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Thursday, July 31, 2008

The Screen Door Goes To The Movies: 'The X-Files: I Want To Believe' Film Review

The X-Files: I Want To Believe
Movie Review
A loss of faith can alter your life course in ways one never deemed imaginable. The creed that defined your life up to that point is revealed to be nothing more than an illusion. It’s as if a wizard appears from beneath a curtain to tell you everything you know and love is all a lie. This is why it takes people years to recover from unexpected deaths of loved ones and from marriages that dissolve. Life shouldn’t be challenging but it is at every turn. When the dust settles and you have a few fleeting moments to digest the unexpected life turn, you sit back and say “what now?”. This is the exact sentiment X-Files fans had around the 8th season of the show. There were cracks in the surface prior to this point in seasons after the first film in 1998, but I’m a believer that the overall majority of those shows were quite good contrary to beliefs at the time. I had only seen a handful of episodes prior to the first feature film, Fight The Future, but I became addicted after seeing it. Now this was in a day and age before full seasons appeared on DVD, in fact we owe the creators of The X-Files credit for beginning the complete TV season craze back in 1999. But after that, I’d tape the episodes in syndication and eventually bought all of the DVD seasons. I view the post film years in a different light than others. While I do admit that there was some questionable episodes in latter seasons (anyone remember that ridiculous dog episode?), I still feel they’re better than many give it credit for. The addition of two additional FBI agents wasn’t a bad thing, but it pushed the cult show in a direction that the rabid fan base did not want it to go in. The X-Files isn’t as interchangeable as Law & Order even if the shows were well written and executed. However, because of those final two seasons, I believe that the creators of this show lost the grasp they had on their audience which is evidenced by the opening weekend results of the latest feature film, The X-Files: I Want To Believe. Part of it can be blamed as poor timing as I don’t think anyone had expected The Dark Knight to become the behemoth it has become. All that being said, it’s an extreme pleasure to see Mulder and Scully back on the big screen, alas, I wish they had come up with a better story line for them to sink their teeth into.
When Fight the Future appeared in theaters in 1998, the show was at its peak and the film grossed a very modest $80 million. This number would have been even more impressive if 20th Century Fox hadn’t spent $60 million in promoting the film (the same dollar amount as the production budget). The film didn’t play well to those who weren’t regular viewers (although I did get sucked in) but even worse, the film alienated those who felt there would be major mythology reveals; which didn’t occur until later seasons. In retrospect, they should have done a standalone monster movie back then and a film more geared to the cult viewers this time. This brings us to The X-Files: I Want To Believe. For me this was one of the most anticipated films of the summer and with the less then stellar opening weekend I’m afraid we’ll never see these characters ever again, which is a shame because from the moment they appear on screen, we’re reminded why we fell in love with them and their quirks over the course of nine television seasons. David Duchovny and Gillian Anderson step right back into the shoes of their roles with ease yet their characters are lacking a belief system that drove them investigating those paranormal FBI files. There’s been a crisis of faith in both of them and they are living a domesticated lifestyle, but is this what they want? Are they being true to their inner selves?
SPOILER WARNING
I’m giving you a spoiler warning now and will let you know when the spoilers are over, so if you don’t want to know plot points, skip down to where you see CAPS notifying you they are over.

MINOR SPOILERS BEGIN HERE

The film finds Mulder and Scully on the fringe of society a number of years later almost in hiding. Scully is a working doctor at a Catholic hospital and Mulder is in hiding. Just like Michael Corleone, they get pulled back into the world of the FBI when the agency has nowhere else to turn. An agent has gone missing and the FBI is taking leads from a priest with a checkered past played brilliantly by Billy Connolly. Connolly’s performance is stirring, disturbing and downright chilling like many of the best guest spots on the series. The interrogation and good cop/bad cop routine by Mulder and Scully has never been better, however, the material with which they were given isn’t A-grade. Now, it is good, but this would have been a B or B- storyline within the context of the show. Now the issue one runs into is that it’s been six years since we’ve seen these characters and there had to be some kind of explanation as to where they are and what they have been doing. The film attempts to straddle Mulder and Scully’s crisis of faith against a story whose backdrop, while terrifying, doesn’t quite meld. This is the crux of the issue with the film. While I understand Chris Carter’s reasoning for wanting a stand alone movie, the time and place for it was a decade back. You have an incredible mythology at hand and they should have embraced it to lure that cult fan base back.

END OF SPOILERS

The supporting players, specifically Amanda Peet and Xzibit offer nothing to chew on and in Xzibit’s case, his acting is so amateurish and over the top it almost makes you wish the cigarette smoking man would appear just to put his cigarette out on him. Sadly there is only one…yes one…character from the television show that makes an appearance. For me, there were not enough inside jokes or references to the TV show to evoke top tier dramatics. Despite all of this, I did find the film engaging, I just wish it was something more. However, there is a scene after the credits roll that provides a potential major reveal, so make sure you stay through the credits to catch the scenes.

Ultimately what makes The X-Files: I Want To Believe compelling is Mulder and Scully; the case they are working on is irrelevant in the larger scope of things. Watching these two people be re-born and reexamine their faith is as staggering as a resurrection. Their interaction is priceless and revealing and even in the scenes with no dialogue, their expressions speak volumes showcasing that Anderson and Duchovny are actors whose brilliance is in their subtleness they bring to each role they embrace, something that should be heralded but more often than not, isn't. The film is essential viewing for even casual fans of the show because of the two gripping lead characters whom we would follow anywhere. We see ourselves in them even if we’re not solving murders and chasing UFO’s because the way they question their lives, what they know and what they have been told isn’t that different from us and ultimately, The X-Files: I Want To Believe is satisfying because we too want to believe.

Film Grade: B-

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.





Wednesday, July 30, 2008

Monday, July 28, 2008

George Michael: Flash, Faith and Freedom (Live In Chicago Review-7/9/08)

George Michael: Flash, Faith and Freedom
United Center – Chicago, IL
July, 9 2008
By Anthony Kuzminski
Two-plus hours into George Michael’s first concert in Chicago in 17-years, the crowd is propelling their arms into the air chanting “Freedom…freedom…freedom!” in a moment so universal you embrace the collision of populism and art as they converge on an immeasurable level, reminding all in attendance there’s something colossal that can be derived from unanimous appeal that you can’t find in a club or by a fringe act. For over two-hours George Michael stylishly serenaded the arena with some of the most unforgettable songs of the last quarter century to a crowd salivating to be taken back to a time where pop stars with substance ruled the day. Now here’s where my job gets tricky. George Michael is more than a pop artist from the 1980’s, he’s much better than that, however, his star dimmed in America after 1992 never reclaiming its 80’s glory, yet in every other country in the free world, he’s remained one of its most popular music acts. Credit must be given to Michael because he embraced every era of his career throughout his Chicago concert, including Wham! yet I’d be lying to you if I didn’t walk away disappointed. The staging was awe-inspiring, as was his A-grade fourteen member band, but the truth is that the excessiveness at times overshadowed the music. Pair this together with some very odd pacing it was a semi-polarizing evening. The show was eclectic and inspiring, yet it drowned in an overabundance of style while substance took a back seat. I found this frustrating because it essentially failed to remind many in the crowd just how immeasurable and illustrious George Michael truly is. He’s not a nostalgia act, but an ever relevant artist whose music should still be taken seriously.

