By DAN AQUILANTE, DTMP editor
Friday, July 27, 2012
Bruce Springsteen and the E Street Band in Italy.
Springsteen extends "Wrecking Ball" Tour
Bruce Springsteen and the E Street Band announce
sixteen additional dates in the U.S. and Canada for the fall leg of the "Wrecking Ball" World Tour, which will kick
off August 14 at Boston's Fenway Park.
The tour closes out an 11-week European run this week that has included
three of the longest shows of Springsteen's career. Tickets are currently available for previously announced shows in Moncton,
NB (Aug 26); Vernon Downs, NY (Aug 29); Philadelphia, PA (Sept 3); and East Rutherford, NJ (Sept 19).
2012 'Wrecking Ball' Dates:
October 19 - Ottawa, ON - Scotiabank Place (on sale 8/17, www.capitaltickets.ca)
October 21 - Hamilton, ON - Copps Coliseum (on sale 8/17, www.ticketmaster.ca)
October 23 - Charlottesville,
VA - John Paul Jones Arena (on sale 9/14, www.ticketmaster.com)
October 25 - Hartford, CT - XL Center (on sale
October 27 - Pittsburgh, PA - CONSOL Energy Center (on sale 8/17, www.ticketmaster.com)
November 1 - State College, PA - Bryce Jordan Center (on sale 8/04, www.ticketmaster.com)
November 3 - Louisville,
KY - KFC Yum! Center (on sale 8/17, www.ticketmaster.com)
November 11 - St. Paul, MN - Xcel Energy Center (on
sale 8/04, www.ticketmaster.com)
November 15 - Omaha, NE - CenturyLink Arena (on sale 8/18, www.ticketmaster.com)
November 17 - Kansas City, MO - Sprint Center (on sale 8/03, www.axs.com)
November 19 - Denver, CO - Pepsi Center
(on sale 8/13, www.tickethorse.com)
November 26 - Vancouver, BC - Rogers Arena (on sale 9/28, www.ticketmaster.ca)
November 28 - Portland, OR - The Rose Garden (on sale TBD, www.rosequarter.com)
November 30 - Oakland, CA -
Oracle Arena (on sale 9/21, www.ticketmaster.com)
December 4 - Anaheim, CA - Honda Center (on sale TBD, www.ticketmaster.com)
December 6 - Glendale, AZ - Jobing.com Arena (on sale 9/15, www.ticketmaster.com)
Announced 2012 'Wrecking Ball' Dates:
August 14 - Boston, MA - Fenway Park (on sale now, www.etix.com)
August 15 - Boston, MA - Fenway Park (on sale now, www.etix.com)
August 18 - Foxboro, MA - Gillette Stadium
(on sale now, www.ticketmaster.com)
August 24 - Toronto, ON - Rogers Centre (on sale now, www.ticketmaster.com)
August 26 - Moncton, NB - Magnetic Hill (on sale now, www.tickets.moncton.ca)
August 29 - Vernon, NY - Vernon
Downs Raceway (on sale now, www.ticketmaster.com)
September 2 - Philadelphia, PA - Citizens Bank Park (on sale
September 3 - Philadelphia, PA - Citizens Bank Park (on sale now, www.comcasttix.com)
September 7 - Chicago, IL - Wrigley Field (on sale now, www.tickets.com)
September 8 - Chicago, IL - Wrigley
Field (on sale now, www.tickets.com)
September 14 - Washington, DC - Nationals Park (on sale now, www.tickets.com)
September 19 - East Rutherford, NJ - MetLife Stadium (on sale now, www.ticketmaster.com)
September 21 - East
Rutherford, NJ - MetLife Stadium (on sale now, www.ticketmaster.com)
September 22 - East Rutherford, NJ - MetLife
Stadium (on sale now, www.ticketmaster.com)
Thursday, July 26, 2012
Aerosmith's Steven Tyler, Darryl "D.M.C."
McDaniels,and guitarist Joe Perry ( left to right).
takes D.M.C. for a walk
the talk and walked the walk last night at their sold-out arena show at the Izod Center in East Rutherford at the Meadowlands
During their sold out
gig Steven Tyler and the boys from Boston were joined by New York rap legend Darryl "D.M.C." McDaniels from
RUN-D.M.C. for a performance of the band's hit "Walk This Way."
The song was first a hit for Aerosmith in 1977 and a decade later the piece was recast
and supercharged for the 1986 rap 'n' roll collaboration betwen RUN-D.M.C. and Aerosmith.
