrote about this experience because it was such a heartbreak I couldn’t bring myself to condemn someone whose music I loved so profoundly. After two other less than stellar experiences in 2003, I swore to never seen him live again so as to not ruin the blissful experience his studio albums give me.

I apparently talk the talk but don't walk the walk because I found myself in the unexpected spot of the Biograph Theater in Chicago ready to witness Ryan Adams and the Cardinals perform an intimate acoustic show in support of Ryan’s ninth studio album, ‘Easy Tiger’. The Biograph Theater is rather legendary as it’s where John Dillinger was gunned down in the 1934 and has recently been refurbished into a gorgeous 300-seat theater providing an intimate experience no matter what the occasion. My only concern going into the show was whether there would be some sort of massacre on the concert stage. Would Ryan Adams rise to the occasion or wallow in his own excess. Adams and his band came out at 8:15 and strummed and swayed ever so gently for the next 95-minutes. The performance wasn't epic, it wasn't rocking...it wasn't even rolling...but one thing I can say (and I hope I don't sound too melodramatic) is that Ryan Adams is reborn.
The 20-song performance was nothing short of astonishing. This was the first time I laid witness to the genius of Ryan Adams. I saw an artist in command of his music and stage presence. More importantly, my faith was renewed. The evening opened with the entire band on stools in a dimly lit stage that would rotate different shades of color (red & blue being the two prominent) throughout the entire night. While this may seem jarring, it wasn’t. I truly believe the intention of this tour is for Ryan to showcase his songs in a distinctive light. I believe his goal was for the show to showcase the songs and allow them to have their moment in the sun while “Ryan Adams” disappeared. Adams was seated to the far left and wore sunglasses during the entire performance. I only recognized him because he was the only performer without an instrument.

Only two songs were performed from ‘Heartbreaker’ and ‘Gold’ (“My Winding Wheel” and “Goodnight Hollywood Boulevard”) with the bulk of the performance focused on his last four albums (‘Cold Roses’, ‘Jacksonville City Nights’, ‘29’ and ‘Easy Tiger’). I’ll use the word polarizing again to define the trifecta releases from 2005. While most fans dream about one release a year from their favorite artists, Ryan Adams fans were left scratching their heads because we were blessed and cursed with three distinctive releases in just under eight-months. Each album is unique unto itself and I’m not sure if taking a sampling from the best of each release would have made a more concise record either. Nevertheless, with so much material released in such a short time, I do not feel that anyone digested it properly, myself included. Mixed reviews for the concert performances in support of these releases did not help either. Despite all of these factors, I always found myself drawn to ‘29’, a melancholy stripped affair of somber songs that was released in December of 2005. By the time of its release most people were burned out on new material that was largely uncommercial and twangy in flavor. Many fans never got around to getting the album (only 81,000 copies were sold) or in some cases, even listening to the album. Throughout 2006, I found myself returning to this silently sublime nugget. However, at the Biograph Theater, I finally HEARD the majority of this album for the first time. Five of the album’s nine songs were performed with vigor that made these songs come to life. Ryan appeared to be channeling from within when he sung each and every lyric. It was almost as these were long lost forgotten friends he was becoming reacquainted with. “Starlite Diner” and “Carolina Rain” gleamed like forgotten paintings where the imagery of his lyrics tied perfectly alongside the expressive vocal delivery. I could feel his emotions pour forth from the stage; this was something missing from previous performances I had seen. So many of these songs paint transcendent pictures and it took an intimate setting like this one for me to fully grasp these masterful songs. This is why the live performance is so integral to the lifespan of a song. One may overlook a song on an album, but if the performer stuns an audience with a riveting performance, we’ll make sure to go back, rediscover it and it may give the album a new life. Many of the songs on ‘29’ may repeat various love torn themes but the subtlety of the production and performances do not ever feel like you’re listening to the same song twice and proved my initial feelings correct; ‘29’ is a far superior album than anyone ever imagined, including myself.
Everything I longed and hoped Ryan could be in the flesh, he was on this evening. It was a very stirring and subdued experience without a single electric guitar in sight. What I realized is that many of his softer (and what I initially deemed throwaway tracks) found their spark in the dark. The songs actually reached out to me and I felt like I was watching a master painter work his magic in front of me. A pair of songs from ‘Cold Roses’ shimmered in the dimly lit theater “How Do You Keep Love Alive?” and “Let It Ride” brought about some of the more transcendent and uplifting moments of the evening. There was genuine excitement within the crowd when these songs were performed. The band may have been stripped and acoustic but you could feel the electricity on stage. Ryan’s vocals were ardent and on the spot.