To set the record straight, greatness did occur at the United Center for Michael’s first US tour in 17-years, alas, I also saw what has made him all but disappear from the public consciousness here in the US. One thing the show did was allow the US audience to digest Michael’s output from the last decade-plus proving that we were wrong to dismiss some of it and equally right for dismissing some of it. One look at the stage and you couldn’t help but feel that you were in for something otherworldly. There were three screens with the middle one appearing like a cascade that draped down and was part of the stage (Paul McCartney utilized a similar stage in 2005). Opening with the alluring “Waiting (Reprise)”, from his illustrious Listen Without Prejudice Volume 1 (1990) album, the screen split summoning Michael to the stage and a bevy of applause. He basked in the light before diving into a hesitant version of “Fastlove” which officially started the festivities. Sadly, the sugary song appeared to be unknown to most of the crowd as Michael stretched his microphone out to the crowd a few times for participation and it fell on silence. While “Fastlove” dragged, it segued into a largely unrecognizable “I’m Your Man ‘96”. Released on The Best of Wham!, I found the performance to be a brave departure and a Trent Reznor-like reworking of the tune, and just as some of the crowd was ready to check out, Michael uttered “I’m such a tease” before a proper rendition was delivered finding an audience who embraced it with near hysteria. Perfectly constructed pop tunes that you can’t erase from your head even if you tried was Wham’s specialty and while Michael moved beyond the pop sensation, hearing “I’m Your Man” done in its original incarnation was splendid and surreal as the audience enveloped the stage with raucous applause.

“Father Figure” found six backing vocalists joining Michael, however, after the resounding party-like atmosphere he brought out on “I’m Your Man”, the crowd slumped back into their seats. Granted, “Father Figure” was a number-one song for four weeks back in 1988, alas, if you have people on their feet, keep them there and throughout the evening, I found the show to suffer from pacing issues with ballads and dance numbers interchanged too easily instead of strung together. Why wasn’t “Everything She Wants” partnered with “I’m Your Man” and “Father Figure” and “One More Try” done back to back? With that being said, the first part of the show did feature some truly magnanimous trips down memory lane.

“Hard Day” found the crowd back on their feet to the seismic styling’s and mesmerizing back beats. Even though “Hard Day” was not a single (from Faith), it was released in a time where people relished the entire album and didn’t just know the singles. The enduring pop hooks of “Everything She Wants” found the crowd singing along to every word. Say what you want about Wham!, but the have credibility because of what Michael went on and did with his career. Plus, no matter how much one cringes at a perfect pop tune, they are ingrained in the DNA of anyone born between 1970 and 1982. “One More Try” was soulful and Michael’s vocal stylings were spot on. This was one of those songs that wasn’t just enormous, but was truly worthy of its success as well. Sam Cooke and Otis Redding could have nailed this one if they had lived long enough; the song has an undercurrent of soul running through it. On the side screens there were lots of images and collages of colors that in all honesty distracted from the songs throughout the evening. They would have been put to better use showcasing Michael and his band so those in the nosebleeds didn’t feel like they were a mile from the stage. However, the restrained “First Time I Ever Saw Your Face” featured nothing more than Michael’s voice and a piano showcasing what Michael does best; exuding concentrated emotions through the instrument of his voice. The end of the main set found the show finding its groove with “An Easier Affair”, “Too Funky” and “Star People” all of which were cheeky, feverish and something from a Vegas-style disco with the glitz and glamour of the stage oozing with spectacle.
After the twenty-minute intermission (which included a video of “John and Elvis Are Dead” from his 2004 album Patience), arguably the most infamous organ intro from the last quarter of a century was welcomed with an ecstatic almost spiritual reaction. What George Michael had a grasp on for about a half dozen years was an intensity few other artists of their time can touch. Like Prince and Michael Jackson, his music was something larger than entertainment. It maintained a more profound spiritual element where a potent mix of pop culture and spirituality clashed. Am I giving too much weight to a mere human and the music they create? Maybe, but I distinctively remember that the stakes were higher back then. People believed that music could change the world. “Faith” exploded with exuberance in a way none of the songs in the first half of the show could touch. This simple three-minute song generated a groundswell of excitement that put the show into focus that he would largely keep for the remainder of the show.

The second half of the show featured less-known songs to the US audience, but ultimately proved to be intoxicating due to the pacing with Michael only taking a quick breather for a cover of “Roxanne” (accentuated by a film of women from the red light district in Amsterdam) and the throw back “Kissing A Fool”, reminding us that beneath the pop god exterior is an artist cut from the same cloth as Sinatra and Cole Porter. While listening to “Fool” I thought about what a daring choice this song was for a single back in late 1988. It didn’t fit into any radio format, but because he had five number ones and another number-two single within eighteen months, it gave him the power to choose it as a single. One listen to this song and there’s no denying there is more to meet the eye than George Michael.

The innocuous beat of “Spinning the Wheel” was sexy as it was swaying. Most surprisingly to me was how responsive the crowd was with their arms swinging back and forth. While the first part of the show lacked focus, the second set was front and back loaded with energetic tracks that willed the crowd to life and kept them on their feet. “Flawless” was introduced as “the gayest song I ever wrote” yet it turned the arena into a fledged dance party. “Outside” is a torn page from the disco era yet and pushed the all out celebration into another spectrum as there was not s single soul in their seat. The sultry waiting room sound of “Careless Whisper” proved to be too good to dismiss while “A Different Corner” completely seduced the audience into a mesmerizing trance. This is a single I had largely forgotten about yet the poignant performance of this ballad brought immediacy to the song not on the studio cut.
Despite the exhilarating second half, why did I find the show a smidgen underwhelming? While I appreciated the theatrical aspects of it all, he would have done his music a favor by stripping them back, cutting the cost of the ticket and getting more people to attend the show. Plus, maybe I’m being a tad cynical, but a large number of what I would deem “essential” songs were not performed including six number-one hits (“Wake Me Up Before You Go-Go”, “Freedom” (Wham!), “Monkey”, “I Knew You Were Waiting”, “Don’t Let The Sun Go Down On Me” and “Praying For Time”). Plus he skipped “Jesus To Child” and “I Want Your Sex” (which peaked at number-two). Now, I can understand the covers and a few of the Wham tracks, but skipping “Praying For Time”, that’s beyond distressing especially since Michael hasn’t had a full fledged hit in the US since 1992. Since then, while I still enjoy his music, I don’t feel it’s quite as potent as the Faith and Listen Without Prejudice eras, which were profound and poetic. He created music that was immense, stadium ready and larger than life. He may have been a pop star but his music was more potent than pop…it was in the realm of greatness along the lines of Michael Jackson’s Thriller and Prince’s Purple Rain. In 1988, not even Michael Jackson was bigger. When Faith won the Grammy for Album of the Year, it was one of those rare moments where I felt they had rightly awarded the statue correctly. It was a masterpiece and still holds up today. Michael succeeded in shedding the pop idol image in 1990; however, his output for the better part of a decade has been questionable. Now, this isn’t to say that his Older and Patience albums aren’t good, they are. It’s the fact that on both of these albums that you sense that Michael is chasing trends instead of creating them. This is a man who on the American charts in a little over a five-year period had ten number-one hits. Ten! That’s no simple feat; this is like scoring fifty goals in the 1950’s in the NHL when they meant something. It feels as if he’s trying too hard than letting the music flow through his veins naturally. The indelible pop hooks and stadium-ready chorus’ are largely missing in his work for material more suited for a disco than an arena or stadium. What saddens me is that Michael is so much more, a top-tier artist with incalculable talent. To see him settle into complacency creating good music isn’t a bad thing, but it’s a tad disappointing as I still believe there’s untapped greatness inside of him.