This Meadowlands show was part of Aerosmith's "Global
Warming Tour. The Rock and Roll Hall of Fame inductees, who celebrated their 40th anniversary in music last year are still
rocking with this tour serving as a preview to the band's very anticipated release of their new album, "Music From Another
Dimension," due to hit the racks November 6.
Tuesday, July 24, 2012
98 Degrees are back and will play a pair of concerts
this summer. Singer Nick Lachey below.
Reheated 98 Degrees sizzle with reunion
Grammy nominated, multi-platinum selling boy band 98 Degrees, which features Nick Lachey, Drew Lachey,
Justin Jeffre and Jeff Timmons, have announced their reunion. The group will spark its comeback with their first television
appearance in over a decade with performance on the "Today Show" Summer Concert Series on Friday, August 17.
In addition, the group will also perform
at the first annual MixTape Festival in Hershey Pennsylvania on Saturday, August 18. Other artists confirmed to play on the
bill for this two day pop festival include Kelly Clarkson, The Fray, NKOTBSB and LL Cool J. These two performances will
be the band's first since September 2001. 98 Degrees, featuring all four original members, is currently in the studio working
on new music.
Nick Lachey says "In
the ten years since our last performance as 98 Degrees we've each achieved personal success and grown as individuals, while
remaining a close-knit family. We have also been fortunate to have the support and enduring love of our fans every step of
Noted as one of the original
boy bands of the late 1990's the quartet was known for their authentic vocal harmonizing. Unlike most of the "manufactured"
boy bands of the time, 98 Degrees formed independently before later being signed to Motown Records, who released the group's
self-titled debut in 1997. In 1998, the band released their breakthrough album "98° and Rising" through
Universal Records. The album went 4X platinum and yielded the singles "Because of You," "I Do" and "The
The group's success continued
through the late 90's and in 2000 when Mariah Carey tapped the band for her "Thank God I Found You."
That single went to #1 on the Billboard Hot 100 chart and the group received a Grammy nomination for "Best
Pop Collaboration with Vocals." Later that year, the band released their fourth studio album Revelation.
Monday, July 23, 2012
The Who's Pete Towshend in the studio. Director Matt O'Casey, below.
Who's "Quadrophenia" sees the real them
Occasionally time is kind, at least it's been so to The Who's 1973 rock
opera "Quadrophenia." Originally written by the Who's guitarist Pete Townshend as an artistic replacement
for the band's hailed opus "Tommy" -- when The Who introduced it as their performance centerpiece, it
was a concert disaster.
Despite it containing
some of Townshend's best writing such as the songs "5:15″ and the symphonic "Love Reign O'er Me," "Quardophenia"
was a musical work that didn't find the instant success of "Tommy" or a huge following. There was critical
acclaim for the opera about Jimmy, an alienated and unstable teen floating in Britain's mod movement. Still,
it flopped in concert, a blow to The Who (especially Townshend who is its sole author) since the piece is cited by many critics as superior to "Tommy"
the deaf-dumb-and-blind pinball wizard.
years later was its worth recognized and its songs returned to The Who's live setlist. Even so, director Franc
Roddam's cult film "Quadrophenia" is probably better remembered in the public eye than the actual album..
Tomorrow, a BBC rockumentary "The Who: Quadrophenia - Can You See
The Real Me?" by filmmaker Matt O'Casey plays a one day run in theaters across America. His film avoids the after-story
of success being snatched from the jaws of defeat and instead stays aimed at the actual creation of the double-album by looking
at the drama of the inner workings of The Who as well as real-life history behind the narrative about Jimmy The Mod.
Like most films of its kind, O'Casey touches all the rock-doc
bases from modern and archival footage of band members speaking about "Quadrophenia," to scholarly critics
pontificating. The best interviews come from reminisces by behind the scene players such as recording engineers
and the photographer, Ethan Russell, who shot the images for the original 40-page "Quadrophenia" lyric book. In
this film the talking heads were well-chosen for their knowledge and ability to tell a good story. What gives this film its
edge is how O'Casey weaves the social scene of the post-mod London into the tale.
The tension of the documentary is drawn from the internal friction of The Who,
that emerges as a microcosm of the opera. It is a small world where we see Townshend, juggling his pretensions, his
wit and insecurity ultimately channeling it all into his anti-hero Jimmy.