The material of "Easy Tiger" sounded magnificent as well. I don’t feel ‘Easy Tiger’ is Ryan Adam’s masterpiece, but it’s a strong and consistent work. “Two” shows a maturity in his lyrics even if they don’t reach the poetic heights of his earlier work. It’s a restrained and somber track that shows the knowledge that comes with age (“It takes two when it used to take one”).

With everything changing how am I to know
How I'm going to hold on to you when I'm spinning out of control
You and I together but only one of us in love
And everybody knows
-“Everybody Knows”
Adams has a knack for channeling the emotions of mislaid souls who are seeking more from their life. At the Biograph, his performance was indomitable which allowed his songs to be properly presented and heard. “Everybody Knows” and “Halloween Head” showed the charismatic but reserved Adams really excise demons when the lyrics soared from his lungs. He even pulled out “Down in the Hole” an Alice in Chains cover that not so coincidentally was sung by someone who lost the battle of fighting with his demons, Layne Staley. As Ryan sang “Down In The Hole” his hands wavered in the air as if he was conducting an orchestra but I saw this as him taking control of his life and his career with a stirring and moving performance no one will soon forget. He exuded staggering confidence and artistry over the course of the show, proving he’s capable of greatness.

Seeing this show made me giddy at the thought of what an attentive Ryan could accomplish during a rip-roaring rock n’ roll show. Ryan Adams invigorated me with a soft, subtle and focused performance that proved redemption in rock n’ roll is not a myth but a reality. He disappeared into a murky existence a number of years ago and while he continued to be wildly productive he left many scratching their heads as to direction he was taking with his music and more importantly his life. The Ryan Adams I saw on stage was an artist I had never seen before, it’s almost as if the old Ryan died and the new one was resurrected and reborn. I hope this new one is here to stay for a long time.

Don't live your life in such a hurry, life goes by us so so fast
And the sun will come up again, and I will be here
-“Goodnight Rose”

Set list:
Please Do Not Let Me Go
Dear John
Nightbirds
Carolina Rain
How Do You Keep Love Alive?
Let It Ride
Elizabeth, You Were Born To Play That Part
The Sun Also Sets
Blue Hotel
Oh My God, Whatever, Etc.
Goodnight, Hollywood Blvd
My Winding Wheel
Games
Two
I Taught Myself How To Grow Old
Starlite Diner
Everybody Knows
Halloween Head
Encore:
Blue Sky Blues
Down In A Hole
Goodnight Rose

Two of a Kind: John Lennon meets Paul McCartney

Fifty-years ago today (July 6th, 1957) a meeting that changed the world took place. John Lennon's first band, The Quarrymen, were performing a show at St. Peter's Church festival. After the set, Ivan Vaughn brought the most popular pair of songwriters to ever grace this Earth together. Ivan was mutual friends to both John Lennon and Paul McCartney. McCartney was impressed with what he saw and afterwards, while the band was setting up for the evening performance, a young McCartney performed Eddie Cochran's "Twenty-Flight Rock" and Gene Vincent's "Be-Bop-A-Lula". A few weeks later McCartney was invited to join the band and the rest as you would say is history.

McCartney's great version of "Twenty-Flight Rock" can be found on his excellent Снова в СССР (English: Back in the USSR or The Russian Album) and "Be-Bop-A-Lula" can be found on his Unplugged album.

The always excellent Wikipedia reference link for the Quarrymen is here.

Live at Amoeba Records, LA

As a follow up to my McCartney review, here is a clip from the official McCartney youtube page. It does a rather nice job of summing up the experience in under four-minutes. Check it out!