The show closed with “Freedom 90” and even though this song failed to reach the top of the charts, I believe it stands side by side with “Faith” as his definitive anthem. Written back in 1990 as a way for Michael to make a statement about his art and a relinquishing of the chains he carried from his success as a pop star, to this very day it’s a tour de force pop anthem about the importance of artistry. There are those of you who will laugh at this, because while George Michael is an artist, he is one who concocted and embraced his sex like idol status, however, what many forget is how quickly he tore that image down. The burning of the Faith jacket was a more staggering display of image shredding than Springsteen showing up on the cover of Tunnel of Love a few years earlier with nary a sight of denim, headbands or American flags. While Michael serenaded the Chicago faithful for over two-hours and entertained, ultimately, I feel his songs are good enough to shine on a bare and spare concert stage without collages of colors and excess. The style blinded the substance allowing many in attendance to believe that it was the clothes that made the man instead of the music.

Anthony Kuzminski is a Chicago based writer for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.

United Center, 07/09/2008 Set list:
First Half
Waiting (Reprise)
Fast Love/I’m Your Man
Father Figure
Hard Day
Everything She Wants
One More Try
Easier Affair
Too Funky
Star People

Intermission
John & Elvis video

Second Half
Faith
Spinning The Wheel
Feeling Good
Roxanne
Kissing A Fool
Amazing
Flawless
Outside
Different Corner
Carless Whisper
Freedom 90
Freedom Reprise

Sunday, July 27, 2008

Best Laid Plans...

You ever have one of those times in your life where you make plans and well...they don't come to fruition? That explains the last ten days of my life. After catching a midnight screening of The Dark Knight on Thursday evening 7/17 (early Friday 7/18), I came home, slept and went to work. Coming home, I had to great duties of assisting my wife baking goods for a shower she was planning on Saturday. I had a few days off of work and aside from overtime at work that Saturday, the last seven days have been a whirlwind. I had two great mates come in from Australia for four days, followed by four days of visits from the in-laws, three trips to Ikea, my father's B-day and a partridge in a pear tree...well, you get the point. I've neglected the blog, but have a huge backlog of items to get up this week.

Look for the updates daily over the next week and thanks for your patience.

Friday, July 18, 2008

Film Review: ‘The Dark Knight’-Dark, Delicious and Devious

The Dark Knight-Dark, Delicious and Devious
By Anthony Kuzminski
Chris Nolan’s The Dark Knight, the second of his Batman films, is a thing of dark, twisted and conflicted beauty. Never before have the good guys been so multi-dimensional and emotionally layered and instead of giving back stories for the villains, sometimes evil is just that…evil and is left better unexplained. Chris Nolan and his team are hell bent on ensuring that this superhero franchise is done right. There’s immense hype behind The Dark Knight and I’m here to tell you, that it just won’t live up to your expectations, but may surpass them with ease. The look of the film is epic, drowning in its film noir influence of the comics, action sequences are staggering but don’t take away from the most important elements; the characters. The film’s story arc is unparalleled in realm of comic heroes and instead of being trapped by the hero or an ever so fluorescent villain, Nolan notably uses the characters merely as vessels to tell his epic story which is so expansive, there is no telling how many films they could do. The remainder of the story is fleshed out with key characters, which in other films that would be minor, but here they’re integral.

Beginning approximately one-year after Batman Begins ends, the film wastes no time in setting up a provocative opening that isn’t so much about flash as it is about serving a larger purpose. The story is the knight in shining armor as the script and character development came first. Batman finds himself living alone in a high rise in Gotham (depicted immensely by the City of Chicago, which has never looked better on celluloid) and finding himself encountering daily entanglements with the mob, crooked cops and loose cannon, the Joker. While he yearns for a time when the city will not need him, he’s continually pulled back into action as copycats roam the streets and when the Joker appears, who most believe is a one man operation and ultimately dismissible, the story and character development is taken to another level.
It’s impossible to discuss The Dark Knight and not talk about Heath Ledger. If he had lived, I do believe there would be Oscar buzz surrounding his performance as its entirely original and even with his face never more prevalent in our minds than it is right now, I kept finding myself having to remind my brain that it was Ledger behind the make-up, that is how amazingly he disappears into the character. He played the Joker in a demented and maniacal manner that is slightly humorous while eliciting pure horror simultaneously; a rare feat. It’s eerie, spooky and downright scary at how good he is. He will forever be remembered for bringing one of pop culture’s great villains to life in a light no one has ever seen before. I only wish he could have lived long enough to hear this praise.
However, if you think The Dark Knight is purely the Joker’s story, you would be wrong and this is the brilliance of the script by Chris Nolan and his brother Jonathan; it’s arc is so vast and wide that I sit here typing this and can not wait for the next installment to appear. Special credit needs to be given to Jonathan Nolan whose prose is nothing short of elegiac. I’m thrilled to say the same team that delivered a knock-out on 2006’s The Prestige has once again delivered in rendering a script so perfect I shudder at the mismanagement I’ve seen in other superhero films. I see every superhero action movie that hits the multiplex and I enjoy the hell out of all of them. Good ones, bad ones, misunderstood ones, camp ones; I believe there is a grand entertainment value to be found in each one, however The Dark Knight is something otherworldly as it is a film that is blended with style, substance, sting and sorrow. This isn’t just a film for comic lovers, but everyone who enjoys great cinema. No character is too insignificant to not be taken seriously. While supporting characters development often suffers as a result of the money involved in a production of this size, every character on the poster and even those whose names you don’t know are substantial to the entire story. Michael Caine returns as Alfred, and never has dapper been so clam and cool. Maggie Gyllenhaal does her best with as the feisty Rachel Dawes while Morgan Freeman’s Lucius Fox doesn’t have as much to do in this film, but is nonetheless essential and every bit fantastic when he is on screen. Gary Oldman’s performance is elliptical as Gordon as his character is given a story arc that could be a movie in itself. Then there’s Harvey Dent played by ever reliable and underrated Aaron Eckhart in an intricately crafted role that is the flip side to the Joker; defiant, righteous and ultimately devastating. His performance is understated and played with such subtlety that few will truly recognize that immensity of the role. Think Robert Duvall in The Godfather, the role pales in comparison to others on paper, but Eckhart manages to make us root and despise him all the same, no easy feat especially in a story as large as this one. Eckhart has been one of the best actors in the business since his debut in In the Company of Men back in 1997 and hopefully the whole world will now realize what a versatile actor he truly is.

The Dark Knight is more than a film based on comic book characters, it’s a film where emotions run deep in the characters who are surrounded in a corrupt world haunted by pure evil. It’s one of the most developed and rich scripts about human nature I’ve seen in years and the comparisons being thrown at it comparing it to The Godfather II, and The Empire Strikes Back are worthy, as it is every bit as good. I can’t wait to see it again.

Anthony Kuzminski is a Chicago based writer for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.





Thursday, July 17, 2008

Billy Joel Sets Off Fireworks at Shea Stadium on Night #1 7/16/08 (Setlist Included)


I'll be damned, every time I want to write off Billy Joel, he sneaks up from behind me and blows me away. I think Billy Joel is someone a lot of people discover whenthey're younger and they eventually grow out of his music. But in reality, did we grow out of it or are we merely disinterested because he hasn't released any new material in 15 years? It's easy to write him off, but he continually surprises me with his concern for the common man by pricing tickets accordingly and giving shows like the one he gave at Shea last night. I've missed the last few shows he has done in Chicago and after I saw the setlist, I didn't feel like I missed anything, but the show (with setlist below) looked amazing. I can only image what it was like in person. It looks like 31 proper songs...enough to impress even the most hard nosed cynic.
{Photo Credit}

Setlist: Star Spangled Banner, Miami 2017, Prelude/AYM, My Life, Everybody Loves You Now, The Entertainer, Zanzibar, Allentown, Ballad of Billy the Kid, NYSOM (w/ Tony Bennett), Big Man on Mulberry Street, Root Beer Rag, Movin Out, Goodnight Saigon, Don’t Ask Me Why, This is the Time (w/ John Mayer), Keeping the Faith,
Downeaster “Alexa”, Innocent Man (w/ “Stand By Me” leading into), Boys of Summer (w/ Don Henley), She’s Always a Woman, Captain Jack, Lullabye, River of Dreams (w/ “Hard Days Night”), Pink Houses (w/ John Mellencamp), WDSTF, Still Rock and Roll, You May Be Right, Please Please Me (Beatles)

Encore: Scenes, Only the Good Die Young, She Loves You (Beatles), Take Me Out To The Ballgame > Piano Man, Souvenir

Keith Urban Soldier Field 6/21/08 Review on antiMusic

My latest review is up and running now on antiMusic, I'll get it up here in a few days.