While this may seem like its Pete's story, singer Roger Daltrey's interviews do much to make
the time seem appealing and fun. In one of the most memorable scenes in the film when O'Casey is attempting to extract the
essence of the band infamous drummer, the late Keith Moon - Daltrey answers the question "What was Keith
like in 1973" with a sardonic smile and the line "He was a little drunker than he was in 1972."
The film gets its power from simple storytelling and wisely makes
no demand from the viewer larger than requesting that they reconsider the importance of this now classic rock opera.
That point is subtly made again following the end of the film proper with a tagged on selection of live performances of the
songs from "Quadrophenia" that reiterate the point it's time to appreciate this work.
The Who must agree, considering this fall and in winter 2013 the band will
be touring North America presenting "Quadrophenia" in a grand production that insiders say may rival Roger Waters'
recent arena/stadium rendering of Pink Floyd's "The Wall."
This one-night-only screening is Tuesday, July 24 at 8 p.m. at various theaters across North America and Canada.
For local movie houses showing this film go to FathomEvents.com
Friday, July 20, 2012
Enrique Iglesias and Jennifer Lopez play the Prudential Center tonight
On the Road with Enrique & JLo
Tonight and tomorrow Enrique Iglesias and Jennifer
Lopez play back-to back shows at Newark's Prudential Center on their summer tour together. These co-headlining concerts unite
two of the biggest performers in music today in shows where the fans can expect razzle-dazzle production where these international
superstars reprise their chart-topping hit. While preparing for this tour that launched in Canada earlier this week Lopez
and Iglesias talked to DTMP. Here's some excerpts from that interview.
Will you and Jennifer be on stage together for a duet?
Enrique: Yeah, we're planning it. I think it's unexpected, and I think
fans are really going to appreciate that. We'll definitely combine that at one point, both of us together, it's going to be
Whose idea was the
Jennifer and I have known each other for years, and we've talked about it. Obviously, we had to talk to the promoters
and then to our agents, and all of that, but the real decision was Jennifer's and mine because we ‘re the
ones that are going to be on stage..
Who's on first?
I think I should go on first and Enrique should close. That way, I can get home in time to put my babies to bed.
Look, whatever works well is what we will do. The thing is, that we're both on the same team and we'll do what works
Do you expect the
shows to be more exciting if there are more Spanish speakers in the audiences?
Jennifer: I don't think it matters because we both do pop music. Sure Enrique's done a lot of Spanish music and I've done one Spanish album, bur the shows
are very bilingual. It's a mix -- kind of pop , Latin, everything, and I think any audience will enjoy it.
Enrique: I agree with Jennifer.
I think it's a bi-cultural tour, we sing music in Spanish and in English, but for me, it's all pop.
Jennifer, has your tenure as an "American
Idol" judge made you a better performer?
Jennifer: Absolutely. I think about all the things that I said about being a better
performer. It's essential to sing from your heart and listening to the lyrics. Those are the things that make
a great performer but it's so easy to say that from a chair, harder to remember when you get up on the stage.
Do you have any pre-show
I don't really do much. I stretch to warm up because I have to dance a whole bunch, and do a little singing
warm-up, and that's it. Mostly I'm trying to get dressed, get my hair and the makeup done and check the costumes. For
me it's just about getting real warm and getting ready to go out there and give my best. I don't have any like weird
rituals or need to get Zen or anything like that.
Enrique: I don't do anything. I just like to be by myself in the dressing
room, and drink rum.
You don't have you trainer in there, working you out and getting you ready?
Enrique: I don't have a trainer or nutritionist, just
a little bit of rum to get rid of the nerves. That's what I do.
Thursday, July 19, 2012
Seal performing at the second concert of his two-night New York engagement.
Seal clubs love at Beacon gig
Seal looked like he's a tough guy at the Beacon Theater for the second of a two-night stand. The Brit pop singer is tall, his face scarred, his head is shaved
clean and he wore a jumpsuit that could have been issued by either the department of corrections or a chop shop in Willits
If this performance was telling, beneath
his don't-mess-with-me façade is the sensitive soul of a warrior wounded the battle of love. As one of music's premiere
interpreters of soul as well as an accomplished songwriter, Seal did little to disguise the hurt he feels since the demise of his marriage with Heidi Klum earlier this year. He didn't boohoo his way through this concert and his voice was
in fine shape, but his song selection reflected a guy who loved, lost and is trying to survive the blow.