Transformers: Truly More Than Meets The Eye

Aside from Brett Ratner, I do not think there is a more despised man in Hollywood other than Michael Bay. Bay has made a career of senseless action films that are short on plot and high on testosterone. While he’s nowhere near my list of favorite filmmakers, I do feel he have a niche talent; he can direct an action sequence better than anyone. As ridiculous as Pearl Harbor was in the script department (a Titanic wannabe), the actual action sequences left most people’s mouth’s agape. The way I look at it every artist- whether they are in film, music, and theater or merely be a painter- will one day create something they were born to bring to life. Transformers is Michael Bay’s Guernica.

I grew up on the Transformers television show, I saw the animated movie and even had some of the toys. Despite this, I wasn’t all that excited to see the film. Any doubts I had were hushed upon my initial viewing as this sprawling tour de force action film enamored me in every way possible. I think one of the things that have made some of Bay’s previous films absurd (Armageddon and Bad Boys) is that they took themselves too seriously and were preposterous in inappropriate parts. Repeat viewings of any of these movies made most of them seem more appropriate for drinking games (take a shot every time Ben Affleck cries) rather than fan boy discussion (Armageddon vs. Blade Runner; which is more influential?). Despite all of this, I’ve merely looked at Michael Bay films as good popcorn entertainment and occasionally he does knock one out of the park (The Rock). When he has tried to make a virtuous science fiction film (The Island) many laughed at it, in spite of it having more depth than anyone gave it credit for. Bay carefully manages to make the dialogue as entertaining as the action in Transformers which is something his previous films were lacking. There are a number of fun cameos in the film and each character has at least one classic line that will make you beam with glee. Transformers isn’t a serious or anywhere near a great film but the script and the action sequences are filled with exuberance and this is why it’s Michael Bay’s masterpiece.

Michael Bay was born to bring Transformers to the big screen the same way Peter Jackson was born to bring Lord of the Rings to life. Transformers has a dizzying amount of action sequences but surprisingly considering the background of these characters (they are created and based around a series of toys) this film is much more than a lavish action picture you will forget about by September. Bay’s action sequences are electrifying, but the story is also riotously entertaining, with some of the best over-the-top acting I have seen in some time. The Transformers themselves kick some pretty good ass up on the silver screen. Transformers is the ultimate popcorn flick for 2007. Of all of the summer actions films (many of them sequels) this is the first one to hit it out of the park. So if there’s any question as to what to see in the coming weeks at the multiplex, all I can say is that there is truly more than meets the eyes to Transformers.

The Truth About Overpriced Tickets on antiMusic

The great folks over at antiMusic are giving me my own column for my rants on the industry; "The Biz with Anthony Kuzminski".

The first article is up and running here. Also, in terms of music news, there is no better place on the net to find such a wide and varied selection of music news. If you haven't checked them out yet, go here now and start catching up and what's new in the music world.

Bon Jovi Newark Ticket Update

Most Bon Jovi fans were disillusioned to find that the band would be charging upwards of $375 for their upcoming ten-night stand in Newark, NJ this coming fall. Fans everywhere felt betrayed but some were still loyal enough to buy these ridiculously priced tickets. In the long run, this Newark stand of shows will put such a base taste in fans mouths that they may never see another Bon Jovi show ever again.

In fact, it looks like many people are already feeling this way. Go to the Ticketmaster page which can be found here. If you attempt to bring up the maximum tickets (8) for each of the ten shows, you will pull up eight seats together. How bad has a show sold that a week after they have gone on-sale that you can still pull up 8 tickets together? By the way, the final cost of tickets after service fee's will be around $850.00 for all 8 tickets.

If you also look, the prices on these seats have dropped significantly since the pre-sale. Why? It's simple, tickets are not selling and they need to fill these seats. AEG is looking at losing a ton of money on these shows and I can't understand for the life of me why they chose this pricing structure. I know many Bon Jovi fans who have gone to fewer and fewer shows over the last few years because of rising prices and the band's lack of fan friendliness. These people no longer feel like Bon Jovi is playing for them, they feel like second class citizens. Once you start losing your fan base, you are in trouble. Not everything the band releases will be wildly successful and as a result, when the band needs these die-hard fans, they won't be found because they will be burned out from previously bad experiences like this one. I don't know about you but the taste in my mouth is still sour and no bad medicine can cure it until the band comes to their senses and begins to perform and create music because they love it first and not for the almighty dollar.