Keith Urban's set at Soldier Field last month was smoldering and deserved its own review, the link is here.

Photo courtesy of Cathy Piper.

Tuesday, July 15, 2008

Bon Jovi-Madison Square Garden Final Set List 7/15/08

My good mate Adam just called me and is on cloud nine, he saw a slew of goodies over the two nights at Madison Square Garden. No major surprises or tour debuts on the final night, but the band did play 25 songs and arguably the best static setlist of the tour. It was high on hits and potent delivery. The full setlist will appear below.


1. Glad All Over
2. Lost Highway
3. Born to Be My Baby
4. You Give Love a Bad Name
5. Summertime
6. Raise Your Hands
7. I Love This Town
8. I’ll Sleep When I’m Dead
9. Living in Sin / Chapel of Love
10. Whole Lot of Leavin’
11. In These Arms
12. Any Other Day
13. We Got It Going On
14. It’s My Life
15. Keep the Faith
16. I’ll Be There For You (RS)
17. Make a Memory
18. Blood on Blood
19. Someday I’ll Be Saturday Night
20. Have a Nice Day
21. Who Says You Can’t Go Home
22. Bad Medicine / Shout

Encore:
23. Runaway [replaced Always on setlist]
24. Wanted Dead or Alive
25. Livin’ on a Prayer

Kenny Chesney: Poets, Pirates, Big Stars and Guitars (Keith Urban, Leann Rimes, Gary Allen, Luke Bryan)

Poets and Pirates Tour Review
June 21, 2008

Soldier Field, IL

By Anthony Kuzminski

At 9:15 PM on the Summer solstice in Chicago’s Soldier Field, the lights dimmed and a lioness roar was unleashed from the 55,000 in attendance. Those who believe that a gig has to be intimate to be great have never experienced the adrenaline rush a stadium crowd can bring just like this very moment. As the stage protracted (a solid twenty rows into the crowd) Kenny Chesney rose up from beneath the stage singing “Live Those Songs”, a wonderfully unblinking song drenched in nostalgia that didn’t just announce his presence, but wrapped the crowd around his finger where they stayed for the entire 105-minute performance. The 23-song set was heavy on wistfulness and honky-tonk hymns which provided a convincing and perfect summer soundtrack to the diverse group of fans in attendance. Confession time; I’m not a Kenny Chesney fan. Hell, I couldn’t have named you five of his songs prior to the show, I walked into it blindly. These assignments are my scariest, but also the most revealing as well. I may not have known Chesney or his music, but after the tremendous set heavy on arm waving anthems, I felt like I had just shot pool, shared a few beers and had a few discussions about life with Kenny Chesney. There is no shtick to his performance, what you see is what you get. This is precisely why he can fill stadiums with ease while more legendary rock acts struggle to fill arenas a third of the size. Stadium events are no big deal over in Europe, but they’re practically non-existent here in the US. If you’re lucky, an artist will occasionally play certain markets in stadiums (Bon Jovi, Bruce Springsteen, The Rolling Stones, Billy Joel, Jimmy Buffet, Madonna), but none of them can launch a coast to coast stadium tour with prices topping out at $100 except Chesney.
At the end of the year, PR companies flood the market with end of the year lists encompassing how much money their clients made the previous year. The truth is that there is a lot of deception and finagling of figures in these releases, except Chesney’s. He may never be the top grossing tour, but he’s been the most attended tour every year for the last four or five summers with yearly attendance topping one-million attendees. This is a far sexier and more important statistic that total gross. It should be noted that I don’t believe his tickets are cheap…not by a long shot. Priced reasonably between $50 and $100, it’s not the fact that he can fill stadiums that’s impressive, it’s the fact he can do it every year that leaves people scratching their heads. Every musician is a sales person and how much business they drum up depends on how well they sell their shtick. Where most musicians fail is that when they hit that stage, the fan does not relate to them. They may love and adore them, but they don’t feel like they can relate to them. Chesney hit the stage in a hat, jeans and a t-shirt from a local bar (Murphy’s). At first I believed that Chesney had hijacked his act from the clutches of rock n’ roll while cross selling a subdued Jimmy Buffet lifestyle; now I just believe he’s a far superior salesman than any other rock star on the planet by merely being himself. People can not relate to the larger than life rock stars that buy multiple mansions or hip hop artists who have jewelry around their neck that costs more than most people’s homes. At some point, they read about these purchases and question why they are handing over their hard earned money over to people who don’t need it. However, they find Chesney and his fellow pirates and poets completely and utterly authentic. Chesney and his eight-hour music festival (12 hours if you consider the radio sponsored side stages which started at 11am) is the most sincere, captivating and unaffecting music festival out there today. I’ve really started to discover that it’s not elitist critics who make the next generation’s stars but your average person who decides with their pocket book.


Kicking off the festivities at 4pm was Luke Bryan who performed a laconic set that showcased a rising talent who could be one of the co-headliners within a few years. Performances of “All My Friends Say” and “We Rode In Trucks” delighted those in their seats. Make no mistake, get there early to catch Bryan as he’s not a filler act. Gary Allen prowled the stadium stage like a veteran stadium performer he is with performances of “Right Where I Need To Be” and “Watching Airplanes”. With a decade worth of albums behind him his all too limited time on stage was executed to perfection. His moves were impeccable and his rock n’ roll swagger is beyond impressive. Allen is an artist who has potential crossover appeal as he doesn’t just command attention but he engages the audience for not just adoration but to compliment his songs and his live set. He shows no shortage of confidence and talent and is someone to see on his own headlining jaunt. Amidst all of this male testosterone there was the girl who crashed the all-boy fraternity, Leann Rimes. Following Allen’s eye-winking intense set was no easy feat, but she managed to exceed expectations in a simplified style. Appearing on stage barefoot, in short-shorts and a tank top…she roamed the entire stage with easiness. She covered Janis Joplin (“Summertime”), dug back to her teen years (“Blue”) and showed everyone that she’s come a long way since then on “Nothin’ Better To Do”, “How Do I Live”, and “Good Friend and a Glass of Wine” -all of which were performed with a elevated confidence and maturity. She donned a #31 Chicago Bears jersey (worn by Nathan Vasher) for the last few tunes including a spirited and rollicking cover of Cheap Trick’s “I Want You To Want Me”. No one could deny her talent when she first emerged and I’m pleased to say she has matured into an artist with more than a past but a wide open future as well. Each of these acts maintained their confidence, but more importantly, none of them ever appeared to come off as more important than their audience. There was a lot of engagement between these acts and the audience than there ever should be in an arena let alone a stadium. Most rock concerts I see the first row is a solid fifteen-feet from the stage and B-stages at a solid eight to ten feet from the artist. On the Poets and Pirates tour, the extended stage and fan pits on either side provided up close interaction and a chance for those fortunate to be close enough to feel as if they were part of the show as well.