Seal is a good natured, giving performer, but at this show his
smiles were fleeting and forced despite the sold out crowd's unadulterated affection. His Brit accented banter was less
personal than the easy chatter that he usually seduces audiences with, and the lack of connection was apparent in the way
the crowd stayed glued to their seats for much of the show.
the songs weren't all about the not-so-glorious sides of love, there were enough falling out of love numbers to be a nagging
reminder of his loss.
The show opened with
the peppy dance piece "If I'm Any Closer," but quickly turned to "Killer," a number about
loneliness, followed up with covers of the O'Jay's "Back Stabbers" and Teddy Pendergrass' "Love
TKO." With tunes such as "Prayer for the Dying," "Love Don't Live Here Anymore," "Let's
Stay Together" and "Lost My Faith" nobody needed the Cliff Notes to figure out the night's theme.
While the crowd approved Seal clubbing love, where the man really
killed was when he wove the songs "Get It Together" with "Knock On Wood," a combo so potent it was
like thunder and lightning.
He also achieved
a concert high with his signature song "Kiss From a Rose" that had so much heart audience members stood and waltzed
in the aisles. Seal was so vulnerable and sensitive and projected such magnetism on this epic ballad that warm
up act Macy Gray stepped out from the wings where she was watching and stood behind Seal embracing him in a sisterly hug.
Although he was surprised at Grey's reaction to the tune, Seal implored her to stay and sing with him but she quickly exited
before the song was finished.
was a good show and Seal remains one of contemporary music top interpreters of soul and R&B, let's hope he gets out of
his funk and into some shuffling funk.
Seal photos by Richard Stern
Wednesday, July 18, 2012
The Who's Roger Daltrey and Pete Townshend take "Quadrophenia" on tour this fall.
Who's on tour, that's right
The Who, one of rock's legendary and defining bands, have announced a major North American arena
tour where they'll perform their iconic 1973 double album "Quadrophenia" in its entirety, along with a selection
of Who classics.
The critically acclaimed "Quadrophenia"
marked the British band's second rock opera (after Tommy), raised the bar for rock albums as an art form and hit #2 on the U.S. Billboard album chart. Founding members Roger Daltrey and Pete Towbshend will be joined by Zak Starkey
(drums), Pino Palladino (bass), Simon Townshend (guitar/backing vocals), Chris Stainton (keyboards), Loren Gold (keyboards/backing
vocals) and Frank Simes (musical director, keyboards/backing vocals).
In addition, subscribed members of The Who's official fan club will be given priority
access to purchase tickets for the upcoming "Quadrophenia" tour. The offer begins at 10:00 AM on July 20 and expires
July 22 at 10:00 PM. All current members of the official Who Fan Club, as well as any new members who join, will be given
an exclusive member's only code that will activate the offer. Membership is available at fanclub.TheWho.com.
Tickets for the 36 date tour will be on sale to the general public
Friday, July 27 at 10:00 a.m The kick off date for the band's first tour in four years will be November 1 in Sunrise,
FL for an initial six-week run. The Who then complete the tour commencing January 28, 2013 in Anaheim, CA.
The Arena at Gwinnett
CONSOL Energy Arena
Centre (on sale 7/28)
Air Canada Centre
Joe Louis Arena
New York, NY
Wells Fargo Center
Mohegan Sun Arena (on sale 8/3)
| || || |
| || |
Los Angeles, CA
San Diego, CA
Valley View Casino Center
The Joint at Hard Rock Hotel & Casino
KFC Yum! Arena
Dunkin' Donuts Center
Adam Duritz and David Bryson of the Counting Crows shakes it up.
The Crows still Count in Williamsburg
The chief Counting Crow, Adam Duritz, was decked out in a T-shirt, jeans
and his signature Sideshow Bob hairdo. Loose and relaxed, the singer totally fit into the industrial Brooklyn neighborhood
for the inaugural Lacoste Live concert series in Williamsburg Park.
Yet despite the easy cool he projected and that allowed him to perfectly blend into New York's gritty
enclave for the hip, rich and young, the singer couldn't have been wound tighter.
Born in California, Duritz now lives here in the city and this show was for the
hometown crowd. He appeared slightly jittery at first during this two hour performance, but within the first couple of songs he found his groove and relaxed into
his familiar guileless troubadour style.
best songs are the ones he sings from the point of view of a regular guy, trying to do the right thing while solving his own
problems. In those he delivers incredible earnestness. What makes Duritz one of the great singer/songwriters is his ability
to make you believe everything he sings as he lays down the bare emotions woven into the lyrics he's written.