Keith Urban’s 75-minute set was nothing short of a miracle and showcased Urban as one of the most compelling and weighty live performers on the planet. A separate review will run in a few days showcasing Urban’s set.

Kenny Chesney’s set was big on monster hits and adrenaline barely taking a breather for the first half dozen numbers. “Summertime” welcomed in the summer while “Beer In Mexico” pondered the paths we take in life while “Wild Ride” with its gruff riff was delivered with jagged guitars further breaking down the walls between country music and rock n’ roll. “Keg in the Closet”, “Young” and “I Go Wild” are soaked in nostalgia while his 13-piece band performed each number as if it was a new creation and not a ready made hit. There are those who will ultimately stick their noses up at the clichéd lyrics and not look deeper and ultimately it’s their lost. People are always seeking salvation from anything they can wrap themselves around. These songs are a lifeline to most of the 55,000 who attended this show and while other acts may be more revered and get 5-star reviews in Rolling Stone, but who could deny the power, presence and liveliness of these songs amidst the fans who were drunk on the emotionally charged set.

“No Shoes, No Shirt, No Problems” sells a lifestyle and takes you away from a mundane existence to a place where…well there are no problems, the ultimate prescription of music. “When The Sun Goes Down” is about escapism and it was luminous amidst the Chicago skyline. In the course of nearly two-hours I witnessed such a variety of music and lifestyle anthems that it’s no wonder people seek him out each summer. Taking a page from Jimmy Buffet (who also gets a shout out in “How Forever Feels”), Chesney breaks these feelings of escapism down to their simplest core and this is the brilliance of his music. Anyone can listen to his music and immediately be swept away to an alternative universe, a tough feat in this day and age. Most people listen to music to be taken away from the every day complications and I was right there with the entire stadium as I felt the Chicago breeze brush up against me, I did feel like I was in an alternative universe and at the end of the day, this is what people seek from their music; solace and support.

“Living In Fast Forward” could have come from a vintage 70’s rock band with its sledgehammer opening riff while “Big Star” and its sizzling chorus was infectious and was impossible to not sing along to while “Old Blue Chair” proved to be superior to its studio counterpart. “Never Wanted Nothing More” from his most recent album Just Who I Am: Poets and Pirates is an inspired song that doesn’t look forward or back but is about living in the here and now. Even artists wax poetically of better times gone by and about struggles they hope to overcome and the difference between Chesney and other acts is I believe his sincerity. You could see the emotion boiling over in the severe performance. “Never Wanted Nothing More” is a masterful track if for no other reason than the eternal optimism that rings true in its lyrics and the crowd bought it hook, line and sinker.

“Shiftwork”, “When The Sun Goes Down” and “Back Where I Come From”, continued the avalanche of intensity. On the latter, Chesney even managed to unite the North and South sides of Chicago when he brought out Nick Swisher of the White Sox and Jim Edmonds of the Cubs. If all of this was not enough, Keith Urban joined Chesney for the Eagles “Take It To The Limit” an aural delicacy so inviting it almost makes you forget the original. I sat there right in the middle of it all in awe at the commanding presence Chesney and his band had over the audience. This isn’t a fad but something far more real. How else could one pinpoint Chesney’s ability to sell $50-$100 tickets in stadiums every year? In my opinion, a good song is a good song. It doesn’t matter who wrote it or in what context….as Bob Dylan once said "How does it FEEL?” Love or hate country music, it can not be denied. People who are down and out feel connected to these artists and the truth is that they feel themselves inside of these songs the same way the solemn and lonely did back in the 1970’s when they discovered Bruce Springsteen. The truth is that there isn’t much difference between Chesney and Springsteen. Both meld the best of their influences in a unique and distinctive way to make their live performances indefatigable, indescribable and completely draining.

I learned one definitive thing this weekend and it is why Kenny Chesney and his country music festival every year can fill stadiums at $50-$100; it’s because country music acts feel privileged to be performing for their fans, whereas rock stars feel that their fans should be privileged to be in their presence. This is precisely why Kenny Chesney will fill stadiums every summer and others will watch from the sidelines in envy.
Anthony Kuzminski is a Chicago based writer for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.

Monday, July 14, 2008

Bon Jovi-Madison Square Garden 7/14/08 Report and Set List

Just got off the phone with a friend who gave a very enthusiastic report of Bon Jovi's first Madison Square Garden show. He mentioned the highlights as being "Any Other Day" and "Dry County".

The full setlist is below...
Bon Jovi-Madison Square Garden 7/14/08 Report and Set List
Night #1
1. Lost Highway
2. Born To Be My Baby
3. Bad Name
4. Captain Crash
5. Runaway
6. Sleep/Twist & Shout/Sleep
7. Blaze Of Glory
8. Whole Lot Of Leavin'
9. Always
10. Any Other Day
11. We Got It Going On
12. It's My Life
13. Keep The Faith
14. I'll Be There For You - Richie
15. Make A Memory
16. Bed Of Roses
17. Dry County
18. Have A Nice Day
19. Who Says You Can't Go Home
20. Bad Medicine/Shout/Bad Medicine

ENCORE:
21. Hallelujah
22. Wanted
23. Livin' On A Prayer

The Audio Projects Open Letter to Jon Bon Jovi regarding Madison Sqaure Garden Setlists

My good mate Adam has trekked 26 hours to New York City to catch Bon Jovi at Madison Square Garden over two nights. He'll arrive in Chicago sometime on Sunday and after 9 years of email correspondence, we'll hang.

However, not until Bon Jovi (hopefully) rocks the roof off the Garden and Adam sees at least a few of the songs on his dream set list.

Read his full post here.

ANNOUNCING THE WHO TOUR - USA FALL 2008

ANNOUNCING THE WHO TOUR - USA FALL 2008
The Who will be touring the USA this fall. The full tour is below.

Oct. 21 Palace of Auburn Hills, Detroit, MI
Oct. 22 Copps Coliseum, Hamilton, Ontario
Oct. 24 TD Banknorth Garden, Boston, MA
Oct. 26 Wachovia Center, Philadelphia, PA
Oct. 28 Mohegan Sun Arena, Uncasville, CT
Oct. 29 Izod Center, East Rutherford, NJ
Oct. 31 The Borgata, Atlantic City, NJ
Nov. 3 Verizon Center, Washington, DC
Nov. 8 Nokia Theatre, Los Angeles, CA
Nov. 9 Nokia Theatre, Los Angeles, CA

Oasis Release Track Listing for Dig Out Your Soul - New Album Coming October 7th (Album cover art available too!)

OASIS RELEASE TRACK LISTING FOR DIG OUT YOUR SOUL
NEW ALBUM COMING OCTOBER 7TH, 2008


Oasis reveals the track listing for their brand new album Dig Out Your Soul. As previously announced, the band are set to return later this year with their new album, released independently by their own label Big Brother Recordings. USA Release date is October 7th. Please stay tuned for more details on their U.S. release.

Dig Out Your Soul was produced by Dave Sardy who worked with the band on 2005’s, ‘Don’t Believe The Truth’. It was recorded at Abbey Road and mixed in Los Angeles. All four members once again contribute tracks.

The track listing for Dig Out Your Soul:

Bag It Up
The Turning
Waiting For The Rapture
The Shock Of The Lightning
I’m Outta Time
(Get Off Your) High Horse Lady
Falling Down
To Be Where There’s Life
Ain’t Got Nothin’
The Nature of Reality
Soldier On

The first single will be “The Shock Of The Lightning”

In addition the band has unveiled the album cover for Dig Out Your Soul, an original piece of artwork by London-based designer, Julian House.