The reason this show was different, and a little risky, was that
many of the tunes in the set weren't the tried and true Crows classics, but instead deep vault numbers mixed with songs
gleaned from the band's latest CD "Underwater Sunshine" an eclectic covers record.
There's no question that the crowd at this performance would have been wild
for "Rain King," "Goodnight Elizabeth," or "Round Here" all missing from this
show. You could feel how hungry the audience was for a Counting Crows' hit by the zealous welcome the song "Mr. Jones"
received. But this gig wasn't about greatest hits, but rather about musical paths less travelled. The band actually
seemed to rediscover itself in the lesser known tunes and those songs penned by other songwriters.
Notable among the covers was "Hospital," written by Coby
Brown, and "Like Teenage Gravity" by Kasey Anderson (who was at this show serving as the opening act).
"Like Teenage Gravity" was a monument of moody guitar work that perfectly floated Duritz's pleading
voice as he offered lines about falling in love. It's Duritz at his best, a grown man who still falls like a teenager for
each girl who comes into and eventually out of his life.
was also a terrific cover of Bob Dylan's "You Ain't Goin' Nowhere" that was playfully performed late in the
show as a sing-a-long with the crowd.
Duritz sweated a river at this open air show on one of the hottest nights of the summer, the humid air at the
riverside venue seemed to oil his pipes. At past shows his voice often wore into a rasp toward the close of the set, yet at
this concert he was in command of his loopy, stuttering wail from bow to curtain.
He was excellent on his heartfelt "Washington Square," an totally nailed
"Miami" one of the pinnacles of the show where he seemed to bring himself to an emotional brink as he sang. In all,
the songs were well-chosen and well-played, but what made this show so memorable was how Duritz kept the set taut with honesty
and passion. There was never a moment anyone doubted his veracity or his need to rock out.
Tuesday, July 17, 2012
Hank Williams, in his signature Stetson hat, with the Drifting Cowboys in 1952.
Hank Williams concert tapes unearthed
Today, with flip camcorders
and video-capable cell phones, there isn't much that happens on the concert stage that isn't documented for posterity. But back
when Hank Williams was singing his classics like "Lovesick Blues" and "Cold, Cold Heart" in
the ‘50s, a live recording was rare because the equipment was cumbersome and tape was expensive.
That's why the Time-Life release of "Hank Williams: The Lost
Limited Collector's Edition" on October 2 is such an important musical document. This 20-track collection
is the only known live recordings of this country music legend. It includes his hits, his easy on-stage banter with the audience and even a couple of comedy routines
with his back up band, the Drifting Cowboys.
boxed set is a time machine back to two concerts performed by Williams just months before his death. Besides the music
the set includes Hanks conversations with the audience as he introduces songs with anecdotes about his life. The final
track is a radio interview Williams did in 1951.
"Just when you thought you had discovered and heard everything
my dad ever did, along comes these bonus jewels in the crown of The Great One, as we refer to Hank around here,"
says his daughter, Jett Williams. "I got to know my dad first and best in the Mother's Best sponsored early morning
radio shows that aired in the early '50's on WSM radio. I was so captivated with his wit and humor on these many shows. He
came alive to me. But these were structured shows with commercial breaks while he extolled the virtues of his favorite flour
miller. In these live performances -- the only two known to exist he truly springs to life."
The two shows presented in this set were recorded in May
an July 1952, and then forgotten. One was captured by a radio DJ in Buffalo, New York, who taped one of Hank's shows to
play back on the air. The other was recorded a few weeks later by a Pennsylvania concert promoter for his wife who was
too ill to attend the actual performance.
These shows capture Hank Williams live and unscripted,
giving insight into the legend as an engaging, riveting performer at the peak of his career. His biggest hits "Hey Good
Looking"," Jambalaya," "I Saw the Light," "Lovesick Blues," "Cold, Cold Heart,"
and "I Can't Help It (If I'm Still in Love with You)" are performed with a mreb vibrant and intimate feel
than the studio recordings, peppered by personal stories about his band members, himself, and his songs. The album also includes
the only known live recording of "Are You Walking and A Talking."
In addition, the CD also features
an extremely rare radio interview with Williams made in 1951 conducted with Mack Sanders for KFBI in Wichita, Kan. on September
Since his death in 1953, Williams has risen in popularity to become one of most iconic figures in all
of American music. In 2009, Time-Life partnered with Jett Williams to release a series of vintage recordings, most of which
had never been available on CD before.
Tracklisting for "Hank Williams: The Lost Concerts
Niagara Falls, New York: April 25, 1952.
1. Comedy with Hank and the Drifting
2. I Can't Help It
3. Jerry Rivers and the Drifting Cowboys: Orange Blossom Special
4. Why Don't You
5. Are You Walking and A Talking
6. The Funeral
7. Hey Good Looking
8. Cold, Cold Heart
Sunset Park, West Grove, PA: July 13, 1952.
11. Hey Good Looking
12. Comedy with Hank and the Drifting Cowboys
13. Jerry Rivers and the Drifting Cowboys: Fire On The Mountain
16. Long Gone Lonesome Blues
17. Half As Much
18. I Saw The Light
20. Interview: Hank interviewed
Friday, July 13, 2012
Steven Tyler adjusts to the R'nR lifestyle after his American Idol tenure.
Tyler's "American Idol" resignation letter
"After some long......hard......thoughts...I've decided it's
time for me to let go of my mistress ‘American Idol' before she boils my rabbit," said Steven Tyler. "I strayed
from my first love, Aerosmith, and I'm back--but instead of begging on my hands and knees, I got two fists in the air and
I'm kicking the door open with my band. The next few years are going to be dedicated to kicking some serious ass--the ultimate
in auditory takeover... On Nov 6, we are unleashing our new album, Music From Another Dimension the Earth, Moon, Mars, and
way beyond the stars...'Idol' was over the top fun, and I loved every minute of it...Now it's time to bring Rock Back. ERMAHGERD."
Wednesday, July 11, 2012
New music from Placido Domingo, Lynyard Skynyrd &
Van Morrison set for release
albums continue to be the rage for music veterans looking to reach new followers through the fan bases of younger artists.
This time it's opera great Placido Domingo who's gathered up a gaggle of musical pals for a sing-along record
that's due October 16th from Sony Classical.
regarded my many as the world'spreeminent tenor since the death of his Three Tenors bandmate Luciano Pavarotti, will team up at the mike with
Josh Groban for "Sous Le Ciel de Paris," Susan Boyle partners with the maestro on "From This Moment On,"
and Crescent City crooner Harry Connick Jr. joins Domingo on "Time After Time." Also featured with the famed
tenor are TV's Megan Hilty; Domingo's son, Placido Jr.; super star mezzo-soprano Katherine Jenkins and German
singer-songwriter Xavier Naidoo. So far Lady Gaga has not been confirmed as one of Domingo's vocal hookups for this
In addition to the duets
Domingo will include solo renditions of "Besame Mucho," and "Un Uomo Tra La Folla."
Since their 1973 debut album that featured the career making "Gimme Three Steps" and the
rock standard "Free Bird" new music from Lynyrd Skynyrd is always very anticipated. Next month this
seminal Southern rock band releases "Last Of A Dying Breed" Skynyrd's first studio album since the 2009 release of God & Guns.''
Guitarist Gary Rossington says "we kind of went back old
school this time. All of us playing together in the studio as a band, tracking songs and creating licks. We had a lot of fun
and the music really flowed for us."
the core band is Rossington , Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone.
This album according to Rossington is a continuation of their work that began over 35 years ago in Jacksonville,
with a catalog of over 60 albums, sales beyond 30 million worldwide and a 2006 induction into the Rock and Roll Hall of Fame
over the years the group has had its share of bad luck. The worst of that was the 1977 plane crash that killed
three band members, including singer Ronnie Van Zant and Steve Gaines. Since then, band members Billy Powell, Ean Evans,
Allen Collins, Leon Wilkeson and Huey Thomasson have all passed on.
Always survivors, for this album, Lynyrd
Skynyrd enlisted bassist Johnny Colt, an original member of the Black Crowes. Commenting on the day he was asked to
join up Colt says "What else do you say to Medlocke, Rossington and Van Zant? We're talking southern rock royalty.
We're talking Lynyrd Skynyrd. The only thing out of my mouth was when and where!"
Rock god Van Morrison, returns to the record racks with a new
studio album "Born To Sing: No Plan B" that's scheduled to be released October 2 on Blue Note Records. The record
is produced by Morrison and was recorded in his native Belfast.
who previously released the "What's Wrong With This Picture?" on Blue Note in 2003, but subsequently left
the label, commented on his return "With most record companies being so corporate I am happy to be working with
Don Was and the team at Blue Note. To have such a creative music person as the head of my recording label assures me that
all the effort taken to write and record this new album will be rewarded."Don Was equally enthusiastic about Morrison's return saying "Van has developed a body of work
that is unparalleled in its consistent excellence. He is one of the greatest singer/songwriter/musicians of all time. We are
incredibly honored that he has chosen to record for the Blue Note. "
Monday, July 9, 2012
Adam Lambert in leather and spikes; in more straight-laced
Lambert may swap guyliner for gavel
The game of musical chairs at the "American Idol" judging desk is on again, this time with the producers suggesting past contestant,
Adam Lambert, join the celebrity panel.