Oasis - "Stay Young" (Live at G-Mex 1997)

...And I Feel Fine: Bon Jovi-"Whole Lot of Leavin’"

Bon Jovi: Whole Lot of Leavin’
By Anthony Kuzminski

On April 26, 2008 I received a message informing me that E Street Band organist Danny Federici has passed away. I must confess...the news came as a shock to me as I had just seen Federici four weeks earlier in Indianapolis which I assumed was a sign of things to come and not a concluding chapter. The news hit me harder than I had anticipated as Danny was one of the most instinctive musicians I had ever laid eyes on and yet he was almost never front and center. His instrumental fills are the equivalent of a secret spice cooks use to take their dishes to that next level and to distinguish them from others. As I thought about the show I had just seen a few weeks earlier, I felt like I needed to drive to reflect on life and I went and grabbed my 2006 mini Japan sleeve copy of Darkness on the Edge of Town. You see, amazingly Springsteen’s catalog still is lacking the remaster treatment and until a rumored 30th Anniversary set appears the Japanese sleeve from 2006 maintains the best sound for this album on disc. I took it to my car where I planned on immediately going to track number five, “Racing In The Street”, a song that allows you to ponder life and often take the next step forward in your progression. As I started my engine, blasting out of the speakers I heard “I still hear your voice, it takes me back to that time”, a poignant lyric from Bon Jovi’s “Whole Lot of Leavin’”. As the song drew to a conclusion, I needed to listen to it again, which I did. While I thought I needed to listen to “Racing in the Street”, it turns out the solemn hymn I needed on that night came to me through fate.

We look to artists to help us shape our worlds. When life throws them lemons, we want to see how they make lemonade, hoping we can draw some life lessons from it. Through music, we see reflections of ourselves and that is why music is so near and dear to so many. Portions of Bon Jovi’s tenth studio album Lost Highway, are brilliant, albeit most of it just never seals the deal for me. While it’s a wildy consistent affair, it lacks of profound, intense and the rip-open your chest honesty I was looking for. I was poisoned by expectations as the desired effect never reached the emotional heights I sought. Despite this, I still found four tracks that I feel stand shoulder to shoulder with the best the band has ever done; “Lost Highway”, “Make A Memory”, “Any Other Day” and “Whole Lotta Leavin’”. “Leavin’” is the most emotionally raw of the bunch and while other lyrics on the album may be more downbeat (“Everybody’s Broken”), it doesn’t have the unnecessary embellishments that I feel hinder some of the other tracks (“We Got It Going On”).

Placed as track-four on the album and performed nightly in concert, “Leavin’” is the emotional apex of the entire album and nightly in concert often steals the show. When Jon Bon Jovi churns out the lyric “I still hear your voice that takes me back to that time” it’s intensely expressive and cuts like a knife through your soul just like it did for me back in April. Ironically, it is one of the few tracks that Richie Sambora does not share a writing credit on, yet it feels intensely autobiographical of his life. The lyrics where a pair of lovers turn to the other and asks “Do we got it anymore” crackles with a wake up call more startling than a bucket of ice cold water thrown on you. At its best, music provides a channel for life obstacles you find difficult to overcome. More importantly, it sometimes puts life into perspective.

Earlier this year I was speaking with a friend who admitted to me that when the band tore into “Whole Lot of Leavin’” on this past tour, at one show she began to cry because it reminded her of a recent death in her family. What shocked me about this confession is this came from someone whom I’ve never seen as being vulnerable, yet somehow this song cut through her own imposed barrier and spoke to her. There’s no handbook for eliciting an affecting response from someone. While feelings can be manipulated, it takes something truthful and sincere to elicit tears and a look inward. Artists face a thorny challenge because ultimately their art is a reflection of their inner selves and once it goes out for mass consumption there will be those who pick at it until it bleeds. The world often chastises people who wear their hearts on their sleeves. Those who defy the zombie like existence with unblinkingly perseverance are often chided for their openness. I find most people to be distant, detached and diffident. As a result, we create anxiety, cause immense inner damage to our bodies and lead largely unfulfilling lives. Life is about letting it all hang out and more times than not, you’ll be walloped for doing so. However, every once in a while someone will embrace you for your sincerity, frankness and ability to allow yourself to be vulnerable. I’ve often felt Bon Jovi’s most profound lyrics to be those misunderstood by the masses and “Leavin’” is up there with their best. It allows one to reflect while simultaneously being a catalyst for opening yourself up and relinquishing demons.

The song begins with a plaintive acoustic strum before the band lets loose on a highway to hell of reflection and redemption. It’s not just one of the most emotive and confessional songs in the band’s storied career but also one of their preeminent and a textbook example of the band’s evolution over the last quarter century. It’s dangerously poignant, confessional and savagely unsubtle in its delivery as the band has never sounded better or more confident in their craft. It’s not the ornate production that makes the track, but the emotional release that makes the song so revealing and truthful. There is no handbook for dealing with heartache and loss but one can soothe the soul through being more truthful and open with themselves. “Whole Lot of Leavin’” has appeared to provide solace to more people I know than just about any other track in the last year. There is no sugar coating here, it’s bleeding and indisputable which is more than any of us could ever hope for from any artist or song. A great song leaves you breathless, speechless and grasping for air and “Racing in the Street” and “Whole Lot of Leavin’” both fit the bill.

Anthony Kuzminski is a Chicago based writer for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.


Sunday, July 13, 2008

Charisma as Natural as Gravity (Chris Nolan on Heath Ledger)

Newsweek ran a rather spectacular piece written by The Dark Knight director Chris Nolan shortly after the death of Heath Ledger. I've spoken to numerous people about it over time and surprisingly, few have read it. I highly suggest reading this before seeing The Dark Knight later this week. The full link is here.

Charisma as Natural as Gravity
By Christopher Nolan | NEWSWEEK
Heath Ledger, 28, Actor

Best known for his haunting, Oscar-nominated performance as Ennis Del Mar, one of the gay cowboys in 2005 ' s "Brokeback Mountain," Ledger was a massive young talent on the cusp of greatness when he died last week in New York. The native Australian, who is survived by his 2-year-old daughter, Matilda, had recently finished work on this summer's "Batman" sequel, "The Dark Knight," in which he plays a villain, the Joker. Christopher Nolan, the film's director, shared these memories:

One night, as I'm standing on LaSalle Street in Chicago, trying to line up a shot for "The Dark Knight," a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I'd fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you'd asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn't know. That's real charisma—as invisible and natural as gravity. That's what Heath had.

Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.

One time he and another actor were shooting a complex scene. We had two days to shoot it, and at the end of the first day, they'd really found something and Heath was worried that he might not have it if we stopped. He wanted to carry on and finish. It's tough to ask the crew to work late when we all know there's plenty of time to finish the next day. But everyone seemed to understand that Heath had something special and that we had to capture it before it disappeared. Months later, I learned that as Heath left the set that night, he quietly thanked each crew member for working late. Quietly. Not trying to make a point, just grateful for the chance to create that they'd given him.

Those nights on the streets of Chicago were filled with stunts. These can be boring times for an actor, but Heath was fascinated, eagerly accepting our invitation to ride in the camera car as we chased vehicles through movie traffic—not just for the thrill ride, but to be a part of it. Of everything. He'd brought his laptop along in the car, and we had a high-speed screening of two of his works-in-progress: short films he'd made that were exciting and haunting. Their exuberance made me feel jaded and leaden. I've never felt as old as I did watching Heath explore his talents. That night I made him an offer—knowing he wouldn't take me up on it—that he should feel free to come by the set when he had a night off so he could see what we were up to.

When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.

Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it's Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can't help but smile.

© 2008
{Photo Credit}

Bon Jovi: Central Park Review 7/12/08 (Video Report as well)

No, I don't have a review but the Sexy Armpit blog does and you can read it right here.

I'll be publishing a Bon Jovi piece later this week on antiMusic and this blog, so check back!


Foo Fighters reschedule Red Rocks shows due to illness


July 13, 2008
FOR IMMEDIATE RELEASE

FOO FIGHTERS RESCHEDULE RED ROCKS SHOWS DUE TO ILLNESS

In keeping with Dave Grohl's doctor's orders, Foo Fighters have rescheduled their two sold out shows at Morrison CO's Red Rocks Amphitheatre. Originally scheduled for July 14 & 15, the concerts have been rescheduled for September 8 & 9. Tickets for the July 14th show will be honored for the September 8th date, and tickets for the July 15th show will be honored for September 9th. Show times will remain the same. Refunds for each show will be available at the original point of purchase until the new respective dates.

Grohl said, "As much as it kills us to postpone shows, I'm in no shape to deliver the kind of balls-out performances that you guys deserve. We're already looking forward to September when we can make it up to everyone ten times over. It's gonna be great."

Foo Fighters' U.S. tour will resume July 17th in Oklahoma City.
{Photo Credit}

Saturday, July 12, 2008

Bon Jovi Central Park Set List and Pic

I was offered a slew of tickets to make it to Central Park today in New York, but I just had too much going on to even think about trekking to New York, but I would have liked to have been there if for no other reason than to see some good friends. The set list is below, a safe set for a big night for the band. The one thing I was surprised about was no special guest appearances. A report can be read here.

{
Photo credit}

July 12, 2008 at 10:10PM EDT
New York, New York - Central Park - 7/12/08

PRAYER
BAD NAME
LOST HIGHWAY
BORN TO BE MY BABY
RUNAWAY
SLEEP WHEN I'M DEAD w/ Twist & Shout
BLAZE OF GLORY
WHOLE LOT OF LEAVIN'
IN THESE ARMS
WE GOT IT GOIN' ON
IT'S MY LIFE
I'LL BE THERE FOR YOU - RICHIE VOX
HAVE A NICE DAY
KEEP THE FAITH
WHO SAYS
BAD MEDICINE w/ Shout

ENCORE:
ALWAYS
WANTED
I LOVE THIS TOWN

Tom Petty Live Chicago Concert Review on antiMusic

The review I ran last week was off the cuff and unproofed, a more proper and official review is currently running over at antiMusic right here.

Friday, July 11, 2008

The 10 Most Terrifyingly Inspirational '80s Songs (Bon Jovi, Karate Kid, Kenny Loggins, Europe, Journey and more)

Last fall when I went to see Bruce Springsteen in St. Paul, MN, I stayed with my dear friends Amy and Jeff. I've known Jeff since I was 3 and whenever I see him, I come loaded with a slew of new music for him. On this one particular trip, he was thrilled to see I had included the Karate Kid soundtrack. You see, he was telling me about this article of the 10 best songs from the 1980's to kick-ass to. When I went back to work that Monday, his ass-kicking bridge Amy, had emailed me the list. I'm going to link it below for you to enjoy. I don't know what's scarier; the fact that I laughed out loud at this article or that I have all ten of these songs in my iPod?

Flag this message Oasis to release new album DIG OUT YOUR SOUL on October 7th

This press release is in honor of my friends Rene and Johnny...two of the biggest Oasis fans on the planet...I'm still trying to get my head around them. Oasis are set to return later this year with a new single and their seventh studio album. The first single will be ‘The Shock Of The Lightning’ and the album, ‘Dig Out Your Soul’ is in-stores October 7th; it is the first new Oasis music since last year’s ‘Lord Don’t Slow Me Down,’ taken from the on the road film of the same name.

‘Dig Out Your Soul’ sees Dave Sardy return to the producer’s chair following his work on their 2005 album, ‘Don’t Believe The Truth.’ Recorded at Abbey Road and mixed in Los Angeles, all four members once again contribute tracks, but the recording marks a new approach for the band as described by the band’s principle songwriter, Noel Gallagher:

“I wanted to write music that had a groove; not songs that followed that traditional pattern of verse, chorus and middle eight. I wanted a sound that was more hypnotic; more driving. Songs that would draw you in, in a different way. Songs that you would maybe have to connect to - to feel.”

The lead single is still unmistakably Oasis, a Noel penned song with Liam’s immediately familiar voice to the fore underlining their distinctive brand of finger in the socket rock ’n’ roll.

‘The Shock Of The Lightning’ may well represent the most recognizable Oasis song on the album but, again, the new approach on ‘Dig Out Your Soul’ was present on this lead track as Noel explains:

“If ‘The Shock Of The Lightning’ sounds instant and compelling to you, it’s because it was written dead fast. And recorded dead fast. ‘The Shock of The Lightning’ basically is the demo. And it has retained its energy. And there’s a lot to be said for that, I think. The first time you record something is always the best.”

‘Dig Out Your Soul’ will be the first album released on the band’s own Big Brother label worldwide. North American distribution and marketing arrangements for 'Dig Out Your Soul,' will be announced shortly.

Oasis tour dates
With special guest Ryan Adams
8/26/08: Seattle, WA - WaMu Theater
8/27/08: Vancouver, BC - GM Place
8/29/08: Edmonton, AB - Rexall Place
8/30/08: Calgary, AB - Pengrowth Saddledome
9/1/08: Winnipeg, MB - MTS Center
9/4/08: Ottawa, ON - Scotiabank Place
9/5/08: Montreal, QC - Bell Centre
9/7/08: Virgin Festival Toronto, ON
9/9/08: London, Ontario - John LaBatt Centre

RADIOHEAD MAKES CAMERA-FREE VIDEO

RADIOHEAD MAKES CAMERA-FREE VIDEO

"House Of Cards" Clip Created Exclusively Using Geometric Informatics and Velodyne Lidar Technology
World Premiere Early Next Week at Google
Data Made Available To Enable Fans To Create Their Own Short Clips

In keeping with their decision not to make conventional promotional music videos for any of the tracks on In Rainbows, Radiohead used absolutely no cameras in the making of its new "House Of Cards" clip, which can be viewed at Google.com

Instead, "House Of Cards", directed by James Frost of Zoo Films, was created utilizing two technologies: Geometric Informatics and Velodyne Lidar. The Geometric Informatics scanning system employs structured light to capture detailed 3D images at close proximity, and was used to render the performances of Radiohead's Thom Yorke, the female lead and several partygoers. The Velodyne Lidar system uses multiple lasers to capture large environments in 3D, in this case 64 lasers rotating and shooting in a 360 degree radius 900 times per minute, capturing all of the exterior scenes and wide party shots. Geometric processed their own data while 510 Systems processed the Velodyne Lidar data. The data was then manipulated by Union Editorial and the Syndicate to create the final result.

Google will premiere the video early next week at http://code.google.com/radiohead

Additionally, the band will be making available the data used to create the video for fans to manipulate into their own unique short clips. A short documentary detailing the unique process used to create the video will also be available via this link, as will 3D renderings of selected scenes.

Of Radiohead's decision to eschew cameras for the "video," Thom Yorke commented, "I always like the idea of using technology in a way that it wasn't meant to be used, the struggle to get your head round what you can do with it. I liked the idea of making a video of human beings and real life and time without using any cameras, just lasers, so there are just mathematical points--and how strangely emotional it ended up being."