Lambert was only the runner-up on "American Idol's eighth season, his post-"Idol" career has yielded a pair of hit albums including this year's "Trespassing."
2012 has been good to Adam, besides the disc, he is currently filling big shoes replacing the late Freddie
Mercury on this summer's Queen tour. Why not an Idol gig too?
With Jennifer Lopez's return for season 12 in doubt
E! News just reported Lambert is on the judge search
short-list. "Idol" producers have been tight-lipped whether Lopez, or Randy Jackson (the only original judge
remaining) will return to the series.
Tyler quit the judges' panel this week saying he'll be concentrating on Areosmith from heree on.
says Lambert has been in talks with producers since June. While Lambert has earned artistic credibility in the past few years
with a solid fan base, if he gets the job as critic, he'll face the criticism that he just too green to judge other performers.
Sunday, July 8, 2012
Roger Waters still in the Pink with a triumphant pair of concerts at Yankee Stadium.
Waters hits it over the Wall at Stadium
Bigger is better especially when it comes to Roger Waters' new edition
of "The Wall" that was pumped up for a pair of Yankee Stadium concerts this weekend.
When the classic Pink Floyd album was brought to life in a track-for-track
Madison Square Garden production in the fall of 2010 I wrote it was the very best arena concert I'd ever experienced. In this oversized stadium
incarnation the spectacle rivaled U2's 360 tour and the sound quality on the Bronx baseball field was as good as what you'd
expect in Carnegie Hall. In a word, the show was magnificent.
This edition of the Orwellian rock opera that was originally written by Waters in 1979 seems to have
gained more relevance with each step we take toward the future. In this grand production, retooled for concert excess, the
music was precise reflecting the original charts and it was visually intense featuring eye-popping 3-D projections. But what lent the show power and made it emotionally unsettling
was the repeated references to how governments control the populous by dividing people into "us" and "them," and
then making "us" complacent with treats -- you know, getting us comfortably numb.
In one of the headiest symphonies in the canon of thinking man's
rock all those notions gel in the seventh song titled "Mother." In that heartfelt ballad performed in
a simple acoustic guitar arrangement Waters sings the pivotal question of the night: "Mother can I trust the government?"
Projected on the wall that spanned
the stadium's outfield and towered three stories high was the answer: "No Fucking Way."
The song "Mother" was also one of the most artfully
produced pieces in the two-hour show with the 68-year-old flesh and blood Pink Floyd mastermind singing across time in a video
duet with himself when he was 35. It was a wonderful reminder of not only quickly time passes, but how slow change
For the fans
who grew up with Pink Floyd and know the music inside and out, the multimedia elements like that supercharged the concert.
Other neat special effects included a house sized floating pig that swooped over the audience and the rafter-high ruler-wielding
teacher marionette that danced and threatened a children choir that backed Waters during "Another Brick In The Wall,
and staging often played with your emotions. For instance it was nearly impossible not to get a little chocked up during the song "Bring
The Boy's Back Home" as a video of a young schoolgirl reuniting with her uniformed soldier dad played on the wall.
And a few tunes later how that warm and cuddly feeling
was smashed on the rocks in the song "Run Like Hell" where the threat of totalitarian government is unveiled
with machine-gun toting Waters costumed in a black leather trench coat in front of waving flags and banners featuring
a crossed-hammer insignia. All together it recalled WWII's Nazi images of swastikas and the screaming insanity or Adolf
Hitler whipping his followers into a frenzy of hate.
fans would take note of how the 12-piece band stayed true to the original charts. No notes were added or changed in
the making of this concert. Even the searing guitar solo by David Gilmour on the original recording of "Comfortably
Numb" was re-created with note-for-note precision by guitarist Snowy White.
The concert's structure was also faithful to the original vinyl pressing of the
double album: sides One and Two were played before intermission followed by sides Three and Four. After the final song,
"Outside the Wall," Waters and his band just bowed and left the stage.
As a straight-up concert, Waters was the star of this gig, but if you looked
at this show as modern theater the star was 20,000 square foot wall constructed with more than 1000 Styrofoam blocks by stagehands.
The crew completed it one brick in the wall at a time. It dissected the stadium, illustrating the wall's ability to isolate by
actually cutting the band off from the audience's view.
on the album, the song highlights remain the same with "Another Brick in the Wall," "Mother," "Hey
You" and "Comfortably Numb," but in the Stadium, "The Wall" became bigger than the individual songs
and transformed the piece into a cautionary tale about a future we hope isn't already here.
Thursday, July 5, 2012
Roger Waters performing the wall in the Twin Cities; Waters with Jim Ladd (below).
Roger Waters building walls
Roger Waters, bassist, songwriter and co-founder of Pink Floyd, slides
into home base
when he returns to New York City expanding the arena edition of “The Wall” that played Madison
Square Garden to fill Yankee Stadium in the Bronx Friday and Saturday nights.
“The Wall,” an aural and visual masterpiece about alienation and eventual transformation, will be performed in-its-entirety
in a full band/choir arrangement for this state-of-the-art production.
Speaking about his famous rock opera
Waters says "When I wrote 'The Wall' I was a frightened young man, but in the intervening years it occurred to me that maybe
the story of my fear and loss with its related inevitable residue of ridicule, shame and punishment, provides an allegory
for broader concerns: Nationalism, racism, sexism, religion, whatever! All these issues and 'isms are driven by the same fears
that drove my young life."
Last week, in preparation for the pair of New York shows Waters took part in a
two hour conversation with fans on an exclusive program for The Pink Floyd Channel on Sirius XM hosted by Floyd
historian and Sirius radio personality Jim Ladd. Ladd, who has a comfortable relationship with Water, introduced the man and asked a
few quick questions to get the ball rolling with what was to be a town Hall-style interview where questions were elicited mainly from a panel
consisting of two-dozen fans.
questions, sometimes historical, but most often political, were so provoking that Ladd voiced his surprised at the complexity
and thoughtfulness. Waters, one of rock music’s thinkers, took all the questions
thoughtfully, never balking because a subject was too personal and he pulled no punches with his
Early in the program Waters was asked if Pink Floyd’s original songwriter Syd Barrett’s mental illness was the influence for the madness theme
depicted in “Dark Side of the Moon.” In answering that Waters got very intimate when speaking
about what it was like to see a bandmate “falling apart in front of your eyes” and “I couldn’t do
a thing about it.” Pausing for words Waters added “I still feel enormous
sadness about his descent into madness, but I feel no guilt.”
Waters whose hearing is slightly impaired after years in front of Marshall amps
often had to have questions repeated, but always answered the queries with passionate opinions that engaging the audience.
When asked how he balances the social commitment of the music
with the intrinsic entertainment values necessary for a stadium sized tour Waters was succinct answering “I am what
I am and I do what I do.” But he did acknowledge how he and “The Wall” have evolved. Speaking for himself he says “You just have to get older, there’s no substitute for the passage
of time – it helps us get wiser.”
As for “The Wall,” Waters says, “the piece has definitely changed.” He
added when he wrote it, the themes he had in mind centered on the “loss of dad in the war,” “nasty teachers,”
and “authoritarian rules.” Waters says now he sees how “walls separate people into us
That spurred the conversation toward the political when Waters was asked about the message of “The
Wall” and his performances in context of the current state of current Middle East affairs. That setting the tone
for the greater portion of the program . The political questions prompted Waters to offer his thought on
class politics, the military industrial complex and war as a means of generating profits, the loss of freedom paid for under
the guise of national security. “Homeland Security are a scary lot, they are totally unaccountable to anyone.”
At the Yankee Stadium, the politics of “The Wall”
will be pictured forty-two high-definition projectors onto the actual wall built in place during the show that stands three
stories hight and is more than a football field wide. As for the music helping Waters are Snowy White (guitar),
Dave Kilminster (guitar), GE Smith (guitar & bass), Jon Carin (keyboards), Harry Waters (Hammond organ), Graham Broad
(drums), Robbie Wyckoff (vocals), Jon Joyce, Pat Lennon, Mark Lennon and Kipp Lennon (backing vocals).
Monday, July 2, 2012
Would you buy a watch from this man? Joe Jackson
sold Iggy Pop on the idea that they would make a sweet duet couple for Duke Ellington's "It Don't Mean
a Thing (If it aint got that swing)" one of the tracks on Jackson's new record "The Duke."
Review at DTMP's CDs of thew Week.
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