Thursday, July 10, 2008

John Mellencamp 2008 Opening Night Setlist (7/9/08-Philadelphia)


Setlist:

Thank You
My Sweet Love
Paper In Fire
Check It Out
Minutes To Memories
A Ride Back Home
Don't Need This Body
Small Town
Troubled Land
Pink Houses
Ghost Towns Along The Highway
Rain On The Scarecrow
Human Wheels
If I Die Sudden
Crumblin' Down
Lonely Ol Night
R.O.C.K In The USA
Jack & Diane

Encore:

Authority Song

Tuesday, July 08, 2008

Kenny Chesney: Poets, Pirates, Big Stars and Guitars (Chicago review 6/21/08)

antiMusic is running my Kenny Chesney review from his Poets & Pirates tour today (which also featured performances by Keith Urban, Gary Allen, Leann Rimes and Luke Bryan.

Check out the full review here.

Thursday, July 03, 2008

Tom Petty and the Heartbreakers-Live in Chicago Review 7/2/08 (Set List Included)

Tom Petty and the Heartbreakers: Live Concert Review
Chicago, IL-United Center
July 2, 2008
By Anthony Kuzminski

Please note: This writing is 100% from the gut, no proof reading has occurred. The official review (which will be refined) will run next week on antiMusic.


In Cameron Crowe’s vastly underappreciated 2005 film Elizabethtown, the main characters feelings, thoughts and emotional discourse is aligned with music. In the film, music is an even more vital component than the dialogue. There is a scene in the opening scored to the forgotten gem “It’ll All Work Out” that is maybe the most crushing, heart wrenching scene in recent memory. Then after a an all night marathon conversation Orlando Bloom and Kirsten Dunst part ways and as Bloom rides down in his car, “Learning To Fly” emanates from the screen. At the United Center on July 2, 2008 Tom Petty and the Heartbreakers performed a vigorous arrangement of the song featuring the melody performed sturdily on an acoustic by Petty while Benmont Tench added minor but essential fills to this picturesque song. What makes this song so identifiable is that besides a warm musical rendering, it’s about the challenges we face in life. Somehow, Petty poetically manages to makes the simple action of stepping into the ring a colossal triumph. All too often we’ve viewed as losers unless we are unqualified winners, but “Learning To Fly” throws that theory into the air. The fact one prevails is the true test of success. As the song drew to a close and the band’s instruments slowly faded to the background, Petty stood front and center on the stage and the crowd took the cue and allowed for their vocal chords to soar the lyrics…”I’m learning to fly, but I ain’t got wings…coming down is the hardest thing”. The albums will live on forever, but it’s moments like these that are so perfect, that it wills the hair on the back of your neck to rise and provides one with an overwhelming feeling that is powerful as it is poignant. This was a moment so extraordinary that it was worth the price of the ticket alone.

Tom Petty and the Heartbreakers stop at the United Center in Chicago found a band completely in control of their craft while delivering the goods. For over two-hours, the band soared beyond my expectations performing six songs I had never seen before and a few new and novel arrangements. I will be writing a review for antiMusic in the next week, but here’s a brief unpoofed review of the show. Coming out at 9:10pm, the band immediately surged into “Wreck Me” on their dazzling and unobtrusive stage. They proved to be a well oiled machine as they immediately segued into “Listen To Her Heart”. During this number, five shaped boxes that hung over the stage turned into screens. Steve Ferrone’s drumming on this particular number proved to be striking and precise. As Petty put an acoustic around his neck and performed his ultimate anthem “I Won’t Back Down”, you could hear the crowd cut through the vastness of the arena providing a moment that wasn’t just warm and intimate but resurrecting as well. The song nearly two-decades later is as unyielding as it has ever been. The test of a truly great song is when it transcends time and proves to be forever timeless. “I Won’t Back Down” (and most of Petty’s catalog for that matter) is as timeless as they come.

“Even The Losers” bursts to life in a way I never imagined. I’d never seen this song live before and it was surprisingly splendid. “Free Fallin’” was another sing a long moment for the crowd. Whenever I hear this song, I think about my Mom. The week Full Moon Fever was released in 1989, I found myself in Sound Warehouse and Fever was playing on the store system and my Mom asked me who it was. I was shocked that the album was as melodic and marvelous as it was. The album was $6 on cassette and my Mom agreed to buy it for me. Over the next few years, whenever I was in the car with her, I knew I’d be able to listen to Full Moon Fever and it was something the two of us shared where we both related to that killer lyric “Gonna leave this world for a while”.

“Mary Jane’s Last Dance” always brings the crowd to its knees and this performance was no different with the crowd singing along to every word. What followed I don’t think anyone could have ever foreseen. Petty dug back a solid decade and pulled out a b-side, “Sweet William” from the “Room At The Top” European single and EP. The bluesy and bursting number was a surprise addition and a most welcomed one. I never knew of the song before tonight and I’ll be seeking it out now as a result. My only quibble is why is it that whenever a band recoreds a luminous blues song it never seems to make the final cut and is discarded on an international B-side?

Up next was the Traveling Wilburys “End of the Line” which had never been performed live before this tour. Scott Thurston shined on the dual harmony vocals. If that wasn’t enough, Petty brought out opener Steve Winwood for a pair of songs. Up first was the soulful “Can’t Find My Way Home” which found Winwood providing some stellar six string theatrics momentarily upstaging Campbell and Petty, no simple feat. Winwood’s angelic voice soared to the heavens on this one as the Heartbreakers backed him. “Gimme Some Lovin’” charged the arena with a potent and surging beat and tempo that has the whole arena on their feet. “Saving Grace” was a full tilt boogie swagger that found the arrangement sped up from the studio cut. Guitarist Mike Campbell provided some stunning slide guitar on this one while Tench almost stole the show with a smoldering organ solo and a sweet and spastic piano jam.

The barrage of a triple guitar attack highlighted “Honey Bee”, a song that will forever be enshrined in my memory bank as Dave Grohl in 1994 head banged his way through a performance in Saturday Night Live. This performance was equally intoxicating as it was fourteen years ago. The Full Moon Fever track “Face In The Crowd” is being aired for the first time in almost two decades. This was a wise move because it appeases the die hard fans with a rarity and doesn’t alienate the casual fans because even though it’s a deep cut, it’s from his best selling album. The simplistic chords of the song leave an indelible impression and I hope to see Petty take more chances with his catalog like this in the future. The vivid “You Don’t Know How It Feels”, the fist in the air psychedelia of “Don’t Come Around Here No More” and the sweltering and smoking “Refugee” were all nothing short of staggering. Petty worked the crowd like a pro and ironically, he didn’t have to work as hard as many other artists I know. He let his music and the pacing of the set do most of the work. His songs do the work for him.

The encore consisted of the ferocious “Runnin’ Down A Dream”, the celebratory Van Morrison cover of “Gloria” and the dizzying guitar army theatrics of “American Girl” threw the audience into overdrive. As the lights adorned the crowd, every single person from the first row to the upper regions of the balcony joyously released their inner emotions providing a moment as real and genuine as they come. A few simple chords raised the roof on the United Center and found Tom Petty and the Heartbreakers deliver a knock-out performance that the entire crowd will be speaking about to friends and family for generations to come.


Tom Petty & The Haertbreakers
Chicago July 2, 2008 United Center Set List
You Wreck Me
Listen to Her Heart
I Won't Back Down
Even the Losers
Free Fallin'
Mary Jane's Last Dance
Sweet William
End of the Line
Can't Find My Way Home *
Gimme Some Lovin'*
Saving Grace
Honey Bee
Face in the Crowd
You Don't Know How It Feels
Learning to Fly
Don't Come Around Here No More
Refugee

ENCORE
Runnin' Down a Dream
Gloria
American Girl

* w/ Steve Winwood